Architecture and Geo Politics
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12/2/26 Fine and Applied Arts Architecture Gabriel Guevrekian Papers, 1923-1934 Box 1
12/2/26 Fine and Applied Arts Architecture Gabriel Guevrekian Papers, 1923-1934 Box 1: Clippings - January - July 1923 January - December 1924 January - December 1925 January - November 1926 January - December 1927 February - December 1928 January - December 1929 January - November 1930 January - November 1931 February - December 1932 January - August 1933 1934 - miscellaneous Postcards of art, sculpture, architecture (blank), 1950 Box 2: Photograph Album: Music Shop, Paris - 1923 Interior of Music Shop, Paris - 1923 - (2) Paris - 1923 - (Proset Pour Une Villa En Ciment Arme) Perspective of Project (above) on page 4. Project for Touring Club De France - 1923 - (5) Model of Project on page 6-10, Touring Club De France (2) Residence for M.R.R.W., 1924 (Paris) Model of Project on page 13 (above) (2) Garden at the International Art Exhibition, Paris - 1925 - Studio of Mr. Albon, Paris - 1926 - Shop for Sonia Delaunay, Paris - 1926 - Garden of Count Charles de Noailles at Hyeres, Riviera - 1926 - (3) Studio of Miss Therese Bonnet, Paris - 1927 - (4) Residence of Mr. and Mrs. Jacques Hein, Paris Neuilley, 1927 (12) Residence Hein Detail The garden Roof garden (3) View from the third floor terrace Main entry 12/2/26 2 Vestibule on first floor (2) Vestibule on second floor Living room on second floor (2) View into living room from third floor Living room, second floor Boudoir on second floor Bar on second floor Dining room on second floor Master bedroom on second floor Stairs to third floor Small living room on third floor Play room on third floor Project for Noubar Pacha residence in Saint-Cloud - 1952 - (3) Project for Mr. -
Records of the CIAM Belgian Section, 1928-1958 (Bulk 1934-1958)
http://oac.cdlib.org/findaid/ark:/13030/kt2f59p9gn No online items Finding aid for the Records of the CIAM Belgian Section, 1928-1958 (bulk 1934-1958) Finding aid prepared by Paul Arenson. Finding aid for the Records of the 850865 1 CIAM Belgian Section, 1928-1958 (bulk 1934-1958) ... Descriptive Summary Title: Records of the CIAM Belgian Section Date (inclusive): 1928-1958 (bulk 1934-1958) Number: 850865 Creator/Collector: International Congress for Modern Architecture. Belgian Section Physical Description: 6.0 linear feet(12 boxes, 1 flatfile) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: Records of the CIAM Belgian section comprise the records of Paul Fitschy, Liège-based secretary of the Belgian Section of the International Congress for Modern Architecture (Congrès internationaux d'architecture moderne), as well as some CIAM-related documents obtained in separate acquisitions. Included are correspondence and documents generated by the Belgian section itself, the central CIAM secretariat in Switzerland, and associated CIAM national sections. The records reflect CIAM's development as an international organism, devoted to discussion and promotion of modern architecture and city planning. The CIAM congresses, particularly those from 1937 to 1956, are well documented, as are the day-to-day operations of the Belgian section. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Administrative History The International Congress for Modern Architecture (Congrès internationaux d'architecture moderne, or CIAM) was an influential association of modern architects and city planners united in a search for solutions to the problems of urban areas. -
Hyères – Villa Noailles
Hyères Villa Noailles 1923-1932 - ROBERT MALLET-STEVENS - 2 000 M2 - INSCRITE A L’INVENTAIRE DES MONUMENTS HISTORIQUES La Villa Noailles. © Olivier Amsellem, 2013 TRANSMETTRE L’ARCHITECTURE CONTEMPORAINE Regard de l’expert PROGRAMME ET GENÈSE DU PROJET Robert Mallet-Stevens qui n’avait jusque-là réalisé Après avoir reçu en cadeau de mariage un terrain que quelques décors de cinéma. Dessinée en 1923, la avec vue imprenable sur la baie d’Hyères, Charles villa Noailles est l’une des premières constructions et Marie-Laure de Noailles, un couple de mécènes modernes d’Europe. Elle accueille le couple pour un amateurs d’art, ont le projet de « construire une premier séjour en novembre 