The article is devoted to one of the directions of the art of post-modernism - street art, which became widespread in Kharkiv at the turn of the 20th - 21st centuries. This type of modern art quickly won the sympathy of city residents and found its supporters in a large group of young innovative artists (both professionals and amateurs, both individual authors and creative teams) who work in this style. The creation of murals quickly transformed from spontaneous work to managed by the city government, which supported this kind of change in urban decor. Kharkiv street art has come a long way in its formation: from the mysterious inscriptions of Oleg Mitasov to Ukraine's largest mural depiction of the poet Taras Shevchenko. The article highlights the procedure for creating a mural image. At the turn of the XX-XXI centuries the first mural portraits in Kharkiv were created spontaneously, outside of any general urban development plan. In recent years, first, the city architectural department, and then the Department of Culture of the Kharkiv City Council, took control of such works and such activities became more focused and planned. Artists come to the Department of Urban Planning and Architecture of the Kharkiv City Council with the initiative to create a mural on a particular house and provide its sketch. That is, the artists themselves choose the image that will be created. In order for such an image to be created, it is first necessary to coordinate this issue with the owners of the house on which the image is planned to be placed. At the same time, a problem arises as to who will support the drawing after its creation, because the money for its possible restoration by the city budget is not provided, and some of the murals already need updating. The most characteristic examples of this art in Kharkiv are considered, several of its types are distinguished. It is concluded that, in general, street art positively influenced the appearance of the city, which became more vivid and filled with new meanings and content. It is noted that murals and graffiti perform not only a decorative, but also a cultural and educational role. The main characters of Kharkiv murals are natives of the city and prominent figures who have made a significant contribution to world art, science and literature. ; Стаття присвячена одному з напрямів мистецтва постмодернізму – стрит-арту, який набув поширення в Харкові на межі ХХ–ХХІ ст. Цей вид сучасного мистецтва швидко завоював симпатії харків'ян і знайшов своїх прихильників серед великої групи молодих художників-новаторів (як професіоналів, так і любителів, як окремих авторів, так і творчих колективів), які працюють у цьому стилі. Створення муралів швидко перетворилося зі стихійної роботи на керовану з боку міської влади, яка підтримала подібні зміни міського простору. На межі ХХ–ХХІ ст. перші муральні портрети в Харкові створювались стихійно, без жодного загального містобудівного плану. Останнім часом спочатку міське архітектурне управління, а потім Департамент культури Харківської міської ради взяли під свій контроль такі роботи, і подібна діяльність стала більш керованою і планомірною. До Департаменту містобудування та архітектури Харківської міської ради звертаються художники з ініціативою створити мурал на конкретному будинку і надають його ескіз. Тобто художники самі вибирають образ, який буде створений. Для того, щоб таке зображення було створено, потрібно передусім узгодити це питання з власниками будинку, на якому планується розміщення зображення. При цьому виникає проблема в тому, хто буде підтримувати малюнок після його створення, адже гроші на його можливу реставрацію міським бюджетом не передбачаються, а частина муралів вже потребує оновлення. В статті розглянуто найбільш характерні зразки цього мистецтва в Харкові, виокремлено кілька поширених типів. Зроблено висновок про загалом позитивний вплив стрит-арту на зовнішній вигляд міста, яке стало більш яскравим і наповнилося новими смислами і змістом. Відзначається, що мурали і графіті виконують не лише декоративну, але й культурну роль. Головними героями харківських муралів є уродженці міста та видатні діячі, які зробили помітний внесок у світове мистецтво, науку та літературу.
La partecipazione, tra il 2007 e il 2012, ad alcuni accordi di collaborazione internazionale tra istituzioni italiane e cinesi, ha costituito, per me, un'interessante occasione di conoscenza. Da sempre, il pensiero asiatico ha associato alla conservazione la volontà di trasmettere alle generazioni successive un'idea, un complesso di segni o codici architettonici piuttosto che la realtà materiale di una costruzione. Il bisogno di ordinare i propri atteggiamenti in una serie di norme definite corrisponde, dunque, a una necessità propria della Cina che si è riverberata, a vario titolo, pure nel campo della tutela. Tuttavia, le recenti, enormi, trasformazioni della realtà sociale ed economica hanno provocato un'interruzione nella millenaria trasmissione della tradizione culturale antica, sollecitando grandi e repentini cambiamenti. Tutto ciò ha condotto, almeno in ambito accademico, a una considerazione crescente nei confronti della conservazione e del restauro delle testimonianze materiali, oltre che a una nuova attenzione nei riguardi delle elaborazioni culturali maturate in ambito europeo. Per non incorrere nell'equivoco di uno sterile autoreferenzialismo, considerata l'intrinseca complessità del confronto tra pensieri così lontani, ritengo possa essere utile indagare alcuni degli aspetti peculiari della tradizione culturale cinese in tema di restauro. Patrimonio, autenticità e tradizione sono alcuni dei concetti chiave che identificano questo processo di trasformazione. Nonostante lo scarto, evidente, che ancora si registra tra le intenzioni dichiarate e la prassi operativa, gli ultimi cento anni della storia cinese testimoniano dei diversi tentativi condotti, attraverso leggi, regolamenti, creazioni di istituzioni ed esempi pratici, per giungere alla formulazione di una più organica politica di tutela della propria eredità culturale. La questione dell'autenticità e del suo apprezzamento, centrale nel dibattito sulla tutela, si è applicata per secoli ai testi scritti e alle opere d'arte, ma l'estensione della medesima nozione alle strutture edilizie è relativamente recente. Il concetto di immaterialità e di memoria, così presente nella cultura orientale e slegato dalle testimonianze oggettive del proprio passato, ancora condiziona la riflessione in materia. Parimenti è opportuno interrogarsi sul concetto di patrimonio, la cui origine è da rintracciarsi agli inizi del XX secolo, con l'avvio di testi giuridici e di istituzioni finalizzate alla protezione, corroborata poi dalla pionieristica attività della Società di studi sulle costruzioni cinesi (1930), che ha contribuito alla formulazione del concetto scientifico di 'monumento storico' cinese; ma che solo negli ultimi decenni si è imposto nel dibattito nazionale come punto di partenza nella definizione di un atteggiamento realmente nuovo. ; China is a complex country with a very defined cultural tradition. However, the recent, huge social and economic transformations have caused an interruption in the transmission of the thousand-year old cultural tradition, urging major changes. 'Heritage' and 'authenticity' are key concepts whose interpretation has changed over the last century, attracting interest on architectural conservation. Actually there is an intense debate surrounding the concept of heritage authenticity in China, which underlines the cultural differences between the East and the West and takes a critical stance against the Western vision of this notion. Some major restoration projects have started to acknowledge and respect traces from all historical periods as important indicators of the value of architecture by a thorough evaluation of the historic, artistic, scholarly, and social values of the heritage site, but often local governments adopted a particular understanding of 'authenticity' to standardise, certify and legitimise their heritage practices. However the rising passion for heritage preservation contrast with a number of current events: the urban demolitions and reconstructions all around the country; tourism development which leads to damage at some heritage sites. Compared with international standards, chinese heritage actors have a murkier distinction between what is 'preserved and authentic', and what is 'reconstructed and copied'. When chinese styles of thinking and behaviour are understood better, a more balanced attitude towards chinese heritage concepts and practices can be developed.
This dissertation examines the role of U.S.-aided construction projects as an instrument of power and legitimacy in the rebuilding of South Korea after the Korean War through the Eisenhower years, by situating them in the socio-political context of the Cold War. It specifically addresses two intertwined historical questions: (1) How did the United States, portraying its image as an anti-imperialist nation, quickly establish a powerful hegemony in South Korea? (2) What influence did those construction projects have on the development of modern architecture in South Korea? This study argues that, in a war-ravaged Korea, construction projects were America's core hegemonic projects in the making of a democratic, capitalist society. Through numerous construction projects in South Korea, the U.S nurtured democratic citizenship, established a private enterprise system, spread Christianity, instilled democratic governance, and offered the "American way of life" to Koreans. In addition, they provided a unique opportunity for the U.S. to fashion, with humanitarianism, America's image and presence in Korea. Both in Korea and globally, images of the U.S. sponsorship of South Korean rehabilitation and peaceful co-existence between the Koreans and Americans became a powerful propaganda tool that promoted an image of American's benevolence and leadership. Grandiose and high-style architecture is not the focus of this dissertation; instead, the majority of buildings this study examines are simple and utilitarian structures. After the war, a great number of buildings had to be built in a short period of time using a limited amount of construction materials. A lack of building technicians also necessitated simple construction. Simple buildings provided an easier model for Korean architects and builders to learn American building technologies and the tenets of modern architecture. This dissertation examines the socio-political context of these construction projects, their ideological uses, the self-help approach employed by the United States, and the compromises made to accommodate Korean local conditions and customs. I analyze the diplomatic and governmental sources as well as construction documents. I also investigate the reception of the architectural projects from Korean journals, magazines, and newspapers. Using a variety of different sources from both the U.S. and Korea, this dissertation specifically focuses on the tensions and paradoxes between the promises and the reality of these construction projects as they took form in the process. In addition, by examining North Korean newspaper articles and other publications as well as archival sources from the former communist world, it compares South Korean reconstruction projects with North Korean counterparts. Unlike the visual spectacle of North Korea's monumental buildings, large squares, and wide boulevards, U.S.-assisted construction projects in South Korea were mostly small, utilitarian structure and mainly targeted the everyday life of the Korean populace (Chapter 1). For U.S. officials, the question of how to conceptualize their assistance was an important concern. Specifically, the United States called for international collaboration, rather than using the nameplate of the U.S. government (Chapter 2); construction projects were actively used as a propaganda tool (Chapter 3); and U.S. officials urged private sector entrepreneurs to participate in South Korea's rebuilding (Chapter 4). Most importantly, the reconstruction had to be done by the Koreans. America's primary role was to provide knowledge and materials with which Koreans could build their own cities and towns. Koreans actively participated in U.S.-sponsored construction projects, and through educational exchange programs, the U.S. government trained pro-American Korean elites in American universities and institutions (Chapter 5). By examining architecture as a lens through which to address the social, political, and cultural dimensions of the U.S. influence on South Korea in its reconstruction period, this study fills the lacuna of the unexamined relationship, one that linked the political contexts of the Cold War in East Asia, the foreign policies of the United States, post-war nation-building in North and South Korea, and the development of modern architecture in South Korea.
