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Open Terrace on the Second Floor, and a Garden and B Solarium Atop the Roof
Utopian Dreams Moisei Ginzburg’s Narkomfin Dom Kommuna ehind the Narkomfin Dom Kommuna’s austere bands of double-height windows unfolds a six-story blueprint for communal living that is as ingenious as it is humane. Built between 1928 and 1930 by a team of architects and engineers led by Moisei Ginzburg, a member of the post-revolutionary Union of Contemporary Architects, the building, erected to house employees of the Ministry of Finance, consists not only of private quarters with built-in furniture but communal facilities—an open terrace on the second floor, and a garden and Bsolarium atop the roof. A four-story annex housed a fitness center, kitchen, public restaurant, library, recreation room, and a nursery. Close by, a two story provided laundry and repair services. These facilities made the building a successful house-commune intended to dissolve social barriers though the division of household chores between inhabitants while preserving privacy. With its innovative ap- proach to living, the structure was seen as an important step in the transformation of Soviet society for revolutionary housing types that were to be adopted by the entire Russian Republic. A Constructivist masterpiece, the Narkomfin building realized an important goal of European Mod- ernist architecture, that of achieving the most minimal and rational support of modern life, the existenz minimum, and in the process fomenting social reform through architecture. Nowhere is this more evi- dent than in the building’s F-units with their innovative Frankfurt style kitchens, which influenced Le Corbusier’s design for his iconic Unite d’Habitation in Marseilles. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Utopian Reality Russian History and Culture
Utopian Reality Russian History and Culture Editors-in-Chief Jeffrey P. Brooks The Johns Hopkins University Christina Lodder University of Kent VOLUME 14 The titles published in this series are listed at brill.com/rhc Utopian Reality Reconstructing Culture in Revolutionary Russia and Beyond Edited by Christina Lodder Maria Kokkori and Maria Mileeva LEIDEn • BOSTON 2013 Cover illustration: Staircase in the residential building for members of the Cheka (the Secret Police), Sverdlovsk (now Ekaterinburg), 1929–1936, designed by Ivan Antonov, Veniamin Sokolov and Arsenii Tumbasov. Photograph Richard Pare. © Richard Pare. Library of Congress Cataloging-in-Publication Data Utopian reality : reconstructing culture in revolutionary Russia and beyond / edited by Christina Lodder, Maria Kokkori and Maria Mileeva. pages cm. — (Russian history and culture, ISSN 1877-7791; volume 14) Includes bibliographical references and index. ISBN 978-90-04-26320-8 (hardback : acid-free paper)—ISBN 978-90-04-26322-2 (e-book) 1. Soviet Union—Intellectual life—1917–1970. 2. Utopias—Soviet Union—History. 3. Utopias in literature. 4. Utopias in art. 5. Arts, Soviet—History. 6. Avant-garde (Aesthetics)—Soviet Union—History. 7. Cultural pluralism—Soviet Union—History. 8. Visual communication— Soviet Union—History. 9. Politics and culture—Soviet Union—History 10. Soviet Union— Politics and government—1917–1936. I. Lodder, Christina, 1948– II. Kokkori, Maria. III. Mileeva, Maria. DK266.4.U86 2013 947.084–dc23 2013034913 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. -
Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
Transfers of Modernism: Constructing Soviet Postwar Urbanity
Transfers of Modernism: Constructing Soviet Postwar Urbanity The housing shortage during the postwar period has brought a new surge in the development of prefabrication technologies, especially in 1950s East Germany, France and the Soviet Union— the countries that suffered significant physical damage from the war. Although the prefabrication building techniques were evidently not an invention of the MASHA PANTELEYEVA 1950s and there has been a long tradition of similar types of construction and experi- Princeton University mentation in building culture, the need for a new and improved efficiency in construction rapidly emerged in the situation of an extreme postwar housing crisis. Formed by the multiple geopolitical and economic aspects of the postwar architectural context, the new method focused on the construction with large concrete