Oskar Hansen - An Architect Looking into the Future

On 19 April, 1943, two Jewish fighting organizations in the Warsaw Ghetto began armed resistance against the German attempt to liquidate what remained of the ghetto after the mass deportations to t...

Milutin Borisavljević and His Scientific Aesthetics of Architecture Nebojša Stanković The name of Milutin Borisavljević,1 an architect, a theorist of architecture, and a publicist who was active between the two world wars, had been more or less forgotten for decades before it started to be mentioned again among architects and architectural historians in the 1980s. This comeback into architectural discourse was initiated by the revived interests of the post-modernists in classicism—which was the main idiom of Borisavljević’s architecture—and other pre-modern traditions, as well as by an interest in his theoretical work, which had been largely unknown to the new generations of architects. However, those interests generated only a very small number of studies that addressed his activities as architect and theorist.2 The majority discusses his [End Page 133] architectural designs and realized buildings. Only a few examine his theoretical views and concepts, which he extensively published in articles and books during his lifetime. The common impression given by both Serbian and international studies of Borisavljević’s architectural and theoretical opus is that of a lukewarm praise.3 They usually stress Borisavljević’s erudition and analytical skills, classical training and aestheticism, balanced compositions and careful designs, but most of them do not actually assess his possible contributions to architecture or architectural theory, giving an impression that no originality can be found in his work. The buildings he designed are often omitted in surveys of Serbian architecture of the first half of the 20th century, and his theoretical works remain known only to scholars and enthusiasts. Is that a sort of silent evaluation? And is, then, the evaluation positive or not? It seems to me that this ambiguous critical assessment of possible merits or shortcomings, as well as the fact that his works still remain insufficiently studied and that they have not been put into the historical and social context, keep Borisavljević, both as an architect-designer and an architect-theorist, in oblivion. The present article might not change this, especially for the reason that it addresses his theoretical work, rather than practice, and only a part of it, in the discipline he defined as scientific aesthetics of architecture. However, since aesthetics figures prominently in all segments of his theoretical oeuvre, I [End Page 134] hope that the present paper will shed more light on his aesthetical ideas and intentions. Milutin Borisavljević (Fig. 1) was born in 1889 in Kragujevac, Serbia, in the family of the physician Miloš Borisavljević.4 After receiving primary and secondary education in Niš and Belgrade, respectively, he enrolled in the Technical Faculty of the University of Belgrade. He graduated from the Department of Architecture in 1912 and the following year was appointed “sub-architect” in the Ministry of Construction. With the outbreak of the First World War, although previously declared physically unfit for military service, Borisavljević enlisted as a volunteer. In 1916, with Serbian Army evacuating through Albania, he reached Corfu. From there, he was sent to France for further education. On his way to Paris, he spent two months in Rome, studying its architectural monuments. In Paris, he enrolled in the École nationale supérieure d’art, but after a year he transferred to the Sorbonne. At the Sorbonne, Borisavljević studied aesthetics with Professor Victor Basch (1863– 1944)—renown philosopher, proponent of the Einfühlung Theorie in aesthetics, and activist5—and under Basch’s mentorship attained a doctoral degree in 1926, with the thesis entitled “Les théories de l’architecture: Essai critique sur les principales doctrines relatives à l’esthétique de l’architecture,” which was published the same year (Fig. 2).6 While in Paris, he taught aesthetics of architecture at the École des hautes études sociales à Paris (1921–26) and École spéciale d’architecture (1923–26), and published another two monographic works: Prolégomènes à une esthétique de l’architecture (1923) and La science de l’harmonie architecturale (1925).7 In 1926, Borisavljević moved back to Belgrade and the following year he founded the architectural studio “Parthenon”. In the years before the Second World War, he produced numerous architectural designs, primarily for private houses and apartment buildings, but also for administrative and business...

The article regards one of the aspects of the large theme associated with the study of romanticism in the Russian architecture of the end of the XIX - early XX centuries. The authors focus on the «national» branch of the romanticism trend in architecture embodied in two versions known as «Neo-Russian style» and «Northern Art-Nouveaux». As a result of study of some relevant publications and archive materials, it has been figured out to what extent these versions were used in the architectural study practice at the Academy of Fine Arts and at the Institute of Civil Engineers. It is shown, that at the Institute of Civil Engineers the «Northern Art-Nouveaux» aroused an enthusiastic interest, and at the Academy of Fine Arts the «Neo-Russian style» was regarded as more preferable for study. Some brief information regarding the methods typical for these two different versions of the «national» trend in the independent creative practice of the graduates of both schools is provided.