Alison Moloney's own practice often involves commissioning new objects, rather than working with existing artefacts, and exploring new media outcomes. Multiple perspectives on the same brief have also long fascinated me, as new interpretations and conversations are revealed, and comparisons and juxtapositions generated. 1914 Now delves into various curatorial roles: an object-led curator; an exhibition maker; a designer and curator; and a museum director, operating an experimental space for the display of dress. Each has responded to the brief for Fashion and Modernity 1914, and all, in their different ways, work with dress in three dimensions, be they historical or next season's samples. I invited the filmmakers and curators to collaborate and for the curators to work with film to realise their expressions. Amy de la Haye is a curator and dress historian whose approach to curatorship involves examining and 'reading' objects, to create multiple narratives that are embedded in historical accuracy and involve didactic communication with audiences. The narrative for her film The Violet Hour is drawn from a surviving tea gown housed in the costume collection at Brighton Museum. This garment reflects the cusp of modernity as the onset of war and its aftermath impacted so profoundly upon women's lives lived, their domestic (and public) spaces and the clothes they wore to negotiate them. Film director and animator Katerina Athanasopoulou filmed the tea gown and worked with contemporaneous advertising illustrations to capture the narrative behind de la Haye's response. The film beautifully captures the foreboding moments of the onset of war and the transformative impact it was to have, through the narrative of the tea gown. Judith Clark is an experimental exhibition maker who simultaneously designs and curates her exhibitions; the choice of object and its placement within an exhibition or installation are inextricably intertwined. The interior architecture of buildings informs her exhibition design, and it is an exhibition maker's workshop that forms the backdrop to her film. The Futurist movement, and in particular the Manifesto of Antineutral Dress written by Giacomo Balla in 1914, inspires an exploration of contexts, display props and the futurist elements of fashion. Working with film director James Norton, Clark applies the concepts of the manifesto to a hypothetical exhibition. The film's stark monochrome aesthetic, with its unexpected blurring and distortions, references not only the multiple lines of Futurist drawings, but also the trials and errors, routes and returns, involved in the exhibition-making process. The distortion, utilitarian architectural environment and experimental Futurist music pay homage to this movement whilst eschewing nostalgia. The avant-garde, Antwerp-based menswear fashion designer Walter Van Beirendonck communicates political and social issues of the day through his clothes. His archive not only documents the sartorial style of the day, but also the political and socioeconomic climate when they were created. For his autumn/winter 2014–15 collection Crossed Crocodiles Growl, Beirendonck appropriates the provocative headgear of war – a helmet from 1914 – to form commentary on the political landscape of today. Through the helmet hat, Beirendonck creates a new narrative for an iconic object, reinterpreting a symbol of warfare as a peaceful statement on current political issues. Working with film director Bart Hess, he presents a striking revolutionary army. Kaat Debo is Director of Mode Museum, Antwerp, an experimental venue for the display of dress. Exhibitions often focus on contemporary fashion, and material innovation and its impact upon the discourse of fashion. Debo's response to the brief was to commission a new object, informed by early twentieth-century Irish crochet from the collection at MoMu. The object is a dress designed by architect, artist and 3D-designer Tobias Klein and fashion designer Alexandra Verschueren, which has been 3D-printed by Materialise. This intriguing garment represents the tension between the desire for ornament and the search for the Modern, as the decorative nature of the Irish lace is propelled into 2014. The natural chemical growth of crystals on this 3D-printed dress, with surface design adapted from the floral motifs of the crochet, is for Klein a 'post-natural distortion that finds balance through technology and craftsmanship'.
France of the Third Republic (1870 -1940) - by that time distant from the uncertain and patchy colonial beginnings of the Grand Siècle (mainly oriented towards America and the Indian ocean) and from the discontinuous and loser policy of acquisitions of vast territories overseas of the XVIII century - in the fifty years after the occupation of Tunisia (1881) renews the intentions of the Second Republic and of the Second Empire to expand the dominoes in Africa, Asia and Oceania. Officially denominated Second Empire Colonial Français and endowed with a specific motto ("Trois couleurs, une drapeaus, un empire") the "French World" of overseas at the beginning of the second decade of the XX century was become a territorial entity of thirteen million square kilometers with more than one hundred million inhabitants. It was, therefore, an extraordinary intercontinental dominion, second only to the much larger British colonial empire (whose extension, in the same period, was of around 36 million square kilometers with almost half a billion people). Already in the mature stage of the Belle Èpoque, once crushed the last pockets of resistance, the French colonial policy's goals were: a more efficient organization of the economic exploitation (including the reemploy of resources in the single possessions for infrastructural improvements and in order to reach higher life standards); an incentive to the immigration of French citizens (aimed to an expansion of the metropolitan presence); a more careful treatment of the natives; and a better administrative and institutional organization of the territories. At this point, the Third Republic not only arrogated the role of global power but also claimed the primogeniture of the modern idea itself of colonial empire (actually realized only in truth a small part of its dominoes). The new course of its colonial policy was aimed to make the "Douce France" the leading nation in the process of modernization of the subdued populations. No more by proclaiming itself as the executor of a civilizing task (in the name of which the Europeans, in the second half of the XIX century, claimed the right to impose their order to the local realities), but by respecting their cultures and peculiarities. No wonder, then, if, during the mature phase of the Belle époque (and later between the two world wars), in the Europeanized cities of the Maghreb (and namely in the colony of Algeria and in the protectorates of Tunisia and Morocco), the most representative French building production, both public and private, abandoned the classicist Beaux Arts - a clearly imposed architectural culture - to adopt the new style arabisance, rather adaptable and well related to the context. Before in Tunisia, with the foundations of the French Villes Neuves conceived as conspicuous additions juxtaposed to the ancient nucleuses of Tunisi, Sousse, Biserta and Sfax, then in Morocco, with the enlargements of Casablanca, Fez, Marrakech, Meknes and Rabat promoted by the marshal Louis Hubert Gonzalve Lyautey, the management of the French protectorate sharpen methodologies and operational strategies creating a complex urbanistic story, passing from a coercive behavior (also in terms of formal choices, of systems of planning and building production) to conscious interventions careful to the contexts. It is mainly Lyautey the one who inaugurated this new course, also engaging himself in the safeguard of the historical architecture (not necessarily "monumental") and the urban order of the medinas; an intention pursued along with the attempt to control the European penetration (in the business and in the development of the new districts) and with the creation of a fundamental document of urbanistic legislation. Even associating his farsighted administrative action to the excellent activity of Henri Prost, as co-opted planner by the gubernatorial authority for the planning of the urban amplifications promoted by the protectorate, Lyautey would have promoted a modern development (but compatible with the local traditions), of the principal historical cities of French Morocco in the full respect of the preexisting installations.
Barranquilla, a city located in an intertropical geographical latitude on the left bank of the Magdalena's River mouth, is constituted as a conglomerate of pieces due to its urbanization processes. Processes that began an accelerated urban development during the first decades of the 20th century, without an Urban Plan for the management of its vast territory. In the absence of this, bourgeois neighborhoods are drawn up to allocate European Immigrants by the time that other informal neighborhoods appear spontaneously to allocate local and regional immigrants. Among the bourgeois neighborhoods, El Prado neighborhood stands out, developed according to the urbanistic principles of the Modern Movement, following the Garden City model, it constitutes the main urban landmark of the city in the 20th century. That is how El Prado is planned with a continuous urban layout and built in each of its properties, houses, and buildings of architectural styles like those built in the north American and British cities. Among these buildings, which are now patrimonial, stands out: the construction of fifty-four isolated houses for the Barranquilla elite, the El Prado Hotel and the opening of the Country Club. The passing of time has generated functional transformations in the El Prado neighborhood that have modified its symbols and imaginaries. However, the declaration as an Asset of National Cultural Interest, through Resolution 0087 on February 2, 2005, has prevented the structural modification of its architectural heritage pieces, front gardens, courtyards, and most of the plant species, as well as the urban layout. Nowadays there are a confluence of integrated and complementary manifestations that can be lived in the neighborhood and are conjugated with cultural activities developed in the urban space, activities that are linked with cultural and artistic scenarios which by the passing of the time have been set up in the neighborhood. This confluence has generated a synergy between the Garden City model, the typical daily residential life of the Caribbean that inhabits part of the architectural heritage, the culture hosted in heritage buildings and the wide open public spaces, reaffirming the living as a condition to be considered from the heritage understanding as a matter of future. An understanding that, also puts in value the human manifestations that are less recognized, since with it, the territory acquires other potentials. This is how the initiative of the Museo Vivo El Prado promotes this value as a process of urban regeneration. The potential value of the living, structured under the concept of Museum, through the process of urban regeneration, includes the El Prado neighborhood as a territory of key opportunities in cultural management and innovation, through the startup of other economic models that exclude the possibility of gentrification. That is how this research is immersed to an in-depth study of urban regeneration, the understanding of the image of the city as a piece of art and the research on the significance of museums in different instances. Concretizing this way, the conception of the Living Museum as the meaning of urban space that firstly, does not take its collection out of context, but in opposition, is generated around itself, taking advantage of the dynamic, symbiotic, socially balanced spatial and cultural systems in which democratic and spontaneous dynamics that develop, grounds and support an economic, natural and cultural equilibrated system. It is not a matter of creating an untouchable inert environment, but to allowing actions and relationships between visitors and inhabitants that enhance those dynamics.This is how The Museo Vivo El Prado, proposed as a cultural and creative innovation district, will not only generate impact and economic retribution, but it will also make possible the transformation of collective imaginaries, founding their identities and consolidating their image. That will be favored by its initial urban planning energized by the ways of living that happens in this heritage environment, letting it being recognized as its "own brand", from the territorial marketing, in terms of recognition and promotion within the city, by the incentive of the 'Orange economy' that is one of the Colombian National Government goalsIn this way, the Museo Vivo El Prado is projected from the understanding of the heritage as a matter of future, standing apart from the traditional concept of a museum, this is, as a static, inert and inanimate concept that takes out the collection of its context and uses the buildings as a supports for other artwork. In Opposition the Museo vivo El Prado places the concept of the museum in the dimension of urban management and regeneration combined with creative economy processes, to be handed over to a democratic, public, open-air space. That is how the urban space is the museum itself, its limits are the territory on which the heritage is administratively placed and the sky as its upper border. ; Barranquilla, ciudad ubicada en una latitud geográfica intertropical en el margen izquierdo de la desembocadura del Río Magdalena, se constituye como un conglomerado de trozos debido a sus procesos de urbanización. Procesos que inician un desarrollo urbano acelerado durante las primeras décadas del siglo XX, sin contar con un Plan Urbanístico para la ordenación de su vasto territorio. En ausencia de ello, se trazan, por un lado, barrios burgueses para alojar las migraciones europeas y por el otro, gracias a ese desarrollo, aparecen de manera espontánea, los barrios informales consolidados debido a la migraciones locales y regionales. Entre los barrios burgueses se distingue el Barrio El Prado, desarrollado a partir de los principios urbanísticos del Movimiento Moderno, siguiendo el modelo de Ciudad Jardín, constituyéndose de esta manera, como el principal hito urbano de la ciudad en siglo XX. Es así como el Prado se caracterizó por la continuidad de su trazado y por erigir sobre cada uno de sus terrenos, edificaciones de estilos arquitectónicos equiparables a las que se construían en ciudades norteamericanas e inglesas de la época. Entre estas edificaciones, hoy patrimoniales se destacan la construcción de cincuenta y cuatro viviendas aisladas para la élite de Barranquilla, el Hotel El Prado y la puesta en funcionamiento del Country club. El transcurrir del tiempo ha generado en el Barrio El Prado transformaciones funcionales que fueron modificando sus símbolos e imaginarios. Sin embargo, su declaratoria como Bien de Interés Cultural de carácter Nacional, a través de la Resolución 0087 el 2 de febrero de 2005, ha impedido la modificación estructural de sus piezas arquitectónicas patrimoniales, antejardines, patios y la mayoría de las especies vegetales, así como tampoco el trazado urbano. Actualmente en el barrio