7 April 2026
*8:00 AM EDT / 2:00 PM CEST


Mediating Architecture:
An Institutional Study of Knowledge Production and Dissemination at the
Canadian Centre for Architecture, 1979 - 1999



NATÁLIA CORREIA BRANDÃO
Technical University of Munich


Respondent: Masamichi Tamura, Institute of Science Tokyo



Inaugural Exhibition “Photography and Architecture: 1839–1939”, 1982. Curator: Richard Pare, CCA. Credit: Collection Centre Canadien d'Architecture/Canadian Centre for Architecture, Montréal.



By involving wider audiences, cultural institutions such as architectural centers and museums have increasingly settled themselves as spaces for the production and dissemination of architectural knowledge beyond the academic world. In this thesis, the Canadian Centre for Architecture (CCA, hereafter) is analysed as a cultural institution in relation to its activities of exhibiting, publishing, collecting and researching architecture. In this direction, the archive is the common ground on which – or from which – the activities and roles to be analysed take place; it is the conductor of the communication between the interior (the discipline related professionals and activities) and exterior (the broad public). It is from the activation of the archival structure that the aforementioned domains take place, and from which they are translated into exchanges with a broader audience.

Oral history, literature review and archival research are the methodological tools in this elaboration, which are of help to elucidate the broad question of how cultural institutions dedicated to architecture produce architectural knowledge in the interface between the interior and the exterior of the discipline. Specifically, the question is hoped to be answered through the institutional analysis of the CCA, identified as one of the most relevant cultural institutions with an architectural collection, and with a gap in the literature related to its critical analysis in scientific publications. The starting point of the thesis is its act of foundation in 1979 in Montreal by architect and philanthropist Phyllis Lambert, and goes over the two decades in which she acted as founder and president.

Overall, this presentation aims to present the overall structure of the thesis, its methodology and recent findings.



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“Worlding” on Display: The Chinese Pavilion at the Venice Architecture Biennale
(2006-2023)



YARAN ZHANG
UNIVERSITY OF MANCHESTER

Respondent: Alicia Lu Lin, Ca’ Foscari University of Venice

The entrance to the Chinese Pavilion at the Arsenale, photo by Yaran Zhang, 2023.

Since its inaugural presentation in 2006, the Chinese Pavilion at the Venice Architecture Biennale has become a strategic platform for soft power projection, cultural diplomacy and national self-representation within architectural discourse. This research argues that the Chinese Pavilion offers a valuable lens through which to understand China’s presentation of its architectural culture on the international stage. More broadly, it examines how China’s involvement in the cultural platform of the Biennale reflects an ongoing practice of “worlding”—a method defined by American anthropologist Aihwa Ong—through which non-Western actors actively position themselves within and contribute to the global order. In this context, international exhibitions function as channels of soft intervention, allowing China to integrate into and engage with the global cultural landscape.

Drawing on archival research, oral history, and media analysis, this research investigates the curatorial strategies, theme choices, and exhibit formats of the Chinese Pavilion between 2006 and 2023. It identifies three phases in China’s participation at the Venice Architecture Biennale: Phase I (1991-2006) relied on symbolic motifs, prioritising visibility over narrative depth; Phase II (2008-2016) marked a shift toward critical engagement with social and architectural issues; Phase III (2018-2023) reflects intensified state involvement, characterised by immersive technologies and large-scale construction displays. These curatorial changes closely align with national policies over the past three decades, including Jiang Zemin’s “Bring in and Go Global” in 1996, Hu Jintao’s “Stimulate Cultural Creativity” in 2007, and Xi Jinping’s “Tell a Good China Story” in 2013.

By examining the Chinese Pavilion within the uneven geography of national pavilions at the Giardini and Arsenale in Venice, this study reveals the Biennale’s character—part art fair, part museum, and part geopolitical tool—through which China negotiates its evolving cultural identity and projects soft power on the global stage.





24 March 2026
8:00 AM EST / 1:00 PM CET



Behind Closed Doors and Windows: Constructing the Domestic Interior in Greece,
1880–1920



THODORIS CHALVATZOGLOU
National Technical University of Athens

Respondent: Anastasia Gkoliomyti, Tokyo Gakugei University, Wenzhou-Kean University


“My Sister Penelope’s Room” Athina N. Saripolou, June 1882, watercolor,
38 × 30.5 cm. Private Collection of Athina Angelopoulou. Reproduced from Athina Saripolou-Liva: A 19th-Century Athenian Painter. Athens: Bastas–Plessas.



The scarcity of visual sources depicting urban domestic interiors in Greece from the late 19th to the early 20th century became apparent to me at the very beginning of my research. A few surviving photographs and some scattered studies on furniture offered partial insights into spatial organization, materials, and furnishings. These allowed me to sketch a rough picture of how rooms evolved during the period I was studying. Yet, what remained missing was a narrative—an image of how these spaces were inhabited, and by whom.

Some answers emerged with the discovery of a series of housekeeping manuals aimed at young women, at future housewives. The first, published in 1885, proved particularly revealing: such guides prescribed in detail nearly every aspect of domestic life, from cooking and hygiene to the construction and furnishing of the home. A comparative analysis of these texts provided a clearer perspective on the domestic interior, though I still had to ask to whom exactly these manuals referred. Moreover, I needed numerical data on the furniture and objects that made up an actual household of the period.


Unexpectedly, a series of legal documents—specifically dowry contracts—helped fill this gap. The dowry system, deeply embedded in Greek society, required women to bring property into marriage. The contracts I examined contained precise inventories of household furnishings, cooking utensils, and clothing allocated to brides by their families. These documents provided invaluable data for reconstructing the image of the domestic interior in which a newly married couple would live.

