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Journal articles on the topic 'Historiography of architecture'

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Published: 8 June 2024

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1

Gohardani, Navid. "ARCHITECTURE IN EFFECT: A Glance at Critical Historiography." International Journal of Architectural Research: ArchNet-IJAR 8, no. 1 (March 3, 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.

2

Caldenby, Claes, and Britt-Inger Johansson. "Historiography of Swedish Architecture." Konsthistorisk tidskrift/Journal of Art History 85, no. 1 (January 2, 2016): 1–7. http://dx.doi.org/10.1080/00233609.2016.1144691.

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Pollak, Martha. "Historiography and Architecture I." Journal of Architectural Education 44, no. 3 (May 1991): 130. http://dx.doi.org/10.1080/10464883.1991.11102681.

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Anderson, Stanford. "Historiography and Architecture II." Journal of Architectural Education 44, no. 4 (August 1991): 194. http://dx.doi.org/10.1080/10464883.1991.11102693.

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García-Ramirez, Wiliam. "Revisionismo histórico en arquitectura, en el intersticio de los siglos XX y XXI: reivindicar, rescatar o negar una memoria." Arquitecturas del Sur 38, no. 59 (January 30, 2021): 06–27. http://dx.doi.org/10.22320/07196466.2021.39.059.01.

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Historical revisionism, a phenomenon typical of social and political sciences, has been consolidated at the start of the 21st century as one of the paradigmatic strategies in architecture, with the purpose of rewriting -or erasing- historical memories of the city. In this context, the objective of the research presented here was to investigate the relationship between different convergent social and political situations on the issue of memory and the demolition/construction of architectures, as a strategy to question events from the past and the official narratives. As this is a historiographic research, the methodology used a cross analysis between the discourses on which several socio-political issues around memory, that occurred in different countries, have been based, and the architectural projects built or demolished because of these issues. The conclusions, insofar as a research contribution, allowed detecting three lines of historical revisionism in architecture, starting from its use -and abuse- regarding the historiography of the facts: vindication, rescue, and denial of memory.

6

MARANCI, Ch. "The Historiography of Armenian Architecture." Revue des Études Arméniennes 28 (January 1, 2002): 287–308. http://dx.doi.org/10.2143/rea.28.0.505084.

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Lozanovska, Mirjana, Vladimir Kulić, Alicja Gzowska, Piotr Bujas, Peter Scriver, Amit Srivastava, Alona Nitzan-Shiftan, and Claire Zimmerman. "Forum: Cold War Architecture Historiography." Fabrications 31, no. 2 (May 4, 2021): 279–94. http://dx.doi.org/10.1080/10331867.2021.1938816.

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Tostões, Ana. "Towards a fresh reading of MoMo historiography." An Eastern Europe Vision, no. 59 (2018): 2–3. http://dx.doi.org/10.52200/59.a.vhvqpxas.

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While visiting the MAO (Museum of Architecture and Design) in Ljubljana one can appreciate the architectural power of Stanko Kristl’s work. The impressive buildings of this Slovenian architect revealed through the exhibition "Humanity and Space", illuminate the beauty of the museum space with some astonishing works and show why Eastern Europe deserves to be included in the historiography of the Modern Movement, to clearly demonstrate the contribution of Iron Curtain countries to the modern avant-garde. As Matevz Celik recognizes, “through his architecture he worked to provide responses to the needs of the people — for whom it was intended. This basic premise served as a guiding principle in experiments and his search for spatial and social innovation in architecture."

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Kavas, Kemal Reha. "Environmental representation: Bridging the drawings and historiography of Mediterranean vernacular architecture." Journal of Human Sciences 14, no. 4 (November 13, 2017): 3472. http://dx.doi.org/10.14687/jhs.v14i4.4758.

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Architectural drawings, which are projections of spaces on a paper surface, can be categorized according to the projections’ directional and temporal relation with the represented space. A projection becomes a documentation when it departs from an existing spatial organization for recording it on paper. The projection serves the design process when it departs from the present to foresee a spatial proposal in the future. While the former records the present within limited interpretive range, the latter is more constructive. While these two types of projections are known widely, there is another highly interpretive type of projection, the potentials of which, are generally underestimated. As the architectural historian’s tool, this third projection type represents bygone architecture. The task of this drawing, which is one of the least questioned issues of architectural history, is to restore an incomplete image by referring to material and textual sources. This drawing type contributes to the methodology of architectural historiography while conceiving, explaining and representing space.For illustrating this situation, this study analyzes the vernacular settlements and their environmental integration because this selected context reveals the interpretive nature of the third type of projection in a successful way. In this framework, the cut-away axonometric is considered as an appropriate drawing method for uncovering the integrity between architecture and its site or culture and nature. The outcome of this theoretical insight into the prolific relations between drawing and architectural history is coined as “environmental representation.”In history architectural products have been integral components of the environment. Then, the architectural representation of historical buildings through drawings becomes critical since the majority of architectural drawings tend to isolate buildings from their environment. This conventional representation of historical architecture has been the dominant tool of typological analysis. Typology, which is intertwined with plan drawings, categorizes historical buildings according to their spatial, structural and material organizations and disengages the buildings from their socio-cultural and environmental context. If this methodological problem of typology is regarded as a problem of drawing, a new mode of “environmental representation” can be proposed.This study proposes “environmental representation” of architecture through cut-away axonometric. This graphic proposal is based upon the theoretical references of “environmental aesthetics”, which is an interdisciplinary field analyzing the participatory human engagement in environment. “Aesthetics,” as a term, defines this bodily engagement into environment through the use of all human senses. In this theoretical framework this study challenges the assumptions of scientific theory for architectural representation of the “abstracted object” and proposes an alternative method of “environmental representation” on the basis of “aesthetics”. Within this scope, the proposed cut-away axonometric drawings produced by the author is analyzed in order to represent exemplary historical contexts of architecture selected through the vernacular settlements of the Anatolian Mediterranean.

