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O'Rourke, Kathryn E. "Guardians of Their Own Health." Journal of the Society of Architectural Historians 71, no. 1 (March 1, 2012): 60–77. http://dx.doi.org/10.1525/jsah.2012.71.1.60.
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José Villagrán García's Tuberculosis Sanatorium at Huipulco (1929–36), outside of Mexico City, was one of Mexico's first important modern buildings. Commissioned by the federal government and designed to cure and transform the Mexican working class, the project reflected its architect's pioneering integration of architectural rationalism, Julien Guadet's theories, and the reform ambitions of the Mexican government. At Huipulco, Villagrán also referenced established sanatorium design as a means of visually associating Mexican architecture and medicine with admired European practices in both fields. In Guardians of Their Own Health: Tuberculosis, Rationalism, and Reform in Modern Mexico, Kathryn E. O'Rourke argues that understood in the context of Mexican social policy and compared to buildings by Guadet's famous student Auguste Perret, the Huipulco Sanatorium reveals the reach of French rationalism and the complex genesis of modern architecture in Mexico. Its story helps to historicize and particularize the International Style within histories of modern architecture and open further the question of how modern architecture was understood by architects working beyond European centers.
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Dwi Prasetyo, Priambudi, and Ashadi Ashadi. "KAJIAN KONSEP ARSITEKTUR RASIONALISME PADA BANGUNAN UNIVERSITAS BAUHAUS DI JERMAN." PURWARUPA Jurnal Arsitektur 7, no. 1 (March 10, 2023): 51. http://dx.doi.org/10.24853/purwarupa.7.1.51-56.
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ABSTRAK. Seni dan ilmu Arsitektur merupakan bidang yang dituntut mampu mengikuti perkembangan zaman. Pada zaman modern saat ini, area hidup manusia telah menjadi hal yang berharga bagi sebagian masyarakat, terutama masyarakat perkotaan yang pastinya menjadi tempat berkumpul ragam lapisan masyarakat. Kenyataan ini tentunya juga mempengaruhi sebuah bangunan Pendidikan, yang menjadi perhatian adalah efisien ruang di dalamnya agar terciptanya ruang yang nyaman untuk aktifitas yang vital seperti Pendidikan. Dari fenomena tersebut dirasa memiliki keterkaitan dengan gaya atau konsep rasionalisme, salah satu konsep turunan dari gaya arsitektur modern. Arsitektur rasionalisme yang berfokus terhadap fungsi sebuah ruang tentunya menuntut efisiensi dengan meminimalkan ornament ataupun hiasan serta sebagai penggantinya dalam mendukung kesan estetiknya, konsep rasionalisme menghadirkannya lewat organiknya bentuk-bentuk yang dituntut oleh ruang atau secara sederhana sering disebut bentuk ruang mengikuti fungsi. Penelitian kali ini memiliki tujuan untuk mengetahui serta memahami bagaimana konsep rasionalisme dalam arsitektur salah satunya dengan mengetahui prinsip-prinsip yang membentuknya. Kemudian mengetahui bagaimana penerapan konsep arsitektur rasionalisme dapat diterapkan dengan baik pada elemen arsitektur itu sendiri. Beberapa temuan dari penelitian ini meliputi pemahaman mengenai prinsip pada bangunan berkonsep arsitektur rasionalisme seperti yang paling umum ialah bentuknya yang cenderung monoton dari perpaduan bentuk geometeri sederahana. Selain itu juga menemukan contoh tentang elemen arsitektur yang mampu berperan dalam penerapan konsep rasionalisme. Kata Kunci: Arsitektur, Rasionalisme, Pendidikan, Modern ABSTRACT. Art and science of Architecture is a field that is required to be able to keep up with the times. In modern times, the area of human life has become a valuable thing for some people, especially urban people, which is certainly a gathering place for various levels of society. This fact certainly also affects an Education building, the concern is the efficient space in it in order to create a comfortable space for vital activities such as education. From this phenomenon, it is felt that it has a connection with the style or concept of rationalism, one of the concepts derived from the modern architectural style. The architecture of rationalism that focuses on the function of a space certainly demands efficiency by minimizing ornamentation or decoration and as a substitute in supporting its aesthetic impression, the concept of rationalism presents it through the organic forms demanded by space or simply often called the form of space following function. This research aims to find out and understand how the concept of rationalism in architecture is one of them by knowing the principles that shape it. Then find out how the application of the architectural concept of rationalism can be well applied to the elements of architecture itself. Some of the findings of this study include an understanding of the principles in buildings with the concept of rationalism architecture, as the most common is that the form tends to be monotonous from the combination of geometery forms. In addition, it also finds examples of architectural elements that are able to play a role in the application of the concept of rationalism. Keywords: Architecture, Rationalism, Education, Modern
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Dal Falco, Federica. "Italian Rationalist Design: Modernity between Tradition and Innovation." Arts 8, no. 1 (February 22, 2019): 27. http://dx.doi.org/10.3390/arts8010027.
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This article is devoted to the Italian modern project of the 1930s, which involved architecture and design. The main theme is the influence that the autarchic economic policy of the Fascist regime had in the choice of materials and technologies, and, above all, the manner in which this choice led to innovative practices and figurative research. Through significant examples, the essay provides some insight into the style of Italian rationalism, whose contradictory aspects—conditioned by the regime’s policy—shaped urban planning, architecture, and design in the 1930s. I show that the Italian rationalist culture is a field of investigation that is of considerable scientific interest because it represents the idea of an integral project comprised of all the elements associated to a building, including those that are still used today. In particular, I present a case study centered on the Physics Institute of Rome’s Sapienza University (1933–1935) designed by the architect Giuseppe Pagano Pogatschnig, analyzing its materials, technologies, and architectural features, as well as its furnishings. Along these lines, the objective of this investigation is the transmission of a specific knowledge, looking at objects as essential parts of the aesthetics of Rationalism in order to protect and enhance the cultural heritage of modernity.
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Stevanović, Vladimir. "Racionalizam u arhitekturi: nekoliko modela instrumentalizacije / Rationalism in Architecture: Several Models of Instrumentalization." AM Journal of Art and Media Studies, no. 6 (October 15, 2014): 114–24. http://dx.doi.org/10.25038/am.v0i6.80.
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Rationalism in architecture is a European concept which, from Enlightment to postmodern era, advocates values of order, clarity and logic, represented through primary geometrism, functionalism, profitability and absence of ornament. The text connects and analyzes (1) formal-stilistic manifestations of rationalism in architecture: French neoclassicism; Soviet constructivism, German new objectivity, Italian rationalism; postmodern Italian neorationalism in the context of (2) dominant paradigms which directs them: divine nature; technological-utilitarian; autonomus-selfreferent, and (3) social, economic, ideological and cultural activities around which they are organized, such as: French bourgeois revolution; proleterian-communist, socialdemocratic and faschist ideas beteween two World wars; critical procession of populist values in mass consumer society and global capitalist economy at the threshold of postmodern era.
