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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. -
'I Giovanni Delle Colonne.' Tradition and Continuity Ante Litteram
CPA 5 CPA In the School of Architecture of the Milan Polytechnic per l’Architettura. 11 'I giovanni delle in the mid-ifties, a group of students started to use in To present their protest to the MSA meant increasing their academic ex tempora sessions a series of very the visibility of the initiative of the group and entering colonne.' Tradition personal stylistic references, which were linked to a the debate about Italian modern architecture and its certain historic and traditional grounding, giving rise to teaching; above all if we take into consideration the and continuity ante a protest that intended to report the limitations of the stated interest of the members of the MSA towards razionalismo di maniera that the university education of giving architecture a formative role in the changes that 12 litteram. the time offered. were taking place in the Italian society . The provocative use of columns, arches and pinnacles in Francesca Fiorelli their formal studies earned the young Michele Achilli, In his dissertation, referring to the work of the present Daniele Brigidini, Maurizio Calzavara, Guido Canella, members of the MSA , Canella afirmed: Being precisely Fredi Drugman, Laura Lazzari, Giusa Marcialis, Aldo the concept of tradition, its interpretation, and, if I may, Rossi, Giacomo Scarpini, Silvano Tintori y Virgilio its feeling, what separates us from your line of thought, Vercelloni the nickname of giovani delle colonne, we honestly think it is one of the original reasons of this 14 according to Giancarlo De Carlo’s deinition in Casabella- debate . 2 3 Contiuità magazine . According to Aldo Castellano , it Expanding his relection to the widest scope of is very likely that only some of them used these formal architecture, he continued: it is necessary for all the references in their academic projects. -
Mauro Marzo Lotus. the First Thirty Years of an Architectural Magazine
DOI: 10.1283/fam/issn2039-0491/n43-2018/142 Mauro Marzo Lotus. The first thirty years of an architectural magazine Abstract Imagined more as an annual dedicated to the best works of architectu- re, urban and industrial design, during the first seven issues, the maga- zine «Lotus» shifts the axis of its purpose from that of information and professional updating to one of a critical examination of the key issues intrinsic to the architectural project. This article identifies some themes, which pervaded the first thirty years of «Lotus» life, from 1964 to 1994, re- emerging, with variations, in many successive issues. If the monographic approach set a characteristic of the editorial line that endures over time, helping to strengthen the magazine’s identity, the change in the themes dealt with over the course of the decades is considered as a litmus test of the continuous evolution of the theoretical-design issues at the core of the architectural debate. Keywords Lotus International — Architectural annual — Little Magazine — Pier- luigi Nicolin — Bruno Alfieri The year 1963 was a memorable one for the British racing driver Jim Clark. At the helm of his Lotus 25 custom-made for him by Colin Chapman, he had won seven of the ten races scheduled for that year. The fastest lap at the Italian Grand Prix held at Monza on 8 September 1963 had allowed him and his team to win the drivers’ title and the Constructors’ Cup,1 with three races to go before the end of the championship. That same day, Chap- man did “the lap of honour astride the hood of his Lotus 25”.2 This car, and its success story, inspired the name chosen for what was initially imagined more as an annual dedicated to the best works of archi- tecture, urban and industrial design, rather than a traditional magazine. -
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. -
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). -
International Archive of Women in Architecture
IAWA NEWSLETTER International Archive of Women in Architecture Virginia Polytechnic Institute and State University Fall 2006 No. 18 it has done for cultures of the past, landscape architecture can create places where we, and future generations, will come to feel at home on the earth. As a modern landscape architect, I am inspired by these goals and by the landowners, corporate groups and architects whose needs I serve. When I see how Nature welcomes the gardens and landscapes I have begun, and how they enhance people’s lives, I rejoice in following a distinguished tradition of artists who unite human and natural forces in harmony. In January of 2004, Pattison presented at the symposium, Engaging Louis I. Kahn: A Legacy for the Future, held at the Yale Center for British Art. What follows is a description of some of her collaborations with Kahn and some of her personal memories of him. Korman House and Garden, photo by An-chi Tai Harriet Pattison, ASLA I had the privilege to work on several Kahn projects, mostly Kay F. Edge unbuilt. Though my training was incomplete in 1967, Lou invited me to participate much before, because I intuitively The IAWA is fortunate to have received some information understood his ideas, had a background in the arts and was about landscape architect Harriet Pattison’s work. Pattison young, bold and ignorant enough to crit his work. Eventually worked with Louis Kahn on a number of projects including I was sufficiently skilled to be effective, though like anyone the Kimbell Museum in Fort Worth, Texas and the Korman who came within his sphere, I was a minor player. -
Gae Aulenti: a Creative Universe 29 February 2020 – 18 April 2021, Vitra Schaudepot
