THE ROUTLEDGE COMPANION

TO ARCHITECTURAL DRAWINGS
AND MODELS

Architectural drawings and models are instruments of imagination, communication, and his-
torical continuity. The role of drawings and models, and their ownership, placement, and
authorship in a ubiquitous digital age deserve careful consideration. Expanding on the well-
established discussion of the translation from drawings to buildings, this book fills a lacuna
in current scholarship, questioning the significance of the lives of drawings and models after
construction.
Including emerging, well-known, and world-renowned scholars in the fields of architec-
tural history and theory and curatorial practices, the thirty-five contributions define recent
research in four key areas:

• drawing sites/sites of knowledge construction: drawing, office, construction site;

• the afterlife of drawings and models: archiving, collecting, displaying, and exhibiting;
• tools of making: architectural representations and their apparatus over time; and
• the ethical responsibilities of collecting and archiving: authorship, ownership, copyrights,
and rights to copy.

The research covers a wide range of geographies and delves into the practices of such
architects as Sir John Soane, Superstudio, Eugène-Emmanuel Viollet-le-Duc, Frank Lloyd
Wright, Wajiro Kon, Germán Samper Gnecco, A+PS, Mies van der Rohe, and Renzo Piano.

Federica Goffi, PhD, is Interim Director, Professor of Architecture, and Co-Chair of the
PhD and MAS Program in Architecture at the Azrieli School of Architecture and Urbanism at
Carleton University, Ottawa, Canada. Her book, Time Matter[s]: Invention and Re-imagination in
Built Conservation: The Unfinished Drawing and Building of St. Peter’s in the Vatican, was published
by Ashgate in 2013. Her recent edited volumes include Marco Frascari’s Dream House: A Theory
of Imagination (Routledge 2017); InterVIEWS: Insights and Introspection on Doctoral Research in
Architecture (Routledge 2019), and the coedited Ceilings and Dreams: The Architecture of Levity
(Routledge 2019). She is the editor of And Yet It Moves: Ethics, Power, and Politics in the Stories
of Collecting, Archiving and Displaying of Drawings and Models (Routledge 2021). She holds a PhD
in Architecture and Design Research (Virginia Tech), a Dottore in Architettura (University of
Genoa), and she is a licensed architect in her native country, Italy.
“In 1916, when the first architectural drawings from the recent past were brought
in to lie beside those of Palladio and Jones at the RIBA, Halsey Ricardo spoke of
the ‘pathetic eloquence’ with which they pictured a society, culture, and patterns
of thought of a time just past. It is vital, if such pictures are to be faithfully drawn,
to explore the patterns of collection by which architectural drawings and models
have been preserved; the differences between the archival discipline and the process
of inquiry in examining them; and commonalities or divergences in characteristics
of drawings that may derive from hundreds of thousands in a modern office, or
the scarce fragments of a Renaissance studio or Enlightenment collector’s cabinet.
Here is a scrupulously curated conversation that—perhaps for the first time—does
just that.”
Nicholas Olsberg, Former Director of the Canadian Centre for Architecture, Montreal

“From tools of making to the documentation of built projects, drawings and models
have long played a central role in the conceptual development of architectural
projects. This momentous collection of essays brilliantly shows the development
of the discipline by taking a new look at the traces left by the process of form gen-
eration, and offers glimpses of the potential for action in the contemporary world.
The scope of subjects and the breadth of erudition makes this thought-provoking
collection a must-read for anyone interested in the significance of architecture.”
Louise Pelletier, Director, Design Center, University of Quebec at Montreal (UQAM)

“The archive has been a potent metaphor for scholars in recent decades, but this cor-
nucopia of first-hand accounts insists on the archives as a physical site, one often deeply
engaged in the politics of architecture and of reputations. A combination of oral his-
tory from those who have been at the helm of key collections and reflective texts on
the very nature of architectural documents provides invitations for future historical
work both for students launching a career and the most seasoned scholar alike.”
Barry Bergdoll, Meyer Schapiro Professor of Art History, Columbia University, New York
(and former Chief Curator of Architecture and Design at
the Museum of Modern Art, New York)
 THE ROUTLEDGE
COMPANION TO
ARCHITECTURAL
DRAWINGS AND MODELS
From Translating to Archiving,
Collecting and Displaying

Edited by Federica Goffi

 Cover image: Angelic drawing by Marco Frascari. 2010 ca. © Marco Frascari Collection,
The Architectural Archives, University of Pennsylvania.

First published 2022

by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 selection and editorial matter, Federica Goffi; individual chapters, the contributors
The right of Federica Goffi to be identified as the author of the editorial material, and of the
authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Goffi, Federica, editor.
Title: The Routledge companion to architectural drawings and models: from translating
to archiving, collecting and displaying/edited by Federica Goffi.
Description: Abingdon, Oxon; New York: Routledge, 2022. |
Includes bibliographical references and index.
Identifiers: LCCN 2021046344 (print) | LCCN 2021046345 (ebook) | ISBN 9780367511463
(hardback) | ISBN 9780367511500 (paperback) | ISBN 9781003052623 (ebook)
Subjects: LCSH: Architectural drawing. | Architectural models.
Classification: LCC NA2705 .R68 2022 (print) | LCC NA2705 (ebook) | DDC 720.28/4–dc23
LC record available at https://lccn.loc.gov/2021046344
LC ebook record available at https://lccn.loc.gov/2021046345
ISBN: 978-0-367-51146-3 (hbk)
ISBN: 978-0-367-51150-0 (pbk)
ISBN: 978-1-003-05262-3 (ebk)
DOI: 10.4324/9781003052623
Typeset in Bembo Std
by KnowledgeWorks Global Ltd.
 This book is dedicated to
those who keep the doors open to research, regardless of disciplinary expertise,
and to the memory of Mary Vaughan Johnson (1961–2021).
Taylor & Francis
Taylor & Francis Group
http://taylorandfrancis.com
 CONTENTS

List of Figures xi
List of Contributors xxv
Preface and Acknowledgments xxxv
Abbreviations xxxix

Introduction: Ceci n’est pas une Archive xliv

Federica Goffi
Chapter Abstracts  lxxiii

PART I
Drawing Sites/Sites of Knowledge Construction: Drawing, Office,
Construction Site 1

1 A Well-Sited Archive: The Carlo Scarpa Archive at the Castelvecchio

Museum 3
Alba Di Lieto

2 The “House Arrest” of Michelangelo’s Mural Drawings 17

Jonathan Foote

3 Representing Geohistory: Exploring Drawing as Reconstruction in the

Archives of Eugène-Emmanuel Viollet-le-Duc 32
Aisling M. O’Carroll

4 Buildings as Unsolicited Drawing Surfaces: An Atlas of Athenian

Inscriptions 47
Konstantinos Avramidis

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 Contents

5 Brazilian Architectural Archives and Contemporary Challenges: The

Archives of Paulo Mendes da Rocha, Gregori Warchavchik, Lina Bo
Bardi, Roberto Burle Marx, Lúcio Costa, and Oscar Niemeyer 62
Sol Camacho

6 The Place of Models and Drawings in Sir John Soane’s House and Museum 80
Helen Dorey

7 The Fabbriceria and the Mise en a-BIM: Where and What Are We Trying
to Hide? 100
Claudio Sgarbi and Jesse Rafeiro

8 Finding Traces in Germán Samper’s Sketches: Making Public the

Private Archive 114
Maria Elisa Navarro Morales, Cristina Albornoz Rugeles, and
Alejandro Henríquez Luque

9 The Living Archive: The Renzo Piano Building Workshop and the
Renzo Piano Foundation 127
Renzo Piano (RPBW), Chiara Bennati, Nicoletta Durante, and Giovanna Langasco
(RPF), Interviewed by Federica Goffi

PART II
The Afterlife of Drawings and Models: Archiving, Collecting,
Displaying, and Exhibiting 141

10 Chance and Change: The Survival and Significance of Architectural

Drawings and Models 143
Olivia Horsfall Turner

11 Life and Afterlife of a Design Process: Models and the Building of the
Royal Albert Hall 157
Simona Valeriani

12 Thin Sheets: Tracing Openings within the Archival Matter of Alison +

Peter Smithson 172
Ashley Mason

13 The Intimate Archive: Sites of Representation and Embodiment in a

Reading of Drawing Matter 185
Sophia Banou

14 Monuments in Motion: Exhibiting the Full-Scale Replicas from the

Barcelona School of Architecture Collection 198
Carolina B. García-Estévez

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 Contents

15 The Secret Afterlife of Three Drawings and the Reproduction They

Spawned 211
Adam Sharr

16 The Singular Afterlife of What Was Once an Architectural Model 225

João Miguel Couto Duarte

17 Everlasting Inspirations of Archival Architectural Drawings in Japan:

Traveling Avant-Garde Survey Sketches by Wajiro Kon 235
Izumi Kuroishi

18 When Is Architecture Art? Architectural Representations and the

Postmodern Art World, or, Socioaesthetics 249
Jordan Kauffman

19 Cold War Odyssey: The Story of Mies van der Rohe’s Drawings
and Papers 263
Dietrich Neumann

PART III
Tools of Making and Knowledge Construction: Architectural
Representations and Their Apparatus over Time 277

20 I Will Begin with the Jar of Empty Pen Caps: The Architectural
Archives of the University of Pennsylvania 279
William Whitaker

21 Animate Instruments: Imagination and Architectural Drawing Tools 293

Paul Emmons

22 The Architectural Office Space as a Measuring Tool 308

Marian Macken, Sarosh Mulla, and Aaron Paterson

23 Tear It Down! Agency and Afterlife of Full-Size Models 321

Fabio Colonnese

24 On the Archive Table: Embodiment, Objectivity, and the Construction

of Historical Knowledge 334
Athanasiou Geolas

25 How Wrapping Paper Transforms Its Contents: City Metaphors and

O. M. Ungers’ Ghost Images 347
Samuel Korn

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 Contents

26 108 Embodiments of Potential Architecture: On Sisyphean Digital

Libraries of Projects 363
Jean-Pierre Chupin and Carmela Cucuzzella

27 The Nature of Architecture: The Primitive Hut and the Nordic Pavilion 377
Jonathan Hill

PART IV
The Ethical Responsibilities of Collecting and Archiving:
Authorship, Ownership, Copyrights, and Rights to Copy 391

28 A Collector’s Ethical Responsibilities? Álvaro Siza’s Social Housing

Projects at the Drawing Matter Archive 393
Niall Hobhouse, Interviewed by Andrew Clancy

29 The Move of the Frank Lloyd Wright Drawings and Models: From
Private Archive to Public Collection and Its Promotion of Use and
Deterrence of Abuse 403
Neil Levine

30 After the Original (the Afterimage): High Costs, Low Roads, and
Circumventions 415
Marcia F. Feuerstein

31 Rise and Fall of a Draftsman: A Biographic Reading of the Lequeu

Legacy at the National Library of France 430
Elisa Boeri

32 Collecting “Slowly but Surely” Constructing the Swedish Museum of

Architecture in Stockholm 444
Christina Pech

33 On the Silence of the Colonial Archive: Examining Sensorial Agency

through the Archival Drawings of Indian Residential Schools in Canada 460
Émélie Desrochers-Turgeon

34 The Luis Barragán Archives: A Long and Controversial Story 476

Louise Noelle

35 The Anxiety of Architectural Archives 486

Janet Parks

Index 501

x
 FIGURES

0.1 Marco Frascari, Angelic Drawing. June 9, 2010, circa. © The Architectural
Archives of the University of Pennsylvania Stuart Weitzman School of
Design. xlvi
0.2 Left: Architectural elements of the Rideau Chapel were removed via an
opening in the building. Photo: Heritage Ottawa Report, 1972–1973.
Right: Interior of the Rideau Chapel, 2019, National Gallery of Ottawa,
Canada. © Federica Goffi. li
0.3 Hybrid collage showing the Historical Archives of the Fabric of St. Peter’s
in the Vatican. Left: Plan of the archives located in octagonal rooms above
the level of the barrel vaults. Right: Drawing plan and section of the
octagon of St. Jerome where the model (1539–1546) of Antonio da
Sangallo the Younger (1484–1546) for St. Peter’s is kept. © Federica Goffi. lvi
0.4 Carlo Scarpa Archive. Castelvecchio Museum, Verona. © Photo courtesy of
Prakash Patel. lvii
0.5 Seminar on “Water” taught by Anu Mathur. On view, sketchbooks by
landscape architect Lawrence Halprin. September 2017. Harvey & Irwin
Kroiz Gallery, study and seminar room. © Courtesy of the Architectural
Archives of the University of Pennsylvania, Stuart Weitzman School of Design. lx
0.6 Venturi, Rauch & Scott Brown, architects. Entrance Screen for Art Sales &
Rental Gallery, the Philadelphia Museum of Art, Philadelphia, Pennsylvania.
Fabricated by Pemko Manufacturing, Memphis, TN, 1983–1984.
Removed in 2016 and installed in the current location at the
Architectural Archives of the University of Pennsylvania during summer
2018. Hardwood veneer, plywood, colorcore, and plastic laminate
(manufactured by Formica Corp.). © Photo by Federica Goffi. lxi
0.7 (a) Marco Frascari, Arthur Ross Gallery, entrance, University of
Pennsylvania. © Photo courtesy Prakash Patel. (b) Marco Frascari, plan
for the Arthur Ross Gallery, Fisher Fine Arts Building, University of
Pennsylvania. Scale 1/4″. © Courtesy of the Architectural Archives of the
University of Pennsylvania Stuart Weitzman School of Design. lxii

xi
 Figures

0.8 Drawing Matter archive, Somerset, the United Kingdom, during a visit
from Hugh Strange, Espen Vatn, Beate Hølmebakk, Thomas McQuillan,
and Tim Ainsworth Anstey, November 2019. © Courtesy of
Drawing Matter. lxiii
0.9 Pinup of drawings during a workshop in the Drawing Matter archive,
November 2019. © Courtesy of Drawing Matter. lxiv
1.1 Carlo Scarpa with Licisco Magagnato in the office at Castelvecchio Museum
(about 1964). © Courtesy of Carlo Scarpa Archive. Castelvecchio Museum,
Verona. 6
1.2 Installation of the equestrian statue of Cangrande della Scala a few days
before the inauguration of the museum (December 1964). The papier-mâché
model of the statue can be seen on the left. © Courtesy of Carlo Scarpa
Archive, Castelvecchio Museum, Verona. 8
1.3 Castelvecchio’s master plan of the ground floor of the museum with the
arrangement of the garden by Carlo Scarpa. Graphite, yellow, orange, green,
blue, and red pastels on heliographic copy (482 × 650 mm, 1:200 scale).
© Courtesy of Carlo Scarpa Archive, Castelvecchio Museum, Verona. 10
1.4 Carlo Scarpa: digital archive. Database of the Castelvecchio drawings.
© Courtesy of Carlo Scarpa Archive, Castelvecchio Museum, Verona. 11
1.5 Exhibition Carlo Scarpa. Glasswork and Drawings, 1925–1931. Sala Boggian,
Castelvecchio Museum, Verona, November 23, 2019 to March 29, 2020.
© Courtesy of Carlo Scarpa Archive, Castelvecchio Museum, Verona. 14
2.1 Michelangelo and others, mural drawings (right and left), apse of the Medici
Chapel of San Lorenzo, 1526–1555. © Photos by Antonio Quattrone with
permission from the Museo del Bargello. 18
2.2 Michelangelo and others, plan and section of the Medici Chapel with
wall mural overlay, by Jonathan Foote. Survey from Portoghesi and Zevi
1964: 158. 21
2.3 Federico Zuccari, Accademia del Disegno in the Medici Chapel, 1556, view
of the apse, The Louvre, inv. 4555. Photo © RMN-GP (Musée du Louvre)/
Michel Urtado. 22
2.4 Michelangelo, sketch for a column base. Photo by Jonathan Foote with
permission from the Museo del Bargello. 23
2.5 Michelangelo, sketch for the Medici tomb. Photo by Jonathan Foote with
permission from the Museo del Bargello. 25
2.6 Contemporary conditions with clear acrylic barrier and bronze wall mounts.
© Photo by Franco Pisani. 27
3.1 Top: Montenvers and the Mer de Glace, as seen from the chalet de La Flégère,
drawing by Eugène-Emmanuelle Viollet-le-Duc, September 14, 1869.
Bottom: L’Aiguille du Plan, drawing by Eugène-Emmanuelle Viollet-le-Duc,
August 1875. © Ministère de la Culture (France), Médiathèque de
l’architecture et du patrimoine, diffusion RMN-GP. 36
3.2 La Grande Salle at La Vedette, unknown photographer, 1879. © Ministère
de la Culture (France), Médiathèque de l’architecture et du patrimoine,
diffusion RMN-GP. 38
3.3 The Grande Salle as developed surface drawing, 2019. © Aisling M. O’Carroll. 40

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 Figures

3.4 Reconstruction of the Grande Salle, 1:1 mock-up, installation by Aisling

O’Carroll at Many Hands, The Biscuit Factory, London, UK, 2018.
© Aisling M. O’Carroll. 41
3.5 Le Massif de La Vedette, 1:25,000 map projected from a central point in the
room, 2019. © Aisling M. O’Carroll. 42
4.1 Athenian Writing Landscape drawing. Original drawing 1:2500,
1200 × 450 mm. © Konstantinos Avramidis, 2018. 51
4.2 Sample of text sheets from An Atlas of Athenian Inscriptions: A Book of
Drawings of Writings and Writings on Drawings (450 × 450 mm).
© Konstantinos Avramidis, 2018. 52
4.3 Onassis Cultural Centre Physical Texts Drawing—No Respect exhibition
interior developed surface. Original drawing 1:50, 450 × 1150 mm.
© Konstantinos Avramidis, 2018. 54
4.4 Detention Centre Physical Texts Drawings. Room VII Unfolded Section.
Original drawings 1:20, 450 × 1600 mm. © Konstantinos Avramidis, 2018. 55
4.5 Athens Polytechnic Physical Texts Drawings, West Elevation. Original
drawings 1:100, 450 × 1950 mm. © Konstantinos Avramidis, 2018. 56
4.6 Bank of Greece Physical Texts Drawings—Record Cards and East
Elevation. Original drawings 1:50, 450 × 1950 mm. © Konstantinos
Avramidis, 2018. 57
5.1 Modernist House on Rua Itápolis by Gregori Warchavchik, 1930.
© Coleção Gregori Warchavchik/Photo by Hugo Zanella. 63
5.2 Architectural planning of United Nations Permanent Headquarters, with
the Chief Planner Wallace K. Harrison and members of the ten-man Board
of Design Consultants and other consultants appointed to assist him in
drawing up plans for the construction of UN Permanent Headquarters,
including architects Le Corbusier and Oscar Niemeyer. © UN Photo. 63
5.3 Casa de Vidro, residence of Lina and Pietro Bardi in Morumbi, São Paulo.
© Instituto Bardi/Casa de Vidro, © Instituto Moreira Salles. Photo by
Francisco de Albuquerque, 1952. 66
5.4 Photo of a sketch of the urban plan for Brasília known as Plano Piloto. Lúcio
Costa © Casa de Lúcio Costa/photo by Casa de Lúcio Costa. 69
5.5 Photo of Oscar Niemeyer’s school identification card. The photo was taken
at the archive of the Fundação Oscar Niemeyer in 2015. © Fundação Oscar
Niemeyer, photo by Sol Camacho. 70
5.6 Instituto Burle Marx archivist, showing a Roberto Burle Marx’s drawing in
May 2021. © Instituto Burle Marx, photo by Lucas Botelho. 72
5.7 View of the models’ storage facility at Casa da Arquitetura. © Gilson
Fernandes, Casa da Arquitectura, Portuguese Center of Architecture. 73
5.8 Lina Bo Bardi overseeing the construction site of MASP. © Instituto Bardi,
Casa de Vidro. Unknown photographer. 75
5.9 Cultural Activity at the Summer Pavilion of Instituto Bardi, December
2018. © Photo Instituto Bardi. 75
6.1 View of the Dome area, Joseph Michael Gandy, watercolor on paper, 1190 ×
880 mm (1811). © By courtesy of the Trustees of Sir John Soane’s Museum,
London. 82
6.2 View of the upper drawing office at 13 Lincoln’s Inn Fields (detail from
Views of parts of the Museum &c. In Lincoln’s Inn Fields, as arranged about the year

xiii
 Figures

1822), Joseph Michael Gandy, watercolor on paper (1822). © Courtesy of Sir

John Soane’s Museum, London. 84
6.3 Part of the west pier in the Library at 13 Lincoln’s Inn Fields, watercolor on
paper (1825). © Courtesy of Sir John Soane’s Museum, London. 85
6.4 Various Designs for Public and Private Buildings 1780–1815, Joseph Michael
Gandy, watercolor on paper (1818). © Courtesy of Sir John Soane’s
Museum, London. 86
6.5 The Picture Room Recess at 13 Lincoln’s Inn Fields. © Courtesy of Sir John
Soane’s Museum, London. Photo: Gareth Gardner. 87
6.6 View of the Ante-Room, Adjoining the Belzoni Chamber, unpublished proof plate
for plate XIX of John Soane, Description of the Residence of Sir John Soane […],
1835, drawn by C.J. Richardson, engraving (c.1834). © Courtesy of Sir John
Soane’s Museum, London. 90
6.7 View of the Model Room, preparatory watercolor for Plate 4, John
Soane, Description of the Residence of John Soane […], 1830, drawn by C.J.
Richardson, watercolor on paper (c.1829–1830). © Courtesy of Sir John
Soane’s Museum, London. 91
6.8 The Model Room, 13 Lincoln’s Inn Fields. © Courtesy of Sir John Soane’s
Museum, London. Photo: Gareth Gardner. 93
7.1 (a) and (b) Remains and relics. © Photos by Claudio Sgarbi. 101
7.2 (a)–(c) Construction sites. © Photos and drawings by Claudio Sgarbi. 103
7.3 (a)–(f ) The Fabbriceria of Saint Petronius. © Photos, drawings, and graphic
collages by Claudio Sgarbi. 105
7.4 (a)–(c) Black boxes and flight recorders. © Drawings and collage by Claudio
Sgarbi. 107
7.5 A field of modelers inputs infinite amounts of big data into a BIM. © Jesse
Rafeiro. 110
8.1 Germán Samper sketching in Prague (1986). Samper carried a foldable chair and
a briefcase with paper and drafting tools when traveling. In this picture, he
is with his daughter. Photo by Genevieve Maquinay, paper, 15 × 10 cm.
© Courtesy of Germán Samper’s Personal Archive. 115
8.2 Urban door. Rothenberg (1986). This sketch shows Samper’s interest in the
role of urban spaces in the city. The sketch combines a plan, perspective, and
text. Hand drawing on paper, 24 × 67 cm, archival number 3355B, red series,
box 18, sketchbook 51. © Courtesy of Germán Samper’s Personal Archive. 117
8.3 Custom-made cabinet and boxes, containing 5,349 sketches, in Samper’s
office. Wooden cabinet 1.3 × 1.4 × 0.55 m. © Photo by authors. 118
8.4 Top: Ducal Palace. Exterior (1945), Hand drawing, paper, 17.6 × 10.6
cm, archival number 45, red series, box 1, sketchbook 1. Bottom: Parque
Santander. Detail. Hand drawing, paper, 140 × 50 cm, number 5147, gray
series, box 30, series 116 (undated). The relationship between what Samper
drew while traveling in Venice and his project for the Gold Museum in
Bogotá is shown here. © Courtesy of Germán Samper’s Personal Archive. 122
8.5 Left: Concert hall Biblioteca Luis Ángel Arango (2016). Hand drawing, paper,
22 × 28 cm, archival number 4609B, gray series, box 29, series 107 (II). Photo
by Diego Samper. Right: Concert hall ceiling. One of Samper’s most important
works and where the archive of his sketches will be kept. © Courtesy
of Germán Samper’s Personal Archive. 124

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 Figures

9.1 A storytelling event at the Renzo Piano Foundation. Renzo Piano meets with
a group of students from Florence, October 25, 2019. Photo courtesy by
Stefano Goldberg. © Courtesy Renzo Piano Foundation. 129
9.2 Studio Renzo Piano. Interior perspective of Piano’s first office on the Erzelli
hill in Cornigliano, Genoa (1969). Hand drawing, Indian ink, pencil,
and marker on translucent paper, 176 × 90 cm. © Courtesy Renzo Piano
Foundation, 6ST_e_019. 129
9.3 Left: Wunderkammer at the Renzo Piano Foundation (2016). Photo
courtesy Enrico Cano. © Enrico Cano. Right: Architecture students visit the
Renzo Piano Foundation’s Wunderkammer during an organized visit (2018).
© Courtesy Renzo Piano Foundation. 130
9.4 Model of the Grattacielo Intesa San Paolo kept inside the skyscraper in Turin,
designed by the RPBW (2006–2015). Still frame from The Power of the Archive.
Renzo Piano Building Workshop (2018), directed by Francesca Molteni and
curated by Fulvio Irace. © Courtesy Renzo Piano Foundation, MUSE. 132
9.5 Model for Renzo Piano’s Ark kept at the Luigi Nono Archive, Giudecca,
Venice. Designed for Luigi Nono’s Prometheus (1984). © Renzo Piano
Foundation. Photo courtesy Prakash Patel. 133
9.6 From the left: Shunji Ishida (former Architect Partner, RPBW), with a
group of architects participating in the RPBW World Tour, 2019. Photo by
Elisa Scapicchio. © Courtesy professionearchitetto.it. 134
9.7 The archival storage of the models of the Renzo Piano Foundation. Still
frame from the trailer (00.34) of The Power of the Archive. Renzo Piano
Building Workshop (2018), directed by Francesca Molteni and curated by
Fulvio Irace. © Courtesy Renzo Piano Foundation, MUSE. 136
9.8 Left: The documentation archive in Villa Nave, RPF. Right: The drawing
archives. Unprocessed collection materials in archival boxes, RPF.
© Courtesy Renzo Piano Foundation. 136
10.1 Anonymous drawing illustrating a written estimate for building work.
Pencil, ink, and wash on paper, 194 × 319 mm, mid-1600s, E.4275-1911.
© Victoria and Albert Museum, London. 144
10.2 Axonometric drawing by Alison and Peter Smithson for the Economist
Building. Pen on tracing paper, 1:16, 724 × 445 mm, 1960–1961, E.162-
1982. © Courtesy of the Smithson Family Collection. Photo courtesy of the
Victoria and Albert Museum, London. 147
10.3 Photograph showing the Fouquet models on display in the Classical
Galleries of the Ornamental Museum at the South Kensington Museum.
238 × 294 mm, 1857, 32053. © Victoria and Albert Museum, London. 149
10.4 Diagram showing in elevation the comparative heights of buildings from
around the world, identified as Cockerell’s “drop-scene.” Pen, ink, and wash
with gold paint, 3150 × 4040 mm, 1839, 8525A-1879. © Victoria and Albert
Museum, London. 153
10.5 Diagram showing the comparative heights of buildings from around the
world in section, identified as Cockerell’s “drop-scene.” Pen, ink, and wash,
3150 × 4040 mm, 1839, 8525B-1879. © Victoria and Albert Museum, London. 153
11.1 Sketch contained in Prince Albert’s Memorandum for the use of the grounds,
August 20, 1853. © Archive of the Royal Commission for the Exhibition of
1851, RC/H/1/A/3/1. 158

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11.2 Experiments with the model of the Memorial of the Exhibition of 1851,
erected in the Royal Horticultural Society’s Gardens before the design
was settled by HRH the Prince Consort. © Victoria and Albert Museum,
London, UK, E929-1976. 160
11.3 First model of the Royal Albert Hall, produced by Francis Fowke and
personnel at the South Kensington Museum, presented to Queen Victoria
and the Prince of Wales on January 30, 1865. © Victoria and Albert
Museum, London, UK, A.10-1973. 161
11.4 Design model of the Royal Albert Hall’s interior, according to H.D. Scott’s
design, used by Scott and the Albert Hall’s Committee of Advice to
experiment and discuss different solutions, and finalize the design.
Left: interior. Right: exterior with detail of the façade drawing.
© Royal Albert Hall Archives. 162
11.5 Albumen Prints of Cardboard Models for the Royal Albert Hall (ca.1866),
experimenting with different solutions for entrances and staircases. © V&A
Collections, 47415 and E.1095A-1989. 164
11.6 Façade models of the Royal Albert Hall documenting the progressive design
simplification, presumably due to the need to contain expenditures.
© Victoria and Albert Museum, A.11-1973, A.11:B-1973, A.11:A-1973. 165
12.1 Retracing of encounter with opening one. © Drawing by Ashley Mason, 2020. 174
12.2 Retracing of encounter with opening two. © Drawing by Ashley Mason, 2020. 176
12.3 Retracing of encounter with opening three. © Drawing by Ashley Mason, 2020. 178
13.1 View of the Drawing Matter archive space showing a variation of the
Superstudio pin-up displayed for the symposium Adventurous Curators.
© Photo by Sophia Banou, 2017. 189
13.2 Line, Light, Locus, curated by Elizabeth Hatz at the 16th International Architecture
Exhibition of La Biennale di Venezia (2018). © Courtesy of Piquant Media. 190
13.3 January 21, 2017, In 08.44, Out 20.16, curated by Elizabeth Diller at
Princeton, New Jersey (2017). © Drawing Matter Collections. 190
13.4 Developed surface drawing of the Drawing Matter archive during the Superstudio
research, illustrating the distribution of drawings across architectural surfaces.
Digital drawing, scale 1:20, 30.2 × 27.2 cm. © Sophia Banou, 2017–2020. 191
13.5 North wall pin-up survey, tracing patterns of nature, architecture, and
monuments across the Superstudio material at the Drawing Matter archive.
Digital drawing, scale 1:10, 115 × 34 cm. © Sophia Banou, 2017–2020. 194
14.1 The Hall of full-scale replicas at the Barcelona School of Architecture, Elías
Rogent’s University Headquarters, ca. 1916. © Courtesy of the Barcelona
School of Architecture Graphic Archive, ETSAB-UPC, unknown author. 199
14.2 Left: Henry Parke, Student measuring the Corinthian order, Temple of
Castor and Pollux (Temple of Jupiter Stator), Rome, 1819. © Sir John
Soane’s Museum, London. Right: the Parcerisa engraving inside the Catalan
Association of Scientific Excursions building. Pablo Piferrer, Recuerdos y
Bellezas de España, 1843, II: 43. © Courtesy of the Barcelona School of
Architecture Library, ETSAB-UPC. 200
14.3 Left: Édouard Dantan, Casting from Life, 1887, F21. © Göteborgs
Konstmuseum. Right: Scientific Excursion to the Monastery of Ripoll,
1888. © Courtesy of the Barcelona School of Architecture Graphic Archive,
ETSAB-UPC, unknown author. 202

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14.4 Left: Lluís Domènech i Montaner, Historia General del Arte, 1886–1897.
© Courtesy of the Barcelona School of Architecture Library, ETSAB-UPC.
Right: Ernst Neufert, Doorjambs from Barcelona’s Mercè Church, January
25, 1920. © Courtesy of Neufert-Stiftung mit Sitz in Weimar. 203
14.5 From left to right: the ruins of the Temple of Hercules inside the Catalan
Association of Scientific Excursions, unknown authors, ca. 1905 and 1927,
AFCEC.XXX.18x24.607. © Arxiu Fotogràfic Centre Excursionista de
Catalunya; Antoni Celles, the ruins of the Temple of Hercules, 1835, plan
of the archeological research and lateral façade of the ruins, AGDB, SCCM
335/20/12/1, and SCCM 346/20/12/1. © Courtesy of the General Archive
of Barcelona Provincial Council; the Second National Salon of Architecture
in Barcelona, Hall XI, with the full-scale plaster cast of the column from
the Temple of Hercules inside the exhibition room, 1916. © Courtesy of
the Barcelona School of Architecture Graphic Archive, ETSAB-UPC,
unknown author. 203
14.6 The Art of Spain (1929). From left to right. The National Palace Museum
at night. Photograph by Sebastià Jordi Vidal, AFCB, C.110.433; list of the
134 plaster casts exhibited, National Palace Museum, ground floor; Room
7: Tympanum from San Isidoro de León (twelfth century) with the Holy
Lamb held by Angels, together with capitals from the Cathedral of Jaca,
and behind the black curtains, diorama models of Spanish art, AFCB,
C6.0459.22. © Barcelona Photographic Archive. 205
15.1 Three survey drawings of the philosopher Martin Heidegger’s hut by Adam
Sharr, found in a card envelope after twenty years, then hung and framed in
an exhibition at the Prada Foundation, Venice, in 2018. Drawn in 1998, HB
pencil on 90gsm trace, 210 × 297 mm. © Adam Sharr, 2018. 212
15.2 Heidegger’s hut at Todtnauberg in the Black Forest mountains of southern
Germany, constructed in 1922. © Adam Sharr. 213
15.3 A 1:20 model of Heidegger’s hut, made at the time of the measured survey
in 1998 to check dimensions. © Adam Sharr. 215
15.4 The reproduction of Heidegger’s hut, at 7/8 scale, installed at the Prada
Foundation in Venice in 2018 as part of the exhibition Machines à penser, a
collateral event of the Architecture Biennale. © Adam Sharr. 217
15.5 The reproduction of the hut sat in a lofty room on the piano nobile of Prada’s
palazzo. © Adam Sharr, 2018. 218
15.6 The flattened, de-materialized details of the reproduction hut take their
level of detail from survey drawings at 1:100 amplified to 7/8 scale. Prada
Foundation, Venice, 2018. © Adam Sharr, 2018. 219
16.1 Niche for a figure of Our Lord of the Stations of the Cross in the Monastery of
São Francisco at Évora/Model of the chancel of Évora Cathedral.
© Courtesy of Luis Duarte. 229
17.1 Interior sketch of a hut in Chichibu Urayama village, Wajiro Kon. Kenbun
fieldwork, paper notebook, pencil sketch finished by ink, 31.5 × 20.3 cm
(1922). © Kon Wajiro Archive, Kōgakuin University Library, Tokyo. 239
17.2 Interlocked triangular log house on a hill in the Hamhung area. Research
sketch in the Korean peninsula, Wajiro Kon. Paper notebook, pencil sketch
finished with ink, 16 × 20.5 cm (1922). © Kon Wajiro Archive, Kōgakuin
University Library, Tokyo. 240

