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Journal articles on the topic 'International Architectural Exhibition'
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1
Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.
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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.
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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Neto, Teresa. "PORTUGUESE INTERNATIONAL PAVILIONS AND NATIONAL STYLE — ARCHITECTURE TENDERS SHAPED BY POLITICAL AND CULTURAL AGENTS." ARTis ON, no. 7 (December 23, 2018): 101–10. http://dx.doi.org/10.37935/aion.v0i7.197.
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Universal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparked a debate between architects and key cultural and political agents, selected as jurors for the architectural tenders held for the Portuguese Pavilions. Evaluating these events means identifying pivotal participants, their proposals and their thoughts on the issue of a representative ʻnational styleʼ. This particular period also dwells with the issue of implementing modern architecture, distanced from eclectic historicisms yet rooted in vernacular elements.
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Duha, S. D., U. Siahaan, and S. Simatupang. "Exhibition center design in Bekasi with a Hi-Tech architecture approach." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012040. http://dx.doi.org/10.1088/1755-1315/878/1/012040.
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Abstract Indonesia as a tourist destination has the opportunity to develop MICE tourism potential (Meeting, Incentive, Conference, and Exhibition). Globalization and regional autonomy provide opportunities and challenges for development in each region. Each region is required to develop all the capabilities that it has both the value of comparative advantage (competitive advantage) and competitive advantage (competitive advantage). Bekasi City is a city located in West Java, has the potential as a gateway for international trade in West Java. Especially with the construction of 4,000 manufacturing companies and 21,000 expatriates in Bekasi. With this potential, it is possible for Bekasi City as a trade and service node nationally and even internationally. The Exhibition Centre is a container that functions as a fulfilment of the need for MICE activities that combine the functions of meetings (meetings and conferences), exhibitions (exhibitions), and recreation (incentive travel). Hi-Tech Architecture is a design concept that is interpreted as a flow of architectural style that leads to the idea of a modern architectural movement that exaggerates the structure and technology of a building [1]. High-Tech Architecture is an indicator of developments in the world, both in the field of technology and architecture. Bekasi City is one of the cities that is developing in West Java Province. Therefore, High-Tech Architecture was chosen as an approach to planning and designing an exhibition center in Bekasi City as a symbol that Bekasi is a developing city.
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Guereñu, Laura Martinez De. "The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence." Heritage of Mies, no. 56 (2017): 56–63. http://dx.doi.org/10.52200/56.a.uy5o2bw6.
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The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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McCarthy, Christine. "Against ‘Churchianity’: Edmund Anscombe’s Suburban Church Designs." Architectural History 52 (2009): 169–200. http://dx.doi.org/10.1017/s0066622x00004184.
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Edmund Anscombe (1874-1948) was an important New Zealand architect, well known for his design of the 1925 New Zealand and South Seas International Exhibition (Logan Park, Dunedin) and the 1940 New Zealand Centennial Exhibition (Rongotai, Wellington), as well as for his art deco buildings in Hawkes Bay (especially Hastings), and in Wellington.This article explores Anscombe’s contribution to New Zealand’s early twentieth-century church design by presenting new archival research and examining his distinctive use of secular imagery, notably the architectures of the house and schoolhouse. The article locates these designs simultaneously within traditions of Nonconformist architecture and within a Victorian interest in the home as productively informing a spiritual understanding of church building. While some architectural examples of this thinking were apparent in late nineteenth-century America, there are no other known examples in New Zealand. Anscombe’s use of this secular and domestic imagery in his church design enabled fashionable and theologically-informed architectures to co-exist.
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Konysheva, E. V. "The Soviet Pavilion at the World Exhibition in New York: Search and Implementation of an Architectural Image." Modern History of Russia 10, no. 3 (2020): 715–46. http://dx.doi.org/10.21638/11701/spbu24.2020.310.
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This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archiveal documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main data base for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.
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Ivanov, Aleksandr. "Something there is that doesn’t love a wall… (Notes on the 16th Venice Architecture Biennale 2018)." Judaic-Slavic Journal, no. 1 (2) (2019): 148–68. http://dx.doi.org/10.31168/2658-3364.2019.1.1.5.
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The article reviews two exhibitions presented at the Israeli and German pavilions at the 2018 Venice Architecture Biennale,where the 16th International Architecture Exhibition was themed and titled as FREESPACE.The Manifesto,written by Yvonne Farrell and Shelley McNamara, the chief curators of the Biennale, proclaimed, among other things, that FREESPACE provides its participants with «…freedom to imagine the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary…» In accordance with the Manifesto, the curators of the Israeli exhibition named In Statu Quo: Structures of Negotiation attempted to deconstruct, in the historical and architectural perspective,the stages of interfaith struggle for holy sites in Israel and on the West Bank of the Jordan River. The German exhibition Unbuilding Walls was dedicated to the twenty-eighth anniversary of the destruction of the Berlin Wall. One of its key exhibits was the visual installation Wall of Opinions, composed of video interviews with residents of various countries, including Israel, where demarcation lines (all kinds of walls, fences, barriers) still exist today, turning «free spaces» into exclusion zones. Both exhibitions convincingly showed the political and social problems that the modern society faces when attempting to create «free spaces» for informal interaction between diverse ethnic and social groups in different countries. Moreover, the exhibition of the Israeli pavilion clearly points at the hidden dangers of new demarcation barriers when the sides of interethnic and interconfessional conflicts fail to reach an agreement about the status of one or another place, while the curators from Germany, symbolically dismantling the global walls of misunderstanding, give us hope to overcome such problems.
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Grigoryeva, Elena, and Andrey Chernikhov. "A tournament, not a competition." проект байкал, no. 77 (October 29, 2023): 12–16. http://dx.doi.org/10.51461/issn.2309-3072/77.2182.
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On May 27, 2023, the jubilee V Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXVIII International Exhibition of Architecture and Design “ARCH MOSCOW”. The aim of the Tournament is to support the art of hand-made graphics. The prize, the Silver Stylus, was unexpectedly awarded to Marianna Antonova, a beginning architect from St. Petersburg. Architect Andrey Chernikhov, the author of the idea and the President of the Iakov Chernikhov International Foundation, will tell us what the Graphics Tournament is all about.
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Bizio, Krzysztof. "Wybrane koncepcje architektoniczno-wystawiennicze pawilonów narodowych krajów Europy Wschodniej na targach World Expo 2000-2020 w kontekście kreacji wizerunku narodowego." Przegląd Wschodnioeuropejski 14, no. 2 (2023): 349–65. http://dx.doi.org/10.31648/pw.9721.
