On the Meaning of ‘Europe’ for Architectural History

As an open complex adaptive knowledge system, Web2.0 uses some applications like Blog, Wiki, Tag, SNS, RSS as its kernel, and puts many complex new theories and technologies, for example, Six degrees separation, Synergetics, Long tail, XML, Ajax into the background. So that knowledge production, communication and utilization have realized in self-organization and ordering through users' widely particip- ating under the restriction of simple rulers by the patterns of multiple, multiple, personalization and decentralization. The above make users become the adaptive agent of knowledge architecture (KA) in the Web2.0, revert KA to its original state of human-oriented and gives users abundant experiences, and made KA present the new characteristics of hierarchy, multiple and complexity. Therefore, the traditional KA theory can't explain and serve the new character, so that it is necessary to reveal the basic principles and evolution mechanism of the personal KA, Website KA and social KA in Web2.0 by introducing some complex theory and methods such as self-organization theory, emergence theory, and loop feedback theory from a new perspective.

Art was the Mother of Science: the vigorous and comely Mother of a daughter of far loftier and serener beauty. William Whewell, 1852 Much of what we take for granted as architectural knowledge today was legitimated and codified in the early nineteenth century. Especially in the case of medieval architecture, we are bound by 200-year-old assumptions about what holds value and what counts as fact. This article explores an important founder of empirical architectural history, William Whewell, and argues that he used the methods of early Victorian science to gain authority for the nascent study of medieval architecture. Using methods characteristic of the sociology of science, I will concentrate on the social production of knowledge, not the accuracy of the knowledge produced; therefore, the question of who was right, or who was right first, will be laid aside in favour of asking how architectural knowledge was legitimated in early Victorian Britain.

© Springer International Publishing AG, part of Springer Nature 2018. We distinguish several design knowledge types in IS research and examine different modes of utilizing and contributing design knowledge that can take place during design science research (DSR) projects. DSR projects produce project design knowledge, which is project-specific, possibly untested, conjectural, and temporary; thus, distinct from the more stable contributions to the propositional and prescriptive human knowledge bases. We also identify solution design knowledge as distinct from solution design entities in the prescriptive knowledge base. Each of the six modes of utilizing or contributing knowledge (i.e. design theorizing modes) we examine draws on different knowledge types in a different way to inform the production of project design knowledge (including artifact design) in a DSR project or to grow the human knowledge bases in return. Design science researchers can draw on our design theorizing modes and design knowledge perspectives to utilize the different extant knowledge types more consciously and explicitly to inform their build and evaluation activities, and to better identify and explicate their research’s contribution potential to the human knowledge bases.

In this article, we argue that articulated craft knowledge may have significant potential for technological innovation when combined with design knowledge in situations where craftsmen and designers collaborate in industry. Having as the subject matter of this research, we elicited three features of craft that can possibly contribute to NPD. These are “risk taking”, “holistic approach in practice” and “prototyping” transferred as knowledge production, knowledge application and knowledge diffusion to the innovation process. Through this topic, we search for NPD cases that craftsmen and designers collaborate in industry. In conclusion, the cases in this article ending with a product that finds a place in the market correspond with “knowledge application” stage of the innovation process. Although knowledge application and knowledge diffusion stages resulted in a product, knowledge production stage is also significant in terms of the potential use of knowledge in the future obtained from collaborative work of craftsmanship.

Architecture scholars have often considered images as inadequate and unreliable vehicles to convey three-dimensional spatial experiences. This chapter aims to show that the visual and the spatial are not rigidly separated fields of knowledge, but, as Christy Anderson and Karen Koehler (2002) have shown: ‘interrelated ones, one informing the other, and, establishing patterns of creation and reception’. In order to do so, this chapter looks at an abstract painting series made by the architect-educator Alfons Hoppenbrouwers (1930–2001, BE) at the end of his career in the 1990s. It makes a ‘social biography’ of the paintings by tracing them in two places of production: the studio in a Catholic convent and the theory classroom in the Sint Lucas Institute for Architecture in Brussels. Following this trajectory, a multi-layered educational project unfolds. Hoppenbrouwers’s paintings were pedagogical vehicles by which he taught his students not only how to perceptually understand space but also how to read architectural history. As such, this chapter sheds light on the tactile, yet tacit production of architectural knowledge in the theory classroom and thus locates architectural history at the intersection of architectural, visual and educational cultures.

