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ARCHITECTURES OF HIDING

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.

Rana Abughannam is assistant professor at the School of Architecture and Landscape Architecture at the University of British Columbia. She previously taught at Carleton University, the Canadian

University Dubai and Birzeit University, with a specific focus on architecture and urbanism within colonial and postcolonial settings. Rana is a registered architect in Palestine with a professional degree in architectural engineering from Birzeit University and a postprofessional master of history and theory of architecture degree from McGill University. Her research interests revolve around architecture and urbanity and the socio-political conditions that govern them. Her doctoral research at Carleton University, supported by a Social Sciences and Humanities Research Council Doctoral Fellowship, focuses on built heritage rehabilitation in Hebron, Palestine, as a counter-colonial project. Rana’s research works towards paradigms of counter-colonization exemplified in indigenous, bottom-up, and constant practices of resistance against ongoing colonial projects.

Émélie Desrochers-Turgeon is assistant professor at the Dalhousie University School of Architecture. Her research areas include the relationship between built environments and grounds through material fictions, architectural representation, land survey, extractive infrastructures and liquid landscapes. Educated professionally in architecture (McGill University) and environmental design (Université du Québec à Montréal), she practiced design in Montréal and Berlin, where she gained experience in collective housing and exhibition design. Her doctoral research (Architecture, Carleton University), funded by the Vanier Canada Graduate Scholarship, considers the scale, the material assemblages and the political aesthetic of the Central Experimental Farm and Museum of Nature in Ottawa as infrastructures of settler colonization.

Pallavi Swaranjali is program coordinator and professor in the Bachelor of Interior Design (BID) program, Algonquin College, Ottawa, and a PhD graduate of the Azrieli School of Architecture and Urbanism, Carleton University, Ottawa. She has a bachelor of

architecture and a master of design degree in industrial design from India, where she also worked in architectural practice. She is presently an intern architect with the Ontario Association of Architects, Canada. Her research centers on the relationship between architecture and storytelling, looking at non-conventional modes of architectural representation that combine the normative and the fantastical, and the ways in which they transform architectural making and experience. Her areas of teaching include residential and corporate studio, senior project and the history and theory of design. She has been one of the coordinators of Carleton Research | Practice of Teaching | Collaborative (criptic.org) and one of the founding members of the Canadian Centre for Mindful Habitats (mindfulhabitats.ca).

Federica Goffi is professor of architecture, and co-chair of the PhD and MAS program in Architecture at the Azrieli School of Architecture and Urbanism at Carleton University, Ottawa, Canada. Her book, TimeMatter[s]:Invention andRe-imagination in Built Conservation: The Unfinished Drawing and Building of St. Peter’s in the Vatican, was published by Ashgate in 2013. Her recent edited volumes include The Routledge Companion to Architectural Drawings and Models: From Translating to Archiving, Collecting and Displaying (Routledge 2022); InterVIEWS: Insights and Introspection in DoctoralResearchinArchitecture(Routledge 2019); MarcoFrascari’s Dream House: ATheory of Imagination (Routledge 2017); and the co-edited Ceilings and Dreams: The Architecture of Levity (Routledge 2019). She is the editor of And Yet It Moves: Ethics, Power, and Politics in the Stories of Collecting, Archiving and Displaying of Drawings and Models (Routledge 2021). She holds a PhD in architecture and design research (Virginia Tech), a Dottorein Architettura (University of Genoa), and she is a licensed architect in her native country, Italy.

“This volume performs a masterful reveal of architecture’s masked motives and methods. Its elegant structure presents remarkably rich and diverse insights into architecture’s invisible agencies.”

Leslie Van Duzer, Professor ofArchitecture, University ofBritishColumbia

“The editors have assembled a wide-ranging cast of scholars to account for the unaccounted. Aggregating terms with a family resemblance to the gerund ‘hiding’ – from camouflage to clutter, violence to veils – the authors discuss how buildings and builders actively occlude their own political, physical, and cultural orders. Interested in post-truth history and criticism of the built world? Then this is a book for you.”

David Theodore, Associate Professor, McGillUniversity

“At a time of greater enforcement of data protection principles for the personal information of individuals, this invaluable book delves into an essential topic: understanding the dynamics, the imaginative possibilities, the moral dilemmas and ethical responsibilities of concealment and revealment in architecture, its histories, theories, power structures and overlooked narratives.”