In the 1960s, the theoretical concept of a megastructure - an extremely large structure - arose in architecture, which predicted the further development of architecture in practice. The concept of megastructure became more complicated and gained depth, combining progressive architectural concepts and theories of the second half of the 20th century ("open form", "indeterminacy", structuralism, architectural metabolism, etc.). But deepening the individual provisions of the concept introduced by F. Maki, one of the defining characteristics of a megastructure – its multifunctionality – did not receive further development among theorists of the middle of the 20th century. Also, in our opinion, it is important to emphasize that the excessive size of the building is accompanied by the extreme complexity of the project program and the construction of the architectural form. We traced the evolution of the concept, which began with the design of cities as a single structure, and spread to the design of buildings and the organization of city fragments. The border of the 20th and 21st centuries is filled with the practice of building super-large buildings and complexes, the construction of which requires enormous economic efforts of the country, the introduction of technical innovations and the attraction of particularly large investments. We practically witnessed the emergence of a new typology of buildings that combines architecture and urban planning, and for which in most cases the term F. Maki - megastructure is used. Architectural theory responds to the problem of super-large structures with the concepts of Groβform, Bigness architecture and megaform. Each of the concepts considered in the study offers its own strategy for solving the problem of gigantism (beyond the boundaries of classical architectural methods) - a megastructural approach (F. Maki), an approach based on a large-scale architectural theme (O. Ungers), a topographic approach (K. Frampton). All presented concepts combine the determination of the city-forming role of super-large buildings, their consideration as an effective means of solving the problems of the modern city.

This paper explores the indigenous characteristics of Japanese architectural space and how this distinctiveness, on a wider spatial scale, can be transferred and reinterpreted within contemporary Japanese architectural practice. One of the identified spatial elements utilised for research is shinden-zukuri, a type of annexe style, which can be viewed as a group of multiple buildings that can be recognised as a single building. In this paper, the researched element is extrapolated, transferred and interpreted within contemporary architectural practice. The examination of said identity, the open spatial form, confirms its widespread utilisation and deep-rooted nature in the mental landscape of the Japanese people. The findings indicate that contemporary Japanese architecture and architectural practice is beginning to reach a fork in the road: whether it can retain its observed spatial identity and resist, or assimilate the current trends suppressing the previously identified spatial values. The overall findings indicate that the condition of contemporary Japanese architecture oscillates between openness and closedness and will require attuning to the changing circumstances if the perceived spatial values are to endure.

Abstract: This study is motivated by a rapid phenomenon and the enormity of life changes in the globalization era with the advancement of information and communication technology. This information age became the forerunner to the birth of the era and millennial generation; a generation that makes information and devices as a part which always attached to their lives. This study aims to describe the reality of human life in the global era with all its achievements in the form of openness and ease of interaction and communication as well as various facilities. In addition, this study is also directed at critically analyzing the problems and impacts of the advancement of the information age for humans in the form of the loss of a distinctive identity as a human in his dialectics with his social and cultural system. With the critical phenomenology approach, it is illustrated that this information era leads to the age of uniformity of systems and value of human life with the spirit of a single universal culture. This context poses a serious threat to the loss and scrape of wisdom values ​​over the value of locality. The value of local culture which is the driving force and controlling the crisis of human existence must be carried out transformation efforts towards a new direction in accordance with the spirit of locality and globality (glocalization). Efforts to transform the value of local culture in this global context require the transformative role of the world of education in its various aspects. Transforming local cultural values ​​to students can be done with the paradigm of transformative epistemology.
 Keywords: pendidikan, transformasi, nilai, budaya lokal, globalisasi, lokalitas, era

