Mid-Century Modern Architecture

El programa Case Study House se originó con el objetivo de explorar soluciones de vivienda adaptadas a la nueva realidad de la clase media californiana de después de la Segunda Guerra Mundial. El presente artículo pretende determinar si en este proceso se tuvieron en cuenta las necesidades y anhelos de los miembros más pequeños de la unidad familiar o si, por el contrario, el programa les fue ajeno. Se ofrecen los resultados de un completo análisis tipológico y funcional orientado a cuestiones estrictamente ligadas con el hábitat familiar e infantil, tales como el tamaño y la posición relativa de los dormitorios, sus características ambientales, el mobiliario y la importancia del juego como generador y colonizador de espacios domésticos. Además, se estudia la presencia infantil en la imagen proyectada por el programa en los dibujos y fotografías tal como se publicaron originalmente en la revista Arts & Architecture. El cruce de ambos análisis ofrece una visión inédita de este célebre experimento arquitectónico.

Resumen En 1930, los arquitectos Fritz Schupp y Martin Kremmer, crearon dentro del marco del Deutscher Werkbund, el Complejo Zollverein: una mina de carbón modelo que habría de ser el orgullo de todos los agentes de la industrialización. Desornamentación y formalización geométrica heredada de la Bauhaus y aplicada al diseño de un conjunto industrial basado en principios técnicos pero también en principios estéticos. Los materiales del momento-ladrillo, vidrio y cerchas de acero-se articularon generando un gran organismo complejo en el que los distintos edificios se conectaban y encadenaban tanto compositivamente como físicamente. Llamado "el complejo minero más bello del mundo", Zollverein era un mecanismo perfecto, símbolo de la belleza del progreso. Olvidada tras su cierre en 1986, fueron los artistas como el escultor Ulrich Rückriem los que reclamaron su protección instalando algunas de sus obras en sus terrenos más amenazados tras la decadencia de la industria. Se pusieron en marcha mecanismos generadores de espacio artístico en las áreas de más riesgo, estrategias relacionadas con el land art y el minimalismo, ocupando el territorio, subrayando el valor estético inherente. Zollverein se convirtió en un paisaje protegido gracias a la acción artística que subraya las cualidades estéticas del progreso del pasado que se encuentran contenidas en él de un modo latente. En 2002, el conjunto minero de Zollverein fue declarado Patrimonio de la Humanidad-UNESCO-. Un Plan Director definió la Villa Creativa, reuniendo en un mismo complejo las mejores empresas de diseño y arquitectura, creando marcos para la exposición, experimentación e investigación, como pueden ser el Red Dot Design Museum y la Escuela de Diseño. Los estudiantes y profesionales pueden desarrollar un área de trabajo competitivo en el mejor entorno. Se recupera el alma industrial del lugar, produciendo, progresando y, sobre todo, manteniendo vivo el espíritu de la Bauhaus presente en Zollverein.

Palm Springs was founded around a grove of palm trees in the Coachella Valley desert, about 110 miles east of Los Angeles. The relative isolation and the benefits of the warm and dry climate of the desert attracted Hollywood actors, artists, politicians and other upper class celebrities who were looking for a second home to spend the winter months. After World War II, Palm Springs reaffirmed as one of the most important resorts in the United States, while it became a center of internationally renowned architectural experimentation. Architects and urban planners adopted a low-density pattern whose development was conditioned by a strictly modernist architectural language, which extended beyond single-family houses to civic scale, including hotels, gas stations, shopping centers, banks and municipal buildings. For a few decades, creativity, economic prosperity and leisure seemed to move forward in parallel, leaving as a legacy a resort town whose high concentration of good modernist a...

In January 1945, Lowell Walter wrote to Frank Lloyd Wright requesting a design for a small summerhouse on the 3800 acres of farmland in northeastern Iowa. Walter had been a road contractor whose patent on an asphalt-like road surface permitted him to retire wealthy in his late forties. Wright agreed to design the house, but did little in the months that followed. In the interim, the impatient Walter purchased idyllic hillside acreage on the mythic Wapsipinicon River. He drew single-line schematic plans
for the house, sited it to overlook the river, and mailed his design to Wright. Again, Wright did little.
    In early summer, 1945, just as the Second World War ended in Europe, Walter and his wife Agnes saw Wright’s “Crystal House for Town and Country,” a theoretical design for an ideal post-war Usonian of 1700 square feet published in the June issue of “Ladies Home Journal.”  They asked Wright to build it for him and he agreed to do so.
    This paper is a brief account of what happened when a very theoretical design for a small, postwar American house is built to accommodate a newly minted millionaire road contractor in remote Iowa.