An Inhabitable Infrastructure: Rethinking the architecture of the bazaar

Ned Kaufman Place, Race, and Story: Essays on the Past and Future of Historic Preservation . New York: Routledge, 2009, xi + 421 pp., 50 b/w illus. $39.95, ISBN 9780415965408 Thomas F. King Our Unprotected Heritage: Whitewashing the Destruction of Our Cultural and Natural Environment . Walnut Creek, Calif.: Left Coast Press, 2009, 200 pp., no illus. $24.95 (paper), ISBN 1598743813 Place, Race, and Story presents essays on historic preservation's past and future that are intellectually provocative, culturally incisive, and politically astute. At its core this book challenges the twentieth-century alliance, or confusion, between the practices of architectural history and historic preservation. That alliance often tended to define historic preservation as a curatorial pursuit, committed to preserving a three-dimensional encyclopedia of the objects of historians’ desire, aesthetically and stylistically considered. This framing of historic preservation drastically narrowed its social and cultural possibilities. Ned Kaufman points the way toward a more relevant, expansive, and vital historic preservation movement; a movement committed to social equity, steeped in ethnography and politics and guided less by the imperatives of architectural history practice and more by sensitivity to the human values manifested in everyday attachments to place. Some historic preservation practitioners have used the criteria and models of architectural history to insulate their work from social claims of various stakeholders and communities. Kaufman argues, “It is hard to understand how separating heritage from society's most pressing concerns can enhance the cause of conservation.” He challenges the tendency of many not-for-profit preservation organizations that allocate “resources to protect a historic site admired by architectural historians” (9) while making no effort to discover and help protect sites that are meaningful to a much broader array of neighborhood and community groups. Kaufman does not stand alone. Retiring in 2010 as president of the National Trust for Historic Preservation, Richard Moe reflected on the field; he wrote, “Historic preservation has evolved into something much more than just saving historic buildings. Today it is about people and the places that they care about—where they live, work, shop, worship, and celebrate. We need historic places to help ground us in our past, but also in our future, as …

Digitization of analogue everyday artifacts, i.e. when physical products are equipped with digital capabilities, has a profound impact on today’s society. Some examples of these digital innovations aimed at consumer markets are the “connected” car, the digitized television set, and in the near future, digitized IKEA furniture. Digital innovation provides endless opportunities for providing value adding products and services. However, in digital innovation there is a need to find new ways of organizing network activities, i.e. activities such as e.g. production and translation of knowledge and enrollment of actors. These activities need to embrace and build on the networked aspects and the complexity inherent to digital innovation. This requires network activities that can overcome challenges with the ambiguous and messy characteristics of digital innovation. In this thesis, I propose that the theoretical perspective of network orchestration can enlighten fruitful ways to address challenges that are encountered when organizing network activities in digital innovation. Inspired by practical challenges with digital innovation, as well as contemporary calls for research within IS, this thesis investigates: How can network activities be orchestrated in digital innovation? Two cases of digital innovation aimed at consumer markets are studied. The first case concerns the digitization of the newspaper. The second case regards the digitization of door locks. Literature about digital innovation is used to understand the context of the studied phenomenon. Furthermore, theories about network orchestration as well as activities in innovation are used as a theoretical framework to help answer the research question. The thesis is based on an interpretative perspective where a multi-method approach has been applied to address the research question. The contribution is divided into two different parts. The first part presents four categories of empirically derived network activities that address socio-technical challenges with organizing digital innovation. The second part is a proposed model detailing orchestration of network activities in digital innovation. The model is based around the four suggested categories of network activities: (1) Supporting flexible innovation networks, (2) Production and translation of layered architectural knowledge, (3) Addressing heterogeneous user communities, and (4) Harnessing generativity to leverage value. The categories of network activities can be viewed as building blocks for the orchestration process. By emphasizing both a proactive and a reactive way of orchestrating digital innovation, the model proposes a means for organizations to address the ambiguity and complexity of digital innovation.

Architecture displays the individual and collective values involved in its inhabitation, construction, procurement and design. It traces the thinking of the individuals who have participated in it, their relationships and their involvement in the cultures where they lived and worked. This chapter looks at three contemporary replica buildings as media for fabricated messages for cultural consumption. The first building is the current project to ‘reconstruct’ the Ottoman-era barracks in Taksim Square in Istanbul as a shopping mall, replacing the important Gezi Park in an attempt to claim an imperial Ottoman identity for contemporary Turkey. The second project is the recent ‘reconstruction’ of the centre of Dresden, Germany, in service of disaster tourism and the idea of the reinstatement of a historical continuity between the present and the pre-1945 past. The third is Studio Libeskind’s shopping mall called Crystals at CityCenter in Las Vegas. The shopping mall is a replication of an architectural language first developed at the Jewish Museum in Berlin. As such it expresses the phenomenon for ‘starchitecture’, where famous designers are hired to reproduce forms for their international sign value. These three replica buildings show how in an age of globalisation architecture can yield political messages spanning the fields of work, history, education and economic markets, over and above the ideas that the architects and promoters of these buildings initially intended.

This Editorial presents the Special Collection ‘Data and Workflows for Multilingual Digital Humanities’. The Special Collection brings together an assortment of contributions that explore how power structures operate in digital knowledge production with a focus on multilingualism and the management of multilingual data. The seven articles in the Special Collection offer an overview of innovative approaches and results that highlight the richness and the challenges of the intersection between multilingualism and the digital realm for humanities research. They showcase innovative workflows for multilingual data acquisition, curation, integration, and analysis, reflecting the efforts of Multilingual Digital Humanities research to ensure broad participation and representation in digital knowledge production. ‘Data and Workflows for Multilingual Digital Humanities’ contributes to make digital knowledge production more inclusive, equitable, and representative of global diversity.

