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colophoneahn Newsletter Nº1/12Nº1/12colophoneahn Newsletter Nº1/12colophonThe eahn Newsletter is a publicationof the European Architectural HistoryNetwork. 2012 European ArchitecturalHistory Network.All rights reserved. No part of thispublication may be reproduced ortransmitted in any form or by anymeans, electronic or mechanical,including photocopy, recording, oran information storage and retrievalsystem, without permission in writingfrom the eahn.front coverAndrew Melville Halls, St Andrews,(1964–68; architect: James Stirling).Detail showing the contrast betweenheavy ribbed concrete (with replacement windows) and light system glazingbelow. Photograph: Barnabas CaldercorrespondenceComments are welcome.eahnc/o mit, tu DelftFaculty of Architecturep.o. Box 50432600 ga DelftThe Netherlandsissn 1997-50232 eahn newsletter Nº1/123 eahn newsletter Nº1/12PresidentAdrian FortyMari Hvattumsecond vice presidentHilde Heynencommittee membersElvan Altan ErgutTom AvermaeteAndrew BallantyneCana BilselJan Kenneth BirkstedMaristella CasciatoJorge CorreiaMaarten DelbekeDavide DeriuRob DettingmeijerMurray FraserReto GeiserLex HermansJosephine KaneZeynep KezerSusan KlaiberIlknur KolayJavier MartinezJose MedinaChristine MenginDaniel MilletteJan MolemaDietrich NeumannIvan NevzgodinAlona Nitzan-ShiftanCarmen PopescuGiulia SebregondiNancy StieberKarin TheunissenBelgin Turan ÖzkayaCaroline Gautier

contentscontentseahn Newsletter Nº3/111 President’s MessageGlobal Crisis and Architectural History, by Adrian Forty2 EditorialArchitectural History in Britain, by Murray Fraser3 NewsEAHN Tour in Scotland – NORDIC, a new journal of architecture – On the Calendar4 ExplorationsThe Royal Commission on the Ancient and Historical Monuments of Scotland, by Philip Grahamand Diane Watters5 Virtual TourThe Brutalist University in Britain, by Barnabas Calder6 Bookshelf and White CubeBook ReviewsVaughan Hart, Inigo Jones: The Architect of Kings, reviewed by Alan ReadAnthony Gerbino,,reviewed by Guillaume FonkenelleMark Crinson and Claire Zimmerman, editors,Postmodern: Postwar Architecture in Britain and Beyond, reviewed by Glenn AdamsonFlorian Urban,Juliet Koss,, reviewed by Carsten Hermann, reviewed by Mechtild WidrichExhibition ReviewsFrankfurt am Main, ‘Ernst May: Neue Städte auf drei Kontinenten,’reviewed by Peter ChristensenCharlottesville, VA, ‘Variety & Ornament: Renaissance Architectural Prints,’reviewed by Mari Yoko Hara7 Conference RoomNo. 1 shaft winding tower at Monktonhall Colliery, Fife, prior to demolition in 1989.Photograph reproduced by permission of the RCAHMSEdinburgh, ‘Mass Housing in Eastern Europe in Its International Context,’ by Carsten HermannTurin, ‘Filippo Juvarra (1678–1736), architetto,’ by Benedetta Gianfranchi8 Ongoing and Upcoming4 eahn newsletter Nº1/125 eahn newsletter Nº1/12

bookshelf and white cubeExhibition Reviewsbookshelf and white cubeExhibition Reviewsexhibition ReviewColumn to CorniceCurators: Cammy Brothers and Michael WatersCharlottesville, VA, University of Virginia Art Museum26 August – 18 December 2011‘Variety, Archaeology, and Ornament’ at the University of Virginia Art Museummedium of print in early modern architecture. Through a discerning selection ofMaster G.A. with the Caltrop (active at Romein the mid-1530s), Ionic base (c.1537); engraving,11.75 x 18.1 cm; collection of the University ofVirginia Art Museum.Photograph: courtesy of the University ofVirginia Art Museumseventy-four objects gathered from institutions across North America, the showA similar notion of fantasia runs strong in many of the works on display. Animage standardized architectural knowledge. To make their case, the curatorsexample is offered by the puzzling engraving by Giovanni Antonio da Bresciaemphasize the diversity with which the medium presented architecture. In a(c. 1510), on loan from the Art Institute of Chicago. In what is one of the earliestsingle-leaf engravings of architectural motifs, we see classical columns, capitals,titled ‘Origins’, ‘Antiquity’, ‘Variety’, ‘Archaeology’, ‘Order’, and ‘Afterlife’. Visitorsand bases whimsically juxtaposed with grotesque elements—a commentary oncan follow the sections in this sequence, but the dense, one-room layout alsothe notion of decorum and artistic license. Another, displayed under the headinginvites divergence from this path to draw individual interpretations.Hypnerotomachia Poliphili(1499), whose tale is famously illustrated by fanciful buildings inspired by antiqueThe heart of the show is a series of single-leaf copperplate engravings from themodels. It is objects like these that convincingly show the pervasiveness of imagesUniversity of Virginia’s own collection, issued by the early sixteenth-century artistof pure fantasy, which scholarship tends to dismiss as secondary and marginal.monogram. Twenty-three of his engravings after the antique are here on displayOne of the exhibition’s real strengths is its articulation of nuanced relationshipsbetween architectural drawings and prints. The show locates the origins of single-suggest the existence of a poorly studied market for single-leaf engravings, whereleaf architectural engraving in the painter’s workshop, through examples like theprinted images circulated autonomously as collectible items. Contrary to whatGetty’s drawing album by the so-called Master of the Mantegna Sketchbook, andtheir methodical display of details and insistence on measurements may indicate,the Metropolitan Museum of Art’s Goldschmidt Sketchbook. The detailed on-siteonly a handful of these ‘archaeological documents’ actually study real Romanmonuments. Rather than partaking in classicism’s rule making, the prints thenas hand-copied in the studio by French artists. These works challenge the ideareinvent antiquity imaginatively, diversifying the canon and fragmenting thethat printed images were considered more authoritative than drawings duringmodel.68 eahn newsletter Nº1/1269 eahn newsletter Nº1/12