panels prefabricated offsite, which allowed cutting down production costs and significantly reducing time of construc- tion. This development was inseparable from architecture’s political and social context: most of the building associated with the new typology in the reconstruction period was subsidized by the state, characterized by the intense involvement of political figures. Originally developed in France with the initiative of the Ministry of Reconstruction and Urbanism in the late 1940s, the large-panel system building experienced a rapid adapta- tion across Europe: its aesthetic and technological qualities underwent “back-and-forth” cultural alterations between the countries, and eventually determined the failure of the system in the West, and its long-lasting success in Eastern Europe. The technological basis of most European prefabricated buildings was developed in European states with stable social-democratic policies, particularly in Scandinavia, Great Britain, and France. -
World Monuments Watch World
the preservation quarterly of the world monuments fund world monuments fund SUMMER 2005 the preservation quarterly of the world monuments fund $4.95 special issue World Monuments Watch 100 Most EndangeredEndangered SitesSites 20062006 success story: MOSTAR, BOSNIA AND HERZEGOVINA Past Successes, Future Challenges 100 Most Endangered Sites 2006 by Michelle L. Berenfeld ith each new list of 100 Most Endangered, the World Monuments Fund is presented with, and in turn presents to the world, a unique snapshot of the history of humanity as it is manifest in the architectural legacy that has come down to us. At first glance, this picture may appear to be a random sampling of interesting buildings and site types, yet as we Wlearn more each place on the list, we find common denominators in terms of nature of the sites and the threats they face that will enhance our ability to preserve these cultural relics and others like them. conflict Many sites on the list are located in areas currently in the midst of or emerging from conflict. Beyond damage incurred as a direct consequence of warfare, many of these sites face threats such as looting and vandalism that arise in the aftermath of war or as a result of a lawless environment in the absence of any governing authority. Yet, monuments in war-torn areas can be potent reminders of our long and shared history and of a future beyond conflict. That such sites are a key part of who we are is un- 12 summer 2005 conflict WAR AND ETHNIC INTOLERANCE HAD TAKEN TheIR TOLL ON The OTTO- MAN CITY OF MOSTAR, LEFT, BY The TIme IT FIRST CAme ONTO The WATCH LIST IN 2000, TODAY, The CITY IS WITNessING RebIRTH AS A CENTER OF CULTURAL DIVERSITY. -
Die Späten Ernst-May-Siedlungen in Hessen
Die späten Ernst-May-Siedlungen in Hessen Maren Harnack Paola Wechs Julian Glunde Die späten Ernst-May-Siedlungen in Hessen Schelmengraben Klarenthal Parkfeld Kranichstein Die späten Ernst-May-Siedlungen in Hessen Eine Untersuchung von Prof. Dr.-Ing. Maren Harnack, MA Paola Wechs und Julian Glunde In Zusammenarbeit mit dem .andesamt fØr DenkmalRƃege Hessen Frankfurt University of Applied Sciences Fachbereich 1 Architektur, Bauingenieurwesen, Geomatik Nibelungenplatz 1 60318 Frankfurt am Main [email protected] Gestaltung Elmar Lixenfeld / www.duodez.de ISBN 978-3-947273-20-1 © 2019 Maren Harnack Inhalt 7 Einleitung 9 Kriterien für die Beschreibung und Bewertung von Siedlungen der Nachkriegsmoderne Planerisches Konzept / Geschichtliche Bedeutung / Städtebauliche Struktur / Architektur / Freiraumstruktur / Freiraumgestaltung / Erschließungsstruktur / Einbindung in die Umgebung 19 Fallstudien 20 Schelmengraben Wiesbaden Beschreibung Bewertung 66 Klarenthal Wiesbaden Beschreibung Bewertung 110 Parkfeld Wiesbaden Beschreibung Bewertung 148 Kranichstein Darmstadt Beschreibung Bewertung 190 Prinzipien für die Weiterentwicklung von Siedlungen der Nachkriegsmoderne Allgemeingültige Prinzipen Wiesbaden / Schelmengraben / Klarenthal / Parkfeld / Darmstadt Kranichstein 233 Wie weiterbauen? 235 Quellen Literatur / Bildnachweis Einleitung 7 Deutschlandweit herrscht in den prosperierenden Ballungsräumen ein Mangel an günstigem Wohnraum. Viele Großstädte verfügen kaum noch über Baulandreserven, und neu auszuweisendes Bauland konkurriert mit -
Applications of the Golden Mean to Architecture
