Architectures of The

d neighbourhoodsof the Journal 60 — 2019/02 modern movement movement modern International committee for documentation and conservation of buildings, sites an ARCHITECTURES SUN OF THE

ARCHITECTURES OF THE SUN Journal 60 Editor Ana Tostões Guest editor Susana Lobo Editorial Board Hubert-Jan Henket Louise Noelle Gras Scott Robertson Advisory Board Anthony Vidler Barry Bergdoll Hilde Heynen Jean-Louis Cohen Michelangelo Sabatino Sarah Whiting Tom Avermaete Wilfried Wang Vittorio Lampugnani English editor Scott Robertson Collaborators Beatriz Agostinho Carolina Chaves João Lucas Domingos Mafalda Pacheco Sílvio Alves Design Ana Maria Braga Printing Maiadouro, Portugal

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On the cover: Benidorm, Alicante, Spain. © Garrod Kirkwood, 2017.

Contribute to the next journal Authors who would like to contribute to the docomomo Journal are kindly invited to contact: [email protected]. Guideline to contributors • A copy on cd / usb flash drive or an e–mail version of the text. The cd should be clearly labeled with the author(s) name(s), the title, and the names of the files containing the text and illustrations. The name and version of the word-processing software used to prepare the text should also be given. • The title and author’s name should be clearly mentioned on each page of the text and the name, title, postal address and e–mail address should also be given at the end of each contribution. Form • All texts must be in English; if translated, the text in the original language must be enclosed as well. • Texts should be written with double spacing and liberal margins with all pages numbered in sequence. • A short resume of the author(s), in connection with the contribution, must be included. • Illustrations referred to in the text should be mentioned and abbreviated as follows: (Figure 1). • Articles must include a short bibliography of about 5 to 10 reference books or articles. • Endnotes should be numbered and should follow the following style: Books: Nikolaus Pevsner, Pioneers of Modern Design: From William Morris to Walter Gropius, Harmondsworth, Penguin, 1960. Articles: Julius Posener, “Aspects of the Pre-History of the Bauhaus”, From Schinkel to the Bauhaus, London, A.A., 1972, 43-48. Illustrations We accept 3 to 6 illustrations for short contributions (about 600 words) and up to 10 illustrations for full-length articles (about 1500 words). It is essential that authors provide good quality illustrations either printed on paper or as digital data (size of images: 300 dpi for an A5 format). For figure captions, the order of information is: designer, name of building or object, location, date, description, source. If a building has been destroyed, include that information. most famous Slovak mountain resort the 1970s in and 1960s of Architecture “turn key” experience in Portugal in experience key” “turn 08 ESSAYS 04 TOSTÕES —BYANA 02 EDITORIAL — BY HENRIETA MORAVCIKOVÁ 58 LOPÉZ MAREZ —BYIZOL 50 LOBO —BYSUSANA 42 ATHANASSIOU —BYEMILIA F. ROBERTO ALONSO-JIMÉNEZ AND 34 LOREN-MÉNDEZ, —BYMAR DANIEL PINZÓN-AYALA 24 MULAZZANI —BYMARCO 16 LEWI —BYHANNAH projects and discourse for mass tourism tourism mass for discourse and projects Greece: The ethical structure of hospitality of structure ethical The Greece: during Fascism evolution atypological optimism of era an of The present of modern leisure heritage heritage leisure modern of present The for Workers City in Marbella. Sindicales de Vacaciones INTRODUCTION

Hotel megastructures: the Balaia Hotel megastructures: Building High Tatras: dilemma of form form of dilemma Tatras: High Building Tourist towns in Languedoc-Roussillon: Weaving the Public swimming pools in Australia in pools swimming Public

Holiday colonies for Italian youth youth Italian for colonies Holiday LOBO — BYSUSANA tourism: mass to holidays paid From emergence the or holidays to right The Ciutat de the RepòsFrom Xenia network in post-war : seaside Vacation Vacation : seaside to the Ciudades the to

96 90 DOCUMENTATION ISSUE created by Eileen Gray and Jean Badovici Jean and Gray by Eileen created E.1027 house the of history the on Gems 89 CAILLIAU —BYAGNÈS 84 DIAMOND —BYROSAMUND 77 — MÜLLER BY CHRISTIAN 71 — WANG BY WILFRIED 94 — BY RICARDO PAIVA (1947–1952) a prototypical vacation residence vacation aprototypical 66 E.1027 DOSSIER E.1027: murder and mystery of the camera the of mystery and E.1027: murder

E.1027: Tourism and modern architecture architecture modern and Tourism Eileen Gray and the inﬂuence of Cubism of inﬂuence the and Gray Eileen Should Le Corbusier’s E.1027 murals be E.1027 murals Corbusier’s Le Should considered as “historical monuments”? APPENDIX BOOK REVIEWS Hell”: a“Green in NEWS mer bord de en Maison Hotel Amazonas Hotel

Contents docomomo 60 — 2019/2

EDITORIAL

ANA TOSTÕES

Chair of docomomo International

The right to holidays or the emergence of an era of optimism

in memory of Tiago Freitas (1977—2017)

Entitled “Architectures of the Sun” this issue of the in the snow or at seaside locations in Brazil, France, Greece, docomomo Journal is devoted to the theme of holidays, and Portugal or Slovakia; all these reveal a wide range of considers the key role of Modern Movement architecture in perceptions of the landscape based on a singular modernity. the symbolic and functional affirmation of the new leisure The relationship between architecture and the tourist land- era. The aim is to reflect on the transformation of the terri- scape was approached as a unique issue, experienced as a tory and to address the architectural challenges arising from reshaping of leisure spaces in accordance with the needs of the collective happiness and joy contained in what has been contemporary society. called the right to holidays. Above all, the landscape became an inspiration for In 1937, ciam 5 specifically linked the housing question to modern architecture and to a certain extent, for large- leisure, considering it an absolute necessity to acknowledge scale complexes, in claiming the right to vacation for all. that “the most privileged places will be chosen for the loca- To the middle class, it represented the opening up of some- tion of these [leisure] areas. Taking possession of these places thing that, before the war, had been a privilege reserved by large masses will allow for rest and outdoor exercise, the for the elite. indispensable recuperation of the forces lost in the city”. docomomo International is grateful to Susana Lobo for docomomo 60 — 2019/2 As Charlotte Périand (1903–1999) asserted, the need to accepting the challenge to be guest editor of this DJ. Thanks create machines à recréer, the goal was definitively to assure to her commitment, allied with meticulous and rigorous “the happiness of men”. work, and to the skill of a wide range of professionals, From the first optimistic architectural swimming-pool scholars and researchers who have contributed with their complexes to discovering the enjoyment of beaches or knowledge and dedicated work, it is with great pleasure of winter sports in the mountains, these “architectures of that we present this journal. the Sun” began to link the power of landscapes with the A variety of reflections is presented: from essays dedi- relaxation and pleasure of the human body. Associated cated to the swimming phenomena and the creation of Editorial with healthy living and claimed for all, for the first time, the swimming-pool complexes, to the holiday colonies and beaches, mountains, lakes and forests became identified as cities created for workers’ relaxation, from an investigation places for vacations. of hotel typology, to essays on tourist megastructures and This docomomo Journal is a first attempt to discuss, emblematic mountain resorts. among our network, the heritage of architectural I also wish to thank Wilfried Wang for the exciting E.1027 programmes in the context of holidays, tourism and leisure, Dossier, which reveals the most recent thinking on Eileen envisaged as a social conquest of modernity. Issues such Gray (1878–1976) and Jean Badovici’s (1893–1956) unique as landscape, memory, identity and heritage, are explored and exquisite legacy. The Maison en bord de mer symbolically against a background of territorial transformation and represents the vacation refuge, set within an amazing and exploding tourism within the scope of the welfare society. poetic landscape, and also raises the question of the legacy From the joyful phenomenon of swimming pools in of holiday architecture: the preservation, maintenance and Australia to children’s beach-sports facilities under Italian re-use of these buildings and sites in accordance with a fascism; or the workers’ vacation cities for trade unions, responsible evaluation of the landscape in environmental from republican Spain to the Franco period; from the and sustainable terms. creation of the seaside hotel to large scale tourist complexes

On the previous page: Eileen Gray, Jean Badovici, E.1027, Roquebrune-Cap-Martin, France, 1929, view of guest balcony and sun pool. © Viviana Andrada Baumann, 2016 3 INTRODUCTION

From paid holidays to mass tourism: a typological evolution

BY SUSANA LOBO

in memory of Tiago Freitas (1977—2017)1

The 1919 ratiﬁcation of the 48-hour working week by the government6 of Léon Blum (1872–1950) elected in 1936 Organization Internationale du Travail [International Labor and responsible for the introduction of “paid holidays” in Organization], created by the signatory countries of the France. This same subject extended to the Pavillon des Temps Treaty of Versailles, raises a new challenge to industri- Nouveaux: Essai de Musée d’Education Populaire [Pavilion of the alized society: the organization of workers’ free time. New Times: Essay of the Museum of Popular Education], Divided the day into “three eights” — eight hours of work, designed in collaboration with Pierre Jeanneret (1896–1967) eight hours of rest and eight hours of sleep — the social for the Exposition Internationale des Arts et Techniques dans la Vie framework of leisure is understood as a moral duty of Moderne [International Exhibition of Arts and Techniques in the state2. This issue takes on a never before considered Modern Life] that also took place in Paris aside the congress.

60–2019/2 dimension with the attention given to the instrumental As a direct result of the gradual democratization of the use of popular recreation by European totalitarian regimes right to remunerated leave, the notion of leisure in “modern and its centralization in organisms of a political and ideo- times” expands to the weekly and annual spheres, including logical character. Leisure, in this context, would work as not only rest and sports, but cultural and personal value docomomo a privileged area of indoctrination and diffusion of the activities, towards the theories of popular education so dear nationalist rhetoric that supports the construction of to the political discourses of the time. In the post-war period, fascist dictatorships. But the recognition of the necessity the Universal Declaration of Human Rights, adopted by the to organize leisure was not restricted to totalitarian states, United Nations (un) in 1948, proclaimed the right of “every nor was it an exclusively political and/or social issue. person” to periodic paid holidays. This principle emphasized In view of the growing number of urban workers, the that leisure, now extended to a generalized middle class, contemplation of this “new time” implied the planning of was no longer understood only in its collective dimension specific spaces and programs that provided direct contact but conceived as a personal time, defined “according to Introduction with nature and the practice of activities suitable for rest, individual desires”7. A new time that gains autonomy and fun, physical and mental development, on the assumption meaning in the prosperity period of the Trente Glorieuses that “the environment forms the individual”3. [Glorious Thirty]8, progressively replacing work at the basis It is precisely on the consequences of leisure in the design of all relations in capitalist consumer society. For the French of the functional city that the 5th International Congress of sociologist Joffre Dumazedier (1915–2002) this was the path Modern Architecture (ciam 5), held in Paris from June 28 to a new civilization. One in which mass leisure would be to July 2 of 1937, focused. Under the theme Logis et Loisirs integrated into a cultural democracy sustained by compre- [Dwelling and Leisure], the congress discussed what was hensive education and information policies: une civilisation du considered to be the “most urgent problem of our time: loisir [a civilization of leisure]9. Loisirs (translated in Italian as housing” and “immediately linked to it as inseparable, the Tempo Libero) would also be the theme of the xiii Triennale di notion of leisure”4. Leisure, defined in the previous meeting Milano of 1964, in a controversial exhibition that reported on as one of the four functions of modern urbanism, was, pop culture and mass consumption practices to question the until then, understood only as an activity of occupying meaning and value of free time in contemporary society10. daily spare time, after work and limited to the use of the It is on the subject of free time that this issue of the green spaces within the city. In ciam 5, its importance is docomomo Journal is focused. More specifically, on definitively reasserted, when Le Corbusier (1887–1965), summertime leisure. The aim is to establish a typological in the conclusion of his intervention, proclaims housing evolution of the “architectures of the Sun” associated with and leisure as essential goods that should be guaranteed as the emergence and consolidation of a seaside mass tourism public services, “an obligation of the community for all”5. In in the 20th century. An evolution that can be related to fact, the choice of the ciam 5 theme was suggested by Le sociologist Erik Cohen’s (1932–2014) distinction between Corbusier himself based on the agenda of the Popular Front non-institutionalized and institutionalized tourist types,

