University of Toronto: Journal Publishing Services
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Panels in Pixels
No full textIn response to the destructive aftermath of the Second World War and the growing need for housing, Nikita Khrushchev, leader of the Soviet Union from 1953 to 1964, famously promised to provide an apartment for every family in the USSR. The resulting decades of rapid housing creation were facilitated by a system of prefabricated concrete panel construction. Manufactured in factories and assembled swiftly on site, the panels formed 5-, 9-, 12-, and later even 16-storey identical apartment buildings void of any unnecessary architectural details and arranged in superblocks dubbed Mikrorayons (microdistricts). Throughout the latter half of the 20th century, more than five billion square metres of precast concrete panels were manufactured globally, resulting in the erection of approximately 170 million concrete panel apartments.2 These buildings, nicknamed Khrushchevkas and later Brezhnevkas under Leonid Brezhnev’s administration, seemingly sprouted up in every corner of the Eastern Bloc, forming nearly identical neighbourhoods on the outskirts of major cities
A Conversation with Nader Tehrani
No full textFor his “contributions to architecture as an art,” Nader Tehrani is the recipient of The American Academy of Arts and Letters’ Arnold W. Brunner Memorial Prize, the highest form of recognition of artistic merit in the United States. With nineteen Progressive Architecture Awards, he is also an elected member of the American Academy of Arts and Sciences, the National Academy of Design, and recipient of the Design Visionary Award from the Cooper Hewitt, Smithsonian Design Museum. Tehrani is the Founding Principal of NADAAA, an interdisciplinary practice with works in infrastructure, urbanism, architecture, and installations. The former Head of the Department of Architecture at MIT (2010-14), Tehrani was also Dean of The Irwin S. Chanin School of Architecture of The Cooper Union (2015-22). His work is featured in the permanent collections of the CCA and Nasher Museum, and NADAAA has been widely exhibited at MOMA, LA MOCA and the Venice Biennale.
We want to take this occasion to acknowledge the indigenous people of Massachusetts, including the Massachusett tribe of Ponkapoang, the Mashpee Wampanoag Tribe, the Wampanoag Tribe of Gay Head, and the Nipmuc Nation, communities that thrived for centuries before the advent of settler colonialism. As immigrants to these lands, we are particularly conscious of existing communities and the radical impact to these cultures over the long arc of history
From Movement to Meaning: Letting the Hand Guide the Mind
No full textEvery design discussion begins or ends with a pen in my hand. It is simply my modus operandi that I can’t think without putting pen to paper. The immediacy and flexibility of using the hand to draw paves the way for a careful and curated process of ideation, exploration, and refinement. I frequently find myself unable to think through a design study without putting pen to paper, whether it is in the collaborative professional setting of being an Architect, or in my pursuits as an Illustrator in my free time
Trittico della Vendetta: Una riscrittura da Francesco Hayez
No full textPoetry based on the Revenge Triptych (1847-1853) painted by Francesco Hayez.Poesia ispirata a Il trittico della vendetta (1847-1853) dipinto da Francesco Hayez
Alla madrepatria o alla verginepatria? Confronto tra i corpi femminili bianchi e neri sotto il fascismo
No full textThe goal of this research is to explore the relationship between the Black and white female body under the Italian fascist state. The author examines a variety of sources from propaganda to advertisements from the Italian colonies. Centre to the research is the question of race and identity when it comes to the depiction of the female body under Italian fascism. The author looks not only to advertisements but to laws surrounding the control of different women’s bodies under the fascist regime. Understanding the difference in the white female body as a means of state-sponsored reproduction to benefit the Italian state versus the use of the Black body as a means of sexual exploitation is essential to this work. Despite both bodies being hypersexualized, it was, in fact, for different means of control and propaganda.L\u27obiettivo di questa ricerca è di esplorare il rapporto tra il corpo femminile bianco e quello nero sotto lo Stato fascista italiano. L\u27autore esamina una varietà di fonti, ripercorrendo alla propaganda e la pubblicità delle colonie italiane. Al centro della ricerca si trova la questione della razza e dell\u27identità nella rappresentazione del corpo femminile sotto il fascismo italiano. L\u27autore non si limita a esaminare la pubblicità, ma anche le leggi che regolavano il controllo dei corpi feminili sotto il regime fascista. Essenziale a questo lavoro è una comprenzione della differenza tra il corpo femminile bianco come mezzo di riproduzione sponsorizzato ed a beneficio dello Stato e l\u27uso del corpo nero come mezzo di sfruttamento sessuale. Nonostante l\u27ipersessualizzazione dei due, in realtà i corpi feminili erano temi per diversi mezzi di controllo e propaganda
