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Journal articles on the topic 'Manfredo Tafuri'

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Published: 4 June 2021

Last updated: 19 February 2022

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1

Skansi, Luka. "Manfredo Tafuri and the critique of realism." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 182–95. http://dx.doi.org/10.5937/saj1402182s.

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One of the main themes of Manfredo Tafuri's historical work, whether he was analyzing Renaissance, Enlightenment or the 20th century architecture, has been that of trying to illustrate the distance between architect's work and reality. This topic is also the premise, the introductory theoretical frame for his critical and historical discourses that are inherent to his "critique of realism": a critique that was expressed in the essay Architettura e Realismo [Architecture and Realism], published in 1985. A text that represented the conclusion of Tafuri's observation on the Italian postwar architectural culture. In this essay the Italian neorealism became the object of a rather unique historical contextualization, the object of Tafuri's deep critique and, ultimately, of his demystification.

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2

Sherer, Daniel. "Manfredo Tafuri: Choosing History." Journal of Architecture 14, no. 6 (December 2009): 731–41. http://dx.doi.org/10.1080/13602360903357146.

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3

Gedutis, Aldis. "Architektūrinės ir istorinės Klaipėdos vizijų konkurencija: drąsūs sprendimai ar darnus išsaugojimas?" Sociologija. Mintis ir veiksmas 30, no. 1 (January 1, 2012): 210–41. http://dx.doi.org/10.15388/socmintvei.2012.1.403.

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Santrauka. Svarstant aktualius miesto planavimo ir įvaizdžio klausimus bene daugiausia kontroversijų kelia dabarties ir praeities architektūriniai objektai. Šie objektai keisdami miesto veidą tuo pat metu koreguoja ir miesto praeitį. Architektūrinės priemonės praeitį gali pertvarkyti, atnaujinti, išsaugoti, naikinti ir t.t. Tokiu būdu architektų veikla patenka į istorikų akiratį. Straipsnyje remiamasi analitine architektūros istoriko Manfredo Tafuri schema, kurioje aiškiai atribojama architektų ir architektūros istorikų veikla. Jei architektai orientuojasi į veiksmą, praktiką, ateities viziją ir utopiją, tai istorikų veikla siejama su teorija, kritiškumu, praeitimi ir atmintimi. Tarp šių kraštutinių figūrų Tafuri įkomponuoja architektūros kritiką, kuris priklausomas tiek nuo architektūros (kaip tyrimo objekto), tiek nuo istorijos (kaip žinių). Tafuri schema nėra pilna – joje trūksta paveldosaugininko. Įtraukiant šį veikiantį asmenį gaunamas išbaigtas modelis, kurį jungia keturios kategorijos: teorija (istorikas ir kritikas), praktika (architektas ir paveldosaugininkas), praeitis (istorikas ir paveldosaugininkas) ir ateitis (architektas ir kritikas). Pakoreguota Tafuri schema taikoma analizuojant Klaipėdos mieste 1990–2010 vykusias sąveikas, diskusijas ir kontroversijas, atsižvelgiant į dvi dominuojančias miesto planavimo bei materialaus paveldo apsaugos vizijas – architektūrinę ir istorinę.Raktažodžiai: architektūra, istorija, konkurencija, Manfredo Tafuri, Klaipėda.Keywords: architecture, history, competition, Manfredo Tafuri, Klaipeda. ABSTRACTTHE COMPETITION BETWEEN ARCHITECTURAL AND HISTORICAL VISIONS OF KLAIPEDA: BRAVE DECISIONS VS. SUSTAINABLE PRESERVATIONThe issue of the relation of Klaipeda’s image to urban planning has been the subject of intense debate. Old and new buildings transforming Klaipeda’s image at once correct and adjust the city’s past: its past can for example be reshaped, renewed, preserved or destroyed by architectural means. Thus architecture becomes an object of historical interest. In this article the analytic scheme proposed by the architectural historian Manfredo Tafuri is employed. Importantly, Tafuri dissociates architects from architectural historians: the former is operative, utopian and future-oriented; the latter is critical, memorial and oriented to the past. Between the two extremes Tafuri places the figure of the architectural critic, who is dependent on both architecture (as an object) and history (as knowledge). Such a schema is however incomplete as Tafuri ignores the figure of the expert of heritage protection. In the expert of heritage protection Tafuri’s schema can be refigured around four categories: theory (historian and critic), practice (architect and expert of heritage protection), past (historian and expert of heritage protection) and future (architect and critic). This upgraded framework is applied to the case of Klaipeda city in order to describe recent encounters, controversies and conflicts between two predominant visions – architectural and historical – concerning city planning and the protection of material heritage.

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4

Agüero, Ana Clarisa. "Manfredo Tafuri, Fernando Aliata, Anahi Ballent, Alejandro Crispiani, Mercedes Daguerre, Adrián Gorelik, Jorge Francisco Liernur, Graciela Silvestri, Tafuri en Argentina." Prismas - Revista de historia intelectual 24, no. 1 (June 1, 2020): 348–51. http://dx.doi.org/10.48160/18520499prismas24.1160.