1925. petite maison intéressante à habiter ». La résidence d’hiver simple, confortable, aérée et ensoleillée doit Au décès de la vicomtesse en 1970, le mobilier et bénéficier de la vue, s’adapter au terrain, traduire les les œuvres d’art sont répartis entre ses héritiers. tendances de l’architecture moderne et prôner un Rachetée en 1973 par la municipalité d’Hyères, la nouvel art de vivre privilégiant le corps et la nature. villa reste dans un état de semi-abandon malgré son Après avoir sollicité Ludwig Mies van der Rohe et inscription en 1975 à l’inventaire supplémentaire des Le Corbusier, ils passent finalement commande à monuments historiques. Elle est cependant restaurée 1 92 VAR progressivement à partir de 1986 jusqu’à l’ouverture traditionnelle car aucun entrepreneur à Hyères ne du centre d’art en 2003. maîtrise le béton armé. Les murs sont réalisés en brique et recouverts d’un enduit uniforme. -
Discreet Austerity. Notes on Gabriel Guevrekian's Gardens
Hamed Khosravi Discreet Austerity Notes on Grabriel Guevrekian’s Gardens In spring 1925 Gabriel Guevrekian, a young unknown artist - architect was invited to participate in the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris with a project called Jardin d’Eau et de Lumière. His contribution became one of the most noticed and criticized installations of the exhibition, and by the end, won the Grand Prix by the jurors. The garden was simply a stylized triangular walled space; a piece of landscape captured within a boundary made of concrete and colored glass. At the center of the plot was placed a tiered triangular fountain on top of which an electrically - propelled glass ball — a sculpture made by Louis Baril- let , the French glass artist — was revolving. The space between the fountain and walls was geometrically patterned with triangular patches of flowers and grasses, each of which slightly tilted in a way so that the whole ground plane was traced by folds of green, orange, purple and red (fig. 1). Fig. 1 Jardin d’Eau et de Lumière, by Gabriel Guevrekian 1925. (Excerpted from Michel Roux-Spitz, Bâtiments et jardins. Expo- sition des Arts décoratifs. Paris 1925, p. 74.) Wolkenkuckucksheim | Cloud-Cuckoo-Land | Воздушный замок 20 | 2015 | 34 Khosravi | 199 Contrary to the common European traditions of garden design — French, English, Spanish and Italian styles — Guevrekian’s project put forward a new image of garden, formalized and manifested fully through architec- tural forms, elements and techniques. The garden installation stood against any imitation of nature, both in its form and concept; in a way, the project celebrated architecture as a contrast to nature rather than garden as imi- tation of nature. -
Transnational Modernization and the Gendered Built Environment in Iran
Transnational Modernization and the Gendered Built Environment in Iran: Altering Architectural Spaces and Gender Identities in the Early Twentieth Century (1925-1941) A Dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Architecture and Interior Design of College of Design, Architecture, Art, and Planning By Armaghan Ziaee Bachelor of Architecture, 2009 Master of Architecture, 2013 Master of Arts, 2018 2018 Committee: Amy Lind, Ph.D. (Co-chair) Adrian Parr, Ph.D. (Co-chair) Edson Cabalfin, Ph.D. Abstract When Reza Shah Pahlavi (1925-1941) came to power in Iran in 1925, he initiated a rapid and irreversible process of change that began in the public domain of the city and filtered into the private domain of the home. During this era of accelerated, westernized modernization, gender- segregated private housing, including courtyard houses, and gender-exclusive, masculine public spaces were repurposed relatively quickly and/or were replaced by modern villa-style houses/apartments and gender-inclusive public spaces. Over the years, as Reza Shah’s policies of western-style modern houses, urban spaces, fashion, and design grew, he intensified his support for gender desegregation, most notably through banning women’s use of the Chador (the traditional Iranian veil) in public spaces. In this sense, the first Pahlavi modernization project of the built environment was constructed through a gendered lens of progress, in which physical structures, public and private spaces, and women’s (and men’s) very senses of embodiment and identity – in their homes, in public spaces, in regard to their dress – became a contested battleground at the center of broader struggles concerning modernity and westernization in Iran. -
