DOCSLIB.ORG

Team 10 East and Several Other Useful Fictions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Team 10 East and Several Other Useful Fictions The University of Manchester Research Team 10 East and Several Other Useful Fictions Link to publication record in Manchester Research Explorer Citation for published version (APA): Stanek, ., & Heuvel, D. V. D. (2014). Team 10 East and Several Other Useful Fictions. In Team 10 East: Revisionist Architecture in Real Existing Modernism (pp. 10-33). Museum of Modern Art in Warsaw . Published in: Team 10 East Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:29. Sep. 2021 Łukasz Stanek is a lecturer at the Dirk van den Heuvel is an Associate Manchester Architecture Research Centre, Professor at the Faculty of Architecture, TU 11 Łukasz Stanek University of Manchester. Stanek authored Delft. He is the head of the recently estab- Henri Lefebvre on Space: Architecture, Urban Re- lished Jaap Bakema Study Centre at The New diRk van den heuvel search, and the Production of Theory (University Institute in Rotterdam, a collaborative re- of Minnesota Press, 2011) and he is currently search initiative between TU Delft and The editing Lefebvre’s unpublished book about ar- New Institute. Van den Heuvel is curator of chitecture, Vers une architecture de la jouis- “Open: A Bakema Celebration,” the Dutch con- sance (1973). Stanek’s second field of research tribution to the 14th Venice Architecture Bi- is the transfer of architecture from socialist ennale. Together with Max Risselada he au- countries to Africa and the Middle East during thored Team 10—In Search of a Utopia of the Pre- the Cold War. On this topic, he published “Mia- sent (NAi, 2005) and Alison and Peter Smithson. introducTion: stoprojekt Goes Abroad. Transfer of Architec- From the House of the Future to a House of Today tural Labor from Socialist Poland to Iraq (010, 2004). Together with Mark Swenarton Team 10 easT and seveRal OtheR (1958–1989)” in The Journal of Architecture (17:3, and Tom Avermaete, he is the editor of the 2012) and the book Postmodernism Is Almost All forthcoming anthology Architecture and the useFul FicTions Right. Polish Architecture After Socialist Globali- Welfare State (Routledge, 2014). He is an editor zation (Fundacja Bęc Zmiana, 2012). He taught of the online journal for architectural theory at ETH Zurich and Harvard University Gradu- Footprint and of DASH—Delft Architectural Stud- ate School of Design, and received fellowships ies on Housing. He was also an editor of the from the Jan van Eyck Academie, Canadian Dutch journal OASE. Center for Architecture, Institut d’Urbanisme de Paris, and the Center for Advanced Study in Visual Arts (CASVA) at the National Gallery of Art in Washington, D.C., where he was the 2011–2013 A.W. Mellon Postdoctoral Fellow. eam 10 East never existed. Team 10, the breakaway group of architects that disbanded the CIAM organization in the late 1950sT in order to renew modern architecture, did not include sep- arate regional branches nor a special group of architects from Cen- tral and Eastern Europe. In contrast to the short-lived CIAM-East, founded in the 1930s by architects from Austria, Czechoslovakia, Hungary, Poland and Yugoslavia, there was no similar attempt within Team 10. The participants of Team 10 meetings from Poland, includ- ing Oskar Hansen and Jerzy Sołtan, Charles Polónyi from Hungary and Radovan Nikšić from Zagreb in Yugoslavia, as well as other Yugo- slav followers and those from Czechoslovakia, would have been reluctant to assume a unified identity that would serve to confirm the division imposed on the continent by the Iron Curtain. What these architects shared with their Team 10 col- leagues from Western Europe was the ambition to advance architec- ture and urban design in view of the technological and social devel- opment of Europe after the period of postwar reconstruction. Like Jaap Bakema, Georges Candilis, Giancarlo De Carlo, Aldo van Eyck, Alison and Peter Smithson and Shadrach Woods, architects from 12 ŁukAsz Stanek, Dirk van den HEuvel 13 IntrODuCTiON: TEAM 10 EAst and SevErAL OTHEr UsEFuL FiCTiONs socialist countries believed that the tenets of prewar modern archi- ist country which was one of the leaders of the non-aligned coun- tecture and functionalist urbanism did not offer a sufficient basis for tries during the Cold War, and which tried to strike a strategic bal- responding to the challenges faced by postwar societies, including ance between the two blocs dominated by the United States and the technological progress, personal mobility, the increasing impor- Soviet Union. Similarly, we