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Manfredo Tafuri, Fernando Aliata, Anahi Ballent, Alejandro Crispiani, Mercedes Daguerre, Adrián Gorelik, Jorge Francisco Liernur, Graciela Silvestri, Tafuri en Argentina, Santiago de Chile, ARQ ediciones, 2019, 274 páginas

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5

Ackerman, James S. "In Memoriam: Manfredo Tafuri, 1935-1994." Journal of the Society of Architectural Historians 53, no. 2 (June 1, 1994): 137–38. http://dx.doi.org/10.2307/990889.

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6

Romano, Dennis. "Venice and the Renaissance. Manfredo Tafuri." Journal of Modern History 63, no. 4 (December 1991): 795–97. http://dx.doi.org/10.1086/244406.

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7

Hartoonian, Gevork. "Andrew Leach,Manfredo Tafuri, Choosing History." Architectural Theory Review 12, no. 2 (December 2007): 220–23. http://dx.doi.org/10.1080/13264820701730959.

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8

Day, Gail. "Manfredo Tafuri, Fredric Jameson and the Contestations of Political Memory." Historical Materialism 20, no. 1 (2012): 31–77. http://dx.doi.org/10.1163/156920612x631099.

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AbstractThe Italian architectural historian Manfredo Tafuri (1935–94) developed a distinctive Marxist approach of critical analysis, which has prompted extensive responses. The reception of his work in the United States in the 1970s and 80s – the intervention of Fredric Jameson, especially – forms an important moment of historiographical mutation, in which the status of Tafuri’s politics holds an intriguing place: it was eviscerated in the very act of its affirmation. At stake is not simply the problems attending the transatlantic migration of a body of architectural theory, but also a question lying at the heart of Tafuri’s analysis: the problems of achieving social reforms, above all, in ‘working-class housing’. The difficulties encountered by projects to improve accommodation – from Weimar Germany and Red Vienna in the 1920s to the programmes of postwar Italy – provide the concrete material for Tafuri’s analysis while remaining a significant blind-spot within most of the commentary. Tafuri is here reappraised in the light of the political debates over the ‘neorealist architecture’ of the 1950s and the reform-policies of the Italian centre-Left in the early 1960s. Proceeding as if this formative moment never happened, Tafuri’s critics often engage in debates which confuse his critique of the building projects with political despair, and which appeal to enclave-building despite Tafuri’s explicit questioning of such strategies.

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9

Osima, Ken Tadashi. "Manfredo Tafuri and Japan: An Incomplete Project." Architectural Theory Review 8, no. 1 (April 2003): 15–29. http://dx.doi.org/10.1080/13264820309478470.

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10

Leach, Andrew. "Project of Crisis: Manfredo Tafuri and Contemporary Architecture." Journal of Architectural Education 69, no. 1 (January 2, 2015): 119–20. http://dx.doi.org/10.1080/10464883.2015.989068.

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11

Martin, John. "Venice and the Renaissance. Manfredo Tafuri , Jessica Levine." Isis 83, no. 1 (March 1992): 125–26. http://dx.doi.org/10.1086/356048.

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12

Walker, Paul. "Project of Crisis: Manfredo Tafuri and Contemporary Architecture." Fabrications 24, no. 1 (January 2, 2014): 137–39. http://dx.doi.org/10.1080/10331867.2014.901144.

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13

Corna, Luisa Lorenza. "A Journey through Tafuri’s Unsolvable Contradictions." Historical Materialism 26, no. 3 (September 25, 2018): 210–30. http://dx.doi.org/10.1163/1569206x-00001370.

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AbstractMarco Biraghi’sProject of Crisisprovides a broad introduction to the thought and working-methods of historian Manfredo Tafuri. It also explores how this framework informed his studies of contemporary architecture. This review foregrounds the most distinctive aspects of Biraghi’s analysis, focusing upon its attention to the diversity of Tafuri’s philosophical sources. However, it argues that the author’s decision to focus upon the letter of Tafuri’s texts pushes questions of cultural and political context into the background. On occasion, this obscures the formative role that a set of historical, political and cultural changes had upon Tafuri’s work. It also undermines Biraghi’s capacity to grasp the political entanglements and limitations of Tafuri’s thought.

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14

Ballent, Anahi. "Manfredo Tafuri desde España. Libro de Víctor Pérez Escolano y Carlos Plaza." Astrágalo. Cultura de la Arquitectura y la Ciudad, no. 28 (2021): 209–18. http://dx.doi.org/10.12795/astragalo.2021.i28.11.

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15

Frajndlich, Rafael Urano. "Dois projetos: os anos de formação de Manfredo Tafuri." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 23, no. 39 (July 4, 2016): 72. http://dx.doi.org/10.11606/issn.2317-2762.v23i39p72-89.

