Relevant bibliographies by topics / Post WWII architecture

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  1. Journal articles

Academic literature on the topic 'Post WWII architecture'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

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Journal articles on the topic "Post WWII architecture"

1

Merdanović, Teodora. "The Urban Planning Institute building in Belgrade." Nasledje, no. 21 (2020): 105–21. http://dx.doi.org/10.5937/nasledje2021105m.

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The building of the Urban Planning Institute in Belgrade, designed by architect Branislav Jovin, is one of the most significant achievements of the post-WWII architecture in Belgrade. In the personal oeuvre of the author, the building is his magnum opus and one of the showpieces of Brutalist architecture in Serbia. This paper will examine the architectural and artistic values of the Belgrade Urban Planning Institute building, designed in late 1960s and completed as early as 1970. The significance of the structure was reviewed in the context of its architectural, cultural and historical values, but also by analysing social circumstances and the development of architectural scenery in the post-WWII Yugoslavia and the city of Belgrade. By considering the building in the framework of the post-WWII architecture, we can get the clearer picture of tendencies and aspirations in the architectural treatment of masses and forms, of the material used, but also of European and global influence on the development of Yugoslav architecture of the time.
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2

Kostuch, Bożena. "Among Prestigious Edifices – on Ceramic Decorations and Mosaics in Poland Post-WWII." Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, no. 30 (December 30, 2017): 81–98. http://dx.doi.org/10.18778/0208-6107.30.06.

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Ceramic materials may have multifarious applications, the visual arts being one of them. Furthermore, they have been often used in architecture for decorative purposes. In Poland, the application of ceramics in architecture reached its peak of popularity in the post-WWII period. It was used in mosaics, reliefs, architectural and sculptural details, as well as combined with other materials, like glass or stone. Ceramics was applied for creating various small decorative forms but also large compositions that covered even several dozen or several hundred square metres, in buildings that served various functions, and were situated either indoors or on their external facades. Amongst these, there are buildings which were both important for local communities and became landmarks for particular sites, like modern hotels, railway stations, theatres, museums or academies. The paper is focused on compositions executed for such prestigious edifices.
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3

Wiśniewski, Michał. "Centre E Estate in Krakow’s Nowa Huta. The postmodern experiment in the heart of the Stalin era symbol." City History, Culture, Society, no. 1 (13) (July 19, 2022): 308–32. http://dx.doi.org/10.15407/mics2022.01.308.

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The paper investigated the history of the development of Nowa Huta the key achievement of the post-WWII urban planning and architecture in Kraków and Poland focusing on the rise of the Centre E Estate, the late 1980s part of the ensemble. The history of one housing complex helps to understand the reasons for the rise and development of postmodern aesthetics in the local architecture of Krakow during the last years of the domination of the communist regime.
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4

Caramellino, Gaia. "“You and Your Neighborhood”: Neighborhood, Community, and Democracy as New Paradigms in Wartime American Architecture." Urban Planning 7, no. 1 (2022): 369–84. http://dx.doi.org/10.17645/up.v7i1.4828.

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This article argues that a radical reconceptualization of the notion of neighborhood was introduced by architects in the United States during WWII in response to the new political, cultural, and economic conditions of the war. The efforts of architects and planners like Oskar Stonorov and Louis Kahn contributed to reconfiguring the organizational principle of the “neighborhood unit” model envisioned by Clarence Perry during the 1920s, transferring the discourse from the domain of urban sociology and technical planning to the realm of the American profession. This article revolves around the unexplored and intense period of architectural experimentation during WWII, when the neighborhood emerged as a vibrant platform for the efforts of professional circles to question the values of American democracy and introduce new participative practices in neighborhood and community design, fostering new forms of collaboration between citizens, governmental agencies, and speculative builders under the leadership of architects. Neighborhood design appeared as the testing ground to renegotiate the role and social responsibility of American architects and a foundational value of post-war American society, while its new meanings were to be renegotiated in post-war city planning and built communities.
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5

Girard, Jean-Claude. "Religious Tropical Architecture: the churches of Leandro V. Locsin in the Philippines." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 76–79. http://dx.doi.org/10.52200/63.a.61svza7z.

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The focus of this contribution is on the importance of tropical architecture in the work of Leandro V. Locsin, in the context of post-WWII in Asia. Based in the Philippines, Locsin is immersed in the Christian tradition – the main religion of a country that was dominated by the Spanish crown from the mid 16th-century to 1898, and where the Catholic Church remains powerful across much of the archipelago today. Attention is focused on Locsin’s religious buildings and projects, where he succeeded in giving a new treatment to the tropical architecture of faith-based structures, through the integration of climate considerations and the reinterpretation of vernacular architecture of the Philippines.
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Leão, Rui, and Charles Lai. "Tropical Modernity: A Hybrid-Construct in South China." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 56–61. http://dx.doi.org/10.52200/63.a.9u06q3rs.

