Modern Movement

A pasaréti kislakásos mintatelepen álló, Fischer József által tervezett családi ház tudományos dokumentációjának készítése adott módot arra, hogy a modern építészet és a színezés viszonyával foglalkozzam. A kutatás során ugyanis kiderült, hogy az épület kompozíciójának szerves része volt a színterv. Ezért utána kellett néznem, mit tárt föl az építészettörténet az utóbbi időben e téren, és milyen eredményeket tud felmutatni a műemlékvédelem a nagyvilágban. Szines építészetről, színtervekről a modern mozgalom építészetévek kapcsolatban csak az elmúlt 10-15 évben lehet hallani. Korábban az a meggyőződés uralkodott, hogy a modern építészet-fehér. Berlinben 1929-ben lakótelep épült Weisse Stadt néven,  Tel Avivot máig White City-nek nevezik modern épületei alapján. A Die Form című német folyóirat Weiss, alles Weiss címmel közölt cikket 1930-ban: Még a modern kritikáját megfogalmazó kései írásokban is "fehér" istenekről (Tom Wolfe), illetve "fehér falakról" {Mark Wigley) esik szó. Jogosan vetődik fel tehát a kérdés, mi vezetett a hó fehér kubusok sztereotípiájához? E makacsul továbbélő tévhit természetesen több okkal magyarázható. A legfontosabb ok, hogy a szines épületek nem maradtak fenn eredeti állapotukban. Az újfajta színkompozíciók gyakran meghökkentők voltak, nem mindenkinek tetszettek, és elég volt egy tulajdonosváltás, némi tiltakozás, vagy csupán a színek kifakulása, elpiszkolódása ahhoz, hogy átfessék, megszüntessék. Nem csak a használók, az építészek is hozzájárultak a színes építészet feledésbe merüléséhez. Sokan változtattak korábbi elveiken, elfelejtették, vagy megtagadták "színes" korszakukat. Mint láttuk, a korabeli, vagy utólagos cikkek, tanulmányok is erősítették a tévhitet. Végül, az egykori publikációkban szinte kivétel nélkül fekete-fehér fényképek jelentek meg, amelyekről legfeljebb tónusokat lehetett megállapítani, színeket nem. A tanulmány nemzetközi kontextusba állítva vizsgálja a Napraforgó utca egyik legmodernebb épületét, a Fischer József tervezte Somogy-házat.

The book Maison d'Artiste : unfinished De Stijl icon, edited by Dolf Broekhuizen, is organised in three parts: an examination of the
cultural-historical significance of the Maison d’Artiste; essays focusing on the design intent of Van Doesburg and Van Eesteren as well as their place in the historical avant-garde; and finally, a section that explores the dilemma of authenticity and arguments for a faithful realisation of the Maison d’Artiste.

Η Θεσσαλονίκη του 20ού αιώνα χαρακτηρίζεται από μια πολύπλευρη αρχιτεκτονική φυσιογνωμία. Εκλεκτικισμός, μοντέρνο κίνημα και μεταμοντέρνα αρχιτεκτονική κυριάρχησαν, κατά σειρά, στην οικοδόμηση των δημόσιων και ιδιωτικών κτηρίων της, με αποτέλεσμα μια ξεχωριστή διαδοχή αρχιτεκτονικών μεταβάσεων, που αναγνωρίζονται ακόμη και σήμερα στην πόλη. Η παρουσίαση των εν λόγω μεταβάσεων αποτέλεσε, το 2005, το αντικείμενο σεμιναρίου επιμόρφωσης των σπουδαστών και του προσωπικού του Ευρωπαϊκού Κέντρου για την Ανάπτυξη της Επαγγελματικής Κατάρτισης (CEDEFOP). Προκειμένου να επιτευχθεί η βέλτιστη ενημέρωση και ευαισθητοποίηση αμφότερων για το θέμα, συντάχθηκε το παρόν τεύχος. Πρόκειται για έναν εξολοκλήρου πρωτότυπο, εύχρηστο και κατατοπιστικό αρχιτεκτονικό οδηγό. Οι σελίδες του αφιερώνονται, καταρχήν, στην επισκόπηση της ιστορικής εξέλιξης της πόλης. Ακολούθως, εξετάζεται η αρχιτεκτονική φυσιογνωμία της σε τέσσερις διακριτές περιόδους του 20ού αιώνα. Για κάθε περίοδο, παρέχονται γενικές πληροφορίες αναφορικά με τις κυρίαρχες αρχιτεκτονικές τάσεις, και στη συνέχεια, παρουσιάζονται ομαδοποιημένα σύνολα κτηρίων, που αντανακλούν με τον πλέον χαρακτηριστικό τρόπο τις εν λόγω τάσεις. Το κύριο σώμα του τόμου πλαισιώνεται από ενότητα για την τρέχουσα αντιμετώπιση της αρχιτεκτονικής κληρονομιάς του 20ού αιώνα και ενδεικτική βιβλιογραφία, για περαιτέρω εντρύφηση στο θέμα.

