Contemporary Architecture

The book "Top International Architects - Design Concepts in Architecture," (4 volumes, in English) features the latest work of more than 80 internationally renowned architects, including Zaha Hadid, Rem Koolhaas, Frank Gehry, Norman Foster, Daniel Libeskind, Mario Botta, Jean Nouvel, Renzo Piano, Richard Rogers, Richard Meier, Peter Eisenman, Tadao Ando, Hans Hollein, Shigeru Ban, Rasem Badran, to mention only few. The book is full of drawings, sketches, diagrams, and hi-res color photos.
(ISBN: 978-9953-591-04-9)
The 4 volumes can be ordered through the author: dr_jihadaa@yahoo.com (with special offer and big discount)

Nowadays a technological hospital is being transformed into ”open-ended construction”. It should be understood as a flexibility to changing conditions since such complex structures as hospitals cannot be planned and built according to a definite program. Instead they are deliberately left incomplete. A probabilistic approach to its program is therefore preferred.

Work on this project started in 1981-82 following designs prepared by István Szabó. Structurally this church was completed, but it would seem never to be occupiable, at least for 30 years. Hence the idea that this church was unfinishable. The concept being to form a church within a cube of 16x16x16 metres. This was achieved , yet shelved until 2016.

[ ISBN: 978-84-948315-7-7  /  ISSN:  2530-9609  ]
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Prólogo para el nº 59 de 'SINTESIS ARQUITECTURA SELECCIÓN' (diciembre 2019) dedicado a las obras:

- ESTADIO DE FÚTBOL 'WANDA METROPOLITANO' _ Madrid (Cruz + Ortiz arqs.).
- CENTRO DE ARTES ESCÉNICAS Y ESCUELA DE MÚSICA 'MUXIKEBARRI _ Getxo (Luis Mª Uriarte arq.).
- CENTRO PSICO-GERIÁTRICO _ Pamplona (Vaillo + Irigaray arqs.).
- FOUNDER'S HALL - RUNNEMEDE CAMPUS _ Madrid (Rojo + Fernández Shaw arqs.).
- RESIDENCIA DE ESTUDIANTES _ Sant Adriá del Besós (Polo + MDBA arqs.).

La ricerca proposta si inquadra nell'ambito degli studi sulla rappresentazione del patrimonio architettonico e urbano. Le problematiche relative al disegno di analisi e al disegno di progetto dell'architettura e dell'ambiente sono, infatti, sempre al centro del dibattito culturale del settore disciplinare dato che gli architetti utilizzano, da sempre, i mezzi e gli strumenti della rappresentazione in loro possesso, sia per comunicare la realtà esistente, sia per presentare le loro idee. L'obiettivo della ricerca è stato quello di svolgere un'analisi attraverso il disegno di alcuni tra gli edifici più significativi dell'architettura moderna e contemporanea a Roma per compiere un'attenta lettura finalizzata alla conoscenza e alla loro documentazione. Tutti gli elaborati grafici dei tre autori di questo volume sono interpretazioni critiche di tale patrimonio e forniscono uno specifico monitoraggio sulla città che consente, ci auspichiamo, di comprendere anche le connessioni che le architetture hanno con il loro contesto urbano attuale.

La Prima Guerra Mondiale è stata lo scenario dell’invenzione e dell’uso sistematico delle
moderne tecniche di camuffamento militare in contesto bellico. Tra queste si
annoverano due tipi di camouflage statico o pittorico: quello mimetico, noto come
Disruptive Pattern Material (DPM), e quello navale, che venne chiamato Dazzle Painting.
Un contributo attivo alla nascita di questi due disegni giunse da artisti appartenenti alle
avanguardie storiche del momento. Immediatamente e in concomitanza, le stesse
tecniche vennero trasposte in ambito civile, evidenziando così come il loro aspetto
essenzialmente pratico, funzionale al campo di battaglia, non impedisse di sfruttarne il
potenziale estetico nella cultura visiva contemporanea. Durante il XX e il XXI secolo i
campi dell’arte, dell’architettura e del design ingloberanno e sfrutteranno le strategie
dei due tipi di camuffamento militare. In questo articolo ci proponiamo di mostrare le
connotazioni e gli scivolamenti semantici sperimentati dal camuffamento navale e
terrestre nelle proposte di alcuni artisti e designers contemporanei, dalle quali muove
tutta una serie di discorsi relativi sia ai comportamenti propri della società di massa, sia
a nozioni inerenti al fatto artistico o visivo, come quelle di mimesi, rappresentazione,
invisibilità e interazione tra figura e sfondo.