10

Akboy-İlk, Serra. "Ali Saim Ülgen: Building a Historiography of Turkish Architecture." Turkish Historical Review 10, no. 1 (June 7, 2019): 71–97. http://dx.doi.org/10.1163/18775462-01001001.

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Ali Saim Ülgen (1913–63), a preservation architect, architectural historian, author, bureaucrat and educator, was a leading figure in the nascent field of heritage conservation during the early decades of the Republic of Turkey. This was a time when the Republican leaders sought to establish the national character of art and architecture by interpreting the “Turkishness” and uniqueness of the Ottoman heritage through the tenets of the Modern Movement. The reconciliation of the modernist rationale with nationalist historiography created contested paradigms in a nation searching for its cultural roots. Ülgen considerably contributed to the nationalist appropriation of the Ottoman heritage, but his taxonomical gaze stands out for its focus on contextual analysis. This essay addresses the dichotomy of documenting the Ottoman architectural patrimony through the lens of modernism, which is visible in Ülgen’s work, a remarkably understudied Republican intellectual.

11

Ferkai, András. "Revisiting interbellum architecture of Hungary." An Eastern Europe Vision, no. 59 (2018): 12–17. http://dx.doi.org/10.52200/59.a.0pqf6snc.

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Though there are fans of the “Bauhaus style” and the term is largely used by the real estate market (in an incorrect way), modern architecture cannot arouse interest and sympathy in the majority of Hungarian society. Far from being a closed chapter, interwar architecture does not stand in the lime-light of Hungarian historiography either. This paper tries to find causes of this indifference and highlight achievements in historiography and preservation. Its aim is in particular to report on new scholarly publications as well as case studies that are occasionally good examples but more often controversial.

12

Behdad, Ali. "On Photographic Monumentalism: Nineteenth-century Representations of Architectural and Historical Sites." Journal of Material Cultures in the Muslim World 4, no. 2 (February 22, 2024): 153–69. http://dx.doi.org/10.1163/26666286-12340044.

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Abstract This article addresses the intertwined history of photography and architectural historiography in the nineteenth century. Focusing on European photography of Egyptian antiquity and Palestine’s biblical sites, it elaborates how a commemorative form of historiography deploys photographic images of what came to be known as the “historic monument” to construct notions of patrimony, historical heritage, national identity, and imperial mission. The second part of the essay discusses photographic monumentalism in Qajar, Iran, and Ottoman Turkey as different responses to Orientalist representations of Middle Eastern architecture by Europeans.

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De la Vega de León, Macarena. "Modern to Contemporary: A Historiography of Global in Architecture." Cuaderno de Notas, no. 20 (July 31, 2019): 43. http://dx.doi.org/10.20868/cn.2019.4259.

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ResumenA finales del siglo XX se produjo un cambio en la manera de escribir la historia de la arquitectura. A partir de 1999, aparece un cierto impulso para entender la arquitectura desde un punto de vista global, a la luz de la teoría postcolonial. Sibel Bozdoğan hace la siguiente proposición: escribir una ‘historia entrelazada/entretejida,’ que demuestre que el canon occidental y la producción cultural de las sociedades aparte de Europe y los Estados Unidos no son independientes, ni que ésta última fuera a sustituir a aquella. La bibliografía resultante no ha sabido mostrar las sutiles instancias de intercambios entre culturas y de valores universales compartidos, olvidándose de revisar el concepto de universalismo. Este trabajo de investigación propone una revisión crítica de las historias globales de la arquitectura publicadas entre 1999 y 2014, así como de los debates académicos más recientes para entender qué queda por hacer hoy. Aunque puede ser que ‘global,’ como categoría haya perdido su capacidad crítica para comprender el presente, la historiografía de lo global en arquitectura aún tiene que escribirse.AbstractThe writing of architectural history shifted with the turn of the century. By 1999, there is an urge to understand architecture from a global perspective, under the lens of postcolonial theories. Sibel Bozdoğan set the task: to write an ‘intertwined history,’ which shows that the western canon and the cultural production of societies outside of Europe and North America are not separate and independent, nor is the latter to replace the former. Subsequent literature failed to look into subtle instances of cross-cultural exchanges and universally shared values, thus neglecting to revise the notion of universalism. This paper analyses the resulting literature on global architecture published between 1999 and 2014, and more recent scholarly discussions to understand what remains for historians to do today. Though it may be that ‘global’ has lost its criticality as category to comprehend the present, the historiography of global architecture is yet to be written.