The pretext of this book is the Villa E.1027 that Eileen Gray and Jean Badovici built between 1926 and 1929 in Cap Martin, Roquebrune, on the French Côte d’Azure.

With respect to the text, it is concerned solely with the application to the chosen work of the most complete critical model of those that have been produced. This method of architectural criticism, inspired by Todorov’s procedure of linguistic criticism, and developed by Antonio Miranda, proposes a hierarchy of four components, which delves deeply into the essence of the object through a description, an analysis and an interpretation, finally arriving at a poetic critique.

"Todos os dias, nos meus primeiros meses de escola, saía da palhota do meu pai
com o meu irmão, descia a ladeira com os músculos das pernas retesados para
não cair. Foi assim apenas por alguns dias porque, com a prática, passámos a
descer a correr, sem nos importarmos com a cacimba que nos molhava.
Passávamos ao longo do arenoso caminho dos bois, atravessávamos, em
seguida, o pântano onde o nevoeiro era mais denso. Tínhamos de tirar as
sapatilhas para não as molharmos nos charcos que as chuvas deixavam, e
não as sujarmos com o matope que ficava no carreiro que tínhamos de seguir
dentre os mavungu e o caniço do pântano, tínhamos de saltar de um mcoma,
raíz de mavungu, para outro quando isto nos podia salvar de mergulhar
numa poça mais profunda de água ou de lama preta.
Nos dias mais frios, os dentes batiam com vibração e cadência rápidas
dos maxilares. Era normal. Não ligávamos a mínima importância. Não
sabíamos que não estávamos agasalhados o suficiente. Nunca o tínhamos
estado. O que sabíamos é que fazia frio e muita cacimba, caminhávamos,
depois, pela estrada principal, alteada de saibro no meio da planície ligando
o ‘Ntavene’ à cidade baixa. A maior parte das vezes, quando não passava
o comboio, preferíamos andar ao longo da linha férrea. Estaríamos mais
protegidos do perigo de sermos atropelados pelos carros ou de sermos molhados
com água vermelha de saibro, caso um carro, em velocidade, entrasse num
charco e a espalhasse pelos lados. Quando chegávamos à escola, ou um pouco
antes, encontrávamos já lá os nossos colegas brancos que não tiritavam de frio
porque levavam camisolas bem quentes que até lhes cobriam os pescoços. Nós
também, nessa altura, não sentíamos tanto frio. Tínhamos andado tanto que
o esforço de marchar e de correr nos aquecia" (Chissano, 2011: 81-82).

Neglected in her lifetime, Eileen Gray (1878-1976) is now regarded as one of the most important furniture designers and architects of the early twentieth century. She first worked as a lacquer artist, then as a furniture designer and finally as an architect. At a time when other leading designers were almost exclusively male and adherents to one movement or another, Gray remained stalwartly independent. Her design style was as distinctive as her way of working; Gray developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by International Style designers such as Le Corbusier, Charlotte Perriand and Mies van der Rohe. Her voluptuous leather and steel Bibendum Chair and chic E-1027 glass and tubular steel table are now familiar icons of modernity.

Heroines of the Space is a brilliant theoretical and historical synthesis that relies on research published in several languages, as well as a great deal of primary research. Her text is a comprehensive effort that stands a chance of truly helping re-write the history of Modern Architecture in the 20th century. It is also feminist scholarship. One third of the book is a theoretical overview of the development of women's roles from traditional societies to the beginning of modernity in Europe. The remaining two thirds are monographic analyses of the work of Eileen Gray, Lilly Reich, Margarete Schütte-Lihotzky and Charlotte Perriand. Though one may think everything there was to be known about them is available; Espegel's analysis reveals new aspects of their work, seen in the context of their contemporaries' production.

ENGLISH VERSION.