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Parallel to the discourse of Tropical Architecture and the work of UK architects in the British colonial territories in the Middle East, Africa, and India after the WWII, climate adaptation designs or devices such as brise-soleil, perforated cement bricks, sun shading screens, courtyards, etc., started to emerge in modernist buildings in Asia. This article is a preliminary survey of these cases in Hong Kong and Macau since the 1950s. It discusses how tropicality was used in response to the post-war revisionism of Modern Movement that placed emphasis on local identity and culture.
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7

Furlan, Raffaello. "Cultural Traditions and Architectural Form of Italian Transnational Houses in Australia." International Journal of Architectural Research: ArchNet-IJAR 9, no. 2 (2015): 45. http://dx.doi.org/10.26687/archnet-ijar.v9i2.688.

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The purpose of this article is to investigate the connection between cultural traditions and house form which, according to scholars, is in danger of being lost, and so contribute to the revival of critical interest in such a connection. This paper does not intend to focus on the exploration of the relation between culture as a way of life and the spatial form of the house. Instead, the main objective of this paper is to gain a deeper understanding of the nature of vernacular architecture in a precise context: this study will be focusing on the architectural form of vernacular houses built in Brisbane in the post WWII period by first generation Italian migrants, namely upon the way the house’s structure, materials and construction technique, decorative feature on the façade, were influenced by migrants’ cultural traditions.
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8

Arandjelovic, Milos, and Aleksandar Videnovic. "Social significance of cooperative homes in the post-socialist context." Zbornik Matice srpske za drustvene nauke, no. 159-160 (2016): 947–60. http://dx.doi.org/10.2298/zmsdn1660947a.

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Mass construction of cooperative homes in the territory of ex-Yugoslavia at the end of the WWII represented a first step in the general socialist transformation of villages. As the engines of social and cultural life in rural regions, these facilities were situated in central locations in settlements. These were the first multi-purpose buildings, and their architecture reflected the values of socialist ideology that was supposed to be adopted in the following period. Later, when these values became obsolete, it was considered that all principles of the socialist model of planned organization of rural settlements should be rejected, thus letting the heritage of this period of time, regardless of its contribution, fall into disrepair. Cooperative homes represented the linchpin of the planned organization of rural settlements, belonging to the practice of fast and reckless urbanization of villages. A large number of these buildings built throughout ex-Yugoslav republics today represent a specific challenge from the aspect of their repurposing. This research paper, hence, aims to review the options for their potential redeployment and inclusion in modern social trends.
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9

Khosravi, Hamed. "CIAM Goes East: The Inception of Tehran’s Typical Housing Unit." Urban Planning 4, no. 3 (2019): 154–66. http://dx.doi.org/10.17645/up.v4i3.2172.

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The aftermath of WWII not only marked the beginning of a new geopolitical order but also once again brought discourses of architecture and planning back to the frontline of the confrontations between the West and the Soviet blocs. Although the immediate need for post-war reconstruction left almost no time for contextual theoretical development in architectural and planning principles, the “occupied” and “liberated” territories became laboratories in which the new concepts of urban form, domestic architecture, and forms of life were tested. During 1945–1967 Tehran became one these experimental grounds in which these planning principles were tested and implemented; a battleground where the socialist and the capitalist ideologies met. The key to this urban development project was an ideologically charged repercussion of the CIAM (Congrès Internationaux d’Architecture Moderne) discourse, specifically on Existenzminimum (1929) and Rationelle Bebauungsweisen (1930). While the CIAM’s agenda had already found its way to Iran through one of its founding members, Gabriel Guevrekian, it became operative through the activities of the Association of Iranian Architects who were in charge of major housing developments in Tehran since 1945. Thus, CIAM guidelines were translated into building codes, regulations, and protocols that had the fundamental role in shaping the Middle East’s first modern metropolis. New housing models were developed and proposed by the Association of Iranian Architects that cut ties with the traditional typologies and proposed a radically new urban form, architecture, and forms of life. This project at large, of course, was not politically neutral. This article reviews the role of two protagonists in introducing and revisiting the CIAM discourse in shaping the post-war neighbourhoods and housing typologies in Tehran.
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10

Modena, Luisa Levi D’Ancona. "Italian-Jewish Patrons of Modern Art in Nineteenth- and Twentieth-Century Italy." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (2020): 3–29. http://dx.doi.org/10.3828/aj.2020.16.3.

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With a focus on art donations, this article explores several case studies of Jewish Italian patrons such as Sforni, Uzielli, Sarfatti, Castelfranco, Vitali, and others who supported artists of movements that were considered modern at their time: the Macchiaioli (1850-1870), the Futurists (1910s), the Metaphysical painters (1920s), the Novecento group (1920-1930s), and several post WWII cases. It reflects on differences in art donations by Jews in Italy and other European countries, modes of reception, taste, meanings and strategy of donations, thus contributing to the social history of Italian and European Jewry and the history of collections and donations to public museums.
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