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This paper presents an in-depth analysis of the Kopčić House, a significant example of modernist architecture in Sarajevo, Bosnia and Herzegovina, focusing on its structural-specific features and seismic performance. The Kopčić House embodies a confined masonry structure with innovative construction features, combining load-bearing masonry walls with reinforced concrete elements. This architectural approach was pioneering for its time, combining traditional construction methods with innovative materials and techniques. Detailed analysis using numerical modeling techniques, specifically 3D modeling with the 3Muri software (Vers.14.2.0.4), was conducted to assess the seismic resilience of the structure. The analysis considered different load distributions and eccentricities to comprehensively evaluate the building's response to lateral forces. The findings of this research reveal the structural capacity and potential vulnerabilities of the Kopčić House when subjected to seismic events. While the building demonstrates inherent strength due to its confined masonry design, areas requiring structural strengthening were identified through numerical simulations. This study contributes to the broader understanding of confined masonry construction within the context of modernist architecture. By integrating historical research with advanced structural analysis, this work aims to bridge the gap between architectural heritage and contemporary engineering practices. [ABSTRACT FROM AUTHOR]

This visual anthropology project was informed by a series of plein-air water-color sketches of panel-block apartment buildings, painted in conversation with ethnographic research participants in Moscow in 2021. Such housing, built on an industrial scale during Nikita Khrushchev’s mass-housing campaign between 1955 and 1964, and which came to be nicknamed khrushchevkas, became ubiquitous across the Soviet Union. In 2017, in Moscow, Russia, panel-block apartments were threatened by the renovatsiya campaign, which asked residents to vote to demolish their own homes, now declared dilapidated housing. The author painted a number of these apartment buildings slated for demolition, recording details in the construction, ornamentation, and topography of each apartment block. The author also gathered testimonies of artists who live in-, and whose artistic practice revolves around such housing, asking participants to share their artistic process, memories of growing up and living in such housing, and feelings about the prospect of losing their home. While supported by the majority of the population, the renovatsiya campaign would erase local histories, revealing the state’s authoritarian attitude towards its own citizenry, but much worse, it served as premonition for Russia’s renewed aggression in Ukraine, which, less than a year later, caused a widespread political and humanitarian disaster, closing all possibility for further research.

The Shanghai Fish Market (1936), initiated by Republican China's Ministry of Industry, was briefly a linchpin for producers and distributors, facilitating state intervention in the supply chain of the treaty port city. The market's modernist design by Su, Yang & Lei Architects departed from the Beaux-Arts-inspired practices often associated with Nationalist China's self-presentation. Influenced by foreign precedents, it incorporated rationalized trading procedures into its spatial layout. This article examines the market's construction, which was guided by fishery expertise and aimed to harness natural resources for societal and national benefits. Technopolitical dynamics surrounding the reconfiguration of food provisioning logistics generated power struggles among stakeholders at the local and international levels. Despite the obstacles that constantly challenged the technocrats' ambition to revolutionize the fishery industry, the Shanghai Fish Market's historical and architectural significance lies in its efforts to integrate the built and natural environments into a national system of governance. [ABSTRACT FROM AUTHOR]

Geography, climate, culture, and technology directly influenced the architectural production of societies. These effects first shaped the production of traditional architecture. After the developments in the industrial revolution, architectural formatting has been open to constant and rapid changes. These changes, dating back to the twentieth century and called modernism, aimed to move away from tradition and design with its forms. Design theorists divide between the view that modernism is directly influenced by tradition and that modernity is an entirely new formation. This research aims to identify the effects of these parameters with the parameters that shape tradition and modernism to shed light on the debates about the effect of modernization. In literature research, the design parameters that can be reached from the past to the present generally do not change in housing structures, and these parameters are included in the concept of environmental sustainability today. Therefore, traditional and modernist design product housing structures have been analyzed through environmental sustainability parameters. Information collected from the literature and selected structures were studied using the comparative analysis method. The results of the analysis will shed light on the discussions about the interaction of traditional and modernist designs with extracts from residents.

