The Resilience of Art Deco: The Case of Daventry Court

Electric boilers offer an opportunity for Shell assets to continue to use their existing steam systems but with a smaller net carbon footprint.

Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.

Miami Beach: ASHA’s 2006 Convention

During the Byzantine and the Ottoman peri­ods Cihangir was a settlement area close to the districts Tophane, Findikli, Kabatas, Ayas­pasa and Taksim. Beginning with the sevente­enth century there appeared settlement areas in Cihangir. Contemporary engravings display a housing pattern which climb towards the upper part of Tophane. In the mid-nineteenth century there existed a neighborhood area in Cihangir, wheras also in Pera and Galata. The multi storey apartment blocks were inhabited by the non-muslim and levantin people, turkish inhabitants usually preferred the tradi­tional wooden houses. Catastrophic fires brought modernization in the area when the blocks made from stone and brick replaced the traditional houses. In the nineteenth century the neoclassical style dominated Ci­hangir, however after 1925's the style turned to be Art deco and early modernism. There are common characteristics among the buil­dings from the point of floor numbers, gene­ral features and facade composition. There­fore there appear a facade typology, as a re­sult. After 1930's one can point out the shift at the street pattern.

This work undertakes a study of the colonial architecture produced in southern Algeria during the 19th and 20th centuries. The comparison of the colonial architecture as it is manifested in public buildings in the north and south of the country will make it possible to grasp the specific characteristics of the architectural language developed in Saharan cities during the colonial period from 1832 to 1962. More precisely, the research endeavours to reconstruct, in a chronological manner, the conditions of production, the modalities of evolution of this architecture and the diversity of its formal attributes. To this end, a historical-analytical approach has been applied to a sample of buildings representative of the French presence in Algeria. In particular, the analysis focused on their architectural features with the intention of characterising the French imperialism formal and stylistic expressions which are rooted in eighteenth-century orientalism. The results show that the emphasis on 'indigenous' culture promoted by Governor Jonnart in the early 20th century, which was crowned by the adoption of the architectural orientalism as an official style often emanated from a concerted policy to symbolise France’s presence, power, and domination in the colonised territory. Additionally, the study highlighted the features related to the stylistic expression of the public facades through the identification of the architectural and decorative elements used in their design. Finally, it appeared that official architecture in the north was generally expressed through a single style that was successively neo-classical, art deco and neo-Moorish. In the south, however, colonial architecture was more nuanced and clearly influenced by the local Saharan context and the vernacular built environment, although the concept of vernacular architecture has been implemented just as mere rhetoric. Therefore, the colonial architecture generated in the southern territories cannot be considered as strictly imported or exogenous, as was the case for the north, but rather as the result of crossbreeding between vernacular, occidental and sub-Saharan African architectures.

Unbuilding the City: Writing Demolition

The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

ion also made many adepts in the world of consumption. Since the 1920s there had been a revolution in the strategies of display. The Art Deco exposition held in Paris in 1925 had a strong effect on the world of commercial exhibitions and installations, but it tended to valorize the unique and the unrepeatable. Even more important was the creation, also in Paris, of the Union des Artistes Modernes in 1929.6 The organization campaigned tirelessly on behalf of a modernist aesthetic, new forms of display, and the use of modern materials consonant with mass production. Bringing together artists, architects, and designers, the Union underscored rather than disguised the relation of the merchandise and the installations with industry, as opposed to the luxury goods exhibited at the Art Deco show that attempted to endow machine-made goods with the allure of handicraft. Influence of new initiatives such as these can be seen in the windows designed for the great Parisian department stores throughout the late 1920s and 1930s: there is no thematic environment, no mimesis, no allegory. Just an abstract composition of fabrics tastefully draped over invisible frames. Having worked for some of Berlin's most fashionable department stores such as Wertheim and Gerson, Reich was familiar with these ideas. In 1911 she designed clothing installations for Wertheim, where her teacher Else Oppler-Legban was head of the women's fashion department.7 During the war, she also collaborated with Hermann Freudenberg, head of Gerson, Berlin's leading clothing store for women, in her aggressive show on German fashion.8 A member of the German Werkbund since 1912, she had closely followed its activities in this area. Working in collaboration with retailers, the Werkbund had initiated a campaign to inculcate modem tenets of window display in order to improve consumer taste. Their 1913 yearbook carried a series of articles and photographs dedicated to the subject, including a display by Reich.9 Shop-windows played an important role in the Werkbund's critique of the commodity and its representation within the retail 6. For the Union des Artiste Modernes, see Les Annees UAM, 1929-1958 (Paris: Union des arts decoratifs, 1988). 7. Magdalena Droste, Lilly Reich: Her Career as an Artist, Reich: Designer and Architect 48. 8. For Reich's work in fashion design, see Mark Wigley's illuminating study White Walls, Designer Dresses: The Fashioning of Modern Architecture (Cambridge: MIT, 1995) 149. 9. Die Kunst in Industrie und Handel, Jahrbuch des deutschen Werkbundes (Jena: Eugen Diederichs, 1913) 103. This content downloaded from 207.46.13.131 on Sat, 15 Oct 2016 04:33:22 UTC All use subject to http://about.jstor.org/terms 164 Cruel Metonymies :?li~i::i~i:. ::_'!W iii';