4 60– 2019/2 docomomo

01 Trienalle di Milano 1964. Corridoio delle didascalie. Sezione Introduttiva a carattere Internazionale. [Corridor of Captions. Introduction Section with an internacional character] © Triennale di Milano. Archivio Fotografico. ranging from the drifter to the organized mass tourist11, and In “Book Reviews”, Cape Cod Modern: Midcentury Architecture geographer Richard Butler’s (b. 1943) model on a tourist and Community on the Outer Cape (Metropolis Books, 2014) area cycle of evolution12, divided into six stages of develop- also gathers a unique set of summer retreats built from 1938 ment from exploration to rejuvenation or, in the opposite by a group of modern architects, including European émigrés Introduction extreme, decline. Although this assessment is not always Marcel Breuer (1902–1981), Serge Chermayeff (1900–1996) straightforward or linear, it reinforces the idea of tourism and Olav Hammerström (1906–2002) among others, that as a holistic phenomenon of which architecture, as a mech- combine functional design principles with local building anism that places the tourist experience, is the ultimate traditions and materials to rehearse new forms of informal material expression. living in communion with the natural setting. With the The summer holiday house is the quintessential type of creation of the Cape Cod National Seashore in 1961, admin- seaside architecture. Heir of the 19th century “chalet” or istered by the National Park Service, some of these experi- “villa”, it would know a significant transformation with mental houses were slated for demolition and fell into disre- the formal, spatial and technological advances intro- pair until 2007 when architect Peter McMahon (b. 1957) duced by the housing experiments of the pioneers of the founded The Cape Cod Modern House Trust ccmht)( with Modern Movement. Eileen Gray’s E.1027 (1926–1929), in the aim of documenting the history of the more than 100 Roquebrune-Cap-Martin (Côte d’Azur, France), is one of existing examples and restore some of them. the most relevant examples of Existenzminimum research Like E.1027, these first seaside dwellings correspond to applied to the design of holiday private accommodation. the exploration stage in Richard Butler’s model and to Erik In the opening essay of the “E.1027 Dossier”, Wilfried Cohen’s type of non-institutionalized tourist drifters. Wang classifies it as the “prototypical vacation residence”, On a different record, Marco Mulazzani introduces an highlighting Eileen Gray’s (1878–1976) ground-breaking overview of the holiday colonies for children built under approach to summer holiday facilities as compact and rich the Fascist regime in Italy (1925–1945) to observe that, experiences where the designer explores different relational despite the establishment of specific parameters of the func- devices to extend and enhance the sense of space. tional organization of these structures, there is no definition

5 of an architectural typology as such. Instead, the wide-range In Portugal, the Balaia Hotel (1964–1968) announces the of layouts and aesthetic solutions, mediating between a more shift in scale of the tourism phenomenon with the emer- classic or more modern configuration, reflect the complexity gence of institutionalized tourism and the generalization of of the Italian architectural debate of this period. Defining an the mass individual tourist. This is the consolidation stage in initial phase in the construction of holiday facilities, the colo- the evolution of tourist areas. Conceived as a self-contained nies coincide with the involvement stage of the development and self-sufficient facility, this hotel megastructure symbol- of tourist areas and the explorer tourist typology. izes what Mario Gaviria (1938–2018) calls “neocolonialism In their essay, Mar Loren-Méndez, Daniel Pinzón-Ayala of quality space”13 with the economic liberalization of the and Roberto Alonso-Jiménez trace the evolution in the internal market and the incentives to foreign investment. Spanish spatial formalization of workers rest by comparing The innovative “turn key” commission would revolu- the gatcpac (Catalonian faction of the Group of Spanish tionize the traditional practice of architectural production Artists and Technicians for Contemporary Architecture) in Portugal, giving way to the appearance of multidisci- project for the Ciutat de Repòs i de Vacances (1931–1934) with plinary office structures in close alignment with capitalist Franco’s regime Ciudades Sindicales de Vacaciones (1954–1963) consumer society. to expose the shift in paradigm from the modern urban From the other side of Europe, the hotel megastruc- model of the Second Republic to the self-sufficient, more tures of the era of state socialism in Bulgaria and Croatia, organic enclosures of the dictatorship. Focusing in partic- analyzed in Holidays after the fall edited by Elke Beyer, ular on the last of these settlements, built in Marbella, they Anke Hagemann and Michael Zinganel and included advocate its conservation as a unique example of modern in this journal “Book Reviews” section, gives us an over- leisure heritage. This case-study of an initial approach to the view of the impact of the development of mass seaside seaside tourism town typology can be related to Richard tourism in the urbanization of coastal regions in the 1960s Butler’s development stage and, according to Erik Cohen, and 1970s. Opposite architectural and urban approaches to a change from non-institutionalized to institutionalized differentiate these two cases: in Bulgaria, with large tourist types. holiday resorts concentrated in certain locations of the In the same categories we also find both the state-run Black Sea coast and designed on an urban scale by the

60–2019/2 Greek Xenia network of tourist accommodation facili- central state and, in Croatia, with the rehearsal of a ties and infrastructure (1950–1967) and the Australian diverse range of architectural typologies by various archi- swimming pools from the post-wwii period (1945–1972). tects for local, mostly workers’ self-managed, enterprises Emilia Athanassiou addresses the first of these two cases and scattered along the entire Adriatic coast. The fall of docomomo associating the Xenia network with an upgrade in Greece’s the socialist states in the 1990s and Yugoslavia’s disinte- hotel hospitality industry and with the consolidation of gration after the war (1991–2001) led to the abandonment the tourism industry as a structural sector for the coun- or destruction of many of these structures until more try’s economy following the Civil War (1946–1949) and recently, when the new boom of international tourism, the Marshal Plan program (1947–1951). Built by the gnto accelerating the commodification of larger stretches of (Greek National Tourism Organization), these official struc- land for tourism development and the privatization of tures aimed, on one hand, to set the standard for private many of these complexes, has raised the question of the initiatives and, on the other, to promote the development of value of modern seaside state socialist leisure architecture Introduction international tourism alongside domestic travel, by estab- as cultural heritage. lishing modern model tourist facilities spread throughout At a mass scale, but in this instance for Western capitalist the country. This was the opportunity for Greek archi- society, the most iconic state intervention in seaside tourism tects to rehearse different spatial and formal approaches would undoubtedly be the transformation of the French to different architectural typologies, in particular the Languedoc-Roussillon region on the Mediterranean into a traditional hotel and seaside hotel, located in exceptional new coastal resort as an alternative to the Côte d’Azur. The historical and/or natural settings, and the American inspired corresponding Plan d’Urbanisme d’Intérêt Régional [Urban motel, directly related to the main inland road routes. Plan of Regional Interest] (puir, 1962–1964/1969) was Falling into decay after the 1980s, it is now urgent to reassess designed by the Agency for Architecture and Urbanism the significance of this nation-wide project for Greek culture. (aau), presided over by Georges Candilis (1913–1995) with Hannah Lewi also alerts to the need for further documen- Jean Balladur (1924–2002) as general secretary. Proposing tation and careful conservation of another threatened arche- a new territorial structure for the whole area, the plan type of modern leisure, in this case in Australia: the swimming comprised the construction ex nihilo of six Unités Touristiques pool. Spaces of individual and/or collective shared experi- supported by a system of twenty new or rehabilitated ences, normally associated with the memory of summertime Ports de Plaisance. Placed at each end of this 200 kilometers laid-back and fun outdoor living, the pools encapsulate a stretch of coast, Port Leucate-Barcarès (1964–1972) and La certain idea of freedom, although regulated by somewhat Grande-Motte (1964–1977) were the two first tourist towns restricted functional requirements and social conventions. to be built, with projects respectively by Georges Candilis Freedom in design experimentation, as a new architectural and Jean Balladur. In her essay, Izol Marez López analyzes program, but equally of self-expression, where the swimming the projects produced by the architects to conclude that body epitomizes the image of health and beauty. these new scenarios for mass tourism development were

