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Building with earth seems a sensible ambition in our troubled climatic times. A fundamental problem, though, is being able to make larger, more complex structures from earth without jettisoning its unique sustainable and artisan qualities at the domestic and sub‐domestic scales. Architecture and robotics specialist and co‐founder of EZCT Architecture & Design Research Jelle Feringa considers the concepts and issues involved. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Vivid colours, commedia dell'arte, collage and hypergraphics, and villae jutting out of the cliffsides designed for the unknown dwellers – are these projects postmodern? American art, architecture and design critic Aaron Betsky investigates this question and its context, focusing on the V.I.P. Center Shopping Mall, an unbuilt scheme that was to win Lebbeus Woods his first professional acknowledgement under the auspices of the Progressive Architecture Award. [ABSTRACT FROM AUTHOR]

The American Midwest with its own architectural histories and topologies may be termed a land of few walls. Architect Kevin Erickson examines Lebbeus Woods's relation to this landscape and the genesis of his preoccupation with walls, not as protectors of boundaries, but as sites of dialogue and collaboration. Rather than mere surfaces for large paintings, walls – new or abandoned – invite reflection on the relationship between art and architecture. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Japanese pavilion at the 1893 World's Columbian Exposition was much admired by visitors. Unlike most of the fair buildings, however, the Ho-o-den remained in situ on the Wooded Island long after the exposition was over, thus providing an architectural reference for anyone interested in Japanese design. This is the second of two articles, the first of which appeared in issue 8.2 of the Journal of Japonisme and detailed the design, construction and initial reception of the Ho-o-den at the fair. This second instalment explores Ho-o-den's influence on the design of 20th century architecture and graphic design. [ABSTRACT FROM AUTHOR]

This article will survey the use of glass as a modern industrial material in Wright’s architecture and more particularly the art of the stained glass which characterizes Wright among the modernist architects of the early 20th century. While the subject has not been much researched until recently, Wright’s art of the stained glass is an original and essential part of his architectural ideal. Several sources for Wright’s art of the stained-glass windows are considered: the influence of the main representative of the Chicago School of architecture Louis H. Sullivan and his defense of planar decoration, the lessons of Japanese prints and traditional architecture, and the interpretation of organic and natural forms. Forms and functions of stained-glass windows are examined thanks to several examples of Prairie Houses and Californian houses. This study also includes considerations about other types of lighting in Wright’s architecture concerning religious and office buildings. As a conclusion the author emphasizes in Wright’s architecture the decisive role of ornament of which leaded glass is an integral part.

In the post-Hiroshima era, atomic cities—designed to survive a nuclear attack—remain in the science fiction realm. Yet Hungarian émigré Paul Laszlo, a successful architect in Southern California suburbia, had a utopian vision for a futuristic, paradoxically luxurious atomic city he called "Atomville," never built but nonetheless seriously proposed. Laszlo was one of the very few architects known to venture into atomic survival on this scale. This article focuses on why the architectural profession for the most part ignored the issues raised by the atomic bomb, and on Laszlo's role as an outlier. It also deals with the genesis of Atomville and its place among the many unrealized ideas put forward in the 1940s and 1950s for urban survival, including underground buildings, urban dispersal, linear cities, and cluster cities. [ABSTRACT FROM AUTHOR]

The article focuses on the concept of "penumbra," an intermediate zone between light and shadow, exploring its role in contemporary architecture, arts, and critical theory. Topics discussed include the historical origins of penumbra in astronomy and art, its relationship with shadows, and how it shapes the work of various architects and artists.

In a wide‐ranging and erudite article that is historical, cultural and philosophical, Stephen Kite explores the experiential nature of the penumbra. He reminds us of some of architecture's most celebrated spaces where subdued light calms architectural vistas. Flooding us with notable examples, he examines the penumbra in terms of sublimity, prospect and refuge, and psychoanalysis. [ABSTRACT FROM AUTHOR]

The short video Ch’u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author’s collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya.

The Cranbrook campus is designed with a concerted effort to integrate art, craft and architecture. Cranbrook Center for Collections and Research curator Kevin Adkisson shares some of its stories and explores a variety of its external and internal spaces and the conceptual rigour that went into them. Collectively, the campus provides an inspiring backdrop to individual students' creative journeys. [ABSTRACT FROM AUTHOR]

The article focuses on the Cranbrook Academy of Art and its unique approach to architecture education, emphasizing the integration of living and learning on its campus. Topics include Eliel Saarinen's role in designing the campus and his belief in the live-work model; the impact of the campus environment on the pedagogy and culture of the academy; and the architectural additions and projects that have shaped the campus in generative culture within the Architecture Department.

