bluuebunny/crossref_metadata_2025_split huggingface dataset:
Contra‐Construction
Authors: Bryon Hilary 
Published: March 2017

Abstract
Theo van Doesburg's Contra‐Construction is one of modern architecture's iconic pictorial representations. Embedded in its traces are early modernism's regard for universality and infinite space, and by extension spatial simultaneity and formal abstraction. The drawing's convention itself, parallel projection, is inherently based on the concept of infinity. Unlike perspective, pictorial depth is indicated objectively via parallel projectors extending infinitely. As well, the Contra‐Construction is an oblique parallel projection drawing and thus has coexisting two‐dimensional and three‐dimensional spatial aspects. Of course, parallel projection techniques had been representational tools with varied ends for engineers, architects, and artists for centuries, but van Doesburg's drawing immerses the representation in its projective essence. For perhaps the first time, the visual expression of a conceptual proposition exactly coincided with this means of architectural representation.
Dymaxion House: R. Buckminster Fuller
Authors: Brennan AnnMarie 
Published: March 2017

AbstractWhile Fuller is best known for his dome structures, the Dymaxion House is perhaps the most important failed architecture project of the twentieth century. It can be considered a failure because the project never achieved its primary goal of being a mass‐produced house that would be transported directly to its customers across the United States at an affordable price. The house's significance, however, lies in the fact that Fuller reimagined the way people would live in the future, and introduced to the architectural profession new criteria by which to judge and assess housing design, which was according to a standard of improved performance, not unlike the manufacturing and performance benchmarks of industrially‐designed objects such as boats, cars, and airplanes. Fuller's insight into this advanced approach was derived through his ability to transfer knowledge from his experience in manufacturing and the U.S. military to the field of design.
Schocken Department Store: Erich Mendelsohn
Authors: James‐Chakraborty Kathleen 
Published: March 2017

AbstractErich Mendelsohn's preliminary sketch, made in 1926, for the Schocken Store in Stuttgart, completed two years later, stands at the center of interconnected stories about the New Building, as the commercial and residential architecture erected in a bold and inexpensive new style was termed in Germany during the 1920s and early thirties; about Mendelsohn, who was one of its most famous and fashionable practitioners; and about the impact that industrialization has had on consumerism and thus in turn upon architectural and urban space. The commercial function and downtown location of the Schocken store, and Mendelsohn's other department stores, office buildings, and single cinema set them slightly apart from the other most celebrated examples of the New Building, even as they established new prototypes for these building types that would be influential for decades around the world. More than any of his contemporaries allied with either the New Building or the broader Modern Movement of which it was a part, Mendelsohn relied, despite having lost on eye to cancer in 1921, on the perspective sketch as the crucial stage in his design process. This enabled him to respond effectively to an urban context that remained invisible in the sketches themselves. The dynamism with which he dressed up such key precedents as Albert Kahn's Ford factories in Detroit, provided an alternative to the palatial settings in which mass produced goods were often sold. At the same time it acknowledged the drama inherent in introduction to consumers of new technology, whether elevators and escalators; new goods, such as radios and gramophones; and, of course, the latest fashions.
Danteum: Giuseppe Terragni
Authors: Mekinda Jonathan 
Published: March 2017

Abstract

Known only through a small number of drawings and photographs as well as a single model, the Danteum is arguably one of the most enigmatic architectural projects by a renowned architect of the twentieth century. Commissioned in the late 1930s as a center for the study of the poet Dante Alighieri, the Danteum was also conceived by its architects Pietro Lingeri and Giuseppe Terragni as a monument to the poet's particular vision for a renewed imperial Italy, which seemed finally to have been realized by Mussolini's fascist order. To that end, the architects developed a design that fused symbolic structures extracted from Dante's work directly with the interior organization and architectural form of the building. Rejecting figurative ornament almost entirely, Lingeri and Terragni deployed the stripped surfaces, abstract forms, and orderly but irregular arrangement of spaces typical of architectural modernism to design a building that would embody the journey told in
The Divine Comedy
, from hell to paradise and beyond. In this synthesis of form and content, the Danteum proposed a modernist monumentality of unprecedented – and unequalled – integrity and power.
Maison Du Peuple: Jean Prouvé
Authors: Beim Anne 
Published: March 2017

