Rajesh Heynickx – författare

What kind of architectural knowledge was cultivated through drawings, models, design-build experimental houses and learning environments in the 20th century? And, did new teaching techniques and tools foster pedagogical, institutional and even cultural renewal? Architectural Education Through Materiality: Pedagogies of 20th Century Design brings together a collection of illustrated essays dedicated to exploring the complex processes that transformed architecture’s pedagogies in the 20th century.The last decade has seen a substantial increase in interest in the history of architectural education. This book widens the geographical scope beyond local school histories and sets out to discover the very distinct materialities and technologies of schooling as active agents in the making of architectural schools. Architectural Education Through Materiality argues that knowledge transmission cannot be reduced to ‘software’, the relatively easily detectable ideas in course notes and handbooks, but also has to be studied in close relation to the ‘hardware’ of, for instance, wall pictures, textiles, campus designs, slide projectors and even bodies.Presenting illustrated case studies of works by architects, educators and theorists including Dalibor Vesely, Dom Hans van der Laan, the Global Tools group, Heinrich Wölfflin, Alfons Hoppenbrouwers, Joseph Rykwert, Pancho Guedes and Robert Cummings, and focusing on student-led educational initiatives in Europe, the UK, North America and Australia, the book will inspire students, educators and professionals with an interest in the many ways architectural knowledge is produced and taught.

Over the past thirty years, the number of architectural laboratories has surged from a handful to hundreds across the globe. Yet the term remains elusive: What defines an architectural lab? And why has it become so compelling to architects today?The Architectural Laboratory is the first volume to critically address these questions, assembling a series of essays that examine some of the most remarkable architectural labs of the twentieth century. While scientific laboratories have long been the subject of scholarly inquiry, architecture labs remain underexplored. This book situates them within their specific architectural-historical contexts, revealing how they have operated both metaphorically and materially.On the one hand, architectural laboratories have functioned as amulets – protective spaces that shield practitioners from conventional expectations while fostering creativity through their unique material environments. On the other, they served as shibboleths – symbolic alignments with scientific traditions that lend credibility and facilitate interdisciplinary exchange. Within this dual framework, the volume identifies three key modalities of laboratory performance: simulation, personification, and technological visualization.Essential reading for architectural historians, theorists, practitioners, educators, students, critics, and curators, The Architectural Laboratory offers a compelling lens through which to understand the evolving role of experimentation in architectural practice.

Over the past thirty years, the number of architectural laboratories has surged from a handful to hundreds across the globe. Yet the term remains elusive: What defines an architectural lab? And why has it become so compelling to architects today?The Architectural Laboratory is the first volume to critically address these questions, assembling a series of essays that examine some of the most remarkable architectural labs of the twentieth century. While scientific laboratories have long been the subject of scholarly inquiry, architecture labs remain underexplored. This book situates them within their specific architectural-historical contexts, revealing how they have operated both metaphorically and materially.On the one hand, architectural laboratories have functioned as amulets – protective spaces that shield practitioners from conventional expectations while fostering creativity through their unique material environments. On the other, they served as shibboleths – symbolic alignments with scientific traditions that lend credibility and facilitate interdisciplinary exchange. Within this dual framework, the volume identifies three key modalities of laboratory performance: simulation, personification, and technological visualization.Essential reading for architectural historians, theorists, practitioners, educators, students, critics, and curators, The Architectural Laboratory offers a compelling lens through which to understand the evolving role of experimentation in architectural practice.

While most studies on the history of architectural theory have been concerned with what has been said and written, this book is concerned with how architecture theory has been created and transmitted.Architecture Thinking across Boundaries looks at architectural theory through the lens of intellectual history. Eleven original essays explore a variety of themes and contexts, each examining how architectural knowledge has been transferred across social, spatial and disciplinary boundaries - whether through the international circulation of ideas, transdisciplinary exchanges, or transfers from design practice to theory and back again. Dissecting the frictions, transformations and resistances that mark these journeys, the essays in this book reflect upon the myriad routes that architectural knowledge has taken while developing into architectural theory. They critically enquire the interstices – geographical, temporal and epistemological – that lie beyond fixed narratives. They show how unstable, vital and eminently mobile the processes of thinking about architecture have been.

In So What’s New about Scholasticism? thirteen international scholars gauge the extraordinary impact of a religiously inspired conceptual framework in a modern society. The essays that are brought together in this volume reveal that Neo-Thomism became part of contingent social contexts and varying intellectual domains. Rather than an ecclesiastic project of like-minded believers, Neo-Thomism was put into place as a source of inspiration for various concepts of modernization and progress. This volume reconstructs how Neo-Thomism sought to resolve disparities, annul contradictions and reconcile incongruent, new developments. It asks the question why Neo-Thomist ideas and arguments were put into play and how they were transferred across various scientific disciplines and artistic media, growing into one of the most influential master-narratives of the twentieth century. Edward Baring, Dries Bosschaert, James Chappel, Adi Efal-Lautenschläger, Rajesh Heynickx, Sigrid Leyssen, Christopher Morrissey, Annette Mülberger, Jaume Navarro, Herman Paul, Karim Schelkens, Wim Weymans and John Carter Wood reconstruct a bewildering, yet decipherable thought-structure that has left a deep mark on twentieth century politics, philosophy, science and religion.