A dandified hero emerged in Hollywood during the late 1920s and 1930s. Contrary to most representations of aesthetes in American popular culture, this version was a masculine ideal in the highly designed universe of popular Art Deco movies. His "classlessness," coupled with his imperatives of leisure and consumption, made him a timely hero in Depression America.

Perhaps nothing better reflects the contemporary crisis of architecture and design than its radical estrangement from science. For if nothing else, postmodernism has made us acutely aware of the extent to which the post-Renaissance theology of scientific rationality had furnished modernism with its guiding visual vocabulary, chiliastic visions and undeterred self-confidence. This is, of course, hardly new in itself, given the fact that the denunciation of rightangle messianism and its accompanying celebration of ornament and historicist pastiche (be it the Baroque, art deco, or Las Vegas pop) has itself become a vigorous transatlantic academic industry ever since the late 1960s. Less well-known, however, is that the evident collapse of science as modernism's master narrative has recently given rise to a new historical interest in the conceptual foundation (if less the specific forms) of this oft-maligned Enlightenment project, much of which pivoted upon the political desire to recast modern society in the image of scientific reason. Not to say that postmodernists have suddenly lost sight of the dark legacy of what Horkheimer and Adomo once called the dialectic of Enlightenment. But at a time when the fin-de-millenaire oracles about the end of and the death of the city have thus far provoked precious little design daring and/or architectural imagination, many long-condemned modernist programs and Utopian projects have started to win renewed attention. In this climate, it is no coincidence that designers and design critics have become more and more curious about lost futures past resting at the former intersection of architecture and science. The colorful story of the highly-influential Ulm Institute of Design, which was founded in 1955 as West Germany's New and later closed amid the upheaval of 1968, is a compelling case study of these not-so-long-ago modernist hopes and dreams. More than simply a story of Bauhaus redux, the school's history effectively marked modernism's last real attempt to unite industrial design and genuine social reform, to preserve in particular the redemptive pathos of the design object from the corrosive effects of Nazi irrationalism and American commercialism. The Ulm Institute thus occupies a special place in post-1945 cultural history in the way that it boldly tried to rehabilitate the damaged authority of science and rationality as the only true models of engaged design education

Perhaps nothing better reflects the contemporary crisis of architecture and design than its radical estrangement from science. For if nothing else, postmodernism has made us acutely aware of the extent to which the post-Renaissance theology of scientific rationality had furnished modernism with its guiding visual vocabulary, chiliastic visions and undeterred self-confidence. This is, of course, hardly new in itself, given the fact that the denunciation of rightangle messianism and its accompanying celebration of ornament and historicist pastiche (be it the Baroque, art deco, or Las Vegas pop) has itself become a vigorous transatlantic academic industry ever since the late 1960s. Less well-known, however, is that the evident collapse of science as modernism's master narrative has recently given rise to a new historical interest in the conceptual foundation (if less the specific forms) of this oft-maligned Enlightenment project, much of which pivoted upon the political desire to recast modern society in the image of scientific reason. Not to say that postmodernists have suddenly lost sight of the dark legacy of what Horkheimer and Adomo once called the dialectic of Enlightenment. But at a time when the fin-de-millenaire oracles about the end of and the death of the city have thus far provoked precious little design daring and/or architectural imagination, many long-condemned modernist programs and Utopian projects have started to win renewed attention. In this climate, it is no coincidence that designers and design critics have become more and more curious about lost futures past resting at the former intersection of architecture and science. The colorful story of the highly-influential Ulm Institute of Design, which was founded in 1955 as West Germany's New and later closed amid the upheaval of 1968, is a compelling case study of these not-so-long-ago modernist hopes and dreams. More than simply a story of Bauhaus redux, the school's history effectively marked modernism's last real attempt to unite industrial design and genuine social reform, to preserve in particular the redemptive pathos of the design object from the corrosive effects of Nazi irrationalism and American commercialism. The Ulm Institute thus occupies a special place in post-1945 cultural history in the way that it boldly tried to rehabilitate the damaged authority of science and rationality as the only true models of engaged design education

