DOCSLIB.ORG

VERY VARY VERI Feature Reclaiming Frank's Seat at the Table

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VERY VARY VERI Feature Reclaiming Frank's Seat at the Table VERY VARY VERI Feature his life seemed to have paralleled ours; not Reclaiming Frank’s only in personal history, but through the experiences and ideas we shared as architects. Seat at the Table His career held important revelations for us and I have been happy to dance (waltz?) to BY DENISE SCOTT-BROWN his tune while interweaving our three sagas in work and thought. The annals of Jewish flight from persecution DICTES MOY OÙ, did not start with Hitler. There was the Exodus N’EN QUEL PAYS from Egypt, and perhaps 600 years before In 2005, Hurricane Katrina caused thousands the current era, Jewish merchants took the to flee New Orleans for Texas, and many did Silk Road to China. The ancient Romans not return. Nothing can make up for the loss, transferred whole communities to Europe, and today its tragedy is so much with us that and centers of Jewish culture thrived under the question, “Where will the sound of New ancient Greece, medieval Spain, and the Orleans go?” is premature. But eventually the Ottoman Empire. But my family in Africa, flight from Katrina may be known for its music most American Jews, and Frank’s forebears ripples worldwide. came from Eastern Europe. Nazism was the Landscapes and cityscapes are palimpsests dominant tragedy of the 1930s and 1940s. of culture on a broad plain, and migrations Some refugees, like Frank, moved nearby read across them. Ancient Roman conquests to Sweden or Italy, only to leave again as the lie in the early patterns of European towns, Germans advanced. Some Jews made it to and Renaissance adaptations of Roman England, Palestine, Canada, or America before architecture are found in every city where the gates shut. Others found refuge in Africa Europeans have lived. The music of slaves and even in Shanghai, which took 30,000 traveled from American cotton fields to cities refugees, allegedly more than the British on the Mississippi and from there upriver Empire. But those on boats that no country to the world. And the routes of individual would admit were returned to Hamburg. craftspeople are traceable across the African The generation of mentors that I knew landscape in the Baroque gable decorations of in my youth lives on in the United States Cape Dutch farmhouses. today in television reruns of old movies; in Josef Frank, too, took a solo journey and the German professor for example, his hair though his flight kept him near home, it shifted awry like Einstein’s, a stereotype of the 1940s. his focus as if to a far land. This was an unsought And architecturally, the souped-up Modern change. As a Jew, he had chosen “assimilation,” and elegant Deco backgrounds of Hollywood a tempting path because it offered broad spectaculars still charm us—you could opportunity in Germany and Austria. But by imagine refugee set designers jumping at the 1933 he realized that it would not save him opportunity. from Hitler and he left Vienna for Stockholm. The patterns of Nazi flight and their In that year my parents made plans to influence on world architecture are still under build a modern house in Johannesburg. Some study. When Art Deco went global in the 1930s, refugees were already arriving in South Africa the purer, smaller Modern followed. “Villa and my childhood was accompanied by these districts” were built in European cities and exiles from fascism. So were my student years Modernism spread to England, Palestine, South on three continents, and many of them were Africa, Latin America, and parts of the United my teachers and mentors. When Robert States. Nazism accelerated the spread. Frank, Venturi and I “met” Frank in 2005 in Vienna, with little hope of practicing architecture in 83 VERY VARY VERI Feature 1. t For the facts of Frank’s work, writing, Sweden, was lucky to find other opportunities, and life, I have depended on Johannes but although his work and writings were Spalt and Hermann Czech, eds., Josef published before World War ll, he remained an Frank: 1885–1967 (Vienna: Hochschule für 1 angewandte Kunst, 1981), and Christopher untold story until the 1980s. Today, seeing the Long, Josef Frank: Life and Work (Chicago span of his career and the directions of postwar and London: University of Chicago Press, architecture, we may ask questions of Frank and 2001). learn some ironic answers. 