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THE FUTURO HOUSE IN LIMNI, CORFU: A Living Space
Get PDFThe restoration of the Futuro house in Corfu is complicated by being both an art object and a living space. The glass-fiber reinforced polymer (GFRP) materials showed damage that could be related to ageing and exposure to the local, unfavorable environmental conditions (light, humidity and temperature). In order to establish the technical condition of the building, non-destructive techniques were used. Additionally, indoor air quality was tested. The research has shown that the most relevant causes of damage to GFRP materials are moisture, exposure to sunlight and thermal changes. The intervention strategies applied so far are not conclusive. Maintenance is always needed. Further investigations are deemed necessary to understand the properties and state of conservation of the materials at a micro scale
EXHIBITING MODERNISM IN UKRAINE
Get PDFThe Triennial of Modernism originated in 2013 from a cooperation between Berlin, Dessau and Weimar in Germany. Since then, the cultural, architectural and intellectual heritage of the epoch has been brought into the focus of the general public every three years, so far in 2013, 2016, 2019, and in 2022. The festival grew as a bottom-up and cross-sectoral network, with rising partnerships in Germany and abroad—projected to become a European Triennial of Modernism. A cross-city motto is determined in advance, which can also take into account special anniversaries or theme years. In 2022, a special focus takes a closer look at the roots and the heritage of Modernism in Ukraine, for a trans-European consideration of historical references and protagonists
A step towards education for reuse
Get PDFFrom 6 to 9 September 2016, the major event concerning the discussion on the reuse of Modern Movement buildings and sites occurred in Lisbon: the 14th International docomomo Conference. More than 500 people from five continents came together, around keynote and paper sessions, round-tables, tours and workshops, to discuss the subject “Adaptive reuse. The Modern Movement towards the future”. It not only gave rise to the most up-to-date scientific result on the topic – the homonymous proceedings –, as many other strengths and initiatives were driven from that moment on. The research project RMB - Reuse of Modernist Buildings was born from this gathering, in parallel to the first paper session in docomomo conferences specifically dedicated to “Education for Reuse”
Architect Friedrich Weinwurm: New Path: Exhibition at the Slovak National Gallery Bratislava, Slovakia, 25 January – 20 May 2018
Get PDFThe Adaptive Reuse of the Lisbon Riverside Area: the MMC Case Study: International docomomo Workshop
No full textLisbon, Portugal, 201
74–14 SAAL and the Architecture#: International Colloquium
Get PDFSAAL (Serviço de Apoio Ambulatório Local), Local Ambulatory Support Service, was a program for the construction of houses in poor neighborhoods. It followed the revolu- tionary process which, in 1974, brought to an end half a century of dictatorship in Portugal. Although properly contextualized in a very specific historical process, nowadays it is still a tool to think, to question and to debate the issues and challenges of housing as well as its ineludible proximity to architecture
THE GLOBAL PETROLEUMSCAPE AND ITS IMPACT ON DESIGN PRACTICE
Get PDFOver the last century the petroleum industry’s rapid growth has been accompanied by a steady flow of aggressively promoted petroleum-based products. The petroleumscape’s spatial expansion and visual representation achieved widespread citizen buy-in. Following World War II the use of plastic materials in the building industry significantly increased through efforts from architects and industry leaders. The House of the Future, built by MIT architects, the Monsanto Chemical Company, and Disneyland exemplified a modern lifestyle: clean, functional, and fun. The architectural and technocratic dream of a mass-produced, fully plastic house that seemed possible in the post-war years did not survive the subsequent commercialisation of the plastics industry in the 1960s and 70s
CHALLENGES OF ARCHITECTURAL ARCHIVING IN UKRAINE
Get PDFThe history of the Ukrainian state, as well as the history of Ukrainian architecture in the 20th century, was more than turbulent. Wars, revolutions and changes in architectural development according to the course of the political establishment had a negative impact on archiving and preserving the memory of previous periods. Unfortunately, since the full-scale Russian invasion on February 24, numerous monuments, buildings and heritage sites have been exposed to danger again or have already been destroyed. By November 7, 2022, UNESCO confirmed the destruction or war damage of 213 cultural heritage sites in Ukraine: 92 religious buildings, 77 historical buildings and cultural institutions, 18 monuments, 16 museums and ten libraries.But despite all the difficulties, Ukraine’s main symbol and outpost of architectural archiving still remains safe—the State Scientific Research Library of Architecture and Construction, named after Volodymyr Zabolotny. In Ukraine, there is still no museum of architecture or research center, but there is the Library.1 It is considered not only a library but also a museum and a scientific architectural center hosting conferences, exhibitions and preserving architectural memory in Ukraine
THE INTERNATIONAL COMPETITION FOR THE STATE UKRAINIAN THEATER (1930): Application proposals from Japan
Get PDFEven although the International Competition for the State Ukrainian Theater (1930) did not result in any construction, it was a major landmark of Modernism in Ukrainian architecture. The competition received 144 entries from Soviet Union states and other countries, including four individual and one team proposals from Japan. Of these, Renshichiro Kawakita, a 29-year-old architect from Japan, was awarded the fourth prize and ranked higher than world-famous architects and designers like Walter Gropius, Norman Bel Geddes, and Hans Poelzig. This article deals with the modernist architectural scene in Japan around 1930 by introducing Japanese modernist architects’ applications to the competition. The structure of this paper is as follows: The introduction presents the four groups of applicants from Japan, and highlights the tense shipping deadline faced by Kawakita based on a retrospective by his collaborator. The main part points out that the proposal from Japan understood the organizer’s purpose to seek new ideas for theaters as cultural facilities for the proletariat via this competition, and designed it in line with that purpose. In this regard, Kawakita’s effective presentation in the drawings led to his prize. It also examines Kawakita’s architectural philosophy based on his comments after winning the prize. Kawakita praised functionalism and anti-aesthetics and believed that new architects should be engineers (rather than artists) with “inventor” nuances. This idea resonates with the international avant-garde ideas of the time in modernist architecture