2021

유엔스튜디오: 지구적이고 지역적인 실천 짓기
UNStudio: Building a Global Local Practice

가톨릭관동대학교 건축학부 특강 시리즈
Special Lecture Series organized by School of Architecture, Catholic Kwandong University

2021년 2월 8일, 월요일 오후 5 - 8시 (한국 표준시)
8 February 2021, Monday 9am – 12pm (CET: Central European Standard Time)

YouTube: https://youtu.be/-I90OkaJA2w

Zoom: https://us02web.zoom.us/j/83322094176?pwd=aE5QaHN3NitESENMa1RXN00ydjhiZz09
(Meeting ID: 833 2209 4176 / Password: 001234)

요약 Abstract

지난 30년간 국제적으로 활동해온 유엔스튜디오는 암스테르담 이외에도 세계 곳곳에 새로운 지사를 새롭게 열었으며, 이에 따라 다양한 지역에서 프로젝트 디자인, 시공, 감리 작업을 수행해오고 있다. 유엔스튜디오 상하이, 홍콩 그리고 프랑크푸르트 지사는 각각 2008년, 2014년, 2018년에 개소하였다. 2021년의 두바이 그리고 멜번 오피스 개소를 앞두고, 이번 발표에서는 여러 국가들의 유엔스튜디오 프로젝트를 선별하여 살펴볼 것이며, 국제적인 활동의 기회와 도전, 지역성의 의미 또는 지구적 건축 실천에 있어서 지역적 현전(local presence)의 중요성에 대해 살펴볼 것이다.

Throughout the past 30 years of working internationally, UNStudio has grown not only in terms of our Amsterdam base, but opening up new local and regional chapters worldwide: all evolving from large-scale projects that UNStudio is designing, building and supervising in different regions. UNStudio Shanghai, Hong Kong, and Frankfurt offices opened up in 2008, 2014 and 2018 respectively. With the Dubai and Melbourne offices opening up in 2021, we will look at a selection of UNStudio projects across the different continents, examining the opportunities and challenges of working internationally, the meaning of regionality and the significance of local presence to a global architectural practice.

밀레나 스토픽 Milena Stopic

밀레나 스토픽은 유엔스튜디오의 시니어 아키텍트 및 Associate이다. 2010년 프린스턴 대학을 졸업한 후 유엔스튜디오에 합류하여 유럽, 아시아, 호주 및 중동지역에 위치한 문화, 소매, 복합용도, 인프라스트럭처 및 교육 관련 프로젝트에 대한 광범위한 경험을 쌓았다. 가장 최근에는 콕스 아키텍처(COX Architecture)와의 협업을 통해 멜번에 위치한 뷸라 사우스뱅크(Southbank by Beulah) 공모전을 당선시킨 디자인 팀을 이끌었으며, 현재 유엔스튜디오를 대표하여 프로젝트 디자인을 진행하고 있다.

Milena Stopic is a Senior Architect / Associate at UNStudio. Upon graduation from Princeton University in 2010, she joined UNStudio and developed extensive experience in cultural, retail, mixed-use, infrastructural and educational projects across Europe, Asia, Australia and the Middle East. Most recently, she led the design team toward winning the competition for the Southbank by Beulah project in Melbourne (in collaboration with COX Architecture) and she is currently leading the design efforts on the project on behalf of UNStudio.