The short video Ch'u Mayaa (Maya Blue, 2017) by artist Clarissa Tossin uses the Barnsdall (or Hollyhock) House, one of five Southern California textile block homes by Frank Lloyd Wright built in the early 1920s, as the setting for a dance performance by the choreographer Crystal Sepúlveda. Without dialogue or narration, the video raises complex issues about the use and appropriation of imagery and designs from the ancient Americas, and the ways in which a structure from the past, now designated an architectural landmark, can be reframed by contemporary artists. The essay concludes with a brief discussion of the author's collaboration with Mexican artist Mariana Castillo Deball, a playful conceptual project which also highlights the relationship between the architecture of Frank Lloyd Wright and that of the ancient Maya. [ABSTRACT FROM AUTHOR]

The story of California – the influence of its émigré architects during the 20th century and its important position in developing the 'cool' mid‐century modernism that was to become so fashionable around the globe – cannot be underestimated. Craig Hodgetts, architect and academic, and founding half of architectural practice Hodgetts+Fung, looks back at those heady days and the evolution of Los Angeles as an architectural mecca. [ABSTRACT FROM AUTHOR]

Review of: The Architecture of Suspense: The Built World in the Films of Alfred Hitchcock by Christine Madrid French The Wrong House: The Architecture of Alfred Hitchcock by Steven Jacobs [ABSTRACT FROM AUTHOR]

It is clear that we must redesign our domestic and urban environment to mitigate our present climate problems. To that end, it is necessary to look at historic tactics of shelter and climate mitigation but equally plan for the deeper future. This might entail spending more time under ground. Mehrnoush Latifi is a lecturer, researcher and the course director of the Bachelor of Design (Architecture) at Swinburne University of Technology in Melbourne. She and Guest‐Editor Jane Burry here explore the potential of life below the earth's surface. [ABSTRACT FROM AUTHOR]

The global pandemic and consequent lockdowns have provoked an evacuation of workplaces and urban centres. For society to continue to function, there has been a massive movement towards home working enabled by Teams and Zoom. This has ramifications on not just our lives but also digital infrastructure, commerce and entertainment, as well as a myriad of other dynamics, all of which has totally reconfigured our lifestyles and health in recent years. Stephen Glackin, Senior Research Fellow at the Centre for Urban Transitions at Swinburne University of Technology in Melbourne, and Guest‐Editor Marcus White, discuss this spatial revolution. [ABSTRACT FROM AUTHOR]

The old conceptual dichotomy between the city and the countryside has often been a historical stumbling block for architects and urban planners. Whilst there have been many attempts to bring the city closer to the natural environment, some on grand scales, more modest experiments have often gleaned better results. Daniele Belleri is a partner at design and innovation office CRA‐Carlo Ratti Associati, where he is in charge of all editorial and curatorial projects. He and the practice's founder, architect and engineer Carlo Ratti – who is director of the Senseable City Lab at the Massachusetts Institute of Technology (MIT) – together explore our contemporary options. [ABSTRACT FROM AUTHOR]

An introduction to articles published within the issue is presented, including one which examined the extent to which in-city agriculture could be the answer to increased corporatisation and food insecurity, and another which explored environmental issues by choosing anthropocentric view of settlement in favour of dynamic adaptive coevolution between human development and interacting natural processes.