Unveiling Iranian Courtyard House: the Example of Kuy-E Chaharsad-Dastgah (1946–1950)
Journal of Architecture and Urbanism ISSN 2029-7955 / eISSN 2029-7947 2019 Volume 43 Issue 1: 91–111 https://doi.org/10.3846/jau.2019.6046 UNVEILING IRANIAN COURTYARD HOUSE: THE EXAMPLE OF KUY-E CHAHARSAD-DASTGAH (1946–1950) * Mohamad SEDIGHI , Dick van GAMEREN Faculty of Architecture and the Built Environment, TU Delft, the Netherlands Received 09 October 2018; accepted 04 April 2019 Abstract. This article discusses the transformation of the traditional Iranian courtyard house type and neighbourhood structure in the early 20th century Iran, and focuses on the design of public housing in the country’s early years of mod- ernisation, after the second World War. It explores how (urban) legislations by Iranian reformists and modernists, and the compulsory unveiling law implemented between 1936 and 1943 contributed to change the image of urban areas and the everyday life of Iranians, particularly in Tehran. While this article provides a short overview of these transformations, it discusses how Iranian architects, educated in Europe, attempted to reconceptualise the ideal form of living, the courtyard- garden house (Khaneh-Bagh), for large-scale housing production, in the country. This article shows how the transformation of this house type became an instrument of accommodating both change and resistance in terms of local customs and hab- its, in Kuy-e Chaharsad-Dastgah, built between 1946 and 1950 in Tehran. To illustrate these, the design and development of this experimental housing project is analysed in details. It is also demonstrated how this project was developed based on a “planning document” revised by a group of modernist Iranian architects, who intended to improve the hygiene condition of living environments and to accommodate a large number of low-income civil servants in post-World War II, Tehran. -
Beiträge Zur Islamischen Kunst Und Archäologie Bd. 5
Beiträge zur Islamischen Kunst und Archäologie Bd. 5 BIKA 5_Lauf_4.indd 1 15.05.17 14:54 BIKA 5_Lauf_4.indd 2 15.05.17 14:54 Beiträge zur Islamischen Kunst und Archäologie herausgegeben von der Ernst Herzfeld-Gesellschaft Band 5 Herausgabe des Bandes: Markus Ritter und Ilse Sturkenboom mit Fernando Valdéz Fernández WIESBADEN 2017 DR. LUDWIG REICHERT VERLAG BIKA 5_Lauf_4.indd 3 15.05.17 14:54 Gedruckt mit freundlicher Unterstützung der Universität Wien, Historisch-Kulturwissenschaftliche Fakultät Abbildung Vorder- und Rückseite: Illuminated bi-folio title page, Shams al-Dīn Muḥammad ‘Aṣṣār Tabrizī, Mihr va Mushtarī, ca. 1570–80, copied by Qivām Shīrāzī, Geneva, Fondation Martin Bodmer CB 502, fols. 2v–3r, detail. See L. Uluç, fig. 2. Herausgeber: Ernst Herzfeld-Gesellschaft Zur Erforschung der Islamischen Kunst und Archäologie e. V. www.ernst-herzfeld-gesellschaft.de Herausgabe des Bandes: Markus Ritter und Ilse Sturkenboom mit Fernando Valdéz Fernández Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2017 Dr. Ludwig Reichert Verlag Wiesbaden ISBN:978-3-95490-238-5 www.reichert-verlag.de Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urhebergesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Speicherung und Verarbeitung in elektronischen Systemen. Printed in Germany BIKA 5_Lauf_4.indd 4 19.05.17 08:56 Inhalt / Contents Vorwort / Preface ................................................. vii Bauen für die Stadt / Building for the City Aspekte der Maritimen Archäologie von al-Andalus Marcus Heinrich Hermanns ........................................ -
Le Jardin Comme Art Du Sol. Autour Des Jardin De Gabriel Guévrékian