현명석 Myung Seok Hyun

현명석은 건국대와 한양대의 겸임교수로 활동 중이다. 서울시립대 학부와 대학원에서 건축을 공부했으며, 미국 조지아 공대에서 20세기 중반 미국 건축 사진을 이론화한 작업으로 박사학위를 받았다. 서울에 살며 대학에서 건축 역사와 이론, 디자인을 가르친다. 『건축 표기 체계』 (아키텍스트, 2020)의 대표 편저자이자 『건축 사진의 비밀』 (디북, 2019)의 공저자다. 『The Journal of Architecture』, 『Space』, 『건축평단』, 『와이드AR』 등에 글을 실었다. 건축 매체와 재현, 시각성, 한국의 젊은 건축가들의 작업 등 다양한 주제에 관한 연구와 저술에 몰두하고 있다.

Myung is an adjunct professor at Konkuk University and Hanyang University. He received his PhD in architecture at Georgia Institute of Technology, and his Master’s degree at the University of Seoul. He teaches courses on architectural history and theory and design studios. He is the co-author of Architectural Notation (2020) and The Secret of Architectural Photography (2019), and has published in numerous journals. His research interests include architectural medium and representation, the visualities of architecture, and the current works of young Korean architects.

이동하 Brett Dong Ha Lee

Brett Lee는 뉴욕과 서울에서 활동중인 건축가 겸 갤러리스트이다. UNStudio, ARO, IK Studio, 정림건축을 포함한 다양한 스케일의 사무실에서 디자인 경험을 쌓았다. 현재 그는 Perkins Eastman Architects의 선임 디자이너 및 Associate으로 있으며 복합상업시설, 호텔, 체육시설 등의 디자인을 이끌고 있고, 서울에 소재한 갤러리JJ에서 큐레이팅, 번역 및 홍보를 담당하며 현대미술계에도 관여한다. 펜실베니아 대학교에서 건축학석사를 수석으로 졸업하였으며 2016 년부터 2019 년까지 PennDesign에서 겸임교수로 활동하였고, 베니스 비엔날레 (2016, 2018)와 서울건축도시건축비엔날레 (2017, 2019)에 그가 가르친 학생들의 작품들을 출품하였다. 

Brett Lee is a licensed architect and educator based in New York and Seoul. He has design experience from small to large offices including UNStudio, ARO, IK Studio, and Junglim. Currently, he is a Senior Designer / Associate at Perkins Eastman Architects where he leads design efforts in hospitality, retail, sports, and mixed-use projects. He also actively participates in the contemporary art scene as a manager at GalleryJJ in Seoul. Lee received M.Arch from the University of Pennsylvania with AIA Henry Adams Medal, Gold Medal Arthur Spayd Brooke Memorial, and John Stewardson Memorial Prize. He has been a lecturer at PennDesign from 2016 to 2019 and has exhibited the works at Venice Biennale 2016 and 2018, and Seoul Architecture Biennale 2017 and 2019.

Inquiries directed to: seunghan.paek@gmail.com

This thesis reflects over the possibility of the existence of a “mobility field” for architectural critical practice in the contemporary world, defined by agreements in social, economic, politics and cultural spheres. The study takes as fundamental notions for its propositions the terms “space” and “event” (and the notions that they activate: experience, subject, body, time), and from these aspects the following hypotheses emerged. The first is the notion of “event”, from Alain Badiou philosophy, could open up critical investigations about the design and spatialization practices in contemporary architecture. And the second hypothesis is that the mentioned notion could conduct to the reconsideration of the relation between aesthetics and politics in the field of architecture. The framework of the study assumes as its point of departure the systematization and problematization of the critical theory of architecture from Bernard Tschumi based on the space-event relation. In its second moment, the thesis aims to elucidate how a certain notion of “event” has been apropriated by the contemporary cultural sphere and to present the logics as it operates not only in this sphere, but in a type of architecture that extensivelly has been transformed in its correlate. The analyses of the two previous conceptions of the space-event relation indicate the need for the investigation of other fields for critical action in architecture, and as well for the space-event relation itself. In a third moment, this study proposes the architecture (the spatialization processes and the spatialities that they engender) as evental space, establishing as mediation the thought about the “event” of the contemporary french philosopher Alain Badiou, and more specifically about the political event and the space on which takes place.

