DOCSLIB.ORG

LAND Remarks on the Houses of Aldo Van Eyck

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LAND Remarks on the Houses of Aldo Van Eyck The winter of 1990 saw the publication Aldo wandering around the catacombs of Joost Meuwissen of OASE double issue 26-27, bearing the the giant oak, like some bewildered visitor. slightly pretentious title: his job is to bring Revelling in his own prose, Joost about an IMAGINED ORDER, Aldo van whirls past Aldo’s houses without discov- Eyck. As this longish title suggests, the ering any real virtuosity. The article’s title entire issue was devoted to the work of characterises Aldo van Eyck as a master ALDO IN Aldo van Eyck. Its editorial dwelled on who, in his homes, conjures with scale and the fact that a serious architectural cri- ushers the users into a wondrous world of tique of Van Eyck’s oeuvre would be pos- changing dimensions. At the same time, sible only by avoiding Van Eyck’s person it also explicitly describes him as a giant and by steering clear of his digressions stumbling blindly through the china cabi- WONDER- on the ‘human dimension’ and ‘poetic de- net of architecture. sign’. That very same editorial indicated The homes have a unique logic that that the editorial board had set itself the is quite different from his public works, momentous task of ‘incorporating [Van because here he does not put together Eyck’s work] into the science of architec- façades. Instead the floor plan gives rise LAND ture’, which up until that point had clearly to the finished product. The façades have not been possible. The issue addressed a disappeared and the building derives range of topics, among them Van Eyck’s meaning from its surroundings and the approach to living, the journal Forum, floor plan structure. CIAM, Otterlo 1959, his urban devel- Meuwissen’s article appears to imply Remarks on opment work, Nagele and finally Joost that Van Eyck’s homes, which up until Meuwissen on Van Eyck’s private homes. that point had gone unnoticed and uncen- The inclusion of Joost Meuwissen was sored, show a weakness and ambiguity 26 something of a surprise. He had been as- that may be more interesting than the sociated with the journal Plan and at the meticulous and over-composed clarity of the Houses of OASE time of this publication he worked for the his public buildings. In fact, Meuwissen is journal Wiederhall. Meuwissen had never carried away by them. The paradox of this shown any affinity with Aldo van Eyck’s article is that whereas Meuwissen wants ideas or finished work in either of these to provide a dry, analytical description of two journals. Wiederhall had its heyday in Van Eyck’s work, Van Eyck may ultimate- Aldo van Eyck FIRST PUBLISHED IN the late 1980s. It had stressed its creden- ly have touched a chord in him. He thus tials as a platform for the kind of architec- concludes with the poetic image of Aldo ture that infuriated and terrified Van Eyck. van Eyck up in the tree like the invisible Nor does it seem likely that Wiederhall’s cat with the mysterious smile. editorial board, including the likes of Carel Weeber and Umbeto Barbieri, Juliette Bekkering would have inspired much confidence in Member of the editorial board Van Eyck. In the late 1980s Wiederhall from OASE 28 to 40 was a remarkably polished journal – seem- Translated by Laura Vroomen ingly the opposite of OASE in everything. It had a large, square layout, deliberately designed to prevent photocopying. In the first Wiederhall editorial Meuwissen wrote: ‘I love architecture because it is old. In its treatises and manuals it has preserved a dead language up until now.’ Judging by his article Joost Meuwissen appears to have little affin- ity with Aldo van Eyck’s work. The title should have read ‘Joost in Aldo’s Won- derland’ rather than evoking an image of 136 Within Aldo van Eyck’s body of work, residential buildings 1 present to us from their modern condition, their passive voice Deleuzian categories are form neither a distinct category nor, by any means, a promi- The reception history of – the same voice that speaks to us from the sparse design used here not in an applied Aldo van Eyck’s works is still manner but in a reconstructive nent one. Their role is modest. In surveys and other publica- notes, like the hermetic poet Gerrit Achterberg, singing the OASE #75 too short for us to take any dis- one. If my approach must have tions about his oeuvre, they are not usuallly presented as a tance from it. For that reason, praises of something unattainable. The only activity is that a name, therefore, reconstruc- separate group. In his architectural aesthetics, in word and not much attention is paid here of things, the sun entering, the door opening: ‘When the door tionism seems most suitable. to the secondary literature of 2 image, Van Eyck does not make a categorical distinction be- opens, spring has truly arrived!’ Truly? Living in the house is 2 prior interpretations, despite tween types of buildings. Each building is called home. His waiting for the door to open at last. Deep inside the house, the Jan Rietveld and Aldo van the frictions between the hagio- Eyck, ‘Huis aan de Herman two largest public projects, the Burgerweeshuis and Moeder- graphic (Herzberger), empa- prime numbers are keeping watch. The play of contrasts, in Gorterstraat te Amsterdam’, huis in Amsterdam (a home for orphans and a home for single thetic (Strauven) and critical the larger-scale works, reaches its limit in literary content and Forum, 1956, 118, 119. (De Heer, Barbieri) approaches. mothers, respectively), both have a residential function. Van This article attempts to trace ends with a resulting leap towards understanding – the Burger- Eyck’s aesthetics does include a theory of coming and go- the definition of building, resid- weeshuis and Moederhuis are run-ups to such a leap. In the ing, though more of coming than of going – a theory of stay- ing and thinking in the houses smaller-scale works, the monuments and pavilions, that same of Van Eyck, from an angle that ing somewhere, of ‘dwelling’, but not a theory of residing or is not so much deconstruction- play of contrasts can – through the restriction of the means of living somewhere in the strict sense. In the structure of this ist as it is Deleuzian. This is expression – be celebrated directly, as an image: the sign, em- aesthetics, each work avoids stylistically refining the previous because Gilles Deleuze has blem or logo of an idealised working method. The difficulty formulated more, and more ones; instead, the objective is to ‘merge prior experiences’ into global, descriptive categories, is that this play of contrasts in Van Eyck’s houses has neither a rich awareness, and so each work acquires a characteristic which can serve as keys to the a beginning nor an end. The mode of address is not the ‘we’ tenor that is all its own, offering a truly new and different interpretation of an aesthetic of the architect or the ‘them’ of the occupants, but reality system, especially in Différence definition of architecture. Nevertheless, houses seem to have et répéti tion (Paris, 1968). Or at itself. The game grows more fluid. There are no rules. In his played but a small role in the reception of his oeuvre.1 Per- least, it seems to me that in this houses, no connection can be made between height, breadth haps the concept of architecture that they embodied was less approach, the deconstructionist and depth. They threaten to escape not only his oeuvre, but preoccupation with destroy- timely, less historically compelling or less urban. ing dialectic and constructing architecture itself. Reality is not rescued there by a concept Van Eyck’s houses are admired, to be sure, but not often equality is coupled with a pos- or image, but because it is indicated as outside. Accordingly, discussed. I do not wish to change this situation radically. sibility that has not yet been the inside – the interior – is devoid of representation; it is va- relinquished, the possibility Rather, I would like to take their silent builtness and their that an aesthetic system is also cated; it creates an almost postmodern emptiness, posing a abstract conceptualisation as a basis, and examine what they thinkable. In this sense, the transcendental question – under what conditions is the play ALDO IN WONDERLAND JOOST MEUWISSEN Jan Rietveld and Aldo van Eyck, floor plan of the Damme House, Herman Gorter- straat, Amster- dam, 1951-1954 Jan Rietveld and Aldo van Eyck, Damme House, Herman Gorterstraat, Amsterdam, 1951-1954 Jan Rietveld and Aldo van Eyck, Damme House, Herman Gorterstraat, Amsterdam, 1951-1954 Jan Rietveld and Aldo van Eyck, Damme House, Herman Gorterstraat, Amsterdam, 139 of contrasts possible? – and answering that question by build- ing, by erecting an almost unbridled elevation. OASE #75 TWISTS Not that the houses have very different twists than the other works. The entrance recessed deeply into the house, the bayo- net reflection in the floor plan, the dominant cornice, the bub- bling domes on the roof, or the aggregation of rooms around 3 a larger space, the tectonics of the elevation – these features Because they indicate different appear in all his works. But their point differs. For instance, contents, namely inside and outside, I speak of a different the bayonet reflection in the houses is developed only in one scale, although the propor- direction, and not in multiple ones. To put it differently, an tional system does not actually orthogonal bayonet reflection can prompt a diagonal one on a differ. 3 4 different scale, but the two are not united in a single system In a recent exchange with Jan of their own, unlike in the larger-scale projects, such as the de Heer, Johan van de Beek Burgerweeshuis, or the design for the cultural centre in Jeru- refers to the self-contained compositional quality of these salem, where bayonet reflection seems to be used both length- buildings, which have a compo- wise and breadthwise, occasioning a system of swastikas that nent structure but whose com- aims to unite part and whole within itself and thus achieves ponents never become a model 4 of an infinite structure: ‘Een in- its effects through the medium of scale.
