Mobilizing Support for Conserving 20 Th Century Architecture
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LAFF 2011: Movie Review "UNFINISHED SPACES" CUBA's ART and REVOLUTION | Tonightatthemovies.Com
LAFF 2011: Movie Review "UNFINISHED SPACES" CUBA'... http://tonightatthemovies.com/indexhold/?p=11859 movies, new movies, films, film Search Custom Search LATEST INTERVIEWS ON THE RED CARPET CONTEST & GIVEAWAYS MOVIE NEWS FAMILY MOVIES AND FUN Select Language ▼ LA FILM FEST COVERAGE LAFF 2011: MOVIE REVIEW “UNFINISHED SPACES” – CUBA’S ART AND REVOLUTION Monday, June 20th, 2011 Written by: Jackson Truax Like many of the film’s showing at this year’s Los Angeles Film Festival, Unfinished Spaces is a feature directorial debut, this one being from the directing team of Alysa Nahmias and Benjamin Murray. Both filmmakers are names to keep an eye out for, as Unfinished Spaces masterfully blends art, history, and politics into a film that offers something TATM COLUMNS for audiences members interested in any or all of the three. The film centers around three architects, artist Ricardo Porro, Venetian-influenced Roberto Gottardi, and urbanist Beyond Subtitles Vittorio Garatti. After the Cuban revolution, Fidel Castro commissions the three to design “the most beautiful of art Indie Kid Ryan schools in the world.” They do just that, and the buildings become the bustling National Art Schools and a Spotlight on film revolutionary paradise, only to be closed and condemned when the revolution became Sovietized, all before being completed. Not Without My comic PLAY IT AGAIN, SAM DVD’S Much of the success of Unfinished Spaces comes from Nahmias and Murray’s ability to tightly focus their energy and & MORE story into 84 compelling minutes, and being willing to not only constantly take the viewer into a new place This Week In Film: Trailers & dramatically, but someplace they may not have expected to go. -
Open Terrace on the Second Floor, and a Garden and B Solarium Atop the Roof
Utopian Dreams Moisei Ginzburg’s Narkomfin Dom Kommuna ehind the Narkomfin Dom Kommuna’s austere bands of double-height windows unfolds a six-story blueprint for communal living that is as ingenious as it is humane. Built between 1928 and 1930 by a team of architects and engineers led by Moisei Ginzburg, a member of the post-revolutionary Union of Contemporary Architects, the building, erected to house employees of the Ministry of Finance, consists not only of private quarters with built-in furniture but communal facilities—an open terrace on the second floor, and a garden and Bsolarium atop the roof. A four-story annex housed a fitness center, kitchen, public restaurant, library, recreation room, and a nursery. Close by, a two story provided laundry and repair services. These facilities made the building a successful house-commune intended to dissolve social barriers though the division of household chores between inhabitants while preserving privacy. With its innovative ap- proach to living, the structure was seen as an important step in the transformation of Soviet society for revolutionary housing types that were to be adopted by the entire Russian Republic. A Constructivist masterpiece, the Narkomfin building realized an important goal of European Mod- ernist architecture, that of achieving the most minimal and rational support of modern life, the existenz minimum, and in the process fomenting social reform through architecture. Nowhere is this more evi- dent than in the building’s F-units with their innovative Frankfurt style kitchens, which influenced Le Corbusier’s design for his iconic Unite d’Habitation in Marseilles. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
Utopian Reality Russian History and Culture
Utopian Reality Russian History and Culture Editors-in-Chief Jeffrey P. Brooks The Johns Hopkins University Christina Lodder University of Kent VOLUME 14 The titles published in this series are listed at brill.com/rhc Utopian Reality Reconstructing Culture in Revolutionary Russia and Beyond Edited by Christina Lodder Maria Kokkori and Maria Mileeva LEIDEn • BOSTON 2013 Cover illustration: Staircase in the residential building for members of the Cheka (the Secret Police), Sverdlovsk (now Ekaterinburg), 1929–1936, designed by Ivan Antonov, Veniamin Sokolov and Arsenii Tumbasov. Photograph Richard Pare. © Richard Pare. Library of Congress Cataloging-in-Publication Data Utopian reality : reconstructing culture in revolutionary Russia and beyond / edited by Christina Lodder, Maria Kokkori and Maria Mileeva. pages cm. — (Russian history and culture, ISSN 1877-7791; volume 14) Includes bibliographical references and index. ISBN 978-90-04-26320-8 (hardback : acid-free paper)—ISBN 978-90-04-26322-2 (e-book) 1. Soviet Union—Intellectual life—1917–1970. 2. Utopias—Soviet Union—History. 3. Utopias in literature. 4. Utopias in art. 5. Arts, Soviet—History. 6. Avant-garde (Aesthetics)—Soviet Union—History. 7. Cultural pluralism—Soviet Union—History. 8. Visual communication— Soviet Union—History. 9. Politics and culture—Soviet Union—History 10. Soviet Union— Politics and government—1917–1936. I. Lodder, Christina, 1948– II. Kokkori, Maria. III. Mileeva, Maria. DK266.4.U86 2013 947.084–dc23 2013034913 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. -