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This article examines the architectural and exhibition concepts of the national pavilions of Lithuania, Latvia, Estonia, Belarus and Ukraine, which were created for the purposes of the World Expo exhibitions in the years 2000-2020 in the context of the promoted national image. After 1991 and the collapse of the USSR, the countries of Eastern Europe began the process of creating their own national images, in which the World Expo exhibitions became one of the most important platforms for international presentations. The article discusses selected exhibition strategies presented by these countries at six exhibitions: World Expo 2000 in Hanover, World Expo 2005 in Aichi, World Expo 2010 in Shanghai, World Expo 2015 in Milan and World Expo in Dubai 2020. The analysis of solutions was carried out from the perspective of searching for unique forms that distinguish the concepts of individual pavilions. The result of the research was the specification of the tendencies that distinguish pavilions of Eastern European countries from other solutions.
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Flour, Isabelle. "‘On the Formation of a National Museum of Architecture: the Architectural Museum versus the South Kensington Museum." Architectural History 51 (2008): 211–38. http://dx.doi.org/10.1017/s0066622x00003087.
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Architectural casts collections — the great majority of which were created in the second half of the nineteenth or the early twentieth centuries — have in recent years met with a variety of fates. While that of the Metropolitan Museum in New York has been dismantled, that of the Musée des Monuments Français in Paris has with great difficulty been rearranged to suit current tastes. Notwithstanding this limited rediscovery of architectural cast collections, they remain part of a past era in the ongoing history of architectural museums. While drawings and models have always been standard media for the representation of architecture — whether or not ever built — architectural casts seem to have become the preferred medium for architectural displays in museums during a period beginning in 1850. Indeed, until the development of photography and the democratization of foreign travel, they were the only way of collecting architectural and sculptural elements while preserving their originals in situ. Admittedly, the three-dimensional experience of full-sized architecture in the form of casts, or even of actual fragments of architecture, played a considerable part in earlier, idiosyncratic attempts to display architecture in museums, indeed as early as the late eighteenth century. Nevertheless, it was only from the mid-nineteenth century that they became the preferred medium for displaying architecture. The cult of ornament reached its climax in the years 1850–70, embodied, in the field of architecture, in the famous ‘battle of styles’ and in the doctrine of ‘progressive eclecticism’, and, in the applied arts, in attempts at reform, given a fresh impetus by the development of international exhibitions. It is not surprising, then, that the first debate about architectural cast museums should have been generated in the homeland of the Gothic Revival and of the Great Exhibition of 1851. For it was in London that this debate crystallized, specifically between the Architectural Museum founded in 1851 and the South Kensington Museum (now known as the Victoria and Albert Museum) created in 1857.
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Fainholtz, Tzafrir. "The Jewish farmer, the village and the world fair: politics, propaganda, and the “Israel in Palestine” pavilion at the Paris International Exhibition of 1937." SHS Web of Conferences 63 (2019): 10004. http://dx.doi.org/10.1051/shsconf/20196310004.
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At the Paris International Exhibition of 1937, a few steps from the Nazi Germany and USSR pavilions theYishuv(Palestine's Jewish Zionist community) had its own presence, the “Israel in Palestine” pavilion. Initiated by the Zionist leadership, the pavilion was a hybrid construct of modernist and traditional architecture; its front was made from concrete and glass, its rear modelled on Palestine's rural vernacular architecture, with arches and terraces. Inside the pavilion, the exhibition depicted the achievements of the Zionist Jewish resettlement project, presenting it as a solution for the so-called “Jewish question”. Conceived as part of an orchestrated effort by the Zionist movement to use the World Fair, the professional architectural media, writers, and architects to gain support for the movement's activities, the pavilion sought to present Palestine's settler society as both modern and well rooted, and to display the renaissance of nationhood through the representation of the Jewish farmer on the international stage.
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Liscombe, Rhodri Windsor. "Refabricating the Imperial Image on the Isle of Dogs: Modernist Design, British State Exhibitions and Colonial Policy 1924–1951." Architectural History 49 (2006): 317–48. http://dx.doi.org/10.1017/s0066622x0000280x.
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Historical analysis of the 1951 Festival of Britain has tended to overlook its ideological genealogy, and also to give less consideration to the Exhibition of Architecture, Town Planning and Building Research at Lansbury in Poplar on the Isle of Dogs than to the architecture and displays at the South Bank site (Figs 1 and 2). That genealogy reflects an intersection between the formulation of colonial policy and the adaptation of Modern Movement theory and practice during the final phase of British imperialism. Consequently the purpose of this paper is to recover various aspects of this intersection, during the nearly three decades from the British Empire Exhibition of 1924. Focusing on design practice in the Empire, especially the national exhibition buildings erected at those major international expositions that led up to and culminated in the Festival of Britain, it also examines the wider representation of architectural and colonial development in professional media and public propaganda.
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Колосова, Наталія Анатоліївна, та Єсенія Олегівна Осадча. "Історичні передумови виставкової діяльності". Theory and practice of design, № 24 (22 грудня 2021): 82–87. http://dx.doi.org/10.18372/2415-8151.24.16294.
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У статті розглянуто та досліджене місце проведення Великої міжнародної виставки, твори мистецтва та вироби, зібрані на виставці. Вплив та роль Великої виставки в економічному, соціальному розвитку Англії. Досліджено подальші історичні передумови розвитку виставкової діяльності.Актуальність теми. За своєю формою павільйон, виконаний із збірно-розбірних конструкцій, нагадував Багатопрогоновий базиліку зі скляною полуциркульной дахом над середнім прольотом. Будівля, назване пізніше Кришталевим палацом, стало архітектурним шедевром епохи і докладно описано в спеціальній літературі.Мета. Дослідити історичні передумови виставкової діяльностіМетодологія. Завдяки методам дослідження та аналізу проведення Великої міжнародної виставки з’ясовано мету створення великої міжнародної промислової виставки та роль іх. Аналіз був проведений на основі вивчення історії створення першої промислової виставки в Кришталевому палаці та подальшого розвитку виставок. Аналіз принципів, які використовувались при створені Великої виставки і надалі в проведенні виставок.Результати. Дослідження історії проведення Великої міжнародної виставки.Роль та зачення виставки на розвиток промисловості та архітектури . Наукова новизна полягає в комплексному розгляді становлення та розвитку промислової виставки та принципів створення The article considers and investigates the venue of the Great International Exhibition, works of art and products collected at the exhibition. The influence and role of the Great Exhibition in the economic and social development of England.Relevance of the topic In its form, the pavilion, made of prefabricated structures, resembled a multi-span basilica with a glass semicircular roof over the middle span. The building, later called the Crystal Palace, became an architectural masterpiece of the era and is described in detail in special literature.Goal. Investigate the historical background of the exhibitionMethodology. The methods of research and analysis of the Great International Exhibition clarify the purpose of the large international industrial exhibition and their role. The analysis was conducted on the basis of studying the history of the first industrial exhibition in the Crystal Palace and the further development of exhibitions. Analysis of the principles used in the creation of the Great Exhibition and later in the exhibitions.Results. Research of the history of the Great International Exhibition. The role and beginning of the exhibition on the development of industry and architecture.The scientific novelty lies in a comprehensive consideration of the formation and development of the industrial exhibition and the principles of creation.
