Marianna Charitonidou


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Charitonidou

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Marianna

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Publications1 - 10 of 130
  • Travel to Greece and Polychromy in the 19th Century: Mutations of Ideals of Beauty and Greek Antiquities
    Item type: Journal Article
    Charitonidou, Marianna (2022)
    Heritage
    The article examines the collaborations between the pensionnaires of the Villa Medici in Rome and the members of the French School of Athens, shedding light on the complex relationships between architecture, art, and archeology. The second half of the 19th century was a period during which the exchanges and collaborations between archaeologists, artists, and architects acquired a reinvented role and a dominant place. Within such a context, Athens was the place par excellence, where the encounter between these three disciplines took place. The main objective of the article is to render explicit how the revelations of archeology, actively disseminated by the members of the French School of Athens—the “Athéniens”—had an important impact on the approach of certain pensionnaires of the Villa Medici in Rome. Particular emphasis is placed on certain pensionnaires, who decided to devote their envois to ancient monuments of Greece. In parallel, the article intends to shed light on the methods that helped the pensionnaires-architects of the Villa Medici in Rome appropriate archaeological discoveries concerning Greek antiquities. The article takes, as a starting point, the following hypothesis: to better understand the figure of the architect-archaeologist, of whom Jacques Ignace Hittorff is an emblematic example, it is pivotal to bear in mind that before the second half of the 19th century neither the figure of Hellenic archeology nor the figure of the architect had yet acquired their autonomy. Taking into account that Johann Joachim Winckelmann, in the middle of the 18th century, forged an ideal Greek model, which was criticized during the second half of the 19th century, the article also sheds light on the fact that the revelations of archaeologists have called into question the Winckelmannian image of Greece. Another aspect that is explored in the article is Jacques Ignace Hittorff’s studies concerning the polychromy of ancient Greek monuments, paying special attention to his Restitution du temple d’Empédocle à Sélinonte ou l’Architecture polychrome chez les Grecs. The article also explores how the shifts of the status of philhellenism are related to the mutations of the meaning of travel to Greece. In parallel, it investigates the impact of Greek independence on the ideals of beauty and nature in arts, as well as how Greek independence is related to the intensification of the interest in the excavations of Greek antiquities.
  • Archives of Architecture Museums: The Effects of Digitisation
    Item type: Journal Article
    Charitonidou, Marianna (2017)
    Oase
    The present state of architecture archives is characterised by an increasing tendency towards digitisation. The fact that in September 2016 the Museum of Modern Art in New York (MoMA) announced free online access to thousands of exhibition images in The New York Times is a symptom of such an ongoing process. Undoubtedly, this trend has an impact on the production and dissemination of architectural knowledge and alters the way architecture museums relate to contemporary architectural and urban design practice as well as to the general public The purpose of this essay is to scrutinize how this transfer of architectural records from paper to a digital form affects the relation between the general public and architecture.
