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1
Davies, Colin. "Lessons at the roadside." Architectural Research Quarterly 8, no. 1 (2004): 27–37. http://dx.doi.org/10.1017/s1359135504000053.
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Architects should learn to communicate more through their architecture. The commercial vernacular architecture of the American ‘strip’ – motels, gas stations, fast food outlets – communicates loud and clear. In comparison, high architecture, particularly the high architecture of Modernism, is sullen and silent. This, roughly, is the thesis of Learning from Las Vegas by Robert Venturi, Denise Scott Brown and Stephen Izenour (1972 and 1977), one of the key texts of the Post-Modernist movement in architectural theory of the early 1970s. Venturi et al thought architects could learn a lot about symbolism and communication from the sort of non-judgmental study of roadside architecture that their students had undertaken at Yale. In the second half of the book the idea was developed into a theory and encapsulated into a universal building concept, ‘the decorated shed’, which has since become a cliché of architectural criticism. The decorated shed was designed to overthrow the most cherished beliefs and rituals of Modernism. Expression through form was to be replaced by the ‘persuasive heraldry’ of the totem and the billboard; articulation of detail was to be replaced by old-fashioned applied ornament; and the ‘heroic and original’ was to be replaced by the ‘ugly and ordinary’. But the emphasis was on the decoration rather than the shed. Learning from Las Vegas did not have much to say about the way that the sheds of the commercial strip were constructed, other than describing them vaguely as ‘system built’, or about the implications that the technology of their construction might have for architectural practice.
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Myjak-Pycia, Anna. "Forgoing the architect’s vision: American home economists as pioneers of participatory design, 1930–60." Architectural Research Quarterly 25, no. 1 (2021): 17–30. http://dx.doi.org/10.1017/s1359135521000142.
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The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that ‘architecture is too important to be left to architects’, criticised architectural practice as a relationship of ‘the intrinsic aggressiveness of architecture and the forced passivity of the user’, and called for establishing ‘a condition of creative and decisional equivalence’ between the architect and the user, so that in fact both the architect and the user take on the architect’s role. He also argued for the ‘discovery of users’ needs’ and envisioned the process of designing as planning ‘with’ the users instead of planning ‘for’ the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll’s medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl‘s Fesstgasse Housing, a multi-storey apartment block in Vienna (1979).
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Anastasova, Maria. "THE IDEA OF THE BAD PLACE IN EDGAR ALLAN POE’S “THE FALL OF THE HOUSE OF USHER” AND IN STEPHEN KING’S “THE SHINING”." Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (June 30, 2020): 85–89. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.11.
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The article deals with the idea of the bad place as a characteristic feature of the horror genre. Its aim is to explore the function of two buildings that epitomize this idea in two literary works from different periods of American literature: the Usher mansion from Edgar Allan Poe’s The Fall of the House of Usher (1839) and the Overlook Hotel from Stephen King’s The Shining (1977). The two architectural structures reveal various undercurrent meanings that lead to the conclusion that the haunted place in the gothic genre may serve purposes rather different than creating horrific atmosphere and triggering emotions like fear and suspense. By binding their characters to a specific building the two authors not only trap them and put them in isolation, but they also reveal certain psychological states or criticize the society. In Poe’s short story the crumbling mansion is obviously a reflection of the unstable mind of the narrator as the author employs his usual method of using architecture to speak about psychology. In The Shining the hotel unleashes evil powers because of its sinful history. Thus a critical look at the society is provided. In both cases the architectural structures are destroyed in the end. However, although the two buildings can be taken as symbols of evil, their identical fates may be interpreted differently in each context.
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Figueira, Jorge. "Out of the box: Southwards and Eastwards notes on a new geography of criticism." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 184–99. http://dx.doi.org/10.5937/saj1103184f.
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Viewed from the 'Southern Europe', the theoretical/critical debate in the Anglo-Saxon world, in particular the ongoing debate at the American universities is perplexing. It is a world of opulence and loftiness, not in this case on the level of material wealth, but intellectual wealth. If we understand that the omnipresence of 'critical theory' has an inhibitive effect on a sensory relationship with architecture, and that dichotomies such as critical/projective are schematic, the truth is that we need to leave behind atavisms that diminish the approach in 'Southern Europe': the local against the global; the space against the images; the young against the old. Theory and criticism have much to gain from allowing themselves to be provoked by the unknown. I would like to concretize these ideas by revisiting two recent experiences: to the South, Cape Verde, and to the East, Macau. They are border situations of wealth and material prosperity in Macau; and of poverty and obstruction in Cape Verde. How are these territories read and criticized? The architecture we find there is outside the history based on the MoMA. In China one hears the echo of echoes, increasingly. In Africa, one can hear the distant resonance of those echoes. Where are we beyond 'post-criticism'.
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Nnaemeka, Obioma. "Racialization and the Colonial Architecture: Othering and the Order of Things." PMLA/Publications of the Modern Language Association of America 123, no. 5 (2008): 1748–51. http://dx.doi.org/10.1632/pmla.2008.123.5.1748.
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Steve Martinot argues that racism is the system and racialization “The process through which white society has constructed and co-opted differences in bodily characteristics and made them modes of hierarchical social categorizations” (180). Over half a century ago, the United Nations Educational, Scientific and Cultural Organization (UNESCO) was so concerned about the genesis and consequence of the “process” that it issued a statement on race. Reeling from World War II, the global community saw the urgent need to put in place mechanisms for promoting global peace. The establishment of UNESCO in 1945 was aimed specifically at promoting a culture of peace. Convinced that racism and racial inequality were a root cause of the war, the authors of the UNESCO constitution (1945) condemned “the doctrine of the inequality of men and races” in the constitution's preamble. Responding to a resolution adopted by the United Nations Social and Economic Council at its sixth session in 1948, UNESCO gathered a group of experts (anthropologists and sociologists) from almost all continents (Africa was the exception) to develop for dissemination a statement on race that was based on scientific facts. The committee released a “Statement on Race” on 18 July 1950 which concludes that “there is no proof that the groups of mankind differ in their innate mental characteristics, whether in respect of intelligence or temperament [and] the scientific evidence indicates that the range of mental capacities in all ethnic groups is much the same” (9). The statement also asserted that the “biological fact of race and the myth of ‘race’ should be distinguished. For all practical and social purposes ‘race’ is not so much a biological phenomenon as a social myth” (8). The committee affirmed the universality of the “brotherhood of man” and suggested that race as a concept be replaced by “ethnic” (6). Criticism of the statement was swift and vehement. The controversy prompted UNESCO to empanel another committee to produce a second statement the following year. Over the years, other organizations, such as the American Sociological Association and the American Association of Physical Anthropologists, have issued their own statements on race.