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Liubelchuk, Anastasiia, and Olha Kostiuchenko. "ARCHITECTURAL FORMATION TRENDS OF MODERN EXHIBITION CENTERS." Theory and practice of design, no. 29-30 (2023): 82–88. http://dx.doi.org/10.32782/2415-8151.2023.29-30.9.
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Ceastina, Alla. "Competitive works of A.V. Shchusev (1873-1949) and his participation in the international exhibitions." Arta 32, no. 1 (2023): 43–49. http://dx.doi.org/10.52603/arta.2023.32-1.06.
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On September 26, 2023, we will mark the 150th anniversary of the birth of the outstanding architect of the first half of the XX century A. V. Shchusev (1873-1949). Alekseу Viktorovich was born in 1873 in Chisinau on Leovskaya Street (today Shchusev Street, where the museum of this architect is located). During his 76 years of life, he managed to fully realize his talent in architecture, becoming the author of the masterpiece in the construction of the mausoleum on the Red Square in Moscow. He became a laureate of four Stalin Prizes, and educated more than one generation of talented architects. He also founded the State Museum of Russian Architecture. Researching the many-sided architectural creativity of Academician Shchusev, in the article the author presents only the most important works of this great master which entered in competition. After graduating in 1897 with a gold medal from the Higher Petersburg Art School, A. V. Shchusev was awarded the title of artist-architect with the rank of the 10th class having the right to engage in designing buildings independently. Thus, he took part in architectural competitions for the construction of a new St. Petersburg hospital (19011902), a branch of the state bank in Nizhniy Novgorod (1910-1911), Kazanskiy railway station in Moscow (1913), the Russian pavilion for the XI International art exhibition in Venice (1913 -1914), the shelter for the children of fallen soldiers near the city of Chisinau (1916), etc.
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Beronja, Vladislav. "Yugoslavia with Strings Attached: Boris Kralj's My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's There's Nothing Here (2020)." ARTMargins 12, no. 1 (2023): 51–72. http://dx.doi.org/10.1162/artm_a_00337.
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Abstract This article examines the contemporary photographic representations of Yugoslav modernist architecture and its ruins that serve as a counterpoint to the 2019 MoMA exhibition, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, a project that brought socialist architectural modernism to international visibility. In particular, I focus on Boris Kralj's photo-diary My Belgrade (2011) and Dubravka Ugrešić and Davor Konjikušić's photo-essay There's Nothing Here! (2020) to explore the ruins of Yugoslav socialist modernity not only as an object of aesthetic fascination, but also as an emotionally and politically charged site of collective nostalgia and politicized mourning in the postsocialist now. While Kralj documents the vanishing remains of socialism in millennial Belgrade to recollect a diasporic, increasingly non-normative and “queer” Yugoslav identity, Ugrešić and Konjikušić foreground the ruins of Yugoslav anti-fascist monuments as a traumatic void—a discursive silence about the effects of racialized, ethno-nationalist violence in EU's new borderlands. I argue that both projects stage architectural photography as a situated and contextual practice by inscribing affective attachments and politically oppositional meanings into the postsocialist architectural palimpsest.
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Shao, Wanyi. "Analysis of Historical Background and Current Situation of Yiqingli - Qingdao Liyuan." Highlights in Science, Engineering and Technology 86 (March 27, 2024): 59–65. http://dx.doi.org/10.54097/qptd8h65.
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As a unique architectural form in Qingdao, the inner courtyard is an important part of Qingdao's history and culture, and also one of the important architectural types in Qingdao, which enjoys the reputation of "International Architecture Exhibition". After the baptism of history, the Liyuan buildings have been damaged to some extent. This paper will start with Yiqing Li, one of the longest Liyuan buildings in Qingdao, and make an analysis of the historical background and current development of Qingdao Liyuan buildings using document analysis, consulting a large number of documents, surveying, mapping, etc., and discuss the current protective development strategies related to it. The suggestions for protective development are put forward, and the culture of Liyuan can be passed on better through commercial operation. Through the in-depth analysis of Yiqingli, this study extends to the study of the architectural value, historical value, and commercial value of Qingdao Liyuan, which is of great significance to the overall protection and utilization of Qingdao Liyuan.
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Udovički-Selb, Danilo. "Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition." Journal of Contemporary History 47, no. 1 (2012): 13–47. http://dx.doi.org/10.1177/0022009411422369.
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Overwhelming the Trocadéro’s majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris ‘Exposition des arts et des techniques dans la vie moderne’ – the last French World’s Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely ‘competed in archeological rhetoric’. In this article I argue, with a primary focus on the Soviet Pavilion, that far from displaying such reductive and unambiguous architectural qualities, each pavilion offered, in two very different ways, a complex response to the challenges of an exhibition dedicated to ‘modern life’. The two instrumentalized for their own political purposes both modernity and historicism. From two radically different ideological starting points, the pavilions exploited some significant aspects of the defunct avant-gardes, while reaching out, in different degrees, for stabilizing references to classicism. Frank Lloyd Wright’s unwavering admiration for the Soviet Pavilion, the main topic of this article, resonates with the astonishing discovery of white Suprematist ‘Arkhitektoni’ by Malevich’s disciple, sculptor Nikolaj Suetin gracing the interior of the Soviet Pavilion. The legacy raises the question of thus far unsuspected survival of the architectural avant-garde deep into the years of Stalin’s totalitarian terror.
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Ruggiero, Amanda Saba, and Luis Michal. "MoMA A&D talks: on curating architecture and design (Second part)." Risco Revista de Pesquisa em Arquitetura e Urbanismo (Online) 17, no. 2 (2019): 129–30. http://dx.doi.org/10.11606/issn.1984-4506.v17i2p129-130.
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During Fall 2016 we had the unique opportunity to participate in the regular internship program of the Museum of Modern Art in New York and assist with ongoing exhibition projects in the Architecture and Design Department (A&D). This Department was established in 1932 as the first curatorial department dedicated to architecture and design and built on an ambitious collection covering major figures and movement of architectural culture from mid-19th century to the present. With looking back on a rich history of influential exhibitions such as Modern Architecture: International Exhibition (1932), Architecture Without Architects (1964/65) or Deconstructivist Architecture (1988) it has been one of the key institutions to push the format of the architecture exhibition and which it keeps doing up to today.