  • The Balcony as an Urban Element: Threshold, Common World and Rythmanalysis
    Item type: Presentation
    Charitonidou, Marianna (2020)
    To start, it would be interesting to refer to the etymology of the word ‘balcony’. ‘Balcone’ derived from ‘balco’, which in old Italian means ‘scaffold’, and ‘one’, which is an augmentative suffix. It means big scaffold. Balconies differ from their cousins, terraces (because they are cantilevered), and viewing platforms (because they are attached to dwellings). The “Balcony” was one of the elements that was investigated in the Venice Biennale of 2014 curated by Rem Koolhaas, which was devoted to the topic “Elements of Architecture”. The section of the exhibition that was devoted to the ‘Balcony’ curated by Tom Avermaete was structured around three narrative lines: the first narrative line concerned the political role of the balcony, referring to both its micro-political and macro-political dimension, the second narrative line concerned its focal role, while the third narrative line concerned its liminal role. The political role of the balcony became evident in the case of the “renunciation” speech by Eva Perón in Buenos Aires and the first address of the liberated Mandela at the Cape Town City Hall in 1990 among other cases. The second narrative line, which concerned the focal role of the balcony, included a full-size model of a Haussmannian balcony, which should be understood in conjunction with the bourgeois public sphere in 19th century Paris. The Haussmannian balcony was confronted with the modernist transparency of the Bauhaus at Dessau and an Algerian balcony by Fernand Pouillon in which vernacular and modern definitions of the public sphere coincide. The third narrative line of the section of the exhibition devoted to the balcony concerned the liminal role of the balcony and included an ensemble of photographs of collective housing projects. Its objective was to render explicit the capacity of the balcony to articulate the interior and the exterior, the private and the public, the individual and the collective. It paid special attention to its informality and to its capacity to function as an in-between articulating the private and public realms. The exhibition intended to shed light not only on the spatial characteristics of the balcony, but most importantly on its different cultural appropriations and its experiential complexity. The exhibition also included a prototype of a mashrabiya, which is an architectural element which is characteristic of Arabic residences. It is a type of projecting oriel window enclosed with carved wood latticework located on the second story of a building or higher, often lined with stained glass. The life in the balcony is an important aspect of the quotidian life in the Mediterranean cities. As Bernardo Zacka remarks that “[t]he genius of the balcony is to assemble people who live within proximity, but who are otherwise strangers, around a common world of events, experiences and issues”. The very force of the experience of the balcony lies in its in-betweenness, that is to say in the fact that it combines privacy and publicity, as well as interiority and exteriority. The degree of its publicity and exteriority varies from culture to culture. I could refer, for instance, to the architectural element called mashrabiya. Beginning in the Middle Ages, enclosed mashrabiya balconies with ornate latticework were built across much of the Arab world to allow residents to enjoy the fresh breeze while adhering to Islamic laws of privacy. In Ancient Greece, the houses had timber balconies that looked towards the atrium, which was the main source of light towards the interior spaces of the houses. In Ancient Rome, in the Forum, noble spectators had their seats on the balconies (maeniana). A maenianum was a balcony or gallery for spectators at a public show in ancient Rome. In the Renaissance, balustraded balconies became a fixture of many Italian buildings after architect Donato Bramante unveiled the design of his bannister-bound Palazzo Caprini in Rome. Another architectural element that shares some characteristics with the balcony is the loggia, which is a covered exterior gallery or corridor usually on an upper level, or sometimes ground level. The outer wall is open and is usually supported by a series of columns or arches. Loggias can be located either on the front or side of a building and are not meant for entrance but as an out-of-door sitting room. From the early Middle Ages, nearly every Italian comune had an open arched loggia in its main square, which served as a symbol of communal justice and government and as a stage for civic ceremony. During the days of the quarantine due to the COVID-19, the balcony acquired a dominant role in our quotidian life because it is the architectural component that allows the citizens to have access to the public sphere. In order to grasp its significance in our everyday lives, it would be useful to refer to three notions: that of the threshold, that of the common world, and that of ‘rythmanalysis’. Firstly, I will draw upon Aldo Van Eyck’s approach to shed light on the notion of the threshold. Secondly, the concept of ‘common world’ is understood here as Hannah Arendt defined it in her seminal book The Human Condition. Finally, to analyse the notion of ‘rythmanalysis’, I will focus on the way Henri Lefebvre understands this notion in his book entitled Rhythmanalysis: Space, Time and Everyday Life, which was originally published as Éléments de rythmanalyse: introduction à la connaissance des rythmes