scholarly journals Hazen Edward Sise and the History of Modern Architecture at McGill, 1949–1957

2016 ◽  
Vol 40 (2) ◽  
pp. 27-41
Author(s):  
Dustin Valen
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
History Of

Engagé en 1949 par l’Université McGill pour donner le cours sur l’histoire de l’architecture moderne, l’architecte natif de Montréal Hazen Edward Sise (1906–1974) prôna à ses étudiants et étudiantes les vertus du modernisme et leur décria le retard de l’architecture canadienne. Formé dans l’atelier de Le Corbusier et engagé dans la guerre d’Espagne, son expérience immédiate du mouvement moderne et ses opinions politiques influèrent grandement sur son enseignement. Faisant écho à une poignée d’historiens modernes novateurs dont la représentation tautologique du passé cherchait à revitaliser l’architecture du XXe siècle, Sise enseigna l’histoire comme une forme d’instruction pratique, ambitionnant ainsi la transformation de l’architecture canadienne au travers de ses futurs praticiens.

scholarly journals Reconsidering Emil Kaufmann’s Von Ledoux bis Le Corbusier

2014 ◽  
pp. 110
Author(s):  
Macarena de la Vega
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
Historical Research ◽  
Main Character ◽  
Age Of Reason ◽  
New Science ◽  
Previous Generation ◽  
Art Historians ◽  
History Of ◽  
History Of Architecture

El objetivo de este ensayo es re-abrir y re-leer Von Ledoux bis Le Corbusier de Emil Kaufmann. A pesar de que Panayotis Tournikiotis y Anthony Vidler lo incluyeran en sus respectivos discursos sobre la historiografía de la arquitectura moderna, se  propone reconsiderar a su autor como un historiador pionero de la Ilustración. Tres ideas: el único protagonista del libro es Claude-Nicolas Ledoux; la arquitectura en torno a 1800 necesitaba una reevaluación; y la obra de Kaufmann se  enmarca en un tiempo de búsqueda de una nueva ciencia del arte y una nueva historia de la arquitectura. Kaufmann es una figura de transición entre una generación previa de historiadores del arte que establecieron conceptos y principios fundamentales, y otros de su misma generación que se  embarcaron en la tarea de considerar la arquitectura moderna como objeto de una investigación histórica. Abstract The aim of this essay is to re-open and re-read the content of Emil Kaufmann’s Von Ledoux bis Le Corbusier. Even though Panayotis Tournikiotis and Anthony Vidler included it in their discussions of the historiography of modern architecture, this investigation recommends a needed reconsideration of Emil  Kaufmann as a pioneer historian of the Age of Reason. Three ideas can be highlighted: first, Claude-Nicolas Ledoux is the main character of Kaufmann’s discourse; second, the architecture around 1800 needed a reevaluation; and third, his  work takes place in a time of searching for a new science of art and for a new history of architecture. To sum up, it can be  concluded that Kaufmann is a transitional figure between a previous generation of art historians who established   fundamental concepts and principles; and others of his own generation who embarked on the hard task of considering modern architecture as a subject of historical research.

scholarly journals Grunt i horyzont. Interpretacje nowoczesnej architektury i sztuki

2020 ◽  
Author(s):  
Gabriela Świtek
Keyword(s):  
Visual Arts ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Gestalt Psychology ◽  
Art Works ◽  
Representation Of Architecture ◽  
History Of ◽  
Hans Georg Gadamer

The reflections from the years 2013-2020 concerning the theory and history of modern architecture as well as space and the representation of architecture in modern visual arts. The interpretations of selected architectural and art. Works are built around the notions borrowed from phenomenology (Hans-Georg Gadamer, Maurice Merleau-Ponty, Hermann Schmitz), Gestalt psychology (Rudolf Arnheim, Juliusz Żórawski), modern aesthetics of atmospheres (Gernot Böhme, Tonino Griffero) and theories of architecture related to it (Hubert L. Dreyfus, Alberto Pérez-Gómez, Peter Zumthor). The ground and the horizon, visual forces in architecture, transparency and clarity, edgeless space, atmospheres and moods, weirdness – these are the terms which facilitate experiencing works of architecture and art. Such as „L’Esprit Nouveau” – a pavilion built by Le Corbusier and Pierre Jeanneret around a tree (1925), a monument design “A Road to Żelazowa Wola” by Krystian Burda (1961) or “Cloud” – an installation by Jacek Damięcki (1994).