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Cadieu, Morgane. "Afterword: The Littoral Museum of the Twenty-First Century." Comparative Literature 73, no. 2 (2021): 237–54. http://dx.doi.org/10.1215/00104124-8874117.
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Abstract The museum, the mausoleum, and the memorial are key concepts for theorizing beaches and ports in twenty-first-century literature and cinema. On the littoral, these constructions suggest the very opposite of a sealed off monumentality to become living museums of women’s labor in modern and contemporary France (Sciamma, Varda), bodily mausolea of migration on the Senegalese shoreline (Diop), and shapeshifting war memorials in Atlantic and Pacific tidelands (Darrieussecq, Rolin, Virilio). Examples of anamorphic seascapes, especially in photography, underscore the reversibility of sand and cement in Japan (Narahashi, Ono), as well as the dereliction of Cuban beach architecture and American industrial harbors (Morales, Sekula). In art as in criticism, the waterfront stages gender and class crossings (Dumont) and tangles fields. The afterword thereby weaves the major threads of the special issue: textures, labor, and ruins; social mobility and migration; marine life, geological time, and the history of sensation.
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Karczewska, Anna Maria. "From Bauhaus to Our House: Tom Wolfe contra modernist architecture." Świat i Słowo 34, no. 1 (2020): 211–30. http://dx.doi.org/10.5604/01.3001.0014.3069.
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In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.
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Howard-Pavlovich, Zeljka. "New urbanism: A new approach to the way America builds." Spatium, no. 9 (2003): 22–27. http://dx.doi.org/10.2298/spat0309022h.
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New Urbanism has been characterized as the most important phenomenon to emerge in American architecture and planning since the Modernist movement. Like any movement promoting ideas that challenge long standing practices, New Urbanism has received its share of criticism. This article focuses on the positive aspects of these movements. It provides an overview of the movement and looks into the lessons that could be learned from the application of its ideas to the design and development of cities. Illustrative of many New Urbanism ideas are the efforts undertaken in Europe during the last decade of the twentieth century. The charter outlines a new vision of the spatial and physical form of the contemporary built environment promoted by New Urbanism and defines the principles and development policies that support that vision. Then, the Charter refers to regions as "fundamental economic unitas of the contemporary world" and calls for coordination of public policies, physical planning, and economic strategies to deal with this new reality. New Urbanism brings to fore the importance of an integrated approach to rectifying the problems of urban growth and to bring about change to the unsustainable pattern of the current urban landscape. It, also, asserts that the process for effecting changes in the urban structure and public policies should be based on developing close partnerships and cooperation among various disciplines, interest groups, and citizens. There is, also, an idea on Reaffirmation of the Traditional Urbanism principles that have guided design of cities for centuries. New Urbanism, of course, does not offer solutions to all ills of the American built environment, however, it has inspired significant changes in the approaches to planning and development.
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Rodger, Johnny. "Putting Holl and Mackintosh in multi-perspective: the new building at the Glasgow School of Art." Architectural Research Quarterly 17, no. 1 (2013): 24–36. http://dx.doi.org/10.1017/s135913551300033x.
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The announcement that American architect Steven Holl had won the competition to design a new building for the Glasgow School of Art opposite Charles Rennie Mackintosh's original (built 1897–1909), and the revelation of his plans to the public, provoked plenty of criticism about the possible relationship between the two buildings. Professor William Curtis first wrote on the topic in the Architects' Journal almost a year from the announcement, and his opinions on the relationship were forthright: ‘Rather than dialogue’, he argued, ‘there is a dumb lack of articulation in construction and material.’ A response came in the following issue of the AJ from David Porter, then Professor at the Mackintosh School of Architecture. He disagreed with Curtis, claiming that the new building will have ‘an extraordinary spatial richness’ and that ‘the original sketch Curtis saw in Glasgow last December has progressed very rapidly’, for it was but an early stage in ‘a design strategy driven forward with a mixture of poetics and ruthless pragmatics: qualities that are singularly appropriate in this context, and developed with artistry and skill’.Curtis subsequently wrote a further open letter to ‘the Governors, the Director, the Faculty, Students, Staff, Alumnae and Alumni’ of Glasgow School of Art, which was published in facsimile in the Architects' Journal on 3 March 2011:What a disappointment then to contemplate Steven Holl's proposed addition. It is horrendously out of scale, it dominates Mackintosh, it does not create a decent urban space, it fails to deal with the context near and far, it is clumsy in form and proportion, it lacks finesse in detail, has no relationship to the human figure, and is a stillborn diagram dressed up in Holl clichés such as ‘iceberg’ glass.
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Maxwell, David. "Photography and the Religious Encounter: Ambiguity and Aesthetics in Missionary Representations of the Luba of South East Belgian Congo." Comparative Studies in Society and History 53, no. 1 (2011): 38–74. http://dx.doi.org/10.1017/s0010417510000629.
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William F. P. Burton's career straddled several worlds that seemed at odds with each other. As a first-generation Pentecostal he pioneered, with James Salter, the Congo Evangelistic Mission (CEM) at Mwanza, Belgian Congo in 1915. The CEM became a paradigm for future Pentecostal Faith Mission work in Africa, thanks to Burton's propagandist writings that were published in at least thirty European and North American missionary periodicals. His extensive publications, some twenty-eight books, excluding tracts and articles in mission journals, reveal that the CEM was a missionary movement animated by a relentless proselytism, divine healing, exorcism, and the destruction of so-called “fetishes.” The CEM's Christocentric message required the new believer to make a public confession of sin and reject practices relating to ancestor religion, possession cults, divination, and witchcraft. It was a deeply iconoclastic form of Protestantism that maintained a strong distinction between an “advanced” Christian religion, mediated by the Bible, and an idolatrous primitive pagan religion. Burton's Pentecostalism had many of its own primitive urges, harkening back to an age where miraculous signs and wonders were the stuff of daily life, dreams and visions constituted normative authority, and the Bible was immune to higher criticism. But his vision also embraced social modernization and he preached the virtues of schooling and western styles of clothing, architecture, and agriculture. It was this combination of primitive and pragmatic tendencies that shaped the CEM's tense relations with the Belgian colonial state.
