Rapport 99-00_final - Canadian Centre for Architecture

Centre d’étude Study Centre Rapport annuel
2003–2004
Annual Report

Centre d’étude
Centre Canadien d’Architecture
Study Centre
Canadian Centre for Architecture
Rapport annuel
2003–2004
Annual Report
c

Tous droits réservés. La reproduction d’un extrait quelconque
de cet ouvrage est formellement interdite sans le
consentement écrit de l’éditeur.
© Centre Canadien d’Architecture/Canadian Centre for
Architecture, 2006
Centre d’étude
Centre Canadien d’Architecture
1920, rue Baile, Montréal, Québec, Canada H3H 2S6
Téléphone : 514 939.7000
Fax : 514 939.7020
studyctr@cca.qc.ca
Couverture
Richard Pare, Centre d’étude du CCA, aile Alcan des chercheurs,
novembre 1988. Épreuve par procédé chromogène, 59,6 x 47,6 cm.
Collection CCA. © Richard Pare
All rights reserved. No part of this book may be reproduced
without the written permission of the publisher.
© Centre Canadien d’Architecture/Canadian Centre for
Architecture, 2006
Study Centre
Canadian Centre for Architecture
1920, rue Baile, Montréal, Québec, Canada H3H 2S6
Telephone : 514 939.7000
Fax : 514 939.7020
studyctr@cca.qc.ca
Cover
Richard Pare, CCA Study Centre, Alcan Wing for Scholars,
November 1988. Chromogenic colour print, 59.6 x 47.6 cm.
CCA Collection. © Richard Pare

Table des matières
8 Mot du directeur fondateur
9 Programme d’accueil de chercheurs
11 Rapport d’activités 2003–2004
12 Rapport du responsable du Centre d’étude
13 Liste des chercheurs
16 Activités scientifiques
19 Rapports des chercheurs
Contents
8 Founding Director’s Foreword
9 Visiting Scholars Program
11 Report of Activities 2003–2004
12 Report by the Head of the Study Centre
13 List of Scholars
16 Scholarly Activities
19 Scholars’ Reports

Membres du Comité consultatif
Sylvia Lavin, présidente
University of California, Los Angeles
Martin Bressani
Université McGill, Montréal
Jean-Louis Cohen
New York University, New York
Kurt W. Forster
Studio Terragni, Como
Mark Wigley
Columbia University, New York
Personnel du Centre d’étude
Mario Carpo
Responsable du Centre d’étude
Aliki Economides
Coordonnatrice
Geneviève Dalpé
Adjointe administrative
Consultative Committee
Sylvia Lavin, Chair
University of California, Los Angeles
Martin Bressani
McGill University, Montréal
Jean-Louis Cohen
New York University, New York
Kurt W. Forster
Studio Terragni, Como
Mark Wigley
Columbia University, New York
Study Centre Personnel
Mario Carpo
Head, Study Centre
Aliki Economides
Coordinator
Geneviève Dalpé
Administrative Assistant

Assistants de recherche
Christina Contandriopoulos
Candidate au doctorat en histoire et théorie de
l’architecture (Université McGill)
Caroline Dionne
Candidate au doctorat en histoire et théorie de
l’architecture (Université McGill)
Elsa Lam
Maîtrise en histoire et théorie de l’architecture
(Université McGill)
Suresh Perera
Maîtrise en histoire et théorie de l’architecture
(Université McGill)
Rita Risser
Candidate au doctorat en philosophie
(Université McGill)
Megan Spriggs
Maîtrise en histoire et théorie de l’architecture
(Université McGill)
Research Assistants
Christina Contandriopoulos
Ph.D. Candidate History and Theory of Architecture
(McGill University)
Caroline Dionne
Ph.D. Candidate History and Theory of Architecture
(McGill University)
Elsa Lam
M.Arch History and Theory of Architecture
(McGill University)
Suresh Perera
M.Arch History and Theory of Architecture
(McGill University)
Rita Risser
Ph.D. Candidate Philosophy (McGill University)
Megan Spriggs
M.Arch History and Theory of Architecture
(McGill University)
7

Mot du directeur fondateur
Le Centre Canadien d’Architecture (CCA) est un
musée et un centre d’étude qui a été créé avec la
conviction que la recherche architecturale et sa diffusion
participent d’un projet culturel, et que le chercheur
assume une responsabilité sociale de premier
plan. En septembre 1997, nous avons inauguré
officiellement le Centre d’étude et accueilli au CCA
les premiers chercheurs; en 1998–1999, nous avons
eu le plaisir de recevoir un deuxième groupe de chercheurs.
En tant que seul centre de recherche spécialisé
dans l’étude des idées architecturales et de leurs
manifestations, et en raison de la richesse des collections
du CCA, le Centre d’étude offre aux chercheurs
un environnement unique pour poursuivre des recherches
avancées dans le domaine.
Les grandes orientations du Centre d’étude sont
définies par un comité consultatif – formé en 1995 –
composé de chercheurs et d’architectes de provenance
et de renommée internationales. Je tiens à
souligner la contribution du président de ce comité,
Werner Oechslin, à la formulation du programme
et des domaines d’étude visant la constitution d’un
corpus de travaux critiques sur l’architecture. Le
présent rapport offre un résumé des activités du
Centre d’étude au cours de sa septième année ainsi
qu’un compte rendu des recherches menées par les
chercheurs en 2003–2004. Les rapports des chercheurs
en témoigneront, la grande qualité des ressources
de la bibliothèque et de la collection de dessins
et estampes, de même que les échanges entre les
chercheurs, ont été des facteurs déterminants dans
l’avancement de leurs travaux. Le but visé dans
l’élaboration de ces programmes et activités est de
regrouper des chercheurs de tous les continents,
désireux de créer un environnement intellectuel
dynamique et soucieux d’enrichir une communauté
de spécialistes en croissance constante.
Phyllis Lambert
Directeur fondateur et président
du Conseil des fiduciaires
8
Founding Director’s Foreword
The Canadian Centre for Architecture (CCA) was
founded as both a museum and a study centre in the
belief that architectural research and its dissemination
have a profound cultural influence, and with the
conviction that scholars have a social responsibility
of the highest order. In September 1997, we had the
pleasure of officially inaugurating the Study Centre
and welcoming the first visiting scholars to the CCA;
1998–99 was the Study Centre’s second year of
operation. As the only research centre specialized in
architectural thought and its manifestations, and with
access to the rich resources of the CCA collections,
the Study Centre offers scholars a unique environment
in which to pursue advanced research in the field.
The orientation of the Study Centre’s program is
defined by a committee composed of internationally
respected scholars and architects. As Chair of the
committee founded in 1995, Werner Oechslin has
played a key role in the formulation of the program
and its areas of research, which are central to the
constitution of a body of critical knowledge in the
field. This report is offered as a brief summary of
the activities of the Study Centre during its seventh year,
and an account of research undertaken by the
visiting scholars of 2003–2004. As the scholars’
reports show, the depth of the Library holdings and
the Prints and Drawings collections as well as the
activities with fellow scholars proved central to the
advancement of their work. Inherent in these programs
and activities is the desire to bring together, from all
continents, researchers who will create a dynamic
intellectual environment and enrich a growing community
of scholars.
Phyllis Lambert
Founding Director and Chair
of the Board of Trustees

Programme d’accueil de chercheurs
Le Programme d’accueil de chercheurs constitue le
volet principal des activités soutenues par le Centre
d’étude du CCA. Le programme a été mis sur pied
pour encourager la recherche avancée en histoire et
en théorie de l’architecture. Il est destiné aux chercheurs
et architectes qui poursuivent des recherches au niveau
post-doctoral ou l’équivalent. Il vise à soutenir les
travaux d’intellectuels capables de faire le lien entre
réflexion et production dans le domaine de l’architecture.
Le programme est fondé sur la conviction
que la recherche participe d’un projet culturel et que
le chercheur assume une responsabilité sociale.
Les candidats doivent donc être en mesure de lier,
de façon critique, les conditions historiques aux
courants intellectuels et aux valeurs culturelles de
notre époque.
Les candidats au programme d’accueil sont invités
à soumettre un projet de recherche original qui tient
compte de la finalité du programme et de l’étendue
des collections et de la bibliothèque du CCA; aucune
autre restriction ne s’applique quant au thème de la
recherche ou de la période étudiée. Après leur séjour
au Centre d’étude, les chercheurs sont encouragés à
publier les résultats de leurs travaux. Avec ses séminaires
et sa conférence annuelle, le Programme d’accueil
vise à créer un contexte favorable aux échanges entre
chercheurs. Le programme vise également à soutenir
le développement des relations entre chercheurs
venant des Amériques, d’Europe et d’autres régions
du monde.
Le programme du Centre d’étude s’étend sur douze
mois, de septembre à août de l’année suivante. Les
bourses sont applicables à des séjours de recherche
en continu d’une durée de trois à huit mois commençant
en septembre, janvier ou mai et se terminant au
plus tard en août de chaque année. Le Centre d’étude
fournit une allocation mensuelle qui sert à couvrir
les frais de séjour et de logement. Le montant de la
somme mensuelle est déterminé par le Centre d’étude
en fonction de l’avancement professionnel et des
publications du candidat. Des indemnités sont égale-
Visiting Scholars Program
The Visiting Scholars Program is the central component
of the research activities supported by the CCA
Study Centre. Established to encourage advanced
research in architectural history and thought, the
Program is intended for scholars and architects conducting
research at post-doctoral or equivalent level.
The aim of the Program is to support the work of
intellectuals able to bridge the reflective and productive
activities in architecture understood in its broadest
sense. The Program is rooted in the conviction
that scholarly work has a cultural influence and that
scholars bear social responsibility. Visiting scholars
are therefore expected to link history in an insightful
way with existing cultural and intellectual conditions.
Candidates are invited to submit a research proposal
that takes into account the purpose of the
Program and the scope of the CCA Library and collections;
no other chronological or thematic restrictions
apply. After their residency, visiting scholars are
expected to communicate the result of their work in
published form. Through its scholarly activities –
seminar program, annual conference – the Program
aims at the creation of a working context that is
conducive to scholarly exchange. Moreover, the
Program is especially committed to fostering relations
between scholars in America and Europe and beyond.
The Study Centre’s academic year runs from
September to August of the following year. Duration
of stay is variable and residency at the Study Centre
may extend for a continuous period of three to
eight months. Residency periods are set to begin in
September, January, and May of each academic
year, and must be completed by the end of August.
The CCA provides a monthly stipend to cover the
cost of living and accommodation. The stipend level
is determined by the Study Centre on the basis of
the candidate’s professional achievements and publication
record. Additional funding is available to
cover cost of relocation to Montréal. Visiting scholars
are expected to remain in Montréal for most of their
residency.
9

