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This article was originally published on Common Edge.

There’s a famous quote—it’s usually attributed to Winston Churchill—that goes, “History is written by the victors.” This cynical and largely erroneous belief could only be true if history was fixed, settled, static. It never is, and that’s precisely why we have historians. It might be more accurately said that history’s first draft is written by the victors. But first drafts, as any writer will tell you, are famously unreliable. So it is with architectural history. Women have played significant roles in the field since the start of the profession, but that is not how history has recorded it. A new book, The Women Who Changed Architecture (Princeton Architectural Press), a collection of more than 100 mini-biographies of important women architects, covering more than a century, hopes to take a step toward correcting that oversight. Recently, I spoke to Jan Cigliano Hartman, the editor of the volume, about creating the book, important and overlooked figures, and why this isn’t a definitive list.

This article was originally published on Common Edge.

New Orleans was designed by its early settlers in 1721 as a Cartesian grid. You know it as the famous French Quarter or Vieux Carré. Such grids are named for the Cartesian coordinate system we learned to use in algebra or geometry class, perpendicular X and Y axes, used to measure units of distance on a plane. The invention of René Descartes (1596–1650), these grids reflect his rationalism, the view that reason, not embodied or empirical experience, is the only source and certain test of knowledge. William Penn used a similar grid in 1682 in selling Philadelphia as an urban paradise where industry would thrive in the newly settled wilderness. And just as the massive buildings of Italian Rationalist (i.e., Fascist) architecture express authoritarian control, so, too, Cartesian grids implicitly say: Someone is in charge here. We’ve got this. Trust us.

The concept of an “ideal city” is something that is often talked about today, as we look towards the future and think about what aspects of urban life we feel are most important for residents to thrive in a healthy community. However, ideal cities were conceived during the Italian Renaissance, as planners and architects prioritized rationale in their designs focusing on human values, urban capacities, and the recursive waves of cultural and artistic revolutions that influenced large-scale planning schemes.

Germane Barnes has won the 2021 Wheelwright Prize from Harvard University Graduate School of Design. The $100,000 prize will fund two years of travel and research for Barnes’s proposal Anatomical Transformations in Classical Architecture, an examination of classical Roman and Italian architecture through the lens of non-white constructors. Barnes will study how spaces have been transformed through the material contributions of the African Diaspora while creating new possibilities within investigations of Blackness.

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This article was originally published on Common Edge as "Five Women Architects Revitalize a Giant Public-Housing Project in Rome."

Corviale is one of Italy’s biggest postwar public housing projects and, arguably, one of the most controversial. Both revered and abhorred, the complex remains a pilgrimage site for architectural schools from around the world. Il Serpentone (The Big Snake), as it is affectionately called, stretches nearly a kilometer in a straight line, a monolithic, brutalist building that hovers over the countryside on the outskirts of Rome. But there is nothing sinuous about a construction made up of 750,000 square meters of reinforced concrete condensed into 60 hectares. This hulking horizontal skyscraper is formed by twin structures, each 30 meters high, connected through labyrinths of elongated hallways, external corridors, and inner courtyards. Divided into five housing units, each with its own entrance and staircase, it contains 1,200 apartments and houses up to 6,000 people.

Funded by Andrew W. Mellon and the National Endowment for the Humanities foundations as part of the Open Book Program, a collection of classic books, published between 1964 and 1998 are now available online as open access e-books through the MIT Press Open Architecture and Urban Studies book collection.

It would seem that the ongoing saga of the James R. Thompson Center, Chicago’s beloved but neglected governmental office building-slash-postmodernist mecca, might be reaching its final act.

Yesterday, Brendan Reilly, alderman of the city’s 42nd ward, announced a proposed rezoning ordinance that could kick the sale of the prized 3-acre site (12,140 m2) at 100 West Randolph Street into high-gear. The cash-strapped State of Illinois has been considering/trying to offload the property as early as 2003.

This article was originally published on Common Edge as "Joan K. Davidson and the Fight for New York."

As income inequality has widened in recent years, the role of philanthropy has been called into question. Is charitable giving by wealthy individuals and powerful corporations always a positive force, or is that connection to wealth and power an inevitable compromise? Whose agenda does philanthropic giving really benefit, the grantees or the granters? These are complicated questions. But truly enlightened giving is a transformative force. It can not only fund worthy causes but if properly timed can sow the seeds of social change.

American 19th-century sanitation engineer George E. Waring, Jr. was a miasmaist. He believed in the miasma theory, which holds that toxic vapors traveled through damp soil, rotted vegetation, and pools of standing water. These toxic vapors were understood to emanate from the Earth and interact with the atmosphere and cause disease in American cities.

According to Catherine Seavitt Nordenson, ASLA, a professor of landscape architecture at the Bernard & Anne Spitzer School of Architecture at the City College of New York, Waring was a “marginal figure,” but he had interesting ideas about how to “modify the climate to improve health.” In a virtual lecture hosted by the Harvard Graduate School of Design, Seavitt Nordenson said Waring was incorrect about the mechanisms for spreading disease —he didn’t understand the concept of vectors, like mosquitoes— but his drainage and sanitation solutions were “surprisingly successful.” A year into the coronavirus pandemic, it’s worth revisiting Waring’s ideas about the connections between the Earth, atmosphere, disease — and the maintenance of public spaces.

The following text is excerpted from John S. Chase — The Chase Residence (Tower Books, 2020) by architect and University of Texas professor David Heymann and historian and Rice University lecturer Stephen Fox. Richly illustrated with archival materials and new drawings, the book is the first devoted to Chase, who was the first Black licensed architect in Texas. The study is divided into two parts, with Heymann examining the personal, social, and architectural significance of Chase’s own Houston house and Fox describing Chase’s architectural career.

This excerpt draws on Heymann’s analysis and highlights the first incarnation of the Chase Residence (Chase substantially altered its architecture in 1968). It places great emphasis on the house’s remarkable courtyard, a modernist innovation, and a singular statement about domestic living at the time. New section, elevation, and perspective drawings prepared for the book help illustrate the ingenuity of the house’s configuration. Finally, the excerpt was selected in part to honor Drucie (Rucker) Chase, who passed away in January of 2021.