se vive una confluencia de manifestaciones integradas y complementarias, partiendo de aquellas propias del uso residencial en el Caribe, conjugadas con el desarrollo de actividades culturales en el espacio público, las cuales se articulan con escenarios culturales y artísticos que, con el tiempo se han establecido en el barrio. Esta confluencia ha generado una sinergia entre el modelo de Ciudad Jardín, la cotidianidad residencial propia del Caribe que habita parte del patrimonio arquitectónico, la cultura alojada en edificios patrimoniales y sus amplios espacios públicos, reafirmando lo vivo como una condición a considerar desde un patrimonio comprendido como cuestión de futuro. Una comprensión que, también pone en valor las manifestaciones humanas poco reconocidas, ya que con ello el territorio adquiere otros potenciales. Es así como la iniciativa del Museo Vivo El Prado potencia este valor como proceso de regeneración urbana.El potencial valor de lo vivo, estructurado bajo el concepto de Museo, mediante el proceso de regeneración urbana, comprende al Barrio El Prado como un territorio de oportunidades clave en la gestión cultural y de innovación, mediante la puesta en marcha de otros modelos económicos, que excluyan la posibilidad de gentrificación. De esta manera esta investigación se sumerge en una profundización sobre estudios de regeneración urbana, la comprensión de la imagen de la ciudad como obra de arte y la investigación sobre la significación de museo en distintas instancias. Concretando de esta forma, la concepción de Museo Vivo como la definición de espacio urbano que, en primera instancia no saca su colección del contexto, sino que, por el contrario, genera la colección en torno a ella, tomando partida del sistema espacial, cultural dinámico, simbiótico, socialmente equilibrado, en el cual se desarrollan dinámicas democráticas y espontáneas que fundamentan y sustentan un sistema de equilibrios económicos, naturales y culturales. No se trata de crear un medio inerte intocable, sino de permitir acciones y relaciones entre visitantes y habitantes que potencien esas dinámicas.Es así como El Museo Vivo El Prado, propuesto como un distrito de innovación cultural y creativo, no solo generará impacto y retribución económica, sino que posibilitará la transformación de imaginarios colectivos, fundamentando sus identidades y consolidando su imagen. Lo cual se verá favorecido por su planificación urbana inicial y dinamizadas por las formas de habitar que discurren en este entorno patrimonial, pudiéndose reconocer como una "marca propia", desde el marketing territorial en cuanto a su reconocimiento y promoción dentro de la ciudad a partir del fomento de la economía naranja, la cual es una de las metas del Gobierno Nacional Colombiano.De este modo el Museo Vivo El Prado, se proyecta a partir de la comprensión del patrimonio como una cuestión de futuro, separándose de la concepción tradicional de museo, esto es, una concepción estática, inerte, inanimada, que saca la colección de su contexto y que utiliza los edificios como soportes para otras artes. Por el contrario, el Museo Vivo El Prado Ubica el concepto de museo en la dimensión de la gestión y regeneración urbana conjugada con procesos de economía creativa, para ser entregadas a un espacio democrático, de uso público, libre y al aire libre. Es así como el espacio urbano es el propio museo, sus límites, el territorio sobre el cual se posa el patrimonio administrativamente definido y el cielo como su confín superior. ; Barranquilla, ciutat situada a una latitud geogràfica intertropical al marge esquerre de la desembocadura de el Riu Magdalena, es constitueix com un conglomerat de trossos a causa dels seus processos d'urbanització. Processos que inicien un desenvolupament urbà accelerat durant les primeres dècades de segle XX, sense comptar amb un Pla Urbanístic per a l'ordenació del seu vast territori. En absència d'això, es tracen, d'una banda, barris burgesos per allotjar les migracions europees i de l'altra, gràcies a aquest desenvolupament, apareixen de manera espontània, els barris informals consolidats a causa de la migracions locals i regionals.Entre els barris burgesos es distingeix el Barri El Prat, desenvolupat a partir dels principis urbanístics de el Moviment Modern, seguint el model de Ciutat Jardí, constituint-se d'aquesta manera, com el principal fita urbana de la ciutat en segle XX. És així com el Prat es va caracteritzar per la continuïtat del seu traçat i per erigir sobre cadascun dels seus terrenys, edificacions d'estils arquitectònics equiparables a les que es construïen en ciutats nord-americanes i angleses de l'època. Entre aquestes edificacions, avui patrimonials es destaquen la construcció de cinquanta-quatre habitatges aïllats per a l'elit de Barranquilla, l'Hotel El Prado i la posada en funcionament del Country club.El transcórrer de el temps ha generat en el Barri El Prat transformacions funcionals que van ser modificant els seus símbols i imaginaris. No obstant això, la seva declaratòria com a Bé d'Interès Cultural de caràcter Nacional, a través de la Resolució 0087 el 2 de febrer de 2005, ha impedit la modificació estructural de les seves peces arquitectòniques patrimonials, antejardins, patis i la majoria de les espècies vegetals, així com tampoc el traçat urbà. Actualment al barri es viu una confluència de manifestacions integrades i complementàries, partint d'aquelles pròpies de l'ús residencial al Carib, conjugades amb el desenvolupament d'activitats culturals a l'espai públic, les quals s'articulen amb escenaris culturals i artístics que, amb el temps s'han establert al barri. Aquesta confluència ha generat una sinergia entre el model de Ciutat Jardí, la quotidianitat residencial pròpia de l'Carib que habita part de el patrimoni arquitectònic, la cultura allotjada en edificis patrimonials i els seus amplis espais públics, reafirmant el viu com una condició a considerar des d'un patrimoni comprès com a qüestió de futur. Una comprensió que, també posa en valor les manifestacions humanes poc reconegudes, ja que amb això el territori adquireix altres potencials. És així com la iniciativa del Museu Viu El Prat potencia aquest valor com a procés de regeneració urbana.El potencial valor del que viu, estructurat sota el concepte de Museu, mitjançant el procés de regeneració urbana, comprèn a el Barri El Prat com un territori d'oportunitats clau en la gestió cultural i d'innovació, mitjançant la posada en marxa d'altres models econòmics, que excloguin la possibilitat de gentrificació. D'aquesta manera aquesta investigació es submergeix en un aprofundiment sobre estudis de regeneració urbana, la comprensió de la imatge de la ciutat com a obra d'art i la investigació sobre la significació de museu en diferents instàncies. Concretant d'aquesta manera, la concepció de Museu Viu com la definició d'espai urbà que, en primera instància no treu la seva col·lecció de l'context, sinó que, per contra, genera la col·lecció entorn d'ella, prenent partida de sistema espacial, cultural dinàmic, simbiòtic, socialment equilibrat, en el qual es desenvolupen dinàmiques democràtiques i espontànies que fonamenten i sustenten un sistema d'equilibris econòmics, naturals i culturals. No es tracta de crear un mitjà inert intocable, sinó de permetre accions i relacions entre visitants i habitants que potenciïn aquestes dinàmiques.És així com El Museu Viu El Prat, proposat com un districte d'innovació cultural i creatiu, no només generarà impacte i retribució econòmica, sinó que possibilitarà la transformació d'imaginaris col·lectius, fonamentant les seves identitats i consolidant la seva imatge. La qual cosa es veurà afavorit per la seva planificació urbana inicial i dinamitzades per les formes d'habitar que discorren en aquest entorn patrimonial, podent-se reconèixer com una "marca pròpia", des del màrqueting territorial pel que fa al seu reconeixement i promoció dins de la ciutat a partir del foment de l'economia taronja, la qual és una de les metes de Govern Nacional Colombià.D'aquesta manera el Museu Viu El Prat, es projecta a partir de la comprensió de el patrimoni com una qüestió de futur, separant-se de la concepció tradicional de museu, és a dir, una concepció estàtica, inert, inanimada, que treu la col·lecció del seu context i que utilitza els edificis com a suports per a altres arts. Per contra, el Museu Viu El Prat Situa el concepte de museu en la dimensió de la gestió i regeneració urbana conjugada amb processos d'economia creativa, per a ser lliurades a un espai democràtic, d'ús públic, lliure i a l'aire lliure. És així com l'espai urbà és el propi museu, els seus límits, el territori sobre el qual es posa el patrimoni administrativament definit i el cel com el seu confí superior.
Kameni ciborij iznad glavnog oltara korčulanske katedrale je remek-djelo najvećega korčulanskog klesara i graditelja Marka Andrijića, s proporcijama zlatnog reza i elementima pravog renesansnog stila. Potkraj 18. stoljeća četvrti, završni kat krova ciborija je uklonjen, a neki dijelovi su nestali. Donji dio ciborija je besprijekorno isklesan, dok je osmerostrani krov izrađen znatno lošije, s brojnim nedovršenostima, pogreškama, preklesavanjima i skraćivanjima. Na temelju detaljne analize tragova klesarskog alata i promjena geometrije kamenih elemenata, te studije izvornog ugovora o gradnji, donesen je zaključak da je donji dio ciborija izradio Marko Andrijić sa svojom radionicom, a gornji dio klesari koji nisu razumjeli njegov nacrt, odnosno konvenciju prikazivanja projekcije kosih površina u skraćenju. Srećom, iako je radi ispravka klesarske pogreške gornji dio ciborija malo sužen i snižen, ukupna proporcija nije se zbog toga bitno promijenila, pa je nakon restauracije izvornog stanja to najbolje djelo korčulanske renesanse ponovo zasjalo izvornim sjajem. ; The most prominent member of a large family of stonemasons, and certainly the greatest stonemason and builder from Korčula, Marko Andrijić learned his trade not only in the workshop of his father, the famous stonemason Andrija Marković, but also working on numerous commissions throughout Dalmatia and all the way to Italy. In his home town of Korčula, he gained fame by working on the modernization of the city fortifications and the cathedral, which is why the Venetian government appointed him lifelong protomaster of all public buildings. His work on the completion of the bell tower on the Cathedral of St. Mark stands out, because he did it in an unprecedented way, combining an octagonal loggia with a dome, lantern and promenade surrounded with a balustrade that served as an observatory. In addition to the bell tower, Andrijić transformed the entire cathedral: he placed vaults above the side aisles and galleries above them, raised the nave, and decorated the upper part of the façade with richly carved stonework. He added a sacristy to the cathedral, a ciborium over the main altar, and a bridge over the street towards the bishop's court, and built a tomb for Bishop Malumbra. In 1486, Andrijić agreed to design and build a magnificent ciborium above the main altar of the cathedral. The extraordinary proportions and brilliantly executed details of the ciborium, combining the Gothic and Renaissance styles, surpass local significance. This was the first time that a classical pillar with entasis and genuine Corinthian capitals, as well as composite capitals with dolphin and siren motifs, had appeared in Croatian art. The ciborium's appearance was significantly changed during the complete redesign of the cathedral's interior in the Baroque style, undertaken by Bishop Josip Kosirić at the end of the 18th century. In order for a sculpture of the Risen Christ to be placed on top, the upper tier of the ciborium roof was replaced with awkward, curved stone elements that belonged to older church furniture and had been re-carved to fit the ciborium. Joško Belamarić found the final tier of Andrijić's ciborium roof in the lapidary of the abbey collection, turned upside down and converted into a baptismal font. This discovery made it possible to make an ideal reconstruction of the original appearance by completing the natural sequence of four openings in the surface of the first-tier of the ciborium roof to one opening the surface of the fourth-tier. In order to re-establish the integrity of Andrijić's masterpiece, and taking into account the angle of parts of the roof on the ciborium and its proportions, a draft was made with the reconstructed missing elements: eight segments of the third-tier roof and the small dome. After the upper part of the ciborium was disassembled to preserve the stone and consolidate the structure, all the stone elements, holes for fixing metal joints, traces of masonry tools, damage, re-carving and shortening were inspected and analysed in detail. A stonemason's mark was found on the upper surface of the architrave, which determined the position of the elements of the first tier of the roof, which, according to the original design, should have been about 9 cm wider on all sides. It was concluded that the perfectly carved lower part of the ciborium was made by Marko Andrijić in his workshop, and the inferior roof was made by stonemasons who did not understand his design. In order to understand what exactly happened and to be able to make the right conservation decision on how to restore the ciborium, it was necessary to return to the original construction contract, kept in the Zadar State Archives. A complete transcription and translation of the contract, with the payments written in the margins, was made. Master Marko Andrijić committed to carving a ciborium of stone from Vrnik and based on the design he had made, in the following two years for the price of one hundred and fifteen ducats. If he failed to complete the ciborium within the agreed time, the master had to pay a fine, but he was allowed to let other master stonemasons complete the work in that case. Judging by the recorded payments, the construction of the ciborium took six years instead of two, and Marko did not pay a fine, and he even received about seven ducats more than the agreed price. The excess payment probably relates to the statues of the Annunciation, which had to be contracted subsequently with an annex that has not yet been found. After about two-thirds of the ciborium was complete, the work was stopped, and after more than two years, work was continued, probably by one of Marko's brothers, but he was not up to the task. Due to an error in transferring the dimensions and angle of inclination of the roof surfaces from the draft, the replacement masters had to re-carve the already-executed elements of the first-tier roof and improvise to fill the resulting cavities. As a result of these errors, the roof of the ciborium was narrowed and lowered. However, viewed as a whole, the proportional system of the ciborium, consisting of four rectangles of the golden ratio placed one above the other, is not significantly affected by a small but proportional reduction in the dimensions of the roof. Between 2014 and 2019, the Croatian Conservation Institute repaired the damaged elements, carved the missing parts, and re-assembled and connected the upper part of the ciborium with metal clamps filled with lead, with all the necessary reinforcement of the structure. After more than two centuries, the best work of Korčula's architectural and stoneworking art was once again made whole.