ment prévues pour couvrir les frais de relogement à
Montréal. Les chercheurs sont tenus de résider à
Montréal durant la majeure partie de leur séjour au
Centre d’étude.
Le Centre d’étude, installé dans l’aile Alcan du CCA,
met à la disposition des chercheurs un bureau et un
poste de travail compatible IBM relié au réseau
Internet. Le Centre d’étude offre également un service
de soutien administratif et d’aide à la recherche.
En plus des collections du CCA, les chercheurs auront
accès au service de prêt entre bibliothèques et aux
ressources des bibliothèques des quatre universités
montréalaises.
Researchers are provided with offices in the
CCA’s Alcan Wing for Scholars equipped with IBMcompatible
workstations and Internet communications.
The Study Centre also offers research assistance
and administrative support. In addition to the CCA
collections, visiting scholars have access to the interlibrary
loan service and the libraries of Montréal’s
four universities.

Rapport d’activités
2003–2004
Report of Activities

Rapport du responsable
du Centre d’étude
Septembre 2003–août 2004
Ce rapport présente un résumé des activités de
recherche du Centre d’étude pour l’année 2003–2004.
Il rend compte des recherches menées dans le cadre
du Programme d’accueil de chercheurs et des activités
qui lui sont rattachées. Il fait également état des autres
activités et projets soutenus par le Centre d’étude.
Au cours de cette année, le Centre d’étude a
accueilli onze chercheurs invités en provenance
de Belgique, du Canada, des États-Unis, de France
et de Suède.
La vitalité du Centre d’étude dépendant d’abord
de la qualité des échanges entre chercheurs, son
activité principale consiste en un programme de
séminaires qui offre aux chercheurs invités l’occasion
de présenter leur travail en cours.
Grâce à l’appui généreux de la fondation Andrew
W. Mellon depuis 2001, chaque année, durant plusieurs
mois, d’éminents chercheurs de renommée
internationale se joignent aux chercheurs en résidence.
Cette année, Martin Kemp, professeur d'histoire de
l'art à l’Université Oxford, a été nommé chercheur
principal et boursier Mellon.
En 2003–2004, le Centre d’étude a continué de
soutenir les activités de l’Institut de recherche en
histoire de l’architecture (IRHA), un institut montréalais
créé par le CCA, l’Université de Montréal et l’Université
McGill.
Alexis Sornin
Responsable associé du Centre d’étude
2005
12
Report by the
Head of the Study Centre
September 2003–August 2004
This brief report describes the scholarly activities of
the Study Centre in 2003–2004. It outlines research
undertaken through the Visiting Scholars Program
and its related activities, and also includes information
on other activities and projects supported by the
Study Centre.
During this year, the Study Centre welcomed eleven
visiting scholars from Belgium, Canada, France,
Sweden and the United States.
Because the vitality of the Study Centre depends
primarily on the quality of exchanges between scholars,
the Centre’s most important activity is its seminar
program, which gives scholars the opportunity to
present work-in-progress and aims to create a forum of
exchange around the research themes of the Study
Centre.
Thanks to the generous support of The Andrew
W. Mellon Foundation since 2001, distinguished
scholars of international reputation join the Visiting
Scholars in residence each year. This year Martin
Kemp, Professor of History of Art at Oxford University,
was appointed Mellon Senior Fellow.
In 2003–2004, the Study Centre continued to support
the activities of the Institut de recherche en histoire
de l’architecture (IRHA), a Montréal institution
established by the CCA, the Université de Montréal,
and McGill University.
Alexis Sornin
Associate Head, Study Centre
2005

Liste des chercheurs
Chercheur principal et boursier Mellon
Martin Kemp, professeur d’histoire de l’art à
l’Université Oxford, Royaume-Uni
Durée du séjour : de mi-mars à mi-avril et juillet 2004
Chercheurs du programme d’accueil
Samuel D. Albert
Department of Art History, Hebrew University of
Jerusalem, Israël
And Was Jerusalem Builded Here…
Durée du séjour : de janvier à avril 2004
Jean-Pierre Chupin
École d’architecture, Université de Montréal,
Canada
Théories du projet et paradoxes de la pensée
analogique au tournant des années 1970
Durée du séjour : de janvier à avril 2004
Maarten Delbeke
Universiteit Gent, Belgique
The Sacred History of Architecture : The Writings of
Michelangelo Lualdi in Context
Durée du séjour : de janvier à août 2004
Jean-Philippe Garric
École d’architecture de Normandie, France
Les modèles italiens dans les livres d’architecture
français et le renouveau de la théorie architecturale
au début du XIX e siècle
Durée du séjour : de juin à août 2004
Anthony Gerbino
Department of Art and Art History, Wesleyan
University, États-Unis
Number, Order, and Measure : Baroque Architects
and the Scientific Revolution
Durée du séjour : de mai à août 2004
List of Scholars
Mellon Senior Fellow
Martin Kemp, Professor of History of Art at Oxford
University, United Kingdom
Residency period: mid-March to mid-April and July 2004
Visiting Scholars
Samuel D. Albert
Department of Art History, Hebrew University of
Jerusalem, Israel
And Was Jerusalem Builded Here...
Residency period: January to April 2004
Jean-Pierre Chupin
École d’architecture, Université de Montréal,
Canada
Théories du projet et paradoxes de la pensée
analogique au tournant des années 1970
Residency period: January to April 2004
Maarten Delbeke
Universiteit Gent, Belgium
The Sacred History of Architecture: The Writings of
Michelangelo Lualdi in Context
Residency period: January to August 2004
Jean-Philippe Garric
École d’architecture de Normandie, France
Les modèles italiens dans les livres d’architecture
français et le renouveau de la théorie architecturale
au début du XIX e siècle
Residency period: June to August 2004
Anthony Gerbino
Department of Art and Art History, Wesleyan
University, United States
Number, Order, and Measure: Baroque Architects
and the Scientific Revolution
Residency period: May to August 2004
13

Katja Grillner
École d’architecture, KTH – Institut royal de
technologie, Suède
The Writing of Landscapes : Authorship, Judgment
and Representation in the Eighteenth-Century
Landscape Garden
Durée du séjour : d’avril à mai 2004
Robert Kirkbride
Parsons School of Design, and Studio ‘Patafisico,
États-Unis
Architecture and Memory : The Renaissance Studioli
of Federico da Montefeltro
Durée du séjour: de juin à août 2004
D. Medina Lasansky
Department of Architecture, Cornell University,
États-Unis
Redefining Modernism : Contextualizing the Image
of Tuscan Vernacular Architecture within the Racist
Rhetoric of the Fascist Regime
Durée du séjour: juillet 2004
Wallis Miller
College of Architecture, University of Kentucky,
États-Unis
Architecture on Exhibit
Durée du séjour: de janvier à août 2004
Amy F. Ogata
The Bard Graduate Center for Studies in the
Decorative Arts, Design and Culture, États-Unis
Object Lessons : Design, Creativity and the Material
Culture of Postwar Childhood
Durée du séjour: de juin à août 2004
Timothy Rohan
Art History Program, University of Massachusetts,
États-Unis
Urbanism in Postwar America : Paul Rudolph
Buildings and Projects, 1954–1972
Durée du séjour: de janvier à avril 2004
14
Katja Grillner
School of Architecture, KTH – The Royal Institute of
Technology, Sweden
The Writing of Landscapes: Authorship, Judgment
and Representation in the Eighteenth-Century
Landscape Garden
Residency period: April to May 2004
Robert Kirkbride
Parsons School of Design, and Studio ‘Patafisico,
United States
Architecture and Memory: The Renaissance Studioli
of Federico da Montefeltro
Residency period: June to August 2004
D. Medina Lasansky
Department of Architecture, Cornell University,
United States
Redefining Modernism: Contextualizing the Image
of Tuscan Vernacular Architecture within the Racist
Rhetoric of the Fascist Regime
Residency period: July 2004
Wallis Miller
College of Architecture, University of Kentucky,
United States
Architecture on Exhibit
Residency period: January to August 2004
Amy F. Ogata
The Bard Graduate Center for Studies in the
Decorative Arts, Design and Culture, United States
Object Lessons: Design, Creativity and the Material
Culture of Postwar Childhood
Residency period: June to August 2004
Timothy Rohan
Art History Program, University of Massachusetts,
United States
Urbanism in Postwar America: Paul Rudolph
Buildings and Projects, 1954–1972
Residency period: January to April 2004

