Levantine Modernism: The Garden Mansions in Haifa, 1936–45

Most category studies have focused on established categories with discrete boundaries. These studies not only beg the question of how a de novo category arises, but also upon what institutional material actors draw to create a de novo category. We examine the formation and theorization of the de novo category “modern architecture” between 1870 and 1975. Our study shows that the process of new category formation was driven by groups of architects with distinct clientele associated with institutional logics of commerce, state, religion, and family. These architects enacted different artifact codes for a building based on institutional logics associated with their specific mix of clients. “Modern architects” fought over what logics and artifact codes should guide “modern architecture.” Modern functional architects espoused a logic of commerce enacted through a restricted artifact code of new materials in a building, whereas modern organic architects advocated transforming the profession's logic enacted through a flexible artifact code of mixing new and traditional materials in buildings. The conflict became a source of creative tension for modern architects that followed, who integrated aspects of both logics and materials in buildings, expanding the category boundary. Plural logics and category expansion resulted in multiple conflicting exemplars within “modern architecture” and enabled its adaptation to changing social forces and architectural interpretations for over 70 years.

Yugoslavian Modernist Architecture, although part of a larger cultural phenomenon, received hardly any international attention, since there are only a few internationally published studies about it. Nevertheless, Modernist Architecture of the Inter-war Yugoslavia (Kingdom of Yugoslavia), and specially Modernist Architecture of the Post-war Yugoslavia (Socialist Federal Republic of Yugoslavia under the “reign” of Tito), represents the most important architectural heritage of the 20th century in former Yugoslavian countries. Belgrade, as the capital city of both newly founded Yugoslavia(s), experienced an immediate economic, political and cultural expansion after the both wars, as well as a large population increase. The construction of sufficient and appropriate new housing was a major undertaking in both periods (1919-1940 and 1948-1980), however conceived and realized with deeply diverging views. The transition from villas and modest apartment buildings, as main housing typologies in the Inter-war period, to the mass housing of the Post-war period, was not only a result of the different socio-political context of the two Yugoslavia(s), but also the country’s industrialization, modernization and technological development. Through the classification of Modernist housing buildings in Belgrade, this paper will investigate on relations between the transformations of the main housing typologies executed under different socio-political contexts on the one side, and development of building technologies, construction systems and materials applied on those buildings on the other side. The paper wants to shed light on the Yugoslavian Modernist Architecture in order to increase the international awareness on its architectural and heritage values. The aim is an integrated re-evaluation of the buildings, presentation of their current condition and potentials for future (re)use with a specific focus on building envelopes and construction.

Book Review| June 01 2020 Review: John McAndrew's Modernist Vision: From the Vassar College Art Library to the Museum of Modern Art in New York, by Mardges Bacon, and Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years, 1951–1986, by Thomas S. Hines Mardges Bacon John McAndrew's Modernist Vision: From the Vassar College Art Library to the Museum of Modern Art in New York New York: Princeton Architectural Press, 2018, 192 pp., 28 color and 91 b/w illus. $45 (cloth), ISBN 9781616896409Thomas S. Hines Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years, 1951–1986 Los Angeles: Getty Research Institute, 2019, 208 pp., 106 b/w illus. $50 (cloth), ISBN 9781606065815 Kristina Wilson Kristina Wilson Clark University Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2020) 79 (2): 228–230. https://doi.org/10.1525/jsah.2020.79.2.228 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Kristina Wilson; Review: John McAndrew's Modernist Vision: From the Vassar College Art Library to the Museum of Modern Art in New York, by Mardges Bacon, and Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years, 1951–1986, by Thomas S. Hines. Journal of the Society of Architectural Historians 1 June 2020; 79 (2): 228–230. doi: https://doi.org/10.1525/jsah.2020.79.2.228 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentJournal of the Society of Architectural Historians Search The two books reviewed here, by Mardges Bacon and Thomas S. Hines, use the methods of biography to offer new insights into the Museum of Modern Art's engagement with architecture from its founding years until the mid-1980s. During that period, the exhibitions sponsored by MoMA's Department of Architecture and Design (A&D) garnered significant attention from the popular and trade presses, and the institution took seriously its self-appointed role as arbiter of the modernist canon. In the realm of architecture and design, the figure of Philip Johnson loomed large, but these books usefully refocus attention on the creative and administrative skills (or lack thereof) of two other men who made MoMA's history as vital and dynamic as it was: John McAndrew, curator of A&D from 1937 to 1941, and Arthur Drexler, who served first as curator of architecture (1951–56) and then as director of the Department of Architecture and Design (1956–86).... You do not currently have access to this content.

