An Interview with John Rajchman, Department of Art History, Columbia University, on Architecture, Deleuze and Foucault

An Interview with John Rajchman, Department of Art History, Columbia University, on Architecture, Deleuze and Foucault at his apartment, Riverside Drive, New York City, February 10, 2003.

The nomenclature of style: Brutalism, Minimalism, art history and visual style in architecture journals

The naming of styles or movements is a basic mechanism of the architectural journals. The announcement of new tendencies, groups or philosophies, gives a journal its character as ���news���, and if such terms are taken up in general discourse this demonstrates the prescience of the editor and enhances the repute of the journal. The announcement of phenomenon such as ���critical regionalism��� or ���deconstructivism��� referred architectural developments to a context in socio-politics or philosophy, and thus aimed to provide at least an initial resistance to their understanding as the formal styles which they quickly became. A different strategy, or occasion, which this paper will discuss, is where the name of an architectural moment is given in the traditional form of an art historical style. Here the nomenclature of style and a certain attitude to form is introduced as the starting point for a more open ended critical inquiry. Two examples of this strategy will be given. The first is Peter Reyner Banham and the Architecture Review���s promotion of ���Brutalism��� as an anti-aesthetic which took its conceptual form from early twentieth century art movements, particularly Futurism. The second, identified with Architectural Design in the 1990���s is ���Minimalism���, a term describing a strand of the visual arts of the 1960���s which can be understood as an attempt to nuance and add seriousness to the present rampant nostalgia for the style of the architecture of the 1960���s.

Art for architecture's sake?

The Architecture, Disciplinarity and the Arts symposium was organised by the Architecture. Theory, Criticism and History (ATCH) research group at the University of Queensland, run by John Macarthur and Antony Moulis, together with Andrew Leach who joined them last year and organised much of the symposium. The symposium ran for three days in a small room at the Institute of Modern Art (IMA) in Fortitude Valley, Brisbane (generously donated by director Robert Leonard), with about 40 people in attendance. Together with a long question time of an hour after every three speakers, the size of the room and the small number of people made it very different from most architecture or design conferences. The intellectual level of the symposium was high, without the speed dating aspect that one often sees at the Society of Architectural Historians, Australia and New Zealand (SAHANZ) meetings, where endless parallel sessions of short papers create an occasionally disorientating cacophony of words. The symposium was deliberately, unapologetically academic and the intimate nature of the forum made the discussion rich and collaborative, with an active audience. The title of the symposium, 'Architecture, Disciplinarity and the Arts', reflects the connection that already exists between the art history and the architectural history community in Brisbane, with both groups regularly attending each other's functions.

Teaching Art History to Design Students

Art History is often seen as a mandatory core course in the curricula of design programs but it is rarely tailored to the needs and goals of such programs. Instead, the traditional chronological organization of lecture topics, invariably beginning with the ���Venus of Willendorf��� (c. 25,000 BC) is presented in order to impart to the students a supposed holistic ���big picture.��� This essay outlines the re-structuring of a two-semester first-year faculty-wide introductory art history course, entitled ���History of Art and Design,��� in the Faculty of Fine Arts and Design at Izmir University of Economics, Izmir, Turkey. The course was re-configured from a conventional chronologically-presented (time-oriented) lecture series to a thematically presented (topic-oriented) lecture series more relevant to the students of the faculty ��� architecture, interior architecture, graphic design, industrial design, and fashion design students.

Place and displacement : southeast Queensland architecture

The "vernacular" housing tradition of southeast Queensland is easily identifiable. Its history is more complex. This study seeks to challenge two popular conceptions of the "Queenslander" history by showing that they actually provide contradictory explanations. The aim is to produce a more complex account of local architecture and its historical explanation so that both its past and its present practices can be better understood as a distinctly subtropical idiom. This discussion shows that such practices may respond to common concerns but that are also ever-changing.

Critical reckonings : Global art and art history after the West and Eurocentrism

Review of Paul Wood (2013), Western Art and the Wider World. Wiley-Blackwell : Chichester, United Kingdom.

