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- The settlements design of the Boalhosa’s agricultural colony. A dialectical perspective: between tradition and the construction of modernityPublication . MARCOLIN, PaoloThe design of the settlement in the Agricultural Colony of Boalhosa results from an understanding that privileges compact solutions, making the most of the conditions of the topography and respecting the morphology of the natural landscape. In turn, the architectures associated with this design were designed taking advantage of these conditions, considering them as a fundamental data of the preexistence. However, this understanding did not fail to concern itself with the principles of modern architecture, thus seeking solutions capable of establishing a relationship of continuity between tradition and innovation, between the roots of the vernacular and the paradigm of the modern. By valuing the site's specificities and exploring new technical possibilities, this search adopts a strategy that is typical of Critical Regionalism, to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place (Frampton, 1983). Not excluding possible relationships with notable examples of the movements Garden City and City Beautiful, in the urban and architectural solution seems to prevail, above all, an attitude of adaptation to the place and agreement with the materials and language of the region.
- The Search for a Contemporary Finnish Architecture. Adaptations of the vernacular tupa in the oeuvre of Herman Gesellius, Armas Lindgren, Eliel Saarinen, and Alvar AaltoPublication . NEZIK, ChristinThe impact of vernacular architecture on Finnish architects in the early 20th century has been associated with the search for a national style and the construction of a national identity. However, the adaptation of the vernacular cannot only be seen from this nationalist point of view. Other reasons must be emphasized as well when explaining the exploration of the rural Finnish periphery since the late 19th century and the related interest in the vernacular building heritage. The need to find a contemporary architectural language that reflects modern life in an industrialized country, the attempt to escape the facade architecture of historicism and to achieve an architecture based on the requirements of life, the longing to return to a unity between nature, architecture and humans all explain the increasing interest in anonymous buildings of the periphery. The vernacular is understood as an alternative reservoir of forms and concepts. The discourse in 20th century Finland is reflected in the values attributed to vernacular buildings by the protagonists of the centre and forms the basis for their translation into modern architecture. In the process of adaptation, architectural qualities of the vernacular and international modern tendencies are combined. At the turn of the century, e.g. the vernacular tupa – the main room of the Finnish farmstead – is translated into the spatial concept living hall that originated from 19th century English country house architecture. In the 1930s-1950s, the tupa is used as a point of reference for an open floor plan according to a space continuum. The adaptation of the vernacular must be seen in the context of a reciprocal exchange of ideas, an international discourse about the vernacular throughout Europe and North America that Finnish architects participated in. Vernacularism must be understood as part of an ambiguous architectural modernity.
- Agrarian Ideals in American Architecture SchoolsPublication . ESENWEIN, FredIn the United States, the school stands out as a building type attempting to coalesce American modernism and agrarianism. Stylistically rural schools built since the mid-twentieth century are typically modern, yet a few hint at representing an agrarian ideology that has persisted from Thomas Jefferson. Two case studies topically illustrate changing attitudes of agrarianism as found in school architecture over the last 75 years - Richard Neutra’s unbuilt “School in the Neighborhood Center” (1944) and the Buckingham County Primary + Elementary School (2012) in Virginia by VMDO Architects. The former school appears at the transition from schools built for small towns to city suburbs while trying to preserve and embody aspects of a Jeffersonian agrarian society, a political orientation. The latter school design is a recent school project in a rural county expressing the qualities of the local land, an ecological orientation. Together, these schools suggest some possibilities and limits of associating agrarianism with architecture.