find a group of Finnish architects prac- tance of leisure, varying scales of human associations and multiple ticing within a non-socialist welfare state under the conditions of modes of belonging. In response, these architects, just like their col- a “neutrality” carefully negotiated with the Soviet Union. leagues from the West, searched for new architectural solutions: Contrary to the widespread perception that Team 10’s open relational systems that allowed for growth and change; sup- discourse was limited to the Western European welfare state, with posedly nonhierarchical structures that lent themselves to appro- occasional excursions to former European colonies and the U.S., this priation by inhabitants; and spatial configurations that combined book shows how the key themes and concepts of this discourse were permanent and temporary elements that allowed for the expression given a differentiated understanding in European socialist countries of individual subjectivity and the coherence of larger collectives. and the countries included into “socialist globalization.” 1 State What distinguished most architects of the fictitious socialism is seen not only as a condition of oppression, but also as Team 10 East, a name in use throughout this volume, was their affil- a challenge to and an affordance of architectural practice and imag- iation with Central European architectural culture and, above all, ination, with such contributions as Hansen’s biotechnological urban- the experience of architectural practice in state socialism. In the ism for socialist Poland, Polónyi’s projects for the postcolonial coun- conditions of the Cold War, this experience included working under tries linked to the socialist bloc, the projects for Liberec in Czecho- politically authoritarian regimes and dealing with the consequences slovakia by Miroslav Masák and SIAL Liberec and the rethinking of of the political economy of state socialism for the production of social standards in the work of the “Zagreb revisionists.” space, especially central planning and the (partial) de-commodifi- At the same time, the concept of Team 10 East is a lens cation of land. that allows for a more differentiated view on the Team 10 discourse Rather than being a retroactive manifesto, Team 10 as a whole, stretched between 1953, the year when the future mem- East is a generative conceptual tool that grasps at an understanding bers of Team 10 met for the first time at the ninth CIAM conference of what was shared by these fellow travellers of Team 10. It is not the in Aix-en-Provence and when Stalin died, and 1981, when Team 10 intention of this book to suggest that the work of the architects under ceased to exist due to the death of Jaap Bakema and when the Soviet discussion is exhausted by their contribution to the Team 10 dis- Union was still the major rival of the U.S. and the West, even though course; nor that their work is to be strictly judged according to the by then this (second) superpower had become entangled in the criteria of Team 10. The “East” in the title of the book refers to their Afghanistan war while its ossifiednomenklatura was incapable of pre- specific position from which modernism was rethought, even if it did 1 Team 10, 1953–81. In Search of a Utopia of the Present, edited by Max Risselada, Dirk van den Heuvel, Rotterdam: NAi, 2005; Dirk van den Heuvel, “Jaap not always coincide with figures operating from “behind” the Iron Bakema et l’exemple de Leeuwarden: un paysage artificiel dans l’infinité Curtain. This is why the book includes texts on Jerzy Sołtan, Charles de l’espace,” in Le Team X et le logement collectif à grande échelle en Europe: un retour critique des pratiques vers la théorie, edited by Bruno Fayolle Lussac and Polónyi and Alexis Josic (Aljoša Josić) who traveled across Cold War Rémi Papillault, Pessac: Maison des sciences de l’homme d’Aquitaine, 2008, pp. 119 –144; Tom Avermaete, Another Modern: The Post-War Architecture divides that, besides making them drop the diacritical marks in their and Urbanism of Candilis-Josic-Woods, Rotterdam: NAi, 2005. On architecture names, granted them particular awareness about the specificity of and “socialist globalization” see: Łukasz Stanek, “Second World’s Architecture and Planning in the Third World,” The Journal of Architecture, working in the sphere of real existing socialism. Likewise, architects vol. 17, no. 3, 2012, pp. 299–307; Łukasz Stanek, Postmodernism Is Almost All Right. Polish Architecture after Socialist Globalization, Warszawa: Fundacja Bęc from Yugoslavia held a very specific position as citizens of a social- Zmiana, 2012.
