Modern Architecture

The Gold Coast is Australia’s most rapidly changing city – regularly compared to Miami and Las Vegas for its embrace of bad taste and the good life; and with Dubai for its sudden moments of high-rise assuredness and seeming lack of restraint in either the ambitions of building or their manifestations.
Beautifully illustrated throughout, this book offers the first comprehensive history of the city and its architecture, documenting its rise from a series of seaside villages in the late nineteenth and early twentieth centuries to the present-day city, set to host the 2018 Commonwealth Games. Considering city plans, architectural works, landscape formations and modes of inhabitation over the time in which the Gold Coast has been peopled, it considers the role of architecture in carrying the city forward. Its main focus is on the contemporary city and the conditions that have given rise to its character - high rise, bad taste and skewed towards the beach edge.

Аннотация. Анализируется оправданность использования понятия «незавершенный проект» в применении к советской градостроительной практике 1920-1930-х гг. Обращаясь к опыту социалистических городов, автор показывает, что сама попытка оценки процесса их строительства в жесткой нормативной логике «соответствия плану» оказывается малопродуктивной. Это объясняется тем, что проектирование большинства новых поселений в Советском Союзе на рубеже 1920-1930-х гг. осуществлялось при постоянной смене установок и корректировке градостроительных стандартов, что приводило к появлению многочисленных промежуточных «планов» и «проектов», определявшихся ситуативными факторами строительного процесса -имеющейся ресурсной базой, организационными условиями и пр. В таком контексте понятие незавершенности оказывается формальной характеристикой строительного процесса, пытающейся зафиксировать степень реализации градостроительного проекта в отсутствие четких критериев его оценки. Более того, использование понятия незавершенности в нормативном ключе мешает разглядеть уникальность и своеобразие регионального опыта советского градостроительства, дающего многочисленные примеры появления оригинальных градостроительных решений в результате работы архитекторов в экстремальных условиях и вынужденного использования нестандартных приемов и технологий. Автор полагает, что такая ситуация является следствием утверждения в публичном дискурсе нарратива «нереализованной утопии», рассматривающего советскую архитектурную традицию в символических категориях «невоплощенного проекта» и «несостоявшегося будущего». В его рамках незавершенность оказывается не столько аналитической характеристикой и четким критерием оценки, сколько метафорой и фигурой речи, которая формирует особый ракурс восприятия советского архитектурного опыта и влияет на характер и направленность его анализа.

In 1936, immediately after the Italian conquest of the Ethiopian territories, the Fascist government initiated a competition to prepare the plan of Addis Ababa. Shortly, the new capital of the Italian empire in East Africa became the center of the Fascist debate on colonial planning and the core of the architectural discussion on the design for the control of African people. Taking into consideration the proposal for Addis Ababa designed by Le Corbusier, this paper reveals his perception of Europe's role of supremacy in the colonial history of the 1930s. Le Corbusier admired the achievements of European colonialism in North Africa, especially the work of Prost and Lyautey, and appreciated the results of French domination in the continent. As architect and planner, he shared the Eurocentric assumption that considered overseas colonies as natural extension of European countries, and believed that the separation of indigenous and European quarters led to a more efficient control of the colonial city. In Addis Ababa he worked within the limit of the Italian colonial framework and, in the urgencies of the construction of the Fascist colonial empire, he participated in the coercive construction of imperial identities.

Tafuri published L’architettura del manierismo (1966) in a moment of disciplinary uncertainty in which the historian’s responsibilities to knowledge and society were by no means regarded with clarity. At Venice, Bruno Zevi had until 1963 (and his move to Rome) propagated an idea of history as a repository of lessons to be read in a contemporary key, exploring the twentieth-century legacies of historical figures to project their prescience and enduring utility. The sixteenth century was, consequently, held as a moment of crisis resonating with those of the post-war era: both moments sustaining a loss of universal certainties and loosing, too, a sense of what architecture could offer society as a whole. From the very beginning of the book Tafuri positioned Zevi’s easy parallelism as a source of crisis in architecture’s historiography—a criticism that ran deep in his reading not only of Zevi’s work, but of the entire Crocean tradition in which the legitimacy of historical subjects was tested against their contemporary value. The “moral and political” crisis (as he put it) inflecting architecture as a result of the tumultuous decade bookended by Luther in Wittenburg and the Duke of Bourbon in Rome was Zevi’s subject. Tafuri rendered this as a basic error in architectural history’s purported mission, which he addressed in L’architettura del manierismo by weighing up an intellectual inheritance drawn from the histories of art and architecture. Out of this emerges a sense of architectural history as a disciplinary effort, held together on terms that parallels his analysis of mannerist architecture as a body of work and thought that in its unity overcame its internal oppositions. This is not yet the Tafuri of Teorie e storia dell’architettura, which he would immediately go on to write, but it contains the disciplinary germs of the problems and paradoxes that would define his contribution to the historiography of architecture.

