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Even though the idea of altering an existing building is presently a well established practice within the context of adaptive reuse, when the building in question is a 'mnemonic building', of recognized heritage value, alterations are viewed with suspicion, even when change is a recognized necessity. This book fills in a blind spot in current architectural theory and practice, looking into a notion of conservation as a form of invention and imagination, offering the reader a counter-viewpoint to a predominant western understanding that preservation should be a 'still shot' from the past. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano's 1571 ichnography of St. Peter's Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple's plans, he created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. This book uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. Proposing a hybrid architectural-conservation approach, this study shows how these two practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design rejoining multiple temporalities within continuity of identity. This study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when dealing with the dilemma between design and preservation when transforming a building of recognized significance.
Villa Madama, Raphael's late masterwork of architecture, landscape, and decoration for the Medici popes, is a paradigm of the Renaissance villa. The creation of this important, unfinished complex provides a remarkable case study for the nature of architectural invention. Drawing on little known poetry describing the villa while it was on the drawing board, as well as ground plans, letters, and antiquities once installed there, Yvonne Elet reveals the design process to have been a dynamic, collaborative effort involving humanists as well as architects. She explores design as a self-reflexive process, and the dialectic of text and architectural form, illuminating the relation of word and image in Renaissance architectural practice. Her revisionist account of architectural design as a process engaging different systems of knowledge, visual and verbal, has important implications for the relation of architecture and language, meaning in architecture, and the translation of idea into form.
The traditional veneration of architecture for its monumental and enduring qualities seems to be changing. Architects and other designers are moving away from seeking permanence towards a more open, creative use of what time has to offer. This is revealed in new approaches to historic preservation, the proliferation of temporary structures, concerns regarding sustainability, and the employment of time-efficient processes. Architecture Timed explores the role of ideas about time in the design inclinations and choices of contemporary designers of the environment. Contributors consider how the new can be incorporated into the old; how designing for the very short term has significant advantages; how what is temporary can be re-used; and how the design of materials, buildings and landscapes can improve sustainability and enhance experiences of time passing. Many designers have replaced the ideal of ‘timelessness’ and the view of time as a series of singular, static moments with an enriched and more nuanced perspective, treating time as a source of inspiration to be embraced, not a condition to be defended against. Contributors include: Juhani Pallasmaa, Brian McGrath, Federica Goffi, Jill Stoner, Richard Garber and Eric Parry. Designers featured include: Agence Ter, Shigeru Ban, BanG Studio, Diller Scofidio + Renfro, EMF Landscape Architects, Gluck+, GRO Architects, Interboro Partners, Toyo Ito, Kengo Kuma, Enric Miralles, Eric Parry Architects, Carlo Scarpa, Taylor Cullity Lethlean, UNStudio and Peter Zumthor.
In recent years architectural discourse has witnessed a renewed interest in materiality under the guise of such familiar tropes as 'material honesty,' 'form finding,' or 'digital materiality.' Motivated in part by the development of new materials and an increasing integration of designers in fabricating architecture, a proliferation of recent publications from both practice and academia explore the pragmatics of materiality and its role as a protagonist of architectural form. Yet, as the ethos of material pragmatism gains more popularity, theorizations about the poetic imagination of architecture continue to recede. Compared to an emphasis on the design of visual form in architectural practice, the material imagination is employed when the architect 'thinks matter, dreams in it, lives in it, or, in other words, materializes the imaginary.' As an alternative to a formal approach in architectural design, this book challenges readers to rethink the reverie of materials in architecture through an examination of historical precedent, architectural practice, literary sources, philosophical analyses and everyday experience. Focusing on matter as the premise of an architect’s imagination, each chapter identifies and graphically illustrates how material imagination defines the conceptual premises for making architecture.
Confabulation is a drawing together through storytelling. Fundamental to our perception, memory, and thought is the way we join fractured experiences to construct a narrative. Confabulations: Storytelling in Architecture weaves together poetic ideas, objects, and events and returns you to everyday experiences of life through juxtapositions with dreams, fantasies, and hypotheticals. It follows the intellectual and creative framework of architectural cosmopoesis developed and practiced by the distinguished thinker, architect, and professor Dr. Marco Frascari, who thought deeply about the role of storytelling in architecture. Bringing together a collection of 24 essays from a diverse and respected group of scholars, this book presents the convergence of architecture and storytelling across a broad temporal, geographic, and cultural range. Beginning with an introduction framing the topic, the book is organized along a continuous thread structured around four key areas: architecture of stories, stories of architecture, stories of theory and practice of stories. Beautifully illustrated throughout and including a 64-page full colour section, Confabulations is an insightful investigation into architectural narratives.
