Architects

The Pioneer Egyptian Architects during the Liberal Era (1919-1952AD) discusses the Egyptian architecture within the period 1919-1952, and how it was affected by the political, economical and socio-cultural scene at the time, focusing on the works of two architects; Antoine Selim Nahas and Ali Labib Gabr.

The article outlines the results of a study of Dutch architects in Magnitogorsk, who worked on contracts between 1931 and 1936. The main stages of cooperation between the Netherlands and the Soviet Union in the development of the Magnitogorsk resettlement system and in the design of industrial housing with a link to production and a new socialist life have been defined.

Изложены результаты исследования деятельности нидерландских архитекторов в Магнитогорске, работавших по контрактам в период с 1931 по 1936 гг. Определены основные этапы сотрудничества Нидерландов и Советского Союза в развитии системы расселения Магнитогорска и в проектировании индустриального жилья с привязкой к производству и новому социалистическому быту.

"This study gathers and interprets the earliest extant references to architects in ancient Greek philosophy, as found in select works of Plato and Aristotle.  Throughout this review, Plato and Aristotle [are] shown to consistently present architectonic agents as exemplary civic and intellectual leaders, acting in awareness of their own (and others’) limits, with knowledge of the most appropriate archē, and with a view to the most comprehensive aims—the common good. This discloses an alternative and more accurate etymology of architects: not as master-builders but as leaders and makers of beginnings (archai). The aim of this essay has been not only to rediscover the discursive beginnings for a renewed philosophy of architecture, but to suggest how these philosophical 'archai' might help present-day architects reimagine the full relevance of their still contested role."

From: Las artes en Quito en el cambio del siglo XVII al XVIII (Quito: FONSAL, 2009), pp. 11-25.
Traces the history of architect José Jaime Ortiz through archival sources from his birth in Alicante, Spain, through his work in San Juan, Puerto Rico, to the culmination of his career in Quito.

L’influenza esercitata dagli architetti italiani, o di origine italiana, a cavallo tra XIX e XX secolo, in corrispondenza di una duratura stabilità politica del paese e una conseguente prosperità economica, fu determinante per il rinnovamento architettonico dell’intera Argentina. Non solo gli architetti, ma più in generale tutti gli emigrati italiani attivi nel settore della progettazione, costruzione e compravendita immobiliare, ebbero un ruolo fondamentale nella definizione del nuovo assetto urbanistico e architettonico delle emergenti città argentine. Persino i materiali — in alcuni casi addirittura di importazione italiana, più comunemente a imitazione degli stessi — contribuiscono a caratterizzare in maniera inconfondibile l’architettura di quei decenni.

Fondée sur l'étude de dix carrières d'architectes vaudois des XIXe et XXe siècles, cette synthèse cherche à mettre en évidence des traits communs à des constructeurs importants mais pas majeurs; des architectes du quotidien connaissant des carrières "normales", délaissées par l'historiographie, et dont pourtant on peut apprendre beaucoup. Etudes, voyages, sociabilité, famille, atelier sont autant d'aspects qui sont ici approchés de manière transversale.

The first half of the 20th century witnessed the rise of modernist architects. BROKERS OF MODERNITY reveals how East Central Europe turned into one of the pre-eminent testing grounds of the new belief-system of modernism. By combining the internationalism of the CIAM organi za tion and the modernizing aspirations of the new states built after 1918, the reach of modernist architects extended far beyond their established fields. Yet, these architects paid a price when Europe's age of extremes intensified. Using mainly Polish, but also wider Central and Eastern European, examples this book delivers a pioneering study of the dynamics of modernist architects as a group, including how they became qualified, how they organized, how they communicated and their own attempts to live the modernist lifestyle themselves. In so doing BROKERS OF MODERNITY raises questions concerning collective work and the social role of architects today.

L’article interroge la condition internationale des étudiants en architecture en France. Il met en évidence que la discipline est profondément ancrée dans une culture de l’universel, qu’elle exige la multiplicité des échelles d’intervention, et appelle aux voyages. Il décrit l’organisation de deux dispositifs pédagogiques : le programme Erasmus et les workshops. Considérés par les diplômés des générations 2000 comme moteurs de pratiques professionnelles internationales, ils participent aussi à structurer des parcours individuels originaux. Finalement, sous l’influence de l’internationalisation des cursus, une partie des activités d’architecture se voit renouvelée. Un questionnaire national (1700 réponses) et des entretiens semi-directifs menés lors d’une recherche doctorale auprès de praticiens, d’étudiants, d’administratifs des écoles et du ministère de tutelle (70) sont le support d’analyse.

