Autonomy and the socialisation of architects

The socio-cultural production of architects' identities, and their professional personas, is a lively source of continuing debate. At one extreme, there is the claim to autonomy that highlights the distinctiveness of architecture and its cultural and disciplinary specificity. This view is challenged by those who emphasise architects' dependence, for acting and actions, on their embeddedness into collective, social, settings and relationships. In the paper, we consider what it may mean to be ‘autonomous of’ and ‘dependent on’ in relation to the actions of architects. There is limited specification in architectural writings about what autonomy and dependence are, and we suggest that there is a need not to discount such terms, but to reformulate them by recognising that the socially constructed self is an integral part of individual action. In this respect, we seek to amplify, and evaluate, the concept of relational autonomy that distances the notion of autonomy from individualistic, under-socialised, accounts of architects and their practices. Referring to three empirical examples of practice, we amplify this understanding by, first, outlining what a relational autonomous approach to architecture might entail, and, secondly, assessing how far it may enable a conception of the practices of architects in ways whereby, following Tony Fry's observations, they are conceived as much broader than ‘the specificity of any particular activity’ that expresses their existence.

'Salve, magna parens': Virgil’s 'laudes Italiae' in Renaissance Italy and beyond

This article traces three major strands in the reception of the address to Italy at the end of Virgil’s laudes Italiae in Book II of the Georgics. The first is the adoption of phrasing from these lines as the basis for expressions of devotion to the writer’s country (and for panegyric of contemporary rulers), or in inverted form to lament the present state of the author’s homeland; the second is the appropriation of Virgil’s hymnic apostrophe to his patria in poems on religious themes, where language from this passage is harnessed to invoke the supreme deity or the Virgin Mary, another magna parens; and the third is the use of Virgilian terminology to celebrate Virgil himself as the mighty parent of poetry and poets, whose words (including those of the lines under discussion) have inspired the literary endeavours of his successors across Europe and beyond throughout subsequent centuries.