Trois zoos humains
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Avec crainte ou fascination pour l'Autre et l'Ailleurs, humanisme, exotisme et zoos dialoguent depuis longtemps dans l'histoire de l'Occident. Que l'animal selon Heidegger soit « pauvre en monde » ne dépare nullement la distance maintenue entre le sauvage primitif et son « inventeur » scientifique ou colonial. Mais, ainsi exploré et reconstruit, l'homme serait-il vraiment(...)
Trois zoos humains
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Avec crainte ou fascination pour l'Autre et l'Ailleurs, humanisme, exotisme et zoos dialoguent depuis longtemps dans l'histoire de l'Occident. Que l'animal selon Heidegger soit « pauvre en monde » ne dépare nullement la distance maintenue entre le sauvage primitif et son « inventeur » scientifique ou colonial. Mais, ainsi exploré et reconstruit, l'homme serait-il vraiment devenu un singe affranchi de sa cage ontologique ? Ne serait-il pas l'architecte ayant fait du monde un parc animalier presque sous contrôle ? Et si, par-delà les premières ménageries de la Renaissance, il y avait eu au moins trois autres « humanismes » du zoo : celui des zoos anthropologiques du Jardin d'Acclimatation ; celui de la condition animale d'après-guerre, si interrogatifs au regard des camps du IIIe Reich ; et celui d'un « jardin planétaire » artificiel pour animaux sauvages, Pangée 2.0 sur le thème de leur disparition et, avec eux, de la nôtre ?
Architectural Theory
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Angola cinemas honors the unique, fantastic and unknown architecture of movie theaters in Angola, built in the decades before the end of Portuguese colonial rule in 1975. Initially designed as traditional closed spaces, open-air cinemas with terrace bars became the order of the day, better suited as they were to a tropical climate. The arrival of these cinemas in the(...)
Angola cinemas: a fiction of freedom
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Angola cinemas honors the unique, fantastic and unknown architecture of movie theaters in Angola, built in the decades before the end of Portuguese colonial rule in 1975. Initially designed as traditional closed spaces, open-air cinemas with terrace bars became the order of the day, better suited as they were to a tropical climate. The arrival of these cinemas in the 1960s brought atmosphere and elegance to the experience of going to the movies; but these urban cathedrals were also, importantly, a place where social barriers dissolved and where liberation from colonialism was possible. Walter Fernandes' (born 1979) photographs offer not only an examination of the architectural history of these buildings, but also an important document of urban organization in the twentieth century, as well as the changing mentalities of a society living with the prospect of its independence.
Photography monographs
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One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the(...)
Critical spatial practice 6 : Eyal Weizman, the roundabout revolutions
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One common feature of the wave of recent revolutions and revolts around the world is not political but rather architectural: many erupted on inner-city roundabouts. In thinking about the relation between protest and urban form, Eyal Weizman starts with the May 1980 uprising in Gwangju, South Korea, the first of the “roundabout revolutions,” and traces its lineage to the Arab Spring and its hellish aftermath. Rereading the history of the roundabout through the vortices of history that traverse it, the book follows the development of the roundabout in Europe and North America in the early twentieth century, to its subsequent export to the colonial world in the context of attempts to discipline and police the “chaotic” non-Western city. How did an urban apparatus put in the service of authoritarian power became the locus of its undoing?
Critical Theory
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382 pages : illustrations ; 28 cm
Buenos Aires, Argentina : Libros de Hispanoamérica, 1986.
Arquitectura del altiplano peruano / Ramón Gutiérrez [and others].
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382 pages : illustrations ; 28 cm
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Buenos Aires, Argentina : Libros de Hispanoamérica, 1986.
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405 pages : illustrations (some color), maps (some color) ; 25 cm.
Liège : Mardaga, 1992.
Architectures françaises outre-mer : Abidjan, Agadir, Alep, Alger, Bangui, Beyrouth, Brazzaville, Cansado, Casablanca, Conakry, Dakar, Damas, Hanoi, Libreville, Niamey, Orleansville, Ouagadougou, Riyadh, Tananarive, Tunis, Yaounde / realisé sous la direction de Maurice Culot et de Jean-Marie Thiveaud.
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405 pages : illustrations (some color), maps (some color) ; 25 cm.
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Liège : Mardaga, 1992.
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This publication examines the role of national narratives in defining the Arab territory through the strategic implementation of architecture and urban planning. The Arab region, home to 423,000,000 inhabitants, is almost twice the size of the United States but still lacks sufficient and accessible research. "Architecture of the territory" uncovers the mechanisms that(...)
Architecture of the territory: Constructing national narratives in the arab world
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This publication examines the role of national narratives in defining the Arab territory through the strategic implementation of architecture and urban planning. The Arab region, home to 423,000,000 inhabitants, is almost twice the size of the United States but still lacks sufficient and accessible research. "Architecture of the territory" uncovers the mechanisms that have shaped this distinct territory, providing a critically overdue examination of the dichotomy between the overplanned cities of autocratic governments and the post-conflict urban sprawls of precarious states in the Arab world, where national narratives have acted as a vehicle to implement the development of these territories. The book opens a dialogue between young Arab researchers and professionals covering, among other subjects, tensions inherited from colonial borders; agricultural strategies; and imported housing typologies and narratives. The content draws a parallel to similar issues found in the global architectural discourse of today.