Meandering Through Mathematics, 21 February 2012. Reprinted by Laa — Laboratoire Analyse Architecture, Université Catholique de Louvain, Belgium, 12 December 2012 APPLICATIONS OF THE GOLDEN MEAN TO ARCHITECTURE Nikos A. Salingaros, The University of Texas at San Antonio. Abstract: The Golden Mean, an irrational number related to the Fibonacci sequence, arises in the study of biological growth and hierarchical systems. Quite distinct from natural structures that exhibit such growth patterns, artists and architects have long made extraordinary assertions about a preference for rectangles having aspect ratio 1.618:1 approximating the Golden Mean. Such claims are false and are chiefly due to failing to measure things accurately. These embarrassing errors are perpetuated by a kind of cult mysticism. The Golden Mean does apply to architectural composition in the context of scaling hierarchy that organizes complexity; this design methodology is unrelated however to a rectangle’s aspect ratio. Simply considering rectangular aspect ratios does not guarantee good design. 1. Introduction. The architectural literature frequently mentions an irrational number called the Golden Mean. It is common to claim that the Golden Mean has influenced the shape of countless important buildings throughout history, and that it is somehow responsible for any “balance” and “harmony” that they possess. Supposedly, a rectangle with aspect ratio satisfying the Golden Mean has special, almost magical, properties. Even though there are numerous instances of the Golden Mean arising in natural systems (in growth patterns, not in rectangles), it is problematic to find unambiguous examples of Golden Mean rectangles in man-made structures (Livio, 2003). This is surprising, considering the vigorous claims made by so many authors convinced otherwise. -
8Npvysfq 10Stories-Mov-En.Pdf
Title 10 STORIES OF COLLECTIVE HOUSING Subtitle A graphical analysis of inspiring masterpieces by a+t research group ISBN 978-84-616-4136-9 Authors a+t research group: Aurora Fernández Per Javier Mozas Alex S. Ollero Layout and production: Aurora Fernández Per Alex S. Ollero Delia Argote Coordination: Idoia Esteban Communication and Press: Patricia García Editor English language version: Ken Mortimer Printing: Gráficas Dosbi SL VI 366-2013 Vitoria-Gasteiz, 2013 Published by: a+t architecture publishers General Álava 15, 2ºA. E-01005. Vitoria-Gasteiz. Spain www.aplust.net © Edition: a+t architecture publishers © Texts and drawings: a+t research group © Photos: their authors No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher. CONTENTS TIMELINE 08 01 THE STREET IN THE AIR JUSTUS VAN EFFEN COMPLEX. Michiel Brinkman. Rotterdam,1919-1922 12 02 THE SINKING OF THE SOCIAL CONDENSER NARKOMFIN DOM-KOMMUNA. Moisei Ginzburg, Ignaty Milinis. Moscow,1928-1930-1932 66 03 CHEAPER, FASTER, LIGHTER AND TALLER CITÉ DE LA MUETTE. Beaudouin, Lods, Mopin, Bodiansky. Paris, 1931-1934 116 04 THE ELEGANCE OF THE DISSIDENT HOUSING FOR BORSALINO EMPLOYEES. Ignazio Gardella. Alessandria,1948-1952 150 05 THE PROJECT AS SCRIPT MULTI-PURPOSE COMPLEX IN CORSO ITALIA. Luigi Moretti. Milan,1949-1956 176 06 AN EXQUISITE GHETTO BARBICAN. Peter Chamberlin, Geoffry Powell, Christof Bon, Arup. London, 1956-1976 216 07 CRISTAL LIQUIDE RÉSIDENCE DU POINT DU JOUR. Fernand Pouillon. Paris,1957-1963 278 08 SLOW CITY HILLSIDE TERRACE. Fumihiko Maki. Tokyo, 1967-1998 322 09 BUILDING MOODS BYKER REGENERATION. -
198 Vedecká Štúdia Scientific Study MOISEI GINZBURG
MOISEI GINZBURG: NARKOMFIN BUILDING, 1929 MOISEI GINZBURG: OBYTNÁ BUDOVA NARKOMFIN, 1929 Source Zdroj: KUBENSKYJ, Eduard, 2010. Репринт журнала “Современная архитектура”. [The reprint of the journal “Contemporary Architecture”] Moskow, Ekaterinburg: Tatlin Publishers 198 VEDECKÁ šTÚDIA SCIENTIFIC STUDY The Critical Potential of “Total Installations” – The Logic of Ilya Kabakov Kritický potenciál „totálnych inštalácií“ – logika Ilyu Kabakova Ana Nikezić, Marija Zečević Príspevok predstavuje umeleckú formu nazývanú totálna inšta- spoločenskej reality nastavenej proti individualizácii jednotlivcov lácia, pričom sa zameriava na jej spoločensko-politické, ako aj a ich súkromných životov. Komunálny byt je podľa umelca nielen estetické východiská. Sústreďuje sa pritom primárne na analýzu sociálnou katastrofou, ale aj bežným stavom zjednocujúcim a výklad inštalácie Desať postáv autora Ilyu Kabakova, považova- ruského kolektívneho ducha (pozn. 15). Kabakov týmto spôso- nej za kľúčové dielo pre interpretovanie sovietskych naratívov bom poukazuje na formy horizotnálneho dohľadu, ktoré fungujú ako aj pre interpretovanie totálnych inštalácií ako esenciálne nielen v komunálnom byte, ale aj v sovietskej spoločnosti ako sovietskeho fenoménu vychádzajúceho z pochopenia posocialis- celku. Sovietsky štát si nárokoval intímny vzťah s každou jednou tického kontextu. Prostredníctvom analytických metód skúma osobou, pričom sa pomer medzi intimitou a mocou stával čoraz socialistické systémové mechanizmy a ich vplyv na podobu zjavnejším. Jednotlivec, vedomý si -
