Journal articles on the topic 'Utopian architecture'
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1
Meireis, Sandra. "Micro-utopias in architecture." SAJ - Serbian Architectural Journal 10, no. 1 (2018): 13–24. http://dx.doi.org/10.5937/saj1801013m.
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In recent years, new formats of socially engaged architectural practices have become increasingly present in the urban space. Projects of temporary use, mostly erected by transdisciplinary working collectives, have become part of a broader trend, marking a social turn in architecture. In this paper, these practices are understood as a concrete aesthetic and political phenomenon that brings about alternative forms of social coexistence: micro-utopias arise against the backdrop of urban NEO-liberalisation processes. The history of utopia, and particularly the utopian tradition in architecture, facilitate to put this argument forward.
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Nekrošius, Liutauras. "ETHICAL ASPECTS OF THE 20TH CENTURY UTOPIAS IN ARCHITECTURE." Journal of Architecture and Urbanism 31, no. 1 (March 31, 2007): 67–74. http://dx.doi.org/10.3846/13921630.2007.10697092.
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Utopias are often looked upon as a positive phenomenon stimulating human thinking and imagination. This could not be denied. Although when morality is treated just as a tool to achieve generous intentions, realization of utopias is usually followed by different social repressions. A good deal of research has been done on utopian societies. But most often such works are merely focussed on the subjects of innovation, imagination and tangibility. In research works by western as well as soviet authors certain idealization of the research object can be felt, and the issues of social utopias are rarely discussed. These questions are worth reviewing on a broader scale. The present work focusses on the aspects of communist (socialist) utopian ethics and its links with modernism. It is important to compare ethical differences of architectural utopias that existed in West European and soviet spaces. The present text is a part of a wider research on structuralistic ideas in contemporary Lithuanian architecture. The author thinks such a review may help to develop more precise understanding of the development peculiarities of humanistic ideas in architecture of the 20th century in our country. XX a. architektūros utopijų etiniai aspektai Santrauka Dažnai laikomasi nuostatos, kad utopija teigiamas, žmogaus mąstymą ir vaizduotę skatinantis reiškinys. Su tuo negalima nesutikti. Tačiau kai moralumą imama traktuoti kaip kilnių tikslų įrankį, utopijos įgyvendinimą neretai ima lydėti įvairios socialinės represijos. Utopinių visuomenių tyrimų gausu. Tačiau juose dažniau nagrinėjamos novacijų, vaizduotės, realumo temos. Vakarų bei sovietinių autorių darbuose neretai jaučiamas tiriamojo objekto idealizavimas, retai svarstomi socialiniai utopijų klausimai. Juos tikslinga apžvelgti plačiau. Darbe dėmesys telkiamas ties komunistinės (socialistinės) utopijos etikos aspektais bei šios utopijos sąsajomis su modernizmu. Svarbu palyginti Vakarų Europos bei sovietinėje erdvėse gyvavusių architektūros utopijų etinius skirtumus. Šis tekstas yra platesnio tyrimo apie struktūralistines idėjas šiuolaikinėje Lietuvos architektūroje dalis. Manoma, kad tokia apžvalga padės tiksliau suvokti XX a. humanistinių architektūros idėjų raidos savitumus mūsų šalyje.
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Černauskienė, Aušra. "Novelty of Artistic Forms in Contemporary Lithuanian Architecture." Architecture and Urban Planning 11, no. 1 (July 1, 2016): 6–13. http://dx.doi.org/10.1515/aup-2016-0001.
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Abstract The article presents an analysis of the concept of novelty of artistic forms and its visual expressions in contemporary Lithuanian architecture. It is stated that the novelty is virtually manifested through utopian visions of the new world and their metamorphoses, and is made relevant by the method of experiment. Based on examples of Western European architectural utopias and experiments, the article suggests the formulated indicators of novelty, which are reflected in artistic forms of contemporary Lithuanian architecture. The aim of the research is to reveal the concept of novelty linking it with transformation and utopia, and illustrating it with the objects of contemporary Lithuanian architecture.