Load more

Recommended publications
  • Pritzker Architecture Prize Laureate
    For publication on or after Monday, March 29, 2010 Media Kit announcing the 2010 PritzKer architecture Prize Laureate This media kit consists of two booklets: one with text providing details of the laureate announcement, and a second booklet of photographs that are linked to downloadable high resolution images that may be used for printing in connection with the announcement of the Pritzker Architecture Prize. The photos of the Laureates and their works provided do not rep- resent a complete catalogue of their work, but rather a small sampling. Contents Previous Laureates of the Pritzker Prize ....................................................2 Media Release Announcing the 2010 Laureate ......................................3-5 Citation from Pritzker Jury ........................................................................6 Members of the Pritzker Jury ....................................................................7 About the Works of SANAA ...............................................................8-10 Fact Summary .....................................................................................11-17 About the Pritzker Medal ........................................................................18 2010 Ceremony Venue ......................................................................19-21 History of the Pritzker Prize ...............................................................22-24 Media contact The Hyatt Foundation phone: 310-273-8696 or Media Information Office 310-278-7372 Attn: Keith H. Walker fax: 310-273-6134 8802 Ashcroft Avenue e-mail: [email protected] Los Angeles, CA 90048-2402 http:/www.pritzkerprize.com 1 P r e v i o u s L a u r e a t e s 1979 1995 Philip Johnson of the United States of America Tadao Ando of Japan presented at Dumbarton Oaks, Washington, D.C. presented at the Grand Trianon and the Palace of Versailles, France 1996 1980 Luis Barragán of Mexico Rafael Moneo of Spain presented at the construction site of The Getty Center, presented at Dumbarton Oaks, Washington, D.C.
    [Show full text]
  • Giancarlo De Carlo : an Obituary John Mckean
    Giancarlo De Carlo : an obituary John McKean Giancarlo De Carlo, who died on Saturday morning 4th June aged 85, was architecture’s last great link with the heroic modernism of CIAM; not least in his scathing critique of pre-war existenz-minimum, his finding Corbu’s Marseille Unité “terrible”, and his providing the serious theoretical underpinning for Team-X. He was, as his close friend Aldo van Eyck said long ago, a master of paradox. He was both elusive and absolutely clear. He was both renowned and yet a secret. One of the foremost architectural thinkers of his time, he published no unified volume of theory. He was not an architect who played at being a theorist, but an intellectual whose medium was architecture. (That is, not abstract writing around architecture, but its concrete profession, embedded in its social practice.) He was one of the most memorable architectural teachers of his generation, and yet always set himself outside, at a critical angle to the academy. Fascinated by Napoleon (a man nearly as small as himself) he was a lifelong anarchist and prominent anti-Fascist fighter during the Second World War. In architecture too, he fought against heroes, signatures and icons, as against so much else which subverts the possibility of a real modern architecture. This - in itself an heroic struggle - forced a continual questioning of the nature of the modern. I remember, at a time when so many couldn’t be bothered with the issue, in those post-modern years around 1980, not just his intellectual probing of the differences between eclecticsm and multiplicity, but his generous invitations to Charles Moore and Donlyn Lyndon and others to enrich the debates.