World Monuments Watch World
the preservation quarterly of the world monuments fund world monuments fund SUMMER 2005 the preservation quarterly of the world monuments fund $4.95 special issue World Monuments Watch 100 Most EndangeredEndangered SitesSites 20062006 success story: MOSTAR, BOSNIA AND HERZEGOVINA Past Successes, Future Challenges 100 Most Endangered Sites 2006 by Michelle L. Berenfeld ith each new list of 100 Most Endangered, the World Monuments Fund is presented with, and in turn presents to the world, a unique snapshot of the history of humanity as it is manifest in the architectural legacy that has come down to us. At first glance, this picture may appear to be a random sampling of interesting buildings and site types, yet as we Wlearn more each place on the list, we find common denominators in terms of nature of the sites and the threats they face that will enhance our ability to preserve these cultural relics and others like them. conflict Many sites on the list are located in areas currently in the midst of or emerging from conflict. Beyond damage incurred as a direct consequence of warfare, many of these sites face threats such as looting and vandalism that arise in the aftermath of war or as a result of a lawless environment in the absence of any governing authority. Yet, monuments in war-torn areas can be potent reminders of our long and shared history and of a future beyond conflict. That such sites are a key part of who we are is un- 12 summer 2005 conflict WAR AND ETHNIC INTOLERANCE HAD TAKEN TheIR TOLL ON The OTTO- MAN CITY OF MOSTAR, LEFT, BY The TIme IT FIRST CAme ONTO The WATCH LIST IN 2000, TODAY, The CITY IS WITNessING RebIRTH AS A CENTER OF CULTURAL DIVERSITY. -
L'architettura Tra Eteronomia E
L’ARCHITETTURA TRA ETERONOMIA E DOSSIER AUTOGENERAZIONE Luigi Alini, [email protected] Dipartimento di Ingegneria Civile e Architettura, Università degli studi di Catania, Italia Introduzione «Non ho mai lavorato nell’esal- atelier di Brera del 1988 e gli interni dell’Hotel Gallia del 1989. tazione tecnocratica, alla risolu- “La vera architettura si autogenera”1: un approccio che si conso- zione di un problema costruttivo e basta. Ho sempre cercato di lida negli anni della collaborazione con Raúl Villanueva in Ve- interpretare lo spazio della vita dell’uomo» (Vittorio Garatti). nezuela e trova compimento a Cuba nel progetto delle Scuole Vittorio Garatti (Milano, 6 aprile 1927) è certamente uno degli d’Arte, dove Garatti ricorre ad una pluralità di strumenti non ultimi testimoni di una stagione “eroica” dell’architettura italia- confinabili rigidamente al mondo dell’architettura. na. Nel 1957 si laurea in architettura al Politecnico di Milano Nel 1957 a Caracas entra in contatto con Ricardo Porro e Ro- con una tesi che propone il ridisegno di una porzione del centro berto Gottardi. Sarà Ricardo Porro, rientrato a Cuba nel 1960, storico di Milano: l’area compresa fra piazza della Scala, via Bro- a coinvolgere Vittorio Garatti e Roberto Gottardi nel progetto letto, via Filodrammatici ed i giardini dell’ex edifico Olivetti di delle Escuelas Nacional de Arte. via Clerici. I tre giovani architetti saranno protagonisti di una felice stagio- Sono gli anni in cui Ernesto Nathan Rogers si afferma come una ne de “l’architettura della Rivoluzione”, saranno attraversati da delle principali personalità della cultura milanese. Garatti fa quell’energia “rivoluzionaria” che Ricardo Porro ha definito “re- propria la critica espressa da Rogers all’omologazione del “lin- alismo magico”. -
Las Escuelas Nacionales De Arte and the Cuban Revolution
86TH ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE 339 Identities in Conflict - Las Escuelas Nacionales de Arte and the Cuban Revolution JOHN A. LOOMIS City College of CUNY Constructing a revolutionary identity was one of the cultural tectural practice in Cuba prior to the revolution, there were goals of the Cuban Revolution. Yet the first work of architec- distinct efforts among the more progressive Cuban modern- ture, Las Escuelas Nacionales de Arte (National Art Schools, ists to address the cultural specificity of the island. As early 1961-65), that sought to develop a critical architectural as 1941 the Agrupacibn TCcnicade Estudios Contemporineos expression of identity, generated a level of controversy that had been founded to pursue the discussion of contemporary contributed to the