6 ideal places for the materialization of the urban and archi- 3 “L’ambient forma l’individu”, AC Documentos de Actividad tectural revision theories of team 10. Contemporánea, 25, January–March 1937, 10. As a symbol of the stagnation stage in the evolution 4 ciam, Logis et Loisirs: 5e Congrés CIAM Paris 1937, Paris, Editions de l’Architecture d’Aujourd’hui, 1937, 6. of organized mass-market tourism areas, but also of the 5 Ibid., 27. capacity to stabilize and even rejuvenate certain tourist 6 Eric Mumford, The CIAM Discourse on Urbanism (1928-1960), Cambridge destinations, Benidorm’s photograph by Garrod Kirkwood ma, The mit Press, 2002, 110. (winner of the 2019 American Photography Awards) was 7 Alain Corbin, História dos Tempos Livres: o advento do lazer, Lisboa, Editorial Teorema, 2001, 457. the choice for the cover of this “Architectures of the Sun” 8 Expression coined by the French sociologist Jean Fourastié (1907–1990) issue of docomomo Journal, documenting the ultimate built referring to the period of prosperity lived in Europe, between the end and social expression of the seaside tourism phenomenon of wwii and the Petroleum Crisis of 1973. Jean Fourastié, Les trente in the 20th century. Still today, Benidorm (Alicante, Spain) glorieuses: ou La Revólution invisible de 1946 a 1975, Paris, Fayard, 1979. 9 Joffre Dumazedier, Vers une civilisation du loisir?, Paris, Éditions du Seuil, 14 remains the “tourist town par excellence” , where, in the end, 1962. time, not space, is the essence of the tourist experience15. 10 With an introduction section curated by Vittorio Gregotti (b. 1927) But holidays were not all about summertime. Also winter and Umberto Eco (1932–2016) and the contributions of authors such as resorts played an important role in the construction of Aldo Rossi (1931–1997), Gae Aulenti (1927–2012) and Carlo Aymonino (1926–2010), the layout of the display immersed the visitor in an explo- the idea of free time leisure. Closing this issue, Henrieta sion of visual and sound effects that revolutionised the established Moravcíková gives us a take on the mass tourism develop- concept of what should be an architecture and design exhibition, ment of the High Tatra Mountains under the Communist spurring Bruno Zevi’s criticism: “Il disfacimento è totale; al vuoto ideologico Czechoslovak Socialist Republic (1948–1990) and in partic- corrisponde un indirizzo architettonico insensato [...] le visualizzazioni, brillanti, sofisticate e astruse, comunicano il nulla, ingenerando nell’osservatore una ular on the sports and lodging facilities built to accommodate sensazione di torpore. Se l’esito del tempo libero sta nel provocare nausea, la the World Skiing Championship of 1970 and the ficc’74 rappresentazione è riuscita” [The rupture is total; to the ideological void international meeting. High quality architectural works of corresponds a senseless architectural answer [...] the visualizations, bril- modern architecture, these structures are threatened today liant, sophisticated and abstruse, communicate nothingness, giving the observer a sensation of torpor. If the outcome of free time is to cause by demolition and their replacement by standardized build- nausea, the representation is successful]. Bruno Zevi, “xiii Triennale di ings of a questionable “uniform regionalist kitsch”. Milano. Tempo sprecato sul tempo libero”, l’Espresso, 16 August 1964. 11 Erik Cohen, “Towards a Sociology of International Tourism”, Social These and other cases illustrated in thisjournal warn us of 60– 2019/2 the arduous work still to be done in raising public awareness Research, Vol. 39, 1, 1972, 164–182. 12 Richard Butler, “The concept of a tourist area cycle of evolution: and recognition of modern architecture as collective heri- Implications for management of resources”, The Canadian Geographer, tage. A mission that docomomo International has exem- xxiv, 1, 1980, 5–12. plarily taken on since 1988. I thank all the guest authors for 13 Mário Gaviria et. al., España a Go-Go: Turismo charter y neocolonialismo del docomomo their collaboration and support in achieving this aim. espacio, Madrid, Ediciones Turner, 1974, 275. 14 José Miguel Iribas, “Benidorm, instructions for use”, in mvrdv, Costa Iberica: Upbeat to the leisure city, Barcelona, Actar, 2000, 110. Notes 15 José Miguel Iribas, “El turismo no es una industria del espacio, sino del 1 As a personal note, I would like to dedicate this docomomo Journal tiempo”, La Opinión A Coruña, 14 May 2010 [available at https://www. to my first PhD student Tiago Freitas (1977–2017), in co-supervision laopinioncoruna.es/contraportada/2010/05/20/jose-miguel-iribas-turis- with Professor Ana Tostões, whose ground-breaking comprehensive mo-industria-espacio-tiempo/384595.html]. research on Portuguese modern summer houses was prematurely interrupted. This study would have contributed to better define this architectural type and to reassess its pertinence and meaning in Susana Lobo Introduction contemporary society’s holiday practices. Focusing on the seaside (b. Lourenço Marques, Portugal, 1973) Architect (2002) and PhD in residential resorts of Moledo do Minho, Ofir, São Pedro de Muel Architecture (2013), University of Coimbra. She is Assistant Professor at and Rodízio the study would have been a fundamental instrument in alerting, and pressuring, local administrations to the urgency of the Department of Architecture of the University of Coimbra and member creating specific legislation for the protection and conservation of of the Coimbra Studio PhD program. Her research interests focus on th the selected study cases, as exceptional works on their own but, more Portuguese Architecture, Urbanism and Design of the 20 century, with importantly, as part of a whole. The present legal void in the classifica- expertise on tourism and leisure infrastructure. On these topics she has tion of these urban ensembles in Portugal has allowed the demolition published, curated, organized and supervised several books, articles, exhi- and de-characterization of many of the less known or representative bitions, scientific events and academic theses. She is researcher at citua– examples of one of the most expressive architectural products of ist/uL (Centre for innovation in territory, urbanism and architecture modernity and, with them, the testimonies of a certain life-style. – Superior Technical Institute/Lisbon University) and associate researcher 2 Anne-Marie Thiesse, “Organização dos lazeres dos trabalhadores e at ces-uc (Centre of Social Studies – Coimbra University). tempos roubados (1880–1930)”, in Alain Corbin, História dos Tempos Livres: o advento do lazer, Lisboa, Editorial Teorema, 2001, 366–391.

7 John and Phyllis Murphy, Kevin Borland and Peter McIntrye Architects, Melbourne Olympic Pool, Victoria, 1953—1956. © Photographer Wolfgang Sievers, State Library of Victoria. ESSAYS

Public swimming pools in Australia

BY HANNAH LEWI

In Australia the image of sporting prowess and easy access to swimming venues — both natural and artiﬁcial — has ensured that public swimming pools became a site of modern architectural interest and design experimentation from the 1930s onwards. Ranging from prosaic, local amenities to award-winning signiﬁcant complexes, public pools are fascinating and potent places of individual and community memories and experiences. Many still exist but many others have been lost or detrimentally altered in the last two decades. As a modern type they deserve further documentation and careful conservation and adaptation to suit contemporary use.

A sustained self-image of modern Australia has been built functional characteristics that strongly reflect the broader around its national association with water; from the mythol- concerns of Modernism in the 20th century. In terms of ogizing of the beach, to sporting prowess in the “artificial” their design language, public pools reflect the functional

location of the Olympic swimming pool. Arguably up until concerns of building modern community buildings for 60 — 2019/2 around ten years ago, there has been a lack of scholarly or health and education. They often involved the use of inno- architectural interest in the history of places for collective vative structural and mechanical solutions that enabled a swimming. However, appreciation has recently surged, close integration between exterior and interior spaces. They reflected in the theme of the Australian pavilion at the allowed for experimental deployment of new materials, docomomo Venice Architecture Biennale on The Pool – Architecture, and the servicing for hygienic and comfort standards was Culture and Identity in Australia in 2016, which literally turned complex. Landscaping helped to embed the pools in their the new Australian pavilion building designed by Denton contexts — whether urban, suburban or waterside, and Corker Marshall Architects into a shallow interior public sometimes added a touch of the exotic. swimming pool experience. The exhibition was accompa- Architectural solutions were interlinked with changing nied by a ‘broadsheet’ and book on the histories, memories social, governmental and individual attitudes to social of all kinds of pools, both public and private, in Australia. behaviors in public, accessibility and privacy, and the The exhibition was a great success on location in the hot modernizing and democratization of leisure and sport. Essays summer of Venice, and then subsequently translated into Aside from a handful of pools built for elite sporting events the National Gallery of Victoria in 2018. like the Olympic and Commonwealth Games in Australia, This article reflects the author’s long-standing interest in most were realized by necessarily economic means, typi- the history of public swimming pools in Australia and their cally funded through a combination of government and conservation, and her collaboration with the Venice Biennale local community fund-raising. While some mid-century team, and involvement in other exhibitions and publica- pools became “useful monuments” to commemorate war tions1. The research was inspired by the feeling that many service and sacrifice particularly after wwii. Thus, any pools were currently under threat or had already been left to narrative on the history of public pools needs to account decay. And the fundamental observation that public pools for architectural innovation, but also social change and offer a way of understanding Australian modern design, in an the nexus between governmental strategies promoting a everyday setting, that created a very particular kind of public healthy citizenry, and how such strategies were furthered in place which most Australians have had access to. They speak architectural terms through modernism. of a collective desire for shared public amenities that afford In looking at architecturally innovative pools alongside leisure, sport, intimacy and fantasy. the general history of public pools, we can see their development as analogous to broader modernizing processes International precedents for experimentation of abstraction and domestication; of transforming natural While it might seem that modern pools are essentially very bodies of water — whether river, ocean, lake or pond — prosaic structures, with little architectural merit — no more into artificial, contained, controlled and specialized environ- than a hole in the ground filled with water — they can ments. After all, the whole pursuit of swimming is artificial as exhibit distinctive architectural elements and stylistic and drowning comes far more naturally! As one article from the

9 Adalberto Libera, Mario De Renzi and Giovanni Guerrini with Ettore Rossi and Franco Petrucci, Mostra Nazionale delle colonie estive e dell’assistenza all’infanzia at the Circo Massimo, Rome, 1937. The avenue with the pavilions of the colonies and the ONB, against the backdrop of the congress pavilion. © Accademia Nazionale di San Luca, Rome. Fondo Mario De Renzi. ESSAYS

Holiday colonies for Italian youth during Fascism

BY MARCO MULAZZANI

Thousands of summer colonies were created for youth in Fascist Italy1 (1922–1943). Most were tempo- rary structures set up to assist children only during the daytime; dozens became the concrete symbol of the totalitarian project undertaken by Fascism to shape “new Italians” starting from childhood. Actually the colonies promoted by the organizations of the regime, state agencies and industrial companies, due to a lack of precise “models” of reference for the architects involved, present a highly varied expressive panorama, reﬂecting the complexity of the architectural debate in those years and the diﬃculties that faced any truly modern approach to architecture.

On 20 June 1937, in the enormous space of the Circo Massimo political-pedagogical project to the point of becoming a sort in Rome, Benito Mussolini (1883–1945) presented the of parallel institution, in competition with public schooling. Mostra Nazionale delle colonie estive e dell’assistenza all’infanzia Its president Renato Ricci (1896–1956) had built one of the

(National exhibition of summer camps and assistance to sacred sites of Fascism, Foro Mussolini, consecrated to the 60 — 2019/2 children) — “an exhibition that is the only one of its kind,” cult of the Duce and deployed for the training of educators Giuseppe Pagano (1896–1945) would opine in the maga- of the younger generations. In the same spirit, Ricci planned zine Casabella, “which demonstrates the interest of the the creation of hundreds of Case Balilla scattered across the

Fascist State in the health of children” and its commitment nation: constructions conceived not as simple outposts for docomomo to “a complex, complete undertaking, namely that of the the offices of the organization, but as centers of physical, protection and propagation of our lineage”2. Spread across cultural and professional activity; works of architecture over 20,000 square meters, the exhibition was composed with a precise identity, specifically created and perfected to of pavilions in a linear sequence, with the entrance and be clearly associated with onb. the assembly hall at the two extremities. The sequence At the exhibition of summer camps the onb took part began with a space on tourism and on the “fanciullo nell’arte” with its own pavilion, presenting a partial representation of [boys in art], and continued with pavilions of the Opera an activity that could then be grasped in its totalitarian poli- Nazionale Maternità e Infanzia (onmi), of assistance agen- tical dimension in the show at Foro Mussolini5. So while the Essays cies (Ministry of the Interior, Red Cross, Social Welfare), two events seemed to share in the icastic representation of education (National Education Ministry), rehabilitation of the life of the new Italian — from the cradle to enrollment in minors (Ministry of Justice), summer camps Partito Nazionale the ranks of the pnf — and in the celebration of the advent Fascista (pnf), semi-public and private operators, the Fasci repeatedly envisioned by Mussolini of the “fourth great histo- Italiani all’Estero [Italian Fascists abroad], the Opera Nazionale rical epoch of the Italian people, (…) the epoch of the Black Balilla (onb), merchandise sectors, and the activities of Shirts, in which there will be complete Fascists, namely those Fascist youth organizations. This itinerary was paced by born, raised and living entirely in our climate”6, their intrinsic tableaux vivants in which dozens of toddlers, children and difference should not be overlooked. The exhibition atForo adolescents (male and female), observed but not disturbed, Mussolini was the coherent expression of the “most Fascist were subjected to medical examinations and heliotherapy of all Fascist organizations”, bent on “the most gigantic treatments, played and learned in a kindergarten and a experiment in education to the State in all of history”7; the school, indulged in the vacation activities of a “model exhibition at Circo Massimo documented the wide-ranging colony” created for the occasion, setting up campsites, and varied activities in the area of assistance for children doing calisthenics and taking turns at guard duty3. and youth, carried out by pnf but also by other public and At the same time, a few kilometers to the north, in private players. This difference is reflected in the works of the setting of the Foro Mussolini, another exhibition was architecture made for Italian youth, especially in the history being held, it too the only one of its kind: a “summary” of the vacation colonies. of the construction activities of onb4, the organization In Italy the creation of camps was a phenomenon that assigned the task of educating young people regarding a began prior to Fascism, dating back to the mid-18th century. “Fascist lifestyle”. Founded in 1926, the onb developed its In 1918 a ministerial survey counted about one hundred

