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Ephemeral architecture was the antithesis of the permanent buildings typical of the 'Fascism of stone', and yet many architects took advantage of this paradox to create an imaginary Rome. A widespread use of ephemeral structures was made around 1938, during the Mostra Augustea della Romanità and Hitler's state visit to Italy, in order to support a political programme that marked the totalitarian turn in the Fascist regime after the foundation of the empire and aimed at strengthening the alliance between Fascist Italy and Nazi Germany. Relying on methodologies of particular relevance to Roman art history and on various sources unknown to date, this paper investigates the relationships between ephemeral architecture and romanità. The case study is a monumental tribune built in via dei Trionfi that inevitably suffered a damnatio memoriae: a combination of classicizing and futuristic decorations, it looked back at ancient Rome and, at the same time, highlighted the Fascist regime's aspirations to might and modernity. [ABSTRACT FROM AUTHOR]

Architectural practice in the Stalinist USSR saw the sudden and rapid revival of historical forms and styles. One approach interprets this development as part of a reactionary shift in Soviet temporal culture, a "Great Retreat" across all spheres of social and political life. The rival conception sees in historicism an aesthetic of "timelessness" and "perfection," which expressed Stalinism's self-characterization as an eternal, utopian present. This paper presents a third perspective, arguing that the revival of historicism stemmed, paradoxically, from a future-oriented impulse. This revolved around the charge that Stalinist architecture "immortalize the memory" of the era, to ensure posterity's gratitude and admiration. Accordingly, Stalinist architects drew upon supposedly enduring historical styles, which they expected to remain understandable to future generations. Further, time-tested traditional materials, forms, and decorative mediums were employed to ensure the physical durability of Stalinist architectural monuments. The paper concludes by situating this logic in the global context of interwar monumental architecture and considering some implications for our understanding of Stalinist temporality. [ABSTRACT FROM AUTHOR]

Regulators can avert corporate behaviour that inflicts risks on society, but is nevertheless compliant with the law. Such regulatory interventions beyond the law evoke contentious questions about their objects, legitimacy, methods, and the norms employed. No framework yet exists to analyse these questions in conjunction. Therefore, this paper proposes a typology of the extralegal frontier. The typology is based on a range of discretionary attitudes of regulators towards their enforcement mandate. This range comprises four types of regulators, with an increasingly extensive attitude: Law Enforcer, Legislative Agent, Social Broker, and Public Architect. The typology integrates diffuse scholarly insights into a coherent framework, which offers regulators and their stakeholders a starting point for reflection on interventions beyond the law. [ABSTRACT FROM AUTHOR]

This paper ? like those following it in this issue of arq? focuses on the shifting notion of ?flow? and the significance of that notion for the practice, critique and theorisation of architecture. [ABSTRACT FROM AUTHOR]

For more than four decades, the New Zealand Institute of Economic Research (NZIER) has conducted a two-question, quarterly survey of architect forecasts of public and private sector construction expenditure. This qualitative survey is published one week after the end of each quarter and nine weeks ahead of the official quantitative data thereby giving architect opinion nowcasting status. This paper covers selected aspects of this unexplored series with particular reference to residential housing construction and the value-added information from architects as nowcasters. Specifically, we consider several qualitative-to-quantitative conversion methods, in-sample and out-of-sample performance, cyclical features and respondent dynamics. Although our work relates to architects - a sub-sector of the service industry - our results have a wider application to business survey questions using ordered qualitative responses. [ABSTRACT FROM AUTHOR]

AbstractThis paper presents an approach to capture and exchange the arguments and rationale architects develop while designing. The approach was inspired by experiments conducted in the context of a larger research project on architectural redesign. Protocol analysis revealed that architects tend to use three mechanisms in constructing arguments for design solutions: chunks, lines of thought, and strategies. These three mechanisms were used to record ?real-world? design processes in architectural practice, the results of which were evaluated by assessors with different backgrounds. The paper closes by comparing the approach to related work, and outlining challenges for the future. [ABSTRACT FROM AUTHOR]

