1. My essay entitled “Music as a Reservoir of Thought’s Materialisation: Between Metastaseis and Modulor?” will be published in the edited volume Aberrant Nuptials: Deleuze and Artistic Research 2, edited by Paulo de Assis and Paolo Giudici. Leuven: Leuven University Press, 2019.
2. You can download my paper entitled “An action towards Humanization. Doorn manifesto in a transnational perspective” here:
In 1957, Ernesto Nathan Rogers, in “Continuità o Crisi?”, published in Casabella Continuità, considered history as a process, highlighting that history can be understood as being either in a condition of continuity or in a condition of crisis “accordingly as one wishes to emphasize either permanence or emergency”. A year earlier, Le Corbusier in a diagram he sent to the tenth CIAM at Dubrovnik, he called attention to a turning point within the circle of the CIAM, maintaining that after 1956 its dominant approach had been characterised by a reorientation of the interest towards what he called “action towards humanisation”. The paper examines whether this humanising process is part of a crisis or an evolution, on the one hand, and compares the directions that were taken regarding architecture’s humanisation project within a transnational network, on the other hand. An important instance regarding this reorientation of architecture’s epistemology was the First International Conference on Proportion in the Arts at the IX Triennale di Milano in 1951, where Le Corbusier presented his Modulor and Sigfried Giedion, Matila Ghyka, Pier Luigi Nervi, Andreas Speiser and Bruno Zevi intervened among others. The debates that took place during this conference epitomise the attraction of architecture’s dominant discourse to humanisation ideals.
In a different context, the Doorn manifesto (1954), signed by the architects Peter Smithson, John Voelcker, Jaap Bakema, Aldo van Eyck and Daniel van Ginkel and the economist Hans Hovens-Greve and embraced by the younger generation, is interpreted as a climax of this generalised tendency to “humanise” architectural discourse and to overcome the rejection of the rigidness of the modernist ideals. This paper presents how the debates regarding the Doorn manifesto evolved in the pages of the following journals: The Architectural Review, Architectural Design, Casabella Continuità, Arquitectura, L’Architecture d’aujourd’hui and Forum. An aspect that is closely investigated is that of which epistemological tools coming from other disciplines – philosophy, sociology, anthropology and so on – are more dominant in each of these architectural journals. The fact that each of these journals is closely connected to a specific national context – U.K., Italy, Portugal, France and Holland respectively – offers the opportunity to discern to what disciplines architecture was attracted within these different contexts during its effort to “humanise” its discourse and conceptual tools.
3. 14 January 2018 Publication of “The Architectural Drawing as a Mechanism for Investigating the Epistemological Changes of Architecture” (“Το αρχιτεκτονικό σχέδιο ως μηχανισμός διερεύνησης των επιστημολογικών μεταλλαγών της αρχιτεκτονικής”) in Archetype
4. 30 November 2018 Publication of “Some thoughts on the lecture cycle of Andreas Giacumacatos ‘Traveling in 6 Cities: Six Lectures on Architecture’” (“Κάποιες σκέψεις με αφορμή τον κύκλο διαλέξεων του Ανδρέα Γιακουμακάτου ‘Ταξίδι σε 6 πόλεις: Έξι διαλέξεις για την αρχιτεκτονική”) in Archetype
5. Forthcoming Publication of my article “Architecture’s Addressees: Drawing as Investigating Device,” in villardjournal 2, Università Iuav di Venezia, Selected according to double peer review process.
The article examines how the concept of the addressee of architecture is transformed, demonstrating how the mutations of the dominant ways of representation in architecture are linked to the evolution of the significance of the city’s inhabitants. It presents how the reorientations regarding the dominant modes of representation depend on the transformations of the way architects conceive the notion of citizenship. Through the diagnosis of the epistemological debates corresponding to four successive generations – the modernists starting from the 1920s, the post-war era focusing on neorealist architecture and the Team 10, the paradigm of autonomy and the reduction of architecture to its syntactics and to its visuality in the 1970s and the reinvention of the notion of the user and the architectural program through the event in the post-autonomy era – it identifies and analyses the mutations concerning the modes of representation that are at the heart of architectural practice and education in each generation under consideration. It traces the shift from Le Corbusier and Mies van der Rohe’s fascination with perspective to the Smithson’s Cluster City diagrams and Shadrach Woods’ “stem” and “web” to Peter Eisenman’s search for logical structures architectural components’ formal relationship and his attraction to axonometric representation to Bernard Tschumi’s concern with uncovering the potentialities hidden in the architectural program.
6. Forthcoming Publication of my article “The Immediacy of Urban Reality in Postwar Italy: Between Neorealism and Tendenza’s Instrumentalization of Ugliness,” in Architecture and Ugliness. Anti-Aesthetics in Postmodern Architecture, edited by Thomas Mical and Wouter van Acker, London and New York: Bloomsbury Visual Arts, 2019.