17 Manuel Aymerich Amadiós and Ángel Cadarso del Pueyo, Ciudad Sindical de Vacaciones de Marbella, Marbella, Spain, 1959–1962, white curvilinear walls of bungalows. © Mar Loren-Méndez, June 2006. ESSAYS

From the Ciutat de Repòs to the Ciudades Sindicales de Vacaciones: seaside Vacation City for Workers in Marbella. The present of modern leisure heritage

BY MAR LOREN-MÉNDEZ, DANIEL PINZÓN-AYALA AND ROBERTO F. ALONSO-JIMÉNEZ

The Ciudad Sindical de Vacaciones [Vacation City for Workers] (VCW) constitutes a reference of leisure architecture in Spain during the Franco regime. Starting with a literature review and the process of its cataloguing and protection, the focus lies on the last of these structures ever to be implemented, built in Marbella and the only one still in use. It, then, traces the evolution in Spanish spatial formalization of workers rest, from the urban modern vocation of the gatepac (Group of Spanish Artists and Technicians for Contemporary Architecture, 1930–1936) proposals during the Second Republic, to the Vacation Cities for Workers of the dictatorship, idealised as islands in privileged enclaves. Finally, reﬂections on transformations underwent in the VCW of

Marbella, in the context of its heritage value, will be made. 60 — 2019/2

La Ciudad Sindical de Vacaciones, Marbella1. his pioneer Arquitectura del ocio en la Costa del Sol4. In 1986 a docomomo Historiography, Cataloguing and Protection traveling exhibition and its eponymous catalog highlighted the vcwm in a selection of the twenty-five out of the most Its whitewashed rough walls, flat terraces, and useless concrete significant works of Andalusian architecture between 1936 beams, protruding on the sides, show a candid desire, but very and 1986. refined at the same time, to reconcile Modernity with the popular. docomomo Iberia with the Instituto Andaluz de Patrimonio Such pairing is incredibly emphatic. The exaggerated curves, with Histórico [Andalusian Institute of Historical Heritage] baroque and surreal roots, do not contradict the will to appear a (iaph) organized the first exhibition devoted to Andalusian rustic simplicity2. Modern Architecture in 1999 and published the respective Essays catalog5. vcwm was then included in the former Base de More than thirty years ago, Juan Antonio Ramírez Datos de Patrimonio Inmueble de Andalucia [Andalusian Built (1948–2009) already identified the values of the Ciudad Heritage Database]6. In 2002, vcwm was also included Sindical de Vacaciones [Vacation City for Workers] (vcw) in in Sunland Architecture, a national study in the format of Marbella (vcwm, 1956–1963), a self-sufficient leisure city for a register of tourist architecture. The Registro Andaluz de workers and their families, built in a privilege coastal dune Arquitectura Contemporánea [the Andalusian Registry of landscape during the Franco regime (1939–1975). Plastic Contemporary Architecture] (raac)7 included in 2007 the white shapes became the background for the emergence vcwm among the thirty most relevant buildings of the 20th of the “leisure civilization”3 in postwar Spain. Juan Antonio century in Málaga. At the national level, the docomomo Ramírez offers a reflection on the marvelous contradic- Ibérico Catalog included it in May 2009. In 2014 docomomo tions of the “relaxed” encounter of modernity and the Iberia elaborated a proposal for the initial catalog of the Mediterranean tradition in which he saw echoes of Islamic, Plan Nacional del Patrimonio siglo xx [National Plan of 20th Baroque shapes and local vernacular cohabiting with Le Century Heritage] considering the vcwm among the 256 Corbusier (1887–1965) and Oscar Niemeyer (1907–2012) items of Spanish architectural heritage of the 20th century. references and an extremely sophisticated interior design At the European level, the vcwm was included in a heritage he named estilo del relax. This search for modernity was database of architecture of the 20th century together with unfortunately substituted by a bogus and more commer- other significant examples from Spain, certain regions of cial Andalusian architecture. He was not the first one to France and Gibraltar (Figure 01). reflect on this modern architecture as heritage. In 1982, José These publications and catalogs usually focus on a Miguel Morales Folguera (b. 1950) included a reference in descriptive approach, very centered on the plastic and

25 Philippos Vokos, Xenia Travel Station, Platamonas, Greece, 1961. Currently abandoned. © Emilia Athanassiou, March 2011. ESSAYS

Weaving the Xenia network in post-war Greece: The ethical structure of hospitality

BY EMILIA ATHANASSIOU

Tourism is examined as a vehicle for modernizing society and educating the people about mobility and the emerging cultures of leisure in postwar Greece. The focus lies on the historical, social and political milieu in which the re-launched Greek National Tourism Organisation (GNTO) conceived and carried out the state-run Xenia program for a network of accommodation facilities and infrastructure, in the 1950s and 1960s. The Xenia network upgraded Greece’s hotel hospitality and consolidated its tourism industry as a strong pillar of its economy. More importantly, it rewove the country’s war-torn social fabric by infusing Greek society with visions of individual prosperity, collective progress and democratic participation.

Introduction pressing demands made by the Americans, who, in their

Xenia in Homer’s Odyssey stands for hospitality shown to a capacity as administrators of the financial and technical 60 — 2019/2 guest or the terms that define the relationship between a host aid that came with the Marshall Plan, sought a new master and a guest1. More specifically, Xenia describes a powerful plan for the redevelopment of tourism in Greece. In the face institution in Ancient Greece, supported by unwritten of slow progress in the front of Greece’s industrialization, rules and solemn customs, which regulated the relationship the Americans turned to tourism for viable solutions to the docomomo between traveling individuals from different regions and anemic economic recovery of the country. The newly estab- their hosts2. Xenia enabled individuals to travel to different lished organization played a key role in the effective reali- territories and receive accommodation and meals, as their zation of their short-term plans for economic growth and hosts were morally bound to ensure their safety and well- prosperity. The philosophy of the gnto’s policy addressed being for the duration of their stay. It also ensured that guests three main axes: quality, quantity, and dispersal, that is, would show respect towards their hosts and would not take activated as many tourist destinations in the Greek main- advantage of their hospitality. Such was the significance of land and the islands as possible, with small-scale hospitality the concept that Zeus was named Xenios god protector of infrastructure that offered appealing services to the foreign Essays the travelers/guests. In addition, Homer demonstrates that visitors. A wide range of projects were materialized in the Xenia provided a way of measuring the degree of civiliza- following two decades5 that can be filed under four major tion in a community, since it created a sacred and ethical categories: a. transportation; b. hospitality: designing and bond between the “self” and the “other”3. This might explain constructing new, state-run hotels, motels and organized why the Greek National Tourism Organization (gnto), the camping sites; c. leisure: designing and constructing tourist main government agency responsible for formulating and pavilions, organized beaches and sports facilities, rehabili- carrying out tourism policy in postwar Greece, chose this tating and/or embellishing archaeological sites, monuments symbolically rich name for the new hospitality infrastruc- and places of exceptional natural beauty and organizing or ture network that aimed to get the country’s economy into sponsoring cultural (such as the Epidaurus Festival), and shape, by redeveloping its tourism industry. In the 1950s, leisure events and d. promotion: promoting Greece as an during the course of the country’s much needed and pains- attractive tourist destination for international audiences via takingly slow reconstruction, tourism was the sector that printed material and travel documentaries (Figure 01). looked more promising for attracting foreign exchange as a means of balancing public finances. The Xenia Experiment In October 1950, in the midst of a long period of political Although the systematic efforts of putting Greece on the instability4, inconclusive electoral results and unsuccessful map of international tourist interest began as early as 1950, government formation attempts, Prime Minister (pm) the Xenia program, with the construction of the various Sophocles Venizelos’ administration re-launched the gnto, types of tourist facilities on a nationwide scale, did not with mandatory law 1565/50. In doing so, the government reach full swing before 1957–1959 and peaked under pm appeared to have finally responded to persistent and Konstantinos Karamanlis’ administration’s five-year tourist

35 Conceição Silva and Maurício de Vasconcellos Architects, Balaia Hotel, Albufeira, 1964-1968, Balconies of the bedrooms west wing. © Tomás Taveira, “Hotel da Balaia, Praia Maria Luísa, Algarve”, Arquitectura, 108, Março-Abril 1969, 52. ESSAYS

Hotel megastructures: the Balaia “turn key” experience in Portugal

BY SUSANA LOBO

The Balaia Hotel (1964–1968) near Albufeira, in the Algarve, designed by Francisco Conceição Silva and Maurício de Vasconcellos, is one of the first and most iconic seaside holiday megastructures built in Portugal. In its territorial approach, physical dimension and range of amenities, it represents a new stage of development in seaside tourism accommodation facilities. A self-contained and self-sufficient structure that shapes its own landscape. Also, the “turn key” commission implied the transition from the small-scale architecture office to the multidisciplinary design and planning firm, revolutionizing the Portuguese architectural culture and professional practice. This essay addresses the impact of the Balaia Hotel on the traditional structures of architecture production and, consequently, on the disciplinary debate of the 1960s in Portugal.

The Context At the same time, important legislative measures were 60 — 2019/2 One of the longest dictatorships in the world, the Estado introduced to attract private investment in the sector, trig- Novo regime (1933–1974) survived the outcome of wwii gering the 1960s construction boom in seaside leisure infra- through a strategic policy of international relations that structure, aimed at a growing mass tourism market. allowed the preservation of its overseas colonies, the inclu- It was in the capital, though, that the most symbolic docomomo sion of Portugal in the Marshall Plan program and, thus, to statement of modernity came to be realized, with the be a founding member of the Organisation for European inauguration of the Ritz Hotel (1954–1959, Porfírio Pardal Economic Co-operation (oeec) and the North Atlantic Monteiro e Jorge Ferreira Chaves) built under the polit- Treaty Organization (nato). At the domestic level, the ical patronage of António de Oliveira Salazar himself. announced democratization of the political structures, Considered the first great luxury hotel in Lisbon, the Ritz duly rectified by the presidential elections of 1949, and the Hotel portrayed in its International Style-like expression relative economic growth registered with the Development the image of a renewed country. An image that served the Plans, implemented in the 1950s, undermined the hopes interests of the regime. But, still, in his speech, the director Essays and efforts of the opposition for a swift replacement of the of the National Secretariat of Information, Popular Culture government of António de Oliveira Salazar (1889–1970). and Tourism (sni) clarified the exceptional character of this Nonetheless, even if without significant ideological changes, venture, advising against the indiscriminate reproduction of the official discourse had to adapt to the new world order, small-scale “Ritzes” in historical and natural settings of local gradually giving way to inevitable socioeconomic reforms beauty. “There are plenty of empty spaces where new styles and cultural transformations. and ideas can be experimented”2. And, away from the The development of tourism in the post-war period controlling eye of the central administration, the Algarve was an influential factor in this process of modernization, was the place to do so. whether by enabling the exchange with other realities, By extension of the Spanish Costa del Sol, in less than a or by the standardization of certain needs and demands. decade the Portuguese southern coast would experience In 1954, the Portuguese government launched a second a rapid transformation under the development of “Sun, building phase of the Pousadas state-run network1, to sand and sea” tourism. The construction of a new bridge promote and accommodate domestic travel within an over the river Tagus, linking Lisbon directly to the south3, ascending middle-class and educate private initiative on the and the plan for an international airport to be built in Faro, modern requirements of hotel facilities. Set, at a national Algarve’s regional capital4, accelerated the process, with scale, in exceptional natural locations, these projects also private investors buying former agricultural properties gave the opportunity for a new generation of architects and dividing them into lots to be sold to national and, soon to rehearse a different approach to the concept of region- enough, international developers for urbanization, in what alism, more in tune with contemporary experiments on the Mario Gaviria (1938–2018) has named “neocolonialism contextualization of Modern Movement architecture. of quality space”5. Architect Francisco Keil do Amaral

43 Holiday on the coast of Port Leucate-Barcarès, Photograph. © Fondo cange-g. Centre d’Archives d’Architecture du XXe siècle de l’Institut français d’architecture ESSAYS

Tourist towns in Languedoc—Roussillon: projects and discourse for mass tourism

BY IZOL MAREZ LÓPEZ

Greenﬁeld tourist towns in Languedoc—Roussillon, built in the 1960s, are some of the best examples of the application of modern principles in the production of architecture and space for mass tourism. Contributions of the Modern Movement in the construction of tourist facilities are thus exposed through the analysis of the theoretical proposals put into practice by Georges Candilis and Jean Balladur, modern architects of the third generation in France, in two of the tourist projects on the Languedoc—Roussillon coastline: La Grande—Motte and Port Leucate—Barcarès.

