Related Papers
MoMoWo women's creativity since the modern movement (1918-2018) : toward a new perception and reception
2018 •
Caterina Franchini
MoMoWo Siymposium 2018-Women's Creativity since the Modern Movement (1918-2018). Toward a New Perception and Reception MoMoWo Symposium 2018 Programme and Abstracts of the International Conference Politecnico di Torino, Campus Lingotto | 13th–16th June 2018, Torino, Italy / Franchini, Caterina; Garda, EMILIA MARIA. ELETTRONICO. (2018), pp. 1-260. Original MoMoWo Siymposium 2018-Women's Creativity since the Modern Movement (1918-2018). Toward a New Perception and Reception
Arts
Don’t Be Afraid of the Digital
2019 •
martien de vletter
Paper presented at the 2024 Docomomo National Symposium "Streams of Modernity: Postwar to Postmodern", University of Miami - May 29 –June 1, 2024
Urban Renewal and Post-Modern Legacy of Oklahoma City
2024 •
Selena Bagnara Milan
Umění / Art
Architecture is a Complex Symptom of Society. Jean-Louis Cohen in Conversation with Martina Hrabová and Irena Lehkoživová
2023 •
Martina Hrabova
The interview took place on the occasion of a three-day visit of Jean-Louis Cohen to Prague in May 2022 at the invitation of the VI PER Gallery, where he delivered a lecture entitled Uncle Sam in the Land of the Soviets: The Ambiguities of Russian Amerikanizm. Cohen's broad geographical and thematic scope also included an interest in the Czechoslovak interwar avant-garde, a passion which spans the period since the early days of his enthusiasm for architecture. Cohen visited Prague after more than twenty years, and in the interview, we asked about the roots of his professional interests, his understanding of architecture as such, and about the tools to preserve, cultivate, and explore it more deeply. It is hard to believe the sudden and unexpected passing away of Jean-Louis Cohen on 7 August 2023. We will miss him deeply.
The Singapore Architect
Building the M+ Architecture Collection: Some Reflections (The Singapore Architect 03/2016, 111-210)
2016 •
Shirley Surya
On the beginnings of building the M+ Architecture collection since 2013, which have been, and will continue to be, shaped by four interrelated principles derived from its larger curatorial task of navigating between collecting for research and display, between the local and global, the canonical and non-canonical, between architecture and other disciplines.
Sokolina, Anna. Prelims, “Introduction,” In The Routledge Companion to Women in Architecture, ed. Anna Sokolina, 1–16. New York: Routledge, https://www.google.com/books/edition/The_Routledge_Companion_to_Women_in_Arch/qhssEAAAQBAJ?hl=en&gbpv=1&printsec=frontcover
Prelims, Introduction, Outlines to structural parts
2021 •
Anna Sokolina
Book preview (57 pages available): https://www.google.com/books/edition/The_Routledge_Companion_to_Women_in_Arch/qhssEAAAQBAJ?hl=en&gbpv=1&printsec=frontcover, https://routledgehandbooks.com/doi/10.4324/9780429278891.
Sokolina, Anna, ed. The Routledge Companion to Women in Architecture. New York: Routledge, 2021, 2024.
2021 •
Anna Sokolina
Reference site: https://www.routledge.com/The-Routledge-Companion-to-Women-in-Architecture/Sokolina/p/book/9780367232344. Book preview (57 pages available): https://www.google.com/books/edition/The_Routledge_Companion_to_Women_in_Arch/qhssEAAAQBAJ?hl=en&gbpv=1&printsec=frontcover, https://routledgehandbooks.com/doi/10.4324/9780429278891. Recognition: Top Ten Titles published by Routledge featured at 2022 CAA Annual Conference: Sokolina, Anna, ed. The Routledge Companion to Women in Architecture (2021) https://caa.confex.com/caa/2022/meetingapp.cgi/Session/10840; and The Nomination for the SAH 2023 Alice Davis Hitchcock Book Award Description: The Routledge Companion to Women in Architecture illuminates the names of pioneering women who over time continue to foster, shape, and build cultural, spiritual, and physical environments in diverse regions around the globe. It uncovers the remarkable evolution of women’s leadership, professional perspectives, craftsmanship, and scholarship in architecture from the preindustrial age to the present. The book is organized chronologically in five parts, outlining the stages of women’s expanding engagement, leadership, and contributions to architecture through the centuries. It contains twenty-nine chapters written by thirty-three recognized scholars committed to probing broader topographies across time and place and presenting portraits of practicing architects, leaders, teachers, writers, critics, and other kinds of professionals in the built environment. The intertwined research sets out debates, questions, and projects around women in architecture, stimulates broader studies and discussions in emerging areas, and becomes a catalyst for academic programs and future publications on the subject. The novelty of this volume is in presenting not only a collection of case studies but in broadening the discipline by advancing an incisive overview of the topic as a whole. It is an invaluable resource for architectural historians, academics, students, and professionals.
Design History Society
Displaying Design: History, Criticism and Curatorial Discourses
2023 •
Vinod Bhatia
Reflecting upon colonial exposition making. Design and exhibition making seems inseparable. Shaping materiality or to display it in form of a cultural extravaganza, colonialism as an agency systemised, strategised and spectacle-ised the exhibition space. Page 226-227
DHS, Design History Society Conference Book of Abstracts
Design History Society Conference, DHS. Book of Abstracts. Displaying Design: History, Criticism and Curatorial Discourses
2023 •
Rebecca Carrai
Within the 2023 DHS Conference held in Porto, I presented the paper entitled "Displays and Stage Design at IKEA (1960s-1980s). Tomas Jelinek and his Learning from the Viennese." Displays bridge canonical and commercial histories of design and architecture. Belonging to the latter, or better, bridging the two, is the world’s largest furnishing company, IKEA. This paper examines IKEA’s early phase of “modernisation” during the period from the 1960s to the 1980s, one characterised by innovation, professionalisation, and expansion. It highlights the pivotal role of stage design in IKEA’s development and considers both the two-dimensional representation of rooms and their corresponding three-dimensional architectures, as these are inherently intertwined. The paper argues that through clever spatial arrangements and the use of a semiotic system spanning multiple dimensions, IKEA has been able to modify, distort, and enhance the value of its merchandise over time. To understand the historical development of the business, it is crucial to examine the significant shifts in stage design and displaying techniques, as well as the influence of key figures such as IKEA’s designer, Tomas Jelinek. Jelinek, who studied stage design in Brno and immersed himself in the Viennese art and design scene, joined IKEA in 1968. By exploring the process of translating Western European functionalist visions to the Viennese Wohnkultur that Jelinek absorbed in Brno, and how this was adapted for mass consumption within IKEA, this paper articulates the significant changes that Jelinek brought to scene production. It examines the elements representative of both commercial and canonical histories of design and architecture that Jelinek drew from and re-elaborated in his role within the multinational corporation. Through Jelinek’s generation of staff and their creative direction in setting up rhythmic and immersive scenographies, one could say that IKEA anticipated and embodied the essence of television before its widespread adoption. The presentation draws from the author’s doctoral thesis and is evidenced by multiple sources from archival material held at the IKEA archive in Älmhult, Sweden, to interviews with Jelinek’s daughter. Keywords: IKEA; commercial histories of modernity; stage design; Tomas Jelinek; displays commodification Image caption: Backstage at the 1974/5 catalogue. Copyright: Archive & Collection, IKEA Museum AB, Älmhult
Architecture and Culture
And Yet It Moves: Ethics, Power and Politics in the Stories of Collecting, Archiving and Displaying of Drawings and Models
Federica Goffi
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