The Smell of the Dead in London, c. 1700–1850
No full textWhile some scholars in eighteenth-century England identified a link between the smell of the dead and the spread of diseases, it was not until the nineteenth century that the dead were no longer buried in London’s inner-urban churchyards. This article draws attention to the multiplicity of voices when it came to the links between bad smells and disease and argues that whether there was a connection between the two was by no means a matter of scholarly consensus. While some hygiene reformers emphasized the possibility of the spread of diseases through the air, others opposed this view, and while theories about miasma retained some influence, they were also challenged and debated. This article therefore challenges a linear narrative of the movement of dead bodies from inner-urban cemeteries to the outskirts of towns based on fears that the dead might spread harmful vapours. It argues instead that already in the eighteenth century, prominent medical professionals questioned the connection between a pollution of the air through the dead and a spread of diseases. Even in the nineteenth century, there was no straightforward deodorization effort, but it was rather the confluence of a range of different factors, only one of which involved concerns about hygiene, that led to the relocation of burial sites. Taking the example of the English metropolis of London, this article shows that considering the smell of the dead can enhance our understanding of the functioning and planning of towns as well as the spaces of the dead more generally.Si certains érudits du XVIIIe siècle anglais ont établi un lien entre l’odeur des morts et la propagation des maladies, ce n’est qu’au xixe siècle que l’on cessa d’enterrer les morts dans les cimetières intra-urbains de Londres. Le présent article souligne la multiplicité des voix qui se sont exprimées sur les liens entre les mauvaises odeurs et les maladies, et soutient que l’existence d’un lien entre ces deux phénomènes ne faisait en aucun cas l’objet d’un consensus savant. Alors que certains réformateurs sanitaires insistaient sur la possibilité d’une transmission aérienne des maladies, d’autres rejetaient cette hypothèse; et si les théories miasmatiques conservaient une certaine influence, elles faisaient également l’objet de débats. Cet article remet ainsi en question le récit linéaire voulant que les cadavres aient été déplacés des cimetières intra-urbains vers la périphérie des villes par crainte que les morts ne répandent des vapeurs nocives. Il soutient plutôt que dès le XVIIIe siècle, d’éminents professionnels de la santé ont mis en doute le lien entre la pollution de l’air par les morts et la propagation des maladies. Même au XIXe siècle, il n’y a pas eu de tentative directe de purification de l’air, et c’est plutôt une convergence de facteurs, dont un seul était lié aux préoccupations sanitaires, qui a conduit au déplacement des lieux d’inhumation. En prenant pour exemple la métropole anglaise de Londres, cet article montre que la prise en compte de l’odeur des morts peut nous aider à mieux comprendre le fonctionnement et l’aménagement des villes, ainsi que les espaces dédiés aux morts de manière plus générale
O’Sullivan, Luke. Writing Doubt in Montaigne’s Essais: Thinking Relationally with Seneca and Plutarch
No full textSuitner, Riccarda. Venice and the Radical Reformation: Italian Anabaptism and Anti-trinitarianism in European Context
No full textDinah between Rape and Seduction: Maarten van Heemskerck and Renaissance Attitudes towards Gender and Conflict
No full textIn 1569, Gerard de Jode published in Antwerp Maarten van Heemskerck’s Old Testament print series about Dinah, daughter of Jacob. In these images, Heemskerck reinterprets the Old Testament narrative from a deeply misogynistic standpoint, disputing the Biblical claim that Shechem raped Dinah. This article traces the sporadic representations of the episode in prints and paintings and examines visual strategies that emphasize male vulnerability over the suffering of the female victim. Heemskerck’s artistic choices are then evaluated in the context of certain exegetical differences between Martin Luther and John Calvin.En 1569, Gerard de Jode publie à Anvers une série d’estampes de Maarten van Heemskerck représentant Dina, la fille de Jacob. Dans ces gravures, Heemskerck réinterprète ce récit de l’Ancien Testament d’un point de vue profondément misogyne, contestant l’affirmation biblique selon laquelle Sichem aurait violé Dina. Le présent article retrace les représentations sporadiques de cet épisode dans la gravure et la peinture et examine les dispositifs visuels soulignant la vulnérabilité masculine plutôt que la souffrance de la victime féminine. Les choix artistiques de Heemskerck y sont ensuite étudiés à la lumière de certaines divergences exégétiques entre Martin Luther et Jean Calvin
