Modern Architecture: The Latest Architecture and News

Capturing an image has become spontaneous and immediate. While mobile photography maintains quality, it loses the ritual of taking a picture, i.e. thinking about an image while walking through a new city or the framing possibilities for a building from your point of view. In short, each image is the result of focus, aperture, exposure and the characteristics of the space. Travelling with a 35mm camera sets your limits, some say it is the closest lens to the human eye, others say it is too narrow to capture a building from the outside, but no doubt it all depends on your judgement and the capabilities of the equipment at your disposal.

It was designed and built between 1943 and 1946 by Amancio Williams and Delfina Galvez Bunge over the Las Chacras Stream in the city of Mar del Plata. It eventually became known as "The House on the River" or "The Bridge House". However, it ceased to have a stream, and thus to be a bridge, in 1957 when the watercourse on which it rested was interrupted for sanitation reasons. It was used as a radio station between 1970 and 1977, but the last military dictatorship in Argentina ended up shutting it down. It remained closed, maintained by its owner until their death in 1991. Studied by all, but cared for by none. It suffered two major fires, in 2004 and 2008. Abandoned during the whole succession process, it was recovered by the Municipality of General Pueyrredón in 2012.

Located in a particularly natural setting in the city of Mar del Plata, the "Casa sobre el Arroyo" (House on the River) - known as the "Casa del Puente" (The Bridge House) - is considered a paradigmatic component of 20th-century architecture and an obligatory reference of the Modern Movement in Argentina and Latin America.

The house designed by the Argentinean architect Amancio Williams, commissioned by his father, the musician Alberto Williams, is constructed evidence of the capacity to establish a link between the modern rationality of human beings with nature and its topography.

Few cities have a growing design culture like Austin, Texas. Ranked as one of the best places to live in the United States, the city is experiencing a building boom in recent years. With a wide variety of residential styles, architects are continuing a legacy of modernist design. With an emphasis on craft and detailing, these new homes use simple geometry and forms as they open up to hills, lakes and the urban fabric.

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On the 30th of November, we received news of the death of Oriol Bohigas Guardiola (Barcelona, 1925), architect, urbanist, and one of the main drivers of Catalan's modern transformation.

After receiving Paulo Mendes da Rocha's complete collection in 2020, Casa da Arquitectura - Portuguese Center for Architecture, based in the city of Matosinhos, has just received Lucio Costa's estate. The donation was made by the family of the Brazilian architect and urban planner and includes about eleven thousand documents produced between 1910 and 1998.

Following the Second World War, United States veterans and citizens were seeking a fresh start, a rightful place to live out their modern American dream. With a significant housing shortage looming around and fast-growing families, solutions had to be found to provide equitable living means for all. The development of new construction techniques and propagation of easy building materials promised an age of prosperity.

In the 14th century, Geoffrey Chaucer wrote “Familiarity breeds contempt”. By definition “local” is “familiar”. Why are humans so thrilled to go beyond the familiar, the local, and reach for what is new, universal, and salvational? The word “local” has the weight of true value, like “density” or “sustainable” But the lure of connection between all humans is powerfully seductive, and that desire to connect almost always falls short of our hopes.  

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The term “mid-century modern” conjures up images of a sharp-suited Don Draper, slender teak cabinets, and suave chairs from Scandinavia. That is, at least, one perspective of the design movement and a view more of 1950s-era Manhattan offices than anything else. But in Britain, mid-century modernism manifested as something slightly different, coming in the form of schools, cathedrals, housing, and an era-defining festival, all eloquently described and illustrated by the prolific architectural historian Elain Harwood in Mid-Century Britain: Modern Architecture 1938-1963.

"I felt like I was Nino Rota and Oscar Niemeyer was Fellini, it was like I was creating an important piece of music in that work of art." Renowned visual artist Athos Bulcão uses this comparison between the Italian composer and the film director to refer to the relationship between his work with ceramic tiles and architecture. This fusion between art and architecture marked an important period in the history of Brazil, shedding light on issues such as national identity, the massification of art, and architectural techniques aimed at the tropical climate.

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Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are best known for their personal and artistic collaboration and their innovative designs that shaped the course of modernism. Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses, monuments, and toys. Together they developed manufacturing processes to take advantage of new materials and technology, aiming to produce high-quality everyday objects at a reasonable cost. Many of their furniture designs are considered contemporary classics, particularly the Eames Lounge & Shell Chairs, while the Eames House is a seminal work of architectural modernism.

The following text is excerpted from John S. Chase — The Chase Residence (Tower Books, 2020) by architect and University of Texas professor David Heymann and historian and Rice University lecturer Stephen Fox. Richly illustrated with archival materials and new drawings, the book is the first devoted to Chase, who was the first Black licensed architect in Texas. The study is divided into two parts, with Heymann examining the personal, social, and architectural significance of Chase’s own Houston house and Fox describing Chase’s architectural career.

This excerpt draws on Heymann’s analysis and highlights the first incarnation of the Chase Residence (Chase substantially altered its architecture in 1968). It places great emphasis on the house’s remarkable courtyard, a modernist innovation, and a singular statement about domestic living at the time. New section, elevation, and perspective drawings prepared for the book help illustrate the ingenuity of the house’s configuration. Finally, the excerpt was selected in part to honor Drucie (Rucker) Chase, who passed away in January of 2021.