Modern architecture has always had a complex relationship with its own utopian roots. From Marinetti proclaiming that war is the most beautiful choreography in 1918 to Le Corbusier's famous concluding sentence from 1923, ‘architecture can avoid revolution’, the attempt to build a better world through architecture has constantly been tainted by skewed definitions of what exactly this new world should be. The case of Brazil is not much different. The architecture of the 1930s and '40s was much more successful in promoting a national image of modernisation than in addressing modernisation as such. Traditional gender roles abide in modern housing design, which sadly has also absorbed class (and racial) inequalities in its spatial organisation. This paper departs from the discussion of the origins of modern architecture in Brazil to discuss the extent to which certain inequalities were so thoroughly embedded in Brazilian society that they were even incorporated into a utopian discourse about modernity - a discourse that is still very much present.

The 1930s in the United States marked a turning point in the relationship of the architectural profession to both the government and corporations. The federal government and large corporations, began to hold design competitions to stimulate the building industry during the Depression. This caught the American Institute of Architects unprepared and led to the transformation of the profession from one grounded in the ideal of the architect-artist to one whose survival depends, in part, upon business acumen, technical competence, and public relations skill.

Systems of proportion provoked much controversy in the 1950s. Recent research has moved away from the study of musical theory, to that of number. Applying Classical arithmetic techniques to analyze Alberti's Tempio Malatestiano, this paper demonstrates that its design corresponds to Alberti's system based on geometrical features of the cube depicting ‘natural relationships that cannot be defined as numbers’. For today's practitioners, the paper asserts that architectural works are geometric constructs and reminds them that CAD is based on the arithmeticization of geometry.

‘It was democracy that commissioned this project. If we had not been serious in deciding that our nation is resolved – as it says in our constitution – to create a new order for itself and establish a social state on the basis of free self-determination, this building would not have been conceived and completed in the way that it has been, a building whose reality […] symbolises what is new about our order, embodying the element of freedom and the desire that man should be at its centre.’

This paper considers the relationship between atrium design and different climatic conditions in Europe. The analyses may be used to inform design proposals for buildings which seek to optimise the thermal buffering characteristics of atria. Particular attention is given to certain parameters witl a potential to form climatic responsive and energy efficient atrium buildings.

‘Alternate Currents’, held in Sheffield's Showroom Cinema in late November, set out to politicise architectural practice. Part of an AHRC-funded project on alternative architectural practices, it was convened by the University of Sheffield's Tatjana Schneider and Jeremy Till (whose introduction follows this report). The event was an invitation to go beyond the normative, specifically by dealing with architecture's economic, political and social dimensions. Although it was mixed in all respects, for me, trained in social anthropology, two issues emerged as particularly interesting.

An event organised by the Architecture Exchange in London brought together four architectural practitioners and academics, Pier Vittorio Aureli, Reinhold Martin, Ines Weizman, and Sarah Whiting to discuss political theorist Chantal Mouffe’s conceptions of the space of politics and agonism. The discussions were followed by a response from Mouffe herself. Convened by Joseph Bedford and Jessica Reynolds, the event was held at the Architectural Association in London on 6 December 2014. It followed previous events in 2013 – dubbed Architecture Exchange #1 – at which the philosopher of ‘Object Oriented Ontology’, Graham Harman, participated in a debate about his work.

More than three decades ago, the architectural historian Manfredo Tafuri pessimistically concluded that a revolutionary architecture cannot precede a social revolution. In this comment, he summed up the perceived failure of Modernist architecture to realise a social utopia. The comment implied that the architectural discipline, as part of the superstructure, cannot affect society; rather, it is the means and forces of production which determine society, while architecture only reacts, corresponds and represents these changes.

Complex design challenges exist in designing for a dynamic and ageing world. Designing for older adults is a timely and important issue. Understanding user requirements is vital and the appropriate exchange of this knowledge is crucial in the pursuit of supportive, sustainable buildings and the longevity of built-environment design.

Capturing reflections from Built Environment Professionals (BEPs) in the UK, this paper investigates the practitioners’ viewpoint on knowledge exchange by specifically focusing on the scenario of designing for the requirements of older people. Thematic analysis of BEP conversations (n=10) and the results from a questionnaire (N=35) are presented.

Findings uncover recommendations towards the enhancement of knowledge exchange. They highlight the fundamentals of good communication, the desire for structured knowledge, the value of contextual guidance, the importance of a visual format for BEPs, and the need for forms of guidance to support client motivations.

The design process can be enabled by equipping practitioners with information about user requirements. Interestingly, it was also found that BEPs find value in direct user-engagement although further support tools for these engagements with building users was desired.

Appropriate exchange of knowledge is essential for effective ‘real-world’ design impact. These findings, built from the scenario of designing for older adults, also apply to the broader context of all guidance used by Built Environment Professionals.

In relating stories about origins that recall an idealized ‘Primitive’ condition, Vitruvius seeks legitimacy for judgement about architecture. At issue is the problem of authority, and Vitruvius is anxious about authority, and about order. Vitruvius' audience for his story of the Primitive dwelling, as for the rest of his treatise, the Ten Books on Architecture, is the emperor Octavian, introduced in the dedicatory preface as ‘imperator Caesar.’ His book to Caesar asserts a commonplace among rhetoricians, that authority is sought in a distant past, and in exemplars, useful precedents that promise a perfect work. ‘Décor,’ writes Vitruvius, ‘demands the faultless ensemble of a work composed, in accordance with precedent, of approved details. It obeys convention, which in Greek is called thematismos, or custom or nature’ (trans Granger, 1983, I.2.5). The task of the orator was to ‘demonstrate’ (demonstratio) that authority, and so for architecture, in his mythmaking and concern to demonstrate the truth of his opinions, Vitruvius establishes that the task of architecture is the representation of order.

