Louis I. Kahn

his essay examines the work of Piermario Ciani, a key figure in the Italian underground scene, through his archive now preserved at the Mart Museum in Rovereto. The focus is on his production of fanzines and self-published materials, tracing a trajectory from his early graphic and comic experiments (115/220, Onda 400) to his collaborations with Vittore Baroni (50%, Trax), up to the desktop publishing experiments of Unexpected Communication and the editorial initiatives of AAA Edizioni.
Drawing on a largely unpublished body of materials, the article highlights Ciani’s role as a true “subverter of languages”: an artist who blended underground comics, post-punk music, Mail Art, digital graphics, and neo-Situationist practices. His archive reveals self-publishing as a fertile ground for aesthetic and cultural experimentation, marking a crucial transition from DIY paper-based practices to the digital revolution of the 1980s–1990s.

Kenneth Frampton migrated from London to the United States in 1965, and by the early1980s his condemnation of American Populist architecture would reach its apogee as ‘the reduction of architecture to pure scenography’. This notion of scenography remained a central category within Frampton’s critical regionalist position of 1983, and tectonic position of 1990, and this investigation explores its full meaning. Within this paper, representations are considered quotations, and defined as the ideological sites of articulation and mediation between architectural practice and theory. Proceeding from this definition, Frampton’s criticism of architecture as ‘pure visuality’, or architecture as pure representation, opens up a retrospective critique of his own use of representation to further clarify his position on the relation between practice and theory. These sites occur in the form of writing, building, model, and drawing, and I examine these in Frampton’s formative critical language dur...

El presente artículo trata sobre la transformación de la vivienda colectiva de clase media y alta en la Ciudad de Quito entre 1970 y 2017 a partir de una selección de seis proyectos diseñados por el arquitecto ecuatoriano Rafael Vélez Calisto, profesional con obra relevante para acercarse a la transformación de la vivienda multifamiliar en la ciudad en los últimos 50 años.
El análisis comparativo de estas obras es pretexto para intentar discutir sobre las relaciones entre la economía y el proyecto, la vivienda y el lugar, la oferta y el usuario; y, la tipología con el área comunal como factores determinantes en los momentos de planificación e interpretación de lo existente en el presente urbano de las ciudades.
El artículo presenta el análisis descriptivo-comparativo entre condiciones de ubicación, oferta, usuario y tipología de vivienda multifamiliar, para demostrar lo que las autoras consideran ejemplos de arquitectura multifamiliar desarrollados desde criterios de coherencia con el territorio y calidad espacial que pueden servir de guías en la comprensión del tema al momento de confrontar las problemáticas del habitar en la ciudad contemporánea y en los procesos de diseño de esta tipología.

Topophilia can be associated with the articulation of an architectural or urban space, so that it stimulates the occupants to engage in conversation. They speak to one another in a decorous manner and reach an agreement on topics of common concern. This formulation of a place that is admired, indeed loved, because it brings citizens together, contributed to the work of several influential twentieth-century architects, including Louis Kahn (1901-74). He believed that spaces must be delimited if they are to unite individuals. Although not acknowledged in scholarship on Kahn, his wellknown critique of the modern free plan and universal or expansive space was founded on traditional ideas about speech, agreement and decorum. From the late 1950s until his death in 1974, he designed rooms, or room-like spaces, that were intended to talk to each other. A plan for a building could therefore be defined as a "society of rooms." 1 Each interior, along with the overall composition, fosters discussions. Our understanding of topophilia is enhanced by his theory and practice, where the power of speech and moral principle of decorum are attributed to bounded spaces and human beings.

This chapter explores relationships between theoretical statements and buildings. In particular I focus on Kahn's self reflections in his 1971 Gold Medal Acceptance Speech ("The Room, the Street and Human Agreement"), and three didactic drawings exhibited at the Philadelphia Museum of Art in the same year, entitled 'The Room', 'The Street' and 'The City'. These drawings offer insight into Kahn’s designs for the Kimbell Art Museum (Fort Worth, Texas, 1966–72), Phillips Exeter Academy Library (Exeter, New Hampshire, 1965–72) and Salk Institute for Biological Studies (La Jolla, California, 1959–65).