7. Forthcoming Publication of my article “Le récit autobiographique d’Aldo Rossi : introspection ou rétrospection ?,” in L’Homme & la société
8. “Aldo Rossi’s Transatlantic Cross-fertilisation: American ‘Urban Facts’ and Reinvention of Design Methods,” in ALDO ROSSI. Perspectives from the World International Conference, forthcoming publication of proceedings
9. September 2018 “Between Urban Renewal and Nuova Dimensione: The 68 Effects vis-à-vis the Real,” in Histories of Postwar Architecture, no. 2 (2018): 1- 25.
10. December 2017 “Revisiting the Debate around Autonomy in Architecture. A Aenealogy,” in Critic|all, Vol. 2. Book of Findings, edited by Silvia Colmenares. Madrid: DPA Prints. Architectural Design Department, ETSAM-UPM, 2017.
11. December 2017 “Archives of Architecture Museums: The Effects of Digitisation/ Archieven van architectuurmusea: de effecten van digitalisering,” Journal for Architecture OASE 99 (2017), TheArchitecture Museum Effect/ De effecten van architectuurmusea, p. 77–81.
12. July 2017 “Artefactual Value and Virtual Archives: The Digital Curator vis-à-vis the Plurality of Entry Points”, Journal de l’Université d’été de la Bibliothèque Kandinsky, 4, July 2017. ISSN: 2427-4119
13. December 2016 “Réinventer la posture historique: les débats théoriques à propos de la comparaison et des transferts,” in Espaces et Sociétés, 2016/4 (n° 167) ISBN: 9782749253541, ISSN: 0014-0481
Reinventing the Historical Posture: Theoretical Debates on Comparison and Transfers
This article presents a debate on historical comparison by reexamining the links between historical comparison and other disciplines in the humanities and social sciences. The questions guiding this debate are the following: What does comparison mean in history, beyond a simple debate on the comparability of sources? How can historical comparisons transcend national frames of reference? How do historians situate themselves in relation to other disciplines on the comparison of cultural transfers? How can one characterize the content of these debates? My intent in this article is to better outline the distinctions between a comparative approach, cross-cultural history, comparative history, the study of transfers, and a transnational approach to historical comparison. Thus, by revisiting these concepts and their origins, and by reexamining the relationship between these concepts and methods, my aim is to, on the one hand, present the internal debates on “definitions” and, on the other hand, to address programmatic perspectives of different historiographical postures.
Cet article présente les débats sur la comparaison en histoire. Il s’agit de revisiter les liens de la comparaison en histoire avec d’autres disciplines des sciences humaines et sociales. Les questions qui guident la présentation des débats théoriques sont les suivantes : Que signifie comparer en histoire, au-delà des débats sur la comparabilité des sources ? Comment la comparaison en histoire pourrait-elle désigner les transferts au-delà des cadres nationaux ? Comment les historiens se situent-ils par rapport aux autres disciplines à l’égard de la comparaison et des transferts culturels ? Quel est le contenu de leurs débats ? L’intention de retracer les distinctions entre la démarche comparée, l’histoire croisée, l’histoire connectée, l’étude des transferts et la démarche transnationale en histoire conduit le récit de cet article. En réexaminant les notions et leurs origines, et les relations entre les notions et les méthodes on vise, d’une part, à présenter les débats internes sur les « définitions » et, d’autre part, aborder les perspectives programmatiques des différentes postures historiographiques.
Reinventar la postura histórica: los debates teóricos sobre la comparación y las transferencias
Este artículo presenta el debate sobre la comparación en historia. Se trata de revisar sus relaciones con otras disciplinas de las humanidades y de las ciencias sociales. Las preguntas que guían la presentación de los debates teóricos son las siguientes: ¿Qué significa comparar en historia, más allá de los debates sobre la comparabilidad de las fuentes? ¿Cómo la comparación en historia podría designar las transferencias más allá de los marcos nacionales? ¿Cómo se sitúan los historiadores con respecto a otras disciplinas en cuanto a la comparación y a las transferencias culturales? ¿Cuál es el contenido de sus debates? Este artículo tiene la intención de discutir las diferencias entre el método comparado, la historia transcultural, la historia conectada, el estudio de las transferencias y el enfoque transnacional en Historia. Reexaminando los conceptos y sus orígenes, y las relaciones entre los conceptos y los métodos, se pretende, por un lado, presentar los debates internos sobre las “definiciones” y, por otro, abordar las perspectivas programáticas desde diferentes posturas historiográficas.
Plan de l’article:
- Origines des notions et construction des « comparables »
- Les démarches comparatives en histoire et en sociologie
- Les méthodes de l’histoire croisée
- Les méthodes de l’histoire connectée
- Les méthodes des études sur les transferts culturels
- Les méthodes de l’histoire transnationale
- Pour conclure : comment réconcilier le décentrement et la contextualisation des méthodes historiques ?
14. November 2016 “From Semiology to Deconstruction: Metaphysics and Subject”, in Research in Architecture, edited by Giorgos Parmenidis, Athens National Technical University of Athens, p. 374-399.