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17.3 Cave-like shack, Wajiro Kon. Notebook, pencil sketch finished with ink, 13.1 ×
19.4 cm (1923). © Kon Wajiro Archive, Kōgakuin University Library, Tokyo. 241
17.4 Comprehensive illustration of the household of a newly married couple,
II, Wajiro Kon. Tracing paper, ink, 29.3 × 37.5 cm (1925). © Kon Wajiro
Archive, Kōgakuin University Library, Tokyo. 242
17.5 Magome survey sketch (half of the complete plan drawing). Mayumi
Miyawaki’s Hosei University seminar, design survey sketch, 1966 (84 × 315 cm,
thick tracing paper, ink drawing). © Miyawaki Seminar Collection, the
Architectural Archive Research Center, Kanazawa Technology University
Archive, Kanazawa City. 245
18.1 L’architecture du groupe “De Stijl,” L’Effort Moderne, 1923. © Collection Het
Nieuwe Instituut/EEST, 3.360n1. 250
18.2 Chicago Seven—The Exquisite Corpse, models from Walter Kelly Gallery
exhibition, 1977, as displayed at the Graham Foundation, 1978. From left to
right, models by Thomas Hall Beeby, Laurence Booth, Stuart Cohen, James
Ingo Freed, Helmut Jahn, James Nagle, Stanley Tigerman, and Ben Weese.
© Courtesy Stuart Cohen. 253
18.3 Architecture I, Leo Castelli Gallery, 1977. Works by Raimund Abraham.
Leo Castelli Gallery records, c.1880–2000, bulk 1957–1999. © Archives of
American Art, Smithsonian Institution. 254
18.4 Architecture I, Leo Castelli Gallery, 1977. Works by James Stirling. Leo
Castelli Gallery records, c.1880–2000, bulk 1957–1999. © Archives of
American Art, Smithsonian Institution. 255
18.5 Houses for Sale, Leo Castelli Gallery, 1980. Works by Peter Eisenman. Leo
Castelli Gallery records, c.1880–2000, bulk 1957–1999. © Archives of
American Art, Smithsonian Institution. 257
19.1 Carpentry Workshop of August Ludwig, Mühlhausen, Thuringia, Germany.
Mies van der Rohe’s European archive was stored here from 1942 to 1962.
© Photo Dietrich Neumann, 2020. 265
19.2 Mies van der Rohe, drawing of Friedrichstrasse Office Building (1922) and
Concrete Country House (1923) at the MoMA Archive. © Photo Dietrich
Neumann, 2014. 268
19.3 Label on the back of Mies van der Rohe’s Friedrichstrasse Office Building
(1922), drawing dating it “1919.” © Photo Dietrich Neumann, 2014. 268
19.4 Mies van der Rohe, Curvilinear Skyscraper, 1922. Photo Kurt Rehbein.
© Stiftung Klassik Weimar. 270
19.5 Mies van der Rohe, sketch of the Barcelona Pavilion, 1929. © Staatliche Museen
zu Berlin, Kunstbibliothek, Architektursammlung. VG Bild/Scala/Artists
Rights 2021. 271
20.1 Denise Scott Brown, photographer. Robert Venturi, Las Vegas, 1966.
Venturi, Scott Brown Collection, the Architectural Archives, University of
Pennsylvania. © The Trustees of the University of Pennsylvania. 281
20.2 Robert Venturi’s Desk, 2016. Venturi, Scott Brown Collection, the
Architectural Archives, University of Pennsylvania. © The Trustees of the
University of Pennsylvania. Photo by Matt Wargo. 282
20.3 Louis I. Kahn, architect. Salk Institute for Biological Studies, La Jolla,
California (1959–1967). Site Plan Study, 1960. Pencil on yellow tracing
paper. Louis I. Kahn Collection, the University of Pennsylvania and the

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Pennsylvania Historical and Museum Commission. © The Trustees of the

University of Pennsylvania. 284
20.4 Louis I. Kahn, architect. Salk Institute for Biological Studies, La Jolla,
California (1959–1967). Site Plan Study, 1960. Pencil on diazo-type
print. Louis I. Kahn Collection, the University of Pennsylvania and the
Pennsylvania Historical and Museum Commission. © The Trustees of the
University of Pennsylvania. 286
20.5 Louis I. Kahn, architect. Market East Studies, Philadelphia, Pennsylvania
(1960–1963). Photograph of the “lost” plasticine model, 1963. Louis I. Kahn
Collection, the University of Pennsylvania and the Pennsylvania Historical
and Museum Commission. © The Trustees of the University of Pennsylvania.
Photo by George Pohl. 287
20.6 Left: Marshall D. Meyers, photographer. Market East Studies, Philadelphia,
Pennsylvania (1960–1963). Photograph of Kahn’s plan sketch overlaid on
Piranesi’s Campo Marzio. Marshall D. Meyers Collection, the Architectural
Archives, University of Pennsylvania. © The Trustees of the University of
Pennsylvania. Right: Giovanni Battista Piranesi (1720–1778). Campo Marzio
dell’Antica (1762)—Louis I. Kahn’s copy. Etching on paper. Louis I. Kahn
Collection, the University of Pennsylvania and the Pennsylvania Historical
and Museum Commission. © The Trustees of the University of Pennsylvania. 288
20.7 Paul P. Cret, architect. School of Architecture, University of Pennsylvania,
Philadelphia, Pennsylvania (1906). Pencil and colored pencil on paper,
mounted on Strathmore paper by John Harbeson, ca. 1970. Paul P. Cret
Collection, the University of Pennsylvania and the Pennsylvania Historical
and Museum Commission. © The Trustees of the University of Pennsylvania. 289
20.8 Denise Scott Brown, photographer. The “forgotten portrait” of Robert Venturi,
Las Vegas, 1966. Venturi, Scott Brown Collection, the Architectural Archives,
University of Pennsylvania. © The Trustees of the University of Pennsylvania. 290
21.1 Set of instruments made by Bartholomew Newsum (London, 1565–1575)
in an engraved gilt brass box supported on four cherub’s heads originally
holding twenty-four ornamented drawing tools now, including whetstone,
scissors, rule, pen, knife, folding square, dividers, and compasses. Object ref:
1912,0208.1. Public Domain. 294
21.2 An array of drafting tools with an architectural drawing table. After
Frederick Giesecke, Alva Mitchell, and Henry Spencer, Technical Drawing.
1942: 32. Public domain. 296
21.3 Angel guiding Veronica’s hand to write with a miraculous golden pen.
Isidoro de Isolani, La santissima, e miracolosa vita della Beata Veronica. 1581
(1518): 64 (XXXIIv). Public domain. 298
21.4 Tommaso Manzuoli (attributed), Double Portrait of an Architect. 1556. Museo
di Capodimonte, Naples. Public domain. 298
21.5 “Draughtsman-Writer Automaton” by Henri Maillardet (c. 1800). Franklin
Institute, Philadelphia, Pennsylvania. Public domain. 301
21.6 Automaton drafter malfunctioning. James Noecker, “In Days to Come”
Pencil Points. July 1930: 597. Public domain. 302
22.1 Motion capture data recording the acts of cooking and eating in Pop
Up Gable House (2015) and Yolk House (2018). © Photography: Aaron
Paterson, Stephen Njoto. 309

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22.2 Pac Studio (Aaron Paterson and Sarosh Mulla) and Marian Macken, Drawing
the Room | Drawing within the Room, 2019. Photograph of a partial
digital model of Pop Up Gable House (2015) superimposed with the trace
of the inhabitant’s movement, as linework animation from motion capture,
while running upstairs, projected on an internal wall of Pac Studio office.
New Zealand Institute of Architects Festival of Architecture, Auckland,
New Zealand. © David St George 2020. 310
22.3 Superimposition of three house plans with Pac Studio space. © Aaron
Paterson, Sarosh Mulla, Marian Macken. 310
22.4 Pac Studio (Aaron Paterson and Sarosh Mulla) and Marian Macken, Drawing
the Room | Drawing within the Room, 2019. Superimposed Pac Studio
office plans and Pop Up Gable House (2015), with the overlay tracing from
motion capture data of the inhabitant’s movement while making an omelet.
© Aaron Paterson, Sarosh Mulla, Marian Macken. 311
22.5 Pac Studio (Aaron Paterson and Sarosh Mulla) and Marian Macken, Drawing
the Room | Drawing within the Room, 2019. Photograph of linework
animation from motion capture data of inhabitant’s movement, while
making an omelet in Pop Up Gable House (2015), projected in the kitchen
of the Pac Studio office. New Zealand Institute of Architects Festival of
Architecture, Auckland, New Zealand. © David St George 2020. 312
22.6 Pac Studio (Aaron Paterson and Sarosh Mulla) and Marian Macken, Drawing
the Room | Drawing within the Room, 2019. Photograph of line work
animation from motion capture of inhabitant’s movement, while vacuuming in the
Space Invader House (2015), projected in the Pac Studio office. New Zealand
Institute of Architects Festival of Architecture, Auckland, New Zealand.
© David St George 2020. 317
23.1 Zahner’s full-scale mock-up of Diller Scofidio + Renfro’s McMurtry
Building, 2017. © A. Zahner Co. 323
23.2 Taxonomy of the experience of 1:1 scale models. © Fabio Colonnese. 325
23.3 Angiolo Mazzoni and Marcello Piacentini’s capital for the Termini Station’s
model converted into a fountain in Ladispoli, 2018. © Fabio Colonnese. 326
23.4 Marcello Piacentini and Attilio Spaccarelli, mock-up of the nobile
interrompimento, 1938. © Private collection. 328
23.5 Rem Koolhaas, The House that Made Mies, 1995. © Monacelli Press Inc. 329
23.6 Anna Bach and Eugeni Bach, Mies Missing Materiality, 2018. © Adrià Goulà. 330
24.1 A large drawing photographed from the mezzanine above an archive table
in the CCA study room. Reference Librarian Mathieu Pomerleau’s gloved
hands support the drawing. Fonds Paul-Philippe Cret #AP031, Box 05, Folder
01, Sheet 135, 07 July 1908. © Photo by Athanasiou Geolas (2018). Courtesy
of the Canadian Centre for Architecture, Montréal. 336
24.2 Screenshot of Price’s (1913) Architectural Record article, as seen on Hathitrust.
com, overlaid with page 393 of Price’s article. © Screenshot by Athanasiou
Geolas (2018). 337
24.3 Spread from Elizabeth Grossman’s (1980) dissertation in the CCA’s Library
holdings showing reproductions of Cret and Kelsey’s PAUB competition
drawings. © Photo by Athanasiou Geolas (2018). 339
24.4 Screenshot of Author’s research spreadsheet showing information listed from
each drawing in Commission 238 available within the CCA’s collection:

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title, box #, folder #, sheet #, [...] dimensions, scale, medium, document date,
author(s), # of author(s), and addresses. © Screenshot by Athanasiou Geolas (2018). 340
24.5 Unfolding a drawing in the CCA study room. Fonds Paul-Philippe Cret
#AP031, Box 02, Folder 04, Sheet 80. 19 May 1908. © Photos by Athanasiou
Geolas (2018). Courtesy of Canadian Centre for Architecture, Montréal. 342
24.6 Three photos showing an unfolded drawing (background), a detail of the
ink smudges in the top-right corner of the drawing (foreground right), a
detail of the title block from the bottom-right corner (foreground left). Fonds
Paul-Philippe Cret #AP031, Box 06, Folder 02, Sheet 155, July 15–16, 1908.
© Photos by Athanasiou Geolas (2018). Courtesy of Canadian Centre for
Architecture, Montréal. 342
25.1 O. M. Ungers, Installation view City Metaphors (1976). Ungers Archiv für
Architekturwissenschaft (UAA), Cologne © UAA. Photo: Norman McGrath. 348
25.2 O. M. Ungers, Exemplary page from the collections of city designs for City
Metaphors (1976). Private Archive Hollein, Vienna. © UAA. Photo: ETH Zürich. 350
25.3 O. M. Ungers, Proposal for Design Exhibition, axonometric drawing for
City Metaphors’ environment (1976). Private Archive Hollein, Vienna.
© UAA. Photo: ETH Zürich. 351
25.4 O. M. Ungers, untitled axonometric drawing for City Metaphors’
environment (1976). Private Archive Hollein, Vienna. © UAA. Photo:
ETH Zürich. 352
25.5 O. M. Ungers, untitled axonometric drawing for City Metaphors’
environment (1976). Private Archive Hollein, Vienna. © UAA. Photo:
ETH Zürich. 353
25.6 O. M. Ungers (Studio), untitled study for City Metaphors’ environment (1976).
Private Archive Hollein, Vienna. © UAA. Photo: ETH Zürich. 353
26.1 The three conceptual levels of the proposed game of public space ideation
for non-designers. © Carmela Cucuzzella + Jean-Pierre Chupin 2020. 366
26.2 Extracts from the Best Practice Guide “More than Waiting for the Bus,”
published and openly available (2021). Cucuzzella, Chupin, Gourban, and
Rondi 2021. © Carmela Cucuzzella + Jean-Pierre Chupin 2020. 367
26.3 Redrawing of a diagram published by Gilles Deleuze, Le Pli: Leibniz et le
Baroque, Paris: Éditions de Minuit, 1988, distinguishing two avenues for
potentiality or virtuality. 369
26.4 Front cover of the last edition of L’Architettura della Città (The Architecture of
the City) as revised by Aldo Rossi (1995) with his historical albeit imaginary
representations of Adrian’s Mausoleum by Giovanni Battista Piranesi (1762),
Jean-Nicolas-Louis Durand (1801), and contemporary archeological scientific
drawings of the Roman monument. © Jean-Pierre Chupin, 2020. 370
26.5 All sources of documentation are stored in a single cabinet: the Mondothèque.
Drawing by Paul Otlet (1936). © Courtesy of Mundaneum Archives,
Mons, Belgium. 374
27.1 Charles-Dominique-Joseph Eisen (1720–1778), frontispiece, c. 1754, to the
1755 edition of Marc-Antoine Laugier, Essai sur l’architecture. Pen and ink
and gray wash on paper, 210 × 147 mm. © Courtesy of Drawing Matter
Collections, DMC 1240. 379
27.2 Sverre Fehn, “Venice—the tree and the light/the trees and the sun.”
Undated sketch drawn in retrospect. 386

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28.1 Quinta da Malagueira under construction. Photographer unknown.

© Courtesy of Álvaro Siza. 394
28.2 Álvaro Siza, study of the Évora skyline, page from “caderno 1,” March 1977.
Biro on paper, 297 × 210 mm. Courtesy of Drawing Matter Collections.
© The Architect. 395
28.3 Álvaro Siza, city plan of Évora, page from “caderno 1,” March 1977. Biro on
paper, 297 × 210 mm. Courtesy of Drawing Matter Collections. © The
Architect. 396
28.4 Álvaro Siza, section and perspectives of housing blocks, Bouça housing
estate, Porto, c. August 26, 1975. Biro on paper, 296 × 208 mm (detail).
Courtesy of Drawing Matter Collections. © The Architect. 398
28.5 Álvaro Siza, sketches of café patrons, Évora, page from “caderno 1,”
March 1977. Biro on paper, 297 × 210 mm. Courtesy of Drawing Matter
Collections. © The Architect. 399
28.6 Still from Álvaro Siza: Seven Early Sketchbooks, 2018. Courtesy of Drawing
Matter. © Drawing Matter. 400
29.1 Licensed Products (men’s neckties) at Frank Lloyd Wright Foundation Gift
Shop, Taliesin, Hillside, Wisconsin. © Photo: Neil Levine. 409
29.2 Licensed Products (varia) at Frank Lloyd Wright Foundation Gift Shop,
Taliesin, Hillside, Wisconsin. © Photo: Neil Levine. 409
29.3 Fontana Boathouse (for West Side Rowing Club), Buffalo, New York, 2007.
Adapted by Anthony Puttnam from Frank Lloyd Wright’s 1905 Yahara
River Boathouse for Madison, Wisconsin. © Photo: Neil Levine. 410
29.4 Blue Sky Mausoleum, Forest Lawn Cemetery, Buffalo, 2004. Adapted by
Puttnam from Wright’s penultimate (second) design for the project.
© Photo: Neil Levine. 411
29.5 Blue Sky Mausoleum project, Wright, Forest Lawn Cemetery, Buffalo, New
York, 1928–1929. © 2021 Frank Lloyd Wright Foundation, Scottsdale, AZ. All
rights reserved. The Frank Lloyd Wright Archive. The Museum of Modern
Art, Avery Architectural & Fine Arts Library, Columbia University, New York. 412
29.6 Double-page spread in Bruce Brooks Pfeiffer, ed., Frank Lloyd Wright
(Taschen, 1991), Illustrating (left): Wright’s Sketch for the Unbuilt Jester
House, Palos Verdes, California, 1938; and (right) its “execution” in the
house Pfeiffer built for himself and his father at Taliesin West, Scottsdale,
AZ, in 1971–1972. © 1919 Frank Lloyd Wright Foundation, Scottsdale, AZ. 412
30.1 Marcia Feuerstein, Bauhaus Stair Iterations and Reiterations. Photomontage
H 4.36″ × W 3.293″, 2020. © Marcia F. Feuerstein. 417
30.2 Diana Bathing (the Fountain) by JBC Corot transformed by Adalbert
Goeringer into Tafel 1 (Plate 1). Total Image Size: H 5.3″ × W 11.3″: (left)
Jean-Baptiste-Camille Corot, Diana Bathing (The Fountain), oil on canvas
72.1 × 41 cm, c. 1869–1870. © Carmen Thyssen-Bornemisza Collection on
deposit at Museo Thyssen-Bornemisza, Madrid; (middle) Marcia Feuerstein,
overlaid transformation of Diana Bathing into Tafel 1 (flipped horizontally),
Photomontage H 6.45″ × W 5″, 2020. © Marcia F. Feuerstein; (right)
Adalbert Goeringer (1860–1893), Tafel 1, photo-zincotype plate, H 10″ × W 6″,
c. 1893, and Oskar Schlemmer (1888–1943), Overdrawn Analysis of Tafel 1,
ink and pencil, c. 1928, Bauhaus Archive. © Photo by Marcia
F. Feuerstein. 420

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30.3 Marcia Feuerstein, Vordruck Transformation from Female to Male,

Photomontage, H 6″ × W 17.9″, 2020. © Marcia F. Feuerstein. 421
30.4 Marcia Feuerstein, Back and Forth Gaze after Schlemmer, Photomontage,
H 4″ × W 4.8″ 2012. © Marcia F. Feuerstein. 421
30.5 Giovanni Morelli, Analysis of Typical Ears, Print Book, H 9.21″ × W 6.12″,
1892: 78. 425
31.1 Jean-Jacques Lequeu, Geometric study of the human eye from Nouvelle
méthode, plate 4, 1792. Plume and watercolor (31 × 28 cm). © Bibliothèque
nationale de France, département des estampes et de la photographie. 432
31.2 Jean-Jacques Lequeu, Le Rendez-vous de Bellevue, the Hermitage and the
country casino from Architecture civile, plate 55, undated. Plume, ink, and
watercolor (51.5 × 36.5 cm). © Bibliothèque nationale de France,
département des estampes et de la photographie. 435
31.3 Jean-Jacques Lequeu, The Bacchante, undated. Plume, ink, and watercolor
(50.6 × 28.1 cm). © Bibliothèque nationale de France, département des
estampes et de la photographie. 436
31.4 Jean-Jacques Lequeu, The island of Love from Architecture Civile, plate 73,
undated. Plume, ink, and watercolor (51.5 × 36.5 cm). © Bibliothèque
nationale de France, département des estampes et de la photographie. 438
31.5 Marie-Antoine Carême, Grand Buffet de la Cuisine Moderne (Modern Cuisine
Grand Buffet), 1822. Print. © Private Collection. 439
31.6 Jean-Jacques Lequeu, perspective view from the side of the imperial court
of one of the four palaces for the emperor, 1807. Plume and brown ink wash
(46 × 69 cm). © Bibliothèque nationale de France, département des estampes
et de la photographie. 440
32.1 ICAM News gathered information from member institutions and was
distributed by the Swedish Museum of Architecture. Cover of first issue,
1980. From ArkDes library. 447
32.2 Helgo Zettervall (1831–1907). Reading pavilion, academy project. Drawing
on paper, 1856. ARKM 1965-63-011. © Courtesy of ArkDes Collections. 448
32.3 Léonie Geisendorf (1914–2016). Façade study of St. Eugenia church in
Stockholm, plaster, 12 × 6 × 16 cm, late 1960s. ARKM. 1996-232-11.
© Courtesy of ArkDes Collections. 449
32.4 Gunnar Asplund. Proposal for park and landscape design next to Stockholm City
Public Library, 1929. ARKM. 1990-04-58. © Courtesy of ArkDes Collections. 450
32.5 Ralph Erskine. New town, Resolute Bay, Canada, 1973. ARKM. 1986-17-
0840-02. © Courtesy of ArkDes Collections. 453
32.6 Ralph Erskine. New town, Resolute Bay, Canada, 1978. ARKM.
1986-17-0851. © Courtesy of ArkDes Collections. 454
33.1 The statue of Sir John A. Macdonald after being vandalized with red paint
in Montreal, August 17, 2018. On August 29, 2020, activists toppled the
statue during a protest march calling for defunding of the police. © Graham
Hughes via the Canadian Press. 463
33.2 Perspectival drawing signed by the Department of Public Works of Canada.
St. Mary’s Indian Residential School, Blood Indian Agency, Cardston,
Alberta, 1955. © Government of Canada. Reproduced with the permission
of Library and Archives Canada. Department of Indian Affairs and Northern
Development fonds, 4487252. 464

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33.3 First-floor plan, architectural and structural. Indian Residential School,

Cariboo, William Lake Agency, British Columbia, 1952. The drawing is
signed by architect Werner Edgar Noff ke (1878–1964). Drawing 4 of 20
(61 × 92 cm, whiteprint). © Government of Canada. Reproduced with the
permission of Library and Archives Canada. Department of Indian Affairs
and Northern Development fonds, 5087966. 465
33.4 Shan Goshorn, Educational Genocide: The Legacy of the Carlisle Indian
Boarding School, and detail, 2011. Archival watercolor paper splints, print
with archival inks, and acrylic paint (12 × 20 × 12 inches). © Courtesy of
Shan Goshorn Studio. 469
33.5 Approval signatures and architect stamp on the drawings of the Indian
Residential School, Cariboo, William Lake Agency, British Columbia,
1952. © Government of Canada. Reproduced with the permission of
Library and Archives Canada. Department of Indian Affairs and Northern
Development fonds, 5087966. 471
34.1 Luis Barragán, living room of the Barragán House (1950). © Photo by
Alberto Moreno Guzmán. 478
34.2 Luis Barragán, living room of the Barragán House (1950), with the library.
© Photo by Alberto Moreno Guzmán. 481
34.3 Luis Barragán, dining room of the Barragán House (1950), with a painting
by Jesús Reyes Ferreira. © Photo by Alberto Moreno Guzmán. 482
34.4 Miguel Covarrubias, Untitled, oil on canvass, 59 × 74.5 cm (1935).
© Personal archive of Luis Barragán. Property of the Fundación de
Arquitectura Tapatía Luis Barragán. 483
34.5 Jesús Reyes Ferreira, Si quieres casa bonita, aniline on paper, 49.5 × 76 cm
(n.d.) © Archive of Luis Barragán. Property of the Fundación de
Arquitectura Tapatía Luis Barragán. 483
35.1 Thomas Lamb, Ohio Theater, Columbus, Ohio, 1926. Ink on drafting
cloth. Approximately 25 × 28 in. Thomas W. Lamb and John J. McNamara
architectural records, 1895–1989. Avery Architectural and Fine Arts Library,
Columbia University. 490
35.2 Stanford White, New England Mill. 1877. Brown ink and wash, blue
wash, and white highlights on paper. Approximately 7 × 5 in. Albums of
correspondence from Stanford White to his family. Avery Architectural and
Fine Arts Library, Columbia University. 493
35.3 Olafur Eliasson, Your House. Laser-cut cross-sectional book, 28 × 44 cm
(2006). Avery Architectural and Fine Arts Library, Columbia University.
© Studio Olafur Eliasson. 496
35.4 Frederick Fisher, Aobadai Apartments, Tokyo. 1990. Blue pencil and
watercolor on paper. 26 3/8 × 39 7/8 in. Avery Library centennial drawings
archive, 1930–1991. Avery Architectural and Fine Arts Library, Columbia
University. © Frederick Fisher. 496

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 CONTRIBUTORS

Editor
Federica Goffi, PhD, is Interim Director, Professor of Architecture, and Co-Chair of the
PhD and MAS Program in Architecture at the Azrieli School of Architecture and Urbanism at
Carleton University, Ottawa, Canada. Her book, Time Matter[s]: Invention and Re-Imagination in
Built Conservation: The Unfinished Drawing and Building of St. Peter’s in the Vatican, was published
by Ashgate in 2013. Her recent edited volumes include Marco Frascari’s Dream House: A Theory
of Imagination (Routledge 2017); InterVIEWS: Insights and Introspection on Doctoral Research in
Architecture (Routledge 2019), and the coedited Ceilings and Dreams: The Architecture of Levity
(Routledge 2019). She is the editor of And Yet It Moves: Ethics, Power, and Politics in the Stories
of Collecting, Archiving and Displaying of Drawings and Models (Routledge 2021). She holds a PhD
in Architecture and Design Research (Virginia Tech), a Dottore in Architettura (University of
Genoa), and she is a licensed architect in her native country, Italy.

Chapter authors
Cristina Albornoz Rugeles finished her undergraduate studies in Architecture at Pontificia
Universidad Javeriana (1990) and her Master’s degree in Architecture at Universidad de Los
Andes (2012) in Bogotá, Colombia. Her research focuses on architectural education. She
explored the relationship between the work of Colombian architect Rogelio Salmona and his
study of the History of Architecture. She is interested in modern architecture in Colombia as
a way to expand the knowledge of the modern movement. She is an Associate Professor at the
Department of Architecture of Universidad de Los Andes, where she taught design studio,
freehand drawing, and architectural history. She directs the research group Pedagogías del
Habitat y de lo Público.

Konstantinos Avramidis is a Lecturer in Architecture and Landscapes at the University

of Cyprus. He holds a DipArch from the Aristotle University Thessaloniki, an MSc in
Architecture and Spatial Design from the National Technical University of Athens with dis-
tinction, and a PhD in Architecture by Design from the University of Edinburgh, where
he was awarded the Edinburgh College of Art Scholarship. He taught extensively at various
institutions in Greece and the United Kingdom, most recently at Drury University and the

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University of Portsmouth. Avramidis cofounded Drawing On: Journal of Architectural Research

by Design and is the principal editor of Graffiti and Street Art: Reading, Writing and Representing
the City (Routledge 2017).

Sophia Banou is an architect (ARB, UK, TEE-TCG, Greece) and Senior Lecturer in
Architecture at UWE Bristol. She studied architecture in Athens, Newcastle, and Edinburgh.
Her doctoral research (ESALA 2016), funded by the Bodossaki Foundation, examined archi-
tectural representation and the status of architectural drawing conventions through a critical-
historical approach to urban representation and the transitory qualities of the city. She is
currently a coeditor of Charrette, journal of the AAE (United Kingdom), and Drawing On:
Journal of Architectural Research by Design. Her recent research is concerned with questions of
representation, media, and mediation in architecture and the city.

Chiara Bennati is an archivist. She graduated in Conservation of Cultural Heritage in 2004

and obtained the Diploma di Archivistica, Paleografia e Diplomatica from the Archivio di Stato di
Genova. She collaborated in archeological surveys, research, and workshops with the Faculty
of Architecture of Genoa. She worked as a researcher and archivist for private clients and the
Historical Archives of the Municipality of Genoa where she participated in a project focused
on historical municipalities and the Archivio di Stato of Genoa on an international project on
Middle Age notarial documentation. She joined the Renzo Piano Building Workshop in 2007
as an archivist and is now in charge of the Renzo Piano Foundation archives.

Elisa Boeri is a historian of modern and contemporary architecture. She obtained her PhD
in History of Art and Architecture in 2016 from Université Paris 1 Panthéon-Sorbonne and
IUAV, Venice. She is a full-time researcher at the Politecnico di Milano. She studies the
artistic exchanges and cultural transfers between France and Italy between the eighteenth
and twentieth centuries and is a specialist in Jean-Jacques Lequeu’s architectural work. She
published the books Jean Jacques Lequeu: un atlas des mémoires (2018) and L’utopia dell’Antico. Il
viaggio in Italia di Jean-Jacques Lequeu (2019).

Sol Camacho is an architect, curator, and urban designer leading RADDAR, an innova-
tive practice in research and design acting in São Paulo and Mexico City. In 2018, Sol was the
co-curator of the exhibition Walls of Air, for the Brazilian Pavilion for the 16th International
Exhibition at the Venice Biennale. Since 2017, she is the Cultural Director of the Instituto Bardi/
Casa de Vidro, managing the archive and developing projects in partnerships with local and
international cultural agents. Since graduating from Harvard University GSD in 2008, she has
taught, written, and lectured internationally on architecture, urban design, and conservation.

Jean-Pierre Chupin is a Professor of Architecture, holds the Canada Research Chair in

Architecture, Competitions and Mediations of Excellence at Université de Montréal, and
coordinates the interdisciplinary interuniversity Laboratoire d’Étude de l’Architecture Potentielle.
His long-term research probes the role of analogical thinking in architecture—be it histor-
ically, theoretically, or pedagogically and his first series of essays was published in Analogie et
théorie en architecture (De la vie, de la ville et de la conception, même) (2010, 2013). The chief editor of
the Canadian Competitions Catalogue database, he coedited Competing for Excellence in Architecture
(Editorials from the Canadian Competitions Catalogue, 2006–2016) (2017) and published Young
Architects in Competitions (When Competitions and a New Generation of Ideas Elevate Architectural
Quality) with G. Stanley Collyer (2020).

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 Contributors

Andrew Clancy is an architect and educator. In 2008, he established Clancy Moore Architects,
and the practice has received numerous domestic and international honors, including the
Kevin Kieran Award for Practice-Based Research (2013), the AAI Downes Medal (2014), and
was included among the invited exhibitors in the 2018 Venice Biennale curated by Yvonne
Farrell and Shelley McNamara. Clancy completed his PhD by practice with RMIT in 2017.
In 2015, he was Velux Visiting Professor at Aarhus School of Architecture. In September
2016, he was appointed Professor of Architecture at the Kingston School of Art.

Fabio Colonnese is an architect. He holds a PhD in Drawing and Survey of Architectural

Heritage from La Sapienza University, Rome, Italy, where he taught descriptive geometry,
architectural survey, and architectural drawing. He took part in survey campaigns for Castel
Sant’Angelo, the Royal Palace of Caserta, and some rupestrian Monasteries in Cappadocia,
Turkey. His PhD dissertation on the labyrinth and its various relationships with art, architec-
ture, and the city was published in Il Labirinto e l’Architetto (2006). While attending his postdoc
fellowship in digital survey and the representation of the city, he focused on the relationship
between the multisensorial experience of space and the image of architecture. The results of
this work can be read in his book Movimento Percorso Rappresentazione. Fenomenologia e Codici
dell’Architettura in Movimento (2012). His latest articles focus on illusory perspectival devices
in Baroque architecture, digital reconstruction after literary architectures, and architecture
modeling.

Carmela Cucuzzella, PhD, is an Associate Professor in the Design and Computation Arts
Department at Concordia University. She is Co-Director of the Next-Generation Cities
Institute and holds the Research Chair on Integrated Design and Sustainability for the Built
Environment. In 2020, she published Analyzing Eco-Architecture Beyond Performance (2020)
and coedited with Sherif Goubran, Sustainable Architecture between Measurement and Meaning
(2020). In 2015, she coedited, with Jean-Pierre Chupin and Bechara Helal, Architecture
Competitions and the Production of Culture, Quality and Knowledge: An International Inquiry.
Her research focuses on the tension between the meaning and measurement of sustainable
design practices. Her work is articulated around the community’s needs, where she studies
how design in the public realm can contribute to a deeper embodiment of sustainable urban
living and practices.

Émélie Desrochers-Turgeon is a designer and researcher working at the intersections of

architectural representation, spatial justice, and landscape. She holds a Bachelor’s degree in
Environmental Design from the Université du Québec à Montréal and a Master’s degree in
Architecture from McGill University. She worked in design firms specializing in industrial
design, architecture, and exhibition design in Montreal and Berlin. She began her doctoral
studies at the Azrieli School of Architecture and Urbanism in 2017. Her doctoral research,
funded by the Vanier Canada Graduate Scholarship, examines the history and evolution of the
Canadian surveying system as an infrastructure of colonization.

Alba Di Lieto is the Executive Architect of the city museums in Verona, Italy. She is the
Curator of the Carlo Scarpa Archive, the website archiviocarloscarpa.it, and oversees the res-
toration of Scarpa’s work at Castelvecchio Museum. She collaborated on the exhibits Carlo
Scarpa and Castelvecchio; Carlo Scarpa, Mostre e Musei 1944/1976 Case e Paesaggi 1972/1978,
Verona and Vicenza, and the first North American exhibition of Scarpa’s work at the CCA.
Recently, she curated Carlo Scarpa: Vetri e Disegni 1925–1931 (2019–2020). She has authored

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and edited numerous books, including I disegni di Carlo Scarpa per Castelvecchio (2006) and Carlo
Scarpa for the Head Office of Banca Popolare di Verona, coedited with Valter Rossetto (2015). She
is a contributor to Carlo Scarpa and Castelvecchio Revisited by Richard Murphy (2017). Since
2016, she has been a Visiting Professor at the Politecnico di Milano.

Helen Dorey is Deputy Director and Inspectress of Sir John Soane’s Museum. After gaining a
degree in history from Oxford and an MA in the History of Art, she joined the Sir John Soane’s
Museum in 1986 and has been Deputy Director since 1995. For the last thirty-three years, she
has been intimately involved in the program of authentic restoration of Soane’s interiors and
arrangements of works of art at 13 Lincoln’s Inn Fields undertaking research and acting as the
Museum’s representative in liaising with architects and contractors. She published widely on
the Museum and Soane’s collections, including A Catalogue of the Furniture in Sir John Soane’s
Museum and John Soane and J.M.W. Turner: Illuminating a Friendship. In 2016, her edition of
Soane’s extraordinary autobiographical manuscript Crude Hints towards an History of My House
was published by Archaeopress. She was one of the organizers of the major Soane exhibition
at the Royal Academy in 1999 and jointly curated The Return of the Gods: Neoclassical Sculpture
at Tate Britain in 2008. She was a Trustee of the Twentieth Century Society for over twenty
years and is currently the Chairman of the Scholarship Committee of the Attingham Trust, a
Trustee of the Moggerhanger House Preservation Trust, and a member of the National Trust’s
Collections and Interpretation Panel. She is a Fellow of the Society of Antiquaries and was
appointed MBE in 2017 for “services to heritage.”