Robert Hooke and Christopher Wren's interest in ancient buildings has been noted by historians of architecture and natural philosophy alike. The two men used to meet to discuss descriptions – both verbal and visual – and models of ancient buildings that had long since disappeared and were known only through ancient accounts, or that remained only in a ruined or altered form. These included the Temple of Solomon, described at different places in the Bible, Porsenna's tomb, cited as an example of extravagance by Pliny the Elder, and the Hagia Sophia. In 1675, Hooke recorded such a meeting in his diary: ‘With Sir Chr. Wren. Long Discourse with him about the module [model] of the Temple at Jerusalem’.

Introduction: In the history of architecture and cities, the stratification of sanitary spaces is an indicator of economic, social, and settlement changes affecting the territories. The historical-architectural research presented in this article aims to identify buildings with a healthcare destination of historical and architectural interest in Abruzzo, especially those abandoned and/or transformed over time, and to develop guidelines for their protection and enhancement. Methodology: The methodology used is divided into three phases: State-of-art recognition through bibliographic research, archive research, and in situ verification. Mapping and development of a detailed listing of geolocated case studies. Identification of scenarios and common guidelines for the recovery and protection of these spaces. Results: The expected results for this study are: 1) The creation of an accessible database of abandoned healthcare spaces in Abruzzo. 2) The detailed listing of the most significant sites of interest, highlighting current critical issues and potential. 3) The drafting of guidelines for recovery, protection, and enhancement of this heritage. Discussion: This study aims to provide an additional tool for the knowledge of healthcare architecture, helping in the recognition and protection of historical, architectural, and urban values. The identification and classification of these buildings will facilitate the development of new procedures for their management, favoring the preservation of this type of heritage. Conclusions: The project provides a framework for the recovery of historical healthcare spaces in Abruzzo, promoting their protection and valorization through an accessible database and clear guidelines. This will help manage healthcare heritage effectively, recognizing its importance in the urban and historical context, and offering strategies for its preservation and adaptation to new needs.

Academic design research currently produces a range of traditional and alternative doctoral outputs integrating writing and project-based components. While other academic fields, including architecture, have achieved sufficient disciplinary consensus that academic writing may be characterised in textbook guides, this is not yet the case in the newer design disciplines. Although there may be humanistic and creative resistance to the conventionalisation of academic design discourse and the perceived loss of academic freedoms this entails much can be gained by writing with an eye to models of good practice. Genre-based approaches to academic writing, including thesis writing, are firmly established in applied linguistics and composition studies. In disciplines with stable research paradigms, such as experimental science, the rhetorical and linguistic conventions for academic genres are well documented and accepted among the relevant discourse communities. This is not yet the case in emerging design scholarship where visual and textual modes of presentation jostle with creative project outcomes. Although postgraduate design education lacks the genre stability of other disciplines a growing corpus of academic documents, including digital theses in the design disciplines now allows some preliminary analysis and conclusions to be drawn about the textual production of knowledge in design. Given the pedagogical value of modelling in teaching writing in the current multicultural environment of Australian higher education, such findings have implications for design education. This paper reviews the genre-based approach and examines research proposals and thesis texts from design as a potential source for teaching at the postgraduate level. The paper suggests that the supervision and writing process for design educators and students can be facilitated by genre-based approaches to analysis and teaching, which is exemplified here.

The Conclusion applies the arguments of the book to a single design: Wren’s western portico of St. Paul’s Cathedral. In the process, the chapter uses Wren’s own method of analysing ancient architectural forms, and does what he did to various ancient buildings to his own most celebrated design. In the detail of the portico we can see how Wren used his knowledge (of ancient architecture) to produce invention in an architectural design, thus proving himself to be (by the standards of the day at least) an Architectus Ingenio.

Book Review| March 01 2023 Review: Giuliano da Sangallo and the Ruins of Rome Cammy Brothers Giuliano da Sangallo and the Ruins of Rome Princeton, N.J.: Princeton University Press, 2022, 320 pp., 211 color and 53 b/w illus. $75 (cloth), ISBN 9780691193793 David Hemsoll David Hemsoll University of Birmingham Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2023) 82 (1): 86–88. https://doi.org/10.1525/jsah.2023.82.1.86 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation David Hemsoll; Review: Giuliano da Sangallo and the Ruins of Rome. Journal of the Society of Architectural Historians 1 March 2023; 82 (1): 86–88. doi: https://doi.org/10.1525/jsah.2023.82.1.86 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Cammy Brothers’s new book deals principally with the drawings of ancient architecture by the Renaissance architect Giuliano da Sangallo (1443–1516) that are found in two parchment manuscripts, the magisterial Codex Barberini in the Vatican Library, and the more modest Taccuino senese (Sienese Notebook) in Siena’s Biblioteca Comunale. Both have already been studied in good detail, and both also feature prominently in the online compendium the Census of Antique Works of Art and Architecture Known in the Renaissance.1 This publication, however, takes a markedly different approach, valiantly setting out to ask, and then answer, pressing but little-studied questions that invite consideration of the drawings in new ways. Thus, the author is not concerned, for example, with the thorny question of dating, this applying, in particular, to the Codex Barberini, which (as summarized here) was assembled into its final composition only at a very late date, having previously... You do not currently have access to this content.