Marianna Charitonidou – Revisiting Post-CIAM Generation Proceedings
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An Action Towards Humanization: Doorn Manifesto in a Transnational Perspective
Research Collection Conference Paper An action towards humanization: Doorn manifesto in a transnational perspective Author(s): Charitonidou, Marianna Publication Date: 2019-04-11 Permanent Link: https://doi.org/10.3929/ethz-b-000451108 Rights / License: In Copyright - Non-Commercial Use Permitted This page was generated automatically upon download from the ETH Zurich Research Collection. For more information please consult the Terms of use. ETH Library REVISITING THE POST-CIAM GENERATION Debates, proposals and intellectual framework Proceedings Edited by Nuno Correia Maria Helena Maia Rute Figueiredo CEAA | Centro de Estudos Arnaldo Araújo Escola Superior Artística do Porto, Portugal Histoire et Critique des Arts Université Rennes 2, France Porto: ESAP, April 11-13, 2019 Title: REVISITING THE POST-CIAM GENERATION Debates, proposals and intellectual framework. Proceedings Editors: Nuno Correia, Maria Helena Maia and Rute Figueiredo © Authors and CEAA/ESAP-CESAP, 2018 Cover design: Sérgio Correia Edition: Centro de Estudos Arnaldo Araújo /ESAP-CESAP 1st edition: April 2019 Print on line pdf available at. https://comum.rcaap.pt/ http://www.ceaa.pt/publicacao/revisiting-post-ciam-generation-debates-proposal-2 https://post-ciam-generation.weebly.com/proceedings.html ISBN: 978-972-8784-85-0 This publication was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UID/EAT/04041/2019. The texts published were submitted to a peer review process. Referees: Alexandra Cardoso, Alexandra Trevisan, Ana Tostões, Bruno Gil, Cristina Pallini, José António Bandeirinha, Maria Helena Maia, Mariann Simon, Nuno Correia, Pedro Baía, Raúl Martínez, Rute Figueiredo, Tiago Cardoso de Oliveira, Tiago Lopes Dias The authors of the texts have the exclusive responsibility of image copyrights printed in the correspondent texts. -
'Forum' Architectural Journal As an Educational
‘FORUM’ ARCHITECTURAL JOURNAL AS AN EDUCATIONAL AND SPREADING MEDIA IN THE NETHERLANDS Influences on Herman Hertzberger Rebeca Merino del Río Escuela Técnica Superior de Arquitectura, Universidad de Sevilla / Superior Technical School of Architecture, University of Seville, Seville, Spain Abstract In the sixties, the journal Forum voor Architectuur en Daarmee Verbonden Kunsten becomes the media employed by the Dutch wing of Team 10 to lecture on and spread the new architectural theories developed after the dissolution of C.I.A.M. Aldo van Eyck and Jaap Bakema head the editorial board in between 1959 and 1967. The editorial approach gravitates towards the themes defended by these young architects in the last meetings of the International Congresses of Modern Architecture, accompanied by the analysis of works of architecture that, in the editorial board’s opinion, give a correct response to the epoch’s needs. Moreover, the permeability and cross-sectional nature of the content, bring the editors’ board closer to the European architectural, cultural and artistic avant-garde. Thus, it is appreciated that similar theoretical assumptions than the ones that gave support to the different revolts that happened in Paris, London and Amsterdam between 1966 and 1968 underlie in great part of the journal’s writings. Its content is aligned parallel to the revolutionary phenomenon, contributing to some degree to it. Herman Hertzberger, a young architect who worked for years as a part of the editorial board, was highly influenced by the contents of the journal. His later dedication to education as professor at Delft University of Technology, and his association with Dutch Structuralism as well, turn him a key figure to study, because of the determining role of Forum’s acquired knowledge in his future professional activity. -
BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo
BREAKING BARRIERS Giancarlo De Carlo from CIAM to ILAUD Lorenzo Grieco Università degli Studi di Roma Tor Vergata / University of Rome Tor Vergata, Rome, Italy Abstract After World War II, the inflexibility characterizing the first CIAM congresses soon become unsustainable, provoking the criticism of Team 10, active from 1953 for a reform of the congress. The participated discourse of the group, “considering the characteristics of society and individuals”, would be inherited, years later, by the International Laboratory of Architecture and Urban Design (ILAUD), founded by Giancarlo De Carlo in 1976. The laboratory, together with the magazine Spazio e Società (1978-2001), called back to De Carlo’s operative militancy in Team 10, expressing a brand-new approach to urban studies. As De Carlo himself affirmed: “Some messages of Team 10 have been gathered in ILAUD […] but ILAUD and Team 10 are different things”. Indeed, the laboratory strongly pushed on the dimension of the project and on the students’ collective contribution. The project was no more an end point but became the tool through which every possible solution to the problem could be tested. Courses at ILAUD were given by international professionals like Aldo Van Eyck, Peter Smithson, Renzo Piano, Sverre Fehn and Balkrishna Vithaldas Doshi, some already in Team 10. The laboratory formed many young students, and several would have become internationally-recognized professionals -e.g. Eric Miralles, Carme Pinos, Santiago Calatrava, Mario Cucinella-. The paper wants to consider the contribution of ILAUD to urban studies and didactics through the examination of the rich material (annual publications, posters, projects, photos, etc.) collected in the archive of the Biblioteca Poletti in Modena. -
TEAM 10 out of CIAM: SOFT URBANISM + NEW BRUTALISM LA SARRAZ DECLARATION (1928) 1
TEAM 10 out of CIAM: SOFT URBANISM + NEW BRUTALISM LA SARRAZ DECLARATION (1928) 1. e idea of modern architecture includes the link between the phenomenon of architecture and the of the general economic system. 2. e idea of ‘economic eciency’ does not imply production furnishing maximum commercial prot, but production demanding a minimum work eort. 3. e need for maximum economic eciency is the inevitable result of the improvished state of the general economy. 4. e most ecient method of production is that which arises from rationalization and standardization. Rationalization and standardization act directly on working methods both in modern architecture (conception) and in the building industry (realization). 5. Rationalization and standardization react in a threefold manner: 5. Rationalization and standardization react in a threefold manner: (a) they demand of architecture conceptions leading to simplication of working methods on site and in the factory; 5. Rationalization and standardization react in a threefold manner: (a) they demand of architecture conceptions leading to simplication of working methods on site and in the factory; (b) they mean for building rms a reduction in skilled labour force; they lead to the employment of less specialized labour working under the direction of highly skilled technicians; 5. Rationalization and standardization react in a threefold manner: (a) they demand of architecture conceptions leading to simplication of working methods on site and in the factory; (b) they mean for building rms a reduction in skilled labour force; they lead to the employment of less specialized labour working under the direction of highly skilled technicians; (c) they expect from the consumer (that is to say, the customer who orders the house in which he will live) a revision of his demands in the direction of a readjustment to the new conditions of social life. -
Revisiting Giancarlo De Carlo's Participatory Design Approach
heritage Article Revisiting Giancarlo De Carlo’s Participatory Design Approach: From the Representation of Designers to the Representation of Users Marianna Charitonidou 1,2,3 1 Department of Architecture, Institute for the History and Theory of Architecture (GTA), ETH Zurich, Stefano-Franscini-Platz 5, CH 8093 Zurich, Switzerland; [email protected] 2 School of Architecture, National Technical University of Athens, 42 Patission Street, 106 82 Athens, Greece 3 Faculty of Art History and Theory, Athens School of Fine Arts, 42 Patission Street, 106 82 Athens, Greece Abstract: The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo0s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A characteristic of the design approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. -
Itineraries Through Milan's Architecture