Sophia Psarra, Professor ofArchitecture andSpatialDesign, BartlettSchoolofArchitecture, UCL

ARCHITECTURES OF HIDING

Crafting Concealment | Omission |

Deception | Erasure | Silence

Editedby Rana Abughannam, Émélie DesrochersTurgeon, PallaviSwaranjaliandFederica Goffi

Designed cover image: 18/09/23 Architectures of Hiding © Editors

First published 2024 by Routledge

4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge

605 Third Avenue, New York, NY 10158

Routledge is an imprintofthe Taylor &Francis Group, an informa business

The right of Rana Abughannam, Émélie Desrochers-Turgeon, Pallavi Swaranjali and Federica Goffi to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

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BritishLibrary Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library ofCongress Cataloging-in-Publication Data

Names: Abughannam, Rana, editor. | Desrochers-Turgeon, É mé lie, editor. | Swaranjali, Pallavi, editor. | Goffi, Federica, editor.

Title: Architectures of hiding : crafting concealment | omission | deception | erasure |

silence / edited by Rana Abughannam, É mé lie Desrochers-Turgeon, Pallavi Swaranjali

and Federica Goffi.

Description: Abingdon, Oxon : Routledge, 2024. | Includes bibliographical references and index.

Identifiers: LCCN 2023034302 (print) | LCCN 2023034303 (ebook) | ISBN 9781032412337 (hardback) | ISBN 9781032412320 (paperback) | ISBN 9781003356950 (ebook)

Subjects: LCSH: Invisibility in architecture.

Classification: LCC NA2799 .A73 2024 (print) | LCC NA2799 (ebook) | DDC 720.1/08 dc23/eng/20231031

LC record available at https://lccn.loc.gov/2023034302

LC ebook record available at https://lccn.loc.gov/2023034303

ISBN: 978-1-032-41233-7 (hbk)

ISBN: 978-1-032-41232-0 (pbk)

ISBN: 978-1-003-35695-0 (ebk)

DOI: 10.4324/9781003356950

Typeset in Times New Roman by Apex CoVantage, LLC

ListofFigures

ContributorBiographies

ListofAbbreviations

Acknowledgements

Introduction

RanaAbughannam,ÉmélieDesrochers-Turgeon,PallaviSwaranjali andFedericaGoffi

Interludes, Insights and Reflections: Architectures of Hiding: On Displaying the Hidden

MonicaEileenPatterson

PART I

Modes of Hiding: Veiled Devices Beyond the Gaze

Interlude 1: Verdures: Mimicry and Camouflage

FrançoisSabourinandBertrandRougier

InterviewedbyRyanStecandPallaviSwaranjali

1 Camouflage After the Bauhaus: Oskar Schlemmer, László MoholyNagy and György Kepes

JodiLaCoeandMarciaFeuerstein

2 Walls and Hidden Forms of Walling: The Production of Spatial Violence in Beirut

JenanGhazal

Hiding, Veiling and Transversing: Nubian MadyafaPostDisplacement

MennaAgha

4 From Concealed Caves to Dis(Cover)ed Bunkers: Gaetano Pesce’s

Pre-/Post-Historical Atomic Shelter

KyveliMavrokordopoulou

5 Concealed Behind Transparencies: A Closer Look at Architecture’s

Hidden Performativity Through the Barcelona Pavilion

RamonRispoli

6 Happy Schools: The Visible and Invisible in the Sven Lokrantz School and the Architecture of Special Education

DoraVanette

Interlude 2: Deformative, Yet Silent

SamiraDaneshvar

InterviewedbyPallaviSwaranjali

PART II

Motives of Hiding: Disguised Narratives

Interlude 3: Avert

HeatherLeier

InterviewedbyRyanStecandPallaviSwaranjali

7 Hiding in Plain Sight: The White House Solarium and the Projection of History

EliyahuKeller

8 UrbanAlibiand Its Terms of Concealment : Cases From Shanghai

YingZhou

9 Hiding Behind Colonial Roots: Investigating the Reconstruction of the Palestinian Presidential Headquarters (the Muqata’a) in Ramallah

AnwarJaber

10 [Hidden Architecture]: The Paracontextual in Superstudio’s Project of Instrumentalizable Muteness

AshleyMason

11 Architects’ Hidden Building Signatures

PaulEmmons

12 Clutter, Tidying and Architectural Desires

RebeccaWilliamson

Interlude 4: Hidden Relics

ClaudioSgarbi

InterviewedbyRyanStecandPallaviSwaranjali

PART III

Concealed Apparatus: Latencies and Potentialities in Material Realities

Interlude 5: Yellow + Blue: An Apparatus for Fabricating Illusionary Architecture