- An American ‘Parthenon’. Walter Gropius’s Athens US Embassy Building between Regionalism, International Style and National IdentitiesPublication . PEGIOUDIS, NikosIn 1954 the United States, embarked on an embassy-building program that sought to represent its expansive foreign policy by means of a bold embrace of modernist architecture. For this purpose, the Foreign Buildings Office issued a set of new guidelines asking architects to present designs for buildings that would be modern, open to the local traditions of the host country and American at the same time. Walter Gropius’s The Architects Collaborative was among the architectural firms that managed to obtain such a commission for the US embassy in Athens, Greece. The designs were officially presented in 1957 (the building was inaugurated in 1961) and were supposed to achieve a balance between a regionalist sensitivity, a dedication to the principles of Modern architecture and the United States’ national claims. Gropius predictably underlined Parthenon as the source of his inspiration and resorted to an extensive use of ‘classical’ Greek marble which was combined with standard modernist techniques and materials. But how could an International Style stand at the same time as national and open to regionalist loans from the Greek classical and vernacular tradition? This paper examines the Athens embassy building as a watered-down intersection between regionalism and modern architecture, a kind of populist modernism which prefigured or were typical of a crisis of both regionalism and modernism. The regionalist/classical connotations of the building are framed in a postcolonial context which casts a new light on this controversial attempt towards a new type of International Style.
- Rogério de Azevedo’s Regionalist DriftPublication . PIMENTEL, Jorge CunhaThe work of architect Rogério de Azevedo—mostly built between the late 1920s and the 1940s—always included the recourse to regionalism, whether as a response to government programs or as the architect’s own initiative. Decisive for him was the between the city project the rural project Despite the State’s ability to work with regional types that could be constructed in series, purportedly in line with local sensitivities, a number of constraints and technical led the architect to adopt techniques and to appropriate languages into a singularly personal interpretation in which the modern and the vernacular are combined. If in some cases State order was determinant, in others, particularly in projects of the late 1920s and early 1940s, the architect and his vision of the relationship between the placements, of the available materials and the expressive values that inform his work, are the reason of being of his works.
- The patient searching of new forms of local architecture. Micro-intervention as the strategy of preservation of genius loci in GrisonPublication . JANOWSKI, MaciejThe research concerns methods of preservation of significant values of cultural landscape in the area of Grisons. These methods comprise both multi-stage urban planning regulations as well as ingenuity of architects focused on the development of local building traditions and protection of historical buildings. Architectural micro-interventions play an important function here. They limit excessive expansion of towns and villages and at the same time preserve the historical structures and development outline. The method of patient search for the right spatial and formal solutions has developed under the negotiatory nature of cooperation of the architects and the inhabitants and the perception of a commune as a client/investor. Thus, despite changes, any activities in the social and architectural spheres represent continued identification with a place. Confrontation of new trends, tendencies and ideology with strong and deeply felt tradition and environment deemed to be a significant value, verifies the assumptions of such new trends or tendencies, and in consequence adjusts or rejects them respectively. Changes are introduced on the condition that they are well thought of and blended with the historical and cultural continuum.
- The Palace as Type. Finding Regionalism in Soviet ModernismPublication . BIGHAM, AshleyIn a building campaign which spanned across all Soviet Republics, public “palace” buildings were the cornerstone of the architectural image which defined a political regime. At the time of their construction, the palaces were categorized primarily by program—wedding palaces, sports palaces, cinema palaces, youth palaces and cultural palaces. This paper will compare key sites of Soviet modernism (1955-1991) in three countries surrounding the Black Sea: Ukraine, Georgia and Armenia. Using these countries as case studies, this paper will discuss two important aspects of regionalism found in these works—first, the relationship between a universal program type and the local specificity signalled by the building’s original design through the use of specific construction materials, ornamentation, and cultural references; second, the transformation the building underwent after 1991 adopting or rejecting new regional affiliations related to its geographical and political location.
