Brazilian planner, preservationist and modernist thinker Lúcio Costa (27 Feburary 1902 – 13 June 1998) is best known for his 1957 plan of Brasília that shaped the Brazilian capital into a monument to utopian modernism. A resolute and often controversial figure in the Brazilian establishment, Costa’s contributions to Brazilian architecture helped to shape the distinctive modernism that was practically Brazil’s official style until the 1980s.
Modernism: The Latest Architecture and News
Douglas Barnhard, the owner of the home decor company Sourgrassbuilt, designs and builds birdhouses. Built out of repurposed materials, his designs are inspired by mid-century modernism and pay homage to the likes of Frank Lloyd Wright, Joseph Eichler and the Bauhaus School in Germany yet mix with Barnhard's experience of the rich surf and skate scene in Santa Cruz.
Villa Malaparte, Adalberto Libera's modern Italian classic, is featured as the backdrop in Saint Lauren's spring 2018 campaign starring modern English classic, Kate Moss. The video for the campaign, directed by Nathalie Canguilhem, positions Moss on the dramatic and monumental steps of the villa, an architectural promenade that seems to lead directly to the sky.
The Glass House has no purpose other than to be beautiful. It is intended purely as a structure for exhibition and should be a beautiful source of ideas for “lasting” architecture but is not intended as such. According to the poet Paul Scheerbart, to whom it is dedicated, the Glass House should inspire the disillusion of current architecture’s far-too-restricted understanding of space and should introduce the effects and possibilities of glass into the world of architecture.
Bruno Taut [above] described his Glashaus for the 1914 Werkbund Exhibition in Cologne, Germany, as a "little temple of beauty"; as "reflections of light whose colors began at the base with a dark blue and rose up through moss green and golden yellow to culminate at the top in a luminous pale yellow.” The Glass Pavilion, designed based on its potential effects on those who perceived it, was supposed to create vivid experiences. The site was the human mind.
"The Glass Chain" (Die Gläserne Kette in its native German) was an exchange of written letters initiated by Bruno Taut in November 1919. The correspondence lasted only a year, and included the likes of Walter Gropius, Hans Scharoun, and Paul Gösch. In the letters, the penfriends—thirteen in all—speculated and fantasized about the possibilities of glass, imagining, in the words of Fredrik Hellberg and Lara Lesmes (Space Popular), "fluid and organic glass follies and colourful crystal cathedrals covering entire mountain chains and even reaching into space."
The exhibition Social Construction: Modern Architecture in British Mandate Palestine, tracing the influence of international Modernism on the architectural vernacular that developed in Palestine during 1917–48, is on display at the Yale Architecture Gallery from August 31to November 18, 2017. Originally organized by the Israel Museum, in Jerusalem, the show draws inspiration from the extensive research of architects Ada Karmi-Melamede and Dan Price, whose accompanying book, Architecture in Palestine during the British Mandate, 1917–1948, explores not only the functional aspects of this new architecture but also the social values that shaped the defining language of this new architectural style. The original exhibition was curated and designed by Oren Sagiv, chief of exhibition design at the Israel Museum, with Eyal Rozen.
In this Barcelona guide, we have rounded-up the architecture of probably the best known and most influential architect from the beginning of the century in Spain, Antonio Gaudí. Gaudí spent most of his life in Barcelona and the city boasts the largest concentration of his works in the world. His style is unique, often imitated but never matched.
Gaudí´s ideas shaped the way of thinking about architecture for a whole generation. His influence on Catalan modernism was immense, creating a unique style that many have tried to replicate. It is difficult to find a person who doesn´t at least know Gaudí by name. Of the 10 most visited attractions in Barcelona, 4 are buildings by Gaudí. In this guide, we wanted to compile the 10 essential Gaudí buildings, all located in Barcelona, necessary to gain an appreciation of his work. The first 7 building are considered heritage of humanity.
Nestled in the verdant seaside hills of the Pacific Palisades in southern California, the Entenza House is the ninth of the famous Case Study Houses built between 1945 and 1962. With a vast, open-plan living room that connects to the backyard through floor-to-ceiling glass sliding doors, the house brings its natural surroundings into a metal Modernist box, allowing the two to coexist as one harmonious space.
Like its peers in the Case Study Program, the house was designed not only to serve as a comfortable and functional residence, but to showcase how modular steel construction could be used to create low-cost housing for a society still recovering from the the Second World War. The man responsible for initiating the program was John Entenza, Editor of the magazine Arts and Architecture. The result was a series of minimalist homes that employed steel frames and open plans to reflect the more casual and independent way of life that had arisen in the automotive age.
In this visual essay, Greek filmmaker Yiannis Biliris documents the all-pervasive pall of glass that covers the modern city. The three-and-a-half-minute-long film, produced by Visual Suspect and shot entirely in Hong Kong, captures the vivid reflections seen in the facades of the city’s buildings, as Biliris selectively pans and zooms his camera to instill a strong sense of urgency in the viewer’s mind.
The essay, beautifully haunting in its imagery, might be seen as a reflective commentary on the state of our built environment today. Inspired by Albert Einstein’s general theory of relativity, which states that mass causes a distortion in space and time, it seems to subtly ask if our understanding of reality is warped itself. Describing the video as "a visual essay about perception and knowledge as [a] reflection of our reality," Biliris comments that "mass curves space and time, while the observer has his own perspective."