    [Show full text]
  • Open Source Architecture, Began in Much the Same Way As the Domus Article
    About the Authors Carlo Ratti is an architect and engineer by training. He practices in Italy and teaches at the Massachusetts Institute of Technology, where he directs the Senseable City Lab. His work has been exhibited at the Venice Biennale and MoMA in New York. Two of his projects were hailed by Time Magazine as ‘Best Invention of the Year’. He has been included in Blueprint Magazine’s ‘25 People who will Change the World of Design’ and Wired’s ‘Smart List 2012: 50 people who will change the world’. Matthew Claudel is a researcher at MIT’s Senseable City Lab. He studied architecture at Yale University, where he was awarded the 2013 Sudler Prize, Yale’s highest award for the arts. He has taught at MIT, is on the curatorial board of the Media Architecture Biennale, is an active protagonist of Hans Ulrich Obrist’s 89plus, and has presented widely as a critic, speaker, and artist in-residence. Adjunct Editors The authorship of this book was a collective endeavor. The text was developed by a team of contributing editors from the worlds of art, architecture, literature, and theory. Assaf Biderman Michele Bonino Ricky Burdett Pierre-Alain Croset Keller Easterling Giuliano da Empoli Joseph Grima N. John Habraken Alex Haw Hans Ulrich Obrist Alastair Parvin Ethel Baraona Pohl Tamar Shafrir Other titles of interest published by Thames & Hudson include: The Elements of Modern Architecture The New Autonomous House World Architecture: The Masterworks Mediterranean Modern See our websites www.thamesandhudson.com www.thamesandhudsonusa.com Contents
    [Show full text]
  • Architettura 1.2016 Stare in Tanti Architettura Spedizione Inabbonamento Postale 70% Firenze € Anno XX N.1 Periodico Semestrale Firenze PRESS UNIVERSITY FIRENZE
    FIRENZE stare in tanti architettura 1.2016 1.2016 stare in tanti FIRENZE UNIVERSITY firenze architettura PRESS ISSN 1826-0772 Periodico semestrale Anno XX n.1 € 14,00 Spedizione in abbonamento postale 70% Firenze In copertina: Le Corbusier, photogramme da sequenza filmata con la sua cinepresa tra il 1936 e il 1939 © FLC Paris DIDA DIPARTIMENTO DI ARCHITETTURA architetturaFIRENZE via della Mattonaia, 14 - 50121 Firenze - tel. 055/2755419 fax. 055/2755355 Periodico semestrale* Anno XX n. 1 - 2016 ISSN 1826-0772 (print) - ISSN 2035-4444 (online) Autorizzazione del Tribunale di Firenze n. 4725 del 25.09.1997 Direttore responsabile - Saverio Mecca Direttore - Maria Grazia Eccheli Comitato scientifico - Alberto Campo Baeza, Maria Teresa Bartoli, Fabio Capanni, João Luís Carrilho da Graça, Francesco Cellini, Maria Grazia Eccheli, Adolfo Natalini, Ulisse Tramonti, Chris Younes, Paolo Zermani Redazione - Fabrizio Arrigoni, Valerio Barberis, Riccardo Butini, Francesco Collotti, Fabio Fabbrizzi, Francesca Mugnai, Alberto Pireddu, Michelangelo Pivetta, Andrea Volpe, Claudio Zanirato Collaboratori - Simone Barbi, Gabriele Bartocci, Caterina Lisini, Francesca Privitera Info-Grafica e Dtp - Massimo Battista - Laboratorio Comunicazione e Immagine Segretaria di redazione e amministrazione - Grazia Poli e-mail: [email protected] Copyright: © The Author(s) 2016 This is an open access journal distribuited under the Creative Commons Attribution-ShareAlike 4.0 International License (CC BY-SA 4.0: https://creativecommons.org/licenses/by-sa/4.0/legalcode)
    [Show full text]
  • PDF Download Palladios Children : Essays on Everyday Environment
    PALLADIOS CHILDREN : ESSAYS ON EVERYDAY ENVIRONMENT AND THE ARCHITECT PDF, EPUB, EBOOK N.J. Habraken | 224 pages | 30 Dec 2005 | Taylor & Francis Ltd | 9780415357913 | English | London, United Kingdom Palladios Children : Essays on Everyday Environment and the Architect PDF Book Her area of expertise is the development of civic spaces serving communities whose needs reside at the intersection of architecture, urbanism, and performance. He lectures in architecture and is a former American Institute of Architects bureaucrat. B25 He is the author of seven books, the subject of two recent ones and his recent publication of The Structure of the Ordinary MIT was widely reviewed internationally. He bellowed something about poodles sawing wood and women drawing - no woman, he said, could possibly be an architect. Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. She had the keenest eye, a gift like her brother's, for the design of space. They are able to measure the amount of order that is necessary for understanding and fascination to prevail even when chaotic actions take place and random objects appear on stage. Habraken studied architecture at Delft Technical University, the Netherlands from This must lead to a reassessment of architects' identities, values and education, and the contribution of the architect in the shaping of the built environment. O69 Radhika Khurana reading aloud to 20 odd year olds in the initial section, and some absorbed older students and teachers reading silently in a subsequent, better-daylit section.
