in recent years, as a way to discover recurrent patterns and similarities
in large sums of data.⁸ Simultaneously, spatial installations serve as
interpretations of some of the most culturally and historically significant
material encountered. This methodology contributes to constructing an
intriguing and comprehensible narrative, which is easy to follow for visitors
in the span of 45 minutes. Finally, the biggest question while designing
this project was how one can spatialise and embody what is traditionally
considered dull and mundane. In other words, how can two archives
with little to no visual interest become the foci of a permanent exhibition
addressed to the community of Polygyros and tourists alike? Moreover,
one recurrent question throughout the design process was how the images
discovered in the photographic archive be structured to create an appealing
story and exhibition. Through this project, the nature of the material partially
dictates the narratives presented within the exhibition. Simultaneously,
a multidisciplinary approach to design is adopted, bringing together deep
learning and new technologies used in digital humanities to classify vast
sums of information, as well as spatial installations, destined to artistically
depict some of the information encountered through the archival research.

<figure><img src="image_74.png" /></figure>
<figure><img src="image_75.png" /></figure>

Stills from *The Pilgrimage* videos by the Critical Broadcasting Lab 2023.

Ana Miljački (Massachusetts Institute of Technology)

# Bootleg Archives: Lessons from Exhibiting Unsanctioned Architectural ‘Heritage’

Recent definitions of archives abound. Archives have been understood as inextricably linked to buildings, and institutions, as status itself,<fnref n="1" /> or as governing the ‘laws of what can be uttered’.<fnref n="2" /> In architecture, they have been understood to include the living, material artefacts, as well as ‘documents’ in various media.<fnref n="3" /> We have been having an ‘archive fever’,<fnref n="4" /> contending with what it would mean to transgress its constitutive limits,<fnref n="5" /> by expanding it, by ignoring its authority, and trespassing its boundaries, and wondering what might be the political use of ‘slow archiving’.<fnref n="6" /> When archives have most recently, explicitly entered architectural exhibitions, the outcomes have been described as ‘the cliché of the archive-as-artwork’,<fnref n="7" /> or as simply ‘too much information’.<fnref n="8" /> And yet, one of Jacques Derrida’s famous conclusions on the topic, that the ‘archive should call into question the coming of the future’, rings particularly urgent as we mobilise the material included in it, its blind spots, gaps and omissions, towards critical ends—indeed towards possible futures.<fnref n="9" /> The urgency of this request is only exacerbated by the fact that a digitised archive is already being rendered for future uses by a vast army of low and high grade AI operations, anticipating our deepest individual desires, market transformations, climate crisis, extinction tolls, and latest political polls.<fnref n="10" />

<footnote n="1">1. Achille Mbembe, "Power of the Archive and Its Limits," in *Refiguring the Archive* (Dordecht: Kluwer Academic Publishing, 2002), 19–26.</footnote>

<footnote n="2">2. Michel Foucault, *The Archeology of Knowledge and The Discourse on Language* (New York: Pantheon Books, c. 1972).</footnote>

<footnote n="3">3. Felicity Scott, "Architects do Not Make Buildings They Make Documents," Learning from "Documenting the Colonial Archive" with Felicity D Scott, The Berlage, Delft (May 04–16, 2019), included in *text-catalogue*, https://textcatalogue.com/portfolio/learning-from-documenting-the-colonial-archive/.</footnote>

<footnote n="4">4. Jacques Derrida and Eric Prenowitz, "Archive Fever: a Freudian Impression," *Diacritics*, Vol. 25, No. 2 (Summer, 1995): 9–63.</footnote>

<footnote n="5">5. Saidiya Hartman, "Venus in Two Acts," *Small Axe, Number 26*, Vol. 12, No. 2 (June 2008): 11.</footnote>

<footnote n="6">6. Sven Spieker, "Manifesto for a Slow Archive," *ArtMargins* (January 21, 2006), https://artMargins.com/manifesto-for-a-slow-archive/.</footnote>

<footnote n="7">7. Adrian Forty, "Fundamentals: Biennale Architettura," *Journal of the Society of Architectural Historians*, Vol. 74, No. 2 (June 2015): 266–268.</footnote>

<footnote n="8">8. Sylvia Lavin, "Too Much Information," *Artforum*, Vol. 53, No. 1 (September 2014).</footnote>

<footnote n="9">9. Derrida and Prenowitz, 26.</footnote>

<footnote n="10">10. Curtis Roth has written compellingly about the intersection between selfhood and algorithmic prediction. For example, Curtis Roth, "Anthropoforming, Or Living with Ourselves," in Ashley Bigham (ed.) *Fulfilled: Architecture, Excess and Desire* (San Francisco: Applied Research + Design Publishing, 2022) 48–59.</footnote>
OFFICEUS: CONSTITUTING THE BODY OF THE US ARCHITECTURAL PRODUCTION ABROAD

In my curatorial work I have mined, constructed, sidestepped, and represented
architectural archives (understood in a variety of ways). For *OfficeUS*—project
that represented the US Pavilion at the 14th Venice Biennale curated by
Rem Koolhaas, for which I was one of the chief curators managing a team
of nearly 25 researchers at MIT—we crunched big data by hand, scanning
and reprinting hundreds of thousands of magazine pages, we gathered
documents and images from archives, photo agencies and architects
themselves.<fnref n="11" /> This project was simultaneously looking backward and forward,
it included a ‘repository’ of historical projects and firm narratives, a ‘live’
office of eight ‘partners’ working in the space of the pavilion for the duration
of the biennale. Having started with two very large numbers, the proposed
100 years of modernity, and 1000 projects by US architectural firms
abroad, we aimed to sidestep and undo various canonical narratives, with
their celebrated heroes and discourses, and turn the stage into a mirror of
‘the good the bad and the ugly’ architecture that found its way to various
corners of the globe, to various markets, under the flag of US industrial,
diplomatic and economic interests. The way we posed the question included
a deliberate flattening of the field (of the archive), such that we could all
begin to see configurations in it that have been obscured by the cannon.
We reviewed over 2300 projects and ultimately included 169 offices and 675
projects, relying for this on historians’ toolkits: following footnotes, compiling
excel sheets, reading form and quality, considering labour and various lines
of expertise, checking sources, combining physical and digital archives.

OfficeUS did not present ‘every significant project since 1945 [sic] by an American practice outside the United States,’ as Adrian Forty described it in his review of the Biennale for JSAH.<fnref n="12" /> Aside from the chronological error, his very idea of ‘every significant project’ exhibits an assumption of the survey mode that we distinctly did not share.<fnref n="13" /> It also implies that the narrative and the history of US architectural export in the last century already exist as such. We included project we thought were key for illustrating narratives of political and economic compromises, ever greater office size and efficacy, the common delusions of profit-disinterested technical help and conversely necessary autonomous disciplinary advancement. We indeed went through 2300 projects, case by case, discerning, first, their relevance to particular, global narratives; second, their capacity to open up new historiographical and political questions in dialogue with other selected projects (and offices); third, their possible architectural interest (historical and contemporary). In OfficeUS – on the walls of the US pavilion densely packed with binders that together contributed to a single supergraphic of

office portraits and changing skies—the body of US Architects work abroad quite literally emerged into view, and so did a digital database, a now minable ‘big data’ picture of that body of work.<fnref n="14" /> As is the case with all big data, as well as with all long durée projects—including those crunched by hand—the key hope is that big historical patterns will become discernible. It is through encountering a team of architects working through some of this important baggage in various ways in the pavilion—for the duration of the Biennale—that we hoped individual visitors would access the depth of specific issues. The new work produced by the ‘office’ on the ground, and the possible engagement of the exhibition goers as curious researchers themselves, both fulfilled the necessary dialectic of the long-short durée, and thus provided a basis upon which future work could be produced, both during the Biennale and afterwards.<fnref n="15" />

THE PILGRIMAGE | PIONIRSKO HODOČAŠĆE: SYNTHETIC MEMORIES

Since then, the Critical Broadcasting Lab (CBL), established in 2018, has been involved in different ways of probing architecture, chipping at its various hero-stories and raising red flags where/when they needed to be raised. Diverse media, including exhibitions, fall under its umbrella of broadcasting, in fact those two words have been deliberately made interchangeable in our work. Most recent CBL's work has been contending with the inevitable, and by now unstoppable, symbiotic relationship between the digital archives and the AI technologies. In the larger (umbrella) project titled *Bootleg Futures*—we have been experimenting with the augmentation of historical and contemporary archives, sometimes altering the data through deep fake technologies in video and audio and feeding it back into the data streams that govern architecture's communication ecologies, and at other times using the predictive dimensions of AI to visualise (with humour and critique) the historical tendencies that define our contemporary moment.

