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The article examines the role of photography in architectural magazines during the 1950s and 1960s, with special focus on the transfers of architectural ideas. By applying an interdisciplinary method that includes a contextual model of visual studies, art, architecture and design history, the article analyzes selected examples to gain insight into the theoretical and cultural-historical foundations and circumstances of the creation and transformation of the visual language of photography in architectural magazines published in the specified period. Instead of (re)constructing the narrative, the roles of photography in the representation of architectural production are studied as a field of complex relations in the field of cultural production. Special attention is paid to specific ways of establishing visual codes of communicating architectural ideas based on photography, created during the 1950s and 1960s in different political and cultural contexts. The aim of this paper is to contribute to the interpretation of architectural photography, from documenting to socially and politically engaged criticism, as well as relativizing the boundaries between architecture and popular culture in the sphere of visual, aesthetic, spatial and ideological aspects of the representational discourse of architectural magazines., U tekstu se razmatra udio fotografije u arhitektonskim časopisima 1950-ih i 1960-ih godina, s posebnim osvrtom na transfere arhitektonskih ideja. Primjenom interdisciplinarne metode koja uključuje kontekstualni model vizualnih studija, povijesti umjetnosti, arhitekture i dizajna, na odabranim primjerima analiziraju se teorijske i kulturnopovijesne osnove, okolnosti nastanka i transformacije vizualnog jezika fotografije u arhitektonskim časopisima navedenog razdoblja. Umjesto (re)konstruiranja narativa, uloge fotografije u prikazivanju arhitektonske produkcije proučavaju se kao polje složenih odnosa u području proizvodnje kulture. Stoga se posebna pažnja posvećuje specifičnim načinima uspostavljanja vizualnih i značenjskih kodova komuniciranja arhitektonskih ideja zasnovanih na fotografiji, koje tijekom 1950-ih i 1960-ih nastaju u različitim političkim i kulturnim kontekstima. Cilj je ovog rada pridonijeti tumačenju arhitektonske fotografije, od dokumentiranja, preko društveno i politički angažirane kritike, do relativiziranja granica između arhitekture i popularne kulture u sferi vizualnih, estetskih, prostornih i ideoloških aspekata reprezentacijskog diskursa arhitektonskih časopisa.

“FAMagazine” was founded in 2010 and in 2019 it has been acknowledged as a scientific journal of excellence (A class). This recognition is important above all because it marked the end of the hegemony of paper magazines in architectural excellence. The article explains the meaning of a scientific journal, the procedures that are activated for the selection and evaluation of contributions, since, as the authors state: “FAM” aims to be a scientific, research, open-access, eclectic and militant journal, at least militant enough not to allow indiscriminate access to its rooms. In any case, from the outset, more inclusive than exclusive”.

Ettore Sottsass Jr. (Innsbruck 1917-Milan 2007) was an architect, artist, designer, photographer, and writer, who always had a nomadic approach to events. This led him to travel incessantly around the world ever since his university years and till the end of his life. Starting from his archive, this article aims at investigating the design methods and processes around his journeys by considering both his business trips and the ones fostered by his curiosity. Travelling represented a tool for the search of his own identity, a parallel path in his long and seminal career, always intertwined with his design methodology.

