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A Window of Opportunity: A third, and Domestically focused, Modern Movement in South Africa
Full text linkThe effects of climate change, resource depletion, and volatile economic circumstances require a reflection on current design approaches that can be gained through lessons from the original and mediated intentions of the Modern Movement. An important example can be found in South Africa before WW II, where the introduction of standardized building materials, particularly metal-framed windows, generated unique, mediated Modern Movement-inspired domestic interiors resulting from responses to a burgeoning industry, physical context, and functionalist attitudes to human activities.The clarion call of the Modern Movement for an architecture of economy, efficiency, and health underlined Le Corbusier’s “Cinq Points de l’Architecture Moderne” (Curtis, 1996, p. 175). This dictum was transmigrated to South Africa through the work of the zerohour Group formed in 1932. Unfortunately, the starkness of the ‘foreign’ architecture did not resonate with the general public, while interiors overheated and flat roofs leaked in the summer. In 1936, Iscor, a South African company, began assembling standardized metal window frames. Architects like Norman Eaton, Hellmut Stauch, and Robert Cole Bowen, sensitive to local contexts, utilized these metal window frames to create unique architectural interiors. The windows and associated modules not only provided an economical construction and structural logic through planning efficiency but generated more contextually and climatically related interiors, healthier internal environments, and fluid internal-external relationships.This article delves into the origins and impacts of the Modern Movement in Johannesburg and Pretoria, focusing on the transformative influence of the standard metal window. Then, the bioclimatic, technological, and spatial effects of these windows on residential interiors and their lasting legacy will be highlighted
Shifting Paradigms Between Modernism and Tradition: The Case of Tashkent
Full text linkThe global dissemination of modernist architecture reflects an intricate interplay between universal principles of design and regional adaptations, often shaped by sociopolitical ideologies and local traditions. Tashkent, the capital of Uzbekistan, serves as a compelling example of this phenomenon, illustrating the fusion of global and socialist modernist ideals with Central Asian heritage. This paper explores the emergence of Tashkent’s modernist architecture, focusing on its transformation in the 20th century through three interconnected dimensions: a brief theoretical framework focusing on the global origins and regional responses of Modernism, its reinterpretation in Tashkent’s Soviet-era urban development, and the localized adaptations that integrate regional decorative and architectural elements, climate-responsive features, and cultural narratives. The study traces Modernism’s journey from its European roots to its adoption in socialist and postcolonial contexts, emphasizing how, in the second half of the 20th century, Tashkent became a laboratory for architectural innovation. Through the analysis of emblematic buildings, the paper highlights how modernist principles were reimagined to address regional conditions and to integrate Eastern ornamentation and traditional spatial practices. Despite the rich cultural synthesis achieved in Tashkent’s modernist heritage, these buildings face challenges in preservation due to post-Soviet identity shifts and rapid urban development. Thus, the paper concludes by examining emerging conservation efforts, highlighting the importance of these architectural achievements in advancing a deeper understanding of the dynamic interaction between global modernism and local influences. Tashkent’s 20th-century architectural legacy not only represents a significant chapter in the history of modernist architecture but also serves as a unique lens through which to reconsider the complexities of cultural identity, globalization, and architectural preservation
Domesticity in Times of Crisis: Peter G. Harnden’s house in Orgeval: Modern Hybrid Transatlantic Interiors
Full text linkIn 1952, both the French magazine L’Architecture d’aujourd’hui and the Italian magazine Domus published a small house built by an American architect on the outskirts of Paris for his personal use. The outsider they highlighted to was Peter G. Harnden, the architect who directed the American propaganda campaigns in Europe in the postwar period.This was not a new project but a renovation. A single house with the characteristics of the traditional houses was not sufficient for the model of domesticity practiced by the architect. Moreover, Harnden needed the house as soon as possible. Therefore, the operation consisted of joining two small vernacular buildings in the small French village of Orgeval: a house and a barn. The strategy was completed with a garden that resulted from the demolition of four other buildings.Inside, the architect exhibits an interest in objects of everyday life and authorized designs that extend throughout the spaces of the house. Furniture from the Eames, Prouvé, or the Viennese school is mixed with African rugs, mats, wicker plates, German porcelain, and different versions of vernacular stools. This studied and photogenic accumulation of pieces and ornaments supposedly made the house a more comfortable, fun, and pleasurable experience. It was a fundamental characteristic of the American Way of Life launched to the world by the United States of America, of which Harnden was a loudspeaker in Europe for more than a decade.Consequently, in this work, the American architect would interweave architecture and domesticity in postwar Europe through the combination of respect for a well-understood tradition and the materialistic world typical of his place of origin. This, in part, helps to understand the exoticism with which the magazines mentioned this project. The study and analysis of this hardly known case include its deliberate diffusion and propagandistic impact, in which the design of the interior space is crucial in a context of crisis and emergency in devastated Europe
From Nubia to Khartoum: The Politics of Constructing the Sudan National Museum