14

Moulis, Antony. "Time, History and Architecture: Essays on Critical Historiography." Fabrications 30, no. 2 (May 3, 2020): 289–91. http://dx.doi.org/10.1080/10331867.2020.1758294.

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Getka-Kenig, Mikołaj. "Urzędnicza kariera Bonifacego Witkowskiego (1800–1840) – przyczynek do dziejów biurokracji budowlanej w Królestwie Polskim." Kwartalnik Historii Nauki i Techniki 68, no. 3 (October 16, 2023): 81–96. http://dx.doi.org/10.4467/0023589xkhnt.23.028.18408.

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The Administrative Career of Bonifacy Witkowski (1800–1840) – A Contribution to the History of Building Bureaucracy in the Kingdom of Poland Biographies of architects have a well-established tradition in the Polish historiography of architecture. This also applies to the historiography of Polish architecture at the turn of the 19th c., which predominantly revolves around biographical studies. However, architectural biographies of this period often concentrate on the architects active in big cities, while their colleagues working in provincial areas receive comparatively less research attention. The lack of in-depth exploration of this subject has a detrimental impact on our comprehensive understanding of the Polish architectural culture of that period, particularly its social aspects. Another notable trait of Polish architectural biographies concerning the turn of the 19th c. is the focus on the architects’ creative output (e.g. projects, buildings). Researchers have hitherto paid relatively less attention to tracing the trajectory of individual careers and specific conditions that shaped their development. The inclusion of these aspects in academic discourse offers valuable insights into the social and political backdrop that influenced architectural activity. This holds particular significance in relation to the era of the constitutional Kingdom of Poland (1815–1830), which witnessed a rapid development of modern bureaucracy in the field of building and architecture. This article delves into the well-documented case of Bonifacy Witkowski. Notably, he was among the first graduates of architecture from the University of Warsaw, and within a few years of his graduation, he attained the position of a chief provincial builder in the Province of Mazovia.

16

Ritoók, Pál, and Ágnes Anna Sebestyén. "Communicating “space and form?”: The history and impact of the journal Tér és Forma as the Hungarian pipeline of Modernism." An Eastern Europe Vision, no. 59 (2018): 18–25. http://dx.doi.org/10.52200/59.a.yxtyk1q6.

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In the interwar era, architectural journals were at the forefront of professional attention and had the power to disseminate the Modern Movement in architecture globally. The Hungarian journal Tér és Forma (1928-1948) took the lead to introduce international modern architecture to the Hungarian public, while continually reporting on the newest building projects in interwar Hungary. Virgil Bierbauer, the periodical’s long-time editor (1928-1942), presented the broad panorama of contemporary architecture and his followers from 1943 intended to continue his legacy even in wartime. The impact of the periodical did not halt at its cessation in 1948 but, directly as well as indirectly, continued to define 20th century architectural historiography in Hungary.

17

Acar, Sibel. "Photography as a means of architectural (re)presentation and (re)production." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 24–33. http://dx.doi.org/10.18844/prosoc.v5i6.3692.

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Architecture and photography have closely interacted with each other since the invention of the photography. Through the 20th century, architectural photographs were utilised for documentation, preservation, historiography, presentation and as a tool of design. Until the turn of the 21st century, the dissemination of architectural photographs was limited by the accessibility of printed media. Today, owing to the digital communication technologies, architectural photographs are being disseminated and circulating rapidly in an unprecedented way. Therefore, not only architectural photographs produced by professionals but also a high number of photographs which were taken by users or visitors of a building started to disseminate. Accordingly, not only the audience but also consumption and production processes of architecture have changed. This study focuses on photography’s affiliation as a tool of architectural (re)presentation and (re)production.Keywords: Architecture, photography, architectural photography, design.

18

Açikyildiz, Birgül. "Ideology, Nationalism, and Architecture: Representations of Kurdish Sites in Turkish Art Historiography." International Journal of Islamic Architecture 11, no. 2 (July 1, 2022): 323–53. http://dx.doi.org/10.1386/ijia_00082_1.