João Miguel Couto Duarte is a Lisbon-born Portuguese architect in practice since 1990,
and an Assistant Professor in the Faculty of Architecture and Arts at Lusíada University,
Lisbon, Portugal. João holds an MSc in Art Theories (2005) and a PhD in Architecture (2016)
from the University of Lisbon. He is a Research Fellow at the Design, Architecture, and
Territory Research Centre (CITAD) at Lusíada University, Lisbon. The relationship between
architectural representation, drawing and models, and design practice has long been his main
research field. He is the producer of the documentaries Aires Mateus: Matter in Reverse (2017)
and Body-Buildings (2021), directed by Henrique Pina.

Nicoletta Durante is an archivist. She graduated in Conservation of Cultural Heritage

in 2004 and obtained the Diploma di Archivistica, Paleografia e Diplomatica at the Archivio di
Stato di Genova. As an archivist, in 2004–2006, she worked at the Historical Archives of
the Genoa Municipality on the project La Grande Genova, focused on historical municipal-
ities around Genoa, and in 2006–2007 on an international project on Middle Age notarial
documentation at the Archivio di Stato di Genova. She joined the Renzo Piano Building
Workshop in 2007 as an archivist. Since 2012, she has been in charge of the archives at
Fondazione Renzo Piano.

Paul Emmons is a registered architect and the Patrick and Nancy Lathrop Professor of
Architecture at Virginia Tech, where he is Associate Dean of Graduate Studies for the
College of Architecture and Urban Studies. Emmons is based at the Washington-Alexandria
Architecture Center and coordinates the history and theory stream of the PhD Program in
Architecture + Design Research. His widely presented and published research includes his
book Drawing Imagining Building (Routledge 2020) and the recently coedited Confabulations,
Storytelling in Architecture (Routledge 2017), and Ceilings and Dreams: The Architecture of Levity
(Routledge 2020).

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Marcia F. Feuerstein is an Associate Professor at Virginia Tech/WAAC, where she teaches

theory and design. Her work considers design through theories of the body, embodiment,
performance, and theater. A scholar and architect, her images, writings, and photographs have
been published in a number of books and journals. She is coauthor/editor of books, including
Expanding Field of Architecture: Women in Practice Across the Globe (2022), Confabulations:
Storytelling in Architecture (2017), Architecture as a Performing Art (2013), and Changing Places:
ReMaking Institutional Buildings (1992). A graduate of the University of Pennsylvania (PhD),
University at Buffalo (M. Arch), and Tufts University, Feuerstein is an architect, member of
the AIA, and an NYS-registered architect.

Jonathan Foote, PhD, is an architect (MAA) and Associate Professor at Aarhus School of
Architecture, Denmark. Previously, he taught at Cal Poly San Luis Obispo and Virginia
Tech’s Alexandria Campus (WAAC). His teaching, editorial work, and research focus on
the architectural translation between ideas, drawings, and materials. He has published on the
drawings and workshop practices of Michelangelo Buonarroti and Francesco Borromini and
is currently editing a forthcoming book on Sigurd Lewerentz. In addition to his teaching and
academic work, Jonathan runs a design research studio, Atelier U:W, which undertakes spe-
cial projects in design and fabrication.

Carolina B. García-Estévez is an architect and holds a PhD in Theory and History of

Architecture (2012), with the thesis “Opus Angelicum. The architectural imaginary of
Duino Elegien, 1912–1922” (Extraordinary Award, 2014). Adjunct Lecturer at the ETSAB
since 2005, she has been Visiting Scholar at Heidelberg University and University of Illinois
Urbana-Champaign. Her works on the art and architecture of the nineteenth and twen-
tieth centuries have been published in several monographs, exhibition catalogs, and journals.
Her recent research explores the connections between literature, art, and architecture in the
avant-garde to transcend historical boundaries and explore nonlinear temporalities, and the
circulation and reception of architecture in the media, with particular attention to new arch-
ival research that influences the production of architectural history.

Athanasiou Geolas is a PhD candidate in the History of Architecture at Cornell University.

Trained at Rhode Island School of Design, he practiced architecture with archeologists, academics,
architects, and the city of New York. His research and teaching interrogate site-specific interactions
between well-mannered bodies, unwieldy institutions and paper documents. Previously, he wrote
on home economists’ documentation of family life, the American Wing’s reconstruction of Shaker
labor practices, professional embodiment, and the architect’s nonchalant persona.

Alejandro Henríquez Luque is a practicing architect who graduated from Universidad

de Los Andes in 1987. From 1993 to 2008, he lived in Barcelona, where he worked mainly
in the development of public squares and housing. He taught second-year design studio at
the Department of Architecture at Universidad de Los Andes, Colombia (2009–2011). He
holds a Master of Architecture from Universidad de Los Andes (2019). His thesis explores the
architect’s sketchbooks and particularly those of German Samper. During his thirty years of
professional practice, Henriquez has used freehand drawing as a tool to communicate ideas.
He currently teaches hand drawing at Los Andes.

Jonathan Hill is Professor of Architecture and Visual Theory at the Bartlett School of
Architecture, UCL, where he directs the MPhil/PhD Architectural Design program and

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tutors MArch Unit 12. Hill is the author of The Illegal Architect (1998), Actions of Architecture.
Architects and Creative Users (Routledge 2003), Immaterial Architecture (Routledge 2006), Weather
Architecture (Routledge 2012), A Landscape of Architecture, History and Fiction (Routledge 2016),
and The Architecture of Ruins (Routledge 2019); editor of Occupying Architecture: Between the
Architect and the User (Routledge 1998), Architecture—The Subject Is Matter (Routledge 2001),
and Designs on History: The Architect as Physical Historian (Routledge 2021); and coeditor of
Critical Architecture (Routledge 2007).

Niall Hobhouse collects drawings by architects. He curates exhibitions and writes

about buildings, landscapes, and museums. He established the Drawing Matter Trust to
explore the role of drawing within architecture, architectural memory, and exhibitions.
He is a former Governor of the London School of Economics (and Chair, Advisory Board,
Cities Program), Trustee of the Sir John Soane’s Museum, and the Canadian Centre for
Architecture, Montreal.

Jordan Kauffman is a Research Fellow in the history, theory, and criticism of architecture at
Monash University. Kauffman’s present work focuses on architectural representations from the
Renaissance to the late twentieth century. His book, Drawing on Architecture, The Object of Lines,
1970–1990 published in 2018. Kauffman has taught architectural history at the Massachusetts
Institute of Technology, Brandeis University, Tufts University, and Boston University. He sits on the
editorial board of the Society of Architectural Historians, Australia and New Zealand.

Samuel Korn is a Research Fellow at the University of Kassel (Theory of Architecture and
Architectural Design, TRACES - Transdisciplinary Research Center for Exhibition Studies).
His work is situated at the intersection between postwar architecture and curatorial design
and addresses the built environment as a field of agencies explored and reconfigured through
exhibition practices. In his PhD, which he is completing at the University of Kassel, he
examines the expansion of the exhibition series documenta (since 1955) into the urban fabric,
in particular the curatorial narrativizations established through appropriation or conver-
sion of sites as conceptual frameworks. Exhibition projects include MAN transFORMS: Die
Dokumente (with Laurent Stalder) at gta Exhibitions/ETH Zürich in 2016 and co-curation of
Alles ist Architektur at Museum Abteiberg in 2014.

Izumi Kuroishi is a Professor at the School of Cultural and Creative Study, Aoyama Gakuin
University, and is a licensed first class architect. She teaches architectural and urban theory
and history and organizes local community projects in several areas including the Tohoku
Earthquake damaged area. Recent publications include Constructing the Colonized Land: Entwined
Perspectives of East Asia around WWII (Routledge 2014); Tohoku Shinsai Fukko to Kon Wajiro
(2015); “Shibuya: Reflective Identity in Transforming Urban Space,” in Introducing Japanese
Popular Culture (Routledge 2017); “Archaic Water,” in Adaptive Strategies for Water Heritage (2019);
“Social Resilience in Disaster Recovery Planning for Fishing Port Cities,” Journal of Urban
History (2019) and “Urban Survey and Planning in Twentieth Century Japan,” in the Journal of
Urban History (2021). She has been a CCA Research Fellow since 2015.

Giovanna Langasco is an archivist. She graduated from the Liceo Scientifico Statale
Lanfranconi, Genoa in 1987. In 1989, she attended a computer-aided design course in Liguria,
and in 1990, she joined the Renzo Piano Building Workshop as a CAD Operator and support
in the organization and storage of digital material. Since 2008, after specializing in digital data

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management, she is in charge of the digital archive (collecting and requests) at the Fondazione
Renzo Piano for the three RPBW offices in Genova, Paris, and New York.

Neil Levine is the Emmet Blakeney Gleason Professor of History of Art and Architecture
Emeritus at Harvard University. In addition to many articles on eighteenth, nineteenth, and
twentieth century architecture, he has authored The Architecture of Frank Lloyd Wright (1996),
Modern Architecture: Representation and Reality (2010), and The Urbanism of Frank Lloyd Wright
(2016). He received grants from the Solomon R. Guggenheim Foundation, the Graham
Foundation, the American Council of Learned Societies, and the National Endowment for the
Humanities. In 2010, he was inducted into the American Academy of Arts and Sciences, and in
2018, he was awarded the Gold Medal in History of Art by the French Academy of Architecture.

Marian Macken, PhD, teaches in design and media at the School of Architecture and
Planning at The University of Auckland. She trained in architecture, landscape architecture,
and visual art, receiving a PhD, by thesis and creative work, from the University of Sydney.
Macken’s research examines histories and theories of spatial representation, temporal aspects
of architecture, and the book as a form of spatial practice. Her work has been acquired by
international public collections of artists’ books. She published Binding Space: The Book as
Spatial Practice in 2018, as part of Routledge’s Design Research in Architecture series.

Ashley Mason is a Research Associate at the School of Architecture, Planning and Landscape
at Newcastle University, United Kingdom. Her research is engaged with creative-critical
and textual-spatial practices within architecture and has most recently involved Alison and
Peter Smithson as central protagonists. Her doctoral thesis in Architecture by Creative
Practice (Newcastle University, 2019) intertwined a constellation of precedents with her own
creative-critical works to offer a paracontextual practice advocating for marginal, suppressed,
and overlooked site matters within architectural history, theory, design, and production. She
is currently codeveloping edited volumes in relation to creative practice and reproduction.

Sarosh Mulla, PhD, is a practicing architectural designer and Senior Lecturer at the School
of Architecture and Planning at The University of Auckland. His design work has been
awarded by both the New Zealand Institute of Architects and the Designers Institute of New
Zealand. His doctoral research focused on the design and construction of a live project, the
Longbush Ecosanctuary Welcome Shelter. Sarosh is a founding member of the design col-
lective Oh.No.Sumo and the Auckland Crit Club, and codesigner of Rainbow Machine, a
large-scale public artwork for the Auckland Council.

Maria Elisa Navarro Morales, PhD, is an Assistant Professor in the History of Art and
Architecture Department, Trinity College Dublin. She is a junior scholar in the Getty
Connecting Art Histories project, Spanish Italy and the Iberian Americas, an international and
interdisciplinary research group led by Columbia University. Her research focuses on the his-
tory and theory of architecture in the early modern period. Through her research, Navarro
Morales seeks to elucidate the importance of architectural projects that lie outside the trad-
itional scholarly canon to arrive at a better understanding of the world of ideas in the early
modern period and beyond.

Dietrich Neumann is a Professor in the History of Modern Architecture and Director of

the John Nicholas Brown Center for Public Humanities and Cultural Heritage at Brown

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University. He was trained as an architect in Munich, Germany and at the Architectural

Association in London and received his PhD from Munich University. His publications
have dealt with the history of skyscrapers, movie set design, architectural illumination,
building materials, and in particular with the work of Ludwig Mies van der Rohe. He has
won fellowships to the Canadian Center for Architecture in Montréal, the Institute for
Advanced Study at Princeton, and to the American Academies in Berlin and Rome, and won
the Founder’s (1996) and Philip Johnson Awards (2003) from the Society of Architectural
Historians, where he served as president 2008–2010 and was named a fellow in 2018. He was
the first Vincent Scully Visiting Professor at the Yale School of Architecture and is a member
of the Committee on Architecture and Design at the Museum of Modern Art.

Louise Noelle is a Mexican architectural historian, Professor and researcher at the Instituto de
Investigaciones Estéticas of UNAM. She is involved in many aspects of architectural history and
criticism as cofounder and Director of the Comité International des Critiques d’Architecture,
CICA, Member of the Arts Academy, and Honorary Academician of the Sociedad de Arquitectos
Mexicanos. Active in the field of the protection of twentieth century architectural heritage, she
is a member of ICOMOS and DOCOMOMO. She is a contributor to numerous architectural
journals and author of various books on Mexican and Latin-American twentieth century archi-
tecture, such as Luis Barragán: Search and Creativity (2018).

Aisling M. O’Carroll is a landscape architect, trained in both architecture and landscape

architecture. She is currently completing her PhD at the Bartlett School of Architecture,
UCL, where she is Year Coordinator for the MLA/MA Landscape Architecture program.
Her work addresses the relationship between history, narrative, and representation in archi-
tecture, landscape, geology, and hybrids of the three—examining, in particular, critical
approaches to reconstruction as design. She previously taught design studios at Harvard
Graduate School of Design, University of Toronto, and The Bartlett and practiced inter-
nationally with design firms and research platforms. She is cofounder and coeditor in chief
of The Site Magazine.

Janet Parks retired as Curator of Drawings and Archives at the Avery Architectural and
Fine Arts Library, Columbia University, in 2017. During her tenure, the collections grew to
more than two million items and appeared in 275 exhibitions and countless publications. She
curated exhibitions on Avery collections and contributed an essay for the exhibition FLW at
150: Unpacking the Archive, at MoMA. The New York Preservation Archive Project selected
her as the 2017 Preservation honoree. Currently, she serves on the board of the Frank Lloyd
Wright Building Conservancy and received their Wright Spirit Award in 2017.

Aaron Paterson is a practicing architect and Senior Lecturer at the School of Architecture
and Planning at The University of Auckland. Paterson is widely recognized in New Zealand
in the field of residential architecture, both multiunit housing and single dwellings—as well
as widely published and awarded. His research is focused on nonnormative architectural
representation of fabrication and assemblage in practice.

Christina Pech, PhD, is an architectural historian based in Stockholm, Lecturer and

Researcher at the Royal Institute of Technology School of Architecture. She published on the
historiography of Swedish modern architecture and 1970s architectural discourse, postmodern
architecture, architectural exhibitions, and museums. A current research project investigates

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rural cultural heritage in the modern era. Recent publications include the 2020 edited volume
(together with M. Andersson) ArkDes Research Symposium on Architectural History and “The
Museum and the Magazine” in Rethinking the Social in Architecture, edited by Sten Gromark
(et al.) and published in 2019.

Renzo Piano was born in Genoa in 1937 into a family of builders. He developed strong
attachments with this historical city and port and with his father’s profession. While studying
at Politecnico di Milano, he worked in the office of Franco Albini. After graduating in 1964,
he started experimenting with light, mobile, and temporary structures. Between 1965 and
1970, he went on a number of trips to discover Great Britain and the United States. In 1971,
he set up the Piano & Rogers office in London together with Richard Rogers, with whom he
won the competition for the Centre Pompidou. He subsequently moved to Paris. From the
early 1970s to the 1990s, he worked with the engineer Peter Rice, sharing the Atelier Piano
& Rice from 1977 to 1981. In 1981, the Renzo Piano Building Workshop was established,
with 150 staff and offices in Paris, Genoa, and New York.

Jesse Rafeiro holds a PhD in Architecture, and was a Researcher and Teaching Assistant at
the Azrieli School of Architecture and Urbanism, Carleton University. His doctoral research
investigated trajectories for de-anthropocentric architectural education at the intersection of
posthuman education, literature studies, and nonhuman narratology. Since 2012, Jesse has
been developing a research background in digital tools for heritage between CIMS (Carleton
University), FARMM (McGill University), and IST (Universidade de Lisboa) where he
collaborated in several Historic Building Information Modeling (HBIM) projects. He has
published several research papers related to this work and recently won—with CIMS—two
CanBIM Innovation Spotlight Awards.

Claudio Sgarbi, Dottore in Architettura (IUAV), MS, PhD (University of Pennsylvania),

Adjunct Research Professor (ASAU, Carleton University), Tutor (Marangoni Design School),
is a registered architect, lecturing in several universities. His research concerns the ethics,
image and gender of the architect, the design of construction sites, building technologies,
and the relevance of architectural history and theory in contemporary projects. He designs,
researches, writes, publishes, and lectures while being involved in construction processes. He
is working on a publication titled Misconceptions: The Infertile Belly of the Architect.

Adam Sharr is Professor of Architecture at Newcastle University, United Kingdom; Editor-

in-Chief of arq: Architectural Research Quarterly, and Series Editor of Thinkers for Architects
(Routledge). He has practiced as Adam Sharr Architects and, with Design Office, listed as an
Architect’s Journal “40 Under 40” of “the UK’s most exciting emerging architectural talent” in
2020. His book Heidegger’s Hut, in which the three drawings described in this chapter were
printed, was published in 2006 and reprinted in paperback in 2017. He is author or editor
of eight books on architecture. Modern Architecture: A Very Short Introduction was published in
November 2018, and Creative Practice Inquiry in Architecture, coedited with Ashley Mason, will
be published by Routledge in 2022.

Olivia Horsfall Turner, PhD, is Senior Curator of Architecture and Design at the V&A
and the V&A’s Lead Curator for the V&A+RIBA Architecture Partnership. She studied
at Cambridge, Yale, and University College London and held a postdoctoral fellowship at
Trinity College, Dublin. She worked as Architectural Investigator at English Heritage and as

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a Historian with the Survey of London. In 2014, she joined the V&A where she looks after the
national collection of design drawings, which documents the creative process in the applied
arts and architecture from the fourteenth century to the present day. She lectures and publishes
widely and has curated shows at the V&A, the Venice Biennale, and the Tchoban Foundation
Museum for Architectural Drawing, Berlin. A specialist in early modern architectural history,
she is currently undertaking research on the Robert and John Smythson drawings in the RIBA
collections. She is interested in the connections between drawing and thinking in the design
process and the role of representation in exploration, documentation, and communication.

Simona Valeriani earned a PhD in History of Art, Building Archaeology, Conservation

(Technische Universität Berlin) after graduating in Architecture from the University of Genoa.
Her research is concerned with fifteenth to nineteenth century architecture and the role played
by artifacts and physical spaces in the creation of knowledge; within this, she focuses on the
use of models in the design process. She is a Senior Tutor at the V&A/RCA History of Design
Postgraduate Program and Head of Early Modern Studies. She was a Principal Investigator
of the International Research Network Architectural Models in Context: Creativity, Skill and
Spectacle, leads the project Shaping Space-Architectural Models in Context (AHRC), and cocurates
the associated exhibition; she was Leverhulme Trust Research Fellow (2018–2020), working on
the project “Designing the Future: Innovation and the Construction of the Royal Albert Hall.”

William Whitaker is Curator of the Architectural Archives of the University of Pennsylvania

Stuart Weitzman School of Design. Trained as an Architect at the University of Pennsylvania
and the University of New Mexico, he worked for over twenty-five years documenting and
interpreting the resources of the Architectural Archives, most notably the collections of archi-
tect Louis I. Kahn, landscape architect Lawrence Halprin, and the partnership of Robert
Venturi and Denise Scott Brown. Whitaker oversees the Archives, including exhibitions and
public programs, collection acquisition, development, and strategic planning. He lectured to
national and international audiences on topics ranging from the creative imagination of Louis
Kahn to the provocative use of vinyl, Plexiglas, and neon in Robert Venturi and Denise Scott
Brown’s transformation of St. Francis de Sales Church. Whitaker coauthored, with George
Marcus, The Houses of Louis I. Kahn (2013), the first comprehensive study of the architect’s
house designs, recipient of the 2014 Literary Award of the Athenaeum of Philadelphia.

xxxiv
 PREFACE AND
ACKNOWLEDGMENTS
Federica Goffi

There are many to be thanked for the generous support over the years of research and prep-
aration of The Routledge Companion to Architectural Drawings and Models: From Translating to
Archiving, Collecting and Displaying. First and foremost, I am grateful for the selfless efforts of
the contributors, who, midway into this project, found themselves to work at a time when the
news of the COVID-19 pandemic interrupted day-to-day lives, and unexpectedly, we were
all kept out of archives, libraries, and workplaces at best of circumstances, having to reflect
on our lives and research in these new settings. Under these conditions, the digital archive
found its full capacity.
The interest in this subject became evident when scholars, architects, visual artists,
museographers, and curators of architectural archives presented at the Frascari Symposium
IV, which took place on June 27–28, 2019, at the Department of Architecture and Landscape,
Kingston School of Art, Kingston upon Thames, Surrey, United Kingdom.1 The journey
of this book began with this academic gathering, and I am grateful to all those who made it
possible, and especially my co-convenor, the late Mary Vaughan Johnson (1961–2021) who
sadly passed away suddenly in 2021.2 This book is dedicated to her memory. This Companion
includes authors who presented at the event, as well as several invited contributors.
The eleven Frascari Symposia are biennial events and academic gatherings dedicated to
the legacy of the late architect and scholar Marco Frascari (1945–2013),3 debating themes
such as architecture representation, material imagination, and storytelling. The first event,4
organized with the support of the Azrieli Endowment of the Azrieli School of Architecture
and Urbanism (ASAU) at Carleton University (CU), the Ontario Association of Architects,
and the Forum Lecture Series Sponsors, took place in 2013 at the ASAU in Ottawa, Canada,
where Frascari was the Director of the school. The series was founded by Federica Goffi
together with Roger Connah, organizers of the inaugural event in collaboration with
Jonathan Hale from Nottingham University, United Kingdom.5 The curators of the series are
Paul Emmons and Federica Goffi.
The second and third Frascari Symposia took place at the Washington-Alexandria
Architecture Centre (WAAC) of the Virginia Polytechnic Institute and State University in
Alexandria Old Town, United States. The Frascari Symposium II was organized by Paul
Emmons, Marcia F. Feuerstein, and Carolina Dyer while the third one was organized by Paul
Emmons, Naseem B. Falla, Marcia F. Feuerstein, Ezgi Isbilen, and Jodi La Coe.6

xxxv
 Preface and Acknowledgments

The Frascari Symposium IV was organized by Federica Goffi and Mary Vaughan Johnson.
The advisory council of the Paul Mellon Centre for Studies in British Art acknowledged
the Frascari Symposium IV awarding an Educational Programme Grant. The symposium
received support from the Kingston School of Art Research Fund, REGISTER, Drawing
Matter, and the Azrieli School of Architecture and Urbanism, Carleton University, Ottawa,
Canada. A special acknowledgment goes to Niall Hobhouse for inviting the participants of
the Frascari Symposium IV to Shatwell Farm and for hosting attendees within the heart of his
collections at the Drawing Matter archive on June 29, 2019.
In addition to contributing to this book, architect Andrew Clancy organized two
interviews featured by REGISTER: one where he and Mary Vaughan Johnson interview
Niall Hobhouse, the founder of Drawing Matter, Somerset, UK,7 and the second one where
Mary and I, interview Curators Alba Di Lieto and William Whitaker.8
Many archives, archivists, and curators supported the preparation of this book over the last
few years. I am thankful for their generosity, and the courtesy extended by allowing for the
inclusion of many of the images that accompany this publication on architecture media archives.
I would like to thank Francesca Rossi, Director of the Castelvecchio Museum, Alba di
Lieto, Curator, and Ketty Bertolaso of the Carlo Scarpa Archive for their support for this
publication and my research at the Carlo Scarpa Archive; Olivia Horsfall Turner, Senior
Curator of Architecture and Design at the V&A in London who shared four stories about the
V&A archives collections; as well as Bruce Boucher, Director of the John Soane Museum who
supported this publication along with Helen Dorey, Deputy Director and Inspectress, who
provided her insightful contribution about Soane’s model collection.
William Whitaker, Curator of the Architectural Archives of the University of Pennsylvania,
where the Marco Frascari Collection is kept, offered his support and advice for my research
on Frascari’s archival materials over the years.9 His contribution to this book on the recently
acquired Venturi, Scott Brown Collection, which is kept in their archive, is truly insightful.
I also thank Heather Isbell Schumacher for her support during my visits at the Architectural
Archives.
I am grateful for the encouragement of many scholars who exchanged ideas with me
during this long journey, including Adam Sharr, Jonathan Foote, and Nicholas Olsberg,
former Director and chief curator of the Canadian Centre for Architecture (1989–2005),
and founder of Special Collections at the Getty Research Institute, who participated in the
Frascari Symposium IV.
I would like to express sincere gratitude to Janet Parks, retired Curator of Drawings
and Archives at the Avery Architectural and Fine Arts Library, Columbia University, who
contributed her perspective on the relevance of architectural archives in this book, as well
as Alba Di Lieto who narrates a telling story about the well-sited archive of Carlo Scarpa
(1906–1978) at the Castelvecchio Museum—an in situ archive where Scarpa’s drawings are
preserved, researched, and consulted.
I acknowledge the insightful advice of Suzanne Ewing, Editor of Architecture and Culture,
who followed the production of the special issue And Yet It Moves. Ethics, Power and Politics in
the Stories of Collecting, Archiving and Displaying of Drawings and Models,10 a parallel publication to
this Companion, a themed issue that I had the pleasure to guest edit, expanding the scope of
this book with additional contributions. I am grateful to Igea Troiani and the editorial board
of Architecture and Culture for welcoming the proposed topic, and to Sarah Ablett who followed
the production of the special issue for Taylor and Francis.
I enjoyed the conversations with Tania María Cano Espinosa on the subject of the book,
and I am grateful to architectural historian Louise Noelle for accepting my invitation to write

xxxvi
 Preface and Acknowledgments

on the archives of Mexican architect Louis Barragan (1902–1988). The Cultural Director of
the Instituto Bardi/Casa de Vidro Sol Camacho, generously contributed two texts, a chapter
for this Companion that offers an overview of Brazilian archives in the contemporary polit-
ical and cultural context, and an article in And Yet It Moves, on the Instituto Bardi at Casa De
Vidro, Morumbi, São Paulo, and the legacy of Lina Bo Bardi (1914–1992). Notably, Bo Bardi
was awarded the Special Golden Lion for Lifetime Achievement in memoriam by La Biennale
di Venezia in 2021 while Camacho was completing her article and chapter.
The contributors to The Routledge Companion to Architectural Drawings and Models and to And Yet
It Moves cover a wide range of research and archival experiences identifying key questions and
drawing attention to issues that are relevant to the contemporary condition of architectural media
archival. The arguments presented are culturally diverse and include the analysis of architecture
media collections in many countries: Australia, Brasil, Canada, Colombia, France, Germany,
Greece, Italy, Japan, Mexico, Portugal, New Zealand, Sahrawi Arab Democratic Republic, Spain,
Sweden, Switzerland, The Netherlands, the United Kingdom, and the United States.
I acknowledge Federico Bucci, Vice Rector of the Mantua campus of the Polytechnic
University of Milan and Alba di Lieto who kindly invited me to give a lecture at the 8th
edition of the international lecture series MantovArchitettura, held in the context of the cul-
tural activities organized by the UNESCO Chair in Architectural Preservation and Planning
in World Heritage Cities. The lecture titled, Sites of Knowledge Construction: The Secret Lives of
Architecture Media Archives, became an opportunity to begin disseminating ideas that are part of
this publication along with some core concepts about in situ archives that had been developed
in a previous publication.11
I am indebted to Architect Renzo Piano, Milly Piano, and the Scientific Committee of the
Renzo Piano Foundation (RPF) and also to Nicoletta Durante and Chiara Bennati who are in
charge of the RPF archives, as well as Giovanna Langasco who is in charge of the RPF digital
archive for offering insights on the role and history of the archive of the RPF in relation to
the professional work of the Renzo Piano Building Workshop (RPBW). I am obliged to
Francesca Molteni, the documentary director of The Power of the Archive. Renzo Piano Building
Workshop (2018), a film produced by Muse with the Fondazione Renzo Piano and the RPBW,
which was curated by architect Fulvio Irace. I benefited from the opportunity to view the
film privately, and to include still frames from the documentary in this book.
I am utmost grateful to Fran Ford, Senior Publisher for architecture with Routledge, for
her enthusiastic reception for the proposed topic of this Companion, as well as the support for
the series of books originating from the Frascari Symposia.12 I am appreciative of the support
of Trudy Varcianna, Senior Editorial Assistant for architecture with Routledge.
Last but not least, I would like to express my wholehearted gratitude to Paola Frascari for
her warm support throughout the years in which I have known her. This book—its construction
and construing13 —is infused with the memories of a most generous mentor, Marco Frascari.

Notes
1 https://kingstonarchitecture.london/frascari-symposium-iv-the-secret-lives-of-architectural-
drawings-and-models-kingston-architecture-and-landscape-june-2019/, accessed August 15, 2019.
2 Goffi May 2021: 27.
3 www.marcofrascaridreamhouse.com/post-your-event, accessed June 27, 2021.
4 https://a5b32b54-13b8-45ab-ae0b-671ea55b0d5e.filesusr.com/ugd/bc659d_d57a9a7d5d1043f6b3
209fef25be01ec.pdf, accessed June 11, 2021.
5 www.faddesignhouse.com/bookstore/a-carefully-folded-ham-sandwich, accessed June 11, 2021.
6 https://jlacoe.wixsite.com/frascarisymposiumiii, accessed June 26, 2021.

xxxvii
 Preface and Acknowledgments

7 Mary Vaughan Johnson and Andrew Clancy interview Niall Hobhouse of Drawing Matter, on
June 20, 2019. https://podcasts.apple.com/pt/podcast/register-niall-hobhouse-drawing-matter/
id1202557946?i=1000442216402, accessed June 26, 2021.
8 Mary Vaughan Johnson and Federica Goffi Interview Alba di Lieto and William Whitaker, on
June 27, 2019. https://podcasts.apple.com/pt/podcast/register-alba-di-lieto-william-whitaker/
id1202557946?i=1000469498373, accessed June 26, 2021.
9 I began visiting the Architectural Archives of the University of Pennsylvania during the preparations
for the publication of a book by Marco Frascari, which I edited (Frascari 2017).
10 Goffi September 2021.
11 Goffi, Federica, “Sites of Knowledge Construction: The Secret Lives of Architecture Media
Archives,” YouTube lecture: www.youtube.com/watch?v=cj6rwU4_084, accessed June 26, 2021.
See also Goffi 2018: 325–338.
12 Emmons, Feuerstein, and Dayer 2017; Emmons, Goffi, and La Coe 2020.
13 Frascari 1981: 23.