 Having this in mind we both came to New York with great respect and honored to gain insights in this institution for a period of three months. The department currently employs around 15 people which made it a really pleasant, intimate place to work with highly passionate and professional individuals full of remarkable expertise and respect for each other. This said and with the department going through some recent (at that moment) personnel changes, most notably the new directorship of Martino Stierli since 2015, as well MoMA reconfiguring and adding gallery spaces set to be open in 2019, we felt it was a very interesting moment for us to talk to our curator colleagues about their personal history and professional ambitions as curators at MoMA as well specific challenges of exhibiting architecture and design.
 Being both educated in architecture in different countries (Brazil and Germany) we could gain not only a lot of professional insights but also talk about personal aspects of the curators´ – not always linear – careers. In total we conducted six interviews with all (senior) curators and one curatorial assistant of the Architecture and Design Department, all of whom we asked the same, around ten questions in order to produce a complete “panorama” of the departments staff at that very moment. In the following we would like to share with you the second half with Juliet Kinchin, Martino Stierli and Sean Anderson. The first three interviews with Paola Antonelli, Barry Bergdoll and Michelle Millar Fisher, were published on RISCO v.16 n.1 2018.
 From the interviews, Juliet Kinchin had an approach since a student into intellectual debates and design history rather than architectural history, while Martino as a professor, was also engaged doing exhibitions. Sean Anderson struggled being a professor and practicing architect, and curation for him “means also being able to condense ideas and questions”. Since they had different backgrounds before arrive at MoMA, the teaching position and a special love for research is a shared common background for them.
 Juliet Kinchin argues that the curator’s activity apart from the responsabilities also means communicate and creating view points and arguments in a spatial and material form, while Martino talk about the work of curating a show as very much about a teamwork. For Sean Anderson also the very strong critical sensibility, is a must have skill for a curator. Sean Anderson’s advice to young curators is to ask questions and to have as many experiences in the world as possible. Juliet Kinchin talks about integrity, that makes the difference in your work, Martino in the same way, reinforce the ideia to love what you do and so you will be successful. 
 
 Luis Michal, Amanda Saba Ruggiero
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Schlachetzki, Sarah M. "Wieder aufbauen nach dem Krieg. Alfred Roth und die in der Schweiz internierten polnischen Architekten." Architectura 49, no. 2 (2019): 222–43. http://dx.doi.org/10.1515/atc-2019-2005.
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Abstract During the Second World War, more than 10,000 Polish soldiers were interned in Switzerland. Among them were prominent architects, including Marek Leykam and Bohdan Garliński, who upon returning to Poland, left their mark on postwar modernism. Leykam was later marginalized for his buildings that were allegedly too International in style. Garliński became one of the key ideologists of Socialist Realism in the First General Exhibition of Architecture of the People’s Republic of Poland. This article is the first to re-trace their years in Switzerland and their contacts with Alfred Roth, CIAM member and former employee of Le Corbusier. During the war, Roth pursued plans for the reconstruction of Europe, and it was he who supplied the internees with architectural literature and support. Their intersections exemplify the larger history of Switzerland’s insular role during the war, and Poland’s immensely complex architectural scene in the early 1950s.
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Culot, Maurice. "Les archives d’architecture privees du XXe siecle: sauvegarde et mise en valeur." Art Libraries Journal 15, no. 1 (1990): 26–32. http://dx.doi.org/10.1017/s0307472200006623.
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The architectural heritage of the 20th century is peculiarly vulnerable; partly because modern architecture broke with tradition, it is less easily recognised as being historic and worthy of preservation. Furthermore, efforts to secure public appreciation of contemporary architecture have concentrated too narrowly on the ‘International Modern’ style at the expense of the actual diversity of this century, on certain architects at the expense of others, and on the individual building, seen by itself, at the expense of the larger environment of which it is part. To see twentieth century architecture whole, it is necessary to depend on not only buildings themselves (insofar as they survive in something like their original condition), and not only on publications (which have tended to reflect the promotion of Modernism), but also on archival sources and above all, on the private archives of architects. The value of such archives derives not only from handsome architectural drawings, which institutions are always eager to acquire, but also from account books, publicity material, models, photographs, and notebooks, and from the integrity and coherence of all this material which belongs together; it is probably the challenge represented by such a range of material which accounts for the paucity of architectural archives in the public sphere. Fortunately, a new climate of interest in architecture, which has seen the establishment of several museums of architecture and the emergence of ‘l’archivisme’ – a re-interpreting of architectural styles of the past, drawing on archival sources and influencing contemporary architectural practice via exhibition design in particular – augurs well for the future of architectural archives. In France, the Institut Français d’Architecture has been responsible for archives of 20th century architecture since 1980, and since 1988 has operated an information centre for private architectural archives in Paris and the surrounding area. Other regional architectural archives are being set up; it is to be hoped that the resulting network will help to foment a spirit which will lead to the establishment of a museum of architecture in Paris, while at the same time providing a safety-net to ensure the well-being of private architectural archives.
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Bergdoll, Barry. "The Synthesis of the Arts and MoMa." Art and Architecture, no. 42 (2010): 110–13. http://dx.doi.org/10.52200/42.a.tlvmhucy.
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1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.
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Carey, Moya, and Mercedes Volait. "Framing 'Islamic Art' for Aesthetic Interiors: Revisiting the 1878 Paris Exhibition." International Journal of Islamic Architecture 9, no. 1 (2020): 31–59. http://dx.doi.org/10.1386/ijia_00003_1.
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Abstract The 1878 Exposition Universelle in Paris is known for the substantial scope and content of its Islamic art displays ‐ the most extensive offered to an international audience by that date. A renewed analysis of this influential event demonstrates that it featured a network of distinct ‐ though often interlinked ‐ installations that come under the label of 'Islamic art', situated across a complex site. These included national initiatives, such as L'Égypte des Khalifes, sponsored by the ruling Khedive of Egypt, and the purpose-built Pavillon de la Perse, constructed by master-builders dispatched from Qajar Tehran. Commercial undertakings included a display of Vincent Robinson's Iranian carpets in the British India section. At the Galerie orientale curated by Albert Goupil in the Palais du Trocadéro, other objects loaned from private collections were presented. Common across these various displays was persuasively staged architecture. This article argues for the centrality of architectural salvage and reconstruction in the early history of private and public displays of Islamic art. By examining the different individuals who created both L'Égypte des Khalifes and the Galerie orientale, article proposes a new assessment of an elite domestic culture, pursued by affluent bachelor aesthetes of the period, with many modern resonances.