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Maulsby, Lucy M. "Material Legacies: Italian modernism and the postwar history of case del fascio." Modern Italy 24, no. 02 (May 2019): 159–77. http://dx.doi.org/10.1017/mit.2019.10.
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In recent decades, architectural historians, preservationists, and the general public have shown a growing interest in Fascist-era buildings. Many of the most high-profile examples are those associated with the monumental excesses of the regime. However, new attention has also been focused on more modest buildings that are significant examples of interwar Italian modernism or Rationalism, including former party headquarters (case del fascio). Taking as primary examples works by Giuseppe Terragni, the architect most often associated with Rationalism, as well by Luigi Carlo Danieri and Luigi Vietti, whose interwar contributions to Italian modernism have been less often the focus of scholarly attention, this article traces the postwar histories of case del fascio with the aim of better understanding the ways in which architecture and politics intersect and some of the consequences of this for the contemporary Italian architectural landscape.
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Peckham, Andrew. "The Dichotomies of Rationalism in 20th-Century Italian Architecture." Architectural Design 77, no. 5 (2007): 10–15. http://dx.doi.org/10.1002/ad.509.
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Moravánszky, Ákos. "Concrete Constructs: The Limits of Rationalism in Swiss Architecture." Architectural Design 77, no. 5 (2007): 30–35. http://dx.doi.org/10.1002/ad.512.
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Kreizer, I. "MAGINARY OR EXPRESSIVE: XXI CENTURY ARCHITECTURE IN THE WORKS OF EXCELLENT MASTERS." Municipal economy of cities 1, no. 168 (March 25, 2022): 40–44. http://dx.doi.org/10.33042/2522-1809-2022-1-168-40-44.
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The article deals with the theme of the interaction of "expressiveness" and "pictoriality" in the work of the masters of architecture of the XXI century. Architects' methods of work with such concepts as "imagery" and "expressiveness" became the cornerstone in understanding the concept of "modern" in the late nineteenth and early twentieth centuries. The architecture of the twentieth century in the leading countries of Europe, the USA, then the USSR, trying to keep pace with scientific discoveries and technical capabilities, created a number of rationalist avant-garde trends, which later merged into modernism (international style), gradually abandoning decor and imagery in buildings. The architects of the late 19th and early 20th centuries urged to look for means of forming a new architecture without decor and ornaments. The architecture of rationalism, and then modernism, abandoned figurativeness in an effort to express the content of modernity. This approach has led to both practical and theoretical problems. Architecture as an art form began to “speak” with the user in a different language, instead of historically proven decorative and pictorial techniques, its language became an expression of abstract forms and dynamic solutions. Looking at the works of outstanding contemporary masters, the question arises what means and techniques they use in the process of creating architectural objects and whether there is a place for decor in their work. Whether decor in the architecture of the 21st century has lost its function as an informative and visual means, whether it has become an expressive component of the architectural form is a question that will be considered in the article using the examples of famous world-class architects, and the works of Ukrainian architects will also be involved. The article also discusses modern methods of work of architects with the form.
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Slepukhin, Victor V. "Soviet Architecture of the 1930-1950s." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 37–52. http://dx.doi.org/10.36340/2071-6818-2022-18-1-37-52.
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The article is devoted to the Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period. The author defines its place among such architectural styles and movements as Art Nouveau, Rationalism and Constructivism, as well as among foreign architectural movements of the middle of the 20th century. In aesthetic essence, the Stalinist Empire style was closely associated with Imperial Classicism. It was called upon to perform the functions of glorifying the power of the new young state. Stylistically, it inherited the Baroque, Napoleonic Empire style, late Classicism, Art Deco and Neo-Gothic; the details of these styles contributed to achieving a sense of luxury, pomposity and grandeur. The inner meaning of the new architectural theory and socialist realism, in general, was the comprehensibility of architecture to the masses: completeness, orderliness, monumentality. The architecture of the Stalinist Empire style, which to a certain extent contradicted the rather difficult situation of the country both in the pre-war and post-war periods, was called upon to convey the idea of striving for a bright future, embodied the architectural future that awaited people of the Soviet country.
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Peckham, Andrew, Charles Rattray, and Torsten Schmiedeknecht. "On the Threshold of Rationalism." Architectural Design 77, no. 5 (2007): 6–9. http://dx.doi.org/10.1002/ad.508.
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Abram, Joseph. "French Rationalism: A Broken Tradition." Architectural Design 77, no. 5 (2007): 84–89. http://dx.doi.org/10.1002/ad.521.
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Mačkić, Tijana J. "RAZVOJ METODA REFERENCIJALOSTI U SAVREMENOJ PROJEKTANTSKOJ I DIDAKTIČKOJ PRAKSI ARHITEKTURE." Nasledje Kragujevac XX, no. 55 (2023): 255–70. http://dx.doi.org/10.46793/naskg2355.255m.
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The aim of this paper is a better understanding of the transformation of the reference-based design process in relation to different stylistic determinants and cultural circumstances that accompany the development of architecture in Central Europe from the mid-twentieth century to the present and the role of rationalism as a unifying character of these stylistic expressions. The subject of the paper is based on the analysis of the use of references in the process of architectural design, through parallel reflections on design, theoretical and didactic approaches in the works of Aldo Rossi, Miroslav Šik, and Valeri Olgiati. The methodological differences of the mentioned authors are observed both in relation to the continuity in the use of the analogous method in mentoring (Rossi and Šik) and specific dislocations in relation to the given positions in their theoretical and design work. The research follows three methodologies developed at the ETH University of Zurich in the period from 1972 to the present: the analogous architecture of Aldo Rossi, the analogous old-new architecture of Miroslav Šik, and the non-referential architecture of Valeri Olgiati. Within this topic, the intention is to understand the different approaches in the selection of references, and their role and meaning in the intertextual relationship that is formed. The paper starts from the assumption that the structure of the source of reference in contemporary architecture is transformed in relation to the postmodernist conceptions, and that this trans- formation is reflected in the shift from referential-authorial to extensive-cultural sources. The final assumption is that in interpreting the methodological approaches of the three authors one can recognize the continuous influence of rationalism, as a unifying expression, which, due to its simplicity and adaptability, serves as an anchor for various explorations in theory and design.
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Zhang, Ning. "The Role of Ancient Chinese Philosophy in the Designs of Chinese Buildings." Open House International 41, no. 3 (September 1, 2016): 81–85. http://dx.doi.org/10.1108/ohi-03-2016-b0014.