Este artículo de reflexión es un análisis del artículo Toward a Plan for Midtown Philadelphia, publicado en 1953 por Louis I. Kahn en Perspecta 2, revista de la Universidad de Yale, para estudiar la forma de la ciudad en función de sus flujos a través de siete campos de investigación, con el objetivo de encontrar conexiones con los razonamientos actuales del diseño paramétrico. Independientemente de la planificación urbana, Kahn centra su atención en la velocidad de tráfico, definida como la distancia cubierta por unidad de tiempo, y estudia cómo unificar la etimología de los términos ‘translación’, ‘transferencia’, ‘movimiento’ y ‘metáfora’ mediante técnicas gráficas (los colores, el tamaño de las letras o los signos) e igualmente a través del estudio de la mecánica de fluidos. Utiliza el signo de la flecha para dar presencia a parámetros imposibles de percibir a simple vista a causa de la velocidad y desplaza el tema de la resistencia dedicada a los efectos que una corriente fluida ejerce sobre un cuerpo (un automóvil circulando dentro de un medio fluido, el aire), hacia el tema de la descarga que examina la distribución de los fluidos por tubos (una red de canales que desembocan en otro medio fluido, el agua). Kahn emplea herramientas específicas para analizar y simular la complejidad observada en la naturaleza y después la aplica en las formas estructurales de los edificios y en los patrones de organización urbana, en conexión con el diseño paramétrico cuya búsqueda formal intenta optimizar los objetivos de partida mediante ciertas restricciones en el diseño. Finalmente, en relación con la propuesta de Kahn, Aranda y Lasch publican el libro Tooling, de la serie Pamphlet Architecture, en el cual se incluye el proyecto 10 Miles Spiral, una infraestructura urbana en las Vegas que construye un servicio de descongestión del tráfico y un compacto centro comercial cuya forma helicoidal se generó con algoritmos y puede ser recorrido a 90 km/h. Ambos proyectos proponen nuevas vías de acercamiento a la forma fluida de la ciudad con propósitos sociales y con esta intención, el Plan for Midtown Philadelphia anticipó la visión del contexto como un medio continuo que desmaterializa la forma urbana y libera sus flujo.

Questo libro raccoglie alcuni scritti elaborati in occasioni e tempi diversi. I contributi affrontati e proposti rientrano all’interno di una stessa cornice teorica e pratica che riguarda il rapporto architettura-città. Gli autori hanno inteso interrogarsi attorno ad una precisa questione che riguarda i modi di costruire la città del proprio tempo.
Questo moto verso i modi del progetto si misura con il tema della rigenerazione urbana, termine che appare tuttavia inadeguato per rispondere alle necessità di forma dell’architettura. Si potrebbe così accostare l’espressione rigenerazione urbana alla parola ricostruzione che sembra meglio incontrare le aspettative di forma dell’architettura.
Questa prospettiva considera importante ritrovare un rapporto di continuità con le forme della città storica. In questo senso la relazione architettura-città guarda al progetto come diretta conseguenza di una consapevole e critica relazione tra nuovo e vecchio, intendendo nella parola ricostruzione l’arte di ricostruire i caratteri propri della città storica.

The conference theme of quotation is addressed by considering Kahn’s studies during the 1950s of renowned past and present buildings, including medieval monuments in Albi, the Chapel Notre Dame du Haut in Ronchamp and the Temple of Apollo in Corinth. These will contribute to an interpretation of his scheme for the Mikveh Israel Synagogue (Philadelphia, un-built, 1961-72). Emphasis is placed on hollow columns, which he discerned in buildings seen when travelling in Europe and invoked in the synagogue project. Its most significant interior, which is the sanctuary, incorporates peripheral columns of light. In a series of sketches made in Albi, Kahn stressed that the Bishop’s Palace and the cathedral are linked through their shared use of hollow columns. This informed work in his office on the Mikveh Israel project, specifically models that demonstrated the role of a basic column: it was adapted and repeated to create versions that articulate and connect the three main buildings. These ...

