Imagine the following scenario. It is 1902, and to the great shock and distress of the citizens of Venice, the beautiful campanile tower in its Piazza San Marco has just collapsed. That very evening, the city’s communal council votes to approve 500,000 Lire for the prompt rebuilding, “com’era, dov’era” — “as it was, where it was”. Future residents and visitors alike may now continue to enjoy this beautiful structure, which had also been restored and added to many times previously.
But then an authority from far away steps up to speak. “Our regulations do not allow this! Our funding policies require that ‘a project shall use contemporary design’ — which means that you may use only current styles of which we approve, and you may not use the local traditional styles of Venice. That would be a ‘falsification of history’, a ‘mingling of the false with the genuine’, and we decree that this would have harmful consequences!” The project does not go forward, and something entirely “contemporary” is built instead.
In some theoretical books, architecture and the human body are more or less the same, each depending on one another. Oftentimes, however, it is the body that undergoes detrimental adjustments to adapt to the architecture, not the other way around.
In the newly released book X-Ray Architecture, architectural historian Beatriz Colomina argues that health facilities inspired modern architecture's most dominant formal signatures.
Architecture theorist, historian, and curator Beatriz Colomina talks about our discipline and its difficulty to accept the work as the result of a collaborative effort. When asked about sexism and gender issues within architecture, Colomina broadens the discussion and tackles the historical myth of architecture as the product of one single, brilliant - and always masculine - mind. A fiction that has obscured the role of a number of women, and whole teams, committed to the design process.
In recent years, people started to regain interest in a movement that dates back to the last century; a movement, first introduced during the 1940s and 1950s, through the works of Le Corbusier and Alison and Peter Smithson. With monolithic structures, modular shapes, and impressive massing, Brutalism highlights architectural integrity. This movement is highly characterized by rough, raw, and pure surfaces that underline the essence of the substances in question. Spread across the globe, architects have adopted and developed their own vision of this modern movement, creating contextual variations.
In the midst of all the chaos currently taking place in the city of Beirut, we look back on the Lebanese capital’s hidden Brutalist gems. To shed the light on a movement that's often neglected and forgotten, Architect Hadi Mroue created a series of images that highlight the Lebanese Brutalism movement as well as its evolution as an important part of the Lebanese modern heritage.
After the success of the original guide-book on underrated Soviet architecture, Garage Museum of Contemporary Art is publishing an English version of the bestselling guide: Moscow: A Guide to Soviet Modernist Architecture 1955–1991in a new digitalized format with six new chapters.
Oscar Niemeyer was a revolutionary of modernism, with an architectural language characterized by audacious curves and elaborated structures. The Brazilian architect established an architectural vision of a future utopian Brazil, one that ultimately has not come to pass. While public attention is often drawn to his masterpieces in Brasília, somewhat hidden from the architectural discourse is a house that Niemeyer designed for himself; a colonial-style scheme offering a radical departure from the expressive forms of his more noted works.
Born in the small Swiss city of La Chaux-de-Fonds, Charles-Édouard Jeanneret-Gris—better known by his pseudonym Le Corbusier (October 6, 1887 – August 27, 1965)—is widely regarded as the most important architect of the 20th century. As a gifted architect, provocative writer, divisive urban planner, talented painter, and unparalleled polemicist, Le Corbusier was able to influence some of the world’s most powerful figures, leaving an indelible mark on architecture that can be seen in almost any city worldwide.
A special night to support DOCOMOMO US/New York Tri-State, honor the Ford Foundation Center for Social Justice for the renovation of its landmark building, and celebrate the legacies of Kevin Roche and Dan Kiley.
Modern architecture, visible in contemporary production, is usually related to the use of guidelines established by Le Corbusier's five points of architecture. Despite being widely known and debated for years, these points continue to be revisited and rethought in projects from various places and contribute to the creation of interesting buildings in various programs.
Modern architecture emerged during the late 19th - early 20th century to break away from historical styles and create structures based on functionality and novelty. Regardless of the style's prominence, post-modernist architecture emerged a few decades later as a reaction to modernism's uniformity and formality, adding complexity, asymmetry, and color into architecture.