Drawing on both archival research and recent scholarship, this article examines how medical thinking and a scientific understanding of the atmosphere shaped the design of the Queen Alexandra Sanatorium in Davos, Switzerland, designed by Pfleghard & Haefeli from 1905 onward. While the sanatorium is noteworthy in terms of both its construction and its reception in the historiography of modern architecture, this study reassesses the rationale behind the design. Proposing an environmental cure, the institution did away with the idea of architecture as a protective wrapper, and instead presented the atmosphere itself as the primary realm for human habitation. This study thus situates the sanatorium in the atmosphere rather than in the landscape, even though the building appeared to grow from the ground. Conceived with the atmosphere as its proxy envelope, the sanatorium was designed to expose its patients to the celebrated air of Davos, praised for its purity and perfect stillness. [ABSTRACT FROM AUTHOR]

This paper presents an in-depth analysis of the Kopčić House, a significant example of modernist architecture in Sarajevo, Bosnia and Herzegovina, focusing on its structural-specific features and seismic performance. The Kopčić House embodies a confined masonry structure with innovative construction features, combining load-bearing masonry walls with reinforced concrete elements. This architectural approach was pioneering for its time, combining traditional construction methods with innovative materials and techniques. Detailed analysis using numerical modeling techniques, specifically 3D modeling with the 3Muri software (Vers.14.2.0.4), was conducted to assess the seismic resilience of the structure. The analysis considered different load distributions and eccentricities to comprehensively evaluate the building’s response to lateral forces. The findings of this research reveal the structural capacity and potential vulnerabilities of the Kopčić House when subjected to seismic events. While the building demonstrates inherent strength due to its confined masonry design, areas requiring structural strengthening were identified through numerical simulations. This study contributes to the broader understanding of confined masonry construction within the context of modernist architecture. By integrating historical research with advanced structural analysis, this work aims to bridge the gap between architectural heritage and contemporary engineering practices.

The COVID-19 pandemic has highlighted the importance of care, as well as the extent to which it is undervalued in Western societies, emphasising the instrumentalization and neoliberal logic that care is subject to. Since the 1970s, various feminist theorists have developed ethics of care. This evolving and controversial ethic has become a critical tool in sociology, philosophy, economics, and public policy analysis but is still underdeveloped in architecture and urban planning. This paper adopts the feminist ethic of care to analyse and criticise the evolution of a modernist social housing complex. The Cité de Droixhe was built in the 1950s to offer various facilities, 2000 rental social housing units, and vast green areas in Liège (Belgium). However, since its creation, it has undergone major transformations including the demolition of nearly 1000 units. In this qualitative inductive research, an interdisciplinary approach between architecture and social sciences was proposed, combining archival research, semi-structured interviews, and participatory observations. The ethic of care is mobilised both as a research and methodological posture and as an object of analysis. The data collected led to questioning the place of care in the evolution of the large complex under different themes: the facilitation of reproductive work, the valorisation of care professions, and the attention paid to proximity and the daily life of the neighbourhood inhabitants. By highlighting the integration and loss of care within the different transformations of the housing estate, this study shows the importance of reasserting the value of care and making it a collective responsibility, contributing to drawing perspectives for a more feminist, equal, and caring city. [ABSTRACT FROM AUTHOR]