Chercheurs associés
Le Centre d’étude a également accueilli des chercheurs
qui ont mené des recherches indépendantes et ont
participé aux activités de recherches du Centre.
Ella Chmielewska
Bourse postdoctorale, Conseil de recherches en
sciences humaines du Canada (CRSH), 2002–2004
Signs of Place : The Changing Visual Landscape of
Montreal and Warsaw
Durée du séjour: de septembre 2002 à août 2004
Frank Döring
Chercheur indépendant, Kentucky, États-Unis
Stereo Photographs
Durée du séjour : de janvier à août 2004
Valérie Nègre
Chercheure indépendante, Paris, France
Standardisation et préfabrication du monde du
bâtiment au XIX e siècle
Durée du séjour : de juin à août 2004
Andrew Shanken
Art Department, Oberlin College, États-Unis
194X
Durée du séjour : mai 2004
Marina Wallace
Directrice, Artakt, Londres, Royaume-Uni
The Visual Imagination: A Seminar on the Interface
Between Art and Science
Durée du séjour : de la mi-mars à la mi-avril et
juillet 2004
Associate Scholars
The Study Centre also welcomed scholars who pursued
independent research and participated in the
scholarly activities of the Study Centre.
Ella Chmielewska
Postdoctoral Fellowship, Social Science and
Humanities Research Council of Canada (SSHRCC),
2002–2004
Signs of Place: The Changing Visual Landscape of
Montreal and Warsaw
Residency period: September 2002 to August 2004
Frank Döring
Independent Scholar, Kentucky, United States
Stereo Photographs
Residency period: January to August 2004
Valérie Nègre
Independent Scholar, Paris, France
Standardisation et préfabrication du monde du
bâtiment au XIX e siècle
Residency period: June to August 2004
Andrew Shanken
Assistant Professor, Art Department, Oberlin College,
United States
194X
Residency period: May 2004
Marina Wallace
Director, Artakt, London, United Kindgom
The Visual Imagination: A Seminar on the Interface
Between Art and Science
Residency period: Mid-March to Mid-April and
July 2004
15

Activités scientifiques
Le programme de séminaires
Chaque année, le Centre d’étude organise une série
de séminaires avancés dans le but de permettre aux
chercheurs invités de présenter leur travail en cours.
Pour compléter la série de rencontres, des chercheurs
de l’extérieur sont invités à faire état de leurs travaux
dans des domaines, problématiques ou approches
ayant trait à ceux des chercheurs du Centre. Ce
programme de séminaires, auquel sont également
conviés des chercheurs du CCA et de la communauté
universitaire, a pour but de créer un forum d’échanges
autour de problématiques développées par le Centre
d’étude.
Hiver 2004
23 janvier 2004
Ségolène Le Men (invitée), directeur des études
littéraires, École normale supérieure, Paris
Une sculpture parlante : le Stryge et Notre-Dame
de Paris
27 février 2004
Jean-Pierre Chupin, chercheur, Centre d’étude du CCA
La scène emblématique de la Città analoga (1976)
ou les avatars de l’imagination analogique dans
l’œuvre d’Aldo Rossi
Printemps 2004
5 mars 2004
Timothy M. Rohan, chercheur, Centre d’étude du CCA
Alternatives to the International Style: Three Projects
by Paul Rudolph from the 1950s
19 mars 2004
Samuel D. Albert, chercheur, Centre d’étude du CCA
And Was Jerusalem Builded Here…
16
Scholarly Activities
Seminar Program
During each academic year, the Study Centre organizes
a series of advanced seminars where CCA visiting
scholars are invited to present their work-in-progress.
To complete the seminar program, outside scholars
working on related topics, issues, or approaches are
often invited to present their ongoing research. The
aim of this seminar program, to which researchers
of the CCA and the university community are also
invited, is to create a forum of exchange around the
Study Centre’s research areas.
Winter 2004
23 January 2004
Ségolène Le Men (Guest), Professor, Études littéraires,
École normale supérieure, Paris
Une sculpture parlante : le Stryge et Notre-Dame
de Paris
27 February 2004
Jean-Pierre Chupin, CCA Visiting Scholar
La scène emblématique de la Città analoga (1976)
ou les avatars de l’imagination analogique dans
l’œuvre d’Aldo Rossi
Spring 2004
5 March 2004
Timothy M. Rohan, CCA Visiting Scholar
Alternatives to the International Style: Three Projects
by Paul Rudolph from the 1950s
19 March 2004
Samuel D. Albert, CCA Visiting Scholar
And Was Jerusalem Builded Here…

26 mars 2004
Maarten Delbeke, chercheur, Centre d’étude du CCA
Architecture as Testimony and Metaphor in
Seventeenth-Century Sacred History Writing
30 avril 2004
Wallis Miller, chercheure, Centre d’étude du CCA
Berlin’s Architecture Museum
21 mai 2004
Katja Grillner, Chercheure, Centre d’étude du CCA
Experience as Imagined: Writing the Eighteenth-
Century Landscape Garden
Été 2004
18 juin 2004
Amy F. Ogata, chercheure, Centre d’étude du CCA
Design, Creativity, and Postwar «Toys»
9 juillet 2004
Jean-Philippe Garric, chercheur, Centre d’étude du CCA
Les modèles italiens et la naissance de la composition
14 juillet 2004
Marina Wallace, chercheure associée, directrice, Artakt
The Visual Imagination : A Seminar on the Interface
Between Art and Science
16 juillet 2004
D. Medina Lasansky, chercheure, Centre d’étude
du CCA
Redefining Modernism : Contextualizing the Image
of Tuscan Vernacular Architecture within the Racist
Rhetoric of the Fascist Regime
30 juillet 2004
Anthony Gerbino, chercheur, Centre d’étude du CCA
Geometrical Instruments and the Mathematical
Culture of Seventeenth-Century Architects
26 March 2004
Maarten Delbeke, CCA Visiting Scholar
Architecture as Testimony and Metaphor in
Seventeenth-Century Sacred History Writing
30 April 2004
Wallis Miller, CCA Visiting Scholar
Berlin’s Architecture Museum
21 May 2004
Katja Grillner, CCA Visiting Scholar
Experience as Imagined: Writing the Eighteenth-
Century Landscape Garden
Summer 2004
18 June 2004
Amy F. Ogata, CCA Visiting Scholar
Design, Creativity, and Postwar “Toys”
9 July 2004
Jean-Philippe Garric, CCA Visiting Scholar
Les modèles italiens et la naissance de la composition
14 July 2004
Marina Wallace, CCA Research Associate and
Director, Artakt
The Visual Imagination: A seminar on the Interface
Between Art and Science
16 July 2004
D. Medina Lasansky, CCA Visiting Scholar
Redefining Modernism: Contextualizing the Image
of Tuscan Vernacular Architecture within the Racist
Rhetoric of the Fascist Regime
30 July 2004
Anthony Gerbino, CCA Visiting Scholar
Geometrical Instruments and the Mathematical
Culture of Seventeenth-Century Architects
17

2 août 2004
Robert Kirkbride, chercheur, Centre d’étude du CCA
Architecture and Memory : The Renaissance Studioli
of Federico da Montefeltro
13 août 2004
Nancy Stieber (invitée), University of Massachusetts,
Boston
«Groeten uit Amsterdam» : The Perils and Prospects
of the Use of Postcards for Urban History
20 août 2004
Hermann Schlimme (invité), Bibliotheca Hertziana,
Rome
The « Nuovo Villaggio Matteotti » in Terni by
Giancarlo De Carlo, 1969–1975
Conférences, colloques et symposiums
Grâce à l’appui généreux de la fondation Andrew
W. Mellon, chaque année, durant plusieurs mois,
d’éminents chercheurs de renommée internationale
se joignent, en qualité de chercheurs principaux et
boursiers Mellon, aux chercheurs en résidence.
Martin Kemp, professeur d’histoire de l’art à
l’Université Oxford, chercheur principal et boursier
Mellon, a donné une conférence publique intitulée
Processes and Structures : The Art and Science of
Nature in Nature dans le théâtre Paul-Desmarais du
CCA le 13 avril 2004.
18
2 August 2004
Robert Kirkbride, CCA Visiting Scholar
Architecture and Memory: The Renaissance Studioli
of Federico da Montefeltro
13 August 2004
Nancy Stieber (Guest), University of Massachusetts,
Boston
“Groeten uit Amsterdam”: The Perils and Prospects
of the Use of Postcards for Urban History
20 August 2004
Hermann Schlimme (Guest), Bibliotheca Hertziana,
Rome
The “Nuovo Villaggio Matteotti” in Terni by
Giancarlo De Carlo, 1969–1975
Conferences, Colloquia, Symposia
With the generous support of The Andrew W. Mellon
Foundation, distinguished scholars of international
reputation are appointed Mellon Senior Fellows and
join the Visiting Scholars in residence for extended
periods each year.
Martin Kemp, Mellon Senior Fellow and Professor
of History of Art at Oxford University, delivered a
public lecture entitled Processes and Structures: The
Art and Science of Nature in Nature in CCA’s Paul
Desmarais Theatre on 13 April 2004.

Rapports des chercheurs
Scholars’ Reports
19

Samuel D. Albert
And Was Jerusalem Builded Here...
In the four months of my stay at the CCA Study Centre,
freed from the necessities of teaching and able to
devote myself completely to my current book project,
And Was Jerusalem Builded Here... Architecture and
Urbanism in the British Mandate of Palestine, I
achieved a number of intellectual, professional, and
personal goals and made substantial progress
towards completing my manuscript. I read through
and organized the research material I had accumulated
over the past three years in Israel, the United
States, Great Britain, and Germany. With the material
cogently sorted, organized, and classified, the
project as a whole, as well as its accompanying
lacunae, became far clearer.
I was able to fill many of those holes using the
CCA’s extensive and catholic collections. Some of
the gaps were previously known to me; others
became evident only after sustained scrutiny of my
material. Complete runs of major architectural journals
unavailable in Israel enabled me to document
more thoroughly the reception and perception of
Jerusalem and its architecture in the British, French,
and American architectural presses; the superlative
CCA Library reference collection was also of inestimable
aid. The surprising presence of a large number
of Hebrew-language publications facilitated my
work and enabled me to use the CCA’s resources in
conjunction with those materials as well.
I also expanded and significantly sharpened the
intellectual framework of my project, based both on
materials previously unknown to me, which were
found in the CCA collection, as well as new ideas
that arose from the richness of the materials at my
disposal. One significant example I explored was
the influence of sixth- and seventh-century Syriac
church construction on the work of the Italian architect
Antonio Barluzzi, active in Palestine from 1920
to 1960. His personal uncatalogued archive, in
which I worked extensively, can be found in the
20
Franciscan order’s archive in Jerusalem; his professional
library has been dispersed. The availability at
the CCA of almost any architectural book Barluzzi
might have used as a primary or secondary source
meant that I was able to reconstruct his historical
sources more accurately, along with his interpretation
of those sources. The CCA Library contains pristine
examples of both primary sources on which
Barluzzi based his work, as well as substantial secondary
sources, including Barluzzi’s own rare book
on the Church of the Holy Sepulchre.
In addition to financial and material support, including
access to CCA Library holdings of periodicals
and books, the Study Centre also provided me with
an invaluable intellectual enrichment, an environment
that encouraged me to think much more critically of
my work than I previously had. This critical rethinking
was furthered by my interactions with fellow scholars
as well as with the staff of the Study Centre and the
CCA. One of the great strengths of the Visiting Scholars
Program is the opportunity to interact with other
scholars. To name just two examples: Maarten Delbeke
and Wallis Miller used their own areas of expertise,
Pilgrimage Architecture and German Architecture of
the nineteenth and twentieth centuries, respectively,
to look at my subject, forcing me to expand my thinking
to include those issues I had not previously thought
germane. As a result, my own arguments became
broader, wider ranging, and more topical. In fact,
daily contact with all of the resident scholars as well
as visiting scholars was one of the most rewarding
and edifying aspects of my four-month stay.
In addition to the intellectual work I accomplished
and the concurrent progress in thinking about my
topic, I made significant advances in writing: at the
Society of Architectural Historians annual meeting in
Providence, I was able to put together for a publisher
a book proposal resulting from my research and
writing at the Centre.