Load more

Recommended publications
  • Structuralism (Architecture) - Wikipedia, the Free Encyclopedia Page 1 of 6
    Structuralism (architecture) - Wikipedia, the free encyclopedia Page 1 of 6 Structuralism (architecture) From Wikipedia, the free encyclopedia Structuralism as a movement in architecture and urban planning evolved around the middle of the 20th century. It was a reaction to CIAM-Functionalism (Rationalism), which had led to a lifeless expression of urban planning that ignored the identity of the inhabitants and urban forms. Two different manifestations of Structuralist architecture exist. Sometimes these occur in combination with each other. On the one hand, there is the Aesthetics of Number, formulated by Aldo van Eyck in 1959. This concept can be compared to cellular tissue. The "Aesthetics of Number" can also be described as "Spatial Configurations in Architecture". European Space Centre ESTEC in Noordwijk, restaurant conference-hall On the other hand, there is the Architecture of Lively library, 1989 (Aldo van Eyck and Hannie Variety (Structure and Coincidence), formulated by van Eyck) John Habraken in 1961. This second concept is related to user participation in housing. The "Architecture of Lively Variety" can also be called "Architecture of Diversity" or "Pluralistic Architecture". Structuralism in a general sense is a mode of thought of the 20th century, which came about in different places, at different times and in different fields. It can also be found in linguistics, anthropology, philosophy and art. Contents ■ 1 Origins ■ 2 Manifesto ■ 3 Otterlo Congress, Participants ■ 4 Theoretical Origins ■ 5 Housing Estates, Buildings and Projects ■ 6 Bibliography ■ 7 Further Configurations in Architecture and Urbanism ■ 8 Amsterdam, Barcelona, Manhattan and Venice Origins Structuralism in architecture and urban planning had its origins in the Congrès International d'Architecture Moderne (CIAM) after World War II.
    [Show full text]
  • Downloads/2003 Essay.Pdf, Accessed November 2012
    UCLA UCLA Electronic Theses and Dissertations Title Nation Building in Kuwait 1961–1991 Permalink https://escholarship.org/uc/item/91b0909n Author Alomaim, Anas Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Nation Building in Kuwait 1961–1991 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Architecture by Anas Alomaim 2016 © Copyright by Anas Alomaim 2016 ABSTRACT OF THE DISSERTATION Nation Building in Kuwait 1961–1991 by Anas Alomaim Doctor of Philosophy in Architecture University of California, Los Angeles, 2016 Professor Sylvia Lavin, Chair Kuwait started the process of its nation building just few years prior to signing the independence agreement from the British mandate in 1961. Establishing Kuwait’s as modern, democratic, and independent nation, paradoxically, depended on a network of international organizations, foreign consultants, and world-renowned architects to build a series of architectural projects with a hybrid of local and foreign forms and functions to produce a convincing image of Kuwait national autonomy. Kuwait nationalism relied on architecture’s ability, as an art medium, to produce a seamless image of Kuwait as a modern country and led to citing it as one of the most democratic states in the Middle East. The construction of all major projects of Kuwait’s nation building followed a similar path; for example, all mashare’e kubra [major projects] of the state that started early 1960s included particular geometries, monumental forms, and symbolic elements inspired by the vernacular life of Kuwait to establish its legitimacy.