The title of this umbrella project responds to a figment about the future. Having fed our private and collective data to various information gathering/ scraping corporations, and, having turned history into databases to be devoured by predictive algorithms, most of our actions, including the ways we imagine and shape the built environment, will surely be predicted by various types of AI technologies. This means that our discipline's Eurocentric, progressivist, genius, male architect narratives will take up a big chunk of those archives now mined to narrate and possibly determine our futures. In fact, the Midjourney generated worlds that are beginning to flood student projects are already tainted by the politics of the archives they access. But what if we tweaked, hacked, and strategically added new (as well

<footnote n="11">11 Three chief curators of the US pavilion for the 2014 Venice Architecture Biennale were Eva Franch i Gilabert, Ana Miljački and Ashley Schafer.</footnote>

<footnote n="12">12 I presented on our *OfficeUS* research and curatorial work with the associate curator on the project, Michael Kubo, at the annual meeting of EAHN in Dublin in 2016. We described our process as 'big curating' in opposition to the dominant historical exhibition format, the historical survey, with all of its proselytising and evaluative connoisseurship overtones.</footnote>

<footnote n="13">13 Projects and offices in our timeline went back to 1853.</footnote>

<footnote n="14">14 The images on the covers of our binders follow the developments in both photography and architectural markets for US firms. One can follow them in tandem: from black and white, sunny, high contrast early Venezuelan SOM projects, through the Kodachrome, sandy Middle Eastern desert in the 1970s, to bright blue backgrounds of HOK 2000s supertalls in Asia.</footnote>

<footnote n="15">15 In this way we sought to fulfil Mirko Zardini's key definition of curatorial practice as 'concerned not only with the production of knowledge but also, and above all, with making this knowledge productive'. Mirko Zardini, "Exhibiting and Collecting Ideas: a Montreal Perspective," *Log 20: Curating Architecture* (Fall 2010): 82.</footnote>
as forgotten) data into the stream of conversations about architecture? When decoys, minor narratives, and mirrors enter the data set, any future reproduction or AI-based prediction of the future will have to contend with them. These are some of the larger questions that interest us at the intersections of archives, AI, architecture and broadcasting, and are at work in the most recent exhibition produced by the Critical Broadcasting Lab, included in the European Cultural Centre's exhibition *Time, Space, Existence* in Venice on the occasion of the 18th Architectural Biennale in Venice curated by Lesley Lokko: *The Pilgrimage | Pionirsko hodočašće*. This piece is produced through unsanctioned copying and distribution of the past. We have invited both private memories and AI to play roles in this personal, and (hopefully you will agree) tender project.

Amidst all kinds of grim news during the summer of 2022, a story lit up a small corner of the social media landscape and news outlets in the ex-Yugoslavian region. The Partisan Memorial Cemetery in Mostar, Bosnia and Hercegovina, was vandalised. All 630 gravestones dedicated to fallen soldiers in the Second World War, part of a remarkable memorial land-artwork by famous local architect and monument artist Bogdan Bogdanović, were destroyed in the night of June 13, 2022. In Yugoslavia's historical 'laboratory of the future', socialism, self-management, tolerance, and inclusion intersected in various ways with architectural imagination.<fnref n="16" /> Today, the artifacts that constitute Yugoslavia's socialist architectural heritage, and especially those that were instrumental in the ideological wiring of several post-war generations for anti-fascism and inclusive living, have been swallowed by the entropic appetite of ageing collective memory, exacerbated by various forms of local and global political investment in forgetting their meaning. But, for those who choose to claim citizenship in the idea of Yugoslavia, now thirty years after its destruction (and do so precisely in opposition to crude transitional capitalism and its related nationalisms), memorials like the Partisan Memorial Cemetery in Mostar serve as navigational devices, both backward into history and forward into the future. Private memories of pilgrimages to the memorial sites they mark are as anachronistic in contemporary society as these objects themselves. And yet, if this anachronism is a way to anchor anti-fascist and transnational collectivity, they must be protected. Or, at the very least, remembered.

*The Pilgrimage* synthesises 'memories' from Yugoslavian elementary and high-school visits to these memorial monuments, offering them in a shifting and spatial multi-channel video presentation, accompanied by a non-linear documentary soundscape. Private photographic and video recordings, official archival images from ex-Yugoslavia, and archives assembled by expert historians were fed to a Generative Adversarial Network, a model of deep machine learning, StyleGAN3 which was made widely available in 2021. Our AI 'Stane' (StyleGAN3) has been trained on archival and individual photo documentation of six specific memorials so as to output a series

of video interpolations based on them. There is a lot of manual and digital synthetisation in this process. In order to produce the video component of *The Pilgrimage* we assembled many different dataset collections, and then in order to arrive at the results and effects we desired, we trained Stane with different paraments, removed images from training sets, adjusted the order in which the 'seed images' in its 'model' were organised; we added, subtracted, and adjusted manually to get the results one can see in the final video. The accompanying documentary soundscape holds the experience together in space. At moments it enables figuration of the (pre 1990s) soundscape of Yugoslavia, as well as those group school visits to the memorials.

The six monuments currently included in the project are but a sampling, chosen for their likelihood to have been visited by Yugoslavia's youth up until 1991, and thus most prone to resonate with the messages of anti-fascism and national brotherhood.<fnref n="17" /> In offering its synthesised memories of the lessons for the future that the original memorials were meant to carry, *The Pilgrimage* also presents antifascism and unity as political and activist positions available and necessary today, for the sake of the future. *The Pilgrimage* is both historical and impossible. Its synthetic re-enactment of the visits, of their memories, is also a very particular way to shape and re-seed an anti-fascist, collective future, that may in turn resist the erasure of its own past.

## BOOTLEG HERITAGE

The first project invoked here, *OfficeUS*, operated as a humorous historical – and at moments, 'black' – mirror for contemporary architects, containing cautionary tales, but also importantly, twists against the cannon. Though it assembled and made visible the body of US work abroad, an archive that had not existed as such before this project, the full exhibition also produced contemporary architectural commentary on some aspects of that historical 'baggage'. The second project, *The Pilgrimage*, relied on diverse, unsanctioned as well as official sources to synthesise an experience. It processed indexical evidence of many actual visits to memorial sites, by many different individuals, producing thus an affective simulation and an amalgam of those visits. In its mode and political orientation, it responds to Tanja Petrović's important call for 'affective histories' of Yugoslavian socialism.<fnref n="18" /> Both of these projects sidestep the authoritative survey exhibition model, experimenting with the definition of

<footnote n="16">16 Lesley Lokko's theme title for the 18th Architecture Biennale in Venice: *The Laboratory of the Future: Agents of Change*. https://www.labiennale.org/en/architecture/2023/introduction-lesley-lokko.</footnote>

<footnote n="17">17 In two consecutive video triptychs we present interpolations of: 1) *Interrupted Flight* sculpture in the Memorial Park Šumarice, Kragujevac, Serbia, by Miodrag Živković 1963; 2) *The Battle of Sutjeska Memorial Monument* in the Valley of Heroes in Tjentište, Bosnia and Hercegovina which commemorates the fighters and soldiers fallen in a crucial World War II battle of Sutjeska, by Miodrag Živković i Ranko Radović, 1971; 3) *Stone Flower* commemorating the victims of the concentration camp in Jasenovac, Croatia, by Bogdan Bogdanović, 1966; 4) *Monument to the Revolution on Kozara* mountain, dedicated to the Partisan fighters, fallen soldiers and civilian victims of the Kozara Offensive in 1942, Bosnia and Herzegovina, by Dušan Džamonja with Marijana Hanzenković, 1972; 5) *Partisan Memorial Cemetery in Mostar*, Bosnia and Herzegovina, by Bogdan Bogdanović, 1965; 6) *Monument to the Uprising of the People of Kordun and Banija* on Petrova Gora, Croatia, by Vojin Bakić and Zoran Bakić, 1981.</footnote>

<footnote n="18">18 Tanja Petrović, "Towards an affective history of Yugoslavia," *Filozofija i društvo*, XXVII (3), January 2016.</footnote>
the architectural archive, and pushing at its 'official', authoritative edges.

In its colloquial usage 'bootleg' refers to the illegal reproduction and dissemination of material. Indeed, by intervening in and transmitting their respective archives, the above two projects work against different kinds of authorities, while they both insist on maintaining the 'past as incomplete'. They produce vastly different modes of encounter with their 'archives', and thus also with the way their audiences glean and seed futures out of them. 'Bootleg archives' involved acts of anti-authoritative composition of the *OfficeUS* material in the first project, and the mining of a collective archive in *The Pilgrimage*, in both cases, against the grain of the contemporary, local understandings of their respective material's importance. Our hope was that they would both enable and provoke curiosity, 'rage, solidarity, resistance, dissatisfaction, doubt, and suspicion' and, perhaps 'arouse citizens' interest' in the topics they examine—their 'archives' and the histories and futures they may yet tell.<fnref n="19" /> Most importantly, they have 'bootleg' forms of agency—unsanctioned and disseminated—within the various economies of heritage they inhabit and transform.

<figure><img src="image_76.png" /></figure>

<footnote n="19">19 Ariella Azoulay, "Archive" Political Concepts: a Critical Lexicon 1, July 21, 2017; http://www.politicalconcepts.org/archive-ariella-azoulay/.</footnote>
# Biographies

## ALEJANDRO CAMPOS URIBE

Alejandro Campos is a lecturer and researcher at the Dept. of Architecture, TU Delft, specialising in postwar Modern Architecture and the colonial dynamics of its universalising claims. Between 2021–2023, he worked as a Marie Sklodowska-Curie Individual Fellow at TU Delft and Research Associate at the Research Center for Material Culture (Netherlands), where he developed the EU-funded research project ‘Multiculturalism in the work of Aldo and Hannie van Eyck’. In 2022, he organised the seminar ‘From Multicultural to Pluriversal: Rethinking Universalist Notions in Modern Architecture’ at Leiden Volkenkunde (Ethnographic Museum), and has co-organised the 2021 Jaap Bakema Study Centre annual conference, ‘The Observers Observed: Architectural Uses of Ethnography’. In 2022, he was awarded the SAH Opler Membership Grant for Emerging Scholars, and participated in the summer school ‘Learning to Unlearn Decolonially – Disobeying, Delinking and Relinking’ by University College Utrecht.