The everlasting human utopia of reaching the sky with buildings started to be discerned as something possible with the arrival of Modern Architecture, primarily due to the construction of the first large skyscrapers in New York city at the end of 1920s (Chrysler, Empire State...). The supremacy of every architectural landmark upon urban planning turned into a continuous desire to improve, finally put off by the economical recession after the Wall Street Crash of 1929. Nevertheless, technological advances were not supported by the “The Big Apple” contemporary architects, whose works seemed to be lacking of an innovative spirit, as anyone can work out just seeing the staggered set-back profile of their new buildings in direct response to the current volumetric urban ordinance since 1916.
After World War II, Mies van der Rohe made contact with New York business environment and deserved the assignment of projecting the building that should be celebrating the centenary of the Joseph E. Seagram & Sons Corporation in 1958. The high level of freedom and confidence received from his client would be thoroughly rewarded by the German architect with one of his masterpieces: the Seagram Building (1954-58). Mies reflected deeply on the urban phenomenon developed in Manhattan, studying in detail the existing urban landscape and the multiple volumetric choices for his building to fit in the site from pure visual criteria. The final project was a critic solution that avoided keeping on growing the myth of the “skyscraper” as an architectural type; this attitude involved his enormous accuracy in formal designing, the public, urban use of void space, the beauty of the structural order, the sensitive use of materials, etc. In the end, it may be seen as a consistent proposal with no strings attached to preceding examples of “manhattanism” in order to provide a symbolic piece to the city; a building that does not show off in a heroic mannerism, and just with the suitable urbanity and precision that will remain as a model for the next-to-come skyscrapers from mid XXth century onwards.

SPANISH VERSION.

advenimiento de la Modernidad, sobre todo tras la construcción de los primeros grandes rascacielos neoyorkinos a finales de los años 20 (Chrysler, Empire State…). La supremacía del hito arquitectónico sobre el orden urbano generó un afán de superación constante, solo retenido parcialmente por la recesión económica tras el crack de 1929. Sin embargo, el avance tecnológico no fue correspondido con audacia por los arquitectos de la “gran manzana”, cuyas obras adolecían de un espíritu innovador, como revela el perfil con retranqueo escalonado de la mayoría de los nuevos edificios en directa respuesta a la ordenanza volumétrica vigente desde 1916.
Tras la Segunda Guerra Mundial, Mies van der Rohe entró en contacto con el entorno neoyorkino y se hizo acreedor del encargo del edificio que habría de conmemorar el centenario de la Joseph E. Seagram & Sons Corporation en 1958. La libertad y confianza absolutas depositadas en él por el cliente será generosamente recompensada por el maestro alemán con una de sus mejores obras: el Seagram Building (1954-58). En él Mies hizo una profunda reflexión acerca del fenómeno de la construcción urbana de Manhattan, estudiando concienzudamente el paisaje urbano existente y las múltiples posibilidades volumétricas de resolver su rascacielos desde criterios puro-visuales. El resultado final fue una respuesta crítica que, lejos de seguir alimentando la condición mítica del tipo “rascacielos”, abunda en todo tipo de sutilezas nacidas desde el rigor de su planteamiento formal, el uso público del espacio vacío, la belleza implícita en el orden de la estructura, la delicadeza en el empleo de los materiales, etc. En el fondo, toda una apuesta coherente que rompió las ataduras con los modelos del “manhattanismo” para dotar a la ciudad de una pieza simbólica que no presume de heroísmo sino de urbanidad y precisión, modelo al fin del rascacielos del siglo XX para la posteridad.

The Barbican Estate is a mixed use residential estate built between 1963 and 1982, in London, following a competition launched by the City of London Corporation, in 1951, to develop a high-quality housing scheme in the north area of London Wall, with the aim of encouraging people to move back to the city after the devastation of the WWII.
The design from Christof Bon (b. St. Gall, Switzerland, 1921-1999), Peter Chamberlin (b. London, 1919-1978) and Geoffry Powell (b. Bangalore, India, 1920-1999), approved in 1959, proposed the creation of a high density urban center still alive today and much-loved by its residents. With clear definition of functions and circulation systems, it comprises more than 2,000 flats with around 4,000 residents, schools, arts center (with concert hall, theatre, cinemas, library, art gallery, conservatory, restaurants and offices), car-parking, gardens and canal.
As a prominent symbol of brutalist architecture, the entire estate was listed at Grade II, in 2001.
The Barbican Listed Building Management Guidelines, published in 2005 and revised in 2012, were created to guide the implementation and management of change in the Barbican estate, while preserving its character. For that end, an extensive consultation program, with public meetings, was undertaken, involving the work of different experts and institutions (Avanti Architects, the City of London Corporation’s Department of Planning and Transportation, the English Heritage, the Twentieth Century Society, etc), together with residents. All interested parties were able to contribute for the development of the document, which keeps being under regular revision, through an inclusive approach, connected with different disciplines. Working as a manual for assuring best practices, this methodology endorses a systematic approach to change in the entire Barbican Estate, cultivating the general maintenance while promoting a variety of transformation solutions.
This paper aims to reveal how these guidelines, now in service of the British estate, may act as a tool for sustainable preservation strategies of large scale post-war housing estates.