<p>Um dos dilemas recorrentes na sociologia da arte tem sido como balancear abordagens <em>internalistas</em> e <em>externalistas</em> dos fenômenos estéticos (isto é, explicações estéticas e sociais); ou o que este artigo caracteriza como a necessidade de sair de um modelo "<em>ou arte ou sociedade"</em> para um modelo de lógica "<em>tanto arte quanto sociedade</em>". Nos últimos anos, os dilemas conceituais foram intensificados por uma tendência de o capitalismo se tornar um fenômeno mais explicitamente cultural. Ao mesmo tempo, os conhecimentos sobre arte e estética saíram da esfera da <em>grandiosidade</em> e da alta cultura para o mundo prosaico do dia a dia. Este artigo propõe que a solução para os dilemas em curso da sociologia da arte, e para o atual desafio das bases da arte e do conhecimento estético é adotar um paradigma textural, ao invés de um modo de pensar textual. O paradigma textural foi desenvolvido primeiramente no pensamento sobre lugar e é adequado para pensar os problemas da sociologia da arquitetura e do urbanismo – incluindo o problema de como o tecido urbano, às vezes, começa a desemaranhar; ou porque alguns estilos arquitetônicos improváveis voltam à moda (como, por exemplo, o brutalismo pós-guerra).</p><p>BOTH-AND: ON THE NEED FOR A 'TEXTURAL' SOCIOLOGYOFART</p><p><strong>Abstract</strong></p><p>One of the recurring dilemmas in the sociology of art has been how to balance 'internalist' and 'externalist' accounts of an esthetic phenomena (i. e., a esthetic and social explanations); or, what this paper terms the necessity of moving from an either-or model of art and society to adopting a both - and logic. In the last few years, the conceptual dilemmas have been further heightened by developments such as capitalism becoming more explicitly cultural; and knowledges about art and aesthetics moving from there almof the 'grand' and the high cultural to the more prosaic and the every day. This paper proposes that a solution to the ongoing dilemmas of the sociology of art, and the current challenge of the proliferation of arts/aesthetics-knowledge bases, is to adopt a textural rather than textural mode of thinking. The textural paradigm was first developed in thinking about place and is well-suited to thinking through problems in the sociology of architecture and urbanism – including the problem of how the urban fabric, at times, starts to unravel; or why some unlikely architectural stillest age comebacks (e. g., post-war brutalism).</p><p>Keywords: textures; sociology of art; Ingold; Lefebvre; architecture and urbanism.</p><p><strong> </strong></p><p>SUR LA NECESSITE D'UNESOCIOLOGIE DE LA TEXTURE DE L'ART</p><p class="Standard"><strong>Resumé </strong></p><p class="Standard">L'un des dilemmes le plus récurrent dans la sociologie de l'art c'est de savoir comment équilibrer les approches internalistes et externalistes des phénomènes esthétiques (c'est-à-dire des explications esthétiques et sociales); ou ce que cet article définit comme la nécessité de sortir d'un modèle «d'un art ou d'une société» pour un modèle logique «à la fois l'art et société». Au cours des dernières années, les dilemmes conceptuels ont été aggravés par la tendance du capitalisme à devenir un phénomène plus explicitement culturel; au même temps, la connaissance de l'art et de l'esthétique est passée de la sphère de la grandeur et de la haute culture au monde prosaïque de la vie quotidienne. Cet article propose que la solution aux dilemmes actuels de la sociologie de l'art et au défi actuel des fondements de la connaissance de l'art et de l'esthétique consiste à adopter un paradigme textural plutôt qu'un mode de pensée textuel. Le paradigme de la texture a été développé pour la première fois en pensant sur le lieu et convient aux problèmes sociologiques de l'architecture et de l'urbanisme, y compris comment, le tissu urbain commence parfois à se démêler; ou comme certains styles architecturaux improbables sont revenus à la mode (comme le brutalisme d'après-guerre).</p><p class="Standard"><strong> </strong><strong>Les mots-clés:</strong> textures; sociologie de l'art; Ingold; Lefebvre; architecture et urbanisme.</p><div><div><div><p> </p></div></div></div>
A pesar de la amplia bibliografía sobre arquitectos del Movimiento Moderno y sobre los debates de las Vanguardias, aún permanecen obras sin estudiar de arquitectos y artistas, cuyos compromisos contribuyeron en el Nacimiento de las Vanguardias, abriendo camino a la eclosión del Movimiento Moderno. Esta tesis se desarrolla desde la implicación de dos artistas, el arquitecto Michael Loewe (1871-1955) y su hija, la artista Margot Loewe (1905-1974), cuyas obras nos permiten reconocer como se entrelazaron dos generaciones en pro de unos mismos ideales, y como el dialogo entre técnica y arte y entre arte e industria propició nuevos espacios y nuevos modos de vivir. La investigación se ubica en Berlín, escenario cultural de confrontación entre tradición y modernidad, de búsqueda de una nueva identidad arquitectónica, y gran laboratorio urbanístico y social que pasa de pequeña capital de Provincia a Metrópoli, entre 1871 y 1933, desde Bismarck hasta la República de Weimar. El estudio desglosa la trayectoria profesional del arquitecto alemán, partiendo de su formación y carrera como Regierungbaumeister en la Königliche Technische Hochschule de Berlin-Charlottenburg, y sus obras construidas en Berlín entre 1907 y 1933. Por orden de aparición, las obras presentadas son los edificios de Bismarckstrasse 82-83 (1907), Olivaerplatz 8 (1909), Manfred-von-Richthofen-Strasse 2 (1912), Pariser Strasse 20 (1913), los grupos de viviendas de Prausestrasse 5-27 (1920), de Kuno-Fischer-Strasse 3-4-5 (1923) y de Pichelswerder (1927). En las obras de Michael Loewe identificamos una primera etapa, previa a la I Guerra Mundial, de reacción contra el exceso ornamental de los estilos históricos y del Jugendstil, moviéndose entre la desnudez y la simplicidad geométrica, con una clara influencia del Biedermeier y del Neoclasicismo Alemán, y en la que colabora con el arquitecto-ingeniero de prestigio Bruno Möhring. En su segunda etapa, de Entre Guerras, evoluciona y se compromete tempranamente hacia un lenguaje próximo a la Neue Sachlichkeit, en que integra su proyecto en el paisaje, explorando nuevas tecnologías y nuevas formas de vivir, que le permiten expresarse con más libertad, situándose en la primera generación de influencia de F. L. Wright en Europa. En ese temprano compromiso por la Modernidad, Michael Loewe despertó reacciones favorables de partidarios del Neues Bauen, pero también fue punto de mira de los adversarios de la Nueva Arquitectura, cuyos artículos y posicionamientos se radicalizaron, convirtiéndose en objeto de lucha política En su obra afloran sus compromisos profesionales a favor de la Nueva Objetividad, que plantea el problema de la posición del arte en la sociedad, de la relación entre arte y artesanía, entre arte y técnica y finalmente el de la forma y función. Sus compromisos personales le llevaron a ejercer de promotor en los momentos de crisis económica, a adherirse a propuestas de Existenzminimum, y a experimentar nuevas formas de vivir. También le llevaron a impulsar a su hija Margot Loewe a acceder al Bauhaus, que estudia entre 1929 y 1933 en Bauhaus-Dessau, bajo la dirección de Hannes Meyer y de Mies van der Rohe. La trayectoria artística de Margot Loewe que se expone aquí, corresponde al breve periodo comprendido entre los años de sus estudios en Bauhaus-Dessau y el exilio, pero entendido como parte del debate entre las Vanguardias utópicas y la Bauhaus, en su contexto de dialogo entre tecnología y arte, en el que la tecnología permitió una nueva concepción del espacio, argumento común de la arquitectura y del arte. Los compromisos técnicos y sociales de Michael Loewe le llevaron a nuevas propuestas formales y a explorar nuevas maneras de vivir, y en sus motivaciones artísticas participó con su hija Margot Loewe en esa nueva mirada subjetiva, provocando impresiones visuales y emociones, que empuja al arquitecto a experimentar con nuevos espacios, y a la artista a la abstracción de su pintura. ; Despite the extensive literature concerning architects of the Modern Movement and debates on the Avant-Garde, several works of architects and artists remain unstudied. The commitments of these individuals contributed to the birth of the Avant-Garde Movement, opening the door for the flourishing of the Modern Movement. This thesis was developed and inspired by the works of two artists, architect Michael Loewe (1871 -1955) and his daughter, the artist Margot Loewe (1905-1974). These artists' work allows us to recognize how these two generations were interwined and contributed the same ideals, as well as how the dialogues between technique and art and between art and industry led to new spaces and new ways of living. This research project was conducted in Berlin, a cultural center of confrontation between tradition and modernity and a city that is in search of a new architectural identity. Berlin represents a major urban and social laboratory that changed from a small provincial capital into a metropolis between 1871 and 1933. This study anlyses this German architect's career, starting from is training and career as a Regierungbaumeister in the Königliche Technische Hochschule of Berlin-Charlottenburg to his architectural accomplishments that were built between 1907 and 1933. The works presented include the buildings of Bismarckstrasse 82-83 (1907), Olivaerplatz 8 (1909), Manfred-von-Richthofen-Strasse 2 (1912), Pariserstrasse 20 (1913), the housing projects of Prausestrasse 5-27 (1920) and of Kuno-Fischerstrasse 3-4-5 (1923), and Pichelwerder (1927). Regarding the works of Michael Loewe prior to World War I, we have identified an initial stage of reaction against the ornamental excess of historical styles and Jugendstil that moved between unadorned designs and geometric simplicity with clear influence from German Neoclassicism . Collaborative works with the prestigious architect-engineer Bruno Möhring were also identified in this stage. In the second stage of hi work in the years between the wars , Michael Loewe envlved and undertook early steps towards a !anguage close to the Neue Sachlichkeit, integrating his project ¡nto the landscape and exploring new technologies and new ways of living that allowed him to express himsell more freely. During his early commitment to Modernity, Michael Loewe's work elicited favorable reactions from supporters of the Neues Bauen, but he was also targeted by the opponents of the New Architecture, whose papers and positions were radicalized, and became the subject of political conflict. In Michael Loewe's work, his professional commitments emerge in favor of the New Objectivity,which raises the issue of the position of art in society and the relationships between art and craft, art and technology, and form and function . Michael Loewe's personal commitments led him to join Existenzminimum proposals, and to experience new ways of living . He encourages his daughter Margot Loewe to study between 1929 and 1933 at the Bauhaus-Dessau under the guidance of Hannes Meyer and Mies van der Rohe. The artistic trajectory of Margot Loewe that is presented corresponds to the brief period between the years of her studies at the Bauhaus-Dessau and her exile. Margot Loewe's work is understood as part of the discussion between utopian Avant-Garde and Bauhaus, as well as its context for dialogue between technology and art, where techlology enabled a new conception of space, which is a common theme in both architecture and art. The technical commitments of Michael Loewe led him to create new formal proposals and as a result of his artistic motivations, he also participated alongside his daughter Margot Loewe in new forms of subjective insight, which created visual impressions and emotions that pushed the architect to experiment with new spaces and led the artist to the abstraction of her painting. ; Postprint (published version)
A pesar de la amplia bibliografía sobre arquitectos del Movimiento Moderno y sobre los debates de las Vanguardias, aún permanecen obras sin estudiar de arquitectos y artistas, cuyos compromisos contribuyeron en el Nacimiento de las Vanguardias, abriendo camino a la eclosión del Movimiento Moderno. Esta tesis se desarrolla desde la implicación de dos artistas, el arquitecto Michael Loewe (1871-1955) y su hija, la artista Margot Loewe (1905-1974), cuyas obras nos permiten reconocer como se entrelazaron dos generaciones en pro de unos mismos ideales, y como el dialogo entre técnica y arte y entre arte e industria propició nuevos espacios y nuevos modos de vivir. La investigación se ubica en Berlín, escenario cultural de confrontación entre tradición y modernidad, de búsqueda de una nueva identidad arquitectónica, y gran laboratorio urbanístico y social que pasa de pequeña capital de Provincia a Metrópoli, entre 1871 y 1933, desde Bismarck hasta la República de Weimar. El estudio desglosa la trayectoria profesional del arquitecto alemán, partiendo de su formación y carrera como Regierungbaumeister en la Königliche Technische Hochschule de Berlin-Charlottenburg, y sus obras construidas en Berlín entre 1907 y 1933. Por orden de aparición, las obras presentadas son los edificios de Bismarckstrasse 82-83 (1907), Olivaerplatz 8 (1909), Manfred-von-Richthofen-Strasse 2 (1912), Pariser Strasse 20 (1913), los grupos de viviendas de Prausestrasse 5-27 (1920), de Kuno-Fischer-Strasse 3-4-5 (1923) y de Pichelswerder (1927). En las obras de Michael Loewe identificamos una primera etapa, previa a la I Guerra Mundial, de reacción contra el exceso ornamental de los estilos históricos y del Jugendstil, moviéndose entre la desnudez y la simplicidad geométrica, con una clara influencia del Biedermeier y del Neoclasicismo Alemán, y en la que colabora con el arquitecto-ingeniero de prestigio Bruno Möhring. En su segunda etapa, de Entre Guerras, evoluciona y se compromete tempranamente hacia un lenguaje próximo a la Neue Sachlichkeit, en que integra su proyecto en el paisaje, explorando nuevas tecnologías y nuevas formas de