Aproximación a la 'High Tech Architecture' tomando como punto de inflexión el Centro Beaubourg (Pompidou) de 1971-77, donde cristalizan muchas facetas tecnológicas tanto pragmáticas como utópicas tras la WWII, abriendo nuevas expectactivas en un mundo cada vez más globalizado que demanda una respuesta de "estilo corporativo" para las élites del tardocapitalismo.

El planteamiento parte del estudio de las fuentes de la 'High Tech', desde las más lejanas en el tiempo (Paxton, Contamin/Dutert), pasando por las de la 1ª Modernidad (Le Corbusier, Giedion, Owen Williams, P.Chareau, J.Prouvé), las de la arquitectura de posguerra (Saarinen, Enrenkrantz, K.Roche & J.Dinkeloo, Stirling) hasta las utopías de los años 60 (Fuller, Archigram, R.Banham, Y.Friedman, C.Price) que cristalizan en el concurso del Pompidou ganado por Renzo Piano, Richard Rogers y Gianfranco Franchini en 1971.

A partir de esa obra se estudia la evolución de la Arquitectura 'High Tech' de sus 3 principales valedores (N.Foster, R.Piano y R.Rogers) en diversas etapas, que desembocarán en el cambio de milenio en una vertiente 'Eco-Tech' al introducir la variable de la sostenibilidad y eficiencia energética como justificación técnica de la nueva generación de edificios de alta tecnología, llegando al paroxismo de la "deslocalización" en base a la programación del comportamiento energético del edificio al margen de otro contexto que no sea el bioclimático, ignorando variables tan importantes para la arquitectura como son el paisaje, la cultura local, los hábitos de los usuarios, etc.

The Minoru and Teruko (Hirashiki) Yamasaki House is a two story, flat roof structure with an L-shaped plan . Constructed 1972 , it is a unique example of Japanese influenced Modern residential architecture designed by local architect Minoru Yamasaki for himself and his family . Yamasaki remarked that Japanese architecture sought a quality of serenity which he sought to incorporate into the design . He stated about his home, "Buildings should not awe and impress, but rather, serve as a thoughtful background for the activities of contemporary man. Basically, I wanted an understated house with large spaces. Most houses are too overstated with gables, tricky roofs . . . they try to be sensational. .. " The roof structure is comprised of truss joists with a built up flat roof, which extends beyond the exterior walls for shade. The exterior is clad in
aluminum glazed curtain walls and beige colored brick. The openings are oriented to the northeast and the southwest to provide light and views of the surrounding property.

This paper offers a view of the importance of the Provincial Hospital in the Salamanca’s 20th century architectural panorama. Starting with the analysis of the history from the need of construction a new sanitary center with charitable and educational aims it will focus on the period from the time when the competition was convened, the execution, the completion and the opening, particularly emphasising the interventions of the County Council’s Presidents. The aim of this work is to give detailed newspapers, graphic and archive’s documentation that will show the importance of the architectural heritage of the city of Salamanca during the 20th century.

ABSTRACT: Aleksandar Deroko (Belgrade, 1894 – Belgrade, 1988) was dedicated scholar who contributed greatly to enhance public awareness about the value of maintaining and protecting our built heritage. In the historic centre of Belgrade, apart from the Cathedral of Saint Sava (done in collaboration with architect Bogdan Nestorović), two Deroko’s projects were prominent: the House of Colonel Elezović (1927), a cultural monument, and the Faculty of Theology Boarding School built in 1940 (with architect Petar Anagnosti) that had previous protection status. In addition, at the New Cemetery, cultural monument of great value for the Republic of Serbia, Deroko with architect Petar Popović designed the chapel of Živko Barlovac (1929), and his second assignment there was the family mausoleum of General Milivoje Nikolajević (1938). With Petar Anagnosti and Zoran Petrović in the period 1964- 66, he undertook extensive conservation and restoration work on the former Funds Administration building, needed for the National Museum. Deroko’s dedication in preserving the historic fabric of city gained confirmation in the mid-1980s when his project won the competition for reconstruction of the Delijska fountain located in Knez Mihailova Street.