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Diante de sua ampla contribuição como historiador, é fácil esquecer que Manfredo Tafuri (1935-1994) teve uma breve atividade como arquiteto no primeiro quinquênio dos anos 60. Durante o período, o então jovem intelectual conciliou teoria e prática, algo impensável posteriormente, até que uma sucessão de conflitos políticos o levou à renúncia, não só do projeto, mas de um primeiro arcabouço histórico. Longe de ter sido uma atividade auxiliar em seus estudos, a prática projetual foi para o jovem Tafuri uma frente política de transformação, câmara de decantação de seus estudos de história e filosofia, no qual testavam-se diversas hipóteses de suas premissas historiográficas ainda em constituição. Parte-se de suas primeiras publicações como estudante em Roma, em 1960, até o livro Teorias e História da Arquitetura, de 1968, em que o autor rompe definitivamente com a noção de arquiteto historiador. Objetiva-se com este artigo captar a transformação teórica pela qual passa a obra do autor nos anos 60, procurando revelar um movimento entre dois projetos políticos e duas interpretações dos usos da história na arquitetura, revisitando os desenhos e pesquisas iniciais da carreira de Tafuri, e como eles ecoaram em sua trajetória posterior.

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16

Adagio, Noemí. "Manfredo Tafuri. Proyecto y Utopía. Arquitectura y Desarrollo Capitalista." Estudios Sociales 8, no. 1 (February 26, 2005): 171–78. http://dx.doi.org/10.14409/es.v8i1.2336.

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17

Sabatino, Michelangelo. "What is Architectural History? and Manfredo Tafuri: Choosing History." Journal of Architectural Education 64, no. 2 (March 2011): 180–82. http://dx.doi.org/10.1111/j.1531-314x.2010.01150.x.

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18

Keyvanian, Carla. "Manfredo Tafuri: From the Critique of Ideology to Microhistories." Design Issues 16, no. 1 (March 2000): 3–15. http://dx.doi.org/10.1162/074793600300159646.

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19

Noys, Benjamin. "Dialectical Passions: Negation in Postwar Art Theory, Gail Day, New York: Columbia University Press, 2010." Historical Materialism 20, no. 3 (2012): 137–44. http://dx.doi.org/10.1163/1569206x-12341257.

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Abstract Gail Day’s Dialectical Passions not only traces the trajectories of leading New Left critics of art and architecture – T.J. Clark, Manfredo Tafuri, Massimo Cacciari, Craig Owens, Fredric Jameson and Hal Foster – it also provides a meditation on the problem of negation and the experience of defeat. This review retraces Day’s arguments, reflecting on her recovery and re-interrogation of negation and dialectics in postwar art theory. In particular, it aims to critically assess her stress on the ‘negative thought’ of Tafuri and Cacciari and the possibilities of reactivating a thought of negativity in the contemporary moment.

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20

Davidovici, Irina. "Tafuri on Hous-‘ing’: Housing History as City-making Praxis." Joelho Revista de Cultura Arquitectonica, no. 8 (December 26, 2017): 36–51. http://dx.doi.org/10.14195/1647-8681_8_2.

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Manfredo Tafuri’s assessment of modernist housing projects as “islands of realised utopia” summarises dilemmas still faced in the production of European cities today. In his writings, Tafuri has consistently shown that housing is not only about industrial production but, fundamentally, social reproduction. Understood as a discursive practice, the history of housing as a history of ideas reveals fundamental mechanisms in the production of urban space. The historian’s perspective necessarily engages with cycles of cultural production and economic enterprise, intertwined in endless discourse. On this basis, this article reviews the research methodologies distilled from Tafuri’s housing case studies in Berlin and Frankfurt, Vienna and Rome, in order to, firstly, re-evaluate the critical instruments of the housing historian, and secondly, trace their transformation as theoretical discourses into practices of city-making. Taking into account Tafuri’s notion of historical analysis as a contradictory, complex and constantly renewable operation, the paper proposes a revised understanding of twentieth-century housing history as a history of productive urban practices.

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21

Pérez Escolano, Víctor, and Carlos Plaza. "Tafuri en Argentina. Libro de Manfredo Tafuri+Fernando Aliata, Anahi Ballent, Alejandro Crispiani, Mercedes Daguerre, Adrián Gorelik, Jorge Francisco Liernur, Graciela Silvestri." Astrágalo. Cultura de la Arquitectura y la Ciudad, no. 28 (2021): 219–26. http://dx.doi.org/10.12795/astragalo.2021.i28.12.

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22

Mastrigli, Gabriele, and Alessandro Toti. "Operative differences: Eisenman, Tafuri and the lesson of Piranesi." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 238–55. http://dx.doi.org/10.5937/saj1403238m.