Modernist Cultures 12.3 (2017): 331–344. This essay reconsiders Reyner Banham's classic study of early twentieth-century architecture and design, Theory and Design in the First Machine Age, originally published in 1960. Banham surveyed the architecture, design, and visual arts of the 'first machine age', characterized by industrial production and motorized transportation, from a self-consciously thematized perspective within the 'second machine age', populated by expendable consumer technologies and images. This revisionist perspective enabled Banham to challenge long-standing myths propagated by the dominant figures of the modern movement. In his polemical emphasis on the contingency and plurality of that which had empirically transpired in first machine age, Banham rejected the reduction of the messy history of the modern movement to the victory of a putative 'international style'. Banham reasserted the intimate connection of architectural modernism with the avant-garde artistic movements of the 1910s and 20s, emphasizing particularly the most radical ones such as expressionism, futurism, and dadaism.

Post-War Housing Complexes in Europe are symbols of architectural, technological and social aspirations. These grands ensembles of Mass Housing have nowadays begun to be appreciated by users and authorities, as integral part of the current city. Whether discussing demolition (as faced by the Smithsons' Robin Hood Gardens and Toulouse's Le Mirail, and commonly seen as a focus for social marginalization), or the growing phenomenon of heritagization (as implicit in the type of person now using the Marseille Unité d’Habitation), the debate today has mainly become centered on the question of: how to keep these large structures alive, while meeting contemporary standards of comfort? Characterized by adventurous experiments in the use of new materials and techniques, space creation and gender transformations, the obsolescence of these big complexes is determined on two different levels: the technical one (regarding comfort, such as thermal or acoustic, and the need for mechanical and safety improvements, as infrastructures, systems, elevators), and the functional one (involving space dimensions, organisation, orientation, and the introduction of new uses); all while complying with current regulatory standards. In addition, these buildings have frequently been intensively used and modified.

See full contents at:
https://www.docomomo.com/journal/dj-54
https://dx.doi.org/10.52200/54.I.ZCGBQ0C2

It has been shown that the pioneerism of the Modern Movement in the Lusophone Africa lies in how the modern ideology, inspired by the Brazilian experience, was locally interpreted. From this viewpoint the excellence of this heritage lies, in part, in its responsiveness to the environment in which it operates, through a design with climate based on concerns today associated with the concept of environmental sustainability, rooted in the awareness of the functional needs and the available resources.
With the main objective to contribute to the acquisition and consolidation of knowledge of the modern architecture in Lusophone Africa (1943-1974) interpreted in the light of these assumptions, the object of study of this dissertation is a specific architectural scholar program, widely developed and built in Mozambique at this period of the history (1955-1975). Initially led by architect Fernando Mesquita, in the context of the Public Works Services of the Province of Mozambique, it was reconfigured and evolved through various levels of education, ranging from primary to high schools. Extensively built until the years of the former Portuguese colonies independence in 1975, in urban and rural territory, and gathering later contributions from other authors, it still assumes nowadays an extremely significant expression in the infrastructure of Mozambique territory.
Based on the systematic analysis of case studies, on which carries out the analysis and the interpretation of the systems and technologies designed to respond to specific levels of comfort for the tropical climate, along with the analysis of the organization of the built environment and the functional typology, this dissertation aims to contribute to the characterization of this architectural program from the point of view of formal, technological and ideological assumptions of the Modern Movement and its responsiveness to the climatic context in which it operates.