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Buildings are the condensation of the national, ethnic, or cultural identity. They are also the specific materialized form of the national social systems, folk customs, and ideologies. Architectural design and philosophy constitute an isomorphic relationship with each other. This study focuses on the Chinese traditional philosophy. Using Kuanzhai Alley in Chengdu as an example, philosophical expressions, such as “holistic thinking,” “group form layout,” “heaven and man,” “yin–yang and the five elements,” “ancient architecture design,” “good” aesthetic concepts, and “conformal”rationalism, are discussed from the aspects of the selection of the environment, spatial layout, architectural symbol, planning, and design significance. The traditional architectural forms and types are analyzed and interpreted based on the Chinese traditional philosophy. The role of the ancient Chinese philosophy in the Designs of Chinese Buildings is summarized. Traditional ideas on Chinese architecture should be recognized from the aspect of philosophy to propose a new design direction for developing modern Chinese architectural designs.
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Shapiro, Ellen R., and Thomas L. Schumacher. "Surface and Symbol: Giuseppe Terragni and the Architecture of Italian Rationalism." Journal of Architectural Education (1984-) 45, no. 4 (July 1992): 243. http://dx.doi.org/10.2307/1425193.
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Shapiro, Ellen R. "Surface and Symbol: Giuseppe Terragni and the Architecture of Italian Rationalism." Journal of Architectural Education 45, no. 4 (July 1992): 243–45. http://dx.doi.org/10.1080/10464883.1992.10734523.
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Greening, Tony. "Pedagogically sound responses to economic rationalism." ACM SIGCSE Bulletin 32, no. 1 (March 2000): 149–56. http://dx.doi.org/10.1145/331795.331845.
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Galkina, Marina V. "Unrealized Architectural Projects of the 1920s: The Value of Constructivism Ideas." Observatory of Culture 16, no. 1 (March 26, 2019): 50–61. http://dx.doi.org/10.25281/2072-3156-2019-16-1-50-61.
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The article is devoted to one of the most interesting topics: the ideological heritage of constructivism and evaluation of its value. The novelty of the research is determined by the choice of its subject: unrealized projects of Soviet architects of the 1920s (I.I. Leonidov, K.S. Melnikov, V.A. Vesnin, A.A. Vesnin, L.A. Vesnin and N.A. Ladovsky) as a source of promising ideas for the architecture and design of the late 20th—early 21st century. The paper aims to assess the creative and artistic value of the unrealized projects of Soviet constructivists for the modern architectural design. The main result is the attempt to present a historical and conceptual overview of the origin and features of constructivism and rationalism as trends in urban planning. The 1920s, when the principles and trends in constructivist architecture were formed, became the time of development of a new production and architectural model. The combination of rationalist approach with utopian functionality of most of these projects was the reason for rejection of a truly constructivist trend in Soviet architecture in favor of the “Stalin Empire Style”, and later — deconstructivism. The problematics of constructivist solutions of the 1920s in the field of urban planning and environmental management largely determined the methodology of architectural space organization of the USSR cities in the 1930s, when the standard of “industry oriented” socialist society became a priority. The author considers theoretical studies and scientific publications about the works of Soviet constructivist architects, gives examples of explicit translation of the principles of constructivism in the 21st century architecture, and makes an assumption about the relationship between the ideological heritage of Soviet constructivists and the artistic and creative process of modern architects and designers (founders of high-tech style R. Piano, N. Foster; deconstructivists F. Gehry, Z. Hadid, D. Libeskind).The article concludes that the constructivist images and stylistics of the analyzed period, though not translated by modern designers and architects “directly”, become the basis for implementation of new conceptual solutions.
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Cataldai, Giancarlo, Gian Luigi Maffei, and Paolo Vaccaro. "Saverio Muratori and the Italian school of planning typology." Urban Morphology 6, no. 1 (January 5, 2002): 3–14. http://dx.doi.org/10.51347/jum.v6i1.3899.
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This paper outlines the development of the Muratorian school of urban morphology and building typology. Starting from Muratori's experience as a talented architect, deeply rooted in the Roman interpretation of Italian rationalism, the authors describe the growth of Muratori's interest in history as a means of recovering a sense of continuity in architectural practice. Adopting a theoretical approach grounded in architecture and urban design, he started working on a critical framework which could explain the creation and transformation of urban form over the centuries. He had many followers. The resurgence of interest in Muratori's work in the 1990s is described.
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Zhang, Peilin. "Changes in Modern Urban Planning Teaching and Theory." Open House International 44, no. 3 (September 1, 2019): 40–43. http://dx.doi.org/10.1108/ohi-03-2019-b0011.
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In order to further optimize the methods of modern urban planning, the philosophical basis, planning theory, planning measures and practice are analyzed, and some discussions are made in connection with China's planning practice. The research results show that the core of modern urban planning is constructed by traditional rationalism with classical physics as its core. Urban planning is both a technology and a social science. Whether it is traditional or modern urban planning, it has been closely linked with the legal system since its birth. It is an important direction to promote the development of urban planning discipline. The most influential rational ideas of city planning are instrumental rationality, bounded rationality and communicative rationality. Instrumental rationality derives from rational comprehensive planning, systematic planning and procedural planning; the separation-gradualism and hybrid inspection model are developed under the influence of bounded rationality and are amendments to instrumental rationality; communication planning, collaborative planning and consultative planning are developed on the basis of communicative rationality, which is one of the important development directions at present.
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Davis, Charles L. "Viollet-le-Duc and the body: the metaphorical integrations of race and style in structural rationalism." Architectural Research Quarterly 14, no. 4 (December 2010): 341–48. http://dx.doi.org/10.1017/s1359135511000133.
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At first glance, it might seem counterintuitive to insist upon Eugène Emmanuel Viollet-le-Duc's (1814-79) critical interest in the human body as a metaphor for style in architecture. Not only did he oppose the anthropomorphic metaphors for style touted by Neo-Classical theorists at the École des Beaux-Arts, but he was most widely known in the nineteenth century for his preoccupation with the monumental and structural potential of modern materials such as iron. This reception of Viollet-le-Duc's thought persisted in the twentieth century with Sir John Summerson's estimation of Frank Lloyd Wright and Le Corbusier's debt to the constructive principles of his architectural organicism. Such accounts have made it possible to interpret construction and/or structure as the main ‘body’ of Viollet-le-Duc's architecture theory. However, this reading confuses the eclipse of Neo-Classical anthropomorphic metaphors for style - which translated the proportional relationships between the human body's constituent parts into a compositional system of design - with the complete eclipse of critical references to the human body in the French style debates of the nineteenth century. As we trace the role of the human body in Viollet-le-Duc's style theory, it becomes clear that the principles of human variation in biology and ethnography enabled him to account for the cultural variations of national peoples in his conception of style.
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Zhou, Bai Ling. "The Evolution of Architectonic Aesthetics in the Context of Globalization." Advanced Materials Research 250-253 (May 2011): 4026–29. http://dx.doi.org/10.4028/www.scientific.net/amr.250-253.4026.