Bibliography
Chupin, Jean-Pierre. 2013. Analogie et théorie en architecture (De la vie, de la ville et de la conception, Même).
Gollion: Infolio.
Emmons, Paul, Marcia F. Feuerstein, and Carolina Dayer, eds. 2017. Confabulations: Storytelling in
Architecture. New York and Abingdon: Routledge.
Emmons, Paul, Federica Goffi, and Jodi La Coe, eds. 2020. Ceilings and Dreams. The Levity of Architecture.
New York and Abingdon: Routledge.
Frascari, Marco. 1981. “The Tell-the-Tale Detail.” VIA 7: 22–37.
Frascari, Marco. 2017. Marco Frascari’s Dream House: A Theory of Imagination. Edited by Federica Goffi.
Abingdon and New York: Routledge.
Goffi, Federica. 2018. “Translations and Dislocations of Architectural Media at the Fabric of St. Peter’s
in the Vatican.” arq: Architectural Research Quarterly 22, 4: 325–338.
Goffi, Federica, ed. September 2021. “And Yet It Moves. Ethics, Power and Politics in the Stories of
Collecting, Archiving and Displaying of Drawings and Models.” Special Issue of Architecture and
Culture 9, 3: 365–384.
Goffi, Federica. May 2021. “Mary Vaughan Johnson. 1961-2020. Architect, Educator and Champion of
Inclusivity.” The Architectural Historian 12: 27.

xxxviii
 ABBREVIATIONS

AAE Association of Architectural Educators, United Kingdom

AAI Architectural Association of Ireland
AFSP Archivio Storico della Fabbrica di San Pietro (Historical Archive of the
Fabric of St. Peter’s), Vatican City
AHRC Arts and Humanities Research Council, United Kingdom
AIA American Institute of Architects
AIDS acquired immunodeficiency syndrome
A+PS Alison and Peter Smithson, architects, London, United Kingdom
ARAU Atelier de Recherche et d’Action Urbaines, Bruxelles (Research and
Urban Actions Workshop), Brussels, Belgium
ARB Architects Registration Board, United Kingdom
ArkDes Svenskt arkitektur- och designcentrum (The Swedish Centre for
Architecture and Design), Stockholm, Sweden
ASAU Azrieli School of Architecture and Urbanism, Carleton University,
Ottawa, Canada
BIM Building Information Modeling
BnF Bibliothèque nationale de France (National Library of France), Paris, France
CAD computer-aided design
CanBIM Canada Building Information Modeling
CCA Centre Canadien d’Architecture (Canadian Centre for Architecture),
Montréal, Canada
CCC Canadian Competitions Catalogue/Catalogue des Concours Canadiens
CEDODAL Centro de Documentación de Arquitectura Latinoamericana (Centre for
Latin American Architectural Documentation), Buenos Aires, Argentina
CEO chief executive officer
CIA Central Intelligence Agency, United States
CIAM Congrès Internationaux d’Architecture Moderne (International
Congresses of Modern Architecture)
CICA Comité International des Critiques d’Architecture (International
Committee of Architectural Critics)
CIM City Information Model

xxxix
 Abbreviations

CIMS Carleton Immersive Media Studio, Carleton University, Ottawa, Canada

CIRC Circulation Department, V&A Museum, London, United Kingdom
CISA Centro Internazionale di Studi di Architettura Andrea Palladio (International
Centre for Architecture Study Andrea Palladio), Vicenza, Italy
CITAD Centro de Investigação em Território, Arquitetura e Design (Research
Center in Territory, Architecture and Design), Lisbon, Portugal
CNN Cable News Network, Atlanta, GA, United States
CNRS Centre national de la recherche scientifique (French National Centre for
Scientific Research), Marseille, France
COPAN Companhia Pan-Americana de Hotéis e Turismo (Panamerican Company
for Hotels and Tourism), São Paulo, Brazil
COVID-19 Coronavirus disease 2019
CRISPR/Cas9 Clustered Regularly Interspaced Short Palindromic Repeats, associate protein 9
DAM Deutsches Architekturmuseum (German Architecture Museum), Frankfurt,
Germany
DD design development
DDR Deutsche Demokratische Republik (German Democratic Republic)
DMC Drawing Matter Collections, Somerset, United Kingdom
DOCOMOMO Documentation and Conservation of Buildings, Sites and Neighbourhoods
of the Modern Movement
DSpace digital repository space
EAD encoded archival description
ESALA Edinburgh School of Architecture and Landscape Architecture, University
of Edinburgh, United Kingdom
ETH Eidgenössische Technische Hochschule (Swiss Federal Institute of
Technology), Zürich, Switzerland
ETSAB-UPC Escola Tècnica Superior d’Arquitectura de Barcelona (Barcelona School
of Architecture), Universitat Politècnica de Catalunya Barcelona Tech
(Polytechnic University of Catalonia), Barcelona, Spain
EUR Esposizione Universale (World’s Fair), Rome, Italy
FARMM Facility for Architectural Research in Media Mediation, McGill
University, Montréal, Canada
FAU-UFRJ Faculdade de Arquitetura e Urbanismo da Universidade Federal do Rio
de Janeiro (Faculty of Architecture and Urbanism at the University of
Rio de Janeiro), Brazil
FAU-USP Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo
(Faculty of Architecture and Urbanism at the University of São Paulo), Brazil
FPAA Federación Panamericana de Arquitectos, Montevideo (Pan-American
Federation of Associations of Architects), Uruguay
GPS global positioning system
GSD Graduate School of Design, Harvard University, Cambridge, MA, United
States
H2L2 Harbeson, Hough, Livingston & Larson, the Offices of Paul Philippe Cret,
Philadelphia, United States
HBIM Historic Building Information Modeling
HNI Het Nieuwe Instituut (The New Institute), Rotterdam, The Netherlands
HQ headquarters
HRH His/Her Royal Highness

xl
 Abbreviations

HVAC heating, ventilation, and air conditioning

IAP Independent Assessment Process
IAUS Institute for Architecture and Urban Studies, New York, United States
ICAM International Confederation of Architectural Museums, Helsinki, Finland
ICOM International Council of Museums, Paris, France
ICOMOS International Council of Monuments and Sites
IFC Industry Foundation Classes
IIT Illinois Institute of Technology, Chicago, IL, United States
INTAR, RISD Interior Architecture Department, Rhode Island School of Design,
Providence, RI, United States
IRS Indian Residential Schools
IST Instituto Superior Técnico (Higher Technical Institute), Universidade de
Lisboa, Portugal
IUAV Istituto Universitario di Architettura di Venezia (IUAV University of
Venice), Venice, Italy
JCAF Joburg Contemporary Art Foundation, Johannesburg, South Africa
LAC Library and Archives of Canada/Bibliothèque et Archives Canada, Ottawa,
Canada
MARC machine-readable standards for catalog records
MASP Museo de Arte de São Paulo Assis Chateaubriand (São Paulo Museum of
Art), São Paulo, Brazil
MAXXI Museo Nazionale delle Arti del XXI secolo (National Museum of the
21st Century Arts), Rome, Italy
MBE Member of the Most Excellent Order of the British Empire
MDF medium-density fiberboard
MEC Ministério da Educação (Ministry of Education), Rio de Janeiro, Brazil
MIBAC Ministero per i Beni e le Attività Culturali (Ministry for National
Heritage and Culture), Rome, Italy
MIBACT Ministero per i Beni e le Attivitá Culturali e per il Turismo (Ministry of
Culture and Tourism), Rome, Italy
MiC Ministero della Cultura (Ministry of Culture), Rome, Italy
MIT Massachusetts Institute of Technology, Cambridge, MA, United States
MoMA The Museum of Modern Art, New York, United States
MVRDV Winy Maas, Jacob van Rijs, and Nathalie de Vries, Rotterdam,
Netherlands-based architecture and urban design practice
NAi Nederlands Architectuurinstituut (Netherlands Architecture Institute,
1993–2013), Rotterdam, The Netherlands
NAU New Architects’ Union of Japan
NBM National Building Museum, Washington, DC, United States
NCTR National Centre for Truth and Reconciliation
NDB Nederlands Documentatiecentrum voor de Bouwkunst (Netherlands
Documentation Centre for Architecture), Rotterdam, The Netherlands
OAS Organization of the American States
OEI Organization of Ibero-American States for Education, Science and Culture
OMA Office for Metropolitan Architecture, Rotterdam, The Netherlands
PAUB Pan American Union Building, Washington, DC, United States
PDF portable document format
PMA The Philadelphia Museum of Art, Philadelphia, PA, United States

xli
 Abbreviations

PREVI Proyecto Experimental de Vivienda (Experimental Housing Project),

Lima, Peru
Q&A question and answer
RA Royal Academy, London, United Kingdom
RCA Royal College of Art, London, United Kingdom
RFP request for proposal
RGB red, green, blue color model
RIBA Royal Institute of British Architects, London, United Kingdom
RMIT Royal Melbourne Institute of Technology, Melbourne, Australia
RMN-GP Réunion des Musées Nationaux, Grand Palais (French national museums
and the Grand Palace), Paris, France
RPBW Renzo Piano Building Workshop, Genoa, Paris, New York
RPF Fondazione Renzo Piano (Renzo Piano Foundation), Genoa, Italy
SAAL Serviço de Apoio Ambulatório Local (Local Support Ambulatory
Service), São Victor, Porto, Portugal
SAR Sveriges Arkitekter Riksförbund (National Association of Swedish
Architects), Stockholm, Sweden
SENA Servicio Nacional de Aprendizaje (National Training Service), Medellín,
Antioquia, Colombia
SESC Serviço Social do Comércio (Social Service of Commerce), Brazil
SHPO State Historic Preservation Offices
SIA Smithsonian Institution Archives, Washington, DC, United States
SIG Stakeholder Ideation Game
TAA Taliesin Associated Architects
TEE-TCG Τεχνικό Επιμελητήριο Ελλάδας (Technical Chamber of Greece)
TNA The National Archives, London, United Kingdom
TRC Truth and Reconciliation Commission of Canada
UAA Ungers Archiv für Architekturwissenschaft (Ungers Archive for
Architectural Research), Cologne, Germany
UAM Universidad Autónoma Metropolitana (Metropolitan Autonomous
University), Mexico City, Mexico
UCL University College London, London, United Kingdom
UCLA University of California, Los Angeles, CA, United States
UFRJ Universidade Federal do Rio de Janeiro (Federal University of Rio de
Janeiro), Rio de Janeiro, Brazil
UIA International Union of Architects
UIC University of Illinois at Chicago, IL, United States
UN United Nations
UNAM Universidad Nacional Autónoma de México (National Autonomous
University of Mexico), Mexico City, Mexico
UNESCO United Nations Educational, Scientific and Cultural Organization
V&A Victoria and Albert Museum, London, United Kingdom
V&A/RCA Victoria and Albert Museum/Royal College of Art, United Kingdom
VIM visual materials
VoCo Voice Over, Adobe
WAAC Washington Alexandria Architecture Centre, Virginia Polytechnic
Institute and State University, Alexandria Old Town, VA, United States

xlii
 Abbreviations

Initials of interviewees and interviewers

AC Andrew Clancy
CB Chiara Bennati
FG Federica Goffi
GL Giovanna Langasco
ND Nicoletta Durante
NH Niall Hobhouse
RP Renzo Piano

xliii
 INTRODUCTION
Ceci n’est pas une Archive
Federica Goffi

Architectural drawings and models are instruments of imagination, communication, and his-
torical continuity. The role of drawings and models, their ownership, placement, and author-
ship in an age of incessant media overproduction and ubiquitous digital reproduction deserve
careful consideration.1 Despite them being the first handiwork of the architect, not enough
attention is given to discussions about the sites of drawing activity or to the matter of housing
them after active building construction ended. Archival locations are essential to the active
relations between drawing and buildings, building and drawings, in the edifying of culture
that takes place after the buildings are built.2
Robin Evans (1944–1993) outlined the relevance of the imaginative translational gap
between drawings and buildings.3 Since then scholars took a close-up look into the role of
drawings as a place of theory construction. Yet, translation does not end when the buildings
are built, and drawings and models are transferred to the places where their afterlives unfold.4
Notably, the epistemic relations in the thereafter of construction are context-dependent and
are affected by the choices of archival location and the related modalities of access.
The word translation, which nowadays entails a carryover of meaning from one language to
another, derives from the Latin word translationem, indicating a physical transporting. Evans begins
his essay discussing translatory motion by noting that the “assumption that there is a uniform space
through which meaning may glide without modulation is more than just a delusion.”5 However,
he focuses his examination on the analogy of the “drawing’s power as a medium” with the trans-
lation of languages.6 Historically, the physical translations, or in other words, the mobility of
drawings and models, also resulted from meaningful changes that lead to changes in meaning.
Expanding the well-established discussion of the translation from drawing to building,
while relying on reciprocal influences between the fields of architectural history and theory
of representation, archival, curatorial, and museographic studies The Routledge Companion to
Architectural Drawings and Models: From Translating to Archiving, Collecting and Displaying, questions
the significance of the afterlife of architects’ drawings and models, calling into question the
significance and appropriateness of translations from place to place when mobile media move
between offices, buildings, archives, and exhibition spaces finding renewed significance. Such
translatory acts result from decisions leading to changes in meaning that impact the “readings
of drawings” and models involved in the sociocultural, economic, and geopolitical construing
in the afterlife of a construction process.7

xliv
 Introduction

This Companion focuses on the archival typologies of architecture media ranging from in
situ to ex situ, private or public, from teaching and research archives (in academic and pro-
fessional settings) to museographic or professional office repositories, and more. The diverse
archival typologies examined allow providing distinct viewpoints that enable to consider the
merits and values of each in relation to architecture media, thus realizing that the construing
that happens past construction is context-dependent. The book is composed of four thematic
parts. The case of in situ archives is narrated primarily in Part I dedicated to Drawing Sites/
Sites of Knowledge Construction: Drawing, Office, Construction Site. Part II, The Afterlife of Drawings
and Models: Archiving, Collecting, Displaying, and Exhibiting, introduces the theme of architec-
tural media kept in private8 or public ex situ archives that in some cases are associated with
museographic or academic institutions.9 Part III on Tools of Making and Knowledge Construction:
Architectural Representations and Their Apparatus over Time emphasizes how drafting and digital
tools are essential in reading archival drawings. Part IV considers The Ethical Responsibilities of
Collecting and Archiving: Authorship, Ownership, Copyrights, and Rights to Copy in relation to the
political dimension of the archive as a site of power and knowledge control. The questions
addressed by contributors have contemporary relevance and raise awareness of the continued
historical significance of these issues in relation to a broad geopolitical and sociocultural context.
The implications of the continuity and contiguity of drawings, models, and buildings
establishing meaningful on-site relations (in situ) versus off-site archival (ex situ) have yet to
be fully acknowledged.10 The transfers of architecture media may go unnoticed, but they are
well-documented and planned acts that lead to changes in meaning with a lasting impact on
the seminality of architecture. The presence of representational media within the buildings
they represent, their transporting from one place to another, from the places where they have
been made to where they are kept during construction, or to designated archival locations
and possible web-dissemination in the thereafter of fabrication processes deserves scholarly
critical analysis.11
The essays focus on the mobility of drawings and models to unravel the significance of the
sites of archival, research, and exhibit (Figure 0.1). This is also the subject of the parallel special
issue of Architecture and Culture, titled, And Yet It Moves: Ethics, Power, and Politics in the Stories
of Collecting, Archiving and Displaying of Architectural Drawings and Models by the same editor.12
And Yet It Moves and this Companion rely on direct accounts of architect-archivists,
scholars, art and architecture historians and theorists, design practitioners, and curators tackling
questions informing the future planning of archival sites-in-becoming—considering how past and
future are to engage in meaningful, inclusive, and multicultural relations.13 In addition, sev-
eral contributions written in the first person attest to direct archival and curatorial experience
over many years, participating in the construction of the stories narrated.
This Companion draws attention to the significance of places where architecture media
are made, where they are consulted, and where they live in the thereafter of drawing and
building activities, reading into the concept of the archive in all its ambiguity of display and
concealment, memory and forgetfulness, placeability and irreplaceability in the context of
the curatorial responsibility for architecture collections.14 Every designated archival location
affects the curatorial choices of inclusion/exclusion,15 omission and promotion,16 what may be
overlooked in restricted archives or hidden in dark archives,17 determining the potentiality
of ‘sited-interpretations.’ While there is no single approach to deciding where architecture
media belongs, archival choices are partly determined by the types of drawings, as well as
changing ethical and cultural ideas. Design drawings produced by an architect for themselves
or their team in the design development process, versus presentation drawings produced for a
client, or construction drawings made for a builder, foster different types of communication

xlv
 F Goffi

Figure 0.1 Marco Frascari, Angelic Drawing. June 9, 2010, circa. © The Architectural Archives of the
University of Pennsylvania Stuart Weitzman School of Design.

xlvi
 Introduction

and are likely to belong in different places, following different archival paths if and when they
are retained for future holdings.18
While we refer to architectural drawings and models with the terminology of architecture
media, the broader apparatus of drafting tools, specifications, letters, correspondence, paper-
work, and economic accounting is essential to architecture theory and practice and should
be considered and archived alongside drawings and models, thus recognizing their integral
role in the design process. At times, drawings, models and their tools, which contain within
themselves an instrumentality that was key in generating architecture, maintain an enduring
co-sited presence within an in situ or ex situ archive, witnessing a process that led from one to
the other, and keeping alive latent connections and potentialities that may bring to life future
readings and even new design considerations.
The siting of architecture media is an act of designation with cultural, geopolitical, and
economic implications defining unique ethical conditions of access and power relations
dependent on ownership and accessibility, copyrights and rights to copy, as well as uses and
misuses of media. Architectural archives exist in the dimension of transhistorical time and
hold the potential to reveal how an ‘imagination of beginnings’ may substitute for a current
‘imagination of endings.’ Presently, the architect’s responsibilities are timed by design and
construction deadlines, and drawings are held as contractual records of the work for the dur-
ation of a liability period varying according to local legislation, while an architect of record,
past the time of construction, is seldom in place. The historicity of buildings is measured in
linear time. The separation between the present and the historical past is marked by conser-
vation guidelines that establish the number of years required for a building to be deemed his-
toric or the legislated period of time during which a project documentation must be kept by
an architecture office for liability purposes.19
From the point of view of deontological professional ethics, not every country provides
indications of how long media documenting a project should be kept by an office.20 The
decisions to maintain the records of professional work past legal obligations are up to the
material creators, their heirs, or other interested parties. Concept sketches and design drawings
often remain property of the architect unless negotiated otherwise. Usually, local or municipal
building departments keep a set of technical drawings for legal and maintenance purposes rather
than cultural or artistic intent,21 as it is done in museographic practices. We should question
where the life of design drawings ends and archival begins, and is that the place where a line
of ethical responsibility is drawn? Importantly, what is the end-of-drawing as a productive tool
of knowledge construction? Drawings and models are traces of thought development that may
contribute to the development of thought after construction ended, giving place to an imagin-
ation of beginnings, rereadings, and reactivation of architectural media over time.
The birthing of an archive in a given site is telling of the significance of such a place. The
architectural archive can be born from a repository in an architecture office, a construction
site, a building construction material factory, or a research center in the thereafter of design,
production, and fabrication. Every archive has a story of origin connected to a place where
representational media potentially belong, where they have been located, dislocated, or even
displaced. The dislocation of a collection can refer to a temporary or unsuitable relocation, as
well as a location posing challenges to the consultation of materials. As James Lowry exposes
in Displaced Archives, collections may be displaced due to conflict or colonial practices. It is
essential to analyze the consequences of the removal of collections from a cultural and geo-
political context.22 The study of drawings and models should be understood as a process where
media becomes integral to defining the meaning of places. Indeed, the sitedness of represen-
tational media—regardless of whether such media is mobile or not—is essential to its agency.

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The significance of place is at the root of the notion of archival. The Latin arcivum, archivum,
and archivium refer ambiguously to both the place of archival and its contents.23 Such prolific
ambiguity has relevance for in situ archives where the relations of container and content can be
inverted in a co-sited condition (the drawing contains the building, and the building contains
the drawing).
In Archive Fever, French philosopher Jacques Derrida (1930–2004) sought out “the concept
archived in the word ‘archive,’”24 yet he surrendered to the lack of a unified idea,25 which
arguably may have to do with the diverse places of origins of archives, their roles, and modes
of organization which leads to an unquestionable diversity of archival intents and typologies.
The arkheîon (α ̉ρχει ο̃ ν), from which the word archive derives, was the magistrate’s residence,
a place of archival and power where a public record was kept.26 Derrida noted that this word
,
derives etymologically from arkhē (αρχή), which refers to the idea of commencement and
commandment.27
We thus concern ourselves with stories of archival beginnings, the authority, and the power
that reside in archives. Of most interest is when architecture media transforms from being
an instrument of design to an archival artifact, and whether such design tools retain a
latent projective dimension. The condition of being sited impacts the perception of media,
reminding us of its potential to be both design instrument and artifact. Each archival site
is first and foremost a place, an office, a building site, a museum, “a house, a domicile, or
an address.”28 However, it should not be reduced to an “objectivizable storage,”29 at times
becoming a place of consignation, censorship, or repression.30 The temporal, sociocultural,
ethical, and geopolitical situatedness of the archive determines what is valued, undervalued,
omitted, or delayed in reception (for decades or centuries at the time).
After the so-called archival turn, described by anthropologist Ann Laura Stoler as a change from
archive-as-source of so-called objective knowledge,31 to the archive-as-subject,32 our contributors
draw attention to the archive-as-place. Archival drawings and models are sited epistemic media, and
such situatedness determines their ethical and political agency. Derrida affirmed that:

They [archival documents] inhabit this uncommon place, this place of election where
law and singularity intersect in privilege. At the intersection of the topological and
the nomological, of the place and the law, of the substrate and the authority, a scene
of domiciliation becomes at once visible and invisible.33

Such topology, or the study of the locations where drawings, models, and other materials
are domiciled in archival places,34 should be understood as a formation process, where epi-
stemic media become an integral part of the construction of places. Vice versa, the places where
documents, drawings, and models are kept impact our ability to access and interpret artifacts,
directly affecting the rewriting of the histories and theories of architecture.
The potential for architecture theorizing, as a cyclical “construing” and “constructing,”35
linking forethought (when the buildings are drawn), thoughtful construction (when buildings
are built), and afterthought (after construction ended), partly relies on the afterlife of media.
In the case of ex situ but especially in the case of in situ archival, it is possible to think about
the afterlife as a “living afterwords,” a Warburghian nachleben.36 This concept implies not so
much a cessation of something but rather the continuation of an epistemic dialogue between
media through a process in which serendipitous influences take place, inferences are drawn,
and connections are made.
This publication deals with how archival systems relate to chosen locations and the stories
of how collections come to be in given places, as well as how research methodologies are

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 Introduction

impacted by modalities of access and archival regulations in the consultation of materials. The
arguments are not about a singular concept of the archive but rather about the diversity of
stories offering a transversal and cross-cultural reading, showing the potentialities of a field
requiring interdisciplinary knowledge. Derrida affirmed that there is not an “archivable con-
cept of the archive.”37 Rather than documenting the history of a concept, the intent here is to
draw a cross section into contemporary modes of conceiving of architectural media collections
and the historical practices of architecture media archival in which they are rooted.
Indeed, while architecture theorists dealt extensively with the translation from drawing
to building,38 the context-dependent agency of archival collections and the significance of
the translations from place to place have been an overlooked aspect of contemporary architec-
ture studies but for a few exceptions,39 even when attention is rapidly growing in the related
scholarship in archival studies.40 The stories offered herein are not about architecture, nor do
they provide a philosophical approach to theory. Instead, they are grounded in the histories
of archival of architecture media, siting architecture theories within archival places of origin.
While dealing with the pre-digital period, several contributions address the digitaliza-
tion of collections and the archiving of born-digital media. Considering that the notion of
archiving long predates the digital age, this text addresses the transhistorical condition of the
architectural archive, which often began as in situ repositories before a modern concept of
architecture archive and museum had developed.41
From the late 1960s to the present, architecture firms gradually shifted from a predomin-
antly analog to a mainly digital practice, and their work will soon be in need of archival. Since
the introduction of digital technologies, a vast number of drawings and models are produced
for a single building, evidencing the relevance of foregrounding archival issues. Often, archival
choices are addressed when a firm reaches critical recognition or plans the end of the practice.
Many chapters deal with both traditional and digital archival issues. Claudio Sgarbi and
Jesse Rafeiro offer a parallel reading of historical in situ archives that originated in the fabbricerie
(workshops) in Italy, and BIM drawings, exposing the paradoxes and impossibility of total
archival. Jean-Pierre Chupin and Carmela Cucuzzella deal with a digital database of archi-
tectural competitions in Canada covering works from the 1970s to the contemporary period.
Izumi Kuroishi deals with the digitalization of physical collections of sketches by Wajiro Kon
(1888–1973) and the amplification of the impact of the collection through its digital dissemin-
ation. The book also includes an interview with architect Renzo Piano and the head archivists
of the Renzo Piano Foundation (RPF), Chiara Bennati, Nicoletta Durante, and Giovanna
Langasco, on the physical and digital materials of the “living archive,” which opened in 2004
as part of the nonprofit organization planning for the conservation of the design media of the
Renzo Piano Building Workshop, and the promotion of the architecture profession.
Currently, a majority of architectural archives hold both physical and digital media
collections.42 Regardless of whether drawings are pre-digital or not, digital management and
dissemination have become fundamental. The journeys of drawings and models from emer-
gent concepts to design development and construction phases lead to an afterlife beyond the
construction of buildings. The archival life of architectural media exceeds a postmortem
record of the building process.43
While recent scholarship has drawn significant attention to the role of exhibits in the
modern and contemporary period in orienting architecture discourse44 —a topic that is partly
addressed in this book—the significance of the long history of continuity and contiguity of
drawings, models, and the buildings they represent, establishing meaningful on-site relations
versus off-site dislocations, when relative positions do not per se hold significance in place, has
yet to be fully acknowledged.

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Jordan Kauffman addresses the shift that took place in the 1970s and 1980s when, through
the initiatives of the Leo Castelli Gallery in New York, architectural drawings began to be
produced with the intent to be exhibited as artwork.45 Indeed, exhibition practices of archi-
tectural media were influenced by the New York gallery. The staging of architecture by O.
M. Ungers (1926–2007) and Hans Hollein (1934–2014) through exhibitions in the late seventies is
discussed by Samuel Korn as a productive laboratory of ideas integral to their practice, while
Christina Pech reminds us that architecture exhibitions have often been critiqued for not
showing “the real thing.”46 As Marco Frascari (1945–2013) noted:

Architecture cannot be shown in museums. […] In museums drawings, models or

photos of architecture can be shown and appreciated for their own intrinsic qualities
as agents and vehicles for architecture. […] these visual means connote architecture,
but the architectural qualities and properties cannot be directly denoted […].47

Drawing on this distinction, it is possible to argue that the on-site presence of elected
representations denotes the process of on-site inventory in its dual nature of cultural recol-
lection and fostering of future imaginings. The storytelling of the site, the site of building
construction, and the edifice exist in various relations to each other, extending the lives of
architecture media in meaningful ways beyond the end-of-construction, which is at times
deceptively perceived as the end-to-translational relations.
Nowadays, the terminologies of exhibit and display are used interchangeably when describing
modern and contemporary exhibition practices. However, considering the concepts and the
differing conditions of experience when representational media are kept on site or exhibited
off site, it is possible to suggest a differentiated understanding of displaying (in situ) versus
exhibiting (ex situ). To exhibit, from the Latin preposition ex (out) and the verb habere (to
hold), literally means to hold out. In this sense, museum collections where architecture media
are shown ex situ—outside of the original places of creation—are imperfect depositories
of memory where certain denotative functions of architecture experience are left out. To
display—from the Latin dis-plicare, through the Old French despleier—means to unfold, to
expose, to explain. Thus, representational media displayed in situ complements the denota-
tive functions of architecture, revealing the construing that took place and the bidirectional
signification between media and building, activating reciprocal readings, rather than merely
connoting architecture away from the original site of edification in an exhibition or archival
setting. Indeed, while it has often been noted that it would not be possible to exhibit architec-
ture but only its media, or to put a building in an exhibition or archive (event thought there
are known exceptions to that), it is indeed possible to put architecture media on display within
the very buildings that they originated.48
The significance of media varies in relation to given cultural settings indexing unique
relations between a viewer, an object, and its context. Recognizing the full import of the
relation between drawings or models and the places of drafting, edifying, and fabricating is
integral to extended sites-in-becoming that remain open even after construction ended.49
The choice of archival locations relate to archival intents. This Companion questions the gap
between display and exhibit while analyzing diverse archival conditions.
While mobile architecture media may be itinerant, not just for temporary exhibition
purposes but also when they are transferred to a new archival location, each transfer holds
significance and can alter how a collection and its contents are interpreted. Architectural his-
torian and curator Barry Bergdoll spoke about the opening of the Building Collections depart-
ment at MoMA, and the resistance encountered to exhibit architecture in the space of a gallery,

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 Introduction

facing what he called the “truism that architecture can only be exhibited through simulacra,
substitute objects, or representations.”50 If, as already said, observing media in situ allows
media and building to connote one another, architecture exhibitions showing the drawings of
a building within another building are akin to double dreams or dreams within other dreams.51
However, buildings can also be archived and exhibited, along with their histories, in situ (when
converted to museums of their former lives)52 or ex situ (transported to a new site).53 There
are a number of well-known cases of museification of buildings or building spoils that found
an afterlife as archived artifacts such as the Yin Yu Tang house (1800 ca.) of a Chinese mer-
chant of the Huizhou region, which was transferred from China to the United States, where
it was reassembled at the Peabody Essex Museum in Salem, Massachusetts in 2002.54 To avoid
demolition, the interior wooden structures and finishes of the Rideau Chapel in Ottawa,
constructed in 1887–1888, was disassembled in 1972–1973, and archived as a recomposed
interior (without an exterior), inside the National Gallery of Ottawa in 1988, which was
designed by Moshe Safdie (Figure 0.2).55
Architectural drawings are often understood either as art objects, illustrations, or profes-
sional design instruments embodying a creative process, which may lead to the construction of
a building. Indeed, what a drawing is perceived to be, where and how they are kept hold close
relations. In situ drawings and models are not leftover from a process of making and form a
continuity with the act of building in the future. The transmediations from drawing to model
to building reveal the potential of in situ archival to generate sited-construing and construc-
tion reactivating media in its afterlife. Adam Sharr reflects on what he calls the “slippage of
drawings between descriptive, analytical and projective modes,” activated when drawings
are translated from an office to an exhibition space, undergoing a transformation from survey
tools to artifacts to be shown for their intrinsic artistic and cultural values.56
Marian Macken, Sarosh Mulla, and Aaron Paterson analyze the architecture office as a tool
and archive of a design process and remind us how,57 according to former Canadian Center of
Architecture (CCA) director Howard Shubert, an architectural model or a drawing can shift
status from design instrument to “document, resource or art object.”58 However, especially

Figure 0.2 Left: Architectural elements of the Rideau Chapel were removed via an opening in the
building. Photo: Heritage Ottawa Report, 1972–1973. Right: Interior of the Rideau Chapel, 2019,
National Gallery of Ottawa, Canada. © Federica Goffi.

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 F Goffi

when the drawings remain on site, past a time of construction, they retain their instrumen-
tality, with a potentiality for ambiguous (bidirectional) translations from drawing to building
and building to drawing.
Epistemic media is situated not just in place but also in time. Consequently, transhistor-
ical readings of media vary significantly. In Chance and Change: The Survival and Significance of
Architectural Drawings and Models, Olivia Horsfall Turner, Senior Curator of Architecture and
Design at V&A, tells us four stories demonstrating how the value that is attributed to archi-
tectural drawings and models fluctuates in relation to the cultural conditions of the moment.59
While in situ archives draw attention to the lives of buildings and their sites, ex situ archives
draw attention to the lives of architects, grouping media under the heading of the individual
creator in monographic collections. At a time when the Renaissance practice of in situ archives
was emerging, Giorgio Vasari’s private collection of drawings included those of St. Peter’s
Basilica, which today form the core of the Department of Prints and Drawings (Gabinetto dei
Disegni e delle Stampe) of the Uffizi collection of St. Peter’s drawings.60 Vasari’s collection
is an early example of private collecting of architecture media,61 shifting the focus from the
co-sited condition of media within the allographic architecture they represent (as a transhis-
torical multiauthor endeavor), to the grouping of autographic drawings by individual creators
in monographic collections autonomous from the original buildings.
While the Akademie der Kunste (Academy of Arts) in Berlin was founded in 1696, it
was not until the twentieth century, when architect Hans Scharoun (1893–1972) became
involved, that architecture media holdings were established there, bringing together the
works of modern architects and documenting the practice of architecture in a single public
institution.62
Nowadays, architectural drawings often reside in private or public archives,63 at times
linked with academic institutions with an educational mandate,64 or in museum collections
housing the body of work of individual architects. This is the case with many collections,
including the works of the modernist masters of architecture. Archives are both localized
(allowing stories to emerge from individual works) and global (extending their reach through
online databases).65 Online access to collections facilitates research and holds the potential for
a tangible impact on the future teaching of architecture.66 However, some archival experts
question the distinct nature of digital archives,67 and the challenges for born-digital media.68
The exhibition Archeology of the Digital, organized by the CCA in Montreal, was an oppor-
tunity to interview authors of early digital work to understand how to treat and archive
their collections.69 Independent curator and media studies scholar Annet Dekker argues that
authors should be involved in future decisions about the modes of archival of their work.70
While born-digital materials may be experienced ubiquitously,71 and might configure the
Internet as their archival site,72 analog materials benefit from direct contact with artifacts and
collections. However, even in the case of born-digital materials, original files are not always
accessible, and born-digital media may only be viewable as PDF versions or other flattened
digital files that do not allow access to the original raw layers of information for propri-
etary reasons. A ubiquitous site of drawing production characterizes the digital age, and it
is now possible to reproduce digital media in multiple originals.73 However, digital media is
entangled with software, which makes it de facto inseparable from it, and possibly configures
the software as the site of archival, implying that future accessibility may be affected by software
obsolescence, even when proprietary rights may have expired, facing the challenge of what
and how much remains accessible and can be preserved.74
The archival field is going through a massive transmediation of media from analog to
digital. Already in 1996, Nicholas Olberg advocated for the need to establish guidelines

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for the conservation of architecture media preserved with different agendas and in a var-
iety of contexts, outlining the key challenges in the record-keeping of architecture media
collections.75 Dekker draws attention to the potential of digital archives to transform archival
practices, which have the potential to be more performative and processual than focused on
static objectness.76
There is a difference between dissemination and conservation. Digital bits disseminate
the archive beyond its physical boundaries. The digital archive is communicated rather than
simply stored. During the COVID-19 pandemic, many experienced the ubiquitous nature of
the digital archive from places of everyday life and study.
The situatedness of archives determines unique conditions of access in relation to the geo-
political, sociocultural, and economic context of collections. The ambiguous conversions of
a house into an archive, which is also a home exhibiting itself, or a museum that is also an
institute, reveal a series of conversions dependent on shifting cultural approaches adopted
in sited-interpretations. Sol Camacho introduces the case of the Bardi Institute.77 This is a
house-archive-museum-institute, which is part of the Brazilian cultural and political context,
and an example of such ambiguous conversions.
Representational media is often analyzed in scholarly publications without acknowledging
the impact of the context where media is accessed, analyzed, and pried open, a subject explored
by Athanasiou Geolas.78 Where architecture media dwell in relation to buildings impacts their
seminality and potential future translations. What does the ambiguity of a home that is also
an office, turned into a museum-archive—like the John Soane’s Museum discussed along
with its model collections by its Deputy Director and Inspectress Helen Dorey—tells us about
the housing of architecture media?79 How does such domiciling of media differ from other
institutionalized archival conditions? Is there something to be learned from the ambiguity of
such sites, and how does one story generate another? There is a relation between the places of
creation, archival, display, and exhibit, as nested sites of knowledge construction. In the con-
text of in situ archives, dwelling and displaying blur into one another. This is more easily under-
stood in historical sites, such as St. Peter’s Basilica in the Vatican, which was renovated during
the Renaissance period and contains an archive where its architecture media are preserved
since that time.
According to Renaissance architect Vincenzo Scamozzi (1548–1616), drawings and models
had a demonstrative function allowing to sense architecture as a whole in its sum of parts,
which may explain why in several cases, they can still be found today in the archives of the
fabbricerie.80 Such media is also essential to understanding transhistorical site transformations.
According to Frascari, an architectural theory is an embodied demonstration manifested in
architectural drawings and buildings.81
The contributors to this publication consider these questions and how archival locations
take on a fulsome significance that determines how media continue to be at work after arch-
ival. A new criticality in the digital age requires moving beyond the either/or option of the
office, the on-site and off-site storing of media as separate sites of construction and archival.
The questions raised are of import to current architecture practices when considering the
relevance of planning for the translations of media to future sites where they may contribute
to cross-disciplinary knowledge constructions.
Notably, in 2004, Renzo Piano began reorganizing his office repositories, creating the
Renzo Piano Foundation and archive near the Renzo Piano Building Workshop (RPBW) in
Genoa.82 A documentary directed by Francesca Molteni and curated by Fulvio Irace, titled
“The Power of the Archive” (2019), narrates its history and intent. Together, the professional
office and the adjoined archive form an in situ media repository, where mobile architecture