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Gohardani, Navid. "ARCHITECTURE IN EFFECT: A Glance at Critical Historiography." International Journal of Architectural Research: ArchNet-IJAR 8, no. 1 (2014): 184. http://dx.doi.org/10.26687/archnet-ijar.v8i1.335.
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Historiography marks a relatively unexplored research domain in architecture. Despite the obscure nature of this subject matter, architectural historiography equally illuminates a hidden pathway to the historical interaction of architecture with art or literature. Critical historiography adds another dimension to this emerging research topic that further encapsulates multiple levels of criticism. In recognition of a growing interest for historiography, it can be argued that the critical aspects of historiography may serve as crucial instruments for an enhanced understanding of architectural historiography. In this article, the realm of architectural historiography is investigated through a multidisciplinary perspective that revisits architectural criticism, critical historiography, modern architecture, phenomenology, and a number of aspects of architectural historiography in the Swedish Million Homes Program.
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Hatton, Brian. "Exploring architecture as a critical act, questioning relations between design, criticism, history and theory." Architectural Research Quarterly 8, no. 2 (2004): 105–8. http://dx.doi.org/10.1017/s1359135504000132.
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This conference, which took place 25–27 November 2004, was held by the Bartlett School of Architecture in association with the Architectural Humanities Research Association (AHRA). Its stated aim was to examine the relationship between critical practice in architecture and architectural criticism, intending to place architecture in an interdisciplinary context with reference to modes of criticism in other disciplines, specifically art criticism, and to explore modes of critical practice in architecture: buildings, drawings and texts. Brian Hatton attended the second day of the conference; his comments on the first day are based on discussions with colleagues and reading of transcripts.
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Carpov, Victor V. "Type-Antitype in Architecture." Journal of Interdisciplinary Studies 5, no. 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Carpov, Victor V. "Type-Antitype in Architecture." Journal of Interdisciplinary Studies 5, no. 1 (1993): 45–56. http://dx.doi.org/10.5840/jis199351/24.
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This essay focuses on the typological dilemma in architecture in its theological aspect in an attempt to restore the vital, transcendental, universal method at the core of theological hermeneutics---the Biblical typological interpretation. Following this theological matrix, it is easier to comprehend the actual transformation of Alberti's Six Basic Principles of Architecture into Le Corbusier's Five Points of New Architecture. We thus trace the collective historical experience in architectural theory and practice, history and criticism. The metaphorical assumption of the theological dogma of the unity of Scripture expressed in terms of the type-antitype methodology helps one understand these processes in their religious, historical, cultural, and artistic totality.
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Boddy, Trevor. "The Conundrums of Architectural Criticism." Journal of Architectural Education 62, no. 3 (2009): 8–96. http://dx.doi.org/10.1111/j.1531-314x.2008.00254.x.
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Jasińska, Anna, and Artur Jasiński. "NEW BUILDING OF THE WHITNEY MUSEUM OF AMERICAN ART IN NEW YORK." Muzealnictwo 59 (March 30, 2018): 19–27. http://dx.doi.org/10.5604/01.3001.0011.7190.
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On the 1st of. May 2015, in Meatpacking District of West Manhattan, the new building of the Whitney Museum of American Art was opened. It is the fourth location of this well-known New York museum, which was established in 1930, by Gertrude Vanderbilt Whitney. The Whitney possesses the world’s largest collection of American art and focuses on exhibiting living artists. Spectacular, industrial in character architecture signed by Renzo Piano has met with mixed reactions. The building is functional and well connected with the post-industrial site, however, not appreciated by everyone. Similar situation happened forty years ago, when Centre of Georges Pompidou, designed by Renzo Piano and Richard Rogers, pioneers of high-tech architecture, was widely criticised. Only popularity, high attendance and commercial success of famous Paris facility changed that negative opinion. Is the New Whitney following the same path – time will tell.
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Tavernor, Robert. "Architectural history and computing." Architectural Research Quarterly 1, no. 1 (1995): 56–61. http://dx.doi.org/10.1017/s1359135500000105.
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This paper is based largely on a document presented at a conference celebrating the 25th anniversary of the Martin Centre, held at the University of Cambridge in October 1992. It takes as its point of departure Sir Leslie Martin's essay, ‘Architects’ approach to architecture' (Martin, 1967). Commencing with his argument that ‘intentions and processes’ in architecture are more fundamental than form, this paper questions past attempts at relating history to architectural process, and outlines the potential offered by more recent advances in technology – especially, photogrammetry and the computer – for achieving a more objective and broader base for architectural criticism and consensus.
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Avermaete, Tom. "Architecture 'talks back': On the (im)possibilities of designing a critical architectural project." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 214–25. http://dx.doi.org/10.5937/saj1103214a.
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Claims on critical positions in architecture are common ground in contemporary practice and reflection. This article probes into the critical capacity of the architectural project by returning to the notion of 'typological criticism' that Manfredo Tafuri introduced, as well as to the concept of the 'semi-autonomy' of architecture as theoretized by Louis Althusser. The article argues that the criticality of the architectural project resides in its mediation between autonomous and heteronomous aspects and proceeds through the entity of the architectural type.
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Behnamian, Sara, Saman Behnamian, Fatemeh Fogh, Firooz Pashaei, and Malihe Mahin Saran. "NOVELTY ARCHITECTURE AND MATHEMATICS IN AN IRANIAN MOSQUE." Journal of Islamic Architecture 6, no. 1 (2020): 7–12. http://dx.doi.org/10.18860/jia.v6i1.5508.