LE JARDIN COMME ART DU SOL AUTOUR DES JARDINS DE GABRIEL GUÉVRÉKIAN CAMILLE LESOUEF L’Exposition internationale des Arts décoratifs industriels et modernes qui se tient à Paris entre avril et octobre 1925 est à la fois le symptôme et le cataly- seur d’un changement de paradigme dans les arts décoratifs français. Selon un mouvement initié avant-guerre, ses formes et fonctions se renouvellent à l’aune de l’abstraction picturale et des nouvelles réalités économiques. Les jardins créés à cette occasion par de jeunes architectes 1 expriment le retour à l’inspiration arabe et andalouse dans cet art en France, mais aussi la réinter- prétation de principes de composition issus de la Renaissance et du xviie siècle, modernisés par des couleurs et des formes alors rarement employés dans les jardins. Alors collaborateur de Robert Mallet-Stevens, le jeune architecte armé- nien Gabriel Guévrékian 2 conçoit pour cette exposition le Jardin d’eau et de lumière, un petit espace dont la forme triangulaire se décline dans l’ensemble de la composition (fig. 1). Cette réalisation lance sa carrière, puisqu’à la fin de l’année 1925 il reçoit la commande d’un jardin similaire pour la villégiature hivernale de Charles et Marie-Laure de Noailles à Hyères 3. Héritant d’un terrain sur les hauteurs du village méditerranéen à l’occasion de son mariage, le vicomte Charles de Noailles commande en 1923 à Robert Mallet-Stevens une villa moderne, qui prendra des airs de château 4 à son achèvement en 1933 5. Au fil du chantier, l’architecte fait appel à de nombreux 1 La section de l’art des jardins dont le commissaire est Jean-Claude-Nicolas Forestier montre des jardins conçus par une jeune génération d’architectes alors au début de leur carrière : Albert Laprade, Joseph Marrast, André-Charles Riousse, Gabriel Guévrékian, etc. -
Maarten Doorman
artinprogress2.def 20-10-2003 11:58 Pagina 1 Maarten Doorman Art is supposed to be of our time or rather to be part of Art in Progress the future. This perspective has reigned the arts and art criticism for more than a century. The author of this challenging and erudite essay shows how the idea of progress in the arts came up A Philosophical Response to the End of the Avant-Garde and he describes the enormous retorical impact of progressive concepts. After the end of the avant-garde the idea of progress in the arts collapsed and soon philosophers like Arthur Danto Doorman Maarten proclaimed the end of art. Doorman investigates the crippling effects of postmodernism on the arts and proposes a new form of progress to understand contemporary art. Its history can still be seen as a process of accumulation: works of art comment on each other, enriching each other’s meanings. These complex interrelationships lead to progress in both the sensibility of the observer and the significance of the works of art. Art in Progress Maarten Doorman is an In the nineteenth century, the history of painting associate professor of was regarded as the paradigm of a progressive under- philosophy at the taking, and evidence that historical progress is a University of Maastricht possible ideal everywhere else. In post-modernist and a professor of literary times, however, progress seems to have all but lost criticism at the University meaning against prevailing philosophies of the end of Amsterdam. The Dutch of art. But the end of art does not entail that there has edition of this title was not been genuine progress in the philosophy of art. -
The Importance of Jean Welz.Pdf
The Importance of Jean Welz Jean Welz was important when he died, in 1975, as a painter. In South Africa. When he left Paris, in the autumn of 1936, he was almost completely unknown in the public sphere. In the private sphere he knew, for example, Gabriel Guevrekian, who’s Parisian entourage before the war included Le Corbusier & Pierre Jeanneret, Pierre Chareau, Adolf Loos, Henri Sauvage, Robert Mallet-Steves, Pierre Sorel, Georges-Henri Pingusson, Andre Lurcat, Rene Herbst, UAM, CIAM, Siegfried Giedeon, Robert & Sonia Delauney, Calder, Lipschitz, Poulenc, Therese Bonney, Morton Strand, Jacques Heim. Iris Meder said he regularly played football with Le Corbusier. Therese Bonney took the photos of his house in Paris. There would have been some overlap. Welz & Guevrekian were classmates in Vienna, alongside Elizabeth Schutte-Lihotsky, Oswald Haerdtl, Ernst Plischke, and Josef Hoffmann’s son, whose father was the head of the course. Welz was second-top student to Haerdtl, whom he disliked as better at sucking-up than architecture, and was taken on by Hoffmann from graduation to 1925, when he was sent to the Art Deco exhibition in Paris, and stayed, leaving behind a very glamorous wife and his bicycle at the Railway Station. Welz’s work in Paris was - I discovered - a constant dialogue between Le Corbusier and Adolf Loos. Both were friends, Loos rather more, he used to stay in Welz’s tiny flat on later visits to Paris, after 1928. Le Corbusier gave him a note of introduction when Welz took the cheapest boat he could find - to South Africa - from Hamburg, leaving behind his beloved (2nd) wife and child. -
