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Up to modern times there was no plastic art among the Jews. In modern times, however, there have been a small but perhaps a proportionately adequate number of Jewish masters in painting, sculpture, & architecture. Furthermore, in the present generation, among the very large number of respectable talents in modern art, Jews are probably more than proportionately represented. How is this to be explained? The former Jewish absence from the plastic arts is attributable in part to a philosophic att, to exclusion from the guilds of artisans, from not belonging enough to a countryside or community to absorb its scenery or to decorate it. Modern plastic art, however, has been for the last 1.5 cent an avant-garde art. It comes into being when the community & its standards do not really satisfy, when there is a conflict of values underneath, & yet there is enough wealth & safety for exp'tion. In the architectural avant-garde of the present cent there are many Jews among the disciples & a few among the leaders. In this generation particularly there have been changes in the field of architecture itself that have made it receptive to the entry of Jews: changes in the building trades, in the status of the architect, in the idea of community, in real estate, & in the modern esthetic. The absence of a native, traditional plastic art among pre-Emancipation Jews explains their slow start in architecture & the fine arts in the 19th cent as compared with their rapid strides in sci, law, literature, & music. If Jews go on to develop a characteristic architectural style in US or in Israel it will spring from the needs & functions of relatively stable Jewish communities. J. A Fishman.

"In den letzten zwei Jahrzehnten wurde die Dominanz des Zeichnens für die Architektur von einer ganzen Reihe von digitalen Repräsentationstechniken verdrängt. Der Beitrag stellt eine kritische Antwort auf Mario Carpos These dar, dieser Wandel bringe Architektur zu einer »autographischen« Praxis zurück, die noch vor die Renaissance zurückreiche. Demgegenüber argumentiert der Beitrag, dass Architektur nach dem Modell von Rosalind Kraus als post-medium art (»postmediale Kunst«) gedacht werden sollte. </br></br>Over the last two decades drawing has been displaced from its dominant role in architecture by a range of computational representations. This article offers a critical response to Mario Carpo's recent argument that this shift returns architecture to an 〉autographic〈 mode of practice not seen since before the Renaissance. In contrast, I suggest that architecture today should be thought of through Rosalind Krauss's model of a post-medium art.
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Max Holleran on the political contingency of grandiose architecture.

Scaffoldings often make the buildings look intriguing, overlapping and obscuring areas that are about to change and evolve. The article explores ways architecture can engage the inhabitant as an active participant in the design process. It discusses the scaffolding as a design continuum that provides opportunities for the architecture to continually adjust and reconfigure. It explores intersections of architecture with visual arts, such as surrealist photography, painting and filmmaking, emphasizing on the motion of the human body and how studying relevant examples might offer propositional opportunities to architectural design. A design outcome of my research practice, discussed in the article, is the design of an experimental dwelling titled Analogical House. To unpack in more depth, it focuses on one of the domestic fragments of the dwelling – the Staircase – and the iterative design experiments that inform its design process. A new type of architectural machine – The Darkroom Probe – is developed to explore the dwelling by creating a series of architectural drawings through a series of prototypes and photographic set pieces. Their findings, often analogue and digital hybrids, gradually form the Analogical House.