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Islamic architecture, particularly mosques architecture, has mainly been the focus of many architectural exhibitions in Muslim-majority countries. Recently, it has been influenced by novelty architecture and has been evolved into elaborate structures. Quds mosque in Tehran, Iran, is a picturesque architecture feat of a modern outlook that came under a lot of criticism for abandoning the traditional symbols of Islamic architecture. This study observes the Quds mosque from a mathematical standpoint using fractals as the method. Fractals are geometric constructions that exhibit similar or identical characteristics by order of magnitude. Rescaling a prominent architectural pattern is also a noticeable subject that considers Quds mosque from this point of view. This study shows that the Quds mosque used fractal principles; self-similarity and congruency. Those are applied in the roof form by using a triangle form on each side.
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Adiyanto, Johannes. "Archi-text-ture: Architecting Through Writing." Architectural Research Journal (ARJ) 1, no. 1 (2021): 1–7. http://dx.doi.org/10.22225/arj.1.1.3296.1-7.
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Architecture is often understood as a real and tangible science, in the form of space and form. This understanding is associated with the origin of the word ‘techne’ which refers to the engineering in the construction process of a building, an architectural work. Writing on new architecture developed around 1968, at a time when architectural criticism by Louis Huxtable became known although the form of writing, identification both in pictures and description, had been done since the time of the Roman Empire by Vitruvius and later interpreted by Leon Battista in the Renaissance. This paper describes descriptively several examples and categories of writing about architecture, especially in Indonesia. The study uses an exploratory study approach with reference to the theory of architectural criticism from Attoe’s understanding. The descriptive exploration of this paper shows there are at least four categories of architectural writing in Indonesia, from those aimed at creating architectural narratives to making architectural texts which are then called archi-text-ture in the paper. The paper is not a final paper, because it is the start of a long textual journey, so it is made as an archi-text-ture construction process and to open up opportunities for further interpretation and development
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Budi Santosa, Revianto, Josef Prijotomo, and Murni Rachmawati. "Considering Ephemeral Monuments: Towards a Greener Architectural Theory." Applied Mechanics and Materials 747 (March 2015): 192–97. http://dx.doi.org/10.4028/www.scientific.net/amm.747.192.
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The existence of buildings employing perishable material, however, is often marginalized partly because architecture is primarily understood as permanent structure built to last forever. This notion is heavily supported in Western architectural theory considering “permanence” (or “firmitas” in Vitruvian term) as one of the fundamental characteristics of architecture, especially monumental architecture which is intended to be “eternal”. To construct a permanent architecture, in general, requires greater amount of resources compared to the ephemeral. The marginalization of ephemeral architecture causes the depletion of resources due to the effort to make most of the buildings permanent since only those which withstand the ravage of time are deemed valuable as architecture This paper explores some meaningful pieces of architecture having values of monuments in Java yet they are constructed as ephemeral architecture requiring periodical renewal. The discussion on these ephemeral monuments will focus on the way perishable material is composed, the way renewal actions are conducted and the meaning of the monuments for their people are enhanced by these actions. In the conclusion, some criticism towards mainstream architectural theory is addressed by including ephemerality in the notion of [monumental] architecture so that we may proceed towards greener architectural theory in which the ephemeral has respectable roles.
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Benedikt, Michael. "On the Role of Architectural Criticism Today." Journal of Architectural Education 62, no. 3 (2009): 6–7. http://dx.doi.org/10.1111/j.1531-314x.2008.00253.x.
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Massey, Jonathan. "American Architectural History." Journal of Architectural Education 59, no. 2 (2005): 63–64. http://dx.doi.org/10.1111/j.1531-314x.2005.00019.x.
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Liu, Lydia H. "The Ghost of Arthur H. Smith in the Mirror of Cultural Translation." Journal of American-East Asian Relations 20, no. 4 (2013): 406–14. http://dx.doi.org/10.1163/18765610-02004004.
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Arthur H. Smith’s Chinese Characteristics (1890) remained the most widely read American book on China until Pearl Buck’s The Good Earth (1931). Smith’s collection of pungent and humorous essays, originally written for white expatriates in Asia, was accepted by Americans at home as a wise and authentic handbook. The book was soon translated into Japanese (1896), classical Chinese (1903), and at least three more times into Chinese since 1990. The characteristics Smith identified reflect his conception of the American Way of Life, racial hierarchy, the idea of progress, and the middle-class values with which he was brought up. He used race and “national character” to explain Chinese food, dress, body care, music, art, language, and architecture, as well as politics and religion. Lu Xun, the preeminent Chinese cultural critic of the early twentieth century, pondered why his country had been defeated and came to believe that the character of his countrymen was the key to their future survival. Smith’s criticisms were valuable for this task of introspection but Lu Xun took him to task for misunderstanding the concept of “face” because he did not grasp it in the social context of unequal power. The ghost of Arthur Smith thus haunts both Chinese and Americans.
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Akıner, İlknur, İbrahim Yitmen, Muhammed Ernur Akıner, and Nurdan Akıner. "The Memetic Evolution of Latin American Architectural Design Culture." Buildings 11, no. 7 (2021): 288. http://dx.doi.org/10.3390/buildings11070288.
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Architecture is an evolutionary field. Through time, it changes and adapts itself according to two things: the environment and the user, which are the touchstones of the concept of culture. Culture changes in long time intervals because of its cumulative structure, so its effects can be observed on a large scale. A nation displays itself with its culture and uses architecture as a tool to convey its cultural identity. This dual relationship between architecture and culture can be observed at various times and in various lands, most notably in Latin American designers. The geographical positions of Latin American nations and their political situations in the twentieth century leads to the occurrence of a recognizable cultural identity, and it influenced the architectural design language of that region. The nonlinear forms in architecture were once experienced commonly around Latin America, and this design expression shows itself in the designers’ other works through time and around the world. The cultural background of Latin American architecture investigated within this study, in terms of their design approach based upon the form and effect of Latin American culture on this architectural design language, is examined with the explanation of the concept of culture by two leading scholars: Geert Hofstede and Richard Dawkins. This paper nevertheless puts together architecture and semiology by considering key twentieth century philosophers and cultural theorist methodologies. Cultural theorist and analyst Roland Barthes was the first person to ask architects to examine the possibility of bringing semiology and architectural theory together. Following an overview of existing semiological conditions, this paper analyzed Roland Barthes and Umberto Eco’s hypothesis of the semiological language of architectural designs of Latin American designers by examining their cultural origin. The work’s findings express the historical conditions that enabled the contemporary architecture and culture study of Latin America between 1945 and 1975 to address the “Latin American model” of architectural modernism.