APSTRAKT: Aleksandar Deroko (Beograd, 1894 – Beograd, 1988) svojim predanim naučnim radom i angažovanim stavovima dorineo je razvoju svesti o vrednovanju i zaštiti graditeljskog nasleđa u našoj sredini. U opusu arhitekte Deroka, osim Hrama Svetog Save (s arhitektom Bogdanom Nestorovićem) u gradskom jezgru Beograda izdvaja se kuća pukovnika Elezovića (1927), kao  spomenik  kulture i internat Bogoslovskog fakulteta iz 1940. godine (s arhitektom Petrom Anagnostijem), dobro koje uživa status prethodne zaštite. Pored toga, na Novom groblju, proglašenom za kulturno dobro od velikog značaja za Republiku Srbiju, u saradnji s arhitektom Petrom Popovićem Deroko je izveo kapelu Živka Barlovca (1929), a samostalno mauzolej porodice generala Milivoja Nikolajevića (1938). Sa Petrom Anagnostijem i Zoranom Petrovićem u periodu 1964–66. preduzeo je obimne konzervatorsko-restauratorske radove kojima je vraćen izgled zgrade Uprave fondova I izvršena adaptacija za potrebe Narodnog  muzeja.  Derokovo zalaganje za očuvanje starih gradskih jezgara dobilo je potvrdu sredinom osamdesetih godina kada je pobedio na konkursu za obnovu Delijske česme u Knez Mihailovoj ulici.

"Towards end 18th-early 19th Century, land improvements and an increasing number of agricultural fields led to further transformations of the early modern landscape. These changes in the landscape are documented in the perito agrimensore’s records and in other archival sources. The agrimensore held a central role in the (re-)characterisation and (re-)evaluations of landed properties as redefined by changing social and economic aspects. An important figure in the late eighteenth and early nineteenth-centuries was architect-engineer and perito agrimensore Michele Cachia..."

Este artigo visa contextualizar e caracterizar a arquitetura do Estado Novo português no âmbito do seu propagandeado programa de “renascimento nacional”. Pese embora o tradicionalismo e conservadorismo do regime, procura-se demonstrar que a campanha de obras públicas constitui uma das suas vertentes de maior modernidade. Evidencia-se o caráter inclusivo da política cultural que o Estado Novo, à semelhança de outros fascismos, cultivou. Nesse sentido, analisa-se a relação entre arquitetos e Governo, o sistema de condicionamento artístico implementado, bem como a lógica de compromisso que a arquitetura do regime revela em torno da busca e da construção de um «moderno nacional».
This paper aims to frame and characterize the architecture of the Portuguese “Estado Novo” in the context of its propaganded “national rebirth” program. Albeit the regime’s traditional and conservative features, it is argued that the public works campaign constitutes one of its aspects of greater modernity. The inclusive nature of the cultural policy developed by “Estado Novo”, like other fascisms, is highlighted. In order to demonstrate it, this paper analyses the relationship between architects and Government, the system of artistic conditioning, as well as the logic of compromise that the regime's architecture reveals in the search for a "modern national".

Regarding the duty of an architect Windeyer J said in Voli v Inglewood Shire Council (1963) 110 CLR 74 at 84: An architect undertaking any work in the way of his profession accepts the ordinary liabilities of any man who follows a skilled calling. He is bound to exercise due care, skill and diligence. He is not required to have an extraordinary degree of skill or the highest professional attainments. But he must bring to the task he undertakes the competence and skill that is usual among architects practising their profession. And he must use due care. If he fails in these matters and the person who employed him thereby suffers damage, he is liable to that person. This liability can be said to arise either from a breach of his contract or in tort.22

