scholarly journals Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos

2005 ◽  
Vol 48 ◽  
pp. 235-256 ◽  
Author(s):  
Jimena Canales ◽  
Andrew Herscher
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Turn Of The Century ◽  
Less Is More ◽  
International Style

Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.

Philip Bell: a champion of the Modern Movement in Northern Ireland

2013 ◽  
Vol 17 (1) ◽  
pp. 49-62
Author(s):  
Paul Larmour
Keyword(s):  
Twentieth Century ◽  
Northern Ireland ◽  
Modern Architecture ◽  
Turn Of The Century ◽  
Arts And Crafts ◽  
Art Deco ◽  
Strangford Lough ◽  
International Style ◽  
Flat Roofs ◽  
Modern Movement

Architecture in Northern Ireland in the twentieth century followed much the same pattern as elsewhere in the British Isles moving, broadly, from historic styles around the turn of the century, through a phase of Arts and Crafts activity for a decade or so, until settling down to a concentrated period of interest in Neo-Georgian styling in the 1920s and '30s. This inter-war era included, however, some examples of Modernism, primarily of an ornamented Art Deco type but occasionally of a more plain variety which ranged between Functionalism and the International Style. Examples of this type of modern architecture – characterised by flat roofs, white walls, large horizontal windows and a general avoidance of ornamentation – formed only a comparatively small part of the overall output of the period in Northern Ireland, and, for most architects who were involved, their contribution amounted to little more than a building or two; such was the prevailing tradition-bound architectural mood of the time.One architect in Northern Ireland, however, demonstrated a commitment to the Modern Movement that appears to have been greater than most. That was Philip Bell, whose name has been mentioned from time to time by various commentators, whether as a designer of Modernist houses or as the architect of one other particularly well-known building of the 1930s in Northern Ireland, the Strangford Lough Yacht Club House, which was an accomplished and stylish enough building to have been featured in the English architectural press at the time.

Firearms and Princely Power in Ethiopia in the Nineteenth Century

1972 ◽  
Vol 13 (4) ◽  
pp. 609-630 ◽  
Author(s):  
R. A. Caulk
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
New Technology ◽  
Turn Of The Century ◽  
Imperial Authority ◽  
Early Twentieth Century ◽  
National Leadership ◽  
Local Leaders

Several centuries after firearms had been introduced, they were still of little importance in Ethiopia, where cavalry continued to dominate warfare until the second half of the nineteenth century. Nevertheless, they were much sought after by local leaders ambitious to secure their autonomy or to grasp supreme authority. The first of these warlords to make himself emperor, Tēwodros (1855–68), owed nothing to firearms. However, his successors, Yohannis IV (1872–89) and Minīlik (d. 1913), did. Both excelled in their mastery of the new technology and acquired large quantities of quick-firing weapons. By the last quarter of the nineteenth century, possession of firearms — principally the breech loading rifle — had become a precondition for successfully contending for national leadership. Yet the wider revolution associated (as in Egypt) with the establishment of a European-style army did not follow. Nor was rearmament restricted to the following of the emperor. Despite the revival of imperial authority effected by Yohannis and Minīlik, rifles and even machine-guns were widely enough spread at the turn of the century to reinforce the fragmentation of power long characteristic of the Ethiopian state. Into the early twentieth century, it remained uncertain if the peculiar advantages of the capital in the import of arms would be made to serve centralization.

scholarly journals On Theory and Practice

2020 ◽  
Vol 5 (3) ◽  
Author(s):  
Scott Simpson ◽  
Nikos Salingaros
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
Theory And Practice ◽  
International Style ◽  
Walter Gropius

While Le Corbusier and Walter Gropius were indeed enormously influential in shaping modern architecture, noteworthy designs being done today prove that the International Style is no longer dominant.

