Federica Goffi – författare

Architectural drawings and models are instruments of imagination, communication, and historical continuity. The role of drawings and models, and their ownership, placement, and authorship in a ubiquitous digital age deserve careful consideration. Expanding on the well-established discussion of the translation from drawings to buildings, this book fills a lacuna in current scholarship, questioning the significance of the lives of drawings and models after construction. Including emerging, well-known, and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the thirty-five contributions define recent research in four key areas: drawing sites/sites of knowledge construction: drawing, office, construction site; the afterlife of drawings and models: archiving, collecting, displaying, and exhibiting;tools of making: architectural representations and their apparatus over time; andthe ethical responsibilities of collecting and archiving: authorship, ownership, copyrights, and rights to copy. The research covers a wide range of geographies and delves into the practices of such architects as Sir John Soane, Superstudio, Eugène-Emmanuel Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, Germán Samper Gnecco, A+PS, Mies van der Rohe, and Renzo Piano.

Architectural drawings and models are instruments of imagination, communication, and historical continuity. The role of drawings and models, and their ownership, placement, and authorship in a ubiquitous digital age deserve careful consideration. Expanding on the well-established discussion of the translation from drawings to buildings, this book fills a lacuna in current scholarship, questioning the significance of the lives of drawings and models after construction. Including emerging, well-known, and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the thirty-five contributions define recent research in four key areas: drawing sites/sites of knowledge construction: drawing, office, construction site; the afterlife of drawings and models: archiving, collecting, displaying, and exhibiting;tools of making: architectural representations and their apparatus over time; andthe ethical responsibilities of collecting and archiving: authorship, ownership, copyrights, and rights to copy. The research covers a wide range of geographies and delves into the practices of such architects as Sir John Soane, Superstudio, Eugène-Emmanuel Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, Germán Samper Gnecco, A+PS, Mies van der Rohe, and Renzo Piano.

With the continued growth of PhD programs in architecture and the simultaneous broadening of approaches, InterVIEWS: Insights and Introspection on Doctoral Research in Architecture begins a timely survey into contemporary research at academic institutions internationally, in the context of the expanding landscape of architectural inquiry. The eighteen interviews with scholars who direct or contributed to doctoral research programs in areas of architecture history and theory, theory and criticism, design research, urban studies, cross-disciplinary research, and practice-based research expose a plurality of positions articulating a range of research tactics. Renowned scholars narrated the stories, the experiences, and the research that shaped and are shaping doctoral education worldwide, providing an invaluable knowledge resource from which readers may find inspiration for their work. InterVIEWS acknowledges the diversity in approaches to research to evidence meaningful differences and the range of contributions in academic institutions. The relevance of this self-reflection becomes apparent in the exposition of vibrant and at times divergent viewpoints that offer a thought-provoking opportunity to consider the openness and breadth of a field that is unrelenting in redefining its boundaries along with the probing questions.

Architecture manifests as a space of concealment and unconcealment, lethe and alêtheia, enclosure and disclosure, where its making and agency are both hidden and revealed. With an urgency to amplify narratives that are overlooked, silenced and unacknowledged in and by architectural spaces, histories and theories, this book contends the need for a critical study of hiding in the context of architectural processes. It urges the understanding of inherent opportunities, power structures and covert strategies, whether socio-cultural, geo-political, environmental or economic, as they are related to their hidescapes – the constructed landscapes of our built environments participating in the architectures of hiding.Looking at and beyond the intentions and agency that architects possess, architectural spaces lend themselves as apparatuses for various forms of hiding and un(hiding). The examples explored in this book and the creative works presented in the interviews enclosed in the interludes of this publication cover a broad range of geographic and cultural contexts, discursively disclosing hidden aspects of architectural meaning. The book investigates the imaginative intrigue of concealing and revealing in design processes, along with moral responsibilities and ethical dilemmas inherent in crafting concealment through the making and reception of architecture.

