ATR 24 (2020) by Yvette Putra
Architectural Theory Review, 2020
One way to treat the broad range of types and examples of the architectural model is to classify ... more One way to treat the broad range of types and examples of the architectural model is to classify its manifestations in terms of their use in relation to the architectural profession, in which they sit inside, or outside: a model is inside the profession if it contributes towards the realisation of an architectural project. Identifying a model within this framework adds to an understanding of the model's purpose, technique, and audience, among other aspects, and stresses the well-established protocols that govern models in the profession. This paper analyses, in particular, Alex Selenitsch's models for two projects that are at the profession's boundary, and finds that their exceptional location is primarily informed by their purpose as architectural critique. This analysis has implications, for architecture and its discourse, because these models expand the role of the modelmaker as critic and, consequently, the roles of models in the profession.
Papers by Yvette Putra
Drawing, Nov 1, 2019
This article derives from three observations of architectural drawing: the current ubiquitousness... more This article derives from three observations of architectural drawing: the current ubiquitousness of digitization, the ongoing disputation of digitization in architectural pedagogy and the capacity of architectural drawing to simultaneously represent and communicate qualities of tangibility and intangibility. In its analysis, this article refers primarily to the writings of Marco Frascari (1945–2013), who was, through works such as , a strong critic of digital drawing. This article begins with an overview of the effects of digitization on architectural drawing, which are summarized in terms of their deleteriousness on the intangible qualities of architectural drawing, as seen predominantly in perspectives and sketches. This article then defines intangibility in architectural drawing and locates it within Frascari's theory of cosmopoiesis, and identifies marks, entourage (especially human entourage) and narrative as key elements of cosmopoiesis in architectural drawing. Finally, this article analyses the effects of digitization on architectural drawing from the standpoint of cosmopoiesis, with an emphasis on the key elements that were identified earlier, before concluding with some recommendations for preserving cosmopoiesis when drawing in a digital environment. This article holds that, in architectural pedagogy, a complete return to analogue drawing is neither feasible nor necessary because what is required instead is an awareness of the main areas in which digital drawing is most likely to fail, so that digital drawing retains the cosmopoietic qualities that characterize some examples of analogue drawing. This article argues that an understanding of the cosmopoiesis of architectural drawing is vital to transcending the apparent incompatibility of intangibility and digitization.
Architecture and Culture, Jun 9, 2021
Abstract This article identifies architectural drawings as "ugly" not aesthetically, bu... more Abstract This article identifies architectural drawings as "ugly" not aesthetically, but where there are difficult origins or content. It argues for an explicit methodology for their curation and display. The twentieth- and twenty-first-century shift in the viewing of architectural drawings has brought architectural drawings closer to artworks for public consumption. However, the recent reassessment of cultural artifacts clashes with the widely accepted cultural and social mores. By examining drawings by the Australian architect William Hardy Wilson (1881–1955), this article proposes recommendations for the curation and display of ugly architectural drawings that are borrowed from other fields that have made progress in managing similar problems. By testing the recommendations against Hardy Wilson’s drawings, this article shows that contextualizing and acknowledging the offensive nature of his drawings allows for a critical reckoning of Australian architecture across the scholarly, industrial and public spheres.
Lecture notes in civil engineering, Jul 20, 2017
The search for an appropriate architectural style dominates much of Australian architectural thou... more The search for an appropriate architectural style dominates much of Australian architectural thought and practice, and this ‘identity crisis’ remains unresolved into the present day. This paper investigates the use of drawing, by Australian architects, as a means for discovering an authentic, local architectural identity, with the Australian architect William Hardy Wilson as a case study. His responses to the architectural (and socio-political) problems of early twentieth century Australia were varied. Unlike his peers, he eschewed altogether the incubatory Modernist aesthetic of his day, as he always looked towards the past, by considering, firstly, European and, later, Chinese, sources. This paper also probes the importance of drawings in current architectural history research, where, as cultural and historical artifacts, they may be privileged above the built form. This paper suggests drawings more suitably convey, than built architecture, architects’ vision, and, as architects’ first acts of creation, are as valuable as architecture.