vivir, que le permiten expresarse con más libertad, situándose en la primera generación de influencia de F. L. Wright en Europa. En ese temprano compromiso por la Modernidad, Michael Loewe despertó reacciones favorables de partidarios del Neues Bauen, pero también fue punto de mira de los adversarios de la Nueva Arquitectura, cuyos artículos y posicionamientos se radicalizaron, convirtiéndose en objeto de lucha política En su obra afloran sus compromisos profesionales a favor de la Nueva Objetividad, que plantea el problema de la posición del arte en la sociedad, de la relación entre arte y artesanía, entre arte y técnica y finalmente el de la forma y función. Sus compromisos personales le llevaron a ejercer de promotor en los momentos de crisis económica, a adherirse a propuestas de Existenzminimum, y a experimentar nuevas formas de vivir. También le llevaron a impulsar a su hija Margot Loewe a acceder al Bauhaus, que estudia entre 1929 y 1933 en Bauhaus-Dessau, bajo la dirección de Hannes Meyer y de Mies van der Rohe. La trayectoria artística de Margot Loewe que se expone aquí, corresponde al breve periodo comprendido entre los años de sus estudios en Bauhaus-Dessau y el exilio, pero entendido como parte del debate entre las Vanguardias utópicas y la Bauhaus, en su contexto de dialogo entre tecnología y arte, en el que la tecnología permitió una nueva concepción del espacio, argumento común de la arquitectura y del arte. Los compromisos técnicos y sociales de Michael Loewe le llevaron a nuevas propuestas formales y a explorar nuevas maneras de vivir, y en sus motivaciones artísticas participó con su hija Margot Loewe en esa nueva mirada subjetiva, provocando impresiones visuales y emociones, que empuja al arquitecto a experimentar con nuevos espacios, y a la artista a la abstracción de su pintura. ; Despite the extensive literature concerning architects of the Modern Movement and debates on the Avant-Garde, several works of architects and artists remain unstudied. The commitments of these individuals contributed to the birth of the Avant-Garde Movement, opening the door for the flourishing of the Modern Movement. This thesis was developed and inspired by the works of two artists, architect Michael Loewe (1871 -1955) and his daughter, the artist Margot Loewe (1905-1974). These artists' work allows us to recognize how these two generations were interwined and contributed the same ideals, as well as how the dialogues between technique and art and between art and industry led to new spaces and new ways of living. This research project was conducted in Berlin, a cultural center of confrontation between tradition and modernity and a city that is in search of a new architectural identity. Berlin represents a major urban and social laboratory that changed from a small provincial capital into a metropolis between 1871 and 1933. This study anlyses this German architect's career, starting from is training and career as a Regierungbaumeister in the Königliche Technische Hochschule of Berlin-Charlottenburg to his architectural accomplishments that were built between 1907 and 1933. The works presented include the buildings of Bismarckstrasse 82-83 (1907), Olivaerplatz 8 (1909), Manfred-von-Richthofen-Strasse 2 (1912), Pariserstrasse 20 (1913), the housing projects of Prausestrasse 5-27 (1920) and of Kuno-Fischerstrasse 3-4-5 (1923), and Pichelwerder (1927). Regarding the works of Michael Loewe prior to World War I, we have identified an initial stage of reaction against the ornamental excess of historical styles and Jugendstil that moved between unadorned designs and geometric simplicity with clear influence from German Neoclassicism . Collaborative works with the prestigious architect-engineer Bruno Möhring were also identified in this stage. In the second stage of hi work in the years between the wars , Michael Loewe envlved and undertook early steps towards a !anguage close to the Neue Sachlichkeit, integrating his project ¡nto the landscape and exploring new technologies and new ways of living that allowed him to express himsell more freely. During his early commitment to Modernity, Michael Loewe's work elicited favorable reactions from supporters of the Neues Bauen, but he was also targeted by the opponents of the New Architecture, whose papers and positions were radicalized, and became the subject of political conflict. In Michael Loewe's work, his professional commitments emerge in favor of the New Objectivity,which raises the issue of the position of art in society and the relationships between art and craft, art and technology, and form and function . Michael Loewe's personal commitments led him to join Existenzminimum proposals, and to experience new ways of living . He encourages his daughter Margot Loewe to study between 1929 and 1933 at the Bauhaus-Dessau under the guidance of Hannes Meyer and Mies van der Rohe. The artistic trajectory of Margot Loewe that is presented corresponds to the brief period between the years of her studies at the Bauhaus-Dessau and her exile. Margot Loewe's work is understood as part of the discussion between utopian Avant-Garde and Bauhaus, as well as its context for dialogue between technology and art, where techlology enabled a new conception of space, which is a common theme in both architecture and art. The technical commitments of Michael Loewe led him to create new formal proposals and as a result of his artistic motivations, he also participated alongside his daughter Margot Loewe in new forms of subjective insight, which created visual impressions and emotions that pushed the architect to experiment with new spaces and led the artist to the abstraction of her painting. ; Postprint (published version)
Próleg i epíleg també en castellà ; The thesis "The form of living in modern Belgian architecture" is a travel through the most industrialized cities of Belgium. lts main objective is to investigate the history of the social habitat in this country, with the aim to reveal the essence of the Belgian modernity and its compromise with the architecture and town planning. Through an excursus on the social housing development, from the nineteenth century to the garden-city,the investigation proposes an historical reconstruction of the modern social housing with a particular emphasis on the importance, growth and tate of neighbourhoods with high-density population. In fact, the hypothesis of this work is that the collective housing has been the innovative element in the experience of a new method of urban planning, and thus a generator cell of Belgian modernity. The research bases itself on the analysis of two projects of workers-city, Grand Hornu and Bois du Luc, built in the nineteenth century using architectural quotations and allusions to try to shape a new reality: the monad life-work. From this time onwards, the social architecture in Belgium was the protagonist of a major evolution concerning the birth of metropolis. Starting from the late nineteenth century, Belgian hygienists gathered the attention around the problem of living in an healthy city, and the need to offer to the workers, most of whom were employed in the many coal mines of the country, a dignified housing. At this time, the garden-city was becoming the most diffused spatial conformation supporting the belief that living in a natural environment could have restored the purity subtracted from the poisons of the devourer city. The new garden-city acted as an organism to encourage the construction of new housing and to propose solutions that consecrated the desire to give to the city a modern future, which could have been an example to export . Without doubts, the rising of architectural and urban theories urged the Belgian society to take care of the issues concerning new lifestyles and therefore experiment novel models of community with the aim to renew the society itself. In the early twentieth century, the enthusiasm of young architects animated Victor Bourgeois (1897-1962) , Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929) and Anto ine Pompe (1873-1980) to be active in the debate forwarded by the CIAM, which resulted in the division into two main architectural trends pursuing either the line or the organic form. Later on, the debate on social housing became the cradle for chimeric suggestions, like the one presented in the thirties by the architect Juliaan Schillemans (1906-1943) ,who designed an ideal "world-city ", for thirty-five millions inhabitants, with the aim to redefine the style lifestyle of a society without boundaries. More pragmatically, in the 50s, architects groups like EGAU (Etudes en groupe d'architecture et d'urbanisme), formed by Charles Carlier (1916-1993), Hyacinthe Lhoest (1913 to 1983) and Jules Mozin (1914- 1995) and the Groupe L'Equerre (1935) raised, through a fervent political activism, a reflection on the topic of housing and how to redesign new spaces. In particular, L'Equerre collaborated with the Flemish architect Renaat Braem (1910-2001) who considered architecture as the art to reorganize the human, environment and an instrument to free the society from the hierarchies inherited from the past. On the other side, the works of Groupe EGAU and the architect Willy Van Der Meeren (1923-2002) distinguished themselves in the same current for a strenuous research in the low cost housing field and for the housing solutions presented in the competition organized by CECA (European Coal and Steel Community). ; La Tesi, intitolata La forma del/'abitare nell'architettura moderna belga, e un viaggio, attraverso le citta piu industrializzate del Belgio, che si propone, come obiettivo principale, di fare luce sulla storia dell'habitat sociale in questo paese, per rivelare l'essenza della modernita belga e il suo compromesso con l'architettura e l'urbanistica. Mediante un excursus sullo sviluppo delle abitazioni collettive, dai principi dell'Ottocento alle citta giardino, l'investigazione pretenderebbe di ricostruire la storia degli alloggi sociali moderni e l'importanza dei quartieri ad alta densita abitativa, la loro crescita e il loro destino. lnfatti, l'ipotesi e che e proprio l'abitazione collettiva sia stata !'elemento singolare nell'esperienza di un nuovo metodo di progettazione urbana, come cellula generatrice della modernita belga. Lo studio prende spunto dall'interesse per i progetti delle citta operaie di Grand Hornu e Bois du Luc, edificate nel XIX secolo, che sfruttarono citazioni e allusioni architettoniche per cercare di costruire una nuova realta: quella della monade vita-lavoro. Da questo periodo in poi, l'architettura sociale in Belgio fu l'attrice di una evoluzione importante, avente ad oggetto la nascita della metropoli. Dalla fine del XIX secolo, gli igienisti belgi manifestarono il problema della salubrita della citta, e della necessita di poter offrire agli operai, la maggior parte dei quali impiegati nelle numerase miniere di carbone del paese, delle abitazioni degne. lnoltre, in questo periodo, si appoggio con decisione la conformazione spaziale proposta dalle citta giardino, avvallando la convinzione che reintrodursi in un ambiente naturale avrebbe potuto ristabilire la purezza sottratta dai veleni della citta divoratrice. Le nuove citta giardino funsero da organismi che incoraggiavano la costruzione di nuovi alloggi e proponevano soluzioni che consacravano il desiderio di conferire alla citta moderna un avvenire che avrebbe potuto essere un exemplum da esportare. Senza dubbio, le nuove teorie architettoniche e urbanistiche esortarono la societa belga a sollevare nuove questioni sullo stile di vita e a sperimentare nuovi modelli di collettivita, volti al rinnovo della societa. L'entusiasmo dei giovani architetti del primo Novecento animo Víctor Bourgeois (1897-1962), Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929), Antoine Pompe (1873-1980) a essere attivi nel dibattito avanzato dai CIAM, e, a dividersi in due correnti architettoniche, perseguendo la linea piuttosto che la forma organica. In seguito, il dibattito sulle abitazioni sociali divenne la cuila per proposte chimeriche, come quella presentata, negli anni trenta, dall'architetto Juliaan Schillemans (1906-1943), il quale disegno un'ideale "citta mondiale", pensata per ben trentacinque milioni di abitanti, con lo scopo di ridefinire il modus vivendi di una societa senza confini. In maniera piu pragmatica, negli anni '50, si consolidarono gruppi di architetti come gli EGAU (Etudes en groupe d'architecture et d'urbanisme), formato da Charles Carlier (1916-1993), Hyacinthe Lhoest (1913- 1983) e Jules Mozin (1914-1995), e l'Equerre (1935) che imposero, attraverso un fervente attivismo político, una riflessione sul tema dell'alloggio e si adoperarono nel ridisegnare nuovi spazi. Con l'Equerre collaboro l'architetto fiammingo Renaat Braem (1910-2001) che considerava l'architettura come l'arte della riorganizzazione del medio umano e un mezzo per liberare la societa dalle gerarchie ereditate nel passato. Mentre, l'opera di EGAU e quella dell'architetto Willy Van Der Meeren (1923-2002) si contraddistinsero, nello stesso filone, per una strenua ricerca nell'ambito degli alloggi a basso costo e per le soluzioni abitative presentate al concorso indetto da CECA (Comunita europea del carbone e dell'acciaio). La presente Tesi di Dottorato sara spunto futuro di comprensione di come il moderno modello di gestione dello spazio si sia evoluto in epoca odierna. Il microcosmo delle colonie di carbone connotava un interno artificiale che l'investigazione aspira a intendere, decifrando tutta la complessita di un progetto d'architettura nelle sue fasi di ideazione, costruzione e rilettura, e ponderando gli intrecci tra storia, paesaggio, aree periferiche con gli ancestrali vincoli tra architettura, citta, habitat. ; La Tesis, "La forma dell'abitare nell'architettura moderna belga", es un viaje, a través de las ciudades más industrializadas de Bélgica, que se propone, como objetivo principal de estudio de analizar la singular historia del hábitat social de este país para revelar la esencia de la modernidad belga y su compromiso con la arquitectura y el urbanismo. Gracias a un excursus