Mass tourism Modern architecture in France From the 19th century, the production of tourist facilities In France, after the wwii, the government faced the needs

has undergone transformations derived from the emerging of the reconstruction of bombed cities and the housing 60 — 2019/2 needs of society. The first cultural voyages undertaken by deficit through the creation of various agencies and public the English, influenced by the society of the 19th century institutions that would be responsible for the reconstruc- for the creation of the first tourist resorts in Europe had, as tion and production of housing. The magazine L’Architecture a consequence, the consumption of the territory and the d’aujourd’hui published, in 1947, a letter from the architect docomomo transformation of the landscape. Marcel Lods (1891–1978) in which he exhorted architects In 1936, tourism in France underwent a great change and urban planners to apply the ordre ouvert1 implicit in The when workers were granted paid vacations. During these Athens Charter (Figure 02). periods of rest and recreation, motivated by contact with The official use of ordre ouvert in the construction of massive nature and the sea, the vacationers moved en masse to the and collective housing located in the periphery, far from the French coast, sometimes in their mobile homes to camp on urban centers, resulted in the production of grands ensembles the beach. [large-scale high-rise housing projects]. The rigidity and lack The democratization of leisure activities generated a of flexibility in applying the principles established in The Essays change of scale, the masses invaded the European coasts Athens Charter, generated their review and reformulation by and the previously used spa facilities lost their validity. The the architects of team 10, a group of architects of the third hotels, casinos, residences and ports built in a traditional generation of the Modern Movement that would contribute way in the 19th century tourist resorts were adapted to meet with new forms of urban organization without giving up the the needs of a massive sun and beach tourism, which led to postulates of modernity. the appearance of a new architecture adapted to the new The members of L’équipe Candilis-Josic-Woods, active leisure society. participants of this group, experimented on the elements of In the mid-20th century, passive vacations were trans- the vertical and horizontal articulation of residential build- formed into active vacations. Nautical sports were available ings in various projects that broke with the rigid edificio to all, due to the introduction of plastic for the construction bloque [slab block] line of their predecessors. In addition, of boats. Step by step, the coasts of France were invaded they sought to rationalize the space based on functional by the masses. A transformation of spontaneous and unor- criteria, considering climate, maintaining contact with ganized coastlines was observed. Ports de plaisance [leisure nature, and also to recover concepts like the traditional ports] were built for nautical activities, and the beaches casa-patio with solutions such as those that projected for became insufficient, overflowing and decadent. The rise of Atelier des bâtisseurs–Afrique (atbat–Afrique). boating became the activity generating the tourist exploita- In the second half of the 20th century, modern architec- tion of the coast of Languedoc-Roussillon. The ports de ture and urbanism projected according to the principles of plaisance and marinas would be the urban elements guiding the ordre ouvert, had difficulties in adapting to urban land- the nautical activities on the French coast and causing the scapes. Most of the grands ensembles were located on the change in the activities in tourist resorts (Figure 01). urban periphery and, for economic reasons, some of them

51 Zdeněk Řihák, Panoráma Hotel, Štrbské Pleso, 1967–1970. © Juraj Bobula. ESSAYS

Building High Tatras: dilemma of form Architecture of 1960s and 1970s in the most famous Slovak mountain resort

BY HENRIETA MORAVČÍKOVÁ

The High Tatra Mountains are the most prominent alpine center of recreation and sport in Slovakia. The development of this site dates back to the end of the 19th century. From the architectural point of view, the beginning of the 20th century, the 1920s, the 1930s and the post-war period of the 1960s and the 1970s should be considered the most interesting periods. At that time, the most important architectural works were created in the High Tatras, which in diﬀerent ways dealt with the fundamental question: how to build in the mountains? Through the built results achieved in the region, it is now possible to study the success of this discussion.

Tourism in High Tatras centers for a broader audience were established in the High 60 — 2019/2 The High Tatra Mountains became a center of mass tourism Tatras in the 1930s, exclusive sanatoria and small hotels in the 1960s similar to other European mountain resorts. At predominated in the resort until the end of the 1940s. In the that time, Czechoslovak society was strongly influenced beginning of the development of tourism in the area, hiking by the optimistic acceptance of the reforms of state policy. and winter sports had been performed only by the upper docomomo The standard of living of most Czechoslovak citizens grad- middle class and intelligentsia. The High Tatras had been a ually improved. In 1968 Czechoslovakia introduced Free fashionable place, where the rich and the bohemians spent Saturday and the number of legally guaranteed holidays their holidays. After the nationalization of private property was increased. Leisure became an important phenomenon in 1948 the situation changed dramatically. The sanatoria for individuals and for state organizations as well, especially and hotels were opened for the broad audience of the the socialist trade union, or so-called Revolutionary Trade working class. To be on holidays in the High Tatras became Union, which incorporated the leisure and recreation of a fabled goal for most of the inhabitants of Czechoslovakia, working people into its main agenda. However, the citizens the German Democratic Republic (gdr), Hungary and Essays of socialist Czechoslovakia, like most of the inhabitants of Poland. It was understandable as they were the only acces- the Eastern bloc, could not choose their holiday destination sible alpine resort for the people from the Communist freely. They had to restrict themselves to friendly socialist bloc. However, the original exclusive character of the High nations or settle for a holiday in their own country, which Tatras that were reminiscent of the interwar period was was the most convenient solution from a financial point of not compatible with the idea of a modern socialistic resort. view. For this reason, the Czechoslovak government initi- It would have to be replaced by the collective spirit and at ated an evaluation of potential tourist destinations, which the least by a declared egalitarianism. Also the international eventuated in the so-called “Zoning of the Czechoslovak character of the resort’s original architecture was perceived tourism”. The High Tatras, probably the smallest alpine area as not compatible with the idea of the legendary role of the in Europe with peaks of a maximum height of 2,655 meters, High Tatras in Slovak national mythology. The High Tatra was considered one of the most attractive holiday destina- Mountains were considered the symbol of Slavic pride and tions in Czechoslovakia. In the official zoning framework, strength and, therefore, for political and state reasons, it the Tatras were Type iv — Alpine resort of tourism and was decided to give them not only a popular but a national winter sports. Design of any new developments would have touch. These ambitions dominated the conception of the to be adequate for this category. High Tatras development until the 1980s. Facilities for However, it was not the first time that the High Tatras mass and collective recreation arose as an antithesis to were the center of interest for tourism. Already in the late the original building tradition in these mountains. Among 19th century the mountains had been the favorite spa of the them were luxury hotels, mostly of high quality architec- Hungarian nobility, the bourgeoisie and the intellectual ture, designed for foreigners and the communist oligarchy, elite of the country. Even when tuberculosis treatment Revolutionary Trade Union sanatoria of a lower standard

59 E.1027

DOSSIER E.1027 DOSSIER

E.1027: Maison en bord de mer a prototypical vacation residence1

BY WILFRIED WANG

The house by the sea — Maison en Bord de Mer — formed the basis of Eileen Gray’s spatial research, in this case applied to a vacation residence. The subsequent sequences of programmatic and typological researches into summer vacation facilities exempliﬁes Eileen Gray’s interest in generalizing the comprehension and acceptance of compact places of abode during vacations. Her ability to thoroughly project a comprehensive and mutually supportive program for a large organization such as a vacation center was the ultimate result of these paths of research. Even though the project was never realized, its timing and documentation proves Eileen Gray’s pioneering spirit.

E.10272 and which was designed “in such a way that each of the

60 — 2019/2 Eileen Gray’s first free-standing piece of architecture inhabitants could, if need be, find there total independence and landscape design — the structure called E.1027 and and an atmosphere of solitude and concentration”7. The built from 1926 to 1929 directly on the rocky coast of description of the house underscores this topic further: Roquebrune-Cap-Martin in the south of France — was explicitly designed as a compact house for summer vaca- The problem of the independence of the room: each person, even in tions: a “Maison en bord de mer” was the title of the special a house of reduced dimensions, should be able to remain free and monograph of the French avant-garde architectural maga- independent. He should even have the feeling of being alone, and zine L’Architecture Vivante in the winter of 1929. While vaca- if he likes, completely alone8. tion residences were the domain of the wealthy, E.1027 was an unusual case of a demonstrative object brought into the Thus, in the living room, there is a 2.2 × 2 meters (m) divan world as a result of a challenge that its subsequent owner for reclining, sitting, resting or conversing as well as a small made to its designer: Jean Badovici (1893–1956), the editor Davenport divan — a convertible sofa — set in a projecting E.1027 – DossierL’Architecture docomomo Vivante, had invited Eileen Gray (1878–1976), niche that can accommodate two people. Providing a little the house’s designer, to show the world what she meant by sense of privacy between these sleeping areas, a three-pan- modern architecture. The project was conceived in 1926, eled paravent on a sliding track screens the two sleeping at a time when the architectural discourse was framed by areas. With the exception of the maid’s room — described notions of standardization, economy of space and afford- in the explanation as “the smallest livable cell”9, each of ability of good design quality for everyone. The house’s these sleeping areas has its own means of egress. The master completion and the publication of the special issue falls bedroom has a separate small balcony and an external stair- in the same part of the year of 1929 as the meeting of the case that is reached via the bathroom. Here again the design Congrès International d’Architecture Moderne in Frankfurt am underscores “the independence of each of the rooms”; Main, that was focused on the design and construction of “although the house is quite small, there is a comfort that housing for minimum existence, or Existenzminimum. one would have thought possible only in a much more E.1027 was to accommodate up to eight vacationers to imposing house”10. feel “completely comfortable”3 in a useable floor area of 132 Therefore, in syntactical terms, E.1027 exhibits an openness square meters (m2). Its typology is not that of a traditional and connectivity to the exterior that most normal houses residence or villa, but that of the “camping style”4. E.1027 or villas do not possess. Routes are deliberately circuitous, was not meant as a model for conventional domesticity. from the entrance sequence to the movement pattern There were no ascribed parents’ or children’s bedrooms, throughout the house; a quality that Eileen Gray docu- though there was a “master bedroom”. While there are three mented in the analytical diagram accompanying the special separate bedrooms (two large ones and a tiny one for the edition of L’Architecture Vivante. In this diagram, a series of maid), the other places of sleep are in the “living room”5 or lines with arrowheads indicate the many routes through the “large room”6, which can be transformed for other purposes, spaces. At the same time, in spatial compositional terms, she

On the previous page: Eileen Gray’s E.1027 Master Bedroom, 1:1 Installation, Akademie der Künste, Berlin. Photograph © Carsten Krohn, 2019. 66 E.1027 DOSSIER

E.1027: murder and mystery of the camera Gems on the history of the house E.1027 created by Eileen Gray and Jean Badovici

BY CHRISTIAN MÜLLER

The bouquet of stories related to E.1027, the house built 1926–1929 by the Irish architect and furniture designer Eileen Gray with the support of Jean Badovici, is colorful and intriguing. In “E.1027: Murder and Mystery of the Camera”, gems on the history of the house, new research material and previously unpublished facts related to E.1027 are revealed. Above all, the search for an answer to the question “Which photo camera was used to take the original pictures of E.1027”.