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Fung, Stanislaus. "Orientation: Notes on Architectural Criticism and Contemporary China." Journal of Architectural Education 62, no. 3 (2009): 16–96. http://dx.doi.org/10.1111/j.1531-314x.2008.00258.x.
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Gilman, Patricia A. "Architecture as Artifact: Pit Structures and Pueblos in the American Southwest." American Antiquity 52, no. 3 (1987): 538–64. http://dx.doi.org/10.2307/281598.
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The use of architecture as an artifact gives archaeologists a data set that we have rarely employed to examine cultural evolutionary questions. In this paper I consider the determinants of some architectural forms and propose some causes of architectural change, specifically in the American Southwest. Using ethnographic material from around the world, I demonstrate the relationship between structure seasonality and two of the most common southwestern architectural forms, pit structures and pueblos. The ethnographic record also suggests that the conditions surrounding the southwestern use of pit structures, and to a lesser degree of pueblos, are rather different from what many archaeologists have supposed. The differences in the conditions under which pueblos are used rather than pit structures form the basis for a theoretical framework that begins to explain the transition between the two kinds of structures in the prehistoric Southwest.
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Lootsma, Bart. "From pluralism to populism: Architectural criticism in times of the Internet." SAJ - Serbian Architectural Journal 3, no. 3 (2011): 254–69. http://dx.doi.org/10.5937/saj1103254l.
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Architecture has changed from a discipline in service of the larger part of the population through public housing, public buildings, public spaces, urban planning and design to a particular and already in itself disparate niche market of the real estate business that has more to do with the media industry than with public tasks. Architectural criticism has become part of this media industry as well. Thus, Postmodern architecture could flourish as the bastard child of political and cultural populist strategies. Today, architectural criticism finds itself in a deep crisis due to new developments in publishing and it's financing. This also affects Critical Theory. With its background of ideas rooted in Marxism and Enlightenment, Critical Theory seems to have great difficulty with not only the speed of new developments and the unpredictability of their directions, but also with the increasingly dominant irrational but powerful aspects of marketing and propaganda in which it's voice seems no longer heard beyond the walls of the academic ghetto.
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Adams, Nicholas. "Architectural Touring American Style." Journal of the Society of Architectural Historians 52, no. 3 (1993): 265–66. http://dx.doi.org/10.2307/990834.
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Stevanović, Vladimir. "Implications of Vattimo's 'Verwindung' of modernism in architectural theory." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 157–72. http://dx.doi.org/10.5937/saj1502157s.
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In the postmodern era, besides new approaches to architectural practice, substantial changes happen in architectural textual production owed to the inflow of the postmodern transdisciplinary theory in architectural discourse. Theorists, critics and historians of architecture gladly use the contribution from philosophy, political sciences, sociology, art theory and literary criticism to categorize and explain postmodern architectural styles or tendencies, no longer unifying them exclusively by means of formalistic aspects dating from the same period. Now, topics and paradigms from various postmodern theories are being implemented and thus created the phenomenon of the translation of a theory into an instrument of architectural purpose. In most cases, theoretical outlooks serve as a cover which the theorists of architecture use to formulate the poetics of architects, proclaim desirable models of reception, and develop the stance on the disciplinary and socio-historical contexts. However, it becomes interesting when the same architectural works of a single or several architects are differently interpreted by different theorists of architecture. The paper examines these premises on a specific example, which is: 1) demonstrated in practice by Catalan architecture of the 1980s; 2) the point of convergence between de Solà-Morales, Rossi and Frampton; 3) underlain by Vattimo's philosophical concept of Verwindung of modernism.
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Veres, Mariia, and Olena Oliynyk. "Architecture of small Ukrainian and Mexican schools between XIX-XX centuries." E3S Web of Conferences 164 (2020): 05003. http://dx.doi.org/10.1051/e3sconf/202016405003.
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This article reports scientific and typological analysis of Ukrainian and Mexican architecture of small school buildings of the late XIX - early XX centuries in domestic art criticism in the context of comparative analysis. It analyzes national examples of small school buildings of Ukraine and Mexico which are of primary importance for understanding the architectural and artistic processes which took place in our territories at the end of the XIX - early XX centuries. The requirements that were met by this new architecture were significant progress in construction that addressed social needs through school buildings that allowed political action of the new regime. A new, relevant system was formed in the context of education policy and the pedagogical program, which justified its use in the post-revolutionary movement. Therefore, construction projects took into account the needs of working classes, agricultural and urban population. In these projects, interiors and typical designing of preschool areas are provided, advanced engineering, constructive and hygienic solutions are used, therefore they are a rather interesting phenomenon of Ukrainian and Mexican architectural design and are of great significance for the world architectural history.
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Adiyanto, Johannes. "Modern architecture in Indonesia: A genealogy study." ARTEKS : Jurnal Teknik Arsitektur 5, no. 3 (2020): 331–38. http://dx.doi.org/10.30822/arteks.v5i3.465.
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Architectures in Indonesia are often identified as 'unique' compared to European and American constructions. They are referred to as Wastuwidya by Mangunwijaya and Nusantara by Prijotomo. This paper, therefore, aimed to examine the reasons for the perceived similar principles between the Indonesian architectures and those in Europe or America and also reviewed the architecture in the country beyond the identity. This involved the application of a historical approach with synchronous-diachronic methods to determine the significance of a historical timeline and its architectural content. The results showed the country’s modern architecture is associated with the foreign entry, its climate, and socio-cultural conditions, and also perceived as a sign of certain political powers presented during the Daendels and Sukarno era. Indonesian and European/American architectural designs were also observed to have different entry processes. Therefore, modern architecture should be perceived as a process rather than a product.
 © 2020 Johannes Adiyanto
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Di Quarto, Gabriele, Antonino Labate, and Maurizio Malaspina. "Open Source Architecture for "Nuovo CEP"." Advanced Engineering Forum 11 (June 2014): 171–76. http://dx.doi.org/10.4028/www.scientific.net/aef.11.171.