ORDINE DEGLI ARCHITETTI, FONDAZIONE DELL’ORDINE DEGLI ARCHITETTI, PIANIFICATORI, PAESAGGISTI E CONSERVATORI PIANIFICATORI, PAESAGGISTI E CONSERVATORI DELLA PROVINCIA DI MILANO DELLA PROVINCIA DI MILANO /types form, function, meaning in architecture High-rise Milan Fulvio Irace, Federico Ferrari Itineraries through Milan’s architecture Modern architecture as a description of the city “Itineraries through Milan’s Architecture: Modern Architecture as Description of a City” is a project by The Order of Architects of the Province of Milan, organized by its Foundation Scientific Coordinator: Maurizio Carones Managing Director: Paolo Brambilla Editorial Staff: Alessandro Sartori, Stefano Suriano General Manager: Giulia Pellegrino Press Office Ferdinando Crespi “High-rise Milan” Federico Ferrari, Fulvio Irace edited by: Alessandro Sartori, Stefano Suriano, Barbara Palazzi back cover: Studio BBPR, Velasca Tower, longitudinal section, 1951-1958 © BBPR Archive For copyrights regarding any unidentified iconographic materials, please contact the Foundation of the Order of the Architects, Planners, Landscape Architects and Conservators of the Province of Milan www.ordinearchitetti.mi.it www.fondazione.ordinearchitetti.mi.it High-rise Milan Federico Ferrari The high-rise building has always represented one of the themes par excellence of the modernity. The suggestion exercised by the American examples has been one of the strong suits of the Modern Movement, at least since the celebrated journey of Le Corbusier in the United States. Mesmerised by the dream of the vertical metropolis that would free man from the suffocating density of the traditional city, the Swiss architect pushed humanity to embrace without hesitation the skyscraper typology. A symbolic representation of a “drive toward the sky,” as the Promethean effort to annul the restrains of the gravity force, “the skyscraper can be considered as the model of the building magnificence typical of the homo faber of the twentieth century”(1). -
The Politics of Friends in Modern Architecture, 1949-1987”
Title: “The politics of friends in modern architecture, 1949-1987” Name of candidate: Igea Santina Troiani, B. Arch, B. Built Env. Supervisor: Professor Jennifer Taylor This thesis was submitted as part of the requirements for the award of Doctor of Philosophy in the School of Design, Queensland University of Technology in 2005 i Key words Architecture - modern architecture; History – modern architectural history, 1949-1987; Architects - Alison Smithson, Peter Smithson, Denise Scott Brown, Robert Venturi, Elia Zenghelis, Rem Koolhaas, Philosophy - Jacques Derrida, Politics of friendship; Subversive collaboration ii Abstract This thesis aims to reveal paradigms associated with the operation of Western architectural oligarchies. The research is an examination into “how” dominant architectural institutions and their figureheads are undermined through the subversive collaboration of younger, unrecognised architects. By appropriating theories found in Jacques Derrida’s writings in philosophy, the thesis interprets the evolution of post World War II polemical architectural thinking as a series of political friendships. In order to provide evidence, the thesis involves the rewriting of a portion of modern architectural history, 1949-1987. Modern architectural history is rewritten as a series of three friendship partnerships which have been selected because of their subversive reaction to their respective establishments. They are English architects, Alison Smithson and Peter Smithson; South African born architect and planner, Denise Scott Brown and North American architect, Robert Venturi; and Greek architect, Elia Zenghelis and Dutch architect, Rem Koolhaas. Crucial to the undermining of their respective enemies is the friends’ collaboration on subversive projects. These projects are built, unbuilt and literary. Warring publicly through the writing of seminal texts is a significant step towards undermining the dominance of their ideological opponents. -
Francesca Bonfante and Cristina Pallini
