Scientific coordinator:

Members :


Hélène Jannière, first trained as an architect, Hélène Jannière got a PhD (1999) and a Thesis of Habilitation (2011) both in Art History. She has been teaching History of Architecture and Town Planning in French architectural schools from 1994 to 2012, namely at the Ecole nationale supérieure d’architecture de Paris-La Villette. Since 2012, she is Professor of contemporary architectural history at Rennes 2 University.
Her main domain of research is architectural criticism and architectural periodicals of the XXth Century. After several publications about architectural magazines of the 1920s and 1930s, her research focuses on architecture and urban criticism in France in the 1950s-1980s, including: Architectural Periodicals in the 1960s and 1970s (Canadian Center for Architecture, IRHA, Montreal 2008) with F. Vanlaethem and Alexis Sornin. She co-edited with Kenneth Frampton the special issue n. 24/25 of Les Cahiers de la recherche architecturale et urbaine “La critique en temps et lieux“ (2009) and with Richard Leeman, Michel Ragon, Critique d’art et d’architecture (2013).
Her last publications in this domain are “La mauvaise presse de la critique : architectes et critiques français dans les années 1950”, in Thierry Paquot (ed.), “Villes, architecture et communication”, Hermès-Cnrs-éditions, September 2014, 115-139; “Stage-set from hell: The Grands Ensembles between Social and Aesthetic Criticism: The Case of Grigny la Grande Borne , 1969-1974“, Candide. Journal for Architectural Knowledge, 7, Fall 2013, 37-60; “Architectural criticism: identifying an object of study”, OASE (NAi Publishers) 81, June 2010, 34-54.

Nathalie Boulouch, teaches history of contemporary art and history of photography at Rennes 2 University. Her main research focusses on the history and criticism of color photography (XIX-XXth centuries). She has curated exhibitions and has written numerous essays on the subject. Her most sizeable publication includes the book : Le Ciel est bleu (2011). In 2005, she was awarded a two-year research grant by the Centre national de la recherche scientifique (France) on this topic. More widely, she is researching on the relationships between art and photography and the role of photographic archive as a form of criticism (Photographie d’architecture et publication, PhD workshop, with Hélène Jannière (dir.), Institut national d’histoire de l’art, Paris, 5 juin 2014). Her current research is about the history of projected photographic image from the XIX century until the end of the XX century (« Charles Lansiaux, photographe », in J. B. Minnaert (éd.), Le Faubourg Saint-Antoine. Architecture et métiers d’art, Paris, Action artistique de la Ville de Paris, 1998, pp. 133-134). Since 2014, she is Director of the Archives de la critique d’art. She coordinates the research programs exploring the archives of art critics on different topics like the art of performance, audio-visual and oral archives : other forms of art criticism.

Anne Hultzsch is an architect and architectural historian specialising in the histories of architectural criticism and visual perception. She is a Postdoctoral Research Fellow at the Oslo Centre for Critical Architectural Studies where her current research focuses on the representation of architecture in the 19th-century illustrated press. For several years, she has taught a range of courses at The Bartlett School of Architecture, University College London, where she completed her PhD in 2011. Author of Architecture, Travellers and Writers: Constructing Histories of Perception 1640-1950 (Legenda, 2014), Anne had published widely on architectural writing from the 17th to the 20th century. She is the web editor of the European Architectural History Network where she also coordinates an interest group on Word & Image.

Réjean Legault studied architecture at the Université de Montréal and holds a Ph.D. in architecture from the Massachusetts Institute of Technology. He is professor at the École de design of the Université du Québec à Montréal and former head of the Study Centre at the Canadian Centre for Architecture. His research, lectures and publications focus on the historiography of modern architecture, on postwar tectonics, and on the relationship between materials and architectural modernity. His publications include Anxious Modernisms: Experimentation in Postwar Architectural Culture (co-edited with Sarah Williams Goldhagen, 2000) and numerous articles in journals, books of essays, and exhibition catalogues.

Giovanni Leoni studied in Venice and thought at the Polytechnic in Bari, Italy, from 1993 to 2005. Since 2002 he is Full Professor in History of Architecture, since 2005 at Bologna University. He he has been President of the Master Degree in Architecture (2008-11) and Dean of the Department of Architecture (2012-15). He is part of the teaching staff of Bologna University PhD in Architecture. His current teaching and research are focused on theory of art and architecture in 19th Century Britain and on architecture in the second half of 20th Century, mainly in Italy and Portugal.