project's partial abandonment and the issues of architecture and urbanism, with the specific mission redirection of architecture in revolutionary Cuba. to engage these issues with Cuba's environmental and cul- The intellectual discourse that provides a framework for tural context. After the quema de 10s Viiiola2 in 1947, the the definition of identity in Cuba - cubanidad - predates the faculty of architecture at the Universidad de La Habana Cuban Revolution and has 19thcentury origins in the writings departed from its Beaux-Arts origins to embrace a more of Jose Marti whose progressive view of race relations recog- modernist doctrine, while at the same time consciously seek- nized the African as well as Spanish contributions to Cuban ing to integrate values from the island's own arquitectura culture. In the 1930's two schools of thought emerged criolla. Parallel to the regionalist and vernacular interests that regarding identity, the negristas and the hispanicistas. -
Open to the Public
1 '•^Ctf^' o • *uJ *r • • »'* • $m l'í'^^i* 5^ && wr&M -5 ^ *•*«*"* M K *• f A» JBMM JT REDISCOVERING CUBA'S II B Vi r NATIONAL ART SCHOOI •rrnitn.,/-.' .'Y^XÍ' '!lmr> Proud supporters of the WORLD MONUMENTS WATCH The World Monuments Fund and founding sponsor American Express created the World Monuments Watch in 1996. American Express has committed through 2005, $10 million dollars over ten years, to fund preservation projects. For the past five years, TRAVEL + LEISURE Magazine, has devoted a special section to raise awareness of and funds for the World Monuments Watch. We are proud to be a part of the cause and each year donate ten percent of all net advertising revenue generated through the special section to the World Monuments Fund. TRAVEL + LEISURE WORLD MONUMENTS WINTER 2002/2003 FEATURES Destruction and Hope The state of Afghanistan's ancient monuments 16 Chronicle in Stone A Manueline masterpiece reborn Abode of the Gods Sacred shrines of Kathmandu 26 Castro's Dream Rediscovering Cuba's National Art Schools Catalysts for Change Private trusts as critical tools in preservation Building New Delhi The British capital of India was built as a garden-city, world-renowned for its civic grace Next Stop: Mongolia Restoring the Bogd Khan Palace in Ulaanbaatar DEPARTMENTS From the President From Ihc Ftlilor News Ex [ibris Expedition:South America ON THE COVER Thirteenth-century Masjid-i-Jami (Great or Friday Mosque), Herat, Afghanistan © Sabrina and Roland Michaud World Monuments ICON (ISSN 1539-4190) is published quarterly by the World Monuments Fund», 95 Madison Avenue, New York, NY 10016, tel .1 646-424-9594, fax >1 646-424-9593, e-mail ¡con<°>wmf.org. -
Applications of the Golden Mean to Architecture
Meandering Through Mathematics, 21 February 2012. Reprinted by Laa — Laboratoire Analyse Architecture, Université Catholique de Louvain, Belgium, 12 December 2012 APPLICATIONS OF THE GOLDEN MEAN TO ARCHITECTURE Nikos A. Salingaros, The University of Texas at San Antonio. Abstract: The Golden Mean, an irrational number related to the Fibonacci sequence, arises in the study of biological growth and hierarchical systems. Quite distinct from natural structures that exhibit such growth patterns, artists and architects have long made extraordinary assertions about a preference for rectangles having aspect ratio 1.618:1 approximating the Golden Mean. Such claims are false and are chiefly due to failing to measure things accurately. These embarrassing errors are perpetuated by a kind of cult mysticism. The Golden Mean does apply to architectural composition in the context of scaling hierarchy that organizes complexity; this design methodology is unrelated however to a rectangle’s aspect ratio. Simply considering rectangular aspect ratios does not guarantee good design. 1. Introduction. The architectural literature frequently mentions an irrational number called the Golden Mean. It is common to claim that the Golden Mean has influenced the shape of countless important buildings throughout history, and that it is somehow responsible for any “balance” and “harmony” that they possess. Supposedly, a rectangle with aspect ratio satisfying the Golden Mean has special, almost magical, properties. Even though there are numerous instances of the Golden Mean arising in natural systems (in growth patterns, not in rectangles), it is problematic to find unambiguous examples of Golden Mean rectangles in man-made structures (Livio, 2003). This is surprising, considering the vigorous claims made by so many authors convinced otherwise. -
8Npvysfq 10Stories-Mov-En.Pdf