That architects leave the profession is something that seems ‘known’. In addition, there has been continuous concern that women in particular leave. However, the extent of departure is unclear. Much of the information around these observations come from surveys, is anecdotal or study women in isolation from men. This paper provides some firmer data on the movement of men and women into and out of the profession using Australia as a case study. It collates and analyses historical and contemporary data to delineate the complex patterns of participation in and leaving of architecture. While the sources of data are often limited and approximate, this analysis nonetheless highlights a number of factors affecting the tenure of architects in their profession. The economy is an obvious factor and the data mirrors the economic fate of the country. The paper firmly demonstrates that gender is a factor with a strong impact on leaving the profession – a movement that clearly adversely affects the diversity of the profession. A further factor in leaving is age, which interacts with gender: women begin to leave when young and men when older. Diversity is increasingly proving to be an important factor in the ability of an organisation or a profession to survive, let alone meet, the challenges and opportunities of the globalised twenty-first century. The paper concludes with a plea for better data sources to better clarify how, and to what extent, biases nudge many architects out of the profession. Understanding the extent and nature of these biases helps the formulation of tactics to foster greater diversity to engender a more resilient profession. [ABSTRACT FROM AUTHOR]

This paper is not a comprehensive survey of the architectural career of Arata Isozaki, one of the most distinguished practicing architects in the world today and the 2019 winner of the Pritzker Prize, but a specific look at his formative years of the 1960s when he began to build his own design methodology. It delineates Isozaki's encounter with the avant-garde art movement of the 1960s, collectively called "Anti-Art, " against the backdrop of the "anti-spirit" of Japanese society. Although Isozaki's artistic side has been overstated at times, previous studies rarely addressed how his intensive interactions with art circles played a role in shaping his design methodology. I would like to examine the convergence of creative individuals and cross-disciplinary connections to understand Isozaki's architectural thinking. This study examines how Isozaki's collaborations with his artist contemporaries enabled him to formulate the notion of the "invisible city, " a radically new design concept characterised by the expansion of the nature of architecture from producing isolated built-forms to all-encompassing natural and manmade environments. However, after drawing on communications and information theory, which prevailed in 60s architectural circles, Isozaki's destructive and anarchistic connotation of "invisible city" was channeled into a systematic cybernetic model and eventually transformed into a constructive planning method. I will discuss the realisation of a cybernetic environment at the Festival Plaza of Expo' 70 and trace the legacy of "invisible city" in his later postmodern work. [ABSTRACT FROM AUTHOR]

The main hypothesis investigated in this paper is based upon the suggestion that the discursive reasoning in architecture supported by an explicit knowledge of spatial configurations can enhance both design productivity and the intelligibility of design solutions. The study consists of an examination of an architect's performance while solving intuitively a well-defined problem followed by an analysis of the spatial structure of their design solutions. One group of architects will attempt to solve the design problem logically, rationalizing their design decisions by implementing their explicit knowledge of spatial configurations. The other group will use an implicit form of such knowledge arising from their architectural education to reason about their design acts. An integrated model of protocol analysis combining linkography and macroscopic coding is used to analyze the design processes. The resulting design outcomes will be evaluated quantitatively in terms of their spatial configurations. The analysis appears to show that an explicit knowledge of the rules of spatial configurations, as possessed by the first group of architects can partially enhance their function-driven judgment producing permeable and well-structured spaces. These findings are particularly significant as they imply that an explicit rather than an implicit knowledge of the fundamental rules that make a layout possible can lead to a considerable improvement in both the design process and product. This suggests that by externalizing the design knowledge and restructuring it in a design model, creative thought can efficiently be evolved and stimulated. [ABSTRACT FROM AUTHOR]

This project began when one of my research colleagues, a civil engineer, pointed to his very thorough study of daylighting in buildings and said: ‘Here is all that architects need to know about light – why don't they use it?’ A discussion followed about what kind of knowledge is relevant, when, and for whom. It ended with the questions: ‘What kind of knowledge do architects really use in their design process?’ and ‘How can we as researchers provide the different kinds of knowledge that are useful for practice?’ These questions became the basis of a research project and this paper reports on its studies and discussions. [ABSTRACT FROM PUBLISHER]