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media maintains a critical role in the everyday operations of the office. In Piano’s own words,
the archive is a ‘memory workshop’ organized around the project of construing memories—
traveling media often depart for exhibitions and cultural events, reaching the archive by land
and sea.83 The archival project allows reading the narrative threads and unraveling the fil rouge
linking one project to the next, through an endless transmediation from drawings to models
to texts, and from one project to another. The archival project of architecture media is not
separate from the professional project of architecture, but rather it is born at the tail end of it.
The longevity of representational media lends to the construction of theory. Collections are
sited, resited, or transferred, negotiating in place and through time the significance of mut-
able epistemic objects.84 The stories of archival origins enclosed herein reveal that archives
were not always conceived as such, even when they originated as media repositories. At
times, they make for improbable private archival locations, such as the quasi-archival homes
of heirs to architects, who entrusted them with their collections in Brazil, as narrated by
Camacho.85 This is also true for the case introduced by Maria Elisa Navarro Morales, Cristina
Albornoz Rugeles, and Alejandro Henríquez Luque, of the five thousand sketches by the late
Colombian architect Germán Samper (1924–2019), which have been kept until his death in
his home office, where they found an original order and significance. Following his wishes,
the sketches were donated to a public institution, the Luis Ángel Arango Library, one of the
buildings he designed.
In situ repositories exceed the archival function. At times, architectural drawings form
embodied in situ constructions that are integral parts of walls or floors denoting a co-sited
ambiguity between a building and its representation, like in the case of the mural drawings by
Michelangelo in the Medici Chapel at San Lorenzo, Florence, described by Jonathan Foote,86
who narrates the story of the ‘house arrest’ of a wall drawing that is inseparable from its
medium, the place of its making and unwitting archival. At times, buildings become acci-
dental domiciles for the traces of graffiti writings, like the ephemeral traces of political expres-
sion and resistance in Athens city center discussed by Konstantinos Avramidis, which are
often effaced and short-lived.87
An early example of in situ media display is shown in a fresco at St. Peter’s, where the
ostension of a drawing for the interior of the basilica is depicted. This is the first known case
in which an architect, Gianlorenzo Bernini (1598–1680), is represented showing an architec-
tural design drawing (the chapels of St. Peter’s, ca. 1630–1633) to his patron, Urban VIII.88
In the context of in situ archives, the container/content relations can be inverted in a
co-sited condition, where both media and architecture conspire and act together in the con-
struction of memory and projective design over time. The chain of representations that lead
to full-scale construction may form a sum-of-parts coextensive with an edifice rather than
being set apart from the continuity of fabrication. To this end, conservation—understood as a
practice of storing away a record for posterity—is not per se the main purpose of in situ archives.
Indeed their future is such that drawings and their twinned building may follow a same fate
of survival or destruction due to their co-sited condition.89 Such is the case with the Archivio
Storico della Fabbrica di San Pietro (Historical Archive of the Fabric of St. Peter’s, AFSP) at
the Vatican, where several drawings and models from the Renaissance renewal of the Vatican
Basilica are still kept.90 The octagonal rooms where the archive is sited within St. Peter’s are
the places where materials such as Antonio da Sangallo the Younger’s model (1539–1546) has
been kept since a time well before an ‘idea’ of the archive was conceived in this site—ceci n’est
pas une archive.91 In such ambiguous settings, the construction site is not just a workshop, nor
is the archive merely the total sum of artifacts. Well-sited drawings are not artworks to be
exhibited, nor self-contained pieces to be stored. The awareness of the ultimately irretrievable

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past becomes palpable when considering in situ archives, where it is possible to develop an
understanding of the fact that the past is at work within the present, and yet it does not fully
coincide with it. Conversely, the past is always-in-the-making, renegotiated in historical
narratives and consciousness.
Before being consigned to the rooms above the barrel vaults, Sangallo’s model had been
under construction for seven years in a purposefully set up space within St. Peter’s, near the
so-called muro divisorio, a wall cleaving new and old basilica. Michelangelo decided to transfer
the model in 1546 to an octagonal room edified during Sangallo’s tenure. However, the
AFSP was instaurated much later (1579), and the majority of Michelangelo’s models did not
survive, attesting to the fact that the idea of archiving architecture media had not formed
yet. Michelangelo’s keeping of Sangallo’s model indicates that he conceived of it as a part of
the site. Indeed, Sangallo’s model was not just kept within the building—it was made there.
This is not simply a case where a model is produced to construct a building. The condition is
reversed: the Old Basilica generated a model used to negotiate between an existing and future
condition in situ. There is a moment in the history of any construction site when architecture
media changes from being a prospective to being a retrospective instrument. In such co-sited
condition, where Old St. Peter’s gave rise to New St. Peter’s through the intermediation of
drawings and models, perspective and retrospective relations between a before and after are
mediated by representational media kept in situ.
Nowadays, we conceive of physical and digital architecture models as projective instruments
used to design buildings. However, in this setting, the edifice (Old Constantine’s Basilica)
gave birth to a model and not the other way around. The model had both a retrospective and
projective dimensions negotiating a building that is with the building that will be, and as such
it was intended to provide continuity between the building, erected over sacred burials, and
the future temple to be built on this site (New St. Peter’s Basilica). The model is imagined
in presentia of a building undergoing a significant transformative process and in absentia of the
Heavenly Jerusalem, which it signifies. The model is a virtual index prefiguring an absent
and yet to be attained reality. If we interpret the connection between drawings, models and
building, as a cyclical birthing process, which in turn may produce drawings or models from
a building, we may reverse the metaphor that buildings arise from models and drawings and
consider whether drawings and models can be generated from buildings (whether through
remodeling, previous built works, architectural precedents, etc.).
In the end, it is not even a matter of which comes first—the drawing, the model, or the
building—or if one has priority over the other (building over drawing?), which is for some a
matter of debate. In situ archives allow to sustain an epistemic dialogue, creating an imagina-
tive exchange between past and present, fostering ambivalent container/content relations.
Sangallo’s model is a virtual prefiguration mediating between the real and the virtual and situ-
ating itself in between. One could say, using Pavel Florensky’s words, that Sangallo transfixed “heav-
enly images.”92 In situ archives are sited between the past and the future, providing access to an
“imaginal world,”93 with the dual capacity to recollect and foretell. Conversely, off-site archiving
(ex situ) is an act of archival as storing-away, as opposed to keeping-with. No matter how small or
large, archives make room for an “indeterminate anticipation” of all possible future rereadings.94
The AFSP is not an archive in the sense of a place for storing away. Its archival location takes
its meaning from the history of the site of the basilica. The archival rooms gravitate around
the symbolic center of the basilica, St. Peter’s burial, which is located beneath the main altar.
The notion of burial ad sanctum entailed that the nearness to this sacred ground was something
to aspire to as part of the worship of relics. The octagonal rooms of the archive above the
barrel vaults converging into the central area of St. Peter’s suggest the idea of the archive as a

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Figure 0.3 Hybrid collage showing the Historical Archives of the Fabric of St. Peter’s in the Vatican.
Left: Plan of the archives located in octagonal rooms above the level of the barrel vaults. Right:
Drawing plan and section of the octagon of St. Jerome where the model (1539–1546) of Antonio da
Sangallo the Younger (1484–1546) for St. Peter’s is kept. © Federica Goffi.

compass of time, providing orientation toward the past and the future (Figure 0.3). Such siting
indicates something more akin to awaiting for the end-of-time than a form of preservation
aiming to set artistic and religious artifacts out of the perils of time.
In situ archives remind us of buildings’ capacity for and the constancy of change. This
becomes evident when drawings from different periods are kept as demonstrations of the
passage of time and the transformations that took place. In situ archives are places of con-
cealment and unconcealment, lethe and aletheia, closure and disclosure, which have remained
relatively understudied in the history and theory of architecture representation. And yet the
secret lives—from the Latin secretus, set apart, private—of architecture media have been per-
vasive, and their stories unfold and slide out from archival shelves and institutions, where they
have been kept in purposefully constructed rooms and cabinets. Yet, even the passage from a
private to a public archive does not always assure a change from a secret to a nonsecret con-
dition, as Derrida pointed out.95 Indeed, over time, the concepts of secrecy and privacy have
developed overlapping and obfuscating meanings. Who chooses how, what, and when materials
can be accessed? Preclusion from the study of materials may depend on an author’s wishes,
like in the case of the Lequeu Legacy at the National Library of France discussed by Elisa
Boeri,96 the decisions of the heirs of a collection, as explained by Marcia Feuerstein in rela-
tion to the archival collection of Oskar Schlemmer (1888–1943),97 or the policies of private
or public institutions with regard to the imposed temporal distance from a historical record
or its political content.

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 Introduction

From the Victorian up to the Modern period, architectural drawings were sometimes
kept in hidden compartments inside the newel post of staircases in the very buildings they
represented. Even though architectural design drawings sustained higher status and avail-
ability than engineering drawings, surveying drawings, or other drawn visualizations, in
recent times, the attention to maintaining drawings and models in designated locations in his-
torical buildings—hidden away from the public eye or on display for everyone to see—shifted
to the pragmatic aspects of construction drawings.
Nowadays, in large institutional buildings, a set of working drawings is often kept in mech-
anical rooms and maintenance offices on site. Lastly, the current conditions of coproduction
and multidisciplinary authorship defining the often ubiquitous sites of digital architecture
making and communication raise questions of what autonomy and differentiation do archi-
tectural media have from other media and disciplines.98
In situ repositories and archives, ranging from private to public collections of materials,
exceed the role of storage and preservation and cannot be reduced to inventoried lists.
Context-dependent architecture media collections generate professional specialties, including
the architect-archivist and architect-archivist-activist roles,99 which are configured in unique
ways when the archive is in situ, as part of an academic institution or a private or public insti-
tutional collection. Archival plans are not always explicitly discussed by professional architects
but are often planned at the end of a construction process or the life of a practice.
In the first chapter of this book, Curator and architect Alba Di Lieto shares the story of how
the Carlo Scarpa Archive at the Castelvecchio Museum in Verona (Figure 0.4) came to be
when Director and art historian Licisco Magagnato (1921–1987) decided to purchase Scarpa’s

Figure 0.4 Carlo Scarpa Archive. Castelvecchio Museum, Verona. © Photo courtesy of Prakash Patel.

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 F Goffi

design drawings for Castelvecchio’s renewal (1957–1964, 1965–1975) in 1973. This decision
draws attention to the relevance and benefits of in situ archives, not only for research and
exhibits but also for renovation work, sustaining a dialogue amongst authors not all present at
the scene. It is appropriate that having seen the drawings being produced in Scarpa’s site office,
Magagnato purchased them, thus thinking of them as part of the site.100 Magagnato created the
opportunity for another kind of memory where the dialogue between drawings and building
can be sustained in a deeper dimension of time, past the period of the author’s presence on
site—amplifying the relationship between representational media and architecture in a way
that allows one to denote the other. As a result, Castelvecchio and its 1950s–1970s drawings
can be experienced simultaneously in the same site. At Castelvecchio, co-sited drawings and
building index each other. The potentiality of the instrumental value of design drawings
persists—media are not reduced to evidentiary objects of a past process. In addition to Scarpa’s
drawings, those by Angelo Rudella, the head of the construction site, and others are also kept
there. Keeping the collections of diverse authors and multiauthored drawings in one place
shows the twinned relations between media and building in their transhistorical dimension.
The ambiguities, continuity, and contiguity of edifice-archive-museum evident at
Castelvecchio generate prolific overlaps in the roles of architect-collector-curator. The well-
sited Scarpa archive became ubiquitous in 2004 when Di Lieto, who has been the Curator of
the archive for almost three decades and oversees the restoration and maintenance of Scarpa’s
work, co-organized with Ketty Bertolaso the website archiviocarloscarpa.it making the digitized
collection ubiquitous and remotely accessible. In addition, Di Lieto curated on-site displays
and off-site exhibitions, collaborating on the first North American exhibit of Scarpa’s work
with former Director Nicholas Olsberg at the CCA.101
An in situ archive is more than a storage of objects. In some cases, it can be a building or
a site, as narrated by Jonathan Hill in his analysis of the Pavilion of the Nordic Nations by
Sverre Fehn (1924–2009) at the Giardini of the Venice Biennale.102 Aisling O’Carroll discusses
science historian David Sepkoski’s notion of ‘archive0’—the earth itself—introducing the
notion of archival systems derived from one another, or contained within each other.103
Nowadays, both in situ and ex situ architectural archives are operating yet another kind of
far-reaching digital transfer impacting scholarship by facilitating research and holding the
potential to radically transform the teaching of architecture through broad access to media
collections stored in extensive private and public archives. Simona Valeriani, Head of Early
Modern Studies at V&A, discusses the models of the Royal Albert Hall and the role of the
new Architectural Models Network, an online database available to researchers and the
public, offering digital access to models that often remain hidden in inaccessible parts of the
archives.104 Institutions, like MoMa, are progressively making their physical holdings access-
ible online, like the Mies van der Rohe Archive, whose Cold War Odyssey and dispersal of
materials is narrated by Dietrich Neumann.105
Often museums and archives house the body of work of individual architects set apart from
the buildings they represent. This is a de facto condition with many monographic collections,
including works of several modernist masters of architecture. Le Corbusier, for instance, made
plans in 1960 to create the Fondation Le Corbusier in Paris.106 Collecting drawings under the
single heading of an architect is telling of the focus on individual creators, rather than archi-
tecture as a work of multiple authorship over time; the latter is emphasized when media reside
in the buildings that they partly originated. Both of these archival conditions exist in the
legacy of Scarpa’s drawings. In fact, in addition to the 1970s in situ archive at Castelvecchio,
the significant acquisition by MAXXI in Rome in 2006 of twenty-five thousand drawings
collected by Tobia Scarpa allowed the foundation of the Centro Carlo Scarpa (State Archive,

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 Introduction

Treviso), grouping together the majority of Scarpa’s projects under a single archival holding.
However, the vast number of Scarpa’s drawings have traveled from hands to hands, and some
remain in private collections of collaborators and collectors. His early work as artistic dir-
ector of Venini is documented in Venini’s private archive where a significant collection of his
drawings for his glass design is kept in Murano, including the ‘furnace drawings’.107 These
drawings and their burnt edges are the unlikely survivors of the process of producing the glass
pieces in the furnace.
Neil Levine draws attention to the momentous significance of the transfer of Frank Lloyd
Wright’s media collection from a private to a public institution in 2012—from the remote
archive of the Frank Lloyd Wright Foundation at Taliesin West to the Avery Architectural &
Fine Arts Library at Columbia University and New York’s Museum of Modern Art.108 Levine
defines this transfer as “one of the most significant events of its kind in the history of modern
architecture.” He explains how the siting of architecture media collections affects the use,
deterrence of abuse, research, criticism, and architectural production.
The ideas of in situ (keeping architects’ drawings in one building as a track record of
changes) versus ex situ (keeping materials under the single heading of an architect) may seem
mutually exclusive practices. Yet, such conditions may coexist, like in the case of the CCA
museum and archive, funded by Phillis Lambert in Montreal in 1979, which houses not only
numerous collections ex situ, but also the drawings and models by architect Peter Rose for the
CCA, which are kept in situ.109
An archival paradox emerges in the chapter by João Miguel Couto Duarte on the 1:4
chancel model for Évora Cathedral in Portugal,110 where he describes its out-of-site afterlife
through photographs and drawings. The model was transferred to the Archbishop’s Palace,
near Évora Cathedral, an ex situ location where the original significance lies hidden in plain
sight fostering ambiguity between model and realization. However, as Fabio Colonnese
reminds us, large and full-scale models often end up being torn down, and their afterlife
is transmediated in photographic and cinematic media.111 Life-size models can also be set
in motion for exhibition practices, like the full-scale replicas from the Barcelona School
Collection (1817–1929) whose story is discussed by Carolina B. García-Estévez.112
Izumi Kuroishi emphasizes the traveling nature of the avant-garde sketches by Wajiro Kon
as portable handiwork of the architect with objective and artistic qualities.113 The sketches not
only traveled from place to place but from his hands and time to the hands of others through
time, making Kuroishi question how were the surveys conducted, by whom, and for whom?
Furthermore, the recent space challenges faced by the Kon Wajiro Archive in the Library of
Kogaquin University prompted the decision to transfer the sketches to a location in Shinjoo
city (Yamagata Prefecture). In this context, Kuroishi raises questions about why the sketches
were archived in the first place, where the materials belong, and whether the option to return
sketches to the descendants of those portrayed should be considered.
Drawings and models are tools of the imagination,114 and architectural archives configure
themselves as tools of theory, research, design and teaching activities. Paul Emmons reminds
readers of the role of the instrumental cause in relation to architectural tools. Drafting
tools are essential to preserving knowledge of how drawings were made and the geometric
constructions that they enact and demonstrate.115
William Whitaker, Curator of the Architectural Archives of the University of Pennsylvania,
which opened in 1978, relates about the recent acquisition of the Venturi, Scott Brown
Collection. The Architectural Archives maintain in their holdings the majority of Louis
Kahn’s drawings and models along with works by 400 designers from the seventeenth cen-
tury to the present. Its location in proximity to the Weitzman School of Design offers the

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Figure 0.5 Seminar on “Water” taught by Anu Mathur. On view, sketchbooks by landscape architect
Lawrence Halprin. September 2017. Harvey & Irwin Kroiz Gallery, study and seminar room.
© Courtesy of the Architectural Archives of the University of Pennsylvania, Stuart Weitzman School
of Design.

opportunity to support the teaching of architecture, exemplifying the idea of the archive as
a school (Figure 0.5), or a pedagogical tool functioning in parallel to research and exhibition
practices. Whitaker defines the role of the architect-archivist, supporting the continued rele-
vance of architecture media in the afterlife of construction by rescuing collections and pri-
oritizing media such as drawings along with their tools, valorizing the process of design and
its ephemeral qualities.
Upon entering the Architectural Archives, a visitor is immediately taken by the presence
of an architecture spoil (Figure 0.6). This is the permanent installation of the entrance screen
wall of the Art Sales and Rental Galleries (1983–1984) of the Philadelphia Museum of Art
(PMA), in Philadelphia, Pennsylvania, by Venturi, Rauch & Scott Brown, architects, which
was removed in 2016 and relocated there during summer 2018. After Whitaker collaborated
on several projects with the PMA, including a major retrospective of Venturi and Scott-Brown
in 2001, “Out of the Ordinary: Robert Venturi & Denise Scott Brown,” it was decided that
some of the interiors designed by Venturi for the PMA in the early 1980s would be removed.
Whitaker was thus able to secure a screen wall spoil for the Architectural Archives, making a
permanent installation framing the Harvey & Irwin Kroiz Gallery, while temporarily housing
behind it the archival boxes of Venturi’s media collection recently acquired and in the process
of being cataloged. The screen wall originally contained a sliding metal gate that used to close
the original space at night. It now opens with substituted wooden doors onto the archival

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Figure 0.6 Venturi, Rauch & Scott Brown, architects. Entrance Screen for Art Sales & Rental Gallery,
the Philadelphia Museum of Art, Philadelphia, Pennsylvania. Fabricated by Pemko Manufacturing,
Memphis, TN, 1983–1984. Removed in 2016 and installed in the current location at the Architectural
Archives of the University of Pennsylvania during summer 2018. Hardwood veneer, plywood,
colorcore, and plastic laminate (manufactured by Formica Corp.). © Photo by Federica Goffi.

collection materials donated by Venturi and Scott-Brown at the Architectural Archives.116

Whitaker’s chapter narrates the process of selecting, archiving, and slowly unpacking this
collection of drawings and tools in their significance and content.
The Marco Frascari collection is part of this archive. Frascari likely appreciated the poten-
tial that holdings could find an afterlife through the teaching activities in connection with
the School where he taught for seventeen years, but also the fact that in the same building, a
visitor could move from the connotative aspects of his drawings in the archive to the denota-
tive experience of the monstrance of architecture, in his project for the Arthur Ross Gallery
(Figure 0.7).
The archive is a human construction and a human-made institution at times born with the
ethical mission to rescue materials that could otherwise be dispersed, lost, or neglected, and
creating systems that may end up—whether intentionally or unintentionally—revealing or
concealing materials by regulating privilege and access in different ways. While the right to
copy, or print works, originated a form of power and censorship, nowadays, copyrights and
the limits in the dissemination of works through reproduction are often based on fees and
temporal preclusions, holding power and authority on how work is disseminated. Diverse
and inclusive knowledge construction is context-dependent. Archival locations, owner-
ship, and accessibility impact the ethical framework,117 the power, and politics enacted in the

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Figure 0.7 (a) Marco Frascari, Arthur Ross Gallery, entrance, University of Pennsylvania. © Photo
courtesy Prakash Patel. (b) Marco Frascari, plan for the Arthur Ross Gallery, Fisher Fine Arts
Building, University of Pennsylvania. Scale 1/4″. © Courtesy of the Architectural Archives of the
University of Pennsylvania Stuart Weitzman School of Design.

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 Introduction

readings and uses of architectural media and what they yield in terms of cultural imagination,
memory, and differentials.118 The ethical and political dimension of the archive emerges in the
words of Derrida when he writes:

“There would indeed be no archive desire without the radical finitude, without the
possibility of forgetfulness, which does not limit itself to repression.”119

Louise Noelle invites us to reflect on the legacy of late Mexican architect Luis Barragán
(1902–1988).120 As Noelle explains, the Barragán house (1950) is now under the care of the
Fundación de Arquitectura Tapatía Luis Barragán. However, the architect’s professional media
collection was sold and transferred to the nonprofit Barragán Foundation established in 1996
in Birsfelden, Switzerland, spurring the question of the proper place of collection sites, a topic
also addressed by Sol Camacho in relation to Brazilian architecture media collections, such
as that of architect Paulo Mendes da Rocha (1928–2021), which was recently acquired by the
private nonprofit Casa da Arquitetura in Matosinhos and transferred to Portugal.121
The act of collecting can transform the role of a collector into that of an activist contributing
to and challenged by the conservation of architecture media. Niall Hobhouse, founder and cur-
ator of the Drawing Matter archive at Shatwell (Figure 0.8), Somerset, the United Kingdom,
discusses in an interview with Andrew Clancy the ethical responsibilities of the collector in the
context of the selections of drawing collections and talks about his acquisition of Álvaro Siza’s
drawings for social housing projects.122 Sophia Banou proposes a reading of this private archive
and the visual research methods that can be applied in the consultation of materials, inspired

Figure 0.8 Drawing Matter archive, Somerset, the United Kingdom, during a visit from Hugh Strange,
Espen Vatn, Beate Hølmebakk, Thomas McQuillan, and Tim Ainsworth Anstey, November 2019.
© Courtesy of Drawing Matter.

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Figure 0.9 Pinup of drawings during a workshop in the Drawing Matter archive, November 2019.
© Courtesy of Drawing Matter.

by the studies of Aby Warburg (1866–1929), allowing the display of architectural drawings
side by side, taking advantage of the analogical, comparative, and imaginative function in the
transhistorical study and reading of drawings (Figure 0.9). This method is not unlike what Didi-
Huberman describes as a visual unfolding of the “discontinuities of time.”123
The hasty archival of materials associated with the history of colonialism, focusing on
architectural drawings of the Indian Residential Schools in the Canadian context, is discussed
by Émélie Desrochers-Turgeon. She questions the media placement in archival collections,
decontextualizing materials by severing the link with past actions, disregarding the signifi-
cance of archival locations and their political impact. She argues that only when archives
engage with memories beyond their “normative codes of perception” can they serve as agents
provoking the ethical imagination,124 and advocates for the agency of Indigenous people in
determining the proper placements of colonial memories and their handling. Drawings are
silent witnesses implicating not just architects but the larger geopolitical systems within which
they are inscribed. Such discussion allows us to see the archive as a potential “stage for pro-
ductive dispute and struggle.”125
The value of process work is foregrounded in the concluding chapter by retired Curator
of Drawings and Archives at the Avery Architectural and Fine Arts Library, Columbia
University, Janet Parks, where she explains that unlike other museum collections valuing
individual objects, architecture collections entail the preservation of media that together con-
tribute to defining a process, which is in turn preserved either by chance or careful selection.126
Historian of science Lorraine Daston argues that theoretical frameworks emerge from a
transgenerational effort to preserve knowledge and introduces the notion of “time scale” in
the archives of the sciences and how archival practices assure the longevity of collections.127

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 Introduction

Indeed, architectural drawings have two types of scales dealing with two kinds of dis-
tance, spatial and temporal. Furthermore, representational media hold inter-scalar temporal
relations linked through the transhistorical archival project. Thus, they have the potential
to ignite a dialogue between authors separated by time on the same site, nurturing a dia-
logic imagination.
The places where drawings and models dwell in relation to buildings—whether in situ
(original sites of knowledge construction) or ex situ (off sites of knowledge translation)—
impact their seminality and potential future translations. The readings and rereadings of
archival media and the marginal traces of handling are, as Ashley Mason argues, part of an
ongoing sited-construction of meanings set to alter the way we understand and experience
sites and buildings.128 Archivists, historians, scholars, curators, and architects engage in the
process of multiple authorship and reading over time. Indeed, readers are authors reevaluating
significance and operating critical reappraisals.
The Routledge Companion to Drawings and Models evidences a plurality of archival concepts
as multiplicities of diverse stories of how collections come to be connected to places. Indeed,
the places where histories took place are sites of knowledge construction.129 Drawings are not
only embodied but also sited factures. The siting of drawings is part of any given interpret-
ation. Whether in situ or ex situ, the purpose of archives is to displace us in our present con-
dition through a transhistorical gaze, allowing one to understand the root causes of current
issues and the situatedness of a shared present. The transhistorical project of the architectural
archive connects the story of analog and digital drawings—it is a story about continuity and
disruption. It is about the depth of the material and not just the technique of making and
archival technology.130
The origin of architectural archiving is as old as representational media, in as much as any
drawing or model is a record of its own facticity.131 The archival paradox would have us
believe that in contrast with the short life expectancy of buildings, the expected duration of
archival records is unlimited.132 While in historical conditions, the building/archive was an
ambiguous site containing the drawings and models that generated it or were generated form
it, nowadays, buildings are not assumed into the long duration of archives. The transhistorical
project of archiving architectural media is a transmedial and transgenerational one. The latency
of media as an instrument in a given present is its potentiality.133
There is no ready availability of the past. Archival experience is about the labor of con-
struing and constructing memories in the present. The past is not there, somewhere—there
is no there, there, even when we have access to historical materials and records, however
incomplete they may be. Instead, there is a here, here, in the present where the construction of
“transgenerational memory” takes place.134 History is a construction that happens in place,135
narrating events through critical questioning attuned to a present time.
Limiting the translation of drawings to the translations from drawing to building
contributes to the objectification of architecture, lacking an acknowledgment of the mobil-
ization of knowledge that happens through the activations of media in transhistorical archival
rereadings past a time of construction in site-oriented architecture archives.

Notes
1 Carpo 2012. Carpo 2017. Goodhouse 2017.
2 See the Frascari Symposium IV call for papers written by Federica Goffi. The Frascari Symposium
IV was held at the Department of Architecture and Landscape, Kingston School of Art, Kingston
upon Thames, Surrey, and co-convened by the former head of Department, the late Mary Vaughan
Johnson, and Federica Goffi, on June 27–28, 2019. Goffi 2018: 325–338.

lxv
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3 Evans 1997: 154.

4 Ulrich Raulff, “‘Nachleben.’ A Warburgian Concept and Its Origins,” November 7, 2016, Warburg
Institute, www.youtube.com/watch?v=u6Hgw8ooams, accessed November 6, 2019. See also Didi-
Huberman 2017: 311–313.
5 Evans 1997: 154.
6 Ibid.: 154–155. Evans does not equate drawing to language.
7 See the introduction by Federica Goffi on Frascari’s studies into the reading of architectural drawings
in Frascari 2017: 10–24.
8 Harris 1989: 15–32. Richards 1989. www.drawingmatter.org/, accessed July 26, 2019.
9 See the pedagogical mandate of the Architectural Archives of the University of Pennsylvania, www.
design.upenn.edu/architectural-archives/about, accessed July 26, 2019.
10 Goffi 2018. Kauffman 2018. Pelkonen 2018. Pekonen, Chand, and Tasman 2015. Arrhenius,
Lending, Miller, and McGowan, 2014.
11 Goffi 2018: 325–338.
12 Goffi 2021.
13 See Putra 2021: 464–482; Rowen 2021: 483–504.
14 Code of Ethics, International Council on Archives, September 6, 1996, XIII general assembly,
Beijing, China, www.ica.org/sites/default/files/ICA_1996-09-06_code%20of%20ethics_EN.pdf,
accessed May 16, 2021.
15 Archival politics of inclusion are under scrutiny and new initiatives to broaden the representation
of underepresented and marginalized groups are underway. The archive explorations, curated by
Dirk van den Heuvel and Guus Beumer from HNI in Rotterdam, for example, aim to uncover the
contributions of queer and feminist narratives.
16 See “The Critical Visitor,” a research project into heritage institutions on questions of inclusivity
and accessibility in which HNI participates as a partner. https://hetnieuweinstituut.nl/en/critical-
visitor-important-subsidy-allocation-nwo-smart-culture, accessed May 11, 2021.
17 See Goffi and Dekker 2021: 545–562.
18 Frascari 2017: 60.
19 According to the US National Parks Service, a building has to be at least 50 years old to be deemed
historic. The Secretary of the Interior’s Standards for the Treatment of Historic Properties with
Guidelines for Preserving, Rehabilitating, Restoring & Reconstructing Historic Buildings Kay
D. Weeks and Anne E. Grimmer (1995). U.S. Department of the Interior National Park Service
Technical Preservation Services Washington, DC. In Canada, “The 40-year point provides a degree
of perspective on the building’s history; it is also a stage in a building’s life cycle at which significant
reinvestment decisions must often be made.” See www.pc.gc.ca/en/culture/beefp-f hbro/process/
evaluation, accessed July 15, 2021.
20 In Italy, for example, drawings have to be kept for ten years to fulfil legal obligations. Art. 33,
Codice Deontologico degli Architetti, Pianificatori, Paesaggisti, Conservatori, Architetti iunior e
Pianificatori iunior italiani, September 1, 2017. Ex art. 2946 c.c.
21 Nowacki, Spring 1996: 186–191. Access to records in municipal archives could be granted based
on ownership, transfer of proprietary rights, legal proceedings. There has been a proposal in Italy
(2010) for the creation of a municipal “identity certification” for public buildings. See www.dt.mef.
gov.it/it/circolare.html, accessed July 4, 2021.
22 Lowry 2017: 1–11.
23 Casanova 1928: 11.
24 Derrida, Summer 1995: 57.
25 Ibid., 26.
26 Casanova 1928: 11. Derrida, Summer 1995: 33.
27 Derrida, Summer 1995: 1–2.
28 Ibid.: 9.
29 Ibid.: 22.
30 Ibid.: 14, 18–19.
31 Daston and Galison 2007: 27–35.
32 Stoler defines archives as “something in between a set of documents, their institutions, and a reposi-
tory of memory – both a place and a cultural space that encompasses official documents but are not
confined to them.” Stoler 2010: 44, 49.
33 Derrida, Summer 1995: 3.

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 Introduction

34 See Chapter 2 by Foote.

35 Frascari 1981: 23. Frascari 1991: 5.
36 Didi-Huberman 2017: 311–321.
37 Derrida, Summer 1995: 27.
38 Evans 1997: 152–193. Starkey 2007: 231–234. Frascari 2011: 94–96. Emmons 2019: 205–209. Blau
and Kaufman 1989.
39 Harris 1989: 15–32. Wigley, Winter 2005: 10–15. Arrhenius, Lending, Miller, and McGowan,
2014.
40 Cook 1996: 136–143. Stoler 2010. Jimerson, Fall/Winter 2007: 252–281. Lowry 2017. Parks 2018:
81–93.
41 Harris 1989: 15–32. Bergdoll 2015. Macleod, Hourston Hanks, and Hale 2012.
42 Haagsma, Lotte 2015. “Report Thursday Night: The Archives of MVRDV and Zaha Hadid
Architects. Rotterdam: Het Nieuwe Instituut,” https://collectie.hetnieuweinstituut.nl/en/report-
thursday-night-archives-mvrdv-and-zaha-hadid-architects, accessed July 15, 2021.
43 Evans 2000: XXVII.
44 Pelkonen, Chan, and Tasman 2015. Arrhenius, Lending, Arr Miller, and McGowan 2014. Kauffman
2018: 1–7. Eeva-Liisa Pelkonen 2018. Colomina 1996: 201–231. Zoë Ryan 2017. Macleod, Hourston
Hanks, and Hale 2012.
45 See Chapter 18 by Kauffman.
46 See Chapter 32 by Pech.
47 Frascari 1991: 77.
48 See Chapter 35 by Parks.
49 Goffi 2018: 325–338.
50 Bergdoll 2015: 13–21. Barry Bergdoll, “Out of Site/In Plain View: On the Origins of Modernity
and the Architecture Exhition.” Lecture, February 5, 2014, SCI-Arc Media Archive, www.youtube.
com/watch?v=haKKbDOBkQ4, 22:00, accessed July 1, 2021.
51 Frascari 2017: 3, 47, 73.
52 See Chapter 6 by Dorey.
53 Otero-Pailos and Widrich 2018: III–VII.
54 Li 2014: 54–55.
55 https://heritageottawa.org/50years/rideau-street-convent-chapel, accessed June 9, 2021.
56 See Chapter 15 by Sharr.
57 See Chapter 22 by Macken, Mulla, and Paterson.
58 Patteeuw 2011: 126.
59 See Chapter 10 by Horsfall Turner.
60 Goffi 2018: 12. Donetti 2014: 107–112.
61 Kauffman 2018: 4.
62 Barkhofen 2016: 13–23.
63 Richards 1989. www.drawingmatter.org/, accessed July 26, 2019.
64 www.design.upenn.edu/architectural-archives/about, accessed July 26, 2019. See Chapter 20 by
Whitaker.
65 Lison, et al. eds. (2019) deals with the ongoing digitalization of archives questioning its effect onto
democratized access to collections.
66 The historical use of models as teaching tools is noted in Mindrup 2019: 4–5.
67 Goffi and Dekker 2021. Molenda 2018.
68 https://collectie.hetnieuweinstituut.nl/en/collection-news/future-digital-sustainability, accessed
June 28, 2021. https://msd.unimelb.edu.au/events/after-life-the-digital-future-of-visual-history-
archives, accessed July 13, 2021.
69 Lynn 2013. https://collectie.hetnieuweinstituut.nl/en/collection-news/future-digital-sustainability,
accessed June 28, 2021.
70 Goffi and Dekker 2021. MVRDV donated its living archive to HNI. www.mvrdv.nl/
news/423/born-digital-mvrdv-donates-early-archive-to-het-nieuwe-instituuto; https://collectie.
hetnieuweinstituut.nl/en/report-thursday-night-archives-mvrdv-and-zaha-hadid-architects,
accessed September 4, 2020.
71 Brügger 2018.
72 Dekker, Annet. “‘Digital Horizons, Virtual Selves’: Rethinking Cultural Heritage in the Museum.”
Lecture January 2016, International Conference at the Research Center for Material Culture,
Leiden, www.youtube.com/watch?v=VgnpBdVGDI0, accessed July 13, 2021.