At the shoreline, human and ocean activities often act in unproductive tension with one another. This article draws from encounters between the modernist architecture in the port city of Toamasina in Madagascar and the activities of the Indian Ocean at that location to sense how human–ocean binary lines might become more porous. The first part of the article sketches a material-discursive theory of the weathered hole in modernist architectural surfaces. It explores the hole as a vital collective of queer otherings to the specific land-centred individualistic subject-hood of modernist Man, a specific figuration of a human who draws binary lines to separate itself out from the "natural world". The second part of the article argues that artistic inquiry is well positioned to sense into the activities of the hole. It looks to how the hole at the surface of modernist Man can co-shape the specific human–ocean relationship that forms at this shoreline. Such inquiry is explored through my solo exhibition titled Static Drift, held at the Wits Art Museum in Johannesburg in 2021. Sensing, the exhibition reveals, has the potential for listening to binary lines as they erect a surface that both pushes away yet also receives what has been pushed. In Static Drift, being vulnerable through human perceptions was highlighted as a critical mode for sensory attunement to the relationships that form at such surfaces. This article argues that the sonic is a useful sensory mode for opening perceptions toward what is not yet perceived in surface–hole relationships. The sonic opens sites for ontological thinking into human–ocean relations by sensing into the re-orienting potentials that noise offers for thinking about disrupting binaried surfaces. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In October of 2004, the Museo de Medicina Laboral (Museum of Labor Medicine), opened to the public in Real del Monte, State of Hidalgo, Mexico. The museum, located on the grounds of what had been the Hospital Minero (Mining Hospital), was a building complex conceived, built, and operationalized at the height of Mexico’s Industrial Revolution and the region’s only medical facility specializing in the healthcare needs of miners and their families. Utilizing historical analysis, the hospital reveals contradictions frequently embodied by the era’s Modernist built environments. Inaugurated in 1907, the hospital was the culmination of the United States Smelting Refining and Mining Company (USSRMC) and its Mexican subsidiary, Compañía Real del Monte y Pachuca’s (CRMyP) efforts to bring healthcare to its employees while maximizing production. On one hand, the hospital’s design and operation expressed an optimism wrought by the dissemination of positivist and utilitarian philosophies and economic growth spurred by technological innovation; on the other, growing wealth inequality and deteriorating, often brutal, labor conditions. Nearly 120 years later, the hospital again embodies a global reality. In contemporary post-industrialist economies, once these built environments cease being productive, they are usually abandoned or demolished; only a few are transformed and repositioned for other uses. As the region’s mining industry ceased productivity, the hospital was first abandoned and later rescued by a newly privatized enterprise that donated the medical building complex to a non-for-profit civil association focused on mining heritage. Now the Museum, an architectural expression that fused global and local economic, technological, and aesthetic sensibilities, has become an example of commodified didactic heritage.

This article aims to make the European professional audience acquainted with the architecture of an important southern African city. Additionally, the author hopes to familiarise this audience with the cultural nuances and character of this city, while trying to maintain distance as a native of the city. South Africa is famous for its significant natural and wildlife treasures. Internationally the history of this country’s politics and developing democracy are also well known. From famous political leaders overcoming the harsh and hateful Apartheid laws to more world-renowned medical practitioners performing ground-breaking medical procedures: the impact of South African global contributions cannot be overlooked. However, there is significant oversight in the appreciation of the architecture and analyses of the urban conditions in the country. Pretoria is the administrative capital of the Republic of South Africa and contains a substantial oeuvre of built works that is testament to the numerous international and local cultural influences. Thus, it was deemed necessary to present the architectural and artistic responses from the modernist period (late 1920s – 1970s). The Pretoria Regionalist style, sometimes styled as the Third Vernacular, is a contextually inspired, and unique Transvaal-esque mutation of the machined and purist aesthetic of the Modernist Movement (1920s – 1960s). This architectural oeuvre is presented within the historical context of the founding and evolution of South Africa. Hence, eight contextually appropriate and architecturally significant edifices representing the modernist architecture of the early 20th century are broadly discussed.

In the context of the German Democratic Republic's longstanding aesthetic and political discourse on social utopianism, this article will discuss Alfred Wellm's novel Morisco (1987) and Halle-Neustadt as a key to understanding the relationship between the socialist new town and the East German cultural imaginary. Through Wellm's novel, the article will argue that the construction of modernist new towns provoked a cultural response engaging with the rift between built reality and the utopian imagination/ambition of the classless, socialist city in different literary and visual media. Evoking Tommaso Campanella's utopian City of the Sun (1602), the novel critically positions Neustadt within a cyclical Marxist eschatology, simultaneously expressing frustration with and hope for the progress of the socialist project. It therefore also represents the post-Stalin aesthetic shift from grand socialist realist narratives to subjective everyday perspectives, and the revived interest of authors in utopian themes in the 1980s against the backdrop of the Socialist Unity Party's (SED) claim that socialism had already been achieved. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Architectural Sciences & Applications (JASA) is the property of Journal of Architectural Sciences & Applications and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cultural heritage of modern architecture is a widely acknowledged phenomenon; however, unique urban landscapes that have witnessed a fundamental transformation in urban life in the 20th century are still underrepresented on the UNESCO World Heritage List. In this paper the built urban heritage of Kaunas city (1919–1939) is investigated as an example of a modern urban heritage site with a problematic focus on defining the attributes of urban heritage, especially when intangible heritage values are added to the tangible built heritage. In this paper the attributes of modern urban heritage are discussed on the example of "Modernist Kaunas (1919–1939): Architecture of Optimism", the nomination dossier for the UNESCO World Heritage List. Three groups of attributes are described using historical research and later discussed by applying the method of comparative analysis. The conclusion proposes that Modernist Kaunas can fill the gap by representing Eastern European modern urbanity and enhance the understanding of the modern global city by reflecting the metropolitan aspirations in modern Europe. [ABSTRACT FROM AUTHOR]

