Suchergebnisse

This paper is the introduction to the Space and Culture special issue "Inside inside," which examines the persistent use of architecture as punishment. It provides an overview of the use of architecture as punishment with specific reference to Anglo-American prison architecture. It additionally examines developments occurring in architecture and the architectural profession contemporary with the emergence of the modern prison and acknowledges the geospatial politics of Guantánamo Bay Detention Center on the year of its 20th anniversary.

Can we surpass the representational nature of architecture drawing to consider and discuss the agency of architectural drawing in process and result? Over the course of three years from 2019, a cohort of architect–drafters, architect–theoreticians and a curator are meeting every six months in a reflective exchange to discuss the production and exhibition of a collection of drawings and drawing-related artefacts. The varying cast of the bi-annual symposia are participants from the United States, Canada and Europe including Michael Webb, Perry Kulper, Laura Allen, Bryan Cantley, Nat Chard, Mark Dorrian, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Mark Smout, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Surpassing the representational nature of architecture drawing, a group of architects and I consider and discuss the agency of architectural drawing in process and result. Drawing architecture implies materializing an architecture within the drawing, where it can be sought, found and experienced. This refers to an action in the present progressive, an action by the author in the process of bringing into the world through drawing – architectural research through drawing. The artefacts, as drawings, that we are looking at are an end in themselves and not a preparatory means to build an environment as in how drawings are used in architectural practices for buildings. These symposia aim to reveal and come closer to the individual agency of each practice within the drawn discipline of architecture, to establish a way in which we can show this agency in an Exhibition at Montreal Design Centre in August–December 2022. The bi-annual symposium days were structured by round-table conversations and discussions that take place based on drawings or drawing-related artefacts brought in by the participants. In 'Drawing architecture' Session 1 in New York, we had an in-depth introduction of each participant's practice with Michael Webb, Perry Kulper, Bryan Cantley, Nat Chard, Arnaud Hendrickx, William Menking, Shaun Murray, Anthony Morey, Neil Spiller, Natalija (Nada) Subotincic, Mark West, Michael Young and Riet Eeckhout. Participants expanded on their bodies of work, tools and the nature of the drawing practice. For 'Drawing architecture' Session 2 in London, we sharpened the conversation between the participants by: (1) establishing an angle from which we talk through the artefact(s) (drawing or drawing practice-related artefact), each participant from the standpoint of their practice. Angle: Talking through the drawing or drawing practice-related artefact, can you expand on the agency of the drawing (practice) within the discipline of architecture? Questions that might be helpful: (a) How does the drawing work as a tool of investigation (technique of leveraging knowledge). (b) Where and what is the architecture within the resulting drawing/artefact? When is the architecture in the process? Is there architecture within the drawing? (2) By placing the drawing or artefact central during the symposium talk and organize a group conversation around it. It might be that you bring one or more current drawings/artefacts enabling you to expand on the specific drawing practice investigation. The artefact might be resolved or unresolved, finished, ongoing or just starting and in the thick of things. The presence of the drawing allows the group to come closer to and understand the agency of the artefact itself, supported by talking us through and unpacking the artefact.

In a recently discovered photograph of German architect Bruno Taut's retrospective exhibition at the Istanbul Academy of Fine Arts, which opened on 4 June 1938, Taut in-exile stands with Erica Taut and his assistant Şinasi Lugal in front of a display (see Figure 1). What interests me in this image is not so much the frontal figures who posed for it as the documentary value of the exhibit in the background, the photographs inside the photograph. These images display Taut's Siedlungen (residential settlements/collective housing projects), designed and constructed as part of the Berlin Housing Program (1924–33) just before Taut was exiled from Germany due to the rise of National Socialism. After stays in Russia and Japan, Taut moved to Turkey, where he became head of the Architecture Department at the Istanbul Academy. Through a seminar and a studio he taught on Siedlung, he participated in a translation of the idea of collective housing that would shape the discursive space and practice of architecture in Turkey for decades to come. Most of the images in the exhibition were taken by the now-famous photographer Arthur Köster. The exhibit bears witness to the fact that Turkish architects were exposed not only to the influential Siedlungen of the Weimar period in Germany but also to their soon-to-be canonical photographs earlier than most of their colleagues around the world.