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Research the evolution of architectonic aesthetics by concentrating on politics and economics in the background of Globalization. The accelerative modernization forces the individual aesthetic needs into the opposite, from which point out the evolution of the post-modern architecture can also be traced into the process from the deviation from astriction to sensibility then to the reflection on basic rationalism and at last to the aesthetic individualism. In conclusion, the trend of individualism, personalization and pure “experience” in architectonic aesthetics will continue its evolution and exert its influence on the development of Chinese architecture.
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Scaff, Lawrence A. "Social Theory, Rationalism and the Architecture of the City: Fin-de-Siècle Thematics." Theory, Culture & Society 12, no. 2 (May 1995): 63–85. http://dx.doi.org/10.1177/026327695012002004.
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Slyunkova, Inessa N. "Ericklik in Livadia (Gorny village of the Crimean Mountain Forest Reserve)." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 1 (March 18, 2019): 18–25. http://dx.doi.org/10.22337/2077-9038-2019-1-18-25.
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A historical-architectural study of one of the least studied monuments of Livadia in the Crimea is presented: the third palace of the royal family - the summer house Ericklik. The attribution of the surviving fragments of park architecture is given. Attention is focused on the value qualities of the heritage site.
On the basis of archival documents, an attempt to reconstruct the spatial organization, planning and development of the ensemble was made. Particular attention is devoted to the architecture of a wooden one-story palace, to the combination of features of rationalism, oriental exotism, and Russian style in it For the first time, drawings of projects on Eriklik by architects A.I. Rezanov, A.G. Vensan, V.I. Sychugov are published. The materials indicate the appeal of customers, following Tsarskoye Selo near St. Petersburg, to the Eastern art that was popular in the era of historicism. The special aestheticism and value of Eriklik's architecture consisted of the visual comparison of Crimea nature with the symbolic images of the mountain landscape characteristic of Chinese painting.
The study aims to identify and preserve valuable objects of history, architecture, art, natural and park landscape, to introduce the heritage into the orbit of modern culture.
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Rihadiani, Rosalia Rachma, and Ikaputra. "The architecture of the Catholic Church in the modern movement in Indonesia." ARTEKS : Jurnal Teknik Arsitektur 8, no. 1 (April 1, 2023): 61–72. http://dx.doi.org/10.30822/arteks.v8i1.1891.
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Catholic church architecture is part of the development of architecture, especially in Europe. The rationalism and density of iconic Catholic church buildings in Europe raise the allegation that the architecture of the Catholic church during the modern movement was not found in Europe but appeared in missionary areas, including Indonesia. Queen Wilhelmina adopted the ethical policy in 1901 was a driving factor for the emergence of modern-style buildings in Indonesia, including the Catholic church building. Symbols and ornaments are part of the architecture of the Catholic Church; this is contrary to the anti-ornament school of modern architecture. This research looks at the architecture of the Catholic Church in Indonesia during the 1890 - 1945 period of the modern movement. The research method used descriptive qualitative with secondary data collection. The results showed that the architecture of the Catholic Church in Indonesia during the modern movement had an identity: geometric shapes on the facade, simple symbols and ornaments and a three-dimensional roof.
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Erarslan, Alev. "The Art Déco Influence in the Modern Turkish Architecture of the Early Republican Period." Prostor 30, no. 2(64) (December 26, 2022): 154–67. http://dx.doi.org/10.31522/p.30.2(64).2.
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With the proclamation of the Republic, Atatürk, the founder of Modern Turkey, wanted a new model of politics that would bring about the establishment of the “nation state”, also symbolized by architecture. Having decided to make a transition to modern architecture in Turkey, Atatürk invited academics from Germany and Vienna to achieve this. Consequently, by the 1930s, architecture followed a functionalistrationalist path in both public buildings and in residences. Another architectural style that wielded a lot of influence on the trends in the Modern Movement in this period was Art Déco. The plastic effect of mass in Art Déco was accompanied by purism. The purpose of th is article is to explore the characteristics of the Art Déco style in modern Turkish architecture, tracing it back to the 1930s, the time when a culture of architecture first began to form in Turkey, as Art Déco, in combination with rationalism, proved to be an influential force in Republican Turkey. The effect of this style on the composition of structural masses shall be described through examples of public and residential buildings. At the same time, an attempt shall be made to explore the connotations of contemporaneity, progress, technology, and industry as expressed in the vocabulary of the Republican ideology that embraced the mass aesthetic of the formal style that was Art Déco.
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Mzhelskii, V. M. "Proto-constructivism in Novosibirsk architecture in 1917-1927." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 24, no. 3 (June 26, 2022): 78–91. http://dx.doi.org/10.31675/1607-1859-2022-24-3-78-91.
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Purpose: The analysis of the architecture of the first post-revolutionary decade, processes and origins of the new style constructivism. The paper highlights the architecture of this period. Design/methodology/approach: Interesting factual material on proto-constructivism and its main problems. Comparison of different viewpoints on the processes in Novosibirsk architecture and the analysis based on the data collected. Research findings: This style is preceded by rather an interesting stage of creative research, which needs a special study. At that time, a significant number of public and administrative buildings were built in Novosibirsk, which was associated with its transformation to the administrative center of the Siberian Krai. It was an important period in the history of the Soviet architecture, when a search for a new creative method, architectural principles was carried out in the capital and regions, although researchers paid less attention to it than to constructivism. Architecture of post-revolutionary decade is characterized by a multi-vector nature and a pronounced desire for rationalism and functionalism, while still retaining the styles of the previous era associated with the struggle of various directions; new stylistic search for the post-revolutionary period. Practical implications: The obtained results contribute to the study of origins of the Soviet avantgarde architecture and can be used in further research and training manuals in the field. Originality/value: The analysis of the different viewpoints on the reasons for the Soviet avant-garde architecture development; comparison with the facts; identification of differences between the viewpoints, which is important for further study of this topic.
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Draskic-Vicanovic, Iva. "Form as an expression of function." Theoria, Beograd 53, no. 4 (2010): 73–86. http://dx.doi.org/10.2298/theo1004073d.
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The paper offers an analysis of the aesthetic category to prepon, suitability, from an early antique period to contemporary revitalization of the same notion under the new name - function. The twentieth century architecture is the place of rebirth of the aesthetic category that gave intonation to the concept of beauty in pre - philosophical antique Greece, as well as to the philosophy of Socrates, Plato and Xenophon. Author's main theses are that the architecture is natural and logical birthplace of to prepon, that two main streams in contemporary architecture: organicism and geometrical rationalism have the same key notion in common - function and that suitability, or function as aesthetic category can be treated as a prysm for the central currents in contemporary art.
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Lyudmirskaya, Alexandra. "Eclecticism of rationalism in the pre-revolutionary architecture of civil public buildings in the city of Novocherkassk." E3S Web of Conferences 281 (2021): 02008. http://dx.doi.org/10.1051/e3sconf/202128102008.