The spectacular surroundings of Kielder Water & Forest Park, in Northumberland, England, are a confluence of opposing states: the man-made and natural; the utilitarian and recreational; the beautiful and isolated; shaped by weather converging from east and west. Kielder Castle was built in 1775 as the Duke of Northumberland's hunting lodge. In recent years the territory has gained notoriety for a series of innovative art and architectural commissions including Belvedere by Softroom Architects (1999), Kielder Skyspace by the American artist James Turrell (2000), Minotaur by architect Nick Coombe and artist Shona Kitchen (2003), and Kielder Observatory by Charles Barclay Architects (2008). This paper outlines one of Kielder's most recent additions – a shelter entitled 55/02 – the result of a collaboration between sixteen*(makers) and manufacturers Stahlbogen GmbH. The work rekindles the symbiotic relationship between design and making once central to the production of architecture. The reawakening of this tradition has been stimulated by the mainstream adaptation of CAD/CAM as an industrial and disciplinary medium which binds the protocols of drawing with those of fabrication. However, as this account of the project shows, the relevance of an increasingly digitised world extends beyond the production of 55/02 as an artefact – it forms the basis of the architecture's relationship with its locality as an industrial, historical, social, cultural and manufactured landscape [1]. [ABSTRACT FROM PUBLISHER]

In the poetics of Alvaro Siza, the enriching experience of making architecture on site has always been very important; but even though his work has been widely recognized, published and discussed, little is known about the construction strategies employed. This paper reviews Siza's use of reinforced-concrete wall construction to create, through a process of subtraction and a search for the essential, building forms of a very particular kind. [ABSTRACT FROM AUTHOR]

Many disciplines have taken an 'affectual' turn, from the philosophical lineage of Spinoza, Nietzsche to Deleuze & Guattari where affects constitute bodies according to capacities and processes of becoming, to more recent engagements with 'new materiality' that has redirected attention to the expressive properties of materials - matter's relational, interactive and affective capacities. Affect and its indeterminacy as a concept encourage different interpretations. This paper is situated in this complex theoretical landscape. Although numerous studies have examined how affect emerges in- and through- the occupation of architectural spaces, little analytical attention has been paid to the creative process of design and the role that affect plays in the many contingencies that arise in the process. In this context and specifically, this article explores the production and circulation of affect within architectural practices invested in image-making processes. Importantly, it illustrates how affective aspects of image-making in architecture plays a role in the process of design. The study concentrates first on the work of Sara Ahmed who provides a critical engagement with affect as a sticky process, and then extending this to incorporate such things as sticky images. An analysis of the architectural practice of Reiser +Umemoto, RUR Architecture DPC and their project for Kaohsiung Port Terminal is put forward to show how images and image-making can inform and be informed by the design process, and moreover, how they can produce certain affective economies. The article explores the usefulness affect theory in architectural discourse to provide other ways of conceptualising architectural practice beyond being governed by the generations of actual objects and clear processes of production. [ABSTRACT FROM AUTHOR]

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way. [ABSTRACT FROM PUBLISHER]

This article provides an English translation of an unpublished German typescript found in the archive of the architect Julius Posener in the Akademie der Kunst, Berlin. Posener, a professor of architectural history at the Hochschule für Bildende Künste (HBK), travelled with a colleague and fifteen students to England for a fortnight in March 1963. They met several prominent architects, saw a wide selection of their current and recently completed works, and attended events at the Architectural Association school. The typescript is an account of the trip that he wrote up from notes in his diary on 29 March, two days after their return. Posener, who had previously spent almost a decade teaching architecture in London, proves to have been a sympathetic observer of the scene, eager to compare and contrast what he saw in England with contemporary work in Germany; his account evokes subtle disagreements between himself and his colleague on conceptual and historical points, and gives us an insight into the day-to-day workings of Denys Lasdun's office, the Architectural Association, the London County Council, and the Building Research Station in Garston. [ABSTRACT FROM AUTHOR]