in 1992. Balconies are places open to contingency, where people gather to witness events in common. Balconies have the capacity to put citizens along with their neighbours before matters of common concern. Balconies “transform residential buildings into a public in potential”. Moreover, balconies act as liminal spaces that bridge public and private life. Henri Lefebvre notes, in Rhythmanalysis: Space, Time and Everyday Life: “In order to grasp this fleeting object, which is not exactly an object, it is therefore necessary to situate oneself simultaneously inside and outside. A balcony does the job admirably, in relation to the street, and it is to this putting into perspective (of the street) that we owe the marvellous invention of balconies […] from which one dominates the road and passers-by”. In the case of the balcony, architecture fosters common knowledge. In order to better grasp the status of this common knowledge, we could refer to what Hannah Arendt called “common world”. In her seminal book entitled The Human Condition, Arendt argues that common sense is crucial because it constitutes “a kind of sixth sense through which all particular sense data, given by the five senses, are fitted into a common world, a world which we can share with others, have in common with others”. As Jon Nixon notes, in his book entitled Hannah Arendt and the Politics of Friendship, “[f]or Arendt the world is neither entirely ‘in our heads’ nor entirely ‘out there’. It is the intersubjective space within which we relate to one another through our five senses - hearing, sight, smell, taste and touch - and in so doing constitute our common world”. According to Bernardo Zacka, “balconies may be nominally private, but they are just as much a continuation of the public realm up in the air”. To better understand the role of the balconies in maintaining the sense of the public realm up in the air during the days of the pandemic, we could bring to mind David Harvey’s following remark regarding the impact of the daily life on how we understand our political praxis and our role in the world, in his text entitled “The Political Economy of Public Space”: “We do not, after all, experience the city blankly, and much of what we do absorb from daily life in the city […] surely has some kind of influence on how we are situated in the world and how we think and act politically within it”. The experience of the quotidianity in the balcony contributes significantly to the production and what Arendt calls “common world”. For Arendt, the common world is the very human condition. The Spatial Specificities of the Balcony: The Polykatoikia Balcony in Greece In order to grasp the specificity of the Greek balconies one should interpret them within the context of the emergence of the typology of the so-called ‘polykatoikia’, which in Greek means multi-residence (πολυκατοικία, from πολυ-, meaning multiple, and -κατοικία, meaning residence). The birth of ‘polykatoikia’ is closely related to the need to respond to the great increase of Athens’ population due to the arrival of the refugees from Asia Minor after the defeat of the Greek army in August 1922 and the so-called “Great Fire of Smyrna” in September 1922. Despite the fact that balconies and especially their use in repetition such as in the facades of ‘polykatoikies’ became a point of reference of the facades of the residential buildings in Greece in the twentieth century, the construction of balconies in Greece date backs to Ancient Greece. Since their first occurrences, balconies were conceived as devices aiming at satisfying needs related to hygiene though the increase of air circulation and the enhancement of natural light to a building's interior. Later, wooden balconies were also used in certain typologies of residential buildings of vernacular architecture in the islands of Cyclades and Dodecanese and elsewhere in Greece. These balconies, which also served mostly hygiene purposes, were often made of katráni, a type of cedar imported from Asia Minor. Additionally, in Peloponnese’s vernacular houses, especially in Messini, one encounters four main typologies of semi-outdoor spaces of which the three were variations of the typology of balcony. The ‘polykatoikia’ model is based on the adoption of the horizontal property law of 1929, which allowed and even promoted the emergence of a system of ‘antiparochi’: a cashless contract between the owner of a building site and an entrepreneur who would assure rapid construction of the ‘polykatoikia’ without any financial help from the state and was based on the exchange one’s house and building site for one or more flats in the newly-built ‘polykatoikia’, which would replace the existing building in the site. Thanks to this system, there was a great increase of the building activity, which resulted to the modernization of the Greek cities and offered the possibility to large numbers of citizens to own their own apartments. The system of ‘antiparochi’ also helped to respond to the necessity of building new ‘polykatoikies’ to host the new populations of Greek citizens who moved from smaller cities and villages to Athens after the destruction of the former during the Civil War (1946-1949). The construction of ‘polykatoikies’ was intensified in the late 1950s and reached its peak during the 1960s and 1970s. The ‘polykatoikia’, to a certain extent, morphologically, is an evolution of the Dom-Ino system, introduced by Le Corbusier in 1914. One of the most dominant characteristics of the Greek ‘polykatoikies’ are their extensive outdoor spaces: the large and