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73 Regarding the production of “second original” born-digital works of art see Guez, Stricot, Broye,
and Bizet 2017: 105–120.
74 Goffi and Dekker 2021: 545–562. See Chapter 9 on the archive of the Renzo Piano Building
Workshop and the Renzo Piano Foundation.
75 Olsberg 1996: 128–135. See also “A Guide to the Description to Architectural Drawings,” and espe-
cially the section on “Building a Common Framework for Catalogue Entries,” www.getty.edu/
research/publications/electronic_publications/fda/index.html, accessed August 9, 2021.
76 Goffi and Dekker 2021: 545–562.
77 Camacho 2021: 385–406. See also Chapter 6 by Camacho.
78 See Chapter 24 by Geolas.
79 See Chapter 6 by Dorey on the models of Soane’s collection.
80 Scamozzi 1615: I, 3, 40. See Chapter 7 by Sgarbi and Rafeiro.
81 Frascari 1991: 2.
82 See Chapter 9 on the RPBW and the RPF.
83 Piano in The Power of the Archive. Renzo Piano Building Workshop (2018), Director Francesca Molteni.
Fulvio Irace curated the film produced by Muse with the Fondazione Renzo Piano and the RPBW.
https://vimeo.com/292674160, accessed November 8, 2019.
84 Goffi 2021.
85 See Chapter 5 by Camacho.
86 See Chapter 2 by Foote.
87 See Chapter 4 by Avramidis.
88 Pinelli 2000: IV, 863–866. Goffi 2013: 77.
89 See the case of the Glasgow School of Art by Charles Rennie Mackintosh (1868–1928) destroyed
by fire on June 16, 2018. The surviving drawings can be seen in the archives of the Glasgow School
of Art Archives. Rodger 2018: 311–323.
90 Sante and Turriziani 2008: 189–195. See, “Siamo Noi – Città del Vaticano, Archivio Fabbrica di
San Pietro, Viaggio tra la storia e i segreti della costruzione di San Pietro,” www.youtube.com/
watch?v=nORMg0HNxY4, accessed June 27, 2021.
91 Foucault 1983.
92 Florensky 2000: 67–68. Goffi 2013: 77.
93 Frascari 2017: 32. Corbin 1976: 9.
94 Gadamer 1998: 31.
95 Derrida 1995: 10. Stoler 2010: 25–28.
96 See Chapter 31 by Boeri.
97 See Chapter 30 by Feuerstein and Chapter 15 by Sharr regarding limited access to Heidegger’s
archival collections.
98 Craven 2008: 1–30. Carpo, Fall 2012: 97–105. Picon 2016: 36–41.
99 William Whitaker, “The Activist Archivist: Taking the Architecture Archive Outside Itself.”
Lecture, March 15, 2014, DoCoMoMo, US National Symposium, Houston, Texas. Bergdoll
speaks of the archivist as activist and advocate, www.youtube.com/watch?v=haKKbDOBkQ4,
52:27, 1:21:15, accessed July 15, 2021. Wigley, Winter 2005: 13.
100 Scarpa’s site office was located in the Sala Provincia di Verona on the ground level of the
Castelvecchio Museum. Angelo Rudella in conversation with the author at Castelvecchio, July 11,
2019. Di Lieto 2006: 71.
101 Olsberg 1999: 9–16.
102 See Chapter 27 by Hill.
103 See Chapter 3 by O’Carroll.
104 See Chapter 11 by Valeriani.
105 See Chapter 19 by Neumann. The Mies van der Rohe Archive at MOMA is accessible online:
www.moma.org/artists/7166, accessed July 26, 2019.
106 www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=19&IrisObjectId=7778&sysLan
guage=en-en&itemPos=1&sysParentId=19&clearQuery=1, accessed July 13, 2021.
107 https://www.venini.com/eu/it/il-mondo-venini/gli-autori/carlo-scarpa/, accessed December 19, 2021.
108 See Chapter 29 by Levine.
109 The building (1985–1989) was designed by Rose with Phillis Lambert (consulting architect), and
Erol Argun (associate architect). The archive holds about two hundred collections from twentieth-
and twenty-first century architects and artists, and drawings from the late fifteenth century to the
present. Richards 1989. Harris 1989: 15–32.

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 Introduction

110 See Chapter 16 by Couto Duarte.

111 See Chapter 23 by Colonnese. Conforti, Colonnese, D’Amelio, and Grieco 2021.
112 See Chapter 14 by García-Estévez. Regarding the historical shifts in understanding the role of
architectural models see both Mindrup 2019 and Smith 2004.
113 See Chapter 17 by Kuroishi.
114 Piedmont-Palladino 2007: 1–6.
115 See Chapter 21 by Emmons.
116 This is now a temporary storage area for processing collections and reading room work. The gate
serves as an entry into the formal gallery space.
117 Code of Ethics, International Council on Archives, September 6, 1996, XIII general assembly,
Beijing, China, www.ica.org/sites/default/files/ICA_1996-09-06_code%20of%20ethics_EN.pdf,
accessed May 16, 2021.
118 Goffi 2021.
119 Derrida, Summer 1995: 19.
120 See Chapter 34 by Noelle.
121 Giulia Ricci, “Paulo Mendes da Rocha’s Archive is now in Portugal (and not without Criticism),”
Domus, September 11, 2020, www.domusweb.it/en/architecture/2020/09/11/paulo-mendes-
da-rochas-archive-is-flying-to-casa-da-arquitectura-portugal-and-not-without-criticism.html,
accessed February 7, 2021.
122 Álvaro Siza’s archive was donated (2014) to three archives (Serralves Foundation and Calouste Gulbenkian
Foundation, Portugal, CCA, Montreal) to broadly disseminate his work making it researchable online.
www.serralves.pt/en/, https://gulbenkian.pt/noticias/acesso-online-ao-arquivo-alvaro-siza/, www.
cca.qc.ca/en/search/details/collection/object/447183, accessed July 1, 2021.
123 Didi-Huberman 2017: 311.
124 See Chapter 33 by Desrochers-Turgeon.
125 Miessen and Chateigné 2012.
126 Parks 2018: 81–93.
127 Daston 2017: 1–14.
128 See Chapter 12 by Mason.
129 Schlögel 2016.
130 Lorraine Daston, “Sciences of the Archives,” March 9, 2017, www.youtube.com/
watch?v=iPSa4Ub8FU8&t=440s, accessed August 9, 2020.
131 Raffoul and Nelson 2008: 1–23. Vico 1988: 45–47.
132 At Het Nieuwe Instituut, the mission and collection policy of the Heritage Department of Het
Nieuwe Instituut assigns the archive another meaning, one that relates primarily to the mission
and collection policy of the Heritage Department, notably: to document Dutch architecture
and urban planning, and the design process in particular. Moreover, the primary objective is to
preserve and conserve such heritage forever, for cultural and historic reasons. https://collectie.
hetnieuweinstituut.nl/en/collection-news/future-digital-sustainability, accessed June 29, 2021.
Mousavi, Berens, Bouman, Mulder, and Smit 2012.
133 Agamben 1999: 177–184.
134 Derrida, Summer 1995: 27.
135 Schlögel 2016.

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 CHAPTER ABSTRACTS

Introduction: Ceci n’est pas une Archive

Federica Goffi
Architectural drawings and models are instruments of imagination, communication, and his-
torical continuity. The role of drawings and models, their ownership, placement, and author-
ship in a ubiquitous digital age deserve careful consideration. The Routledge Companion to
Architectural Drawings and Models: From Translating to Archiving, Collecting and Displaying draws
attention to the significance of places where architecture media are made, where they are
consulted, and where they live in the thereafter of a construction process, reading into the
concept of the archive in all its ambiguity of display and concealment, memory and forget-
fulness, placeability and irreplaceability in the context of the curatorial responsibility for
architecture collections. Every designated archival location affects the curatorial choices of
inclusion/exclusion, omission and promotion, what may be overlooked or hidden in dark
archives, determining the potentiality of sited-interpretations. The implications of the con-
tinuity and contiguity of drawings, models, and buildings establishing meaningful on-site
relations (in situ) versus off-site archival (ex situ), have yet to be fully acknowledged.
This Companion is composed of four thematic parts. The case of in situ archives is narrated
primarily in the first part, dedicated to Drawing Sites / Sites of Knowledge Construction: Drawing,
Office, Construction Site. The second part, The Afterlife of Drawings and Models: Archiving,
Collecting, Displaying, and Exhibiting, introduces the theme of architectural media kept in pri-
vate, or public ex situ archives associated with museographic or academic institutions with
a teaching, research, or exhibition mandate. The third part, Tools of Making and Knowledge
Construction: Architectural Representations and Their Apparatus over Time, emphasizes how
drafting and digital tools are essential in reading archival drawings. The last part considers
The Ethical Responsibilities of Collecting and Archiving: Authorship, Ownership, Copyrights, and
Rights to Copy in relation to the political dimension of the archive as a site of power and know-
ledge control to investigate how site-specific archival conditions impact the geo-political
and socio-cultural readings of architecture media. The diverse archival typologies examined
allow providing distinct viewpoints that enable to consider the merits and values of each in
relation to architecture media, thus realizing that the construing that happens past construc-
tion is context-dependent.

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PART I: DRAWING SITES/SITES OF KNOWLEDGE

CONSTRUCTION: DRAWING, OFFICE, CONSTRUCTION SITE
When kept in situ after construction ended, the continuity and contiguity of drawings, models,
and building may define an extended site of knowledge construction with a dual nature of cul-
tural recollection and fostering of future imaginings. The storytelling of architecture media
kept in situ extends in meaningful ways beyond the end-of-construction, which is deceptively
perceived as the end-to-translational relations. Even though architectural drawings sustained
higher status and availability than engineering drawings, surveying drawings, or other drawn
visualisations, today the attention to maintaining drawings in buildings shifted to working
drawings kept in mechanical rooms on-site. The contemporary conditions of co-production
and multi-disciplinary authorship defining the sites of architecture production and commu-
nication raise questions of autonomy and differentiation of architectural media from other
media and disciplines.

1 A Well-Sited Archive
The Carlo Scarpa Archive at the Castelvecchio Museum
Alba Di Lieto
The history of the Carlo Scarpa Drawing Collection at the Castelvecchio Museum, Verona,
Italy, and its transformation from a site office to archive, had begun when Licisco Magagnato
(1921–1987), director of the museum from 1956–1986, purchased the renovation drawings
directly from the architect in the early 1970s. Since then, a long journey has been made by
the drawings in this collection. The uniqueness of the Verona archive consists of the mutual
correspondence between container and content. At this time, the archive is both physically
located in the Castelvecchio Museum and ubiquitous. The presence of the drawings in the
South-East tower facilitates their ongoing study and consultation in support of conserva-
tion works and new design, developing a dialogic relationship amongst authors in the life of
a museum still in the making. The online catalog conversely allows scholars to consult the
collection anywhere, at any time. The seminality of archival drawings was extended by trav-
eling near and far for exhibitions realized inside and outside Castelvecchio.

2 The “House Arrest” of Michelangelo’s Mural Drawings

Jonathan Foote
Largely overlooked by scores of passing visitors to Michelangelo’s New Sacristy in San
Lorenzo, a series of extraordinary, autographed wall drawings tell the story of a once dynamic
construction site. Situated in a small apse to one side of the Medici tombs, these drawings are
a palimpsest of over one hundred architectural sketches and drawn constructions in red and
black chalk, frozen for centuries into the vertical intonaco surface. Two, true size drawings,
depicting the interior and exterior window of the adjacent Biblioteca Laurenziana, are the
largest architectural drawings in Michelangelo’s remaining drawing oeuvre.
While the drawings’ role before and during the library execution has been extensively
examined, there has been no subsequent study questioning their impact on the project after
construction. Only discovered during renovations in 1976, their unveiling has no doubt
reoriented our relationship to the San Lorenzo complex. Within the New Sacristy itself, a
new space has been created by them, as one can no longer enter the apse without immersing

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 Chapter Abstracts

oneself in the middle of Michelangelo’s confabulatory building methods through true scale
drawings, words, markings, and figural sketches. At the same time, in their proximity to the
depicted details of the library, the drawings instigate a cycle of memory and association that
intensifies the experiential ties between Michelangelo’s two adjacent projects.
The accidental preservation of the New Sacristy wall drawings reveals a magnificent excep-
tion to the assumption that construction drawings are useful only before or during construction.
In this case, by being “used-up” in construction and unwittingly archived at the same time,
the drawings have retroactively altered our encounter with the architecture. Using Jacques
Derrida’s words, the drawings have been placed under “house arrest,” archived in the very
location where they were created. Thus, the drawings’ power to construct the architecture
endured beyond their utilization by Michelangelo and his assistants in the 1520s.
By comparing this with other examples, preserved for various reasons, the archiving in situ
of construction drawings is examined. The notions of drawing scale and surface are central
to the examination, as well as their fixity to the architecture itself. By broadening the trad-
itional understanding of construction drawings as devices to translate drawing to building,
this chapter demonstrates how the life of such drawings can continue to have influence long
after the building site has fallen silent.

3 Representing Geohistory
Exploring Drawing as Reconstruction in the Archives
of Eugène-Emmanuel Viollet-le-Duc
Aisling M. O’Carroll
Oscillating between past and present, original and referent, reconstructions are historiographic
representations, yet inevitably also something new. This chapter investigates the capacity of
drawing to reveal and conceal the synthesis of new knowledge and intentional perspectives
in the reconstruction of archival material. Here, archival and reconstruction practices from
the fields of architecture and geology are drawn together to explore drawing as a method of
reconstruction and to investigate the relations between archival configurations.
The research examines nineteenth century French architect Eugène-Emmanuel Viollet-
le-Duc’s reconstruction of Mont Blanc. This Alpine study spanned almost a decade and relied
on drawing to determine the underlying order of the system. Paired with a reading of two
of Viollet-le-Duc’s architectural novellas written concurrently to his Mont Blanc study, this
research examines the architect’s advocacy of drawing as a neutral form of reconstruction
alongside the contradiction of this claim demonstrated in his work. This chapter argues that the
architect’s geological reconstructions were not neutral, but rather intentional representations
of his worldview, which conflated ideas of race, power, and nation with his idealization of
geology, geohistory, and natural order—the troubling nature of these ideas lays concealed in
their seamless entanglement through drawing and painting.
Viollet-le-Duc’s Alpine study culminated in a synthetic, painterly reconstruction in the
Grande Salle of La Vedette, the home he built for himself in Lausanne, Switzerland. This
painted panorama and his treatment of the room became one hybrid, immersive space that
merged his associations of geohistory with human and architectural history. In 1975, La
Vedette was demolished. This research is extended through my reconstruction of the Grande
Salle’s Alpine landscape to test Viollet-le-Duc’s drawing method as reconstruction and bring
his perspective of the landscape into a critical conversation. By examining the iterations of his
Alpine study and my reconstruction through sequential archival reconfigurations, this essay

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examines the relations between each configuration and the transformation, distortion, and
distance produced through reconstruction.

4 Buildings as Unsolicited Drawing Surfaces

An Atlas of Athenian Inscriptions
Konstantinos Avramidis
Buildings come from drawings, but what happens when buildings are turned into drawing
surfaces for unsolicited graffiti writings, and these, in turn, return to the original drawings
of the building? Moreover, what happens when the drawings come together in a curated and
designed book object? This chapter addresses this line of inquiry through a critical reflec-
tion upon an Atlas of Athenian Inscriptions, a book of drawings of writings and writings
on drawings. It explores the physical and conceptual space of drawings and book objects by
archiving the writings produced in three plus one specific situations in Athens.
A significant graffiti exhibition at the Onassis Cultural Center (2014)—in which the author
was actively involved as a graffiti writer and writer on graffiti—is taken as the situation zero.
The other three situations reflect three critical periods in local political history, which are
emblematic epicenters of historical ruptures during which they were extensively graffitied:
the former Nazi Detention Centre that operated during the Axis occupation (1941–1944);
the Athens Polytechnic that played a pivotal role in the Student Uprising against the Greek
Military Junta (1967–1974); and the Bank of Greece HQ building which is a site of recurring
political expression in contemporary crisis (2010–2015).
The creation of the Atlas is not a mere gesture of preservation but a designerly critique of the
monopolization of architecture’s reading. The aim of this project is to introduce “atlasing” as
a design method whilst making sure that graffiti in Athens are not exploited and erased from
memory once erased from buildings by institutions and individuals that seek to undermine their
critical potential. This research attempts to shift the focus from the aesthetic dynamism of graf-
fiti—its most commonly misused characteristic—to the politics of site-specificity and preservation.

5 Brazilian Architectural Archives and Contemporary Challenges

The Archives of Paulo Mendes da Rocha, Gregori Warchavchik,
Lina Bo Bardi, Roberto Burle Marx, Lucio Costa, and Oscar Niemeyer
Sol Camacho
This chapter touches upon the archives of Lina Bo Bardi, Oscar Niemeyer, Roberto Burle
Marx, Lucio Costa, Gregori Warchachik, and Paulo Mendes da Rocha, prominent architects
that during the twentieth century created a body of built, curatorial, and editorial work that
positioned Brazil as an international leader in cultural contemporary discussion on architec-
ture as a discursive practice. Today, the private archives, mostly managed by family heirs,
navigate through a complex socio-political scenario in a country that has lost its innovative
cultural force and struggles with a timid production of publications and exhibitions on archi-
tecture, which is surprising considering its continental size, and its sizeable urban growth,
consumption of materials and technologies.
Through interviews conducted with the current directors of the above-mentioned archives, the
author, practicing architect and Cultural Director of Instituto Bardi, exchanged ideas suggesting
that as a network, but also independently, archives have the opportunity to contribute within and

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outside Brazil to the contemporary architectural discourse, providing content to leading voices on
the most pressing issues and trending topics of our built environment.
Places such as Instituto Bardi, Fundação Oscar Niemeyer, Instituto Burle Marx, Casa de
Lucio Costa, Coleção Gregori Warchavchik, and Casa da Arquitetura—the latter holders of
Paulo Mendes da Rocha’s archive—are more than repositories of documents; they are fac-
tories of imagination, places of authentic and reliable information that can spark imagination
and critical discussions for a more just and diverse world.

6 The Place of Models and Drawings in Sir John Soane’s House and Museum
Helen Dorey
The architect Sir John Soane (1753–1837) stressed the primacy of the architectural model as
part of the design process and in his extraordinary house and museum at 13 Lincoln’s Inn
Fields, London, the placing of models for his own projects amongst paintings, antiquities,
sculptures and architectural casts and fragments is both striking and intentional. This chapter
explores the meaning of the architectural model as part of these extraordinary arrangements
and how this evolved during Soane’s lifetime as he sought to perfect his museum as his lasting
legacy to the nation for the inspiration of amateurs and students of not just architecture but
also painting and sculpture.
It will also examine the place of both models and architectural drawings in his work through
the lens of his writings on architecture—his Royal Academy lectures, his Descriptions of his
home and his unpublished Memoirs and correspondence. In 1834–1835, a year after he had
engineered a Private Act of Parliament leaving his house to the nation on his death, at the
age of 81, Soane embarked on the creation of a remarkable architectural Model Room on the
second floor of his house—his last statement on the subject, which was clearly designed with
a didactic purpose combining models of ancient buildings in both their contemporary state
and as they might have looked when new with models and drawings for his own projects.
The room was dismantled after his death, but has now been meticulously restored so that for
the first time a full consideration of the role of the architectural model in his concept for the
future of his Museum is possible.

7 The Fabbriceria and the Mise en a-BIM

Where and What Are We Trying to Hide?
Claudio Sgarbi and Jesse Rafeiro
Drawings and models live secret lives, but the places where they go to die are even more
secret. In this chapter, the authors present two of these places in parallel explorations. In both
cases, the refusal of the evidence of a necessary evanescence is defined as a pathology, which
must be kept secret or dissimulated.
The first place is a physical room with an ancient tradition that is still operative today in
the form of the builder’s office on the construction site. This space, known historically as the
fabbriceria, is the masonic lodging of the construction site, where drawings and models are
taken to vanish as the life of the building continues. It is a place of transmutation where the
design deteriorates as it is extracted, consulted, translated, and replaced in secret. When some-
thing becomes something else, something must be lost in the process, no matter how carefully
you intend to preserve it. In the case of the historical fabbriceria of San Petronio in Bologna,

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this is where models and drawings await their decomposition—an end that we should accept,
learning to let go of them.
The second place, Building Information Modeling (BIM), is a virtual space that is quickly
becoming an industry standard facilitating the construction and management of buildings.
BIM allows the accumulation of unlimited building data across time that becomes inaccess-
ible and vanishes by its very excess. The amount of data accumulated during a building’s
lifetime always outweighs the capacity to manage it. This lifespan includes the deep his-
tory of past construction phases, the present and the future of the building through endless
simulations of its potentiality.

8 Finding Traces in Germán Samper’s Sketches

Making Public the Private Archive
Maria Elisa Navarro Morales, Cristina Albornoz Rugeles, and Alejandro Henríquez Luque
Colombian architect Germán Samper (1924–2019) developed a habit of sketching while trav-
eling to study the built environment. For sixty-five years, he rigorously drew and compiled
more than 5,000 sketches. Samper organized and cataloged his sketches, keeping them in
custom-made boxes stored in a built-in cupboard in his home office. The self-made cataloging
method and organization of Samper’s sketches reveal relationships between what he learned
while traveling and his buildings and projects. This chapter examines Samper’s sketches’
archive to identify the traces of these connections, providing insights to inform how his
collection could be organized in the future. These materials became all the more relevant,
considering his recent passing.
This case study expands existing scholarship on architectural archives and the types of
materials they may contain. Sketches used in the initial phases of design are often archived
together with documentation belonging to specific projects. Conversely, the relationship
between the practice—common among architects—of sketching the built environment and
the projects they inform is difficult to trace. This raises the question of how to archive material
that is part of an architect’s legacy but not directly related to specific projects. Through this
study, we will show how, in the case of Samper, his archive of sketches reveals his evolution as
an architect. This archive is an essential source of information and a place where his architec-
tural ideas and life intertwine. The way the archive is kept should preserve this integration of
life and work—the sketches reveal and constitute a valuable resource for any future researcher
looking at Samper’s work.

9 The Living Archive

The Renzo Piano Building Workshop and the Renzo Piano Foundation
Renzo Piano (RPBW), Chiara Bennati, Nicoletta Durante, and
Giovanna Langasco (RPF), Interviewed by Federica Goffi
This interview offers insights on the conception and planning of the living archive of the
Renzo Piano Building Workshop, which came into being with the creation of the non-profit
Renzo Piano Foundation in 2004.1 Since when the Foundation was created, there has been an
active interexchange and translations of materials between the atelier (RPBW) and the archive
(RPF). A 2018 documentary film, The Power of the Archive. Renzo Piano Building Workshop,
directed by Francesca Molteni and curated by Fulvio Irace, has drawn attention to the role of

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the archive as a physical and virtual place through contributions by Renzo Piano, the partners
of the firm, and the members of the archive.2
This interview with Piano, the head archivists and curators Chiara Bennati and Nicoletta
Durante, and digital specialist Giovanna Langasco addresses the role, context, and signifi-
cance of media archival for the RPBW and contemporary architecture practice. Considering
that the firm has been part of the so-called “digital turn” in architecture practice, while
continuing to rely on analog drawings and models over a fifty-year practice, 3 it was pos-
sible to discuss archival issues concerning both types of media. The discussion that emerged
documents contemporary archival practices of architecture media, and the related peda-
gogical agenda and curatorial studies initiatives, in relation to the RPF, which contributes
with its cultural and educational initiatives to the development of the architecture discip-
line and its practice

PART II: THE AFTERLIFE OF DRAWINGS AND MODELS: ARCHIVING,

COLLECTING, DISPLAYING, AND EXHIBITING
Nowadays, architectural drawings often reside in private,4 or public archives, at times linked
with academic institutions with an educational mandate,5 and in museum collections housing
the body of work of individual architects ex situ, away from the original sites of concep-
tion and construction.6 This is the case with many collections, including the works of some
of the Modernist masters of architecture.7 Archives are progressively making their physical
collections digitally accessible online facilitating research and potentially having a tangible
impact on the future teaching of architecture.8 The politics, power, and culture of archi-
tecture media raise questions of research value and wider agency in a digital, transnational
condition. This part of the book questions how the techniques and the cultures of archival
technologies affect or are affected by changing modes of architectural production and media.

10 Chance and Change

The Survival and Significance of Architectural Drawings and Models
Olivia Horsfall Turner
Over the lifetime of an architectural design, its value can change dramatically. A once-
promising sketch can be tossed aside, an abandoned model can be cannibalized for a future
possibility, a slight drawing can be carefully preserved as a personal memento of a specific
moment, and a practical representation can be elevated to masterpiece status. Drawings and
models can shift from being tools and expendable working materials to privileged and costly
objects of aesthetic admiration and intellectual attention. Institutions play a role in this pro-
cess of transformation through their practices of archiving, collecting, and exhibiting, but
despite their authority and impression of immutability, they are not immune to the changes
and chances that help to determine significance. Through a series of examples from the
Victoria and Albert Museum, this chapter charts the unpredictable and unexpected ways
in which value is ascribed and re-ascribed to drawings and models during their lives and
afterlives. From an anonymous early-modern design to lost models by Jean-Pierre Fouquet,
and from a monumental drawing by Charles Robert Cockerell (1788–1863), to designs by
Alison (1928–1993) and Peter Smithson (1923–2003), the fortunes and misfortunes of some
of the collection’s drawings and models will expose the fluctuating status of these architec-
tural representations.

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11 Life and Afterlife of a Design Process

Models and the Building of the Royal Albert Hall
Simona Valeriani
When Francis Fowke died in 1865, the Royal Albert Hall (at the time still the Central Hall
of Arts and Sciences) was little more than an idea; its only embodiment was a wooden model
of a proposed interior. The Prince Consort fostered the plan of creating a space—born out of
the enthusiasm following the Great exhibition of 1851—where scientific, literary, and artistic
societies could meet, discuss, and exhibit their work. It was a key element of the scheme for
the erection of a new Center for the Arts and the Sciences at South Kensington. The scale of
the project, financial limitations, the precedence given to the problem of housing growing
collections and Prince Albert’s death conjured against the development of the Hall. The pro-
duction and presentation to the Queen of the aforementioned model by Fowke, however,
helped move matters forward. The Prince of Wales’ patronage was obtained, leading to the
construction of the Hall. The process of designing the building was characterized by an inter-
play and experimentation between drawing and 3D modeling in various scales.
A wealth of models were produced, six of which survive in the flesh while others are known
from photographs or written accounts. This chapter explores the genesis and experimental use
of such models, which inhabited different contexts: some lived their life on the architect’s or
on the commissioner’s desk, where they could be inspected by potential subscribers; others
were taken to meetings or to the building site to be discussed. Finally, this essay considers the
afterlife of the models, presenting an experimental in-progress work as a case study within the
activities of an international Research Network on architectural models: to make the Albert
Hall’s models, drawings, and photographs, at the moment stored away in different institu-
tional archives, easily accessible to the public in a cohesive way.

12 Thin Sheets
Tracing Openings within the Archival Matter of Alison + Peter Smithson
Ashley Mason
This chapter traces three openings found within the archival matter of architects Alison and Peter
Smithson, specifically within the drawings, documents, and photographs underpinning their
Economist Building and Plaza project in London, completed in 1964. This scheme was a charged
void, a carefully crafted crater, consequent of observations of the porous potential of London’s
post-war urban fabric. Each opening unfolds a series of traces of handling—tears, folds, notes—
where each tells a story of the life and afterlife of an architectural drawing or document. While we
are often led to allow such peripheralities, and the substrates that support these outlying marks, to
disappear from view, this chapter pursues the archival matters cast aside and the margins too often
overlooked. Folding in meditations on such traces by philosopher Jacques Derrida in addition to
literary theorist Gérard Genette’s conception of the paratextual, this chapter traverses the fringes of
both the page and the built environment—from the seemingly incidental hoardings and scaffolds
of a construction site to the documentation supporting the final construction. The archival matter
of A+PS reveals that we might not only follow footsteps within the architectural archive, care-
fully handle the worn and torn edges, and navigate a palimpsest of fingerprints but that we might
creatively and critically seek supplemental conversations beyond that which is represented within
the main drawing or text. Their thin sheets reveal an afterlife of archived architectural drawings

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usually hidden and tidied from view. It is these traces of handling that this chapter reveals are the
openings from which all sites might be construed.

13 The Intimate Archive

Sites of Representation and Embodiment in a Reading of Drawing Matter
Sophia Banou
This chapter draws from Frascari’s discussion of “Drawings as loci for thought,”9 as well as
earlier research on the “situation of drawing,”10 to propose that the drawing archive inherits
modes of embodied cognition from the modalities of reading and writing drawings.
The discussion is instigated by a particular research visit to the Drawing Matter archive in
Somerset, UK, which focused on the Superstudio collection holdings. The intimate archi-
tectural configuration of Drawing Matter, and the responses to the content that this sets out,
illustrate a merging of drawn and built space specific to drawing archives. This is examined by
interrogating representational sites of the embodiment of the archive, from the collector, to
drawing and architecture as spatial and representational situations. The text and images frame
these with a series of archival and curatorial exercises from the Drawing Matter collection,
including outputs and reflections from the research on Superstudio, contextualizing their
work within a critical review of practices of reading and writing art history based on ways of
organizing visual material, from the architectural pin-up to the long history of image atlases.
The tension between image and drawing that runs through the work of Superstudio offers
a useful context for the illustration of the particularities of the drawing archive as a site of
collective memory. The chapter proposes drawing and displaying as complementary visual
research methods of archival discourse that illustrate the function of the drawing archive as a
cumulative representational condition: a site of knowledge multiplied and expanded through
the representational fields it contains and the modes of inhabitation it enables.

14 Monuments in Motion
Exhibiting the Full-Scale Replicas from the Barcelona School
of Architecture Collection
Carolina B. García-Estévez
Antoni Cellers (1775–1835), architect and founder in 1817 of the first architectural class in
the Barcelona Academy of Fine Arts, spent the last years of his life redrawing the ruins of
the Temple of Hercules in the city and producing the first full-scale plaster cast of one of its
columns. Following his steps, Elias Rogent (1821–1897) and Lluis Domènech i Montaner
(1850–1923) used the scientific trip to catalog the unknown Catalan heritage as a medium for
teaching and disseminating historical architecture, and as a register to question the signifi-
cance of buildings’ lives before, during, and after their construction.
Arabic, Romanesque, Gothic, and Renaissance styles were displayed in the Models Room
at the Barcelona School of Architecture in a universal atmosphere, similar to the one that
Marcel Proust (1871–1922) experienced at the Musée de Sculpture Comparée in Paris.
The Philadelphia World’s Fair (1876), the Spanish Monumental Art Exhibition (1904), the
National Salon of Architecture in Madrid and Barcelona (1911, 1916), and The Art of Spain
in the Barcelona International Exhibition (1929) defined a series of thresholds from where to
interpret the afterlife of models through exhibitions featuring historical collections. As Marco

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Frascari (1945–2013) pointed out in “The Tell-the-Tale Detail,” models support the develop-
ment of the narrative sense of details, contributing to increase or lessen the character of the
assemblage of which they form a part.
The Barcelona casts collection teaches us an anachronistic lesson: monuments and their
representations are in constant motion. Their change in meaning depends on the ways they
worked or were meant to work. This chapter aims at analyzing in detail the documents,
books, catalogs, and exhibitions that illuminate the afterlife of collections, fostering future
imaginings beyond their original contexts.

15 The Secret Afterlife of Three Drawings and the Reproduction They Spawned
Adam Sharr
Plan, section, and elevation drawings can be: prospective, setting-out architectures not yet
made; descriptive, surveying existing architectural edifices; or analytical, made to tease-out
intellectual ordering strategies. Normally, prospective drawings for a building precede post-
hoc survey and analytical drawings.
This chapter is about plan, section, and elevation drawings that I made in 1998. They were
survey drawings, also with an analytical role, produced to document the philosopher Martin
Heidegger’s mountain hut at Todtnauberg, a village in Germany. They were made using site
dimensions of the exterior of the hut and estimated interior dimensions based on counting
boards from photographs and video footage. They comprised its first measured drawings.
In 2017, I was contacted by a curator with the Prada Foundation in Venice about an exhib-
ition designed to coincide with the 2018 Architecture Biennale, titled Machines à Penser, which
sought to compare Heidegger’s, Wittgenstein’s, and Adorno’s huts. Asked if I could supply my
drawings for the show, I spent days tracking them down to a folder at the back of a cupboard.
After a professional art courier transported them to Venice, and the services of Prada’s picture
framer transformed them into exhibition drawings, the drawings took me aback by having
somehow acquired themselves the status of artifacts. Moreover, the drawings—secretly—
became prospective. Unbeknown to me, they supported the construction of a reproduction of
the hut, an MDF model built at ⅞ scale on the piano nobile of Prada’s Venetian palazzo. The
framed drawings were hung on the back of this replica.
This story provides the opportunity to reflect on the slippage of drawings between descrip-
tive, analytical, and projective modes; on relations between drawing and model; on the idea
and practices of replication; on authorship, its multiples and absences; and the multitemporal
and multi-directional qualities of drawings and their referents.

16 The Singular Afterlife of What Was Once an Architectural Model

João Miguel Couto Duarte
The Museum of the Church of São Francisco, in Évora, Portugal, offers the visitors the possibility
of walking through a niche of a former altar. Information provides an understanding that the niche
is the chancel model for Évora Cathedral, commissioned by João V (1689 / r. 1706–1750), King
of Portugal, to architect João Frederico Ludovice (1673–1752). What was once an architectural
model has long since become an architectural object.
The common destiny for models that have avoided destruction is either remaining at the
architects’ offices or becoming part of an archive or a museum collection. Becoming an archi-
tectural object is unquestionably an uncommon and unique afterlife for a model, even for one

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designed to be experienced as a quasi-architectural object, as the chancel model for Évora

Cathedral was. Seeing this model as an architectural object paradoxically requires acknow-
ledging the discontinuation of its existence as a model. This object, which, in its origin, had
its meaning defined as architectural representation, switched to having its meaning defined
as architecture, for which the relationship that the object establishes with the architectural
context is decisive. The discontinuation marking the existence of this model in its afterlife
requires acknowledging another discontinuation emerging as a result of the model being
included in a museological circuit. The affirmation of this discontinuation raises the question
of recognizing a change in the relationship that the model establishes with its object in a
design process. One must consider that what enters a collection or is shown in an exhibition
as a study model may not remain such an object.
This chapter proposes a reflection on the two-fold discontinuation inherent in the chancel
model for Évora Cathedral. It departs from the observation of the singular afterlife of the
model to observe the afterlife of study models when they become part of an archive or a
museum collection.