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This article discusses how the narrative of Turkish national historiography, crafted by Turkish elites in the 1930s in light of the official doctrine of the Turkish History Thesis and the Sun Language Thesis, attempted to Turkify the patronage of historical buildings constructed by diverse ethnic and religious communities of the country’s eastern region. I focus on the architectural production of the seven Kurdish dynasties that ruled a large area in the Middle East from the tenth to the mid-nineteenth century. Kurdish rulers constructed a large number of urban monuments bearing their names. These sites were appropriated into the Turkish national historiography in a denial of their Kurdish origins. This approach to history has rendered Kurdish material culture all but invisible, pushing the understanding of Kurdish architectural patronage and identity to the academic margins. This study aims to develop an alternative approach to the history of urban and architectural production in eastern and south-eastern Turkey, and opens a discussion for a definition of Kurdish art and architecture.

19

van Impe, Ellen. "The Rise of Architectural History in Belgium 1830–1914." Architectural History 51 (2008): 161–83. http://dx.doi.org/10.1017/s0066622x00003063.

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On the map of nineteenth-century architectural historiographies in Western Europe, Belgium has so far remained a blind spot. While the country’s architectural history of the nineteenth century has already received some (if selective) international attention, with a somewhat disproportionate focus on the Art Nouveau, the historiography arising alongside of it has largely remained outside the picture. Meanwhile, considerations as to Belgium’s particular situation, which presumably influenced its architecture, equally apply to its historiography; for instance its design as a crossroads of influences, as demonstrated in research into the Belgian Catholic Gothic Revival and into nineteenth-century (architectural) history in general, among cases one could cite. While interesting because of its own particularities, Belgium also represents a type of ‘smaller European country’ created in the nineteenth century, whose architectural history has been characterized as ‘often fascinating precisely in the extent to which [these countries] present attempts to resolve the inherent contradictions between the major interpretive models and prescriptions of the English Pugin-Ruskin tradition, French Rationalism, and the more archaeological approach of the Cologne school’. The relatively limited corpus of Belgian architectural historiography — at least when compared with the historiographies of the United Kingdom, France or Germany — is an additional advantage, since it makes the field of study more easily definable and thus allows for more detailed study.

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Camargo, Mônica Junqueira de. "Jorge Caron y la cultura arquitectónica de São Paulo." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 21 (December 21, 2023): 7–22. http://dx.doi.org/10.11606/1984-4506.risco.2023.223296.

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The trajectory of architect Jorge Osvaldo Caron, developed between the mid-1960s and 1990s, sharing design and teaching, with incursions in the visual, scenic, and cinema arts is obliterated by the historiography of modern São Paulo architecture. His works and his teaching activities in five different educational institutions are important contributions to architectural culture, from which and from his relations with his contemporaries, it is possible to broaden the understanding of modern architecture. The objective of this investigation is to analyse Caron’s work in the context in which it was carried out and its relations with the work of his contemporaries, providing new readings about this architecture.

21

Khang, Hyuk. "A Critical Review on the Historiography of Modern Architecture." Journal of architectural history 24, no. 1 (February 28, 2015): 29–40. http://dx.doi.org/10.7738/jah.2015.24.1.029.

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Jarzombek, Mark. "Review: The Historiography of Modern Architecture by Panayotis Tournikiotis." Journal of the Society of Architectural Historians 60, no. 1 (March 1, 2001): 107–8. http://dx.doi.org/10.2307/991691.

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de la Vega de León, Macarena. "The Historiography of Modern Architecture: Twenty-Five Years Later." ATHENS JOURNAL OF ARCHITECTURE 1, no. 2 (March 31, 2015): 97–110. http://dx.doi.org/10.30958/aja.1-2-1.

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Alfirevic, Djordje, and Sanja Simonovic-Alfirevic. "Brutalism in Serbian architecture: Style or necessity?" Facta universitatis - series: Architecture and Civil Engineering 15, no. 3 (2017): 317–31. http://dx.doi.org/10.2298/fuace160805028a.

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Historiography expresses a firm point of view that the movement of Brutalism did not have a more significant influence on Serbian architecture. Several researches in their essays point out that there are, however, certain works by Serbian architects that could be denoted as Brutalist in style. Nevertheless, after scientific analysis of the representative examples materialized in raw concrete and brick and their comparison with authentic interpretations of Brutalist principles, it is evident that Serbia does have a significant number of architectural works representing Brutalism. The aim of the research was to consider to what extent Brutalist architecture in Serbia was the consequence of architects being inspired by modern world Brutalism architecture, or whether its emergence stemmed from necessity, i.e. specific social circumstances in Serbia during the 60s and 70s of the XX century.

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Pérez-Moreno, Lucía C., and Emma López-Bahut. "Jorge Oteiza’s ‘de-occupation’: towards an ascetic space in Spanish modern architecture (1948–60)." Architectural Research Quarterly 24, no. 4 (December 2020): 343–52. http://dx.doi.org/10.1017/s1359135521000038.