Louis I. Kahn stands out for his essential approach to architecture, seeking the origin of each idea as the key to shaping his buildings. Kahn values construction as much as the idea, believing that the essence of a building must be reflected in its construction process. He explores the nature of materials and their constructive logic, aiming to express the load-bearing system in the most elegant way possible, without the need for added cladding. Among his most significant contributions are his experiences with concrete prefabrication, highlighting the Richards Medical Research Laboratories as a key work where he synthesizes his theoretical and practical principles. This building is notable for its clear articulation of spaces and its integration of light, materials, and construction technique. His previous projects, such as the Trenton Bath House, are fundamental to his later development in the Richards Laboratories, reflecting his constant quest for an architectural order that combines tradition and modernity. These experiences are considered valuable lessons in contemporary construction.

como referencia empírica la arquitectura andaluza, se aborda aquí el espacio como un lenguaje susceptible de ser analizado e interpretado desde una perspectiva antropológico-cultural. Dicho lenguaje expresa material y simbólicamente esquemas cognitivos que hacen referencia al modo en cómo el ser humano concibe y representa su universo organizativo y mental dentro del contexto cultural andaluz. Para acceder al contenido del discurso arquitectónico se busca identificar los códigos que estructuran la gramática espacial, mediante el análisis de la morfología, la sintaxis, la retórica y la semántica, tanto desde una dimensión sincrónica como diacrónica.

The architecture of Louis I. Kahn changed radically in the 1950s. Such was the transformation that it is difficult to find its unmistakable tracks in works so different like the miesian Parasol House (1944) or the palladian Fleisher House (1959). All these differences have been widely recognized by leading architectural critics, and some of them even venture to place that process of change while he was at the American Academy in Rome . They are absolutely right in terms of time and place. But the real question arises when it comes to establishing the reasons for such a radical change in his short stay in Rome. The answer, however, is more difficult. The three months that Kahn spent in Rome as a Resident Architect were really intense. Contrarily to what one might think, he was more a college friend than a Professor. His job allowed him to travel and also encouraged him to do so, so Kahn used to do it a lot. Some of these trips were nearby, but he also made a far journey that got him to Egypt and Greece. This Mediterranean journey is also widely known because of the great drawings he made. Some architectural critics even point out that this trip may have had a potential influence on his late work. But no one has dwelt upon it so far. Therefore, the present paper will try to find the roman histories in Louis I. Kahn's late work.

The current research places itself in the wider debate across the scientific community about the role of designers in the interaction with generative AI. Specifically, its purpose is to investigate how designers and researchers in design deal with bias detection in generative AI outputs. The objective of the research is to reflect upon the theme of personal exposure as a bottom-up strategy to deal with distortions in reality representation through AI. To do so, the contribution first introduces the definition of bias in generative AI and the opportunities as well as limits of debiasing strategies. It continues by presenting an exemplary case study by outlining an overview of ageism in AI, while the central part of the paper addresses this problematic issue by describing and discussing a preliminary research in the field conducted in May, 2024.

Casual and carefully careless,” sometimes tongue-in-cheek, often scathing, these 23 unpublished writings of Colin Rowe—essays, lectures, letters, a postcard, a eulogy—stand in contrast to Rowe’s denser writings, clarifying key concepts in his work while filling in some personal details of his life. 

Extensively illustrated, the book offers brief introductions to each essay, detailed notes remote from the texts, a bibliography of Rowe’s published works, and short biographies of the principal characters mentioned.

The un-grounding of absolute values of beauty (introduced most emphatically by Claude Perrault’s positive/arbitrary dyad) has haunted Western architecture since the eighteenth century. Caprice, unleashed from the controlling reason of taste, challenges architects’ abilities to render the human realm comprehensible. Style battles inherited from the latter-half of the nineteenth century often appear to provide the only avenue of creativity. But this rarely results in architectural comprehensibility or buildings capable of touching emotion. In short, the problem of a meaningful architecture resists the ability of genius alone to resolve it, especially outside of the certainties universal values of beauty or taste once provided. Nevertheless, architects dream of places that stir the passions of the individuals and groups inhabiting them.

As an alternative, Surrealism’s program for rendering the ordinary extraordinary and Piet Mondrian’s project for revealing the expressive potential of reality through abstraction, offered modern architecture a method early on (and continue to) for collapsing the alienating distance between form and content.