Abstract
Maison du Peuple by Jean Prouvé (1901–84), Eugène Beaudoin, Marcel Lods, and Vladimir Bodianski, shows how deep insight into material properties, craftsmanship, and a curiosity for new technologies can inform original architectural expression of particularly high standards. Jean Prouvé called himself a “constructeur,” but was an architect, engineer, and industrial designer. His educational background as an artisan gave him special advantages in terms of pushing the limits of new materials and technologies. Maison du Peuple served as one of the first significant architectural structures in which Jean Prouvé tested these limits. Maison du Peuple appears as a pragmatic, grave, and opaque structure made of steel and glass. It is characterized by a limited number of different building components with simplified design features. In that sense, the building is highly contemporary, expressing a “machine aesthetics” emphasized by the industrialized components of the construction, while at the same time these means provide the building with universal characteristics of serving and served elements. Maison du Peuple is situated in Clichy, a working‐class district in the north‐west of Paris and has from the very beginning served as a local community center for various worker unions and the neighborhood. Today it still stands out as extraordinary.
Villa Mairea: Alvar Aalto
Authors: Poole Scott 
Published: March 2017

Abstract
As late as 1927, at a time when modernism was making bold advances in the centers of European culture, Alvar and Aino Aalto were designing neoclassical buildings and handcrafted furniture in an array of historical styles in Jyväskylä, a small city in the countryside of central Finland. By 1938, when the Villa Mairea was completed, Alvar Aalto had his own exhibit of furniture and architecture at New York's Museum of Modern Art, and the couple had established a flourishing practice in Helsinki where they attracted highly influential, like‐minded clients who shared their interest in advancing the aesthetic and social mission of modern architecture. Key among those clients were industrialists Maire and Harry Gullichsen, who commissioned the Villa Mairea, a house that prefigured one of the most daunting challenges of modern architecture and the twenty‐first century: How to be rooted in a specific place, its local economy, and its indigenous traditions, while at the same time being globally intertwined with the world at large and its fluid movement of ideas, forms, and technical innovations.
Golden Lane: Alison and Peter Smithson
Authors: Mumford Eric 
Published: March 2017

AbstractAt the ninth International Congresses of Modern Architecture (CIAM), held in Aix‐en‐Provence, France in 1953, the young British architects Alison and Peter Smithson presented a recent urban housing competition project that put forward a new sensibility about the potential for architecture to shape urban life. Although never built, as it was an unplaced design in a competition for rebuilding a war‐damaged area of the City of London known as Golden Lane, their well‐known set of drawings and photographs for this project, a series of linked 16‐story high‐rise slab buildings connected by “streets in the air,” altered the postwar history of modern architecture and urbanism.
Pajaritos Chapel: Alberto Cruz
Authors: de Arce Rodrigo Pérez 
Published: March 2017

Abstract“The making of this church entailed covering extensive ground … how should that (ground) form be, within which one prays?” So asked Alberto Cruz in his 1954 introduction to the presentation of this little chapel designed between 1952 and 1953. Although it was never built, the scheme stands as a key exponent of modern architecture in Chile, and was arguably a source of inspiration for Martin and Guarda's 1961–64 Benedictine chapel in Santiago, which is generally recognized as a highlight of the modern period. As a leading teacher at the Valparaiso Catholic University school of architecture and design Cruz spread his influence broadly, with the school gaining a reputation for its original appraisals and experimental ethos. Seen from a broader perspective the little chapel stands for a particular vision about the modern project where abstraction, phenomenological considerations, and a certain ascetic poetry also admit pragmatism and circumstantial constrictions at the level of technique, knowhow, and finance. Much like anthropologists, the Valparaiso school members staked high claims upon participant observation and its outcome in sketch drawings and field notes; also a particular consciousness about place, ambiances, and ritual. These considerations ranged from the phenomenal to the symbolic and prosaic, all of them contributing to the making of a single project.
The Naked City: Guy Debord and Asger Jorn
Authors: Sadler Simon 
Published: March 2017

AbstractThis chapter seeks to account for the marked ingress of The Naked City; a 1957 print by Guy Debord and Asger Jorn, into architecture culture. As a product of the anarchist‐Marxist Situationist International avant‐garde, The Naked City announced that modern culture was one of overlap and contingency rather than sequenced and orthogonal repetitive relation. It was a manifesto, of sorts, for revolutionary intervention in the city led by the vanguard intelligentsia, but especially with the waning of the revolutionary culture of the 1960s, it inspired an intervention in the city led by an architectural intelligentsia seekingdesignedrather thanrevolutionaryevents. An account of architecture's adoption of The Naked City's message is then one way of abbreviating the long story of architecture's turn from rationalist to postmodern urbanism.
Brasilia: Lucio Costa
Authors: Comas Carlos Eduardo 
Published: March 2017

Abstract
Cities are not built in a single day. Brasilia was the name suggested for a new capital in the hinterland when Brazil became an independent empire in 1822. The idea was written into the country's first republican constitution (1891), and land surveys in the central plateau subtropical savanna followed (1892–93); after that, nothing much happened before the end of World War II. When President Juscelino Kubitschek was inaugurated in January 1956, a federal district had been demarcated and a plan had been drawn up by José de Oliveira Reis, Raul Penna Firme, and Roberto Lacombe in 1955. They recommended damming the Paranoá River to create a lake and consequently reduce the aridity of the climate. Called Vera Cruz, the new capital would stand on a triangular site extending and rising dome‐like to the west between two branches of the lake.
Brion Cemetery: Carlo Scarpa
Authors: Cadwell Michael 
Published: March 2017