By studying the reception and perception of the French Catholic philosopher Jacques Maritain, this book argues that European modernist artists and intellectuals sought a primordial finality in Catholicism. The French poet, writer, and surrealist filmmaker Jean Cocteau converted under the influence of Maritain. For the painters Gino Severini, a pioneer of Futurism, and Otto Van Rees, one of the first Dadaists —both converts— Maritain played the role of spiritual counselor. And when the promoter of abstract art Michel Seuphor embraced Catholic faith in the 1930s, he, too, had extensive contact with Maritain. For all of them, the dictum of the Irish poet Brian Coffey, once a doctoral student under Maritain, applied: modern art needs a Thomist conceptual framework. However, the contributions in The Maritain Factor also show that, besides admiration, Maritain provoked irritation with his theories. Walter Benjamin for example, could only look at Maritain as a charlatan who was out to place modern art under the glass bell jar of Catholicism. The authors demonstrate that Catholic thought was not just one aspect of the manifold varieties of modernist discourses and practices, but in fact offered a basis to organize and structure this multiplicity in the 1920s and 1930s.This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content)With contributions by: Philippe Chenaux, Jan De Maeyer, Michael Einfalt, Jason Harding, Rajesh Heynickx, Zoë Marie Jones, Ewoud Kieft, Mathijs Sanders, Stephen Schloesser, Stéphane Symons, Cécile Vanderpelen-Diagre, James Matthew Wilson.

It is a major challenge to write the history of post-WWII architectural theory without boiling it down to a few defining paradigms. An impressive anthologising effort during the 1990s charted architectural theory mostly via the various theoretical frameworks employed, such as critical theory, critical regionalism, deconstructivism, and pragmatism.Yet the intellectual contours of what constitutes architectural theory have been constantly in flux. It is therefore paramount to ask what kind of knowledge has become important in the recent history of architectural theory and how the resulting figure of knowledge sets the conditions for the actual arguments made.The contributions in this volume focus on institutional, geographical, rhetorical, and other conditioning factors. They thus screen the unspoken rules of engagement that postwar architectural theory ascribed to.Contributors: Matthew Allen (University of Toronto), Karen Burns (University of Melbourne), Ole W. Fischer (University of Utah), Philip Goad (University of Melbourne), Hilde Heynen (KU Leuven), Rajesh Heynickx (KU Leuven), Paul Holmquist (Louisiana State University), Sandra Kaji-O'Grady (University of Queensland), Peter Lang (Royal Institute of Art, Stockholm), Andre Loeckx (KU Leuven), Sebastiaan Loosen (KU Leuven), Louis Martin (Universite du Quebec a Montreal), Joan Ockman (University of Pennsylvania), Carmen Popescu (ENSAB, Rennes), Ricardo Ruivo (Architectural Association, London), Andrew Toland (University of Technology Sydney).Free ebook available at OAPEN Library, JSTOR and ProjectMuse

In the months and years immediately following the First World War, the many (European) countries that had formed its battleground were confronted with daunting challenges. These challenges varied according to the country's earlier role and degree of involvement in the war but were without exception enormous. The contributors to this book analyse how this was not only a matter of rebuilding ravaged cities and destroyed infrastructure but also of rebuilding people's damaged bodies and upended daily lives, and rethinking and reforming societal, economic and political structures. These processes took place against the backdrop of mass mourning and remembrance, political violence and economic crisis. At the same time, the postwar tabula rasa offered many innovative opportunities in various areas of society, from social and political reform to architectural design. The wide scope of postwar recovery is reflected in the different sections of this book: rebuild, remember, repair, and reform. It offers insights into the postwar era in Western European countries such as Belgium, France, Germany, Portugal, Spain, and Italy, as well as into how those efforts were perceived outside of Europe, for instance in Argentina and the United States.Free ebook available at OAPEN Library, JSTOR and ProjectMuseContributors: Helen Brooks (University of Kent), Dries Claeys (KU Leuven), Marisa De Picker (KU Leuven), Leen Engelen (LUCA/KU Leuven), Rajesh Heynickx (KU Leuven), John Horne (Trinity College Dublin), Maarten Liefooghe (Ghent University), Ana Paula Pires (Universidade Nova de Lisboa), Richard Plunz (Columbia University), Tammy Proctor (Utah State University), Pierre Purseigle (University of Warwick), Carolina Garcia Sanz (Universidad de Sevilla), Jan Schmidt (KU Leuven), Yves Segers (KU Leuven), Marjan Sterckx (Ghent University), Maria Ines Tato (Universidad de Buenos Aires), Pieter Uyttenhove (Ghent University), Joris Vandendriessche (KU Leuven), Luc Verpoest (KU Leuven), Pieter Verstraete (KU Leuven), Volker Welter (University of California), Kaat Wils (KU Leuven)