The Jewish Heroes of Warsaw: The Meaning of the Revolt in the First Year after the Uprising Avinoam J. Patt (bio) On April 23, 1943, the Jewish Telegraphic Agency (JTA) delivered news of the Warsaw Ghetto Revolt, relaying a report received in Stockholm the day before with the headline, “Nazis Start Mass-Execution of Warsaw Jews on Passover; Victims Broadcast S.O.S.” Within two weeks, observers were describing the events as “miraculous,” beginning the effort to identify the heroes of Warsaw. In less than two months, calls emerged to make April 19 an annual day to celebrate Jewish heroism. By the first anniversary after the uprising, Jewish communities organized solemn commemorations in New York, London, Tel Aviv, and elsewhere to recall the “Masada of Warsaw” as a “fortress of freedom.” Through an examination of the ways in which the Warsaw Ghetto Uprising was reported in April and May of 1943, and subsequently interpreted and commemorated in the first year after the revolt, we can begin to understand how and why the event was transformed into the defining symbol of Jewish resistance, Jewish sacrifice, and Jewish martyrdom during and after World War II. At the same time, representatives from the Jewish Labor Bund and the Zionist movement in the Yishuv disputed both the heroes of the revolt and its political and ideological significance. This article examines the rapid search for heroes, and the concomitant processes of politicization and mythologization of the uprising in the first year after the “battle of Warsaw’s Jews.” Collective memory of the uprising was shaped almost immediately in its aftermath, well before historical and fictional accounts of the uprising were written, and long before the date for Yom HaShoah ve-haGevurah (The Day of Remembrance of the Holocaust and Heroism) was solidified on the Jewish calendar. By the first anniversary of the revolt, the Warsaw Ghetto Uprising was seized upon by Jewish communities around the world as evidence that Jews had joined the struggle against fascism, and utilized as a prism for memorializing the destruction of European Jewry. By 1945, when the identities of the Zionist heroes of the revolt became well-known, the uprising had been transformed into part of the struggle for the creation of the Jewish state. Immediately after the war, Holocaust survivors in Europe continued the process begun in the first year after the revolt, setting Holocaust commemoration activities on April 19. The dates of the uprising have since [End Page 147] been linked to annual Holocaust commemoration events in countries around the world. Israel’s Knesset selected the 27th of Nisan as the date for Yom HaShoah ve-haGevurah in 1951 to correspond roughly with the Warsaw Ghetto Uprising.1 The Warsaw Ghetto Uprising has also occupied a central place in the history of the Holocaust and of World War II. As a military encounter, its significance may seem relatively minor. Nonetheless, during the war, the small band of Jewish fighters in the Warsaw ghetto, as well as the broad popular defiance of German edicts by the thousands of Jews in Warsaw who refused deportation orders in April 1943, had a major impact on both Jewish communities elsewhere in Eastern Europe and on German military procedures.2 And, from the perspective of Jewish history, its significance has been tremendous, serving as the counterargument to the myth that the Jews of Europe had been “led like sheep to the slaughter.” Conversely, the emphasis put on the Warsaw Ghetto Uprising reinforced the mistaken view that it represented the only case of armed Jewish resistance in Europe. A recent flurry of literature on the subject reinforces a continuing fascination with the topic of Jewish resistance.3 A 2014 volume edited by Patrick Henry (and to which I am a contributor) on Jewish Resistance against the Nazis begins with a chapter titled, “The Myth of Jewish Passivity,” by Richard Middleton Kaplan, that explores the origins and enduring power of the stereotype of Jewish passivity, explaining that “one aim of our volume is to demonstrate definitively that Jews during the Holocaust did not go to their deaths passively like sheep.”4 The historical literature on the uprising itself tends to reinforce the view that...