The purpose of the article is the general characteristics of military residential architecture built in the 1920s and 1930s in the 2nd Polish Republic. In the newly restored Poland the most pressing problem was the improvement of the housing conditions of the population. The military, who contributed the most to the reinstating of independence held special privilege with the state officials. Therefore, the problem of their quartering was resolved with utmost preference. After an unsuccessful period of trial and error with traditional and light timber frame construction the government addressed this problem systemically establishing the Military Accommodations Fund with a dedicated budget for creating typified, repeatable solutions. The MAF commissioned specific designers, held open as well as limited competitions and hired a cadre of architects and engineers to come up with designs that could rapidly and cost effectively replenish the housing base with functional, hygienic solutions. Because the MAF was well funded, the most prominent polish modernist architects readily cooperated with the organization making Polish interwar architectura militaris an engine of modernization. [ABSTRACT FROM AUTHOR]

The seashore can be a place where political authorities seek to achieve social progress by offering modern performative spaces for leisure and recreational activities. After the establishment of the Republic of Turkey in 1923, the display of healthy bodies became particularly important for making modernity visible, and for this reason parks, dance halls, sports facilities, and beaches were promoted to a wider audience for the display of bodies in motion. This article analyzes how Florya Beach in Istanbul was reconstructed as a modern urban area, through the beach's representations in popular media and architectural projects from 1935 until 1960. The article traces the reshaping of a part of the urban waterfront of Istanbul through the everyday life of the city's residents, representations of the beach, the myth created around Atatürk's summer residence, and the modernist architecture that embodied the state's aspirations to modernization and nation-state policies on the beach. [ABSTRACT FROM AUTHOR]

The paper undertakes the topic of architectural heritage of post-war modernism in Poland. Beside the typical single-family housing solutions from the second half of 20th century (the so-called "Polish cube") it is possible to point out some examples of houses designed according to the world's leading design tendencies of that time. Those buildings were established on individual requests of the social elites including scientists, directors and government officials. One of such objects is a modernist villa from the 1960s located in Ustroń - a popular resort at the foot of the Beskid Mountains and built for General Jerzy Ziętek. There is a lack of its accurate, systematic documentation, which would become a basis for a conservation project. Here, we demonstrate a response to this problem which results in the development of a precise inventory documentation and representation of the investigated object, which is a valuable heritage of post-war modernism architecture. Methodology presented in this paper is based on combination of digital tools such as UAV photogrammetry and HBIMmodelling and by adding a rich database obtained through thorough research. [ABSTRACT FROM AUTHOR]

Copyright of Housing Environment / Środowisko Mieszkaniowe is the property of Chair of Housing Environment, Faculty of Architecture, Cracow University of Technology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article addresses the ways in which the writings of Le Corbusier interacted with modernist architectural thought in Britain. It focusses on Frederick Etchells, who translated Vers une architecture in 1927, and analyses key influences upon his intellectual development and approach to design, namely Roger Fry, Wyndham Lewis, W.R. Lethaby, Christopher Hussey, and John Rodker. It suggests that dedicated study of Etchells as a connective figure in this network aids our understanding of modernism's fraught integration into British culture; that architectural ideas are central to vorticism's engagement with the artist's relationship to society; and that Fry and Lewis deserve recognition for establishing a mature conception of architectural modernity in Britain, alongside Le Corbusier. [ABSTRACT FROM AUTHOR]