In the post-Second World War period, Italian architects opened up a debate on the role of history and time in architectural discourse that resulted in multiple interpretations of historical time in their work. Vittorio Gregotti, one of the main protagonists of the discussion, offered an interpretation of time based on an assemblage of intellectual tendencies, from phenomenology to structuralism and the history of the longue durée. This paper traces ideas that Gregotti developed in his less known and as-yet un-translated texts such as Il territiorio dell’architettura from 1966 as well as in his project for the University of Calabria from 1972. In these, Gregotti makes an original contribution to the problem of history in relationship to urban and natural environments. [ABSTRACT FROM PUBLISHER]

Felix Candela’s hyperbolic paraboloid reinforced concrete structures - also known as hypars - were not only masterly used in his well-known religious buildings but they were also ingeniously and profusely employed to roof a vast number of industrial buildings during the Mexican industrialisation era. Candela’s inverted hypar shells prototype for industrial buildings became a trademark for a systematic and standardised construction method which crossed the Mexican borders to reach and influence the work of other architects and engineers further afield. In the United Kingdom this is exemplified by the John Lewis Warehouse (JLW) at Stevenage in which Candela worked as co-designer and consultant of the post-War architectural firm Yorke, Rosenberg and Mardall (YRM) and the engineers Clarke Nicholls and Marcel.The JLW represents a unique structure in the repertoire of Candela’s work outside Mexico for two main reasons. Firstly, it stands as Candela’s first European project and secondly it represents a structure in which ‘automatic beauty’ was achieved through economic efficiency and the use of more sophisticated construction methods than those conventionally used in Mexico. Moreover, and beyond its structural and constructional merits the JLW yields a spatial richness which transformed the ephemeral of the working day to forge spaces of mnemonic identification. Built in 1963, the JLW is an epitome of structural art amongst the industrial buildings of Britain's post-Austerity period. Candela’s first European project is analysed not only in terms of its structural and constructional merits but also in relation to its spatial poetics. [ABSTRACT FROM PUBLISHER]

A cover of the March 2011 issue of the journal "ARQ: Architectural Research Quarterly" is presented.

The planning and design of library spaces is changing radically in the light of increased expectations, developments in teaching and learning, and the growth of electronic resources. The need for physical space in the age of the virtual library has been questioned, but in recent years there has been a plethora of bigger and better library buildings. This paper considers the drivers for change in library building design, the importance of good communication between librarians and architects, and the underpinning criteria for good design both of the building as a whole and of the fixtures and fittings within. Modern libraries must respond to social, pedagogical and technological changes, and librarians, in collaboration with architects and institutional administrators, must design inspirational and practical buildings fit for 21st-century use. [ABSTRACT FROM AUTHOR]

?Agency? is a beguiling word. It has the immediacy of a call-to-arms and the remoteness and anonymity of a bureaucratic function. Agency, as action in the world, underpins revolutionary social change, and the representation of someone else's interests ? usually at a distance ? in a governmental or business context. It is implicated in both the agitprop of the Reclaim the Streets network, or Brazil's Homeless Workers Movement, and in state bureaucracies such as the UK Border Agency, or commercial franchises such as the Western Union. The term encapsulates two quite distinctive forms of action: one individuated, collective and immediate; and the other systemic, anonymised and bureaucratic. It is no accident, then, that in academic literature ?agency? is often paired with ?structure?, and in the binarised form, structure/agency, is used to refer to the tension between the creative actions of individuals and the social, political and economic structures that supposedly constrain them. The fact that architects are expected to exercise agency in both of these senses ? as creative actors and as representatives of their clients' interests ? gives the theme further significance. [ABSTRACT FROM AUTHOR]

The article discusses the influence of the religious and symbolic dimensions of traditional Chinese architecture on the works of Hugo Häring and Hans Scharoun. Among Häring's papers in the Häring archive of the Akademie der Künste in Berlin, Germany include minutes of six meetings entitled "Discussions About Chinese Architecture. Chen Kuan Lee, born in Shanghai, China and studied and practiced architecture in Germany is the key figure in introducing Chinese architecture to Häring and Scharoun.