Our knowledge of the skyscraper as a building type is based on research exploring the type’s many facets, among them architectural, technological, and urban. In history, the question of a single definitive “first skyscraper” was debated throughout the 20th century. More recently, historians have asked: Is the type’s defining feature the technology of metal skeleton construction? If so, that places its origins in Chicago in the 1880s with the Home Insurance Building, Tacoma Building, Masonic Temple, and Reliance Building. Or is it simply “height”? That would place its origins in New York City during the late 1860s to mid-1870s with the Equitable, Western Union, and Tribune Buildings, both of which utilized elevator technology to attain height. A complete definition of the skyscraper, however, encompasses several key technologies. Making structures habitable for work or living, for example, required mechanical and electrical systems—initially plumbing, heating, and illumination, and later air conditioning. Within the city, a vast transportation infrastructure by rail facilitated movement to and from the skyscrapers of the central business district. Throughout history, the architecture of the skyscraper has illustrated aspects of American economic, political, and cultural change. The earliest skyscrapers in New York, the nation’s corporate headquarters, for example, recalled the towers of preindustrial Europe, and thus served as memorable landmarks, as demonstrated by the Woolworth Building, whereas those of Chicago, an entrepôt with an entrepreneurial business culture, exemplified the organic-functionalist theories of John Wellborn Root and Louis Sullivan, as realized in the Monadnock and Wainwright Buildings. During the 1920s, the skyscrapers of New York and Chicago inflected forms prescribed by zoning legislation, creating an urban vernacular specific to each city. New York’s 1916 ordinance engendered the setback skyscraper and its associated urbanism, with the Empire State Building as classic example, whereas Chicago’s comparable but unique 1923 code led to a “city of towers,” as illustrated by the Carbide and Carbon and Mather towers. The “Art Deco” and “skyscraper Gothic” idioms, best represented in the Chrysler Building and Chicago’s Tribune Tower, inspired exterior and interior ornamental schemes. The skyscrapers of the 1950s, by contrast, crystallized the “international style” in a society economically prosperous, consumer-oriented, and dominated by corporate enterprise, as superbly represented in the Lever House, New York. During the late 1960s and 1970s, technological optimism and ambition spurred the innovative and supertall Sears (Willis) Tower and the World Trade Center, which redefined the skylines of Chicago and New York, respectively, utilizing the structurally unprecedented braced tube technology to achieve new heights. The World Trade Center’s large-scale reconfiguration of the city’s fabric exemplified the day’s urban renewal schemes. Recent skyscrapers, including the Petronas Towers, Kuala Lumpur, now vigorously compete for height while participating in a global system of signification, in which they gesture toward sustainability, but above all else advertise modernity and economic vitality.

O projeto para escolas de arquitetura padrão no estilo Art Déco, construídas entre as décadas de 1930 e 1940 no estado do Rio Grande do Sul, no Brasil, pretendia, a partir das características do ambiente construído, transmitir à população os ideais do governo autoritário de Getúlio Vargas durante o período do Estado Novo. Atendendo às demandas arquitetônicas, políticas e educacionais, os aspectos formais e funcionais dessas instituições de ensino, tencionavam controlar o comportamento dos estudantes, enaltecer o poder do Estado e corresponder a um símbolo de progresso e ordem. Por meio de análise bibliográfica, documental e observação do ambiente construído, com estudo de caso realizado no Instituto Estadual de Educação Assis Brasil, localizado, no Sul do Brasil, na cidade de Pelotas/RS, esse trabalho tem o objetivo de identificar como as escolas padrão Art Déco serviram como instrumento ideológico do Estado. Mediante esta análise, observou-se que o prédio escolar, as práticas políticas e os métodos pedagógicos, de maneira conjunta, agruparam e direcionaram os estudantes a um modelo ideal proposto pelo Estado.