    [Show full text]
  • Lecture Handouts, 2013
    Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #1 INTRODUCTION & OVERVIEW Introductions Expectations Textbooks Assignments Electronic reserves Research Project Sources History-Theory-Criticism Methods & questions of Architectural History Assignments: Initial Paper Topic form Arch. 48-350 -- Postwar Modern Architecture, S’13 Prof. Gutschow, Classs #2 ARCHITECTURE OF WWII The World at War (1939-45) Nazi War Machine - Rearming Germany after WWI Albert Speer, Hitler’s architect & responsible for Nazi armaments Autobahn & Volkswagen Air-raid Bunkers, the “Atlantic Wall”, “Sigfried Line”, by Fritz Todt, 1941ff Concentration Camps, Labor Camps, POW Camps Luftwaffe Industrial Research London Blitz, 1940-41 by Germany Bombing of Japan, 1944-45 by US Bombing of Germany, 1941-45 by Allies Europe after WWII: Reconstruction, Memory, the “Blank Slate” The American Scene: Pearl Harbor, Dec. 7, 1941 Pentagon, by Berman, DC, 1941-43 “German Village,” Utah, planned by US Army & Erich Mendelsohn Military production in Los Angeles, Pittsburgh, Detroit, Akron, Cleveland, Gary, KC, etc. Albert Kahn, Detroit, “Producer of Production Lines” * Willow Run B-24 Bomber Plant (Ford; then Kaiser Autos, now GM), Ypsilanti, MI, 1941 Oak Ridge, TN, K-25 uranium enrichment factory; town by S.O.M., 1943 Midwest City, OK, near Midwest Airfield, laid out by Seward Mott, Fed. Housing Authortiy, 1942ff Wartime Housing by Vernon Demars, Louis Kahn, Oscar Stonorov, William Wurster, Richard Neutra, Walter Gropius, Skidmore-Owings-Merrill, et al * Aluminum Terrace, Gropius, Natrona Heights, PA, 1941 Women’s role in the war production, “Rosie the Riverter” War time production transitions to peacetime: new materials, new design, new products Plywod Splint, Charles Eames, 1941 / Saran Wrap / Fiberglass, etc.
    [Show full text]
  • 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.
    [Show full text]
  • Filmmaking in Relation to a Certain Realness of Site
    Gina: Black was not included in that idea. Juanita: No, that was not the intention.1 In 2016, a potential film location offered me an intriguing combination of circumstances regarding the always-existing questions in 01/12 filmmaking of the site, the set, and the dimensions of space and time. As a multilayered entity – at once an example of Dutch architectural heritage, a corporate asset, an office workplace, and a home to asylum-seekers in need of a roof and recognition – the Amsterdam office complex Tripolis presented a site through which to explore various levels of Wendelien van Oldenborgh colonial-modern here-ness.2 ÊÊÊÊÊÊÊÊÊÊThis combination continues to echo as an abiding theme in my work. The following set of Asset as Set: meditations considers some of its implications, both in my work filmed in Tripolis, Prologue: Filmmaking in Squat/Anti-Squat (2016), and in films by Alain Resnais, Glauber Rocha, and Pedro Costa. These Relation to a thoughts are inspired by Denise Ferreira da Silva, in particular her essay “The Racial Event,” in which she writes: “I move to abandon temporal Certain thinking, which imposes and necessitates the presumption of separability, and move to read Realness of Site back-then and the over-there as constitutive of what happens right-now and right-here and what is about to happen.”3 ÊÊÊÊÊÊÊÊÊÊI want to consider reading the modern city as a site of colonial-capitalistic struggle and as a e t i 4 S “racial event,” using the film edit as a lens. I see f o h in filmmaking a possibility to work with the s g s r e o necessary collapse of time and space that n b l n a e Ferreira da Silva calls us to, pointing to what is e d l R O real here and now by aiming to include all n i n a a t dimensions in cinematic language.