repetitive linear balconies, which in many cases are continuous and wrap the facades of the ‘polykatoikies’. The size of these balconies is generous compared to that of the balconies of the Haussmannian buildings in Paris with a width of at least two meters in most of the cases. Their size makes them capable of accommodating various activities of the everyday life. They function literally as an extension of the indoor spaces and activities. In most cases, inhabitants place plants, furniture and other home appliances on their balconies. During the warm months of the year the balcony becomes the site of collective family life; of eating, gathering, and entertaining. Contrary to their Parisian counterparts, most of the ‘polykatoikies’ balconies are equipped with textile sunshades that can be moved up and down with the help of a metal mechanism to adapt to the specific needs of the inhabitants in terms of sun and privacy. Regarding the post-war reconstruction in Athens and the large urban centres in Greece, a decisive role played a law that was voted in 1947, the so-called «ΚΗ' Ψήφισμα», which concerned the properties that were built privately but for the middle and upper classes and offered an exempt from tax, while the state facilitated the issuance of building permits and the granting of mortgages. The most intensive period regarding the construction of ‘polykatoikies’ in Greece was between 1957 and 1967, during the boom. During that period, the ‘polykatoikia’ became a status symbol and contributed significantly to the modernisation of living conditions. Those who migrated to the city found in these large balconies a substitute for the private open-air spaces that they were accustomed to from their rural dwellings, but now situated in the dense urban matrix. The ‘polykatoikia’ soon became symbolic of Greek modernisation thanks to its contribution to the ‘hygienisation’ of housing, achieved mainly due to the balconies and amenities such as central heating. Nonetheless, the symbolic value of these balconies for their tenants relied upon an understanding of the benefits of sun in a more spiritual way, which aimed to challenge the rigid hygienic symbolism that was attributed to balconies in northern modernist contexts and should be understood within the context of the politics of ‘mediterraneity’ in Southern Europe. Within the northern modernist contexts, much emphasis was placed on technocratic aspects, through slogans such as “light, air, and openness”, while for the Greeks the balconies not only contributed to the improvement of the hygienic conditions of the residential buildings, but also offered access to the spiritual aspects of natural light. Moreover, the balconies of the Greek ‘polykatoikies’ contribute significantly to the optimisation of the passive heating and cooling strategies. Thanks to their generous size, their vegetation, and their textile sunshades, balconies in Greece have an important impact on the sustainable environmental design of the ‘polykatoikies’, contributing significantly to the air circulation and to the enhancement of the daylight conditions of the indoor spaces.
  • The Practices of Flâneuses within the Context of the COVID-19 Pandemic: Feminist Geography vis-à-vis Automation Discourse
    Item type: Other Conference Item
    Charitonidou, Marianna (2021)
    The article, drawing upon Leslie Kern’s Feminist City: Claiming Space in a Man-Made World (2020), examines the interconnections between “feminist geography” – a sub-discipline of human geography that applies the theories, methods, and critiques of feminism to the study of the human environment, society, and geographical space – and the methodologies of history and theory of architecture and urban planning. One of the questions that is addressed in the aforementioned book is the following: “Could the flâneur be female?”. The practice of flânerie has been threatened during the pandemic. A question that arises is that concerning the relationship of women and men to public space during these challenging times. Books such as Lauren Elkin’s Flâneuse: Women Walk the City are useful for responding to this question. Elkin argues that “women have been simultaneously hyper-visible and invisible in the streets”, underscoring the fact that Charles Baudelaire, Walter Benjamin, and Georg Simmel neglected the role of female flâneurs because of their “inability to notice women acting in ways that didn’t fit their preconceived notions”. The article sheds light on how the status of “flâneuse” has changed within the context of the pandemic. It also explores how the home-office conditions due to the COVID-19 pandemic has challenged the approaches of “feminist geography”. It does not only draw upon an ensemble of works on “feminist geography”, but also on a broad literature concerning automation discourse, such as Aaron Benanav’s Automation and the Future of Work (2020) among other. Benanav addresses the role of women in the fourth and sixth chapters of the book entitled “A Low Demand for Labor” and “Necessity and Freedom” respectively. The paper relates the arguments of these two chapters to the questions raised by feminist geographers, relating the current home-office conditions to Benanav’s remark that “social distinctions between waged and unwaged work, which have historically consigned women to the ‘hidden abode’ of household production, would have to be abandoned”, and exploring how the methods of history and theory of architecture and urban planning could take into account and facilitate this endeavor to reject such social distinctions.