2. u J. B. Jackson, “Other-Directed Houses,” Landscape, no. 2 (Winter 1956– For example, when he left Vienna, he 57); Robert Venturi, Denise Scott Brown, was an architectural rebel. Had he stayed and Steven Izenour, Learning from Las would he, like Hans Scharoun, have been Vegas (Cambridge, MA : MIT Press, 1972; excluded from the Modern canon or, like the revised 1977). Smithsons, have knocked down the walls of 3. u Robert Venturi, Complexity and CIAM? Are his writings and architecture a Contradiction in Architecture (New York: Museum of Modern Art,1966; revised 1977). missing link between early Modernism and the Brutalists? Do they presage Postmodernism? Did diversion from his chosen path reduce his influence or, if you consider IKEA, boost it? How did this happen? Is Frank relevant today? Before entering his house, I would like to ask Frank one question: modern or Modern? I am enlisting his support on the losing side Josef Frank, House for Dagmar Grill. 1947. 84 Reclaiming Frank’s Seat at the Table of a debate now raging, concerning the use of Are Frank’s capitals in naming styles. In this essay, the word designs “modern” figures about sixty times. Its frequent capitalization lies at the heart of Frank’s prototypes? argument that, although those who fomented Or definitions of the revolution aimed to produce what was “modern,” meaning architecture relevant to what life (though now, quite soon their work became “Modern,” not urban life) a style whose looks but not essence they fought for. How do you even describe the issue without could be in capitalizing, as you would to distinguish Shangri-la? between baroque and Baroque, mannerist and Mannerist? For this reason our chosen format diverges from that in the rest of the book. When Robert Venturi and I saw the just add some padding! And the machine can Beer House, we had visited early Modern breathe a sigh of relief and take a rest.” architecture on several continents, I had spent Today we tend to feel that an architect my childhood in our Modern house, and we cannot be both verbal and visual, be adept in had found, named, and planned for the Miami marshaling intellectual material and making Beach Deco District. At first, Frank’s forms a good argument, also a wordsmith and seemed pure Modern. Neither Corbusier passionate on moral and social questions, and nor Aalto subverted the orthodoxy, although yet be able to design very well. In the United Lutyens perhaps lingered in the processional States we hope, without much evidence, that an that led the eye but not the feet. And taking it undergraduate liberal arts degree will do this vertical, achieving procession in section, was for architects. But Frank could do it all and with an act of rebellion but on a refined plane and at an added bonus, his caustic wit. second glance. In the 1970s we discovered that some ideas Yet in his writing argument flourished. in Learning from Las Vegas had been expressed “What we need is variety and not stereotyped by J. B. Jackson in his own way over a decade monumentality. No one feels comfortable in earlier.2 And in 2012 this occurred again with an order that has been forced upon him, even if Frank. The spread of his writings was wider, it has been doused in a sauce of beauty.” Also, spanning five decades, but there were spurts “The machine, which today is enjoying divine in the 1920s, 1930s, and 1950s, when he, like status, is being offered new forms every day us, wrote “letters from the front”—from the as sacrifices. Since it is nothing more than a urgency of practice. His thoughts on disorder tool, which can make anything, there is no parallel ours on complexity, 3 and we are near single form that is invented for it. Yet with each other on the subject of kitsch. “Every the trepidation and tenderness of the sort human needs a certain degree of sentimentality reserved for a beloved being, full of respect not to feel free,” he writes. He disagrees with the to over-work it, the straight line, functionality, Modernist argument, which he summarizes as, simplicity, uniformity are being advocated… “The person, who rides on a train, in a car, or an Imagine if one asked one of our modern airplane cannot possibly on his return home, designers to produce a modern shoe. He will sit in a Louis XIVth, XVth, or XVIth chair, have at once grasped the functional shape without becoming aware of an intrinsic lie for the machine, the one vertical, the other and without appearing ridiculous to himself.” horizontal. A single shoe for everyone. For He and we agree that Modern architects, in the left foot and for the right. If they do not fit, fact, accept formalism (“sentimentality”) via 85 VERY VARY VERI Feature the backdoor, and he pokes fun at “the tricks borrowing of arches, columns, and pilasters, that are used to go around the much acclaimed the structural components of historical Sachlichkeit to apply a beloved style, be it the architecture, has faded with Modernism, he modern one or historical styles, so that the need asks where the next symbols will come from, for sentimentality might be satisfied.” and turns to society and to style.