This article examines the work of the Austrian architect Clemens Holzmeister. A leading representative of Austrian architecture between the wars, and a significant figure in the 1950s and 1960s as teacher of the new generation of Austrian architects including Hans Hollein and Gustav Peichl, Holzmeister presents a perplexing image. In the 1920s, he played an important role in the early architectural projects of Red Vienna, but in the following decade he endorsed the Austrofascist regime of Engelbert Dollfuß and Kurt Schuschnigg of 1934-38. This article argues that his work presents other interpretative challenges too, for he was a prolific designer of churches, which have seldom been integrated into wider narratives of modern architecture. However his work is viewed, it was an important barometer of wider cultural and political currents in inter-war Austria, in particular the country's attempt to construct a meaningful identity after the collapse of the Habsburg empire. The aim of the article is not to rehabilitate or recover Holzmeister, but to consider the light his work casts on inter-war cultural politics in Austria, as well as the broader questions over the implicit value judgements that inform histories of modern architecture.

İ.T.Ü. Fen Bilimleri Enstitüsü Mimarlık A.B.D. Mimarlık Tarihi Programı kapsamında, 2004 tarihli olarak hazırlanmış doktora tezidir. 20.yy modern mimarlığında az sayıda üretilen, kuram ve uygulama açısından avangard örnekleri dışında,  gerçek anlamda meydana getirilen imar stoğunun estetik dinamiklerini anlamaya ve formüle etmeye çalışan bir çalışmadır.

本文耙梳陳其寬先生自1950年代中後期至1960年代初在東海校園設計之住宿設施中呈現的地域性轉變，並指出其中可能源自臺灣傳統民居「空間觀念」以及根植於特定社會關係中的「使用行為、生活模式」之帶有地域性表徵的空間語言。

This article analyzes Chen Chi-kwan's early designs of various housing accommodations at Tunghai University. A noticeable transformation exemplified in these designs demonstrates Chen's interest in Taiwanese vernacular architecture. Traditional spatial symbolism, hierarchical thinking, and ways of living have possibly inspired Chen's designs.

umr cnrs 8584 lem) -Alain Dubreucq (Université Jean-Moulin, Lyon III, ciham umr cnrs 5648) -Sylvain Excoffon (Université Jean-Monnet, Saint-Étienne, directeur adjoint du cercor umr cnrs 8584 lem) -Bernard Hours (Université Jean-Moulin, Lyon III, larhra umr cnrs 5190) -Daniel-Odon Hurel (lem umr cnrs 8584, président du pcr La Chaise-Dieu) -Thierry Pécout (Université Jean-Monnet, Saint-Étienne, directeur du cercor umr cnrs 8584 lem) -Ludovic Viallet (Université Blaise-Pascal, Clermont-Ferrand, chec ea 1001) ContaCts -Frédérique-Anne Costantini [email protected] -Daniel-Odon Hurel [email protected] -Martine Alet (logistique)

La produzione architettonica del primo Neoclassicismo “funzionalista”, introdotta negli Stati romani dal genio del Vanvitelli, con le sue opere giovanili nelle Marche aveva definito un nuovo linguaggio compositivo ed un particolare gusto semplificato del decoro architettonico giocato sull’uso del laterizio arricchito da essenziali sottolineature lapidee, che influenzerà la produzione edilizia delle Marche fi n oltre il XVIII secolo. L’invasione napoleonica (1797) scuoterà le arretratezze dello Stato papalino introducendo nuovi moderni criteri di gestione del territorio e dell’urbanistica, nuovi strumenti cartografi ci e catastali, nuove tipologie architettoniche legate ai servizi, nuovi ruoli assegnati agli ingegneri ed architetti pubblici. Linearità, proporzione e buon gusto furono i suoi presupposti teorici; correttezza costruttiva e rispondenza razionale tra funzioni e planimetrie il metro di giudizio; una serena semplificazione delle forme costantemente collegata al programma economico si sposava col recupero dei modelli classici e vitruviani riletti attraverso la mediazione trattatistica del Vignola e soprattutto del Palladio. Tutte novità in buona parte recepite dopo la Restaurazione dello Stato Pontificio, dove la figura professionale di Antonio Mollari, dopo il suo exploit della Borsa a Trieste, si inserisce nel filone del Purismo architettonico. Si trattava di “un superamento più che una elusione dell’esperienza neoclassica”, della declinazione finale del più ampio movimento culturale europeo neoclassico, oramai esausto, collocato in pochi decenni, sino al papato di Pio IX, e prima del successivo eclettico florilegio sperimentalistico dei revival storici.