    [Show full text]
  • On Growth and Form
    On Growth and Form On Growth and Form On Growth and Form This collection of essays by architects and artists revisits D’Arcy Thompson’s influential bookOn Growth and Form Organic Architecture and Beyond (1917) to explore the link between morphology and form- making in historical and contemporary design. This book sheds new light on architects’ ongoing fascination with Edited by Philip Beesley & Sarah Bonnemaison organicism, and the relation between nature and artifice that makes our world. Beesley • Bonnemaison on growth and form Organic architecture and beyond Tuns Press and Riverside Architectural Press 2 on growth and form Tuns Press Faculty of Architecture and Planning Dalhousie University P.O. Box 1000, Halifax, NS Canada B3J 2X4 web: tunspress.dal.ca © 2008 by Tuns Press and Riverside Architectural Press All Rights Reserved. Published March 2008 Printed in Canada Library and Archives Canada Cataloguing in Publication On growth and form : organic architecture and beyond / edited by Sarah Bonnemaison and Philip Beesley. Includes bibliographical references. ISBN 978-0-929112-54-1 1. Organic architecture. 2. Nature (Aesthetics) 3. Thompson, D’Arcy Wentworth, 1860-1948. On growth and form. I. Bonnemaison, Sarah, 1958- II. Beesley, Philip, 1956- NA682.O73O6 2008 720’.47 C2008-900017-X contents 7 Why Revisit D’Arcy Wentworth Thompson’sOn Growth and Form? Sarah Bonnemaison and Philip Beesley history and criticism 16 Geometries of Creation: Architecture and the Revision of Nature Ryszard Sliwka 30 Old and New Organicism in Architecture: The Metamorphoses of an Aesthetic Idea Dörte Kuhlmann 44 Functional versus Purposive in the Organic Forms of Louis Sullivan and Frank Lloyd Wright Kevin Nute 54 The Forces of Matter Hadas A.
    [Show full text]
  • Een 'Nieuwe' Architectonische Opgave
    Een ‘nieuwe’ architectonische opgave Onderzoek naar de contextuele benadering in de architectuur van Aldo van Eyck en Theo Bosch Maaike Waaldijk Colofon Maaike Waaldijk Masterscriptie Kunstgeschiedenis Juni 2020 Track architectuurgeschiedenis en Monumentenzorg Universiteit Utrecht Begeleiding: dr. Dirk Van de Vijver Afbeelding titelblad: Schetsen en notities van Theo Bosch voor Meervoudige Opdracht Herziening Wederopbouwplan Nieuwmarkt (Amsterdam) (1969-1970) Masterscriptie Universiteit Utrecht Maaike Waaldijk Een ‘nieuwe’ architectonische opgave Onderzoek naar de contextuele benadering in de architectuur van Aldo van Eyck en Theo Bosch Inhoud Inleiding 5 Opbouw onderzoek 5 Definitie contextuele benadering 5 Probleemstelling 9 Historische context 11 Architectuurhistorische context 11 Methode 12 Hoofdstuk 1 – Contextuele benadering van Aldo van Eyck 13 Inleiding 13 Korte biografische beschrijving Aldo van Eyck 13 Aldo van Eyck en de contextuele benadering 14 Projecten 17 Conclusie 41 Hoofdstuk 2 – Contextuele benadering van Theo Bosch 42 Inleiding 42 Korte biografische beschrijving Theo Bosch 42 Projecten 43 Conclusie 55 Conclusie 56 Bibliografie 58 Lijst met beeldmateriaal 60 Bijlagen 64 Bijlage 1: Contextuele opgaven in het oeuvre van Aldo van Eyck 64 Bijlage 2: Contextuele opgaven in het oeuvre van Theo Bosch 70 Inleiding Voor de afstudeerscriptie voor de masteropleiding Architectuurgeschiedenis en Monumentenzorg aan de Universiteit Utrecht heb ik onderzoek gedaan naar de wijze waarop de contextuele benadering tot uiting kwam in het werk van de architecten Aldo van Eyck en Theo Bosch. Aldo van Eyck ontwikkelde een eigen ‘contextuele benenadering’ die hem tijdens het ontwerpen handvatten bood in de vorm van concrete uitgangspunten. De uitgangspunten waren als het ware stelregels die vertelden op welke wijze het nieuwe ontwerp zich moest verhouden tot de bestaande omgeving.