Thirty years ago, as a student of architecture from the eth In September 1994, Peter Kägi’s attorneys at law contacted Zürich (Swiss Federal Institute of Technology in Zurich), me with the request to actively support them in writing a

I stepped up a staircase to the attic of a house in the city sales document for E.1027 that expressed the importance 60 — 2019/2 center of Zürich. The name at the doorbell said: “Kägi”. of the architectural achievement represented by the house I remember the inside, a completely darkened room, lit E.10274. The house owner got into financial difficulties. only by a fluorescent aquarium where some skeletons of Morphine and a divorce demanded payment. small-scale human bodies made their appearance. A rather Once again, history took a grotesque turn. Dr. Peter strange reception for a doctor’s practice. My school mate, Kägi was murdered in 1996 in the living room of his prop- Stefan Hecker, and I, were not here for the doctor, but for erty E.1027. A sad ending. The official verdict stated: he did a key. The key to his property E.1027 (1926–1929) where, not pay his gardener. The local rumor said: he did not pay in the following summer of 1990, we were fortunate to the gardener for additional services of homoerotic prov- spend several weeks in the Maison en bord de mer [House at enance. The gardener was arrested on his way to Nice, the seaside] at the French Côte-d’Azur. It was the key to whilst escaping in Dr. Peter Kägi’s Rolls Royce. my year-long fascination, scientific research, comprehen- Peter Kägi’s children, uncertain whether to accept or to sive survey of the building and furniture1, explorations, reject the heritage of their father, proceeded for the time E.1027 – Dossier docomomo discoveries, publications2, surprises and — still — remaining being with the sale of E.1027. The legal vacuum attracted mysteries on E.1027. the most diverse clientele. From northern Italian busi- Dr. Peter Kägi was always correct and very generous nessmen to Irish dandies, they all showed up pretending to Stefan Hecker and me. Whenever we wished, we could an interest in buying. A local architect, temporarily in stay in E.1027, for longer periods too. We had a key. Like charge of some renovation works at E.1027, claimed so many architectural monuments fate was against E.1027. ownership of the house and went to court5. Thomas In 1991 Peter Kägi put a unique set of twenty-eight pieces Rebutato (1907–1971), called Robert, offered his restaurant of original furniture, temporarily stored at a secret loca- “L’Etoile de Mer”, just a few steps from E.1027, in exchange tion in Zürich, up for an auction at Sotheby’s in Monaco. for E.10276. Simultaneously, the French authorities tried to Stefan Hecker and I immediately initiated a campaign classify E.1027 as a historic monument: “nous envisageons de to have the sale canceled, or at least to preserve the set classer la villa d’Eileen Gray parmi les monuments historiques à as an entity. Through Arthur Rüegg (b. 1942) and Swiss assurer dans l’avenir sa bonne conservation” [we plan to classify docomomo coordinator Ruggero Tropeano (b. 1955), the Eileen Gray’s villa as an historical monument to assure docomomo International became alarmed by the situa- its future conservation]7. In September 1998, the French tion a few days before the sale was scheduled. In just three Ministry of Culture and Communication approached days an international campaign which they launched was Stefan Hecker and me, if we were “kind enough to help unable to prevent the furniture being dispersed3. Stefan them in preparing the dossier for the classification”8. This Hecker and I had no choice but to document the furniture procedure of the French authorities was opposed by taking measurements and photos for a later re-edition by the heirs, as they preferred a sale of the house without ClassiCon, Munich. restriction or servitudes. Two years later, there was still no

71 01 Letter from Eileen Gray to H.Th. Wijdeveld, Paris, 11 April 1922. © Collection Het Nieuwe Instituut, Rotterdam/ WIJD_15-9a and WIJD_15-9b. 60 — 2019/2

02 Cover of Wendingen 1924, issue 6, H.Th. Wijdeveld (red.) et al., Eileen Gray meubelen en interieurs, Santpoort, Uitgever C.A. Mees, 1924. © Collection Het Nieuwe Instituut, Rotterdam/ WIJD_736-13. E.1027 – Dossier docomomo

progress in this matter. Theregional conservator of historic Roquebrune-Cap-Martin. The house was declared an historic monuments clarified: monument. In all those years E.1027 remained, albeit in very poor condition as it was left open to vandalism. I was able to present the file created in preparation for the clas- What would Eileen Gray think of all the bickering, if sification of the villa firstly at the regional cultural heritage she were still alive? After she left Roquebrune in the early commission in Aix-en-Provence, ..., then to the superior commis- 1930s, all the major interventions and decisions were done sion in Paris, ... These two bodies have pronounced in unanimity by men who claimed to know best how to deal with this in favor of the classification of the villa E.1027 among the histor- house. Their motives may have been well-intentioned, but ical monuments, the classification being the highest measure did they match those of the introspective creator? Eileen existing in the French legislation. Gray herself appraised E.1027 with the following words: However, representatives of Kagi’s inheritance, owner of the “The house to be described should not be considered a house, still refuse this proposal, thus prohibiting the signature of perfect house, where all problems are resolved. It is only the order by the Minister of Culture. As the villa is for sale, the an attempt, a moment in a more general research”10. When outcome of the current procedure remains subordinate to the time came to build E.1027, Eileen Gray constructed the change of ownership9. house on the same principles as her lacquered screens and decorative panels: adding layer upon layer11. Each layer After three years of tug-of-war, E.1027 was given for a (primary architectural shell, secondary architectural shell symbolic amount — via the national agency “Conservatoire with infill elements, built-in furniture, movable furniture, du littoral” — to the state of France and the city of colors, textures and decorations) completely changed the

72 E.1027 DOSSIER

Eileen Gray and the inﬂuence of Cubism

BY ROSAMUND DIAMOND

Eileen Gray’s design approach, resulting in the production of her two houses E.1027 and Tempe à Pailla as complete works, could have been influenced by the revolutionary effects of Cubism, in particular Marcel Duchamp’s version “Elementary Parallelism” and some of his later art practices. There are parallels between Gray’s use of purpose-made and standard fittings and Duchamp’s adaptations of mechanisms and his “readymades”. This is discussed in the multiple design fields in which Eileen Gray worked. There is a similarity in her approach to transformable fixed and loose furniture and architecture in the means by which she transforms space.

Introduction a pivoting piece of ﬁxed furniture or a spatial composition, Eileen Gray (1878-1976) was a prodigious designer of every- resulting in a condition in which they are interdependent, a thing associated with her working life, from furnishings and vision of both the individual and social living conditions on

interiors, to the invitation cards sent from her gallery, Jean which the houses depend. 60 — 2019/2 Désert, while she experimented with collage, sculpture and This essay proposes that the development of Gray’s photography. Respected for her furniture and interiors, she furniture and house designs was influenced by new ways also designed speculative public building projects and a of perceiving space in art and photography, and by the few built works, of which the still existing houses E.1027 at revolutionary effects of Cubism. Exceptionally, Eileen Gray Roquebrune-Cap-Martin (1926–1929) and Tempe à Pailla at worked to an equal extent in the fields of art, interior design Castellar (1931–1934) were the most complete1. Although and, eventually, architecture. The chronology of her designs the houses reveal an affinity with contemporary architec- and architectural experiments is relevant because she was tural developments, they are unique fusions of building working on interior commissions, furniture, carpet designs and interior space which are difficult to categorize within and lighting at the same time as her first known architec- architectural convention. This essay on the relationship tural studies, the purchase of the land at Roquebrune-Cap- between Eileen Gray’s furniture and architecture suggests Martin and the design of E.1027. It is difficult to be precise how her approach might have emerged from contempo- with regards to the evolution of her designs for furniture E.1027 – Dossier docomomo rary art movements. Its main focus is on her first complete and fittings, although various items have been dated5. At and extant house, E.1027, and the interiors, furniture and some stage, her approach altered with regards to three-di- fittings that she was producing simultaneously. The essay mensional form and fabrication. The pieces remained of will speculate on her design methods, considering concep- consistently high material quality, while her designs began tions of space based on changing contemporary artistic to change, discarding social and spatial conventions that practices, which in turn arose from momentous events and had previously affected their forms. Tables became multi- scientific discoveries. The essay is based on the available sided and freestanding, without fixed orientation. Chairs evidence of her artistic work, book ownership and known were designed to be moved to suit the user, with curved acquaintanceships. The two houses as they remain2, and the forms or adjustable back rests that precluded them from records, Eileen Gray’s sketches, drawings and photographs, being formally positioned in rooms, or against walls. They demonstrate how the buildings and their external spaces, supported a way of sitting concerned more with individual were uniquely developed through the design interdepen- occupation than appropriate posture. Simultaneously, dency of the architecture and all their fixed, movable and Eileen Gray developed different fabrication methods, loose furnishings3. They are exceptional works of complete designing a new kind of transformable or portable furniture design4, resulting from Eileen Gray’s conceptual approach which could respond to contemporary living conditions and working practices. In the period between 1922, and smaller spaces. This partly arose from her interest in the when her furniture design changed, and 1929, when she compact design associated with luxurious train and boat completed E.1027, there was an intense interaction between travel, camping, and British Campaign furniture. To alter the fields and techniques in which she was working. There is space and its inhabitation, she designed the jointing compo- a similar structural approach to each component, whether nents for semi and fitted furniture and her block screens.

77 01 Eileen Gray, De Stijl table, 1922–1924, oak and 02 Drawings of Eileen Gray, De Stijl table whole and dismantled. © Amy Glover, Rosamund Diamond (RD). sycamore, paint. © Virginia Museum of Fine Arts, Gift of Sydney and Frances Lewis, INV: 85.114.