Este libro analiza las relaciones entre la ciudad y el arquitecto, la dialéctica entre la ciudad real: el París donde vivía, y la ciudad ideal: el París abstracto que proyectaba, confrontando ambos mundos para entenderlos mejor. París es ocasión para comprender a Le Corbusier; Le Corbusier es ocasión para estudiar París.
La confluencia de sus ideales con la realidad de París plantea un diálogo enriquecedor, cuyo desarrollo se expone a través de un discurso secuencial: Édouard, Jeanneret y Le Corbusier, atendiendo al descubrimiento de París por Édouard, a la dialéctica que París, provocador de energías, establece con Jeanneret, y al París de las propuestas de Le Corbusier, haciendo de ellas una travesía poética y un encuentro vital.
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Ce livre analyse la double relation entre la ville et l'architecte, la dialectique entre la ville réel et la ville idéale :  entre le Paris où il a vécu et le Paris abstrait qu'il a projeté. Essayez d'affronter les deux mondes pour mieux les comprendre. Paris c'est l'occasion de comprendre Le Corbusier; Le Corbusier c'est l'occasion d'étudier Paris.
La confluence entre des idéaux et la réalité de Paris pose un dialogue enrichissant, dont le développement est exposé à travers un discours séquentiel: Édouard, Jeanneret et Le Corbusier, assistant à la découverte de Paris par Édouard, à la dialectique que Paris, provoquant des énergies, il établit avec Jeanneret et Paris les propositions de Le Corbusier, en faisant un voyage poétique et une rencontre vitale.
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The book analyzes the dual relations between city and architect: the dialectic between real city - the Paris where he lived - and ideal city - the abstract Paris he projected. It try to confront both worlds in order to better understand them. Paris is an occasion to understand Le Corbusier; Le Corbusier is an occasion to study Paris.
The confluence of their ideals with the reality of Paris poses an enriching dialogue, the development of which is exposed in this book through a sequential speech: Édouard, Jeanneret and Le Corbusier, attending to the discovery of Paris by Édouard, to the dialectic that Paris, provoking energies, establishes with Jeanneret, and the Paris of Le Corbusier's proposals, making them a poetic journey and a vital encounter.

The article addresses the main problems related to the implementation of architectural practice of one of the most active trends in commutative design called parametrism. An analysis of the negative tendencies in the projects of modern architects who are developing this trend is carried out. The article argues for the fruitlessness of the attempts of adjustment of some theoretical positions offered by the parametrism ideologists in real design work. At the same time the doubtless benefits which parametrism offers and possible prospects of its future development are emphasized. The author believes that professional requirements must be changed for specialists who work in this method which features significant complexity of design methods. The article develops the position according to which the parametrism is to consider as a method, rather as the architectural style.                              Keywords: architectural design, parametrism, architectural design, parametrism, parametricist manifesto

The first female architecture student to study under Walter Gropius at the Harvard School of Design in the Post World War II era, Daphne Bugbee Jones was an accomplished architect who brought the principles of the Bauhaus and Modernist architecture to the state of Montana in America's Inland Northwest. Along with her husband, noted environmental philosopher Henry Bugbee, Bugbee Jones merged her commitment to Modernist design, social activism, and the preservation of wilderness in the urban interphase zone around the city of Missoula.

Gezellig in Dutch, hygge in Danish, gemütlich in German. A nice atmosphere. The general togetherness
which gives people a warm feeling. “Said to make homes nicer and people happier.” “The feeling of
comfort. A mood.”  These words are often considered untranslatable into English with the closest
interpretation being “cozy,” a word mainstream American architects often associate with their designs.

For decades, through the theory of affect, the feeling or mood these words describe have been studied by
philosophers and theorists. More recently, critical architectural theorists are exploring affect theory, an
area already recognized by architects rooted in pop culture. In her book, Form Follows Libido, critical
architectural theorist, Sylvia Lavin studies architect and self-proclaimed therapist Richard Neutra,
evaluating the therapeutic nature and design intensity of his homes.