Temporary Experience in Architecture
Temporary Experience in Architecture The open construction site of the public space Renzo Lecardane Professor, PhD [email protected] https://unipa.academia.edu/RenzoLecardane Bruegel, Pieter (Il vecchio) Children's Games, 1560 Le Corbusier, Hélène de Mandrot and Sigfried Giedion I CIAM 1928 La Sarraz CIAM Foundation II CIAM 1929 Frankfurt Minimum habitat III CIAM 1930 Bruxelles Rational allotment IV CIAM 1933 Athens Functional city V CIAM 1937 Paris Habitat and free time. City and countryside VI CIAM 1947 Bridgewater Ten years of contemporary architecture VII CIAM 1949 Bergamo Applications Charter of Athens VIII CIAM 1951 Hoddesdon Heart of the city IX CIAM 1953 Aix-en-Provence Habitat Charter X CIAM 1956 Dubrovnik Town and the interrelationships between its functions The I CIAM Foundation in La Sarraz was organized in 1928 by Le Corbusier, Hélène de Mandrot and Sigfried Giedion (1st Secretary General of the Congress) brought together a group of 28 so-called modern European architects (Mart Stam, Pierre Chareau, Victor Bourgeois , Max Haefeli, Pierre Jeanneret, Gerrit Rietveld, Rudolf Steiger, Ernst May, Alberto Sartoris, Gabriel Guevrekian, Hans Schmidt, Hugo Haring, Zavala, FlorenKn, Le Corbusier, Paul Artaria, Helene de Mandrot, Friederich Gubler, Rochat, Andre Lurcat, Robert von der Muhll, Maggioni, Huib Hoste, Sigfried Giedion, Werner Moser, Josef Franck). The graphic of the French group shows the 6 principles of modern architecture: modern technique and its consequences, standardization, economy, urban planning, education of young people, implementation. “A few days ago I had another experience in Amsterdam, where I visited the children's playgrounds that were created under the guidance of Van Eesteren and designed in detail by a young member of the Dutch CIAM group, Van Eyck. -
Sartoris 2005.Pdf
14 | 15 From Collection to Encyclopedia: Issues and Milestones of an Exemplary Undertaking From Collection to Encyclopedia: Issues and Milestones Hendrik Petrus Berlage. Stock Adolf Loos. Steiner House, Page from the magazine Praesens Cover of the magazine AC of an Exemplary Undertaking Exchange, Amsterdam, 1898–1904. Vienna, 1910. Unsigned photograph, (Warsaw), no. 2, 1930. (Barcelona–Madrid), no. 1, Photograph by A. Frequin, 22 x 17 cm. 12 x 16 cm. 1931[?]. Antoine Baudin The Italian-Swiss architect Alberto Sartoris owes a large share of knowledge about architectural photography is proportional to the his fame to his intensive activities as a propagandist and cultural ambivalence with which it has always been burdened, a sort of activist. From 1932 to 1957, with Milan publisher Ulrico Hoepli, constant identity crisis. Architectural photography has traditionally he published six major works which have become legendary: the been structured around three functions with loosely defined three editions, each one larger than the previous, of Gli elementi boundaries. As Eric de Maré, one of its first theoreticians, dell’architettura funzionale: Synthesis panoramica dell'architettura formulated these functions around 1960, they are “Record” (the moderna (1932; 1935; 1941: 1135 illustrations); then, using the raw document), “Illustration” (having additional aesthetic value), same principle of a visual panorama, the three volumes of and “Picture” (autonomous image, independent of any architectural L’Encyclopédie de l’architecture nouvelle (1948–1957, in French), qualities)1. Photography’s original documentary mission and its which contained 2230 images, mostly photographs. These conditions of production implied an absolute subordination to the publishing undertakings, unmatched in scope and duration, were purpose for which it was commissioned.