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Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.
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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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Udovicki-Selb, Danilo. "Le Corbusier and the Paris Exhibition of 1937: The Temps Nouveaux Pavilion." Journal of the Society of Architectural Historians 56, no. 1 (1997): 42–63. http://dx.doi.org/10.2307/991215.
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This essay examines the circumstances leading to the completion of Le Corbusier's and Pierre Jeanneret's Temps Nouveaux Pavilion and reconstructs both the significant role Jeanneret played in the pavilion's design and the relationships Le Corbusier used in his partially successful effort to be represented at the International Exhibition of 1937. This episode sheds light on Le Corbusier's attempts at seducing the French Left, after a protracted yet futile courtship of the Right. While suggesting a new reading of Le Corbusier's design strategies in the larger urban system of Paris, this essay attempts to fill the gaps in our understanding of the ways in which the architectural avant-garde tried to identify and handle its clients and broader social groups.
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Li, Zhuofan. "The influence of contemporary art thinking on modern architectural design." Highlights in Art and Design 1, no. 1 (2022): 7–9. http://dx.doi.org/10.54097/hiaad.v1i1.1561.
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Contemporary art is a broad category in terms of time. Many masters and schools of art, such as Cézanne, the father of modern art, Gauguin and Picasso of Expressionism, have had a key influence on the development of art, and art has begun to move towards borderlessness. The opening of the Crystal Palace International Exhibition in 1851 broadened people's horizons, and the Crystal Palace was special because it was the world's first large building built with metal and glass, and a beacon pointing to the future of architectural design. From Cubism, Constructivism and Bauhaus in early modernism, modern architectural design has undergone a change from cumbersome and complex to simple and intuitive, and has developed again under the influence of contemporary art trends.
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Gold, John R. "‘A Very Serious Responsibility’? The MARS Group, Internationally and Relations with CIAM, 1933–39." Architectural History 56 (2013): 249–75. http://dx.doi.org/10.1017/s0066622x00002501.
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In an interview recorded shortly before his death in 1987, Maxwell Fry recalled the birth of Modern architecture in Great Britain around a half-century earlier. In the course of discussing the work of the Modern Architectural Research (MARS) Group — the society that he had helped to establish in February 1933 and of which he was then the last surviving founder-member — Fry highlighted the links between architects in Britain and their continental European counterparts. Observing that MARS was first established on the basis of an invitation that Wells Coates had received to form a British chapter of the Congrès Internationaux d’Architecture Moderne (CIAM), he noted that the Group had immediately gained an entrée into an international forum that functioned as a unique gathering point for the architectural avant-garde. At the same time, he asserted that membership brought with it commitments that conferred ‘a very serious responsibility’.CIAM was not, of course, the only conduit for the links that MARS members had with the wider world, but in many ways it was the MARS Group’s relationship with the ‘international community of modern architects […] made visible in the foundation of CIAM’ which defined it and differentiated it from other architectural groupings of its day. Most other such bodies initially coalesced around a single manifesto or exhibition and then quickly fell apart when their members found that they had little in common apart from an enthusiasm for Modernism. By contrast, MARS retained an enduring purpose through its membership of CIAM.
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Tzanelli, Rodanthi. "Underwater." Transfers 10, no. 2-3 (2020): 110–14. http://dx.doi.org/10.3167/trans.2020.10020308.
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A unique exhibition was held between 19 and 22 September 2018 in the deep blue waters of Amorgos, Greece. Amorgos is the easternmost of the Cyclades islands, neighboring the Dodecanese island group. The island’s rich aquatic life and architectural beauty featured prominently in French director Luc Besson’s internationally acclaimed English-language film on freediving, The Big Blue (Le Grand Bleu, 1988), transforming the island into an international destination for tourists and freedivers. The exhibition Underwater Gallery: On a Single Breath, was installed at a depth of 7 to 17 meters inside a sea cave in the area of Aghios Pavlos, below the Monastery of Hozoviotissa. Hozoviotissa’s famous top-floor window of the “big blue” opens to the Aegean Sea, affording visitors a bird’s eye view to the Aegean. It is clear that the gallery’s connection to Besson’s artwork is indisputable.
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Tzanelli, Rodanthi. "Underwater." Transfers 10, no. 2-3 (2020): 110–14. http://dx.doi.org/10.3167/trans.2020.1002308.
Full textAbstract:
A unique exhibition was held between 19 and 22 September 2018 in the deep blue waters of Amorgos, Greece.1 Amorgos is the easternmost of the Cyclades islands, neighboring the Dodecanese island group. The island's rich aquatic life and architectural beauty featured prominently in French director Luc Besson's internationally acclaimed English-language film on freediving, The Big Blue (Le Grand Bleu, 1988), transforming the island into an international destination for tourists and freedivers. The exhibition, Underwater Gallery: On a Single Breath, was installed at a depth of 7 to 17 meters inside a sea cave in the area of Aghios Pavlos, below the Monastery of Hozoviotissa. Hozoviotissa's famous top-floor window of the “big blue” opens to the Aegean Sea, affording visitors a bird's eye view to the Aegean. It is clear that the gallery's connection to Besson's artwork is indisputable.
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Hua, Hao. "Special report on the international conference and exhibition on Architectural Algorithms & Applications (the AAA conference) in Nanjing." Frontiers of Architectural Research 6, no. 1 (2017): 108–10. http://dx.doi.org/10.1016/j.foar.2017.01.003.
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Fülöp, Zoltán Ottó. "„Folyékony örökség”. A marrákesi VI. Mohamed Víz Múzeumban." Afrika Tanulmányok / Hungarian Journal of African Studies 14, no. 3-4. (2021): 75–90. http://dx.doi.org/10.15170/at.2020.14.3-4.4.
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For the challenges of postcolonial existence in Morocco, being addressed as social organizing factor in the culture, answers are being searched at local, national and global levels. The Museum Mohammed VI for the Water Civilization in Marrakech plays a key role in the conservation and presentation of water supply as natural resource based on material culture. This museum presents the historical and cultural role of water, the diversity of social and spiritual contents associated with it, distinctly the traditional paradigms of representation. The cultural center tries to get involved in the international museum circulation, open to new possibilities of architectural solutions, visual tools and arranging of exhibitions. According to the curator’s choice, the main task is to preserve the memories of the past and by reinterpreting those with exhibiting activities reflecting the heritage. The staging of water conservation is realised by using interactive techniques and provides a reflexive experience for visitors. Who is receptive to historical, cultural anthropological approaches may feel addressed, in the meantime the visitor who is interested in technical sciences, geography, geopolitics and applied chemistry finds his account in the exhibition. The innovative museum is an integral part of Al Hamra’s tourism and cultural industry, even as the Tiskiwin Museum, which reflects the museum anthropological perspective, located in the medina. The two memory institutions also illustrate the diversity of the city’s cultural image.