## ALGIMANTAS GRIGAS

Algimantas Grigas is an academic researcher at Kaunas University of Technology, a professional tour guide and practicing architect. Algimantas Grigas has a BA (2006–2010, Vilnius Tech, Faculty of Architecture) and MA (2013–2014, Glasgow School of Art, Mckintosh School of Architecture) in architecture. In 2010–2011 Algimantas Grigas moved to Belgium for the professional placement at Architecten De Vylder Vinck Taillieu (Gent, Belgium). Algimantas Grigas has been appointed as one of implementing architects to overlook the first personal exhibition of “Architecten de Vylder Vinck Taillieu” (opened at DeSingel, Antwerpen, between 2011 Sep 22 and 2012 Jan 8). In Lithuania Algimantas Grigas worked for a longest period at the office of “G.Janulytė-Bernotienė studio”, with which won several architectural competitions and worked on the design of public buildings, specifically – academic buildings. Since 2010 Algimantas Grigas has been involved at the non-governmental organisation “Architektūros fondas” (Vilnius, Lithuania) that promotes architectural culture. He has been involved in developing the concept and practical framework of “Travelling Architectural Workshops” with children in the rural areas of Lithuania (2013–2015). Later in 2016 Algimantas Grigas co- curated the 17th series of talks of Architecture Fund titled “Architectural Practice in the Expanded Field” (2016 June 9, 15, 20, 30 and July 5). Algimantas co-founded and works since 2015 as a lead coordinator at the informal initiative “Ekskursas”. Within it he maintains a professional tour guide career with emphasis on the interwar period Modernist architecture and Socialist Modernist architectural legacy in Lithuania. In 2020 Algimantas Grigas started a History of Arts postgraduate degree at Kaunas University of Technology, Institute of Architecture and Construction (supervisor
Dr. Vaidas Petrulis). The institute has been opened in 1956 and merged with KTU in 2010, but it still maintains certain autonomy and keeps the mission of scientific and experimental work in the field of architecture.

ANA MARTINA BAKIĆ

Ana Martina Bakić is an architect and assistant professor at the Faculty of Architecture at the University of Zagreb, where she heads the Drawing and Visual design section. She is a PhD candidate at the University of Zagreb, studying architectural exhibitions, the intersection of artistic and architectural practices, as well as the way in which these practices embody specific experimental or archival concerns and formats. She has designed a series of theater sets through a practice diaprojektor, which she shared with Ivana Knez. Bakić has worked on numerous exhibition designs with the curatorial collective WHW, including the Croatian pavilion for the Venice Art Biennale in 2011. She designed the exhibition of Sanja Iveković's work "Works of Heart," curated by Zdenka Badovinac and organized by WHW for Vienna Kunsthalle, on view from October 2022–March 2023, and is currently working on the same exhibition for the Museum of Contemporary Art in Zagreb, opening in June 2023.

ANA MILJAČKI

Ana Miljački is a critic, curator and Professor of Architecture at MIT, where she teaches history, theory and design, and directs the SMArch program. In 2018 Miljački launched the Critical Broadcasting Lab at MIT, engaged in critical curatorial and broadcasting work. She was one of three curators of the US Pavilion for the 14th Venice Biennale in 2014, with a project OfficeUS. Miljački is the author of The Optimum Imperative: Czech Architecture for the Socialist Lifestyle 1938–1968 (Routledge, 2017), coeditor of the OfficeUS series of books, guest editor of Praxis 14: True Stories, the editor of Terms of Appropriation: Modern and Architecture and Global Exchange with Amanda Reeser Lawrence (Routledge, 2018), as well as of The Under the Influence symposium proceedings (Actar, 2019). She recently coedited LOG 54: Coauthoring with Ann Lui, and an issue of JAE titled Pedagogies for a Broken World, with Igor Marjanović and Jay Cephas. Critical Broadcasting Lab's project The Pilgrimage | Pionirsko hodočašće is currently on view at Palazzo Mora in Venice until the end of November, 2023.

ANDREA GRITTI

Andrea Gritti is an Associate Professor in Architectural and Urban Design at the Politecnico di Milano. He studies the role of reusing and recycling in the theory and practice of architectural design. Among his publications are: Modulazioni. La concezione scalare in architettura (2018), Autostrada Novissima (2018) and Architecture at Work. Towns and Landscape of Industrial Heritage (2020).

ANDREEA ILIESCU

Andreea Iliescu is a multidisciplinary digital designer based in London. In her practice, she investigates the social, political and economic conflicts affecting disenfranchised communities, drawing inspiration from indigenous and other-than-human agents. Through this, her work converges interests in film, writing and alternative worldbuilding. Iliescu aims to spatially deconstruct the Western-centric perspectives of inhabiting the world by utilising the emancipatory potential of digital technologies, specifically focusing on video game engines as testing ground for the design of other worlds, institutions, forms of restitution and representation. Andreea Iliescu (b. Bucharest, 1995) is a MA Architecture graduate of the Royal College of Art in London. Her work was featured at the Ugly Duck in South London, under the exhibition titled 'WORLDING: Beyond Racial Capitalism', alongside fellow RCA students from Architectural Design Studio (ADS2) and at Istanbul Technical University with [speculative nematode] under the tutelage of Aslıhan Şenel. Iliescu contributed photography, CGI imagery and texts to Toronto-based publication of contemporary arts and culture, New Currency.

ANGELA ROUT

Angela Rout joined the faculty of Architecture and Built Environment (ABE) at TU Delft as an Assistant Professor and recipient of the distinguished Delft Technology Fellowship (DTF) for Top Female Academic Scientists. As a member of the Design, Data and Society group she investigates methods and implications for visualising emerging data resources for societal benefit, within the discipline of architecture. Previous to her post at TU Delft Angela was appointed as a Postdoctoral Research Fellow at the University of British Columbia, where she was team lead for a two year research collaboration exploring opportunities for sensor data to inform resilient and equitable community design. In 2020 she received her Ph.D. from the University Calgary in Computational Media Design, where she developed approaches for leveraging spatio-temporal data from smartphones to aid in master planning processes and design practice.

ANNA-MARIA MEISTER

Anna-Maria Meister is an architect and architectural historian. She is professor for architecture theory at KIT Karlsruhe Institute of Technology and co-director of the saai archive. Her work focuses on the interdependencies of processes of design and the design of processes, especially regarding their political, social, and aesthetic consequences. After receiving a PhD from Princeton University, a Master's degree from Columbia University, and a diploma from TUM, she was previously professor of architectural theory and science at TU Darmstadt. Her work has been internationally published and supported by the Graham Foundation, the Max Planck Institute for the History of Science, the Berlin Program and the DAAD, among others.
She is currently completing a book manuscript on paper architectures and bureaucratic formats in 20th century Germany and is co-author of Radical Pedagogy (MIT Press, 2022) as well as co-curator of the eponymous international research project.

### AYMÉE THORNE CLARKE

Aymée studied architecture at the Bartlett School of Architecture, UCL, before completing a degree in History of Art and Masters in Architectural History, both at the University of London. She completed her postgraduate qualification in Archival Studies at the University of Dundee.

Throughout her studies, Aymée worked on site for several architectural projects in London, including the renovation of the Savoy Hotel and the construction of the British Museum WCEC, gaining 12 years experience in the architecture and construction industry. Experiences in practice and academia have reinforced her interests in the lineage of architectural drawing methods and typologies, the idea of authorship in the context of collaborative working environments, as well as the evolving role of the architect in the conception and construction of architecture.

In 2020 she presented a paper at the Society of Architectural Historians of Great Britain's annual symposium, 'Arch/tecture/Arch/ves', detailing how traditional archival practices and value attribution can alter and distort architectural histories. Aymée has been working as the archivist at RSHP / Rogers Stirk Harbour + Partners since 2017.

### BURCU KÖKEN

Burcu Köken is an architect and a PhD candidate at TU Delft in the program "Architecture and Democracy" run jointly by the Nieuwe Instituut in Rotterdam. She was educated in Turkey and received her master's degree from the Middle East Technical University. Within the scope of her doctoral studies, she received the International Journal of Urban and Regional Research (IJURR) Foundation Studentship (2021), the Netherlands Institute in Turkey Travel Grant (2021), and the Istanbul Research Institute Travel Grant (2021). Currently, she is a Gerda Henkel PhD Fellow and teaching at the Academy of Architecture Amsterdam.

### CATHERINE HOWE

Dr Catherine Howe is Research Officer at the Zaha Hadid Foundation, working across exhibitions, publications and research into the collection and related fields. Their specialism is in twentieth-century European and American art, architecture and design, particularly their interdisciplinary exchange with literature and philosophy. They have taught on undergraduate

and postgraduate programmes at the Open University, the Courtauld Institute of Art and the University of Sussex, and worked as a *catalogue raisonné* consultant for the Roy Lichtenstein Foundation. In 2021 they received a postdoctoral fellowship from the Paul Mellon Centre for Studies in British Art to work on a book about the artist Francis Bacon and his French influences and reception through surrealism and post-structuralism. They have published in exhibition catalogues for Tate, Centre Pompidou, the Royal Academy and Barbican and have worked in curatorial and research positions for major group and retrospective exhibitions, including *Queer British Art 1861–1967* (2017, Tate Britain), *Isamu Noguchi* (2021, Barbican) and *Postwar Modern* (2022, Barbican).

### CARLOS MÍNGUEZ CARRASCO

Carlos Mínguez Carrasco is an architect and curator based in Stockholm. He is Chief Curator at ArkDes – Swedish National Centre for Architecture and Design. Between 2012 and 2017 he was Associate Curator at Storefront for Art and Architecture in New York. He organized the 2016 Oslo Architecture Triennale with the After Belonging Agency, and was Assistant Curator of OfficeUS, the U.S. Pavilion at the 2014 Venice Biennale. At ArkDes, Mínguez oversees the program of exhibitions, collection displays, events and publications, and has organized the exhibitions Flying Panels: How the Concrete Panels Changed the World (2019), Kiruna Forever (2020), and Joar Nango's Girjegumpi – The Sámi Architecture Library (2023) at the Nordic Pavilion of the 18th Venice Architecture Biennale. His texts have been published in different magazines, catalogues and journals as Domus, Migrant, and Código and he is editor of various publications, including After Belonging: The Objects, Spaces, and Territories of the Ways We Stay in Transit (Lars Müller Publishers, 2016), OfficeUS Manual (Lars Müller Publishers, 2017) Bodybuildings: Performance and Architecture (Performa, 2019), Flying Panels (DOM Publishers, 2019), and Kiruna Forever (Arkitektur Förlag, 2020). He has taught at Columbia University GSAPP and lectured in several universities and cultural centers in Europe, Latin America, and the US.