SEER, 99, 2, APRIL 2021 380 (pp. 114, 135 and 149). Gleichschaltung, we are told, permeates not only history politics but ‘all other aspects of life in Russia’. However, social science literature uses Gleichschaltung to describe one specific political system, that of the Nazi regime in Germany under Hitler. By applying it to Russia today, Weiss-Wendt clearly indicates that he regards Putin’s political system not as authoritarian, but as totalitarian. It is a pity that such a serious historian as Anton Weiss-Wendt has burdened this well-researched book with so many elements of the political pamphlet. University of Oslo Pål Kolstø Polonsky, Antony; Węgrzynek, Hanna and Żbikowski, Andrzej (eds). New Directions in the History of the Jews in the Polish Lands. Jews of Poland. Academic Studies Press, Boston, MA, 2018. lxviii + 501 pp. Illustrations. Notes. Index. $149.00. Lehrer, Erica and Michael Meng (eds). Jewish Space in Contemporary Poland. Indiana University Press, Bloomington and Indianapolis, IN, 2015. vii + 299 pp. Illustrations. Notes. Index. £23.99 (paperback). These two fascinating publications analyse the changing cultural landscape in the growing understanding of the Jewish past and present in contemporary Poland from various theoretical, historical, sociological, anthropological, museological and architectural points of view. Unlike many earlier publications on Polish Jewry in post-1945 Poland, the books do not concentrate on the past and the magnitude of loss, but rather on the present and, even more importantly, on the possible future. In other words, instead of ‘chasing Jewish ghosts in Poland’ or chasing ‘vanishing traces’, both volumes offer ‘new directions’ in understanding the current process of change based on solid historical, sociological and cultural bases in reconstructing, restoring and memorizing Jewish communities in today’s Poland. New Directions is a collection of thirty-seven expanded articles which were presented as papers at a conference in May 2015 to introduce the academic community to the permanent exhibition at the POLIN Museum of the History of Polish Jews in Warsaw. The collection, edited by leading scholars Antony Polonsky, Hanna Węgrzynek and Andrzej Żbikowski, includes papers by researchers from Poland, the US, the UK, Israel, Germany, France, Russia and Lithuania. The collection represents not only a highly insightful introduction to the strategies behind the creation of the museum but also, and more importantly, shows the progress that has been made, only relatively recently, in the history of Jews in the Polish lands. REVIEWS 381 The POLIN Museum opened on 19 April 2013 and quickly became one of the iconic sites in Warsaw, partially due to its stunning architecture and its location in the highly symbolic Muranów district where the Warsaw Ghetto was established in November 1940. POLIN is located next to the Monument to the Ghetto Heroes, near a statue to Jan Karski, a passageway named after Irena Sendler, a few hundred metres away from a bunker on 18 Miła Street where the leaders of the Warsaw Ghetto uprising committed suicide instead of being captured by the Germans, and a few hundred metres from the Umschlagplatz from which Jews from the Warsaw ghetto were transported to Treblinka extermination camp. Thus, the location itself represents a link between real places where the tragedy of Warsaw Jews took place during World War Two and their commemorative narratives that find their expression in the museum. POLIN was designed as a narrative museum, so relies on telling a story through objects, audio/visual material and also reconstructions, which include the spectacular painted ceiling and bimah (timber-frame roof) of the synagogue in Gwoździec built in 1650 that was destroyed completely by the German army in 1941. The museum contains ten galleries — ‘Forest’ (the origins of Polin which in Hebrew means ‘rest here’), ‘First Encounters (960–1500)’, ‘Paradisus Iudaeorum (1569–1648)’, ‘The Jewish Town (1648–1772)’, ‘Gwoździec Reconstruction’, ‘Encounters with Modernity (1772–1914)’, ‘On the Jewish Street (1918–39)’, ‘Holocaust (1939–45)’, ‘Post-War Years (1944 to the present)’ and ‘Legacy’. POLIN is, however, much more than a narrative space and a visual experience. It is also an active civic institution hosting cultural events, conferences, book presentations and workshops that attract large numbers of participants, and classes about the Polish-Jewish past...

Review: <i>Louis Kahn: The Importance of Drawing</i> and <i>Our Days Are Like Full Years: A Memoir with Letters from Louis Kahn</i>

The architectural schools’ trends are essentially important on the life of the architectural designer, especially in the early years of graduation, as its effects appear in his/her designs since the period of study in those schools until after graduation, and contribute to the identification of architecture. This research seeks to highlight the importance of the academic identity of architectural schools in enhancing the identity of architecture associated with space and time in the era of globalization, through the nature of curricula, courses and teaching staff trends of a core substance representing the vision, mission and goals of the educational institution, which is reflected in the products of students and the qualifications of graduates within the professional practice. The research adopted the descriptive analytical approach of the previous studies and theses in identifying the various aspects for academic architectural identity. The research, therefore, investigates these aspects in the local reality through the Department of Architecture, University of Baghdad (DAUB), and the Department of Architecture, University of Technology (DAUT), as a model for architectural schools in Iraq. The research hypothesis is that the Academic Identity in any architectural department is determined by the degree of convergence/conformity of its courses and the teaching staff trends in it and the products of students with the vision, mission and goals set by that department that linked to the peculiarity of the architectural reality and its relationship to both place and time. The research found that the courses and the educational trends of the teaching staff of DAUB and DAUT were in line with the requirements of the department and the college, which gives the educational identity of both departments and matches with the vision, mission and goals of the department. The graduation projects for the fifth stage students in DAUB weren’t in line with the vision, mission and goals of the department, with a weakness of the existence of an academic architectural identity of architecture students compatible with the vision, mission and goals of the department. While most of the graduation projects of (DAUT) were in line with the vision, mission and goals of the department in the field of adopting contemporary architecture and the use of modern graphic techniques, but they miscarried in achieving a balance between the aesthetic, functional and performance aspects. The research recommends the essential increase of the courses in (DAUB) with subjects focusing on local, Arab and Islamic identity. Additionally, the focus of (DAUT) on increasing courses in the field of modern technologies in building materials and construction and architectural graphic.