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Ari Kumara, Luh Ayu Perwita, Ofita Purwani, and Agung Kumoro Wahyuwibowo. "THE INFLUENCE OF JAVANESE ARCHITECTURAL FACADE AND ATMOSPHERE AS A POTENTIAL IN THE CHANGE OF MICE TOURISTS INTO LEISURE TOURISTS." ARSITEKTURA 17, no. 1 (2019): 51. http://dx.doi.org/10.20961/arst.v17i1.24372.
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<p class="AbstractTitle"><em>Meetings, Incentives, Conferences and Exhibitions (MICE) is a type of tourism in large groups, planned well in advance, and brought together for a particular purpose. Surakarta as one of MICE destinations in Indonesia has hosted many national and international MICE events. The tourists who do MICE activity in Surakarta are expected to become leisure tourists who will visit Surakarta city anotther time. In order to make MICE tourists become leisure tourists later on, the Convention and Exhibition building which is the place of MICE tourist activity needs to show the elements of Javanese Culture as a means to fulfil their curiosity on the city and to make them want to know more. Showing Javanese Culture can be done not only through the facade of building but also by creating Javanese atmosphere inside the the building. The method is to use questionnare to find out what Javanese objects will be displayed on the facade of building and use Peter Zumthor’s atmosphere design to bring up the cultural atmosphere in the building.</em></p><p class="AbstractTitle"><em> </em></p>
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Wolska, Dorota. "Garden Palace rozebrany do kości. Sztuka jako anamneza." Prace Kulturoznawcze 21, no. 4 (2018): 69–78. http://dx.doi.org/10.19195/0860-6668.21.4.4.
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Garden Palace stripped to the bone. Art as anamnesisLondon’s Crystal Palace, the site of the first international exhibition in 1851 and the architectural symbol of modernity, was widely imitated not only in Europe. Sydney also had its crystal palace. The Australian Garden Palace, similarly to the ones in London, New York and Munich, burnt to the ground in 1882. In 2016 aboriginal artist Jonathan Jones tried to restore it in Australia’s collective memory. However, Jones’ project, barrangal dyara skin and bones, introduces a postcolonial perspective and recoveres the narratives that were repressed in White Australia, with the hope of working through the common past.
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Ardizzola, Paola, and Joanna Grądzka. "Renato Rizzi." VITRUVIO - International Journal of Architectural Technology and Sustainability 7, no. 2 (2022): 4–19. http://dx.doi.org/10.4995/vitruvioijats.2022.19041.
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Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.
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Ardizzola, Paola, and Joanna Grądzka. "Renato Rizzi." VITRUVIO - International Journal of Architectural Technology and Sustainability 7, no. 2 (2022): 4–19. http://dx.doi.org/10.4995/vitruvio-ijats.2022.19041.
Full textAbstract:
Full Professor in Architectural Design at the Instituto Universitario di Architettura (IUAV) in Venice, he carries out an intense intellectual activity by connecting teaching, theory, research, and practice. Prize of the Italian Presidency of the Republic for architecture 2017, he has delivered seminars and lectures in some of the main universities including Harvard, UIC Chicago, ETH, etc. From 1984 to 1992 he collaborated with Peter Eisenman, New York, on the projects Romeo and Juliet, Verona (1986, Stone Lion, III Architecture Biennale of Venice), La Villette Park, Paris (1986), Monte Paschi, Siena (1988), etc. Among the main international projects: Great Egyptian Museum, Cairo (2002, third prize); MOMA Warsaw (2007, Honorable Mention); John Paul II Center, Krakow (2007, special mention); Torre della Ricerca, Padua (2008, fourth prize, in collaboration with Peter Eisenman); Museum of Judaism, Ferrara (2010, Special Mention). Main projects completed: Ghiaie Sports Area, Trento (1984-1998); Fortunato Depero Museum of Futurism, Rovereto (1992-2008); Gdańsk Shakespearean Theater (2004-2013). His projects are published in the main international magazines such as Casabella, Domus, Architectural Review, Detail, and have been exhibited at the Venice Biennale (1984, 1985, 1996, 2002, 2010 and 2016), Triennale di Milano, Accademia di San Luca, etc. Awards: Fritz Höger, Berlin, 2017; Architizer A, Belgium, 2016; Iconic Award, Monaco DB, 2015; Gold Medal, Milan, 2015, 2009; Golden Compass, Milan, 2015, 2011; Council of Europe, Landscape Award, 2009. Some significant publications: Il Cosmo della Bildung, Mimesis 2016; Unexpected Parma, MUP 2013; The Daìmon of Architecture, Mimesis 2014; John Hejduk, Incarnatio, Marsilio 2010; The Divine of the Landscape, Marsilio 2008; John Hejduk BRONX, Manual in verse, Mimesis 2020. He recently founded in Venice the Nuova Scuola Architettura, a free school that focuses on the urgency of a new (heretical) gaze at Architecture, a necessity which derives from the cultural abyss of our time. The Accademia Nazionale di San Luca in Rome is currently paying a tribute to his oeuvre in a grand exhibition of gypsum models and maquettes titled “eden-eden. Renato Rizzi”, which can be visited until March third, 2023.
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Zaparaín Hernández, Fernando, Jorge Ramos Jular, and Pablo Llamazares Blanco. "Le Corbusier: publicaciones en Estados Unidos, 1925-1939." LC. Revue de recherches sur Le Corbusier, no. 2 (October 7, 2020): 42. http://dx.doi.org/10.4995/lc.2020.13571.
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Se recopilan y analizan las publicaciones, de y sobre Le Corbusier, en Norteamérica, en el periodo de entreguerras, que corresponde con la difusión inicial de sus ideas e incluye su participación en la Modern Architecture International Exhibition del MoMA en 1932, su muestra de pintura en la galería Becker en 1933 y el viaje con exposición de 1935. Durante esta época se consolidaron en Estados Unidos la estandarización industrial, la automoción o los fenómenos urbanos complejos, que atrajeron a Le Corbusier, y propiciaron allí el interés por sus alegatos sobre la máquina. Se aporta un listado actualizado, operativo y más completo, que permite hacer una mínima bibliometría, con 15 textos de Le Corbusier y 73 de otros autores. Muchos eran antiguos colaboradores (Rice, Frey, Stonorov) o admiradores en torno al MoMA, con Hitchcock a la cabeza (Kocher, Barr, Heap, Lescaze, Hood). Hubo alguna respuesta crítica de figuras como Wright, Fuller, Bauer o Mumford. Destacaron determinados medios e instituciones favorables (<em>Architectural Record</em>, <em>The New York Times</em>, The Studio, MoMA, Architectural League). En cuanto al formato, no se trata de estudios académicos ni metodológicos, sino alegatos breves y provocadores, con el hábil recurso a titulares e imágenes propias, en paralelo al texto. La temática principal no fue su obra construida, sino sus propuestas urbanas.