The paper responds to the idea that religious architecture can transcend the boundaries of the religion and act as an open, inclusive space for communities. The paper argues that in the flat world that we are living in, coexistence of different cultures and religions is inevitable and Architecture has a huge role to play in how seamless this coexistence is. The permeability of sacred architecture is explored in terms of its opacity. The paper argues that although we can say that we are a truly global world, the interactions within various communities are not as seamless as they could be and that Architecture has a potentially important role to play in enabling a more diverse and accepting sense of community. It is argued that Houses of Gods still stand as walls between different cultures, even though they exist in the same communities and that these opaque, rigid walls must evolve into translucent, semi-permeable membranes in order for communities to become more inclusive. Taking this one step further the paper also questions the possibility of a single architectural space capable of facilitating different religions and beliefs in the future.

Storia dei piani per quartieri residenziali progettati e costruiti
dal Gruppo Fiat in Italia e all’estero nel secondo Novecento, riletti attraverso le carte dell'archivio del Servizio Costruzioni Fiat, poi Fiat Engineering, poi Maire Tecnimont.

This is the first book to document the work of Los Angeles-based architects Johnston Marklee. Created in dialog with a group of international artists and architectural critics, this collection of five thematic conversations and residential projects reflects over a decade of Johnston Marklee’s
architectural explorations and their singular position within the field.

With contributions by Walead Beshty, BLESS/Desiree Heiss and Ines Kaag, Livia Corona, Reto Geiser, Sharon
Johnston, Veronika Kellndorfer, Luisa Lambri, Sylvia Lavin, Mark Lee, Marianne Mueller, Jack Pierson, Raymund Ryan, Philip Ursprung, Nicolás Valentini, James Welling, and Sarah Whiting.

https://vimeo.com/164907102

The Salt Museum of Salins-les-Bains and the Castelvecchio are restoration projects that incorporate historic structure with that of modern techniques and materials. The projects maintain the clarity of modern space, materials, and design and the purity of the historical buildings creating structures that function in both the past and present.

Pubblicazione realizzata a supporto del concorso internazionale “Edifici mondo: concorso per il recupero del centro antico di Salerno” (Comune di Salerno, Salerno 1997), a cura di Andrea Morpurgo, Bernardo Secchi, Paola Viganò, Laura Mascino, Ufficio di Piano del Comune di Salerno.

La parte collinare del centro storico è caratterizzata da forti pendenze e dalla presenza di numerosi conventi eretti a partire dall'XI secolo, destinati nel tempo ad altri usi e oggi in gran parte abbandonati, definiti "Edifici Mondo" per la loro dimensione e complessità. L'are è inoltre ricca di punti panoramici e frammenti di giardini, tra cui il restaurato giardino della Minerva. Nel 1997 il Comune di Salerno ha bandito un concorso internazionale di idee con tre obiettivi:
1. Formulare ipotesi di restauro e di trasformazione d'uso dei grandi edifici abbandonati, denominati "Edifici Mondo" per la loro dimensione e complessità;
2. Spezzare l'isolamento di questa parte del centro storico e migliorarne l'accessibilità con nuovi impianti di risalita e parcheggi d'interscambio;
3. Ridisegnare lo spazio pubblico, recuperare piazze e punti d'osservazione, aprire percorsi alternativi attraverso cortili e giardini, creare le condizioni per il risanamento del tessuto edilizio minore.