17 Everlasting Inspirations of Archival Architectural Drawings in Japan

Traveling Avant-Garde Survey Sketches by Wajiro Kon
Izumi Kuroishi
At the beginning of the twentieth century, the surveying of rural houses and landscape in Japan
was carried out by ethnographers, economists, geographers, and architects appreciating the rural
landscape and lifestyle as national and cultural foundations opposing the rapid modernization and
Westernization of Japan. Motivated by these factors, Kon Wajiro (1888–1973) conducted visual
surveys of rural houses and villages with sketches, which later developed into urban phenomeno-
logical studies, prototype housing, and lifestyle analysis in Japan in the twentieth century. The
exposure of Kon’s drawings to wider audiences via exhibitions, publications, and digital promo-
tion beyond its archive, contributed significantly to modern architecture in Japan, regional and
popular cultures, and inspired new scholarship about the modernization of Japan. The primal
objective of Kon’s drawings, which was not the creation of artwork but addressing society, has
been accomplished, but the archival of the work has been at stake, suggesting contradictions
between the roles of drawings, their archival, and the potentiality for digitalization.
The effect of digitalization has been examined in archival studies in terms of the
contradictions between the extension of the accessibility of the material and its protection,
copyright issues, cost and sustainability of digitization, correctness and potentiality in curator-
ship. Kon’s archival materials face similar problems that exemplify these issues along with the
mechanization of visual surveys, material diffusion, reinterpretation in exhibitions, and archi-
tectural education. This chapter examines how the meaning of Kon’s drawings transformed in
later interpretations and how they relate to the role of sketching, while discussing the practical
problems in archiving and digitization.
The materiality of Kon’s sketches and the tacit relationship between sketching and archi-
tectural ideas is a relevant issue in the digitization of sketches. In architectural production,
sketches are not simple visual descriptions but also express the drawer’s relationship with the
object and work as platforms to understand the message about the object. The fragile and
fragmented materiality of situational sketches limits accessibility. If the sketches are access-
ible only as digital data, then it is difficult to convey materiality; this affects the surveyors’
empathy and psychological connectivity with places and peoples.

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Nevertheless, the digitization of architectural production changed the investigation of

urban and regional spaces and architecture to create and control information. The current
problems of Kon’s archive include the need to relocate the material to remote facilities due to
the lack of storage space, urging the question of for whom is the data intended? We may need
flexible archival systems preserving scholarly material with limited access while offering open
access to digital material for the general public to raise interest and assure outside audiences’
input. The familiarity with the sketches may provide a revived interest in Kon’s works by later
architects while re-designing accessibility for a digitized society.

18 When Is Architecture Art?

Architectural Representations and the Postmodern Art World, or, Socioaesthetics
Jordan Kauffman
Concerns about the correlation between architecture and art found new life in the Postmodern
era when architectural representations became entangled in the art world. Presaged by
exhibitions in Paris in the early twentieth century, the exhibiting and sale of these representations
at commercial galleries gained a firm hold in the 1970s and 1980s in Chicago and New York
before spreading around the world. Responding to and bolstering this situation, art and archi-
tecture critics emphasized architectural drawings as artworks in their own right. Individuals,
corporations, and institutions collected drawings and supported these notions. Architectural
models, however, were not understood similarly. They were not emphasized as art within
publications, by the press, by collectors, or by the public. Only institutions with a vested interest
in architecture, building collections at this time, such as the Deutsches Architekturmusem and
the Canadian Centre for Architecture, appreciated them and collected them.
This chapter explores these inequities through the complicated, interwoven social factors
responsible for their development, to discover the mechanisms through which architecture was
or was not considered art. This research includes analyses of seminal sale shows, critical reactions
to them, architects’ desires, and the intentions of gallery owners, as well as the attention paid to
architectural materials by individuals and institutions. What materialized, this chapter contends,
is what the author coins as socioaesthetics, a moment in which economic, architectural, artistic,
commercial, critical, institutional, and historical forces governed aesthetic judgment and produced
the conceptualizations, perceptions, and values of these forms of architectural representations.

19 Cold War Odyssey

The Story of Mies van der Rohe’s Drawings and Papers
Dietrich Neumann
Historians and critics depend to a certain degree on the material available in an architect’s
archive, in order to understand the work, its genesis, and complexities. The story of Mies van
der Rohe’s vast trove of thousands of drawings and personal papers from his European career
is particularly fascinating. Mies seems to have begun keeping evidence of his work around
1922, when he adopted his artist’s name and joined the Avant Garde. When Mies emigrated
to the US in 1938, he had left the archive in the hands of his close associate Lilly Reich in
Berlin. Toward the end of the war, when bombardments of the city were imminent, Lilly Reich
entrusted both Mies’ and her own material to their collaborator Eduard Ludwig, who brought
it to his parents’ home in the small town of Mühlhausen in Thuringia (which was unlikely to

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be bombed). After the war, Mühlhausen found itself part of communist East Germany behind
the iron curtain. Mies van der Rohe’s first retrospective at the Museum of Modern Art in 1947
was assembled without any original drawings of his early work and had to rely on large photo-
graphic reproductions and his recent work in the US. After secret negotiations, most drawings
and correspondence (minus anything connected with the Bauhaus) were allowed to be sent
to the architect’s office in Chicago in 1964 and four years later they were split up between the
Library of Congress in Washington (office correspondence) and the Museum of Modern Art
in New York (drawings and project correspondence). Much can be deduced from the breadth
and scope of an architect’s archive. Besides sketches and drawings, the famously taciturn Mies
also preserved rather telling documents about the relationships with his wife and Lilly Reich, or
notes from unhappy clients about missed deadlines or cost overruns.

PART III: TOOLS OF MAKING AND KNOWLEDGE CONSTRUCTION:

ARCHITECTURAL REPRESENTATIONS AND THEIR
APPARATUS OVER TIME
The third part of this Companion emphasizes how drafting and digital tools are essential in
reading archival drawings. Indeed, the broader apparatus of drafting tools, specifications,
letters, correspondence, paperwork, and economic accounting is essential to constructing
buildings and should be considered and archived alongside drawings and models, thus recog-
nizing their integral role in the design process.

20 I Will Begin with the Jar of Empty Pen Caps

The Architectural Archives of the University of Pennsylvania
William Whitaker
A collection of design records represents a pattern of thinking and discovery that extends far
beyond the job-site and the actuality of building. “Dead filing”—the act of putting these records
into storage—initiates a process of devolution whereby associations present in design develop-
ment slacken, disassociation occurs, the tools of making antiquate and, more often than not, the
threat of lawsuits or a simple lack of space leads to a records’ purge. Even archiving, based on an
assumption of lasting value, is no guarantee of usefulness. And yet, architects—their preoccu-
pations, responses, and ideas—stimulate creative thought long after their working lives and the
risk of legal jeopardy ends. This chapter transects twenty-five years of experience to consider
the active and motivated engagement with such records in efforts ranging from teaching to heri-
tage conservation at the Architectural Archives, University of Pennsylvania School of Design in
Philadelphia. Today, the engaged archivist works less on advancing the goal of getting the work
of a great thinker into your mind than on getting you into the mind of a great thinker.

21 Animate Instruments
Imagination and Architectural Drawing Tools
Paul Emmons
By considering why architects inevitably have a favorite tool such as a pen or pencil, we
can begin to pry open the way equipment works with the architectural imagination, how
instruments are more than instrumental. Architects’ tools derive from construction tools and

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contain geometric knowledge. We presume the drafter directs the pen, but occasionally we
discover the reverse. As the hand moves the pen, so sometimes the pen moves the hand. In
this way, the instrument, and by extension the drawing, can know more than the drafter,
explaining why designers can learn from their drawings.
Rather than opposing the poetic and the instrumental, this reverie on the architect’s tools
suggests that they are deeply intertwined by considering the origins of the instrumental cause.
Animate instruments can be moved by another and still move themselves. This could be Leon
Battista Alberti’s meaning when he describes carpenters as instruments of the architect.
The curious Double Portrait of an Architect (1556) attributed to Tomasso Manzuoli (Museo di
Capodimonte, Naples) shows an older man guiding the hand of a younger man who, in turn,
is walking a pair of compasses on a basilica plan. Is this a portrait of two people or a single
person of two minds? The young man holding the compass looks away from the drawing to
the older man whose finger is directing the younger man’s hand and is looking at the drawing.
Whatever the painting’s intended meaning, it suggests that there are greater concerns than
merely the designer’s will. In the seventeenth century, when nature was first conceived as
a mechanism, the instrumental cause was reinterpreted to explain causation without active
powers. The continuing fascination with architectural instruments is demonstrated by their
presence in numerous collections and exhibitions.

22 The Architectural Office Space as a Measuring Tool

Marian Macken, Sarosh Mulla, and Aaron Paterson
This chapter outlines an ongoing collaborative design research project that addresses architec-
tural drawing, drawing sites, and the afterlife of drawings. “Drawing the Room | Drawing
within the Room” (2019) presents a seam of speculative drawing practice coupling projective
drawings with post factum documentation—or creative post-occupancy data—of built houses.
The movements of inhabitation are captured and translated to linework animations using
motion capture technology. The resulting drawings of inhabitation are projected full-scale,
exhibited in the architectural office space, the site of conceiving and producing drawings and
architecture. This project is discussed through the lens of drawings made for buildings and
drawings coming from buildings, in the sites of drawing: the office and built works. Using the
architectural office as a space of installation and exhibition presents a practice that acknow-
ledges and engages these spaces of creativity, transforming them. Unlike artists’ studios—
some of which may be preserved or reconstructed as studio-museums as though their former
inhabitants had just left the room11—architectural offices are seldom historically presented in
the same way, artificially halted in the midst of production. This chapter presents an alter-
native approach for these interior spaces, not to preserve spaces of creativity, but to engage
them by returning drawings to them, merging designed intentions with realized outcomes.
The architectural office is discussed as a site—containing bodily drawings, of knowledge con-
struction, exhibition, and temporality—in which drawings have an afterlife.

23 Tear It Down!
Agency and Afterlife of Full-Size Models
Fabio Colonnese
The history of architecture design might be told as a quest for the most exhaustive and
involving envisioning tool, offering architects multisensory anticipation of the design space

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and providing the clients with a heartening confirmation of their economic efforts. Significant
doubts require bigger models, even full-size models. Although the cost has generally limited
their use, full-scale models are part of a consolidated design practice often linked to the art
of scenography and ephemeral architectures for public events, from Gian Lorenzo Bernini’s
“direct forming” to the picturesque English gardeners’ practice of making temporary models
of wooden rods and white clothes. As a physical interface between the body and the virtual
dimension of the project, full-size models fulfill architects’ secret desire to exert complete
control on their work and reorient it.
Despite the high cost and importance in the decision-making process, any 1:1 model will
be destroyed after use, eventually depriving historians of a fundamental step of the design
process. While the tactile and kinesthetic experience of models is often limited in time to a
small number of people, their image may enjoy a visual afterlife in the surviving pictures or
films. What Rem Koolhaas suggested from a single image of Mies’ model is an example of
how the afterlife of full-size models may affect the development of architectural knowledge.
Sometimes, the afterlife is the only life of models, like the 1:1 moveable model built by Marcello
Piacentini (1881–1960) to perfect the design and show the effects of the nobile interrompimento
in front of St. Peter’s Square, which had been destroyed before Benito Mussolini (1883–1945)
could see it. Through the photographs, it challenges not only cinematic scenography but also
offers unpredictable fragments of an alternative city, demonstrating that photographic medi-
ation may help full-size models provide effects far beyond the original intents.

24 On the Archive Table

Embodiment, Objectivity, and the Construction of Historical Knowledge
Athansiou Geolas
“Dead things are easier to handle than live ones,” wrote Robin Evans (1944–1993), and like
the stabilized geometrical systems he described, the dead-certainty of historical knowledge
derives from the empirical dissection of drawings on the archive table.12 To name drawings
“historical” or “archival” is also to render them lifeless, innocent, and easily manipulable—as
if the archive were somehow outside of active political negotiation, or drawings could be
in the past while also in the historian’s hands. However, drawings continue to affect the
dynamics of their immediate social realities. They are rhetorical objects that enact relations of
power. By pledging to remain independent of the world beyond the table’s edge, disinterested
research methods solidify active narratives into empirical certainty, transforming drawings
into evidence. Once transformed, they legitimate claims to an objective articulation of the
past and thus authorize historical knowledge.
Focusing on the drawings developed for the Pan American Union Building (PAUB) in
Washington, DC (1907–1911), I ask, what is at stake in the historian’s active engagement with
these documents on the archive table? Does it matter what architectural historians do, or does
it only matter what questions they say they have answered? Contextualized in postcolonial
and post-structural critiques of historical knowledge, I take these questions as a provocation
for interrogating how to engage with architectural drawings in the archive. After describing
how three scholars used drawings of the PAUB as evidence, I turn to my own interaction with
those held in the Fonds Paul Philippe Cret at the Canadian Centre for Architecture in Montreal.
Evaluating the process by which architectural-historical methods transform acid-free archival
boxes of folded paper drawings into evidence of historical fact, I ask what knowledge gets to
count for our considerations of architectural drawing today, and how can we be so certain?

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25 How Wrapping Paper Transforms Its Contents

City Metaphors and O. M. Ungers’ Ghost Images
Samuel Korn
O. M. Ungers’ City Metaphors was conceived for the exhibition MAN transFORMS (Cooper-
Hewitt, New York 1976). The exhibition addressed design as a driving force in the transform-
ation of the environment and explored the potential of the newly founded design museum
in staging everyday objects and collection exhibits by the exhibition’s “conceptualizer” Hans
Hollein, as well as a series of commissioned environments. Ungers’ contribution mainly
consisted of two constellations of drawings, images and terms. The work inserted a dual
environment into the exhibition: an exhibition within the exhibition acted as a display device
for the collected materials, establishing at the same time, a street-like scene that intersected
the museum with a surrealistic pictorial space.
Ungers’ work reflected on architectural knowledge and provided a morphological meth-
odology model based on visual resemblance. Based on similarities in dissimilar design
approaches, the chapter discusses the relation of designs set aside that Ungers sent to Hollein,
including the photocopy of a large-scale sketch that appears to be an architectural perspective
of a room’s larger spatial surroundings, which is partially depicted in Madelon Vrisendorp’s
Freud Unlimited (1975). The photocopy was used as wrapping paper to transport Ungers’
design proposal from New York to Vienna in January 1976, and since then lived a secret life
in a cardboard box, until it was presented in an exhibition on MAN transFORMS, precisely
forty years later in Zurich.
Based on the peculiar photocopy, appearing to be nothing more than the debris of an
exchange between colleagues, the drawings are reactivated as a springboard to bridge an
undocumented gap. Thus, the chapter traces the installation’s genesis, approximates the rela-
tion of design approaches involved in its history of thought, and discloses aspects central to
Ungers’ methodology.

26 108 Embodiments of Potential Architecture

On Sisyphean Digital Libraries of Projects
Jean-Pierre Chupin and Carmela Cucuzzella
The Canadian Competitions Catalogue (CCC) is the digital archive for architecture, urban
design, and landscape architecture projects designed through a competition process in Canada.13
As of February 2020, the CCC contains more than 50,000 documents, which are mostly
digital drawings. Per definition, more than 90 percent of all competition drawings concern
“unbuilt architecture.” Referred to here as “potential architecture,” these drawn entities have
a peculiar afterlife. They can endure various embodiments in other projects, some of which
might be built, although not necessarily. This type of database can seem like a simple digital
depository; yet, its first mandate is not to preserve drawings as objects but to preserve events
(competitions), ideas, and comparable representations of projects. A competition database is,
therefore, closer to a “library of projects.” For example, even if a library will never con-
tain every single published book, each book nevertheless represents a world in itself that
connects somehow to other books, the past, and the future. We argue that libraries of projects
can support an understanding of architectural potentialities’ embodiments through parallels,
comparisons, and qualitative judgments: all proven methods for the production of new ideas

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in architecture. Through the design of an experimental competition entitled “More Than

Waiting for the Bus,” we reveal some of these cycles of potentiality through the assemblage
of “drawing + text.” While this “drawings + principles competition” constitutes one illustration
of this phenomenon, this chapter presents some elements of a theory of drawing regeneration.
We highlight the role of “judging by comparing” as one mechanism particularly prom-
inent in the context of competitions. It is our hypothesis that all projects drawn through
competitions—nowadays almost exclusively in digital format—constitute a reservoir of ideas
and solutions and should therefore be considered an architectural heritage that calls for appro-
priate new ways of archiving that can support the re-generation of architectural ideas.

27 The Nature of Architecture

The Primitive Hut and the Nordic Pavilion
Jonathan Hill
This chapter considers two past reinterpretations of the primitive hut that emphasize the
coexistence of architecture and living trees, discusses how their means of display and dissem-
ination have affected their reception, and assesses their relevance to contemporary attitudes to
climate change and biodiversity.
Viewing the Vitruvian origins of architecture through Enlightenment eyes in Essai sur
l’architecture (An Essay on Architecture), 1753, Marc-Antoine Laugier (1713–1769) assumes that
the primitive hut is constructed of dead, fallen timbers. But in the frontispiece to the second,
1755 French edition drawn by Charles-Dominique-Joseph Eisen (1720–1778), the four
columns are the trunks of living trees abundant with branches and leaves. For the first time,
the origin of architecture was credited to nature, not humanity.
Just as much as any collection of documents or drawings, a building is an archive of ideas,
values, materials, and lives, with the capacity to record, welcome, and even anticipate time.
The Pavilion of the Nordic Nations by Sverre Fehn (1924–2009) opened in the Venice
Biennale gardens in 1962. Fehn incorporated seven smaller plane trees within the Pavilion
and designed a double column to echo and frame the bifurcated trunk of a substantial plane
tree. Gaps in the roof left the trunks untouched, allowing the tree canopy to grow unhin-
dered. The substantial plane tree and four of the smaller ones are now dead, a metaphor for
careless destruction of the natural world. Not widely known, Fehn’s sketch of the bifurcating
column and tree is part of the architect’s archive, incorporated into the National Museum of
Architecture, Oslo, in 2008. The substantial plane tree continues to exist in iconic photographs
even though its absence will be seen in future Biennales.
The fame of the 1755 frontispiece is due not just to its evocative content and technique but
also its dissemination in an influential publication. But the frontispiece acquired its ultimate
reputation as a seminal image of architecture because it traveled far beyond the book into the
public archive of the collective imagination

PART IV: THE ETHICAL RESPONSIBILITIES OF COLLECTING

AND ARCHIVING: AUTHORSHIP, OWNERSHIP, COPYRIGHTS,
AND RIGHTS TO COPY
The siting of representational media (whether ubiquitous or not) has an impact on the con-
struing of culture. What are the curatorial choices of inclusion/exclusion, omission/promo-
tion, or the lost and found materials in archival collections? Knowledge construction is

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context-dependent, and thus archival locations, ownership and accessibility, copyrights and
rights to copy impact the relevance, the readings and the uses of media and what they yield
in terms of cultural imagination, collective value, and differentials. This part of the book
questions the ethical responsibilities in finding the proper placement of drawings and models,
and how accessibility, reproducibility, and access impact the economic, cultural, and political
role of architecture media.14

28 A Collector’s Ethical Responsibilities?

Álvaro Siza’s Social Housing Projects at the Drawing Matter Archive
Niall Hobhouse, Interviewed by Andrew Clancy
This interview begins with a brief survey of the collecting ethos of Drawing Matter, as it has
changed in scale and focus over the last twenty-five years.
Addressing specifically a relatively recent major acquisition from Álvaro Siza, Hobhouse
suggests that the act of collecting can offer an activist role—by turns, rewarding and uncom-
fortable—in defining the public legacy of individual practitioners and in challenging the
structures and the institutions of architectural history, teaching, and practice.

29 The Move of the Frank Lloyd Wright Drawings and Models

From Private Archive to Public Collection and Its Promotion
of Use and Deterrence of Abuse
Neil Levine
The transfer of ownership of the nearly 60,000 drawings, 45,000 photographs, 60 models and
other materials by the Frank Lloyd Wright Foundation to the Avery Architectural & Fine
Arts Library at Columbia University and New York’s Museum of Modern Art in 2012 was
by any account one of the most significant events of its kind in the history of modern archi-
tecture. The story of the transaction has never been told, nor have its effects on scholarship,
criticism, and architectural production been examined. Many, if not all, of the facts regarding
the “transfer,” the word preferred to “sale” by its actors, have remained unspoken. The story
has implications for the preservation of architectural archives that speak to a wide range of
concerns well beyond the specific case of the Wright archives.
The first part of this chapter will trace the extended and often sordid tale of the Wright
Foundation’s maneuvers to put itself on a firm financial basis, following the architect’s death
in 1959, by monetizing its holdings. This involved everything from piecemeal deaccessioning
to commercial exploitation, the latter in a notably ill-conceived licensing program including
the sale of unbuilt designs for posthumous construction. Issues of access, management, and
priorities will be addressed in describing how the purposes of scholarship and critical reflec-
tion can be denied by an organization determined to remain apart from the mainstream and
with little awareness of contemporary architectural debates.
The second part will suggest how such activities by a private archive can result in the
diminishment of the legacy its creation was established to promote. The most egregious
example is surely the building of unbuilt designs, invariably altered to fit new conditions
and client needs. Authenticating such works ultimately leads to questioning the accuracy
and value of the original drawings on which they were based. Although the Wright
Foundation maintained intellectual property rights to the drawings in the “transfer”

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agreement, it is much less likely to continue this malpractice now that the Avery owns
the drawings and controls access to them. This ownership by a recognized, non-partisan
public institution will correct the balance between scholarship and commerce in favor
of the former. Its location in a major city has finally made the archive easily accessible to
graduate students on tight budgets as well as professionals on tight schedules, for whom
neither a short trip nor a long stay at the former desert location was feasible. Exhibitions
of the Wright material will no longer be curated by insiders for proselytization but will
be organized instead for scholarly, educational, and critical reasons. Finally, the conser-
vation treatment of the drawings will no longer remain under the radar but can be openly
discussed and censured as necessary. The conclusion will entertain comparisons with how
other art and architecture foundations, such as those of Alvar Aalto and Le Corbusier,
have dealt with such issues.

30 After the Original (the Afterimage)

High Costs, Low Roads, and Circumventions
Marcia F. Feuerstein
In “The Work of Art in the Age of Mechanical Reproduction,” Walter Benjamin (1892–
1940) discusses the aura of an original and the notion of authenticity. Here we ask how an
original is maintained within a new work of art based on and within the original through
the case of Oskar Schlemmer (1888–1943), a German Bauhaus master and artist, to ask what
constitutes work after the original / copy of the original? Schlemmer, an artist / performer /
teacher / created a vast output of work exploring the human being as “the measure of all
things.” He died in 1943, having been forbidden to practice in 1937 after being declared a
degenerative artist by the National Socialists. Initially, his work was available to scholars,
museums, dancers, and choreographers to study, publish, exhibit, and perform until the
family restricted access. These restrictions limited publications and led the way toward
new iterations or “afterimages” to allow scholars to reconsider and interpret his vast output
of drawing, sculpture, painting, performances, wall paintings, and teaching. It became an
impetus to use his images while still respecting the owners’ copyright before the seventy-
year time limit. Schlemmer and the afterimage are explored through various serial or
iterative works that include Schlemmer’s “Bauhaus Stairs,” his drawing/print “Vordruck,”
and transformation of his own works into something that comes “after” the original—not
a copy but a new original. The afterimage is then considered through the relationship
between interpretation and translation, the copy, aura and authenticity, imitation and mim-
icry, and deepfakes and surgery leading to questions of ethics, permanence, and the unique
status of an original.

31 Rise and Fall of a Draftsman

A Biographic Reading of the Lequeu Legacy at the National Library of France
Elisa Boeri
In July 1825, nine months before his death, Jean-Jacques Lequeu (1757–1826) donated a selec-
tion of nearly 800 drawings to the Bibliothèque Royale in Paris. Among the drawings is the
Architecture Civile, a two-volume graphic work that occupied more than thirty years of his life,
becoming a real obsession.

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From that moment on, Lequeu’s work lay forgotten between the deposits and the so-called
“Hell” of the library until the first half of the twentieth century, when the historian Emil
Kaufman (1891–1953) built an asymmetrical parallelism between Lequeu and two French
eighteenth century giants, Etienne Louis Boullée (1728–1799) and Claude Nicolas Ledoux
(1736–1806), juxtaposed under the lucky title of Three Revolutionary Architects. In 1987, the only
monograph devoted to Lequeu, by Philippe Duboÿ, contributed to nurturing the enigma of a
mysterious character and hypothesizes that the archive was subject, in the twentieth century,
to dubious apocryphal manipulations.
The absence of indications from the author led twentieth century historians, outside and
inside the walls of the archives of the National Library of France, to develop assumptions
that relegated the figure of Lequeu to the margins of Parisian society, interpreting its excep-
tional qualities as the unique graphical product of a sick mind. Lequeu did not give us the
keys to understanding his mysteries. Still, recent studies have reopened “the Lequeu case,”
interpreting his work as one of the most powerful and communicative expressions of the art
of a disappearing world, that of the Ancien Régime French society.
Cognizant of the importance of his legacy as a warning for future generations, he handed
his bequest to the National Library with a curious note, which prevented the disclosure of his
two most personal works—the Architecture Civile and the Nouvelle Méthode—for twenty-five
years. This chapter aims to analyze and present the fall and the rise of Lequeu’s archival legacy,
finally digitized and studied for an exhibition, a catalog, and a monograph in 2018.

32 Collecting “Slowly but Surely”

Constructing the Swedish Museum of Architecture in Stockholm
Christina Pech
Founded already in 1962, the Swedish Museum of Architecture constitutes an intriguing
fore-runner to the international proliferation of architectural institutions collecting modern
architecture’s heritage in the late twentieth century. As a founding member and longstanding
supporter of the International Confederation of Architecture Museums (ICAM), the museum
actively contributed to defining architecture institutions’ role and nature throughout the
1980s and 1990s. Simultaneously, it entered a slow but sure phase of expansion, which not-
ably included a significant growth of the museum’s drawing collection and was eventually
crowned by the dramatically enlarged premises designed by Rafael Moneo that opened in
1998. Today, ArkDes, The Swedish Centre for Architecture and Design (the name changed
in 2013) holds one of the most extensive architectural drawing collections in the world.
This chapter—based on interviews with former museum directors Bengt O. H. Johansson
(director 1964–1978) and Jöran Lindvall (director 1985–1999) as well as archivist Ulla Eliasson
and curator Christina Engfors—engages with the changing role of architectural drawings
to establish and expand this architectural institution. The Museum developed from its ini-
tial experimental years and difficulties to create, properly store and safeguard a collection to a
mature museum protecting the legacy of modern Swedish architecture and guarding a collection
of significant value. For decades, the Museum formed a discursive interface to advance the
architectural discipline. In the Museum, state (welfare) politics was juxtaposed with individual
stakeholders’ politics, and the international appreciation of architectural drawings as collectible
and marketable art objects was sometimes at odds with national heritage issues. In embracing
these entanglements, the chapter speculates on the reciprocity between an institutional frame-
work and its contents, on how the collection and its highlights helped constructing the institution,

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and vice versa, how the museum became instrumental in promoting both the legacy of the indi-
vidual architects in the archives and national histories of architecture.

33 On the Silence of the Colonial Archive

Examining Sensorial Agency through the Archival Drawings
of Indian Residential Schools in Canada
Émélie Desrochers-Turgeon
The Indian Residential Schools (IRS) in Canada, which operated from 1883 until 1996, led to
the removal of over 150,000 Indigenous children from their communities to attend educational
institutions whose aim was to assimilate Indigenous peoples into settler society.15 The examin-
ation of the IRS architectural drawings, as well as their keeping in the Department of Indian
Affairs archives, can serve to question the adequacy of their location and the spatial arrangement
that brings the archive together as the legacy of the settler state and its accretion of memory.
While narratives of emotional and physical abuse and erosion of culture are present in popular
and academic accounts of IRS, discussions about how this system was materially designed to
ensure the dispossession of Indigenous peoples are seldom explored.16 The recent government
apologies risk to undervalue the depth and extent of the faults by placing them into a “repository
of actions” that occurred in the past.17 Such framing of the IRS as an event rather than a struc-
ture disconnects the violence from the material and spatial planning processes whose effects per-
meate contemporary society. An analysis of the architectural drawings of the Indian Residential
Schools as testimonial accounts and the colonial reality of the archives themselves could pro-
vide a deeper understanding of the spatial unfolding of settler-colonialism and its planning by
architects and bureaucrats under the Department of Indian Affairs.18
This chapter explores alternative readings of the archives of the Indian Residential Schools
to question their muteness. To do so, it examines how Indigenous artists and survivors reclaim
agency and elicit memories to create spaces of healing.19 Such works assert an evocative force upon
the viewers while resisting the colonial gaze and the consumption of traumatic narratives by settler
audiences and articulating Indigenous resistance amidst the hegemonic national discourses.

34 The Luis Barragán Archives

A Long and Controversial Story
Louise Noelle
The archives of twentieth century architects have been subject to varied fates. While some
are safeguarded and organized in accessible places, others, unfortunately, have been mutilated
or lost. With a wide range of situations, not all architectural documents have found locations
where consultation favors their study. In the case of Luis Barragán (1902–1988), a Mexican
architect with international recognition, the situation of his archive shows a complex reality.
Indeed, at his death, a partner was bequeathed with the professional archive. At the same
time, his testament declared the many inheritors of his personal archive, his library, and
his house, which the Fundación de Arquitectura Tapatía, Luis Barragán finally managed to
rescue; shortly after, the professional files were sold to a Swiss company that has kept them in
that country, under the name of Luis Barragán Foundation.
For researchers and scholars in Mexico, this complex situation has been aggravated by the
difficulty of accessing information about the archive in Switzerland through the institution

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website. Those who achieve access from other latitudes find little information online, in con-
trast to the 13,500 original sketches and drawings and more than 7,000 photographs that the
site announces and the collection holds.
On the other hand, the Casa-Estudio Luis Barragán in Mexico City—declared a World
Heritage Site by UNESCO in 2004—has been preserved in its original state, offering guided
tours to the general public through appointments. Barragan’s personal archive, which they safe-
guard, has been duly inventoried and made accessible to specialists following an accreditation;
additionally, in 2019, they published the book Fundación de Arquitectura Tapatía Luis Barragán.
Reporte al Tapatío, with a selection of the richness and diversity of the materials it protects.

35 The Anxiety of Architectural Archives

Janet Parks
A fundamental duality lies at the heart of architectural archives rising from their roles as
historical records and architectural documents. Curators work hard to understand the vast
archives under their care. It can take years to gain control intellectually over the strengths and
interconnections of collection holdings to provide security and order to these vast reservoirs
of history. As collections grow, it is hard to maintain that conceptual overview, and as the first
generation of architectural drawings curators retires, a new curator must acquire familiarity
with these large collections yet again.
The final decades of the twentieth century gave rise to many architectural exhibitions
based on historical drawings and reflected the broadening interest in historic preservation.
The effects of 9/11 and the financial crisis of 2008 played a role in reducing the number,
but the intense interest in historical materials for exhibitions also waned. A new interest in
current practice and subsequently its exhibition played a role in the declining historical exhib-
ition in favor of international architecture biennials.
At the heart of the matter are the different ways that curators and archivists, on the one hand,
and architects on the other, consider historical collections. An anxiety centered on these vast his-
torical repositories exists on both sides. What are the roles that the drawings play for each group?
How did the growth of architectural archives in the late twentieth century change the historical
perception of these materials or their role in the architectural profession? This essay offers thoughts
on these questions based on the author’s nearly forty-year curatorship of architectural drawings.

Notes
1 https://www.fondazionerenzopiano.org/it/, accessed February 22, 2020.
2 Molteni and Irace 2018.
3 Carpo 2013.
4 Richards 1989. https://www.drawingmatter.org/, accessed July 26, 2019.
5 https://www.design.upenn.edu/architectural-archives/about, accessed July 26, 2019.
6 In 2004 Alba di Lieto co-organized the website archiviocarloscarpa.it (accessed July 26, 2019) making
the collection of Scarpa’s drawings at Castelvecchio, Verona, accessible online.
7 Le Corbusier made plans in 1960 to create the Fondation Le Corbusier in Paris.
8 The Mies van der Rohe Archive at MOMA is accessible online: https://www.moma.org/
artists/7166, accessed July 26, 2019.
9 Frascari 2011: 35-43.
10 Banou 2015: 76-83.
11 For example, studio-museums of artists such as Francis Bacon, Brett Whitely and Jackson Pollock.
12 Evans 2020: XXVII.
13 www.ccc.umontreal.ca, accessed June 25, 2020.

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14 This book part topic is expanded in the special issue And Yet It Moves: Ethics, Power and Politics in
the Stories of Collecting, Archiving and Displaying of Drawings and Models of the Architecture and Culture
journal edited by Federica Goffi. See Goffi 2021.
15 Milloy 1999: 46.
16 Miłosz 2015: V.
17 Mackey 2013: 54.
18 Stoler 2009: 20. Fraser and Todd 2016: 33.
19 Robinson, in Robinson and Keavy 2016: 46.

References
Banou, Sophia. 2015. “Deep Surface: On the Situation of Drawing.” Projection, Inflection 2: 76–83.
Carpo, Mario, ed. 2013. The Digital Turn in Architecture, 1992-2012. Chichester, UK: Wiley.
Evans, Robin. 2000. The Projective Cast: Architecture and Its Three Geometries. Cambridge, MA: The MIT
Press.
Frascari, Marco. 2011. Eleven Exercises in the Art of Architectural Drawing. Slow Food for the Architect’s
Imagination. Oxon and New York: Routledge.
Fraser, Crystal, and Zoe Todd. 2016 “Decolonial Sensibilities: Indigenous Research and Engaging with
Archives in Contemporary Colonial Canada.” Decolonizing the Archive. L’Internationale Online,
32–39.
Goffi, Federica, ed. September 2021. And Yet It Moves: Ethics, Power and Politics in the Stories of Collecting,
Archiving and Displaying of Drawings and Models. Special issue of Architecture and Culture 9, 3.
Richards, Larry, ed. 1989. Canadian Centre for Architecture: Buildings and Gardens. Cambridge, MA: MIT.
Mackey, Eva. 2013: 47–62. “The Apologizer’s Apology.” In Reconciling Canada, Critical Perspectives on
the Culture of Redress. Edited by Jennifer Henderson and Pauline Wakeham. Toronto: University
of Toronto Press.
Milloy, John. 1999. A National Crime: The Canadian Government and the Residential School System, 1879 to
1986. Winnipeg: University of Manitoba Press.
Miłosz, Magdalena. 2015. ““Don’t Let Fear Take Over” The Space and Memory of Indian Residential
Schools.” Master’s Thesis. Waterloo: Waterloo University.
Molteni, Francesca (director), Fulvio Irace (curator). 2018. The Power of the Archive. Renzo Piano Building
Workshop. Documentary Film curated by Fulvio Irace and produced by Muse in collaboration
with the Fondazione Renzo Piano and the RPBW.
Robinson, Dylan and Martin Keavy. 2016. Arts of Engagement, Take Aesthetic Action in and Beyond the
Truth and Reconciliation Commission of Canada. Waterloo: Wilfrid Laurier University Press.
Stoler, Ann Laura. 2009. Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense. New
Jersey: Princeton University Press.