    [Show full text]
  • Me Tabolis Ts House S Under Cons Truction
    Metabolists houses under construction ESSAYS PREVI: The Metabolists’ First, Last and Only Project BY EUI-SUNG YI With the special assistance by Bridget Ackeifi Cities in the sky, superhighways over the seas, floating layers of techno-villages. These utopic proposals for Japan were generated by a passionate and extraordinary group of young Japa- nese architects fueled by the futuristic vision to rebuild their nation. Parallel to their idealism, was the path of Peter Land, an Englishman by way of Yale and South America, tasked to plan housing for the poor. Incredibly, their idealism would cross and the Metabolists’ first and only project would be for a United Nations social housing development in a place very far from Japan: Peru. Eui-Sung Yi sat down with the group’s last living member, Fumihiko Maki, and the organizer of the project, Peter Land, to discuss this project and its place in modern urban design (read the interviews in pg. 65 and 68, respectively). Nearly 50 years ago, architect Peter Land initiated an The competition was an immense undertaking. In the end, architectural competition for the Peruvian capital of Lima. there were 86 different designs, 467 built homes housing 50 - 2014/1 The humble British architect did not devise a competition over 2.800 occupants, a school and a nursery, all within meant for the design of an avant-garde form for a museum 12,3 hectares of property, located only 7 km west of Lima’s or civic monument. Instead, Land, with the support of center. Land asked a total of 26 architectural firms to submit 1 2 his friend and President Fernando Belaúnde Terry and designs: 13 international teams and 13 Peruvian groups both docomomo prestigious members of the Peruvian academia, asked the composed of emerging and progressive architects.
    [Show full text]
  • Clelia Tuscano
    Giancarlo de Carlo and the Italian context of Team 10 Clelia Tuscano 227 Sociology, Production and the City Introduction Giancarlo de Carlo is the only Italian meber of Team 10. He was born in 1919 and now lives in Milan. He is an individualist, and a humanistic architect and a man of strong morality. I say humanistic, because of his manyfold culture and because of his view of architecture as something which is about people. He looks at architecture as part of the whole, com- plex process which deals with transformation of society through time. Architecture cannot change society as a whole, but can suggest the directions of change and support them, make them grow, give them spaces and represent them in physical forms. He has said somewhere that towns are written history, and the process of designing in his case is somehow linked to ‘read’ the context, both social and physical, and to find out the vital forces in it, and to deal with them for transformation. And ‘reading’ the context is not the recording of an objective pattern, but a tendentious interpretation of how a local context works and, through planning and architectural design, bring it closer to how it should work. Giancarlo de Carlo is one of the most tough moral architects, one of those persons who might make their client regret their choice: working for people is not always a private and even a public aim. No celebration or monumentalism in his work, and a lot of energy spent on designing the open spaces, which are not sold or used in ‘productive’ ways.