The lack of appropriate quality of life (QoL) measures is a major barrier to planning and delivering health and aged care services for older Indigenous peoples worldwide. QoL is dependent on cultural values and priorities may vary between age groups. This project aims to develop a QoL tool for older Aboriginal Australians. The study was completed with Aboriginal Australians aged over 45 years living in Perth and Melbourne, Australia. Participatory Action Research methods were applied with an Indigenous research paradigm. Semistructured interviews were undertaken to identify the factors important to having a good life. Factors were further explored in yarning groups with older Aboriginal peoples to develop the draft QoL tool questions. Face validity of the tool was completed in two regions. The participants preferred the term "a good life" to QoL. Having a good spirit is at the core of having a good life. The protective factors for a good life were family and friends, health, culture, Elder role, respect, Country, spirituality, services and supports, community, future plans, safety and security, and basic needs. Twelve factors were identified and developed into key questions for the Good Spirit, Good Life tool. The draft tool will undergo quantitative validity testing, prior to embedding in service provision to inform care for older Aboriginal peoples. With local adaptation, the tool, accompanying framework, and participatory methods for development may have wider applicability to other Indigenous populations worldwide.

The article discusses the use of shakes and shingles as heritage craft roof coverings in 21st-century architecture. In modern architecture heritage is mainly used in two ways: 1) by adhering to formal and proportional role models (for example barn-dwelling-type buildings); and 2) by using heritage craft materials in buildings that use modern architectural language. The article focuses on the second case, specifically on the use of surfaces covered with shakes and shingles in modern architecture. The study included 17 buildings and projects that combine modern architectural language and traditional roofing material and were built between 2003 and 2023. To collect the data, architects, owners, and one master craftsperson were interviewed. The aim was to find out why they had chosen this particular material as roof covering, what specific types of shake or shingle were used, how they were processed, and in which parts of the building they were used. In addition, how such a choice of materials affected the user experience was of interest. The data shows that the use of shakes and shingles in modern architecture is still in the early stages in Estonia and is mainly limited to smaller buildings such as private houses and outbuildings. The main reasons for this limited spread are supply problems, high cost, and installation problems. Despite the complexities, the use of shakes and shingles in architecture is promising as it combines modern design and traditional construction skills. It is also one way to keep the heritage craft skills related to the material alive. One possible future direction is the use of shakes and shingles primarily as wall cladding, which is not as demanding as the traditional use as roofing material. Although the use of shakes and shingles in modern architecture is still in the process of formation, it plays an important role in the preservation of heritage crafts and in the diversification of the modern architectural landscape. Keywords: wooden roofs, wood architecture, heritage craft, 21st-century architecture, shingle, shake, shingle roof