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The Open Source Architecture (OSArc) is a new collaborative way to design common and shared areas at an architectural level, but also at an urban and technological level, etc.. It allows you to participate in the design phase both practically, with your technical contributions, and actively, with constructive criticism and intelligent and innovative suggestions. We thought of using this new design paradigm to make the Nuovo CEP project feasible and economically sustainable through the cooperation of both professionals and non-professionals (i.e. inhabitants, students, etc.). Nuovo CEP is a project, which aims to redevelop a suburban neighbourhood and transform it into a mini smart solar city. The OSArc for Nuovo CEP is realized by means of a wiki website where all interested users can register and insert their contributions together with others members of the community. In this paper, we are going to explain the Nuovo CEP project and its objectives, which will be a guideline and an inspiring source for users contributions. Then we will explain the wiki website structure used to implement the platform for the OSArc.
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Vergunova, N., S. Vergunov, and O. Levadniy. "INTERDISCIPLINARY INTERACTION OF DESIGN AND ARCHITECTURE." Municipal economy of cities 1, no. 161 (2021): 53–57. http://dx.doi.org/10.33042/2522-1809-2021-1-161-53-57.
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The synthesis of scientific knowledge obtained within individual disciplines became one of the leading trends in science in the latter half of the 20th century. Together with the existing disciplinary organization and the structuring of science according to the respective specializations, interdisciplinary methodology is being actively developed, problem and project approaches to research are increasingly being applied, the paradigm of integrity is being established. Such processes have also affected design, both theoretical and practical aspects of work. Considering the interdisciplinary interaction of design with other art forms, architecture appears to be most appropriate, given the commonality of design and architectural design dating back to the mid-20th century. Many architects design objects and placing them in their architectural constructions; and designers work with architectural projects, creating a «shell» for their design objects. There is a semantic organization in these processes, the study of which is relevant in view of the emerging paradigm of integrity in science. The aim of research reveals the interdisciplinary interaction between design and architecture, and represents the relevant projects of designers and architects. The results can be used to broaden the understanding of interdisciplinary methodology regarding to its emergence and formation in design and architecture, as well as their current project results. The scientific paper describes some of the professional patterns inherent in design and architecture that unite these arts in filling the object-spatial environment. Common meaning organization of design and architectural subject culture in comparison with samples of «pure» art is also noted, the direct inclusion of these objects in the life canvas of each individual is emphasized. The interdisciplinary interaction of design and architecture contributes to their mutual filling. For design work, the main priority of interdisciplinarity is in studying the architectural heritage that far exceeds the design culture over time. For architectural activity it is possible to expand its professional boundaries by mastering the specifics of design methodology, as well as to optimize the project process in creating a coherent and harmonious structure of building. Interdisciplinary interaction is evident in project activities of modern designers and architects. The projects of American designer Karim Rashid, who works on both: the industrial design projects and objects for the architectural environment, are of particular interest. Architectural bureau «Zaha Hadid Architects», once headed by the Iraqi-British architect and designer of Arab origin Zaha Hadid, also conducts interdisciplinary project activity, touching both design and architecture. The projects of Gerrit Ritveld, designed more than a hundred years ago, confirm the extent of interdisciplinary links in design, architecture and art, reflecting the objectivity of these processes.
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Wilson, Robin. "At the limits of genre: Architectural photography and utopic criticism." Journal of Architecture 10, no. 3 (2005): 265–73. http://dx.doi.org/10.1080/13602360500162410.
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Ding, Guanghui, Jonathan Hale, and Steve Parnell. "Constructing a place for critical practice in China: the history and outlook of the journal Time + Architecture." Architectural Research Quarterly 17, no. 3-4 (2013): 237–52. http://dx.doi.org/10.1017/s1359135514000062.
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This paper investigates the history and programme of the Chinese architectural journal Time + Architecture (Shidai Jianzhu). As one of the newly established architectural periodicals in post-Mao China, the journal was launched in 1984 by academics Luo Xiaowei, Wang Shaozhou and their colleagues at the Department of Architecture in Tongji University, Shanghai. The journal's close association with academic institutions and commercial design firms shaped its dual nature; that is, both scholarly and professional. At the turn of the millennium, the journal's substantial reform of editorial policy redefined its character from a ‘presenter’ of received materials to a ‘producer’ of selected collaborative work, and enabled it to maintain editorial distinctiveness in the Chinese architectural publishing scene.This paper argues that Time + Architecture constructed a significant place for critical practice in contemporary China through the presentation of critical architecture and architectural criticism. Over the past few decades, the journal, under the editorship of Zhi Wenjun, published a number of special issues on the work of emerging independent architects such as Yung Ho Chang, Wang Shu, Liu Jiakun and others. The thematic topics, projects and criticisms presented by the journal exemplified an editorial agenda to publish innovative and exploratory work and demonstrated the editors' and contributors' collective endeavours to develop a critical discourse that confronted the dominant ideology of architecture.
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van Slyck, Abigail A. "Interdisciplinarity in American Architectural History." Journal of the Society of Architectural Historians 57, no. 1 (1998): 4. http://dx.doi.org/10.2307/991400.
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Davidson, James. "A Proposal for the Future of Vernacular Architecture Studies." Open House International 38, no. 2 (2013): 57–65. http://dx.doi.org/10.1108/ohi-02-2013-b0006.
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Given the broad scale and fundamental transformations occurring to both the natural environment and human condition in the present era, what does the future hold for vernacular architecture studies? In a world where Capital A (sometimes referred to as ‘polite’) architectural icons dominate our skylines and set the agenda for our educational institutions, is the study of vernacular architecture still relevant? What role could it possibly have in understanding and subsequently impacting on architectural education, theory and practice, and in turn, professional built environment design? Imagine for a minute, a world where there is no divide between the vernacular and the ‘polite’, where all built environments, past and present are open to formal research agendas whereby the inherent knowledge in their built histories inform the professional design paradigm of the day – in all built settings, be they formal or informal, Western or non-Western. In this paper, the author is concerned with keeping the flames of intellectual discontent burning in proposing a transformation and reversal of the fortunes of VAS within mainstream architectural history and theory. In a world where a social networking website can ignite a revolution, one can already see the depth of global transformations on the doorstep. No longer is there any excuse to continue intellectualizing global futures solely within a Western (Euro-American) framework. In looking at the history of VAS, the purpose of this paper is to illustrate that the answers for its future pathways lie in an understanding of the intellectual history underpinning its origins. As such, the paper contends that the epistemological divide established in the 1920s by art historians, whereby the exclusion of so-called non-architect architectures from the mainstream canon of architectural history has resulted in an entire architectural corpus being ignored in formal educational institutions and architectural societies today. Due to this exclusion, the majority of mainstream architectural thinkers have resisted theorizing on the vernacular. In the post-colonial era of globalization the world has changed, and along with it, so have many of the original paradigms underpinning the epistemologies setting vernacular environments apart. In exploring this subject, the paper firstly positions this dichotomy within the spectrum of Euro-American architectural history and theory discourse; secondly, draws together the work of scholars who have at some point in the past called for the obsolescence of the term ‘vernacular’ and the erasure of categorical distinctions that impact on the formal study of what are perceived as non-architectural environments; and finally, sets out the form by which curricula for studies of world architecture could take.