The growing involvement of U.S. architects in the post-oil expansion of Gulf cities after World War II corresponded to an expanding terrain of geopolitical and economic exchanges through which these firms competed for commissions. A revealing comparison of these dynamics of professional and cultural exchange can be found in the conjunction of parallel projects by U.S. architects for an Iraqi national university in Baghdad: the University of Baghdad, designed by The Architects Collaborative (TAC) and associated in particular with Walter Gropius as the firm’s senior partner, and Frank Lloyd Wright’s Plan for Greater Baghdad (1957), a larger cultural complex for the city, which included a university on the same peninsula where TAC received its commission in the same year. The presence of two university projects on the same site pitted two paradigmatic examples of U.S. postwar practice against each other: the self-styled genius persona of Wright against the collective body represented by TAC. While Wright’s scheme offered a personal appeal to the Iraqi monarch, Faisal II, and the mythologization of his rule through a symbolic cultural landscape of historical references, TAC’s University project constituted a demonstration of expertise within the developmental framework of foreign technical assistance by U.S. firms. The historiographic emphasis on singular authorship and the interpretation of each project only relative to their respective authors’ creative œuvres has reinforced the lack of a direct comparison of the two schemes. Understood within a framework of competition between two modes of U.S. architectural practice in Iraq, however, a comparison of TAC and Wright’s competing engagements in Baghdad reveals their architects’ differing political and social affiliations, as well as their opposing interpretations of Iraq’s cultural heritage and postwar modernization, and of the concepts of internationalism, technical assistance, and expert practice in relation to national development.

Frank Lloyd Wright, one of the world's most famous architects, produced several masterworks in his career, possibly the most celebrated of which is the Kaufmann House, better known as Fallingwater. One of the common arguments historians make about this house is that it is unique in Wright's oeuvre, as it is not similar to other designs he produced in the three major styles that dominated his career: the Prairie, Textile-Block and Usonian styles. In this paper, the derived fractal dimensions (D) using the standard architectural variation and application of the box-counting method are developed for the elevations and plans of Fallingwater. Using the measurements derived from a set of 15 Prairie, Textile-Block and Usonian houses, this paper tests whether Fallingwater is indeed an outlier in his body of work, as some historians suggest. The results indicate that, contrary to the standard view, Fallingwater has D measures that are broadly similar to those of his other styles, and on average, Fallingwater has formal parallels to several aspects of Wright's Usonian style. [ABSTRACT FROM AUTHOR]

This essay explores the process by which the Olivetti factory and its related structures in Ivrea developed, especially under Adriano Olivetti from the 1930s through the 50s, into what could be regarded as a heterotopic space in keeping with the fundamental significance of the term as it was presented by Michel Foucault. Looking at four significant sources (or causes) of influence—Italian rationalism, Le Corbusier, the corporativist policies of Italian fascism, and Frank Lloyd Wright—the essay traces their respective roles in shaping the built environment of this relatively small subalpine Italian city. Specific projects discussed include the principal factory building and its numerous extension projects, Figini and Pollini’s workers’ housing units of 1935, the rationalist duo’s design of the social services building, and Piccinato’s Quartiere Bellavista.

One of the most important aspects of Frank Lloyd Wright’s oeuvre did not receive sufficient analysis and evaluation. This concerns his place in the historical and architectural process of the late 19th – first half of the 20th century. This place is unique and incomparable with the importance of any other major architects of that time. The concept of “organic architecture” was the direct continuation and development of the ideas of the Art Nouveau period, although it also had a definite imprint of the avant-garde ideology. Frank Lloyd Wright’s path is an evolutionary path, and the height of his popularity coincides with the period of departure of Modern Architecture from the radicalism of its initial stage and with the restoration of the rights of architecture as a full-fledged branch of art. The oeuvre of Frank Lloyd Wright demonstrates the return of Modern Architecture to the principles of the Art Nouveau period in general and, in particular, to the romantic tradition.

F.L. Wright’s written and oral statements are discussed with a view to showing the connection between his principles of “organic” architecture and the rhetorical efficacy of his verbal expression. His calculated, eloquent and dexterous enactment, or performance, of various communication strategies is presented as fully contiguous and consonant with his architectural thinking and substantiation of ideas through action. This makes him an important precursor of postmodern consciousness and praxis.

Copyright of Res Rhetorica is the property of Polish Rhetoric Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Friedrich Fröbel is known in history as the creator of the Kindergarten, a pedagogical institution established in Germany in 1837 that spread all over the world in fifty years. This educational method was a significant moment in Frank Lloyd Wright’s training and the following essay investigates the learning mode of the American architect and its possible repercussion in his works. The analysis does not focus on the formal similarities that can be found in his design, because these aspects were already investigated by many scholars, but it is based on the traces that the rules of the play have left in the compositional method of the Maestro.