Architectural Theory Review, 2020
One way to treat the broad range of types and examples of the architectural model is to classify ... more One way to treat the broad range of types and examples of the architectural model is to classify its manifestations in terms of their use in relation to the architectural profession, in which they sit inside, or outside: a model is inside the profession if it contributes towards the realisation of an architectural project. Identifying a model within this framework adds to an understanding of the model’s purpose, technique, and audience, among other aspects, and stresses the well-established protocols that govern models in the profession. This paper analyses, in particular, Alex Selenitsch’s models for two projects that are at the profession’s boundary, and finds that their exceptional location is primarily informed by their purpose as architectural critique. This analysis has implications, for architecture and its discourse, because these models expand the role of the modelmaker as critic and, consequently, the roles of models in the profession.
Architecture and Culture, 2021
Abstract This article identifies architectural drawings as "ugly" not aesthetically, bu... more Abstract This article identifies architectural drawings as "ugly" not aesthetically, but where there are difficult origins or content. It argues for an explicit methodology for their curation and display. The twentieth- and twenty-first-century shift in the viewing of architectural drawings has brought architectural drawings closer to artworks for public consumption. However, the recent reassessment of cultural artifacts clashes with the widely accepted cultural and social mores. By examining drawings by the Australian architect William Hardy Wilson (1881–1955), this article proposes recommendations for the curation and display of ugly architectural drawings that are borrowed from other fields that have made progress in managing similar problems. By testing the recommendations against Hardy Wilson’s drawings, this article shows that contextualizing and acknowledging the offensive nature of his drawings allows for a critical reckoning of Australian architecture across the scholarly, industrial and public spheres.
Drawing: Research, Theory, Practice, 2019
This article derives from three observations of architectural drawing: the current ubiquitousness... more This article derives from three observations of architectural drawing: the current ubiquitousness of digitization, the ongoing disputation of digitization in architectural pedagogy and the capacity of architectural drawing to simultaneously represent and communicate qualities of tangibility and intangibility. In its analysis, this article refers primarily to the writings of Marco Frascari (1945–2013), who was, through works such as , a strong critic of digital drawing. This article begins with an overview of the effects of digitization on architectural drawing, which are summarized in terms of their deleteriousness on the intangible qualities of architectural drawing, as seen predominantly in perspectives and sketches. This article then defines intangibility in architectural drawing and locates it within Frascari's theory of cosmopoiesis, and identifies marks, entourage (especially human entourage) and narrative as key elements of cosmopoiesis in architectural drawing. Finally, ...
SHS Web of Conferences, 2019
In architecture, atmosphere and its many implications have, in recent years, received increased a... more In architecture, atmosphere and its many implications have, in recent years, received increased attention. This paper considers atmosphere in architectural representation, and begins with an exploration of different definitions of these atmospheric representations. This paper then identifies and summarises representations of atmosphere in architecture and their key aspects, and proposes, in the form of a timeline, a preliminary systematisation of these aspects. This paper considers both traditional and digital representations of atmosphere in architecture, and focuses on aesthetic and emotional qualities of atmosphere. Thus, this paper is not limited to realistic and scientific approaches of atmosphere as meteorological conditions, but extends to atmosphere as emotions and mood. This paper also suggests cross-fertilisation, in the representation of atmosphere, between architecture and other fields. Therefore, while this paper explores atmospheric representations in architecture, it ...
Putting Tradition into Practice: Heritage, Place and Design, 2017
The search for an appropriate architectural style dominates much of Australian architectural thou... more The search for an appropriate architectural style dominates much of Australian architectural thought and practice, and this ‘identity crisis’ remains unresolved into the present day. This paper investigates the use of drawing, by Australian architects, as a means for discovering an authentic, local architectural identity, with the Australian architect William Hardy Wilson as a case study. His responses to the architectural (and socio-political) problems of early twentieth century Australia were varied. Unlike his peers, he eschewed altogether the incubatory Modernist aesthetic of his day, as he always looked towards the past, by considering, firstly, European and, later, Chinese, sources. This paper also probes the importance of drawings in current architectural history research, where, as cultural and historical artifacts, they may be privileged above the built form. This paper suggests drawings more suitably convey, than built architecture, architects’ vision, and, as architects’ first acts of creation, are as valuable as architecture.
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ATR 24 (2020) by Yvette Putra
Papers by Yvette Putra