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Peter Eisenman is an architect. His field of action, although related to a multiform set of interests, is the investigation of the theoretical foundation of the architectural discipline. Architecture, as an artefact as well as a project, can be seen as the most evident representation of the traditional opposition of Western metaphysics: absence and presence. The task of the architect, according to Eisenman, is therefore to intervene analytically in this dialectical condition and make it operable. From this point of view, Eisenman's approach to the discipline - as well as his entire, lifelong architectural journey - is observed in the light of the work of Giovanni Battista Piranesi. Going beyond the critique made by the Italian architecture historian Manfredo Tafuri, Eisenman explored the possibility of a new interpretation of the dialectic between positive and negative, electing the notion of ground as the very place of this opposition. The Berlin Memorial to the Murdered Jews of Europe offers the final representation of this dialectic, opening it to a further, unparalleled working field.

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23

Ghirardo, Diane Y. "Manfredo Tafuri and Architecture Theory in the U.S., 1970-2000." Perspecta 33 (2002): 38. http://dx.doi.org/10.2307/1567295.

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24

Goy, Richard J. "Review: Venice and the Renaissance by Manfredo Tafuri, Jessica Levine." Journal of the Society of Architectural Historians 50, no. 4 (December 1, 1991): 457–59. http://dx.doi.org/10.2307/990673.

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25

Kaminer, Tahl. "Autonomy and commerce: the integration of architectural autonomy." Architectural Research Quarterly 11, no. 1 (March 2007): 63–70. http://dx.doi.org/10.1017/s1359135507000504.

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More than three decades ago, the architectural historian Manfredo Tafuri pessimistically concluded that a revolutionary architecture cannot precede a social revolution. In this comment, he summed up the perceived failure of Modernist architecture to realise a social utopia. The comment implied that the architectural discipline, as part of the superstructure, cannot affect society; rather, it is the means and forces of production which determine society, while architecture only reacts, corresponds and represents these changes.

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26

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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27

Plaza, Carlos. "El mundo desde Roma y Venecia: dos libros recientes sobre la poliédrica obra de Manfredo Tafuri." TEMPORÁNEA. Revista de Historia de la Arquitectura, no. 1 (2020): 153–60. http://dx.doi.org/10.12795/temporanea.2020.01.10.

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28

Lipstadt, Helene, and Harvey Mendelsohn. "Philosophy, History, and Autobiography: Manfredo Tafuri and the "Unsurpassed Lesson" of Le Corbusier." Assemblage, no. 22 (December 1993): 58. http://dx.doi.org/10.2307/3171170.

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29

Adagio, Noemí. "La crítica operativa entre la historia y el proyecto." A&P Continuidad 4, no. 6 (March 6, 2018): 78–85. http://dx.doi.org/10.35305/23626097v4i6.27.

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La “crítica operativa” fue un término acuñado por Manfredo Tafuri en 1968 para representar la relación instrumental de la historia con el proyecto. En este artículo se presentan de modo sintético las tensiones, analogías y discontinuidades en los enfoques más o menos normativos y/o prescriptivos. Se podría ejemplificar el tema con historiadores de diversas nacionalidades, sin embargo, aquí se tratan particularmente los argumentos de Giulio Carlo Argan y Bruno Zevi, referentes ineludibles de la “escuela romana”. Además se hace mención a debates en torno al rol de la historia en situaciones artísticas y culturales diversas. Todo ello para defender el valor crítico indiscutible de la historia, especialmente en la formación del arquitecto.

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Peixoto, Gustavo Rocha. "A casa de Ulisses no labirinto de espelhos." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 25, no. 47 (December 3, 2018): 126–56. http://dx.doi.org/10.11606/issn.2317-2762.v25i47p126-156.

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O sonho de Telêmaco, entre morcegos melancólicos, dá início a uma odisseia noturna pelos labirintos espelhados da historiografia da arquitetura. O livro A coluna e o vulto, publicado em 2017, trata das“permutas de significados entre corpo e arquitetura.” O que deveria ser uma resenha daquele inovador ensaio de Mario Henrique d’Agostino, terminou por se converter em “mal disfarçado pretexto” para umaprofunda reflexão sobre os graus e direções da historiografia da arquitetura permeada por imaginação arquitetural e mitos literários de longa reverberação; por certezas e verdades; filologia e filosofia. Estãoconvocados para depor em juízo Homero e James Joyce; Manfredo Tafuri, Rudolf Wittkower, Joseph Rykwert, Giambattista Vico e Marco Lucchesi; Le Corbusier, Stanley Kubrick e Lewis Carroll.

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31

Day, Gail. "The Project of Autonomy: Politics and Architecture Within and Against Capitalism, Pier Vittorio Aureli, New York: The Temple Hoyne Buell Center for the Study of American Architecture at Columbia University and Princeton Architectural Press, 2008." Historical Materialism 18, no. 4 (2010): 219–36. http://dx.doi.org/10.1163/156920610x550677.