Visioning Technologies brings together a collection of texts from leading theorists to examine how architecture has been, and is, reframed and restructured by the visual and theoretical frameworks introduced by different ‘technologies of sight’ – understood to include orthographic projection, perspective drawing, telescopic devices, photography, film and computer visualization, amongst others. Each chapter deals with its own area and historical period of expertise, organized sequentially to mark out and analyse the historical evolution of how architecture has been transformed by technologically induced shifts in human perception from the 15th century until today. This book underlines the way in which architectural forms and design processes have developed historically in conjunction with the systems of sight we manufacture technologically and suggests this continues today. Paradoxically, it is premised on the argument that these technological systems tend, in their initial formulations, to obtain ever greater realism in our visualizations of the physical world.
This previously unpublished work is essential reading for anyone who has followed Marco Frascari’s scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one’s own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.
With the continued growth of PhD programs in architecture and the simultaneous broadening of approaches, InterVIEWS: Insights and Introspection on Doctoral Research in Architecture begins a timely survey into contemporary research at academic institutions internationally, in the context of the expanding landscape of architectural inquiry. The eighteen interviews with scholars who direct or contributed to doctoral research programs in areas of architecture history and theory, theory and criticism, design research, urban studies, cross-disciplinary research, and practice-based research expose a plurality of positions articulating a range of research tactics. Renowned scholars narrated the stories, the experiences, and the research that shaped and are shaping doctoral education worldwide, providing an invaluable knowledge resource from which readers may find inspiration for their work. InterVIEWS acknowledges the diversity in approaches to research to evidence meaningful differences and the range of contributions in academic institutions. The relevance of this self-reflection becomes apparent in the exposition of vibrant and at times divergent viewpoints that offer a thought-provoking opportunity to consider the openness and breadth of a field that is unrelenting in redefining its boundaries along with the probing questions.
Architectural drawings and models are instruments of imagination, communication, and historical continuity. The role of drawings and models, and their ownership, placement, and authorship in a ubiquitous digital age deserve careful consideration. Expanding on the well-established discussion of the translation from drawings to buildings, this book fills a lacuna in current scholarship, questioning the significance of the lives of drawings and models after construction. Including emerging, well-known, and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the thirty-five contributions define recent research in four key areas: drawing sites/sites of knowledge construction: drawing, office, construction site; the afterlife of drawings and models: archiving, collecting, displaying, and exhibiting; tools of making: architectural representations and their apparatus over time; and the ethical responsibilities of collecting and archiving: authorship, ownership, copyrights, and rights to copy. The research covers a wide range of geographies and delves into the practices of such architects as Sir John Soane, Superstudio, Eugène-Emmanuel Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, Germán Samper Gnecco, A+PS, Mies van der Rohe, and Renzo Piano.
How sound and its atmospheres transform architecture Acoustic atmospheres can be fleeting, elusive, or short-lived. Sometimes they are constant, but more often they change from one moment to the next, forming distinct impressions each time we visit certain places. Stable or dynamic, acoustic atmospheres have a powerful effect on our spatial experience, sometimes even more so than architecture itself. This book explores the acoustic atmospheres of diverse architectural environments, in terms of scale, program, location, or historic period—providing an overview of how acoustic atmospheres are created, perceived, experienced, and visualized. The contributors explore how sound and its atmospheres transform architecture and space. Their essays demonstrate that sound is a tangible element in the design and staging of atmospheres and that it should become a central part of the spatial explorations of architects, designers, and urban planners. The Sound of Architecture will be of interest to architectural historians, theorists, students, and practicing architects, who will discover how acoustic atmospheres can be created without complex and specialized engineering. It will also be of value to scholars working in the field of history of emotions, as it offers evocative descriptions of acoustic atmospheres from diverse cultures and time periods.