On the timeliness of media relationships between architecture and journals. Media and architecture have always been in a close, interdependent and mutually beneficial relationship. Apart from the very general understanding that architecture itself is a medium, the focus here is on a form of media that has only perhaps gone out of fashion – the trade journal, the magazine – which must be considered one of the most important forms of publication in the architectural scene for over two centuries. And at this point the question arises as to whether the printed journal has reached the end of its life, or whether its history teaches us principles and modes of action that remain relevant across past and still coming media changes. For apparently the basic rules of the game between representing and being represented have hardly changed: Architects must have specialized media skills, are supposed to learn from public relations manuals and should plan announcements and publications strategically, preferably on all available platforms – from journals to social media. What is often overlooked behind this statement is that the ‛architectural scene’ has always and essentially functioned in conjunction with media. The publications of architecture in different media formats constitute much more a lineage of tradition than a relationship of two components that must always be reinvented. This thesis is presented in three sections: the first deals with the at times momentous media changes in forms of representation for architecture; this is followed by an example of a media relationship between architecture and journals, illustrated by an excursus on ‛Berlin’ since 1900; the last section is devoted to the on-going effectiveness of the history of the relationship between architecture and the media of journals. In all cases, history is used to argue for the present. First, there are two short introductions that point to the current relevance and historicity of the subject. One example is the almost retroactive usefulness of a printed culture and fashion magazine for the ever-new manifesto representations from the workshop of OMA/AMO in 2021. We can contrast this with a very early reference from the 1910s, when Adolf Loos coquettishly complained that his architecture did not work at all in the latest representation of the time, photography, because he established himself against such a background as an influential ‛media maker’ of architecture in his own right. The first part, Architectural Representation and Media Change, argues through Mario Carpo's illuminating investigations into the connection between architectural thought and media representation – from handwriting to printing technology. Carpo thus achieves nothing less than to retell the media history of architecture since Leon Battista Alberti and to pose the explosive question: What effects does it have on building itself when long-practiced forms of reproducing architecture are ‛reformatted’ in terms of a change of media? Carpo thinks these media ‛shifts’ into the age of full digitization, questioning historicity and modernity. Against this background, section two then presents how a Lineage of Tradition of Media Relationships (using the example of the publication topic ‛Berlin’) spans two time periods from ‛c.1900’ to ‛c.1990’. The medium of the trade journal, in particular, repeatedly created a self-referential framework for the ‛architectural scene’ within which certain topics could be literally ‛made’. Two media examples, the journals Bauwelt (existing from 1910 until today) and Berliner Architekturwelt (existing from 1898-99 to 1919), were particularly dedicated to this ‛making’ of Berlin: Bauwelt was considered highly modern and ‛illustrated’ – or sought to serve the entire building industry with media services – and Berliner Architekturwelt endeavoured to create the idea and concept of ‛New Berlinisation’. A notion that was to become popular again around a hundred years later, when there was once again a struggle for the interpretative sovereignty of the concept of a New Berlin in the context of architecture. There is no doubt that the media “directed the image” (Werner Sewing). In the course of the 20th century, the architecture journals took on the role of being a relevant and combative medium several times, once with the classic avant-garde journals of the first decades of this century and later again with the many colourful ‛little magazines’ that pushed forward not only the architectural, but partly also the social renewal of the 1960s and 1970s. The final section of the text therefore asks the question whether an Effective Re-coupling of architecture and (printed) medium, one of aspiration and influence, is possible, especially against the background of the indisputably growing power of images to ‛show’ and ‛convince’ in equal measure. The conclusion once again emphasizes the mutual and reciprocal conditionality of architecture and its media, with the remark that architects themselves play a significant role in shaping and designing these media forms.

Η διατριβή μελετά τα αρχιτεκτονικά Μέσα Μαζικής Ενημέρωσης (ΜΜΕ) και συγκεκριμένα τα αρχιτεκτονικά έντυπα με στόχο να διερευνήσει τη σχέση τους με το γίγνεσθαι της αρχιτεκτονικής. Η διατριβή αποτελείται από δύο μέρη. Στο πρώτο μέρος αναπτύσσεται ο θεωρητικός προβληματισμός για το ρόλο των ΜΜΕ στη διαμόρφωση και εξέλιξη της αρχιτεκτονικής. Το δεύτερο μέρος της διατριβής συμπεριλαμβάνει την έρευνα πεδίου και αφορά στην καταγραφή, επεξεργασία, ερμηνεία και αξιολόγηση της κατάστασης που επικρατεί στον αρχιτεκτονικό περιοδικό τύπο στην Ελλάδα. Στο πλαίσιο αυτής της κριτικής προσέγγισης και λαμβάνοντας υπόψη την κοινωνικό-οικονομική, τεχνολογική και πολιτισμική συνθήκη της περιόδου της υπενεωτερικότητας διατυπώνονται μία σειρά από προτάσεις με στόχο τη βελτίωση και ενδυνάμωση των αρχιτεκτονικών ΜΜΕ – στην έντυπη αλλά και ψηφιακή τους μορφή- οι οποίες αναφέρονται στους αρχιτέκτονες αλλά και στον αρχιτεκτονικό τύπο., This PhD thesis studies the architectural media and specifically the architectural periodical publications in order to investigate their relationship with the communication and development of architecture. The thesis consists of two parts. The first part establishes the theoretical framework of the role of the media in the communication, promotion and development of architecture. The second part consists of the field research and includes the recording, interpretation and evaluation of the situation of the contemporary architectural media in Greece. In the context of this critical approach and taking into consideration the socio-economic, technological and cultural conditions of the period of hypermodernity, a series of proposals, which are addressed to both architects and to architectural media, are formulated, aiming at improving and strengthening the architectural media in their printed and digital form.

