MODERN CONSTRUCTION TECHNOLOGIES AS A TOOLKIT OF THE TRANSITION FROM TRADITION TO MODERNISM IN CHURCH ARCHITECTURE

Purpose. Consideration and analysis of twentieth-century church architecture in which the modernist style and their modern building technology was applied, using nine churches from different countries as examples. Methodology. The use of critical analysis of scientific and methodological literature of architectural modernism of churches, virtual analysis of architectural and construction projects of modernism and their use in the construction of churches, the method of systemic, structural and activity approach. Findings. The scientific formation of the concept of architectural and church modernism has been performed. The main components of architectural and church modernism and the use of the latest architectural and construction technologies are revealed. Reasonable reasons for the slow use of Architectural Church Modernism in modern times. Examples of twentieth-century architectural church modernism are provided. Originality. An analysis of the use of twentieth-century architectural-church modernism in the world is offered. An analysis of the use of architectural and church modernism in the architectural and structural design of churches has been conducted. Practical value. The rationale for the use of architectural and church modernism in the architectural and structural design of churches has been carried out. The components of church modernism are disclosed. The result is the creation of conditions for the harmonious interaction of customers-churchmen and executors-architects in the use of modernism. There were many arguments about what the temple and temple complex should be – modern or a copy of the canonical model – it all depends on the views of the customer and the architect, their views on religion and its purpose in modern life. The dispute can be long, but creativity is unstoppable, and in the world of temple construction has always kept up with current trends in architecture and construction, using new materials, designs and technology. Understandably, there are concerns that innovations in architecture may be followed by undesirable changes in the whole church tradition, but there is no stopping the new thinking. The new generation must step forward to embrace new trends, architectural modernism of churches, also search for new trends and embody them.

Marion Mahony Griffin

Marion Mahony Griffin (b. 1871–d. 1961) excelled in a range of creative endeavors as extensive as the geographic expanse of her long and storied career. Between 1894 and 1949, Mahony worked as an architect, illustrator, planner, real estate developer, community leader, public speaker, and author in the United States, Australia, and India. From the outset, Mahony’s career included solo commissions, independent exhibitions, and lectures as well as work completed in conjunction with contemporaries who, like Mahony, began their careers in Chicago’s Steinway Hall loft. They included, Frank Lloyd Wright, Hermann von Holst, and Mahony’s husband and professional partner Walter Burley Griffin. Critical interest in Mahony’s contribution to architecture and urbanism mirrors the reception of architectural modernism in the United States. At the beginning of the 20th century, Mahony’s work was examined for its potential to herald a new age. In the middle of the century, it was seen as a possible beacon and alternative to European modernism. Since the dawn of the 21st century, and after a period of apathy toward her work, historians and professionals have begun analyzing Mahony’s practice, its conceptual surround, and the history of its reception to reflect on the transnational routes of architectural modernism, biases in the historiography of architecture, and the potential for an ecologically sensitive approach to urbanism. This trajectory of US reactions to Mahony from hope to apathy to renewed interest is curiously also true of popular and scholarly portrayals of Mahony in other countries. It evinces a US-centric approach to understanding Mahony’s work that, until very recently, obscured the importance of anti-colonialism in shaping Mahony’s visual, spatial, and literary practice after 1914 when she began to live and work outside the United States. New scholarship on Mahony’s work has led to popular and professional acknowledgement of her talent: the Marion Mahony Emerging Practitioner Fellowship at the Massachusetts Institute of Technology honors a distinguished alumna; Marion’s List is a public register of women working in architecture and the built environment in Australia, launched by Parlour in collaboration with the National Committee for Gender Equity of the Australian Institute of Architects; the Australian Capital Territory Government named the lookout on Mount Ainslie in Canberra, made famous by a Mahony rendering the Marion Mahony Griffin View; and the Chicago Park District and current residents in Mahony’s old neighborhood named a lakefront beach in Chicago the Marion Mahony Griffin Beach Park.

IDEOLOGICAL FEATURES OF NEOHISTORICAL TRENDS IN THE ARCHITECTURE OF POSTCOMMUNIST CIRCUMFERENCE IN THE CONTEXT OF THEIR STYLISTIC IDENTIFICATION

The aim of the article is to reveal the ideological features that where characteristic of post-communist circumference, which formed the basis of the architectural worldview of the period 1990-2010; to determine the correctness of the term "postmodernism" to the buildings created at this time and the feasibility of its alternative. The specific character of the architecture of post-communist circumference, marked by the tendency to historicism and retrospectivism. The author cites significant differences between such architecture and traditional Western postmodernism. Chief among them is the utopia of feudalism as an ideal past, which was perceived by post-communist circles as an obligatory ideological dogma. This was significantly different from Western postmodernism, which proclaimed the end of any ideology and monopoly of a single correct doctrine. In addition, the article reveals the complicated process of switching the relationship between modern values from architectural modernism to the architecture of historicism. This paradoxical phenomenon of post-communist culture is due to the fact that the socialist system itself built within the Soviet "camp" a feudal and hierarchical content, which was materialized in the architectural forms of modernism, which, in its time, emerged as a style of democratic and socially responsible society. Thus, the protest against modernism in post-communist societies and the shift to historicism was in fact based on a desire for a modern society that was paradoxically associated with feudal one.