Full text linkIn April 2023, just weeks after the armed conflict broke out in Sudan, the National Museum was damaged by fire and later broken into by the militias of the Rapid Support Forces. In the months to come, it would be reported that a part of the museum’s collection of over a hundred thousand priceless antiquities was looted. These events chronicle the most recent entanglements of the Sudan National Museum with politics and power relations in Sudan. However, examining the museum’s history unveils deeper connections to pivotal moments in the nation’s history. The museum’s colonial roots, as a building, archive, and educational institution, reveal how the British perceived it as a potential tool for establishing sovereignty over Sudan through the politicization of archaeology. As the project was given new life after Sudan’s independence, external influences continued to shape the museum when it became entangled in the geopolitics of the Nile Waters Agreement and the construction of the Aswan High Dam. The International Campaign to Save the Monuments of Nubia, launched by UNESCO in response, was a vital moment during which the endangered Nubian antiquities were ‘displaced’ to the museum. While the museum was positioned as a repository for cultural heritage protected by conservation law, the museum building itself fell outside of this protection because it does not apply to modern heritage.Since the museum is a national project, it would come to be governed by the politics of Sudan’s successive military governments, each leaving its imprint on the project. All these political influences cannot be separated from the museum, rendering it an archive of critical moments that shaped the country. Unraveling this archive allows us to trace the interwoven threads of displacement, national identity, and representation embedded within the museum complex. It allows us to understand the museum not merely as a static collection of objects, but as a dynamic reflection of Sudan’s evolving socio-political landscape
Layers of Modernism
Full text linkThe idea for this special issue was born during the Imperfect Modernism conference in a discussion with the guest editors Liutauras Nekrošius and Kateryna Didenko. Held in Vilnius in May 2024 and organized by the guest editors of this special issue, the conference brought together scholars, architects, and experts in heritage preservation from Canada, Cyprus, Eritrea, Georgia, Germany, Israel, Kosovo, Lebanon, Lithuania, Poland, Portugal, and Ukraine. A wide range of issues was discussed, highlighting the uniqueness of regional adaptations in conservation, restoration, and adaptive reuse of buildings, sites and neighborhoods of the Modern Movement shaped by each country’s political, economic, and socio-cultural factors, while also revealing shared patterns.Turning to the discussion on the concept of Modernism, it is worth noting that different manifestations and perceptions of modernist heritage have evolved throughout the 20th and 21st centuries across diverse contexts and value systems. Scholarly debates, conservation practices, international initiatives, and local experience have shaped the concept as layered and flexible, now encompassing not only doctrinal modernist works and interpretations but a broader spectrum of modernities
Questioning the Wet Space: A Comparative Analysis of Health and Hygiene in Modern Apartment Interiors in Turkey
Full text linkWhile the modernist discourses of the 20th century pretended to solve all the problems of daily life through the acts of standardization, unification, and scientific progress, the modernist practice incorporates its advancements and conflicts within the same built environment. One such discourse is on domestic health and hygiene, which proposes to integrate various functions of bathing, cleaning, washing, and defecation within the so-called volume ‘wet space’, equipped with modern utilities. It is questionable how healthy and hygienic such a spatial model is compared to traditional domestic life, in which most of these functions have been segregated and/or performed according to cultural norms. This neglected problem has become evident with long-term lockdowns due to the COVID-19 pandemic, especially in apartment blocks where all inhabitants have to share a single wet space throughout the day. This paper questions whether the modernist discourses of health and hygiene function properly in modern domestic architecture and how the conflicts of wet space can be read. Accordingly, we concentrate on selected apartments in Turkey that were built between 1950 and 1970 and are still in use today: Ataköy Housing Estate, Phase I-II, and Yeşiltepe Blocks, developed and built by the Emlak Kredi Bank. Through scholars’ and architects’ discourses and practices on domestic hygiene derived from articles and architectural drawings in national archives, the paper provides a comparative analysis of wet spaces in these apartments in terms of their location within the spatial layout, the utilities and materials applied, as well as their privacy level. The analysis shows that the limitations of the wet space in these modern apartment interiors reveal the possible risks to domestic health and hygiene, particularly in times of pandemic
Migrating Modernist Interiors: Reception and Adaptation of Finnish Prefabricated Wooden Houses in Silesia, Poland, in the Postwar decades
Full text linkAfter World War II, Finland and Poland needed swift housing reconstruction. In Finland, the solution was prefabricated, wooden detached houses, which soon were exported globally. In 1947-48, Poland imported around 4,000 Finnish houses to the mining areas in Silesia. The architecture was based on domestic Finnish models developed from modernist housing ideals. The division of the interiors focused on rational usage of space, labor, and hygiene. Today, most of the buildings are preserved, and it is possible to track the adaptations of the architecture from foreign temporary structures to local homes and heritage to provide data for developing future reconstruction architecture.This article analyzes how Finnish modernist ideals on home and housing were circulated internationally by exporting prefabricated wooden housing to reconstruction areas in Upper Silesia. The main questions relate to how the Finnish ideology on modernist housing and interior planning was adapted to the local culture of home and housing in Silesia and what can be learned from the reception and adaption of the interiors when designing housing for reconstruction after crises today. The article is based on archival material from Finland and Poland, such as architectural drawings, maps, and documentation on trade and export. The main methodologies are architectural and design analysis combined with historiographic reading of archival data and literature. The article shows how architecture with interiors planned for Finnish domestic use became integrated into the Silesian home culture, transforming temporary housing into permanent homes