    [Show full text]
  • Die Architekturausstellung Als Kritische Form 2018
    Die Architekturausstellung als kritische Form 1 Lehrstuhl für Architekturgeschichte und kuratorische Praxis EXTRACT “Die Architekturausstellung als kritische Form von Hermann Muthesius zu Rem Koolhaas” Wintersemester 2018/19 LECTURE 1 / 18 October 2018 Die Architekturausstellung als kritische Form. Vorgeschichte, Themen und Konzepte. Basic questions: - What is an architecture exhibition? - How can we exhibit architecture? - What does the architecture exhibition contribute to? Statements: - Exhibitions of architecture are part of a socio-political discourse. (See Toyo Ito’s curatorial take on the Architecture Biennale in Venice in 2012 http://www.domusweb.it/en/interviews/2012/09/03/toyo-ito-home-for-all.html) - Exhibitions of architecture are model-like presentations / They should present the new directions of the discipline. (“Critical” in this context of this lecture class means: exhibitions introducing a new theoretical and / or practical concept in contrast to existing traditions) PREHISTORY I. - Model Cabinets (Modellkammer), originally established as work tools for communication purposes and as educational tools for upcoming architects / engineers. Further aspect: building up an archive of technological inventions. - Example: The medieval collection of models for towers, gates, roof structures etc. in Augsburg, hosted by the Maximilianmuseum. - Originally these cabinets were only accessible for experts, professionals, not for public view. Sources of architecture exhibitions: - Technical and constructive materials (drawings, models). They tend to be private or just semi- public collections built up with education purposes. - The first public exhibitions of these models in the arts context didn’t happen until the end of the 18th century. Occasion: Charles de Wailly exhibited a model of a staircase in an arts exhibition in 1771.
    [Show full text]
  • Mauro Marzo Lotus. the First Thirty Years of an Architectural Magazine
    DOI: 10.1283/fam/issn2039-0491/n43-2018/142 Mauro Marzo Lotus. The first thirty years of an architectural magazine Abstract Imagined more as an annual dedicated to the best works of architectu- re, urban and industrial design, during the first seven issues, the maga- zine «Lotus» shifts the axis of its purpose from that of information and professional updating to one of a critical examination of the key issues intrinsic to the architectural project. This article identifies some themes, which pervaded the first thirty years of «Lotus» life, from 1964 to 1994, re- emerging, with variations, in many successive issues. If the monographic approach set a characteristic of the editorial line that endures over time, helping to strengthen the magazine’s identity, the change in the themes dealt with over the course of the decades is considered as a litmus test of the continuous evolution of the theoretical-design issues at the core of the architectural debate. Keywords Lotus International — Architectural annual — Little Magazine — Pier- luigi Nicolin — Bruno Alfieri The year 1963 was a memorable one for the British racing driver Jim Clark. At the helm of his Lotus 25 custom-made for him by Colin Chapman, he had won seven of the ten races scheduled for that year. The fastest lap at the Italian Grand Prix held at Monza on 8 September 1963 had allowed him and his team to win the drivers’ title and the Constructors’ Cup,1 with three races to go before the end of the championship. That same day, Chap- man did “the lap of honour astride the hood of his Lotus 25”.2 This car, and its success story, inspired the name chosen for what was initially imagined more as an annual dedicated to the best works of archi- tecture, urban and industrial design, rather than a traditional magazine.
    [Show full text]
  • Persons Index
    Architectural History Vol. 1-46 INDEX OF PERSONS Note: A list of architects and others known to have used Coade stone is included in 28 91-2n.2. Membership of this list is indicated below by [c] following the name and profession. A list of architects working in Leeds between 1800 & 1850 is included in 38 188; these architects are marked by [L]. A table of architects attending meetings in 1834 to establish the Institute of British Architects appears on 39 79: these architects are marked by [I]. A list of honorary & corresponding members of the IBA is given on 39 100-01; these members are marked by [H]. A list of published country-house inventories between 1488 & 1644 is given in 41 24-8; owners, testators &c are marked below with [inv] and are listed separately in the Index of Topics. A Aalto, Alvar (architect), 39 189, 192; Turku, Turun Sanomat, 39 126 Abadie, Paul (architect & vandal), 46 195, 224n.64; Angoulême, cath. (rest.), 46 223nn.61-2, Hôtel de Ville, 46 223n.61-2, St Pierre (rest.), 46 224n.63; Cahors cath (rest.), 46 224n.63; Périgueux, St Front (rest.), 46 192, 198, 224n.64 Abbey, Edwin (painter), 34 208 Abbott, John I (stuccoist), 41 49 Abbott, John II (stuccoist): ‘The Sources of John Abbott’s Pattern Book’ (Bath), 41 49-66* Abdallah, Emir of Transjordan, 43 289 Abell, Thornton (architect), 33 173 Abercorn, 8th Earl of (of Duddingston), 29 181; Lady (of Cavendish Sq, London), 37 72 Abercrombie, Sir Patrick (town planner & teacher), 24 104-5, 30 156, 34 209, 46 284, 286-8; professor of town planning, Univ.