Il Concorso fu vinto dal progetto degli architetti giapponesi Sejima-Nishizawa, con riconoscimenti ai progetti degli architetti Monestiroli e De Las Casas, relativo alla sistemazione della parte alta del Centro Storico con particolare riferimento ad alcuni antichi complessi edilizi (Palazzo S. Massimo, ex Conventi di S. Francesco, S. Pietro a Maiella e S. Giacomo, e Santa Maria della Consolazione, a lungo adibiti a carceri ed in seguito dismessi).

The forms of nature have always caused admiration and a have been sources of inspiration for humanity in its many artistic manifestations, including Architecture and Urbanism. The difficulty of design and execution of organic forms into objects for human life has been a strong obstacle throughout history and was faced by some avant-garde architects such as Antoni Gaudi and Frank Lloyd Wright. Contemporaneously, new techniques that arise in aid for the design of complex shapes give new impetus to the organic architecture and has been used by architects in the development of many projects, in different scales. These techniques become even more relevant due to the complexity of the contemporary architectural scenario and its various reference sources. This paper aims to present briefly the antecedents of organic architecture and its use throughout the century XX, and then highlight the new design methods used by current vanguards and their application in contemporary designs.

Podemos decir que la obra de Rem Koolhaas, como el resto de los arquitectos de la arquitectura contemporánea, está influenciada en parte por las ideas que desarrollaron los arquitectos que reac- cionaron a las propuestas de los Congresos Internacionales de Arquitectura Moderna (CIAM). En ese contexto Woods, junto a Candilis y Josic, desarrolló una nueva tipología de edificio a la que denominó “rasca-suelos”, pero que hoy conocemos por el término que le otorgó Alison Smithson: el mat-building. Retomando esta idea original, Rem Koolhaas, en el edificio Nexus World, propone un conjunto de vi- viendas que combina las viviendas patio de Mies y los edificios de la antigua Roma, para constituir un tapiz continuo en el cual las casas nunca llegan a ser objetos individuales. En definitiva, un edificio de tejido denso, como una alfombra. Koolhaas traslada la idea de ciudad árabe a la ciudad nipona y aplica lo que ha aprendido con “Delirious New York”, introduciendo las características del rascacielos en su rasca-suelos, redefiniendo la tipología del mat-building
Rem Koolhaas, as a contemporary architect, draws from the proposals which were devel-oped by the architects who reacted to the ideas formulated on the International Congresses of Modern Architecture, like the Team 10 members. Woods, along with Candilis and Josic, worked out a new type of building that he called ground-scrapper, although it is better known by the name given by Alison Smithson: the mat-building. Rem Koolhaas, in the Nexus World building in Fukuoka, propose, as he says in S,M,L, XL, a house building which is a combina-tion of Mies’s court houses and the ones in the ancient Rome, forming continuous tapestries where houses never become objects. Definitely, he proposes a mat-build- ing. OMA’s head-master applies what he had learn with “Delirious New York” and he introduces the skyscraper features in his own ground-scrapper, redefining the mat-building.

Příspěvek je věnován novostavbě památníku jednoty bratrské v Přerově Na Marku, koncipované jako prezentace významného archeologického naleziště základů zdejší zaniklé bratrské školy a modlitebny z poloviny 16. století. Z urbanisticko-architektonické soutěže konané na jaře roku 2014 vzešlý návrh brněnských architektů Zbyňka Musila a Davida Zajíčka obohatil po své realizaci v roce 2016 veřejný prostor o zcela novou stavbu, věnovanou zdejšímu působení českých bratří, doplněnou o parkovou a odpočinkovou zónou v ploše původní modlitebny a bratrské školy. Poměrně kvalitně zpracované jednotlivé části pomníku: „prostranství“, „kabinetu“ i „zákoutí“ dohromady vytvářejí kultivovanou prezentaci historického odkazu místa, jejíž součástí je i uplatnění  originálu štětové cesty procházející areálem.