Architecture manifests as a space of concealment and unconcealment, lethe and alêtheia, enclosure and disclosure, where its making and agency are both hidden and revealed. With an urgency to amplify narratives that are overlooked, silenced and unacknowledged in and by architectural spaces, histories and theories, this book contends the need for a critical study of hiding in the context of architectural processes. It urges the understanding of inherent opportunities, power structures and covert strategies, whether socio-cultural, geo-political, environmental or economic, as they are related to their hidescapes – the constructed landscapes of our built environments participating in the architectures of hiding.Looking at and beyond the intentions and agency that architects possess, architectural spaces lend themselves as apparatuses for various forms of hiding and un(hiding). The examples explored in this book and the creative works presented in the interviews enclosed in the interludes of this publication cover a broad range of geographic and cultural contexts, discursively disclosing hidden aspects of architectural meaning. The book investigates the imaginative intrigue of concealing and revealing in design processes, along with moral responsibilities and ethical dilemmas inherent in crafting concealment through the making and reception of architecture.

(Un)Common Precedents in Architectural Design calls for an attentive examination of the uncommon that inspires creativity, prompting a re-examination of both common and marginalised precedents. Precedents and their origins can be idiosyncratic, and it is not surprising that they often lead to unpredictable outcomes. The uncommon is explored as an undervalued, unregulated, and informal approach to precedents, acknowledging a radical imagination in architectural design that extends beyond visual and typological considerations, expanding the field of influence beyond buildings to investigate interdisciplinary exchanges and a multisensory imagination. This book addresses a critical need to re-examine architectural precedents, understanding why, how, and what we study to reveal the intentions, transmedia explorations, and referents behind the workings of a more inclusive architectural imagination nurtured in multicultural practices and teaching environments. (Un)Common Precedents thus underlines the non-conformity and inordinance of precedents and the necessity of their divergence, drawing attention to different socio-political contexts that resist, reject, and replace the canonisation of precedents based on dominant ocular-centric approaches with local, experiential, transdisciplinary, and uncommon ones. The book offers an alternative to the compulsion to normalise, universalise, repeat, restate, and re-enact, transforming the documentation of far-removed precedents through first-person experiences.

(Un)Common Precedents in Architectural Design calls for an attentive examination of the uncommon that inspires creativity, prompting a re-examination of both common and marginalised precedents. Precedents and their origins can be idiosyncratic, and it is not surprising that they often lead to unpredictable outcomes. The uncommon is explored as an undervalued, unregulated, and informal approach to precedents, acknowledging a radical imagination in architectural design that extends beyond visual and typological considerations, expanding the field of influence beyond buildings to investigate interdisciplinary exchanges and a multisensory imagination. This book addresses a critical need to re-examine architectural precedents, understanding why, how, and what we study to reveal the intentions, transmedia explorations, and referents behind the workings of a more inclusive architectural imagination nurtured in multicultural practices and teaching environments. (Un)Common Precedents thus underlines the non-conformity and inordinance of precedents and the necessity of their divergence, drawing attention to different socio-political contexts that resist, reject, and replace the canonisation of precedents based on dominant ocular-centric approaches with local, experiential, transdisciplinary, and uncommon ones. The book offers an alternative to the compulsion to normalise, universalise, repeat, restate, and re-enact, transforming the documentation of far-removed precedents through first-person experiences.

This previously unpublished work is essential reading for anyone who has followed Marco Frascari’s scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one’s own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

This previously unpublished work is essential reading for anyone who has followed Marco Frascari’s scholarship and teachings over the last three decades. It also provides the perfect introduction for anyone new to his writings. As ever, Frascari does not offer prescriptive tools and frameworks to enact his theories of drawing and imagination; instead, he teaches how to build one’s own through individual practice. An illuminating introduction places the text in a wider context, providing the reader with a fascinating and important context and understanding to this posthumous work. Frascari's sketchbooks are reproduced faithfully in full colour to provide the reader with a remarkable insight into the design process of this influential mind.

Even though the idea of altering an existing building is presently a well established practice within the context of adaptive reuse, when the building in question is a 'mnemonic building', of recognized heritage value, alterations are viewed with suspicion, even when change is a recognized necessity. This book fills in a blind spot in current architectural theory and practice, looking into a notion of conservation as a form of invention and imagination, offering the reader a counter-viewpoint to a predominant western understanding that preservation should be a 'still shot' from the past. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano's 1571 ichnography of St. Peter's Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple's plans, he created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. This book uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. Proposing a hybrid architectural-conservation approach, this study shows how these two practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design rejoining multiple temporalities within continuity of identity. This study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when dealing with the dilemma between design and preservation when transforming a building of recognized significance.