[ES] Este trabajo pretende recuperar arquitecturas, obras y arquitectos, que por diversos motivos han quedado en el olvido. En concreto el trabajo se centra en el ámbito de la vivienda colectiva en el periodo comprendido entre 1950 y 1970. A lo largo del siglo XX, y más intensamente después de la Segunda Guerra Mundial, las publicaciones periódicas de arquitectura han sido una fuente inestimable de difusión de la práctica profesional, aportando ejemplos, modelos, innovaciones y obras destacadas que han servido de referencia para el desarrollo de la arquitectura. Algunos de los proyectos recogidos en esas publicaciones han trascendido su época, bien por su especial valor como referentes arquitectónicos, bien por formar parte de una práctica consolidada y reconocida de un determinado arquitecto de renombre. Otros muchos proyectos y otras muchas obras, en cambio, tuvieron un cierto valor o reconocimiento momentáneo para pasar progresivamente al olvido hasta desaparecer como referencias posibles y válidas tanto en las escuelas de arquitectura como para la práctica profesional. El objetivo de este trabajo es realizar un recorrido acotado por algunas de esas publicaciones periódicas en el periodo de estudio para localizar y recuperar algunos ejemplos de esas arquitecturas olvidadas poniendo en valor las características por las cuales no han perdido vigencia, como modelos o como referencias, en la actualidad., [EN] This work aims to recover architectures, works and architects that for various reasons have been forgotten. Specifically, the work focuses on the field of collective housing in the period between 1950 and 1980. Throughout the 20th century, and more intensely after World War II, architectural periodicals have been an invaluable source for the dissemination of professional practice, providing examples, models, innovations, and outstanding works that have served as a reference for the development of architecture. Some of the projects featured in these publications have transcended their time, either because of their special value as architectural references or because they form part of the consolidated and recognised practice of a renowned architect. Many other projects and many other works, on the other hand, had a certain value or momentary recognition only to be progressively forgotten until they disappeared as possible and valid references both in schools of architecture and for professional practice. The aim of this work is to make a limited tour through some of these periodical publications in the period under study in order to locate and recover some examples of these forgotten architectures, highlighting the characteristics for which they have not lost their relevance, as models or references, nowadays.

ResumenLa Asociación de Revistas Latinoamericanas de Arquitectura (en adelante ARLA) es una iniciativa que nació al alero de las Mesas de Revistas realizadas en los Seminarios de Arquitectura Latinoamericana, SAL. El primer paso se dio en el XIIº SAL realizado en Chile en la ciudad de Concepción (2007), donde los editores presentes acordaron apoyar la idea de generar una plataforma virtual que permitiera crear un mecanismo eficaz y constante de cooperación entre las revistas latinoamericanas de arquitectura y, a partir de ella, promover además su visibilidad internacional.Palabras clave: apropiación social del conocimiento, divulgación científica, investigación en arquitectura, revistas de arquitectura