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Taylor & Francis
Taylor & Francis Group
http://taylorandfrancis.com
 PART I

Drawing Sites/Sites of Knowledge

Construction
Drawing, Office, Construction Site
Taylor & Francis
Taylor & Francis Group
http://taylorandfrancis.com
 1
A WELL-SITED ARCHIVE
The Carlo Scarpa Archive at the
Castelvecchio Museum1
Alba Di Lieto

The origin
Carlo Scarpa (1906–1978) once said: “I prefer to design museums than skyscrapers.”2 From the
1940s to 1978, Scarpa made about sixty projects for museums and exhibition design. He was
known for his constant and intense drawing production.
The story of the Archivio Carlo Scarpa (Carlo Scarpa Archive) in Verona has its roots in
England. After the Second World War, in 1950, Licisco Magagnato (1921–1987), the future
director of the Museums of Verona, spent a few months at the Warburg Institute in London,
where he researched under the mentorship of Rudolf Wittkower (1901–1971), starting to look
at the method of art criticism from a different point of view. He was affected by Wittkower’s
revolutionary research method, applied in Architectural Principles in the Age of Humanism.3
This was not a traditional text solely based on esthetic theories; it contextualized Italian
Renaissance architecture in its time and culture, under a critical framework relating to dis-
ciplines such as music and math. The young scholar Magagnato was also fascinated by Aby
Warburg’s studies on the relationship between culture and visual memory and his archival
methodology based on iconology.4 The Warburg experience had a lasting impact on his work
and sparked his interest in architecture.
After this period in London, Magagnato focused on the study of the drawings of Andrea
Palladio (1508–1580), which became a common thread in his lifelong career. It is not a coin-
cidence that his first and last works were both dedicated to Palladio. As an art critic, his first
academic contribution was “The genesis of Teatro Olimpico,” published in the Journal of
the Warburg and Courtauld Institutes, while his last essay, printed posthumously, regarded the
Palladian Teatro Olimpico of Vicenza.5
The studies about Palladio remained his primary interest, along with the activities for the
International Centre for Architecture Study Andrea Palladio in Vicenza (CISA),6 where he
was a member of the Scientific Council since 1974. The intent was to create a research center
on the history of architecture where the international community of scholars could come
together to research and study.
After a short experience heading the Museum of Bassano del Grappa, in 1956, Magagnato
became director of Verona’s Museums. One of the first steps he undertook was to write a
letter to Giorgio Zanotto (1920–1999), mayor of Verona, concerning the restoration of the

3 DOI: 10.4324/9781003052623-2
 A Di Lieto

Castelvecchio Museum, to express the need to choose an architect specialized in museum

design to begin restoration.7 Magagnato had thought about entrusting Scarpa with the reno-
vation after seeing his project for Palazzo Abatellis (1953–1954), when he participated in
the Italian Museums directors’ meeting ( June 23–25, 1954), held at the time of the opening
of the Abatellis Gallery in Palermo.8 Before deciding, Magagnato had also seen the other
renovations by Scarpa at the Accademia Galleries and the Correr Museum in Venice, which
were completed in 1953, as well as the Venetian exhibitions curated by Scarpa: Giovanni Bellini
(1949) and Ancient Chinese Art (1954). However, the Abatellis Gallery’s museographical design
must have been the decisive factor when choosing to work with him.
At a time when the theoretical bases of restoration were being laid, Magagnato realized that
Scarpa was raising the issue of the coexistence between different historical periods in Italian
monuments in a clear-sighted way.9 The entrusting of the Castelvecchio Museum restoration
to Scarpa began almost undetected in 1957, while the preparation for the Veronese Middle
Ages exhibition Da Altichiero a Pisanello was taking place.10 In Scarpa’s career, exhibitions
often served as a testing ground for future restoration works. In the case of Castelvecchio,
built in Medieval times (1354–1356), the setup of the exhibition in the earliest wing of the
Castle (Reggia) represented an opportunity to connect two parts of the Castle, leading to the
discovery of the ancient Morbio’s city gate, which predates the construction of the Castle.
Until the last century, the primary use of Castelvecchio was for military purposes. Its
structure was altered over the centuries, particularly during the Napoleonic period.11 The
first intervention aiming to turn the Castle into a Museum dates back to 1923–1926 when
Antonio Avena (1882–1967) made an in-style restoration to create the illusion of a historical
palace. To this end, he used a series of wealthy domestic interiors to recreate a period museum
(Museo d’ambientazione) in which the art collection could be displayed.12

Drawing and restoring

Scarpa intervened in a Castle rigged by a previous restoration. His intervention involved
removing the additions to allow the original parts of the fabric to reemerge. The restor-
ation went hand in hand with the museographical project. After discovering the Morbio’s
gate—a medieval door, and the inner moat (rampart) of the castle—Scarpa carried out an
urban intervention connecting the two parts of the castle with a road underpass, while the
courtyard garden was linked to the Castelvecchio Bridge, and the center of Verona through
a slender walkway structure. The design arose from the critical reading of history, laying the
foundations for a new museological model, which Scarpa later adopted in Castelvecchio.
Despite the almost two-decades-long renovation works (1957–1964, 1965–1975), the inter-
vention was consistent with the initial idea. This cohesiveness is demonstrated by the balance
between restoration work and museum layout that became exemplary. The idea of converting
a building in Scarpa’s work goes side by side with the discoveries of the oldest parts hidden
by centuries of transformations and the continuous dialogue with the existing construction:

However, there was no real change of use there, because Castelvecchio already was
a museum. Furthermore, even though museum spaces epitomize the concept of his-
toric preservation, which aims at maintaining a historic building as is, the ambiances
envisioned by Scarpa engage in an active dialogue with the artwork and are not
neutral containers […]. The terminologies of ‘conversion’ and ‘conversion architect’
were used to discredit the work of modernization in a historical context. Conversely,
it is suggested here that the idea of architecture in conversion can be read into

4
 A Well-Sited Archive

multiple levels to account for the meaningful assimilation of unexpected chance

events, material transmutations, multimodal reception of synesthetic experiences
and the turning of corners to unravel a story.13

The 657 project drawings by the Venetian master currently preserved in the Carlo Scarpa
Archive at the Castelvecchio Museum are a demonstration of the design process. They show
the continuous adaptation of Scarpa’s project due to the archeological dig and the discoveries
that brought back to light the monument’s original structures as they were before Avena’s
1924 intervention according to the method of “critical restoration.”14
Scarpa used drawings to transmit his thoughts to collaborators. His labyrinthine and
stratified drawings were mainly addressed to those in charge of the project’s material exe-
cution—those who held the knowledge of constructing architecture.15 As argued by Robin
Evans (1944–1993), we could not have architecture without drawing: “the subject matter (the
building or space) will exist after the drawing, not before it.”16
The case of the Carlo Scarpa Archive at the Castelvecchio Museum is a site-specific one. It
is a small and valued archive conserved inside one of the greatest and well-preserved museums
restored by the Venetian master, representing a unique link between a container and its
content.
Before the end of the restoration works, in 1973, Magagnato purchased 439 drawings from
Scarpa using an administrative ploy. The acquisition of the drawings was included along with
the payment of an invoice related to the professional services of “Professor Scarpa.”17
Magagnato was well aware of the value and the high quality of each sheet, as well as the
entire collection being kept as a whole in situ. He was a connoisseur of the art of drawing and
was mindful of their importance for the construction and development of the building as a
museum. In a historical video, he emphasized that drawings are the first instrument of know-
ledge for the conservation of the monument.18 Therefore, even if it was quite unusual at the
time, it is not a surprise that he went to such length to ensure their keeping in situ beyond the
time of renovation.
These drawings were conceived as moments of reflection to solve specific design
conjectures, such as the placement of the Cangrande I della Scala statue. Other materials included
working drawings made for the construction company and craftsmen, such as carpenters and
blacksmiths, and were destined for the construction site.
With the exception of the few drawings that were lost because they were given to the
craftsmen who carried out the work, Arrigo Rudi (1929–2007) recalled that the Castelvecchio’s
drawings were collected throughout the renovation by two collaborators of the Museum,
technologist Angelo Rudella and vice-director Angelo Aldrighetti.19 They were kept without
a precise order or the intention of historicizing the project’s complex development, saving the
drawings beyond the time of their practical use (Figure 1.1). The care shown in keeping the
drawings prevented their disappearance, allowing us today to study Scarpa’s activity.
After the acquisition, the drawings were kept inside a metal chest of drawers in Rudella’s
studio, on the northeast tower’s ground floor, until 1978. When I started working at the
Castelvecchio Museum in 1979, the drawings were still in the same chest of drawers, but they
were moved to the museum keeper’s storage area.
Three years later, Magagnato decided to organize the first posthumous exhibition of
the architectural drawings, after Scarpa’s death, entitled Carlo Scarpa a Castelvecchio (1982),
where 180 drawings were displayed. I had the privilege to collaborate with Magagnato and
Rudi on the exhibition. Rudi was Scarpa’s first collaborator and had started as his assistant at
Castelvecchio in 1957 when he was still a student at the Istituto Universitario di Architettura

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 A Di Lieto

Figure 1.1 Carlo Scarpa with Licisco Magagnato in the office at Castelvecchio Museum (about 1964).
© Courtesy of Carlo Scarpa Archive. Castelvecchio Museum, Verona.

di Venezia (IUAV). Each drawing was identified, photographed, and cataloged with a method
that, to this day, remains exemplary. It was the first time in Italy that the collection of drawings
of a modern architect, which were not yet historicized, was systematically classified.
Another noteworthy example is the register compiled by Sergio Polano for the exhibition
catalog of Carlo Scarpa: Opera completa (1984). However, this work did not include the classifi-
cation of the individual documents, but rather that of the projects.20
The identification of the Castelvecchio drawings was a challenging process. We proceeded
in the following way: the black and white photographs by Umberto Tomba (18 × 24 cm)
were grouped by site locations. On the back of each photograph, I reported the technical
information. Magagnato and Rudi integrated the description of each drawing. Sometimes, I
wandered like a diviner along the museum path in search of a detail to be identified.

Exhibitions and the Carlo Scarpa Archive

The exhibitions program opened new and unexpected paths, which led Castelvecchio outside
the walls of Verona. The first exhibition, initiated by architect Luciana Miotto (1936–2015),
took place in 1983 at the Italian Cultural Institute in Paris,21 inspired by the 1982 Veronese
exhibition. Two additional exhibitions took place in the United Kingdom, thanks to Richard
Murphy, who at the time was a researcher at the University of Edinburgh. In 1982, Murphy
saw the exhibition in Verona and was impressed by the complexity of the drawings. He
then met with Magagnato and, in the following years (1986–1987), began to survey the
monumental complex, assisted by three students, Louise Bainbridge, Jim Garland, and Mike

6
 A Well-Sited Archive

Woodbridge. Murphy’s team produced a total of eighty-five panels drawn by hand with India
ink, which accurately depicted the museum setup according to a method that was both ancient
and modern at the same time. Just like Renaissance architects executed architectural surveys
of Roman vestiges to enhance their understanding of construction methods and proportions,
in the same guise, Murphy produced a hand-drawn study of Scarpa’s project to understand its
essence. This experience became a source of inspiration for the projects of Richard Murphy
Architects in the United Kingdom.22
The survey was exhibited in 1987 at the Department of Architecture of the University of
Edinburgh alongside about twenty original drawings; the exhibition was transferred in May
1988 to the Building Center in London and presented along with the English publication of
Carlo Scarpa & Castelvecchio.23 This titanic work was presented in 1991 in the Boggian room
at Castelvecchio, along with its catalog.24 During the preparation of this exhibition, I started
reorganizing the technical archive. There were numerous tracing paper drawings, blueprints,
and copies of materials in the archive, made by the collaborators, concerning maintenance
interventions in the museum site. Following that reorganization, 214 additional sheets were
found. The recovered drawings were linked to the last stages of the restoration of Sala Avena
and the Art Library, dating between 1968 and 1974. These were mostly preliminary sketches
of technical nature, in which the master annotated some of his thoughts. Some of them
involve unrealized elements such as a glass door meant to isolate the entrance from the Galleria
delle Sculture (Sculpture Gallery).25
Presumably, the drawings were collected at the end of the last phase of the restoration
projects to preserve them. Rudella and Castelvecchio’s wood carpenter Fulvio Don occasion-
ally recalled the existence of a wood chest containing the missing drawings. I had heard about
them from my colleagues, and I still remember the emotion of finding them, even if I do not
remember the chest.26
Until then, the collection included 439 drawings, stamped and cataloged with sequential
numbering. Twenty-five sheets from the Trevignano Archive, preserved by Afra and Tobia
Scarpa, were added between 1978 and 1981. The moment when the papers of the Trevignano
Archive reached Castelvecchio is unknown. Tobia likely delivered the drawings relative to
Castelvecchio after his father’s death in 1978 and before the exhibition of Scarpa’s drawings
in Castelvecchio in 1982.
Today, the Castelvecchio collection consists of 657 sheets, and each sketch or architec-
tural drawing demonstrates the architect’s working method. Unfortunately, several models,
some of which in full scale, made during the construction period were lost. One of these was
the Cangrande statue model, of which only a photograph dating from the time of its setup
remains (Figure 1.2). A few days before the museum’s opening, in December 1964, the model
was switched with the original statue.
The historical photographic archive consists of about 2,000 black and white photos.
The majority of them were taken by Andrea Pagliarani, the Museum’s photographer at the
time.27 In addition to the documentation of the demolitions and reconstruction work in
progress, there are model images, photomontages for the placing of the Cangrande design,
and retouched photos. Some photographs are sketched over by Scarpa hypothesizing new
window frames directly on the original wall, which is now hidden under layers of plaster.
These are also memorial shots of the museum’s inauguration with public and political figures
and the black and white photoshoots of Paolo Monti (1908–1982), Italo Zannier, Ugo Mulas
(1928–1973), and Walter Popp from the period when the museum just opened.
Although the collection is extensive, some design gaps remain. There are only a few
drawings of the early stages of the restorations and the exhibition on the Middle Ages in

7
 A Di Lieto

Figure 1.2 Installation of the equestrian statue of Cangrande della Scala a few days before the
inauguration of the museum (December 1964). The papier-mâché model of the statue can be seen on
the left. © Courtesy of Carlo Scarpa Archive, Castelvecchio Museum, Verona.

Verona (1958), while the elaborate frames and easels made purposely on that occasion for some
of the paintings, are still on display today. Some of the working drawings of the sculptures’
supports are missing, including the essential plate for the brick-colored lime support for the
Santa Cecilia statue. Instead, the drawings show a cylindrical base with an inclined upper
plate. It should be noted that two sets of drawings, meant for Castelvecchio, exist in private
collections.28
The genesis of the drawings demonstrates that for Scarpa, drawing was a way of seeing. He
used to say:

I want to see, therefore I draw. This is the only thing I trust. I can see an image only
if I draw it.29

During his early formation years, he studied at the Accademia di Belle Arti in Venice. Once
he stated that “drawing is the main door to architecture,” and a few days before he passed
away, he reminded us about the importance of the role of drawings in his professional career
when he said, “Nulla Dies Sine Linea” (you have to draw every day).30
At this point, it is essential to describe Scarpa’s atelièr, which was organized as a bottega d’artista
(artist workshop). He chose a local collaborator in each city where he had an ongoing pro-
ject: Ferruccio Franzoia in Feltre, Valeriano Pastor (Museo Correr and Querini Stampalia) and

8
 A Well-Sited Archive

Sergio Los (IUAV gate) in Venice, Arrigo Rudi and later Giuseppe Tommasi (Villa Ottolenghi
in Bardolino) in Verona, Guido Pietropoli for Venetian projects, and the Brion-Vega Cemetery
in San Vito d’Altivole, which is considered the masterpiece of his carrier; some of his few
female collaborators were Bianca Albertini, Gilda D’Agaro, and Franca Semi (1943–2019) for
the Masieri Foundation in Venice.
The collaborators’ role in Castelvecchio’s restoration was essential. The working process was
organized in the following way: Scarpa, who was not an early bird, arrived at Castelvecchio
at about 11 am and headed straight to his studio on the ground floor. His office was centrally
located (Figure 1.1). From a window, he could see the entire courtyard. We know that the
courtyard fountain’s size and shape were born from the observation of the reflections of the
facade in the puddles that formed after a storm. He had a desk with a simple parallel straight
edge made of ebony in place of a complicated teknigraph, where Rudella would prepare the
daily project’s blueprints. Scarpa used to put up a tracing paper sheet on the blueprints where
he drew the necessary changes, often using colored pencils. Magagnato remembered in his
writings that Scarpa used layers of tracing paper on which he drew at the scale of 1:25, where
he superimposed all the floors and ceilings to have a view of the whole structure.31
Scarpa conceived the process of drawing as a continuous verification of the design project,
without hierarchies between parts. The sheets of the graphic corpus, released from the obli-
gation of a formal presentation to the client, reflect the architect’s intimate dialogue with the
site and his tireless research. In one of the rare master plans of the garden, his attention to
the spatiality of the monument can be recognized without losing sight of the complexity of
the site (Figure 1.3). The central courtyard vegetation (grass hedges, flowers) and the water
fountains emphasize the fourteenth century walls. Everything is redesigned in the form of a
modern garden, where architecture and nature are connected.
In this space, we find the orthogonal composition that governs the Museum’s interior
design. On the square’s borderline, two Pyracantha coccinea hedge form a visual and phys-
ical boundary providing spatial definition to the square. Forty-five years after the Museum’s
opening, unfortunately, the Pyracantha coccinea died. We tried to plant the same species again,
but the plants did not survive.
In a site plan of the Museum, 32 it is possible to recognize Scarpa’s annotations regarding
the plant species to be considered for the garden. It emerged that Scarpa indicated another
group of plants: Thuja, Laurus, and Taxus baccata. A conversation with Rudi revealed that
due to budget constraints, they were not used. Having learned this, we chose to plant the
Taxus baccata. Recently, a bacterium attacked the plant that sadly died! As a result, the
garden manager planted a special kind of Taxus baccata resistant to those specific bacteria.
These decisions are a practical example of the usefulness of the drawing archive in rela-
tion to the Museum’s ongoing maintenance. The drawings are an inexhaustible source of
inspiration and have often been the starting point of new projects for unfinished parts of
Castelvecchio.

The Castelvecchio Museum after Carlo Scarpa

When Paola Marini became the director of Verona’s Museums (1993–2015), her strategy in
relation to the areas designed by Scarpa at the Castle offered a farsighted vision of a “dream
factory” that was articulated on two different levels: first, it included the recovery of existing
spaces in disuse, and second, the investigation of the drawings toward an extensive digitaliza-
tion of the Scarpa Archive at Castelvecchio to extend its global reach, along with publications
(Figure 1.4).

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 A Di Lieto

Figure 1.3 Castelvecchio’s master plan of the ground floor of the museum with the arrangement of the
garden by Carlo Scarpa. Graphite, yellow, orange, green, blue, and red pastels on heliographic copy
(482 × 650 mm, 1:200 scale). © Courtesy of Carlo Scarpa Archive, Castelvecchio Museum, Verona.

Regarding the first objective, the concept was to reuse and adapt the spaces that remained
incomplete after Scarpa’s intervention, such as the seven towers’ vertical spaces, which were
not used. Up to now, we restored three out of seven towers, and we developed the project for
the Torre del Mastio, which is the tallest defensive tower. This renewal cycle began in 1994 with
the recovery of the northeast tower with the financial support and the professional contribu-
tion of Amici dei Musei, a nonprofit association supporting local museums.33
The northeast tower is connected to the Napoleonic wing, where intricate episodes related
to the building’s construction took place. The main priority was to understand, through
Scarpa’s drawings, what his interventions could have been. Scarpa’s project focused on separ-
ating the two bodies of the building and on connecting them through a walkway. He sketched
a distinctive ink mark on a photo, between the wall and the tower, and planned a partial
demolition of the Napoleonic wall for two reasons: to be able to tell apart the different epochs
of the building and to give natural light to the small reading room of the Art Library.34
Scarpa had partially intervened in this space on four levels, integrating a new structure, floors,
and window frames. The northeast tower windows, connected with the adjacent Avena Room,
are covered with wood shades like in the Art Library. The works in the tower, intended as a res-
toration laboratory, were quickly abandoned due to the difficulty of reaching these spaces.
The first problem to solve, in 1994, was connecting the northeast and southeast towers
with the ground floor. The solution I thought about was to carve a stairway in the thickness
of the perimeter wall, which would have been possible considering that the original wall had
been destroyed during the Second World War and was rebuilt later with the permission of the
Soprintendenza ai Beni Architettonici. By building this intermural staircase, we were able
to restore the two towers connecting them to the rest of the complex. It was a crucial work

10
 A Well-Sited Archive

Figure 1.4 Carlo Scarpa: digital archive. Database of the Castelvecchio drawings. © Courtesy of
Carlo Scarpa Archive, Castelvecchio Museum, Verona.

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 A Di Lieto

that gifted the archive with adequate rooms for storing prints and drawings. Presently, both
towers are dedicated conservation areas: the northern tower hosts cabinets of drawings and
antique prints collections, while the southern tower, since 2013, is devoted entirely to Scarpa’s
collections of drawings and photographs and their consultation. The targeted nonmimetic
interventions in both towers are coherent with the original typological elements: type of
stairs, trapdoor, and windows.
The clock tower’s rehabilitation preserving the appeal of the medieval castle took place
from 1997 to 2007. In addition to being scudate, entirely opened, non-glazed windows, the
tower overlooks the city toward the courtyard, connecting with a garden created around
the 1920s.
With the recovery of the western walkways, based on a project by Tommasi, in collab-
oration with Sergio Menon, Carlo Poli, and Maurizio Cossato, the Museum’s itinerary was
expanded with an architectural promenade, leaving Scarpa’s historicized path intact. Inside
the tower can be found the equestrian statue of Mastino II Della Scala, sculpted around 1350,
seemingly balancing on the border of a dizzying overhang, in dialogue with the statue of his
uncle, Cangrande I Della Scala, ruler of Verona, possibly by the same sculptor. The reopening
of the clock tower, together with the secret roof garden, has offered the public a new sight and
attraction, increasing the museum’s appeal.35
In the aftermath of these microsurgical interventions of the highest quality (2016), archi-
tect Filippo Bricolo placed a Roman mosaic pavement dating back to the second century BC,
which had been found during the excavation in the adjacent square, in the eastern ground
floor wing. Even in this instance, Scarpa’s original design drawings became fundamental
tools to search for an elegant and careful solution. Scarpa designed a spyglass vestibule in the
Boggian room oriented toward the garden. The Bricolo-Falsarella practice brightly angled
the mosaic, as if resting on a book holder, emphasizing Scarpa’s vestibule. The passage is
indicated by a metal plate in Scarpa’s handwriting style, marking the path that leads to the
Sala del Mosaico and Sala Boggian.36
Several initiatives took place at the beginning of 2000. In 2002, the Ministry for National
Heritage and Culture, MIBAC and the Veneto Region formed the Carlo Scarpa Joint
Committee to increase the awareness, conservation, and valorization of his work.
The Veneto Region assigned significant financial resources to the Joint Committee to develop
specific projects, including cultural studies, surveys, and the buildings’ restorations. The Joint
Committee also had the ambitious task of instituting the Carlo Scarpa Archive, which aimed to
reunite the master’s works and documentary materials by integrating thematic databases.
The private archive of Scarpa’s drawings held by his son, architect Tobia Scarpa, generated
considerable public interest. The first North American exhibition, Carlo Scarpa Architect:
Intervening with History, curated by the Canadian Centre for Architecture (CCA) in 1999 by
George Ranalli, Nicholas Olsberg, and others, focused on the drawings’ purpose. This theme
was also emphasized in the exhibition Carlo Scarpa, Mostre e Musei Case e Paesaggi in Verona
and Vicenza in 2000. On this occasion, it was planned to display 400 drawings, which were
treated as if they were ancient artifacts: the drawings were identified, cataloged, digitalized in
high resolution one by one, and intensely studied and published in a catalog. With great fore-
sight, the Italian State, through the Ministry of Culture and Tourism (MIBACT),37 acquired
the extensive archive—including about 12,000 sheets—in 2001. The entire collection was
bought from Tobia Scarpa for Archivi MAXXI Architettura. Today, Scarpa’s graphic heritage
is preserved at the Centro Carlo Scarpa at the Treviso State Archive.38
The Carlo Scarpa Archive in the Castelvecchio Museum represents an exception, consoli-
dating the unique connection between drawings (content) and monument (container). This

12
 A Well-Sited Archive

uniqueness was understood and enhanced by Marini, resulting in farsighted plans. The finan-
cial support received in 2002 from the Veneto Region and the Carlo Scarpa Joint Committee
opened up the opportunity to start several projects: cataloging, studying, researching,
publishing the drawings, surveying, and restoring the buildings designed by Scarpa. Beginning
with the systematic organization of the Carlo Scarpa Digital Archive, we aimed to reunite
works and documentary materials, thus allowing them to be studied simultaneously. In 2004,
the first nucleus was realized constructing the database of drawings of the Castelvecchio
collection. This first database grew along with the acquisition of other collections, such as
those of the Villa Ottolenghi (1974–1978) and the Banca Popolare Headquarters (1973–1978),
both in the Verona area; to these were added the other drawing collections.
I then completed the complex work that started twenty-five years earlier, classifying the
entire collection. The general catalog of Scarpa’s drawings for Castelvecchio was published
in 2006 to coincide with the centenary celebrations of Scarpa’s birth.39 The drawings were
published chronologically and in sequence, following the visitor’s route, acknowledging
coauthors and collaborators; several indecipherable notes were transcribed, restorations and
exhibitions were referenced, and displayed sequentially. Each design area of the museum is
described by a short essay, introducing and explaining the project.
After completing this work, we began the classification of the Castelvecchio archival
materials of the Villa Ottolenghi and the Banca Popolare, entrusting the identification to
Scarpa’s main collaborators, Giuseppe Tommasi and Valter Rossetto, who were acquainted
with the master’s undeciphered notes.
It is also important to note that several of the architect’s drawings are held in private
collections. The Veneto Region entrusted Aldo Businaro (1929–2006), Scarpa’s dear friend
and patron, manager of Cassina,40 to acquire the master’s drawings from private owners. The
Villa Ottolenghi drawings, the graphic collection from the ironsmiths Zanon brothers, the
furniture design from the Bernini company, and those from the Maestri Vetrai Muranesi
Cappellin company were acquired through this process, building the collection that belongs
to the Veneto Region and is now in the care of the Carlo Scarpa Archive at Castelvecchio.
Doubled in size, the valued collection is a growing entity thanks to the ongoing donations,
such as those from Donata Gallo, Clotilde Venturi Scarazzai, Ferruccio Franzoia, and Valter
Rossetto. The drawings had been photographed, restored, classified by experts, and released
for online dissemination.
The idea of combining the sobriety of the minimalist drawings with the extraordinary
glassmaking creations of the Vetreria Cappellin was realized in 2019 with the exhibition Carlo
Scarpa. Glasswork and Drawings, 1925–1931, which was held at the Castelvecchio Museum,
with the support of Marino Barovier and the Scientific Committee of the Stanze del Vetro.
For the Castelvecchio Archive, the growth of the collection allowed to show to a broader
audience the debut of a young and skillful Carlo Scarpa, designing with a marvelous trans-
parent colored glass, which revolutionized the history of glass design, with bolder geometrical
shapes and patterns (Figure 1.5).
The archive collection is still growing, thanks to contemporary photographers who, with over
three thousand pictures, prove the beauty of the Museum history in its wholeness and continuity.
Scarpa and Magagnato’s lesson is about well-preserving history through knowledge and main-
tenance, endeavoring to improve the work. Our next goal is the Fantasie per un grande Castelvecchio
(Imaginings for a Great Castelvecchio), a project to reunite the castle, integrating an obsolete
Officer’s Club, thanks to the commitment of Amici dei Musei. This project would align the Museum
with the current standards of accessibility and user-friendliness. After all, Castelvecchio is the most
prominent Museum of Ancient Art in Verona and a UNESCO World Heritage site.

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 A Di Lieto

Figure 1.5 Exhibition Carlo Scarpa. Glasswork and Drawings, 1925–1931. Sala Boggian, Castelvecchio
Museum, Verona, November 23, 2019 to March 29, 2020. © Courtesy of Carlo Scarpa Archive,
Castelvecchio Museum, Verona.

Notes
1 Preliminary arguments of this chapter were presented in a keynote presentation during the Frascari
Symposium IV (Kingston School of Art, London, June 2019). I would like to thank Marco Bisoffi,
Ketty Bertolaso, Veronica De Agostini, Alberta Faccini, Federica Goffi, Paola Marini, Paola Vaccari
Frascari, Mary Vaughan Johnson, Francesca Rossi, Judy Henry, and Filippo Saccardo for helping
me. Special thanks to Nicolò and Cecilia Fraccaroli who revised the English text.
2 Cascavilla 1972.
3 Wittkover 1949.
4 Magagnato had the opportunity to study at the Warburg Institute when he was twenty-nine
years old, thanks to Luigi Meneghello, a well-known Italian writer, professor at the University
of Reading, and a friend of Magagnato since when they were students and anti-Fascists together.
Regarding the relationship between Meneghello and Magagnato, see Caputo and Napione 2018;
www.archiviomagagnato, accessed July 19, 2020.
5 See Magagnato’s biography in Colla and Pozza 1987. His first essay was Magagnato 1951: 209–220.
Magagnato 1992.
6 The Centro Internazionale di Studi di Architettura Andrea Palladio was established in Vicenza in 1958
under the auspices of local public institutions. The center gathered prominent experts, including
Anthony Blunt (1907–1983), André Chastel (1912–1990), Ludwig Heydenreich (1903–1978),
Rodolfo Pallucchini (1908–1989), Rudolf Wittkower (1901–1971), and Bruno Zevi (1918–2000)
alongside exponents of the Palladian and Venetian cultures such as Giuseppe Fiocco (1884–1971),
Fausto Franco (1899–1968), Piero Gazzola (1908–1979), Roberto Pane (1897–1987), Antonino
Rusconi (1897–1975), Gian Giorgio Zorzi (1887–1969), the director Renato Cevese (1920–2009),
and the intellectual Guido Piovene (1907–1974), in addition to Magagnato himself. See: www.
palladiomuseum.org/cisa, accessed November 15, 2020.
7 Report by Magagnato to the Mayor of Verona, Giorgio Zanotto (Castelvecchio Museum Archive,
prot. 351/c-4, 1956).

14
 A Well-Sited Archive

8 Polano 1987: 116, note 19.

9 Magagnato referred to the theories of “Critical Restoration” by Renato Bonelli (Architettura e
Restauro, 1959), who relied on the critical theories of Roberto Pane. See Magagnato 1962: 44–50.
10 Magagnato 1958.
11 Marini 2016: 11–15.
12 Paola Marini, “Il primo allestimento museale di Castelvecchio” in Marini 2003: 155–173.
13 Goffi 2018: 42.
14 Licisco Magagnato, “Storia e genesi dell’intervento,” in Magagnato 1982: 7–34.
15 Pietropoli 2000: 57–71.
16 Evans 1997: 165.
17 Interview with Angelo Rudella, May 28, 2020. A Council resolution of the Municipality of Verona
dated March 16, 1973, included the financing for the completion of the last room of the museum, the
so-called Sala Avena, for L 7.325.000 with the cofinancing of L 5.000.000 by Banca Mutua Popolare
di Verona. From the testimony of Rudella, it is possible to understand that the administrative act
included the purchase of 500 drawings by Scarpa and it is for this reason that the act of purchase of
the collection cannot be found. Armando Munno, the museum accountant from 1975 to 1995, told
me that he remembered having paid the drawings.
18 Cascavilla 1972.
19 Arrigo Rudi, “Nota sull’allestimento e sui disegni,” in Magagnato 1982: 37–38.
20 Dal Co and Mazzariol 1984; Noever 1989.
21 Miotto 2004: 11–16.
22 Murphy 2001.
23 Murphy 1990.
24 The exhibition curated by Di Lieto, Murphy and Rudi was organized under the direction of Sergio
Marinelli with the sponsorship of Amici dei Musei, a nonprofit association supporting local Museums.
Murphy 1990. Besides donating his survey drawings to the Castelvecchio Museum, in 2018, Murphy
published Carlo Scarpa and Castelvecchio Revisited.
25 Carlo Scarpa Archive, cat. 211 inv. 32029r.
26 My former colleagues Angelo Rudella and Oscar Scattolo remember a discovery in 1996 of a
wooden chest in a deposit in the Boggian Room. I remember that the drawings were found during
the preparation of the exhibit in Verona five years earlier.
27 Tarantino 2013: 52–55.
28 Twenty-one panels remained in Rudi’s office and were informally stored in 1989 in Castelvecchio
because he wished to donate them to the Museum. Unfortunately, it was not possible to include
them in the general catalog of drawings by Scarpa for Castelvecchio. The seventeen drawings of the
Officine Chesta were published by Masciantonio and Bertolaso in Di Lieto 2006: 451–457.
29 Gellner and Mancuso 2000: 38.
30 Semi 2010: 69. Carlo Scarpa cites the Latin phrase reported in the De Pictura by Leon Battista Alberti
(1404–1472) taken from Plinio’s Naturalis Historia (XXXV), January 23, 1975, lecture by Carlo
Scarpa: Small details, spatial values, literary references.
31 Magagnato 1982: 20. Di Lieto 2006: 212, cat 294. Carlo Scarpa Archive, inv. 32009.
32 Di Lieto 2006: 352, cat 595. Carlo Scarpa Archive, inv. 31610.
33 The Amici dei Musei financed the restoration, thanks to the generosity of President Giacomo
Galtarossa and Maurizio Cossato, a member of the board who offered structural engineering
consultancy.
34 The Castelvecchio Art Library was founded by Licisco Magagnato in 1956, following the model of
the Warburg Institute.
35 In 2008, the digital survey of the monumental complex was completed by Alberto Torsello (Sat
Survey). New technologies expedited the design process which, in the public administration in
Italy, has slow lead times for approval and funding. Giuseppe Manni, president of Amici dei Musei,
contributed to the recovery of the Clock Tower.
36 Carlo Scarpa Archive, inv. 31839.
37 The MIBACT was transformed in April 2021 into two separate ministries, one dedicated to culture
(Ministero della Cultura, MiC) and the other to tourism (Ministero del Turismo).
38 Guccione 2009: 124–125.
39 Di Lieto 2006.
40 Businaro is recalled in Pietropoli 2020: 29–32, 66–75, 203–221, 456–461.

15
 A Di Lieto

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On the Archive Table

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On the Silence of the Colonial Archive

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The Luis Barragán Archives

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