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De Yong, Sherly. "KAJIAN PANOPTISISME DAN ARSITEKTUR KONTROL DALAM PERATURAN PEMBANGUNAN GEREJA KATOLIK." ATRIUM Jurnal Arsitektur 2, no. 2 (2020): 145–60. http://dx.doi.org/10.21460/atrium.v2i2.60.
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 Title: Exploration of Panopticism and Architecture of Control in Building Guidance for Catholic Church
 Michel Foucault introduces a mechanism to increase surveillance powers through architectural arrangement, referred to as panopticism. The connection between control of architecture and panopticismin the Catholic church is the main problem of this research. The purpose of this study is to determine the panopticism in architectural field, examine the relationship between principles of panopticism with architectural theory, especially the theory of the architecture of control, to produce a benchmark that can be used to analize the regulation in Catholic church. Through descriptive analysis and critique interpretive method, the results obtained are that panopticon and panopticism are also part of the architecture of control. From the theory of panopticon, there are six elements of panopticism can be derived (segmenting, grouping, control activities, orientation, hierarchy and control system); the most influential element in the architecture is the element of Control System. To analyze the church, we are using normative and interpretive criticism methods. The results is that the Catholic church has a system of controlling and regulating the discipline panopticism (especially panopticism supervision from the supervised vision) using the general guidance of Roman Missale as the catholic standard rules.
 
 
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Gardner, John Robert. "Information architecture planning with XML." Library Hi Tech 19, no. 3 (2001): 231–41. http://dx.doi.org/10.1108/07378830110405094.
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The explosion of standards building on the 1998 XML specification from the World Wide Web Consortium has been slow to reach academic and library information science applications. While part of this is certainly due to cost, argues that adequate attention to architectural design, when considering XML technology, can make new forms of information management possible. Provides a survey of tools and relevant technology for working in Z39.50 with XML and MARC records, based primarily on a major undertaking by the ATLA‐CERTR (American Theological Library Association – Center for Electronic Resources in Theology and Religion) group at Emory University with 50 years of 50 journals digitized from philosophy, ethics, and religion.
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Edwards, Jay D. "Long Distance Implantation of Vernacular Architecture Traditions: The Canadians in Early Louisiana." Material Culture Review 88-89 (December 9, 2020): 45–78. http://dx.doi.org/10.7202/1073852ar.
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This study explores the architectural contributions of Canadians to Louisiana in the 18th century. One of the most revealing arenas in American architectural history concerns the origins of new vernacular traditions in locations being settled for the first time by Europeans. Between the late 15th and 18th centuries, many settlement experiments occurred along the coastlines of the Atlantic. Yet the dearth of reliable documentation from the earliest years of colonial establishment renders elusive a sound understanding of the factors which shaped these foundational architectural transformations. The result: a loss of understanding of the very essence of our American vernacular traditions. This study examines one such case for which a relative abundance of documentation survives—the Canadians in Louisiana. It traces the architectural transformations that materialized when Canadians attempted to found a new colony on the Mississippi Gulf Coast and the lower Mississippi River Valley, beginning in 1699.
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Zakharyna, Yu Y. "Architectural images of history and culture: contemporary interpretation." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 1 (2021): 87–96. http://dx.doi.org/10.29235/2524-2369-2021-66-1-87-96.
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The problem of recreating historical and cultural events and phenomena in architectural images is raised for the first time in Belarusian art criticism. The work is devoted to the scientific understanding of images of modern architectural objects that reflect the theme of history and culture in the context of the simulated environment of society. Images of modern architecture are interpreted from the point of view of reflecting the world picture in their content and visualizing the memory of peoples about the historical past and cultural assets of human civilization. The research is based on an artistic and imaginative concept that allows us to interpret objects of modern architecture in the unity of three principles – as a cultural phenomenon of the digital age, as a cultural and historical phenomenon, as well as a way, form and product of mastering and reflecting reality. The article reveals the peculiarities of interpretation of historical and cultural themes in the imagery of modern buildings. The research focuses on the technological aspect of building modeling in the context of figurative architecture of the digital age. Through the deciphering of parables, the ideas of a person and society about spiritual values are revealed.
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Han, Nia Namirah, and Kemas Ridwan Kurniawan. "Brutalism: The Socio-Political and Technological Effect on Postcolonial Modern Architecture in Indonesia." E3S Web of Conferences 65 (2018): 01004. http://dx.doi.org/10.1051/e3sconf/20186501004.
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Brutalism, as a style in modern architecture, escaped from the architectural critic’s attention in Indonesia. This is due to the lack of building architecture influenced by this style, as well as the difficulty of distinguishing this style from monumentalism in architecture in Indonesia. Its existence cannot be separated from the development of the Architectural industry in Indonesia. The cement factory - which is the main raw material of concrete - has an impact on infrastructure growth in Indonesia. The establishment of the first cement factory in the Netherlands Indies (Indonesia) as well as in Southeast Asia named NV Nederlandsch Indisch Portland Cement Maatschaapij (NV NIPCM) in 1910 is one of the starting point of industrial development and architectural technology in the country. During the Old Order period, cement was the main raw material for infrastructure development. In line with the vision of the first President of the Republic of Indonesia, Ir. Soekarno, to build the character of a modern nation in the era of Guided Democracy (1957-1965), it must also be represented through the works of sturdy and durable monumental architecture. Meanwhile, during the New Order period, the development of Indonesian architecture was strongly influenced by the political condition and national stability, followed by the inclination to create Indonesian architectural identity with traditional concept. This paper attempts to discuss the link between modern architecture in Indonesia and Brutalism, in relation to the sociopolitical and technological aspects of the Old Order and the New Order. A Qualitative method that based on historical criticism was used to answer the question.