ZenoviaToloudi

InterviewedbyPallaviSwaranjali

13 Hiding in the Wings: A Culture of the Onlooker in EighteenthCentury France

LouisePelletier

14 Principles of Masking: Wall Paintings by Thomas Schütte and Ludger Gerdes, Circa 1977

StefaanVervoort

Concealment, Costume and Modern Architecture

TeminioluwaThomas

16 Architecture, Infrastructure and Occlusion in Miami: The Network

Access Point of the Americas

JeffreyKruthandAllisonSchifani

17 Drawn Lines Conceal Multitudes: The Hidden Traces of Time in Carlo Scarpa’s Drawn Factures for the Brion Memorial

KristinWashco

18 Impossible Gag: Clues to a Hidden Reality in Winsor McCay’s and Buster Keaton’s Representations of Dreams

LindaHeinrich

Interlude 6: A New Approach to Hidden History: The Reconstruction of History Through Nodal Spaces in the Ghost City of Lifta

HalaBarakat

InterviewedbyRyanStecandPallaviSwaranjali

Coda: The Architecture of Hiddenness: Latency and Virtuality in the Topology of Concealment

DonKunze

Index

FIGURES

A.1 Hidden door in the Salotto dei Franceschini leading to the servant stairs, kitchen and other concealed spaces in Palazzo Spinola di Pellicceria in Genoa, Italy. Originally dating from 1593.

A.2 “Not For Sale!” Canadian Pavilion by the collective.

A.3 Al-Shalalah Street, the old city of Hebron, Palestine, July 2018.

A.4 Installation of Wrapped Reichstag, Berlin, 1995. Photo: Wolfgang Volz.

B.1 Screenshot of the launch page featuring thumbnail images linked to artists’ works in the digital exhibition, “Architectures of Hiding.” September 24, 2021–present.

I.1.1 Left: Detail from the millefleurs tapestry, The Unicorn in Captivity (1495–1505). Right: Verduresmimicry camou flage.

I.1.2 Different layers compose the camouflage pattern. Clockwise from top left: a composite background, branches, twigs, leaves and fruits.

I.1.3 Observer hiding in Verdures.

I.1.4 Ponchos exhibited out of context.

I.1.5 Hiding in plain sight.

1.1 Left:Oskar Schlemmer, EntwurfdesTarnanstrichsfüreinem Gaskessel von Stuttgart, um 1940 (Design for a Camouflage Painting for a Gasometer in Stuttgart, around 1940). From Oskar Schlemmer Idealist der Form: Brief, Tagebücher , Schriften 1912–1943, Leipzig: Reclam-Verlag, 1990, 325. Right: Oskar Schlemmer, Beim Tarnem des Gaskessels, 1942 (Camouflaging the Gasometer, 1942) in Karin v. Maur, Oskar

Schlemmer Oeuverkatalog der Gemåalde, Aquarelle, Pastelle undPlastikenvol. 2, Munich, Prestel Verlag 1979, 151.

1.2 Oskar Schlemmer, AmFenster(FensterbildIX), 1942.

1.3 Left: Photograph of Oskar Schlemmer by László MoholyNagy, Ascona, 1926. Right: Exhibition of the Camouflage Workshop, School of Design in Chicago, 1943.

1.4 Camouflaged cylinder, figure in Part III of “Civilian Camouflage Goes into Action,” from John Scott in collaboration with László Moholy-Nagy and György Kepes, “Materials for the Camoufleur,” Civilian Defense (September 1942).

2.1 The Wall of Shame in front of the entrance to the Nejmeh Square and the Lebanese Parliament.

2.2 The Wall of Shame of 2015, an annotated map.

2.3 The Wall of Shame of 2019, an annotated map.

2.4 The ruins of the ancient walls and the Roman gate in The Landmarksite were revealed after the explosion in the Port of Beirut.

3.1 The central public complex in Qustul.

3.2 The Western Madyafa in Qustul, represented through a collage.

4.1 Gaetano Pesce, Lefuturestpeut-êtrepassé. Exhibition view of the two armchairs with, laterally, the stairs that lead to the rest areas. Musée des Arts Décoratifs (January 6–March 3, 1975).

4.2 Gaetano Pesce, Lefuturestpeut-êtrepassé. Exhibition view at the Musée des Arts Décoratifs (January 6 – March 3, 1975).

4.3 Oscar Newman, Plan for an Underground Nuclear Shelter, 1969. From YOUAREHERE:PersonalGeographiesandOther MapsoftheImagination.

