This issue of Footprint questions the complex concept of populism, explaining how, in recent debates, it has more and more often been related to architectural issues. Partly based on the analysis of political philosopher and historian Jan-Werner Müller, our understanding of the term reaches to both ends of the political spectrum. Yet rather than simply aiming to provide a clear definition of populism, this issue sheds more light on a debated concept, showing its multi-facetted aspects in relation to space and aesthetics. Through the categories of media, politics and aesthetics, this issue also shows the logical progression between the different pieces included. Acknowledging the complex nature of the word populism is essential for the understanding of the variety of takes included in this issue.@en

The editorial introduction to this issue of Footprint questions the complex concept of populism, explaining how, in recent debates, it has more and more often been related to architectural issues. Partly based on the analysis of political philosopher and historian Jan-Werner Müller, our understanding of the term reaches to both ends of the political spectrum. Yet rather than simply aiming to provide a clear definition of populism, this editorial sheds more light on a debated concept, showing its multi-facetted aspects in relation to space and aesthetics. Through the categories of media, politics and aesthetics, this introduction also shows the logical progression between the different pieces included in the issue. Acknowledging the complex nature of the word populism is essential for the understanding of the variety of takes included in this issue.@en

For more than five decades, Anglo-American architecture critic and historian Kenneth Frampton has played a prominent role in architecture culture. During this entire period, he has taken a rather exceptional position, operating mainly in the registers of historiography while simultaneously maintaining an engaged relation with contemporary architectural practice. His award at the 2018 Venice Biennale as well as the recent acquisition of his archives by the Canadian Center for Architecture in Montreal and of his library by the University of Hong Kong illustrate the appreciation for Frampton’s contribution to various domains of architecture culture. As a theoretician, he developed perspectives that forge connections between the past and the present, positioning contemporary practice within cultural temporalities. His position between critique and history has had a strong influence on his theoretical thinking. Through theorems such as ‘tectonics’ and ‘material culture’, Frampton has furthermore constructed compelling bridges between historical and present-day design practice@en