Press release Gae Aulenti: A Creative Universe 29 February 2020 – 18 April 2021, Vitra Schaudepot Gae Aulenti is one of the most influential architects and designers of the post-war period. As early as the 1960s, her iconic creations – such as her »Locus Solus« series (1964), the »Pipistrello« (1965) and »King Sun« (1967) lamps – played a vital role in Italy’s global dominance within the field of product design. The Italian designer gained international renown for her transformation of a Parisian train station into the Musée d’Orsay (1980–1986). But although Aulenti realized over 700 projects, she is relatively unknown outside her native Italy. The Vitra Design Museum seeks to counteract this undeserved neglect with »Gae Aulenti: A Creative Universe«. The exhibition explores Aulenti’s multifaceted body of work, one that encompasses not only architectural projects and design objects, but also interiors, set and costume design, as well as exhibitions. The Vitra Schaudepot will present roughly 35 items from across her career, complemented by photographs, sketches, and drawings, as well as a slideshow, documentary films, and interviews. The exhibition opens with Aulenti’s early designs for the company Poltronova. These include her first item of furniture, »Sgarsul« (1962), which is characterized by a highly distinctive and modern use of forms, as well as her garden furniture series, »Locus Solus« (1964). The »Stringa« sofa (1963) and many other items Aulenti designed, she also used to furnish her own home. Additionally, she developed products for Zanotta, including a tubular steel version of »Locus Solus« (1964) and an extremely lightweight, easy-to-store folding chair, the »Aprilina« (1964). -
Madrid, Bilbao, the Rioja & Barcelona November 11
Madrid, Bilbao, The Rioja & Barcelona November 11 – November 19, 2015 LIST OF PARTICIPANTS: 1. Ann Barrett 2. Olin Barrett 3. Barbara de Leon 4. Marcus de Leon 5. Edgar Hirst 6. Robin Hirst 7. Bert Lewitt 8. Raquel Lewitt, International/National Tours Chair 9. Jo Westervelt 10. Scott Westervelt 11. John Miller 12. Kim Miller 13. Jeffrey Rapp 14. Neil Silverman 15. Sherie Schneider 16. Alan Schneider 17. Todd Johnson 18. Deborah Johnson 19. Cathy Partridge 20. Susan Krane 21. Laurie Staude 22. Connie McCreight, Curators Lab Chair 23. Sharon Darnov, Curators Award Exhibition Chair 24. June Sattler 25. Anne Brilliant, Co-Chair 2 FULL TRIP LECTURERS LISA HAHN, Art Horizons International, President Lisa Hahn is President and Founder of Art Horizons International Inc., a special interest art and cultural tour company she formed in 1985 that promotes the arts by creating unique educational travel programs and study tours that focus on art, architecture, and the performing arts in selected cities around the world. Aside from her role in managing Art Horizons Int’l, Lisa personally conducts many of the art and cultural tours around the world… in Europe and in cities all around the U.S. SOFÍA BARROSO, Around Art, President BA in Art History, Universidad Complutense, Madrid. Sofia has run two Art galleries “Arte in Europe” and “Arte-Express” (1983-85/ 1986-89); lectured and directed summer programs for Syracuse University Centre in Spain (1992-2004); was head curator at the March Foundation Contemporary Art Museum in Palma de Mallorca (1995-1997); has directed the ARCO Collectors Program for over eight years and was member of the Board of Friends of ARCO from 2000 to 2006. -
Gae Aulenti Karen Lo
Gae Aulenti Karen Lo Being one of the most controversial and eminent Milanese architects today, Gae Aulenti has successfully established herself as being one of the few females architects who have a place in the top list of Italian design maestri. Her activity covers many domains: architecture, design, industrial design, lighting and interior design, installations and show rooms, urban planning, as well as theory. As a native Italian designer rooted to the craft, the tradition of Italian design is inherently seen throughout her work and design process. Born 1927 in the town Palazzolo dello Stella near Trieste in northern Italy, her parents had wanted her to just be a normal nice stay-at-home girl. Being rebellious at the time, she enrolled herself in Milan Polytechnic and graduated at the age of twenty-four from a class of twenty students with one other female colleague. As with other Italian designers who emerged around that time, her training at the school of architecture in Milan became a basis and foundation for her future endeavors. After graduation, she became the art director of Ernesto Roger’s architecture magazine Casabella (1955), and remained with them for ten years (Vogel, 1987). The magazine at the time was run by a group of avant-garde architects whose purpose for the magazine was for architects to discuss and have theoretical and critical discourses about their work. They used it as a place for their continual discourse “about the future of architecture”, says Aulenti (Vogel, 1987). It was important for architects to communicate with their peers — to bring criticality to their own work. -
Marianna Charitonidou – Revisiting Post-CIAM Generation Proceedings
AN ACTION TOWARDS HUMANIZATION Doorn manifesto in a transnational perspective Marianna Charitonidou Postdoctoral Researcher at the School of Architecture, National Technical University of Athens and the Department of Art Theory and History Athens School of Fine Arts, Greece Abstract In 1957, Ernesto Nathan Rogers, in “Continuità o Crisi?”, published in Casabella Continuità, considered history as a process, highlighting that history can be understood as being either in a condition of continuity or in a condition of crisis “accordingly as one wishes to emphasize either permanence or emergency”. A year earlier, Le Corbusier in a diagram he sent to the tenth CIAM at Dubrovnik, he called attention to a turning point within the circle of the CIAM, maintaining that after 1956 its dominant approach had been characterised by a reorientation of the interest towards what he called “action towards humanisation”. The paper examines whether this humanising process is part of a crisis or an evolution, on the one hand, and compares the directions that were taken regarding architecture’s humanisation project within a transnational network, on the other hand. An important instance regarding this reorientation of architecture’s epistemology was the First International Conference on Proportion in the Arts at the IX Triennale di Milano in 1951, where Le Corbusier presented his Modulor and Sigfried Giedion, Matila Ghyka, Pier Luigi Nervi, Andreas Speiser and Bruno Zevi intervened among others. The debates that took place during this conference epitomise the attraction of architecture’s dominant discourse to humanisation ideals. In a different context, the Doorn manifesto (1954), signed by the architects Peter Smithson, John Voelcker, Jaap Bakema, Aldo van Eyck and Daniel van Ginkel and the economist Hans Hovens-Greve and embraced by the younger generation, is interpreted as a climax of this generalised tendency to “humanise” architectural discourse and to overcome the rejection of the rigidness of the modernist ideals. -
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).