AbstractLate in his career, in November of 1976, Carlo Scarpa lectured at the Academy of Fine Arts in Vienna. Entitled “Can Architecture Be Poetry?,” Scarpa's lecture acknowledged his respect for Oriental architecture as well as that of Hoffmann, Wright, Le Corbusier, and Kahn. Scarpa also defended his project under construction, a private cemetery in honor of the successful industrialist Giuseppe Brion and his wife Onorina Tomasin Brion. Opposition to the project was pronounced, especially within academia, where the extravagance of a memorial to a wealthy patron flew in the face of prevailing egalitarian ideology. During the discussion that followed his presentation, Scarpa bemoaned the graffiti that students had scrawled on the cemetery walls, yet closed with his typical equanimity, “Allow me a small personal idea. A large work of art is always small.”
Swimming Pool On The Beach At Leça de Palmeira: Álvaro Siza
Authors: Gänshirt Christian 
Published: March 2017

Abstract
Constructed north of Oporto in the 1960s, the swimming pool on the beach at Leça da Palmeira (in Portuguese called Piscinas das Marés) is considered one the most interesting early works of Portuguese architect Álvaro Siza Vieira. This chapter is an attempt to describe the genealogical and architectural characteristics of this work from different perspectives: the visitor experience, the design and building process, relation to context, and architectural and cultural references. The planning documents, including drawings, project descriptions, building documents, and countless sketches had just recently become available when this text was written, permitting the reconstruction of a painfully long planning and building procedure that developed over 14 years.
Walking City: Archigram
Authors: Deyong Sarah 
Published: March 2017

AbstractArchigram is perhaps best known for their bold and fanciful visions of the future metropolis, but in the 1960s, their iconic projects belonged to a larger debate on the limits of functionalism. Topics in this debate included the question of style, which Archigram and others saw as woefully absent in the rationalist rhetoric of postwar modern architecture. Informed by the charismatic arguments of Reyner Banham, Archigram looked to popular culture for inspiration and set out to invent the new symbols of the second machine age. In so doing, they recast the traditional relation between form and function, style and technology, with their visionary projects, standard‐of‐living packages and counter‐environments. These projects also marked a shift in the discourse on style from the postwar preoccupation with symbolic expression to a critique of the postmodern sign.
Marie Short House: Glenn Murcutt
Authors: Gusheh Maryam , Lassen Catherine 
Published: March 2017

Abstract
Glenn Murcutt's Kempsey farmhouse is a six‐hour car journey north from Sydney through towns and state forests. One turns at last from the major highway onto a regional road that is less and less groomed and the final approach is a long bumpy track. Signposts only just mark the slow dusty drive through mature forest where enormous eucalypts suggest the age and locale of this landscape. A gate or two in farm fences at the road's end reveals almost nothing. It is only by opening a gate and stopping to look closely, that far off a small structure of perhaps two horizontal houses is visible. Through a large paddock one reaches another gate leading directly to a silvered timber building hovering on a lawn. Drawing close, stopping just past the house, arrival is at an open‐ended porch.
Centre Pompidou: Renzo Piano and Richard Rogers
Authors: Steiner Hadas A. 
Published: March 2017

Abstract

The Centre Nationale d'Art et Culture Georges Pompidou (1971–77), also known as the Pompidou Center, makes a stark impression even today. From afar, the scale of the inside‐out structure with its vast public plaza retains a monumental status within the densely populated medieval quarter from which it differentiates itself. The building takes up half of its site, with the rest given over to a plaza, known as the Plateau Beaubourg, which remains an animated civic space in its own right. In proximity, the skeletal structure of steel columns, trusses, tension rods and
gerberettes
that together with the mechanical and circulation systems make up the façades of the building cause the eye to follow the latticework of structure and focus on the connective details. The Pompidou Center continues to present itself as a vision of technologically enabled adaptability that clearly exhibits what became known in architectural discourse as “High Tech.” Effectively, the building has become “a manifesto of late modernism with its commitment to the public realm, the integration of design and technology, and the unflinching belief in total flexibility.”
Teatro Del Mondo: Aldo Rossi
Authors: Lobsinger Mary Louise 
Published: March 2017