### CHRISTIAN BUCKHARD

Christian Burkhard studied Economics and Philosophy at the Vienna University of Economics and Business and the London School of Economics. He was a visiting professor at the Department of Building Economics at the University of Kassel, Faculty of Architecture, Landscape Architecture and Urban Planning in 2022 and has been a guest lecturer there since 2019. Since 2013, Christian has been collaborating with the architect Florian Köhl. In 2015 they co-founded Quest, a research and design outfit which focuses on architecture for urban communities. He is the editor-in-chief of Architectuul, a free and open text architecture archive and community which he founded in 2010. Architectuul is a member of LINA, a European architecture network, co-funded by the European Union.
### DANA ARNOLD

Dana Arnold is Professor of Architecture at the Manchester School of Architecture. Her work focuses on histories and historiographies of architecture and urbanism in relation to social and cultural theory. Her publications make a substantial contribution to our understanding of London as a global city and as a visual phenomenon. These include a trilogy of monographs The Spaces of the Hospital: Spatiality and Urban Change in London 1680–1820, (2013), Rural Urbanism: London landscapes in the early nineteenth century (2006) and Re-presenting the Metropolis (2000 and pbk 2018), which offer theoretically informed, archivally based readings of the city. She has also considered London in comparative contexts with other cities, especially Paris and Tianjin and across the Middle East. This collaborative work explores how the built environment is experienced and used in the formulation of national and cultural identities and how these operate in a transcultural context. She was a Guest Professor, International Research Centre for Chinese Cultural Heritage Conservation, Faculty of Architecture, Tianjin University (2009–2019) and Honorary Professor, Architecture Faculty, Middle East Technical University, Ankara (2007–2015). Her most recent book Architecture and Ekphrasis: Space, Time and the Embodied Description of the Past (2020) examines the interaction between visual images and written histories of architecture. Using a broad evidence base of graphic representations of architecture, she argues that these images are a form of writing that have syntactical and linguistic qualities that tell alternative histories of seeing and experiencing space. She is completing an edited volume Re-Reading Women and Architectural History where prominent architectural historians, who happen to be women, reflect on their practice and the intervention this has made in the discipline. Her forthcoming book British Architecture: A very short introduction (in press) is a significant re-working of the subject offering new insights into the fluid relationship between architecture and culture.

### DIRK VAN DEN HEUVEL

Dirk van den Heuvel is an Associate Professor with the Department of Architecture, TU Delft. Additionally, he is the head and co-founder of the Jaap Bakema Study Centre, the special research collaboration between TU Delft and the Nieuwe Instituut in Rotterdam. His expertise is in modern architecture, welfare state policies, housing and planning, and their related fields of cultural studies and discourse analysis with a special interest in archives and exhibitions. Van den Heuvel has been a visiting scholar at Monash University, Melbourne. He was awarded with a Richard Rogers Fellowship from Harvard GSD. He was the curator of the Dutch pavilion for the 14th architecture exhibition of the Venice Biennale in 2014.

Currently, he is in charge of the newly launched group Architecture Archives of the Future, which positions itself at the intersections of advanced architectural design and research, history and theory, archival studies and

museology. The group aims to develop innovative methods of architectural knowledge production based on the new opportunities presented by digital technologies while building on Delft traditions of plan analysis and precedent research. Questions behind the research and education of the group are design-driven with the aim to contribute to the urgent societal questions of today, including the ones of climate change impact, and the socio-political ideas around democracy and diversity in open societies.

### FATMA TANIŞ

Fatma Tanış is a researcher at TU Delft and the coordinator of the Jaap Bakema Study Centre, Nieuwe Instituut in Rotterdam. Previously, Tanış trained as an architect in Istanbul and Stuttgart and received master's degrees in Architectural History (ITU) and Conservation & Restoration of the Historic Built Environment (MSFAU). Having a particular interest in in-between realms, she has explored the specificity of port cities through the notion of cosmopolitanism in her doctoral project where she combined her personal interest in literary writing with her interdisciplinary background to explore İzmir from a cross-cultural perspective. Tanış earned a PhD degree from TU Delft with her dissertation entitled 'Urban Scenes of a Port City (2022)'. Her other publications include a themed issue 'Narratives #1 Eastern Mediterranean and Atlantic European Cities (2021)'; 'Spatial Stories of İzmir (2020)'; 'Space, Representation, and Practice in the Formation of İzmir during the Long Nineteenth Century (2020)' in Migrants and the Making the Urban-Maritime World: Agency and Mobility in Port Cities, c. 1570–1940, eds. Christina Reimann, Martin Öhman (New York, London: Routledge, 2020).

### FEDERICO DEAMBROSIS

Federico Deambrosis, architect and PhD, is an Assistant professor in the History of Architecture at the Politecnico di Milano, where he teaches History of Contemporary Architecture. His research is mostly focused on the central decades of the 20th Century. On several occasions, he looked at transfer and boundaries, understood both as those separating a nation from another or as the thresholds between architecture and other realms (visual arts, structural engineering, leisure, planning etc.). Journals are recurring sources for his work. He is the PI of the project BiDiRIA (For a Digital Library of Italian Architectural Periodicals).

### FRIDA ROSENBERG

Frida Rosenberg holds a PhD in architecture and is Curator of 20th Century Architecture at The Swedish Center for Architecture and Design, ArkDes in Stockholm. Previously she was a lecturer at the Architecture School, KTH Royal Institute of Technology teaching a Housing Studio and History/Theory courses. Her research consults historical trajectories of housing, urban design
and building development as a leverage in understanding current progression in architectural technologies and social conditions of the built environment. She also has a dedicated interest in cross-border relations between Sweden and the United States to frame a critical history of domestic architecture. Her essays have appeared in Domus, PLAN and Footprint and with book chapters in Tio byggnader som definerade 1960-talet/1980-talet/1940-talet and in Producing Non-Simultaneity: Construction Sites as Places of Progressiveness and Continuity. She is the co-editor of Perspecta 40:Monster and Arkitektur och Modernitet. Frida has worked in offices in Norway, US and Sweden on small scale residential projects as well as urban master planning projects. She holds a Bachelor of Science from University of Texas at Arlington, a Master of Architecture from Chalmers and a Master of Environmental Design from Yale University. Doctoral thesis: The Construction of Construction: The Wenner-Gren Center and the possibility of steel building in postwar Sweden.

GEORG VRACHLIOTIS

Georg Vrachliotis is the Full Professor and Head of the Design, Data, and Society Group at TU Delft's Faculty of Architecture. He also directs "The New Open", a project at TU Delft researching open data's impact on design and societal change. He obtained his Ph.D. from ETH Zürich and was the Dean of the Architecture Faculty at the Karlsruhe Institute of Technology (KIT) from 2016, while also serving as a professor of architectural theory. Georg has curated notable international architecture exhibitions such as "Fritz Haller: Architect and Researcher" in Basel (2014) and "Sleeping Beauty: Reinventing Frei Ottos Multihalle" at the Venice Biennale (2018). Furthermore, his curatorial prowess extended to "Models, Media and Methods: Frei Otto's Architectural Research" at Yale University (2020). An accomplished author, among his works is "The New Technological Condition. Architecture and Design in the Age of Cybernetics" (Birkhauser, 2020). Georg is an active member of the advisory boards for the Jaap Bakema Study Centre, ARCH+ magazine, and Schelling Architecture Foundation. Additionally, he serves as an external examiner at the Bartlett School of Architecture, UCL London.

GIZEM ÖZER ÖZGÜR

Gizem Özer Özgür is an İstanbul based architect, researcher, and educator holding a B. Arch. from IZTECH, Turkey, and JU, Sweden in 2012 with receiving honorary degrees, and MSc in Architectural Design Program at ITU, Turkey in 2015. She had been a visiPng research scholar at Ph.D. Program in Architecture + Design, Washington Alexandria Architecture Center (WAAC), Virginia in 2014 and at Center for InnovaPon in Engineering and Science EducaPon, Stevens InsPtute of Technology, NY, USA in 2019. She co-founded "Günlük Atölyeler Serisi (Daily Workshop Series)" an alternaPve educaPon channel and an open pla'orm for life-long, experienPal, and collaboraPve learning with the iniPaPve of the Chamber of Architects of Turkey. She has received several awards from both naPonal and internaPonal architectural

design, project and arPcle compePPons and was part of exhibiPons including İstanbul Design Biennial in 2016, and Contemporary İstanbul in 2018. Her research navigates around socio-cultural pracPces related to architectural history, theory, and design and deals mainly with mulPdisciplinary methods of criPcal pedagogy. Currently, she is a Ph.D. candidate in Architectural Design Program and has been working as a research and teaching assistant at the Department of Architecture at ITU since 2013.

HEIDI SVENNINGSEN

Dr. Heidi Svenningsen Kajita is an architectural researcher working for social change in everyday spaces. She uniquely combines architectural history, creative practice, and ethnographic strategies researching histories and possible futures of 20th century urban and architectural development. Heidi is currently assistant professor in the Section for Landscape Architecture and Planning at University of Copenhagen and visiting fellow at Newcastle University. She conducts archival- and fieldwork research into Northern European welfare states' extensive postwar housing and urban development. Her work challenges dominant histories of these built environments as "failure" by uncovering often unheard voices, and it reveals remarkable possibilities for people- and place-based planning and design processes. Her ongoing postdoctoral research project (Im)Possible Instructions: Inscribing Use-value in the Architectural Design Process deals with the archives of the large-scale redevelopment Byker Wall in Newcastle upon Tyne, UK. This project is funded by the Independent Research Fund Denmark (2019-23). Heidi is also part of Action Archive – a group of researchers and artists whose collaborative methods use formats of remembrance, such as witness seminars and exhibitions, that are also part of their research communication. Recent publications include: Kajita, H.S. et. al, Between Technologies of Power and Notions of Solidarity: A Response to Danish Ghetto Plan and Swedish Vulnerable Areas Documents. 2022. Kajita, H. S., 2022, "Urgent Minor Matters: Re-Activating Archival Documents for Social Housing Futures," (E-pub ahead of print) In: Architecture and Culture; and, Kajita, H. S., 2023, "Gossip and Complaint: Expertly Ways of (Re-)Producing the Social in Housing" (Accepted/In press) In Contested Legacies: Critical Perspectives on Post-war Modern Housing. Migotto, A. & Tattara, M. (eds.). Leuven University Press.