Questo libro raccoglie alcuni lavori degli studenti del corso di composizione architettonica e urbana del Dipartimento di Ingegneria Civile, Edile e Ambientale dell’Università di Padova. Il laboratorio ha rappresentato l’occasione per intorrogarsi e tentare di rispondere ad una precisa e decisiva domanda: quale idea di città possiamo oggi ricostruire? Il corso ha orientato l’interesse verso l’edificio pubblico affidando agli studenti il tema della biblioteca quale prova laboratoriale da affrontare rispetto a due aree specifiche del centro storico di Feltre.
L’esperienza di progetto sulla biblioteca si muove all’interno della più ampia cornice teorico-pratica che riguarda la ricostruzione critica della città storica, inserendosi nel dibattito culturale di lungo periodo, nato a partire dagli anni Sessanta-Settanta del secolo scorso, per rispondere alle questioni sollevate sulla forma urbana e per individuare i modi di costruire la città del proprio tempo.

En este libro se aborda el estudio de la casa desde puntos de vista tan diversos como aspectos materiales y formales, soluciones habitacionales, tipología, así como elementos que se mueven en el ámbito de lo ideológico, simbólico o emocional. Este conjunto de investigaciones ofrece una mirada poliédrica que abarca la complejidad del fenómeno de la vivienda en contextos diversos.

La Casa Bianchi, diseñada por Mario Botta, fue construida en 1973 al pie del Monte San Giorgio, en una empinada pendiente que desciende hacia el lago de Lugano. La casa se eleva hacia la inclinación del terreno y se destaca entre la densa vegetación circundante. Su estructura vertical y su planta cuadrada le otorgan una presencia imponente, casi monumental, que dialoga de manera protectora con el entorno natural.

Stefano Musso è lo storico italiano che ha dato continuità agli studi di storia del lavoro dagli anni settanta ad oggi, coltivandoli anche in stagioni di generale disinteresse da parte della cultura accademica e politica. Dai primi studi sugli operai torinesi del primo Novecento alla Storia del lavoro in Italia dall’Unità ad oggi (2002), fino ai contributi più recenti, Musso ha tenuto aperta e continuamente rinnovato una tradizione di ricerca rigorosa e appassionata sui mondi operai e dell’impresa, sul movimento sindacale e sulle politiche pubbliche del lavoro. In questi saggi raccolti in occasione del suo pensionamento da professore dell’Università di Torino, studiose e studiosi di diverse generazioni rendono omaggio al suo insegnamento scientifico e umano, in un tributo che è anche un impegno a continuare nel solco da lui tracciato.

This essay explores a set of correspondences between the psychology of Carl G. Jung (1875-1961) and the architecture of Louis I. Kahn (1901-1974). Both Jung and Kahn considered the psyche as a timeless fact. Kahn, much like Jung, ascribed psychic qualities to everything inanimate as well as animate. Whether in the depths of the collective unconscious revealed through the symbolic expression of archetypes (Jung), or in the transcendence of Form as something unmeasurable in Design (Kahn), both persons suggested a clear and unshakable belief in human sensitivity to the eternal inspirations discoverable in humanity’s outward expressions of myth and architecture.

Poem & Interview Excerpt was published by ArchitectureLive in their movement to save Louis Kahn's IIM dormitories from being demolished:

You were inspired by Louis Kahn’s Indian Institute of Management building in Ahmedabad. You even wrote a poem in calligraphy about it.

"As a student, I was at CEPT in Ahmedabad for a month, participating in a workshop designing shells upside down. In the evenings, I’d sprawl on the IIM lawns. Once at dusk, above several storeys of brick arches, right on the axis, was the upturned crescent. That’s when the Brick Poem occurred. Decades later, when I began to study Sinan in Turkey, I understood what that poem really meant: poets can lag behind the curve of their poems. I’ll be giving a talk at CEPT, and that’s when, after more than three decades, the BrickPoem will return to its site."