The primary goal of this research is to investigate the relationship between sustainable design and the
morphologically refi ned architecture. This could only be achieved, through a study about realized works, which
have been historically appraised in the Greek architecture, evaluated from the perspective of sun shading and
sun trapping.
Thus, these questions are posed:
First of all, which are the most effi cient characteristics in geometry that can be found both in the built examples
of Greek anonymous as well as in published architecture? Secondly, do Greek architects take into consideration
the factor of sustainability and the demand to blend into landscape, during the process of design, and if so, to
what extend?
To begin with, it is necessary to analyze the local climate of Greece, emphasizing in the Attica region, in order to
understand the requirements of the buildings in this country. Moreover, it is needed to report the most common
shading systems or solar collectors that are found in Greek buildings in general, and study their performance, in
contrast to the ones designed by the Greek architects.
To achieve the project’s goal, the need to examine a representative number of implemented examples for their
morphology contribution arose, so as to judge if their qualitative design, does integrate with their topology.
For that specifi c reason, it was considered that the work of Nicos Valsamakis meets all the above described
conditions. Specifi cally, his ongoing career in architecture features numerous constructions till today, with the
most experiments in form, which aff ected the design of the next generations.
Consequently, in the case studies chosen, to represent best the fi ve distinctive periods of architecture in Nicos
Valsamakis’ s work. Similarities and diff erences are observed in the form, but also in the use of materials, whose
purpose is the experimentation in the construction. However, in this research, attention is given fi rstly, to the
identifi cation of a specifi c characteristic that defi nes as not only unique, but also innovative each case study, and
then the analysis of its thermal behavior. So, the fi ve residences are perceived as a mass, in the orientation that
are built with their openings as well as their morphology. Afterwards, each element is deconstructed, in order
to analyze its solar behavior and contribution to the total synthesis of the facades that form the outer envelope.

The Modern Movement has demonstrated its long term legitimacy, as a concept endowed with an extraordinary and lasting longevity. Either way, it becomes increasingly important to acknowledge and value this heritage, in order to enable a skilled, informed and enlightened intervention. Such matters as materials and technology reuse, spatial and functional transformations as well as updating legislation, are part of the contemporary agenda. Knowing that many modern architects sought new heights of functionality and changeability, the challenge for today is how to deal with the heritage in relation to its continuously changing context, physical, economic and functional, as well as socio-cultural, political and scientific. I consider that the reuse project is starting to “make history” and I share the idea that heritage transforms itself with us. Therefore, modern architecture can be a resource that asks for our attention in terms of quality, economy and sustainability.

See full contents at:
https://www.docomomo.com/journal/dj-52
https://dx.doi.org/10.52200/52.I.I8Z9JYYX

The debates that followed the World Design Conference (WoDeCo, Tokyo, 1960) on the search for a “total Image for the 20th Century” pointed out among worldwide designers, architects and planners, viewpoints and intellectual ideas concerning the future of the city, particularly in the wake of technological and scientific advancement in industry. At the time of the WoDeCo, progressive architects formed the “Metabolism” group and proposed their concepts for dealing with the increasing complexity of the cities rising. Debating over the ideal city and promoting a kind of experimental architecture based on ideas of life styles and communities for a new era, its biological name suggests that buildings and cities should be designed in the same organic way that the material substance of a natural organism propagates adapting to its environment by changing its forms in rapid succession.

See full contents at:
https://www.docomomo.com/journal/dj-50
https://dx.doi.org/10.52200/50.I.P5Q8H829

Le Corbusier (LC) prolific personality as theorist, painter, sculptor, architect, urban planner, researcher, disseminator, thinker, and provocative activist, helped to make him a universal author. His dual and inseparable theoretical and practical activities represented a source for LC’s balanced inspirational and systematic method. Envisaging “la planète comme chantier”, LC drove his obsessive constructive impulse around the whole world, to nations such as Japan, Russia, Argentina and India. Thinking deeply about the human condition in the contemporary age, he looked for solutions to solve social, technical and spatial problems, believing that architecture could have the power to improve the world. To the question “architecture or revolution?” he answered “revolution can be avoided” through modern architecture.

See full contents at:
https://www.docomomo.com/journal/dj-53
https://dx.doi.org/10.52200/53.I.2B84STVB

El trabajo estudia la arquitectura del Movimiento Moderno en Valladolid entre 1925 y 1975 en sus tres temas: Industria, Vivienda y Equipamiento. Se desarrolla cronológicamente en cuatro apartados, desde el arranque de la modernidad en la ciudad, “el ideal racionalista” (1930-1940), “las expectativas de modernidad” (1940-1950), “la etapa madura de modernidad” (1950-1965) y “La arquitectura Mo.Mo. en Valladolid a partir de 1965. Un final pausado de diez años" (1965-1975). Asimismo estas arquitecturas se relacionan como la incorporación de la ciudad a una ideología internacional dentro de la cronología y precedentes de la arquitectura del Movimiento Moderno y en el contexto Ibérico. Se concluye con una referencia a los trabajos de la Fundación. DOCOMOMO ibérico: estudio y documentación de la arquitectura del Movimiento Moderno, su protección patrimonial y conservación. Trabajos que se han estado realizando en los últimos veinte años por la Comisión Técnica de la Fundación y que el libro que introduce este estudio concreta en la ciudad de Valladolid.