5.1 View of the installation PHANTOM. Mies as Rendered Society in and around the larger pool of the Barcelona Pavilion.

5.2 View of the installation PHANTOM.MiesasRenderedSociety in and around the pool in the building’s rear court.

5.3 The basement of the reconstructed Barcelona Pavilion with some broken travertine slabs and marble pieces.

5.4 Old, discolored velvet curtain stored in the Barcelona Pavilion’s basement.

6.1 Sven Lokrantz outdoor area with students at recess. Sven Lokrantz School, Reseda, Los Angeles, California. Design by Sidney Eisenshtat, 1960.

6.2 Circular room at the center of the Sven Lokrantz School designed for the observation of the therapeutic process. Sven Lokrantz School, Reseda, Los Angeles, California. Design by Sidney Eisenshtat, 1960.

6.3 Circular hallway, Sven Lokrantz School, Reseda, Los Angeles, California. Design by Sidney Eisenshtat in 1960.

6.4 Patio, Sven Lokrantz School, Reseda, Los Angeles, California. Design by Sidney Eisenshtat in 1960.

I.2.1 Deformative Workby Samira Daneshvar. Fabric and metal. Modelled by Vanessa Kiraly, 2018.

I.2.2 Sit-down by Samira Daneshvar. Plaster and aluminum, 2018.

I.2.3 Click-inby Samira Daneshvar. Plaster and aluminum, 2018.

I.2.4 Carry-on by Samira Daneshvar. Plaster and aluminum, 2018.

I.3.1 Avert, inkjet prints on Kozo paper, mounted beside a pedestrian path, on an exterior wall of the Murray Fraser Hall, University of Calgary, Treaty 7 region in southern Alberta, Canada, 2021.

I.3.2 Avert, inkjet prints on Kozo paper, mounted on a column supporting the Plus 15 between Art Parkade and Craigie Hall, University of Calgary, Treaty 7 region in southern Alberta, Canada, 2021.

I.3.3 Avert, inkjet prints on Kozo paper, mounted on columns outside the Education Block, University of Calgary, Treaty 7 region in southern Alberta, Canada, 2021.

I.3.4 Avert, inkjet prints on Kozo paper, mounted on the side of Craigie Hall, near a ledge where people wait for transit, University of Calgary, Treaty 7 region in southern Alberta, Canada, 2021.

I.3.5 Avert, inkjet prints on Kozo paper, mounted to a glass bus shelter, Santander, Spain, 2018.

7.1 Illustration accompanying David Lilienthal’s January 1948 TheNewYorkTimesessay, page 5.

7.2 Photograph of the nuclear cloud over Nagasaki after the detonation of the second atomic bomb on August 9, 1945. Photograph by Charles Levy.

7.3 The Solarium in the final stages of its redecoration after the renovation during the Harry S. Truman administration (1951).

7.4 Approximated cross-section of the White House after the Truman renovation (1948–1952). The section looks east, with the Solarium on the southern façade and the vestibule on the northern façade. A detailed section was published in William Seale’s The White House – The History of an American Idea (2011: 288), yet it was removed from the Library of Congress.

8.1 Lujiazui’s skyline.

8.2 Timeline of the rise of Lujiazui’s buildings and China’s economic stake in the world, as measured by contribution to world gross domestic product growth.

8.3 Map of Creative Industries Clusters superimposed onto the location of industries in Shanghai.

8.4 West Bund’s new buildings: the West Bund Art Center (upper left), the Long Museum (upper right), the YUZ Museum (lowerleft) and Tank Art Center (lowerright).

9.1 Plan illustrating the two parts of the reconstructed Muqata’a and their details as they stand today.

9.2 Exterior wall of the Muqata’a with watchtowers, Irsal Street, 2018.

9.3 The Muqata’a around 1940 as a Tegart British fort. The Palestinian National Authority reconstruction after the death of Arafat in 2004 takes after this image of the fort.

9.4 The transformation of the Muqata’a during the Palestinian National Authority period (1943–2017).

10.1 The open, unlabelled box.

10.2 The closed, labelled box.

11.1 IACOBO GIBBS ARCHITECTO. Center of pediment frieze detail. James Gibbs, St. Martin-in-the-Fields, London (1726).

11.2 CHARLES A PLATT/ARCHITECT. Charles Platt, Freer Gallery of Art (1923), Washington, DC.

11.3 Left: CHARLES GARNIER ARCHITECT 1861–1875. The inscription is the center ceiling detail of the Rotonde of the Season Ticket Holder’s Lobby. Charles Garnier (1825–1898), Paris Opera (1875). Right: HHR. Stone beside the front entry carved with overlapping initials of the architect with interlocking compasses. Henry Hobson Richardson, Austin Hall (1884), Harvard University, Cambridge.