    [Show full text]
  • Playground Design: Children’S Play Spaces in the City from the 1930S up to the Present Day
    Playground design: children’s play spaces in the city from the 1930s up to the present day Jaquelina Ângelo Sio Thesis to obtain the Master of Science Degree in Architecture Supervisor: Prof. Maria Alexandra de Lacerda Nave Alegre Examination Committee Chairperson: Prof.Teresa Frederica Tojal de Valsassina Heitor Supervisor: Prof. Maria Alexandra De Lacerda Nave Alegre Members of the Committee: Prof. Filipa Maria Salema Roseta Vaz Monteiro October 2018 Declaration I declare that this document is an original work of my own authorship and that it fulfils all the requirements of the Code of Conduct and Good Practices of the Universidade de Lisboa. Resumo Os parques infantis são espaços públicos determinantes no tecido urbano não só por serem lugares na cidade destinados às crianças, para atividade de brincar e de promoção do seu desenvolvimento, mas também pela sua capacidade de proporcionar vida pública e de estabelecer laços sociais nas comunidades onde se inserem. Contudo, por serem concebidos como estruturas efémeras sem pretensão de preservação, são suscetíveis de serem alterados ou esquecidos com o decorrer do tempo, com grande parte da sua história pouco documentada e o seu estudo ainda bastante subvalorizado. A presente dissertação analisa o desenvolvimento da conceção dos parques infantis com recurso a exemplos pioneiros de diferentes períodos, produzidos internacionalmente entre 1930 e 1980, apresentados em quatro narrativas distintas. Em paralelo, são abordadas intervenções recentes de sucesso concebidas pela firma de design Holandesa Carve, cujos espaços e experiências lúdicas que propõem evidenciam a importância e o potencial dos parques infantis para a vida da criança e para a vivência do espaço urbano.
    [Show full text]
  • Open Field, Open Street, Open Choice: John Andrews
    Proceedings of the Society of Architectural Historians, Australia and New Zealand 30, Open Papers presented to the 30th Annual Conference of the Society of Architectural Historians, Australia and New Zealand held on the Gold Coast, Queensland, Australia, July 2-5, 2013. http://www.griffith.edu.au/conference/sahanz-2013/ Philip Goad, “Open Field, Open Street, Open Choice: John Andrews and the South Residences, University of Guelph (1965-68)” in Proceedings of the Society of Architectural Historians, Australia and New Zealand: 30, Open, edited by Alexandra Brown and Andrew Leach (Gold Coast, Qld: SAHANZ, 2013), vol. 2, p639-650. ISBN-10: 0-9876055-0-X ISBN-13: 978-0-9876055-0-4 Open Field, Open Street, Open Choice John Andrews and the South Residences, University of Guelph (1965-68) Philip Goad University of Melbourne In the early 1960s, the question of what constituted an ideal model for university student accommodation was an open one. A corollary of the post-World War Two baby boom that gave rise to unprecedented demand for housing and schools in the 1950s, was the expansion of existing universities and the planning and construction of new universities. The design of these new institutions came at a time when architecture culture was redefining its urban mission. The demise of CIAM, the emergence of Team 10 and a new generation of urban thinkers saw increased focus on concepts of community, the street and the scale of the individual. The university and by extension the university college came to be considered potential utopian communities,
    [Show full text]
  • Proceedings Viiith International Docomomo
    international working party for documentation and conservation of buildings, sites and neighborhoods of the modern movement Proceedings VIIIth International Conference Import-Export: Postwar Modernism in a Expanding World, 1945-1975 Editors Theodore H.M. Prudon Hélène Lipstadt DOCOMOMO International DOCOMOMO US New York, 2008 In memory of Paul S. Byard (1939-2008) His enthusiastic support made this conference a success Contents The VIIIth International DOCOMOMO Conference Import-Export: Postwar Modernism in an Expanding World, 1945-1975 Preface Influence And Transformation: The Saskatchewan Power Theodore H. M. Prudon and Hélène Lipstadt ............................ 1 Corporation Headquarters Bernard Flaman ....................................................................... 