The article describes the situation of urban mobility in Europe in the last 15 years. In consideration of the increasing transport’s flow from 20th Century until today, traffic and transport obtain a high level of congestion that is not more possible to effort. This congestion first of all concerns the so called “tyre mobility”, generating two negative effects: -car accidents are in continuous growth, with high costs in terms of human-lives and permanent damages; -our streets became in the last 15 years very dangerous. To reach one point from another in a town is not only dangerous, but also takes an increasing amount of time. People called “weak customers” (children, old people, pregnant women with babies, temporarily disabled persons) are the principal victims of this situation. In this article we will also explain the newest data about transport accidents and mortality in the last ten years. This researches show how mortality rate in the last ten year is constantly decreasing, while in the last 50 years, from 1950 to 2000, it has always grown. And this is a positive item that lead us to place the bases for the future. In this direction goes the so called “White Paper” submitted by the UE on 12 September 2001: transport policy for 2010: time to decide. The Commission has proposed 60 or so measures to develop a transport system capable of shifting the balance between modes of transport, revitalising the railways, promoting transport by sea and inland waterway and controlling the growth in air transport. In this way, the White Paper fits in with the sustainable development strategy adopted by the European Council in Gothenburg on June 2001, introducing the concept of the trans-European network (TEN). Concerning this situation, we also highlight that FIABA has been founded in order to pull down the cultural and physical barriers created by isolation, marginalization, and social unfairness. Let’s think about the birth of a human being: mothers and their children are part of the environment and it should be able to hold them. An environment that is suitable to growing up children is respectful of people’s elementar needs. We have to cultivate our sensitivity in order to prevent the appearing of new barriers, being it architectural features or not. This argument is strictly connected with the reorganization of our urban spaces trough the so called PUT (Urban Traffic Plans) and the National Plan. We also never forget that a convenient, universal-accessible environment help us increasing the value of our time and our lives. If we can have back the value of our environment we can increase the inner value of ourselves. In conclusion, architectural features that are commonly found in apartment blocks and cemeteries make clear that the planning wasn’t for everyone. FIABA deeply wants to develop a different awareness of mobility problems, in the hope it can trigger off a new way of planning. We want, in the next future, that every building and every road will be thought without architectural features, in order to simplify everyday life and to assure us and our relatives the accesses.

The article describes the situation of urban mobility in Europe in the last 15 years. In consideration of the increasing transport’s flow from 20th Century until today, traffic and transport obtain a high level of congestion that is not more possible to effort. This congestion first of all concerns the so called “tyre mobility”, generating two negative effects: car accidents are in continuous growth, with high costs in terms of human-lives and permanent damages; our streets became in the last 15 years very dangerous. To reach one point from another in a town is not only dangerous, but also takes an increasing amount of time. People called “weak customers” (children, old people, pregnant women with babies, temporarily disabled persons) are the principal victims of this situation. In this article we will also explain the newest data about transport accidents and mortality in the last ten years. This researches show how mortality rate in the last ten year is constantly decreasing, while in the last 50 years, from 1950 to 2000, it has always grown. And this is a positive item that lead us to place the bases for the future. In this direction goes the so called “White Paper” submitted by the UE on 12 September 2001: “European transport policy for 2010: time to decide”. The Commission has proposed 60 or so measures to develop a transport system capable of shifting the balance between modes of transport, revitalizing the railways, promoting transport by sea and inland waterway and controlling the growth in air transport. In this way, the White Paper fits in with the sustainable development strategy adopted by the European Council in Gothenburg on June 2001, introducing the concept of the trans-European network (TEN). Concerning this situation, we also highlight that FIABA has been founded in order to pull down the cultural and physical barriers created by isolation, marginalization, and social unfairness. Let’s think about the birth of a human being: mothers and their children are part of the environment and it should be able to hold them. An environment that is suitable to growing up children is respectful of people’s elementar needs. We have to cultivate our sensitivity in order to prevent the appearing of new barriers, being it architectural features or not. This argument is strictly connected with the reorganization of our urban spaces trough the so called PUT (Urban Traffic Plans) and the National Plan. We also never forget that a convenient, universal-accessible environment help us increasing the value of our time and our lives. If we can have back the value of our environment we can increase the inner value of ourselves. In conclusion, architectural features that are commonly found in apartment blocks and cemeteries make clear that the planning wasn’t for everyone. FIABA deeply wants to develop a different awareness of mobility problems, in the hope it can trigger off a new way of planning. We want, in the next future, that every building and every road will be thought without architectural features, in order to simplify everyday life and to assure us and our relatives the accesses.