The advantages I gained by being at the CCA
were numerous: the time and opportunity to devote
myself to my own work, the availability of significant
research materials, and stimulating intellectual
discourse – all of which contributed to substantial
progress on my book.
21

Jean-Pierre Chupin
La scène emblématique de la Città analoga ou les avatars de l’imagination analogique
dans l’œuvre d’Aldo Rossi
La reconstitution historique et théorique de la Città
analoga d’Aldo Rossi, entreprise pendant cette résidence
scientifique au Centre d’étude au printemps
2004, s’inscrit dans le cadre plus général d’une
recherche que je mène, depuis près d’une décennie,
sur les rôles multiples joués par la pensée analogique
en architecture. Cette recherche dessine, de
plus en plus nettement, une coupe traversant les
théories et les pratiques contemporaines du projet,
révélant au passage la diversité des usages de l
’analogie qui les sous-tendent. Ce faisant, une telle
investigation entend contribuer à une meilleure compréhension
des phénomènes à la fois historiques,
théoriques et cognitifs qui font passer l’imagination
et la conception architecturale alternativement du
statut de « boîtes noires » à celui d’objets « scientifiques
», voire d’enjeux anthropologiques.
La Città analoga d’Aldo Rossi est désormais redevenue
une légende. Après avoir été le titre annonciateur
d’un tableau exposé à la triennale de Milan en
1973, puis le manifeste provocateur d’une planche
composite exposée à la biennale de Venise en 1976,
la Città analoga fut également l’expression emblématique
d’une série de dessins exposée à New York
en 1979. Depuis la publication des quaderni azzuri
de Rossi en 1999, on sait désormais que cette énigmatique
expression recouvrait un faisceau d’intuitions
et d’intentions, au centre duquel germait le projet
d’un traité d’architecture particulièrement ambitieux :
sa table des matières traversera plusieurs mutations
caractéristiques, de 1969 jusqu’en 1981, année de
son « abandon » définitif. Les avatars de ce livre sont
directement liés aux aléas d’une recherche sur l’analogie,
recherche qui conduira Aldo Rossi d’un essai
d’énonciation des principes de la composition architectonique
au silence poétique d’une mystique de
l’analogie, en passant par une redéfinition jungienne
– ô combien hasardeuse – de l’imagination analogique.
22
Pour mesurer l’importance de cette hypothèse
polymorphe qu’est la Città analoga, il m’a fallu,
dans un premier temps, la situer dans son contexte
historique. La version de 1976 fait état d’une impressionnante
conjonction de références, tant classiques
que modernes, et inclut de nombreux fragments de
projets rossiens. La fortune critique de cette Città
analoga, bien visible mais à proprement parler « illisible
», s’est révélée comme une judicieuse entrée
en matière pour l’étude de la scène intellectuelle de
l’architecture au tournant des années 1970. Des
théories contradictoires s’adressaient alors aux questions
liées au rôle de la mémoire, à la boîte obscure
des méthodes et à l’enseignabilité de l’architecture.
Dans un deuxième temps, il fallait prendre la
mesure des tensions persistantes entre les ambitions
d’une critique à visées opératoires et celles d’une
théorie soucieuse de son autonomie par rapport à la
pratique : la violente réaction suscitée par le collage
présenté à la biennale de Venise en 1976, en particulier
chez un Manfredo Tafuri, contraste avec le
rayonnement de l’hypothèse « analogique » dans la
communauté architecturale d’alors : de Kenneth
Frampton à Vittorio Gregotti, en passant par Ignasi de
Solà-Morales Rubió. Pour effectuer ces deux premiers
niveaux de la recherche, j’ai largement bénéficié
des documents et publications rassemblés au CCA
autour du fond des archives professionnelles d’Aldo
Rossi.
Dans un troisième temps, j’ai cherché à reconstituer
les principales étapes de la quête de Rossi relativement
à son intuition du rôle de l’analogie dans l’imagination
architecturale, en soulignant le tournant jungien
du milieu des années 1970.
Dans un quatrième et dernier temps, j’ai formulé
plusieurs hypothèses permettant d’expliquer cet
«abandon » du projet théorique de la Città analoga
par Rossi lui-même, pourtant au sommet de sa renommée.

Comment, en effet, devons-nous comprendre cet
inachèvement paradoxal? S’agit-il d’un échec, ou
d’un retournement de situation? S’agit-il d’un obstacle
de nature théorique, voire d’une impasse pédagogique?
Sur ces deux autres aspects de ma recherche,
les nombreuses discussions avec les résidants du
Centre d’étude ont été précieuses, en particulier
avec Marteen Delbeke et Wallis Miller, et m’ont
permis de préciser certains aspects théoriques par
comparaison avec les préoccupations des historiens
de l’art ou celles des critiques de l’architecture
contemporaine.
Les résultats de la recherche effectuée durant mon
séjour au CCA ont été présentés lors d’un séminaire
du Centre d’étude en février 2004 devant Georges
Teyssot, Hubert Damisch et Phyllis Lambert, que je
remercie chaleureusement et dont je garde précieusement
en mémoire la qualité des commentaires.
De la même façon, je ne saurais trop remercier les
personnes de la bibliothèque, des archives et bien
entendu du Centre d’étude (Mario Carpo, Aliki
Economides) sans qui ce séjour n’aurait certainement
pas été aussi fécond, efficace et enthousiasmant.
Enfin, je tiens à souligner l’excellente assistance
d’Elsa Lam pour ce qui est de la reconstitution des
multiples références dévoilées ou cachées dans le
collage présenté en 1976, ainsi que l’intuition de
Gerald Beasley, alors responsable de la bibliothèque
du CCA et désormais directeur de l’Avery Library de
l’Université Columbia à New York; sa connaissance
de la collection du CCA m’a permis de découvrir
deux superbes « jeux de l’oie », dont l’un date du
XVIII e siècle, qui ont confirmé une hypothèse cruciale
quant à l’interprétation métaphysique de la Città
analoga.
J’ai été invité à donner une conférence sur la Città
analoga d’Aldo Rossi à l’École d’architecture de
l’Université de Tunis en juin 2004, puis à l’École
d’architecture de l’Université fédérale de Rio de
Janeiro en novembre de la même année. L’essentiel
de cette recherche a en outre été publié en France
dans un ouvrage collectif portant sur la question de
la « fiction théorique » en architecture (Chupin, Jean-
Pierre, « Une intuition théorique à l’état de légende :
la Città analoga d’Aldo Rossi », dans Fiction théorique,
sous la direction de Philippe Louguet et Franck
Vermandel, Lille, Cahiers thématiques – École
d’architecture de Lille et des régions Nord, 2005,
p. 78–97). Enfin, il est à noter que cette méditation
sur les errances d’Aldo Rossi en matière de théorisation
de la pensée analogique constituera un chapitre
d’un ouvrage en préparation sur « Architecture et
analogie (Destins croisés du projet et de la théorie)».
Ce chapitre traitera des jeux et enjeux métaphysiques
de la ville analogue, dont la forme la plus inachevée
reste, sans conteste, ce sublime fragment de nécropole
qu’est le cimetière de Modène.
23

Maarten Delbeke
The Sacred History of Architecture: The Writings of Michelangelo Lualdi in Context
The aim of my visiting scholarship was to contextualize
the writings of the Roman priest and theologian
Michelangelo Lualdi (d. 1673). Lualdi produced an
extensive but only partly published church historical
œuvre that offers elaborate descriptions of contemporary
art and architecture within the larger production
of Roman and Italian ecclesiastical and architectural
historiography. His work drew my attention to the
importance of church history writing as a problematic
form of proto-architectural historiography. On the
one hand, church historians such as Lualdi bring to
bear a quite refined methodology on the built environment,
which they consider simultaneously as an
important piece of historical evidence and an eloquent
witness of orthodox practices and rites. In their
descriptions of art and architecture, however, these
authors are obliged to mediate between celebrating
the artifacts for their artistic merit or presenting them
as places of worship and symbolical vehicles of
celestial peace and harmony, exemplified in a patron’s
virtue and piety. The interest of Lualdi’s work stems
partly from his inability to perform this mediation.
One of the questions I hoped to address during my
residency was whether this internal conflict was
unique to Lualdi’s work or found echoes in other historiographic
practices as well.
The Trissino collection proved essential to my
research at the CCA. In itself a fascinating witness
of the historiographic preoccupations of the late
nineteenth and early twentieth century, the collection
contains a wealth of church historical, topographical,
and guidebook literature. A systematic examination of
its content allowed me to establish a corpus of works
that offer a consistent background for the understanding
of Lualdi’s endeavour. In addition, I was able to
identify and study a number of remarkable works,
such as Raffaele Borghini’s Italian translation of Jean
de Marconville’s Traicté contenant l’origine des
temples des Juifs, Giacomo Vivio’s Discorso sopra
24
la mirabil opera di basso rilievo, and Francesco De
Simone’s Delle glorie de sagri tempj, a book that
appears to be extremely rare. The collection also
contains two editions of Lello’s Historia di Monreale,
an important yet little studied detailed description of
the Duomo. Over the course of the seventeenth century,
the changes between the editions exemplify the
shifting position of architectural and art history within
the framework of ecclesiastical historiography.
Finally, the collection holds a wealth of guidebook
literature that allowed me to trace developments in the
description and depiction of the city of Rome during
the early modern period.
While it is too early for final statements on the
importance of church history for the historiography
of architecture, or more specifically on the position
of Lualdi within this more general development, a
number of observations can be made. First, in ecclesiastical
historiography there exists a remarkable
convergence between the genres of biography and
architectural history. This convergence opens up possibilities
for the interpretation of architecture, since
the genre of biography is very well conceptualized
in its methods and aims. Second, the problems,
themes, and methodologies of this historiography
remain remarkably stable from the late sixteenth century
up to at least the mid eighteenth century, as is
evident from a work like Scudellini’s Dei vantaggi
che può trarre un teologo dallo studio delle cristiane
antichità, published as late as 1776. Third, there is
an important exchange in information and methodology
between forms of sacred historiography and
literature that is more concerned with art and architecture
per se. In fact, from the late seventeenth century
onwards, the budding art historical literature
becomes an important frame of reference for the dating
and interpretation of architecture in ecclesiastical
historiography. In other words, while Lualdi’s case
seems unique in its visible struggle to wed an artistic