Excerpt The Indian Express Interview:
"Buildings are books someone forgot to burn"
https://www.academia.edu/44788732/Interviewed_by_Indian_Express_Buildings_are_books_someone_forgot_to_burn_says_H_Masud_Taj

Talk at CEPT: "Sinan: Architect at the Centre of the World" https://www.academia.edu/83480671/Sinan_Architect_at_the_Centre_of_the_World

Much of the originality of Kahn’s architecture begins with what he referred to in his notebooks as the “Palladian room space,” that is, the conjoining of room and structure.  This article traces the emergence and development of Kahn’s Palladian room space beginning in the early 1950s and continuing through Kahn’s last buildings in the 1970s.  The piece was written in English at the request of a French journal and republished as a booklet at the Centre Pompidou’s showing of the international exhibition, “Louis I Kahn: In the Realm of Architecture.”  Translated to French by Caroline Maniaque, the article is shown here in both French and English.  The English is in blue, italicized type and begins on page 91.

This contribution presents reflections on the concepts of thought and movement within the mental process that determines the projection of thoughts into images, images into geometries, and geometries into the matter. Some examples taken from the world of cinema, theatre, and more generally from the arts are proposed, areas in which design thinking tends to express itself, albeit through different languages, in the same form as architecture. Many answers to project questions come to mind as images change as the reasoning about it evolves, with the development of a plot, weaving data and rational elements closer to an aesthetic production involving the senses. The film Heaven and Earth Magic, evoking mental metaphors, offers a journey through the folds of the human mind. In one of the opening scenes, an emblematic image represents the profile of a head inscribed in a box. Inside the box, sequences follow one another, expressing what happens inside the mind during the flow of thoughts and being related to the impulses of the outside world. Thoughts are imprinted as images in our mind. A passage from movement to image, from image to geometry, is presented with examples such as the studies of Edward Muybridge, made through a series of cameras, and of Étienne Jules Marey. To overcome the limitations of Muybridge’s photographic system, he developed the chronophotographic rifle intending to capture images of moving subjects in the shortest possible time. In particular, a feature of Marey’s work is the production of many geometric representations of the subjects studied. What the eye manages to do instantly is widely captured, but perhaps filtered or increased, enriched, by the graphics, by the thought that becomes an image. In a privileged relationship between movement and image, the objective becomes capturing movement, transforming a series of images, apparently indistinct or particularly complex, into codified geometries. Movement is always present, an impulse that manifests in the project idea, which is nourished by the bounce between the drawing and the idea. It is a process in which images, the projection of design thinking, and the idea in motion are converted into more or less complex geometries. Drawing allows us to imprint on paper and fix moving thoughts. However, this movement is unceasing, as the conceived project is something dynamic that collapses into something static — the designed or built architecture —when it takes on a meaning that must be realised.

Paul Philippe Cret was one of Penn’s greatest teachers and one of the city’s greatest architects. Louis I. Kahn, the University’s most well–known teacher, was one of Cret’s students. Holmes Perkins, educated at Harvard under Walter Gropius, reshaped the School and changed its orientation. The key task of the three architects was to articulate a new understanding of what is specific to the discipline, recreating its professional and intellectual center and orientation. This would not require the replacement or elimination of what had been developed in the preceding years; instead the task was to augment it with a more focused sense of what architecture itself is all about.

Among architects and educators today the proposal for design research is generally understood as follows: the design of buildings is not only a professional practice but also a form of inquiry, a member of the growing family of research disciplines at work in the world today. The older siblings are well known, the highly regarded research fields in the natural sciences: physics, chemistry, and biology, for example. In the next generation are the social sciences: economics, political science, and sociology. Also related are the fields in which the basic sciences are applied: medicine, engineering, and information technology. This last group is more akin to architecture, for these academic disciplines are also professions. The problem with architecture is that it has also family ties to disciplines beyond the sciences, to painting, sculpture, urban design, and landscape architecture, even literature and poetry. Furthermore, artistic practices are not only non-scientific, they are purp...

Si presentano in questo articolo tre vasi di produzione greca e magnogreca, una pelike del Museo Archeologico Nazionale Ridola di Matera, un cratere conservato al Royal Museums of Fine Arts di Bruxelles e un aryballos dal Martin von Wagner Museum di tazione dell'oggetto ludico è la medesima, un paleo a corpo cilindrico con terminazione pelike mostra infatti la trottola in associazione con il dio Eros, il cratere la inserisce nel contesto funerario del naiskos, l'aryballos presenta invece una scena di gioco infantile.