Fashioning the Imperial Self

Black Land ◽  
2019 ◽  
pp. 72-89
Author(s):  
Nadia Nurhussein
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Virginia Woolf ◽  
Turn Of The Century

This chapter introduces three incidents of Ethiopianist aristocratic impersonation or imposture. First is of Isaac Brown, a Jamaican man who successfully passed himself off as Menelik's nephew at the turn of the century. Second is that of Joseph Emanuel Blayechettai, who in the 1920s claimed to be the kidnapped son of a king of Tigre, an Abyssinian province. Then third is that of Virginia Woolf, whose participation in the Dreadnought hoax in 1910, during which she dressed as an Abyssinian prince, was notorious. The impersonations are dramatic illustrations of spectacular Ethiopianism, a variant especially prevalent in the first two decades of the twentieth century. The performances of spectacular Ethiopianism were preceded in the nineteenth century by the reciprocal costuming of Prince Alemayehu, the son of Emperor Tewodros orphaned by the Anglo-Abyssinian War, and his guardian, the eccentric English explorer Captain Tristram Speedy.

Dante and the Performing Arts

2021 ◽  
pp. 601-618
Author(s):  
Rossend Arqués Corominas
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sixteenth Century ◽  
Performing Arts ◽  
Turn Of The Century ◽  
Dance Music ◽  
Vita Nuova

This chapter explores the reception of Dante in the performing arts, especially the Commedia. The first part outlines public readings of Dante, from Boccaccio to the present day (Benigni, Bene, etc.) via fifteenth- and sixteenth-century Florence. It also revisits Gustavo Modena and other nineteenth-century patriotic actors. The second part offers a chronology of the presence of Dante’s work in the theatrical field in three periods: the nineteenth century with Francesca da Rimini and some other characters from the Commedia who occupy a prominent place in the theatre scene and European opera—especially in works by Pellico and D’Annunzio; the turn of the century, when the pre-Raphaelite and symbolist Beatrice from Vita nuova gains more prominence; and the second half of the twentieth century and the beginning of the twenty-first, with a focus on dance, music, and theatre.

Free Plan for the 1850s: Forgotten Imagined Architectures from Mid-Century

2014 ◽  
Vol 57 ◽  
pp. 239-275
Author(s):  
Pedro Guedes
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
New Technologies ◽  
Emerging Technologies ◽  
Modern Architecture ◽  
The Other ◽  
Continuous Space

This study focuses on two little-known mid-nineteenth-century pamphlets which proposed radical changes to the ways in which large public and administrative buildings were planned. Although one author went to some lengths to remain anonymous, the other was soon to become recognized and respected as a major critic and historian of architecture. These ideas were thus by no means the fantasies of peripheral dreamers. Indeed, they were possible, practical solutions to current problems which used both proven and emerging technologies. Both authors advocated deep, top-lit, single-storey, ‘universal’, undifferentiated and continuous space as the best way to plan museums, libraries and offices, supported by clearly articulated reasoning. In so doing, they advanced arguments more usually associated with the open planning and ‘free’ plans of twentieth-century Modern architecture; they anticipated ideas put forward independently over three-quarters of a century later. The authors appropriated strategies already rehearsed in contemporary buildings that had been conceived for commercial, horticultural and industrial uses. They also understood how new technologies of construction and servicing developed outside the fields of public and representational buildings could help make the spaces in these types comfortable and environmentally acceptable.

The Vernacular, Modernism, and Le Corbusier

1997 ◽  
Vol 56 (4) ◽  
pp. 438-451 ◽  
Author(s):  
Francesco Passanti
Keyword(s):  
Conceptual Model ◽  
Essential Role ◽  
Le Corbusier ◽  
Turn Of The Century ◽  
Industrial Society ◽  
Complex Concept ◽  
Modern Industrial Society ◽  
International Style ◽  
Modernist Architecture ◽  
Common Parlance

The modernist architecture of the 1920s, often referred to by the terms "machine aesthetic" and "International Style," has been seen as antithetical to the vernacular. Focusing on Le Corbusier, this essay argues that, to the contrary, the vernacular played an essential role in the construction of modernist architecture, as conceptual model for a notion of modern vernacular-one as naturally the issue of modern industrial society, and as representative of it, as the traditional vernacular of common parlance had been of earlier societies. Le Corbusier arrived at this notion by layering on each other several discourses concerning regionalism, folklore, and the more complex concept of Sachlichkeit (factualness), developed in Vienna and Germany at the turn of the century by such figures as Adolf Loos and Hermann Muthesius.