This article argues that nudges can often be turned into self-nudges: empowering interventions that enable people to design and structure their own decision environments – that is, to act as citizen choice architects. Self-nudging applies insights from behavioral science in a way that is practicable and cost-effective, but that sidesteps concerns about paternalism or manipulation. It has the potential to expand the scope of application of behavioral insights from the public to the personal sphere (e.g., homes, offices, families). It is a tool for reducing failures of self-control and enhancing personal autonomy; specifically, self-nudging can mean designing one's proximate choice architecture to alleviate the effects of self-control problems, engaging in education to understand the nature and causes of self-control problems and employing simple educational nudges to improve goal attainment in various domains. It can even mean self-paternalistic interventions such as winnowing down one's choice set by, for instance, removing options. Policy-makers could promote self-nudging by sharing knowledge about nudges and how they work. The ultimate goal of the self-nudging approach is to enable citizen choice architects' efficient self-governance, where reasonable, and the self-determined arbitration of conflicts between their mutually exclusive goals and preferences. [ABSTRACT FROM AUTHOR]

One of the most neglected and urgent issues facing architecture -- the substantial fracture between thinking about architecture and engaging in professional practice -- was addressed at a two day conference in Cambridge this March (2004). Organized by RIBA East/University of Cambridge CPD for Architects, in association with the University's Department of Architecture and Centre for Research in the Arts, Social Sciences and Humanities, it attracted a sizeable audience of practising architects, senior academics and students. This mix reflected the organizers' ambition to bring together professional and academic perspectives in this interdisciplinary area. The proceedings will be published by Spon during 2005. [ABSTRACT FROM AUTHOR]

The article offers information on the architectural restoration of the Radley Hall in Oxfordshire, England. The Radley Hall is a fine baroque country house made by John Stonehouse of Radley and William Townesend and Bartholomew Peisley of Oxford on June 28, 1721. The paper also focuses on the characteristic baroque plan of such architecture to find a late eighteenth-century plan. It is noted that the house has two plans in which the front door leads directly to the garden door designed to help bring the sunlight into the north-facing hall.

In June 1966 Hungarian-born French architect Yona Friedman travelled to the port town of Folkestone on the English Channel to join the International Dialogue of Experimental Architecture (IDEA). The event was a large two-day symposium on radical experiments in architecture and urbanism organised by the British architectural collective Archigram. A leading figure in experimental international groups of architects and artists crafting techno-futuristic visions of three-dimensionally expanding cities, Friedman seemed to be an essential participant in an event advertised as a convocation of 'all Europe's creative nuts'. [ABSTRACT FROM AUTHOR]

The article discusses the architectural history of Roman Emperor Nero's Domus Aurea or Golden House explored by Charles Cameron in 1768 in Italy. Cameron's folio volume "The Baths of the Romans," published in 1772 was one of the only four books produced which dealt with the remains of the Roman as opposed to Greek sites. It is asserted that what he understood to be the ruins of the Baths of Titus were those of the Baths of Trajan or the remains of the Golden House. However, confusion on the site history was removed by archeologist Rodolfo Lanciani in 1895. Yet, this paper argued that they have been delinquent in overlooking the evidence offered by Cameron's description of the Domus Aurea.

The article discusses the aspects of Roman Baroque architectural decoration. It examines a small and neglected area of architectural decoration such as the door and window. It tries to analyze the relation between architectural treatises and actual buildings and to determine the extent the middle ground between theory and practice can be filled in with a common law of architecture. This paper also attempts to indicate that Francesco Borromini's innovation depends on a harmful manipulation of it. Sketches or architectural first principles that produced every Roman Baroque architecture are also highlighted.