IRINA DAVIDOVICI

PD Dr. Irina Davidovici is the Director of the gta Archives since 1 January 2022. She is a trained architect and historian, having obtained her doctorate in history and philosophy of architecture at the University of Cambridge in 2008 and her Habilitation at ETH Zürich in 2020. She led the gta Doctoral Programme in the History and Theory of Architecture from 2019 to 2021. Her doctoral thesis on German-Swiss architecture in the 1980s and 1990s received the RIBA President's Research Award for Outstanding Doctoral
Thesis in 2009. Her Habilitation thesis 'Collective Grounds: Housing Estates in the European City, 1865-1934', made possible by the SNF Marie Heim-Vögtlin Fellowship (2014-2016), focused on the urban integration of early housing estates in London, Paris, Amsterdam and Vienna. Her research straddles housing studies, the history of housing cooperatives, and Swiss architecture.

Davidovici has held positions as visiting professor at EPFL Lausanne (2020-2021), Harvard GSD Richard Rogers Fellow (2018), gta Postdoctoral Fellow (2016-2017), SNF Marie Heim-Vögtlin Fellow (2014-2016) at ETH Zürich, and senior lecturer at Kingston University, London (2008-2013). She is the author of Forms of Practice. German-Swiss Architecture 1980-2000 (2012, 2nd expanded edition 2018) and editor of Colquhounery. Alan Colquhoun from Bricolage to Myth (2015). Her articles were published in AA Files, The Journal of Architecture, OASE, ARCH+, Casabella, Joehlo and Project Journal. Her book The Autonomy of Theory: Ticino Architecture and Its Critical Reception (gta Publishers, Zürich) will be published in 2023, and Common Grounds: A Comparative History of Early Housing Estates in Europe (Triest Publishers, Zürich) in 2024.

### IRIS RANZINGER

Photographer and specialist in image archives and digital collection management at the Architekturzentrum Wien (Az W). Studied art and photography at the Academy of Fine Arts Vienna and image science at Danube University Krems. She has worked on numerous projects on digital image archives, collection digitisation, collection databases and online publication, among others for the Generali Foundation, the Margherita Spiluttini Photo Archive, various self-designed artist work databases. In these contexts she also coordinated and edited exhibitions, books and websites. She taught image competence and image editing at the New Design University St. Pölten. For the Architekturzentrum Wien, she carried out a large-scale database harmonisation project in recent years, the content of which forms the core of the "Cold Storage" of the new permanent exhibition. Following this, her research focus is on new forms of data and collection visualisation.

### ISABELLA MORETTI

Isabella Moretti is an architect, researcher, and editor based in Buenos Aires. She holds a Master's degree in Design Research from the Bauhaus Dessau Foundation, Humboldt University Berlin, and Anhalt University of Applied Sciences. Isabella has worked as a researcher at the Bauhaus Dessau Foundation and the Government of the City of Buenos Aires. She has also served as the editor-in-chief of Lots of Architecture publishers and NESS magazine. Currently, she holds the position of Director of the Architecture Archive and is a Professor at the School of Architecture and Urban Studies at Torcuato Di Tella University. Isabella is a founding member of the collectives FAN (Nervous Architectural Fantasies) and Cooperativa Espacial.

### JULIAN BESEMS

I am a lecturer at the Bartlett School of Architecture, UCL and a PhD candidate at ETH Zürich. Throughout the past three years I have been teaching as a lecturer in the B-Pro MArch Urban Design programme at the Bartlett School of Architecture, UCL. In this role I primarily teach as a design tutor for RC11. Initially, I co-taught alongside Philippe Morel, and since this year, I have been leading the cluster on my own. Since September 2022 I have been conducting my PhD research at the Chair for Digital Architectonics with Ludger Hovestadt as my primary supervisor and Roberto Bottazzi (UCL) as my secondary supervisor. Prior to pursuing my PhD I worked as a junior architect at Balmond Studio. I hold a master's degree in architecture from UCL and a bachelor's degree from Newcastle University. In addition to my architecture studies, I completed a BSc in computer science with a minor in mathematics at the Radboud Universiteit Nijmegen. My research focusses on the domain of digital architecture and particularly at how computational literacy can change the way in which we think about architectural design. I approach these questions both from an abstract algebraic perspective in order to express the nature of the domains of architectural communication, and through a more applied approach relying on computational experiments to explore the integration of computational theory in architectural design methodologies.

### JAVIER FERNÁNDEZ CONTRERAS

Javier Fernández Contreras (Dipl. Arch. ETSAM, 2006; Ph.D., 2013) is a Geneva-based architect, design theorist, and the dean of the Department of Space Design / Interior Architecture at HEAD - Genève. His work explores the relationship between architecture, representation, and media, with a specific focus on the role of interiors in the construction of contemporaneity. Contreras is the director of several BA, MA and research programs, including MAIA (Master of Arts in Interior Architecture) and Scènes de Nuit, a research platform investigationg the entanglements between night and architecture. He is the author of the books The Miralles Projection: Thinking and Representation in the Architecture of Enric Miralles (Applied Research and Design, 2020), Manifesto of Interiors: Thinking in the Expanded Media (HEAD - Publishing, 2021), and the co-editor of Scènes de Nuit: Night & Architecture (Ediciones Asimétricas, 2021), and Intimacy Exposed: Toilet, Bathroom, Restroom (Spector Books, 2023). His critical essays have been published in numerous books and specialised journals, including Marie-José Van Hee Architecten, Massilia Annuaire des Études Corbuséennes, Drawing MaHer, India Mahdavi, RA Revista de Arquitectura, RADDAR, and Plan Libre. Contreras is a regular contributor to professional debates, international juries and conferences. His work has earned him prizes in various international competitions, including the Concentrico Design Fes<val 2020, f'ar Lausanne 2019, and several editions of Europan. His recent projects and distinctions with HEAD - Genève include Train Zug Treno Tren, the opening exhibition at MUDAC Lausanne in 2022; the invitation to the 2021 Seoul Architecture
Biennale for the Circa Diem project (in collaboration with the EPFL); the Brands and Communication Red Dot Award 2020 and the Innovation Frame Award 2020 for the Space Duality project; as well as a Design Prize Switzerland 2019 nomination for the #Looslab project.

### JANE PAVITT

Professor Jane Pavitt is Head of Research and Learning at the Zaha Hadid Foundation. She is a curator and historian of architecture and design, and a Visiting Professor at Kingston University (Kingston School of Art). From 2017-2021 she was Professor of Design and Architectural History at Kingston University, and from 2011-2017 she was Professor and Dean of Humanities at the Royal College of Art, where she also led the V&A/ RCA History of Design Programme (Masters and PhD). Before that she was University of Brighton Principal Research Fellow in Design at the Victoria & Albert Museum, London, for 13 years. At the V&A, she curated a series of major exhibitions on 20th century and contemporary design including *Brand. New (2000), Brilliant: Lights & Lighting (2004), Cold War Modern: Design 1945-70 (2008, co-curated with David Crowley) and Postmodernism: Style and Subversion 1970-1990 (2011, co-curated with Glenn Adamson).* In 2017 she curated the exhibition *Superstructures: The New Architecture 1960-1990*, which was the first major study of High Tech architecture in the UK, at the Sainsbury Centre for Visual Arts, Norwich (co-curated with Abraham Thomas). She was co-editor/author of all the accompanying publications for the exhibitions. She is now the lead curator for a forthcoming major retrospective of Zaha Hadid, planned for 2025.

### JOS BOYS

Dr. Jos Boys originally trained in architecture, and was a co-founder of Matrix feminist architecture and research collective in the 1980s as well as one of the authors of *Making Space: Women and the Man-made Environment* Pluto 1894 (republished by Verso, 2022). More recently she coordinated an open access archive about Matrix, as well as co-curating an exhibition at the Barbican Centre in London called "How We Live Now: Reimagining Spaces with Matrix Feminist Design Cooperative" (May 2021-2022).

Jos has been a journalist, researcher, consultant, educator and photographer; and has published several books. She is co-founder and co-director, with Zoe Partington, of *The DisOrdinary Architecture Project* which brings disabled artists into built environment education and practice to critically and creatively re-think access and inclusion. Her research and practice explores how everyday social, spatial and material practices come to frame what is 'ordinary' as a way of co-developing design interventions that challenge norms about who gets valued and who does not (in society, in the design of built space and in architecture as a discipline).

### JOVANA TOŠIĆ

Jovana Tošić was born in 1988 in Belgrade, Serbia. She obtained her B.Arch (2007-2010) and M.Arch (2010-2012) at the University of Belgrade - Faculty of Architecture, where she defended her Ph.D. thesis in 2022, at the Department of History, theory, and aesthetics of architecture and visual arts and preservation of architectural heritage.

Her academic practice began at the University of Belgrade - Faculty of Architecture, where she worked as a teaching fellow (2014-2015) in history and theory of architecture subjects, and from 2016 until the present, she is working as a Professor of Vocational Studies at ITS - Information Technology School in Belgrade.

The main topics of her academic research refer to the preservation of architectural heritage from a contemporary and experimental position. Her scientific articles were cited in the book "People-Centred Methodologies for Heritage Conservation" (published by Routledge, 2021), Wikipedia's page (https://en.wikipedia.org/wiki/Scent_preservation), and other academic texts and scientific articles.