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Volchok, Yury. "Knowledge of Ancient Culture and Architectural Criticism in the 1960s: Arche in the Modern Architecture." Actual Problems of Theory and History of Art 5 (2015): 783–92. http://dx.doi.org/10.18688/aa155-8-87.
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Payne, Alina A. "Architectural Criticism, Science, and Visual Eloquence: Teofilo Gallaccini in Seventeenth-Century Siena." Journal of the Society of Architectural Historians 58, no. 2 (1999): 146–69. http://dx.doi.org/10.2307/991482.
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This article examines the transition from a mimetic conception of architecture as proposed by the great treatise writers of the Renaissance, to the modern, science- and engineering-oriented one that began to supplant it in the eighteenth century. The focus of the investigation is the textual culture of Italian Baroque theory and its vehicle, the till now largely unknown corpus of the Sienese scientist Teofilo Gallaccini. It is argued that alongside the traditional path of architectural theory produced by architects, which evolved in the grooves set in the Vitruvian Renaissance, there existed a parallel path driven by scientists. Absorbing the imitatio practices of visual artists into their own inquiries, scientists provided other outlets for their use and in so doing also provided other directions for architectural discourse. By locating Gallaccini's work in the scientific and architectural culture of his own time, and by exploring its appeal to exponents of the Enlightenment who held widely divergent views on the means of achieving architectural reform, this article argues that-far from proceeding by watersheds and paradigm revolutions, as modernist history writing has held-modern theory owes much to both the scientific and mimetic approaches that not only co-existed but also intertwined in the Baroque.
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Pegorin, Elisa, and Luca Eula. "Post-War Modern Architecture in Tunisia." Louis I. Kahn – The Permanence, no. 58 (2018): 74–77. http://dx.doi.org/10.52200/58.a.3s7gvgoz.
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At the end of the spring of 1943, the German forces were finally defeated in Northern Tunisia and had to leave the country. This allowed the French protectorate to take power and in the years that followed, thanks to massive American economic aid, undertake a very important project of architectural construction and reconstruction. All of Tunisia was involved but the four main cities (Tunis, Bizerte, Sousse and Sfax), whose populations were expanding, saw entire parts of themselves reconstructed. Today, a unique experience of modernity still remains in the tissue of all these cities, but with big issues of conservation.
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Özdemir, Elvan Elif, and Fulya Pelin Cengizoglu. "The Metaphoric Perceptions of Architectural Design Students On The Concept Of Jury System In Architectural Design Education." Global Journal of Arts Education 7, no. 2 (2017): 35–39. http://dx.doi.org/10.18844/gjae.v7i2.957.
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The core of the architectural curriculum is based on the design studio which focuses on learning by doing. The learning process in the design studio is takes place in critic sessions. These sessions are kind of communication of ideas and transmitting of knowledge from instructor to student. In contrast to other disciplines, in the architectural design education the evaluation and the assessment are the important part of the learning and teaching process. The Jury system is a traditional architectural learning assessment tool. In this system the student present his/her work in the front of the jury and get feedback or criticism. According to Webster (2006), Jury is the most performative stage of education where the student and agency (the discipline of architecture-as represented by the critics) actually interact. (Webster, 2006). The aim of this study was to reveal the perceptions of architectural design students’ about the ‘Jury system’ as an grading system in architectural design studios. The participants for this study included second, third and fourth grade architectural design students enrolled in the Department of Architecture at the Faculty of Architecture of Mersin University during the 2014-2015 school year. To collect data, each participant was asked to complete the prompt “A jury is like . . . …because . . . …..” . Phenomenological design was used in the study. The content analysis technique was used to analyze and interpret the study data. The detailed discussion will be presented in full paper.
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Moniz, Gonçalo Canto. "“Training the Architect”: Modern Architectural Education Experiences." For an Architect’s Training, no. 49 (2013): 10–15. http://dx.doi.org/10.52200/49.a.dzz54xnf.
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In 1937, Walter Gropius wrote “Training the Architect” for his presentation as Chairman of the Department of Architecture of Harvard University. It reinvented his experience in the Bauhaus, between 1919 and 1928, and became the pedagogical program for the new Modern paradigm of an architectural education. At that moment, the Beaux–Arts system was being revaluated and the American schools of architecture intended to approach the university through a scientific and technological curriculum.
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Barata, Paulo Martins. "Kenneth Frampton apropos tectonic: on the high-wire of a definition." Architectural Research Quarterly 3, no. 2 (1999): 141–46. http://dx.doi.org/10.1017/s1359135500001925.
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Kenneth Frampton, architectural critic and Columbia University professor, responds to the criticism that has been levelled at his notion of the ‘tectonic’ in this interview with Paulo Martins Barata. Frampton views the tectonic as a way of resisting both the ‘speculator’ economy of mass-produced construction and the ‘atectonic’ architecture of Post-Modernism and Post-Structuralism. At the same time, he acknowledges the quixotic nature of an idea that is ‘a kind of rearguard response to the commodification of architecture’. The interview is set in context by Martins Barata.
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Calder, Barnabas. "Is criticism under threat? Are critics compromised in an age of rapid production?" Architectural Research Quarterly 10, no. 2 (2006): 97–98. http://dx.doi.org/10.1017/s1359135506000182.
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This symposium, held at Building Design Partnership's offices on 21 September, was jointly organised by the International Committee of Architectural Critics (CICA), and its Chair, Dennis Sharp, and the Architecture Foundation, represented on the panel by its Director, Rowan Moore. The topic under investigation was the challenges posed to the critic by a period of massive architectural production: are critics being swamped by the quantity of new buildings, thus reducing the quality of criticism? In addition, is honest criticism held in check by the corporate power of architects, in a world where even ‘art house’ partnerships are now commonly ten times larger than their 1960s counterparts? In a panel of six distinguished critics, one might have expected to find at least six different opinions on any subject. The surprising thing about this symposium was the level of consensus that emerged.