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The article analyzes the little-studied eclectic tradition in the architecture of civil public buildings in Novocherkassk, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches on the specifics of the stylistic trends’ manifestation in the rationalist architecture of the “masonry style”, as well as the historical timing of changes in style in a temporary context.
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Arrieta Berdasco, Valentín. "Pedro Cabello Máiz y su arquitectura racionalista en Gijón." Liño 23, no. 23 (June 30, 2017): 105. http://dx.doi.org/10.17811/li.23.2017.105-114.
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RESUMEN:Pedro Cabello Máiz debe considerarse como uno de los arquitectos más importantes del Gijón de mitad de siglo XX, con una obra heterogénea desarrollada en esta ciudad asturiana principalmente entre los años 1932 y 1945. El presente artículo pretende estudiar esta etapa de su actividad profesional en la ciudad, donde Cabello se convirtió en uno de los principales baluartes del racionalismo arquitectónico, que hábilmente supo combinar con otros estilos arquitectónicos previos y posteriores.PALABRAS CLAVE:Arquitectura, Racionalismo, Gijón, Cabello.ABSTRACTPedro Cabello Máiz should be considered as one of the most important architects in Gijón in the mid-twentieth century, who was made a heterogeneous production in this asturian city between 1932 and 1945. This paper aims to study this stage of his professional production in that city, where Cabello was one of the main supporters of rationalism architecture, which he combined with others previous and later architectonic styles.KEYWORDS:Architecture, Rationalism, Gijón, Cabello.
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Roslov, N. A. "Rationalism and Decorativeness in a Search for Social Foundation of Soviet Avant-Garde Architecture." KnE Engineering 3, no. 8 (December 23, 2018): 61. http://dx.doi.org/10.18502/keg.v3i8.3610.
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Monica, Luca, and Luca Bergamaschi. "From the Thirties to post-war reconstruction. The Land Reclamation Consortia and rural architecture in Italy." SHS Web of Conferences 63 (2019): 03001. http://dx.doi.org/10.1051/shsconf/20196303001.
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This investigation highlights a new conception of design space in architecture, in the relationship between settlement and land, rooted in architectural historical studies and research on rural and agrarian economy and unlocks a potential regeneration and restoration of the rural villages of Italy’s cultural heritage. In Italy, the theme of rural architecture has gained momentum ever since the spread of the Modern Movement, reviving settlement and spatial principles as a moral lesson for the general development of new aesthetics and a new society. Innovative concepts inspired by Arrigo Serpieri such as “Integral Land Reclamation”, and long-standing institutions such as the Land Reclamation Consortia, became official law in 1933, and played a crucialrole in this process, particularly in consolidating new architectural thinking that was to endure up to post-war reconstruction and beyond, until our own times. Paradoxically, ideologically opposing phenomena, settlements related to the extensive land reclamation of the Fascist period and the rural redevelopment of the Fifties, were somehow based on comparable theoretical and operational aspects. We can recognize these ideas by looking at the most interesting experiments developed in these two periods: the city of Sabaudia designed by Piccinato, and the village of La Martella at Matera designed by Quaroni (and sponsored by Adriano Olivetti). The quest for a new “moral aesthetic” of architecture undertaken by leading representatives of Italian Rationalism was to re-emerge in the neorealism of post-war reconstruction.
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Reed, Peter. "Structural Rationalism and the Case of Sant Vicenc de Cardona." Architectural History 43 (2000): 24. http://dx.doi.org/10.2307/1568684.
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Mancuso, Angela, Andrea Pasquali, and Giorgio Verdiani. "The Mausoleum of Giuseppe Tonietti on the Elba Island. From a masterpiece of Adolofo Coppedè to a compromising state of decay." Studies in Digital Heritage 1, no. 2 (December 14, 2017): 719–34. http://dx.doi.org/10.14434/sdh.v1i2.23247.
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The study shows the results of the digital and photographic surveys operated on an architectural work of great importance: it is the Mausoleum for Tonietti family, by Adolfo Coppedè, built on the Elba Island in Tuscany-Italy at the beginning of the 20th century. The current alarming conditions of the building invite to make some reflections on the unpleasant but common fate of many architectures of the Liberty and Eclectic period in Italy. With the evolution of rationalism of the architectural form and thus the gradual purifying of decorative plastic organisms from architectural objects, architectural research, and with it the observation and conservation of cultural heritage, has increasingly focused on new rational style, omitting many examples in floral style equally deserving of attention. The alarming state of preservation of Tonietti Mausoleum, combined with the total absence of projects by local authorities, set the conditions for the dissolution of the work and the consequent loss of the cultural and territorial connotation that it creates. The processing of the surveys and the gathering of documentation wants to create the basis for the comparison of work conditions in its original state and the current form, fixing the actual conditions of decay. There is the hope that this work can create a conservative practical input that restores the integrity of the cultural property designed by the youngest of Coppedè brothers, giving to it a proper and necessary value in the study of the history of architecture and the development of the evolutionary dialogue necessarily connected to the same historical evolution.
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Roura-Burbano, Alexandra, and Paúl Ochoa-Arias. "INFLUENCIAS DE ESTILOS ARQUITECTÓNICOS EN EL CENTRO HISTÓRICO DE CUENCA." Universidad-Verdad, no. 64 (August 15, 2014): 99–118. http://dx.doi.org/10.33324/uv.vi64.256.
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En el presente artículo se describe la influencia que ha recibido la arquitectura cuencana desde los diferentes estilos foráneos como: el Neoclásico Francés, el Art Nouveau, el Art Déco, el Racionalismo y otros, los mismos que se evidencian con notoriedad en algunas de las edificaciones del centro histórico de la ciudad.
Palabras Clave: Centro histórico Cuenca, arquitectura, patrimonio edificado, Neoclásico Francés, Art Nouveau, Art Déco.
AbstractThe present article describes the influence that Cuenca’s architecture has received from different foreign styles such as: French neoclassical, Art Nouveau, Art Deco, Rationalism, and others, which are strongly evident in some of the buildings in the Historic Center of the city.
Keywords: Historic Centre of Cuenca, architecture, building heritage, French neoclassical, Art Nouveau, Art Deco.
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González Llavona, Aida. "The architect´s brain. Neuroscience, creativity and architecture, de Harry Francis Mallgrave." Cuadernos de Proyectos Arquitectónicos, no. 11 (December 27, 2021): 84–87. http://dx.doi.org/10.20868/cpa.2021.11.4826.