Title 10 STORIES OF COLLECTIVE HOUSING Subtitle A graphical analysis of inspiring masterpieces by a+t research group ISBN 978-84-616-4136-9 Authors a+t research group: Aurora Fernández Per Javier Mozas Alex S. Ollero Layout and production: Aurora Fernández Per Alex S. Ollero Delia Argote Coordination: Idoia Esteban Communication and Press: Patricia García Editor English language version: Ken Mortimer Printing: Gráficas Dosbi SL VI 366-2013 Vitoria-Gasteiz, 2013 Published by: a+t architecture publishers General Álava 15, 2ºA. E-01005. Vitoria-Gasteiz. Spain www.aplust.net © Edition: a+t architecture publishers © Texts and drawings: a+t research group © Photos: their authors No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher. CONTENTS TIMELINE 08 01 THE STREET IN THE AIR JUSTUS VAN EFFEN COMPLEX. Michiel Brinkman. Rotterdam,1919-1922 12 02 THE SINKING OF THE SOCIAL CONDENSER NARKOMFIN DOM-KOMMUNA. Moisei Ginzburg, Ignaty Milinis. Moscow,1928-1930-1932 66 03 CHEAPER, FASTER, LIGHTER AND TALLER CITÉ DE LA MUETTE. Beaudouin, Lods, Mopin, Bodiansky. Paris, 1931-1934 116 04 THE ELEGANCE OF THE DISSIDENT HOUSING FOR BORSALINO EMPLOYEES. Ignazio Gardella. Alessandria,1948-1952 150 05 THE PROJECT AS SCRIPT MULTI-PURPOSE COMPLEX IN CORSO ITALIA. Luigi Moretti. Milan,1949-1956 176 06 AN EXQUISITE GHETTO BARBICAN. Peter Chamberlin, Geoffry Powell, Christof Bon, Arup. London, 1956-1976 216 07 CRISTAL LIQUIDE RÉSIDENCE DU POINT DU JOUR. Fernand Pouillon. Paris,1957-1963 278 08 SLOW CITY HILLSIDE TERRACE. Fumihiko Maki. Tokyo, 1967-1998 322 09 BUILDING MOODS BYKER REGENERATION. -
Exploring Havana, Cuba Schedule By
EXPLORING HAVANA, CUBA OCTOBER 23–28, 2015 The Harvard Alumni Association is operating this educational program under the General License authorized by the Office of Foreign Assets Control (OFAC). This program differs from more traditional trips in that every hour must be accounted for. Each day has been structured to provide meaningful interactions with Cuban people or educational or cultural programming. Please note that Stanford University intends to fully comply with all requirements of the General License. Travelers must participate in all group activities. Each individual is required to keep a copy of their final program which could be requested by OFAC officials at any point in the next five years. Please note that we fully expect this program to change so that we can accommodate the changing schedules of the people meeting with the group. The below program includes examples of speakers and visits but there may be other guests and visits added as we develop the program. We will have an updated itinerary later this spring. STUDY LEADER: To be announced GROUP SIZE: 12 to 25 guests PRICING: $4,695 per person double occupancy / $795 single supplement FRIDAY, OCTOBER 23 SCHEDULE BY DAY HAVANA Depart Miami on a charter flight to Havana. This short B=Breakfast, L=Lunch, D=Dinner flight takes about 45 minutes. Upon arrival in Havana proceed through immigration THURSDAY, OCTOBER 22 and collect your luggage. Your local Cuban guide and INDEPENDENT ARRIVALS IN MIAMI your tour manager will be waiting for you outside in the arrivals area. Since the flight to Havana may depart early in the morning on Friday, October 23 we suggest you arrive The first stop will be at the iconic Hotel Nacional. -
The Meaning of Italian Culture in the Latin American Architecture Historiography
CADERNOS 19 ROBERTO SEGRE The Meaning of Italian Culture in the Latin American Architecture Historiography. An Autobiographical Essay. ROBERTO SEGRE The Meaning of Italian Culture in the Latin American 291 Architecture Historiography. An Autobiographical Essay. Roberto Segre Picture: Meindert Versteeg (2010) The first years he decision of writing an autobiographical narrative is a difficult task, as- Tsuming as guideline the meaning of Italy and its culture, for seven decades dedicated to the history of Architecture. It gives the impression that telling your own life story is somehow associated with an egocentric, self-recognition content; with the illusion of an idea that personal experiences would be useful to eventual readers. However, at the same time, there is in the world a persis- tent and intense desire of knowing the individualities that through their work contributed to the development of culture and ideas that had some influence on the social development; those who fought for transforming reality by gen- erating new empirical contents, interpretations, discoveries and experiences that could be embraced by future generations. Therefore, reaching an advanced age, we feel the need of stopping, of looking back to the past and following the singer Paolo Conte’s suggestion: “dai, dai, via, via, srola la pellicola”, and thus, reviewing the most significant moments of life: the discoveries during travels, the contact with the masters, the aesthetic and architectonic experiences. Un- doubtedly some autobiographies are still paradigmatic, such as the ones by F.L. Wright and Oscar Niemeyer; or the more intimate and personal ones by Peter Blake, V.G. Sebald or Eric Hobsbawm.