Press Release
www.frankfurt-tourismus.de Press Release “New Frankfurt” – Between the Skyline and the Römerberg Older than the city’s banking high-rises, newer than the old town centre: Frankfurt has the Bauhaus movement of the 1920s to thank for its very first high-rise … and the fitted kitchen. The Bauhaus style is widely regarded as one of the world’s most significant architectonic movements, influencing modern architecture, art and design far beyond Germany’s borders. The fundamental idea behind Bauhaus was to harmoniously combine architecture, art and handcraft, resulting in a single structural masterpiece. Walter Gropius founded the Bauhaus School of Architecture in Weimar, Germany, in 1919. It remained there until 1925, when it was moved to Dessau. In 1932, the school moved to Berlin, closing only a year later because of pressure put on its leadership by the National Socialist regime. But how much did the Bauhaus movement influence Frankfurt? Locals and visitors are of course familiar with the city’s modern skyline and the Römerberg old town centre. But do they know of “New Frankfurt”? This housing programme was equally important in shaping the cityscape of the metropolis on the River Main. It was the architect duo of Ernst May and Martin Elsaesser who implemented the ideas of “New Objectivity”, which were taught at the Bauhaus School, in various Frankfurt districts between 1925 and 1930, thereby creating what became known as “New Frankfurt”. Bauhaus-styled residential estates include, for example, Estate Westhausen, Estate Praunheim, Estate Höhenblick, Estate Bruchfeldstraße, Estate Am Bornheimer Hang and Estate Hellerhof. The Römerstadt and the Ernst May Show-House – home of the world’s very first series-produced fitted kitchen – are two further, particularly interesting examples of the Bauhaus style. -
Moisei Ginzburg Wikipedia, the Free Encyclopedia Moisei Ginzburg from Wikipedia, the Free Encyclopedia
7/9/2015 Moisei Ginzburg Wikipedia, the free encyclopedia Moisei Ginzburg From Wikipedia, the free encyclopedia Moisei Yakovlevich Ginzburg (Russian: Моисей Яковлевич Гинзбург) (June 4 [O.S. May 23] 1892, Moisei Yakovlevich Ginzburg Minsk – January 7, 1946, Moscow) was a Soviet constructivist architect, best known for his 1929 Narkomfin Building in Moscow. Contents 1 Biography 1.1 Education Moisei Ginzburg in 1920 1.2 Ideologist of Constructivism 1.3 Communal Houses Born 23 May 1892 1.4 Career in 1930s Minsk 2 Legacy Died 7 January 1946 (aged 53) 3 See also 4 Sources Moscow 5 External links Nationality Soviet Occupation Architect Biography Buildings Narkomfin Building, 1929 Education Ginzburg was born in Minsk in a Jewish real estate developer's family. He graduated from Milano Academy (1914) and Riga Polytechnical Institute (1917). During Russian Civil War he lived in the Crimea, relocating to Moscow in 1921. There, he joined the faculty of VKhUTEMAS and the Institute of Civil Engineers (which eventually merged with Moscow State Technical University). Ideologist of Constructivism The founder of the OSA Group (Organisation of Contemporary Architects), which had links with Vladimir Mayakovsky and Osip Brik's LEF Group, he published the book Style and Epoch in 1924, an influential work of architectural theory with similarities to Le Corbusier's Vers une architecture. It was effectively the manifesto of Constructivist Architecture, a style which combined an interest in advanced technology and engineering with socialist ideals. The OSA experimented with forms of Communal apartments to provide for the new Communist way of life. Its magazine SA (Sovremennaya Arkhitektura, or Contemporary Architecture) featured discussions of city planning and communal living, as well as the futuristic projects of Ivan Leonidov.