In the two and a half decades from the early 1890s until the end of the First World War, a number of one-storey residences were erected for affluent homeowners in Brisbane to designs which were sufficiently similar to constitute a distinctive style. This style is now generally called the "Federation Bungalow," a label which is problematic and has multiple meanings. Despite these terminological difficulties, the elite Federation Bungalow is a much-admired element of Brisbane's architectural heritage, and there are still many fine examples surviving in the older suburbs. It is the aim of the present publication to examine this attractive style in more detail, based on a sample of fifty houses, which have been dated and attributed to a specific architect, and for which some form of pictorial evidence is available.

Jardines del Pedregal fue conceptualizado y proyectado por Luis Barragán entre 1945 y 1952, un visionario desarrollo en el que el diseño de paisaje en la lava petrificada del volcán Xitle marcaría la configuración de los lotes y daría la pauta al plan maestro a cargo del urbanista Carlos Contreras. “Jardines del Pedregal de San Ángel, el lugar ideal para vivir”, sería el lema del “fraccionamiento de más categoría de la Ciudad de México”, el gran producto inmobiliario para la burguesía emergente, moderna y adinerada. De acuerdo con el propio Barragán “estableció normas de construcción a fin de crear un ambiente armónico en arquitectura y evitar destruir la belleza del paisaje”. Barragán se había afamado con el éxito de este desarrollo y Goeritz recién incursionaba en el arte público, comisionado por el propio Barragán.
En noviembre de 1955, el Banco Internacional Inmobiliario, S. A., propietario en fideicomiso de los predios que formaban parte de la Hacienda Santa Eduwiges (otrora Bosque de Santa Eduwiges), solicitó al ayuntamiento de Guadalajara la autorización para proceder a la urbanización y lotificación de lo que sería el Fraccionamiento Jardines del Bosque, situado al sur-poniente de la ciudad de Guadalajara. Desde su taller en Tacubaya, en la Ciudad de México, Luis Barragán diseñó el Fraccionamiento Jardines del Bosque para Guadalajara, entre 1955 y 1957. Desarrolló “la planificación completa, con jardinería y obras de ornato del fraccionamiento residencial”. Aunque criticado por algunos, el desarrollo tuvo un gran éxito comercial y consideró una bien dosificada área de parques (el Arroyo -Parque- hundido, el Paseo de la Arboleda, el Parque de las Ceibas (a la postre los parques: Ciudad de Guatemala y Ciudades Hermanas- Downey) y el Parque de las Estrellas) y fuentes que ubicó en puntos estratégicos del desarrollo. En el proyecto colaboró Mathias Goeritz con dos obras emblemáticas: la escultura del Pájaro de fuego y la Capilla Abierta del Parque de las Estrellas.

Dans le sillage de la reconstruction et du renouveau qui ont marqué l'après-guerre, le secteur belge du carrelage a connu un regain de prospérité. Dans lequel les fabricants belges Gilliot & Cie et Sphinx-Hemiksem ont joué un rôle de premier plan. Dans cet article historique, nous examinerons comment ils ont donné un nouvel élan à l'industrie belge du carrelage, jusqu'à ce que les lois de l'économie frappent inexorablement à la fin des années 1970.

In de schaduw van naoorlogse wederopbouw en vernieuwing, bloeide de Belgische tegelsector weer op. De Belgische tegelfabrikanten Gilliot & Cie en Sphinx-Hemiksem speelden hierin een hoofdrol. In dit geschiedenisartikel verkennen we hoe zij de Belgische tegelindustrie een nieuw elan gaven, tot de economische wetten onverbiddelijk toesloegen in de late jaren 70.

La ponencia presenta la experiencia de una investigación en torno a los medios de difusión y a su influencia en la construcción de la cultura doméstica moderna, con especial atención al destino de la mujer en el contexto de esta estructura mediática 1. El estudio de las diversas estrategias dirigidas a transmitir los principales valores de la casa de la modernidad no se limita únicamente al análisis del discurso escrito sino que intenta comprender su relación con la constitución de un imaginario particular, vinculado a la producción y al consumo popular del espacio doméstico. En este sentido, el trabajo destila una obstinada voluntad por equiparar el valor de las imágenes al de las palabras, afirmando la convicción de que únicamente una interpretación conjunta podrá ayudar a descifrar las claves de una ideología del habitar sostenida sobre la forma de una intensa y persistente tutela.

El inmueble que albergó el Camagüey Tennis Club constituye una de las obras más representativas del movimiento moderno en la ciudad de Camagüey. En este artículo se trata sobre sus valores arquitectónicos y el significado social que tuvo y actualmente tiene en la urbe.

El edificio creado para la sede del Colegio Provincial de Camagüey constituye una excepcional obra del movimiento moderno en la ciudad por cohesionar distintos conceptos arquitectónicos y artísticos. Con el arribo de la Revolución Cubana, esta construcción fue víctima de ransformaciones inadecuadas, como parte del borramiento del pasado, por lo que se perdioreon varios de sus valores. Este artículo habla sobre este importante ejemplo moderno, así como de su arquitecto.