With the continued growth of PhD programs in architecture and the simultaneous broadening of approaches, InterVIEWS: Insights and Introspection on Doctoral Research in Architecture begins a timely survey into contemporary research at academic institutions internationally, in the context of the expanding landscape of architectural inquiry. The eighteen interviews with scholars who direct or contributed to doctoral research programs in areas of architecture history and theory, theory and criticism, design research, urban studies, cross-disciplinary research, and practice-based research expose a plurality of positions articulating a range of research tactics. Renowned scholars narrated the stories, the experiences, and the research that shaped and are shaping doctoral education worldwide, providing an invaluable knowledge resource from which readers may find inspiration for their work. InterVIEWS acknowledges the diversity in approaches to research to evidence meaningful differences and the range of contributions in academic institutions. The relevance of this self-reflection becomes apparent in the exposition of vibrant and at times divergent viewpoints that offer a thought-provoking opportunity to consider the openness and breadth of a field that is unrelenting in redefining its boundaries along with the probing questions.

Where is the space for dreaming in the twenty-first century? Lofty thoughts, like dreams, are born and live overhead, just as they have been represented in Renaissance paintings and modern cartoons. Ceilings are often repositories of stories, events and otherwise invisible oneiric narratives. Yet environments that inspire innovative thinking are dwindling as our world confronts enormous challenges, and almost all of our thinking, debating and decision-making takes place under endless ceiling grids. Quantitative research establishes that spaces with taller ceilings elicit broader, more creative thoughts. Today, ceilings are usually squat conduits of technology: they have become the blind spot of modern architecture. The twenty essays in this book look across cultures, places and ceilings over time to discover their potential to uplift the human spirit. Not just one building element among many, the ceiling is a key to unlock the architectural imagination.Ceilings and Dreams aims to correct this blind spot and encourages architects and designers, researchers and students, to look up through writings organized into three expansive categories: reveries, suspensions and inversions. The contributors contemplate the architecture of levity and the potential of the ceiling, once again, as a place for dreaming.

Where is the space for dreaming in the twenty-first century? Lofty thoughts, like dreams, are born and live overhead, just as they have been represented in Renaissance paintings and modern cartoons. Ceilings are often repositories of stories, events and otherwise invisible oneiric narratives. Yet environments that inspire innovative thinking are dwindling as our world confronts enormous challenges, and almost all of our thinking, debating and decision-making takes place under endless ceiling grids. Quantitative research establishes that spaces with taller ceilings elicit broader, more creative thoughts. Today, ceilings are usually squat conduits of technology: they have become the blind spot of modern architecture. The twenty essays in this book look across cultures, places and ceilings over time to discover their potential to uplift the human spirit. Not just one building element among many, the ceiling is a key to unlock the architectural imagination.Ceilings and Dreams aims to correct this blind spot and encourages architects and designers, researchers and students, to look up through writings organized into three expansive categories: reveries, suspensions and inversions. The contributors contemplate the architecture of levity and the potential of the ceiling, once again, as a place for dreaming.

Even though the idea of altering an existing building is presently a well established practice within the context of adaptive reuse, when the building in question is a 'mnemonic building', of recognized heritage value, alterations are viewed with suspicion, even when change is a recognized necessity. This book fills in a blind spot in current architectural theory and practice, looking into a notion of conservation as a form of invention and imagination, offering the reader a counter-viewpoint to a predominant western understanding that preservation should be a 'still shot' from the past. Through a micro-historical study of a Renaissance concept of restoration, a theoretical framework to question the issue of conservation as a creative endeavor arises. It focuses on Tiberio Alfarano's 1571 ichnography of St. Peter's Basilica in the Vatican, into which a complex body of religious, political, architectural and cultural elements is woven. By merging past and present temple's plans, he created a track-drawing questioning the design pursued after Michelangelo’s death (1564), opening the gaze towards other possible future imaginings. This book uncovers how the drawing was acted on by Carlo Maderno (1556-1629), who literally used it as physical substratum to for new design proposals, completing the renewal of the temple in 1626. Proposing a hybrid architectural-conservation approach, this study shows how these two practices can be merged in contemporary renovation. By creating hybrid drawings, the retrospective and prospective gaze of built conservation forms a continuous and contiguous reality, where a pre-existent condition engages with future design rejoining multiple temporalities within continuity of identity. This study might provide a paradigmatic and timely model to retune contemporary architectural sensibility when dealing with the dilemma between design and preservation when transforming a building of recognized significance.