11.4 “Grotesque of Mr. Goodhue.” Cram, Goodhue & Fergusson, The Chapel, US Military Academy, West Point, New York (1910).

12.1 Giovanni Battista Piranesi. First Frontispiece of the Antichità Romane with the coat of arms of James Caulfield, Earl of Charlemont, original sponsor of the publication.

12.2 Giovanni Battista Piranesi, stone elements from the first frontispiece with erasure of inscription in imitation of ancient damnatio memoriae, indicating Piranesi’s rage at Charlemont.

12.3 The repetitive forms of the columbarium suggest limitless accumulation in an endless space. Chapel of the Chimes, Oakland, California, founded in 1909 and redesigned in 1928 by architect Julia Morgan (1872–1957).

12.4 Drying laundry arrayed among furnishings in the serre, an attached greenhouse structure serving as flexible living space, bears witness to inhabitation. “House in Coutras 3,” Coutras, France, 2000, Lacaton & Vassal.

I.4.1 Relics of a secret design found hidden inside a building wall:a woodenspoon, aholypicture withaprayer, aKingof Cups Briscola card, and two lavishly illustrated empty matchboxes.Theywerehiddenforalltheghoststocomeand foralltheaccidentsofthereal. Relics from the historic district of Bologna. Gift by Carminella Biondi and Melita Castellina.

I.4.2 These relics were buried and retrieved. The necessity of the retrieval of this secrecy is the essence of architecture. Thisiswhytobuildyoushallhidesomething.

I.4.3 Packaging the relics in Italy. The smaller greenish box belonged to Marco Frascari and was given to me as a gift from PaolaFrascariinOttawa. ItreturnedtoOttawa carrying thesemysteriousobjectsthroughenigmaticvoids.

I.4.4 Nilly-willyconspirators ofthese secrets are thinking about how to accomplish the truth of the destiny of these relics –nowconcealedinaschoolofarchitecture.

I.4.5 The hidden relics have been handled, inspected, represented, photographed, wrapped, packed, delivered through international logistics, unpacked, exposed to strangers, carriedtounforeseeableplaces,filmedandpacked again into an urn, fit into another box andgiven as a gift to the Azrieli School of Architecture and Urbanism.They will be grantedtoanotherperson(aspiringarchitect?)todecidewhat todowiththem.

I.5.1 Unapologetically Playful, Zenovia Toloudi/Studio Z, Yellow +Blue, Carleton University campus, Ottawa, Canada, 2021.

I.5.2 IllusionaryMechanism, Zenovia Toloudi/Studio Z, Yellow+ Blue, Carleton University campus, Ottawa, Canada, 2021.

I.5.3 Yellow + Blue as a labyrinth, Zenovia Toloudi/Studio Z, Yellow + Blue, Carleton University campus, Ottawa, Canada, 2021.

I.5.4 Portal for Phantasmagoria, Zenovia Toloudi/Studio Z, Yellow + Blue, Carleton University campus, Ottawa, Canada, 2021.

I.5.5 Disrupting the Norm, Zenovia Toloudi/Studio Z, Yellow + Blue, Carleton University campus, Ottawa, Canada, 2021.

13.1 An Ex Machina production of the play 887. Robert Lepage brings a dollhouse to life by manipulating miniature accessories linked to specific scenes – commissioned by the Arts and Culture Program of the TORONTO 2015 Pan Am and Parapan Am Games.

13.2 Section through a living room, from Diderot’s Encyclopédie, 1776.

13.3 Ground floor plan of a house for the Marquis de Villefranche in Avignon by François Franque (1710–1793), Architect of the King. It shows a boudoir to the left of the circular living room and a narrow corridor along a guest room connecting to a service staircase and the antechamber used as a dining room. From Diderot’s Encyclopédie, 1778.

13.4 Sections and elevations of the Comédie de Lyon by Jacques-Germain Soufflot. The proscenium separates the area of the stage from the boxes for the audience. From Diderot’s Encyclopédie, 1776.

14.1 Thomas Schütte, GroßeMauer, 1977. Installed on the firstfloor hallway of Düsseldorf’s Art Academy. Oil paint on wood, circa 1200 elements, bricks 10 × 20 cm, half bricks 10 × 10 cm.

14.2 Ludger Gerdes, “19 Substantive aus einem Abschnitt eines Aüfsatzes von B.H.D. Buchloh über Gerhard Richter” (19 Nouns from a Segment of an Essay by B.H.D. Buchloh on Gerhard Richter), c. 1979. Nürnberg, Germanisches

Nationalmuseum, Deutsches Kunstarchiv, NL Gerdes, Ludger, DKA44.