Load more

Recommended publications
  • University of Birmingham at School with the Avant Garde
    University of Birmingham At School with the avant garde: Grosvenor, Ian; van Gorp, Angelo DOI: 10.1080/0046760X.2018.1451559 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Grosvenor, I & van Gorp, A 2018, 'At School with the avant garde: European architects and the modernist project in England', History of Education. https://doi.org/10.1080/0046760X.2018.1451559 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in History of Education on 19/04/2018, available online: http://www.tandfonline.com/10.1080/0046760X.2018.1451559 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • WP982.Pdf (1.640Mb Application/Pdf)
    The Other Modern Dwelling: Josef Frank and Haus & Garten Christopher Long School of Architecture University of Texas at Austin January 1999 Working Paper 98-2 ©1999 by the Center for Austrian Studies (CAS). Permission to reproduce must generally be obtained from CAS. Copying is permitted in accordance with the fair use guidelines of the U.S. Copyright Act of 1976. CAS permits the following additional educational uses without permission or payment of fees: academic libraries may place copies of CAS Working Papers on reserve (in photocopied or electronically retrievable form) for students enrolled in specific courses; teachers may reproduce or have reproduced multiple copies (in photocopied or electronic form) for students in their courses. Those wishing to reproduce Center for Austrian Studies Working Papers for any other purpose (general distribution, advertising or promo- tion, creating new collective works, resale, etc.) must obtain permission from the Center for Austrian Studies, University of Minnesota, 314 Social Sciences Building, 267 19th Avenue S., Minneapolis MN 55455. Tel: 612-624-9811; fax: 612-626-9004; e-mail: [email protected] A direct link to the CAS e-mail address cannot be included on this page, because it has been reproduced in Adobe Portable Documrnt Format (pdf) rather than html. We have done this because of the many high-quality images embedded in the paper. 1 In an article published in Der Architekt in 1921, the year when the economic and political fortunes of Austria finally began to revive, Josef Frank took time out to reflect on what the new realities of the postwar era would mean for the future of the arts and crafts in Vienna.
    [Show full text]
  • Sweden Celebrates 85 Years with Josef Frank
    The Frank 85 exhibition is open from September 21th to October 28th, 2018 Sep 21, 2018 13:42 GMT Sweden celebrates 85 years with Josef Frank This year marks 85 years since one of Sweden’s most renowned designers came and enriched his new homeland with colourful prints and timeless interiors. To commemorate this, Svenskt Tenn has created an exhibition presenting a mix of newly produced and classic designs, as well as objects from the archives – all created by Josef Frank. Josef and Anna Frank left their homeland, Austria, in December 1933 due to the rise of anti-Semitism. In January 1934, Josef Frank began a lifelong collaboration with Svenskt Tenn’s founder Estrid Ericson. “With this tribute exhibition we want to show the breadth of Josef Frank’s creativity and how much his designs have contributed to Swedish design history and the present,” says Thommy Bindefeld, marketing manager and creative director. This autumn’s big fabric news is Josef Frank’s Baranquilla, which is now being launched with a black base. There will also be a number of new launches from the archives: Cabinet 2215 is a classic piece of furniture that will return to Svenskt Tenn’s range in 2018, together with a sideboard, a stool a classic captain’s chair and a round dining table. “Estrid Ericson felt that a round dining table with room for eight people was the most suitable for serving dinner, so all of the dinner guests could see and hear each other. Our customers have also been asking for a large, round dining table and subsequently, table 1020 has returned to our range,” says Bindefeld.
    [Show full text]
  • Svenskt Tenn Introduces Five Vases by Josef Frank
    Oct 01, 2015 16:00 GMT Svenskt Tenn introduces five vases by Josef Frank Five new clear glass vases designed by Josef Frank are now available at Svenskt Tenn. The vases are shown in the exhibition “100 vases with flowers”, which opens October 1 at Svenskt Tenn in Stockholm. The exhibition is a tribute to Svenskt Tenn’s founder Estrid Ericson’s autumn exhibition from 1940. Svenskt Tenn’s founder Estrid Ericson had an urge to bring inside elements of nature for use in furnishings and table settings. Every week she brought flowers and twigs from her summer house garden on Tyresö outside Stockholm to decorate the store at Strandvägen 5. “Estrid Ericson was often referred to as the Queen of Table Settings because of herability to mix simple things with the lavishly festive,” says Thommy Bindefeld, Marketing Director at Svenskt Tenn. “She combined various styles and brought together different materials, colors and shapes. We want this exhibition to inspire visitors to create beautiful flower compositions and table settings in the spirit of Estrid Ericson.” In the exhibition, five new clear glass vases from the archive are shown. The vases, designed by Josef Frank in 1957, are now for the first time being produced at Skrufs glassworksin Småland, Sweden. Svenskt Tenn also introduces a collection of lights, exclusively sold in Sweden through Svenskt Tenn, designed by the Italian-British duo Giopato & Coombes and by Kalmar Werkstätten of Austria. “Giopato & Coombes is a prominent design duo working with traditional Italian artisans and high quality materials,” says Thommy Bindefeld. “Kalmar Werkstätten is a classic lightingmanufacturer, suppliers to Josef Frank’s own company Haus & Garten during the 1930s.