Since Casabella-Costruzioni first published the Brazilian Ministry of Education building in 1939, Italian magazines have repeatedly documented modern architecture in Latin America. Looking closely at articles published in Domus, Casabella-Continuità and Architettura: Cronache e Storia along the mid-decades of the twentieth century, the paper rehearses the circumstances of this editorial concern, and argues the existence of tendentious narratives that perform an “Italianization” of Latin American architecture. On the one hand, one such arbitrary construction brings into the spotlight subterranean impulses of postwar Italian architecture, which range from the vindication of a leading role in the international scene to the need for reconciling unfamiliar instances of modernity with deep-rooted vernacularism. On the other hand, the orientations of the Italian journals also betray something far more programmatic: the priority of the political-ideological credos of the magazines” directors over the proper overview of Latin American architecture. Unravelling this tendentious narrative, the paper will seek to unmask an act of instrumentalization that has gone largely unnoticed until today. And at the same time, it will recast Italy’s encounter with the Southern hemisphere in ways that read more as a window on postwar Italian architecture than on its Latin American counterpart. Nachdem Casabella-Costruzioni 1939 erstmals eine Dokumentation über das Gebäude des brasilianischen Erziehungsministeriums veröffentlicht hatte, berichteten italienische Magazine regelmäßig über moderne Architektur in Lateinamerika. Der vorliegende Beitrag nimmt in den mittleren Jahrzehnten des 20. Jahrhunderts in Domus, Casabella Continuità und Architettura: Cronache e Storia erschienene Artikel unter die Lupe und ruft den Kontext dieser redaktionellen Schwerpunktsetzungen in Erinnerung. Er zeigt, dass dabei von eigenen Interessen bestimmte Erzählungen am Werke waren, die die lateinamerikanische Architektur „italianisierten“. Zum einen fördert ein derart willkürliches Konstrukt die unterschwelligen Einflüsse der italienischen Nachkriegsarchitektur zutage, die nicht nur eine internationale Führungsrolle für sich beanspruchte, sondern auch ungewohnte, moderne Elemente mit tiefverwurzeltem Regionaltypischem in Einklang zu bringen suchte. Zum anderen offenbart sich in diesem Kurs der italienischen Zeitschriften aber auch etwas weitaus Programmatischeres, nämlich dass die politisch-ideologischen Glaubensbekenntnisse der Herausgeber Vorrang vor einer tatsächlichen Überblicksdarstellung zur lateinamerikanischen Architektur hatten. Der Beitrag dechiffriert diese tendenziöse Darstellung in der Absicht, die bis heute weitgehend unbemerkt gebliebene Instrumentalisierung offenzulegen. Zugleich rückt er die Begegnung Italiens mit der Südhalbkugel in ein neues Licht, in dem erkennbar wird, dass hier eher die italienische Nachkriegsarchitektur als ihr lateinamerikanisches Pendant Gegenstand des Interesses war. Depuis la première parution d’un dossier sur le bâtiment du ministère de l’Éducation nationale du Brésil, dans Casabella Costruzioni en 1939, les magazines italiens ont fréquemment publié sur l’architecture moderne en Amérique latine. À travers l’analyse d’articles parus dans Domus, Casabella Continuità et Architettura : Cronache e Storia pendant les décennies du milieu du xxe siècle, cet essai passe en revue les circonstances de ces orientations éditoriales et révèle la présence de narrations tendancieuses mettant en œuvre une « italianisation » de l’architecture latino-américaine. Cette construction arbitraire met d’un côté en relief les influences sous-jacentes de l’architecture italienne de