### LUDO GROEN

Ludo Groen is a doctoral candidate in the history and theory of architecture at ETH Zürich, as part of the research project "Switzerland: A Technological Pastoral" led by Prof. Dr. Laurent Stalder and Prof. Milica Topalovic. His research bridges architectural and economic history by documenting the subterranean architecture of Swiss banks to store, transport, and trade gold between 1934 and 1971. His writings are published in OASE (2019), Strelka Mag (2020), Failed Architecture (2021), and most recently in the co-edited volume *Automated Landscapes* (2023). Ludo holds master degrees in architecture from Delft University of Technology and The Berlage. He previously worked as researcher at The Berlage and at the Nieuwe Instituut, where he co-curated the exhibition *MVRDVHNI: The Living Archive* of a Studio (2021).

### LEO STUCKARDT

Leo Stuckardt (DE) is a practicing architect and researcher with a focus on emerging technologies, computational tools and speculative design. After receiving his architectural degree in Berlin and Delft he collaborated with various architecture firms before joining MVRDV in 2015. Here, he was predominantly involved in architecture and urban design projects in Europe, India and South-Asia before co-founding the in-house computational research & development unit MVRDV NEXT in 2017. Centered around the development and implementation of new technologies, Leo coordinates computational design support within MVRDV's projects as well as the development of
independent research projects. Leo has taught design studios at The Why Factory, TU Delft and workshops at IIT Chicago, Tsinghua University and Chiba University Tokyo amongst others. Within the research program of The New Normal at the Strelka Institute in Moscow, he developed atoll.city, a platform for urban design and governance based on deep learning.

### LUKA SKANSI

Luka Skansi is an architectural historian and Associate Professor at the Politecnico di Milano. His research interests include in particular Italian architecture and engineering of the 20th Century, the architecture in Socialist Yugoslavia and Russian and Soviet architecture. Member of the curatorial board of the exhibitions Toward a Concrete Utopia. Architecture in Yugoslavia 1948–1980 (MoMA 2018) and Fiume Fantastika (Rijeka 2020–21), wrote on Carlo Scarpa, Aldo Rossi, Gino Valle, Pier Luigi Nervi, Myron Goldsmith, Jože Plečnik, Nikolaj Ladovskij, Moisei Ginzburg, Peter Behrens, Manfredo Tafuri and Vladimir Braco Mušič.

### MARIA KYROU

Maria Kyrou is Architect Engineer (Dipl.-Ing., M.Arch.) with a focus on transdisciplinary research and the practices of knowledge. She is currently associated with the Project InKüLe of the Berlin University of the Arts. In the field of experimental media didactics, she explores how digital media are transforming established art disciplines, while creating new hybrid practices of teaching and learning. Presently, she develops experimental formats on 3D-Scanning and VR-Sketching, exploring their mutual possibilities for cocreation and collaboration across the physical - virtual spectrum.

Along with the conception and support of innovative teaching formats, part of her work to date has been networking and the formation of external collaborations, including projects with external partners, like the Cluster of Excellence, Matters of Activity (Humboldt University, Berlin).

Curious about design processes, she completed a graduate degree in architecture and a master's degree in computational design and transdisciplinary research (Aristotle University, Thessaloniki). After graduating, she collaborated with educational institutions such as the Goethe Institute (Athens) and HyperWerk Institute (Basel) in a number of international projects. Her work on hybrid learning spaces and phygital artefacts has been nominated for the 4A_Lab Fellowship (2019), presented in the New European Bauhaus (2021), in the Design Research in Humanities and Arts conference (Humboldt University, Berlin, 2021), the Athens Digital Arts Festival (2022) and the Cumulus Conference 'Connectivity and Creativity in times of Conflict' (Antwerp, 2023). The ideas of hybrid artefacts and fused learning communities continue to drive and inspire her.

### MARIAM GEGIDZE

Mariam Gegidze (*1986) is one of the co-founders of the Tbilisi Architecture Archive – TAA. She is a PhD-student of the DFG Research Training Group 2227 "Identity and Heritage" since July 2021. In her research with the working title "Storytelling from the archives" she argues, that any object such as a record, a photograph, a building or a software, can play an important role in the memory making when it becomes a document. Her research interweaves the history of architecture with social movements and civic self-organisation, thereby focusing on her case study – the "Laguna Vere" – an aquatic sports complex in Tbilisi.

Mariam Gegidze was born in Tbilisi, Georgia and graduated from the architecture faculty of the Tbilisi State Academy of Arts. Since 2007 she lives in Berlin, where she studied cultural studies at Humboldt University of Berlin and worked as an assistant editor in the architecture Journals ARCH+ and BauNetz. She participated in the last two editions of Tbilisi Architecture Biennial; in the exhibitions Dialogic City – Berlin wird Berlin and Post-Oil City. She recently edited the publication "Laguna Vere".

### MARK SAWYER

Mark's research focuses on the mediatisation of space and media practices in architecture. He received his PhD from the University of Western Australia, studying how ideas and practices from North America and Europe made their way into Australian architecture and were mediated through the image-type assemblages of post-modern architectural magazines. His research outputs include both traditional scholarly publications and creative works, including exhibitions.

### MARTIEN DE VLETTER

For more than ten years Martien de Vletter worked at the Netherlands Architecture Institute (NAI) in Rotterdam. At March 1 2008 she started as Publisher at SUN Architecture in Amsterdam. At the NAI De Vletter worked as a Chief Curator for the last five years and in that position she was responsible for all the exhibitions, lectures, debates, educational programmes, publications and the curatorial team. De Vletter curated exhibitions alongside as well, like the monographic exhibition with and on UN Studio (2002), Asymptote (2003) or Le Corbusier (2007). Furthermore she curated thematic exhibitions such as the one on architecture and urban planning of the seventies in the Netherlands (2004), Architecture in the former Dutch East Indies (2007), the history of the State Architect (2006) and she was the curator of the Dutch Pavillion at the Venice Biennial of Architecture in 2006, with an exhibiton on the perspective in architectural drawings.

Martien de Vletter published books and articles on several topics like the monograph on the Dutch Modern Architect J.J.P. Oud (with Ed Taverne and
Cor Wagenaar), on the architecture of the seventies in the Netherlands and
several books and articles on architecture in the Dutch East Indies.

In March 2008 Martien de Vletter started as the new publisher of architecture
books at SUN Publishers in Amsterdam. SUN Publishers has been focusing on
theoretical and practical books on architecture for a Dutch public. De Vletter
continued this line, but also explored the international context for publishing,
and transforming the architectural publishing line into an international
publishing house. Besides running the publishing company, she has set up an
international webshop for books on architecture (www.architecturebooks.eu).

In 2012 Martien de Vletter started as the Associate Director Collection at the Canadian Centre for Architecture. In this role she is responsible for acquisitions, donations, collection care, loans, access to the collection and supervision of the department. In 2014 she organized the ICAM conference in collaboration with Avery library and MoMA.

MARYIA RUSAK

Maryia Rusak is an ETH Postdoctoral Fellow (2022–2024) at the Chair of the History and Theory of Urban Design, gta, ETH Zürich, led by Prof. Dr. Tom Avermaete. Maryia’s postdoctoral project investigates the Nordic architecture of foreign aid in postcolonial Africa, focusing on the pragmatic economic rationale behind architectural production. Before joining gta, Maryia completed her PhD at the Oslo School of Architecture and Design (2022) under the supervision of Prof. Mari Hvattum. Her doctoral dissertation examined the prolific building output of Moelven Brug—a Norwegian timber prefabrication company that, between 1955 and 1973, built schools, large housing developments and public buildings across the country. During her PhD, Rusak has been a research fellow at the Bauhaus Global Modernism Lab in Dessau (2020), where she co-curated an exhibition about the emergence of new environmentally-conscious building materials and co-taught AHO Master’s studio course on new timber constructions (2021). In her research, Maryia is particularly interested in histories of everyday objects, webs of bureaucratic institutions, obscure intricacies of architectural production and, in general, how things are made. Rusak holds an M.Arch. in Sustainable Urban Planning and Design from KTH, Royal Institute of Technology in Stockholm, Sweden and a BA (magna cum laude) from Princeton University, USA. She has recently been a Visiting Fellow at the Architectural Theory Research Centre at the University of Queensland, Australia (2023).

MECHTHILD EBERT

Mechthild Ebert studied architecture at Bauhaus-Universität Weimar and Universidade Federal de Minas Gerais in Belo Horizonte, Brazil. Since 2020 she is a research associate at saai – Archive for Architecture and Engineering at KIT Karlsruhe, where she among other things co-curated the Exhibition

"Architecture for an Open Society". Before that she was responsible for the Archive Hans Hollein, Az W and MAK, Vienna. At the Architekturzentrum Wien she curated the exhibition Hans Hollein unpacked: The Haas-Haus'. Her research focuses on the genesis of architectural archives and which role they play in preserving certain narratives and hence can play in questioning those.

MEGHAN HO-TONG

Meghan Ho-Tong is an architect, and educator, based in South Africa operating at the interface of architectural practice and creative research. Her work uses artistic modes of thinking to investigate structures of dominion in the built environment, foregrounding femme perspectives with histories and spatialities of the Global South. She uses filmmaking as a research methodology, and has co-produced Chorus for MAXXI Museum’s exhibition Buone Nuove: Women in Architecture (2021), also screened at Arquiteturas Film Festival Porto (2022), ByDesign Festival Seattle (2023), and Monument, screened on Future Architecture Platform (2020). She is a research assistant and part-time lecturer at the University of Cape Town School of Architecture, Planning and Geomatics.

MELTEM YALÇIN UYSAL

I am Meltem Yalçın Uysal from Turkey. I graduated from the Izmir Institute of Technology in 2016 with a bachelor's degree in architecture. After that I got master degree from Politecnico di Milano department of Architecture and Urban Design. Since 2019, I have been working in Turkey as an architectural designer and project leader. I consider human nature and social sciences as inevitable design elements in all kinds of scales. The psychology of users at the architectural scale and the sociological implications of urban and regional planning play a major role in my design approaches.