Classical architectural elements in Taiwan were first used by the Japanese colonizers between 1895 and 1945, and they were regarded as symbols of westernization and advance. Under the policy of Emperor Meiji, a number of young Japanese architects were freely experimenting with this style in Taiwan. Education on architecture was open to Taiwanese from 1920s, and a few Taiwanese architects continued to practice the classical style after the World War II, in which Japanese lost and left Taiwan. Postwar design competitions among Taiwanese students show that the classical style was still taught, but this was rarely practiced after 1950s. The government of the Nationalist Party (Kuomintang, KMT) rarely promoted architectural style of western antiquity. This was related to the American aid to the government, which resulted in a preference to the American culture. It was also related to the poor economy of Taiwan. For this reason the policy of construction was mainly concerned with function, the more economical the better. In addition, architects influenced by the modernism of the USA and Europe took charge of most building projects in Taiwan, and this changed the trend of architectural style. In 1960s and in 1990s, a few architecture departments were established in universities. They played an important role in protecting cultural heritage and encouraged appreciation and preservation of the Neo-Classical monuments of the Japanese colonial period. Taiwan changed speedily between 1980s and 1990s in terms of economy and politics, becoming a society much more open to diverse values and cultures. European antiquities have attracted attention, and in recent years classical architectural elements have been again increasingly used in the decoration of newly constructed buildings, notably of luxurious residential apartments or buildings of high quality. They represent financial power and a fine cultural taste, and they suit the rich and the elite. The works often alter the original forms and proportions of classical elements, in order to adorn buildings of simple geometric forms with additions of complex decorations.

MLRy 100.3, 200S 863 Gibbons's essay is complemented by Brita Hempel's in the next section ('Freundschaft , Liebe, Sexualitat'), and it too draws on unpublished material. She concludes that in the short fragmentary text 'Loix des femmes Soldats' written in connection with Uber die Soldatenehen, Lenz endorses the divine, patriarchal world order and the sexual morality derived fromit. Johannes Lehmann shows that Lenz's concept ofhap? piness was derived from the Enlightenment but that italso reveals the strains within it and points towards the separation of happiness and morality. Similarly, Martin Kagel shows how Lenz reveals the cracks in the classical models of the ideal of friendship. Gerd Sautermeister resurrects Lenz's play Die Freunde machen den Philosophen with an ingenious interpretation of it as a psychological experiment. Christine Kiinzel draws our attention to the fact that the eighteenth century viewed rape and seduc? tion differentlyfrom our own age, mostly to the disadvantage of women, but that Lenz's dramas were beginning to show a shiftof opinion. Claudia Benthien examines non-verbal communication in a welcome close reading of Der neue Menoza, which highlights the occurrence of fainting and failing, while finally in this section, Helga Madland takes a personal stance in her farewell to a lifetime of Lenz studies and makes some original observations about Lenz's forward-looking view of women. The final section has papers on reception. Heidrun Makert traces the beginnings of research on Lenz in his home region of Livonia, Ariane Martin shows that the claim that Naturalism discovered Lenz needs revision, and Jan Knopf analyses the 'emasculation' of Lenz's Der Hofmeister in Brecht's adaptation through the addition of anachronisms and notion of 'die deutsche Misere'. Ken-Ichi Sato shows how the reception of Lenz in Japan at firstlatched onto the idea ofthe forerunner and the open form, but has become more differentiated. The final essay here is the bracing account by the Israeli theatre researcher Gad Kayner of a very provocative production of Die Soldaten at Tel Aviv University. Finally, the volume also has a list of the Lenziana in Cracow compiled by Gesa Weinert, and notices on the latest website and on the Internationale Lenz-Gesellschaft. Kayner's account of the production in the politically and culturally tense location of Tel Aviv gives us a sense of Lenz's works as provocation, as 'Wunde', though it seems also to be at the cost of authenticity. The title of this volume is not altogether happily chosen, for indeed, as one of its contributors, Ariane Martin, notes, the 'wound' metaphor implies an element of mythologizing and pays lip service to what is now a cliche: Lenz as forerunner, modernist, rebel pure and simple. In fact, most of the papers here show how deeply rooted he was in his times as well, and our understanding of that has been increasing. The wounds that still need healing are the gaps in our knowledge and understanding of him. There is only one gap I noticed here in the editing: a paper by Martin Rector is referredto on p. 352 as in this volume but not actually included. Apart from that omission, the editors and contributors are to be congratulated on helping us to fillyet more gaps in our knowledge of the unusually original writer Lenz. New Hall, Cambridge John Guthrie Goethes 'Lehr'- und 'Wanderjahre': Eine Kulturgeschichteder Moderne. By Franziska Schossler. Tiibingen: Francke. 2002. 379 pp. ?44. ISBN 3-7720-2782-2. Drawing heavily on New Historicist theory of an avowedly Foucauldian type, the author seeks to confirm the (sociologically oriented) critical consensus that Wilhelm Meister is 'modern', in the sense of presenting the reconstruction and reconfiguration of discourses contemporary with Goethe. In moving from the Lehrjahre to the Wanderjahre, it is argued, we move from Genie discourse (centred on individual 864 Reviews autonomy) to economic and medical discourse (centred on socio-historical, cultural issues). In tune with recent scholarship's 'leaving behind' the 'restrictive' category of the Bildungsroman, the text is viewed as a dialogistic archive of specialist dis? courses, revealing its genetic origin amid the social power positions it records. In other words, Wilhelm Meister profiles the 'Kultur-Zivilisation antagonism' that (since at...