This paper compares Lavin’s historical accounts and analysis of Neutra to present day architect and
motivational speaker Sarah Susanka. At first glance, these architects seem very different with distinct
motivations driving their designs. Upon closer inspection, the two are not unalike and their designs yield
similar affects.

Dr Vittorio Montemaggi & Dr Michelle Fletcher, King's College London.
Cities bring people together, and London unites everyone who studies and works at King's College London. Over centuries our remarkable city has been inscribed with layers of human meaning, housed in palaces and tube stations, cathedrals and coffee shops. In London's buildings we can connect in multi-dimensional ways with the richness and challenges of human life and culture.  This AKC series will explore the meaning of London, and our place within it: through historical "tours" of nine very different buildings, we will reflect afresh on how religion, art, politics, trade and scholarship have evolved, helping to build one of the world’s most important and vibrant cities.

W artykule podejmiemy próbę weryfikacji poglądu o okrętowym rodowodzie modernistycznej architektury mieszkaniowej na podstawie studium przypadku Jednostki Marsylskiej. Przeanalizujemy różne aspekty projektu, a jej charakterystyczne właściwości porównamy z cechami XX-wiecznych transatlantyków. Następnie pokażemy drogę Le Corbusiera od okrętowych fascynacji i manifestów, przez codzienne praktyczne doświadczenia, do konkretnych realizacji architektonicznych. Na koniec, aby uprawdopodobnić związki przyczynowo-skutkowe łączące opisane zależności, będziemy się starali wykazać podobieństwo rozwiązań oraz następstwo czasowe zdarzeń związanych z ich powstaniem.

RESUMEN Arica es una ciudad puerto que se emplaza en el territorio fronterizo del norte de Chile, un espacio caracterizado por su convergencia e intercambio cultural, en el cual convergen valles, desierto y océano, y que si bien tiene importantes antecedentes precolombinos y coloniales, fue la producción arquitectónica realizada a partir de la mitad del siglo XX, la que definió un laboratorio de modernidad que singularizó su espacio urbano. Ese laboratorio de la modernidad surgió desde la creación del Puerto Libre en 1953, los que motivó el desarrollo de un plan de inversiones que incluyó muchas arquitecturas significativas. Las primeras fueron realizadas por la Sociedad Modernizadora de Arica (SMA) y luego por la Junta de Adelanto de Arica (JAA) una institución creada en 1958 que gestionó, financió y realizó muchísimas obras hasta 1976, cuando fue disuelta. Entre las variadas obras motivadas por el Puerto Libre, algunas fueron diseñadas y construidas bajo una expresiva estética del...

How does theological Metaphysics view small space ? And what link could be found between theology, Christology and Small spaces ? The aim will be to start our investigation at the figure of the "little ones"(mikroi),central to the narrative and theological construction of the first gospel and then analogically extending it to spatial matter.

15th International Docomomo Conference - Metamorphosis. The Continuity of Change / 20th-28th August 2018, Cankarjev Dom, Ljubljana, Slovenia //
04 Housing in Transformation /
Session Chair: Ana Tostões /
(Un-)Sustainability of the concrete mega-blocks in New Belgrade: Potentials of prefabricated Modern structures for transformation
(Anica Dragutinovic, Uta Pottgiesser & Els De Vos, Belgium)

The object of this paper is to advance concrete strategies for
integrating objectives of environmental sustainability in the
conservation of wood elements in Canadian modernist
architecture. To do so, the paper considers: how wood and
engineered wood products were used in modern building in
Canada; how environmental values associated with wood in
modern architecture have evolved; and what new issues are
raised by current sustainable forestry and building practices.
Finally, preliminary strategies are suggested for integrated
approaches to conserving modern wood, which will be of value
beyond the Canadian context.