    [Show full text]
  • Mathematicians Fleeing from Nazi Germany
    Mathematicians Fleeing from Nazi Germany Mathematicians Fleeing from Nazi Germany Individual Fates and Global Impact Reinhard Siegmund-Schultze princeton university press princeton and oxford Copyright 2009 © by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TW All Rights Reserved Library of Congress Cataloging-in-Publication Data Siegmund-Schultze, R. (Reinhard) Mathematicians fleeing from Nazi Germany: individual fates and global impact / Reinhard Siegmund-Schultze. p. cm. Includes bibliographical references and index. ISBN 978-0-691-12593-0 (cloth) — ISBN 978-0-691-14041-4 (pbk.) 1. Mathematicians—Germany—History—20th century. 2. Mathematicians— United States—History—20th century. 3. Mathematicians—Germany—Biography. 4. Mathematicians—United States—Biography. 5. World War, 1939–1945— Refuges—Germany. 6. Germany—Emigration and immigration—History—1933–1945. 7. Germans—United States—History—20th century. 8. Immigrants—United States—History—20th century. 9. Mathematics—Germany—History—20th century. 10. Mathematics—United States—History—20th century. I. Title. QA27.G4S53 2008 510.09'04—dc22 2008048855 British Library Cataloging-in-Publication Data is available This book has been composed in Sabon Printed on acid-free paper. ∞ press.princeton.edu Printed in the United States of America 10 987654321 Contents List of Figures and Tables xiii Preface xvii Chapter 1 The Terms “German-Speaking Mathematician,” “Forced,” and“Voluntary Emigration” 1 Chapter 2 The Notion of “Mathematician” Plus Quantitative Figures on Persecution 13 Chapter 3 Early Emigration 30 3.1. The Push-Factor 32 3.2. The Pull-Factor 36 3.D.
    [Show full text]
  • To Mexico in Estrid Ericson's Footsteps – New Exhibition at Svenskt Tenn
    Jun 10, 2014 09:30 GMT To Mexico in Estrid Ericson’s footsteps – new exhibition at Svenskt Tenn Svenskt Tenn’s founder Estrid Ericson travelled to Mexico in 1939. She brought 70 boxes of objects back to create an exhibition in the store in Stockholm. Today a new exhibition opens, showing products purchased during a trip in Estrid Ericson’s footsteps in 2013. ’’The world is a book and he who stays at home reads only one page was one of Estrid Ericson’s favorite quotations, which she had engraved on a pewter matchbox. Travel was one of her main sources of inspiration and she was constantly looking for new items for Svenskt Tenn, preferably things that could not be found elsewhere in Sweden’’, says Thommy Bindefeld, Marketing Director at Svenskt Tenn. Ericson’s purchasing journeys took her to many countries and in the spring of 1939 she traveled with her friend Ragnhild Lundberg to Mexico. She looked up producers and placed orders with them directly. A few months later, boatloads of Mexican objects arrived, filling the store on Strandvägen in Stockholm. The show became one of the most appreciated events in the company’s history that far. Today a new exhibition opens, displaying the handpicked items purchased during a trip to Mexico in Estrid Ericson’s footsteps. All items are for sale. ’’It has been very exciting to follow in Estrid Ericson’s footsteps. We have rediscovered some of the items she selected during her trip, and we have also found many other beautiful crafted products that we simply could not resist,’’ says Thommy Bindefeld.
    [Show full text]
  • JOSEF FRANK: Against Design
    Press Release JOSEF FRANK: Against Design Press Conference Tuesday, 15 December 2015, 10:30 a.m. Opening Tuesday, 15 December 2015, 7 p.m. Exhibition Venue MAK Exhibition Hall MAK, Stubenring 5, 1010 Vienna Exhibition Dates 16 December 2015 – 12 June 2016 Opening Hours Tue 10 a.m.–10 p.m., Wed–Sun 10 a.m.–6 p.m. Free admission on Tuesdays from 6–10 p.m. “One can use everything that can be used,” proclaimed Josef Frank, one of the most important Austrian architects and designers of modernity, who, with this undogmatic, anti-formalist design approach, was far ahead of his time. More and more, Frank’s architectural sensibility, which placed serviceability and comfort above form and rules of form, counts as trend-setting. The exhibition JOSEF FRANK: Against Design gives a comprehensive overview of the multi-layered oeuvre of this extraordinary architect and designer, while being much more than a survey of his work. This MAK solo exhibition delves into Frank’s complex intellectual and creative strategies, which today are once again highly topical. The exhibition title Against Design encapsulates this undogmatic stance. Frank, who as an architect grappled with all of the themes having to do with architecture and living environments, was also highly productive as a “designer” and developed a plethora of furniture and textiles. Within the international avant-garde, however, he adopted a very critical position. He expressly declared himself opposed to the idea of the Gesamtkunstwerk, standardized furnishings, and innovative forms for their own sake. He could not really warm up to either the individual-artistic paradigms of the Wiener Werkstätte or to functional, mechanized production deriving from the Bauhaus.