What is architecture's role within the agenda of food as a catalyst for urban production and development? Having completed a commissioned study in 2015 for the West Louisville Food Port in Kentucky, along with a research studio at the Graduate School of Design at Harvard University, Shohei Shigematsu, partner at OMA, shares his insights on the subject with Guest‐Editors Rafael Luna and Dongwoo Yim. [ABSTRACT FROM AUTHOR]

The notion of the 'paracosm' is a useful one for architects to understand. Some of the best writers and designers often work within personal, modelled imaginary worlds, sometimes constructed over decades, enabling them to give birth to their narrative scenarios and spaces. Here, Guest‐Editor Mark Morris looks at various literary and architectural paracosmic precedents. [ABSTRACT FROM AUTHOR]

Professor Mark JP Wolf from Concordia University Wisconsin in Mequon takes us on a historical journey, discussing significant aspects and precedents of the practice of worldbuilding, from the ancient Egyptians to JRR Tolkien and George Lucas. He demonstrates that worldbuilding is a deep part of the rich history of human culture, and key to humanity's imagination. [ABSTRACT FROM AUTHOR]

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Frank Lloyd Wright, one of the world’s most famous architects, produced several masterworks in his career, possibly the most celebrated of which is the Kaufmann House, better known as Fallingwater. One of the common arguments historians make about this house is that it is unique in Wright’s oeuvre, as it is not similar to other designs he produced in the three major styles that dominated his career: the Prairie, Textile-Block and Usonian styles. In this paper, the derived fractal dimensions (D) using the standard architectural variation and application of the box-counting method are developed for the elevations and plans of Fallingwater. Using the measurements derived from a set of 15 Prairie, Textile-Block and Usonian houses, this paper tests whether Fallingwater is indeed an outlier in his body of work, as some historians suggest. The results indicate that, contrary to the standard view, Fallingwater has D measures that are broadly similar to those of his other styles, and on average, Fallingwater has formal parallels to several aspects of Wright’s Usonian style.

Frank Lloyd Wright’s utopian plan Broadacre City described a decentralized, agrarian landscape. Post-World War II American suburbanization reflected Wright’s vision in many ways. In response, a large body of literature on the harms of decentralized development was established and numerous alternative models for urban growth that aim to increase density, including New Urbanism, were developed. However, the agrarian ethos of Broadacre City is missing from American suburbia as well as its prominent alternatives. This absence is not incidental; the growing literature on biophilia describes the human need for nature to live healthy and satisfying lives. The contemporary rising interest in urban agriculture is an insurgent demand for the opportunity to reconnect with the land once again. In this paper I argue that planners must recognize this insurgence by incorporating agrarian design, not only denser design, in the latest models for urban growth.

Copyright of Builder (1896-0642) is the property of PWB MEDIA Zdzieblowski sp.j. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Taliesin is the home and working facility that Frank Lloyd Wright (1867–1959) began for himself in 1911 and which remained a work in progress for the rest of his life. Integral to its esthetic is the display of the Japanese and Chinese paintings of which Wright was a discriminating collector; these were mounted specifically to fit locations in the important public rooms. Their conservation was framed by the restoration of the building to address inherent compromises, later unsympathetic changes, and mitigation of internal environmental extremes. It considered the decision to display the original works rather than seasonal removal or replacement with photo-reproductions. Importance was attached to the conservation objectives, procedures, materials, techniques, and sensibilities inherent in the treatment of large format Asian paintings, with particular emphases on the variations from traditional practices that have proved valuable for treatment of works displayed in Western contexts. Attention was given to how the paintings could be reintegrated into their original locations with protective glazing and framing that are sympathetic to the original decorative schemes. The place of specialization within the conservation profession is considered, the rationales that substantiate it, and what value it has in the cross-pollination of technical developments. [ABSTRACT FROM AUTHOR]

O livro A Construção Funcional Moderna, escrito por Adolf Behne em 1923, contém discussões fundamentais para a compreensão (e condução) da Arquitetura Moderna na década de 20. Em seu texto, o autor identifica correntes e categorias de pensamento diversas, e as explora em três tempos, determinando os três capítulos fundamentais de seu livro. O primeiro deles, objeto desse texto e tradução, tem como ênfase a recusa na adoção de princípios formais estabelecidos, e operação de retorno à finalidade para gerar um edifício vivo. O efeito desta operação reposiciona o conceito de edifício, libertando-o de uma condição estática e fachadista. Behne apoia-se nas casas de Frank Lloyd Wright dos anos 1900 para desenvolver seu argumento, e termina por escrever um texto acurado e preciso sobre a obra de Wright, apontando características que só se acentuariam na obra do arquiteto norte-americano nas décadas de 1930 e 40.