There are many ways to get to know a city. There are those who, when commenting on a particular city they have visited, remember the gastronomy and restaurants they frequented. Other travelers will remember the music and the parties; others will remember specific markets or events. You, a keen ArchDaily reader, probably took careful note of the architecture above anything else.
Each of these means of knowing a city keeps specificities and riches, but none of them alone can recreate a faithful mental landscape of the real city. There is no problem in this, after all, the same city can be very different for two people who live in it or who are visiting it. Among these ways of getting to know a city, we focus on architecture, more specifically, the modern architecture of São Paulo, in an attempt to offer our readers a look at one of the largest city in South America from an architectural approach
In 1919, at a time in which Germany was still in upheaval over its defeat in the First World War (and compounded by the loss of its monarchy), the Academy of Fine Arts and School of Applied Arts in Weimar, Germany, were combined to form the first Bauhaus. Its stated goal was to erase the separation that had developed between artists and craftsmen, combining the talents of both occupations in order to achieve a unified architectonic feeling which they believed had been lost in the divide. Students of the Bauhaus were to abandon the framework of design standards that had been developed by traditional European schools and experiment with natural materials, abstract forms, and their own intuitions. Although the school’s output was initially Expressionist in nature, by 1922 it had evolved into something more in line with the rising International Style.
Few buildings in history can claim as infamous a legacy as that of the Pruitt-Igoe Housing Project of St. Louis, Missouri. Built during the height of Modernism this nominally innovative collection of residential towers was meant to stand as a triumph of rational architectural design over the ills of poverty and urban blight; instead, two decades of turmoil preceded the final, unceremonious destruction of the entire complex in 1973. The fall of Pruitt-Igoe ultimately came to signify not only the failure of one public housing project, but arguably the death knell of the entire Modernist era of design.
It has been confirmed that the museum opening date for the Casa Vicens in Barcelona has been rescheduled for the second half of 2017. Originally scheduled for the second half of 2016, the reopening of Gaudi's first house was not able to be completed due to the complicated and labor intensive renovations. This will be the first time the house, declared World Heritage site, will be open to the public without it being a residential or private space.
The Casa Vicens, located on 24 Carolines Street, was the first house ever designed by Antoni Gaudí. In 1883 Manel Vicens, promoter of the project, commissioned the architect to build what would be his summer home. At that time Gràcia, now a cosmopolitan neighborhood, was a separate town. Therefore, the project did not contemplate the possibility of other buildings being built around it, and so to this day, it remains a completely freestanding building in a neighborhood characterized by its compact character, narrow streets, and high density of population.
If I had to guess, I would say that it has been forty years since Columbus, Indiana, was the hot topic of cocktail conversations at design-related get-togethers in New York City. In those days, it was the supercharged patronage of industrialist J. Irwin Miller and his relationships with designers like Eero Saarinen and Alexander Girard that spurred a wave of innovative and provocative architecture in the small Midwestern town. Columbus, with a population of 45,000, has a Robert Venturi fire station, a John Johansen school, a park by Michael Van Valkenburgh, and several buildings by Eliel and Eero Saarinen, including the younger’s iconic Miller House.
It can sometimes feel as if the world is divided into two camps: those who do not listen to podcasts (probably because they don’t know what a podcast is) and those who listen to podcasts, love podcasts, and keep badgering their friends for recommendations so they can start listening to even more.
Unlike other media, it’s notoriously difficult to discover and share podcasts – even more so if you’re looking for a podcast on a niche subject like architecture, design or urbanism. To help you in your hour of need, Metropolis’ Vanessa Quirk (author of Guide to Podcasting) and ArchDaily’s James Taylor-Foster (whose silvery tones you may have heard on various architecture and design audio stories) have come together to compile this list of eleven podcasts you should subscribe to.
Described by Richard Meier as an architect whose "groundbreaking ideas" have "had a major impact on the thinking of designers and architects," Austrian artist, architect, designer, theoretician and Pritzker Prize laureate Hans Hollein worked in all aspects of design, from architecture to furniture, jewelry, glasses, lamps—even door handles. Known in particular for his museum designs, from the Abteiberg Museum in Mönchengladbach to the Museum of Modern Art in Frankfurt to Vienna's Modernism.
The architectural legacy of the Rockefeller family in Manhattan is well-known, most obviously demonstrated in the slab-like Art Deco towers of the Rockefeller Center and the ever-expanding campus of the MoMA. But in a city that is filled with landmarks and historic buildings, it's easy for even the most remarkable projects to go unrecognized. Philip Johnson's Rockefeller Guest House in Manhattan was completed in 1950, just one year after the construction of his better known Glass House in New Canaan. The Glass House is an obvious cousin to the later guest house: both feature largely empty glass and steel boxlike forms, where structural work is exposed and celebrated.
As the dust settled following the Second World War much of Europe was left with a crippling shortage of housing. In Milan, a series of plans were drafted in response to the crisis, laying out satellite communities for the northern Italian city which would each house between 50,000 to 130,000 people. Construction the first of these communities began in 1946, one year after the end of the conflict; ten years later in 1956, the adoption of Il Piano Regolatore Generale—a new master plan—set the stage for the development of the second, known as 'Gallaratese'. The site of the new community was split into parts 1 and 2, the latter of which was owned by the Monte Amiata Società Mineraria per Azioni. When the plan allowed for private development of Gallaratese 2 in late 1967, the commission for the project was given to Studio Ayde and, in particular, its partner Carlo Aymonino. Two months later Aymonino would invite Aldo Rossi to design a building for the complex and the two Italians set about realizing their respective visions for the ideal microcosmic community.