l’après-guerre, allant de la revendication d’un rôle principal sur la scène internationale au besoin de réconcilier des éléments étrangers de la modernité avec un style vernaculaire enraciné. D’un autre côté, les orientations des magazines italiens trahissent une pensée plus générale, à savoir la préséance des credos politiques et idéologiques des directeurs de publication sur un véritable panorama de l’architecture de l’Amérique latine. En démêlant cette vision tendancieuse, l’article vise à démontrer un acte d’instrumentalisation largement ignoré jusqu'ici. Il réinterprète en même temps la rencontre de l’Italie avec l’hémisphère sud comme un regard sur l’architecture italienne de l’après-guerre plutôt qu’un regard sur son pendant latino-américain. Desde que Casabella-Costruzioni documentó por primera vez la construcción del Ministerio de Educación brasileño en 1939, las revistas italianas se interesaron en múltiples ocasiones por la arquitectura moderna latinoamericana. A partir del análisis detallado de los artículos publicados en Domus, Casabella-Continuità y Archittetura: Cronache e Storia, durante las décadas centrales del siglo xx, aborda este estudio las circunstancias editoriales a la vez que discute la existencia de narrativas tendenciosas que presentan una “italianización” de la arquitectura latinoamericana. Por un lado, tal construcción arbitraria se centra en la proyección de los impulsos subyacentes de la arquitectura italiana de posguerra, que van desde la defensa de un papel predominante en el escenario internacional, a la necesidad de reconciliar las instancias desconocidas de la modernidad con el muy arraigado lenguaje vernáculo. Por otro lado, las orientaciones de las revistas italianas revelan también algo mucho más programático: la prioridad del credo político-ideológico de los directores de la revista por encima de la visión de conjunto de la arquitectura latinoamericano. Poniendo el acento en esta narrativa tendenciosa, el artículo evidencia un acto de instrumentalización que ha pasado en gran medida desapercibido hasta la fecha. Al mismo tiempo, reinterpreta el encuentro del Italia con el hemisferio Sur como una ventana abierta a la arquitectura italiana de posguerra más que a su homóloga latinoamericana. Dopo la pubblicazione in Casabella-Costruzioni di un articolo sulla costruzione del Ministero dell’Educazione brasiliano nel 1939, le riviste italiane iniziano a documentare l’architettura moderna in America Latina. Analizzando più approfonditamente gli articoli pubblicati da Domus, Casabella-Continuità e da Architettura: Cronache e Storia intorno alla metà del xx secolo, l’articolo rivisita le circostanze di questo interesse editoriale e sostiene l’esistenza di analisi tendenziose che descrivono un’«italianizzazione» dell’architettura dell’America Latina. Da un lato, una forzatura tanto arbitraria mette in luce impulsi malcelati dell’architettura italiana postbellica, tra la rivendicazione di un ruolo di primo piano sulla scena internazionale e la necessità di conciliare istanze di modernità poco familiari e un vernacolarismo profondamente radicato. Dall’altro lato, l’orientamento delle riviste italiane tradisce anche un intento molto più programmatico: la prevalenza dei credo politico-ideologici dei direttori delle riviste su un’analisi vera e propria dell’architettura dell’America Latina. L’articolo, svelando questa narrazione tendenziosa, cerca di smascherare una strumentalizzazione che è stata ampiamente ignorata fino ai giorni nostri e, allo stesso tempo, ricostruisce l’incontro dell’Italia e dell’emisfero sud, con un approccio che mette l’accento più sull’architettura italiana del dopoguerra che sull’architettura dell’America Latina.