67 DOCOMOMO US and Change in Preservation in America Theodore H. M. Prudon and Hélène Lipstadt ............................ 3 A Modern Museum in an Old House by the Sea: Lina Bo Bardi and the Modernism of Bahia The 2004 Conference Theme Silvana Rubino ........................................................................ 73 Hélène Lipstadt.......................................................................... 5 Augusto H. Álvarez: Pioneer and Innovator of Mexican Modernity María de Lourdes Cruz González Franco ............................... 79 INTERNATIONALIZATION ....................................................... 7 From International to National and Back: the heritage of Modern Jaqueline Tyrwhitt, Sandy Van Ginkel, Blanche Lemco and Movement in the new
    [Show full text]
  • Aldo Van Eyck – Shaping the New Reality from the In-Between to the Aesthetics of Number Francis Strauven
    study centre mellon lectures 24 May 2007 12 Aldo van Eyck – Shaping the New Reality From the In-between to the Aesthetics of Number Francis Strauven “What you should try to accomplish is built meaning. So get close to the meaning and build!” (1962) The role played by Aldo van Eyck in the development of architectural thinking after the Second World War has been acknowledged by several authors, but, remarkably, they all situate him in a different way. Charles Jencks saw him as an important representative of the ‘idealistic’ tradition that he viewed as the mainstream of the Modern Movement. By contrast, Kenneth Frampton stressed the radical critique he exerted on the modern movement, and paid special attention to the unorthodox position he occupied in relation to his contemporaries within Team 10. Oriol Bohigas saw the geometric layout of Van Eyck’s plans as a return to the compositional techniques of the Enlightenment while Adolf Max Vogt attributed the specific quality of his work principally to his interest in ‘primitive’ cultures. And ignoring Van Eyck’s strident stands on Postmodernism, Heinrich Klotz included Van Eyck’s work among the ‘preconditions’ (Voraussetzungen) of this trend.1 Paradoxically, most of these views can be considered to be partially true. In fact, Van Eyck’s thinking fundamentally proceeded in terms of reconciling opposites. Throughout his career, he applied himself to the exploration and the relationships between polarities, such as past and present, classic and modern, archaic and avant-garde, constancy and change, simplicity and complexity, the organic and the geometric. The divergent appreciations of the authors appear to stem from their concentration on only half of these polarities, whereas Van Eyck considered them to be complementary.
    [Show full text]
  • Television Archive of the Arts
    le Museum of Modern Art January I9, I96T ^ i/est 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart TELEVISION ARCHIVE OF THE ARTS CHECKLIST AMERICAN BROADCASTING COMPANY Directions *62. MARC CHAGALL with Marc Chagall, Dr. Peter Selz, and Dr. Miriam Freund, Narrators: John Causter and Carol Teltel. ABC (for the Jewish Theological Seminary of America) 1/7/62 1/2 hr. Producer: Wiley Hance Director: Lloyd F. Tweedy Directions *62. JACQUES LIPCHTTZ with Jacques Lipchtlz. Narrator: Eli Wallach. ABC (for the Jewish Theological Seminary of America) 10/29/61 1/2 hr. Producer: Wiley Hance Director: Lloyd F. Tweedy Directions *6k, MORDECAI ARDON with Mordecai Ardon and Marc Slegel. Narrator: Marian Seldes, ABC (for the Jewish Theological Seminary of America) 10/26/63 1/2 hr. Producer: Wiley Hance Director: J. Robert DeLaney COLUMBIA BROADCASTING SYSTEM Accent. THOMAS HART BENTON with Thomas Hart Benton. Host: John Ciardl. CBS 6/T/62 1/2 hr. Producer: Don Kellerman Director: John J, Desmond Accent. THE ARCHITECT with Louis I. Kahn and Philip Johnson. Host: James Fleming. CBS 5/1V6I 1/2 hr. Producer: William Kobin Director: Martin Carr Accent. THE PHOTOGRAPHER with Edward Stelchen. Host: James Fleming. CBS 5/7/61 1/2 hr. Producer: William Kobin Director: Martin Carr CBS Reports. HENRY MOORE: A MAN OF FORM with Henry Moore. Narrator: Charles Collingwood. Reporter: Charles Collingwood. CBS 10/5/65 Parts I & II, 1/2 hr. each Producer: William McClure (more) -2- V Chronlcle. THE BEST IS YET TO BE with Jacques Lipchitz and Edward Steichen, Narrator: Charles Colllngwood.
    [Show full text]