This article explores an extended sense of autonomy in contemporary architecture activated through the practice of fashion, by taking architect Rem Koolhaas’ work Prada Epicenter in New York as a case. In doing so, it argues that throughout the work Koolhaas sets up a world in which the corporate and the individual are entangled together in complex ways. Instead of considering Prada Epicenter to be the exemplar illustrating that the global company—Prada—institutionalizes the designed commercial space in a top-down manner, this article claims that such a space imbricates a multiplicity of meaning that is generated at the intersections of the local and the global, the ordinary and the spectacular, and the individual and the institutional. In this respect French philosopher Gilles Lipovesky’s fashion theory works as a critical point: his claim that the ambivalence of fashion—both as corporate power and individual freedom—is a threshold encouraging us to better understand the operativity of late capitalism in daily life is extended to Koolhaas’ case. In other words, Koolhaas’ Prada Epicenter brings forth possibilities that the ostensibly technocratic and institutionalized space in fact works as a resillient field where senses of individual autonomy arise in the aid of corporative practice of branding.

Salama, A. M. (2004). Contemporary Architecture in Egypt: Reflections on Architecture and Urbanism of the Nineties. In J. Abed (ed.), Architecture Re-Introduced: New Projects in Societies in Change. The Aga Khan Award for Architecture, Geneva, Switzerland. PP. 80-101.
________________
At the end of the 20th century, and as we approach the beginning of the third millennium, a moment of reflection and contemplation is really needed. In the past decade there have been radical changes in architectural practices in Egypt. It has become common to observe that major shifts are occurring in the realms of architecture and urbanization. These shifts are dramatically changing the public face of Egyptian architecture. On the one hand, there have been changes that will definitely alter the role architects and planners can play. These are due to the emanation of new architectural services, complex building types and activities, and bilateral and multinational projects. It is evident that the profession in Egypt is being diffused into several new activities and roles. There emerge specialists in architectural programming, cost analysis/control, office and construction management, landscape architecture, client relations, research, real estate development and architectural marketing. On the other hand, we have witnessed more involvement of local architects and urban planners, together with international agencies, government, NGOs, and the private sector in urban development, historic preservation, and sustainable urban conservation projects. A wide range of innovative designs representing disparate trends can also be observed. Among these trends, movements toward green design and a more culturally and environmentally responsive architecture are implicitly and slowly dawning. Despite these honest attempts to tame architectural and urban development processes and the capacity of Egyptian architects to manage individual buildings, the overall built environment is increasingly mismanaged, and the process of architectural education has been slow to respond to these shifts. This chapter investigates the current status of architecture and urbanism in Egypt. It bases its argument on a survey of the recent developments in the field, linking these developments to socioeconomic contexts and the architectural trends in the nineties, and examining the role of different actors in these processes. The chapter relies heavily on presenting examples of projects that exemplify various architectural and design positions. Results of interviews with renowned Egyptian architects, and conclusions drawn from questioning architectural advertising in major newspapers are discussed and associated with the overall argument. The chapter ends with a conceptual vision for the future of architectural profession and the blinkered new paradigm. (This book is based on Regional Seminar organized by the Aga Khan Award for Architecture (AKAA) held in the Department of Architecture and Design at the American University of Beirut (AUB) in November 1999).

"Good architecture is a fusion of emotion and intellect." These are the words of architect Jugal Kishore Chowdhury who was a pioneer of modern architecture in India. He belonged to the first generation of architects and planners in the post-Independence era. Known for his monumental concrete buildings, he was honoured with Padma Shri - the fourth highest civilian award - by the President of India in 1977. Chowdhury was also a recipient of Baburao Mhatre Gold Medal from the Indian Institute of Architects in 1994 for his contribution to Indian architecture.

Omodeo 57 è uno dei progetti realizzati per il Comune
di Bari nell’ambito del Programma Integrato di
Riqualificazione delle Periferie (PIRP) di San Marcello, un
quartiere sviluppatosi nel tempo senza linee guida,
progressivamente assorbito dal tessuto urbano consolidato.Grazie a questo progetto, nei suoi due interventi, il
Comune di Bari e il team di progettisti hanno vinto il
Premio UrbanPromo 2013.

