339,819 research outputs found

    The Influence of Mediterranean Modernist Movement of Architecture in LefkoƟa: the First and Early Second Half of 20th Century

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    The twentieth century modern architectures in Lefkosia in North Cyprus are changing especially in residential building. This change is occurs based on the client\u27s orders or because of the dilapidated condition of the buildings. Identify the characteristics of modernist architectural movement will help in identifying these buildings and recognize the changes applied on them. The paper aims to reach the rationale understanding about the norms of modern architecture in LefkoƟa in the twentieth century. The methodology is based on analyzing the residential buildings designed by local architects and “Ahmet Vural Bahaeddin” selected as one of the famous modernist architect in the twentieth century in North Cyprus. Residential buildings from Milan and Rome in Italy, as well as Baecelina in Spain selected for analysis. The paper tries to demonstrate the presence of vernacular elements in modern architecture in LefkoƟa. Two vernacular elements were studied, i) the patio (outside and inside interrelation), and ii) the façade materials (exposed stone) as vernacular elements in “Mediterranean modernist architecture”. The paper delineated the influence of the “Mediterranean modernist movement” on modern architecture in LefkoƟa in the 20th century. The findings show that there is influence by Modernist movement of architecture in other Mediterranean cities in Italy and Espain on the modern architecture in LefkoƟa. The results contribute evidence to promote our understanding regarding the modernist architecture in LefkoƟa

    Broken avant-garde movement. Reinterpretation of russian avant-garde ideas in contemporary architecture

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    In the modern architecture of Russia, there is a shortage of morphological ideas associated with the loss of identity. Is it possible to revive the architecture of the avant-garde of the 1920s in order to find a vector for the further development of the Russian architectural movement? The study was based on theoretical, analytical and comparative methods. A theoretical material was collected on the origins of the formation of avant-garde movement in the Soviet Union and the influence of art on the appearance and the development of style. Were analyzed the conditions in which the avant-garde movement was developed and was sharply broken. Also was implemented an analysis of the projects and constructed buildings of avant-garde masters and leading modern architects, whose projects remind of stylistic of the Soviet avant-garde architecture. The result of the study is the project of reconstruction of Paveletskaya Square in Moscow. During the development of the project, were used the concepts and ideas of the art and architecture of the Soviet avant-garde. The project proved that, being inspired by the creative potential of Russian architecture of a hundred years ago, it is possible to create a successful contemporary architectural ensemble in modern Moscow. Which will become a combination of the national heritage of the past and the possible vector of further development of the architecture of Russia

    Seismic vulnerability of Modern Architecture building's: Le Corbusier style: a case study

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    In Portugal, at the end of the World War II, a new generation of architects emerged, influenced by the Modern Movement Architecture, born in Central-Europe in the early twenties but now influenced also by the Modern Brazilian Architecture. They worked with new typologies, such as multifamily high-rise buildings, and built them in the most important cities of the country, during the fifties, reflecting the principles of the Modernity and with a strong formal conception inspired in the International Style’s codes. Concrete, as material and technology, allowed that those “Unity Centre” buildings become modern objects, expressing the five-point formula that Le Corbusier enounced in 1927 and draw at the “UnitĂ© d’Habitation de Marseille”, namely: the building lifted in pilotis, the free design of the plan, the free design of the façade, the unbroken horizontal window and the roof terrace. In Lisbon, late forties urban plans transformed and expanded the city, creating modulated buildings repeated in great extensions – that was a progressist idea of standardization. The Infante Santo complex is a successful adaptation to the Lisbon reality of the Modern Urbanism and Architecture. In the fifties, it was built a large number of Modern housing buildings in Lisbon, with structural characteristics that, in certain conditions, can induce weaknesses in structural behaviour, especially under earthquake loading. For example, the concept of buildings lifted in pilotis can strongly facilitate the occurrence of soft-storey mechanisms, which turns these structures very vulnerable to earthquake actions. The development and calibration of refined numerical tools, as well as, assessment and design codes makes feasible the structural safety assessment of existing buildings. To investigate the vulnerability of this type of construction, one building representative of the Modern Architecture, at the Infante Santo Avenue, was studied. This building was studied with the non-linear dynamic analysis program PORANL, which allows the safety evaluation according to the recently proposed standards

    Evocations of Byzantium in Zenitist Avant-Garde Architecture

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    The Byzantine legacy in modern architecture can be divided between a historicist, neo-Byzantine architectural style and an active investigation of the potentials of the Byzantine for a modern, explicitly nontraditional, architecture. References to Byzantium in avantgarde Eastern European architecture of the 1920s employed a modernist interpretation of the Byzantine concept of space that evoked a mode of “medieval” experience and creative practice rather than direct historical quotation. The avant-garde movement of Zenitism, a prominent visionary avant-garde movement in the Balkans, provides a case study in the ways immaterial aspects of Byzantine architecture infiltrated modernism and moved it beyond an academic, reiterative formalism. By examining the visionary architectural design for the Zeniteum, the Zenitist center, in this article, I aim to identify how references to Byzantium were integrated in early twentieth-century Serbian avant-garde architecture and to address broader questions about interwar modernism. In the 1920s, architects, architectural historians, and promoters of architecture came to understand the Byzantine concept of space in ways that architects were able to use in distinctly non-Byzantine architecture. I will trace the ways Zenitism engaged the Byzantine architectural construct of total design, in which structure joins spirituality, and related philosophical concepts of meaning and form derived from both Byzantine and avant-garde architecture. This reassessment of Zenitism, an Eastern European architectural movement often placed on the margins of the history of modern architecture, has broad implications for our understanding of the relationship between tradition and modernism