The article examines the architectural history of the Blickling Hall, a Jacobean building, in Norfolk, England. It discusses various extensive building accounts from the Lothian papers in the Norfolk Record Office and surviving documents concerning the mansion's construction and personnel involve, such as the full summary drawn up by Richard Burton, the steward of Sir Henry Hobart, the first Baronet of the Blickling Hall. The architectural drawings of the house provided by the master craftsmen Robert Lying, which shows the design for a banqueting house in the east garden, and other documents which includes the total expenditures and service contracts are presented

The article focuses on the remodeling of the eighteenth-century Hopetoun House in West Lothian, Scotland. It was inferred that the reconstruction of the house was carried out by various architects including Tobis Bachope on December 28, 1698, William Bruce between 1699 and 1702 and William Adam between 1721 and 1746. It shows that detailed information on the house's architectural design was recovered through building papers and the design of the building published in "Vitruvius Britannicus" and "Vitruvius Scoticus." In addition, the contibutions of the architects in the reconstruction of the house were also discussed.

The phenomenon of participatory architectural design is thought to have emerged in the late 1960s and 1970s in Europe. In 1969, Giancarlo De Carlo, one of its main advocates, presented a manifesto in which he asserted that 'architecture is too important to be left to architects', criticised architectural practice as a relationship of 'the intrinsic aggressiveness of architecture and the forced passivity of the user', and called for establishing 'a condition of creative and decisional equivalence' between the architect and the user, so that in fact both the architect and the user take on the architect's role. He also argued for the 'discovery of users' needs' and envisioned the process of designing as planning 'with' the users instead of planning 'for' the users.1 In the same year, De Carlo began working on a housing estate in Terni, Italy that involved future dwellers in design decisions. Among other participatory projects carried out around that time were Lucien Kroll's medical faculty building for the University de Louvain (1970–6) and Ottaker Uhl's Fesstgasse Housing, a multi-storey apartment block in Vienna (1979). [ABSTRACT FROM AUTHOR]

Information about several papers discussed during the 13th International Design Seminar in Monte Carasso, Bellinzona from July 2-15, 2006 is presented. The seminar was lead by Ticinese architect Luigi Snozzi and he discussed his projects in the centre of Monte Carasso and rendered a background to the work that the students were attempting, which includes the conversion of the Augustinian convent into an elementary school and community facilities.

This article examines the question of how architects in São Paulo during the 1950s and 1960s addressed the political nature of their work, and more specifically the connections between their practice and the lives and politics of the urban poor in the context of a rapidly expanding metropolis of the Global South. More specifically, it assesses how they elaborated strategies to articulate the semiotic and material practices of Brutalism and the political repertoire of national developmentalism, initially in its democratic and later in its authoritarian form. The article argues that these architects deployed two semio-material strategies to operationalize the articulation between that political repertoire and the field of architecture: metaphorical indexicality and the impetus for the industrialization of construction. The image of the urban poor reinforced by that political repertoire was marked by a severe distance from their empirical life experiences, which deeply affected the practices of design and construction that progressive architects advanced. [ABSTRACT FROM AUTHOR]

Speech- and gesture-based interfaces for computer-aided design (CAD) modeling must employ vocabulary suitable for target professional groups. We conducted an experiment with 40 participants from architecture and engineering backgrounds to elicit their speech preferences for four CAD manipulation tasks: Scale, Rotate, Copy, and Move. We compiled speech command terms used by participants and analyzed verbalizations based on three analytic themes: the exactness of descriptions, the granularity of descriptions, and the use of CAD legacy terms. We found that participants from both groups used precise and vague expressions in their verbalizations and used a median of three parameters in their verbalizations. Architects used CAD legacy terms more than Engineers in the tasks Scale and Rotate. Based on these findings, we give recommendations for the design of speech- and gesture-based interface for conceptual CAD modeling. [ABSTRACT FROM AUTHOR]