<p class="Abstract" style="text-align: justify;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The subject of this paper is architectural heritage of the former Socialist Republic of Montenegro (SR Montenegro) in the period between 1945 and 1980, with particular emphasis on the role of stone in <span style="color: black; mso-themecolor: text1;">modern architecture</span>. Stone, as a primordial building and design material, is present in post-war modernist Yugoslav architecture, especially during the first decades, the 50s and 60s of the 20<sup>th </sup>century. It establishes the continuity of construction, which in Montenegro has two fundamental links: the first is the connection with the vernacular principles of construction in the dry, rugged Mediterranean landscape that extends all the way to the central part of Montenegro, and the second is the connection with the beginnings of the modernist architectural idiom in Montenegro in the interwar period when stone was used mainly in a classical, <span style="color: black; mso-themecolor: text1;">academic manner</span>. </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">While the paper sheds the light on a hidden part of a very fruitful but neglected architectural heritage, standing in sharp contrast with today’s trends of neo-liberal design practices in the country, it also aims to discern an intrinsic influence of the Mediterranean ethos on the architectural and urban developments on the southern and central region of Montenegro. Although most of the addressed buildings are part of the urban context, the imprints of the Montenegrin landscape, with stone being its dominant characteristic and a certain kind of national demarcation present through its authentic use, create recognizable <i><span style="color: black; mso-themecolor: text1;">genius loci</span></i>. Finally, while deconstructing this phenomenon, the paper will help to communicate the process of <i><span style="color: black; mso-themecolor: text1;">retreat</span> </i>with respect to the wider tendencies of European architectural currents of the 20<sup>th</sup> century.</span></p>

The reliance of architectural designs on the possibilities of material support is one of the challenges of construction. The expansion of these relationships contributes to the development of modern technologies and the search for new materials. The goal is to highlight the relationship between building materials and architectural form and to study the prospects of the influence of modern building materials on the architectural image of a building object in the future. If, until the beginning of the last century, statics dominated the architectural form, then the development of science contributed to the emergence of building materials resistant to bending and stretching and dynamic architectural structures. In general, all building materials have undergone an evolution from classic to innovative with the inclusion of additional components and even nanostructures in their composition. Stone and clay are the oldest natural building materials. Stone has long been used for the construction of foundations, walls, stairs, and corridors. At the same time, modern stone architectural forms were transformed into pixelated facades, landscape elements, coatings, and exterior and interior zoning. Clay with various additives is used for the production of clay concrete, fibre concrete, and a clay-stone mixture reinforced with barbed wire. If traditional wooden architecture is characterized by a simple geometry of forms with right angles, then at the modern stage, plastic outlines are created thanks to digital design and the introduction of hydrophobic nanoparticles. Artificial building materials require a lot of energy during production and have a large carbon footprint. At the same time, reinforcing concrete with various types of fibres increases compressive and tensile strength and improves wear and impact resistance. Modified brick with additives has increased moisture resistance, frost resistance and wear resistance. Modern architecture uses the natural properties of brickwork to create a "pixel" surface effect. The modern form of traditional glass - foam glass, is an effective heat-insulating, sound-insulating and structural material. Metal structural, fencing and finishing elements. At the same time, the modern use of metal on facades (foam metals, metal polymers) more effectively emphasizes the texture and peculiarity of the forms. A type of tile with photo modules allows you to produce electricity. Connection of material and architectural forms has deep historical roots. The creation of new materials contributes to the improvement of forms. Modern architectural forms are implemented not only with the use of natural materials, but also innovative ones, including the use of nanotechnology. This makes it possible to endow natural materials with the properties required by the modern construction industry.