    Disseminating the Regional within the Global. Representing Regionalist Ideas and the Global Scale of the Modern Movement in the Hungarian Journal ‘TĂ©r Ă©s Forma’

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    The pursuit of a national style has engaged Hungarian architects ever since the Austro-Hungarian Monarchy and such tendencies prevailed even in the interwar period when the Modern Movement emerged. A magazine editor represented an alternative standpoint rejecting style architecture, formalism and historicism and, using his voice and platform, propagated the Modern Movement in accordance with his regionalist views. This was the architect Virgil Bierbauer (1893–1956), who edited the journal TĂ©r Ă©s Forma (Space and Form), the leading architectural periodical of interwar Hungary between 1928 and 1942. Bierbauer did not only deny historicism but also the notion of a unifying international style as he insisted on regional solutions based on the local climate and building materials. While he was a firm advocate of the Modern Movement, he provided a broad panorama of contemporary architecture from a global scale focusing on the local relevance of his selection in TĂ©r Ă©s Forma. He was also deeply interested in vernacular architecture. He eagerly observed rural buildings during his travels within Hungary and abroad and he dedicated articles and complete journal issues to this subject. Bierbauer also insisted on the elevation of this topic into the international discourse in the framework of CIAM-Ost, the Eastern European organization for the CongrĂšs Internationaux d’Architecture Moderne. In my paper, I focus on the common grounds Bierbauer found between modern and vernacular architecture and how it was presented in the journal TĂ©r Ă©s Forma. In my case studies, vernacular architecture represents functionalism, simplicity and dedication to life, which Bierbauer – similarly to many of his contemporaries – compared to modern architecture. I trace both Hungarian and international examples to articulate Bierbauer’s interpretations. In addition to TĂ©r Ă©s Forma as a source material, I use Bierbauer’s correspondence, travel reports, original manuscripts and photographs held at the Hungarian Museum of Architecture.The research project of the author is funded by the National Cultural Fund of Hungary (ref. no. 101102/00444, 101102/00578).info:eu-repo/semantics/publishedVersio

    Preserving Han-Ok: Reimaging the Korean Traditional House for Today using 3D Design

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    The purpose of this thesis project was to preserve the traditional elements of Han-Ok in the modern architecture in Korea. I have integrated traditional Korean design elements into modern architecture. I also solved the problems that the Han-Ok currently faces. This topic is important because a lot of the traditional culture has been disappearing within the current Korean society. Of all the aspects of Korean traditional culture, the Han-Ok, the Korean traditional house itself, is very important. A lot of Korea\u27s culture is represented in the Han-Ok, but people think this type of architecture is unnecessary and uncomfortable, and because of this people are pursuing another direction. It is important in our society to preserve the traditional culture from the past to pass on to future generations. I researched every component of the Han-Ok itself; identifying the weaknesses of the house, Korean traditional culture, and modern architecture. Finally integrated the Korean traditional style into modern architecture. The scope of my thesis focused heavily on the areas of architecture, camera movement, and 3D modeling within this industry

    C. F. A. Voysey: The Retrospective Career of the “Pioneer of the Modern Movement

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    The research focus for this paper was the historiography of Charles Francis Annesley Voysey’s architectural career. More specifically, the focus was on the appreciation of his work and why it did or did not change over time. Once the appreciation of Voysey’s work was addressed, the focus became more specific: What was the nature of the shift in opinion of his work, and what internal or external factors caused this shift? To find answers to these questions, I read the books and articles in the paper’s bibliography. In addition, I used the context of the course material of Art History 282 to shape and guide the focal argument of the paper. This allowed me to get a broader picture of the shifting field of architecture during and shortly after Voysey’s fleeting popularity in the early 1900s. Through use of these methods, I found that Voysey’s career in the late 1800s and early 1900s reflects a transitional period in the field of architecture. The Arts and Crafts Movement was losing favor to the emergence of the Modern Movement and the acceptance of machine technology in building methods. Voysey’s simple country houses reflect this subtle shift, as many later critics observe. I conclude through this research assignment my position on retrospective analysis. An architect who designs a building makes a statement that can be interpreted differently by every ensuing generation. In retrospect, Voysey provides influence for countless architects and sets the tone for the Modern Movement. While Voysey himself scoffed at the idea of being named the “pioneer of the Modern Movement,” his intentions are irrelevant to the magnitude of his influence. His economy of design, lack of ornament, and emphasis of geometry all precede the ideas and practices of modern architecture
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