This theoretical paper addresses the persistence of architecture students in undergraduate design learning despite the considerable sacrifices that this frequently entails, and proposes a framework for some of the mechanisms that explain students' diligence in their love-hate relationship with the design studio. Such love-hate association is poorly understood, but is clearly a pervasive dilemma in architecture education. The proposed model includes a number of cognitive mechanisms that students may use to reconcile their idealised and romanticised self-image with the incoherent sacrifices of design studio.

Why should architects be involved in humanitarian work and the often-complex projects needed to deal with the recovery of post-disaster emergencies? How can the design profession contribute to the longterm reconstruction processes needed to ensure the effective rebuilding of vulnerable communities after disaster?

Over fifty years ago at the RIBA’s 1958 Oxford Conference, discussions about architectural research and science posed seminal questions about the very nature of creativity in architectural research and education. Leslie Martin observed that research is the tool by which theory is advanced. For more than half a century, we have seen traces of scientific research fuelling the advancement of architectural knowledge and its feedback loops into practice. Yet, interrogations around how architectural creativity is affected by intersections with the sciences are not new. The Bauhaus, for example, sought to integrate scientific thought in architectural education in 1936. Thus, why are emerging interdisciplinary collaborations where architecture, engineering and science converge at the inception of design potentially transformative?

Increasing attempts to accelerate the pace of innovation in sustainable building technology is engendering pioneering intersections between architecture, engineering and natural science disciplines such as bioengineering and chemistry. The broad disciplinary breadth of these research processes inevitably requires mediating the diverse values, perspectives and research methodologies of disciplines that pursue innovation in different ways. However, to what extent is this new interdisciplinary convergence possibly transformative? Could it be that these processes, particularly in building technology innovation, may be influencing scientists and engineers to rethink how design problems are conceptualised and researched?

In this article the design of Mendelsohn's famous Expressionist tower at Potsdam is shown to have been shaped by the cosmology of Albert Einstein informed, however, by the apparently conflicting occult philosophy of Rudolf Steiner.

The prompt circulation of images and representations of buildings has not only expanded the audience for architecture, but has also become a critical tool which – quite beyond the architect's reach – is more influential than the ideas, concepts and buildings they represent. Images have become such an important element that they are not only the primary medium through which most architectural works first engage an audience, but their circulation has come to precede the act of building. The mass dissemination of architectural imagery has enabled a consumption of architecture which has not only transformed buildings into culture, but also ensured a significant displacement in architectural reception. While in prior years the dissemination of images took place after the built object, recently, the diffusion of imagery not only precedes the building, but also conditions its reception.

The relationship between architecture, the body and the computer is considered in this paper. Whereas the body has been related traditionally to architecture through concepts of geometry and proportion, the computer also brings to light the valorization of craft, McLuhan's philosophy of the changing sensorium, the projection of digital utopias, Freud's construction of the relationships between repetition, obsession and the uncanny, and the residence of the body in concepts of mind. The examination of these issues is productive in the context of the design studio.

This winning design in the 1998 Lichterfelde Süd International Landscape and Urban Design Competition is for the regeneration of a former military training ground on the southern boundary of Berlin. The brief was for a new urbanism of the periphery, with 3200 dwellings on a 115 hectare site. The design is a continuation of research embracing conditions of uncertainty and change on mainly post-industrial or former military sites. It could be described as a fragment of an infrastructural urbanism in preparation for an unpredictable diversity of architectures.

Architectural Practice: a critical view,Gutman, R., Architectural Practice: a critical view, Princeton Architectural Press, Princeton, 1988, 160pp., ISBN 0-910413-45-2, price $12.95 £7.95 (pb). Robert Gutman's seminal survey of the architectural profession, was published 13 years ago. In it, he discussed the changes that were occurring within architecture and the building industry. Although based largely on the American experience, it both echoed and foreshadowed changes elsewhere.

In his concluding paragraph, Gutman wrote: ‘To deal with the challenges in coming decades, the adoption of ingenious management techniques by individual offices or the use of clever public relations programs by the architectural community, is unlikely to prove sufficient. Intensive research, thought and policy initiatives focusing on these challenges are needed … Architecture is too important to the quality of American life for us to assume that the knowledge of architects working alone is adequate to address it … [Other interested] groups must be involved … Only if joint programs with this scope and on this scale are undertaken, is the profession likely to formulate persuasive policies that will assure the independence of architectural practice in future years.’

The RIBA Future Studies Group was established in 1999 to stimulate radical thinking on strategic architectural issues. It has close links with a number of other organizations and research institutions. It describes its purpose as ‘to improve the quality of architecture through the initiation, commissioning and dissemination of research studies … intended to inform the climate within which architects work …’ Full details of the group can be found at

www.site.yahoo.net/future-studies/purandin.html

Last year, Future Studies published its first two studies. Robert Gutman reviewed them for arq.