or architectural interest to a church historical agenda,
the distinction between these agendas was clearly
felt and to a certain extent exploited.
My research at the CCA provided me with a
wealth of material that forms and will form the basis
for a number of contributions to conferences, journals,
and books. My stay in Montréal also gave me the
opportunity to establish or reinforce contacts with
colleagues in North America. This has been especially
useful for the final preparation of the manuscript
for Bernini’s Biographies. Critical Essays (co-edited
with Evonne Levy and Steven F. Ostrow, Penn State
University Press, to appear in 2006). It was stimulating
to be surrounded by other visiting scholars whose
sometimes seemingly unrelated fields of interest
provided impulses to rethink my own., Finally, the
visiting scholarship allowed me to benefit from the
expertise and helpfulness of the CCA and Study
Centre staff and research assistants, and I am very
grateful for their generous efforts to have made this
such a productive stay.
29

Jean-Philippe Garric
Les modèles italiens dans les livres d’architecture français et le renouveau de la théorie
architecturale au début du XIX e siècle
Mon projet a consisté à achever la préparation d’un
livre consacré à la théorie de I’architecture et plus
spécifiquement au rôle des modèles italiens dans les
livres d’architecture français.
Le rôle des modèles italiens dans le renouveau de
I’architecture européenne à la période néoclassique
est aujourd’hui connu, mais les recueils de ces modèles
n’ont pas fait I’objet d’une approche globale.
L’œuvre imprimée de Percier et Fontaine et de leurs
continuateurs apparaît sous-évaluée au regard de
I’influence de ces architectes dans la mise en place
de la pédagogie du projet à I’École des beaux-arts
de Paris. Si les publications de leur contemporain
Durand sont mieux étudiées, elles n’ont cependant
pas été analysées du point de vue des sources italiennes
utilisées, qui occupent pourtant une place
centrale. Enfin, la présente recherche a embrassé
I’œuvre de nombreux auteurs aujourd’hui négligés,
comme Jean-Antoine Coussin, Joseph-Antoine
Borgnis ou, dans une moindre mesure, Georges
Rohault de Fleury.
De façon générale, la problématique qui consiste
à mettre en évidence la transmission d’un contenu
«théorique » à travers, non pas des textes, mais des
systèmes d’illustrations forgés à partir d’édifices
italiens « modernes », permet d’éclairer d’un jour
nouveau tout un pan de la production éditoriale
française du XIX e siècle. Mon travail, axé sur les
illustrations et sur leurs relations avec les livres où
elles figurent, visait à éclaircir le rôle des recueils
d’ltalie publiés à Paris dans le premier quart du
XIX e siècle, à montrer comment ils ont contribué à
définir la pédagogie du projet au sein de I’École des
beaux-arts et, enfin, à évaluer l’importance de leur legs.
Pour l’évaluation des différences entre les édifices
réels et les modèles proposés, ou celle des disparités
entre plusieurs modèles inspirés d’un même édifice,
je me suis appuyé pour I’essentiel sur le jeu des
26
croisements et des parallèles internes au corpus. Ce
choix dessine un cercle « herméneutique » où les figures
s’interprètent les unes par rapport aux autres,
où le glissement entre un modèle et un autre modèle
signifie autant que les rapports d’une ou plusieurs
images avec I’objet représenté.
Ce parti pris, et celui de choisir les livres euxmêmes
pour objets d’étude, m’a permis d’attirer
I’attention sur tous les aspects, jusqu’aux plus contingents,
de leur constitution, notamment le mode de
production des recueils par souscription et leur diffusion
par livraisons, dont I’examen dévoile les cercles
auxquels se rattachent les auteurs, tout en montrant
comment la division en cahiers détermine I’organisation
et la nature même des contenus.
Conçu comme la transformation en livre de ma
thèse de troisième cycle, ce projet entretenait un
rapport étroit avec mes activités de recherche et
d’enseignement, développées dans les domaines de
la théorie et du livre d’architecture, de l’architecture
italienne et de I’architecture néoclassique et des
influences italiennes en France, notamment dans
le cadre du programme sur I’italianisme développé
depuis plusieurs années au château de Clisson.
Les ressources documentaires et bibliographiques
du Centre Canadien d’Architecture (CCA) m’ont
été particulièrement utiles pour terminer un travail
exigeant la comparaison de nombreuses représentations
d’édifices italiens et donc le rapprochement
d’ouvrages souvent difficiles d’accès dans les collections
publiques françaises et dispersés dans des
bibliothèques différentes. De façon plus spécifique,
les documents appartenant au fond Renault de
Fleury ont constitué pour moi des documents de tout
premier intérêt, dans la mesure où ils concernaient
plusieurs des auteurs que j’étudie, notamment Georges
Rohault de Fleury et Bernier.

Anthony Gerbino
Number, Order, and Measure: Baroque Architects and the Scientific Revolution
I was awarded a four-month CCA fellowship to begin
research for a book, Number, Order, and Measure:
Baroque Architects and the Scientific Revolution. This
project takes a broad, thematic approach, aiming
to be European-wide in scope and considering the
contributions of lesser known figures as well as more
prominent architects such as Christopher Wren. The
project also seeks to link scholarship in architectural
history with an already well-developed body of literature
in the history of science on subjects directly
relevant to this theme. One chapter of the book is
devoted to the invention and use of geometrical
instruments for surveying and drafting. Other chapters
will explore the development of new perspective
and cartographic techniques in architectural design
and drawing, the debates over optical adjustments
and their relationship to sixteenth- and seventeenthcentury
theories of vision, and the emergence of new
engineering sciences.
The research I carried out during my residency
allowed me to begin work on the first chapter and to
flesh out the other three. I now have two manuscript
essays related to this research that I hope to submit
for publication in 2006. One examines the participation
of the Académie royale des sciences in the
design and construction of the gardens of Versailles
while the other explores the work of the Italian
mathematical practitioner and architectural theorist
Ottavio Revesi Bruti.
I also completed revisions to an article titled
“François Blondel and the Résolution des quatre principaux
problèmes d’architecture (1673),” which has
been accepted for publication by the Journal of the
Society of Architectural Historians (to appear in
December 2005).
In addition, my CCA fellowship led to invited
presentations at the Department of the History of Art
at the University of Oxford (19 October 2004) and
at the international conference “Les avatars de la
‘littérature’ technique,” held at the Conservatoire
National des Arts et Métiers in Paris (4 March
2005). I also convened a panel with Mario Carpo
on “Quantification in Early Modern Architectural
Design and Drawing” at the annual meeting of the
SAH in Vancouver (6–10 April 2005). Much of the
organization and planning for this event took place
during my time in Montréal.
I am extremely grateful to the CCA. The Study
Centre fellowship provided me with a sustained period
of time to begin new projects and to complete old
ones. Most importantly, it offered an extraordinary
atmosphere of warm collegiality, intellectual excitement,
and generous material support.
27

