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.

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.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

Modernism Under Review: Reyner Banham's Theory and Design in the First Machine Age (1960)

2017 ◽  
Vol 12 (3) ◽  
pp. 331-344
Author(s):  
Tyrus Miller
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Design Theory ◽  
Machine Age ◽  
Avant Garde ◽  
International Style ◽  
History Of ◽  
Architecture And Design ◽  
Architectural Modernism ◽  
Modern Movement

This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the ‘first machine age’, characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the ‘second machine age’, populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative ‘international style’. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.

scholarly journals LA ILUSORIA EN LA ARQUITECTURA MODERNA EN LA CIUDAD DE LOJA A TRAVÉS DE LA OBRA DEL ARQUITECTO JORGE AUQUILLA ORTEGA

2021 ◽  
pp. 215-237
Author(s):  
Pablo Andrés Andrade-Iñiguez ◽  
María José Delgado-Cruz ◽  
Cristian André Balcázar-Arciniega
Keyword(s):  
Twentieth Century ◽  
Modern Architecture ◽  
Architectural Analysis ◽  
International Style ◽  
Rhetorical Figures ◽  
Palabras Clave ◽  
Theory And Criticism ◽  
Siglo Xx

El presente trabajo se enmarca en el ámbito de la Teoría y Crítica de la Arquitectura. Se fundamenta en el concepto de formas ilusorias de la arquitectura moderna desarrollado por el profesor Antón Capitel. Una ilusión arquitectónica evoca algo que no está presente físicamente pero que puede recordarnos formas que en algún momento despertaron en nosotros diversas sensaciones o emociones y que nos permite evaluar espacios u objetos con diversos matices. Se analiza la vida y obra del arquitecto Jorge Auquilla Ortega y la presencia de la ilusoria en uno de sus proyectos arquitectónicos construidos en relación con la arquitectura moderna de la segunda mitad del siglo XX. El análisis arquitectónico de la obra permitió identificar la ilusoria presente en ella, a través de figuras retóricas como metonimia, elipsis, prosopopeyas, metáforas, alegorías, y quiasmos. Palabras clave: Ilusoria, arquitectura, estilo internacional, arquitectura moderna, Loja, Ecuador. AbstractThe present work was framed in the field of Theory and Criticism of Architecture. It was based on the concept of illusory forms in modern architecture developed by Professor Antón Capitel. An architectural illusion evokes something that is not physically present but that can remind us of forms that at some point awakened in us different sensations or emotions and that allows us to evaluate spaces or objects with different nuances. The life and work of architect Jorge Auquilla Ortega and the presence of illusory in one of his architectural projectsbuilt in relation to the modern architecture of the second half of the twentieth century are analyzed. The architectural analysis of the work allowed us to identify the illusory present in it, through rhetorical figures such as metonymy, ellipsis, prosopopoeial, metaphors, allegories, and chiasms. Keywords: Illusory, architecture, international style, modern architecture, Loja, Ecuador.

scholarly journals The Bauhaus Pots and Cups Express the Spirit of the Twentieth Century: Design in Art History and Pevsner's Definition of the Modern Movement

Res Mobilis ◽  
2020 ◽  
Vol 9 (11) ◽  
pp. 19-31
Author(s):  
Rebeka Vidrih
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Art History ◽  
Modern Architecture ◽  
Historical Study ◽  
History Of ◽  
History Of Design ◽  
Definition Of ◽  
Modern Movement

Nikolaus Pevsner’s Pioneers of Modern Movement is considered the foundational text of two new historical fields, the history of modern architecture and the history of design. This contribution, nevertheless, discusses this text in the context of art-historical discipline. Pevsner himself namely understood his work as a complement to Kunstgeschichte: by defining the ‘Modern Movement’ in established art-historical terms and also by discussing not only architecture but attempting to define the style and the worldview expressed in it for the whole period and all of visual arts. Specifically, this contribution is interested in the place that Pevsner allocated to the design within his art-historical edifice, since inclusion of objects of everyday use within an art-historical study was not (and still is not) usual. For Pevsner, on the contrary, design (linked to architecture) turns out to be a key component of his narrative, even if not for aesthetic but rather for moral or social reasons.

