Papers by Martino Stierli
Stierli, Martino (2012). Diagramme des Architektonischen. In: Müller, Ullrich. Roger Boltshauser: Transformator. Tübingen: Wasmuth, 36-41., 2012
Journal of the Society of Architectural Historians, 2020
The strategy of settlement of problematic financing is carried out through two lines, namely non-... more The strategy of settlement of problematic financing is carried out through two lines, namely non-litigation and litigation. However, there are still many bprs that have high problematic financing figures. Among the causes is the lack of knowledge about litigation. This research is a qualitative descriptive research using field research. The subject of the study was BPRS in The Special Province of Yogyakarta. Data obtained from interviews to related parties, observation of financial statements and documentation studies related to the process of settlement of problematic financing. The results showed that when the non-litigation path or family line does not reach an agreement between BPRS and the customer, then BPRS can proceed with the legal path by filing a simple lawsuit for the value of the lawsuit that is less than Rp 200 million. The existence of a new Perma rule on Simple Lawsuits is one of the alternatives that bprs can use in resolving problematic financing against cases of default and /or unlawful acts committed by customers. BPRS needs to learn the procedure of filing a Simple Lawsuit can be another solution in solving the high NPF figure in BPRS.
Yale University Press, 2010
Companion to the History of Architecture, 2017
The Journal of Architecture, 2014
In Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film, Martino Stierli u... more In Las Vegas in the Rearview Mirror: The City in Theory, Photography, and Film, Martino Stierli uses the rearview mirror as a metaphor, first to reflect on the history of Robert Venturi, Denise Scott Brown and Steven Izenour’s Learning from Las Vegas; and then to leave that history behind and move forward. Drawn from interviews with the architects and from their archives, Las Vegas in the Rearview Mirror thoroughly traces the development of the 1968 architecture studio at Yale and its publications, as well as the intellectual climate in which they emerged. Stierli then moves beyond mere reflection, leaving behind narrow accounts of the Las Vegas project as a product and producer of post-modernism in architecture, focusing instead on its subversive aspects. Despite the architects’ emphasis on symbolism in the subtitle of the revised edition (The Forgotten Symbolism of Architectural Form), they make little attempt to define this term. Their goal, he argues, was more pragmatic: to create a graphic image of the new decentralised city. Stierli frames their effort to create this image among others contending with increased urban sprawl (Jane Jacobs, György Kepes, Kevin Lynch and J.B. Jackson) and in contrast to modernism’s total approach to urban design. As Stierli’s subtitle indicates, his book is more about imaging cities like Las Vegas than it is about Learning from Las Vegas in particular, although he does address the project from its conception and the studio to the book’s first and second editions. Particularly strong is Stierli’s account of the disagreement between the book’s authors and its designer Muriel Cooper, whose vision for the book both to represent and to realise the cacophony of the Strip was perceived by the authors as too rooted in the modern tradition they resisted. The performative quality of the first edition was removed from the 1977 version and replaced with a literary aesthetic informed by new criticism and new journalism. The architects expressed the information they gathered from participatory research in a straightforward manner, using simple language and repetition: an aesthetic more in keeping with the scientific approach they sought to achieve. Stierli suggests that this contrast between the book’s aesthetic and scientific goals contributed to its divisive nature, and he adopts Umberto Eco’s notions of ‘apocalyptic’ and ‘integrated’ intellectuals to clarify the division. The former criticised the architects for aestheticising and, therefore, de-politicising what they found in Las Vegas, as well as for championing a kind of pluralism so radical that it was bound to embrace even modern exclusionism. Stierli contends that Venturi and Scott Brown were instead ‘integrated’ intellectuals. Their goals were not formal as their critics claimed, but rather scientific—offering an impartial, methodological approach to pop culture that was more observational than prescriptive or projective. He draws a comparison 620
Urbane Strategien in Architektur und Kunst seit 1945
Zwischen Architektur und literarischer Imagination, 2013
Bürogemeinschaft mit Alan Ritchie.-J.s Beitrag zur mod. Archit. des 20. Jh.s als Apologet, Kurato... more Bürogemeinschaft mit Alan Ritchie.-J.s Beitrag zur mod. Archit. des 20. Jh.s als Apologet, Kurator, Kritiker, Theoretiker und bauender Architekt ist kaum zu überschätzen. Seine Tätigkeit als erster Kurator der Archit.-Abt. des New Yorker MMA nutzt er, das Neue Bauen aus Europa in den Vereinigten Staaten bekannt zu machen und als "internat. Stil" zu verbreiten. In den folgenden Jahrzehnten tritt er mit theoretischen Beiträgen und einer Vielzahl stilbildender Bauten auf den Plan, die den Fortgang der mod. Archit. über die Postmoderne bis hin zum Dekonstruktivismus entscheidend geprägt haben. Noch während des Studiums der Altphilologie und der Phil.