    [Show full text]
  • The Swedish-American Executive Women's Conference
    NEW TRENDS - INNOVATIVE BUSINESS May 3, 2012 PwC, 300 Madison Avenue, New York City Dear Executive Women, As the president of SACC New York and Founder of the Swedish-American Executive Women´s Conference, it gives me great pleasure to welcome you to the 11th Conference. As always, this unique conference brings together highly accomplished women from both sides of the Atlantic for an inspiring day of discussions and meaningful connections. We are particularly honored to welcome H.R.H. Princess Madeleine of Sweden back and to have the World Childhood Foundation as our Charity Partner. Since its launch the conference has developed into one of the leading networking forums for top female executives in Stockholm and in New York and needless to say, we are delighted that more than 50 business women have flown over from Sweden to take part in this event. The overall theme of this year’s conference “New Trends – Innovative Business” will be explored in the keynote addresses as well as in the three panel discussions. The first session will address the unique requirements of innovative leadership, the second session will look at sustaining business integrity in this age of constant connectivity and the third session will discuss how to integrate innovation with brand growth. We have 27 phenomenal and distinguished speakers and moderators in the program this year and I would like to extend our deepest gratitude to all of them for taking their time to join us. I would also like to thank our Chairman of the Advisory Board, Pia Gideon, and our Master of Ceremonies par excellence, Joanna Heimbold, who has been with us from the very beginning.
    [Show full text]
  • Estrid Ericson Biography
    Estrid Ericson (1884-1981) was a Swedish artist, designer and accomplished entrepreneur responsible for both the establishment and longevity of Svenskt Tenn (Swedish Pewter), a Swedish interior design company for which she served as managing director for 56 years. Together with Nils Fougstedt, Ericson developed Svenskt Tenn into a most influential enterprise involved in manufacturing and design, imports, exports, retail sales and consulting services. Ericson was born in 1894 and raised in Hjo in Vastergotland. In the early 1920s, she trained as a drawing teacher at the Technical School in Stockholm. Thereafter she worked for several years as an art teacher, a pewter artist and interior design consultant at Svenskt Hemslöjd and Willman and Wiklund. In 1924, together with fellow pewter artist Nils Fougstedt, Ericson opened a small pewter workshop, and later in the same year they founded Svenskt Tenn in Stockholm. Initially, Svengst Tenn produced and sold creative modern designs in pewter, which were recognized for their wonderful quality of craftsmanship. In the 1930s, the focus of Svenskt Tenn shifted away from pewter and onto interior design and architect-designed furniture. In 1934, Ericson offered the Austrian architect Josef Frank a position within the firm, which proved to be an important driving collaboration for Svenskt Tenn. Ericson and Frank developed an iconic style that while adopting some of the tenets of functionalism, maintained a warmth, 51 E 10th ST • NEW YORK, NY 10003 phone 212 343 0471 • fax 212 343 0472 51 E 10th ST • NEW YORK, NY 10003 [email protected] • hostlerburrows.com phone 212 343 0471 • fax 212 343 0472 [email protected] • hostlerburrows.com sophistication and elegance particular to the Svenskt Tenn brand.