From Bauhaus to Our House: Tom Wolfe contra modernist architecture

2020 ◽  
Vol 34 (1) ◽  
pp. 211-230
Author(s):  
Anna Maria Karczewska
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
The Other ◽  
Tom Wolfe ◽  
History Of ◽  
Modernist Architecture ◽  
Political Conditions ◽  
Mies Van Der Rohe ◽  
American Cities ◽  
Walter Gropius

In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.

Architecture, Modernism and Nation-Building in Kemalist Turkey

1994 ◽  
Vol 10 ◽  
pp. 37-55 ◽  
Author(s):  
Sibel Bozdoğan
Keyword(s):  
Nation Building ◽  
Critical Force ◽  
Modern Architecture ◽  
Urban Life ◽  
The West ◽  
Industrial City ◽  
The Social ◽  
Great Transformation ◽  
History Of ◽  
The 19Th Century

Deeply rooted in “the great transformation” brought about by capitalism, industrialization and urban life, the history of modern architecture in the West is intricately intertwined with the rise of the bourgeoisie. Modernism in architecture, before anything else, is a reaction to the social and environmental ills of the industrial city, and to the bourgeois aesthetic of the 19th century. It emerged first as a series of critical, utopian and radical movements in the first decades of the twentieth century, eventually consolidating itself into an architectural establishment by the 1930s. The dissemination of the so-called “modern movement” outside Europe coincides with the eclipse of the plurality and critical force of early modernist currents and their reduction to a unified, formalist and doctrinaire position.

Houses beyond manifestos

2021 ◽  
pp. 18-25
Author(s):  
Ruth Verde Zein
Keyword(s):  
Le Corbusier ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Interconnected Network ◽  
Commercial Space ◽  
Good Shape ◽  
Individual Solution

Brazilian historiography on modern architecture, replicated by international authors, confirms the importance and the pioneer stance of Gregori Ilitch Warchavchik (1896-1972)/Mina Klabin’s (1896-1969) 1927-1932 architecture in São Paulo, and the 1126 Bahia Street (Luiz da Silva Prado) house, 1930-1931, São Paulo, Brazil, is a remarkable example of their initial set of houses. Its design dialogues with other houses simultaneously designed by Adolf Loos (1870-1933), Le Corbusier (1887-1965), Juan O’Gorman (1905-1982), and the connections among all these modernist pieces and their authors suggest the informal existence of an interconnected network of creators, spread across continents. Likewise, they all put forward proselytizing strategies to amplify the repercussion of their works through exhibitions, publications, and debates. The generous internal spaces of this house on Bahia Street, the steady play of its geometrical composition, and its wise topographical and innovative landscape arrangements are well balanced, providing the authors’ aim of both making a manifesto and providing the site and the client’s necessities with an appropriate individual solution. The house has been used as a commercial space in recent decades, but it has been properly maintained and it is still in good shape.

Pyongyang Modern: Architecture of Multiplicity in Postwar North Korea

2021 ◽  
Vol 26 (2) ◽  
pp. 271-296
Author(s):  
Cheehyung Harrison Kim
Keyword(s):  
North Korea ◽  
Architectural History ◽  
Modern Architecture ◽  
Theory And Practice ◽  
Substantial Part ◽  
Work Culture ◽  
Architectural Form ◽  
Postwar Reconstruction ◽  
History Of ◽  
Architectural Development