Integral to the identity of the Ancient town of Rye are its cobblestones. Known locally as boulders, they are used on streets, lanes, pavements, forecourts and private curtilages. Cobblestones have been sourced from varying places including rivers, quarries, the foreshore and ship ballasts. Many of the current cobbled streets and lanes are Grade II listed, due to their archaeological and historic importance; and aesthetic value. Rye itself is a conservation area. Over the centuries, paths and lanes have appeared and disappeared. This is due to a combination of economic and natural forces, possibly war. Sections of cobblestone paths have been discovered in at least two previous excavations. Many of the streets and lanes are Norman. It is unclear when cobblestones were first used in Rye. All charters and old records were lost near the time of c1447. By 1927 it appears cobblestones were being used 'only where people walk more leisurely.' Streets and lanes were being paved over. Most of the footpath surrounding St Mary's is smothered in blacktop. From a social standpoint, there is an emotional attachment to the cobblestones, setting them apart from most paving surfaces. 'Rye would have lost its character, and no longer be its attractive little self without them.'

A little-known sea battle off the Cinque Port of Sandwich stopped what would have been a foreign invasion. It is considered to be a watershed in medieval Europe’s naval history.    Not since the Conquest or the Spanish Armada had England been so threatened.      William Marshal, now Regent of England, would oversee the battle from ashore.

Based on previously unpublished archival images, texts and manuscripts of interviews, this paper analyzes Neutra's design works and ideas throughout his career. It focuses on how he dealt with the relationship between the man-made and the natural, which have been conventionally considered to be two different categories. This paper reveals that Neutra employed "human nature" as his design "principle" and "operational criterion" to reconcile the man-made and the natural. In this way, he developed strategies and methods for a nature-near architecture. The relation between the man-made and the natural is not a simple juxtaposition, but displacement, an idea developed by David Leatherbarrow. This paper reconsiders Neutra's role in the development of modernist architecture.

This thesis is a broad historical exploration of the nature and social function of architectural facades. In particular, the thesis examines the influence of Le Corbusier’s universal structure of Maison Dom-ino on the subsequent development of post-Fordist facades designed to achieve a seamless interface between life in the buildings they adorn and streets given over to the automobile, an index of economic production. The thesis argues that this seamless interface between exterior and interior reduces human experience to the isolating anti-social perspective of the car window. In theorizing a rupture of the post-Fordist illusion of seamless space, the thesis cites the work of Le Corbusier’s contemporaries: Loos, Mies van der Rohe and Hejduk. Their architectural designs support the development of an alternative life-enhancing post-Fordism, allowing people to experience the rich difference between interior and exterior, public and private. The project’s design realizes the thesis’ pos...

This article explores the visual abundance found in a number of early projects by Leinweber, Yamasaki and Hellmuth (LYH) and Minoru Yamasaki and Associates (MYA), which stands in stark contrast to the austere character of architectural form during the interwar period. Although Yamasaki received his architectural training in the 1930s, he was neither a true modernist, nor a fully postmodern architect. His aesthetic, and his firm's work, lies in the interstices between these two distinct architectural moments, in company with contemporaries Edward Durell Stone and Paul Rudolph, among others. The work of these architects embraced a kind of visual and formal excess but stopped short of approaching the playful linguistic games of postmodern architecture. With themes of visual and material excess in mind, I examine two early commissions from the U.S. federal government that put into play ideas of global exchange, power, and extravagance in architecture as the United States emerged as a major world power in the aftermath of World War II, including the U.S. Consulate in Kobe, Japan (1954-1955) and the Federal Science Pavilion at the Seattle World's Fair (1962).

Para el muralista José Clemente Orozco la geometría y el dominio del dibujo científico sirvieron de herramientas para entender y representar el espacio en múltiples materialidades. “Mi pintura es una pintura mental”, decía. Integró magistralmente la pintura mural en la arquitectura histórica de los siglos XVIII y XIX, y en lo que respecta al siglo 20, el arquitecto Mario Pani vio en su obra una “perfecta integración plástica entre pintura y arquitectura”. Tal vez de los tres muralistas, Orozco fue el más cercano a la disciplina de la arquitectura y a los arquitectos.
El arquitecto austriaco- estadounidense Frederick Kiesler, miembro del grupo neoplasticista de Stijl y posteriormente portavoz de las vanguardias europeas en Nueva York, concebía la arquitectura como un todo junto con la pintura y la escultura, incluida la escenografía. Esta visión de la arquitectura con la pintura hizo eco en Orozco cuando se conocieron en Nueva York, época en que este último presentó a Barragán con Kiesler en 1931. La otra dimensión que Kiesler aportó a la arquitectura fue la espiritual: para él el bien y el arte, la función y el espíritu tenían que ser una misma cosa. La modernidad como forma de vida, se reflejaría en la pintura y en las casas taller que Orozco diseñó. Al volver a México en 1934, tras cuatro años de vivir en Estados Unidos, el muralista cambió su propia manera de habitar, al grado que a la casa del Parque de la Revolución la denominó Taller -dormitorio, un espacio para alternar el trabajo y el descanso en una época muy prolífica de su vida, donde la vida familiar tradicional no tenía cabida. La zona del Parque de la Revolución en ese momento era el laboratorio de los ingenieros de la Escuela Libre y donde se vieron las primeras muestras de arquitectura funcionalista.
Luis Barragán conoció a Kiesler y visitó la obra de Le Corbusier por recomendación de Orozco, lo que conduce a pensar que Barragán aportó las ideas para el diseño de las terrazas en el Taller-Dormitorio del pintor.