14.3 Ludger Gerdes, Wandbild, c. 1981 (‘phase 2’). Detachable color tape and sheets on the wall, studio curtains, used as a stage to present diverse paintings and drawings, a relief, a sculpture, a slide projection, wall lights and cloth ornaments.

14.4 Thomas Schütte, Rosa Kacheln, 1977–1980. Varnish on plastic, 274 pieces, 297 × 270 × 1 cm.

15.1 Top left: Katherine of Aragon wearing a gable hood by unknown artist. Top right: Night view of floodlit Cologne Cathedral in Germany. Bottom: Schnabelschuh, Spanien (Crakow, Spain)

15.2 Alternating black and white bands of marble on the exterior of Baker’s house reconstructed by Stewart Hicks according to Adolf Loos’ unbuilt design. Published in 2021.

15.3 Large central atrium over the indoor pool. Baker’s house reconstructed by Stewart Hicks according to Adolf Loos’ unbuilt design. Published in 2021.

15.4 Glass viewing screens like peepholes on pool walls. Baker’s house reconstructed by Stewart Hicks according to Adolf Loos’ unbuilt design. Published in 2021.

16.1 The Network Access Point facility in downtown Miami, Florida, circa 2016. Faux openings and ventilation baffles punctuate the façade.

17.1 Journey to the water. Photo montage showing the entry sequence to the Pavilion on the Water. Brion Memorial (1969–1978) in San Vito d’Altivole, Italy, Carlo Scarpa.

17.2 15154/58 recto. “Elevation of the Pavilion on the Water with a sketch of a human figure.” Graphite and colored pastel on a heliographic copy, 430 × 705 mm, Brion Memorial (1969–1978) in San Vito di Altivole, Italy, Carlo Scarpa.

17.3 15154/145 recto. “Details of the structure and measurements for the Pavilion on the Water with the three

portraits of Carlo Scarpa, Nini and Tobia.” Graphite and colored pastel on a heliographic copy, 297 × 410 mm. Brion Memorial (1969–1978) in San Vito d’Altivole, Italy, Carlo Scarpa.

17.4 293r/SR 293. “Elevations of the Pavilion on the Water and study of the connecting element between the lower metal structure and the upper wooden part.” Graphite and colored pastel on a heliographic copy, 422 × 600 mm. Brion Memorial (1969–1978) in San Vito d’Altivole, Italy, Carlo Scarpa.

18.1 Sigmund Freud analyzing Little Nemo, a dreamer who, finding himself in various nightmarish situations, was inevitably transported – incognito – back to bed. Winsor McCay’s Little Nemo in Slumberland was a full-page cartoon that appeared in the New York Herald from 1905 to 1911. Digital collage using image of the body of Freud, the couch and the room which is the background for a meme-generator: www.memecreator.org/meme/her-name-was-alice.

18.2 A doubling of form. A close-up from Little Nemo in Slumberland (New York Herald, July 26, 1908) by Winsor McCay juxtaposes a panel of Nemo falling in the dream with a panel of Nemo falling out of his actual bed. In Buster Keaton’s Sherlock Jr. (1924), the camera frame juxtaposes the dream projectionist with the real projectionist sleeping. Digital collage.

18.3 The fourth wall ‘breaks.’ A close-up of LittleSammySneeze (New York Herald, September 24, 1905) by Winsor McCay folds into a still from Sherlock Jr. (1924) of Buster Keaton jumping into the screen. Digital collage.

18.4 A man in a hurry gets nowhere in DreamofaRarebitFiend (The New York Herald, September 24, 1905) by Winsor McCay. This idea resonates with a scene from Daydreams (1922) by Buster Keaton, where he gets caught in the circular motion of the paddle wheel. Digital collage.

I.6.1 Collages of destruction, 2020. Physical assemblage of images and printed material, 2021.

I.6.2 Tower of return. Physical three-dimensional model, resin and acrylic, 2021.

I.6.3 Reconstructed homes, 2019. Physical three-dimensional models, plaster bases, three-dimensional-printed structures, acrylic and steel rods.

I.6.4 Inter-relational drawing of the homes and tower of return, 2019. Digital-mixed media drawing, 2021.

I.6.5 Transcription device, acrylic, bulldozer model kit, threedimensional printed homes and typewriter fragments, 2021.