Variations in the building fabric of 34 small towns in Norfolk and Suffolk are analysed. Relationships are found between variations in building fabric and town population, a measure of centrality and population change. The data are comparable to, and the results consistent with, the work of Whitehand (1979) in southern Scotland. WHITEHAND'S' paper concerning the variation of building fabric in small town centres represents an important contribution to the understanding of some of the complex and important relationships present in the townscape. In particular, his analyses revealed a relationship between the urban hierarchy and building replacement and faqade conversion in both the postand inter-war periods, between the urban hierarchy and floor-space concentration in the post-war period, and between population change and building replacement and faqade conversion in the post-war period. This paper considers similar building fabric variations in a different area of the country-the counties of Norfolk and Suffolk-with the aim of examining the generality of Whitehand's findings. Both the data and the types of towns studied in Norfolk and Suffolk are broadly similar to those considered in southern Scotland. Like southern Scotland, Norfolk and Suffolk have numerous discrete small towns, and they are largely devoid of major urban areas that would complicate interpretations. The 34 East Anglian towns studied comprise all the settlements in Norfolk and Suffolk considered by Lemon2 to be of urban status, but exclude the larger towns of King's Lynn, Bury St Edmunds, Felixstowe, Lowestoft and Great Yarmouth, and the major centres of Norwich and Ipswich. The populations of these towns in 1971 covered a range between just under 2000 and just over 13 ooo--a rather smaller range with fewer large towns than that considered by Whitehand, although Whitehand's population figures were increased by the inclusion of the populations of town service areas. As in the case of southern Scotland, the populations of the small towns of East Anglia were largely stable during the inter-war years, suffering an average loss of 2 per cent between 1921 and 1931 (i per cent in southern Scotland) and an averagegain of 2 per cent3 (i per cent in southern Scotland) between 1921 and 1951. The towns have a variety of histories and functions, but may be broadly divided into traditional market centres and seaside resorts. The data for the East Anglian towns are almost exactly comparable to those recorded for southern Scotland in that similar criteria were utilized in defining the extent of the town centres and the characteristics of the building fabric. Two differences should be noted. First, in an area with a very high concentration of small towns it was considered that the complexity of overlapping and interlinked service areas rendered the delimitation of hinterlands an exercise of dubious validity without a separate, major investigation. The population and population change figures for the East Anglian towns therefore refer not to service areas, as in Whitehand's study, but to the civil parish or urban district within which the town lies. Secondly, the data

One of the benefits of BIM towards a sustainable design is it can make a design system that will calculate the building energy in aim to give alternatives on energy-efficient design. BIM can be utilized to integrate the calculation of Embodied Energy (EE) Building Materials with the Life Cycle Analysis (LCA) method. EE calculation could be easier for architects; hence, the architects can understand the impact of carbon emissions caused by construction activities during the design process. This paper aims to provide an overview of the use of BIM in calculating the EE value of the designed building material on the apartment project. Since the development and construction of flats and apartments, especially in Indonesia, are growing fast, this will give highly environmental impact if it is not properly controlled. The results showed that the BIM implementation in calculating the EE value could be done. Collaboration with other platforms can also be done to make the final calculation, and it will be displayed in attractive data visualizations. The percentage comparison of the embodied energy value in all of the building component materials can also be seen in the results of the analysis. In this case, the highest embodied energy percentage is the structural component, which is 53.16%. It is hoped that the development of this calculation method will contribute to the development of LCA so that EE can be easy to be calculated and have a good impact on the construction industry in the future, especially in Indonesia.

This paper reflects on the embrace of the Ancient world in modernity and the journey to Greece as a vehicle for their reciprocal reshaping. In the interwar period, new visual narratives emerged in Western accounts, proposing alternative contexts for Greek cultural heritage and associating regional culture with the emergence of modernism. The article investigates the mobility of modern travellers in Greece as an essential factor for the new contextualization of the country’s dominant cultural paradigm -Antiquity- as well as for the emergence of parallel narrations of the Mediterranean genius loci that examine the spatial imprint of heritage and tourism on the Greek urban, archaeological and natural environment. Western intellectuals, engineers, architects and urban planners, supported by a highly mobile network of editors, travel agencies, tourist cruises, architectural or archaeological conferences and congresses, contributed to the promotion of modern architecture and urban infrastructure in Greece. Their yet to become tourist gaze embraced the Aegean tradition, the Greek landscape and the ancient ruins as equal collocutors, initiating at the same time Greece itself into modernity. This paper traces the encounters between foreign travellers and the divergent manifestations of the country’s cultural identity in the pages of printed articles, books, travel accounts, photographic material and films. Following these documentations, the paper argues that tourism mobility gave rise to an alternative, southern modernism, whose emergence and development deviates significantly from mainstream narratives propounded by the continental historiography of modernity. Vice versa, the modern mobility networks of the South promoted the development of urban infrastructure and welfare facilities in Greece, as well as the establishment of early tourism policies, thus articulating the new national narrative of interwar Greece, based equally on classical heritage, regional culture and modern progress. The present paper is part of the research program Voyage to Greece: Mobility and modern architecture in the interwar period, where E. Athanassiou, V. Dima, V.; Karali, K. contribute as post-doctoral researchers, with P. Tournikiotis, Professor NTUA as scientific supervisor. The research is co-financed by the Greek State and the European Union.