Zakopane-od architektury fisowskiej lat 60. XX w. po czasy współczesne Zakopane-from the Fisian architecture of the 1960s to modern times Streszczenie Po reformie administracyjnej kraju (1975 r.) Zakopane znalazło się w obrębie województwa nowosądeckiego. ArchitekPo reformie administracyjnej kraju (1975 r.) Zakopane znalazło się w obrębie województwa nowosądeckiego. Architektura z tego okresu prezentuje głównie późny modernizm i socmodernizm. W latach 80. opracowano trzecią koncepcję regulacji Zakopanego. Po raz pierwszy uwzględniono sprawy ochrony zabytków. Z końcem lat 80. i na początku 90. wraz ze zmianami polityczno-ustrojowymi pojawiła się w Zakopanem architektura postmodernistyczna. W 1994 r. uchwalono miejscowy ogólny plan zagospodarowania przestrzennego. W 1998 r. uchwalono Studium uwarunkowań i kierunków zagospodarowania przestrzennego miasta Zakopanego. Architekturę zakopiańską XXI w. zdominowały obiekty wielkokubaturowe, hotele i tzw. apartamentowce.

Los orígenes históricos de la solución arquitectónica para viviendas de emergencia, tal y como se las conoce en la actualidad, no han sido estudiados en profundidad conforme a las influencias recibidas ni su cronología. Al mismo tiempo, el desarrollo y la complejidad creciente del fenómeno conocido como ‘acción humanitaria’, obliga a investigar la presencia paralela de los distintos modelos constructivos que resuelven la urgencia social ante la aparición de cualquier clase de conflicto. El siglo XX, sin duda, es el marco histórico donde hay que buscar el grado de influencia y puntos de encuentro entre el avance material de la arquitectura y la cooperación al desarrollo como fenómeno reciente de las sociedades modernas.

This thesis examines the feasibility of retreating the concrete at Jackson Lake Lodge with acid-based stains. The surface treatment at Jackson Lake Lodge is an unusual form of board finished or “fair-face” concrete. The building was cast with sand-blasted, plywood-formwork, which imprinted the concrete with a very pronounced wood-grain texture. The concrete was then finished with three different colors of acid stain – tan, brown and black, which created a translucent, variegated finish that closely resembled redwood. The first phase of testing, which is the focus of this thesis aims to analyze and characterize the original acid stains, to accurately recreate the original appearance of the stains, and to develop performance standards for their replication using accelerated weathering protocols.

This work analyzes the evolution of bank typology in the 20th century. This research contrasts the traditional European-based palace with the Brazilian “Casa-Grande,” a historical type of building that, among other functions, also served as a bank since colonial times. The Brazil-United States parallel proposes a method of contrast, both bibliographic and building-wise. Case studies demonstrate that the bank typology was not limited to national identities, but to the flow of information. The 1929 and 1973 crises, common to both countries, delimit the time frame of this research and suggest structural transformations in the bank typology. Despite such nerve-racking moments, one can perceive a continuous technological development that, combined with modern discourses in architecture, is advertised as a way to overcome the volatility and insecurity that are intrinsic to the financial world.

En esta tesis, el objeto de estudio se centra en la configuracion a traves de un sistema prefabricado de La Casa Eames o Csh 8, considerando que esta obra es un referente importante de arquitectura moderna enmarcando la industrializacion abierta. La Csh 8 responde al cshprogram, programa que impulso el diseno y construccion de casas prototipo recurriendo al uso de elementos producto de la industrializacionabierta desarrollados en la Segunda Guerra Mundial. En esta investigacion se interpretan las decisiones fundamentales entre idea y construccion, que tomaron sus autores Charles y RayEames, analizando el contexto historico, economico y social en el que se desarrollo, empleando en la investigacion dibujos y analisis textuales para esclarecer diversas ideas y principios. En el analisis se enfatiza en la organizacion de elementos bajo una vision tectonica, recalcando como los procesos de diseno y construccion, junto con sus resultados, dan el valor formal a un proyecto arquitectonico m...