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The work and thought of the Basque sculptor Jorge Oteiza (b. Orio, 1908 – d. San Sebastian, 2003) is an omnipresent reference point in the historiography of modern Spanish architecture. Since the Jorge Oteiza Museum Foundation was opened shortly after his death, a great number of studies have been published about him, mainly in Spanish and Basque. Oteiza’s artistic career was closely connected to the postwar Spanish architectural scene. During the 1950s, he participated in numerous projects and architecture competitions and published his work in specialised journals and magazines in the field. Spain was at that time under the regime of General Franco and, as a consequence of the Civil War (1936–9), the country was suffering an economic crisis that affected culture, art, and architecture.

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Lai, Delin. "Idealizing a Chinese Style." Journal of the Society of Architectural Historians 73, no. 1 (March 1, 2014): 61–90. http://dx.doi.org/10.1525/jsah.2014.73.1.61.

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The National Central Museum in Nanjing (1935–48) was co-designed by the most distinguished architectural historian in twentieth-century China—Liang Sicheng. It has long been regarded, however, as a representative work of “conservative revivalism” in modern Chinese architectural history. Idealizing a Chinese Style: Rethinking Early Writings on Chinese Architecture and the Design of the National Central Museum in Nanjing attempts to demonstrate the creativity of the design process, Lin Huiyin, and the architects’ ideal for a Chinese-style modern architecture. This ideal, Delin Lai argues, is profoundly rooted in the expectation of Chinese intellectuals for a “Chinese renaissance,” for which the Chinese architectural past was studied, evaluated, and more importantly, redefined through a dialogue with the contemporary architectural discourses and historiography formed in the West. The National Central Museum epitomizes this search for an ideal.

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Tostões, Ana. "Ten Years After, the Continent of Hope and Modern Heritage." Modern Africa, Tropical Architecture, no. 48 (2013): 2–3. http://dx.doi.org/10.52200/48.a.zdbbu7bs.

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Since the 1990s architectural historians discovered Modern architecture in Africa as part of a cultural production related to colonialism. With the introduction of postcolonial theory in the historiography of architecture, an exclusively ideological critical sense has been developed preventing disciplinary autonomy or practice of architecture and finally condemning any objective look. Recently, the development of concepts such as hybrid or the otherness has been promoting a nuanced historical analysis about architecture and politics in the 20th century in Africa. The recognition that a widespread awareness of Modern Movement architecture has always been serving colonization involves rethinking the basic principle of Modern welfare society and practiced architecture as a mission: how Modern principles have been exchanged, resulting from a Eurocentric culture with the cultures from the East and Africa. In addition, it must be said that the case of Sub–Saharan Lusophone Africa is now beginning to be studied in depth putting together peripheral universes.

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MARANCI Ch. "The Historiography of Armenian Architecture: Josef Strzygowski, Austria and Armenia." Revue des ?tudes Arm?niennes 28, no. 1 (April 14, 2005): 287–308. http://dx.doi.org/10.2143/rea.28.1.505084.

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Lee, Sang-Hun. "Problems and Tasks of Historiography of Modern Architecture in Korea." Journal of architectural history 24, no. 2 (April 30, 2015): 27–34. http://dx.doi.org/10.7738/jah.2015.24.2.027.

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Mal’tseva, Svetlana V. "Historiography of the Morava Architecture: Controversial Points of the Study." Actual Problems of Theory and History of Art 8 (2018): 742–56. http://dx.doi.org/10.18688/aa188-9-74.

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EMOTO, Hiroshi. "THE INTRA-NATIONAL STYLE OF CLASSICIST HISTORIOGRAPHY WITHIN AMERICAN ARCHITECTURE." Journal of Architecture and Planning (Transactions of AIJ) 83, no. 752 (2018): 2035–41. http://dx.doi.org/10.3130/aija.83.2035.

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Purwiyastuti, Wahyu. "Goresan Imaji dan Narasi Budaya Masyarakat Kawasan Candi." Lembaran Sejarah 15, no. 2 (September 6, 2020): 168. http://dx.doi.org/10.22146/lembaran-sejarah.59534.

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The Cetho people who live on the slopes of Mount Lawu Karanganyar, have images and cultural narratives. Historical social reality is represented through temple artifacts, house architecture, community service activities, social gathering, etc. This article is a description of the imagination and cultural narratives of the people in the form of oral and written. The results of the culture are packaged in the form of historiography. This article uses qualitative research methods with a cultural history approach. Research, observation and assistance have been carried out since 2011 to 2017. Literacy culture has not been implemented based on standard needs. Therefore, historiographic production is still minimal. The Cetho temple community creates more oral culture. The cultural literacy movement launched by the Ministry of Education and Culture in 2017 has not been fully appreciated. Academics hold a “Live in” program to improve literacy culture. Students write historiography during the “Live in” program in the Cetho temple area. Collaboration and synergy between the community, schools, local government officials, and academics is useful to open opportunities for local cultural literacy education in the national interest.

