In Downtown Cairo, the Jameel Center pays homage to modernism and Mamluk architectural heritage. The Abdul Latif Jameel Center for Middle East Management Studies illustrates effective and adaptable architecture. The old business education building, a monument in Cairo's multi-layered architectural and academic heritage with staple elements such as concrete façades, has Mamluk-inspired arches, and wooden mashrabiyyas. Photographer Ebrahim Bahaa Eldin captures this unique architecture and its surrounding environment.
Tashkent: Appropriating Modernism, installation view showing a reproduction of the columns and canopy of the Zarafshan restaurant at 1:2 scale, original and contemporary forms. Photo: Ivan Erofeev.. Image Courtesy of Uzbekistan Art and Culture Development Foundation
The Uzbekistan Art and Culture Development Foundation and Wael Al Awar have jointly unveiled “Tashkent: Appropriating Modernism” at the Sharjah Architecture Triennial. The showcase spotlights three essential instances of modern architecture in Tashkent, Uzbekistan. Crafted by Wael Al Awar, founder and principal architect of waiwai, the initiative presents the three case studies and their significant evolution.
Often referred to as the “City of Music,” Vienna stands as a living testament to architectural evolution across centuries. Bring together an array of styles, ranging from the grandeur of Baroque palaces to the innovative Art Nouveau designs and the Vienna Secession movement, visitors are drawn to the city for its architectural marvels. Vienna's eventful past is reflected in its architectural landscape, which has withstood wars, imperial expansions, and the changes of numerous artistic trends while managing to maintain its unique identity as a symbol of resilience and reinvention.
From Adolf Loos, whose radical ideas challenged the trends of his time, to Otto Wagner, a pioneer of Viennese Modernism, Vienna's architectural legacy continued to evolve. Fast-forwarding to contemporary times, Vienna's skyline bears the mark of internationally renowned architects like Zaha Hadid, whose fluid and futuristic designs push the boundaries of architecture. Hadid's work, including the Library and Learning Center at the University of Economics and Business, offers a dynamic contrast to the city's historic landscape. Moreover, firms like CRAB Studio, founded by Sir Peter Cook and Gavin Robotham, bring experimentalism to Vienna's architecture, infusing contemporary concepts into the urban fabric. These architects and firms contribute to Vienna's architectural richness, adding new chapters to its storied history while honoring its innovation and artistic legacy.
Since the advent of Modernism, architects have become schizophrenic in dealing with the reality of time. This is a problem, because time and gravity are two universal forces. Architects are exquisitely good at dealing with gravity—it is present in everything we design. We study it and engineer its unrelenting requirements. Gravity does a symbiotic dance with structure. No matter how a design feigns weightlessness, its mass cannot be denied. Architects must deal with gravity, whether it’s Frank Lloyd Wright’s sagging balconies at Fallingwater or today’s steroidally enhanced parametric buildings.
UN Headquarters in New York. Photo by the blowup, via Unsplash
In 1945, the declaration of the end of World War II brought a wave of euphoria to the streets, and optimism permeated the atmosphere with the promise of brighter days. Inspired by this newfound hope, the United Nations Organization (UN) was established in the same year. The vibrant city of New York was chosen as the headquarters location, and an international team of carefully selected and invited architects was tasked with conceiving the project.
For this ambitious and truly international project, eleven renowned architects were brought together from various corners of the world. These architects, often known for their inflated egos, a common trait in their profession, were accustomed to exercising full control over their architectural designs and even their respective countries. They had to coexist in the same space and collaborate on a single project. The successful collaboration on this project would be a compelling demonstration of the possibility of achieving world peace.
The history of 'neutral colors' is a fascinating journey through the evolution of human aesthetics and design sensibilities. Closely related to the makeup of materials organically found in nature, the color chorus of whites, grays, and earthy brown tones has played a pivotal role in artistic expression, fashion, interior design, and architecture for millenia. From the understated hues of early clay, straw, wood, or brick architectural structures to the now prevalent contemporary interior style, neutral colors have transcended cultural boundaries and continue to hold a special place in our visual landscape – offering a sophisticated elegance and versatility that has stood the test of time.
For the Indian subcontinent, the mid-1900s marked a transformative period, brimming with turmoil and hope. Leaving a century of British rule, India and the newly formed countries of Pakistan and Bangladesh held onto an optimistic vision of a transformed society. The newfound independence invited the international Modernist movement to envision a fresh identity for the nations. Spearheading the movement in Bangladesh was the architect Muzharul Islam whose work continues to influence contemporary Bangladeshi architecture.
In Porto Alegre, the building of the Iberê Camargo Foundation; in the city of Porto, the office of Álvaro Siza, the architect and author of the celebrated project for the institution's headquarters, inaugurated in 2008. Throughout 70 minutes, the documentary "Paisagem Concreta" or Concrete Landscape navigates between these two ports.
https://www.archdaily.com/1007293/concrete-landscape-alvaro-sizas-documentary-is-available-for-streaming-nowArchDaily Team
Polish-Israeli architect Zvi Hecker, internationally recognized as an influential figure of Modernism in Israel, as well as a painter, illustration artist, and furniture designer, has passed away at the age of 92, as reported by Moderne Regional. Throughout his career, Hecker combined geometry and modularity with asymmetry and spiraling complex compositions inspired by the pattern of sunflower seeds, a recurring inspiration for his work. His complex geometric explorations are exemplified in a variety of projects on various scales and programs, including the Spiral Apartment House in Ramat Gan, Israel (1981–1989), the Heinz-Galinski-Schule in Berlin, Germany (1992–1995), and the crystal-like Synagogue in the Negev Desert, Military Academy, Israel, (1969).