Abstract This article explores North Korea’s postwar reconstruction through the variegated features of architectural development in Pyongyang. The rebirth of Pyongyang as the center of both state authority and work culture is distinctly represented by architecture. In this setting, architecture as theory and practice was divided into two contiguous and interconnected types: monumental structures symbolizing the utopian vision of the state and vernacular structures instrumental to the regime of production in which the apartment was an exemplary form. The author makes three claims: first, Pyongyang’s monumental and vernacular architectural forms each embody both utopian and utilitarian features; second, the multiplicity of meaning exhibited in each architectural form is connected to the transnational process of bureaucratic expansion and industrial developmentalism; and third, North Korea’s postwar architectural history is a lens through which state socialism of the twentieth century can be better understood—not as an exceptional moment but as a constituent of globalized modernity, a historical formation dependent on the collusive expansion of state power and industrial capitalism. A substantial part of this article is a discussion of the methods and sources relevant to writing an architectural history of North Korea.

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.

scholarly journals On The Burning Child: A Conversation with Joseph Koerner

October ◽  
2018 ◽  
Vol 166 ◽  
pp. 5-44
Author(s):  
Benjamin H. D. Buchloh
Keyword(s):  
Jewish Population ◽  
Modern Architecture ◽  
Formal Structure ◽  
Personal Journey ◽  
Nazi Occupation ◽  
History Of

Benjamin Buchloh speaks with art historian Joseph Koerner about his first major film, The Burning Child (2014–2017). Written, directed, and produced by Koerner, the film tracks his search for the fate of his grandparents and their Viennese home, known only through a painting done by his exiled father in 1944, and traces the systematic destruction of the Jewish population in Vienna during the Nazi occupation. Koerner interweaves his personal journey with an investigation into the history of the Viennese interior and the birth of modern architecture through interviews with historians, architects, and artists. Koerner and Buchloh discuss the making of the film; its formal structure, major sites, and main characters; and how it grapples with urgent questions of memory, trauma, belonging, and the concept of home.

The Wainwright Building:

2018 ◽  
Vol 77 (4) ◽  
pp. 428-447
Author(s):  
Paula Lupkin
Keyword(s):  
White Collar ◽  
Central Place ◽  
Local History ◽  
Modern Architecture ◽  
Insurance Companies ◽  
Brewing Industry ◽  
Story Structure ◽  
Economic Forces ◽  
History Of ◽  
Storage Structures

Louis Sullivan's Wainwright Building has long occupied a central place in the history of modern architecture. In The Wainwright Building: Monument of St. Louis's Lager Landscape, Paula Lupkin reexamines the canonical “first skyscraper” as a different type of monument: the symbolic center of St. Louis's “lager landscape.” Viewed through the lenses of patronage and local history, this ten-story structure emerges as the white-collar hub of one of the city's most important cultural and economic forces: brewing. Home to the city's brewery architects and contractors, a brewing consortium, and related real estate and insurance companies, the building, as Ellis Wainwright conceived it, served as the downtown headquarters of the brewing industry. Echoing the brewery stock house as well as cold storage structures and ornamented with motifs of lager's most expensive ingredient, hops, the building's design incorporated both the natural and technological elements of brewing. Analyzing the Wainwright Building as part of a lager landscape adds new dimension and significance to Sullivan's masterpiece.

Metal Coat of Modern Architecture

2013 ◽  
Vol 357-360 ◽  
pp. 1379-1382
Author(s):  
Tie Xin Dong
Keyword(s):  
Architectural Design ◽  
Building Materials ◽  
Steel Structure ◽  
Structural Materials ◽  
Modern Architecture ◽  
Office Buildings ◽  
Metal Material ◽  
History Of

There has been a long history of applying metal to architecture. At the beginning, they just appeared in the structure of bridges, factories and storages, and then gradually turned up as a form of building structural materials in civil architecture such as markets, schools and office buildings. So all the time, metal like steel structure or hardware impresses people as a kind of industrialized building materials. With the development of architectural technology and the researching of characteristics of building materials, metal material has been brought in building skin design with brand-new appearance, and coruscate new vitality in the field of architectural design depending on full of variety of expressions and economic environmental character.

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