Montreal Architectural Review 2019-12-31T15:02:45-05:00 Olaf Recktenwald and Athena Christina Syrakoy Open Journal Systems <span>The <em>Montreal Architectural Review </em>is a peer-reviewed annual publication for scholarship in the history and philosophy of architecture. Based at McGill University, the journal publishes essays and book reviews that investigate the intersections of architecture, philosophy, and literature.<br /></span> Paul Emmons. Drawing Imagining Building: Embodiment in Architectural Design Practices. Routledge, 2019 2019-12-31T15:02:45-05:00 Jonathan Foote <p class="p1"><span class="s1">A review of Paul Emmons’ <em>Drawing Imagining Building: Embodiment in Architectural Design Practices</em>, published in 2019 by Routledge.</span></p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review Thinking Architecture 2019-12-31T15:02:44-05:00 Lisa Landrum <p class="p1"><span class="s1">Introduction to Montreal Architectural Review’s Volume 6 </span>— Special Issue: Thinking Architecture.</p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review Thinking Through Building 2019-12-31T15:02:44-05:00 Rebecca Williamson <p class="p1"><span class="s1">Architectural thinking occurs through multiple modes, including the generation of texts and images and the physical act of building itself. These modes may be embodied, situated, social, and material, as described in this issue’s call for submissions. Thinking through building has a temporal character. Connoisseurship involves re-cognition, an assessment that can be relatively rapid and, increasingly, based on a graphic image only, not the sound, smell or experience of a place. Know-how, on the other hand, involves correlating accrued, in-progress, and projective thought. The art of building, through the physical acts of construction and the processes that relate to it, has a thoughtfulness of its own.</span></p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review In the sky with diamonds’ of Ronchamp’s East Wall: Constellations of Thought 2019-12-31T15:02:44-05:00 Marcia F. Feuerstein <p class="p1">The Chapelle Notre-Dame-du-Haut in Ronchamp designed by Charles-Edouard Jeanneret, also known as Le Corbusier, has been studied, analyzed and explored by architects, theorists and historians ever since it was completed. Despite these studies, scholars have paid little attention to the east wall of the chapel as a unique architectural element. An important and iconic element within this project, it is distinguished by the turning statue of the Virgin Mary set in a cabinet within the wall and surrounded by small openings allowing light into the chapel. While the moving statue had always been part of the original design, the small openings -- the stars -- were not. Somehow and sometime the eastern wall became a sky when, at the beginning of construction, it was a wall. The story began with Le Corbusier’s slow design process, which allowed him to develop an evolving vision even after a design was finalized. His creative process allowed him to envision the building as a full scale model, which provided him with freedom to take advantage of new opportunities of designing during construction. This occurred with the east wall. A serendipitous moment transformed the project as the scaffolding was removed and about to be finished.<span class="Apple-converted-space"> </span>The resulting ‘as built’ changes embedded a unique sacred threshold into the chapel and its east wall. This narrative considers this curious story of how Mary moved from being situated in the wall to becoming part of, and central to, a night sky with diamonds. It also reveals a seemingly lost art of slower building and design.</p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review Thinking and Imagining Architecture at a Distance with Models 2019-12-31T15:02:44-05:00 Matthew Mindrup <p class="p1">For over 500 years, architects have continued to extoll the utility of scale architectural models for visualizing “the entire work in miniature right before their eyes.” Yet, when the 37-year-old Johann Wolfgang von Goethe arrived in Rome in 1786, he was immediately surprised to find that the antique ruins he came to know from cork models at home had become “familiar objects in an unfamiliar world.” The models which Goethe recalls were popular eighteenth and nineteenth century souvenirs of the European Grand Tour. Initially used as table settings to encourage erudite discussion about antiquity, these objects inevitably found their way into academic, private, and museum collections alongside full size plaster casts, actual building fragments and scale reconstructions. For the study of architecture however, using these models was not unlike trying to read a book with missing pages and one had to imaginatively fill-in the spaces between fragments. When the authority of classical antiquity was challenged by a new generation of modern German architects at the beginning of the twentieth century, the use of fragments and models of antique structures to inspire new designs did not completely disappear. Young architects were encouraged to find inspiration for new designs in the assemblage of broken objects and building blocks representing identifiable structures. As Hermann Finsterlin explained, the aim of these approaches is to seize the impartiality of the child to rid the architect of their cultural inhibitions. This paper explores how the ambiguity of scale, materiality and context in models creates a space for the imagination to wander.</p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review Paper Architecture as a Site for Thinking, Writing and Spatial Agency 2019-12-31T15:02:45-05:00 Tordis Berstrand <p class="p1"><span class="s1">A Poetic Discourse concerning <em>Paper Architecture as a Site for Thinking, Writing and Spatial Agency</em>.</span></p> 2019-12-31T00:00:00-05:00 Copyright (c) 2019 Montreal Architectural Review