"Learning From Las Vegas" is arguably one of the most influential texts in theory of ar... more "Learning From Las Vegas" is arguably one of the most influential texts in theory of architecture of the 20th-century. Since its first publication in 1972 it has been reprinted again and again and translated to many languages. Robert Venturi and Denise Scott Brown's treatise had, and still has, lasting effect and is regarded until the present day as the starting singal of postmodernism in architecture and urban planning. The authors' thesis and arguments are essentially based on the media of photography and film, on the countless pictures Venturi/Scott Brown and Steven Izenour took during their field research of 1968 in the city of Las Vegas. Despite of this fact all editions but the very first one of 1972 use only small black and white images of poor quality to illustrate the text. "Las Vegas Studio" is the first to present a large selection of these iconic images and film stills in colour, large format and first rate quality. The essays complement the pictures and investigate how Venturi, Scott Brown and Izenour used images to contemplate the phenomenon of the modern city, and forge the link to the architectural practice of the past decades.
At some point before publication, a book assumes its final form, the form in which it is experien... more At some point before publication, a book assumes its final form, the form in which it is experienced by its audience. Naturally, this audience is often oblivious to the many, sometimes complex, decisions involved in constructing visual meaning through the montage of different ideas and elements. But, although these deliberate decisions are not normally communicated to the audience, the book is always to some extent a conception, or mediated presentation. The contributors to Before Publication consider the construction of visual meaning through montage, with each essay taking as its starting point a particular artifact—from Ed Ruscha’s photobook, Every Building on the Sunset Strip to works by Sergei Eisenstein, Muriel Cooper, and Marshall McLuhan to Tristan Tzara’s unpublished Dadaglobe anthology. A common theme threading throughout the chapters is the relationship between privacy and publicity. A concise introductory chapter by the book’s editors, Nanni Baltzer and Martino Stierli p...
Die Präsenz der Antike in der Architektur
Zeitschrift Fur Kunstgeschichte, 2011
This article reports on the influence, design, and style of the German architect Ludwig Mies van ... more This article reports on the influence, design, and style of the German architect Ludwig Mies van der Rohe. The author analyzes several different aspects of Mies' style, such as the influence his work had on the development of architectural photomontages in the early 1900s, how Mies' relationships with several Dada style artists from Berlin, Germany affected his politics and his work, and how Mies' concept of space was the foundation for his interior visualizations and aesthetic theory in the 1900s. The author also compares his architectural representations to the cinematic montages in European films, discusses the differences between photocollages and photomontages, and mentions that Mies probably learned how to do photomontages is the stone masonry workshop belonging to his family.
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Papers by Martino Stierli
of the perception and representation of space: both need to be traversed in order to become readable. It was the modern metropolis of the late 19th century that brought into being a spatial dispositif, or device, of the transitory through characteristic
typologies such as the arcades, the railway stations, department stores, or exhibition pavilions described by Charles Baudelaire, Walter Benjamin, and others, which made the characteristic flâneur the mediator of a protocinematic gaze. Within this urban
setting evolved new viewing machines such as the panopticon, the panorama, and the diorama, all of which may be seen as architectural precursors of cinema. As film scholar Giuliana Bruno has stated in this regard: “By changing the relation between
spatial perception and bodily motion, the architecture of transit prepared the ground for the invention of the moving image.”
This two-day symposium explores the complex interrelationship between architecture and film from modernity to the present. It brings together scholars and practitioners from the fields of art and architecture, art and architectural history, as well as
film studies, and seeks to bring different perspectives upon the subject into a productive dialogue. Rather than asking for the significance of built space for the cinematic narrative—a subject that has been widely discussed—speakers will address the potential of film and of the moving image as an epistemological tool for the analysis and representation of architecture and space. How has film been used by architects in order to explore and represent spatial qualities, both historically and in the present? In what ways is architectural design informed by filmic imaginaries? What role does film play in architectural and urban research? What qualities of built urban space do artists render visible when turning to the medium of the moving image, and how is this take different from that of static approaches by way of painting, drawing, or photography? Finally, how can space be interpreted from political, economical, and gendered perspectives? These are but a number of questions to be raised and discussed in a series of input lectures and joint discussions. The symposium will open with a keynote lecture by eminent scholar Giuliana Bruno (Harvard University) and a film presentation by the internationally renowned artist Olivo Barbieri, followed by input lectures and presentations by a number of internationally recognized experts in the field.
Published in conjunction with a major exhibition at The Museum of Modern Art on the architectural production of Yugoslavia between 1948 and 1980, this groundbreaking, richly illustrated volume, features new scholarship, unpublished archival materials, and a portfolio of contemporary photographs by Valentin Jeck. Shedding light on key concepts of Yugoslav architecture, urbanism, and society by delving into the exceptional projects and key figures of the era, the publication provides a broader understanding of postwar modernism on a global scale.