Terrazzo is made by combining a cement base (sand, water, and cement) with a mixture of ground minerals - like marble, granite, and quartz - and can be applied to almost any surface, vertical or horizontal. The technique, produced using a completely hand-crafted method, was used worldwide in the construction of modern buildings and is noted for its durability, resistance (to water and abrasion), and easy maintenance. This made it a go-to material in the creation of flooring for houses and the common areas of residential and office buildings.
Today, terrazzo is experiencing a revival as one of the key trends in contemporary architecture. Here, we will discuss the whats and hows of terrazzo and illustrate some of its uses in current projects.
Courtesy Joe Belcovson for the Salk Institute for Biological Studies. ImageIn 2012, the Getty Conservation Institute founded its Conserving Modern Architecture Initiative (CMAI), with the Getty Foundation’s Keeping It Modern grant following two years later. Working synergistically, the two programs are dedicated to supporting new methods and technologies for the conservation of Modernist buildings. Louis Kahn’s Salk Institute for Biological Studies (1965) in La Jolla, California, has been the beneficiary of both CMAI and Keeping It Modern.
The Conserving Modern Architecture Initiative (CMAI) and Keeping It Modern grant are dedicated to supporting new methods and technologies for the conservation of Modernist buildings.
This Article was originally published on Metropolis Magazine here.
The story of architectural Modernism in New York City goes beyond the familiar touchstones of Lever House and the Seagram Building.
Eighty-five years on, the little white town house on East 48th Street by William Lescaze still startles. With its bright stucco and Purist volumes, it pulls the eye away from the do-nothing brownstones on one side and the noirish sub-Miesian tower on the other. The machined rectitude of its upper floors, telegraphed by two clumsily large spans of glass block, is offset by the freer plastic arrangement of the bottom levels. Le Corbusier’s five points are in evidence (minus the roof garden), suggesting an architecture ready to do battle. Built in 1934 from the shell of a Civil War–era town house, this was the first Modernist house in New York City, and its pioneering feeling for futurity extended to its domestic conveniences. (A skeptical Lewis Mumford noted its central air-conditioning.)
Gottfried Böhm is a German architect who was awarded the Pritzker Prize in 1986. His father, Dominikus Böhm and his grandfather Alois Böhm were both architects, as well as three of his sons, among them, Peter Böhm. Few people know that he has two projects erected in Brazil, in Brusque and Blumenau - two cities highly influenced by German culture. Photographer Ronaldo Azambuja shared with us his series of photographs of the mother church Igreja Matriz São Luiz Gonzaga in Brusque. The text was written by Angelina Wittmann, architect, and researcher.
Amey Kandalgaonkar has unveiled a project which reimagines the traditional Chinese pagoda in a modernist style. The Shanghai-based designer created the fictional reinterpretation as a homage to a building form largely untouched by Modernism, featuring raw brut concrete, minimal ornamentation, and bold geometric moves.
https://www.archdaily.com/916524/amey-kandalgaonkar-reimagines-traditional-chinese-pagodas-for-a-modernist-eraNiall Patrick Walsh
Architectour Guide London: The Urban Explorer's Guide
The new series of city guides for architects by Architectour brings to life the lost essence of travel and discovery. A compilation of exciting places – known and not so known – arranged in an innovative way: a continuous scenic itinerary, which is fun to follow and is full of quirks and surprises along the way. Hand-drawn sketches by architect and author Virginia Duran are the personal touch of the book, revealing the essential without spoiling what is a traveling delight: our first impression of a place.
John Marx, AIA, Co-Founding Principal and Chief Artistic Officer of Form4 Architecture, has debuted The Absurdity of Beauty: Rebalancing the Modernist Narrative, which challenges the philosophies of Modernism and posits how these discussions can inspire a new era of urbanism and abundance.
Lebanon is home to several outstanding structures, influenced by centuries of architectural styles. However, one of the most intriguing projects in the Middle Eastern country lies in the northern city of Tripoli, a culturally-rich historical city with structures once inhabited by Romans, Crusaders, Phoenicians, and Ottomans. The Rachid Karami International Exhibition Center, designed by Oscar Niemeyer, reflects the slow deterioration from Lebanon’s pre-war golden age to post-war depression. The country's iconic modernist site has suffered after years of neglect and reportedly will require upwards of 15 million dollars to restore.