Jean-Marc Poinsot is emeritus Professor at Rennes 2 University, where he has taught history of contemporary art for many years. He is currently the president of the GIS Les Archives de la Critique d’art (Rennes), an organization he founded in 1989 ( In 2009, Jean-Marc Poinsot has created l’Atelier international de la critique d’art (The international PHD workshop on art criticism) which gathers international scholars in art history and theory, critics and doctoral students. Each year this workshop organizes an international meeting in a different country. He is director of Critique d’art a peer review of contemporary art criticism ( He writes also extensively on curating and exhibition history. Jean-Marc Poinsot has published, among numerous titles, Quand l’œuvre a lieu. L’art exposé et ses récits autorisés, Dijon, 2008 ; L’invention de la critique d’art, Rennes, 2002 (avec P.-H. Frangne), Mémoires croisées Dérives archivistiques, Paris, 2015.

Paolo Scrivano holds a PhD degree in architectural history from the Politecnico di Torino and has taught at the Politecnico di Milano, the University of Toronto, Boston University and Xi’an Jiaotong – Liverpool University. He has authored several publications on 20th-century architecture, including the volumes Storia di un’idea di architettura moderna. Henry-Russell Hitchcock e l’International Style (2001), Olivetti Builds: Modern Architecture in Ivrea (2001, as a co-author), and Building Transatlantic Italy: Architectural Dialogues with Postwar America (2013). He has also been the recipient of several grants and fellowships from institutions such as the Canadian Center for Architecture, the Center for Advanced Studies in the Visual Arts, the Social Sciences and Humanities Research Council of Canada, and the Australian Research Council.

Laurent Stalder is Professor (since 2011, 2006-2010 Assistant Professor) for Architectural Theory at the Institute for the History and Theory of Architecture (gta), Department of Architecture, ETH Zurich. He received his diploma in architecture in 1996 and his PhD in 2002 at the ETH Zurich. The main focus of Laurent Stalder’s research is the history and theory of architecture from the 19th to the 21st centuries, where it intersects with the history of technology. His most recent publications include: Hermann Muthesius: Das Landhaus als kulturgeschichtlicher Entwurf (2008). He is the scientific editor of Der Schwellenatlas (Arch+, 2009), which proposes a radically new approach of criticism, which takes into account technologic innovations in architecture (see also: “Light, Air, Air-Conditioning”, Grey Room 40 (2010), p. 84-99 ; “Wall, Machine, Milieu”, GAM 09 (2013), p. 154-165). Regarding the architectural discourse in Great Britain after WWII, Laurent Stalder has published: ‘ »New Brutalism », « Topology » and « Image »: some remarks on architectural debates in England around 1950’, The Journal of Architecture 13, 3 (2008), p. 263-281).

Suzanne Stephens is adjunct professor at the Architecture Department of Barnard College (Columbia University, New York). Since 1982, she has been teaching a seminar on “American Architectural Criticism in Magazines and Newspapers, 1850 to The Present Day.” Stephens completed her Ph.D. dissertation entitled  « Tenacious Beauty: The Shifting Role of Aesthetic Criteria in Architecture Criticism, 1850-1915 » at Cornell University in 2002.
Her most significant scientific articles on the topic are: “Assessing the State of Architectural Criticism in Today’s Press”, Architectural Record (March 1998, 64-69, 194) and « La critique architecturale aux États-Unis entre 1930 et 2005: Lewis Mumford, Ada Louise Huxtable, and Herbert Muschamp », in Frampton, Jannière, Les Cahiers de la Recherche architecturale n°25, 2009.
Suzanne Stephens is a professional critic and is currently a deputy editor of The Architectural Record. Since the late 1960s, she has served as an editor and journalist for numerous American architectural periodicals: Progressive Architecture, Architectural Forum, Architectural Record and Skyline, the review of the Institute for Architecture and Urban Studies. She has also written for daily newspapers as The New York Times and popular magazines like Vanity Fair, Architectural Digest, New York Magazine, Manhattan Inc., and House and Garden. Last, as another form of architectural criticism.
Stephens has been the architectural consultant for 14 documentaries produced by Checkerboard Films over the last ten years.

Alice Thomine-Berrada, Conservateur du patrimoine en charge de la collection d’architecture, Musée d’Orsay, consacre ses recherches à l’historiographie et à la réception de l’architecture, notamment, à travers la réévaluation de l’architecture du xixe siècle dans les années 1970 : « Redécouvrir le xixe siècle au xxe siècle : l’histoire de l’exposition The architecture of the Ecole des beaux-arts du MOMA », in G. Monnier (dir.), L’architecture : la réception immédiate et la réception différée, Paris, 2006, 123-138 ; “About Les Halles in Paris : the Leading Role of the Historian in the City (1960-1971)”, Journal of Architecture, été 2004, vol. 9, 209-217. Son projet de recherche actuel sur l’histoire du musée d’Orsay aborde les relations entre critique, patrimonialisation et muséification.