This thesis addresses the published writing, lectures and interviews of Louis I. Kahn between 1931 and 1974. It attempts to map the elaboration and unfolding of meaning that occur in four of his major concepts: Form and Design, realization, expression and Silence and Light. His textual production is aimed at trying to understand the nature of architecture and its beginnings. This interest leads him into ever widening fields of inquiry into the nature of nature, the nature of man and the nature of beginnings. Most of his concepts can be reduced to a polarity of the measurable and the unmeasurable. His thinking to has two distinct phases: in the first period, 1931 to 1960, he focuses on the tangible concerns of the nature of architecture; in the second

Louis I. Kahn’s Richards Laboratories at the University of Pennsylvania are a paradoxical building. At the same time that they perhaps represent the epitome of Kahn's literal expression of structure and material hierarchy, servant and served spaces and the role of mechanical systems in determining architectural form, these powerful ideas never came together programmatically to enable a fully functional, complete work of architecture. This paper describes the quest to solve the functional conundrum and technical shortcomings of Richards, to bring the architecture and program closer together. Through a synthesis combining transformation — a significant change in use that allowed the opening of the laboratory floors to the unique light and views that were always latent in the promise of Kahn’s essential architectural idea — and rehabilitation, where the best aspects of Richards — the glazed, vitrine-like facades and the beautiful logic of the building services distribution, were re...

Mi accingo volentieri a compilare queste brevi note riassuntive sulle relazioni che completano il convegno del novembre 2021 su Tabellio, notarius, notaio: quale funzione? Una vicenda bimillenaria Milano e del quale le organizzatrici, Alessandra Bassani e Francesca Pulitanò, mi hanno invitato a presiedere i lavori. mente, mi hanno infatti incaricato di elaborare anche qualche considerazione di sintesi intorno ad un tema-quello della funzione notarile nella prospettiva storica-non solo intrinsecamente complesso, ma anche declinato entro un intervallo di lunghissimo periodo, che accompagna-e in taluni casi, come subito

Before Australian architect John Andrews began his eponymous practice in Canada with the much lauded project for Scarborough College, he worked for the Toronto-based John B Parkin Associates for a brief period between 1959 and 1961. Andrews came into the practice as senior designer, a major role for the then 25 year-old Australian, who had only graduated from the Master of Architecture program at the Harvard Graduate School of Design the previous year. Andrews’ work in the Parkin office reveals his early interest in prescribing relationships between spatial pattern and structural form – a design approach that would become a mainstay of his later practice. Under closer examination the Parkin work also reveals Andrews’ use of founding precedents, projects by other architects which act as a point of reference. Yet any such claims need to be carefully presented and argued. Andrews was not one to quote sources for himself in the work of others, preferring to see his practice as based on ...

COAM, among others. Guitart has also authored and edited several books, such as The Depth of the Skin (Ediciones Asimetricas, 2015) or the Práctica Arquitectónica PA book series (I, II, III, IV), a platform for design methodologies on the practice of architectural design.

Anne Tyng spent her long professional life devoted to architecture, mainly in its theoretical aspects linked with geometry and proportions. She is well known as one of Louis Kahn's most important partners in her professional and private life, however a relevant degree of originality was found in her work, while exploring her architectural design through two unrealized projects. The aim of this paper is to investigate these projects by analysing the original drawings and also searching for possible geometries through three-dimensional virtual reconstructions. In this way, it is possible to detect Tyng's propensity for complex three-dimensional geometry in her version of the project for Bryn Mawr College's Erdman Hall (around 1960) made for Kahn's firm, and the attention given to the relations between geometry, environment and perception in her independent project, the Four-Poster House (around 1975-1988). In both examples, Tyng paid special attention to issues related to proportion which link architecture and human beings, adopting dimensions that could fit different kinds of people.