This book discusses the effects of Neo-Liberal policies on the transformations of architectural and urban practices and education in the transition from the era of “professionalism” to “post-professionalism.” Building on previous literature in the field of contemporary theory of architecture, it provides the necessary resources for the study of contemporary architecture and urban politics, urban sociology, local administration and urban geography. Further, it develops a political and critical perspective on contemporary practices of architecture and urbanism, their implementation, legal background, political effects and social results.

The book will interest readers from a wide range of academic disciplines, from political science to architecture, and from urban studies to sociology.

Este artículo estudia la presencia de la Santa Sede en las diferentes exposiciones internacionales, tanto universales como temáticas, desde la creación del Estado Vaticano en 1929 hasta la actualidad. Con estos pabellones, los papas quisieron representar a la Iglesia Católica en foros internacionales, entendiéndolos como potenciales actos de evangelización.
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This paper traces the presence of the Holy See in the different international exhibitions, both universal and thematic, from the creation of the Vatican State in 1929 until present. With these pavilions, the popes wanted to represent the Roman Catholic Church in international forums, understanding them as potential acts of evangelization.

Tradução para o português de Dummy Text, de Robert Somol, texto de abertura do livro Diagram Diaries (1999), de Peter Eisenman, que explora o contexto da produção teórica e da obra do arquiteto ao longo dos quase 40 anos que separam a apresentação      da sua tese de doutorado em filosofia (Trinity College, University of Cambridge, 1963) da publicação do livro.

El museo se construye desde su instauración sobre la utopía de la reunión de todos los productos del conocimiento humano. Esta noción queda introducida en el debate generado por la Revolución Francesa. Es aquí donde el museo se sitúa en el centro de las discusiones arquitectónicas generando a su vez las poéticas que guiarán hacia la concepción icónica de estos equipamientos en época contemporánea y actual. Del mismo modo, la titularidad pública que los museos obtienen a partir de este proceso revolucionario sienta el precedente de la gestión de los mismos, que hoy, y con el foco trasladado a España, revela defectos de transparencia, tanto en el diálogo arquitectónico como en el económico e institucional.

(Abstract)
Since the very founding of museums, these have been built around the utopia of collecting all human knowledge. This concept has its start in the discussions generated by French Revolution where museums architecture had a main role. This debate will eventually generate the iconic cultural-conceived buildings that architects are projecting nowadays. Likewise, the museums public ownership obtained due to these revolutionary processes established a management model that today, in terms of Spanish museology, is revealing transparency mistakes, both in contemporary architecture dialogs and in institutional and economical approaches.

"Tévedés azt hinni, hogy az építészet csak tehetség kérdése. Az is. De még inkább tükre egy társadalom akaratának, gazdasági helyzetének, fejlettségi fokának, szervezettségének, összes torzulásának." (Szrogh György)
"Ha tehát bíráljuk az építészetet, hogy válságban van, zavaros, kapkodó, akkor így vagy úgy, maga a társadalom, a társadalmat irányító intézményrendszer is megítéltetik.. (Német Lajos)
Körkép az 1980-as évek magyar építészetének főbb irányzatairól.

Le Corbusier and Pierre Jeanneret:
The Indian Architecture
Authors:  Sarbjit Bahga and Surinder Bahga

The book, though a modest addition to the voluminous publications, mostly descriptive, on these legendry architects, hope to throw light on some features hitherto not dealt with in earlier existing literature. The present book discusses almost all the works of Le Corbusier and Pierre Jeanneret in India including some lesser-known ones as well as some projects which were not realized. Indeed some of these have been written about for the first time. In Particular Pierre Jeanneret’s works which were not so well-known earlier but find a befitting coverage in this book. Published after more than six decades of Chandigarh’s inception, this work portrays the up-to-date scenario of the built-environment vis-à-vis the inhabitants’ views on it. The reaction of the ultimate recipients of any delivery system, naturally based on their felt needs, is a most critical aspect for any in-depth analysis.