Departing from the tourism-related coastal developments in Turkey during the mid-1950s, this chapter deciphers the role of the holiday complex that was constructed in 1955 as the first hotel in the chain developed by the new national bank known as TurBan, in Kilyos on the Black Sea coast. Being located in a former military zone, Turban Kilyos represents a political and a strategic medium within the dynamics of the Cold War. This work also traces the transnational modernist character of leisure aesthetics and examines its acceptance among the ideological divides of the Cold War through its reproduced images that defined the wealth and well-being of postwar Turkish society.

This article explores the visual abundance found in a number of early projects by Leinweber, Yamasaki and Hellmuth (LYH) and Minoru Yamasaki and Associates (MYA), which stands in stark contrast to the austere character of architectural form during the interwar period. Although Yamasaki received his architectural training in the 1930s, he was neither a true modernist, nor a fully postmodern architect. His aesthetic, and his firm’s work, lies in the interstices between these two distinct architectural moments, in company with contemporaries Edward Durell Stone and Paul Rudolph, among others. The work of these architects embraced a kind of visual and formal excess but stopped short of approaching the playful linguistic games of postmodern architecture. With themes of visual and material excess in mind, I examine two early commissions from the U.S. federal government that put into play ideas of global exchange, power, and extravagance in architecture as the United States emerged as a ma...

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Mimarlık insan ihtiyaçlarını karşılamaya yönelik bir disiplin olmasının yanı sıra  politik, ekonomik ve sosyokültürel ortamın dinamiklerini yansıtan somut bir yapıdır. Mimarinin etkileşim içinde olduğu bu yapılardan politik yapı diğer etkenlerden farklılaşmaktadır. Bunun nedeni ülkemizde politik yapının hem ekonomik, hem de sosyo kültürel yapıyı şekillendiren bir güce sahip olmasıdır. Dolayısıyla Türkiye’de politik yapının her zaman mimari ile iç içe olduğunu söylemek doğru bir saptama olacaktır.
Bu bağlamda Türkiye mimarlığı ele alındığında ülkenin çalkantılı politik yapısına bağlı olarak değişen kendine has dinamiklere sahip bir yapı olduğu dikkat çekmektedir. Örneğin cumhuriyetin ilk yıllarında ideolojik olarak kabul edilen modern toplum kavramı mimaride forma bürünerek empoze edilmeye çalışılmıştır. Bu nedenle Atatürk  Osmanlı geçmişine sıkı sıkı bağlı olan İstanbul yerine yeniden inşa edilebilecek bir taşra şehri olan Ankara’yı başkent ilan etmiştir. 1. Ulusal Mimarlık Akımı bu düşüncelerle oluşturulmuştur. 1930’lar ise modernizmin kendi kültürümüzle ilişkili olması gereğinin hissedildiği bir dönem olarak dikkat çeker.2. Ulusal Mimarlık Akımı bu düşüncelerle Anadolu mimarisinin yeniden yorumlanması fikrine bağlı olarak oluşturulmuştur. 1950’ler ise çok partili döneme geçişin yaşandığı, yapılan seçimlerde DP’nin ezici çoğunlukla tek başına iktidar olduğu bir dönemdir. Bu dönemde ülke kapitalist düzene katılmış, yönünü ABD’ye dönmüştür. Bu durum beraberinde köyden kente göçü getirmiştir. Bu yapı mimaride uluslararası uslubun yaygınlaşması, özel sektörün söz sahibi olmaya başlaması şeklinde kendini göstermiştir. 1960’lar ise darbe sonrası göreceli liberal bir anayasanın hazırlandığı, eğilimlerin, fikirlerin çeşitlendiği, daha liberal, uluslararasıcı ve çoğulcu bir kültür ortamının oluştuğu bir dönem olarak dikkat çeker. Yine bir askeri darbe ile başlayan 80’li yıllar ise küreselleşmenin yoğun olarak hissedildiği, muhafazakarlığın tırmanışa geçtiği bir dönem olarak karşımıza çıkar. Bu durumun mimariye yansıması kimlik söylemine yatkın bir yapı olan postmodernizmin yükselişi ve Osmanlı/İslam bileşenini vurgulayan yapıların tasarlanmaya başlanması şeklinde olmuştur. 90’larda  ise ülkede siyasal islamın yükselişi devam etmiş, mimarideki yansıması daha da yoğun olarak görülmeye başlamıştır. Verilen bu örneklerden de anlaşılacağı gibi Türkiye mimarlık tarihini Türkiye Politik tarihinden bağımsız olarak ele alınması mümkün değildir.
Çalışmanın konusunu oluşturan 2000’li yıllar ise ülkenin politik, ekonomik ve sosyokültürel açıdan önceki dönemlere görece daha farklı bir profile sahip olduğu bir dönem olarak dikkat çekmektedir. Bu farklılıkların başında  ilk defa siyasal İslam fikri ile ortaya çıkmış, İslami ve muhafazakar kimlikli bir partinin tek başına iktidara gelmesi sayılabilir. Bu partinin 10 yılı aşkın bir süredir iktidardaki yerini koruyor olması da dönemin bir diğer dikkat çekici ve baskın özelliğidir. Bu anlamda bu dönemde siyasal iktidar ülkenin  toplumsal yapısını oluşturan her alanda etkin bir role sahip olmuştur. Bu bağlamda  2000’li yıllarda politik alandaki bu baskın yapının mimari alandaki etkileri incelemeye değer görülmüş, çalışmanın konusu olarak belirlenmiştir.
ABSTRACT
it would be appropriate to specify that the actions of the architect and architecture are closely monitored and guided by those who have the energy throughout the history of architecture. For this reason, architectural spaces are aging, but unchanging witnesses in the period to which they belong. (Tekeli, 2011). The elected politician acts with the logic of the property owner, finds power in himselfto make aesthetic judgments about the architectural structure, therefore, the characteristics of identity of the target makers come to the fore. Within the scope of this declaration, in terms of the characteristics of identity of target makers in Turkey, the question of how the political context post-2000 affect the architectural environment will be tried to answered over the architectural spaces and events.