This paper intends to show the relevance of light in the work of Louis Kahn and in the work of Hestnes Ferreira in formal and perceptive terms. Raúl Hestnes Ferreira (Lisbon, 1931) is a Portuguese architect who had the privilege of studying and working with Louis I. Kahn between 1963 and 1965. Light, although an external and contingent element of architecture, is a decisive element in terms of definition and perception. Therefore, four works by each architect are compared and analyzed. The results help to highlight the importance of light and shadow in the determination of architectural spaces and how silence enhances the perception of Hestnes Ferreira and Louis Kahn spaces.

Se si eccettuano rari toponimi con una denominazione moderna (Via Garibaldi, Via XXII Marzo, Campo Manin) a Venezia città non vi sono calli, campi, rii con nomi di personaggi illustri, ma solo riferimenti ad arti e mestieri, santi ed eventi (Rio Terà degli Assassini). Al Lido invece sono "relegati" i dogi e i condottieri, e i nomi di battaglie vinte e perse.

Quite often, recurrent exhibitions such as biennials, triennials, festivals, and similar events, are confused with fashion shows as if their purpose was to predict trends for the upcoming season. Some audiences visit these shows to discover what to wear and talk about. Others go to see themselves reflected in the selection (and complain when their egos are not satisfied). But in so doing, these kinds of audiences miss the most basic point: these recurrent events are, first and foremost, collective exhibitions. Thus, to search for signs of hope, despair, or hints of the future in them is a misconception. Biennials, triennials, or festivals are just group displays, whether well-curated or not. A good, skillful curator can either introduce us to things we didn’t know about or present a selection of what we already knew in a new framework. Lesley Lokko, the Ghanaian-Scottish architect who curated the 18th Venice Architecture Biennale titled “The Laboratory of the Future,” along with her team, successfully did both.

Two of the six surviving witnesses of Momus, mss. Marcianus Lat. VI 107 (= 2851) and Parisinus Lat. 6702 (olim 6307), were corrected by Alberti carefully and attentively, though these corrections were not applied consistently or indeed at a single time; in other words, one part of the text was corrected and another part not. The existence of some errors which are shared by the whole tradition, and which very probably come from Alberti himself, and the absence in the known mss. of a title which can be attributed to Alberti, show nevertheless clearly that this great, anomalous novel, which is the indisputable masterpiece of all his lusi, was never published in Alberti's lifetime. And these facts furthermore make it possible to affirm that the title, De principe, which is present in the first edition of the work (Rome, É. Guillery, 1520) and which was later placed by C. Bartoli alongside the only plausible title in the Italian version which the latter published in 1568 (Momo, overo Del principe), and repeated up to the editions and Italian, German, French and Spanish translations even up to the end of the XX th century, is nothing other than an apocryphal title and, depending on the case, an extremely improbable subtitle, but one which is nevertheless an erroneous suggestion and which in the exegetical sense leads in the wrong direction. Momus is in fact openly and only de Homine, and its subjects are: the "ineptiae", or rather the state of "homunculus" and "muliercula" to which men and women often, willingly reduce themselves; and the disorder which they cause, and which the gods which they have given themselves prolong, by the insignificance of their actions or deeds. Momus only invokes the Prince in as much as it is one of the many masks which humans have always been delighted to wear.

's reference to historical forms is known as a distinctive characteristic of his architecture. However, Kahn's reference to the past is more intricate than what has been acknowledged to date. Kahn did not embrace memory as a fixed aesthetic criterion. He referred to memory as a living temporal phenomenon that endows his architecture with an enduring value. The Salk Institute for Biological Studies in La Jolla is recognised as one of his masterpieces. Scholars have pointed out aesthetic similarities of Kahn's design to several monuments of the past and assessed the aesthetic contribution of these monuments to his work. In light of Kahn's theory regarding memory, as expressed in his writings, together with Jonas Salk's ideas on modern research and its relationship to traditional thinking, this article shows how Kahn creatively referred to the memory of religious monastic structures to express constitutive ideas and beliefs of modern research. His refences to memory in the Salk Institute embody the notion that memory can serve as a basis for belonging, encourage mediation, and inspire meaningful participation. In this sense, memory plays a role in architecture conceived as a living phenomenon that transcends aesthetic concerns. It is an architecture of cognitive and habitual associations and connotations in which remembrance and amnesia coexist. In conclusion, the article points towards the value of referring to memory in architecture. As this enables poetic dwelling, it also summons the importance of the built environment in serving societies as places to both recollect our past and redefine our aspirations for the future.