Este artigo apresenta uma experiência didática, envolvendo Teoria e Projeto com estudantes de graduação e pós-graduação em Arquitetura. Esta atividade está relacionada à pesquisa que se debruçou sobre a tradução comentada e crítica, à luz do contexto histórico e cultural em que foi produzido, do livro The Natural House (1954), de Frank Lloyd Wright. O objetivo da atividade de projeto foi relacionar Teoria, ou seja, os escritos do arquiteto e seus ensinamentos, com Projeto de Arquitetura, onde a partir destes ensinamentos e princípios contido no livro, os estudantes desenvolveram um projeto e teve seu processo documentado. Acreditamos que o livro se apresenta como um Tratado Moderno de Arquitetura Orgânica de Wright. Se considerarmos que os Tratados Clássicos tinham como objetivo especialmente organizar, sistematizar e documentar um conhecimento a partir de uma prática de projeto e construção, este livro de Wright corresponde a este desígnio em seu contexto do século XX.

One of the most widely accepted theories about Frank Lloyd Wright's domestic architecture is that he employed a recurring pattern of spatial and visual relations in his planning, to control the experience of movement through his houses. Known as the 'Wright Space', this theory has recently begun to be tested using computational and mathematical means, providing the first quantitative assessment of its validity. To date, the results suggest that a spatio-visual pattern akin to that formulated in the Wright Space can be found in some of Wright's Prairie Style and Textile-block designs, but several of his most famous works remain untested. In this paper Wright's Hollyhock House, an important intermediate work in his oeuvre, is examined to test two hypotheses. First, the paper seeks to determine whether passage through the house conforms to the spatio-visual pattern identified in the Wright Space. Second, the paper examines the claim that the experience of the Hollyhock House is more similar to that of Wright's later Textile-block architecture, than it is to his earlier Prairie style works. The paper uses a computational method, isovist analysis, to test the hypotheses. [ABSTRACT FROM AUTHOR]

Ben van Berkel, co‐founder of Amsterdam‐based UNStudio, believes that architectural practice has been invigorated by the myriad of cultural, societal and technologic parameters that a contemporary architect must consider. The practice recently formed a spinoff company, UNSense, to develop and commercialise technologies emerging out of UNStudio's smart city and smart environment projects. Here he describes some of the products, prototypes and startups the studio has developed to help tackle some of the important issues of our time: stress, urban water and climate change. [ABSTRACT FROM AUTHOR]

The building industry is fraught with delays, lack of coordination on site and budget overruns. Craig Curtis, Head of Architecture and Interior Design at off‐site construction company Katerra, describes how his firm's fully integrated, reverse‐engineered, prefabricated housing units mitigate this. [ABSTRACT FROM AUTHOR]

In 1937 the First All-Union Congress of Soviet Architects was held in Moscow. The congress brought architects from all areas of the Soviet Union. Under the auspices of Vsesoiuvnoe Obshchestvo Kul'turnoi Sviazi s zagranitsei (VOKS) it invited international architects from Europe and North and South America. The Organizing Committee of the Union of Soviet Architects invited Frank Lloyd Wright from the United States. Frank Lloyd Wright presented his philosophy and exhibited his work, specifically his designs for the weekend home for E. J. Kaufmann "Fallingwater" and the drawings for the S.C. Johnson Administration. Frank Lloyd Wright's presentation did not focus heavily on the architecture but, rather the spirit of the Russian and Soviet vision.

El inicio de las Vanguardias marcó un periodo de crisis para el museo y su arquitectura. A pesar de ello, existirán propuestas visionarias realizadas por grandes figuras del Movimiento Moderno, como Le Corbusier y Wright. A través de su legado gráfico, se observará la coincidencia de sus soluciones basadas en las formas ancestrales del zigurat y la espiral, utilizadas como una innovación tipológica, aunque desde posturas proyectuales particulares. Si Le Corbusier ensayó la plástica del espacio expositivo en las áreas sociales de sus casas y continuó dibujando y variando su arquetipo de museo como un zigurat de planta cuadrada, hasta compactarse en la espiral de crecimiento ilimitado; Wright, por su parte, comenzó ideando uno de planta circular, cuya geometrá nació en las rampas del planetario Gordon Strong, para después invertirlo y crear un recorrido helicoidal descendente único, donde forma y función son uno mismo.