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AbstractAureli advances a fresh, spirited and combative account of the idea of ‘autonomy’, connecting Italian architectural debates from the 1960s with the politics of class-autonomy that was being developed and advanced by workerist theorists such as Raniero Panzieri, Mario Tronti and Toni Negri. Aureli’s account focuses on Aldo Rossi’s architectural ideas (his Tendenza and his book The Architecture of the City) and the project of the No-Stop City proposed by the young avant-garde group Archizoom. The Project of Autonomy is not simply envisaged as an historical exploration of the 1960s; primarily, it is conceived as an intervention in current architectural theory (and cultural politics), drawing on the author’s interest in Tronti’s politics to challenge the contemporary popularity of a broadly post-Negrian ‘autonomism’. This review questions aspects of Aureli’s reading of Rossi and Manfredo Tafuri. Furthermore, although Aureli’s discussion of Red Vienna opens up onto vital questions of strategies for social change, which remain pertinent to contemporary arguments over ‘enclaves’ or ‘zones’ of resistance, his antagonism towards Tafuri prevents his argument from either exploring or advancing the debate which he has initiated.

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32

Yawein, Oleg I., and Elena V. Lisenkova. "Carlo Scarpa: "Poetry is Born of the Thing in Itself"." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 3 (September 27, 2018): 37–47. http://dx.doi.org/10.22337/2077-9038-2018-3-37-47.

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This article is the first in Russia detailed publication about Carlo Scarpa, one of the greatest masters of Italian architecture of the twentieth century: an architect, an artist, a designer, about whom almost annually books and catalogs are published, scientific works are being written, exhibitions and conferences are held. In this article, the experience of these publications, searches and discussions has for the first time become the object of a special study. It is found that variety of authors refer to the Scarp's buildings, drawings and statements as a kind of "Scarpianlaboratory" (the term M. Tafuri), that allows to reveal the implicit; deep levels of architectural structures and their meanings. Theleading research topics, which are projected onto keylevels of the architecturallanguage and the creative method of the master are identified. Each of these topics is covered by a small section entitled in terms adopted by Scarpa himself or his interpreters. Within the sections, author's and research positions are presented by selections of specially made translations of lectures that Carlo Scarpa and studies devoted to his work, including articles by Manfredo Tafuri, Bruno Dzevi and other great theorists and historians of Italian architecture. A number of fundamental ideas and provisions of this article were put forward for the first time, including for Italian theory and criticism.

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33

Ackerman, James S. "Manfredo Tafuri. Venezia e il rinascimento: religione, scienza, architettura. (Saggi, 686.) Turin: Einaudi, 1985. L.45,000." Renaissance Quarterly 39, no. 4 (1986): 737–40. http://dx.doi.org/10.2307/2862327.

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34

Pinto, Luís M., Paulo Carvalho, and Luís País. "The Importance of Tourism in Preserving of Architectonic Zones." Advanced Materials Research 1020 (October 2014): 722–25. http://dx.doi.org/10.4028/www.scientific.net/amr.1020.722.

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A building can be a piece of art on the same level as pictures. This notion is argued by many scholars, yet a building designed in a way that can both satisfy practical needs and cause aesthetical pleasure is equal to a painting. The actual situation of the architectural culture, its incongruities and the quantity of architectural production which increases day by day, leads us according to Manfredo Tafuri in his book Theory and History of Architecture, to be facing an unconscious effort. This effort on one hand dictates the death of Architecture and on the other hand the discovery of a new dimension and conception of the architectural application in real life. As referred by Umberto Eco there must be a dialog between the subject and the object. Tourism could give a push into the maintenance of architecture quality, and preserving of architectonic historical zones. So what is the purpose of the tourism realm in the 21st century?

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35

Moreira, Carolina Margarido. "Arquitetura e suas [im]possibilidades: uma discussão a partir das análises de Manfredo Tafuri, Fredric Jameson e Rem Koolhaas." PARC Pesquisa em Arquitetura e Construção 1, no. 2 (June 1, 2008): 2. http://dx.doi.org/10.20396/parc.v1i2.8634516.

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As contradições que o processo de conformação das cidades contemporâneas como um todo gera e que questiona a própria arquitetura e, conseqüentemente, o entendimento da realização do construir como contradição tornou-se essencial. Aprofundar a forma como é trabalhada a compreensão de aspectos de configuração da forma urbana tais como contexto, processo e produto; assim como ampliar a compreensão de distintos processos de espacialização da cidade, enfatizando o estudo de sua evolução teórica e aplicada, desde os fins do século XIX, é o principal objetivo ao se buscar entender inicialmente o sentido e as etapas fundamentais da história da arquitetura, da urbanística moderna e da ideologia discutida por Manfredo Tafuri. Desta forma, a conseqüente discussão sobre a metrópole contemporânea e a “hiper – urbanização” global, realizada no presente trabalho, a partir das análises filosóficas de Fredric Jameson sobre “a lógica cultural do capitalismo tardio” e a leitura a respeito da atuação teórica e projetual de Rem Koolhaas tornam-se de suma importância, assim como o é entender o fenômeno urbano atual, visto que a questão urbana é, para Jameson, uma questão contemporânea na qual o urbanismo é a fotografia de um determinado fenômeno que reflete, assim, um fenômeno mais geral.