Peftjauawybast, king of Nen-nesut : genealogy, art history, and the chronology of late libyan Egypt

This paper argues in detail for the identification of Peftjauawybast, King of Nen-nesut (fl. 728/720 BC ), with Peftjauawybast, High Priest of Ptah in Memphis (fl. c. 790���780 BC2), known from the Apis stela of year 28 of Shoshenq III. This identification ties in with a significant lowering of the accepted dates for the kings from Shoshenq III, Osorkon III and Takeloth III to Shoshenq V, and the material culture associated with them. Such a shift seems to be supported by stylistic and genealogical evidence. As a consequence, it is further suggested that the Master of Shipping at Nen-nesut, Pediese i, was perhaps related by descent and marriage to the family of the High Priests of Memphis and King Peftjauawybast.

The architecture of influence: Paul Rudolph's Art and Architecture Building at Yale

Focussing on Paul Rudolph���s Art & Architecture Building at Yale, this thesis demonstrates how the building synthesises the architect���s attitude to architectural education, urbanism and materiality. It tracks the evolution of the building from its origins ��� which bear a relationship to Rudolph���s pedagogical ideas ��� to later moments when its occupants and others reacted to it in a series of ways that could never have been foreseen. The A&A became the epicentre of the university���s counter culture movement before it was ravaged by a fire of undetermined origins. Arguably, it represents the last of its kind in American architecture, a turning point at the threshold of postmodernism. Using an archive that was only made available to researchers in 2009, this is the first study to draw extensively on the research files of the late architectural writer and educator, C. Ray Smith. Smith���s 1981 manuscript about the A&A entitled ���The Biography of a Building,��� was never published. The associated research files and transcripts of discussions with some thirty interviewees, including Rudolph, provide a previously unavailable wealth of information. Following Smith���s methodology, meetings were recorded with those involved in the A&A including, where possible, some of Smith���s original interviewees. When placed within other significant contexts ��� the physicality of the building itself as well as the literature which surrounds it ��� these previously untold accounts provide new perspectives and details, which deepen the understanding of the building and its place within architectural discourse. Issues revealed include the importance of the influence of Louis Kahn���s Yale Art Gallery and Yale���s Collegiate Gothic Campus on the building���s design. Following a tumultuous first fifty years, the A&A remains an integral part of the architectural education of Yale students and, furthermore, constitutes an important didactic tool for all students of architecture.

Art and Architecture of Ireland Volume Four:Architecture: 1600-2000

Three Entries: Peacelines; Public Housing in Northern Ireland in the Twentieth Century; Interpretive Centres, NI Peacelines, NI Social Housing

���5 ways to say your prayers���:The Art and Architecture of Curating People, Place and Creativity in a Post-Conflict Context. The Shed, Galway, Ireland 18th June ��� 23rd July 2013 Includes: 1. Co-Curation of Exhibition with Peter Mutschler, Director of PS�� and 2. Morrow���s individual work as part of the exhibition, entitled ���Departures & Arrivals: Academic Interactions with the Activities, Artists and Archive of PS�������

This exhibition profiles the curatorial approach of PS�� and the work of creative practitioners who have practiced alongside and with the organisation. PS�� is a Belfast-based, voluntary arts organisation that initiates projects inside and outside its project space. It seeks to develop a socio-spatial practice that responds to the post-conflict context of Northern Ireland, with particular focus on active intervention and social interaction between local people, creative practitioners, multidisciplinary groups and theorists.<br/>Morrow has collaborated with PS�� since its inception in 2005, acting as curatorial advisor specifically on the projects that occur outside PS�� . She regards her involvement as a parallel action to her pedagogical explorations within architectural education.<br/><br/>Morrow's personal contribution to the Exhibition aimed to:<br/>-interrogate PS�� spatial projects <br/>-contextualise PS�� curatorial practice <br/>-open up the analytical framework and extend to similar local practices<br/><br/>The Shed, Galway, Ireland is a joint Galway City Arts and Harbour Company venture. The exhibition subsequently travelled to DarcSpace Gallery, Dublin (Sept 2013).

Folly: Art after Architecture

FOLLY brings together Irish and international contemporary artists whose work has been inspired by iconic buildings of architectural modernism. From Eileen Gray���s seminal E1027 to Mies Van der Rohe���s restored Farnsworth House, Paul Rudolph���s demolished residences to Walter Gropius���s imagined Chicago Tribune Tower, the buildings referenced in FOLLY have had a mixed collection of fates.<br/><br/>Their presence in this exhibition affords them another afterlife. The qualities that make the architecture significant are played-with, exposed, re-canonised, made ambiguous, and eulogised. By creating fictional moments, questioning conventional documentation or excavating troubled histories of production, each artist invites you to think about how we experience and understand architecture today.