Ana María Rigotti (directora, editora), Ermete De Lorenzi. Obra completa, Rosario, A&P Ediciones, 2007 (242 pp) ISBN 978-987-23713-0-2
Autores: Ana María Rigotti directora editora
Otros: Silvia Pampinella, Daniela Cattaneo, María Pía Albertalli, Jimena Cutruneo, Noemi Adagio
De Lorenzi – arquitectura moderna – Argentina – vivienda – edilicia pública – rascacielos – escuelas
Abstract
Cuando el archivo de un arquitecto moderno es objeto de catalogación se amplían los datos para la construcción biográfica y aparecen nuevas vetas de análisis respecto a la disciplina y la profesión. En capítulos temáticos se analizan series de obras organizadas en torno a los programas. No sólo permiten poner en foco cuestiones relativas al carácter, la distribución y el decoro de los edificios públicos y monumentos civiles, los nuevos programas industriales y la casa como mercancía, sino descifraar las lógicas de la extensa producción de Ermete De Lorenzi desde una organización del material como la que él mismo usó en sus clases de Teoría de la Arquitectura. Cada serie se presenta a través de un ensayo  que aborda posibles claves interpretativas y una selección de material gráfico original acompañado de descripciones breves e intencionadas.

Ermete De Lorenzi: Complete Works
De Lorenzi - modern architecture - Argentina - housing - public buildings - skyscraper - schools

When the documental archive of a modern architect is catalogued, not only a deeper biography can be built, but new veins appear of analysis appear regarding Architecture as discipline and profession. In thematic chapters we analyzing series of works organized around programs. Not only can be brought into focus issues of character, distribution and decorum of public buildings, new industrial programs and the house as a commodity, but the extensive production of Ermete De Lorenzi  can be decipher according to an organization like the one he used in his classes of Architectural Theory. Each series is presented through an essay that addresses possible interpretative keys and a selection of original artwork accompanied by brief and intentional descriptions.

La ricerca proposta si inquadra nell'ambito degli studi sulla rappresentazione del patrimonio architettonico e urbano. Le problematiche relative al disegno di analisi e al disegno di progetto dell'architettura e dell'ambiente sono, infatti, sempre al centro del dibattito culturale del settore disciplinare dato che gli architetti utilizzano, da sempre, i mezzi e gli strumenti della rappresentazione in loro possesso, sia per comunicare la realtà esistente, sia per presentare le loro idee. L'obiettivo della ricerca è stato quello di svolgere un'analisi attraverso il disegno di alcuni tra gli edifici più significativi dell'architettura moderna e contemporanea a Roma per compiere un'attenta lettura finalizzata alla conoscenza e alla loro documentazione. Tutti gli elaborati grafici dei tre autori di questo volume sono interpretazioni critiche di tale patrimonio e forniscono uno specifico monitoraggio sulla città che consente, ci auspichiamo, di comprendere anche le connessioni che le architetture hanno con il loro contesto urbano attuale.

This paper examines the relation between the concept of alienation and modern architecture by way of the interaction in architecture and cinema. Jacques Tati's three films which predominantly focus on urban and architectural issues, are the subject of this paper. Architecture is one of the representative that strongly determines and directs the way of life in modern times, so the concept of alienation can dominate discussions of modern architecture. This paper also aims to discuss the inhabitant's position in modern architecture and focus on it's perception in everyday life practices.

This paper offers an examination of crypto-colonial discourse in Modern Thai Architecture from the 1960s to the 1980s. It argues that the transplantation of western Modern architecture in Thailand initiated a neo-colonial cultural dynamic as the architects’ creations were subtly subjected to an American Cold War agenda, established in the Southeast Asia region since the 1950s. According to the recent scholarship of Thai postcolonial studies, the term Crypto-colonialism is applied to Thailand based on its unique form of political marginality. This theory characterizes Thailand’s relation to the West as being a technically independent
though essentially tributary nation-state, because the country was materially dependent on western economic and political power (Herzfeld 2002, 900-901). This research thus looks at the “subordination” characteristics of Modern Thai architecture from the 1960s to the 1980s, when western powers, especially the United States, imposed their culture upon that of Thailand to undermine or to deny its existence. Its analysis shows that, during these Cold War years, urban infrastructure and the hospitality industry in Bangkok and its suburbs grew rapidly due to American economic aid as well as to the need to provide accommodations for western tourists and the American military presence. The architectural design of this period was dominated by spatial concerns that reflected the new and powerful influence of the United States over the traditional Thai architectural planning. By tracing the historical consolidation of Modern architectural consumerism in Thailand and the works of American architects who were working in Thailand during the 1960s and the 1980s, this research will challenge the idea that colonial discourses were only confined to countries or regions that were directly occupied by western nations.

