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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

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. Ralph Erskine. Newcastle-upon-Tyne, 1969-1982 376 10 MY TERRACE, IN FRONT OF MY HOUSE, OVER YOURS JEANNE HACHETTE COMPLEX Jean Renaudie. Paris, 1970-1975 422

BIBLIOGRAPHY 482

INDEX OF NAMES 488

IMAGE CREDITS 492 TIMELINE

01 02 03 04 05

THE STREET IN THE AIR THE SINKING OF THE SOCIAL CHEAPER, FASTER, LIGHTER THE ELEGANCE OF THE THE PROJECT AS SCRIPT CONDENSER AND TALLER DISSIDENT

CONVENTO DEI FILIPPINI Francesco Borromini 1637-1667

FRANCISCO TERRACE PHALANSTÈRE Frank Lloyd Wright Charles Fourier VERTICAL CITY 1895 1829 Ludwig Hilberseimer 1927-1935 MAISONS JAOUL Le Corbusier 1937. 1954-1956

A&P Smithson Le Corbusier

JUSTUS VAN EFFEN COMPLEX Michiel Brinkman NARKOMFIN DOM-KOMMUNA Le Corbusier 1919-1922 Moisei Ginzburg, Ignaty Milinis 1928-1930-1932 E. N. Rogers R. Banham CITÉ DE LA MUETTE Beaudouin, Lods, Mopin, Bodiansky 1931-1934 BORSALINO HOUSING Ignazio Gardella 1948-1952 R. Venturi P. Eisenman R. Banham

CORSO ITALIA COMPLEX UNITÉ D’HABITATION UNITÉ D’HABITATION Luigi Moretti Le Corbusier Le Corbusier 1949-1956 1934. 1946-1952 1934. 1946-1952

PARK HILL Lynn, Smith, Womersley GOLDEN LANE (competition) 1959-1961 Alison and Peter Smithson BARCELONETA HOUSING 1952 Coderch, Valls 1952-1954

VANNA VENTURI HOUSE Robert Venturi 1959-1964 PAMPUS LA GRAND’MARE ROBIN HOOD GARDENS J. H. van den Broek y J. B. Bakema Lods, Depondt, Beauclair Alison and Peter Smithson 1965 1968-1970 STONE HOUSE PARALLAX AS GENERATOR 1966-1972 Herzog & de Meuron Steven Holl 1982-1988 1988

IROKO HOUSING Haworth Tompkins 2002

EX-JUNGHANS HOUSING Cino Zucchi 1997-2002 8 HOUSE ZAC SEGUIN HOUSING BIG Diener & Diener OOSTCAMPUS 2010 2010 Carlos Arroyo 2012 06 07 08 09 10

AN EXQUISITE GHETTO CRISTAL LIQUIDE SLOW CITY BUILDING MOODS MY TERRACE, IN FRONT OF MY HOUSE, OVER YOURS

ADELPHI KATSURA PALACE IVIRON MONASTERY Robert Adams and brothers Prince Toshihito Ioannis, Efthymios 1768-1772 1620-1663 980-983

BANDIAGARA Dogon village 1770 CASA DEL SOLE Innocenzo Sabbatini 1926-1929 MAIDAN OF ISFAHAN 1598-1629 PLAN OBÚS HANNA RESIDENCE Le Corbusier Frank Lloyd Wright 1933 1934-1936 PALAIS ROYAL Jacques Lemercier et al. ALBANY COVERED WALK 1633 Unknown author 1803 LE HAVRE REDEVELOPMENT MURANO RESIDENCE Auguste Perret Togo Murano 1945-1964 1940-1980

ORPHANAGE SVAPPAVAARA CHEMICAL ARCHITECTURE Aldo van Eyck Ralph Erskine William Katavolos 1958-1960 1961-1963 1961

LE VAUDREUIL NEW TOWN Atelier de Montrouge R. Banham 1967-1968 Unbuilt project

R. Koolhaas FACULTY OF MEDICINE BARBICAN Lucien Kroll Chamberlin, Powell, Bon, Arup 1969-1974 1955-1983 RÉSIDENCE DU POINT DU JOUR Fernand Pouillon R. Koolhaas INCLIPAN 1957-1963 Claude Parent 1974 HILLSIDE TERRACE Fumihiko Maki 1967-1998

C. Jencks R. Banham

BYKER REGENERATION I. Scalbert Ralph Erskine 1969-1982 GALLARATESE BLOCK D JEANNE HACHETTE COMPLEX Aldo Rossi, (Carlo Aymonino) Jean Renaudie 1967-1974 1970-1975