CONTRIBUTOR BIOGRAPHIES

Menna Agha is an assistant professor of design and spatial justice at Carleton University. She is the director of the Action Lab, a community service collective with a clear focus and commitment to marginalized people. The lab positions architects as activists who provide architectural, planning and housing services to community groups. She is a third-generation displaced Fadicha Nubian, a legacy that infuses her research interests in race, gender, space and territory. Her publications include “Nubia Still Exists: On the Utility of the Nostalgic Space” (Humanities 2019); “The Non-work of the Unimportant” (Kohl:aJournalfor BodyandGenderResearch2019); and “Liminal Publics, Marginal Resistance” (ideajournal2017).

Hala Barakat is an assistant professor of architecture at the University of Idaho. She holds a master of architecture degree and a master of urban and community design from the University of South Florida. Barakat’s background as a Palestinian from Anabta informs her research across languages and cultures. Her work challenges the sleights, injustices and outright failures that architecture has perpetuated over time by suppressing marginalized populations in favor of majoritarian agendas. She believes in architecture’s ability to uncover hidden narratives of deracination and resists the use of architecture to serve any political agenda. She is a recipient of the Art Omi fellowship for the 2023 Architecture Residency program.

Samira Daneshvar’s research focuses on key episodes and experiments in the histories of science, media and the environment. Across these fields, she is interested in how spaces within and

between bodies are mediated, represented and reasoned. Her research broadly considers design an iterative process of designating knowledge through material practices. Samira is a PhD candidate in history and theory of architecture, landscape architecture, and urban planning and a master of arts student in history of science at Harvard University. She holds a master of architecture from the University of Toronto and a master of science from the University of Michigan. She joined the design discipline after five years of medical studies in Iran.

Paul Emmons is a registered architect and the Patrick and Nancy Lathrop Professor of Architecture at Virginia Tech, where he is associate dean of graduate studies for the College of Architecture and Urban Studies. Emmons is based at the Washington-Alexandria Architecture Center and coordinates the history and theory stream of the PhD program in architecture + design research. His widely presented and published research includes his book, Drawing Imagining Building (Routledge 2020) and the recently co-edited Confabulations, Storytelling in Architecture (Routledge 2017) and CeilingsandDreams:TheArchitectureofLevity(Routledge 2020).

Marcia Feuerstein teaches theory and design at Virginia Tech. A scholar, architect and author, her writings, images and photographs have been published in books and journals, including Ceilings and Dreams (Routledge 2020), BodyandBuilding(The MIT Press 2005), TheaterandPerformance Design, MAR, and ARQ. Her books include Confabulations: Storytelling in Architecture (Routledge 2016), Architecture as a Performing Art (Routledge 2013) and Expanding Field of Architecture (Lund Humphries 2022), which details contemporary architectural projects by women. Feuerstein’s work considers design through theories of the body, embodiment, performance and theatre. A graduate of the University of Pennsylvania (MS, PhD), University at Buffalo (MArch) and Tufts

University (BS), she is a member of the American Institute of Architects and a registered architect.

Jenan Ghazal is a PhD candidate in architecture and a Social Sciences and Humanities Research Council scholar at Carleton University. She is affiliated with the Department of Near and Middle Eastern Civilizations at the University of Toronto and with the Center for Arab and Middle Eastern Studies at the American University of Beirut. She taught architectural history and theory courses at Carleton University and the Ontario College of Art and Design University around spatial violence and social justice. She holds a BArch (2012) and a MArch (2014) from the Académie des BeauxArts, Lebanon. She has professional experience as a licensed architect in Lebanon. By reflecting upon her firsthand experience of urban conflicts following upheavals in Lebanon, her research addresses the question of spatial violence as a continuous immanence in the architecture of our cities.

Linda Heinrich is completing a PhD in architecture + design research at the Washington-Alexandra Architecture Center, Old Town Alexandria. A licensed architect in Washington, DC, she recently joined Hapstak Demetriou+ Architecture and Design as a lighting consultant, bringing a range of skills, including lighting and exhibition design. She began her career working within the Design Department at the National Gallery of Art in Washington, DC, which, combined with an expertise in lighting gained while working at George Sexton Associates, continues to influence new projects.

Anwar Jaber is an architect and assistant professor at the Waterloo School of Architecture, University of Waterloo, Canada. Her research interests include critical theory, the socio-politics of cities, especially those under conflict, settler colonialism and inequity. She is interested in historical and contemporary aspects of architecture and

urbanism, focusing on Middle Eastern and Arab contexts. Born and raised in the city of Jerusalem, Jaber holds an MPhil and a PhD in architecture from the University of Cambridge in England and practiced as an architect and urban planner in Jerusalem.