Income diversification continues to be a key strategy for poor rural households, including those that are progressively developing and those operating under increasing distress. The ability of a household to diversify has been shown to depend upon its demographic and economic characteristics and its physical and social context. This paper considers the effects of intra-village social networks on household income diversification in one of the poorest and most ethnically diverse areas of the Indian state of Kerala. Using techniques adapted from spatial econometrics, we find that social connections within a village magnify the impacts of household characteristics such as education and number of adults by a factor of 3.6 times. Models with alternative measures of network centrality (degree and eigenvector) indicate that the number of network connections that a household has is more important than the centrality of those connections. Finally, we use social contact information to calculate assortative mixing based on caste. The results suggest social stratification in these villages, with higher levels of stratification associated with lower levels of income diversification.

Stephanie LeMenager (SL): What is Desert Studies and how did your class Mapping the Desert, Deserting the Map come about? Dick Hebdige (DH): The Desert Studies project is a pilot program in interdisciplinary arts-centered research, immersion pedagogy, and process curating organized by the University of California Institute for Research in the Arts (ucira) in collaboration with a range of internal and external partners including the uc Riverside Sweeney Art Gallery, the Future Arts Research (far) Institute in Phoenix, Arizona and the Palms Bar and Restaurant in Wonder Valley, east of Twentynine Palms in the Mojave desert. 1 Launched at the uc Riverside Palm Desert Graduate Center in the winter of 2009, the project, which is now administered from uc Santa Barbara, aims to integrate arts-based research and the production, performance and exhibition of artworks into Desert Studies, an interdisciplinary research field that has, till now, tended, no doubt for understandable reasons, to be heavily weighted towards the natural and agricultural sciences. It's our contention that widespread public concern with issues as apparently diverse and unconnected as global population growth, suburban sprawl and climate change, natural resource management, aquifer depletion, wildlife habitat protection, and escalating political tensions and border conflicts in regions as disjunct as the American South West and the Middle East have pushed the desert from the margins to the forefront of attention in debates on the future of the planet. We also strongly believe that artists need to figure proactively in the debates currently being joined around these issues and that the reputation artists have for approaching entrenched problems from new and untried angles may be fruitfully tested in the context of collaborative research on the desert not just as a physical biome but as an imagined and an imaginary space-as a loaded site of conflicting and contradictory human projections. It seems natural, at least for Westerners (and not just people in the American West) to think of the Desert as the First Place and the Last. The desert has been depicted inter alia as Origin (birthplace of cuneiform writing and the major monotheistic religions) and Ending (Armageddon); as sanctuary (Arco Santi) and dumping ground (Yucca Mountain); as next frontier of leisure (Las Vegas) and refuge of last resort (Masada); as unspoiled wilderness (Joshua Tree National Park) and irradiated hinterland (White Sands Proving Ground); as existential, spiritual, military, technological, and artistic test site; as precious irreplaceable resource and as dirt-cheap development opportunity. The project invites students, faculty, and members of the public to Fig. 1. Palm tree phone tower, Wonder Valley, California. Cell phone photo

Los misioneros españoles que llegaron al valle de Coachella en el siglo XVIII quedaron tan impresionados con los manantiales de aguas termales que se encontraron que denominaron a sus pobladores nativos indios Aguas Calientes. Esta abundancia de agua, en combinación con el clima cálido y seco del desierto, atrajo durante la década de 1910 a médicos naturópatas y otros gurús de la salud convencidos de que el aire puro y seco y los baños de sol eran el mejor antídoto contra la tuberculosis, la artritis y casi cualquier enfermedad relacionada con el aparato respiratorio o la piel.