Housing is a central program in contemporary architectural production. Incorporating civilizing values of 19th century culture, the house arrives in the 20th century at the time notions of private space and domestic comfort come to the fore in Western Culture as values inseparable from the emergence of the family in domestic space: the home. In 1951 Martin Heidegger (1889–1976), in his Darmstader sprache, “Bauen, Wohnen, Denken”, relates the word building (bau) with the verb “to be” and the action of “being” (bin), to conclude that dwelling is the fundamental trait of being, the mortals’ living condition. Looking to reframe the sense of construction and to identify the meaning of “being”, Heidegger’s criticism is moved by the failure of the so-called rational materialistic solution, and opens the discussion up to the re-evaluation of the design action as a unique, magical and creative action.

See full contents at:
https://www.docomomo.com/journal/dj-51
https://dx.doi.org/10.52200/51.I.AU4F715B

In the words of José-Augusto França, Lisbon is the last of the old European cities and the first of the modern cities, as confirmed by the 1758 Baixa Pombalina plan undertaken for the reconstruction of the city destroyed by the 1755 earthquake, as a pioneering example of modern urban planning. Following the avant-garde plan, modern architecture in Portugal may be envisaged through three main moments according to specific policies undertaken during the long Estado Novo dictatorship (1926-1974).

See full contents at:
https://www.docomomo.com/journal/dj-55
https://dx.doi.org/10.52200/55.I.MIBJ09HB

_ Το σχέδιο του Ernest Hébrard (Eρνέστ Εμπράρ) για την Αθήνα είναι ίσως η λιγότερο γνωστή δουλειά του γάλλου πολεοδόμου στην Ελλάδα. Προτού ωστόσο παρουσιάσουμε την συνεισφορά του, θα πρέπει να αναφέρουμε σύντομα την κατάσταση που επικρατούσε στην πόλη στην πρώτη εικοσαετία του αιώνα, καθώς και τη συζήτηση  που είχε ανοίξει για τις ανάγκες σχεδιασμού της πρωτεύουσας μεταξύ των ελλήνων ειδικών, στην οποία παρενέβησαν επίσης δύο γνωστές προσωπικότητες της διεθνούς αρχιτεκτονικής, ο γερμανός Ludwig Hoffmann και ο βρετανός Thomas Mawson (με τον οποίο, όπως σημειώνουμε σε άλλο κεφάλαιο, βρέθηκε να συνεργάζεται ο Εμπράρ, στο πλαίσιο της Επιτροπής Σχεδιασμού της Θεσσαλονίκης).

* Γραφτηκε στα γαλλικά to 2008, για να περιληφθεί σε τόμο με τίτλο Ernest Hébrard en Grèce, επιμ. Α. Γερόλυμπου.

Endangered by its social, functional and technical obsolescence, many of the Post-WWII housing estates are currently the main focus of problematic urban areas, infrastructural and socially disconnected from the city. At a time when "l'habitat pour le plus grand
nombre" is in danger, looking back to these estates, built within the framework of the welfare state, is an opportunity and a fundamental step for an integrated discussion on urban development.
Addressing social integration, functional use, and building technology, this paper present successful preservation strategies undertaken in three European post-WWII case studies, demonstrating how reuse can be used as a vehicle for sustainable progress.

Elaborado por profesores e investigadores del Departamento de Historia del Arte de la Universidad de Málaga y de la Escuelta Técnica Superior de Arquitectura de Sevilla, este libro recorre la historia de la arquitectura y el urbanismo de Málaga durante el siglo XX y la primera década del siglo XXI.