Copyright of METU Journal of the Faculty of Architecture / Mimarlık Fakültesi Dergisi is the property of METU Journal of the Faculty of Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Urban Ethnology is the property of Instytut Archeologii i Etnologii Polskiej Akademii Nauk and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of TUBA-KED: Turkish Academy of Sciences, Journal of Cultural Inventory is the property of Turkish Academy of Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Pančevo City Hall, an administration building erected in the city centre, is rarely accentuated in the oeuvre of the Croatian-Yugoslav architect Kazimir Ostrogović, despite the fact that it was the first Modernist building in this Vojvodina city. The City Hall emphasizes the spirit of Yugoslavia and the dominant Modernist architecture of the time. Its modern form, mass, structure, materials, constructive and technical details stand out from the ambience, which until then had mostly communicated aesthetic ideas of Viennese and Hungarian Secession. The author turned to Le Corbusier's principles combined with his own style. The building has great technical value and immense social, cultural, aesthetic and historical values. The goal of this article is to explore all its aspects by thoroughly reviewing literature, examining archives and interviewing employees. To date, the values of the building has not been fully recognized by experts, given that it has not been placed under any kind of protection, while changes made over the years led only to devastation.

To this day, the Belgrade oeuvre of architect Dušan Babić has not been subjected to broader historiographic research, making the elements of his architectural vocabulary all the more difficult to define and evaluate. The available archival material does provide valuable insights into the life of architect Babić and his works in the capital of the Kingdom of Yugoslavia between 1927 and 1946. He produced over fifty designs for residential and mixed use buildings (comprising both commercial and residential space), several churches and the crematorium in Belgrade, simultaneously participating in at least ten big state competitions with notable entries, such as the designs for the Terazije slope, the Princes' Palace in the Dedinje Royal Compound, the Veterans Club building, etc. In the diversity of movements, styles and trends developing in Serbia between the two world wars as a result of the surge of predominantly West European cultural influences, the application and modification of modern architecture principles formed the mainstay of Babić's creative endevours. Stereometric forms, cubic volumes, unadorned facades, and strict lines were refined with often more freely interpreted bas-relief ornamentation, free standing sculptures or geometric forms. Babić made an effort to turn each and every structure into a unique architectural experience, especially by dynamically interpreted drawings of perspective and accentuated details.

The cultural heritage of modern architecture is a widely acknowledged phenomenon; however, unique urban landscapes that have witnessed a fundamental transformation in urban life in the 20th century are still underrepresented on the UNESCO World Heritage List. In this paper the built urban heritage of Kaunas city (1919–1939) is investigated as an example of a modern urban heritage site with a problematic focus on defining the attributes of urban heritage, especially when intangible heritage values are added to the tangible built heritage. In this paper the attributes of modern urban heritage are discussed on the example of “Modernist Kaunas (1919–1939): Architecture of Optimism”, the nomination dossier for the UNESCO World Heritage List. Three groups of attributes are described using historical research and later discussed by applying the method of comparative analysis. The conclusion proposes that Modernist Kaunas can fill the gap by representing Eastern European modern urbanity and enhance the understanding of the modern global city by reflecting the metropolitan aspirations in modern Europe.

In the early 20th century, heritage conservation in Central Europe extended the focus of its interest to old towns seen as a whole. Around the same time, the first buildings in the Modernist style began to be introduced into these historical urban settings, and so the question of their ‘contextuality’ arose for the first time. Several texts written by Max Dvořák reacted to both these processes. Dvořák was an opponent of Historicism, and so he did not object to the introduction of Modernism into old towns, but only on condition that a ‘higher architectural unity’ or ‘internal unity’ of old and new was created. Otto Wagner’s designs for the Karlsplatz in Vienna did not meet with Dvořák’s approval because they broke away too radically from the old architectural culture and did not work towards a ‘higher unity’. Dvořák cooperated with the Club for Old Prague on the conservation of heritage sites in Prague. However, the Club had a greater predilection for Modernism than he did. The problem with the terms used by Dvořák lies in their aesthetic nature. This means that they are too open to subjective interpretations.