Starting with the particularities of the postwar American architecture, this paper aims to discuss Kahn's recoding of what might be called the culture of building, for example, themes internal to the formation of the disciplinary history of architecture. Additional attention is given to Kahn's discourse on monumentality pronounced in 1944. Emphasis is also placed on Kahn's concern with structure and ornament, but also the tectonic. The paper then presents an historical analysis of Kahn's design for the Philadelphia City Tower and the Yale University Art Gallery, arguing that in spite of, or rather because of postmodern conditions, the project of modernity should be considered neither as a perfect past, nor a phenomenon that is working towards its completion. Modernity should rather be considered a project whose periodic crisis is endemic to architects' ongoing recoding of the culture of building.

The thesis originated from the intention to examine a key architect of this country and his practical enterprises in the light of investigations whether his philosophies and practical endeavours have any bearing on contemporary thought and influence current theory and practices of architecture. Work of Muzharul Islam as case studies, it tries to explore the conceptual framework bearing on his own quest for relevancy and roots in architecture. In conclusion, the thesis shows that, despite the shorter period of his active involvement in the profession, the work of Muzharul Islam demonstrated an advancement of framing concepts derived from the vocabulary of certain contemporary western masters towards a more personal style. At the most abstract level, this advancement can be stated as a resultant effect of a dialectic process reflected through a progression of experiments carried out from his earlier work to the work of the late phase. This dialectic process can be summarised as a phil...

The article examines the teaching practice of Edmund Bacon under the theoretical postulates exposed in his fundamental work «Design of Cities». The postulates expressed in the work are reviewed, linked to internal forces, the system of simultaneous movements and the awareness of space as an experience. An unpublished record (documentary, graphic and oral) of a didactic experience developed in the course "History and Theory of Urban Design" taught by Bacon at the University of Pennsylvania is then reviewed. Subsequently, the theoretical precepts of Design of cities are contrasted with the didacticteaching practice of the course, verifiable in the records offered. From the findings, it is shown how Baconian theory and didactics distance themselves from the modern conception of urbanism of the 20th century, realizing, rather, a proximity to empirical, perceptual and experiential currents, perhaps closer to the avant-gardes and phenomenology.

El artículo examina la práctica docente de Edmund Bacon bajo los postulados teóricos expuestos en su obra fundamental «Design of Cities». Se repasan los postulados vertidos en la obra, ligados a las fuerzas internas, el sistema de movimientos simultáneos y la consciencia del espacio como experiencia. Se revisa luego un registro (documental, gráfico y oral) inédito de una experiencia didáctica desarrollada en el curso «History and Theory of Urban Design» impartido por Bacon, en la Universidad de Pensilvania. Posteriormente, se contrastan los preceptos teóricos de Design of cities, con la práctica didáctico-docente del curso, verificable en los registros ofrecidos. Desde los hallazgos, se muestra como teoría y didáctica baconiana se distancian de la concepción moderna del urbanismo del siglo XX, dando cuenta, más bien, de una proximidad a corrientes empíricas, perceptuales y experienciales, quizá más próximas a las vanguardias y la fenomenología.

El artículo examina la práctica docente de Edmund Bacon bajo los postulados teóricos expuestos en su obra fundamental «Design of Cities». Se repasan los postulados vertidos en la obra, ligados a las fuerzas internas, el sistema de movimientos simultáneos y la consciencia del espacio como experiencia. Se revisa luego un registro (documental, gráfico y oral) inédito de una experiencia didáctica desarrollada en el curso «History and Theory of Urban Design» impartido por Bacon, en la Universidad de Pensilvania. Posteriormente, se contrastan los preceptos teóricos de Design of cities, con la práctica didáctico-docente del curso, verificable en los registros ofrecidos. Desde los hallazgos, se muestra como teoría y didáctica baconiana se distancian de la concepción moderna del urbanismo del siglo XX, dando cuenta, más bien, de una proximidad a corrientes empíricas, perceptuales y experienciales, quizá más próximas a las vanguardias y la fenomenología.