  • Revisiting Civic Architecture and Advocacy Planning in the US & Italy: Urban Planning as Commoning and New Theoretical Frameworks
    Item type: Conference Paper
    Charitonidou, Marianna (2022)
    110th ACSA Annual Meeting Proceedings, Empower
    Under the headers of ‘advocacy planning’, ‘collaboration’, ‘participatory design’, ‘co-production’, ‘commoning’ and ‘negotiated planning’, participation is, nowadays, at the centre of the debate on urban design. Architects and urban designers are developing new concepts, tools and roles to comply with these new participatory modii operandi. The participatory concern in the urban design process has not only a long history in practice but also in urban design education. Various experimental initiatives with participation emerged in the domain of architectural pedagogy in the late sixties, often starting from student initiatives. Representative cases are The Architects’ Resistance (TAR) - a group formed in 1968 by architecture students from Columbia GSAPP, MIT Department of Architecture, and Yale School of Architecture, - the National Organization of Minority Architecture Students (NOMAS), the Black Workshop, the City Planning Forum, and Associazione Studenti e Architetti (ASEA). Many of these groups emerged within the context of the struggles for civil rights and thus made a plea to have non-hegemonic or ‘other’ voices heard in the urban design process. These initiatives explored how new concepts, roles and tools for participation could become part of the education of the architect and urban designer. The paper investigates an ensemble of counter-events, counter-publications in the US and Italy during the sixties, shedding light on their impact on the institutional status of academia and on how activism can reinvent the relationship between architecture and democracy. Its objective is to reveal the tensions between enhancing equality in planning process and local bureaucracy in the case of advocacy planning strategies, on the one hand, and to reflect upon the necessity to reshape the urban planning models in order to respond to the call for a more democratic society, on the other.
  • Digital technologies and the spatial organisation of exhibitions: How augmented and virtual reality enhance interactive digital interfaces?
    Item type: Other Conference Item
    Charitonidou, Marianna (2021)
    The phenomenon of using digital materials provokes a democratization of access to primary sources, transforming museums’ relations to the public. Digitization does not have an impact only on the access to artworks through digital collections but is also related to the emergence of new art forms known as “digital-born media art”. Both phenomena – the artworks’ democratization due to the prolif-eration of digital collections and the emergence of various forms of digital-born media art – foster new demands in the design of art museums. The paper examines these new demands, diagnosing the current tendencies concerning the aforementioned phenomena, which are related to the trend of ap-pointing “digital directors” in art museums, and to the overgrowing role of digital curatorship in museum studies. The common denominator of the new demands related to these phenomena is the intensifi-cation of interactivity. Since the mid-1990s, digital technologies such as tracking and mapping have been used not only in the spatial organisation of exhibitions, but also in media art, making interactive media a com-monplace. Interactive digital interfaces are major components of this reorientation in the design of art museums. The design of interactive interfaces has contributed to the enhancement of art gallery ex-periences, as it becomes evident in cases as ARTLENS Gallery at the Cleveland Museum of Art (CMA) (2017-), Asymptote’s Guggenheim Virtual Museum (GVM) (1999-2002). The latter was conceived as a virtual museum dedicated to the display of internet art, providing an online digital archive for all the forms of new media art as well. is A recent case where Augmented Reality (AR) plays a major role is the over 107,000 square feet “Mori Building Digital Art Museum: TeamLab Borderless” in Tokyo’s Odaiba district, which opened on 21 June 2018. Thanks to the use of 520 computers and 470 projec-tors, which produce various simulations, “Mori Building Digital Art Museum: TeamLab Borderless” offers to its visitors a multisensory experience (fig. 1). Space syntax methods, such as Bill