THE ITALIAN DEBATE AFTER THE ‘RETREAT’ Francesca Bonfante, Cristina Pallini Politecnico di Milano, Department of Architecture, Built Environment and Construction Engineering DABC, Milan, Italy Abstract The ‘Italian retreat from modern architecture’ sanctioned by R. Banham (1959), led into the different lines of inquiry undertaken by Italian architects in the Sixties and Seventies, opening the way to mutual exchange between urban studies, planning and design. This articulated debate remains largely overlooked, perhaps because many statements circulated in Italian through handouts, pamphlets and transcripts. Nevertheless, the mutual influence between varied theoretical positions deserves due consideration, partly because this was a period of transition from the major problems of post-war reconstruction to the new demands brought about by the metropolitan dimension acquired by North- Italian cities, facing a new wave of industrialisation and related migratory movements. This paper discusses key factors, and figures, which fed the Italian architectural debate at this crucial stage, with a focus on the contribution made by the School of Architecture of Milano. Keywords: Italian architectural debate, post-war Italian architecture, typology, morphology, structurality Italy after 1945 In a widespread-devastated Italy, the aftermath of World War II stirred a general demand for a collective and individual catharsis, and for a radical process of institutional and political renewal. The cultural environment changed profoundly. Before the war, only a few Italian architects had openly shown their opposition to Fascism; even those who had joined the Resistance movement became truly anti- Fascist only much later. Among the supporters of the Resistance, however, were also architects and town planners who, after 1945, yearned for a moral renewal, Francesca Bonfante, Cristina Pallini, The Italian Debate After the ‘Retreat’ questioning the real political and social nature of Fascism (along with writers, artists and film directors). -
Elogio Dell'architettura
Iuav : 65 ELOGIO DELL’ARCHITETTURA Omaggio a Ernesto N. Rogers CIAM – ma professore osteggiato significa ricordare la centralità della dall’”accademia italiana” nel consegui - Scuola nella vita di Rogers e dei BBPR, mento dell’ordinariato – Ernesto N. menzionando anche Lodovico Belgiojo- Rogers è certamente il docente che più so, che allo Iuav fu professore, ed Enrico ha attratto, segnato e indirizzato per Peressutti, che si dimise da Princeton molti anni gli architetti italiani, i suoi dove era visiting professor per il travi - diretti allievi e le successive generazio - samento dei suoi principi didattici nella ni. L’immenso impegno rogersiano nella nuova politica edilizia dell’ateneo: «le didattica scorre parallelo, e s’intreccia, opinioni architettoniche più moderne – alle direzioni di «Domus» e di «Casabella- scriveva in quella circostanza – dovreb - Continuità», che egli conduce per quin - bero mostrare alla generazione presen - dici anni – negli 1946 -’ 47 la prima, negli te e a quella futura la nostra preoccu - 1953 -’ 65 la seconda – attestazioni e stru - pazione di essere i leaders, in ogni set - menti della medesima interpretazione tore, del profondo amore per la qua - del proprio ruolo pedagogico, promo - lità». tore di una profonda e continua rifles - Problemi: arte e pubblico ; Conquista sione sul “mestiere” dell’architetto per della misura umana ; Programma: saldarne l’azione estetica ad una visio - Domus, la casa dell’uomo ; Arte, mate - ne etica nella volontà di una costante ria prima ; Architettura educatrice ; incidenza nella trasformazione della L’architetto non è una prima donna ; realtà, in un richiamo, incessantemente Pretesti per una critica non formalistica ; ribadito, alla responsabilità individua - La responsabilità verso la tradizione ; le, all’impegno di “cittadino-architetto”, Le preesistenze ambientali e i temi pra - alla necessità dell’architettura. -
Giancarlo De Carlo. a Symposium
The Plan Journal 5 (1): 261-278, 2020 doi: 10.15274/tpj.2020.05.01.2 Giancarlo De Carlo. A Symposium Sara Marini, Marko Pogacnik Conference Report / CRITICISM On December 10, 2019, a symposium on Giancarlo De Carlo (GDC) was held at IUAV [Istituto Universitario di Architettura di Venezia, Venice, Italy], curated by the authors. The IUAV University, the Department of Architecture and Arts, the Archivio Progetti – holder of the impressive collection relating to De Carlo’s works – the research infrastructure of IR.IDE (of the IUAV Department of Project Cultures), and the Venice chapter of the professional association of Architects, Planners, Landscape Architects, Preservationists of the Province of Venice collaborated to organize the meeting on the occasion of the centenary of the birth of