Sovereignty beyond the West: The End of Classical International Law

2011 ◽  
Vol 13 (1) ◽  
pp. 7-73 ◽  
Author(s):  
Arnulf Becker Lorca
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
International Law ◽  
International Community ◽  
Turn Of The Century ◽  
Legal Order ◽  
The West ◽  
Historical Processes ◽  
Post War

AbstractThe historical processes through which international law became, conceptually, a universal legal order and, geographically, an order with a global scope of validity, are long and complex. These transformations, which began to appear during the second half of the nineteenth century, did not end until post-War-World-II decolonization. This article examines one particular aspect of these transformations: once non-Western states were admitted and begun to participate in the international community, did the rules of international law governing the interaction between Western and non-Western States change? What did it mean for semi-peripheral states to acquire sovereignty? The article argues that during the first decades of the twentieth century, semi-peripheral lawyers realized that sovereignty, so longed-for during the nineteenth century, conferred, under classical international law, much less autonomy and equality than they had anticipated. Moreover, at the turn of the century, the specific challenges faced by semi-peripheral states in their interaction with Western powers shifted, so that classical international law exhausted its power and stopped being useful. The article thus offers, from the perspective of the semi-periphery, an explanation of the shift from classical to modern international law.

The Mansana Collection. A Treasury of Japanese Art in Barcelona at the Turn of the Twentieth Century

2020 ◽  
Vol 5 (2) ◽  
pp. 180-209
Author(s):  
Ricard Bru
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Turn Of The Century ◽  
Late Nineteenth Century ◽  
Early Twentieth Century ◽  
Japanese Art ◽  
Late Nineteenth

Abstract Josep Mansana Dordan, a well-known Catalan late-nineteenth-century businessman, founded what is considered the finest collection of Japanese art established in Catalonia and in Spain at the turn of the century. In the early twentieth century, the Mansana Collection, as it was known, enjoyed popularity and prestige in Barcelona thanks to its constant expansion driven by the founder’s son, Josep Mansana Terrés, also an entrepreneur. The collection was well known at the time, but fell into oblivion after the outbreak of the Spanish Civil War in 1936. It was not until 2013 that, on the occasion of the exhibition Japonisme. La fascinació per l’art japonès, the collection began to be rediscovered and studied. This article aims to present a first complete overview of the history and characteristics of the old Mansana Collection and its impact on Barcelona at and immediately after the turn of the twentieth century.

The Open-Air Museum of Bokrijk: Staging Pre-Modern Architecture in the Margins of the 1958 World Fair

2010 ◽  
Vol 53 ◽  
pp. 295-315
Author(s):  
Fredie Floré
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Crucial Role ◽  
Modern Architecture ◽  
National Identities ◽  
Late Nineteenth Century ◽  
Art Collections ◽  
Social Customs ◽  
World Fairs ◽  
Late Nineteenth

At many late nineteenth- and twentieth-century World Fairs architecture was an important tool in the representation of national identities. Pavilions at these Fairs offered telling ‘scenery’, against which to display old and new objects, machines, art collections, interior designs and social customs. They formed architectural settings that contributed to the staging of the nation’s vision of its own past, present or future. Furthermore, as the architectural historian Edward N. Kaufman has pointed out, the late nineteenth-century World Fairs were important forerunners of the first open-air museums. In these more permanent exhibition settings, architecture also often played a crucial role in the representation of national or regional identities. In many open-air museums buildings were conceived as important exhibits providing visitors, sometimes implicitly, with information about the nation or region’s past: information considered fundamental to its present or future identity.

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