Arch Middle East
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Featuring photographs and video stills made over more than a decade, "The distance within" reflects on Nicola Brandt’s German and Namibian inheritance and deconstructs certain established ways of seeing Namibia. Brandt traveled the country extensively, documenting landscapes and people, structures and encounters, to reveal ensnared histories of German colonialism,(...)
Nicola Brandt: The distance within
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Featuring photographs and video stills made over more than a decade, "The distance within" reflects on Nicola Brandt’s German and Namibian inheritance and deconstructs certain established ways of seeing Namibia. Brandt traveled the country extensively, documenting landscapes and people, structures and encounters, to reveal ensnared histories of German colonialism, National Socialism and apartheid. Markers of these histories range from the ephemeral and private, such as a dilapidated mound of stones as a roadside memorial, to official sites of remembrance and resistance, particularly for colonial atrocities. Alongside her images, Brandt assembles texts by thought leaders in photography, postcolonial cultures, memory and genocide studies, as well as material from private and public archives, to understand enduring blind spots. The result is an intersectional argument in favor of reclaiming suppressed indigenous stories and identities, undoing romantic notions of whiteness, and, ultimately, illuminating what has not been visible.
Photography monographs
Huong Ngo: Ungrafting
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Huong Ngô (born 1979) is a Hong Kong–born artist based in Santa Barbara. Her conceptual, research-based practice often takes the form of installation, printmaking and nontraditional mediums. Ungrafting looks at histories of colonial violence, specifically French colonialism in Vietnam, as well as resistance movements, through image-making, translations and material(...)
Contemporary Art Monographs
October 2024
Huong Ngo: Ungrafting
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Huong Ngô (born 1979) is a Hong Kong–born artist based in Santa Barbara. Her conceptual, research-based practice often takes the form of installation, printmaking and nontraditional mediums. Ungrafting looks at histories of colonial violence, specifically French colonialism in Vietnam, as well as resistance movements, through image-making, translations and material investigations. Ngô turns to a series of early 20th-century photographs showing foreign trees and tree grafts planted in Vietnam by the French. For the artist, grafting—a procedure that involves cutting and splicing different species into a single plant—serves as a powerful metaphor for the physical violence inherent in colonialism. An essay by Justin Quang Nguyên Phan, and conversations between Ngô and Aline Lo and Evyn Lê Espiritu Gandhi and Chadwick Allen, reflect on the connection between Ngô’s exhibition and global anticolonialism, the trans-Indigenous and the role of the archive in artistic production.
Contemporary Art Monographs
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''Designed Forests: A Cultural History'' explores the unique kinship that exists between forests and spatial design; the forest’s influence on architectural culture and practice; and the potentials and pitfalls of “forest thinking” for more sustainable and ethical ways of doing architecture today. It tackles these subjects by focusing on architecture’s own dispositions,(...)
Designed forests: A cultural history
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''Designed Forests: A Cultural History'' explores the unique kinship that exists between forests and spatial design; the forest’s influence on architectural culture and practice; and the potentials and pitfalls of “forest thinking” for more sustainable and ethical ways of doing architecture today. It tackles these subjects by focusing on architecture’s own dispositions, which stem from an ecology of metaphor that surrounds its encounters with the forest and undergird ideas about Nature and natural systems. The book weaves together global narratives and chapters explore a range of topics, such as the invention of forest plans in colonial India, the war waged on the jungles of Vietnam, economic land use concepts in rural Germany, precolonial ecological pasts in Manhattan, and technologically saturated forests in California. This book is essential for landscape architects, urbanists, architects, forestry experts, and everyone concerned with larger environmental contexts and the ever-evolving relationship between nature and culture.
Landscape Theory
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Asmara, the capital of the small east African country of Eritrea, bordering the Red Sea, is one of the most important and exciting architectural ‘discoveries’ of recent years. Built almost entirely in the 1930s by the Italians, Asmara has one of the highest concentrations of modernist architecture anywhere in the world, and has evocatively been described as “the Miami of(...)
History until 1900, Middle East
September 2003, London
Asmara : Africa's secret modernist city
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Asmara, the capital of the small east African country of Eritrea, bordering the Red Sea, is one of the most important and exciting architectural ‘discoveries’ of recent years. Built almost entirely in the 1930s by the Italians, Asmara has one of the highest concentrations of modernist architecture anywhere in the world, and has evocatively been described as “the Miami of Africa”. Desperate to build quickly, the colonial government of the time allowed radical architectural experimentation that would not have found favour in the more conservative European environment. Asmara therefore became one of the world’s prime locations for architectural innovation during the Modern Movement. That this occurred at all is remarkable enough, but that these buildings should have survived in such numbers today makes it one of the finest modernist cities in the world. This is a building-by-building survey, illustrated with rare archival material and specially commissioned photographs
History until 1900, Middle East