sobre el desarrollo de las viviendas colectivas, desde los principios del siglo XIX, hasta las ciudades jardín, se pretende, reconstruir la historia de la vivienda social moderna y la importancia de los barrios con alta densidad residencial, sus crecimientos y su desarrollo. La hipótesis plantea cómo la vivienda colectiva constituye el elemento singular en la experiencia de un nuevo método de proyectación urbana, como célula generadora de la modernidad belga. La investigación surge del interés por los proyectos de las ciudades obreras del Grand Hornu y de Bois du Luc, edificadas en el XIX siglo, que utilizaron símbolos e alusiones arquitectónicas para construir una nueva realidad: la mónada vida-trabajo. A partir de este momento en adelante, la arquitectura social en Bélgica fue el centro de una importante evolución sobre el nacimiento de la metrópoli. Asimismo, desde el final del siglo XIX, los higienistas belgas habían planteado el problema de la salubridad de la ciudad y la necesidad de poder ofrecer unas viviendas dignas a la clase trabajadora mayoritariamente, empleados en las numerosas minas de carbón del país. En este período, se consolida la configuración espacial propuesta por las ciudades jardín, que pretende reestablecer la relación con el entorno natural y recuperar la salubridad afectada por los contaminantes de la ciudad industrial. Las nuevas ciudades jardín promovieron la construcción de nuevos alojamientos y además ofrecieron soluciones que confirmaban el deseo de otorgar a la ciudad moderna un futuro que hubiese podido ser un modelo a exportar. Sin duda, las nuevas teorías arquitectónicas y urbanas sugirieron la voluntad de impulsar a la sociedad belga a experimentar nuevos modelos colectivos. Este intenso deseo de reformar el estilo de vida, constituye un importante aspecto para analizar, en el curso de la tesis, las cuestiones planteadas por los utopistas y sus experiencias comunitarias. El entusiasmo de los jóvenes arquitectos del siglo XX, Víctor Bourgeois (1897-1962}, Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929) ó Antaine Pompe (1873-1980), suscitó su participación en el debate de los CIAM y los impulsa a dividirse en dos tendencias arquitectónicas, persiguiendo la línea antes que la forma orgánica. Posteriormente, estos ensayos iniciales serán la base para la mayoría de las propuestas visionarias como la realizada por el arquitecto de los años treinta Julian Schillemans (1906-1943), que concibe una utópica "ciudad mundial" concebida para treinta y cinco millones de habitantes con el fin de redefinir el modus vivendi de una sociedad sin fronteras. De una manera más pragmática, en los años 50, la consolidación de grupos de arquitectos como los EGAU, (Etudes en groupe de architecture et de urbanisme), formado por Charles Carlier (1916-1993), Hyacinthe Lhoest (1913-1983) y Jules Mozin (1914- 1995) y l'Equerre (1935) planteó, a través de un ferviente activismo político, una reflexión sobre el tema del alojamiento y se afanó en rediseñar nuevos modelos. Con l'Equerre colaboró el arquitecto flamenco Renaat Braem (1910-2001) que consideraba la arquitectura como el arte de la reorganización del medio humano y un medio para eliminar las jerarquías de la sociedad heredados del pasado; mientras que el trabajo del colectivo EGAU y el del arquitecto Willy Van Der Meeren (1923-2002) se caracterizaron por una vigorosa investigación sobre la vivienda de bajo coste como la vivienda presentada al concurso de CECA (la Comunidad Europea del Carbón y del Acero). ; Postprint (published version)
Próleg i epíleg també en castellà ; The thesis "The form of living in modern Belgian architecture" is a travel through the most industrialized cities of Belgium. lts main objective is to investigate the history of the social habitat in this country, with the aim to reveal the essence of the Belgian modernity and its compromise with the architecture and town planning. Through an excursus on the social housing development, from the nineteenth century to the garden-city,the investigation proposes an historical reconstruction of the modern social housing with a particular emphasis on the importance, growth and tate of neighbourhoods with high-density population. In fact, the hypothesis of this work is that the collective housing has been the innovative element in the experience of a new method of urban planning, and thus a generator cell of Belgian modernity. The research bases itself on the analysis of two projects of workers-city, Grand Hornu and Bois du Luc, built in the nineteenth century using architectural quotations and allusions to try to shape a new reality: the monad life-work. From this time onwards, the social architecture in Belgium was the protagonist of a major evolution concerning the birth of metropolis. Starting from the late nineteenth century, Belgian hygienists gathered the attention around the problem of living in an healthy city, and the need to offer to the workers, most of whom were employed in the many coal mines of the country, a dignified housing. At this time, the garden-city was becoming the most diffused spatial conformation supporting the belief that living in a natural environment could have restored the purity subtracted from the poisons of the devourer city. The new garden-city acted as an organism to encourage the construction of new housing and to propose solutions that consecrated the desire to give to the city a modern future, which could have been an example to export . Without doubts, the rising of architectural and urban theories urged the Belgian society to take care of the issues concerning new lifestyles and therefore experiment novel models of community with the aim to renew the society itself. In the early twentieth century, the enthusiasm of young architects animated Victor Bourgeois (1897-1962) , Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929) and Anto ine Pompe (1873-1980) to be active in the debate forwarded by the CIAM, which resulted in the division into two main architectural trends pursuing either the line or the organic form. Later on, the debate on social housing became the cradle for chimeric suggestions, like the one presented in the thirties by the architect Juliaan Schillemans (1906-1943) ,who designed an ideal "world-city ", for thirty-five millions inhabitants, with the aim to redefine the style lifestyle of a society without boundaries. More pragmatically, in the 50s, architects groups like EGAU (Etudes en groupe d'architecture et d'urbanisme), formed by Charles Carlier (1916-1993), Hyacinthe Lhoest (1913 to 1983) and Jules Mozin (1914- 1995) and the Groupe L'Equerre (1935) raised, through a fervent political activism, a reflection on the topic of housing and how to redesign new spaces. In particular, L'Equerre collaborated with the Flemish architect Renaat Braem (1910-2001) who considered architecture as the art to reorganize the human, environment and an instrument to free the society from the hierarchies inherited from the past. On the other side, the works of Groupe EGAU and the architect Willy Van Der Meeren (1923-2002) distinguished themselves in the same current for a strenuous research in the low cost housing field and for the housing solutions presented in the competition organized by CECA (European Coal and Steel Community). ; La Tesi, intitolata La forma del/'abitare nell'architettura moderna belga, e un viaggio, attraverso le citta piu industrializzate del Belgio, che si propone, come obiettivo principale, di fare luce sulla storia dell'habitat sociale in questo paese, per rivelare l'essenza della modernita belga e il suo compromesso con l'architettura e l'urbanistica. Mediante un excursus sullo sviluppo delle abitazioni collettive, dai principi dell'Ottocento alle citta giardino, l'investigazione pretenderebbe di ricostruire la storia degli alloggi sociali moderni e l'importanza dei quartieri ad alta densita abitativa, la loro crescita e il loro destino. lnfatti, l'ipotesi e che e proprio l'abitazione collettiva sia stata !'elemento singolare nell'esperienza di un nuovo metodo di progettazione urbana, come cellula generatrice della modernita belga. Lo studio prende spunto dall'interesse per i progetti delle citta operaie di Grand Hornu e Bois du Luc, edificate nel XIX secolo, che sfruttarono citazioni e allusioni architettoniche per cercare di costruire una nuova realta: quella della monade vita-lavoro. Da questo periodo in poi, l'architettura sociale in Belgio fu l'attrice di una evoluzione importante, avente ad oggetto la nascita della metropoli. Dalla fine del XIX secolo, gli igienisti belgi manifestarono il problema della salubrita della citta, e della necessita di poter offrire agli operai, la maggior parte dei quali impiegati nelle numerase miniere di carbone del paese, delle abitazioni degne. lnoltre, in questo periodo, si appoggio con decisione la conformazione spaziale proposta dalle citta giardino, avvallando la convinzione che reintrodursi in un ambiente naturale avrebbe potuto ristabilire la purezza sottratta dai veleni della citta divoratrice. Le nuove citta giardino funsero da organismi che incoraggiavano la costruzione di nuovi alloggi e proponevano soluzioni che consacravano il desiderio di conferire alla citta moderna un avvenire che avrebbe potuto essere un exemplum da esportare. Senza dubbio, le nuove teorie architettoniche e urbanistiche esortarono la societa belga a sollevare nuove questioni sullo stile di vita e a sperimentare nuovi modelli di collettivita, volti al rinnovo della societa. L'entusiasmo dei giovani architetti del primo Novecento animo Víctor Bourgeois (1897-1962), Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929), Antoine Pompe (1873-1980) a essere attivi nel dibattito avanzato dai CIAM, e, a dividersi in due correnti architettoniche, perseguendo la linea piuttosto che la forma organica. In seguito, il dibattito sulle abitazioni sociali divenne la cuila per proposte chimeriche, come quella presentata, negli anni trenta, dall'architetto Juliaan Schillemans (1906-1943), il quale disegno un'ideale "citta mondiale", pensata per ben trentacinque milioni di abitanti, con lo scopo di ridefinire il modus vivendi di una societa senza confini. In maniera piu pragmatica, negli anni '50, si consolidarono gruppi di architetti come gli EGAU (Etudes en groupe d'architecture et d'urbanisme), formato da Charles Carlier (1916-1993), Hyacinthe Lhoest (1913- 1983) e Jules Mozin (1914-1995), e l'Equerre (1935) che imposero, attraverso un fervente attivismo político, una riflessione sul tema dell'alloggio e si adoperarono nel ridisegnare nuovi spazi. Con l'Equerre collaboro l'architetto fiammingo Renaat Braem (1910-2001) che considerava l'architettura come l'arte della riorganizzazione del medio umano e un mezzo per liberare la societa dalle gerarchie ereditate nel passato. Mentre, l'opera di EGAU e quella dell'architetto Willy Van Der Meeren (1923-2002) si contraddistinsero, nello stesso filone, per una strenua ricerca nell'ambito degli alloggi a basso costo e per le soluzioni abitative presentate al concorso indetto da CECA (Comunita europea del carbone e dell'acciaio). La presente Tesi di Dottorato sara spunto futuro di comprensione di come il moderno modello di gestione dello spazio si sia evoluto in epoca odierna. Il microcosmo delle colonie di carbone connotava un interno artificiale che l'investigazione aspira a intendere, decifrando tutta la complessita di un progetto d'architettura nelle sue fasi di ideazione, costruzione e rilettura, e ponderando gli intrecci tra storia, paesaggio, aree periferiche con gli ancestrali vincoli tra architettura, citta, habitat. ; La Tesis, "La forma dell'abitare nell'architettura moderna belga", es un viaje, a través de las ciudades más industrializadas de Bélgica, que se propone, como objetivo principal de estudio de analizar la singular historia del hábitat social de este país para revelar la esencia de la modernidad belga y su compromiso con la arquitectura y el urbanismo. Gracias a un excursus sobre el desarrollo de las viviendas colectivas, desde los principios del siglo XIX, hasta las ciudades jardín, se pretende, reconstruir la historia de la vivienda social moderna y la importancia de los barrios con alta densidad residencial, sus crecimientos y su desarrollo. La hipótesis plantea cómo la vivienda colectiva constituye el elemento singular en la experiencia de un nuevo método de proyectación urbana, como célula generadora de la modernidad belga. La investigación surge del interés por los proyectos de las ciudades obreras del Grand Hornu y de Bois du Luc, edificadas en el XIX siglo, que utilizaron símbolos e alusiones arquitectónicas para construir una nueva realidad: la mónada vida-trabajo. A partir de este momento en adelante, la arquitectura social en Bélgica fue el centro de una importante evolución sobre el nacimiento de la metrópoli. Asimismo, desde el final del siglo XIX, los higienistas belgas habían planteado el problema de la salubridad de la ciudad y la necesidad de poder ofrecer unas viviendas dignas a la clase trabajadora mayoritariamente, empleados en las numerosas minas de carbón del país. En este período, se consolida la configuración espacial propuesta por las ciudades jardín, que pretende reestablecer la relación con el entorno natural y recuperar la salubridad afectada por los contaminantes de la ciudad industrial. Las nuevas ciudades jardín promovieron la construcción de nuevos alojamientos y además ofrecieron soluciones que confirmaban el deseo de otorgar a la ciudad moderna un futuro que hubiese podido ser un modelo a exportar. Sin duda, las nuevas teorías arquitectónicas y urbanas sugirieron la voluntad de impulsar a la sociedad belga a experimentar nuevos modelos colectivos. Este intenso deseo de reformar el estilo de vida, constituye un importante aspecto para analizar, en el curso de la tesis, las cuestiones planteadas por los utopistas y sus experiencias comunitarias. El entusiasmo de los jóvenes arquitectos del siglo XX, Víctor Bourgeois (1897-1962}, Huib Hoste (1881-1957), Louis Van der Swaelmen (1883-1929) ó Antaine Pompe (1873-1980), suscitó su participación en el debate de los CIAM y los impulsa a dividirse en dos tendencias arquitectónicas, persiguiendo la línea antes que la forma orgánica. Posteriormente, estos ensayos iniciales serán la base para la mayoría de las propuestas visionarias como la realizada por el arquitecto de los años treinta Julian Schillemans (1906-1943), que concibe una utópica "ciudad mundial" concebida para treinta y cinco millones de habitantes con el fin de redefinir el modus vivendi de una sociedad sin fronteras. De una manera más pragmática, en los años 50, la consolidación de grupos de arquitectos como los EGAU, (Etudes en groupe de architecture et de urbanisme), formado por Charles Carlier (1916-1993), Hyacinthe Lhoest (1913-1983) y Jules Mozin (1914- 1995) y l'Equerre (1935) planteó, a través de un ferviente activismo político, una reflexión sobre el tema del alojamiento y se afanó en rediseñar nuevos modelos. Con l'Equerre colaboró el arquitecto flamenco Renaat Braem (1910-2001) que consideraba la arquitectura como el arte de la reorganización del medio humano y un medio para eliminar las jerarquías de la sociedad heredados del pasado; mientras que el trabajo del colectivo EGAU y el del arquitecto Willy Van Der Meeren (1923-2002) se caracterizaron por una vigorosa investigación sobre la vivienda de bajo coste como la vivienda presentada al concurso de CECA (la Comunidad Europea del Carbón y del Acero). ; Postprint (published version)
