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In the United States today, feminist architecture history-like feminism in general-has nearly disappeared. The flood of publications during the early 1990s (Sexuality and Space, The Sex of Architecture, Architecture and Feminism) has by now ground to a halt; few schools continue to offer classes on "gender and architecture"; and scholars in their twenties or thirties tend to find other subjects-sustainab ility, digitalization, and globalization-more compelling. In addition to the larger social and political forces that seem to militate against feminist scholarship these days, its very success over the past three decades may have contributed to its decline. Names of once-forgotten women have been resurrected, the reputations of architecture's male heroes have been taken down a notch or two, and blatant examples of sexual inequity and discrimination in the profession have been exposed, if not resolved. However, most feminist architecture historians and critics would reject any assessment of their project as complete, or its viability as dependent upon academic fashion. Although this lull is undoubtedly considered a setback, one positive by-product may be that it offers a period of relative calm, removed from the heated polemics of an earlier period, to reflect on feminist historica
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by Jan Otakar Fischer, from Harvard design Magazine.
Nearly sixty years after the conclusion of the Second World War, it is standard practice in the Gymnasium, the German equivalent of high school, for students to be taught about the rise of Nazism, the horrors it unleashed, and its consequences for postwar Europe. The genocide of European Jews is a central chapter in this instruction. Every year, thousands of teenagers visit former concentration camps like Dachau or Buchenwald, watch films of Hitler's adoring crowds and of cities in flames, participate in intense group discussions about moral responsibility, and come face to face with the historical burdens of their grandfathers. The process is disturbing for most, and unfailingly influences their political outlook. The majority of young Germans accept the necessity of remembrance.The formal transmission of this history to a wider public is the latest and perhaps last stage of what began as private dialogues. What films have dramatized, politicians commemorated, periodicals revisited, and academics debated has not, until recently, found substantial expression in museums, or in their more site-specific cousins, documentation centers. During much of the Cold War, ideological imperatives and a culture of denial prevented a cohere
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By Alberto Alessi from Domus Magazine.
Europe today is experiencing unsolved and overlapping time lapses. They are inconspicuous and invisible, but meaningful. In the Europe of the European Union, the Italian anthem sings of an Austria drinking the blood of oppressed peoples, and the Dutch anthem of a revolution against Spain.
The Swiss constitution declares that its citizens are conscious of their responsibility towards the Creation and humanity, while that of the Vatican puts its powers in the hands of one person. The new embassies built in Berlin by the countries of Europe during the last ten years are tangible examples of these kaleidoscopic positions.
Why does a European nation choose to represent itself in such a stately way in another member state's capital belonging to the same parliament? Any office would suffice.
A few possible answers sprang to mind at the "Building Identities?" exhibition between February and March in Rome. While listening to the national anthems and reading the texts of the European constitutions, one could examine the projects of Berlin embassies. On the one hand, there is the Berlin factor.
To build in this city is to interpret a role in the world media theatre. This theatrical factor nicely matches the publicity that embassies to
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On the island of Giudecca, the abandoned industrial area of the Junghans factory has been turned into a residential neighborhood. Cino Zucchi, winner of the competition for its development, designed five variations on the theme of housing. Text by Mirko Zardini. Photographs by Orsenigo Chemollo / Orch and Cino Zucchi.
The directions given in the estate agent's brochure are precise: four stops by vaporetto from Venice's Santa Lucia train station to the Giudecca and the Palanca landing stage (another four stops and you're in St Mark's Square). From Piazzale Roma, those arriving in Venice by car should then take the same route. From the airport you need only reach Piazzale Roma, and then board the same line of vaporetti. The directions are clear, and useful especially to the non-Venetian. Evidently many of the potential buyers applying to the real estate agents who are handling the sale of apartments in some of the new buildings erected on the island of Giudecca in the area formerly occupied by the Junghans factories, are not in fact Venetian.
The complex of buildings, in part already occupied and that can today be visited, is the outcome of a competition by invitation announced in 1995 by a private enterprise in collaboration with the City of Venezia. The winner was Cino Zu
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The American Society for Landscape Architects (ASLA) has issued a call for entries for its 2004 Awards. Nominations are being accepted in four professional categories--Design , Analysis and Planning, Research, and Communications--as well as for the Community Service Award, which recognizes landscape architects who provide pro bono service to the community, and the Landmark Award, which honors a project completed between 15 and 50 years ago.
The 2004 jury will include Frederick R. Steiner, ASLA, Dean, School of Architecture, University of Texas at Austin; Barbara Faga, FASLA, chairwoman of the board, EDAW, Inc.; Susan S. Szenasy, editor in chief, Metropolis magazine; and Carol A. Whipple, FASLA, senior project manager, National Park Service. DEADLINE: APR 30
(MATERIALS DEADLINE: MAY 14)
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