MERİÇ ALTINTAŞ KAPTAN

Meriç Altıntaş Kaptan is a PhD candidate at Istanbul Technical University (ITU), Construction Sciences Program. Her major research interests include technological adaptation, refurbishment, and transformation of modern buildings and sites. Meriç is a graduate of Robert College (2010), received her B.Sc. in Architecture (2015) and her M.Sc. in Environmental Control and Building Technologies Program (2018) from ITU. Between 2018–2019, she has participated as a researcher in an Erasmus+ partnership project entitled “Re-use of Modernist Buildings (RMB)”. Meriç is a WG3 member of the COST Action MCMH-EU project and is engaged in FOMA Forgotten Masterpieces project as a DOCOMOMO Germany fellow. Since 2018, she is working as a full-time research assistant in the Architecture Department at ITU, and is a member of DOCOMOMO-TR, Technology Committee. Currently, she is pursuing her studies at TU Delft as a guest PhD researcher.
MONIKA PLATZER

Head of collection and curator at the Architekturzentrum Wien (Az W). Studied art history and holds a doctorate from the University of Vienna. She has led national and international research and exhibition projects at leading institutions such as the Canadian Centre for Architecture (CCA) and the Getty Research Institute (GRI). Her exhibitions include: Hot Questions – Cold Storage. The Permanent Exhibition at the Az W; Cold War and Architecture. The Competing Forces that Reshaped Austria; “Vienna. The Pearl of the Reich. Planning for Hitler”; Lessons from Bernard Rudofsky; Shaping the Great City. Modern Architecture in Central Europe 1890–1937; She has taught at the University of Vienna and the Technische Universität Wien; editor of ICAM print, the journal of the International Confederation of Architectural Museums (2004–2020). In 2014, she was visiting scholar at the Center for European Studies, Harvard University, USA. Her research focuses on transnational architectural history.

PATRICIO DEL REAL

Patricio del Real is an architectural historian who works on modern architecture and its transnational connections with a focus on the Americas. He explores the changing ideological maps and geographies of modernity, and the ways in which cultural and racial imaginaries have shaped the story of modern architecture. His courses—including, Making Buildings Beautiful, Architecture and Authoritarianism, Mestizo Nations: Modern Architecture in Mexico and Brazil, Architecture and Utopia in the 20th Century—explore modernism as a global phenomenon, taking on practices of design as these shape political and cultural power in our built environment.

His new book, Constructing Latin America: Architecture, Politics, and Race at the Museum of Modern Art, examines multiple architecture exhibitions and MoMA as a cultural weapon. It looks at its Department of Architecture and Design as it navigated the thorny politics of Pan Americanism and the cultural conflicts of the second postwar era. Del Real co-edited the anthology, Latin American Modern Architectures: Ambiguous Territories (Routledge, 2012).

Del Real is Exhibitions Review Editor for the Journal of the Society of Architectural Historians and further investigates curatorial practices in architecture through seminars, workshops, and courses. Seeking new ways to collaborate, he developed Displaying Latin America and Architecture in the ‘Museum’—with departments across Harvard and UNAM, Mexico and PUC, Chile—and in Curating Architecture Across the Americas, an ongoing program that brings together historians, scholars, and curators to define this nascent field.

Del Real holds a PhD in Architecture History and Theory from Columbia University and a Master of Architecture from Harvard's Graduate School of Design. Before coming to Harvard, he was Visiting Associate Research

Scholar and Lecturer in the Program of Latin American Studies at Princeton University. Prior, he worked at MoMA's Architecture and Design Department on several collection and temporary exhibitions, and co-curated Latin America in Construction: Architecture 1955-1980, which received the 2017 Philip Johnson Exhibition Catalogue Award, recognizing excellence of architectural history scholarship in exhibition catalogues. He was the recipient of the 2015 Ann and Lee Tannenbaum Award for Excellence in Curatorial Practices, given by the Museum of Modern Art Board of Trustees.

PAULE PERRON

Paule Perron is architect and researcher. She is co-founder of the architectural collective minor, which seeks to question the impact of our practices on the "landscape of our constructed mistakes" (Haraway, 2016). Through the act of building, minor explores minor interventions and questions their capacity to profoundly transform the matrices of power lodged in our material environments. Paule develops a feminist practice between research and project, questioning the perpetuation of power relations, with a particular focus on gender discrimination. She recently curated the exhibition "Des corps dans la ville. Architectures, féminismes, et espaces construits" at the MAIDF, Paris, 2022. She is a member of the research platforms Domotopie (FNS n° 192831) HEAD - Geneva x EPFL, and Scènes de Nuit, HEAD - Geneva. Her work has been published and exhibited in institutions such as Plan Libre, Architecture d'Aujourd'hui and Villa Noailles.

PHILIP GOLDSWAIN

Philip is a senior lecturer in the School of Design at the University of Western Australia. Philip holds PhD in architectural history from the University of Melbourne (2020) and his research focusses on the relationship between the built environment and its visual representation.

SARAH HEARNE

Sarah Hearne is an architectural historian, educator, and curator. She received her Ph.D. in Architectural History at the University of California Los Angeles in 2020 with her dissertation "Other Things Visible on Paper: Architectural Writing and Imaging Craftsmanship 1960-87," which she is currently reshaping into A Getty Foundation Paper Project supported exhibition, Print Ready Drawings opening at the MAK Center for Art and Architecture in 2023. Her previous curatorial work includes an exhibition and symposium on information management and display in contemporary architectural research, titled Fieldwork (2015) at the University of Technology Gallery in Sydney. More recently, she was a co-curator on Schindler House: 100 Years in the Making (MAK Center for Art and Architecture, 2022),
Architecture Itself and Other Myths of Postmodernism (Canadian Centre for Architecture, 2018), and the 2017 Chicago Architecture Biennial with Johnston Marklee for which she co-edited the corresponding catalog, Make New History, published by Lars Müller. She is an Assistant Professor at the University of Colorado Denver, where she teaches history theory and Chairs the College of Architecture and Plannings inaugural Exhibition Committee.

## SERGIO M. FIGUEIREDO

Sergio M. Figueiredo is an architect, author, curator and historian. He is an Assistant Professor of Architecture History and Theory at TU Eindhoven (TU/e), where he founded the Curatorial Research Collective (CRC), a fledgling curatorial and research group. At TU/e, he is also the chair of the AUDE Research Committee, the coordinator for the research seminars on architecture and urbanism, as well as the chair and head curator of CASA Vertigo, the exhibition program of the Department of the Built Environment. Outside the TU/e, he serves in the advisory board of the Flanders Architecture Institute (VAI) as well as the advisory peer group of the International Architecture Biennale Rotterdam (IABR). Figueiredo's work focuses on architectural institutions and exhibitions, particularly how they shape (and are shaped by) architectural culture, which he continues to develop through numerous contributions to publications and conferences, including guest editorships for the journals OASE and Architecture & Culture. His first book, The NAi Effect: Creating Architecture Culture, was published in 2016 by nai010 publishers.

## SETAREH NOORANI

Setareh Noorani is an architect, researcher and curator at Nieuwe Instituut. Her current (curatorial) research at the Nieuwe Instituut (Rotterdam, NL) focuses on the qualitative, paradigm-shifting notions of decoloniality, feminisms, queer ecologies, non-institutional representations, and the implications of the collective, more-than-human body in architecture, its heritage and ambiguous future scenarios – for instance as part of the projects Collecting Otherwise, Appropriation as Collective Resistance, Feminist Design Strategies, and Modernisms Along the Indian Ocean. Setareh Noorani received for this work the Museum Talent Prize 2021, awarded by the Dutch Ministry of Culture and Science and, most recently, the Mondriaan Fund. Currently, she is involved in the selection committee of the yearly Nieuwe Instituut Call for Fellows, with 2023's co-curated theme titled Tool Shed. Recently, Noorani was part of the curatorial team of the London Design Biënnale 2023, and involved in the selection committee of the 2022 Tilting Axis Fellowship. Her work has been published on various outlets, such as nai010 publishers (ongoing series Documents and Histories), Footprint Journal, and Radical Housing Journal. Noorani holds a master's degree (MSc) in Architecture (TU Delft, cum laude).

## SMARO KATSANGELOU

Born in 1999 in Thessaloniki, Smaro holds a Master's Degree in Architecture from AUTh as Class of '22 Valedictorian. She is currently completing her studies in the MSc. Program for Conservation of Cultural Monuments in AUTh and has been accepted to the PhD program for CreativeAI at Florida Atlantic University in the U.S (starting Fall 2023). Her research and professional interests focus on the intersection of culture and urbanity with digital media. She has participated in research projects regarding history of architecture, visual arts and urbanism in Thessaloniki and has designed numerous exhibitions and spaces across Greece.

## UTA POTTGIESSER

Uta Pottgiesser studied architecture at the TU Berlin and completed her doctorate at the TU Dresden. She has been Professor of Heritage & Technology at TU Delft in the Netherlands since 2018 and Professor of Building Construction and Materials at TH OWL since 2004 where she is co-founder of the Institute for Design Strategies (IDS). As chair of the non-governmental organisation DOCOMOMO International and as a practising architect and researcher, she is concerned with the protection, reuse and optimisation of built heritage and the environment. DOCOMOMO International is represented by 79 national working groups worldwide and by several international specialist committees and is editing the peer-reviewed and Open Access DOCOMOMO Journal.