bookshelf and white cubeExhibition Reviewsbookshelf and white cubeExhibition Reviewsthe Renaissance, for neither entirely supplanted the other. What then grantedquestion and the show can only suggest a nebulous constellation of contestableattributes, including authorship, beauty of execution and familiarity with theoriginal.Because the exhibition primarily aimed to broaden the notion of Renaissancearchitectural culture by incorporating previously ignored visual material, itssection on the printed treatises left the visitor wanting more. This was especiallydisappointing given the number of critical items gathered for the occasion,including works by Cesare Cesariano, Sebastiano Serlio, Jacopo Barozzi da Vignola,and Daniele Barbaro. A revision on how this material utilized reproducible imageswould have strengthened the critique of Carpo’s thesis. Instead, here the showfalls on more conventional ground. In the section ‘Orders’, for instance, we areechoing the classic 1985 essay by Christof Thoenes and Hubertus Günther, ‘GliArrangement of a room at the reviewed exhibition.Photograph: Mari Yoko Haraordini architettonici: Rinascita o invenzione?’ (‘The Architectural Orders: Rebirthor Invention?’).of art markets, collecting practices, print culture, antiquarianism, and earlyMore successful is the exhibition’s emphasis on the consumption of architecturalA number of questions outlined in this review were raised during a two-dayfocused on the transmission of ideas. The album of architectural prints assembledsymposium (30 September–1 October 2011) held at the University of Virginia’sby the seventeenth-century Austrian collector Wolfgang Engelbert (another loanSchool of Architecture. The full exhibition catalogue is now availablefrom the Getty Research Institute) is taken to indicate how creatively ornamentfor consultation online. ‘Variety, Archaeology, and Ornament’ admirablywas interpreted. Truly exceptional in this respect are Antonio da Sangallo thedemonstrates what a college art museum does best: an approachable, thought-Younger’s dense annotations to the 1513 illustrated edition of Vitruvius, whichprovoking exhibition backed by rigorous scholarship and a strong dedication toreveal one professional’s response to the text. The late-seventeenth-centuryhigher learning.Belgian artist Renier Panhoy de Rendeux similarly produced a one-of-a-kindobject when he appropriated a copy of Giovanni Battista Montano’s treatise onMari Yoko Haraarchitectural ornament as his journal. Approaching the culture of architecturalUniversity of Virginiaimages through such responses helps open fresh discussions on even the mostCharlottesville, VA, USAwell-trodden of topics, like the classical orders.Website related to the exhibition:70 eahn newsletter Nº1/12Because of the manifold issues it addresses, this exhibition has much to offer tohttp://www.virginia.edu/artmuseum/on view/exhibitions/Variety Archeologyother areas of study beyond its immediate specialist interests, such as the historyOrnament.php71 eahn newsletter Nº1/12

creditseahn Newsletter Nº1/12creditsBelgiumBoard of AdvisorsNancy StieberSusan KlaiberEditorLex HermansBook Review EditorsFabrizio NevolaMartino StierliExhibition Review Editors Emanuele LugliMari LendingPhoto EditorMauro BonettiTravel EditorCarmen PopescuWestminsterDavide DeriuEditorial AssistantsJosephine KaneCopy EditorLenore HietkampDesign ConceptReto GeiserLayoutCaroline GautiercorrespondentsAustria86 eahn newsletter Nº1/12Georg GemlAndreas dIsraelItalyLithuaniaMacedoniaNetherlandsInge Bertels (Centrum VlaamseArchitectuurarchieven (CVAa))Panayiota PylaMartin SøbergKaren BowieNestan TatarashviliKlaus TragbarOlga TouloumiEllen RowleyMarina Epstein-PliouchtchTzafrir FainholtzDorit FershtmanElena DellapianaGiulia Ceriani SebregondiNorwayPolandPortugall’Architettura (OSA)Marija DremaiteKokan GrchevMarie-Thérèse van ThoorSwedenSwitzerlandTurkeyUnited KingdomRomaniaRussiaSerbiaSlovakiaSloveniaSpain87 eahn newsletter Nº1/12Bente Aass-SolbakkenAgata MorkaMaria Helena BarreirosAna LopesRuxanda BeldimanIvan NevzgodinDmitry OboukhovTanja ConleyRenata Jadresin-MilicAleksandar KadijevicViera DlhanovaMatej NikšiNatalija MilovanoviMar LorenDaniel PinzónJennifer MackMartino StierliElvan Altan ErgutDidem EkiciFaculty of Architecture, TU DelftDepartment of Architecture, University of WestminsterEscola de Arquitectura da Universidade do MinhoKU LeuvenUniversity College DublinUniversité Paris 1 Panthéon-SorbonneUniversiteit GentThe Oslo School of Architecture and DesignRamla Benaissa ArchitectsJohn Rylands University Library, University of ManchesterThe Bartlett School of Architecture, UCLSchool of Architecture, University of Liverpool

Rob Dettingmeijer Murray Fraser Reto Geiser Lex Hermans Josephine Kane . Postmodern: Postwar Architecture in Britain and Beyond, reviewed by Glenn Adamson Florian Urban, 7RZHU DQG 6ODE LVWRULHV RI *OREDO 0DVV RXVLQJ, reviewed by Carsten Hermann . issued by the early sixteenth-century artist