The majority of the architectural research focusing on Hungarian architecture in the Interwar period, has to date, mainly analysed buildings with regard to international modern architecture and the steps leading to the development of modern church architecture. This research has however, only marginally expanded to include Evangelical Lutheran church architecture. The present article undertakes a complex research on a special building type, which increased between the World Wars and was determined by a geometric centralised ground plan based on both national and international architectural tradition. Lutheran churches built between the World Wars with central ground plans are analysed from both a liturgical perspective, examining the theological aspect and the use of space, and also from the tradition of the ground plans.

Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form.

Shortly after opening in 1936, the Finnish interior design company Artek organized two exhibitions in Helsinki: a model apartment showroom and a display within its shop, both involving a substantial presence of Amazigh carpets from the French protectorate of Morocco. This article analyses these rugs within Artek identifying them as “colonized textiles.” This proposed concept aims to highlight textiles within the appropriation of non-Western cultural fragments by structures of imperialism and coloniality, while parallelly problematizing the inclusion of Amazigh rugs within architectural modernism. The movement of Amazigh rugs from Morocco to Finland, and their transition from Amazigh communities to European modernist interiors, are described through key events and exhibitions from the interwar era. The involvement of Artek actors and the process leading to the founding of Artek are highlighted within this context. Exhibitions are presented as a stage for the interaction of discourses on modernism and imperialism, and for the reiteration of constructed narrations directed by élite circles, supporting the appropriation and commodification of colonized textiles in Europe. Political agendas of cultural supervision within the French protectorate of Morocco are described while situating Amazigh rugs in this context. Parallelly, the relevance of textiles is highlighted within discussions on architectural modernism.

Architects’ perennial discussions on the walls of the Japanese house started in the early twentieth century, when calls for the rationalization and modernization of people’s everyday lives became the impetus for their engagement in housing design. One of their solutions to this sociocultural issue was the introduction of western prefabricated wall construction, structurally contrasting with the conventional post-and-beam construction. This architectonic approach to modernizing Japanese life and dwelling was further activated by modernism, and oriented toward the standardization and industrialization of housing. This essay focuses particularly on the interwar years, when some modernist architects, including Tsuchiura Kameki, designed prefabricated houses using timber rather than steel. We explore their experimental attempts to discover the heretofore unexperienced features and meanings of panelized walls and materials, as well as the relationship between construction and architectural production. Their progressionist vision, predicting the future shift of building materials and methods, cognitively affected postwar home industrialization.

Emotional biosensing is rising in daily life: Data and categories claim to know how people feel and suggest what they should do about it, while CSCW explores new biosensing possibilities. Prevalent approaches to emotional biosensing are too limited, focusing on the individual, optimization, and normative categorization. Conceptual shifts can help explore alternatives: toward materiality, from representation toward performativity, inter-action to intra-action, shifting biopolitics, and shifting affect/desire. We contribute (1) synthesizing wide-ranging conceptual lenses, providing analysis connecting them to emotional biosensing design, (2) analyzing selected design exemplars to apply these lenses to design research, and (3) offering our own recommendations for designers and design researchers. In particular we suggest humility in knowledge claims with emotional biosensing, prioritizing care and affirmation over self-improvement, and exploring alternative desires. We call for critically questioning and generatively re-imagining the role of data in configuring sensing, feeling, 'the good life,' and everyday experience.