She used unique pivoting systems in loose and later painted image and reality”9.They composed random collec- ﬁxed furniture as early as 19196. How this transformation tions of objects, as if their mental assemblage and the spaces happened is an important question. It aﬀected her approach between them mattered more. It was the same space that

60 — 2019/2 to furniture and building design, resulting in a unique Albert Einstein (1879-1955) and later Werner Heisenberg architecture. (1901-1976) were discovering. “If we use the word ‘space’ purely diagrammatically, we can say that they realized that Cubism, spatial movement it was in the space ‘between’ phenomena that one would As a sophisticated member of creative Parisian society discover their explanation”10. This also changed perceptions starting in the early 20th century, Eileen Gray was exposed of physical matter. Heisenberg’s Uncertainty Principle to artistic and technical developments that could have (1927) suggested the impossibility of dividing the potential affected her singular design methods. She was not trained in from the actual. The Cubists “created a system by which a conventional sense as a furniture designer or as an archi- they could reveal visually the interlocking of phenomena. tect. Through her own efforts, she became highly skilled, And thus they created in art the possibility of revealing notably in lacquerwork. She attended the Slade art school processes instead of static states of being”11. Cubism could in London for two years, and then made a transformative have offered Eileen Gray a new approach to furniture and E.1027 – Dossiermove docomomo to Paris in 1900, where she attended the Académie building design. She developed pieces which altered the Julian, overlapping with Marcel Duchamp (1887-1968)7. spaces they occupied, with a transience associated with This coincided with a period of revolutionary develop- contemporary life, responding to changing needs. ment in the visual arts. One of the most significant was Eileen Gray used the same spatial techniques in furniture, Cubism, developed in the period between 1907 and 1914, interiors and architecture. Her black-and-white “De Stijl” by Georges Braque (1882-1963), Juan Gris (1887-1927) and occasional table 1922-192412, described as such because of Pablo Picasso (1881-1973)8. The Cubists’ painting reappraised its relationship to the Dutch group with whom she was in subjects, materials, their assembly in space and ways of contact, is the first where she creates a dynamic interaction seeing. In the period between the turn of the century and with space that has been associated with Neoplasticism. wwi, a freedom and an awareness of promise in the fields The table, composed of two horizontal surfaces with two of art, science and technology permeated their work. Their legs, and interlocking supporting slabs, alters from each still lives, composed of paint and other random materials, visual angle, as if describing its multiple and changing use. assembled everyday objects, often manmade and of ephem- The components dismantle any conventional reading of eral use, and presented these simultaneously from different a table, occupying space with an ambiguity of support. viewpoints, acknowledging scientific discovery, investiga- The table’s surface planes construct multiple spatial layers. tions of the human mind and the social change that was She had a similar approach to architecture in E.1027, with restlessly disrupting the formal conventions of bourgeois a method of layering space by means of the extruded life. Their works conveyed the transitory. They were not volumes of intermediate spaces, illustrated in her schematic trying to represent modern life or form, but physical pres- diagrams for the house’s spatial concept, in a special edition ence, investigating human spatial perception. “Cubism of l’Architecture Vivante13. One example is the guest niche in changed the nature of the relationships between the the main salon extruded from the house’s external form and

78 E.1027 DOSSIER

Should Le Corbusier’s E.1027 murals be considered as “historical monuments”?

BY AGNÈS CAILLIAU

Le Corbusier’s murals in E.1027, the famous house designed by Eileen Gray, have been maintained and restored as “historical monuments”. I subscribe to a different view, and shall express it from three perspectives: • a legal and administrative dimension: only Eileen Gray’s E.1027 is designated a Historical Monument. The murals are not covered by this classification. • an artistic point of view: Le Corbusier’s murals are detrimental to the original state of the architectural work and to the spirit of the house, they are discordant. The murals, by their mere presence, endanger the architectural work. • a physical/technical angle: Le Corbusier’s murals themselves are in physical danger. 60 — 2019/2 The title of this article is deliberately provocative. The from this moment completely associated with the decision intention is to question the “historical monument” status of to designate it a historical monument. The decree that estab- Le Corbusier’s E.1027 murals from three perspectives: lishes its status mentions the name of its creator a second time: “from an artistic point of view, the E.1027 Villa by Eileen • legal and administrative: because they are part of the Gray in Roquebrune-Cap-Martin (Alpes Maritimes) is of E.1027 building which itself is a 20th century historical public interest because of its great importance in the Modern monument. Movement of 20th century architectural history”. • artistic: are Le Corbusier’s paintings complementary to The report that this decision was based on contains the architectural works of Eileen Gray (1878–1976)? serious and detailed research undertaken by the enumer- • technical: how can we ensure the preservation of the ator Jean Marx, of the Regional Directorate for Cultural murals? Do they need to be kept within the house? Affairs of the Provence Alpes — Côte d’Azur Region. Eileen E.1027 – Dossier docomomo Gray is known as a “decorator and architect of Irish origins”. The protected “historical monument” It clearly states that, “apart from some modifications made status of E.1027 by Le Corbusier, a regular guest, when he decorated it with This first section refers to French legal concepts concerning painted murals in 1938, the house had undergone no other historical monuments. This aspect is a prerequisite to a full transformation since its creation”. understanding of this topic. France was late in recognizing The word “decorator” is particularly significant. In French, the importance of E.1027, as it has been for numerous “décor” is a slightly old-fashioned word that is often used French 20th century buildings. for historical monuments. It usually makes reference to an When E.1027 was initially listed in the historical monu- ensemble of paintings, to polychromes in general, and any ment inventory, on 29 October 1975, it was called “La other supplementary elements that are part of the monu- Villa construite par Badovici” [The Villa built by Badovici], ment. The term villa“ ” which is used to refer to E.1027 is in fact promenade Le Corbusier in Roquebrune-Cap-Martin, inappropriate. It is the term used by the locals of the Côte (Alpes Maritimes). d’Azur to designate an opulent house which has lands. Twenty-five years later (27 march 2000), the French The portfolio prepared by Eileen Gray with and for her Ministry for Culture and Communication issued a new architect friend, Jean Badovici (1893–1956), gives us all the decree that superseded the older one giving it the name of information required for an understanding of the excep- “La Villa E.1027 d’Eileen Gray” as an historical monument in its tional nature of the house. It should be known it is referred entirety, including the garden and lands. Thus granting it the to by Eileen Gray and Jean Badovici as a house: “we have maximum protected status available, and naming its designer, tried to convey with this tiny house…”. which is rare enough to be worthy of note (Figure 01). The Eileen Gray, Jean Badovici and Le Corbusier always name of the creator of E.1027, the designer Eileen Gray, was referred to E.1027 as “the house”. Le Corbusier called it

84 “Bado’s House” or “la baraque” (a familiar term for any standing up, “naturally” framed by the inner and outer house, that Badovici also used). Let’s hope that the term corners of the perpendicular surfaces surrounding them. “house” might one day be employed as part of the resto- • Le Corbusier’s paintings deal with recurrent themes, with ration work of E.1027 by the Cap Modern association. some variations, that already existed in his paintings that The entrance, a pedestrian-only access, leads us to “La pre-date these murals by several years. Maison en bord de mer” grounds, via concrete steps. As an As an example, let’s examine the murals, starting with the two introduction, waves, little pebbles and ﬁsh swimming that are located on the main level of the house (Figure 03). have been drawn in the fresh mortar, with simplicity and It is a version of a 1938 mural that brings to mind previous poetry, Eileen Gray’s deep qualities. See the hand rail paintings known as “The Figure with the Yellow Door” and made of tubes. Minimalism is obviously already present, “Figure in front of the White Door”, according to Tim, who anticipating the whole property’s atmosphere. The “tiny describes it as the house” is built on narrow terraces held up by dry stone walls (Figure 02). fruit of detailed research undertaken in 1932 on the relationship Houses in the south of France often have an entrance between the shape of a tree and that of a female nude. The model on all sides. As Eileen Gray wrote “the entrance has been for the tree can be found in the courtyard of the Vidal house removed which is suitable for a place where the windows where Le Corbusier spent every summer between 1926 and 1936 and doors are rarely opened”1. A staircase leads up directly during his vacation in Piquey4. to the balcony and “la living-room”. This painting is, therefore, related to the house where Le The artistic relationship between Corbusier and his wife spent their holidays, in Cap Ferret, Le Corbusier’s murals and Eileen Gray’s house. in the Arcachon Bay. The impact of this painting is even Is there synergy between the two works? more “violent” because Le Corbusier placed it at the end of Our analysis is based on the well-documented research by the long diagonal line of the living room, so that it is imme- Marie-Odile Hubert2 (b. 1982) and also that of Tim Benton3 diately visible and imposing on the ﬁeld of vision of anyone (b. 1945) which leads us to observe that: entering the house.

Eileen Gray wrote: 60 — 2019/2 • Le Corbusier did not prepare any drafts or sketches for this group of paintings which could have indicated his We wanted to design this room in such a way that anyone could, intention of complementing the modernity of E.1027. at any moment, be completely independent and experience a • Le Corbusier expressed himself on the walls of E.1027 solitary and contemplative atmosphere (…) with a large divan of with no thought as to any particular chronology related 2.2 meters by 2 meters, where one can sit or lie down, rest or have a to space or time. comfortable conversation, an essential piece of furniture that can • Le Corbusier indicates no order, nor the existence of any be converted into a bed. relationship between the paintings themselves. The eight paintings were undertaken with no special research to The mural renders Eileen Gray’s concept of the E.1027 take into account and complement their setting. They are living-room impossible. located in a very practical and pragmatic way, on the ﬂat Additionally, Tim Benton has this to say about this surfaces of those walls that were large enough to paint painting: E.1027 – Dossier docomomo

01 General view of Maison en bord de mer E.1027 in Roquebrune-Cap-Martin (toponymic name: brown rocks), 02 Path leading to the Maison en bord de mer E.1027, France. © Agnès Cailliau, 2019. Roquebrune-Cap-Martin, France. © Agnès Cailliau, 2019.

85 DOCUMENTATION ISSUE strong ideological appeal in the construction of the country’s image. It “used tourism as a form of social control, because it perceived its benefit in the formation of the image of the Tourism and modern architecture in a New State”3. Still in the 1940s, two modern hotel “Green Hell”: Hotel Amazonas (1947-1952) projects inaugurated the contribution of “programmatic modernism”4, the erudite BY RICARDO PAIVA and theoretical modern branch, to the hotel typology: the Park Hotel São Clemente (1944), located in Nova Friburgo, designed by Lúcio Costa (1902–1998) and the Grande The investigation focuses on the relationship between tourism as a modernization strategy towards Hotel de Ouro Preto (1945) by Oscar Niemeyer the integration of the Amazon within Brazil and modern principles adopted in the Hotel Amazonas (1907–2012). These buildings are significant in Manaus, analyzing how the pioneering project, designed by architect Paulo Antunes Ribeiro, references not only for understanding the aligned the economic, political and symbolic dimensions of the agents involved in the process. genesis of the modern hotel in Brazil, but also as expressions of the specificities that charac- There is a growing need for the historical re-evaluation, the documentation and an emergency terize Brazilian modern architecture. conservation of the building, which was an icon of tourist development and modernization of Brazil and the Amazon. Hotel Amazonas: icon of hotel architecture in the Amazon.