Bruno Maderna was one of the most influential composers in the twentieth century. He was the eldest of the group of Italian composers born in the 1920s (along with Berio, Nono, Donatoni, and others) who began their career shortly before the second World War and were able to exploit the opportunities offered by the new world that emerged in the post-war years. Maderna’s story is quite unique. He rose to fame early in life as a child prodigy and his exceptional talent was soon noticed by Gian Francesco Malipiero, who stimulated his interest in ancient music, a passion that remained constant even when the European avant-garde insisted that new music should start from year zero. After first approaching “classic” dodecaphony, his musical style then tended toward total serialism and “open form.” In his last years he developed a particular interest for the theater. Satyricon was born in Tanglewood in a short version and later achieved notable success worldwide. His work as a conductor made him particularly sensitive to the reaction of the public, leading him to carefully calibrate his approach to composition without being swayed by fashionable ideals or philosophies. Despite his warm and outgoing nature, Maderna rarely expressed his personal views in writing or in interviews. Many of the biographical details given here are taken from his correspondence and from reports of his travels and engagements across the world, which took him as far as the United States, Iran South America, and Japan.

Bruno Maderna was one of the most influential composers in the twentieth century. He was the eldest of the group of Italian composers born in the 1920s (along with Berio, Nono, Donatoni, and others) who began their career shortly before the second World War and were able to exploit the opportunities offered by the new world that emerged in the post-war years. Maderna’s story is quite unique. He rose to fame early in life as a child prodigy and his exceptional talent was soon noticed by Gian Francesco Malipiero, who stimulated his interest in ancient music, a passion that remained constant even when the European avant-garde insisted that new music should start from year zero. After first approaching “classic” dodecaphony, his musical style then tended toward total serialism and “open form.” In his last years he developed a particular interest for the theater. Satyricon was born in Tanglewood in a short version and later achieved notable success worldwide. His work as a conductor made him particularly sensitive to the reaction of the public, leading him to carefully calibrate his approach to composition without being swayed by fashionable ideals or philosophies. Despite his warm and outgoing nature, Maderna rarely expressed his personal views in writing or in interviews. Many of the biographical details given here are taken from his correspondence and from reports of his travels and engagements across the world, which took him as far as the United States, Iran South America, and Japan.

The Zagreb EAAE 2019 Annual Conference provides a unique opportunity to reflect the theme of 100-years long teaching of technical disciplines to architecture students and to present a selection of their early works created from the 1919s to the 1926s in construction courses at the Royal Technical High School of Architecture. When founded in 1919, the Zagreb Faculty of Architecture was originally named the Royal Technical High School. Until 1926 in architecture department four generations of architects were educated and altogether forty architects received the Royal Technical High School diploma. The name of the school itself meant that the educational context of construction courses was a distinct feature of the school. The teaching of technical disciplines to architecture students has long been recognized as important and challenging. In building construction courses’ syllabus students gain technical knowledge in technical drawing, building construction systems, building materials, structures, elements and detailing of construction systems.