Hillier’s theory, are useful for understanding the implica-tions of the use of interactive digital interfaces in the design of art museums, and for analysing the spatial patterns that emerged due to the interactive digital interfaces. Bill Hillier and Julienne Hanson, in The Social Logic of Space, aimed to present a general theory of how people relate to space . In Space is the Machine: A Configurational Theory of Architecture, Hillier’s objective was to “outline a configurational theory of architecture and urbanism” . Bill Hillier claims that “[c]onfiguration seems in fact to be what the human mind is good at intuitively, but bad at analytically” . Taking as a starting point the incorporation of the space syntax concepts in the museological studies, my aim is to shed light on how the interactive digital interfaces have influenced the way the exhibition spaces are expe-rienced. Regarding this issue, Kali Tzortzi, in her paper entitled “Spatial concepts in museum theory and practice”, has reflected upon the case of the “interactive experience model” , drawing upon the space syntax theory. Sharon Macdonald, in “Interconnecting: Museum Visiting and Exhibition Design”, analyses the different trends in the so-called museum visitor research. She focuses her analysis on the so-called “directed behavioural studies”, which focus on the investigation of “specific aspects of visitor behaviour in exhibitions” . Useful for comprehending how space syntax research can serve as a tool for explaining the ways in which the incorporation of interactive digital Interfaces in exhibition design affects the visitor's perception are the most recent studies on how “the visitor's perception is ‘staged’” . A topic that the space syntax analysis has not addressed comprehensively is the impact of interactive technologies on how the visitors experience exhibition spaces. The paper examines the implications for exhibition de-sign of a new direction for the space syntax research concerns the investigation of “how physical spa-tial layout—and perhaps matters such as the perceived boundaries of an exhibition or its sequenc-ing—might be mediated by technologies such as interactive computer guidebooks” . The concept of “spatial configuration”, which is central for the space syntax approach, is pivotal for better grasping the relationship between new media art and the architecture of exhibition spaces, and their respective use of augmented and virtual reality. The paper explains in which sense an analysis of exhibition spaces based on space syntax theory would focus on the connectivity of the different spatial components and the use of patterns concerning the ways of experiencing the ‘spatial configuration’ of the exhibition spaces.
  • From Harlem to New Haven: The Emergence of the Advocacy Planning Movement in the late 1960s
    Item type: Conference Paper
    Charitonidou, Marianna (2019)
    Architecture and Democracy 1965–1989: Urban Renewal, Populism and the Welfare State, Sixth Annual Conference November 2019
    In the United States of America, the term ‘urban renewal’ refers to a federal government program that began in 1954 with the purpose of replacing blighted urban areas with new urban projects. In contrast to the connotation of ‘urban renewal’ in North-Western European cities — where the term was linked with a democratisation movement and the establishment of new forms of participatory governance — within the American context ‘urban renewal’ was related to the implementation of top-down strategies that “decimated older black neighbourhoods, forcing relocation in rapidly ghettoising areas, or in some cases creating physical barriers that confined African Americans to certain areas.”1 The paper examines certain democratic practices in such a charged environment, shedding light on the ways in which top down urban renewal projects were often aimed against black communities, exemplified with two case studies that are closely connected to the critique of urban renewal in the United States: the founding in 1964 of the Architect’s Renewal Committee in Harlem (ARCH) as the first organization solely devoted to advocacy planning in the United States, and the establishment in 1969 of the City Planning Forum at Yale School of Art and Architecture, an independent governing body which consisted of all full-time faculty members and students and — in dialogue with the civil rights movement — sought to bring greater diversity to the department.