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ResumenLos partidarios de la ‘arquitectura de los sentidos’, de la ‘arquitectura de la experiencia’, están de enhorabuena. Aunque a partir de la segunda mitad del siglo XX y de la mano de la crisis del racionalismo funcionalista moderno, el organicismo comenzó a recuperar alas, impulso y vigencia, lo cierto es que en la clásica y aún vigente confrontación entre lo racional y lo sensorial, el primero –el racionalismo– ha contado con el respaldo de la objetividad científica mientras el segundo –lo sensorial– ha sido víctima de su supuesto relativismo, ambigüedad y en muchas ocasiones impronta romántico sensiblera: la ciencia siempre ha sido el mejor aval para legitimar propuestas y teorías. Ocurre que, los avances de la neurociencia, que estudia el cerebro, (los mayores a finales de siglo XX y en las dos primeras décadas de este siglo XXI), otorgan cada vez más preeminencia a los aspectos emotivos y perceptivos que a los racionales y abstractos; cuestión ésta que ha revolucionado muchas disciplinas como la psicología y afectado a algunos de los discursos arquitectónicos, como el de Harry Francis Mallgrave. La reciente obra del arquitecto, académico, editor y distinguido profesor emérito en el Illinois Institute of Technology, se ha focalizado en la relación de las ciencias y humanidades contemporáneas con el pensamiento arquitectónico.AbstractProponents of the ‘architecture of the senses’ or of the ‘architecture of experience’ are in luck. Despite the fact that from the second half of the twentieth century, hand in hand with the crisis of modern functionalist rationalism, ‘organicism’ began to recover wings, momentum, and validity, the truth is that in this classic and ongoing confrontation between the rational and the sensory, the former—rationalism—has been supported by scientific objectivity, while the latter—the sensory—has been a victim of its alleged relativism and ambiguity, and on many occasions, sentimental romantic imprint: science has always been the best guarantee to legitimize proposals and theories. Yet it so happens that advances of neuroscience, which studies the brain, (the greatest at the end of the twentieth century and in the first two decades of this twenty-first century), give more and more prominence to the emotional and perceptive aspects than to rational and abstract ones. This issue has revolutionized disciplines such as psychology and affected certain architectural discourses, such as that of Harry Francis Mallgrave. The recent work of the architect, scholar, editor, and distinguished professor emeritus at the Illinois Institute of Technology, has focused on the relationship between contemporary science and humanities and architectural thought.
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Lyudmirskaya, Alexandra. "“Brick” rationalism architecture in the eclecticism of religious buildings, public buildings and industrial enterprises of the Taganrog city in the late 19th and early 20th centuries." E3S Web of Conferences 281 (2021): 02012. http://dx.doi.org/10.1051/e3sconf/202128102012.
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The article analyzes the eclectic tradition in the architecture of religious buildings, public buildings and industrial enterprises of Taganrog, the peculiarities of its manifestation in the diverse stylistic palette of the city, including neo-Gothic and Art Nouveau, touches upon the specifics of the stylistic trends’ manifestation in the “brick style” rationalist architecture.
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Ikeda, Michel-Masafumi. "The Vision of Paradise for People in Difficulties: The Solution Shown by a Russian Architect." Resourceedings 2, no. 3 (September 13, 2020): 210. http://dx.doi.org/10.21625/resourceedings.v2i3.734.
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The Eastern Orthodox is a minority in Japan. However, it played an important role in the modernization of architecture. This paper aims to review their early architectural activities, and further to uncover the influences they received from the Russian architect whose name was Mikhail Aref'evich Shchurupov.The architecture of Orthodox Church in Japan began from the conversion of existing private houses to chapels. The eclectic chapels followed them. The Resurrection Cathedral in Tokyo, designed by Shchurupov, made an epoch in the history of architecture in Japan. Needless to say, its greatest impact was on the Orthodox Church itself. The believers opened their eyes to the authentic western architecture. The churches at each stage can be seen in Kashiwa, Ishinomaki, and Odate.Shchurupov left a number of churches in Russia. Three of them, still existing around St. Petersburg, show the trajectory on which he explored the lightweight and inexpensive structure to build churches for the economically challenged parishes facing difficult geological conditions. At first, he showed a structural rationalism. Then, he tried to build a dome with wood. At last, he reached to the steel structure.At the Orthodox Churches, the division of interior space is emphasized and visualized. Each space symbolically plays various roles during the liturgy, and gives the believers the pseudo experience of the visit of heaven, which enables them to pass the faith across generations. The fact that the early believers in Japan projected the vision of paradise to the nave of their chapel means that they had reached the essence of church architecture.Shchurupov's architectural features were suitable to the Orthodox Church in Japan in various difficulties as a religious minority. His idea and concept reflected in the Resurrection Cathedral enabled the believers in Japan to maintain their worship facilities for a long time.
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Ile, Una. "Visual-spatial dimensions of modern residential buildings, experience of the Nordic region." Landscape architecture and art 18 (October 7, 2021): 7–15. http://dx.doi.org/10.22616/j.landarchart.2021.18.01.
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The visual-spatial dimensions of architecture are constantly changing, architects and urban planners are aware and understand the need for a healthy, active, vibrant public outdoor space, creating viable, economically and rationally suitable living spaces in the urban environment [12]. A comprehensive approach to sustainable architecture and design with a green structure combines a high-quality urban environment. In modern architecture, one of the perspective directions in the development of visual-spatial environment and structural forms is related to the active and continuous synthesis of the design and construction process in the urban environment [13; 4]. In recent years, the tendencies of rationalism and commercial nature based on technological progress have entered architecture and create a need for the architects to purposefully cooperate with the urban planners in the elaboration of development plans. The format of mutual cooperation brings together and rationally balances various dimensions of the urban environment in a compact visual-spatial structure. Thus, the aim of the research is to determine the visual-spatial dimensions of modern residential buildings in the context of sustainable urban development.
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Escudero Castro, Héctor César. "Theory in Architectural Restoration - Concept and Object." Journal of Building Technology 5, no. 1 (May 19, 2023): 81. http://dx.doi.org/10.32629/jbt.v5i1.1209.
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The concern to preserve the architectural heritage, for as long as a century and a half, has accumulated a wide series of theoretical positions, which have been used to lead the work aimed to safeguard this architecture. However, even now, many contradictions are observed in the results along the practices, grouping up these results into three general trends: "consistent", "apparent" and "indifferent". Hence, the theoretical framework in the present work is established to carry out and show the synthesis of the statements of Socrates and Karl Popper, inquiring the classical theorists' considerations on what the architectural restoration is and what their focus object should be, so as to demonstrate that in the practice of restoration, a series of assumptions are entangled because of the ambiguities, in the theory of the discipline, as much as in the definition and delimitation of the focus object, and even in the dispute, between quite a few areas of the human activity. Because of the nature of this theoretical analysis, the method used to carry it out follows the critical rationalism.
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van Impe, Ellen. "The Rise of Architectural History in Belgium 1830–1914." Architectural History 51 (2008): 161–83. http://dx.doi.org/10.1017/s0066622x00003063.