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Leach, Andrew. "Francesco Borromini and the Crisis of the Humanist Universe, or Manfredo Tafuri on the baroque origins of modern architecture." Journal of Architecture 15, no. 3 (June 2010): 301–35. http://dx.doi.org/10.1080/13602365.2010.486569.

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Sanchez, Renata Latuf de Oliveira. "A celebração da utopia contemporânea do capitalismo." PARC Pesquisa em Arquitetura e Construção 2, no. 7 (October 31, 2011): 174. http://dx.doi.org/10.20396/parc.v2i7.8634588.

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Os anos 1960 e 1970 foram marcados por uma crítica à urbanidade existente através da arquitetura experimental, super focada em tecnologia e computação; já os anos 80 e 90, quando um modelo de cidade contemporâneo se consolidava, deram lugar ao surgimento de uma nova discussão baseada no valor da história e cultura local, com forte apelo nostálgico: o Novo Urbanismo. Pode-se considerar tanto a arquitetura experimental quanto o Novo Urbanismo formas de utopia arquitetônica; no entanto, a última, apesar de não ter muitos exemplos, é uma utopia provável e consolidada, totalmente inserida no capitalismo. E é por isso que consegue progredir dentro de cada cidade idealizada. Proponho neste trabalho estudar a urbanidade criada por Walt Disney e sua Empresa, tanto na questão dos parques temáticos, mas principalmente na cidade de Celebration, FL, USA, dentro do conceito de Novo Urbanismo e também no contexto das “ressemantizações” do pós-modernismo designadas por Manfredo Tafuri. Mostrá-la como um exemplo que, ao contrário de utopias dos anos 60, baseadas em arquitetura experimental de aspecto tecnológico exacerbado, constitui-se em nova linguagem arquitetônica, ainda que irreal. Ainda, entendê-la como um projeto baseado nos princípios de uma Empresa, e também como reprodução em escala maior de uma ideia do gênio Walt Disney, que pensava na urbanidade de seus parques temáticos a fim de criar locais em que se estabelecessem relações diferentes daquelas das cidades de seu tempo, locais que estimulassem percepções e sensações únicas, afetando inclusive a psicologia de seus visitantes, transformando o que se entende por uma cidade típica do século XX – ideia essa transmitida da Main Street fictícia para uma Main Street real. Pretende-se enfatizar principalmente a relação de Celebration com o sistema capitalista de consumo, relacionado ao discurso de Tafuri, bem como sua validação como cidade.

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Quintana Guerrero, Ingrid, and María Cecilia O'Byrne Orozco. "The void in Chandigarh’s Capitol Complex: a legacy at an eastern scale." LC. Revue de recherches sur Le Corbusier, no. 3 (March 25, 2021): 27. http://dx.doi.org/10.4995/lc.2020.14233.

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<div data-canvas-width="293.4990666666667">La inclusión de 17 obras arquitectónicas realizadas por Le Corbusier en la lista patrimonial de la UNESCO, en Julio de 2016, levantó controversias que hacen eco de las críticas lanzadas por el historiador de la arquitectura Manfredo Tafuri (Roma, 1935 - Venecia, 1984) acerca del conjunto del Capitolio en Chandigarh (India) - único proyecto urbano incluido en el dosier de la UNESCO. La crítica se enfocó en la vastedad de la escala abordada, en la primacía visual del proyecto y en la supuesta ausencia en este de un concepto unitario. Este artículo refuta el mero entendimiento del conjunto del Capitolio desde su arquitectura y desde un imaginario urbano occidental. Los prejuicios acerca del urbanismo moderno, la condición inacabada de la obra y su estado actual impiden que muchos de sus detractores reconozcan el diálogo que en ella se da entre el trasfondo cultural de Chandigarh, la recepción del Capitolio por parte de los habitantes de la ciudad, y la distancia que allí el propio Le Corbusier tomó en relación con la primera fase de su teoría urbana.</div>

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Quesada López, Fernando. "Templo. Máquina. Caravana. El teatro y la ciudad en la Italia del siglo XX." Cuaderno de Notas, no. 19 (July 31, 2018): 43. http://dx.doi.org/10.20868/cn.2018.3816.