    [Show full text]
  • International Symposium “Designing Transformation: Jews and Cultural Identity in Central European Modernism”
    INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 INTERNATIONAL SYMPOSIUM “DESIGNING TRANSFORMATION: JEWS AND CULTURAL IDENTITY IN CENTRAL EUROPEAN MODERNISM” UNIVERSITY OF APPLIED ARTS VIENNA, MAY 16–17, 2019 The International Symposium, “Designing Transforma- CONCEPT AND ORGANIZATION: Dr. Elana Shapira tion: Jews and Cultural Identity in Central European DATES: May 16–17, 2019 Modernism,” offers a contemporary scholarly perspec- VENUE: University of Applied Arts Vienna, tive on the role of Jews in shaping and coproducing Vordere Zollamtsstraße 7, 1030 Vienna, Auditorium public and private, as well as commercial and social- COOPERATION PARTNERS: University of Brighton ly-oriented, architecture and design in Central Europe Design Archives, The Hebrew University of Jerusalem from the 1920s to the 1940s, and in the respective coun- and MAK – Austrian Museum of Applied Arts / tries in which they settled after their forced emigration Contemporary Art starting in the 1930s. It examines how modern identities evolved in the context of cultural transfers and migra- Organized as part of the FWF (Austrian Science Fund) tions, commercial and professional networks, and in research project “Visionary Vienna: relation to confl icts between nationalist ideologies and Design and Society 1918–1934” international aspirations in Central Europe and beyond. This symposium sheds new light on the importance of integrating Jews into Central European design and aesthetic history by asking symposium participants, including architectural historians and art historians, curators, archivists, and architects, to use their analyses to “design” – in the sense of reconfi gure or reconstruct – the past and push forward a transformation in the historical consciousness of Central Europe.
    [Show full text]
  • The Post-War Reconstruction Planning of London: a Wider Perspective
    Centre for Environment and Society Research Working Paper series no. 8 The post-war reconstruction planning of London: a wider perspective Peter J Larkham and David Adams The post-war reconstruction planning of London: a wider perspective Peter J Larkham Professor of Planning and David Adams Lecturer in Planning Birmingham School of the Built Environment, Birmingham City University Working Paper Series, no. 8 2011 ISBN 978-1-904839-54-5 © Authors, 2011 Published by Birmingham City University Centre for Environment and Society Research Faculty of Technology, Engineering and the Environment City Centre campus, Millennium Point, Curzon Street, Birmingham, B4 7XG, UK iii CONTENTS Abstract v Acknowledgements v Introduction 1 The context of regional-scale planning 4 The hierarchy of planning for London 6 A hierarchy of planning 6 Greater London Plan 7 MARS 10 RIBA London Regional Reconstruction Committee plan 12 “A plan for ‘Greater London” 13 County of London Plan 14 City of London plans (1) Improvements and Town Planning Committee 17 City of London plans (2): Holden and Holford 20 City of London plans (3) Royal Academy 22 City of London plans (4) Less formal 27 Borough-level plans 29 Overview: planners and planning 31 Conclusions 33 Status of competing plans 34 Material and non-material considerations 35 Scale of activity 36 Implementation: the future 37 References 39 Bibliography and resources 46 iv Illustrations, Tables and Text Boxes Figure 1: Schematic representation of clustering of London-related Planning activity 3 Figure 2: The MARS plan 11 Figure 3: The Trystan Edwards / Hundred New Towns Association plan 14 Figure 4: Map of social and functional areas (the “egg diagram”) 16 Figure 5: North part of ring road looking south, J.D.M.
    [Show full text]
  • Christopher Long
    Christopher Long ¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶¶ University Distinguished Teaching Professor School of Architecture 310 Inner Campus Drive, B7500 University of Texas at Austin Austin, TX 78712-1009 tel: (512) 232-4084 e-mail: [email protected] EDUCATION University of Texas at Austin Ph.D., History, 1993 Dissertation: “Josef Frank and the Crisis of Modern Architecture” M.A., History, 1982 Universität Wien, Vienna, Austria, 1985–87 Ludwig-Maximilians-Universität, Munich, Germany, 1980–81 Karl-Franzens-Universität, Institut für südosteuropäische Geschichte, Graz, Austria, 1977–78 University of Texas at San Antonio B.A., Summa cum laude, History, 1978 SELECTED 2016-2017 ACSA Distinguished Professor Award, Association of Collegiate School of FELLOWSHIPS Architecture, 2016 AND AWARDS Book Subvention Award, for The New Space: Movement and Experience in Viennese Architecture, Office of the Vice President for Research, University of Texas at Austin, 2015 Outstanding Scholarship Award, School of Architecture, University of Texas at Austin, 2015 Faculty Research Assignment, University of Texas at Austin, 2015 Fulbright Grant, Vienna, 2014-15 (declined) Kjell och Märta Beijers Stiftelse, Stockholm, publication grant for Josef Frank: Gesammelte Schriften/Complete Writings, 2012 Architectural Research Support Grant, School of Architecture, University of Texas at Austin, 2012 Texas Institute of Letters, Best Scholarly Book Award, 2011 (for The Looshaus) Harwell Hamilton
    [Show full text]