Este texto apunta algunos aspectos de la labor crítica desarrollada por Juan Daniel Fullaondo como director de Nueva Forma entre 1966 y 1975. En unos años de crisis disciplinar, esta publicación emprendió una revisión del legado arquitectónico español. Ante un panorama editorial aséptico, los textos críticos de Fullaondo aspiraron a mediar en el decurso histórico con el firme convencimiento de que la crítica, como tal, cumple con una función tan real como el de las propias obras construidas. ENG: This paper studies some aspects of the critical work that Juan Daniel Fullaondo developed at the Spanish magazine Nueva Forma (New Form), which directed from 1966 to 1975. In these critical years, this monthly publication, which was specialized in architecture and art, undertook a revision of the Spanish Architectural legacy. Despite the aseptic editorial panorama, Fullaondo’s texts firmly aspired to mediate in the collective cultural knowledge. His defense on criticism as a specialized discipline made him vindicate that it could have a role in History as real as masterly projects.

The treatises on architecture have been reborn with the Renaissance, and spread throughout the world keeping its preeminence for generations of architects. However, in the 19th century the criti- que of classicism destroyed this tradition. In the 20th century were the magazines that have assumed this role in transmitting the knowledge of architecture. Monographic editions are presented as the “treaties” of the 20th century. The diffusion of Wright would not have been possible without the portfolio published by Wasmuth (1910), or the work of Mies without the number of L’architecture d’aujourd’hui (1958) through which the images of a powerful architecture would give around the world. Os tratados de arquitetura ressurgiram com o Renascimento e se espalharam por todo o planeta, mantendo sua preeminência para gerações de arquitetos. Porém, no século XIX a crítica ao classicismo destruiu essa tradição. No século XX, foram as revistas que assumiram esse papel, transmitindo o conhecimento da arquitetura. As edições monográficas se apresentam como os “tratados” do século XX. A difusão de Wright não teria sido possível sem o portfolio publicado por Wasmuth (1910), ou a obra de Mies, sem o número de L’Architecture d’Aujourd’hui (1958) através do qual as imagens de uma arquitetura poderosa daria volta ao mundo.

A mediados del s. XX, Sudamérica -especialmente Brasil- fue blanco frecuente de las miradas de la prensa arquitectónica, en pleno debate del Movimiento Moderno. En ese contexto, la práctica chilena era vista como un elemento menor; este artículo presenta los proyectos nacionales que participaron en la discusión impulsada por las revistas de la época. While the debate on Modern Movement developed in the middle of 20th century, South America -especially Brazil- was a regular subject for international press. At that time Chilean practice was often seen as secondary; this article reviews local projects participating in the discussion that architectural magazines motivated.

La comunicación que se presenta reconstruye la recepción en nuestro país del imaginario de la vida moderna generado por la iconografía doméstica norteamericana. Se analizarán representaciones provenientes de los medios de masas -especialmente de la publicidad, pero también de otras fuentes de impacto audiovisual- que nutren las esperanzas de progreso en la primera edad del consumo. Ilusiones y ficciones de modernidad para interpretar cómo la mitología del "american way of life" construye la escenografía de lo inmediatamente posible en el parco panorama de la vida cotidiana española.

The 1960s testified an important change in architectural representation and more widely in the discipline’s periodical press. The themes, the approach, the graphics and the materiality itself of many European magazines shifted and were contaminated by the profound cultural and societal changes of the moment, as the Clip/Stamp/Fold’s selection largely demonstrates. Indeed, a large number of issues incorporated society matters and no longer restrained themselves to the architectural object. The role of photography in this process is widely recognised, as proven by the images used by the Smithsons on the IX CIAM’s grid. Authors refer that architectural photography increasingly resembles photojournalism in the late 1960s, depicting people not buildings. This communication proposes an analysis of cases of architectural publications where a series of photos is organised sequentially, building true narrative sequences. The representation of an urban space through several frames, like the ones popularised in Townscape, such is the movement inside a building that we can identify through the organisation of a series of photos that will condition the way we perceive a certain architecture. However, we will concentrate our attention in examples of photo essays that is more clearly identified as photo stories or fotoromanzi / fotonovela. We will focus in two examples. The first is Manplan, an eight-issue long series of The Architectural Review, published between 1969 and 1970. One of “the bravest moment in architectural publishing”, this sort of “dark manifesto” in a practise magazine, attempts to re-define a series of categories – health, welfare, education, housing, communications, industry and religion. By articulating black and white photos with a text that extends through the pages of each entire issue, the essays (especially the first one) succeed in creating an impact in readers unused to that approach in an architectural magazine. The second example is the collection of three Fotoromanzi produced by the Italian radical group Strum as a participation in the MoMA’s 1972 exhibition Italy: the New Domestic Landscape, after reproduced in Mendini’s Casabella. Associating an equal amount of text and photos in a comicslike sequence, the architects attempt to disseminate quite dense essays on housing problems in Turin, Utopia and the city appropriating a form of communication that was quite popular at the time. Although those cases are very different in nature, context and form, we argue that they both demonstrate that the incorporation of narrative sequences through images, even when dealing with issues that might appear not central in architecture or “on the surface” of the discipline, can be powerful attempts to strike right in the core of the architect’s activity.