Architecture, Festival and the City: Introduction

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Notes

Notes

1 Jemma Browne, Christian Frost and Raymond Lucas, eds., Architecture, Festival and the City (London: Routledge, 2018).

2 Hans-Georg Gadamer, Truth and Method, trans. William Glen-Doepel (New York: Sheed & Ward, 1976), 267.

3 Ibid., 269.

4 Ibid., 238.

5 Ibid., 110.

6 Victor W. Turner, From Ritual to Theatre: The Human Seriousness of Play (New York: Performing Arts Journal Publishing 1982), 24. “Out of time” here means outside our normal time, which measures everyday processes and routines.

7 Ibid.

8 Victor Turner, The Ritual Process: Structure and Anti-Structure [1969] (London: Routledge, 2017), ch. 3.

9 Numa D. Fustel de Coulanges, The Ancient City: A Study on the Religion, Laws, and Institutions of Greece and Rome (New York: Doubleday, 1955 [1877]).

10 Joseph Rykwert, The Idea of a Town: The Anthropology of Urban Form in Rome, Italy and the Ancient World (London: Faber & Faber, 2010 [1964]), 88.

11 Nature was associated with the ocean and forest – the western equivalents of the eastern desert – and culture with the city, castle, village etc.; Jacques Le Goff, The Medieval Imagination (Chicago, IL: University of Chicago Press, 1992), 58.

12 Jan Białostocki, The Renaissance Concept of Nature and Antiquity (Princeton, NJ: Princeton University Press, 1963).

13 For example, on Nazi architecture, see Karl Arndt, “Paul Ludwig Troost als Leitfigur der Nationalsozialistischen Repräsentationsarchitektur,” in Bürokratie Und Kult: Das Parteizentrum der NSDAP Am Königsplatz in München. Geschichte Und Rezeption, ed. Iris Lauterbach (Munich: Deutscher Kunstverlag, 1995), 147. For Italy, see Dennis P. Doordan, Building Modern Italy: Italian Architecture, 1914–1936 (New York: Princeton Architectural Press, 1988), 129ff.

14 Richard Schechner writes that “performance activities all along the continuum – from play through to ritual – are traditional in the most basic sense. Special rules exist, are formulated, and persist because these activities are something apart from everyday life”; Richard Schechner, Performance Theory (London: Routledge, 2003), 10 (original emphasis).

15 The exhibition was curated by María José Martínez Sánchez. Its aim was to further the research of the conference by expressing, through a range of media, different characteristics of current festivals, public and civic events around the world. It included material referenced in the work of conference contributors and keynote speakers as well as bringing together displays of other events.

16 Mikhail, Bakhtin, Rabelais and His World, trans. Helene Iswolsky (Bloomington: Indiana University Press, 1984).

Additional information

Notes on contributors

María José Martínez Sánchez

María José Martínez Sánchez is a lecturer at the School of Architecture and Design, Birmingham City University, whose work explores, through interdisciplinary methodologies, performativity in architectural and urban spaces.

Christian Frost

Christian Frost is Oscar Naddermier Professor of Architecture at the School of Architecture and Design, Birmingham City University. His publications include Time, Space and Order: The Making of Medieval Salisbury (Peter Lang, 2009), and, as co-editor, Bishop Robert Grosseteste and Lincoln Cathedral (Ashgate, 2014).

Jieling Xiao

Jieling Xiao lectures at the School of Architecture and Design, Birmingham City University. Her research focuses on theories and practices of place-making and environmental design through people’s sensory experiences, particularly of soundscape and smellscape.