https://muse.jhu.edu/journal/407 Project MUSE®: Latest articles in Future Anterior: Journal of Historic Preservation History, Theory, and Criticism. daily 1 2026-05-14T00:00:00-05:00 text/html en-US Vol. 5, no. 1 (2008) through current issue Latest Articles: Future Anterior: Journal of Historic Preservation History, Theory, and Criticism TWO Project MUSE® Future Anterior: Journal of Historic Preservation History, Theory, and Criticism 1934-6026 1549-9715 Latest articles in Future Anterior: Journal of Historic Preservation History, Theory, and Criticism. Feed provided by Project MUSE® https://muse.jhu.edu/article/982224 <p></p> Wherever there is a transfer of anything ascribed value, there is provenance: on coffee beans, clothing tags, in the art market, on the construction site. Change requires stability, and provenance, at its most basic and ideal, aims at stabilizing claims of ownership and authorship in anticipation of possible transactions. When objects of all sorts began circulating globally on an unprecedented scale in the eighteenth century, provenance emerged as a concept and as a mechanism to exert control, enable estimation, and create value. Provenance offered a means through which objects could be authenticated, priced, and placed within hierarchies of cultural and economic worth. Art historian Stacey Pierson has aptly shown ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall The Potential of Provenance 2026-02-11 text/html en-US The Potential of Provenance 2026-02-11 2026 TWO Project MUSE® 21290 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982226 <p></p> Nakamura Yoshihei and Anton Feller, Gunsan Modern Architecture Hall. Former Bank of Joseon Gunsan Branch. Photo: Lawinc82. Public domain.Where is the architectural history of the Japanese colonial empire? In 2018, three different answers were given by a museum, a tourism council, and an artist. In April of that year, Tokyo&#39;s leading venue for contemporary art, the Mori Art Museum, opened an exhibition entitled Japan in Architecture: Genealogies of Its Transformation.1 It offered a sweeping survey of the country&#39;s architectural output from prehistory to today using models, photographs, drawings, and even full-scale reconstructions. The exhibition&#39;s genealogical conceit reflects a curious disciplinary preoccupation ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Postimperial Reuse: The Photography of Shitamichi Motoyuki 2026-02-11 text/html en-US Postimperial Reuse: The Photography of Shitamichi Motoyuki 2026-02-11 2026 TWO Project MUSE® 86418 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982227 <p></p> Katharina Wiedwald, Palimpsest of the house Am Strom 53, 2024. Rendition of the layered facades: Fachwerk, veranda and Dutch gable, exhibition space and studio. Courtesy of Katharina Wiedwald.The house Am Strom 53 dovetails with a line of half-timbered buildings that run along the Warnow River in Warnem&#xFC;nde, a quaint seaside resort some twelve kilometers north of Rostock. It is structured like a palimpsest and consists of (1) a Fachwerkstyle building, erected sometime before 1544; overlaid by (2) a Dutch gable and a wood-and-glass veranda, built to accommodate seaside tourists in the 1850s; both transformed into (3) the Edvard-Munch-Haus (EMH), an exhibition space doubling as a studio for artists-in-residence that ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Unfinished Collapse: Provenances of the Am Strom 53 Houses 2026-02-11 text/html en-US Unfinished Collapse: Provenances of the Am Strom 53 Houses 2026-02-11 2026 TWO Project MUSE® 70303 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982228 <p></p> Marcel M. Celis, transfer of the Maison du Peuple pieces to the Horta Museum, undated. Courtesy of urban.brussels.Roman law once controlled property by bestowing three rights upon its proprietors: usus, fructus, and abusus, the rights to use, enjoy the fruits, and dispose of, respectively.1 One might have enjoyed property or harvested it, but usus and fructus alone did not constitute total ownership. In order to own something in ancient Rome, one must have been able to destroy or dispose of it.Abusus was everywhere in mid-twentieth-century Brussels. Buildings were falling as fast as they were going up. A most-famous victim of this so-called &#x22;Brusselization&#x22; was Maison du Peuple (1896&#x2013;99), the Belgian Socialist ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Usus, Fructus, Abusus 2026-02-11 text/html en-US Usus, Fructus, Abusus 2026-02-11 2026 TWO Project MUSE® 76642 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982229 <p></p> The iconic status of the Chilehaus can be largely credited to a series of photographs taken by the Dransfeld brothers, capturing its eastern tip from a low angle. These images circulated worldwide, generating significant attention. From Dr. Alexander Koch, Deutsche Kunst und Dekoration. Sonderdruck: Das Chilehaus in Hamburg (Darmstadt, 1924).The politics of memorialization are as much about remembering as they are about selective forgetfulness.1 In 2015, UNESCO granted world heritage status to the Speicherstadt and Kontorhaus districts of Hamburg, with special mention to the Chilehaus as the most iconic monument of these two quarters. In characteristic UNESCO jargon, the report highlighted this district&#39;s ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Office Work: Architecture and Extraction