The Hotel Amazonas (also known as the Hotel Introduction well as for the development of tourism as an Ajuricaba) in Manaus, designed in 1947 by the economic activity. architect Paulo Antunes Ribeiro was, at the This paper uses the book Green Hell by The “pre-legal-institutional” period of time of its inauguration in 1952, an important Alberto Rangel, published in 1908, as a national tourism policies, which began in 1938 example of the modern hotel typology, not metaphor, which takes the hostile nature of with decree-law 406/1938 and extending until only from the Amazon but from Brazil as well, 60 — 2019/2 the Amazon Rainforest as the main argument 1966, the year of the creation of embratur occupying a prominent place in the historiog- of his narrative, emphasizing that the forest (the Brazilian state tourism company), is raphy of modern architecture in the country5. conditions the rhythms of life and imposes characterized by the disconnection of the The importance of the Hotel Amazonas in resistance to its colonization. After wwii, this instruments of regulation and institutional the panorama of Brazilian modern architec- idea of a “Green Hell”, including the jungle, fragmentation, concentrating primarily on ture was reinforced by Roberto Burle Marx’s the rivers, fauna and flora of the Amazon is the control of travel agencies2 . This period landscaping project6. He was also responsible appropriated as a resource for the promotion includes the first actions of the “Estado Novo” for some art works, such as the engravings of the region’s tourism. (“Era Vargas”) in the field of tourism, bound with fauna and flora themes from the Ama- Although the modernization of the Amazon up in the context of the creation of the zon region, a condition that added significant through industrialization was delayed, an Departamento de Imprensa e Propaganda (dip) value to the pioneering and modern charac- increase and incentive to tourism through the [Press and Propaganda Department], with its ter of the building. actions of the State was suggested, in addition

Documentation Issue docomomo to market actions in the fields of lodging and aviation. All of this resulted in the construction of an important modern example of the hotel typology: the Hotel Amazonas (1947–1952) in Manaus, a project by the architect Paulo Antunes Ribeiro1 (1905–1973). The hotel represented a symptom of the diffusion of modern architecture’s values in Brazil, demonstrating its acclimatization in different contexts of the most developed centers, also contributing to the modernization and valorization of the tourist image of the Amazon.

The genesis of modern hotels in Brazil: signs of modernity

The construction of hotels in Brazil, in the middle of the 20th century, was increased by the State and the market, according to the stage of urbanization in diﬀerent corners of the immense country, and contributed to

the articulation and displacement of people 01 Paulo Antunes Ribeiro, Hotel Amazonas, Manaus, Brazil, 1947–1952, Aerial View. © Instituto Durango Duarte. and goods among the main urban centers, as

90 BOOK REVIEWS

The Public Private House. Beach Therapy E.1027 – Eileen Gray, O’Neil Ford Modern Athens and Its Polykatoikia Author: Martin Parr Monograph 7 Edited by Richard Woditsch Publisher: Damiani Edited by Wilfried Wang and Peter Adam Publisher: Park Books isbn: 978-88-6208-625-7 Publisher: Ernst J. Wasmuth publishers isbn: 978-3038600848 Language: English isbn: 978-3803008312 Language: English Year: 2018 Language: English Year: 2019 Year: 2017

Spectacular photos of Athens’ dense urban The photographer Martin Parr is renowned Even though this book covers only one very morphology open The Public-Private House, a for his documentation of seaside culture. small house, the study was carried out with book dedicated to the study of the high-rise At the single-page preface of Beach Therapy, unparalleled profoundness. Designed by the apartment buildings called polykatoikia - poly launched in 2018 by Damiani, he affirms artist Eileen Gray as her first architectural [many] + katoikia [dwelling] – and its Greek that beaches are places where people can work, the holiday house E.1027 was built urban context. Polykatoikia is studied as a really be themselves. He has often used these on the French Mediterranean coast but re- building type, as an urban phenomenon and seaside spaces as a laboratory to experiment mained unknown for a long time. Alongside as a spatial integrator. with new cameras and techniques. Rietveld’s Schröder house and Mies’ Tugend- In the first part, “Sea of White Cubes”, This book is the outcome of Martin’s recent hat house, it is one of the very rare examples a photo essay offers a complete impres- exploration using a telephoto lens and it of a total work of art, a Gesamtkunstwerk sion of Athens and its signature housing presents a global perspective on the beaches of modernism. However, contrary to these structure, followed by a collection of maps. he has photographed between 2014 and two houses, Eileen Gray created the spatial The second part, “(How to Build) a Type”, 2018. Made from a great distance, the images concept of the house and the garden, as well investigates historical developments, the presented show, primarily, a wider view as the entire furniture, alone. So the design is democratic process of planning in the city, with smaller figures on the beach landscape more comprehensive than, for example, the and compares these buildings with Le creating a pattern of vivid colour. Flora and standard furnished houses of Le Corbusier. Corbusier’s Dom-ino system, as well as with fauna frame some images with the beach as “E.1027 was a built manifesto”, Wilfried Wang external factors such as social aspects and a background, creating a sort of a voyeuristic writes, explaining that the building is a re- Athens’ strict building code. The third part, angle. Gradually, the images presented get sponse to the swiss architect, who, ironically,

Book Reviews“Studies”, docomomo 60 — 2019/2 provides an illustrated analysis of closer and closer, in a sequencing that creates will play a role in the history of the house, Athens’ most notable examples of polyka- an intriguing narrative. It is an interesting but a rather inglorious one. toikia packed with detailed drawings (ﬂoor portrait of the beach as a natural landscape as The book begins with two essays by Peter plans, sections, schemes of occupation and well as a space of cultural uses. Adam, who personally knew Gray. On the axonometries) revealing its diverse types of basis of conversation reminiscences and uses and atmospheres. The last part oﬀers João Lucas Domingos manuscripts, he introduces her thoughts and a perspective of current developments in design concepts while also describing their Greece, contributing to these buildings’ friendship. In the second text, he analyzes her transformation facing the 21st century. connection to Le Corbusier and her then life partner, Jean Badovici, whom she calls co-ar- Mafalda Pacheco chitect of the house, although he was only involved in a few elements of the detailing. Le Corbusier admired the building with envy, or so the book argues, noting he attacked the architecture with numerous murals and by building and living next to it – much to Gray’s annoyance. In further essays, Rosamund Diamond writes about the artistic context in which the house was built, Silvia Beretta on garden design, Wilfried Wang on Gray’s architectural design methodology, Izabella Z. Dennis on color design, and Rachel Stella on the history of the house’s use.

94 The building is comprehensively docu- elements reappear in diﬀerent pieces on the an incognito future, in an economical way mented in this monograph with photos that various media she used. and, until recently, silent in the history Eileen Gray took of the house, plans from Each chapter is dedicated to a particular of architecture. archives, newly drawn technical drawings, subject of her biography and professional ac- as well as recent photos, but especially with tivity, but all provide some broader context, Sílvio Alves numerous reconstructions of lost furniture so they can be read separately. Throughout pieces, which together form a creative unity. the book, one can grasp a deeper under- This research goes beyond previous archi- standing of Gray’s personality, adding to her tectural monographs, because over the years known withdrawal and perfectionism some Wilfried Wang and students of the University vulnerability, wit and sense of Irish self-iden- of Texas at Austin have reconstructed the in- tiﬁcation, although the book’s emphasis seems terior of E.1027 down to the last detail. Their to be — understandably — on her career. work shows that the actual reconstruction done of the building’s interior cannot yet be Pedro Sambrano considered complete.

Carsten Krohn

Holidays after the Fall: seaside architecture and urbanism in Bulgaria and Croatia Edited by Elke Beyer, Anke Hagemann and Michael Zinganel Publisher: Jovis Verlag GmbH isbn: 978-3-86859-226-9 Language: English Cape Cod Modern: Year: 2013 Midcentury Architecture Eileen Gray: her work and her world and Community on the Outer Cape A pleasant survey of the origins and architec- Author: Jennifer Goff tural history of mass tourism after wwii in two Publisher: Irish Academic Press Author: Peter McMahon, Christine Cipriani erstwhile socialist states: Bulgaria and Croatia. isbn: 978-0716532767 Publisher: Metropolis Book These geographical references help to docomomo 60 — 2019/2 Language: English isbn: 978-1-935202-16-5 organize the content of the book which Year: 2015 Language: English begins with an insightful introduction about Year: 2014 the origins of mass tourism and the modern Eileen Gray: her work and her world is a shrewdly concept of living, the authors explore the illustrated, comprehensive study on the life The publication Cape Cod Modern: general prerequisites of mass tourism and and artistic production of the French-based Midcentury Architecture and Communi- the specific conditions for this development Irish designer and architect. A serious at- ty on the Outer Cape is organized in four in East and West Europe and the arise of an tempt to rectify and demystify Eileen Gray’s chapters which evolve accordingly with the international typology of seaside architecture history and to contribute to her due inclusion phases of building in the Outer Cape (United and urbanism. These architectural typologies Book Reviews in the Modern canon. Approaching her lack States) between 1938 and 1977. are shown and investigated through a rich of recognition and “rediscovery” in the late The Foreword is signed by Kenneth variety of case studies that end each part of 1960’s, Jennifer Goff addresses the condition Frampton, which characterizes the publi- the book. of female artists in the 20th century and cation as a “...painstakingly researched and It is important to point out the photogra- provides considerations about attribution beautifully written study...”, in which/where phy series that opens and closes the publica- matters, especially concerning Gray’s archi- it is possible, through its 270 pages, to find tion which shows, at the beginning, a vibrant tectural designs, namely the E.1027 house and more than 250 photographs (70 by Raimund holiday scenario on the Croatian Adriatic the issues involving Jean Badovici and Koch) and several technical drawings (by in the early 1970s and, at the end, the photo Le Corbusier. Thomas Dalmas) of the site. The authors, series “Holidays after the fall” (2012), taken Based on her PhD research, Goff explores Peter McMahon and Christine Cipriani, for this publication, that presents the low-sea- Gray’s private archives and library alongside present us the communion between the tradi- son air of desertion on the Bulgarian Black her work and remaining correspondence tions of Cape Cod fishing towns and Bauhaus Sea coast. with friends and acquaintances, creating concepts (together with postwar experimen- This publication goes from the initial a web of connections from the people she tation), resulting in the regional modernism optimism about the construction and promo- knew, to the books she read and the many ar- buildings sample that is Cape Cod. tion of modern leisure architecture having tistic avant-garde movements she was aware Cape Cod Modern is a journey through remarkable quality and diversity, passing of, linking them with specific aspects of her four decades, keeping pace with the discover- through important political changes and design and philosophy.ing This analysis, as it ies and interpretations of architects, artists, sci- privatization of business, to how these build- comprehends a great range of influences and entists, politics and writers in a land destined ings have been economically and physically an extensive scope of her output, allows Goff to disappear. Here is possible to understand a restructured. to decipher some of Gray’s “coded symbols” fragile subset of modern architecture in Amer- and to demonstrate how some of her design ica, where about 100 houses were planned for Carolina Chaves

95 Instituto Superior Técnico Executive Committee Advisory Board Av. Rovisco Pais 1, 1049-001 Lisboa Ana Tostões, chair France Vanlaethem, docomomo Quebec Phone: 00351 21 8418101/02/03 Louise Noelle, ISCs representative Horacio Torrent, docomomo Chile [email protected] Yoshiyuki Yamana, docomomo Japan João Belo Rodeia, docomomo Iberia Ana Tostões, chair www.docomomo.com Zara Ferreira, former secretary general Louise Noelle, docomomo Mexico Richard Klein, docomomo France Scott Robertson, docomomo Australia Theodore Prudon, docomomo US Timo Tuomi, docomomo Finland Wessel de Jonge, docomomo NL Yoshiyuki Yamana, docomomo Japan

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97 docomomo International is a non-profit organization dedicated to the documentation and conservation of buildings, sites and neighborhoods of the Modern Movement. It aims at: • Bringing the significance of the architecture of the Modern Movement to the attention of the public, the public authorities, the professionals and the educational community. • Identifying and promoting the surveying of the Modern Movement's works. • Fostering and disseminating the development of appropriate techniques and methods of conservation. • Opposing destruction and disfigurement of significant works. • Gathering funds for documentation and conservation. • Exploring and developing knowledge of the Modern Movement. docomomo International wishes to extend its field of actions to new territories, establish new partnerships with institutions, organizations and NGOs active in the area of modern architecture, develop and publish the international register, and enlarge the scope of its activities in the realm of research, documentation and education.

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