Addressing a broader vision, entitled “Housing for All”, this issue is dedicated to the welfare era, when governments across the world established ambitious housing programs to provide housing for the greatest number and improve the citizens’ living conditions, as a symbol of a modern and democratic society. This bold course of action involved radical changes in the built environment, through new approaches to architectural design and experiments in the use of materials and techniques, the creation of space, and social transformation. Nowadays, understanding how to deal with this legacy presents a major challenge, in a continuously changing context, from the technical obsolescence of buildings that no longer meet today’s demanding standards, or fast-moving sociocultural, political and economic values. The aim of this docomomo Journal 65 is to outline how these vast cultural and political ambitions were materialized in various countries, and to analyze the contemporary challenges they face. More than five decades later, are these buildings and neighborhoods resilient or obsolete? In addition to the changes that postmodern society has brought in ways of living, issues such as the demand for spatial and functional transformation, and the updating of regulations on fire, seismic stability, user safety and energy efficiency, are now part of the contemporary agenda. How can these sites be kept alive while satisfying sustainability and contemporary ideas of comfort?

See full contents at:
https://www.docomomo.com/journal/housing-for-all

Following a thorough and pioneering conservation-science study, the Tugendhat House was restored between 2010 and 2012. The house of Greta and Fritz Tugendhat, in Brno, designed by Mies van der Rohe and Lilly Reich (1928-1929), is the single example of modern architecture in the Czech Republic inscribed in the list of UNESCO World Cultural Heritage sites.
After an intense and dramatic life with different uses, the house received an outstanding restoration which brought back its original form, space and materiality, and was opened to the public as a House-Museum.
This paper aims to bring light to this fascinating story based on the book Tugendhat House. Ludwig Mies van der Rohle by Daniela Hammer-Tugendhat, Ivo Hammer and Wolf Tegethoff (Basel, Birkhäuser Verlag GmbH, 2015), namely on Daniela Hammer-Tugendhat statements and on the experience of the members of the International Expert Advisory Commission THICOM.

The neighborhoods of Olivais Norte (1960), Olivais Sul (1963) and Telheiras Sul (1974) are paradigmatic examples of the Portuguese State's response to the housing shortage that was acknowledged in Lisbon, in the period of the post-wwii. Featuring a varied catalogue of architectural trends, this series of projects demonstrated extensive structural, formal, and spatial experimentation that revealed the concerns and quest by their designers to respond to the need for "housing for the greatest number". What all three projects shared was that they were large scale, publicly financed, started out with similar programs, and that various architectural teams were involved in each of them. The fact that they succeeded one another chronologically enables a critical reading to be made of the evolving interpretation of the Modern Movement in Lisbon, and the pursuit of modernity as an attitude that valued universality, rationality, and a fair response to new social orders.

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https://www.docomomo.com/articles/essays/large-scale-housing-projects-in-lisbon-olivais-and-telheiras

El estudio se centra en un ejemplo de viviendas sociales en Valladolid, las de la Obra del Hogar Sindical (1937-1938) y su proceso de composición arquitectónica tanto antes como durante e inmediatamente después de la Guerra civil española. Se desarrollaron una serie de proyectos para albergar viviendas sociales a bajo coste. El resultado construido serían estas viviendas consecuencia de un una solución en tipología de bloques proyectado por el arquitecto Jesús Carrasco Muñón, atendiendo a lo que se había y estaban desarrollando en Europa los arquitectos del Movimiento Moderno, en mayor medida con el Karl Marx-Hof del arquitecto Karl Ehn (Viena, 1927−1930). Por otro lado, la ordenación de los bloques es deudora en parte de las experiencias del Siedlung alemán y del desarrollo del CIAM II celebrado en Frankfurt en 1929.

Текстът се фокусира върху резултатите от проучвания в архива на Щутгартския университет, където много българи
са завършили архитектура през първите десетилетия на ХХ век.
Акцентът е върху имената на Диитър Фингов, Станчо Станчев,
Ахмед Сабриев и Димитър Христосков и дейността им както по
време на следването, така и през първите години от тяхната архитектурна кариера в Германия. Всички те имат професионална
връзка със своя учител проф. Паул Бонац – един от водещите архитекти в Щутгарт по онова време, но техните проекти имат индивидуален почерк в стила на „модерното движение“.

Nadir Afonso dedicated a large part of his life to the exercise of the profession in which (after all) he graduated - architecture, a fact that even today is often ignored by the general public.
From his time in architecture, he collaborated with of two of the most influential masters of the Modern Movement: in Paris, with the French-Swiss architect Le Corbusier and (...)