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Tostões, Ana. "Where desire may live or how to love mass housing: from cold war to the revolution." ZARCH, no. 5 (December 31, 2015): 10–23. http://dx.doi.org/10.26754/ojs_zarch/zarch.201559114.

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The historiography of Modernity in architecture has seen quite a few additions in the last couple of decades. One is able to identify two main lines shifting this revision. First of all, the French philosopher Jacques Derrida (1930-2004) recently called for a new inventive faculty of ‘architectural difference’. Following the philosophical tradition to use the architectural model he recalled Descartes’s (1596- 1650) metaphor of the founding of a town and came to the point that “this foundation is in fact what is supposed to support the building, the architectonic construction, the town at the base”. The contri- bution of Derrida was, in fact, very important for questioning Modernity and Architecture as he had enlightened the importance of the ‘place’ considering that “each architectural place, each habitation has one precondition: that the building should be located on a path, at a crossroads at which arrival and departure are both possible”. In other words he pointed out that “the question of architecture is in fact that of the place, of the taking of place in space.” Finally Derrida considers that there may be an un- discovered way of thinking belonging to the architectural moment, to desire, to creation. Architecture must produce “places where desire can recognize itself, where it can live”.

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Yasmin, Nabila, and M. Nasihudin Ali. "Islamic Historiography in North Sumatera: Analysis of Trends in Thesis Writing Themes at the History of Islamic Civilization Study Program 2020-2022." JUSPI (Jurnal Sejarah Peradaban Islam) 6, no. 2 (January 30, 2023): 124. http://dx.doi.org/10.30829/juspi.v6i2.14146.

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This research examines the trend of thesis writing themes among History of Islamic Civilization students, Faculty of Social Sciences, in 2020-2022. The problems raised are the trending themes and their contributions to the development of Islamic historiography in North Sumatra. Therefore, this research aims to detail the trending thesis writing themes among students of the History of Islamic Civilization study program, Faculty of Social Sciences 2020-2022, and explain their contribution to the development of Islamic historiography in North Sumatra. The results show that the research themes selected are cultural history, archeology, biography, museums, architecture, education, political, intellectual, organization, art, and demographic histories. Furthermore, the most dominant theme is historical heritage and preservation efforts included in the scope of the archeology discipline, followed by traditions and culture in cultural history. The next themes are architecture, museums, literature, and biography, as well as political, intellectual, educational, organization, social, art, branding, and demographic histories. These themes have indirectly added to the references of Islamic historiography, particularly in local history research.

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Fuguet Sans, Joan. "La historiografía sobre arquitectura templaria en la Península Ibérica." Anuario de Estudios Medievales 37, no. 1 (June 30, 2007): 367–86. http://dx.doi.org/10.3989/aem.2007.v37.i1.42.

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Shiqiao, Li. "Reconstituting Chinese Building Tradition: The Yingzao fashi in the Early Twentieth Century." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 470–89. http://dx.doi.org/10.2307/3592498.

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In this paper, I analyze several early-twentieth-century attempts to reprint, edit, and annotate a Northern Song dynasty (960-1127) construction manual, the Yingzao fashi (1103), each one revealing an aspect of the project to define Chinese architecture. As manifested in the research on the Yingzao fashi by a number of Chinese scholars and architects, the project to reconstitute and understand the text was closely connected to broader intellectual issues in early-twentieth-century China: nationalism, philological scholarship, and modern historiography. The Yingzao fashi was rediscovered in 1919 by politician and scholar Zhu Qiqian, who saw it as an important text that provided crucial knowledge of the tradition of Chinese architecture. It also became a central document in the construction of a modern Chinese architectural history by Liang Sicheng, Lin Huiyin, and Liu Dunzhen, which was founded on a historiography strongly influenced by the European Enlightenment tradition. Interest in the Yingzao fashi declined in the latter half of the twentieth century due to a Communist cultural policy germinated at Yan'an in the 1940s. The reappearance of the Yingzao fashi in the early twentieth century played a much broader intellectual role than the book originally had as a manual of construction and administration.

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López, Fernando Quesada. "Temple, machine, caravan." Architectural Research Quarterly 23, no. 3 (September 2019): 225–38. http://dx.doi.org/10.1017/s1359135519000290.

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Between 1965 and 1975 there was an intense debate in Italy about theatrical culture, which encompassed theatre building and the urban, social, and political roles of theatre. It was articulated around three terms that imply three ways of relating the theatrical building and the city: the temple, the machine, and the caravan. This unusually rich debate has been largely ignored in the historiography of Italian and European architecture, despite its intensity and the importance of its protagonists for the architectural culture of the twentieth century.

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Simon, Mariann. "Historiography of post-war modern architecture in Hungary – evaluation – research – preservation." An Eastern Europe Vision, no. 59 (2018): 6–11. http://dx.doi.org/10.52200/59.a.yc5f5vgb.