La Murcia modernista de los siglos XIX-XX. Autores del modernismo y el asentamiento del trovo o poesía popular repentizada como arte escénico

Desde que en 1880 comienza oficialmente el periodo conocido como Modernismo, en la región de Murcia, la corriente fue asumida con el mismo grado de rechazo si bien es cierto que autores como Ricardo Gil dejaron entrever en su pluma la influencia parisina de la que hará gala Rubén Darío como figura literaria mundial indiscutible. Lo cierto es que, en ese cambio de siglo convulso, y debido al capital extranjero, el territorio del sureste español emerge en el sector primario de la minería, y es en ese contexto minero donde el modernismo arquitectónico eclosiona, pero también en torno al denominado Café Cantante, la representación poética del Trovo o poesía oral improvisada, evolucionando así de la calle y el ámbito tabernario, al arte escénico. Since the period Known as Modernism officially began in 1880, in te Murcia region, the current was assumed with the same degree of rejection, although it is true that authors such as Ricardo Gil, hinted at the Parisian influence of wich Rubén Darío will show off as the undisputed world literary figure. The truth is that, in this turbulent turn of the century, and due to foreign capital, the territory of the Spanish southeast emerges in the primary sector of mining, and it is in this minig context, where architectural modernism hatches, but also, around the so-called Café Cantante, the poetic representation of the Trovo or improvised oral poetry, thus evolving from the Street and the tavern enviroment, to performing art.

Echoes of architectural modernism in J.G. Ballard’s High-Rise

This article pursues the elements of architectural Modernism in James Graham Ballard’s 1975 novel High-Rise (1975). The enormous tower block represents a triumph of technological and constructional progress envisioned by the pioneers of modernist architecture. However, Ballard’s vision of social development within it is regressive and violent. In order to decipher the nature of the role, or lack thereof, of the tower block in the reformulation of its own social fabric, the paper studies the ways in which the narrative presents aspects analogous to the key elements of architectural modernism. Particular attention is paid to the narrative’s reflections of radical and often contradictory visions of key figures of theoretical roots of modernism, such as Le Corbusier and Karel Teige. Their ambiguous stance on the core of modernism not only determines the outcome of the social experiment performed by Ballard in High-Rise, but can also be seen as deforming the building practice until today.

The Legacy of soviet Urbanism as a Factor Determining the Modern Digitalisation of the Urban Environment

In this article, the author concludes that recent projects of digitalisation of the urban environment have initially been projects of the fundamental science of modernity, i. e. predominantly 1970s. In modern urban practise in Russia, their implementation is mainly superimposed on the structure of the city, formed at the same time, but already perceived as the past. Bridging this gap is in understanding what exactly the architectural modernism of the late Soviet period left us. As the initial stage of this, necessary for the classification of artefacts, the author proposes a reasoned periodisation of Soviet urbanism in the second half of the 20th century.

“In the Thought of the World”

This chapter focuses on the Larkin Building, which is firmly entrenched in histories of architectural modernism, such as Henry-Russell Hitchcock's Modern Architecture: Romanticism and Reintegration of 1929. It cites Hendrik Petrus Berlage's Amsterdam Stock Exchange, Peter Behren's AEG Turbine Factory, and Otto Wagner's Post Office Savings Bank as buildings that rival Frank Lloyd Wright's Larkin commission for architectural distinction at the turn of the twentieth century. It also reviews the origins of Wright's Larkin Building in the company's history, its material characteristics, and its principal functions. The chapter weighs the Larkin Building against similar considerations of three European buildings in order to identify the ideas and qualities that all four architects shared while also demonstrating characteristics in Wright's building. It describes the Larkin Administration Building that was modern in the abstractness of its blocklike forms and its many innovations.

A False Promise of Progress

An architect examines the consequences of architectural modernism in the developing country of Peru, where the conferences Walter Gropius held were enormously influential.

Bulgarian Architectural Modernism, German Influences, and Industrial Architecture

Celebrating the 100th anniversary of Bauhaus school, a team of researchers from “Bulgarian Modernist Architecture” examined archives of German technical universities where Bulgarian architects studied in the first half of the 20th century. The archives in Munich, Berlin and Dresden have preserved the names and records of hundreds of Bulgarian architects from the 1910s, 1920s and 1930s. Their education, university professors, the environment in which they were formed (exhibitions, artistic trends and events) including Bauhaus connections, and how all of these informed the architecture in our country between the two world wars were among the questions explored by the researchers Vassil Makarinov and Theodore Karakolev. After the research in Germany, the team also plans to delve in the industrial architecture from the interwar period - a topic that is poorly known in our country.