    [Show full text]
  • Giancarlo De Carlo Centennial
    Benedict Zucchi Learning from Giancarlo De Carlo: Interview with Benedict Zucchi, by Antonello Alici Anglosaxon sensibility; William Morris and Patrick Geddes; “Simulating slow growth”; Stamina; Commitment /Introduction by Antonello Alici /Author Giancarlo De Carlo’s centennial has the merit of bringing the Principal and architect profession chair at BDP, younger generations of students and researchers closer to the London [email protected] work of an extraordinary interpreter of 20th century architectural culture. An uncomfortable and controversial interpreter who has Benedict Zucchi studied architecture at the universities of Cambrid- experienced all the seasons of the second half of the 20th century ge and Harvard, writing his degree dissertation on the work of Gian- with tenacity and consistency, opposing every form of architec- carlo De Carlo. This was subsequently published in 1992 as the first ture distant from the experience and needs of society. comprehensive English-language monograph of De Carlo’s work. In a panorama of studies that up until now has been lacking, two After a period in De Carlo’s Milan studio, Benedict joined Building of the most important monographs on De Carlo, capable of fully Design Partnership (BDP) in 1994. grasping his complexity and modernity, are by English authors BDP’s culture of user-centred, interdisciplinary design was a welco- first of them is Benedict Zucchi who approached De Carlo during me compliment to his experience with De Carlo, leading to a rewar- his studies at the faculty of architecture in Cambridge, and then ding sequence of public sector projects across the education and further enriched his experience with a professional internship health sectors.
    [Show full text]
  • 'Forum' Architectural Journal As an Educational
    ‘FORUM’ ARCHITECTURAL JOURNAL AS AN EDUCATIONAL AND SPREADING MEDIA IN THE NETHERLANDS Influences on Herman Hertzberger Rebeca Merino del Río Escuela Técnica Superior de Arquitectura, Universidad de Sevilla / Superior Technical School of Architecture, University of Seville, Seville, Spain Abstract In the sixties, the journal Forum voor Architectuur en Daarmee Verbonden Kunsten becomes the media employed by the Dutch wing of Team 10 to lecture on and spread the new architectural theories developed after the dissolution of C.I.A.M. Aldo van Eyck and Jaap Bakema head the editorial board in between 1959 and 1967. The editorial approach gravitates towards the themes defended by these young architects in the last meetings of the International Congresses of Modern Architecture, accompanied by the analysis of works of architecture that, in the editorial board’s opinion, give a correct response to the epoch’s needs. Moreover, the permeability and cross-sectional nature of the content, bring the editors’ board closer to the European architectural, cultural and artistic avant-garde. Thus, it is appreciated that similar theoretical assumptions than the ones that gave support to the different revolts that happened in Paris, London and Amsterdam between 1966 and 1968 underlie in great part of the journal’s writings. Its content is aligned parallel to the revolutionary phenomenon, contributing to some degree to it. Herman Hertzberger, a young architect who worked for years as a part of the editorial board, was highly influenced by the contents of the journal. His later dedication to education as professor at Delft University of Technology, and his association with Dutch Structuralism as well, turn him a key figure to study, because of the determining role of Forum’s acquired knowledge in his future professional activity.
    [Show full text]