the important Italian architect. The symposium wanted to return to ongoing investigations into the work of GDC with the objective of opening up new research perspectives. De Carlo’s architecture is a multi-faceted field of work that offers today the possibility to reflect on the role of planners and on the tools at thier disposal to act in a deeply-changing reality. The ensemble of speeches went through the detailed framework of the methods used by a difficult-to-label author who intended to promote the project as a direct expression of an idea of society. The investigations into the correspondence of GDC, on the writings, preparatory and executed material in the IUAV Archivio Progetti and in other archives, the study of the references to the root of this thought, the direct or remote comparison, carried out through the architectures (also created with other authors), draw a wide field of research. -
02 34 50 Pós 47 Ing.P65
Fabiano Borba Vianna evisiting toulouse-le mirail: r from utopia of the present to the future in the past 34 Abstract The article discusses the conception and the recent partial pós- demolition of the Toulouse-Le Mirail project, designed by the French office Candilis-Josic-Woods, relating it to the postwar period and to themes that emerged during discussions and meetings of Team 10. The meeting of Royaumont in 1962 is studied. In such occasion the project was presented by Georges Candilis and it was criticized for its large scale, revealing the position of authors such as Jaap Bakema, José Antonio Coderch, Fernando Távora and André Schimmerling, all present at the meeting. The method combines bibliographic research, investigation into Team 10 archives belonging to the collection of the Het Nieuwe Instituut in Rotterdam, as well as an empirical component with a site visit to the work. As a result, it is questioned to what extent the architectonic and urban values related to the project can be reinterpreted to support new reflections consistent with the reality of the interventions in large- scale housing settlements. Keywords Urban structures. Urban design. Modern architecture. doi: http://dx.doi.org/10.11606/issn.2317-2762.v25i47p34-50 Pós, Rev. Programa Pós-Grad. Arquit. Urban. FAUUSP. São Paulo, v. 25, n. 47, p. 34-50, set-dez 2018 REVISITANDO TOULOUSE-LE MIRAIL: DA UTOPIA DO PRESENTE AO FUTURO DO PRETÉRITO pós- 35 Resumo O artigo aborda a concepção e a recente demolição parcial do projeto Toulouse-Le Mirail, de autoria do escritório francês Candilis-Josic-Woods, relacionando-o com o período do após-Guerra e com temas que emergiram durante discussões e encontros do Team 10. -
ALDOLOGIES: Rossi, the Swiss, and Us
In the End: Architecture 50 Years of ARCH+ ESSAY Wilfried Kuehn ALDOLOGIES: Rossi, the Swiss, and Us Aldo Rossi, Model Reconstruction Teatro Paganini, Piazza Pilotta, Parma, 1964 / © 1964 Aldo Rossi, Fotography: Cino Zucchi Rossi was an unbelievably fascinating teacher. He was good-looking, he was intelligent, he had unbelievable charisma. Rossi fascinated us. Through his methods we learned to see the city analytically. —Jacques Herzog Autonomies It begins with a paradox. Aldo Rossi took up his Zurich teaching post in 1972 thanks to the efforts of Bruno Reichlin and Fabio Reinhart, after losing his position at Milan Polytechnic one year earlier. Yet although he’d been let go from Milan because of his solidarity with the striking students, at ETH Zurich the success of his professorship was grounded in the discipline he imposed on the equally rebellious students. The university leadership had appointed Rossi to re-center the pedagogical focus on architectural design—this before the backdrop of a recently published polemic authored by a collective from ETH in 1972, Göhnerswil: Wohnungsbau im Kapitalismus (Göhnerswil: Apartment Construction under Capitalism), and the Marxist seminar taught by Jörn Janssen at ETH, where debates and demonstrations were a matter of course. Rossi succeeded in bringing the students from the street to the drawing board.[1] He was first introduced to Zurich by a small exhibition in the Globus Provisorium, where he gave a lecture in which he distanced himself from the Zurich Marxists and outlined his concept of autonomy. Bruno Reichlin remembers Rossi’s talk from February 8, 1972 as follows: “He criticized those who argue that machines and computers—i.e.