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of New Architecture is the property of New Architecture Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Three essential elements of modernism consolidated through war: a centralised welfare state, a serial industrial apparatus and, often, a territorial tabula rasa. Hence, for many modernist architects and urban planners, post-war Europe became the ideal ground to put their ideas to the test. However, there is a genuine discrepancy between the proposals of the first four Congrès Internationaux d’Architecture Moderne (CIAM) and what was massively implemented throughout Europe after 1945. To explore this divergence, Brussels proves to be an interesting case study for two main reasons. First, it hosted the third CIAM in November 1930, where Victor Bourgeois presented his views on housing and cities, in line with the ideals of the time. Second, after the war, Belgium, like many Western countries, experienced a period of euphoria, during which the modernist ideology attained a sudden and broad consensus. In the capital over the following three decades new infrastructure was built, as well as housing developments that derived, at least formally, from the CIAM ideals. This article explores the gap between the ideals and the reality of modernism through a comparison on two scales: the city and housing. Bourgeois’s Grand and Nouveau Bruxelles proposals are compared to the Manhattan Plan and Etrimo’s housing developments. Understanding the gap between the ideals of modernism and its implementation may help identify characteristics of the modernist movement but also, as Lacaton-Vassal pointed out when citing Habermas, complete the “unfinished project” (Habermas, 1984) of modernism.

This paper analyzes how global processes that promote the homogenizing of urban cultural space influence the perception and representation of the past in Central and Eastern European (CEE) cities. Cultural urbanism perceives all urban heritage merely as a scene for creative experiments and new cultural industries. In CEE cities, characterized by a complex and contested history, a special attitude toward the past appears to be one of a typical feature. This situation poses a serious challenge to how global cultural urban processes play out in various regional contexts. It is evident that the dominant view on creative urbanism held within established neoliberal theoretical frameworks is too narrow to explain all its effects for the cities of CEE. How do new cultural projects focusing on the revitalization of urban heritage represent the complex pasts of CEE cities? Are they transforming their experience and emotional resonance? Do they even leave any kind of space for this past? Or, maybe, is this past disappearing in new discourses and symbolic meanings? In this paper, these questions are explored based on case studies showcasing the use of the 1920s and 1960s modernist architectural heritage in CEE cities. [ABSTRACT FROM AUTHOR]

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Modernist architecture is one of the most significant movements which serve as grounds for contemporary creations. At the beginning of the 20th century, the impact of new structural and building technologies allowed designers to find new ways of architectural expression. It is rooted in thought-out composition and simplicity which serve as a background for the exposition of structure. The geometrical interplay of a building’s elements highlights the impressively thin structures and raw surfaces of novel building materials. Nowadays, in selected regions, the architecture of the Modernist Period is neglected or loosely refurbished. As an effect of this phenomenon, buildings are demolished or deprived of aesthetical values. Thus, this article aims at showing an overview of sectional research on good practice. We base the study of on-site design implementations of several modernist architecture refurbishments and focus on technology and design assumptions with optimised thermal modernisation. The paper reveals a set of examples for the refurbishment of modernist architecture, with calculations of heat energy coefficients of the initial and design phase. The presented thermal modernisations aim at adjusting buildings to new requirements concerning energy without any loss of initial architectural expression.

Copyright of Revista Memoria em Rede is the property of Revista Memoria em Rede and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Photography has been associated with the specter, spirit, and the apparition ever since the theory of photography first emerged. André Bazin and Edgar Morin saw the spectral features of photography as the basis for phenomenological interpretation. However, the most creative exposition of ghosts in photography is linked to Jacques Derrida’s concept of hauntology. Nowadays, hauntology is often cited in relation to nostalgia – longing for “the lost futures”. However, when Derrida wrote Specters of Marx in 1993, he was interested in the ontological repetition of ideas through history. Photographs created by two contemporary Polish photographers (Michał Grochowiak and Nicolas Grospierre) are an excellent illustration of the French philosopher’s thoughts, as their works focus on the same theme – architecture of the socialist era. The recurring specter of the past manifests itself through it. Grochowiak’s photographs from the Breath series (2010) depict the interior of the Palace of Culture and Science in Warsaw – fragments of a monumental memorial from the socialist era. In turn, Grospierre’s series of photographs titled K-Pool and company (2011) documents modernist buildings in the post-Soviet republics. In the article, the reference to hauntology allows me to discuss photography as a carrier of eeriness as well as an invisible tool of disclosure. What’s more, it seems that hauntology may explain the role of photography in discussing the political and social contexts of the past. [ABSTRACT FROM AUTHOR]