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On the map of nineteenth-century architectural historiographies in Western Europe, Belgium has so far remained a blind spot. While the country’s architectural history of the nineteenth century has already received some (if selective) international attention, with a somewhat disproportionate focus on the Art Nouveau, the historiography arising alongside of it has largely remained outside the picture. Meanwhile, considerations as to Belgium’s particular situation, which presumably influenced its architecture, equally apply to its historiography; for instance its design as a crossroads of influences, as demonstrated in research into the Belgian Catholic Gothic Revival and into nineteenth-century (architectural) history in general, among cases one could cite. While interesting because of its own particularities, Belgium also represents a type of ‘smaller European country’ created in the nineteenth century, whose architectural history has been characterized as ‘often fascinating precisely in the extent to which [these countries] present attempts to resolve the inherent contradictions between the major interpretive models and prescriptions of the English Pugin-Ruskin tradition, French Rationalism, and the more archaeological approach of the Cologne school’. The relatively limited corpus of Belgian architectural historiography — at least when compared with the historiographies of the United Kingdom, France or Germany — is an additional advantage, since it makes the field of study more easily definable and thus allows for more detailed study.
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Lewinski, Madeline Louis, and Priscilla Epifania Ariaji. "PENERAPAN PENDEKATAN EKSPERIMENTAL RASIONALISME YANG EMPATIK DALAM DESAIN FASILITAS PENGOLAHAN UDARA BERSIH DI JAKARTA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 6, no. 1 (April 30, 2024): 187–98. http://dx.doi.org/10.24912/stupa.v6i1.27196.
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Jakarta ranks among the top 10 cities with the highest pollution levels globally. Architecture can play a role to help reduce air pollution by implementing air purification technology within buildings. This design method represents the application of experimental rationalism that has not been tried before. With experimental rationalism, the air filtration technology in the design becomes the basis for an empathetic program within the building. The primary purpose is to provide a healthy space for the general public, whose daily lives are threatened by health risks triggered by air pollution. The emerging program includes an air-based therapy space, a research and education center on air pollution and air filtration technology, and commercial areas to complement the building's facilities. The empathy emphasized is towards the people of Jakarta, particularly their health risks. The building is envisioned to be a facility for healthy air processing accessible to everyone, aiming to empathize with the community and its health conditions by implementing modern air filtration technology capable of filtering harmful pollutants in Jakarta's air. Keywords: air filtration technology; air purification architecture; empathetic program; experimental rationalism Abstrak Jakarta menginjak peringkat 10 besar sebagai kota dengan polusi tertinggi di dunia. Disini arsitektur bisa berperan untuk membantu reduksi polusi udara, dengan cara mengimplementasikan teknologi penyaring udara dalam bangunan. Metode desain ini merupa penerapan eksperimental rasionalisme yang belum pernah dicoba sebelumnya. Menggunakan penerapan eksperimental rasionalisme, teknologi penyaring udara dalam desain dijadikan basis program empatik dalam bangunan, dimana pengolahan udara bersih yang diproduksi oleh bangunan tersebut dijadikan kegunaan utama bangunan, yang bertujuan untuk menyediakan fasilitas ruang sehat kepada masyarakat umum yang kesehariannya terancam oleh resiko kesehatan dipicu oleh polusi udara. Program yang dimunculkan adalah ruang terapi berbasis udara sehat, pusat riset dan edukasi polusi udara dan teknologi penyaring udara, serta area komersil untuk melengkapi fasilitas bangunan. Empati yang diambil merupakan empati terhadap masyarakat Jakarta. Empati terhadap kesehatan mereka yang di ancam oleh resiko kesehatan. Bangunan ini menjadi sebuah fasilitas pengolahan udara sehat yang dapat diakses oleh semua orang, dan bertujuan untuk berempati terhadap masyarakat dan kondisi kesehatannya dengan cara menerapkan teknologi modern penyaring udara yang dapat memfiltrasi polutan buruk di udara Jakarta.
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Bork, Robert, Robert Mark, and Stephen Murray. "The Openwork Flying Buttresses of Amiens Cathedral: "Postmodern Gothic" and the Limits of Structural Rationalism." Journal of the Society of Architectural Historians 56, no. 4 (December 1, 1997): 478–93. http://dx.doi.org/10.2307/991315.
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This study sets out to test assumptions about openwork flying buttresses of the type used in Gothic buildings from the mid-thirteenth century. The employment of such units has been associated with the "decadence" of Gothic architecture. Arguing that the deployment of the first such flyers responded to special circumstances at each of the buildings in question, the authors proceed to test the structural performance of the newfangled flyers of the Amiens choir and to correlate the findings with an archaeological investigation of the edifice itself. The openwork flyer is thus placed within a broadly conceived framework of theory and practice.
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BELDEAN, Laurentiu, and Ciprian ȚUȚU. "Disinhibition of the public through-performance (III)." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 25, 2021): 7–16. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.1.
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The paper tackles the impact of the stage performance upon the public, the algorithm through which the theatrical event entered in the captivity of mass manipulation and the development of the dramatic concepts, aiming to decode the implied power relationship between scene and audience, thanks to the evolution of philosophical thinking from genuine scepticism to modern rationalism, from judgment of taste to critical judgment and social activism. Further, in the psychological key, the consequences of the dual division of the show space, the sociological markers in theatre architecture and the pattern of the Wagnerian scenic space were studied, allowing insights into the history of mentalities and into the pattern of art reception.
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Beldean, L., and C. Tutu. "Disinhibition of the public through happening- performance (IV.)." Bulletin of the Transilvania University of Braşov Series VIII Performing Arts 14(63), no. 2 (January 20, 2022): 21–30. http://dx.doi.org/10.31926/but.pa.2021.14.63.2.2.
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The paper tackles the impact of the stage performance upon the public, the algorithm through which the theatrical event entered in the captivity of mass manipulation and the development of the dramatic concepts, aiming to decode the implied power relationship between scene and audience, thanks to the evolution of philosophical thinking from genuine skepticism to modern rationalism, from the judgment of taste to critical judgment and social activism. Further, in the psychological key, the consequences of the dual division of the show space, the sociological markers in theatre architecture, and the pattern of the Wagnerian scenic space were studied, allowing insights into the history of mentalities and into the pattern of art reception.
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Cucco, Pasquale, and Agustin Mariano Santoro. "Holistic Approach in Recovery and Conservation of Modern Architecture as Sign of Historical Identity." ATHENS JOURNAL OF ARCHITECTURE 7, no. 4 (September 3, 2021): 441–62. http://dx.doi.org/10.30958/aja.7-4-2.