The Arrival of the Zarzuela in Budapest El rey que rabió by Ruperto Chapí

2020 ◽  
Vol 60 (1-4) ◽  
pp. 243-262
Author(s):  
Gloria A. Rodríguez-Lorenzo
Keyword(s):  
Twentieth Century ◽  
String Quartets ◽  
Musical Theatre ◽  
Turn Of The Century ◽  
Going Public ◽  
Spanish Music ◽  
Written Performance

The appearance of zarzuela in Hungary is entirely unknown in musicology. In the present study, I discuss the currently unchartered reception of the zarzuela El rey que rabió (first performed in Spain in 1891) by Ruperto Chapí (1851-1909), a Spanish composer of over one hundred stage pieces and four string quartets. Premièred as Az unatkozó király in Budapest seven years later in 1898, Chapí’s zarzuela met with resounding success in the Hungarian press, a fervour which reverberated into the early decades of the twentieth century. Emil Szalai and Sándor Hevesi’s skilful Hungarian translation, together with Izsó Barna’s appropriate adjustments and reorchestration, accordingly catered the work to Budapest audiences. Through analysis of hand-written performance materials of Az unatkozó király (preserved in the National Széchényi Library), alongside a detailed study of the Hungarian reception, the profound interest in Spanish music–particularly in relation to musical theatre–amongst the turn-of-the-century Hungarian theatre-going public is revealed. This paper explores how Az unatkozó király became a success in Hungary.

‘Excavating’ Pruitt-Igoe using space syntax

2021 ◽  
Vol 25 (1) ◽  
pp. 55-68
Author(s):  
Mark David Major
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Public Housing ◽  
Social Housing ◽  
Space Syntax ◽  
Modern Architecture ◽  
Housing Authority ◽  
Housing Project ◽  
Housing Projects ◽  
Charles Jencks

Pruitt-Igoe, in St Louis, Missouri, United States, was one of the most notorious social housing projects of the twentieth century. Charles Jencks argued opening his book The Language of Post-Modern Architecture, ‘Modern Architecture died in St Louis, Missouri on July 15, 1972 at 3.32 pm (or thereabouts) when the infamous Pruitt-Igoe scheme, or rather several of its slab blocks, were given the final coup de grâce by dynamite.’ However, the magazine Architectural Forum had heralded the project as ‘the best high apartment’ of the year in 1951. Indeed, one of its first residents in 1957 described Pruitt-Igoe as ‘like an oasis in a desert, all of this newness’. But a later resident derided the housing project as ‘Hell on Earth’ in 1967. Only eighteen years after opening, the St Louis Public Housing Authority (PHA) began demolishing Pruitt-Igoe in 1972 [1]. It remains commonly cited for the failures of modernist design and planning.

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.

Ludwig Binswanger’s Comments on Hermann Rorschach’s Psychodiagnostik

2021 ◽  
pp. 0957154X2110625
Author(s):  
Marvin W Acklin ◽  
Peter Tokofsky ◽  
Reneau Kennedy ◽  
Peter Tokofsky ◽  
Marvin W Acklin
Keyword(s):  
Twentieth Century ◽  
Critical Review ◽  
Experimental Psychology ◽  
Turn Of The Century ◽  
Test Theory ◽  
Philosophical Foundations ◽  
Professional Colleague

This article presents an introduction to Ludwig Binswanger’s Comments on Hermann Rorschach’s Psychodiagnostik, published in the International Journal of Psychoanalysis in 1923, after Rorschach’s death in 1922. Binswanger, one of the most distinguished psychiatrists of the twentieth century and a close professional colleague and compatriot in the Swiss Psychiatric and Psychoanalytic Societies, was blazing new trails by incorporating turn-of-the-century phenomenology and experimental psychology into Swiss psychiatry. His comments, which have been noted for over 100 years but never before translated, are a critical review of Rorschach’s monograph, highlighting the undeveloped status of the test theory and philosophical foundations. Binswanger’s comments illuminate philosophical, conceptual and scientific pathways not taken in the development of the test following Rorschach’s untimely demise.

Sign in / Sign up

Export Citation Format

Share Document