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Reviewing the research on post-war modern Hungarian architecture we find a serious backwardness. This paper presents an overview of the situation and an explanation focusing on three factors. The first is the underestimation of the socialist modern architecture by the lay public, but also by some professionals. The second field of investigation is the research background: institutes, researchers, funds and the accessibility of archival material, and the results achieved despite the difficulties. The paper also surveys the preservation of this heritage, and finally presents a recent rehabilitation project, one of the few positive examples.

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Vega, Macarena de la. "A historical legacy: Henry-Russell Hitchcock and early Modernism." Cuaderno de Notas, no. 16 (July 1, 2015): 73. http://dx.doi.org/10.20868/cn.2015.3119.

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On the occasion of the publication of Modern Architecture: Romanticism and Reintegration’s first Spanish edition. This essay aims to discuss the impact of Henry- Russell Hitchcock’s book –published in 1929– on the history of architecture. In spite of being the first history of modern architecture written in English, Modern Architecture fell into oblivion due to the success of Hitchcock’s subsequent book, coauthored with Philip Johnson: The International Style: Architecture since 1922. Discussing the critical approaches to the text –from the first book reviews to the latest historiographical studies– brings to light Hitchcock’s contribution to the historiography of modern architecture.

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Muxí, Zaida, and Daniela Arias Laurino. "Filling History, Consolidating the Origins. The First Female Architects of the Barcelona School of Architecture (1964–1975)." Arts 9, no. 1 (February 25, 2020): 29. http://dx.doi.org/10.3390/arts9010029.

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After Francisco Franco’s death, the process of democratisation of public institutions was a key factor in the evolution of the architectural profession in Spain. The approval of the creation of neighbourhood associations, the first municipal governments, and the modernisation of Spanish universities are some examples of this. Moreover, feminist and environmental activism from some parts of Spanish society was relevant for socio-political change that affected women in particular. The last decade of Franco’s Regime coincided with the first generation of women that graduated from the Barcelona School of Architecture (ETSAB). From 1964 to 1975, 73 female students graduated as architects—the first one was Margarita Brender Rubira (1919–2000) who validated her degree obtained in Romania in 1962. Some of these women became pioneers in different fields of the architectural profession, such as Roser Amador in architectural design, Alrun Jimeno in building technologies, Anna Bofill in urban design and planning, Rosa Barba in landscape architecture or Pascuala Campos in architectural design, and teaching with gender perspective. This article presents the contributions of these women to the architecture profession in relation to these socio-political advances. It also seeks—through the life stories, personal experiences, and personal visions on professional practice—to highlight those ‘other stories’ that have been left out of the hegemonic historiography of Spanish architecture.

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Jarzombek, Mark. "The Crisis of Interdisciplinary Historiography." Journal of Architectural Education (1984-) 44, no. 3 (May 1991): 150. http://dx.doi.org/10.2307/1425264.

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Jarzombek, Mark. "A Prolegomena to Critical Historiography." Journal of Architectural Education 52, no. 4 (May 1999): 197–206. http://dx.doi.org/10.1111/j.1531-314x.1999.tb00272.x.

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Baweja, Vandana. "Otto Königsberger and Global Architectural Histories." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 26–31. http://dx.doi.org/10.52200/63.a.55nzt8g6.

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Otto Königsberger was a German émigré architect who worked as the state architect in princely Mysore in British India in the 1940s. Upon emigration to London in 1951, he subsequently became an educator of Tropical Architecture (1954-1971) at the AA School of Architecture. This paper examines how Otto Königsberger’s career can illuminate “global” as a paradigm in Modernist historiography.

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Shin, Gunsoo. "Michel Foucault and historiography of architecture -History of architecture back in the general history of techne-." Journal of architectural history 24, no. 1 (February 28, 2015): 51–60. http://dx.doi.org/10.7738/jah.2015.24.1.051.

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Bozdoğn, SİBEL. "READING OTTOMAN ARCHITECTURE THROUGH MODERNIST LENSES: NATIONALIST HISTORIOGRAPHY AND THE “NEW ARCHITECTURE” IN THE EARLY REPUBLIC." Muqarnas Online 24, no. 1 (January 1, 2007): 199–221. http://dx.doi.org/10.1163/22118993-90000116.

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Bozdoğan, Sibel. "Reading Ottoman Architecture through Modernist Lenses: Nationalist Historiography and the “New Architecture” in the Early Republic." Muqarnas Online 24, no. 1 (March 22, 2007): 199–221. http://dx.doi.org/10.1163/22118993_02401011.

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Grigas, Algimantas. "Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals." Journal of Sustainable Architecture and Civil Engineering 33, no. 2 (October 31, 2023): 58–71. http://dx.doi.org/10.5755/j01.sace.33.2.33419.

