This article recommends Foucault’s archaeological method as a means to challenge the dominant narrative of the British postwar social housing estate’s inevitable failure. Through this process, it is proposed that common historical and present-day rationalisations for the demolition of such places can be valuably problematised. An explanation of how archaeology can be applied to the postwar estate is provided, with a document pertaining to James Stirling’s Southgate estate analysed as an example. Conceived as an intrinsic part of Arthur Ling’s masterplan for Runcorn New Town and completed in 1978, Southgate was demolished just over a decade later in 1989. This happened despite an absence of structural faults and many residents expressing a preference to stay in their homes. As such, Southgate’s trajectory represents an extreme example of the legitimising effects that stem from the discourse of the failed postwar estate. Such framing continues to underpin arguments for the demolition of postwar social housing stock today. In this context, archaeology offers an opportunity to bypass the epistemological trap of speculating over causes of failure, instead illustrating the contingent nature of the rules that led to the postwar estate’s negative social construction.

This article demonstrates the merited inclusion of Giovanni Stradano's olive-oil engraving in the “Nova Reperta,” a series showcasing postclassical inventions that Florentine nobleman and Alterati member Luigi Alamanni commissioned in the late 1580s. The image and accompanying inscription must be understood within their broader cultural, scientific, legal, political, and socioeconomic contexts. The print reflects olive oil's economic potential and the evolving dietary preferences in Medici Florence. It evinces the flexibility of the concept of invention. Rather than being technological, the novelties mirror ideas central to the Alterati academics around classical knowledge and the alchemical ability of humans to transform nature through artisanship.

Contrary to the idea that awareness of extinction is quintessentially modern, this article argues that Bernard Palissy conceived of extinct species—what he called “lost species” (“espèces perdues”)—in the sixteenth century. This premodern craftsman knew that human activity caused species to vanish. But how? By retracing his interactions with merchants and fishermen at the French Atlantic ports, I show that Palissy learned about the overfishing of waters from other commercial actors. Rather than paint human-caused extinction as a novel insight, I demonstrate that Palissy drew on common vernacular knowledge about the depletion of the ocean. Palissy's pronouncements, it is further shown, expand his well-known polemic against bookish learning. The artisan championed practical experience against a textual tradition of natural history, exposing the latter's silence on commercially decimated species.

In 2007, the Royal British Institute of Architects (RIBA) commissioned Jeremy Till’s now seminal essay, ‘Architectural Research: Three Myths and One Model’. Till’s essay called out ‘unnecessary antipathy’ between practitioners and academics, arguing for enhanced collaboration to enable a more ‘dynamic system’ of research. This paper presents a pilot study of five large architectural practices engaged in research that seeks to understand what is driving greater research engagement within contemporary architectural practice, what knowledge is being created for what purpose, and the relationship of practice-generated research to that produced within academia. Five semi-structured interviews and three written questionnaires were elicited from practices, each of whom have dedicated research staff or a demonstrated track record of research engagement and/or utilisation. Ultimately, it is suggested, a more honest discussion of the relational dynamics of collaborations between practice and academia is needed. Such discussion requires researchers from both to embrace ethnographic approaches, reporting not just the outcomes of their work together but also revealing the ‘mess’ involved in generating those outcomes.

This article presents the first sustained study of Pietro Perugino's destroyed “Assumption of the Virgin” altarpiece commissioned by Pope Sixtus IV for the Sistine Chapel. My analysis reconstructs the frescoed altarpiece's ritual setting and relates it to imagery associated with Sixtus's promotion of the controversial Immaculate Conception feast. The altarpiece's ties to the Immaculate Virgin intensified during the 1483 Assumption feast, which marked the chapel's inauguration. The Assumption represented a salient event in Rome's liturgical calendar, and I demonstrate how the altarpiece allowed Sixtus to temporarily expand a local communal feast to include an expression of papal privilege and authority.