Статья посвящена имагологическим аспектом образа современного автору Рима в книге П.П. Муратова «Образы Италии». Учитывая то, что традиционным аспектом имагологического описания Рима являются история и культура Античности, запечатленные в римских памятниках, образ Рима, созданный Муратовым, отличается оригинальностью и своеобразием. Типичная римская мифологема Вечного города, акцентирующая сему бессмертия в образе Рима, находит в книге Муратова свое подтверждение в сквозной мысли повествователя способности Рима адаптировать все возникающие в нем новые градостроительные и культурные элементы к своему пространству, какими бы чужеродными на первых порах эти элементы ни казались. ; Images of Italy by P. Muratov is the pinnacle of literature devoted to Italy not only because this book fuses the traditions of Russian and European literature on travels in Italy, but also because Italy changed so much in the 20th century that its ancient literary myth turned out to be on the verge of decay. After decades of decline, the Italian myth again gained momentum in the era of symbolism, also due to the great works on the history of Italian art by critics and scholars Burck-hardt, Wolfflin, Vernon Lee, Pater, Berenson, Venturi, Symonds. These writers gave Mura-tov new patterns of form, composition and style, which the Russian literary tradition did not have; and their authority strengthened the aestheticism and tendency to separate epochs of Italian art, such as the Quattrocento and the "primitive" art, already characteristic of his personality. But Muratov''s text has its own features: high artistic merit, unusual for an essay; competence in the history of Italian art; originality in the choice of subjects; accuracy and freedom of judgment. V.N. Grashchenkov, editor of the critical edition of Muratov''s book, noted: " Muratov combined a long literary tradition of travel notes with methods of English artistic critical essays and methodological achievements of the new European Art Criticism". Travel impressions and memoirs in the book are organically connected with the historical biographical elements. Images of Italy has eight chapters devoted to Rome: "Feeling Rome", "The Antique", "Christian Rome", "Melozzo da Forli", "High Renaissance", "Baroque", "Piranesi", "Roman Campagna". The subject of R. Giuliani''s attention, the image of Rome contemporary to Muratov, being apparently a secondary and marginal aspect of his narrative, is in fact recurrent and highly revealing for understanding the original point of view of the writer and his writing manner. The proof of this can be the epigraph he chose that precedes the chapters about Rome. If chapters on other cities are preceded by epigraphs from literary works, the epigraph "Roma o morte" (or, rather: "O Roma o morte", "Rome or Death") was a famous slogan of Giuseppe Garibaldi. Rome was conquered by Garibaldi''s troops and proclaimed capital of Italy only in 1870. Thus, the epigraph mark both the change in the city''s history, triggered by political circumstances, and Muratov''s interest not only to the past of Italy, but also to its modernity. Accession of Rome to the Kingdom of Italy was marked by the beginning of a painful process that forever changed the urban, architectural and social look of the city and imprinted on its self-identity. Between 1870 and 1885 the living body of the inhabited center of Rome was ripped open by new streets where frantic construction of new quarters began. The construction plans (1873, 1883, 1909) were partially taken into account, yet mostly ignored because construction was largely unplanned. Neglect of the current urban structure of the city occurred along with building speculation. In the 1880s more than 20 old aristocratic houses were destroyed, most of which were real gems of architecture. Meanwhile, the vast patrician villas, models for European aristocratic residences since the Renaissance era, were a characteristic feature of the urban area of Rome. Muratov''s opinion on urban innovations is sharp in tone and is expressed by epithets "tasteless", "banal", "bad", "ugly", "worthless", "monstrosity", etc. In the Roman chapters of Images of Italy Muratov makes severe judgments about the massive urban interventions in the city''s appearance on the objectively descriptive narrative level, but over time the new does not irritate him so much. Genuine self-exposure of the author shows on the intimate lyrical narrative level (the tastes of the author, his conception of the beautiful and the picturesque, leitmotiv comparison of the past and the present). Particular attention of Muratov, a certified engineer-transporter, belongs to urban and suburban traffic routes (tram and railway lines), their descriptions, sometimes lyrical, periodically become part of the narrative imagery. His opinion on the social institutions of the Kingdom of Italy becomes generous when it comes to the preservation and protection of monuments of antiquity: Muratov is impressed by the recent excavations of ancient Ostia, by archaeological arrangement of the Forum; he likes new museums: the National Museum, the Barrakka and the Capitoline Museums. In conclusion, it can be noted that Muratov''s judgment of Rome after the unification of Italy is clear and harsh, yet fair in regard to the merits of the new municipal government. This judgment is a result not only of the author''s acute sense of beauty, be it of landscape or a work of art, but also of his passion, his often lyrical and elegiac sense of the world, finally, his existential experience of Rome. Deep connoisseur of the Roman genius loci, Muratov asserts that Rome will certainly adapt all the innovations made to the urban look by the tumultuous events of Italian history at the turn of the 19th and 20th centuries to its space and spiritual aura. This prophecy of the passionate scholar, a Russian writer loving Italy was right.
Nowadays, ubiquitous environments become part of our daily lives. At home, work, cars, hotels, supermarkets and others public spaces we find technologies (electronics and computational elements) that try to make our life simpler and easier in a transparent way. In recent years, the potential of these environments is more and more exploited with the advent and widespread usage of smartphones. This kind of devices enables the execution of applications that are able to adapt seamlessly to the current environment state. These applications, called context-aware applications, benefit from the context information and services that are present in ubiquitous environments to improve and change automatically their behavior. However, such adaptations require the integration of information regarding heterogeneity in terms of devices, execution platforms, and communication protocols as well the mobility of applications so that the different responsibilities of the adaptation can be distributed. In order to face these issues, and considering the limitations of existing solutions, we provide two major contributions in this dissertation: i) SPACES, a middleware approach to integrate context information and ii) Ubiquitous Feedback Control Loops (Ubiquitous FCLs), as an approach to adapt context-aware applications. In particular, in SPACES we define a metamodel inspired on REST (REpresentational State Transfer) for fostering the exchange of context information as resources, which represents the keystone of our approach. Then, we define SPACES Connectors modularizing the different concepts and concerns identified by the metamodel. The connectors are designed by using Component Based Software Engineering (CBSE) principles and then they are incorporated into the Service Component Architecture (SCA) model to be used in different kinds of applications, not only context-aware applications. With the SPACES definition we are able to state the second major contribution-- i.e., Ubiquitous FCLs. Inspired on concepts from Autonomic Computing, this kind of FCLs provides the flexibility required to integrate new participants in the adaptation process (e.g., context-aware applications, services and legacy systems) by supporting mobility and the incorporation of new communication mechanisms when required. In the core of the Ubiquitous FCLs--i.e., the deci- sion making-- we employ constraint programming techniques to optimize the selected configuration regarding aspects for providing a better user experience, such as the cost associated with the adaptation, the resources consumed or the QoS offered by the new configuration. Finally, we validate our proposal with three case studies: i) a Caching or Off-Loading situation, where the application behavior is modified at runtime, ii) TRACK.ME, a platform for supporting tracking-based scientific experimentations and iii) DIGIHOME, a smarthome platform. These scenarios demonstrate the suitability of our approach when different kinds of devices, protocols and implementation technologies are involved in the adaptation process. ; Aujourd'hui, les environnements ubiquitaires font partie de notre vie quotidienne. À la maison, au travail, dans les voitures, dans les hôtels, les supermarchés et autres espaces publiques, nous rencontrons des technologies qui visent à rendre notre vie plus simple et plus facile d'une façon transparente. Durant ces dernières années, le potentiel de ces environnements a été de plus en plus exploité, notamment avec l'avènement et l'utilisation généralisée des smartphones. Ce type de dispositifs permet l'exécution d'applications qui ont la capacité de s'adapter parfaitement à l'état courant de l'environnement. De telles applications, appelées "applications sensibles au contexte", bénéficient de l'information du contexte et des services qui sont présents dans leur environnement pour améliorer et changer automatiquement leur comportement. Toutefois, ces adaptations nécessitent une intégration d'informations qui doit être effectuée en tenant compte de l'hétérogénéité en termes de dispositifs, de plateformes d'exécution, et de protocoles de communication ainsi que la mobilité des applications de sorte que les différentes responsabilités de l'adaptation peuvent être distribuées. Pour faire face à ces défis, et compte tenu des limitations des solutions existantes, nous fournissons deux contributions majeures dans cette dissertation. Tout d'abord nous introduisons l'intergiciel SPACES comme une solution d'intégration des informations contextuelles et ensuite nous définissons le paradigme de "boucles de contrôle ubiquitaires" pour adapter les applications sensibles au contexte. En particulier, dans SPACES, nous définissons un méta-modèle inspiré du style architectural REST (REpresentational State Transfer) pour favoriser l'échange des informations contextuelles en tant que ressources, ce qui représente le fondement de notre approche. Ensuite, nous définissons les connecteurs SPACES pour modulariser les différents concepts et préoccupations identifiés par le méta-modèle. Ces connecteurs sont conçus en utilisant les principes de la programmation orientée composant et ils sont incorporés dans le modèle Service Component Architecture (SCA) pour être utilisés dans différents types d'applications, et ainsi indépendamment des applications sensibles au contexte. Grâce à la définition de SPACES, nous sommes en mesure d'élaborer la seconde contribution de la dissertation--i.e., les boucles de contrôle ubiquitaires. Inspiré par les concepts de l'informatique autonome, les boucles de contrôle offre la flexibilité nécessaire pour intégrer de nouveaux participants dans le processus d'adaptation (par exemple, des applications sensibles au contexte, des services et des systèmes existants) tout en fournissant un support pour la mobilité et l'intégration de nouveaux mécanismes de communication en cas de besoin. Dans le noyau des boucles de contrôle ubiquitaires--i.e., la prise de décision-- nous employons des techniques de programmation par contraintes pour optimiser la configuration courante de l'application en intégrant des critères qui garantissent une meilleure expérience à l'utilisateur final, tels que les coûts associés à l'adaptation, les ressources consommées ou encore la qualité de service offerte par la nouvelle configuration. Enfin, nous validons notre proposition avec trois études de cas: Tout d'abord une politique de Caching or Off-Loading, dans laquelle le comportement de l'application est modifiée lors de l'exécution, ensuite TRACK.ME, une plateforme pour effectuer des expérimentations scientifiques et enfin DIGIHOME, une plateforme pour la création des maisons intelligentes. Ces scénarios démontrent la pertinence de notre approche lorsque différents types de dispositifs, des protocoles et des technologies de mise en œuvre sont impliqués dans le processus d'adaptation.