## WIDO QUIST

Wido Quist (1977) is Associate Professor in Heritage & Technology and leading the section Heritage & Architecture at TU Delft (The Netherlands). He is Secretary General of Docomomo International, Chair of Docomomo Netherlands and was a board member of WTA NL-VL until 2023. Since 2022 he is—together with Uta Pottgiesser—editor in chief of the SCOPUS indexed Docomomo Journal. Recently published Docomomo Journals include #66 on Modern Plastic Heritage, #67 on Multiple Modernities in Ukraine and #68 on Middle-Class Mass Housing. He has been active in many different national and international research and educational projects and has published extensively in the fields of construction history, adaptive reuse and modern heritage. His research and teaching centres around the preservation and adaptive re-use of the built legacy of the 20th century, connecting the specialist disciplines. Intertwining Values, Design and Technology, he is an expert on the crossing between historical knowledge of modern building materials and strategies for conservation and re-use.
XAVIER VAN ROOYEN

Xavier Van Rooyen graduated in architecture in the School of Architecture in Liège. He has practiced architecture since many years, as an assistant architect first, for JDS Julien de Smedt architects and Pierre Hebbelinck and then founding his own office where he developed several public commissions. He joined the Department of Architectural Design at ULiège as an assistant professor in 2012, where he developed his PhD with Jacques Lucan, author of Composition, non composition, and Bernard Kormoss.

His PhD project has a special research interest in the public realm and the theories of architecture in Western and non Western 1960's contexts. His research examines precedents, design attitudes, methods and instruments with the explicit ambition to construct a historiography of the structure of indeterminate architecture since the 1960s. Xavier Van Rooyen is also assistant professor in UMs (Belgium) where he teaches history and theory of architecture and is a guest researcher at TU Delft with a special focus on MVRDV digital archives.

YAĞIZ SÖYLEV

Yağiz Söylev is an architect and researcher. He holds an MSc degree with honours in architecture from TU Delft. His expanded practice involves architectural design, visual research, curation and mapmaking. He is currently a researcher and teacher at the Department of Architecture at TU Delft and participates in several teaching and research activities in the section of Building Knowledge, including the *Campus Utopias* programme. Since 2021, he is co-responsible for the cartographic studies in the *OverHolland* journal. His research interests include informal learning environments and global networks of knowledge transfer from a decolonial perspective. Söylev was the associate curator of the Vardiya-The Shift Exhibition at the Pavilion of Turkey at the 16th Venice Architecture Biennale in 2018 and co-authored the TWTRATE project which was exhibited at the 2nd Istanbul Design Biennial. Moreover, his work has been showcased at various international exhibitions, such as The Shenzhen Bi-city Biennale of Urbanism\Architecture in 2019 and Dutch Design Week in 2023. He has practised as an architect at KAAN Architecten in Rotterdam and kpm - Kerem Piker Architecture Studio in Istanbul. In 2022, Söylev received the Building Talent grant from the Creative Industries Fund NL and collaborated with NEXT architects for a project called Schools with Future Value. He was a contributor of the winning proposal for the European 14: Neu Ulm competition.

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Programme
22.11.2023

TU Delft

Berlage Zaal 1

10.30

Doors open

10.45

Welcome

Dick van Gameren, Dean of the Faculty
of Architecture and the Built Environment
(TU Delft) and Dirk van den Heuvel,
Head of the JBSC (NI, TU Delft)

11.00

Platforms

Moderated by Georg Vrachliotis (TU Delft)

Open Digital Architecture Archives
or the Infinite Metaphorical Iteration
of Architecture
Xavier Van Rooyen
(Université de Mons, TU Delft)

Progress Though Preservation:
The Value of an Active Archive
in Practice
Aymée Thorne Clarke
(Rogers Stirk Harbour + Partners)

Beyond Provenance:
Designing Building Archives
Erin Besler (Princeton University)
and Sarah Hearne
(University of Colorado, Denver)

Data, Memory, Manual:
Operationalising the Architectural
Archive as a Tool for Design
Leo Stuckardt (MVRDV)

Q&A

12.30

Lunch Break

13.30

Curatorial
Practices

Moderated by Yağiz Söylev (TU Delft)

Curating Croatian Architectural
Archives: Curating Croatian
Architectural Futures
Ana Martina Bakić (Zagreb University)

Zaha Hadid Foundation:
Interdisciplinarity and Intersectionality
Jane Pavitt and Catherine Howe
(Zaha Hadid Foundation)

Archives without Walls:
A Reflection on Post-Custodial
Architecture Archives
Sergio M. Figueiredo

(TU Eindhoven,
Curatorial Research Collective)

Archived: The Western Museum
Archive as Open-World Game
Andreea Iliescu (Royal College of Art)

Q&A

15.00

Break

15.30

Archival
Constructions

Moderated by Fatma Tanış (NI, TU Delft)

Archives of the Ordinary:
On the Archive of Research
Maryia Rusak (ETH Zürich)

Immersed in a Virtual Harvest:
Formation of a Narrative-Driven,
Spatial Archive Based on 3D-Scanned
Architectural Assemblies
Maria Kyrou
(Universität der Künste Berlin)

From Collecting to Connecting
or How Not to Collect
Martien de Vletter (CCA)

Q&A
22.11.2023

TU Delft

Room K

10.30

Doors open

11.00

Social Media

Moderated by Angela Rout (TU Delft)

Mediated Archives: The Interiors of Instagram and TikTok

Javier Fernández Contreras and Paule Perron (HEAD - Genève (HES-SO))

Progressive Archiving: Strengthening Architectural Practice through Digital Integration and Integrative Approaches

Meltem Yalçın Uysal (Independent Scholar)

Continuity or Discontinuity of Architectural History: Digital Architectural Repositories and Social Media as Archives

Jovana Tošić (Information Technology School - ITS Belgrade)

createGalleries.py: An Abstract Formulation of an Art Gallery in Venice
Julian Besems (UCL, ETH Zürich)

Q&A

12.30

Lunch Break

13.30

Precarious Archives

Moderated by Wido Quist (TU Delft)

A Living Open Architecture Archive: Lessons from Docomomo and Architectuul Collaboration, Challenges and Potentials Meriç Altıntaş Kaptan (Istanbul Technical University), Christian Burkhard (Architectuul, Universität Kassel), and Uta Pottgiesser (TU Delft, TH OWL)

Unsolicited Accounting of Centralised Planning Institutes' Project Documentation
Algimantas Grigas (Kaunas University of Technology, Institute of Architecture and Construction)

Unboxing the Martha Levisman Collection: A Case of Cultural Activism Arrives at the Di Tella Architecture Archive Isabella Moretti (Torcuato Di Tella University, Torcuato Di Tella Architecture Archive / Cooperativa Espacial)

Unpacking Soviet Architecture Collections: Tbilisi Architecture Archive Mariam Gegidze (Tbilisi Architecture Archive)

Q&A

15.00

Break

15.30

Old Media

Moderated by Burcu Köken (TU Delft)

Click, Whirr, Jam: Architecture in and through the 35mm Photographic Slide

Philip Goldswain (University of Western Australia) and Mark Sawyer (University of Tasmania)

Revealing Archives via Dialogic Mapping: Explication of Discourses on Architectural Education in Mimarlık Journal
Gizem Özer Özgür (Istanbul Technical University)

Journals as Maps: Reconsidering BiDiRIA Federico Deambrosis, Andrea Gritti, and Luka Skansi (Politecnico di Milano)
23.11.2023

Nieuwe Instituut
Auditorium

10.30

Doors open

10.45

Introduction

Aric Chen, General and Artistic Director
of the NI

11.00

Metanarratives

Moderated by Dirk van den Heuvel
(NI, TU Delft)

The Powers of Metadata:

Stories of Archival Knowledge Constructions
Mechthild Ebert (KIT/saai Karlsruhe)
and Anna-Maria Meister (KHI, Max Planck
Institute, KIT/saai Karlsruhe)

'Az W Collection Online Meets
the Encyclopaedia of Architects':
Our Kickoff Project to Something Larger
Monika Platzer and Iris Ranzinger
(Architekturzentrum Wien)

Cherchez la Femme:

Finding the Feminised Line
Dana Arnold
(Manchester School of Architecture)

Q&A

12.30

Lunch Break

13.30

Decolonising

Moderated by Setareh Noorani (NI)

Indigenising the Archive: Girjegumpi
– The Sámi Architecture Library

Carlos Mínguez Carrasco
and Frida Rosenberg (ArkDes)

Reading Sino-African Archives:

Expanding Histories of the South
Meghan Ho-Tong
(University of Cape Town)

Futurising Latin America:
With the Anxiety of Presentism,
We Enter the Archive
Patricio del Real (Harvard University)

Q&A

15.00

Break

15.30

Archival Excess

Moderated by Alejandro Campos Uribe
(TU Delft)

Activating Social Housing Archives

(Meeting Minutes)
Heidi Svenningsen Kajita
(University of Copenhagen)
and Jos Boys (Independent Scholar)

In Search of Architecture
in Non-Architectural Archives:
Learning from the Archive
of the Swiss National Bank
Ludo Groen (ETH Zürich)

Museum-Archive in Polygyros,
Chalkidiki, Greece:
New Technologies, Exhibition Design,
and Archival Research
Smaro Katsangelou
(Florida Atlantic University)

Bootleg Archives:
Lessons from Exhibiting Unsanctioned
Architectural 'Heritage'
Ana Miljački (MIT)

Q&A

17.00

Concluding
Remarks
CONFERENCE

Conference organising committee:

Dirk van den Heuvel (convenor of the conference and head of the Jaap Bakema Study Centre)

Alejandro Campos Uribe (TU Delft)

Fatma Tanış (coordinator of the Jaap Bakema Study Centre)

Academic advisory board:

Tom Avermaete (ETH Zürich)

Hetty Berens (Nieuwe Instituut)

Maristella Casciato (Getty Research Institute)

Carola Hein (TU Delft)

Georg Vrachliotis (TU Delft)

PROCEEDINGS

Editorial team:

Dirk van den Heuvel

Fatma Tanış

Winnie van de Sande

Graphic design:

Ronja Andersen

Published by TU Delft and Nieuwe Instituut, Rotterdam, November 2023.

Copyright is with TU Delft, Nieuwe Instituut and the individual authors.
Nieuwe
Instituut

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TUDelft
BK Bouwkunde