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Giusti, Francesca. "Il San Matteo di Pisa: un “modello” tra i musei italiani." Opus Incertum 9 (December 13, 2023): 134–45. http://dx.doi.org/10.36253/opus-14847.
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The story of the Civic Museum of Pisa, built by Piero Sanpaolesi in the former convent of San Matteo, and inaugurated in 1949 in the midst of the emergency of reconstruction, intertwines the themes of restoration and museography, representing a significant synthesis of the international debate on culture and museum practice. In this sense, the contribution aims to demonstrate the principle of unity between architectural structure and pieces of art that underlies the project of the museum of San Matteo, where the intent of Sanpaolesi to think the restoration of the building and the exhibition as a whole emerges clearly. Restoration as an opportunity to know the historical and artistic palimpsest that is part of the process of musealization of the building, in relation to an idea of ‘modernity’ compatible with the cultural values of which the building itself is the bearer. Where the idea of valorization acquires meaning not so much because the building ‘contains’ works of art, but because the same operation of rereading the historical narrative of the building is an integral part of the exhibition.
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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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Lázaro, Carlos. "Mamoru Kawaguchi: Master of motion and lightness of structures." International Journal of Space Structures 35, no. 1-2 (2020): 35–42. http://dx.doi.org/10.1177/0956059920931316.
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Mamoru Kawaguchi (1932–2019) was one of the great structural engineers of the late 20th century. He developed his career mostly in Japan and he has also superb works in China, Singapore and Spain. The spectrum of his structures is manifold: he designed shells, space frames, inflatable structures, tension structures, timber–steel hybrid systems and so on. With them, he conceived and provided the bones and muscles of sports halls, exhibition halls, museums, railway stations, towers, bridges and sculptures. Kawaguchi collaborated with some of the best architects of his time: Kenzo Tange, Arata Isozaki and Kazuyo Sejima just to cite some of the internationally most renowned. For his works, he was awarded many times in Japan, as well as internationally (the Architectural Institute of Japan award, the International Association for Shell and Spatial Structures Torroja Medal, the International Association for Bridge and Structural Engineering International Award and many others). In this article, I review Mamoru Kawaguchi’s main professional and academic achievements, and discuss his design philosophy, sources of inspiration and means to develop his ideas from my own personal experience.
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Laccone, Francesco, Luigi Malomo, Marco Callieri, et al. "Design And Construction Of a Bending-Active Plywood Structure: The Flexmaps Pavilion." Journal of the International Association for Shell and Spatial Structures 63, no. 2 (2022): 98–114. http://dx.doi.org/10.20898/j.iass.2022.007.
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Mesostructured patterns are a modern and efficient concept based on designing the geometry of structural material at the meso-scale to achieve desired mechanical performances. In the context of bending-active structures, such a concept can be used to control the flexibility of the panels forming a surface without changing the constituting material. These panels undergo a formation process of deformation by bending, and application of internal restraints. This paper describes a new constructional system, FlexMaps, that has initiated the adoption of bending-active mesostructures at the architectural scale. Here, these modules are in the form of four-arms spirals made of CNC-milled plywood and are designed to reach the desired target shape once assembled. All phases from the conceptual design to the fabrication are seamlessly linked within an automated workflow. To illustrate the potential of the system, the paper discusses the results of a demonstrator project entitled FlexMaps Pavilion (3.90x3.96x3.25 meters) that has been exhibited at the IASS Symposium in 2019 and more recently at the 2021 17th International Architecture Exhibition, La Biennale di Venezia. The structural response is investigated through a detailed structural analysis, and the long-term behavior is assessed through a photogrammetric survey.
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Zedda, Ilaria Maria. "The Modern Berlin Block: Spatial Evolution of a Typology through the 20th Century." Athens Journal of Architecture 8, no. 3 (2022): 195–226. http://dx.doi.org/10.30958/aja.8-3-1.
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The urban block did not completely disappear from the practice of urban design with the turn of the 20th century and the rise of modernist avant-garde in architecture. Many blocks built in Berlin throughout the last century prove the truth of this statement. This paper retraces this modern development of the Berlin block. Firstly, it presents reformed urban blocks built between the 1890s and the 1930s. Secondly, it summarizes the major occurrences that marked a crisis of the spatiality of the Berlin block by the mid-20th century. Thirdly, it explores the most remarkable contributions to the architectural debate of the 1970s that brought about a rediscovery of the spatiality of the traditional city. Then, it takes a closer look at the outcomes of this debate by focusing on the blocks designed for the International Building Exhibition IBA Berlin 1987. Finally, this paper draws a comparison between Berlin’s reformed urban blocks and IBA blocks. In retrospect, numerous parallels can be drawn between them. For example, they both proposed similar spatial novelties and provided new relations between public and private spheres within the perimeter of the block. This paper sheds light on two important phases in Berlin’s architecture and on their analogies, which are often overlooked. These insights remain significant for the ongoing debate on the future of Berlin and of other European cities.
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Murphy, Kevin D. "The Villa Savoye and the Modernist Historic Monument." Journal of the Society of Architectural Historians 61, no. 1 (2002): 68–89. http://dx.doi.org/10.2307/991812.
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This article argues that the debate over the fate of Le Corbusier's Villa Savoye (1928-1931) in Poissy, France-which was in derelict condition by the 1950s-occasioned an international reconsideration of the architect's work as well as a reconsideration of the French architectural patrimony. The author argues that, while the house has been discussed since the time of its completion in largely formal terms, more recent scholarship has opened up the debate on the material circumstances of its construction and the ideological implications of its design. As part of this new perspective, it is important to understand the house not simply as a universally applicable design solution by its architect, but as an object that was altered and restored in response to changing perceptions of Le Corbusier and his work. The process by which the Villa Savoye was preserved, restored, and established as an official historic monument of the French state, between c. 1958 and 1967, brought about a reconceptualization of modernist architecture and of the historic monument in France. Modernist architecture, including the Villa Savoye, was incorporated during the postwar period into a celebratory cultural history of France. Among government administrators who participated in this process was André Malraux, who in the postwar period attempted to reconstruct France's international prestige on the basis of its cultural production. Prodded into action on behalf of the Villa Savoye by architects, critics, and scholars around the world, as well as by an exhibition at the Museum of Modern Art in New York, Malraux finally acknowledged that the work of Le Corbusier could be admitted into the corpus of monuments on which French identity was to be built.