Katja Grillner
The Writing of Landscapes
In the spring of 2004 I had the opportunity to pursue
my project as a visiting scholar at the CCA Study
Centre. My research for the essay “Experience as
Imagined,” which I completed during this time,
and which is to be published in Experience in the
Eighteenth-Century Landscape Garden (ed. Martin
Calder, 2005), focused in particular on the uses of
literary descriptions in the theoretical writings on the
landscape garden of the 1770s. Apart from consulting
the CCA Library’s extensive holdings on garden
theoretical works from the eighteenth century, I
examined the parks and gardens-related material
from that period in the Prints and Drawings collection.
Apart from the outstandingly rich source material
in the CCA collections and the Study Centre’s
wonderful facilities, I thoroughly enjoyed the intellectual
company of my fellow scholars and the excellent
staff, and the opportunity to present my work at the
Study Centre seminar on 21 May 2004 with Dr.
Maarten Delbeke as respondent. This report briefly
outlines the project and, in particular, the essay.
This project forms part of a larger book that
explores the emergence of the landscape designer in
the eighteenth century and the theoretical discourse
that accompanied and sustained this process – the
formation of landscape as a radically new, modern
field of aesthetic action. The research builds upon
the topic of my PhD dissertation, “Ramble, Linger,
and Gaze – Dialogues from the Landscape Garden”
(KTH – Royal Institute of Technology, 2000), which
examined the garden theories and literary garden
representations of Thomas Whately and Joseph Heely
and explored a method of architectural research
based on narrative dialogue.
With the publication of Thomas Whately’s
Observations on Modern Gardening in 1770, the
theoretical debate concerning the landscape garden,
its effects and its design, entered a new mode. A
series of publications were brought out in England
by George Mason (Essay on Design in Gardening,
28
1768), Horace Walpole (A History of the Modern
Taste in Gardening, 1771/1780), William Chambers
(A Dissertation on Oriental Gardening, 1772; An
Explanatory Discourse by Tan Chet.Qua, 1773), and
Joseph Heely (Description of Hagley, Envil and the
Leasowes, 1775; Letters on the Beauties of Hagley,
Envil and the Leasowes, 1777). These were quickly
responded to in France by Claude-Henri Watelet
(Essai des jardins, 1774), Jean-Marie Morel (Théorie
des jardins, 1776), and René Louis de Girardin (De
la composition des paysages, 1777). Whately
becomes the evident point of reference for most of
these writers even though no one, with the possible
exception of Morel, borrowed the ambitious treatise
format of his Observations. In effect, all of these writers,
while sharing a concern with design practice,
invented (or appropriated) their own particular mode
of writing about the landscape garden and its design
theory, which distinguished them from the rest of the
fast-growing body of picturesque landscape observations
and poetry.
Through selected examples, the essay “Experience
as Imagined” aims to show how, by offering readers
striking imaginary tours and settings, landscape
description in these works functions to provide virtual
landscapes in which the aesthetic judgement of
prospective designers, clients, and enthusiastic garden
visitors may be effectively trained. The essay investigates
the selected texts from three different angles:
(1) How is “authority” established through the text –
the authority of the writer, of gardening theory, and
of the garden designer; (2) How are issues of “experience”
in the landscape garden approached in the
texts – explicitly discussed, and/or implicitly represented
through particular modes of writing; (3) How
are the intended “effects” of the designed landscape
garden represented in writing. The essay analyzes
passages from Whately’s Observations and Heely’s
Letters showing how particular ways of experiencing
and seeing the landscape garden are enforced
on the reader through different textual strategies –
Whately setting a scene for the reader to inhabit
independently of the author, and Heely taking the
reader along on a tour where the author is highly
present as guide throughout the visit.

The eighteenth century saw an explosion of literary
experimentation not only with the invention of
the novel, but in critical and philosophical writing
that restlessly invented and appropriated new genres
for various topics and themes. There is an acute
awareness of form in writing. In the titles of the gardening
dissertations mentioned above the variation
of genres is evident. Both Chambers and Heely play
with fictional elements, a step that at the time was
not conceived of as an excursion outside of a
learned discourse, but rather connected to the long
tradition of the philosophical dialogue. Whately,
who generally maintains a highly objective tone in
his treatise-like Observations, will at specific moments
switch into striking ekphrastic passages. Whether fictional
or factual in form, all these works aimed in the
end at telling the “truth” – to advocate the landscape
garden as a “modern” art form, and to teach particular
insights relating to its design.
The essay discusses the relation between the textual
experimentation taking place in these sources,
and the particular challenges the landscape garden
posed in terms of its design process, and the new
type of designer that emerged with it. The landscape
garden moved the figure of the inventive author to
the side of its discourse of design, and in his place
introduced a figure who might best be described in
terms of an interpreter or translator. The role of the
designer was to cleverly enhance the “natural” beauty
and character of the existing situation. He must
know how to act without the support of any specific
formal and proportional rules provided, for example,
in architectural theory. Engaging directly with each
specific site, he must learn to read and then re-write
the landscape using his aesthetic sensibility and
judgement. On existing grounds, through subtle
changes, a new reality comes into place. The writers
who set out to compose theoretical treatises on the
landscape garden had to face the challenge provided
by this new condition – to develop the means to
refine the designer’s aesthetic sensibility towards
landscape, to train his judgment for the production
of correct effects. Through the text, a model experience
could be conveyed in a controlled way.
Compared to an unaccompanied exploration of a
landscape garden, a well-written description could
in fact provide a fuller experience than the real visit.
My fellowship gave me the unique opportunity to
engage with fellow architectural scholars who contributed
insightful comments from different perspectives
to my project. I found their projects an inspiration
for my continued scholarly and educational practice
in architecture theory and history. In particular, I discussed
my research with Dr. Maarten Delbeke,
whose own interest in seventeenth-century practices
of ekphrastic writing provided valuable input as well
as a mutual exchange of ideas. Dr. Wallis Miller’s
research on practices of architectural display in the
early twentieth century also proved highly interesting
for my current research with Dr. Tim Anstey and
Dr. Rolf Hughes concerning questions of authorship
and authorial control in architecture and landscape
design; we have continued our contact through further
collaborations since the CCA fellowship period.
The rich collections of the CCA Library cover
almost all the primary source publications in eighteenth-century
garden theory I needed. For my Study
Centre seminar I had the luxury of displaying the
various Whately, Heely, and Morel editions, as well
as Dezallier d’Argenville’s treatise in English and
French. In addition, I examined the CCA Prints and
Drawings collection in a search for eighteenth-century
landscape garden drawings and plans. These
holdings include survey plans of Wimbledon Park
and Blenheim, a number of drawings for buildings in
parks (several “lodges,” a “dairy,” a “farm”) by John
Soane, and drawings and watercolours of garden
scenes and settings by Hubert Robert, Vincenzo dal
Re, and Louis Jean Desprez among others.
I wish to emphasize how productive and inspiring
this research period proved to be. As I am currently
engaged in writing up the research I have pursued
over the last three years for the book mentioned
above, I often think back on the tranquillity and wonderful
resources that characterize the Study Centre,
and of the always helpful and knowledgeable staff
in the Study Centre, the CCA Library, and other
CCA collections.
29

Robert Kirkbride
Architecture and Memory: The Renaissance Studioli of Federico da Montefeltro
During my residency at the CCA, I continued an
investigation of the Renaissance studioli from the
ducal palaces at Urbino and Gubbio, Italy. These
two intimate, image-filled chambers, with their perspectival
compositions and mnemonic underpinnings,
were the centrepieces of my Ph.D. thesis in
the History and Theory of Architecture (McGill
University, 2002). Constructed between 1474 and
1483 for the renowned military captain Federico da
Montefeltro, duke of Urbino (1422–1482), and his
young son, Guidobaldo (1472–1508), the studioli
may be described as treasuries of emblems: they
contain not things but images of things, rendered
with remarkable perspectival exactitude. Through a
close reading of these “contents” and their arrangement,
I demonstrated how architecture and its ornament
prepared a quattrocento mind with metaphors
for wisdom and methods for learning.
My residence afforded opportunities for advance
on several fronts, particularly in transforming and
transmitting the findings of my research. During my
stay, I composed a series of short historical fictions
illustrating how the Montefeltro studioli were used in
everyday circumstances of diplomacy, dialectical
inquiry, civil judgment, princely education, and
leisure. By the end of August half of these fictions
were complete and the others were outlined: several
were read aloud during my seminar.
Fictions demand exactitude. The more I wrote, the
more I discovered that this mode of investigation
complemented the scholarly research in ways unforeseen.
Were woodpeckers and thrushes found in
quattrocento Italy? Was gout truly caused by a rich
diet, or were symptoms perhaps the byproduct of a
failed assassination à la Borgia – by poisoning? Did
Marsilio Ficino prescribe hallucinogenic medicines?
To this end I greatly benefited from the CCA’s extensive
resources and polymathic librarians and staff. If
specific sources were not available they were not
30
only tracked down, they were promptly acquired.
Such uprooting and fact-checking stimulated new
lines of inquiry: several were sketched into abstracts,
and await opportunity for further development.
Over memorable meals, drinks parties and
impromptu coffee-breaks these minutiae and alternative
structural arrangements were discussed with fellow
scholars and colleagues, to whom I am grateful for
their patience and candour. Should the fictions be
embedded in the research to foreshadow or highlight
historical details? Or, should they be gathered
into a separate, slender volume that accompanies
the scholarly analysis?
In company with these fictions, I had been developing
the notion of a collaborative web-based project
to translate the research into an interactive digital
environment. At the time of their construction, the
studioli embodied the leading edge in technologies
of visual representation, through the arts of intarsia
(wood-inlay) and perspective. Translation of this
research into the digital environment would be a natural
extension of the studioli, offering a case study of
how advances in interactive technologies might reactivate
and transform ancient architectural metaphors
for thought and learning. Previous research had
focused on what the studioli mean, presenting them
through isolated plans, elevations, and photographs
that assess the chambers’ contents iconographically
without offering a cohesive sense of how the images
were composed to work in concert. A digital construction,
on the other hand, would convey the interactive
essence of the studioli more successfully than
words or diagrams alone, in a medium complementary
to the mnemonic workings of the studioli.
Through conversations with Victor Burgin, Mario
Carpo, Jean-Pierre Chupin, Andrea Guardo, Martin
Kemp, Alain Laforest, Phyllis Lambert, Indra Kagis
McEwen, Dirk de Meyer, and Alberto Pérez-Gómez,
among others, I considered various interactive

