A burden of ever-more accessible bureaucratic data has infused architectural history in recent years, much as it has come to characterize the practice of architecture itself. The clean-cut images in promotional media mask how buildings come freighted with weighty files produced through their intersection with urban policy, energy codes, project committees, geotechnical restraints, drawing standards, finance, and, of course, implicitly, politics. Through patient archival research, contemporary architectural historians including Arindam Dutta, Jean-Louis Cohen, Daniel Abramson, Michael Osman, Jiat-Hwee Chang, Felicity Scott, Lucasz Stanek, and now Lucia Allais and Samia Henni have exposed the “B-side” of building production as a rich resource for the study of architecture as an ideological assemblage. Architectural education in professional schools likewise nurtures an understanding of architecture as an entanglement of banal minutiae and grand design. Review juries are as likely to question the sizing of rainwater goods as they are to celebrate geometrical virtuosity. In the world at large, such topics are increasingly the cause of public pushback against star projects, as exemplified by the outrage over both Santiago Calatrava’s slippery bridge in Venice and Zaha Hadid’s contempt for workers’ lives during the construction of the Qatar stadium. Such skepticism regarding architecture’s positivism underlies the rich studies of Allais in the area of “monument survival” through the twentieth century and Henni’s reworking of the “destruction and construction” of settlements during the Algerian War of 1946– 59. While Henni bluntly states her position, opening with the statement that “colonialism is not a positive force” (7), Allais piles up the detail concerning how design and destruction became entangled through sprawling, collaborative, and quietly heroic projects to save some monuments from war, development, and flooding. The sheer mass of data

中文翻译：

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歧视和破坏的架构

近年来，越来越容易获得的官僚数据的负担已经注入了建筑史，就像它已经成为建筑实践本身的特征一样。宣传媒体中的清晰图像掩盖了建筑物如何通过与城市政策、能源法规、项目委员会、岩土技术限制、绘图标准、财务以及当然含蓄的政治相交而产生的重要文件。通过耐心的档案研究，包括 Arindam Dutta、Jean-Louis Cohen、Daniel Abramson、Michael Osman、Jiat-Hwee Chang、Felicity Scott、Lucasz Stanek 以及现在的 Lucia Allais 和 Samia Henni 在内的当代建筑历史学家已经揭露了建筑的“B 面”。建筑生产作为研究建筑作为意识形态组合的丰富资源。专业学校的建筑教育同样培养了将建筑理解为平庸细节和宏伟设计的纠葛。评审团可能会质疑雨水产品的尺寸，因为它们可能会庆祝几何精湛。在整个世界，此类话题越来越成为公众反对明星项目的原因，例如圣地亚哥·卡拉特拉瓦 (Santiago Calatrava) 在威尼斯的滑溜桥和扎哈·哈迪德 (Zaha Hadid) 在卡塔尔体育场建设期间蔑视工人生命的愤怒就是例证。这种对建筑实证主义的怀疑是阿莱在 20 世纪“纪念碑生存”领域的丰富研究以及亨尼对 1946-59 年阿尔及利亚战争期间定居点“破坏和建设”的改造的基础。虽然 Henni 直言不讳地陈述了她的立场，并以“殖民主义不是一种积极的力量”（7）的声明开场，但 Allais 却堆积了关于设计和破坏如何通过庞大的、协作的、默默无闻的英雄项目纠缠在一起的细节，以拯救一些纪念碑战争、发展和洪水。海量数据