15. September 2016 Publication of my article “From the Search for a Helleno-centric Modernity to a Multiplicity of the Present: ‘Greekness’ in Architecture or Architecture in Greece?” in Greek architecture in the 20th and 21st century, edited by Andreas Giacumacatos (Athens: Gutenberg) ISBN 978-960-01-1794-3
16. June 2016 Publication of my article “The Debate between Contextualism and Autonomy in Architecture: a Genealogy” in the proceedings of the II International Conference on Architectural Design & Criticism critic|all at the Escuela Técnica Superior de Arquitectura of the Universidad Politécnica de Madrid. ISBN: 978-84-608-9062-1.
17. June 2016 “Towards a Narrative of Connected Geographies: Display of Architecture and Transnational History” in the Proceedings of the fourth European Architectural History International Meeting, Dublin Castle, 2-4th June 2016. ISBN 978-1-5262-0376-2
In order to shed light on the ways in which the adoption of a historiographical point of view regarding the construction of national identity can be depicted through the conception of architecture exhibitions we could compare the following two exhibitions: World War II and the American Dream: How Wartime Building Changed a Nation National, which took place at the Building Museum in 1994, and Architecture in Uniform: Designing and Building for the Second World War, which took place at the Canadian Centre for Architecture in 2011 and was transferred to the Cité de l’Architecture et du Patrimoine in Paris and to the MAXXI in Rome in 2014. The first exhibition included in its material a range of building projects undertaken during the wartime; its main aspiration was to show how they contributed to technical innovations and social changes concerning postwar architectural production. The catalog that accompanied this exhibition addressed the chronology and architectural, technological, social, military and planning legacy of wartime. The exhibition aimed to show how the materials of wartime building and the visual language of their representation influenced architecture. The focus of the exhibition was centered on the nation, since, as the poster at its entrance reflected, its purpose was to present “how a wartime building change a nation”. By contrast, the second exhibition, which treated wartime technological products as components of the puzzle of the interactions of different national contexts, escaped the danger of celebrating economic productivity, political organization, and social consensus within the constrains of a national perspective. This was made possible through the inventive narrative zig-zags of its sequence, which was based on cross-sections that shed light on the policies undertaken in parallel by the belligerents jumping from one significant place to another, from Los Angeles to London and from Auschwitz to Moscow. In this case, the use of archival material coming from different institutions in different national contexts as well as their historical interpretation played a key role. Its main purpose was to make visible and comprehensible to the spectator that every fragment of the history narrated can take on different meanings if the interpreter adopts a different point of view. The curator based the research and its display on archival material coming from different institutions in order to make explicit the deformations that can take place because of the change of the perspective from which the events are diagnosed. The historical archival research preceding the exhibition was based on material coming from different institutions. Its narrative instead of producing consistencies it aimed to reveal disruptions. My presentation aims to show how architecture exhibitions are able to reveal different sets of cultural meanings through the strategies according to which the artefacts, that constitute their material, are articulated and through the tactics according to which the sequence of their narrative is conceived, functioning as a vehicle of transnational historiographical research.
18. December 2015 “Revisiting the encounters of the social concern with the utopian aspirations: is a crisis of utopia and utopian thinking under way?,” in Critic|all, Vol. 1. Book of Findings, edited by Silvia Colmenares. Madrid: DPA Prints. Architectural Design Department, ETSAM-UPM, 2015. ISBN: 978-84-944265-2-0
19. November 2015 Publication of my essay “L’AUA entre le Team 10 et le postmodernisme” in the catalogue of the exhibition entitled “Une architecture de l’engagement : l’AUA 1960-1985” at the Cité de l’Architecture et du Patrimoine in Paris, curated by Jean-Louis Cohen and Vanessa Grossman (Editions La Découverte et Cité de l’architecture & du patrimoine) ISBN: 978-2-37368-006-5
20. December 2014 “Historiography of Architecture in Greece between XX and XXI Century: Architecture and Arts between “Greekness” and Globalization” in Art History journal ISSN: 2241 – 7338
21. June 2014 “Revisiting the Encounters of the Social Concerns with the Utopian Aspirations: Is a Crisis of Utopia and Utopian Thinking Under Way?,” proceedings of the I International Conference on Architectural Design & Criticism critic|all (Madrid 12-14 June 2014) ISBN: 978-84-697-0424-0
22. May 2014 “Historiography of the Interwar Period as a Reflection of the Ideological Constructions,” proceedings of the “1st Colloquium of History of Architecture in Greece” on the historiography of architecture in Greece in the 20th and 21st century “Art and architecture: between local and globalisation”, organised by the School of Fine Arts in Athens
23. May 2013 “Scripting Cultures, Parametric Urbanism and Adaptive Ecologies,” in the Proceedings of the 9th International Conference on Intelligent Environments Intelligent Cities // Intelligent Users (16-19 July 2013, Athens, Greece). ISBN: 978-1-61499-285-1 (print) | 978-1-61499-286-8 (online)
24. December 2010 Publication of the Greek translation of Le Corbusier’s “Le poème de lʼangle droit” (1953) in the book Vers L.C. Contre: 16 + 9 positions for the actuality of Le Corbusier (Athens Futura, 2010) in collaboration with Lois Papadopoulos. ISBN: 978-960-9489-06-5