Are covered the creative and scientific biographies of outstanding architects-educators KNUCA (from the 30's - 90's of the XX century). Biographical materials from enceclopedias and journalism are summarized, presents the materials collected by the author in the archives of Kyiv and KNUCA, recorded in the oral memoirs of colleagues and students, added found photos and the author's assessment of the activities of such prominent personalities, architects, scientists, teachers of the Faculty of Architecture KNUCA (KEICA) as: O.M. Verbitsky, S.O. Gilyarov, M.O. Gusev, M.O. Damilovsky, A.V. Dobrovolsky, L.A. Dobrovolsky, D..M. Dyachenko, V.G. Zabolotny, V.G. Krichevsky, I.J. Loshakov, I.V. Morgilevsky, V.M. Onaschenko, V.M. Rikov, M.P. Severov, O.O. Sidorenko, O.Y. Horhot, V.V. Chepelyk, Y.A. Steinberg, P.G. Yurchenko.
Висвітлено творчі та наукові біографії видатних архітекторів-педагогів КНУБА (періоду 30-х – 90-х рр. ХХ ст.). Узагальнено енциклопедичні та публіцистичні біографічні матеріали, представлено матеріали, зібрані автором в архівах Києва та КНУБА, занотовані в усних спогадах колег та учнів, додано віднайдені фото і дана авторська оцінка діяльності таких видатних особистостей, архітекторів, науковців, викладачів архітектурного факультету КНУБА (КІБІ), як: О.М. Вербицький, С.О. Гіляров, М.О. Гусєв, М.О. Даміловский, А.В. Добровольський, Л.А. Добровольський, Д.М. Дяченко, В.Г. Заболотний, В.Г. Кричевський, І.Й. Лошаков, І.В. Моргілевський, В.М. Онащенко, В.М. Риков, М.П. Сєвєров, О.О. Сидоренко, О.Я. Хорхот, В.В. Чепелик, Я.А. Штейнберг, П.Г. Юрченко.

This paper presents a hitherto unnoticed publication by architect Thomas Donaldson, who in 1830 published his design of the restored plan of the theater of Dodona. It appeared in the fourth supplementary volume of the second edition of the “Antiquities of Athens” and, in his comments, Donaldson identifies for the first time the site with Dodona, based on the geographical position and the inconsistency of the sizes of the theater and the city. His discovery was not widely acknowledged and Christopher Wordsworth is still being recognized as the first identifier of Dodona.

Perhaps more than other aspect of Roman culture, the study of architecture is affected by two preconceptions, the first resulting from its durability, the second from later attitudes. First, because buildings appear as a solid and visible legacy of Roman culture, it is assumed that Romans themselves clearly recognised the meaning of architecture. Yet, within a short time-span, two ancient writers, Varro and Vitruvius, presented different views. Vitruvius, the more fortunate in transmission, was ambivalent about the definition of ‘architecture’, calling it first a compound of aesthetic concepts – organisation, layout, good rhythm, symmetry, correctness, and allocation; but, a chapter later, a combination of scientific domains – building, mechanics, and orology. For Varro, architecture was one of nine ‘disciplines’; his lost treatise can hardly have contained such technicalities or defined ‘architecture’ so comfortably within the parameters of the modern academic subject. This article explores past debates on Roman architecture, including one concerning archaeology and architectural history; form and function as well as utility and ornament of Roman buildings; public architecture and private building; and centre and periphery.

In Douglas Copeland"s book "The City of Glass" he makes reference to the modern Vancouver skyline as the "see-through city," rendered apparent by the excessive use of transparent glass that was popularized in the twenty first century. 1 With the rise of the new modernist architectural language that emphasized the influence of the industrial revolution, more and more architects were adopting the International Style which demanded for a simplification of form, a exclusion of ornamentation and the use of modern materials such as glass, steel and concrete. 2 Stemming from a variety of modernisms, a regional variant named the West Coast style developed in residential architecture which was largely influenced by Vancouver"s sublime natural landscapes, a land forged between great forested mountains and large expanses of sea.

Salama, A. M. and Courtney, L. (2013). The Impact of the Spatial Qualities of the Workplace on Architects’ Job Satisfaction, Archnet-IJAR–International Journal of Architectural Research, 7(1), pp. 52-64. ISSN # 1938 7806.

Undoubtedly Job satisfaction among architects is necessary to create a healthy work environment and in turn supports the creation of meaningful built environments. This paper examines the phenomenon of job satisfaction amongst architects and the factors that significantly influence it in the context of Belfast, Northern Ireland, UK. A descriptive survey in the form of a questionnaire and structured interviews was utilized to form a comprehensive methodology for investigation, which was conducted in 2009. In total, three hundred questionnaires were administered, addressing architects working in both private and public sectors, while twelve interviews were conducted, with six for each sector. Preliminary findings indicate that job satisfaction has been rated to be relatively high amongst Belfast architects. Factors identified as particularly significant include control over thermal conditions, acoustics, views, lighting, and ergonomics.