Here was the house, its heavy walls built of the stone of the mountain, plastered over by groping hands – in feeling and material nothing but an artificial reproduction of one of the many caverns in the mountain-side. I saw that essentially all architecture of the past, whether Egyptian or Roman, was nothing but the work of a sculptor dealing with abstract forms. The architect's attempt really was to gather and pile up masses of building material, leaving empty hollows for human use [...]. The room itself was a by-product. (R. M. Schindler) By 1911, Rudolph Schindler had concluded that all architecture in the West leading up to the early twentieth century had been fixated on structure and mass, in stark contrast to the new 'space architecture' he championed. His dismissive categorisation of the traditional room as some kind of evolutionary relative of the cave is a reminder of the moment when a strand of Western architecture blossomed from containment into openness; from a predictable past to an exciting and uncertain future – the gift of modern architecture. [ABSTRACT FROM AUTHOR]

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The article reviews the exhibition "The University is Now on Air: Broadcasting Modern Architecture" held at the Canadian Centre for Architecture in Montreal, Quebec from November 15, 2017-April 1, 2018, curated by architect Joaquim Moreno.

This article comprises a sociological analysis of how architects imagine the ageing body when designing residential care homes for later life and the extent to which they engage empathetically with users. Drawing on interviews with architectural professionals based in the United Kingdom, we offer insight into the ways in which architects envisage the bodies of those who they anticipate will populate their buildings. Deploying the notions of ‘body work’ and ‘the body multiple’, our analysis reveals how architects imagined a variety of bodies in nuanced ways. These imagined bodies emerge as they talked through the practicalities of the design process. Moreover, their conceptions of bodies were also permeated by prevailing ideologies of caring: although we found that they sought to resist dominant discourses of ageing, they nevertheless reproduced these discourses. Architects’ constructions of bodies are complicated by the collaborative nature of the design process, where we find an incessant juggling between the competing demands of multiple stakeholders, each of whom anticipate other imagined bodies and seek to shape the design of buildings to meet their requirements. Our findings extend a nascent sociological literature on architecture and social care by revealing how architects participate in the shaping of care for later life as ‘body workers’, but also how their empathic aspirations can be muted by other imperatives driving the marketisation of care. [ABSTRACT FROM PUBLISHER]

The author discusses that the appropriate communication of architectural value originates from the innate knowledge of architect about material composition of the built environment.

An obituary of an architect Dalibor Vesely is presented.

The article offers a profile of 20th-century British architect and urban planner Graeme Shankland. Information is provided on Shankland's connections with the British political left, his focus on preserving Britain's historical buildings is lauded, and criticism of Shankland's urban planning strategies by other architects is offered.

An essay is presented which discusses regionalism in modern architecture in Spain during the 20th century. An overview of the Spanish architect Miguel Fisac, including his perspective on architecture in Spain, his critique of Historicism and Functionalism and his design for the Chapel of the Holy Spirit in Madrid, Spain, is provided.

The article discusses the architectural authorship of the mid 18th century design of Holkham Hall in Norfolk, England, with a particular focus on the architect William Kent. The role that the architects the Earl of Burlington and Thomas Coke (who is also referred to as Baron Lovell, Earl of Leicester and Lord Leicester) played in designing the Holkham Hall is discussed. An overview of the architectural researcher Leopold Schmidt's perspective on the Holkham Hall's authorship is provided.

Aldo van Eyck, in an interview twenty-five years after John Voelcker died [1], remembered him as follows:There were, of course, other highly interesting men in Team 10, for their personality and intellect and passion; one of them was John Voelcker. He really thought about the great problems of urbanism. He was one of the first people, in Aix already, who talked about quantity, number and identity and in such a way that I thought ‘hey, now I have a new scale; somebody is tuned in rather differently, with a completely other approach […]He wasn't the kind of person to organise himself to build. He did build several things, but not much. He was younger […] and anyway with the kind of ideas he had it wasn't easy to hook onto British building practice. His ideas went very far, though they were not utopian. John was a quintessential Team 10 thinker. He was urbanistically the best of the Team 10 thinkers, by far. He knew a lot, he was interesting, inclined and open. [ABSTRACT FROM PUBLISHER]

Letters to the editor are presented in response to articles previously published in "Architectural Research Quarterly" (ARQ), addressing topics including issues associated with managing production specifications, the philosophy of buildings, and the social place of architects.