Eliyahu Keller is an architect, architectural historian and founding member of the Negev School of Architecture in Israel, where he serves as the History and Theory of Architecture coordinator. He holds a master’s in design studies from the Harvard Graduate School of Design and a PhD in history, theory and criticism of architecture from MIT, where he served as the editor of SCATTER!, the 46th issue of the peer-reviewed journal Thresholds, published by The MIT Press. His research explores the effects of nuclear culture and apocalyptic thinking on speculative architectural production during the Cold War in the United States.

Jeffrey Kruth is the co-founder of the design and research collaborative SPEC. Jeffrey is an assistant professor of architecture at Miami University, Ohio. His work focuses on the intersection of urban media, memory and the American city. He is the co-editor with Steven Rugare of the book UrbanHistoriesinPractice:Morphologies &Memory, published as part of the Arts, Design and Culture in Cities series (Cambridge Scholars Publishing 2022).

Don Kunze is a professor emeritus at the Pennsylvania State University. He has taught at the Pennsylvania State University, University of Buffalo, Louisiana State University, WashingtonAlexandria Architecture Center (Virginia Polytechnic Institute and State University), and, most recently, Frankfort University of Applied Sciences (workshops). His work deals with psychoanalysis, virtuality and the uncanny. He is a founding member of the Institute for Psychoanalytic Study of Architecture and author of a book about Giambattista Vico.

Jodi La Coe is a registered architect teaching at Marywood University. Her research interests bridge the art and science of historical visualizations of space – the connections, interactions and inspirations in the relationship between architectural imagination and cultural histories. She earned a PhD in Architecture and Design Research from the Washington-Alexandria Architecture Center of Virginia Tech. Her edited books include Expanding Field of Architecture: Women in Practice Across the Globe (Lund Humphries 2022), Ceilings and Dreams: The Architecture of Levity (Routledge 2020), and essays in Remote Practice: Architecture at a Distance (Lund Humphries 2022), Theatres of Architectural Imagination (Routledge 2023) and DrawingImaginaryPlaces(forthcoming).

Heather Leier is an assistant professor in the Department of Art and Art History at the University of Calgary. She received an MFA in printmaking from the University of Alberta and was the recipient of the Southern Graphics Council International Graduate Fellowship in 2016. Over the course of the last decade, her work has explored understandings of identity, trauma and life-phases through printmaking, installation, and multimedia research-creation practice. She has exhibited her work nationally and internationally. When she is not teaching or working on various print projects, she is tending to plant cohabitants or helping to facilitate gallery programming at Alberta Printmakers Society.

Ashley Mason is a research associate in culture and climate change at the Sheffield School of Architecture, University of Sheffield, UK. Her research is engaged with creative-critical and textual-spatial practices within architecture, though especially with matters of site activism. Her doctoral thesis in architecture by creative practice (Newcastle University, awarded 2019) intertwined a constellation of precedents with her own creative-critical works to offer a paracontextual practice advocating for marginal, ephemeral and

overlooked site matters within architectural history, theory, design and production. Recent publications include, co-edited with Adam Sharr, CreativePracticeInquiryinArchitecture(Routledge 2022).

Kyveli Mavrokordopoulou is an art historian specializing in the relationship between art and science with an emphasis on nuclear technologies. Her interdisciplinary scholarship, at the intersection of art history and the environmental humanities, engages nuclear aesthetics, the visual culture of extraction and material histories of art and the environment. She holds a PhD from the École des Hautes Études en Sciences Sociales, Paris (2021, Onassis Foundation scholar). She is a postdoctoral fellow at the Käte Hamburger Kolleg, RWTH University, Aachen (2022–2023). She is working on an exhibition about the atomic age at the Musée d’Art Moderne de Paris (2024).

Monica Eileen Patterson is associate professor and assistant director of curatorial studies in the Institute for the Comparative Study of Literature, Art, and Culture at Carleton University. She holds a PhD in anthropology and history and a certificate in museum studies from the University of Michigan. Patterson is author of several articles and co-editor of two books: Curating Difficult Knowledge:ViolentPastsinPublicPlaces(Palgrave Macmillan 2011) and Anthrohistory:UnsettlingKnowledgeandQuestioningDiscipline (University of Michigan Press 2011). Currently, she is completing a manuscript that examines the multiple and contested understandings of childhood in late-apartheid South Africa. As a curator, scholar and activist, she is particularly interested in the intersections of memory and violence in postcolonial Africa and Canada, and the ways in which they are represented and engaged in contemporary public spheres.

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