modes for presenting this research. Elaborating on
several overhead views introduced in my dissertation,
I am currently devising a series of line drawings and
diagrams of the studioli that demonstrate how constellations
of images would have accompanied various
circumstances throughout a typical day at the
Urbino court. In a digital environment, these “icons”
and diagrams, along with hypertext, will illustrate
the research while facilitating navigational crossreferencing
in a manner consistent with the chambers’
role as associative engines.
At the end of August 2004 the idea of constructing
virtual studioli gained momentum in concert with
a related endeavour – publishing the dissertation.
During my final week, I applied for and later received
the Gutenberg-e Prize from the American Historical
Association, in conjunction with Columbia University
Press (specifically, the Electronic Publishing Initiative
at Columbia). This award, “designed to explore the
potential of the digital environment to provide innovative
models for the publication of peer-reviewed
scholarly works,” enables me to present the studioli
research in the engaging manner discussed at the
CCA. Scheduled to be launched in March 2007,
this e-publication, provisionally titled The Renaissance
Studioli of Federico da Montefeltro and the Architecture
of Memory, will also be available in printed format.
At present, it seems appropriate that the fictions will
appear in a separate volume.
In January 2005, I accepted a fulltime appointment
at Parsons, the New School for Design, and soon
after began to outline a new seminar/studio titled
“Sites of Inquiry,” which will investigate physical settings
where knowledge has been gathered, dissected,
recombined, and reactivated. The Montefeltro
studioli will offer the inaugural case studies for this
interdivisional course, which will include students
from design, media studies, music, business and
management. Throughout the semester, students will
examine the roles of design, material craft, and
perceptions of space and culture in the shaping of
knowledge. In particular, we will investigate artistic,
scholarly, and scientific “sites of inquiry” in which
knowledge has been gathered, defined, and
disseminated across history. Students will work in
interdisciplinary teams to analyze the contents and
composition of a selected site/study/studio, proposing
educational products and interactive media
complementary to its original uses. Each semester,
new knowledge-sites will be investigated, among
them anatomical theatres, observatories, artist studios,
laboratories, libraries, museums, and memory
theatres.
Several articles related to, or as a consequence
of, my work at the CCA have materialized. In
January 2005, “Architecture as a Model for Thought
and Action,” a paper presented in Helsinki, was
published in the proceedings of the 2003 ACSA
International Conference. While at the CCA I was also
able to refine an interview with Dr. Anne G. Tyng for
a special issue of the Nexus Network Journal (vol. 7,
no. 1: Spring 2005), available in print and online
at http://www.nexusjournal.com/Kirk-Tyng.html.
In late October 2005, I will represent the NNJ at the
conference “Urbino and Perspective,” held by the
Accademia Raffaello at the University of Urbino,
tying together several lines of inquiry pursued during
my residence.
31

D. Medina Lasanky
Redefining Modernism: Contextualizing the Image of Tuscan Vernacular Architecture
within the Racist Rhetoric of the Fascist Regime
During the Fascist regime, Tuscan vernacular architecture
was thought to embody the essential qualities
of italianità, or Italian character. According to architectural
critics of the period, the pure elementary
forms of rural farmhouses were the most essential
features of Italian design. As one critic noted in
1933, “the admirable proportions and perfect geometry
of these humble buildings, the virile and sweet
harmony of the walls, and the effect of the precise
dimensions demonstrates exceptional native skill.”
Those critics who wrote about rural vernacular architecture
during the 1930s often drew a comparison
to contemporary Rationalist-style architecture. When
considered in terms of the shared attribute of “functionalism,”
some writers went so far as to suggest
that the vernacular was more “modern” than
the modernist work of architects such as Marcello
Piacentini. It was argued that the functional flexibility
of the rural house, or casa contadina, was the very
essence of modern architecture.
By the late 1930s, the debate about vernacular
architecture was infused with the rhetoric of racial
and cultural superiority intrinsic to contemporary
political discussions. Native architecture was celebrated
for its Aryan qualities, and modern architects
were encouraged by the government to find inspiration
in Italic forms (rather than those found in France,
Switzerland, or Germany) for the perfect solution to
their theoretical explorations.
If rural architecture was legitimized through its
association with Rationalist trends, the opposite was
also true: the work of the Rationalists gained by
being rooted in autochthonous vernacular traditions.
In other words, the modern was “naturalized” – softened
by being situated within traditional Italian culture.
By 1935, Italy’s political manoeuvrings abroad
had forced the country to assume a more isolationist
stance, bringing with it the need to find an Italian
32
precedent for the love of geometric forms that were
simultaneously being propagated by European architects
such as Mies van der Rohe and Le Corbusier.
Tuscan rural architecture provided the means to
Italianize the discussion of contemporary architecture.
Unencumbered by the intervention of professional
architects, rural construction derived what it
meant to be Tuscan directly from the landscape. The
1935 sanctions against Italy enacted by the League
of Nations in response to Italy’s occupation of
Ethiopia forced an increased use of local materials
such as tufa, brick, and limestone. What might have
been seen as a limitation for contemporary design
was quickly channelled into an asset, as the requisite
use of home-grown materials became further cause
for celebration of native Italic building traditions.
Thus, the celebration of the native vernacular in Italy
during the mid 1930s was infused with an immediate
political significance. The celebration of an
autochthonous architectural form grounded modern
architecture in the anonymity of native traditions
while nationalizing what could have easily been otherwise
described as an international aesthetic.
Scholarship on Italian architecture built during the
Fascist regime has long identified a relationship
between Fascist ideology and the formal language
for new Modernist construction. There has been a
tendency to interpret the streamlined simplicity of
Fascist architecture as a reference to the structures of
Roman Antiquity. Buildings such as Giuseppe
Terragni’s Rationalist-style Casa del Fascio in Como,
have, within this framework, long been hailed as
hallmarks of period design. As scholars have begun
to point out, however, there was no single strain, no
single “Fascist style.” Instead, a variety of distinct
styles, trends, and theories thrived during the regime.
In practice, political rhetoric was more often understood
in relation to architectural representation

ather than in stylistic terms. That is to say, it was
through the venues of exhibition, photography, and
film, architectural criticism, architectural education,
and public debate that architecture was politicized
through an affiliation with Fascist rhetoric.
My research project at the CCA Study Centre
analyzed the role played by vernacular architecture
within the emerging definition of a Fascist modern
architecture and Fascist culture during the 1930s,
a topic that has yet to be thoroughly dealt with by
scholars of Italian architectural history. Although
architectural critics of the 1920s and 1930s referred to
Tuscan vernacular architecture as “modern,” their
nuanced concept of the term is distinct from the understanding
of modern promoted by today’s historians.
The objective of the project was three-fold.
Drawing upon a variety of primary sources, I analyzed
the way in which modern Italian architects
mobilized an interest in vernacular architecture within
the architectural community; assessed how the
image of rural vernacular architecture was constructed
and propagated through various forms of mass
media; and determined how those mass media
allowed the government to co-opt the vernacular for
the increasingly racist agendas of the late 1930s.
I paid particular attention to the work of three
Tuscan Rationalists: Giovanni Michellucci, Pier
Niccolò Berardi, and Nello Baroni, all members of
the internationally acclaimed “Gruppo Toscano”
(responsible for the design of the Florence train station).
Michellucci was an influential professor at the
Florence Architecture School and in that capacity
served as a mentor to a generation of young architects.
Together these men actively studied and photographed
Tuscan vernacular housing. Their
declared agenda was to familiarize the public with
what they called “the true autochthonous tradition of
Italian architecture,” their ultimate goal being to
excite a Rationalist architecture more closely tied to
local traditions.
One of the most exciting things about this project
lies in its potential to render a more complete and
complex understanding of architecture during the
Fascist regime. The project’s interdisciplinary and
multimedia nature (drawing as it does upon the disciplines
of anthropology, sociology, photography, film,
architecture, and history, and popular as well as
academic primary material) underscores this. I presented
my preliminary research in talks delivered at
the annual meeting of the Society of Architectural
Historians, a symposium on Italian Modernisms held
at Cornell University, as well as the
Collins/Kaufmann Modern Architecture seminar
series at Columbia University. I also spoke with the
Berardi and Baroni families about the possibility of
organizing an exhibition of architectural photographs
and drawings that could travel to various
architectural schools in the United States.
As part of my research before taking up residency
at the CCA, I made several trips to Florence,
Rome, and Geneva, where I consulted a range of
written and visual sources, including ephemeral
political propaganda, posters, films, agricultural
journals, documents on the curriculum of the Florence
Architecture School, and photographs, drawings,
and documents from the archives of Giovanni
Michellucci and those of the Berardi, Baroni, and
Blasetti families.
My residency at the Study Centre allowed me to
sustain momentum on a book-length study and to
make substantial progress towards completing the
manuscript. The invaluable resources available at
the CCA, particularly the relevant periodicals in the
Library, made the Study Centre an ideal place to
complete this project. I am also grateful for the
opportunity to have experienced an environment that
is simultaneously collegial and critical.
33

Wallis Miller
Architecture on Exhibit
At the start of my eight-month residency at the Study
Centre, I expected to review the material I had gathered
in Berlin during the previous year and a half
and to begin a draft of the book. In the end, the
wonderful surprises in the CCA collections as well as
the time I had to review the Berlin documentation
already at hand helped me to accomplish this and
other aspects of my project, then called “Architecture
on Exhibit.”
The CCA Library collection contains much of the
nineteenth- and early twentieth-century bibliography
on Karl Friedrich Schinkel, a central figure in my project.
The first architecture museum in Berlin (and the
second museum generally in that city) was dedicated
to him in the 1860s. Investigating the establishment
and the fate of the collection until it was packed
away in crates in 1933 granted me access to the
host of problems associated with creating exhibitions
and museums of architecture and the various ways
in which they were solved – or avoided – during the
time when exhibitions were becoming increasingly
popular. As a result of this work, I made a major
change to the project. It is now called “Berlin’s
Architecture Museum,” not to limit the scope of the
book to museums, but because I think that the establishment
of the Schinkel Museum, as well as other
architecture museum projects in Berlin, is central to
understanding efforts to put architecture on exhibit.
During my time at the Study Centre, I completed
a rough draft of one-third of the book – the section
dealing with the Schinkel Museum. The talk I gave
at the Study Centre in April 2004 was based on this
material. Not only did the talk enable me to assemble
disparate pieces of my research in the form of
texts and visual material, but it (not surprisingly)
afforded me the most responsive audience I have
ever had. The comments of a combination of scholars,
curators, and other CCA staff members sensitized me
to issues of which I had been unaware, for example,
34
having to do with exhibitions as “portraits” of an
architect and with the relationship between reproduced
and original material.
At the talk, I was also able to present some of the
material from the collection. The most exciting piece
on display (for me) was an album of photographs of
Schinkel’s drawings from the mid 1860s. Probably
collected because it is an early record of his work
and of some drawings that are now lost or destroyed,
the album was also a version of the photo albums
on display in the first Schinkel Museum that opened in
the studio space of his apartment in the Bauakademie.
In Berlin, I had already found the letters in which the
Minister of Culture gave the photographer, Laura
Bette, permission to photograph the drawings and
make six copies. These albums are most likely no
longer in Berlin (I have done a search of the major
locations that might have them). I found the album
of photographs of Schinkel’s drawings in the CCA
collection only by chance, after ordering all of the
nineteenth-century books on Schinkel. Louise Désy,
the curator of photographs, was of enormous help in
identifying the photographs as mid nineteenth-century
prints. While the cover is most likely from that period,
it is clear that the book was subsequently rebound.
Aside from the fact that it was simply breathtaking to
see an object – and an unusual one – from the first
Schinkel Museum (and to participate in actually
discovering a new object that pertains to Schinkel),
access to the album told me a great deal about how
people saw his work and the order in which they
saw it. While the photo album gave me visual
access to the first Schinkel Museum, I also had the
opportunity to work with one of the research assistants,
Suresh Perera, to reconstruct digitally one of the rooms
in a later version of the Schinkel Museum.
Aside from concentrating on the Schinkel Museum,
I also used the collections at the CCA to investigate
architecture exhibitions in other countries during the