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Coleman, Nathaniel. "Utopia and modern architecture?" Architectural Research Quarterly 16, no. 4 (December 2012): 339–48. http://dx.doi.org/10.1017/s1359135513000225.
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It is a commonplace to describe twentieth-century Modernist architecture as utopian, but doing so arguably has less to do with putative social agendas than with explaining the failure of such work to deliver on extravagant promises. By interrogating utopian declarations for twentieth-century architecture and visionary urban representations, the aim of this article is to sharpen the loose pairing of Modernist architecture and Utopia. Consideration is also given to how undue emphasis on representation supports post-rationalisations of failure as the inevitable teleology of Utopia, which serves only to empty architecture of its ethical function. To conclude, some preliminary thoughts on the prospects of a more convincingly utopian modern architecture are advanced.
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Zvjagintseva, M. M. "UTOPIC IDEAS IN RUSSIAN ARCHTECTURE IN CULTURAL ASPECT." Proceedings of the Southwest State University 21, no. 4 (August 28, 2017): 32–38. http://dx.doi.org/10.21869/2223-1560-2017-21-4-32-38.
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Utopia is one of the most stable archetypical cultural concepts because it reflects the mankind’s desire to improve their world, find a better way of social organization and return to the paradise lost. The idea of the “general welfare domain” had been present in myths and religions of different peoples long before the term “Utopia” appeared as such. Utopian ideals were extremely typical of the European culture due to its extroversion and the aspiration for a more rational existence. Utopia demonstrates a number of very typical features including commonality, special isolation, timelessness (absence of historical times), autarchy (self-sufficiency, independence from the outer world, etc. including the separation from people), urbanism, regimentation and globality. Since XVI-XVII centuries the image of an ideal society has shaped as a city on an island. As a city quite often looks like an ideally transformable space, architectural Utopia plays a very specific role: it personifies the social Utopia. City-planning interpretation of Thomas Moor’s ideas presented a big interest for his contemporaries. Later there were many projects of “ideal” cities that were developed by Italian Renaissance architects. The XVIII century was marked by the appearance of Utopian socialist philosophy. A part of its supporters used to think that metropolitan cities could make a sound foundation for the development of industrial civilization, others advocated the networks of small independent communities. In Russia the first belletristic Utopias appeared in the XVIII century. They continued West-European traditions and preserved all traits of a classical Utopia, however, they acquired national color. All of them pictured an ideal future society that was embodied in new city types. Russian architectural Utopias are closely connected with social processes that predetermined the development of European culture in general. National Utopian architecture had its prime time after the revolution when architects got opportunities to implement their bold ideas
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Guneri, Gizem Deniz. "Peter Cook Beyond Archigram." Prostor 28, no. 1 (59) (June 27, 2020): 130–41. http://dx.doi.org/10.31522/p.28.1(59).8.
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This text visits and manifests the critical utopianism embedded in the praxis of Peter Cook, within which resides a promising mode of architectural thinking based on reflexive inquiries rather than absolute and closed utopias. It aims to revert questions that link utopia and spatial determinism towards questions that revolve around utopian methodologies that become trainings of architectural imagination.
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Blagojević, Ljiljana. "Architecture utopia realism: Thematic framework." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 138–45. http://dx.doi.org/10.5937/saj1402138b.
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The term or concept of realism seems to be recurring in recent theoretical inquiries, from debates in philosophy and aesthetics to those in theory and practice of architecture. Since 2000, the architectural discourse has been concerned with a wide range of related issues coming from its own post-critical debates on utopianism and realism and the possibility of an 'utopian realism', as suggested by Reinhold Martin (2005). The debates on realism resonate in the architectural theory anew as a reflection on the Manifesto of New Realism by the philosopher Maurizio Ferraris from 2011. The questions of realism vs. postmodernism, "new realism" on the ashes of post-modernism, critical and operative notions of realism and the like, have been asked both through practices of contemporary architecture and through reconsideration of the socialist realism in history and theory of architecture. The thematic issue of SAJ: Architecture Utopia Realism aims to further the ongoing discussion on the relations of architecture with realism and utopia
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Tamari, Tomoko. "Metabolism: Utopian Urbanism and the Japanese Modern Architecture Movement." Theory, Culture & Society 31, no. 7-8 (September 16, 2014): 201–25. http://dx.doi.org/10.1177/0263276414547777.