VM HOUSING CODAN SHINONOME MORIYAMA HOUSE EDEN BIO PLOT=BIG+JDS Riken Yamamoto, Kengo Kuma, Ryue Nishizawa Edouard François 2002-2004 Toyo Ito, et al. 2005 2008 2003 01

THE STREET IN THE AIR

JUSTUS VAN EFFEN COMPLEX Michiel Brinkman Spangen (Rotterdam,The Netherlands) 1919-1922 51°54’57.15”N / 4°25’51.40”E

The project put forward by Michiel Brinkman for Spangen came up against two models: the traditional badly lit badly ventilated dwelling with alcove rooms, common up to that point among the working class, and the new trend towards the garden city with row houses. Brinkman arrived at a symbiosis between the terraced housing typology and the closed block with interior communal courtyard typology, between the individual and the collective. Aiming for this new concept to take on the appropriate scale, he made the two blocks into one and pierced the perimeter creating access points for pedestrians and vehicles, this way transforming the interior into a semi-public space. He equipped the block with private and collective gardens, as well as a common service building which he located at the centre. Lastly, he incorporated different access solutions which changed according to the location of the dwelling, taking into consideration the Dutch tradition for direct entrance. The ground floor and first floor dwellings can be accessed from the large open space in the block while second floor dwellings look onto a deck which runs the length of the whole complex and functions as an elevated street. With this solution Brinkman was to reaffirm the street as an element which linked not only the elements built into the section but also the collective living units and the residents of the housing complex. He valued the sense of community yet was unwilling to discard individualist features. He incorporated subtle degrees of graduation between the public and the private. He protected the privacy which had been relinquished in the alcove-houses yet at the same time encouraged communal living. Brinkman’s utopian vision relied on the singular political aims of the socialist councillors Hen- drik Spiekman and A.W. Heijkoop and the Rotterdam Housing Department Director, August Plate, who defended this solution, against conservative criticism, as a true invention of the social-democratic era.

12 / 10STORIES OF COLLECTIVE HOUSING 01

“You know the milkman, you are outside your house in your street.” ALISON AND PETER SMITHSON, 1953.1

1. Alison and Peter Smithson. Team 10 Primer. MIT Press, 1974. P. 78.

13 Chapter 7 ACCESS THE ELEVATED STREET

REFERENCES

“Thus, while the deck never offers grandiose perspectives, but keeps down to a domestic scale of views along its length, the act of walking along one is a serial scenic experience punctuated by irregular spatial constrictions, that is continuously fascinating.” REYNER BANHAM, 1961.10

4A 2A

1A 3A

Justus van Effen Complex Narkomfin Dom-Kommuna MICHIEL BRINKMAN MOISEI GIZBURG, IGNATY MILINIS 1919-1922 1928-1930-1932

This comparison between the four sections looks at the differences which converge in the afore- mentioned perception. The first difference is the position regarding the facade: in Spangen and 8 House the elevated street is an exposed element which marks a turning point in the section. The facade is set back from the elevated street. However, in Narkomfin and Robin Hood Gar- dens, the street is built into the facade, sheltered on three sides. It looks more like a carved out gallery in one of the sides of the volume.

10. Reyner Banham. “Park Hill Housing”. Architectural Review, 1961.

58 / 10STORIES OF COLLECTIVE HOUSING THE STREET IN THE AIR 01

COMPARATIVE SECTIONS 1:400

1A ACCESS FROM GROUND FLOOR 2A ACCESS FROM ELEVATED STREET 3A ACCESS FROM COVERED GALLERY 4A ACCESS FROM SKIP-STOP CORRIDOR

2A 2A

Robin Hood Gardens 8 House ALISON & PETER SMITHSON BIG 1966-1972 2008-2010

0 1 2 5 10 20

The second difference is the visibility through the parapet: in Spangen the parapets have been pierced, in 8 House they have transparent glazing. Both are one metre high, while in Narkomfin it is an opaque parapet and in Robin Hood Gardens they are pre-fabricated concrete modules with built-in glass which let light pass but not sight-lines and they are 1.20 m high. The third difference concerns the route. In Narkomfin it is a straight line, while in Robin Hood Gardens this is a line with two turning points which always runs around the exterior facades of the linear blocks. In Spangen and in 8 House the routes follow a looped path which flows, mainly on the interior, but which also in some sections overlooks the street.