Body and Distance: Learning Connectedness and Belonging from Modern Movement – Case Study New Belgrade
Full text linkThe boundaries between the private, shared, and public spheres are challenged in completely new ways in times of pandemics, and we need new strategies to redefine them. During pandemics, prevailing requests for physical distancing in the urban space eliminated the programs from everyday lives that all have included social interaction, exchange, and connectedness. So, the request for physical distance caused actual social distance, which further brought new problems of solitude and isolation to the individual in the urban environment. How can architecture and design help to provide physical distance while maintaining social closeness, empathy, and solidarity in cities?Modern Movement heritage, especially in the countries that were under socialist political regimes, teaches us that shared spaces, collective spaces as part of public spaces, are places in which community is being formed and strengthened, where new forms of affiliation and belonging arise. The socialist paradigm emphasizes the importance of open public spaces within the residential zone as places for maintaining physical activity and health, as well as social interaction. By examining the modernist development of New Belgrade through a comparative analysis of two case studies focusing on the same area—specifically, the blocks known as Blok 22—we can reinvigorate the concept of the connection between the interior and shared spaces.The specific values of open spaces within the residential modernist block have proven to be particularly important during times of crisis, such as the COVID-19 pandemic, especially regarding the degree of connectedness or separation between private and public spaces. During the pandemic, a student workshop was organized, resulting in projects that offered new architectural scenarios and models for using shared spaces in a residential block. These models allowed for the preservation of physical distance among individuals while enabling social interactions and even the emergence of new programs as an extension of housing. The workshop highlighted the importance of this concept not only during crises but also in contemporary living conditions in large cities, which struggle with issues of alienation and loneliness
Authority to Liberate the Ottoman Legacy: Double Decentralization in Dušan Grabrijan’s and Juraj Neidhardt’s Theoretical Narrative
Full text linkOne of the most striking elements of Dušan Grabrijan’s and Juraj Neidhardt’s oeuvre is the extent and freedom of associations with the contested Ottoman legacy in the first decades of the socialist era in Bosnia and Herzegovina, as seen in their book Architecture of Bosnia and the Way towards Modernity. Such freedom primarily resulted from the increasingly favorable political environment that permitted and encouraged decentralization from the predominantly negative portrayal of the Ottoman past.This paper seeks to unravel the structure and sources of the main discourses used by Grabrijan and Neidhardt in Architecture of Bosnia to deal with the stigma of the Ottoman heritage. We argue that they utilize a certain syncretic language that reflects their own and varied experiences within the Orient-Occident borderline. We assert that their first generating discourse is that of modernism, while the second one revolves around the so-called ‘close neighbor’ or ‘domesticated foreigner’ perspective on the Orient. The premise of Grabrijan’s and Neidhardt’s first position is argued through the parallels of their narrative and the inherent modernist authorization to operate with scientific displacement. The premise of the second position is confirmed through contact nodes with the local differentiated orientalist discourse, which Heiss and Feichtinger (2013) define as distinct in relation to Said’s general concept of oriental Otherness as formulated in Orientalism (1978).In addition to plunging into the dualistic nature of Grabrijan’s and Neidhardt’s work on the lines of modernism and otherness, center-periphery, the conclusions of the paper point to the broader problem of the controversies of the Bosnian and Herzegovinian heritage, where the relationship of modernism towards/with Ottoman heritage is still an underrepresented subject
An Architect's House in Curitiba: A manifesto project by Manoel Coelho
Full text linkThe study object of this paper is architect Manoel Coelho’s (1940-2021) house in Curitiba, Brazil. The main objective is the historiographical documentation and descriptive analysis of the residence’s architectural design. Projected by the architect and built in 1980-81, it is located on an urban plot in a residential neighborhood in Curitiba. It is characterized by the use of fair-face concrete and utilizing color as the main design element. This article begins with a description of the architect’s biography and then of the project itself, firstly through an analysis of the existing bibliographic references and then through a descriptive analysis of the house. The result of the documentation is a reproduction of the original project through plans, sections, and elevations. In parallel, current photographs taken during a survey illustrate the description. Through all these materials, we can better understand the effectiveness of the project documentation methodology and the contribution of this survey to new research on related subjects and, of course, on the production of this architect and others, whose work is still little researched and published