The article discusses various reports published within the issue, including one by Herman Hertzberger on ideas which architects carry with them in order to design and another by Chris L. Smith and Andrew Ballantyne on the impact of an exploration of ideas on architectural design.

Eighteenth-century architect-builders were a small group, but important for understanding the market strategies of knowledge-based experts in an age of rapid growth in technical information before the creation of modern professions. This article confronts a teleological historiography of emerging professionalization. It is focused on Robert Mylne and several of his contemporaries in Edinburgh and London, including a number of successful London-based Scots who were active as architects, builders, engineers, and surveyors, and self-styled in all these areas when it suited them. It supplies an account of what it took for building experts to establish themselves and flourish in big cities and the ways in which such experts navigated, controlled, and accommodated an environment of unregulated expertise that largely suited contemporary practitioners. Individual, family, and collective market strategies are examined in detail and the final section is a close analysis of the activities of the Architects Club in the 1790s. [ABSTRACT FROM PUBLISHER]

Gordon Matta-Clark (1943–1978), one of the lesser known architects of the second half of the twentieth century, studied architecture at Cornell University between 1962 and 1968. Although he had always been part of an active circle of artists and architects with whom he shared his radical ideas, Matta-Clark was generally excluded from the architectural milieu since his proposed interventions were thought to be unsuitable for accommodation. His exclusion from the architectural scene was marked; following his Window-Blow-Out(s) project in 1976, as Mary Jane Jacob has pointed out, his colleagues – including Peter Eisenman and the members of the Institute for Architecture and Urban Studies (IAUS) – found it very hard to accept an architect with a BB gun in hand. The removal of the facade in the 1974 Bingo project; the elimination of the thresholds in the 1973 Bronx Floors; or the cut to a suburban house in the 1974 Splitting project were all evaluated as temporary, and destructive in the making; and were thus regarded as artistic actions to transform buildings into objects. As such, his critical architectural productions remained overshadowed behind a series of seemingly violent artistic intrusions. [ABSTRACT FROM PUBLISHER]

The development in (Dutch) building practice necessitates developments in other aspects, besides specialized and professional skills, a new integral approach in education and the introduction of such an approach into building design practice. In 2005, the Faculty of Architecture, Building, and Planning of the University of Technology Eindhoven commenced a multidisciplinary master project on integral design focused on a sustainable climatic design. Students of architecture, building technology, structural engineering, and building services participated in these multidisciplinary master projects. The students began with a 2-day learning-by-practice workshop that was implemented and tested in collaboration with experienced professionals from the Royal Institute of Dutch Architects and the Dutch Association of Consulting Engineers. These workshops have become part of the permanent educational and professional program of the Royal Institute of Dutch Architects. This is one of the few projects in which the practical experience is transferred into the educational academic program and vice versa; normally this process functions only in one of the two directions. The theoretical basis of the design method on which the education of students and professionals is based is discussed and results presented. [ABSTRACT FROM PUBLISHER]

Perhaps unexpectedly, architects are seldom talked about in terms of the building toys they once played with or what they constructed with them. Exceptions are Witold Rybczynski and Frank Lloyd Wright. The former describes John Ruskin mastering the laws of building for load-bearing towers and arches by the time he was seven or eight (around 1825) because of playing with wooden building blocks (introduced at the end of the 1700s). However, he also describes himself playing with Bayko. This was a Bakelite building set from the 1930s [1], probably modelled on Mobaco, a cardboard and wood Dutch construction toy [2]. Both of these toys are pre-dated by an 1887 English toy for house construction, the walls of which were made from wooden blocks threaded on to vertical wires. Rybczynski also describes watching his father and uncle build a real garden shed using concrete panels slipped between reinforcing bars, like the method used by the plastic toy but life-size. [ABSTRACT FROM AUTHOR]