Between Atacama and Hamburg 2026-02-11 text/html en-US Office Work: Architecture and Extraction Between Atacama and Hamburg 2026-02-11 2026 TWO Project MUSE® 96882 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982230 <p></p> Lang&#xF8;ya south crater, drone photo, 2019. Courtesy of NOAH.In the fjord, some fifty kilometers south of the city of Oslo, an island is nearing completion. After &#x22;100 years of extracting limestone and 30 years as a landfill, Lang&#xF8;ya is being restored to one of Oslofjord&#39;s natural gems,&#x22; according to the Norwegian waste management company NOAH.1 By 2030, NOAH is set to have restored the island by reproducing its original form, positioning it as a demonstration of the company&#39;s ambition for circular resource management. This essay explores the island&#39;s layered history, tracing its multiple transformations over time, an archaeology unfolding at the scale of geological time and mirrored in the landscape&#39;s shifting ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall An Island, Translated: A Geology of Provenances 2026-02-11 text/html en-US An Island, Translated: A Geology of Provenances 2026-02-11 2026 TWO Project MUSE® 65990 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982231 <p></p> F&#xE9;lix Bonfils, the Acropolis site in the 1860s, still covered in rubble in need of classification and storage. Courtesy of Gallica BnF.The London Protocol of February 3, 1830, declared Greece as an independent, sovereign state after four centuries of Ottoman rule. Soon thereafter, the Great Powers of Europe decided that this state would be governed by a foreign monarch: Otto, son of Ludwig I of Bavaria, who was appointed king of Greece in 1832. Two years later, Athens was appointed capital of this Greek state. These were crucial steps for the beginning of Western archaeology in modern Greece. King Otto arrived together with a retinue of architects and archaeologists trained in European academies. They had been ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Between Archaeologies: Kyriakos Pittakis and His Wall of Spolia on the Acropolis 2026-02-11 text/html en-US Between Archaeologies: Kyriakos Pittakis and His Wall of Spolia on the Acropolis 2026-02-11 2026 TWO Project MUSE® 90664 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982232 <p></p> Installation by Carlo Scarpa, Picture Gallery, Museo Correr, Venice. The easel and the frame supporting two Portraits of a Young Man (one attributed to Marco Basaiti, the other by an anonymous artist) were designed by Carlo Scarpa and produced by Officina Zanon and Saverio Anfodillo. Photo: Paolo Monti, 1961. Gelatin silver print, contact proof from 10 &#xD7; 12 cm film negative, b/w. Courtesy of BEIC Digital Library.On December 12, 2016, an easel designed by Italian architect Carlo Scarpa (1906&#x2013;1978) appeared at the Christie&#39;s The Collection of Chiara and Francesco Carraro sale in New York. At least thirty of these easels were produced between 1957 and 1964 for two public institutions, the Museo Correr in Venice and ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Provenance on Display: "Carlo Scarpa (1906–1978), An Easel" 2026-02-11 text/html en-US Provenance on Display: "Carlo Scarpa (1906–1978), An Easel" 2026-02-11 2026 TWO Project MUSE® 69855 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982233 <p></p> Instagram post, July 21, 2021, by Foreningen Arkitekturoppr&#xF8;ret Norge (Architectural Rebellion) shows Centralteatret viewed from Akersgata. Lower left: The original nineteenth-century facade, photographed between 1924 and 1926. Photo: Narve Skarpmoen, The National Library of Norway, Nasjonalbiblioteket. Lower right: The renovated modernist facade, 2009. Photo: GAD.Sometime in 2021, while scrolling aimlessly through social media updates provided by the all-seeing algorithm, a peculiar post appeared. The diptych showed two very different images of the same theater building in downtown Oslo. Although the superimposed text made it abundantly clear, it took a moment to comprehend that this was in fact the same building. ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Anachronic Hybrids: Cuts into Architectural Time 2026-02-11 text/html en-US Anachronic Hybrids: Cuts into Architectural Time 2026-02-11 2026 TWO Project MUSE® 63510 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982234 <p></p> Charlotte Malterre-Barthes, Evidence of Extraction, 2025. Courtesy of Charlotte Malterre-Barthes.We see the details of form as innocuous and seldom give them a second thought.Visiting the Mus&#xE9;e du Quai Branly (Jean Nouvel, 2005) in Paris, designed to host largely art and artifacts from former French colonies, the friend I was perusing the rooms with concluded that the building was decent but that the details were degeulasses (gross).1 My architect friend meant that the finishing of the building&#39;s small-scale arrangements was poorly executed. It was not the architecture&#39;s function and use, nor what its details were made of, that was at fault, but how these materials were assembled. When I visited the Walt Disney ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Details as Evidence: Architectural Extractivism and the Politics of Provenance 2026-02-11 text/html en-US Details as Evidence: Architectural Extractivism and the Politics of Provenance 2026-02-11 2026 TWO Project MUSE® 71775 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982235 <p></p> A butterfly valve handled by Martin. They are devices used to regulate the flow of liquids or gases between a pipeline. Photo: Simon Mitchell, 2024.What do a plumbing component, a wrought iron bracket, a stencil-spray-painted sheet of MDF, and a glass block all have in common? At first glance, very little, aside from the fact that they are all building components. More specifically, however, they are all fragments. That is to say they comprise a small part of a greater whole: partial constituents that when assembled with other partials form something larger. The reason I am able to choose and present this seemingly random and benign set of objects is that they have all been donated, acquired, or salvaged and are ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Partial Provenances: Staging Minor Matters Inside a Reuse Warehouse 2026-02-11 text/html en-US Partial Provenances: Staging Minor Matters Inside a Reuse Warehouse 2026-02-11 2026 TWO Project MUSE® 92642 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982236 <p></p> Siporex-Ytong Elements. Photo: Atelier Rude, 1973. Courtesy of Oslo Museum.Siporex, a brand name for autoclaved aerated concrete, stems from a Swedish patent that revolutionized the building industries in Europe following World War I and World War II.1 Hailed as a material that could do it all, Siporex&#39;s simplicity and versatility, coupled with material shortages of wood and steel, created the conditions for unparalleled growth of the company. The versatile, lightweight material and component-based system allowed for it to be used far from the Scandinavian countries where it was developed. By the 1960s, as decolonization reshaped global markets, Siporex was well positioned to extend its reach beyond Europe. Once ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Architect Intervention: Operation Siporex 2026-02-11 text/html en-US Architect Intervention: Operation Siporex 2026-02-11 2026 TWO Project MUSE® 40480 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982237 <p></p> The vertigo caused by the monumental nature of the Palacio de Bellas Artes in Mexico City prevents us from grasping its elements at detail. The times and styles that blend are contrasting, intriguing, and tell the story of the construction of modern Mexico. The building was planned under Porfirio D&#xED;az&#39;s dictatorial regime, which saw Italy and France as models of high culture and avant-garde. Its construction was interrupted for nearly twenty years with the outbreak of the Mexican Revolution, which lasted from 1910 to 1921. The arrested ruin, left halfway through its construction, awoke from its slumber in a postrevolutionary Mexico that had broken away from the country for which it had been originally designed. The ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Artist Intervention: One to One: Palace of Fine Arts, Mexico City 2026-02-11 text/html en-US Artist Intervention: One to One: Palace of Fine Arts, Mexico City 2026-02-11 2026 TWO Project MUSE® 15970 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982238 <p></p> The history of the fraught relationship between space, aid, and control is well documented across the humanities and social sciences. Central to this discourse is the infamous camp, which evokes a global imagery of rows of tents in desolate environments. Criticism of the camp in displacement-oriented theory largely centers on the production of spatial conditions that perpetuate the inhumane treatment of displaced populations&#x2014;and, by extension, a reproach of the actors providing aid, whether international organizations or state entities. The spatial logic of the refugee camp and its architecture evokes a history of loss, hardship, violence, and a sudden change in human status&#x2014;or, in the words of Anooradha Iyer ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Architecture of Migration: The Dadaab Refugee Camps and Humanitarian Settlement by Anooradha Iyer Siddiqi (review) 2026-02-11 text/html en-US Architecture of Migration: The Dadaab Refugee Camps and Humanitarian Settlement by Anooradha Iyer Siddiqi (review) 2026-02-11 2026 TWO Project MUSE® 30938 2026-05-14T00:00:00-05:00 2026-02-11 https://muse.jhu.edu/article/982239 <p></p> Traditional accounts of architectural history rooted in monumentality, stability, and individual authorship are increasingly under revision. A growing body of scholarship is reimagining the field through frameworks that unsettle canonical narratives and foreground movement, mediation, and material flows. This historiographical shift has taken many forms. Accounts of portable or mobile structures, narrated through colonial, military, humanitarian, or technological histories, have redirected attention from monumental to transient aspects of architecture and urbanism.1 Significant contributions have emerged from studies of architecture&#39;s circulation through various media: from professional journals to plaster casts.2 ... <a href="https://muse.jhu.edu/article/982239">Read More</a> Project MUSE® https://muse.jhu.edu/ 2026-05-14T00:00:00-05:00 https://muse.jhu.edu/journal/407/image/coversmall Things That Move: A Hinterland in Architectural History by Tim Anstey (review) 2026-02-11 text/html en-US Things That Move: A Hinterland in Architectural History by Tim Anstey (review) 2026-02-11 2026 TWO Project MUSE® 25632 2026-05-14T00:00:00-05:00 2026-02-11