- Lewis Mumford, Henry-Russell Hitchcock and the Rise of “Bay” RegionalismPublication . PARRA-MARTINEZ, Jose; CROSSE, JohnIn the fall of 1949, the San Francisco Museum of Art held Domestic Architecture of the San Francisco Bay Region. As an illustrated manifesto of Lewis Mumford’s regional stance, the exhibition epitomised one of the major turning points in the postwar debates surrounding the question of the autonomy of a truly American modern tradition. Unlike Mumford’s 1941 first sight appreciation of the complex reality of Northern California –resulting in an enduring love affair with several generations of its architects, urban planners and social reformers, from William Wurster to his Telesis protégés–, Henry-Russell Hitchcock’s evaluation of West Coast architecture was not very high, and his early elucidation evolved through ambivalent considerations. However, as this study tries to demonstrate, the 1949 show would contribute to mellowing the Eastern critic’s strict formal and visual criteria delimiting his and Philip Johnson’s International Style definitions, which ultimately led him chair the 1962-66 Modern Architecture Symposia at Columbia University to reassess the American reception of European modernism. Conversely, this paper aims to examine the extent to which the conflict of perceptions and interests between the two Coasts brought about the 1949 show as part of a well-orchestrated campaign that had begun around a decade before Mumford wrote his renowned 1947 New Yorker piece triggering a controversy on the existence of a ‘Bay Region style’. Contrary to prevailing assumptions that this exhibition was a delayed reaction to the 1948 MoMA symposium organised by Johnson to refute Mumford’s opinions, or that it merely tried to make the most of the national polemic, the exhibition was part of a coherent regionalist agenda whose main success was, precisely, that Mumford, Hitchcock and other influential actors in the United States were exposed, indoctrinated and/or seduced by the so-called Bay Area School and its emphasis on social, political and environmental concerns.
- Modern Architecture and Local Tradition in 1950`S Portuguese National Inns (Pousadas de Portugal)Publication . OLIVEIRA, Tiago Cardoso deThe first plan of Pousadas de Portugal was promoted in the context of the celebrations of 1940`s centenary of national independence and was integrated in the "policy of the spirit" led by António Ferro, who considered the interior of the country as the natural environment of the highest national qualities. The projects were mostly designed by Miguel Jacobetty Rosa and Rogério de Azevedo, architects born at the turn of the 19th century, who, despite evidence of syntactic experiences of modernist inspiration, explore figures linked to the model of the Portuguese house developed by Raul Lino In 1954, the second plan maintains the legal framework created for the former, where it is stated that the inns to be constructed were to be integrated as far as possible into the picturesque of the regions. However, the architects now assigned to to carry out the projects were born in the late 10s and early 20s, and were part of the so-called "modern generation" that attended the 1948 congress as students or newly graduated. In fact within this generation of architects we can identify different concerns about architecture, some of them engaged in developing the modern agenda that they felt was not yet sufficiently accomplished in Portugal, and others more concerned with the concrete conditions of each specific situation and their poetic appreciation. Nevertheless, all of them rejected the model of the Portuguese house that was still favoured by Portuguese authorities. This paper proposes to discuss these different concerns, and thus to ponder on the local reception of the Modern Movement, by comparing two projects for the second plan of Pousadas de Portugal, one by Ruy Athouguia in Nazaré, which was never built, and other by Manuel Taínha in Oliveira do Hospital that had to wait several years to be constructed.
- Modernity from Far East. Kazuo Shinohara’s Fourth SpacePublication . CESARO, GiorgiaSince, according to Kenneth Frampton, 'regional or national cultures must today, more than ever, be ultimately constituted as locally inflected manifestations of “world culture”’, contemporary Japanese culture would be in this sense the 'world culture' par excellence, structured on two important cultural imports - the first occurred between the 6th and 7th centuries when from China was introduced the ideographic writing, Confucian model of society and along with them Indian Buddhism; and the second one, during the late 19th century, when for the rapid modernization of the country Western politics, science and technology were adopted. Having soon faced, and deeply questioned, the possibilities and problems of a global dimension of the thought, Japanese culture could be considered an original synthesis of universality and local identity where, although the many contradictions, the meeting with the stranger allowed to discover what ‘not to be’, rather than what to be. Starting from the other side of modernity, and tracing the different aspects of the adoption of Modern Movement in Japan, aim of this paper is to introduce the figure of the Japanese architect Kazuo Shinohara (1925-2006) who unveiled the plurality and richness of our spatial structures, the universal and the particular in which we are immersed, most of the time, without consciousness.