nineteenth and early twentieth centuries. The Head
Librarian at the time, Gerald Beasley, pointed me
toward American and British sources, for example,
the catalogues from M.I.T., which included descriptions
of their “Architecture Museum” (study collection) and
books about the RIBA library and the objects it contained.
This, of course, helped me to think about
another aspect of my research – the relationship
between museums, libraries, and archives. I also
had the chance to review the exhibition of architecture
at the French Salons with the help of Megan
Spriggs, who used the material in the CCA Library
and provided me with a comprehensive inventory
and an analysis of the displays of drawings and
models from 1801 to 1857. Other researchers in the
Library as well as my colleagues in the Study Centre
often gave me assistance and advice, especially in
the context of this comparative work.
Finally, I had the opportunity to work on a smaller
research project about Mies van der Rohe and exhibitions
of his work in the United States during his lifetime.
The CCA archival collections were extremely
helpful in this respect. Megan Spriggs, whose experience
working in collections was invaluable, again
assisted me in finding the material and discovering
new examples. The result of this research is a paper
that has been accepted by the Journal of the Society
of Architectural Historians.
The CCA was the perfect place to work on an
investigation of architecture exhibitions and museums.
The comments and help of staff from many
departments – the Library, collections, conservation,
education, and the Study Centre – have helped this
project on the paths necessary to enrich it and eventually
make it a worthwhile book.
35

Amy F. Ogata
Object Lessons: Design, Creativity and the Material Culture of Postwar Childhood
During my three-month stay at the CCA, I worked on
the material culture of childhood in postwar America.
I studied two aspects of this project: toy design and
the architecture of postwar schools. My book, Object
Lessons: Design, Creativity and the Material Culture
of Postwar American Childhood, will explore how
the concept of creativity emerged as a dominant
social and aesthetic value in both the items sold to
parents and teachers and in the popular literature
and scientific research of this period. I suggest that
objects such as toys and furniture and spaces such
as bedrooms, playrooms, and schools were conceived
with new faith in imagination and artistic
modernism in an effort to cultivate (and maintain)
individuality, creativity, and intelligence.
I arrived in Montréal having already conducted
substantial research on toy design. Although I had a
good command of the secondary literature and had
worked in several archives, I discovered many new
aspects of the subject during my fellowship. Working
with the CCA’s fine collection of building toys firsthand,
I was able to study the packaging and the formal
qualities of toys I had already tried to describe
from photographs. I also discovered several new
problems. A folded page of precise directions that
accompanied Charles and Ray Eames’s Little Toy
(1951), for example, led me to question my assumption
about the age of the children for whom this toy
was intended and the degree to which children were
encouraged to experiment on their own. Another
example, the Magnet Master (1949), a project of
Arthur Carrara, a Chicago architect, and the Walker
Art Center in Minneapolis, told a very different story.
The kit of brightly coloured steel plates and Alnico
magnets came without directions, but with instructions
to parents to allow children to build on their
own. For my presentation I had many examples from
the collection on view and the discussion afterward
encouraged me to focus on the relationship between
36
toy building and architectural representation and on
the image of the arts in America during the Cold
War. I felt extremely lucky to be among such generous
colleagues, who offered new perspectives on the
material and useful suggestions for framing the entire
argument. An article based in part on this research
is forthcoming in the Winterthur Portfolio (June 2005).
In my presentation I also looked at how children
occupied new spaces in the domestic interior. While
I had intended to take this up as the next part of my
research, I found that the CCA had an excellent
collection of books, periodicals, and pamphlets on
postwar school design in America and Europe. As
the American baby boom cohort swelled in the years
after World War II, the need for updated and new
schools resulted in a campaign to build thousands of
new facilities across the country. Many architects,
even those working with conservative school districts,
adopted economical building solutions employing
the technology of war industries. The periodicals I
consulted in the CCA Library were rich with discussions
about designing flexible teaching space, and
using materials such as poured concrete slab, steel
frames, heated floors, and air conditioning. A spate
of monographs on school building also directed my
attention to parallel debates on lighting, colour,
and furniture design. Moreover, the CCA had most
of the pamphlets issued by Educational Facilities
Laboratory, a program sponsored by the Ford
Foundation. Begun in the mid 1950s, EFL brought
together educators, architects, manufacturers, and
government officials responsible for school building
to encourage new ideas. These sources not only
show how pedagogical theories became visible
architecturally, but also the extent to which the
practice of architecture embodied postwar values
of abstraction, imagination, and creativity. I will
present two conference papers on this material in the
coming year.

I am grateful to the CCA for allowing me access
to the Library, the collections, and knowledgeable
staff as well as to my colleagues for a stimulating
and productive summer.
37

Timothy Rohan
Postwar Urbanism in America: Paul Rudolph Buildings and Projects, 1954–1972
During my four months in residency at the CCA
I examined the subject of urbanism in postwar America
as it related to the architecture of Paul Rudolph.
Expanding upon my doctoral thesis, I looked at eleven
additional projects by Rudolph, which will enable
me to expand this research into a book.
My research at the CCA was based primarily in
the Library. Examining architectural journals of the
period provided basic information and helped me
to understand how these works were publicized and
received in American, European, and Japanese
architectural periodicals. I read primary texts about
urbanism in the 1950s by Steen Eiler Rasmussen,
Kevin Lynch, and many others whose approaches
informed Rudolph’s thinking. The CCA library was
an invaluable source for these books, especially rare
publications. For instance, the first English-language
translation of Camillo Sitte’s Städte-Bau nach seinen
künstlerischen Grundsätzen (The Art of Building
Cities, 1946) aided me in establishing his ideas as
an alternative to the norms of post-Second World
War modernist city planning. I concentrated on
urban renewal programs in three cities (New Haven,
Boston, and New York) where Rudolph was most
active in planning large-scale projects. I looked at
particular types of urban morphology that were
being formulated and reconsidered at this time, such
as plazas, shopping malls, and parking garages. I
also discovered links between Rudolph’s ideas and
other major urban projects of the period, such as
those by Victor Gruen and Louis Kahn. This background
reading allowed me to adopt an even broader
approach to Rudolph’s work, which I now see as
an index to the architectural thinking of the period.
During my time at the CCA, I gained a better understanding
of the issues that drove American architecture
during the 1950s and 1960s; the important
position that Rudolph briefly occupied within this discourse;
and his overall relationship to international
38
developments. In keeping with my goals, I completed
an outline of the entire project.
Midway through my stay, I presented a draft of the
first chapter in a seminar paper titled “Alternatives to
the International Style: Three Projects by Rudolph
from the 1950s,” which looked primarily at the architect’s
attempts to create alternatives to the glass
curtain wall. My respondent, Louis Martin, was very
helpful, especially in pointing out new research
material in the archives at McGill University, where
there was correspondence between Rudolph and the
historian and critic Peter Collins, and in the IAUS
archive at the CCA. I was able to listen to a taped
lecture by Peter Eisenman that was helpful in understanding
Rudolph’s position in the early 1970s.
In a project closely related to this work, I also
wrote and presented a paper, “Look Homeward,
Angel: Paul Rudolph in Alabama,” at the Society of
Architectural Historians annual conference in Providence,
Rhode Island, in April 2004. Once again, the CCA
Library resources were essential in helping to formulate
my ideas about this topic, particularly as it related
to the broader subject of regionalism. To my
surprise, I discovered photographs in the collection
by Clarence John Laughlin – who photographed
some of the antebellum houses of New Orleans that
Rudolph referred to in his work.
The exhibition Out of the Box also proved helpful,
especially the sections devoted to Cedric Price and
James Stirling, who held a special interest for Rudolph.
My conversations about these architects with the
curator, Howard Shubert, were stimulating. The staff
of the Study Centre made the details of daily life
effortless. The librarians and research assistants
were essential aides in gathering the information
I requested. Most rewardingly, my fellow scholars
provided an intellectual camaraderie that is so often
missing from the solitary life of the scholar. I hope to
maintain contact both with them and with the CCA.

Conseil des fiduciaires du CCA
2003–2004
Phyllis Lambert, président
Raphael Bernstein
Pierre Brunet
Jean-Louis Cohen
Jean-Guy Desjardins
Paule Doré
Kurt W. Forster
Abe Gomel
Peter R. Johnson
Sylvia Lavin
Philip M. O’Brien
Nicholas Olsberg
Tro Piliguian
Peter Rowe
Louise Roy
Pierre-André Themens (vice-président)
Membres honoraires
Serge Joyal (L’Honorable)
Warren Simpson
CCA Board of Trustees
2003–2004
Phyllis Lambert, Chair
Raphael Bernstein
Pierre Brunet
Jean-Louis Cohen
Jean-Guy Desjardins
Paule Doré
Kurt W. Forster
Abe Gomel
Peter R. Johnson
Sylvia Lavin
Philip M. O’Brien
Nicholas Olsberg
Tro Piliguian
Peter Rowe
Louise Roy
Pierre-André Themens (Vice-President)
Honorary Members
Serge Joyal (The Honourable)
Warren Simpson