This article traces the history of 7a Laurence Pountney Hill, a rare surviving 17th-century merchant's house in the City of London. The house is built on quite extensive medieval remains, including a massive retaining wall for the former churchyard of St Laurence Pountney. The authors describe the evidence for the house of c.1670, and for later alterations of the 18th and 19th centuries. Documentary evidence for the occupiers of the house is integrated into the narrative.

Presentación de mi tesis doctoral: «Las Ermitas del Desierto de Las Palmas. Historia y actualidad de una idea». Departamento de Proyectos Arquitectónicos. Escuela Técnica Superior de Arquitectura (ETSAV), Universidad Politécnica de Valencia (UPV). Valencia 2016. 1.140 fols. Inédita.

Taking an exhibition of Alvaro Siza's design production, and the ensuing debate, as a starting point, this paper deals with the growing gap between most architects and design. Design, as a professional practice, was born out of the encounter between art and industry through the hands of some architects and artists with a practical view of the world and a sense on how to elegantly solve pragmatic problems. The bauhausian goal to create a new kind of professional, able to master every scale and unify all instances of art, intended to multiply what Behrens had done to great effect on AEG. Through the work of many other greats, the architect would become, or so it seemed, an almighty professional able to take care of everything from big factories to the products that came out through their gates. Things would quickly change, though. From the Sixties onward, design would take off as a distinct field, subdivided into different specialized domains, with specific languages, processes and tools. The last decades of the 20th Century would witness its increasing importance, gradually taking hold of a central role in society, becoming a media darling and a keyword to mostly anything. Yet, based on the original historical links, most architects seem to think that they retain a natural right and ability to 'do design'. Designers, on the contrary, frequently argue that architects don't understand design's role and specificities — that growing further away from their common origins they inevitably keep growing further apart. Anyway, can we still map a common ground? Is there such a clear divide? Where does it lie? How wide is the gap?

Over the years, art in its various forms has played a vital role in the lives of African people. It served as a major form of communicative expression of religious beliefs and socio-cultural norms of the people. Its form, presentation and significance however, varied from one cultural setting to another. This paper examines art in the context of domestic architecture of indigenous people of South West Nigeria and its relevance in contemporary housing as well as what it portends for architectural education in that cultural zone. The paper notes the disappearance of the rich traditional motifs and symbols from contemporary housing and their replacement with more contemporary art forms influenced by globalisation and industrial mass production. It concludes that the current trend presents an architecture that is devoid of cultural architectural uniqueness and identity. One of the implications identified is for architectural curricula to incorporate indigenous themes that will help architects produce domestic architecture that have contextual relevance. Data for the paper was collected through literature review and the qualitative research method using interviews and observations of houses in the zone. Those interviewed include architects and residents in the zone. Data was content analysed to highlight common themes.

This literature review “Imperial Legacy and Departure to Modernity. New Literature on East-Central European Cities” looks at recent tendencies of historical research on cities in East-Central Europe. The review departs from the question to what extent “East-Central European cities” is a useful category in its own right and in what ways employing such a category may advance urban history and historical research in general. Two topics are central to the review: First, cities as spaces of communicating nationalization in the imperial and post-imperial framework and second, cities as a driving force of modernization and place of symbolic modernity. The review discusses new insights on actors of modernization in the cities of East-Central Europe and on the transformation of the urban public sphere. Drawing on a number of studies the review demonstrates that the more pronounced activity and presence of the central state in the cities of East-Central Europe – in comparison with Western Europe – offered an important framework for pushing through planning-ideas that circulated in transnational networks of experts. While the extension of West-European metropolitan cities took place before the rise of urbanism as a scientific discipline around 1900, the opposite was the case for many of their counterparts in East-Central Europe. As a number of recent studies demonstrate, economic and urbanistic goals intersected with far-reaching visions of national aggrandizement and new political influence. The search for new urbanistic solutions on one’s own did, however, not imply a critical departure from what was perceived as a Western model. Still, it remains important to realize that the terms “modernism” and “modernistic” were used in East-Central Europe in a context different from Western Europe and for this reason were also charged with different meaning. This was particularly relevant in the postwar situation of urban reconstruction in now socialist societies.

Eventually, the review argues that the East-Central European city as a category of analysis has its merits as an intermediary category between local studies and the category of the “European city”. In particular the tension between the specificity of its development and the similarity of the means and goals applied – with regard to Western Europe – makes the city in East-Central Europe a relevant future object of research.