Montreal Architectural Review https://mar.mcgill.ca/ <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> en-US Montreal Architectural Review 2368-6952 <p>Authors who publish in this journal retain copyright and are required to grant a licence to the journal to allow distribution and reuse, as described in the following agreement.</p><p><strong><span style="text-decoration: underline;"><br /></span></strong></p><p><strong><span style="text-decoration: underline;">Author’s grant of rights (Licence to publish)</span></strong><strong>:</strong><strong></strong></p><p>The author grants to the <em>Montreal Architectural Review</em> the following:</p><p>1. An irrevocable non-exclusive right to reproduce, republish, transmit, distribute, and otherwise use the Work in electronic and print editions of the Journal and in derivative works throughout the world, in all languages, and in all media now known or later developed.</p><p>2. An irrevocable non-exclusive right to create and store electronic archival copies of the Work, including the right to deposit the Work in open access digital repositories.</p><p>3. An irrevocable non-exclusive right to license others to reproduce, republish, transmit, and distribute the Work in both print and electronic form under a <a title="CreativeCommonsAttribution-Non Commercial[By-NC]Licence" href="http://creativecommons.org/licenses/by-nc/3.0/" target="_blank">Creative Commons Attribution-Non Commercial [BY-NC] Licence</a></p><p><strong><span style="text-decoration: underline;"><br /></span></strong></p><p><strong><span style="text-decoration: underline;">Author’s retained rights</span></strong><strong>:</strong><strong></strong></p><p>The Journal provides Open Access to scholarly work and applies the Creative Commons licence to ensure access and free use. This agreement means that copyright in the Work remains with the Author and the Author retains the right to reuse the article. Provided proper <strong>attribution</strong> is given and the use is <strong>non-commercial</strong>, authors are encouraged to use the article in the following ways:</p><ul><li>to deposit the published version in institutional repositories or on a personal website</li><li>to republish in a thesis or book</li><li>to present the article at a meeting or conference</li><li>to use all or part of the article for lecture or classroom purposes.</li></ul> Boundaries | Blocks | Borders: Lines of Beirut, Jerusalem, and Nicosia https://mar.mcgill.ca/article/view/72 <p>This contribution presents a series of photographs and an installation that interpret fragments of, and moments in, three eastern Mediterranean cities. The works engage relationships between barriers, boundaries, lines, and visual expressions. They are based on observations and experiences of spatial-cultural and socio-urban dynamics in the fabrics of Beirut, Jerusalem, and Nicosia.</p> Todd Lowery Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7 Contested Urbanscapes https://mar.mcgill.ca/article/view/66 <p>Introduction to Montreal Architectural Review’s Volume 7— Special Issue: Contested Urbanscapes.</p> Panos Leventis Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7 Ristic M & Frank S (eds). Urban Heritage in Divided Cities: Contested Pasts. Routledge, 2020 https://mar.mcgill.ca/article/view/73 <p>A review of the book: Ristic M &amp; Frank S (eds), <em>Urban Heritage in Divided Cities: Contested Pasts,</em>&nbsp;Routledge, 2020</p> Jon Calame Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7 Street Art and the ‘Right to the City’ in a Fragmented Metropolis: The Case of Beirut https://mar.mcgill.ca/article/view/69 <p>In this paper, we examine how the demand of the citizens of Beirut for their ‘right to their city’ played out during the major popular uprising, which began on the 17th of October 2019. We focus on various forms of street art that had already been in place before the uprising as well as several pieces that emerged during the days following the beginning of the demonstrations. Our intent was to flesh out how drawing on the walls of the Lebanese capital manifested itself as a key activity through which people, regardless of sect and socioeconomic status, fought to improve their city and transform it into a space where leaders are corrupt-free, people’s living standards are improved, the environment is cleaner and human rights are respected. We conducted a group interview of Lebanese (street) artists to contextualize the city’s street art scene. The core materials for our study consist of 147 photographs of street art, taken during a week’s stay in Beirut in October 2019. We performed thematic narrative analysis on the material, revealing five distinct themes. All themes reflect demands for a ‘right to the city’ in nuanced ways. We fleshed them out with the use of at least one illustration per theme. While some images projected overt political slogans and art others transmitted their message in a subtler manner. We conclude that graffiti and other forms of street art are powerful means through which groups and individuals project their messages in order to assert their self-preservation and, ultimately, their ‘right to the city’ in contested urban spaces, where power differentials play out on political, social, and spatial levels.</p> <p>&nbsp;</p> Dimitri Ioannides Evangelia Petridou Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7 Between Built and Dreamt: The Contested Urbanscapes of New York City through Walking on the High Line https://mar.mcgill.ca/article/view/70 <p>This research investigates the urban sphere beyond its physical condition and studies it as a transcendent phenomenological field that engages memory, imagination, and dream. By using the perception of Benjaminian <em>flâneur</em> as a phenomenological method to investigate the subconscious layers of New York City’s urbanscapes, this research argues that the embodied experience of the <em>flâneur</em> transcends the physical urban space into a surrealist dream world. This contestation between built and dreamt asks us to rethink urban space as a sphere of precarious emergence where experiences reform from memory, poetically perceived images surface from imagination, and embodied consciousness attuned to public spheres arises from dream. The research conducts its theoretical inquiry of urban contestations through a surrealist framework that assesses the perception of the <em>flâneur</em> from a phenomenological perspective and focuses on the relationship between the High Line and New York City to investigate a particular urbanscape of contestations that challenges the boundaries between real and surreal, dream and un-dream, past and present, emergence and nostalgia. It further argues that the phenomenological experience of the <em>flâneur</em> evokes memory, imagination, and dream to transform the physicality of urban space into an atmospheric domain of subjective consciousness. In the case of High Line, this domain finds its home in the latent surrealist world that contests the reality of the built world by instilling subjective architectural uncanniness. For the <em>flâneur</em>, the High Line becomes a place of departure that traces past experiences back to memory, a site of voyeurism that channels imagination, and a threshold between dream and reality.</p> Ke Sun Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7 Shifting Morphology: Sarajevo Under Siege https://mar.mcgill.ca/article/view/71 <p>When violence and destruction occur in an urban setting, as was the case in the 1992-1995 siege of Sarajevo, the city takes on a new morphology as the citizens adapt their living habits. In the process they also adapt both urban and architectural spaces to the new-found circumstances as a form of survival strategy. Aside from mere survival, the notion of civic resistance also becomes crucial in such instances, and in the case of Sarajevo, we argue in this paper, that it unfolded in the form of cultural production and ‘consumption’. The culture-related practices were in particular those that allowed for the creation of an alternate reality and in that way became a means of fighting against aggression, thus turning places of oppression into spaces of liberation. Utilizing the example of the siege of Sarajevo, this paper examines modes of urban destruction, the adaptability of the city’s tissue, and the formation of spaces that occur spontaneously through the acts of survival tactics and civic resistance of its citizens.</p> Anisa Glumčević Lejla Odobašić Novo Copyright (c) 2021 Montreal Architectural Review 2021-11-30 2021-11-30 7