AbstractIt could be argued that Aldo Rossi's Teatro del Mondo is the single most memorable contribution to the 1980 inaugural Venice Biennale of International Architecture. The project was co‐sponsored by the Biennale's theater and architecture sections. Constructed on a barge in the Fusina shipyards, the theater was towed by tugboat to a mooring near thePunta della Doganaor Custom Point across the water from the Piazza San Marco. In this location it was first presented to the public in 1979 on November 11 as part of an exhibition dedicated to the theme of “Venezia e lo spazio scenico,” or “Venice and the Space of the Stage.” In the early months of 1980 the Teatro del Mondo served as a performance space for the inaugural Carnival of the Theater held in Venice from January 28 to February 19. In early August the barge with theater atop traveled across the Adriatic to Dubrovnik to participate in the International Theater Festival. In late August it journeyed back to Venice to participate in the first Biennale dedicated to international architecture. The theater as architectural object was, however transitory, a determined gesture, the image of which has had lasting significance.
Sangath: Balkrishna Doshi
Authors: Ashraf Kazi Khaleed 
Published: March 2017

Abstract

Sangath (1979–81) sits between two phases in the
oeuvre
of the Indian master architect Balkrishna Doshi: a first phase, in which machine‐like cubic masses are raised aloft in the landscape; and a second, characterized by crustacean‐like creatures lying embedded in the ground. The first includes the Institute of Indology in Ahmedabad (1957–62) and the Indian Institute of Management in Bangalore (1977–85), and the second the eccentric Husain‐Doshi Gufa (1992–95) that followed Sangath. Sangath is a key project that takes Doshi from an explicitly rational and objective approach to architecture toward an openly oneiric and mythopoeic way of working.
Stone House: Herzog & de Meuron
Authors: Ursprung Philip 
Published: March 2017

Abstract
The very first commission of Herzog & de Meuron outside the surroundings of their native city of Basel, where they founded their office in 1978, was a vacation house in the Italian region of Liguria. The project started in 1982 and the building was completed in 1988. The house is located near the village of Tavole, about 10 kilometers from the Mediterranean coast, halfway between Genoa and Nice. Liguria belongs to the south‐western extremity of the Alps and is characterized by high mountains, steep valleys, and a combination of Alpine and Mediterranean vegetation. The area near the coastal port towns has been used for the cultivation of olives since antiquity, but in the late twentieth century the hinterland was struck by depopulation and many of the orchards in the old man‐made terraces, which structure the landscape, had fallen into decay. When the building was published under the title of Stone House in 1988 its resonance among the architectural community was striking. Together with a handful of other small buildings it triggered Herzog & de Meuron's international breakthrough. Like the Stone House, they all bear characteristic names, such as the Blue House (1980), the House for a Veterinary Surgeon (1984), the Plywood House (1985), and the House for an Art Collector (1987).
Church of The Light: Tadao Ando
Authors: Baek Jin 
Published: March 2017

Abstract

The Church of the Light by Tadao Ando, a representative Christian church in post‐war religious architecture, presents a distinguishing ‘cross of light’ in a restrained atmosphere enveloping the congregation and the altar. The cross of blankness is diametrically opposite to that of the Baroque crucifix, acquiring a state of ‘pure iconicity’ with the effect of radically Protestantizing the universal symbol of Christianity. The blankness further leads the enduring aspect of the cross as an icon to be joined with the transformative nature of the phenomenal light. This union of the phenomenal with the iconic is efficacious. The light's ceaseless alteration saves the perception of the cross from any idolatrizing fixation; the immovability of the iconic prevents the perception of the light from being subjected to an endless manifestation in différance. Another key to the proper understanding of the status of the cross is
shintai
, or the Japanese notion of the body. Thanks to
shintai's
sensational and postural alertness and the ensuing pre‐predicative and pre‐reflective corporeal pulsation with the cross, the cross operates not as a representational figure to be deciphered by the semiotic gaze of instrumental attitude but as a figure of the corporeally and pre‐reflectively apprehended domain.
Yokohama Ferry Terminal: Foa
Authors: Furján Helene 
Published: March 2017

AbstractWhen they left Rem Koolhaas’ Office of Metropolitan Architecture in 1992, Farshid Moussavi and Alejandro Zaera‐Polo started Foreign Office Architects (FOA), moving the practice to London to teach at the Architectural Association (AA). The AA in the 1990s, under Chairman Alan Balfour and Jeffery Kipnis, Director of the Graduate Design Program, was a crucible for experimental practice and design research. Zaera‐Polo and Moussavi were commissioned to run a three‐year research studio using international competitions to provide content forAA Files, the in‐house scholarly journal. The Yokohama Ferry Terminal was the product of the 1994–95 competition to rebuild the 1894 Osanbashi Pier in the Japanese port city of Yokohama as an international passenger terminal. With their 1995 winning scheme, FOA and their students took a decisive lead in the shift toward digital design that no longer distinguished between ground and building mass, or between surface and depth, section and plan.