This paper outlines a research methodology for studying the history of the domestic interior through non-architectural texts. By drawing on disciplines such as demography, the history of emotions, and family studies, the image of what happened behind closed doors and windows becomes significantly clearer.


***


Session Not Convened

Small spaces of Morocco: Rooftop Terraces, Women and the Colonial Gaze



ZINAB HIMEUR
National School of Architecture Rabat

Respondent: Majdi Faleh, Nottingham Trent University


Jean Benjamin Constant – Women on rooftop terraces Tangier 1872 - Copyright Musée des Beaux Arts de Montréal (Canada)

This paper proposes a micro-historical reading of colonial Morocco through an overlooked architectural space: the rooftop terrace. Typically relegated to narrative interstices or treated as mere backdrops, rooftop terraces rarely emerge as significant spatial sites in their own right.

Building upon Swati Chattopadhyay’s work “Small Spaces: Recasting the Architecture of Empire”, this study explores how these elevated spaces were visually and culturally constructed and reconstructed, not only through urban planning and architectural form, but also within colonial literature and art, in Morocco under the French Protectorate (1912–1956).

This paper performs the archeology of these spaces, tracing how terraces mediated the encounter between colonial observers and local observed. It analyzes rooftops as thresholds between private indigenous life and the imperial gaze, where bodily visibility, modesty, and urban power relations converged. By shifting the scale from monuments to rooftops, from state plans to domestic margins, this study reveals how the Medina’s roofscape engaged in spatial politics, not only of colonial hegemony and exoticization, but also of anticolonial care and resistance.

Ultimately, this research contributes to a broader understanding of how minor spaces shaped the intimate geographies of the French colonial order, offering new ways to read colonialism, resistance and care in the architectural margins. 




10 March 2026
11:00 AM EST / 4:00 PM CET

Ashes to Ashes: Reading the Ruins of the Dutch Colonial Sugar Industry in Postcolonial Java



SANDRO ARMANDA
KU Leuven

Respondent: Javairia Shahid, Columbia University


The Wringin Anom Sugar Factory hidden behind the dense sugarcane field. Photo by Sandro Armanda, 2025.



The Wringin Anom Sugar Factory is one of the few remaining nineteenth-century sugar factories still operating in Java today. Originally built by a British sugar manufacturer in 1845, the factory compound once functioned not only as a centre of sugar production but also as a tool of colonial control over the surrounding population and plantation landscape. Today, the site is on the verge of ruin.

Java’s colonial sugar industry began to collapse in the 1930s and was nationalised by the Indonesian state in 1958. Once a leading global exporter of sugar, Java now imports sugar on a massive scale, with Indonesia ranking among the world’s largest importers. The physical infrastructure left behind by thecolonial sugar industry – comprising roads, housing, and plantations – has largely deteriorated, yet it continues to influence rural life and labour today. For instance, the socioeconomic systems and shifts in land ownership that were established during the colonial-industrial era of the nineteenth century  continue to exist. Additionally, housing facilities for sugar factory workers, built by sugar manufacturers that introduced modern construction methods, materials, and hygiene standards to the countryside, continue to influence domestic architecture in broader Javanese rural communities today.

In this presentation, I will showcase a work-in-progress paper examining the spatial, architectural, and social legacy of the Dutch colonial sugar industry in postcolonial Java through a case study of the Wringin Anom factory compound – a workers’ village designed around notions of hierarchy, efficiency, and control, which remains inhabited today. Drawing on extensive fieldwork and a lengthy research stay in the factory’s workers’ housing facilities, the paper aims to present the spatial conditions of colonial-era housing in the postcolony. It brings to light how these environments reflect and reinforce labour hierarchies, shaping the lives and livelihoods of contemporary sugar workers in Java’s rural
landscape.


***

Global Ambitions, Planetary Forces: Drainage, Urban Planning, and the Making of Iskenderun, 1851



FEYZA DALOGLU
METU, Middle East Technical University

Respondent: Sara Frikech, ETH Zurich

Plan of the Executed Canal Project of 1851 and the Proposed Expansion Plan for İskenderun. The National Archives (TNA), FO 195/302, no. 6.

In 1851, the third failed canal project of Iskenderun, designed to drain its centuries-old marshes, was laid out and executed by the Hungarian engineer General Maximilian Stein, who served in the Ottoman army as Ferhat Pasha after fleeing the Habsburg Empire. A former Minister of War and Governor of Transylvania, Ferhat Pasha, also prepared Iskenderun’s first urban plan. Though the canal later overflooded and the urban plan was never implemented, both projects reveal the tension between planetary processes and global pressures which would define the making of mid-19th century Iskenderun.

Iskenderun was founded on land formed by sediments carried by the sea and by streams descending from the Amanus Mountains. These geological processes produced extensive marshes and continually pushed the coastline seaward. While these planetary processes sustained a dynamic marsh ecology that actively constrained human habitation, they also created a naturally sheltered anchorage that attracted maritime interest. Fueled by expanding international trade, British efforts to establish faster communication routes to India, and Ottoman ambitions to civilize both land and population, Iskenderun was repeatedly subjected to drainage schemes under global pressure across the nineteenth and early twentieth centuries and was gradually forced into being a town despite persistent environmental resistance.

This article maps out physical imprints of the 1851 canal project on Iskenderun’s land, as well as the gradual growth of the town’s built environment and its population in the 1850s. While doing so it also seeks to trace the global and empire-wide dynamics that forced Iskenderun into being.


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