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Resumen Entre 1965 y 1975 se produjo en Italia un debate muy intenso en torno a la arquitectura teatral, el edificio del teatro y su papel urbano, social y político. Se articuló alrededor de tres términos que suponen tres modos de relación entre el edificio teatral y la ciudad: el templo, la máquina y la caravana. Aquel debate, de una riqueza inusitada, quedó completamente al margen de la historiografía de la arquitectura italiana y europea, a pesar de su intensidad y de la importancia de todos sus protagonistas para la cultura arquitectónica del siglo XX. Muchos de los arquitectos, críticos e historiadores del momento intervinieron en este debate con propuestas de concurso no construidas, opiniones o análisis rigurosos. Uno de los más activos fue Guido Canella, con una amplia carrera como arquitecto de teatros y erudito de la cultura teatral, que además organizó en 1965 un curso de proyectos en el Politecnico di Milano, acompañado de conferencias, mesas de debate y actuaciones de grupos de la vanguardia internacional. Todo este material fue reunido en una publicación que inauguró este debate, y a la que todos sus protagonistas se refirieron en algún momento. Además de Guido Canella, otras personalidades como Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia y Manfredo Tafuri, intervinieron marcando un filón cultural que sigue estando completamente olvidado hoy día.AbstractBetween 1965 and 1975 there was a very intense debate in Italy about the theatrical architecture, the theatre building and its urban, social and political role. It was articulated around three terms that assume three ways of relation between the theatrical building and the city: the temple, the machine and the caravan. That debate, of an unusual wealth, was completely absent from the official historiography of Italian and European architecture, despite its intensity and the importance of all its protagonists for the architectural culture of the twentieth century. Many of the most prominent architects, critics and historians intervened in this debate with unbuilt competition proposals, opinions or rigorous analysis. One of the most active was Guido Canella, with a broad career as theatre architect and a scholar of theater culture himself. He organized a design studio at the Politecnico di Milano in 1965, accompanied by lectures, panel discussions and group performances by international avant-garde artists. All this material was gathered in a publication edited by Guido Canella that inaugurated this debate, called The Theatrical System in Milan, and to which all protagonists referred at some point of their respective interventions. In addition to Guido Canella, other personalities such as Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia and Manfredo Tafuri, intervened marking a cultural reef that remains widely forgotten today.

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Hatherley, Owen. "Topographies of Class: Modern Architecture and Mass Society in Weimar Berlin, Sabine Hake, Ann Arbor: University of Michigan Press, 2008." Historical Materialism 18, no. 2 (May 20, 2010): 177–94. http://dx.doi.org/10.1163/156920610x512516.

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The Weimar-Republic, and the modernist architecture and planning that was born there, is still a contested place, from whence liberals, reactionaries and Marxists can all trace their lineage. Sabine Hake’s Topographies of Class attempts to clarify this contestation, through an interdisciplinary study of the modernist geography of the interwar-capital, Berlin. The book offers many new insights into the Weimar-era city, countering a tendency on the Left to reject the twentieth-century city in favour of the romanticised ‘capitals of the nineteenth century’, with their insurgent proletariat and their lushly ornamented boulevards. Topographies of Class is a reminder that, irrespective of the era’s rejection of ornament and romanticism, it was a site of class-struggle as intense as that of the Paris of the 1870s. However, Hake’s study is dominated by a conception of class as an ‘identity’, akin to the identity-politics of race or gender, leading to an argument centred on the suppression or expression of ‘class-difference’ rather than class-struggle. In the process, her reading of the city’s modernism becomes overly one-sided, as a period of tension between labour and capital is read, under the influence of Manfredo Tafuri and Italian post-Marxist architectural theory, as being governed almost solely by the logic of Fordist capital.

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Donatella Calabi, M. S. "Reviews : Manfredo Tafuri, Venice and the Renaissance (translated by Jessica Levine), Cambridge MA and London, MIT Press, 1989; xii + 298 pp.; £29.95." European History Quarterly 23, no. 3 (July 1993): 469–74. http://dx.doi.org/10.1177/026569149302300322.

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Borsay, Peter, John Walton, and D. S. Chambers. "Individual Towns and Regions Manfredo Tafuri, Venice and the Renaissance (translated by Jessica Levine). Cambridge, Mass. and London: Massachusetts Institute of Technology, 1989. xii + 296pp. 147 plates. £29.95." Urban History 18 (May 1991): 191–92. http://dx.doi.org/10.1017/s0963926800016151.

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Calabi, Donatella, and Maria Cristina da Silva Leme. "O ensino de manfredo tafuri nos anos 70 e 80 e a criação do departamento de história da arquitetura de Veneza: os últimos escritos: o retorno ao renascimento." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP, no. 15 (June 1, 2004): 110. http://dx.doi.org/10.11606/issn.2317-2762.v0i15p110-116.

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Pellecchia, Linda. "Manfredo Tafuri. Interpreting the Renaissance: Princes, Cities, Architects. Trans. Daniel Sherer. New Haven : Yale University Press, 2006. xii + 408 pp. + 166 b/w pls. index. append. illus. $50. ISBN: 0-300-11158-4." Renaissance Quarterly 60, no. 4 (2007): 1320–21. http://dx.doi.org/10.1353/ren.2007.0453.

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Morman, Paul J. "Interpreting the Renaissance: Princes, Cities, Architects. By Manfredo Tafuri. Forward by K. Michael Hays. Translated and with a Preface by Daniel Sherer. (New Haven, Conn.: Yale University Press, 2006. Pp. xxxi, 408. $50.00.)." Historian 70, no. 1 (March 1, 2008): 182–83. http://dx.doi.org/10.1111/j.1540-6563.2008.00205_70.x.