Though lesser known, the Hungarian city of Veszprém is one of the oldest and most important cities in the country. Designated as the European Union Capital of Culture for 2023, Veszprém boasts a longstanding history, visible through its evolving, yet well-preserved architectural monuments. In fact, one of the first notable observations as one walks through the city streets is its eclecticism and layers of historically diverse buildings, that sporadically arise. Despite the difference in styles and architectural languages, they collectively tell the story of the county and its spiritual and political relevance. Its pedestrian-friendly streets, many parks and public spaces, connect the Veszprém monuments, as one delves into a historic promenade.
Villa Badran. Image Courtesy of Rare Books and Special Collections Library American University in Cairo
While Egyptian architects were exercising their understanding of modernism in the urban fabric in the 1970s, a “chubby rebellion” in the form of Villa Badran defied the standardized curvilinear forms and rigid geometry. Gamal Bakry dived deep into his imagination to construct this unique piece of architecture that still stands as part of the city of Cairo today. With curving and free-flowing facades, Villa Badran drew inspiration from natural forms. In an attempt to create a living space that was more natural in its essence, the bubbly intervention puts in place a monolithic composition that hosts a two-story detached home for an Egyptian family.
This year marks the centennial of the first edition of Vers Une Architecture, Le Corbusier’s epoch-making book. Though a new English translation appeared in 2007 to much acclaim, most other practicing architects read the first English edition that appeared in 1928, entitled Towards a New Architecture. Comparing the three editions is instructive, particularly in one crucial respect: the insertion of the word “new” in the title. The book wasn’t really about new architecture, because very little of it showed buildings in the International Style. Instead, it was in many respects a clever diatribe intended to convince Europeans that they had no choice but to renounce every kind of architecture that had been built before the Great War and begin anew. It was remarkably successful in fulfilling that aim.
https://www.archdaily.com/1000499/away-from-old-architecture-what-le-corbusier-really-meantMark Alan Hewitt
George Smart is an unlikely preservationist, almost an accidental one. The founder and executive director of USModernist, a nonprofit dedicated to the preservation and documentation of modern houses, Smart worked for 30 years as a management consultant. “I was doing strategic planning and organization training,” he says. “My wife refers to this whole other project as a 16-year seizure.” Recently I spoke with Smart about his two websites, the podcast, the house tours his organization conducts, and why documentation is such a power preservation tool.
Sometimes sculptural and expressive, sometimes monolithic and monotonous, the Brutalist architectural style is equal parts diverse and divisive. From its origins as a by-product of the Modernism movement in the 1950s to today, Brutalist buildings, in architectural discourse, remain a popular point of discussion. A likely reason for this endurance is — with their raw concrete textures and dramatic shadows, brutalist buildings commonly photograph really well.
Arquitectonica has refuted Koolhaas’ accusation that “Modern architecture had never achieved the promised alchemy of quantity and quality,” and Alistair Gordon’s enormous compendium of the firm’s work certainly disproves it.
But what of Rossi’s backhanded praise: “In America … quantity is quality!”? Although absolutely deserving of praise, the quantity of the work is not the basis for Arquitectonica’s achievement—even when associated with the virtuosity of design. The importance of Arquitectonica derives from certain specific contributions to modern architecture in the United States.
When people describe the modernist movement as a whole, they broadly reference the steel and glass skyscrapers which dot many of our cities’ skylines, or more specifically, the International Style that once emerged from Europe after World War I. The International Style represented technological and industrial progress and a renaissance of social constructs that would forever influence the way that we think about the use of space across all scales. Often designed as politically charged buildings seeking to make a statement towards totalitarian governments, many architects who influenced the style moved to the United States after World War II, paving the way for some of the most iconic buildings and skyscrapers to be built in the 20th century.
Rahul Mehrotra is a practicing architect based in Boston and Mumbai and he has been teaching at Harvard’s GSD where he is currently Chair of the Department of Urban Planning and Design and Director of the Master in Architecture in Urban Design Degree Program. Born in 1959, Mehrotra grew up in Lucknow, a city in Northern India and an important cultural and artistic hub. His father was a manager at a large machine tool company. The family moved a lot following Mehrotra senior’s frequent promotions, which led to changing residences owned by his company. Besides a few years in Lucknow and Delhi, they lived in different neighborhoods within Mumbai.
Text description provided by the architects. After World War II, the need for housing was at an unprecedented high. The Unite d’Habitation in Marseille, France was the first large scale project for the famed architect, Le Corbusier. In 1947, Europe was still feeling the effects of the Second World War, when Le Corbusier was commissioned to design a multi-family residential housing project for the people of Marseille that were dislocated after the bombings on France.
