In the late nineteenth century, Bernard Berenson revived the analytical methodologies employed in art history by proposing new methods of pictorial analysis, such as space-composition and life-enhancement. In the twentieth century, his pupil Geoffrey Scott transferred these new methodologies from their original context, Renaissance painting, to architecture. Though Scott was a recognised critic within English aesthetic circles, he was largely ignored in Continental European academic communities. The influence of his book The Architecture of Humanism (1914) was limited to the Anglo-American world before the 1940s. This essay depicts the key role that the Italian architect Bruno Zevi played after the Second World War, by becoming the primary architectural historian to introduce and diffuse Scott's forgotten masterpiece in many non-English-speaking countries. Zevi defended a critical methodology based on spatial, empirical, and sensory analysis of architectural works, an attitude that is observed in his theoretical corpus written immediately after his return from the United States. This paper proposes an examination of Zevi's reception of Scott's theories and the debates that it propagated, and aims to contribute to the understanding of the methodological approach followed in the years after the Second World War on both sides of the Atlantic. The introduction of the concept of space as an element of architectural analysis and design has been one of the most significant contributions to the field of architecture in the twentieth century. The interpretation of architecture in terms of space, though, did not become widely familiar to American and English audiences until the early 1940s, with the publication of Sigfried Giedion's Space, Time and Architecture in 1941, Nikolaus Pevsner's An Outline of European Architecture in 1943, and later, Bruno Zevi's Architecture as Space in 1957. Broadening this traditional narrative, Colin Rowe suggested that the American art historian Bernard Berenson, his pupil, the English architectural historian Geoffrey Scott, and, potentially, the American architect Frank Lloyd Wright, had already begun to utilise space as a fundamental concept in their works, prior to the normally assumed entry of space onto the Englishspeaking architectural stage in the 1940s. 1 Rowe's hypothesis was developed in part from Cornelis van de Ven's Space in Architecture: the Evolution of a

Nuevas herramientas de diseño arquitectónico: diagramas El término diagrammania surgió a principios de este siglo como fruto de la fuerte presencia que el concepto de diagrama tuvo en los debates arquitectónicos de los años ochenta y, muy especialmente, en la siguiente década de los noventa (Confurius, 2000). Si bien el diagrama se ha convertido, según Robert E. Somol, en la "herramienta final" tanto para "la producción como para el discurso arquitectónico" (Somol, 1999, p. 7), toda tentativa por realizar un análisis teórico e histórico de este concepto se ve frenada por la falta de una definición consensuada al respecto. Además, el variado uso que se le está dando a este término desde todo tipo de disciplinas, tanto científicas como humanísticas, no parece que ayude a mejorar esta situación. Si recurrimos a un análisis etimológico (la palabra procede del griego antiguo donde el prefijo diasignifica "a través de" y el sufijo-gramma "escrito"), la definición que obtenemos es también abstracta, general, ambigua, y se solapa con otras nociones relacionadas con la arquitectura, tales como dibujo,

Francisco González de CanalesEl manierismo y su ahora: una aproximación optimista para un presente inciertoSevilla: Vibok Book, 2020. 128 pp. Encuadernación en rústico. Idioma: español. 18 €ISBN: 978-84-946466-9-0

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In England, the establishment of art history as a professional discipline was consolidated by the foundation of the Courtauld Institute of Art in 1932, and the Warburg Library's move from Hamburg to London the following year due to the rise of the Nazi régime; a political situation that caused the emigration of German-speaking scholars such as Fritz Saxl, Ernst Gombrich and Rudolf Wittkower. Colin Rowe, an influential member of the second generation of historians of modern architecture, was educated as part of this cultural milieu in the postwar period, studying at the Warburg Institute in London. In the ‘Addendum 1973’ to his first published article ‘The Mathematics of the Ideal Villa’ (1947), Rowe acknowledged the Wölfflinian origins of his analysis – Saxl and Wittkower had studied under Heinrich Wölfflin – and the validity of his inherited German formal methods. This assumption, in the opinion of one of Rowe's students, the architectural historian and critic Anthony Vidler, indicated the ‘still pervasive force of the late nineteenth century German school of architectural history in England in the years after the Second World War’.