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- In: Tostões, Ana, and Koselj, Nataša, eds. Metamorphosis. The Continuity of Change.
Lisboa: Docomomo International; Ljubljana: Docomomo Slovenia, (2018): 122-131.
A diachronic analysis traces the parallel stages of transformations of Bulgarian cities during their 20th century modern development after WWI until the political transformations in 1989. Problems of safeguarding of the MoMo cultural heritage during the 1990s and until the present are discussed. An approach to compile a digital system of archival documenting and monitoring of the monuments of culture is suggested.
http://docomomo2018.si/index.php/15idc-conference-proceedings

This article considers and analyses the historical events of 200 years (i.e., 1779-1978) and two dynasties: the Qajar and the Pahlavi in Iran. Arguments proceed chronologically. The main intentions of the leaders of the modern movement, social modifications and related criticisms are analysed. From a historical point of view, this article explores the history of the modern movement and the debates around modernity in Iran. From an analytical point of view, this article considers the background of Iranian criticism against Westernisation and analysed the situation that led to raising the debate on modernity. Criticisms against modernity are considered in this essay. In addition to eco-social changes, it explores criticisms about modernity in different fields such as philosophy and literature. This essay also highlights that from a philosophical point of view Gnosticism became important as an alternative to Westernism. In this respect, the perspective of Nasr, an avant-garde scholar, is outlined.

Le Corbusier is, without a doubt, one of the most
important figures of the twentieth century architecture
scene. His ideas changed the basis of architecture.
Most of his thoughts were reflected not only in his built
Works but also in his writings, specially in three of
his books: “Vers une architecture” (1923) “Urbanisme”
(1924), this title has been translated into other
languages as “The city of the future” and La Charte
d’Athènes (1942). Many of the principles advocated in
these texts were very difficult to build in real life. One
of the great advantages of Cinema is that it allows
us to créate anything we imagine, and if there is a
genre in this art that which makes it posible is Science
Fiction. Great films as “Things to Come” produced
by Alexander Korda could not be understood
without the ideas of Le Corbusier. To mention more
examples “I Robot” directed by Alex Proyas builds
a modernized “city of three million inhabitants.” “Le
cinquième élément” by Luc Besson, manipulates
the communication system to different strata, which
had many advantages as the great architect said.
Finding building created by Le Corbusier es easy but
finding his urban ideas is much more complicated.
Throughout the film we can see Le Corbusier´s ideas
recreated and reinterpreted his thoughts.

La publicación compendia las investigaciones del autor sobre el Instituto Núñez de Arce de Valladolid de Miguel Fisac.  Parte del análisis del proceso creativo con el nuevo sistema de hormigón armado  auto portante y pretensado del edificio. Se analiza el “Para qué”, el “Cómo” y el “Yo qué sé” que el arquitecto Miguel Fisac desarrolla como proceso compositivo. Asimismo se delimitan las condiciones urbanas por el  interés de arquitecto al proyectar el edificio en relación a su entorno renacentista de la ciudad histórica, teniendo en cuenta y dependiendo de la tradición clasicista de la ciudad.

This paper focuses on theoretical issues of architectural conservation, especially the influential ‘Theory of Restoration’ by Cesare Brandi, and other of his writings. His proposals are both an advanced explanation of restoration and a guide for practice; not only in art conservation, but in architecture in particular.
Brandi’s theory seems limited to the work of art as such, and hence is detached from an existential understanding of the human being, offering but a partial account of the relation between humans and Modern Movement architecture. Existentialist concern about collective intentionalities is crucial here, because architecture is bearer of socially significant values, particularly historic significance and collective memory.
Awareness about existentialist issues of temporality in conservation has been offered before in the past by several authors. However, these reflections have mainly focused on the past and perhaps the present, but rarely the future. Authors have regarded the problem from a postmodern, relativist perspective; ignoring the manifold condition of architecture; others have characterised conservation as based on changing values in society, seemingly encouraging attitudes of ‘everything goes’.
This paper approaches the problem of conservation by uncovering attitudes behind Brandi’s theories, and by envisaging a more comprehensive consideration of time in the relation between architectural place and human existence. The phenomenological ontology proposed by Roman Ingarden and the illuminating treatise about memory by Paul Ricoeur support an approach to memory and the complete spectrum of time which considers conservation and assimilation as processes that facilitate society to accept changes in its environment.
The aim of this paper is to assess ontological and phenomenological assumptions regarding architecture and time against Brandi’s theories, and to evaluate their correlation in the context of the architecture of the Modern Movement. This connection between Brandi’s theories about architecture as art and his concept of restoration elucidates his attitude regarding time and memory as well as revealing certain inconsistencies with regard to Modern Movement architecture.