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Tkachenko, Sergei B. "Formation concepts of the unrealised urban architectural and artistic ensembles on the example of the “Worker and Kolkoz Woman” pavilion." Journal «Izvestiya vuzov. Investitsiyi. Stroyitelstvo. Nedvizhimost»N 10, no. 2 (2020): 312–35. http://dx.doi.org/10.21285/2227-2917-2020-2-312-335.
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The object of the study consists of the architectural and artistic ensemble of the “Worker and Kolkoz Woman” pavilion created for the Paris International Exhibition in 1937 by architect B.M. Iofan and sculptor V.I. Mukhina as a part of a grandiose architectural idea declaring the aspiration for the future Soviet state and a sacred symbol of communist ideology. The study reveals that the monument was aimed at carrying a more substantial ideological message than just an architectural structure. The study of the sites proposed for the installation of sculptures for prominent figures in politics, science and art, monuments perpetuating the memorable events of Russian history and mankind shows that they constitute an important historical response to the demands by authorities at various levels for artistic solutions to contemporaneous socio-political problems. The subject of the study included the motivating factors in the selection of placement sites for the outstanding work of B.M. Iofan and V.I. Mukhina in the capital city. The article considers the scientific approach to the selection of sites for the placement of significant urban monuments on the basis of historical, cultural and architectural studies following the vector of spatial planning laid down in the General Plan for the Development of the City. The study combines general scientific methods of research (analysis, synthesis) with a number of specialised methods, such as system-structural, formal-logical, graphical virtual reconstruc-tion, complex research and others. Methodological approaches for studying the consequences of non-implementation of urban planning concepts and projects were developed. The result of the research is pre-sented by the proprietary development of approaches to adequate methods for determining the potential im-pact of major unimplemented urban planning projects on the formation of the capital of Russia on the exam-ple of the “Worker and Kolkoz Woman” pavilion.
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Wurm, Jan, and Martin Pauli. "SolarLeaf: The world's first bioreactive façade." Architectural Research Quarterly 20, no. 1 (2016): 73–79. http://dx.doi.org/10.1017/s1359135516000245.
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Photobioreactors (pbr) are transparent containers for the controlled cultivation of microorganisms such as algae. The BIQ house is the worlds first architectural project realised featuring flat panel pbr, generating biomass and heat as part of an integrated energy concept. The project is part of the International Building Exhibition (IBA) in Hamburg.In order to implement this potential disruptive technological innovation, technical, ecological and social aspects have been looked at holistically to optimise and develop the system towards market maturity.At the foreground of this monitoring project has been the intensive evaluation and optimisation of the energy efficiency of the technology in relation to the acceptance and reception of the building users.After the successful implementation of the pilot project, a big step towards the market maturity of the system has been taken. Further improvements with respect to the efficiency and a closed value chain are required to demonstrate commercial feasibility and attract investors to implement the system more widely.
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Yaryomenko, I. S. "INTERNATIONAL EXPERIENCE IN THE DESIGN OF MODERN CONCERT BUILDINGS." Regional problems of architecture and urban planning, no. 16 (December 23, 2022): 62–69. http://dx.doi.org/10.31650/2707-403x-2022-16-62-69.
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An important role in the functioning of the city and the formation of its center is played by entertainment facilities with concert and theater halls. The purpose of this study is to analyze the experience of designing and building concert halls over the past two decades and to identify current trends in functional planning and architectural and compositional solutions for these facilities. Concert halls continue to be an actual type of building, which is confirmed by the construction of many new modern facilities around the world. In the classification of concert facilities, not only specialized and universal concert buildings are distinguished, but also universal entertainment buildings, as well as multi-purpose buildings designed for concerts and other types of spectacles, including sports and leisure events. As the analysis of the design and construction practice of the last two decades shows, the most common are universal concert and universal entertainment buildings. Specialized concert halls are quite rare, and multi-purpose entertainment facilities have not been built in recent years. Among modern concert buildings there are examples of objects with one auditorium and several halls. The predominant part is made up of multi-hall facilities with 2-4 auditoriums. Large halls are equipped with stages, arena stages, less often with portal deep stages with the possibility of raising and lowering scenery, which is typical for complexes with concert and theater halls. Techniques are used to transform the orchestra pit and the floor of the stalls. A characteristic feature of many modern solutions for concert buildings is the presence of additional accompanying groups of premises – exhibition, museum, educational, information, trade, etc.
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Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.
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Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.
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Pane, J. B., J. Rilatupa, and S. Simatupang. "The development of an arts centre with the application of futuristic architecture." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012029. http://dx.doi.org/10.1088/1755-1315/878/1/012029.
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Abstract Art is a culture that was born from human freedom of expression. One type is contemporary art, which is the development of art that is affected by the impact of modernization, but contemporary and modern are two different things, because contemporary continues to keep up with the times. Appreciation for art in Indonesia has recently been appreciated both at the national and international levels, art appreciation is shown by the many art activities held, this has resulted in many artists being required to hold their work so they need a place such as an art gallery building so that the public can understand the activities contained therein. and can enjoy the art exhibition. The Contemporary Art Gallery was built to help artists show their work. This building was built with a futuristic architectural design, namely a building style whose planning does not look to the past but to the future, this can be seen from the shape and materials used which have high hi-tech. The appearance of the building is made expressive as the hearts of the artists can be seen from the spatial processing, forms and games of building facades.
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Jakaitė, Karolina. "The Lithuanian Pavilion in Chile in 1972: Architect Vladas Vizgirda’s Account Fifty Years Later." Acta Academiae Artium Vilnensis 105, no. 105 (2022): 262–94. http://dx.doi.org/10.37522/aaav.105.2022.113.
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This Archival publication presents a manuscript of the Lithuanian architect Vladas Vizgirda (b. 1935), in which the author describes the project of an export pavilion of fifty years ago. The Lithuanian SSR received an award for its exhibition in the pavilion of the Soviet Union at the international agriculture and industry fair FISA-72 held in Santiago de Chile. As the leading architect of the Chile-72 pavilion, Vizgirda reminisces on the conception of the 500 m2 display, its architectural and design solutions, the preparation process, the installation works, and the impressions experienced during his almost three-month-long work trip to Chile in October–December 1972. An important part of the published source is a visual narrative consisting of unpublished photographs, which allows us to newly assess the pavilion’s modern constructions, minimalist design, and colour solutions, as well as Gintautėlė Baginskienė’s design projects created specifically for this pavilion. In the publication of the source, the manuscript is presented unedited, while the introductory text describes the context of the pavilion and outlines the first directions of possible assessments and interpretations.