Con la aparición de las primeras manifestaciones de turismo en la zona, muchos decidieron reconvertir aquellos modestos sanatorios en establecimientos para una élite de estrellas de Hollywood, políticos, intelectuales y magnates, que durante la década de 1920 llegaron al desierto en busca de un tipo de ocio y descanso basados en la combinación de vida social con actividades físicas de recreo al aire libre. Nadar en la piscina, montar a caballo o jugar al golf y al tenis eran hábitos saludables, un ejercicio físico cuyos efectos positivos podían exhibirse mientras tomaban el sol en un ritual de culto al cuerpo que nada tenía que ver con la lucha contra la tuberculosis. En 1930, un viajero aseguraba con ironía: “jamás he visto a tanta gente tomándose sus placeres tan en serio como en este lugar: creo que aquí uno puede curarse de cualquier enfermedad”.

Aquella cultura del relax exigía una infraestructura arquitectónica que, paradójicamente, compartía muchos criterios tipológicos con aquellas primeras construcciones para los enfermos. La organización de un programa complejo que permitiera una separación clara entre zonas para los usuarios (fueran pacientes o turistas) y zonas para el personal de servicio, así como de espacios comunes y espacios privados, la definición de grandes áreas para tomar el sol, o el desarrollo de mecanismos de diseño que maximizaran el contacto con la naturaleza y la ventilación natural, son solo algunos de los rasgos comunes entre ambos tipos arquitectónicos.

El objetivo de esta comunicación es analizar una serie de edificios que supusieron un hito en la evolución arquitectónica del valle de Coachella para trazar el relato de cómo un pequeño asentamiento para enfermos de la década de 1910 se transformó en unos pocos años en uno de los destinos turísticos más glamuroso de Estados Unidos y en un centro de experimentación arquitectónica de prestigio internacional.

Han transcurrido diez años desde que la Conferencia Episcopal Italiana abrió el camino a una importante operación cultural —concretamente para promover la calidad arquitectónica en el campo de la edificación eclesiástica— que, sin duda, repercutirá sobre la calidad de la arquitectura en general. Se ha tratado de una iniciativa que no tenía ningún precedente en la historia de la Iglesia en Italia y que, según creo, tampoco tiene parangón en ninguna otra parte del mundo. El Consejo Episcopal Permanente de la Conferencia Episcopal Italiana —de ahora en adelante usaré el acrónimo CEI— toma, en la primavera de 1997, la decisión de promover cada año tres concursos para proyectar otros tantos complejos parroquiales, uno por cada área geográfica —norte, centro y sur— del territorio nacional. El concurso «Progetto Pilota» —así fue bautizada la iniciativa— nacía con el objetivo de estimular —pilotar, precisamente— a las 226 diócesis italianas para que proyectasen y realizasen con mayor compet...

After World War II a new order emerged amongst the ruins, the devastation and the Allied triumph. The United States, more than any other country, emerged as a new world power with an optimism founded on victory as much as on its untouched territory and on its economy boosted by the military industrial complex. Architecture in the 50s could not avoid being part of the American dream. Would it be possible to find an architectural image to embody such an aspiration? In other words, would it be possible to conceive an architectural iconography tuned with technology, progress, freedom, individualism, and the familiar image for domestic architecture capable of assuming the symbolism and the characteristic optimism of the American way of life? That was the goal pursued by John Entenza, editor of the influential Arts & Architecture journal, and advocate of the Case Study House Program. The glazed box could assume much of the imagery associated with a new way of life for various reasons. Ind...

Much different from what was stated in the brief of the case study program which was that the client of the house was supposed to be at the time fictitious (and ideally different from the house’s tenants) and that the house must be given leeway to its editing process and even last-minute complete changes of design (Entenza), Stahl house was a commission directly from the owner of the property. Apart from that, since Mr. Stahl made the commission directly from seeing Case Study House #21, Koenig did almost strictly follow the case study program’ intent for the Stahl House.

What form had the Modernity initiated from the eighteenth century? It isn't relevant. In this article I analyze the path of women who had a decisive influence on architecture from their professions. It is noted that these contributions were made in countries where Democracy favoured individual freedom, formation and economic independence, that is: where responsibility is placed on the training function. The three areas of study are: health, housing and city throughout the nineteenth and twentieth centuries. The first protagonist is the founder of nursing that sets out the principles of hygiene from experience translated to numbers. The second one is a series of designers and publishers were interested in new ways of living that were tested in the U.S. mid-twentieth century resting the pictures. The third one is a reporter who reflected the urban environment that was taking place in this period, synthesizing her though in a book. It' s a reflection about the numbers, the pictures and the words.

Entre la década de 1950 y 1960 dos arquitectos barceloneses exploraron las posibilidades técnicas de la arquitectura en un contexto dominado por el conformismo realista que la situación política determinaba. Fieles a un contacto directo con la fabricación industrial, que sus primeros trabajos había propiciado, el tándem Tous y Fargas se valió de referentes internacionales, especialmente norteamericanos, para la reproducción de soluciones constructivas y metodologías de producción innovadoras. Con la eficiencia técnica como premisa, sus trabajos persiguieron incidir en la industria constructiva local mediante la proposición de prototipos residenciales como la Casa Door y la Casa Solanas.