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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomena of architecture criticism are explored using the theoretical framework of W. Attoe from his book “Architecture and Critical Imagination” (1978). The results of the research brought several understandings. Despite the common belief among professionals that architects should be predominantly the creators of architecture criticism, architects by profession make up only half or less of the total number of texts in the specialized press. The dominating types of architectural criticism are normative and descriptive (excluding the texts that would describe the context of an architectural idea or particular building). There are very few examples of interpretative criticism encountered (except in the thematic group of criticism around interior design). Further discussion of prevalent thematic groups led to the conclusion that architectural criticism in Soviet Lithuania alongside the official “politically allowed criticism” has been using disguised forms of texts. There has been an underlying narrative to promote modernist or simply, new architecture principles using photography with little to no text, indirect speech, and other forms of non-explicit communication. One of the wider goals of this paper is to initiate wider research into the subject of architectural criticism of Soviet Lithuania and also validate the existence of the neglected phenomena using the specific material of professional and academic architectural publications.

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Mandrapa, Đorđe, and Vladimir Parežanin. "Vernacular architecture in Serbia in the 19th and first half of the 20th centuries: Transformation and disappearance." SAJ - Serbian Architectural Journal 8, no. 1 (2016): 1–22. http://dx.doi.org/10.5937/saj1601001m.

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The purpose of this study is to reevaluate general theoretical and practical interpretation of vernacular architecture in Serbia in the 19th and the first half of 20th century. This incorporates the understanding of vernacular architecture in a wider context, through interpretations of various authors, who do not only observe its design value, but also the cultural and spiritual values. Since vernacular architecture cannot be recognized as a singular discipline, but within the area of many disciplines, the wider interpretation is mandatory. Although celebrated and recognized as archetypal, vernacular architecture in the studied period is fading away and gradually disappears, faced with modern building techniques and architectural styles, brought by formally educated builders. The goal of this study is to examine the processes within which mentioned transformation is occurring and, accordingly, to understand the vernacular architecture which developed in practice. Since vernacular architecture in Serbian historiography has up to now only been examined in the context of traditional rural architecture, or of, so called national style, the main premise of the study is to offer another approach to this kind of creation, so as to examine and critically view the recent dominant understanding of application of vernacular principles and elements in the architecture of the mentioned period.

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Beenish Fatima. "The Story From Islamic Architecture To Modern Architecture: In Context of ‘‘Aasaar.us.Sanadeed’’." Dareecha-e-Tahqeeq 2, no. 2 (March 21, 2022): 31–43. http://dx.doi.org/10.58760/dareechaetahqeeq.v2i2.19.

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In 1847, the Muslim educationist Sir Sayyed Ahmad Khan (1817-1898) published an Urdu text entitled Aaasar-us-Sanadeed, listing and describing all notable buildings and monuments of Delhi. His work so impressed British scholars in Delhi that he was invited to join the Royal Asiatic Society and to write a second, improved edition intended for translation into English. Unfortunately, the translation was never written. Aaasar-us-Sanadeed was nonetheless a landmark text in the field of Indo-Islamic architectural history. Sir Sayyed was one of many local Indian scholars producing architectural and archaeological histories of the Subcontinent in the nineteenth-century. Yet their names are generally unknown and their research lost in obscurity.Early twentieth-century western scholarship paid them little attention and an image formed which saw decades that this belief has been contested nineteenthcentury historiography only serving an Orientalist vision of Indian art and archaeology. This article represents an outlook, describing major monuments of Delhi architecture as examined by Sir Sayyed Ahmad Khan in the mid nineteenth-Century.

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Agazarian, Dory. "A Victorian Wrenaissance: Historical Narrative at St. Paul's Cathedral." Victorian Literature and Culture 49, no. 3 (2021): 389–422. http://dx.doi.org/10.1017/s1060150319000408.

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The condition of St. Paul's Cathedral was central to concerns about the perception of London over the course of the nineteenth century. Designed by Sir Christopher Wren, it faced public criticism from the start. Unlike gothic Westminster Abbey, St. Paul's was an eclectic amalgam of gothic and neoclassical architecture; its interior was never finished. Efforts to decorate were boxed in by the strictures of Victorian architectural revivalism. This is the story of how academic historiography resolved a problem that aesthetic and architectural theory could not. Throughout the century, cathedral administrators sought to improve the cathedral by borrowing tools from historians with varying success. In the 1870s, a solution emerged when historians reinvented the Italian Renaissance as a symbol of liberal individualism. Their revisionist Renaissance provided an alternative to pure gothic or neoclassical revivalism, able to accommodate Wren's stylistic eclecticism. Scholars have traditionally plotted disputes about St. Paul's within broader architectural debates. Yet I argue that these discussions were framed as much by historical discourse as aesthetics. Turns in Victorian historiography eventually allowed architects to push past the aesthetic limits of the Battle of the Styles. New methods in Victorian historical research were crucial to nineteenth-century experiences of urban space.