The Invalidovna Housing Estate was not the first housing estate in Prague, nor were panel systems used here for the first time. The Invalidovna Housing Estate is nevertheless unique. To capture its uniqueness, the structuralist thesis that the whole is always more than the sum of the parts that make it up is suitable. The Invalidovna Housing Estate was established at a unique time: after the Červený Vrch housing estate or the first few Prague buildings made of prefabricated panels in Michle, land began to be sought in Prague that would build on existing buildings on the outer outskirts of the city and function as separate urban units. One of these areas was the area behind the block of flats of Karlín from the 19th century and the structure of the Baroque invalid hospital. This territory already attracted interwar urban planners, but only in a situation where the state became the sole investor, builder and spatial planner and focused on chiseling and the widespread application of building typification, the avant-garde visions of "housing machines" and "housing machines" solar cities ”built on a green field become a reality.

El objetivo de este trabajo es revisar la historia de la Escuela de Arquitectura de La Habana a partir de algunos artículos, textos y documentos que recogiendo fragmentariamente su origen y desarrollo, minimizan u ocultan el papel fundamental que tuvieron el mestizaje y la aculturación en el florecimiento de una cultura rica, viva y abierta a las más variadas influencias internacionales, que en su madurez alcanzó, a través de su arquitectura moderna, una voz original, con rasgos singulares y propios, gracias a la labor ininterrumpida de un grupo de
profesores que constituidos en el núcleo fundamental de la escuela por más de treinta años formaron a los profesionales que llevarían a Cuba a
ser referencia de la arquitectura latinoamericana en la década de los
años cincuenta. Así mismo el trabajo revisa desde una postura crítica la
desaparición de la Escuela, a finales de los años cincuenta, con la llegada del proyecto socialista que quiso, como el emperador Shih Huang Ti, que la historia comenzara con él.
Por último muestra a través de algunos de los protagonistas de la etapa
revolucionaria el fracaso de la utopía socialista en construir un presente
sobre las ruinas de un pasado del que no se quiso dejar memoria.

Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.

Vilanova Artigas, arquitectura moderna paulista, casa Berquó. Vilanova Artigas, modern architecture in São Paulo, Berquó house. 13/03/2013 22/07/2013 Este trabajo refl exiona sobre la situación del arquitecto brasileño João Vilanova Artigas durante los acontecimientos conturbados de los años 60, década en la que se consolida (1961) y se quiebra (1967) el modelo perfecto de su arquitectura. Entendiendo que la arquitectura de Arti-gas no puede, y nunca pudo, ser descontextualizada de la situación política y social que Brasil sufrió en cada momento de su historia, interesa analizar los designios de una obra especial, la casa Elza Berquó, que en su profunda soledad interior se levanta como instancia crítica de la situación social brasileña a fi nales de los años 60. This paper refl ects on the situation of the Brazilian architect João Vilanova Artigas during the troubled events of the 60s, decade in which consolidates (1961) and breaks (1967) the perfect model of its architecture. Understanding that the architecture of Artigas cannot, and could never, be beamed from the political and social situation suffered by Brazil at every moment of its history, interested to study the designs of a special work, Elza Berquó House, that in its profound inner loneliness rises as a critical body of the Brazilian social situation at the end of the 60s.

RAZVOJ FRUŠKE GORE I OTVORENA PITANJA ODRŽIVOSTI
Milica Bajić Brković

JAPANSKA KULTURA KAO PARADIGMA U FORMIRANJU MINIMALIZMA U ARHITEKTURI
Dragana Vasilski

DOM KOMUNA - STAMBENI EKSPERIMENT RUSKOG KONSTRUKTIVIZMA: ANALIZA METODOLOGIJE STVARALAČKOG POSTUPKA
TanjaBajić

ARHITEKTURA MODERNE U FUNKCIJI PROMOCIJE BEOGRADA
Željka Manić, Vera Backović

PLANIRANJE I TURISTIČKO UREĐENJE PROSTORA: SLUČAJ PETROVARADINSKE TVRĐAVE
Vuk Garača, Gordana Jovanović, Aleksandra Trifković

REKONSTRUKCIJOM GRADSKE PIJACE DO NOVOG JAVNOG PROSTORA U DONJEM MILANOVCU
Mirjana Berkeš, Ana Kovenc-Vujić

PARK LJUBAVI U OKVIRU PARKOVSKOG KOMPLEKSA SVETI SAVA U NIŠU
Aleksandar Keković, Marjan Petrović

KREATIVNE STRATEGIJE ZA ODRŽIVI RAZVOJ GRADOVA U SRBIJI
urednik: Milica Bajić Brković, prikaz: Aleksandra Stupar, Mila Pucar

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