In April 2015, The Pool emerged as the winning proposal for Australia's exhibition at the 2016 Venice Architecture Biennale. 1 Creative directors Aileen Sage and Michelle Tabet explained that the pool was ‘a lens through which to explore Australian cultural identity’ and ‘aptly represents a distinctively Australian democratic and social space’. 2 In Australia, the public pool was popularised in the post-war period, particularly in Queensland where it offered relief from the long, hot and humid summers. Although Brisbane already had several floating baths along the Brisbane River from the mid-nineteenth century, large-scale, in-ground pool construction in the state did not start in earnest until the mid-1950s, when the personal and social benefits of recreational time with family and friends became well established. In Queensland, as elsewhere in the country, the government encouraged the construction of swimming pools, and many became memorial pools, dedicated to those who had f...

Join Rachel Preston Prinz for a talk on mid-century modern architect and designer Alexander Girard’s work in New Mexico, and beyond. Girard arrived in Santa Fe in 1953. He has four major works in the state, including a mural at the Unitarian Church in Albuquerque, interiors and another – incomplete – mural at St. John College in Santa Fe, the interior rehabilitation of the Compound Restaurant on Canyon Road, and the interiors of the Museum of International Folk Art. Rachel has documented these projects, along with the restoration plans of the murals. In this talk, she’ll share some of what she learned along the way… including some of the “forgotten” connections in Girard’s work here.

In the mid-twentieth century, southern Vietnamese architects developed a version of modernist architecture that accommodated the tropical climate and reflected the identity of a newly-independent culture. It demonstrated high-quality design and it represented the outlook of the southern Vietnamese people as they looked towards the future, even in the face of war. The vast quantity and quality of Vietnamese modernist buildings constructed throughout southern Vietnam made Vietnam an unrecognized center of modernism in the world. Most importantly, the southern Vietnamese as a culture embraced modernism, and it became the vernacular architecture of the culture for dwellings.

Featuring an interplay between masses and voids, Vietnamese modernist architecture provides a much more vibrant version of modernist architecture. This style fills the gaps between the functionalism of the International Style and the quest for identity and spirit that has been lacking in modernism worldwide.

American architect Mel Schenck is a long-term immigrant to Vietnam and has been studying this architecture since he was surprised by the extent and quality of modernist architecture in Saigon when he first lived there in 1971/72. He and photographer Alexandre Garel accumulated a database of 400 buildings and 4,000 photographs in southern Vietnam to serve a comprehensive analysis of the history and characteristics of this distinctive architecture.

Architectural historians, aficionados of modernist architecture, and anyone interested in Vietnamese culture will find that this book is a positive story about Vietnamese aspirations for independence and the value of modernist architecture in living in the world today.

International Edition — Helena MT: Architecture Vietnam Books. 2020. ISBN 9780578516585
Vietnam Edition — Hanoi: Thế Giới Publishers. 2020. ISBN 9786047778904

The Beach, Boardwalk, and Motel in Florida: The Context of Beach-side Leisure, Polynesian Dreams, and Representation of the Tropics in Daytona Beach

Mike Walker
Savannah College of Art and Design

ABSTRACT:

Daytona Beach bills itself as “the world’s most-famous beach” which may or may not be true, but there is no disputing that Florida’s highest-grossing industry for decades has been tourism and that Florida attracts more tourists per year than any other destination in the world. Daytona Beach long has marketed itself as a premier Spring Break and summer vacation spot, so it is logical to examine the material culture of its beachfront. Interestingly, after promoting itself as the go-to destination for vacations, many hotels, bars, restaurants, and attractions along the beach strive to convey a sense of somewhere else: Aztec or Mayan palaces or temples and especially Polynesian or Hawai’ian locales are commonly represented, invoking a removal of authenticity both in terms of representing other cultures and geographies and, thereby, not representing the actuality of Daytona Beach. Yet what is that actuality? Daytona Beach has a long history with English and Spanish pioneer settlers and an even longer history with the native Timucuan peoples. Today, the extended urban micropolitan area numbers a population of around 350,000 and Daytona Beach has become a Floridian city recognized by name the world over, just as Orlando and Miami are, as a vacation destination.

This paper examines how the abstract ideal of a tropical paradise with concrete connotations such as Polynesia has been incorporated into the built environment of Daytona Beach’s shoreside areas and how architecture has been utilized as the primary means of creating and connecting a message of topicality for tourism purposes and moreover, how while this message began with local businesses, it has now carried over into official government projects as well. Architecture is less-considered in the scheme of advertising and tourism than other marketing such as print, television, radio, and web-marketing but deserves historical exploration in the case of Daytona Beach due to the high level of cohesion and prominence of the built environment in conveying a message of a welcoming, tropical, vacation.