Premi extraordinari doctorat 2013-2014 ; This doctoral research explores the forms of modern collective housing accomplished in Portugal and in other territories of Portuguese language under Oliveira Salazar's dictatorship. lt seeks to highlight the indisputable values of modern architecture through the work by Portuguese architects in Portugal, Brazil, Angola, Mozambique and Macau, retaking the theme of Portuguese colonization as an imaginary of creative capacity, which enables both to get a vision of independence and the valuation of the territory. The period under investigation starts in 1948, heightens between the 50's and the 60's and finishes in 1974, the year of the April revolution. From this date on the architecture context has changed not only in Portugal - with the coming of the democracy - but also in the other Portuguese speaking countries. The guideline of this study is the Portuguese architectural culture as well as the utopía of the Modern Movement made real by collective inhabitation. lt is also meant to identify the strong influence of modern Brazilian architecture and how the later dissolves with the purpose of creating a possible continuity in the other territories. The research isn 't about the Portuguese perspective only and the international paradigmatic situations inevitably come along so as to justify the modern theory on collective Portuguese housing. The Modern generation born in the architecture schools in Lisbon and Oporto has found the devices to adapt the peculiarities of each work to the specificity of its space. The first systems developed between universality and adaptability, functionality and economy, the vecracity of the materials and sincerity of the structure, are aspects that characterize it and will try to demonstrate wtih the analysis of the selected objects. lt was from the 1950 decade onwards that the block of flats gained leading position as part of the construction process of the city / town. This period is directly related with Le Corbusier and the influential modern Brazilian architecture both obviously controlled by the dictatorial regime. lt was the Golden Age of the political strategies to define the colonial area. With it the processes for the planning and changing of the territory were started as well as the first guiding planes, which established what we now know as the town. While international style critical movement question exactly the universality that is the characteristic of modernity, in Portugal a question a position close to the themes of the latest CIAM congress around the binomial identity - modernity. To this effect in the l 960's the moment of the discipline crisis was put to publish the famous survey about the Popular Portuguese Architecture pursuing, however a vision proclaimed by the Estado Novo regime. This dissertation on the one hand makes public the modern Portuguese heritage in the residential scope, which was almost unknown internationally, and on the other hand documents the whole of those architectures with the aim of contributing not only to its disclosure but also to show the qualities inherent to the chosen selected projects. Thus it opens the discussion on the recovering and requalifying of these works. In order to do it, the modern specific grounds of the collective housing system from town to typology deepen in countries with a common architectural history. Through the study of form , when it is understood as a part of relations and meanings, the 20 th century architecture becomes better known and at the same time the historic and theoretical picture of this heritage in the 21 st century. ; Esta investigación doctoral explora las formas de la residencia moderna producida en Portugal y en otros países de expresión portuguesa, durante el régimen dictatorial de Oliveira Salazar. Se procura evidenciar los valores indudables de la arquitectura moderna, a través de la vivienda colectiva realizada por arquitectos lusos en Portugal, Brasil, Angola, Mozambique y Macao, retomando el tema de la colonización portuguesa como un imaginario de capacidad regenerativa, que permite simultáneamente adquirir una visión de independencia y valorar el territorio. El periodo considerado se inicia en 1948, se intensifica entre los años cincuenta y sesenta y finaliza en 1974, año de la Revolución de Abril, a partir del cual el contexto urbano-arquitectónico se transforma completamente no solo en Portugal –con la entrada de la democracia– sino también en el resto de países de expresión portuguesa. El hilo conductor de la investigación es la cultura arquitectónica portuguesa y la utopía del Movimiento Moderno transformada en realidad a través del habitar colectivo. Asimismo, se pretende identificar la fuerte influencia de la arquitectura moderna brasileña y el modo cómo se disuelve en Portugal, a fin de establecer una posible continuidad en los demás territorios. El estudio no se limita a la perspectiva portuguesa, pues tiene en cuenta además los casos pragmáticos internacionales, de modo a fundamentar el argumento moderno de la vivienda colectiva lusa. La generación moderna, formada en las escuelas de Arquitectura de Lisboa y Oporto, encontró los mecanismos para adecuarse a las particularidades de las obras en la especificidad de cada lugar. Los primeros sistemas desarrollados entre universalidad y adecuación, la funcionalidad y economía, la veracidad de los materiales y la sinceridad de la estructura, constituyen aspectos característicos y que se intentan poner de relieve con los análisis de los objetos seleccionados Fue a partir de la década de 1950 cuando se asistió al protagonismo del bloque de vivienda colectiva como elemento crucial en el proceso de construcción de ciudad. Este periodo está directamente relacionado con Le Corbusier y con la influyente arquitectura moderna brasileña, ambos naturalmente censurados por el régimen dictatorial. Se trató de la época de oro de las obras públicas y de las estrategias políticas para definir el espacio colonial; con ella se iniciaron los procesos de planeamiento y transformación del territorio y se elaboraron los primeros planes generales que definieron lo que hoy conocemos como ciudad. Cuando las corrientes críticas del estilo internacional cuestionaron precisamente la universalidad que caracteriza la modernidad, en Portugal se reconoció una actitud próxima al tema del último CIAM y al binomio, identidadmodernidad. En este sentido, en los años 60 se aprovechó el momento de la crisis disciplinar para publicar la famosa Encuesta a la Arquitectura Popular Portuguesa, siguiendo de todos modos, una visión contraria a la proclamada por el Estado Novo. La tesis agrega por una parte, el patrimonio moderno luso en el ámbito residencial, prácticamente desconocido a nivel internacional, y, por otra parte, documenta el conjunto de estas arquitecturas, a fin de contribuir no solo a su divulgación sino para realzar las cualidades inherentes a los proyectos seleccionados, abriendo, así, el debate sobre su recuperación y recualificación. Para tal, se identifican los fundamentos modernos específicos del sistema de la vivienda colectiva, desde la ciudad a la tipología, en países con una historia arquitectónica común. A través del estudio de la forma, entendida como un conjunto de relaciones y significados, se da a conocer la mejor arquitectura del siglo XX y a la vez se registra el marco histórico y teórico de este patrimonio en el siglo XXI. ; Esta investigação de doutoramento explora as formas da habitação coletiva moderna realizadas em Portugal e noutros territórios de expressão portuguesa, sob o sistema ditatorial de Oliveira Salazar. Procura evidenciar os valores indiscutíveis da arquitetura moderna, através de obras levadas a cabo por arquitetos lusos em Portugal, Brasil, Angola, Moçambique e Macau, retomando o tema da colonização portuguesa como um imaginário de capacidade criativa, que permite simultaneamente adquirir uma visão de independência e de valorização do território. O período considerado inicia-se em 1948, intensifica-se entre os anos cinquenta e sessenta e termina em 1974, o ano da Revolução de Abril. A partir deste data, o contexto urbano-arquitetónico mudou não só em Portugal –com o advento da democracia– como também nos demais territórios de expressão portuguesa. O fio condutor é justamente a cultura arquitetónica portuguesa e a utopia do Movimento Moderno transformada em realidade através do habitar coletivo. Igualmente, pretende-se identificar a forte influência da arquitetura moderna brasileira e a forma como esta se esbate em Portugal, com o fim de estabelecer uma possível continuidade nos outros territórios. O estudo não se limita à perspetiva portuguesa e associam-se inevitavelmente os casos paradigmáticos internacionais, de modo a fundamentar o argumento moderno sobre a habitação coletiva lusa. A geração moderna, formada nas escolas de Arquitectura de Lisboa e Porto, encontrou mecanismos para adaptar as particularidades de cada obra na especificidade do lugar onde se inserem. Os primeiros sistemas desenvolvidos entre universalidade e a adaptação, a funcionalidade e a economia, a veracidade dos materiais e a sinceridade da estrutura, são aspetos que se caracterizam e que se tentam demonstrar com as análises dos objetos selecionados. Foi a partir de 1950 que se assistiu ao protagonismo do bloco de apartamentos como interveniente no processo de construção da cidade. Este período está diretamente relacionado com Le Corbusier e com a influente arquitetura moderna brasileira, ambos naturalmente censurados pelo regime ditatorial. Era a idade de ouro das obras públicas e das estratégias políticas para definir o espaço colonial; com ela iniciaram-se os processos de planeamento e de transformação do território e elaboraram-se os primeiros planos diretores, que definiram o que hoje conhecemos por cidade. Quando as correntes críticas do estilo internacional põem em causa precisamente a universalidade que caracteriza a modernidade, em Portugal reconhece-se uma atitude próxima aos temas do último Congresso CIAM, em torno do binómio identidade-modernidade. Neste sentido, nos anos 60, aproveitou-se o momento da crise disciplinar para publicar o famoso Inquérito à Arquitetura Popular Portuguesa, seguindo no entanto, uma visão contrária à proclamada pelo Estado Novo. A tese agrega por um lado, o património moderno luso no âmbito residencial, praticamente desconhecido internacionalmente, e, por outro lado, documenta o conjunto destas arquiteturas, com o objetivo de contribuir não só para a sua divulgação como também para realçar as qualidades inerentes aos projetos selecionados, abrindo, assim, o debate sobre a sua recuperação e requalificação. Para isso, identificam-se os fundamentos modernos específicos do sistema de habitação coletiva, desde a cidade à tipologia, em países de história arquitetónica comum. Através do estudo da forma, entendida como um conjunto de relações e significados, dá-se a conhecer a melhor arquitetura do século XX e. ao mesmo tempo, regista-se o quadro histórico e teórico deste património no século XXI ; Award-winning ; Postprint (published version)