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Sintini, Matteo. "The void and the memory. Ludovico Quaroni’s competition project for the Tobacco Manufacturing and the Navile Park in Bologna (1984). An urban figurative regeneration." Journal of Public Space 2, no. 1 (May 1, 2017): 81. http://dx.doi.org/10.5204/jps.v2i1.52.

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<p>The Ludovico Quaroni's competition winner project for the urban park of the Tobacco Manufacturing and the Navile dockyard, although unrealised, still represents a sort of conclusive point of the search path (he died in 1987) of one of the most prominent characters of the Italian architectural scene – and not only - of the 20th century. Furthermore, the high number of contenders to the competition’s first stage (139) made the contest itself an extraordinary occasion of rethinking an important part of the city of Bologna, a somewhat hybrid part located on the verge of town historic centre and its first expansion and offered the chance of challenge for the mostly Italian architects. The Quaroni’s group was composed by many others architects including important authors of the reconstruction projects of Bologna in the years following World War II; their proposal aimed at bringing order in a non-connected urban context filled with many fragments of historical memories of the site. The process of spaces redefinition, as in the beginning projects of the architect’s career, is conducted with the tools of the “design” (as used by Manfredo Tafuri, 1964), as an instrument of territorial and urban areas re-composition, undertook through the conservation of trails, overlapped by a new system of episodes, keeping the idea of fragments, responding to the competition requirements. In fact, the project balances the new parts in strict relation with the pre-existing elements of the historic town centre, considering the tangible and material dimensions of the city. Such a new system is governed by a clear scheme of structured elements based on the project of void, provided with a clear formal image, whose final outcome is a figurative regeneration. In this idea and formal organism Quaroni developing many of his design principles, gives a personal interpretation to the contemporary issue of regeneration empowered by those reflections that had just entered in the much wider debate in the mid-eighties, about conservation and sustainability of historic centres and the natural environment. Notably, this issue is dealt with in a cultural environment such as the one of Bologna, a city that gave much to the debate on conservation of old towns (see the Cervellati plan); a discussion founding the Italian experience of the 20th century and particularly of its second half. From this point of view, the contribution of architects from Bologna at Quaroni’s project has therefore probably accounted for the special sensibility shown by the project on those matters. After giving up on Quaroni’s plan Aldo Rossi was chosen by the Municipality to develop the project; his ideas confirm, although with different outcomes, an approach based on the value of the conservation of memory and the use of clear forms as means of urban regeneration.</p>

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Akcan, Esra. "Manfredo Tafuri's theory of the architectural avant-garde." Journal of Architecture 7, no. 2 (January 2002): 135–70. http://dx.doi.org/10.1080/13602360210145088.

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Park, Junghyun. "Doble Contexts for Reading Manfredo Tafuri’s Criticism of Ideology." Journal of architectural history 25, no. 2 (April 30, 2016): 21–30. http://dx.doi.org/10.7738/jah.2016.25.2.021.

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Rosada, Mateus. "Temporalidades de Tafuri: tempo, tempo, tempo, tempo." Revista Thésis 5, no. 9 (March 31, 2021). http://dx.doi.org/10.51924/revthesis.2020.v5.254.

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Estimado leitor que abre as páginas (virtuais ou físicas) desta Thésis, começo estas Passagens lhe avisando que, se você ainda não leu o belíssimo texto de Manfredo Tafuri, que estreia em português neste auspicioso número, que o faça antes de ler-me: vou aqui dar vários spoilers da fala do historiador italiano ao longo do meu relato.

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León Casero, Jorge. "Contra - Foucault: interdisciplinariedad y posición estructural del intelectual en el sistema según Manfredo Tafuri / Against - Foucault: Interdisciplinarity and the Main Role of the Intellectual in the System in Manfredo Tafuri’s Thought." Revista Internacional de Ciencias Humanas 3, no. 1 (March 5, 2014). http://dx.doi.org/10.37467/gka-revhuman.v3.714.

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ABSTRACTAt the beginning of the 70’ of the XXth century, a critical revision of the methodological and historiographic postulates of the so called ‘big stories’ created during the XIXth century – for exemple, in the works of Voltaire, Hegel or Spencer- was made. That is why a new historiographic fashion, based on the topics of interdisciplinarity, microstories or fragmented methodologies, was created. In that pigeonhole was situated, among others, the archeology of Michel Foucault. The criticism of Manfredo Tafuri attacks those judgments and offers a true and radical interdiciplinary methodology.RESUMENA comienzos de los años 70 del siglo XX se produjo una revisión crítica de los postulados metodológicos e historiográficos de las denominadas “grandes narraciones” creadas a los largo del siglo XIX como ejemplificaban las obras de Voltaire, Hegel o Spengler. De este modo se produjo una nueva moda historiográfica basada en los tópicos de la interdisciplinariedad, las microhistorias, o las metodologías fragmentarias. En este casillero fue colocada, entre otras, la arqueología de Foucault. La crítica de Manfredo Tafuri ataca dichos juicios proponiendo a su vez una verda-dera metodología interdisciplinar radical.

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