59 02

THE SINKING OF THE SOCIAL CONDENSER

NARKOMFIN DOM-KOMMUNA Moisei Ginzburg, Ignaty Milinis Novinsky bulevar 25, korpus B. (Moscow. Russia) 1928-1930-1932 55°45’25.43”N / 37°34’52.34”E

In the early years of the new Soviet Socialist State, there were large migrations from country to cities in search of better living standards, which worsened the housing crisis brought about by the industrial revolution. This emergency situation led to the forced occupation of traditional dwellings which were shared by several families, with collective use of the services, bathrooms and kitchens. To remedy this important shortage it was necessary to adopt a subsistence economy to save on production resources. The young State opted for a new social order based on a reformulation of the traditional family and on planning and building new housing types, with an emphasis on communal uses and on the socialization of household tasks. The Communist Party’s ambitious house-building programme gave architects and urban planners the opportunity to create new solutions for this new future. In response to this problem, OSA, the Association of Contemporary Architects,1 which Moisei Ginzburg belonged to, developed several housing proposals with social club, kitchen, gymnasium, library, kindergarten and roof gardens as shared services and with private cells, as basic as possible, as the only financially viable solution. In 1928, STROIKOM, the Building Committee of the RSFSR (Russian Soviet Federative Socialist Republic), commissioned M. Ginzburg, M. Barshch, V. Vladimirov, A. Pasternak and Sum-Sik to create standardized types for the new collective housing. In a later phase, Ginzburg based his projects for the experimental dwelling types on this theoretical study. Of all the projects carried out, only six experimental blocks were actually built. The most significant was the Narkomfin building which was to become an icon for defenders of Modern architecture.

1. In this story when the term Contemporary appears in Russian acronyms it should be taken to mean Modern.

66 / 10STORIES OF COLLECTIVE HOUSING 02

To what extent can we go on condensing the housing model and which elements should be removed when doing so? MOISEI GINZBURG, 1929.2

2. Moisei Ginzburg. “El problema de la estandarización de la vivienda en la URSS, 1929”. Escritos 1923-1930. El Croquis Editorial, 2007. P. 372.

67 Chapter 2 URBAN FORM THE SOVIET RESIDENTIAL MODEL

In 1936 the open space between the pilotis on the ground floor was filled in with conventional dwellings which did not correspond to the types designed by Ginzburg. Later, a library was also installed in the set of ground floor rooms in residential block (01), to be exact on the south end. After Stalin died, a lift was built on the western facade of the south staircase.7

7. Victor Buchli. An Archaeology of Socialism. Berg, 2000. P 101, 168.

80 / 10STORIES OF COLLECTIVE HOUSING THE SINKING OF THE SOCIAL CONDENSER 02

8f “Even in these initial steps we encounter a spirit of 03 West side collectivism, a range of architectural scale that impels an austere and energetic expression.” MOISEI GINZBURG,1924.8 05

2f 04

Pedestrian link

Pilotis

01 RESIDENTIAL BLOCK 02 COMMUNAL FACILITIES 03 MILIUTIN PENTHOUSE 04 D UNITS 05 STAIRCASE 06 BRIDGE

8. Moisei Ginzburg. Style and Epoch. MIT Press, 1982. P. 79.

81 03

CHEAPER, FASTER, LIGHTER AND TALLER

CITÉ DE LA MUETTE Beaudouin, Lods, Mopin, Bodiansky Drancy (Paris. France) 1931-1934 48°55’13.10”N / 2°27’19.74”E

Systematized housing is an objective which has emerged parallel to collective housing. Ever since the Industrial Revolution boosted city growth and demonstrated the need to provide shelter for the working masses, building as fast and as cheaply as possible has become a constant objective. The two great methods which systematized housing process development is based on are: the closed system method (three-dimensional models, formwork-tunnel or large panels) and the component method also known as open building industrialization (sub-structural components). Despite the heyday of systematization being in the years following the Second World War, the Cité de Muette is the first case of the use of industrialization in high-rise collective housing. It was implemented using a mixed steel framework system reinforced with pre-fabricated light- weight concrete panels, installed horizontally and vertically. Its relevance lies in the architects’ ambition to improve house-building by incorporating the advantages of new materials: the lightness of steel, and by assembling with industrial components. However, fire regulations curtailed the development of this mixed system which seemed to be the most suitable system for systematizing dry construction.

116 / 10STORIES OF COLLECTIVE HOUSING 03

Interior panels of the facade

Exterior lattice concrete panels of the balcony

Lower level panels, plinth elements

“Techniques are the very basis of the poetry.” LE CORBUSIER, 1930.1

1. Le Corbusier. Précisions sur un état présent de l’architecture et de l’urbanisme. G. Crès,1930. P. 67.

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