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In 20th century a new ideological paradigm emerged in architecture, leading to mutations of function, form and technology, and marking a break with the traditional configuration of spaces, compositional and aesthetic forms. This trend has imposed an architecture based on simple and functional shapes and industrial materials, without excessive ornamentation. Through some selection criteria it is possible to recognize in the modern production “signs and meanings” of historical-documentary value, to be preserved and protected. Currently, there is a lack of consensus in local and national regulations on the criteria to be used for the selection of works to be recovered rather than demolished, on the materials and construction techniques or about the interventions on the Modern Movement architecture, often guided only by economic criteria. The main challenge is how to recover the existing heritage and adapt it to the necessary conditions of habitability, functionality and sustainability of the XXI century, without breaking with its own identity characterized by rationalism, functionalism and industrialized technology. Through a case study in Argentina, this research intends to propose a methodology for the selection of modern works in order to apply recovery and conservation interventions and to guide any projects according to a holistic approach.
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González Presencio, Mariano, and Juan Bautista Echeverría Trueba. "¿Racionalismo sin vanguardia? Pedro Muguruza en el Paseo de La Concha de San Sebastián = Rationalism without avant-garde? Pedro Muguruza at the Paseo de La Concha in San Sebastian." Cuaderno de Notas, no. 21 (July 31, 2020): 98. http://dx.doi.org/10.20868/cn.2020.4474.
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ResumenEn el Paseo de la Concha de San Sebastián existe una casa proyectada por Pedro Muguruza antes de la guerra civil y construida tras el final de la contienda. Se trata de una sencilla construcción no exenta de interés, tanto por su valor arquitectónico, recogido en distintas catalogaciones del patrimonio arquitectónico de la capital donostiarra, como por ser una de las primeras sustituciones que se produjeron en los palacetes que formaban la fachada de la Concha en los comienzos del siglo XX. Pero, lo que hace más interesante la revisión de este inmueble, más allá de estos aspectos, son la personalidad del arquitecto autor del proyecto, y las fechas concretas en que fue proyectado y construido. Circunstancias que se utilizan para desarrollar una breve reflexión crítica sobre la causa de la arquitectura moderna –y de la arquitectura en general- en España en esos convulsos momentos, teniendo en cuenta la formidable barrera que supone la guerra civil y el papel protagonista que su arquitecto iba a desempeñar en la arquitectura española en los primeros años del nuevo régimen franquista.AbstractAt the Paseo de la Concha, in San Sebastian, stands a housing block designed by Pedro Muguruza before the civil war started and built after the end of the conflict. It is a simple construction but is not exempted from interest, not only because of its architectonic value, listed in different publications of local architectural heritage, but also to be one of the first substitutions that took place in the small palaces conforming the city waterfront at the beginning of the XXth century. However, what make the review of this property more interesting, beyond these aspects, are the personality of the architect and the specific dates when it was designed and built. These circumstances are used to develop a short critic thought about the cause of modern architecture -and architecture in general- in these turbulent moments in Spain, taking into account the formidable barrier that the civil war represents and the leading role that its architect was going to perform in the spanish architecture along the first years of Franco regime.
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Hernández Pezzi, Emilia. "Adolf Behne y la arquitectura moderna = Adolf Behne and the modern architecture." Cuaderno de Notas, no. 15 (November 28, 2014): 83. http://dx.doi.org/10.20868/cn.2014.2959.
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Adolf Behne fue un lúcido crítico alemán de entreguerras. Participó activamente en la evolución de las corrientes culturales de ese tiempo y, pese a su implicación en ellas, las interpretó y valoró con objetividad y acierto. Relacionó arte y arquitectura, entendiendo que sólo un fuerte compromiso social podía fundamentar este vínculo, y así logró detectar la continuidad entre experiencias tan aparentemente distantes como el expresionismo y el racionalismo moderno y enlazarlas con las tendencias funcionalistas ortodoxas de finales de los veinte. Desde sus privilegiados contactos con artistas y arquitectos observó, analizó, juzgó y actuó como agente catalizador de las intensas transformaciones que caracterizaron aquel tiempo convulso, seleccionando con hábil criterio los personajes que mejor las representaron. Abstract Adolf Behne was a lucid German critic from the period between the wars. He was actively involved in the evolution of the cultural trends of the time and, despite his own implication, he interpreted and valued them correctly. He related art and architecture, and understood that only a strong social compromise could found this link, being able this way to detect the continuity between aparently distant experiences such as modern expresionism and rationalism and link them with the ortodox funcionalists trends from the end of the 1920s. From his privileged contacts with artists and architects he observed, analized, judged and acted as a catalyst for the intense transformations that marked those turbulent times, skilfully selecting the characters that pictured them best.
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Mrlješ, Rade. "The Energoprojekt building in Belgrade, designed by architect Milica Šterić: High modernism as a paradigm of urban conservation." Nasledje, no. 21 (2020): 125–38. http://dx.doi.org/10.5937/nasledje2021125m.
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In examining the urban heritage, which has often been fragmented in Belgrade as a result of different social and political circumstances, the issue of the choice of methodology is often raised in urban conservation. The present paper will propose to consider along these lines the role of high (second) Modernism in the architecture and urban development of Belgrade. The strategies of urban conservation focusing on the main issue of the synthesis of the historical and planned structure would be directed towards the Modernist phenomena which are established as a platform structure of the urban conservation of Belgrade's spatial cultural and historical units. The present research analyses the potential and possibilities of implementing the postulates of the Modernist creative efforts in the contemporary architectural, urban planning and conservation theory and practice, with the analytical basis in the seminal work of architect Milica Šterić (1914-1997) - the Energoprojekt building (1956-1960), located in Zeleni Venac Square in Belgrade. This study, which is based on certain aspects of the high Modernism, namely rationalism and neutrality, aims to point out a number of issues in the current globalist textualism, in which concepts of high Modernism and internationalism are evidently manipulated in the historical urban contexts of the city.
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Rösch, Felix, and Andreas Buss. "Bauen für das wirkliche Leben." Architectura 48, no. 1-2 (January 1, 2018): 32–54. http://dx.doi.org/10.1515/atc-2018-1004.
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Abstract In Summer 1930 the tenement houses with galley access, the so-called Laubenganghäuser, were completed in Dessau-Törten. The project reflects the radical rationalism of Bauhaus director Hannes Meyer as well as his sensitivity to the needs of everyday life. The buildings can be considered like organisms with their own specific metabolism. Appreciated a UNESCO World Heritage Site, they have recently been examined in highest detail by an interdisciplinary team ranging from architects to archaeologists. By excavations and the review of rediscovered archival sources, it became possible to reconstruct the state at which the Laubenganghäuser were created. Furthermore, conclusions about the lives of the first residents could be drawn. Aspects of everyday life in a Bauhaus building as well as historical events appear as if under a magnifying glass.
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Vivas Ziarrusta, Isusko. "Build the city: modernity and neo-rationalism between symbolism and functionality. A view from Europe to the architecture of Latin America." Estoa 5, no. 9 (July 1, 2016): 63–78. http://dx.doi.org/10.18537/est.v005.n009.05.
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