  • Frank Gehry’s non-trivial drawings as gestures: drawdlings and a kinaesthetic approach to architecture
    Item type: Journal Article
    Charitonidou, Marianna (2022)
    Journal of Visual Art Practice
    Departing from the intention to explore Frank Gehry’s drawings serving to their own designer to grasp ideas during the process of their genesis, the article examines Frank Gehry’s concern about the revelation of the first gestural drawings and all the sketches and working models concerning the evolution of his projects, and his intention to capture the successive transformation and progressive concretisation of architectural concepts. The article also compares Gehry’s design process with that of Enric Miralles, Alvar Aalto, Bernard Tschumi, and Le Corbusier. It sheds light on Miralles, Aalto, Le Corbusier and Gehry’s interest in a holistic understanding of all the parts of an architectural project, which is expressed through their tendency to draw the different sketches concerning the same project on the same sheet of paper. At the core of Gehry’s design approach is the osmosis of function and morphology. This aspect of his design vision could be compared to Alvar Aalto’s design process. At the core of the article are the distinction between communication drawings and conceptual drawings, and Gehry’s concern about achieving an osmosis between function and morphology. The article also investigates Gehry’s use of uninterrupted self-twisting line in his sketches, exploring his intention to enhance a straightforward relationship between the gesture and the decision-making regarding the form of the building.
  • Autopia as New Perceptual Regime: Mobilized Gaze and Architectural Design
    Item type: Presentation
    Charitonidou, Marianna (2020)
    Day 43 of the 100 Day Studio: Marianna Charitonidou describes how the automobile revolutionised the way architects perceive the city. The presentation focuses on the examination of photographs taken by architects John Lautner, Alison and Peter Smithson and Aldo Rossi while travelling by car. Dr. Ir Marianna Charitonidou is a Lecturer and a Postdoctoral Research Fellow at the Chair of the History and Theory of Urban Design at the Institute for the History and Theory of Architecture (gta) ETH Zürich. 100 DAY STUDIO The 100 Day Studio is a new series of online lectures, interviews, building tours and panel discussions, organised by The Architecture Foundation. For 100 weekdays from Monday April 6th 2020 to Thursday August 27th 2020, the 100 Day Studio will host many of best architects and architectural thinkers in the world, broadcast live and uploaded here on this channel. The curriculum for the week ahead will be announced each Friday at architecturefoundation.org.uk/news/100-day-studio.
  • Architecture's Addressees: Drawing as Investigating Device
    Item type: Working Paper
    Charitonidou, Marianna (2019)
    The article examines how the concept of the addressee of architecture has transformed throughout the twentieth century, demonstrating how the mutations of the dominant means of representation in architecture are linked to the evolving significance of the city’s inhabitants. It presents the ways in which the reorientations regarding the dominant modes of representation depend on the transfor-mations of architects’ conceptions of the notion of citizenship. Through the diagnosis of the epistemo-logical debates corresponding to four successive generations – the modernists starting from the 1920s, the post-war era focusing on neorealist architecture and Team 10, the paradigm of autonomy and the reduction of architecture to its syntactics and to its visuality in the 1970s and the reinvention of the notion of the user and the architectural program through the event in the post-autonomy era – it identifies and analyses the mutations concerning the modes of representation that are at the heart of architectural practice and education in each generation under consideration. It traces the shifts from Le Corbusier and Ludwig Mies van der Rohe’s fascination with perspective to Alison and Peter Smith-son’s Cluster City diagrams and Shadrach Woods’s “stem” and “web”, on to Peter Eisenman’s search for logical structures architectural components’ formal relationship and his attraction to axonometric representation, and finally to the Office for Metropolitan Architecture (OMA) and Bernard Tschumi’s concern with uncovering the potentialities hidden in the architectural program.
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