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The Fukushima catastrophe has led to important practical and conceptual shifts in contemporary Japanese architecture which in turn has led to a re-evaluation of the influential 1960s Japanese modern architecture movement, Metabolism. The Metabolists had the ambition to create a new Japanese society through techno-utopian city planning. The new generation of Japanese architects, after the Fukushima event, no longer seek evolutionally social change; rather, the disaster has made them re-consider what architecture is and what architects can do for people who had everything snatched from them by technology (nuclear power station) and nature (earthquake and tsunami). Drawing on the architectural projects of Tange Kenzo and Metabolists in the 1960s and Ito Toyo’s ‘Home-for-All project’ in 2011, the paper explores this major paradigm shift in Japanese architectural theory and practices.
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Gudelytė-Račienė, Indrė. "Some Terminological and Typological Features of Unrealized Architecture." Coactivity: Philology, Educology 23, no. 2 (December 28, 2015): 138–47. http://dx.doi.org/10.3846/cpe.2015.279.
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The article analyzes the topic of unrealized architecture in both linguistic and typological perspective. The author raises hitherto rarely discussed terminological issues, analyzes the most commonly used notions and terms in conjuction with their suitability in architectural discourse. The article suggests the general typological model of unrealized architecture. Furthermore, the paper reveals the change of the concept of some unrealized architectural projects’ types (specifically “utopian” and “visionary”) throughout history.
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Porotto, Alessandro. "Utopia and vision. Learning from Vienna and Frankfurt." Joelho Revista de Cultura Arquitectonica, no. 7 (December 25, 2016): 84–103. http://dx.doi.org/10.14195/1647-8681_7_7.
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The article identifies and observes critically two emblematic cases of modern utopia of 1920s: Das rote Wien and Das neue Frankfurt. These two architectural experiences correspond to two alternative but complementary spatial and social models, the courtyard block (Hof) and the settlement (Siedlung). Through the historical distance today we can observe in critical way these experiences, analyzing the effects of utopian character within the contemporary city.Referring to the theoretical concepts of “utopia” and “realism” by Tafuri, the analysis tries to show the spatial elements that characterize these examples. The comparative approach highlights that today their solutions produce spatial quality at the urban and housing scale. In this way, Höfe and Siedlungen represent a “vision”.The actuality of utopia of social housing in Vienna and Frankfurt is the starting point to reflect to the contemporary architecture and collective living.
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Kim, Cheehyung Harrison. "Pyongyang Modern: Architecture of Multiplicity in Postwar North Korea." Journal of Korean Studies 26, no. 2 (October 1, 2021): 271–96. http://dx.doi.org/10.1215/07311613-9155193.
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Abstract This article explores North Korea’s postwar reconstruction through the variegated features of architectural development in Pyongyang. The rebirth of Pyongyang as the center of both state authority and work culture is distinctly represented by architecture. In this setting, architecture as theory and practice was divided into two contiguous and interconnected types: monumental structures symbolizing the utopian vision of the state and vernacular structures instrumental to the regime of production in which the apartment was an exemplary form. The author makes three claims: first, Pyongyang’s monumental and vernacular architectural forms each embody both utopian and utilitarian features; second, the multiplicity of meaning exhibited in each architectural form is connected to the transnational process of bureaucratic expansion and industrial developmentalism; and third, North Korea’s postwar architectural history is a lens through which state socialism of the twentieth century can be better understood—not as an exceptional moment but as a constituent of globalized modernity, a historical formation dependent on the collusive expansion of state power and industrial capitalism. A substantial part of this article is a discussion of the methods and sources relevant to writing an architectural history of North Korea.
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Malcovati, Silvia. "The utopia of reality: Realisms in architecture between ideology and phenomenology." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 146–65. http://dx.doi.org/10.5937/saj1402146m.
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Proposed on the occasion of the First Congress of the Soviet writers in Moscow in 1934, the notion of realism coming about in the theoretical debate on architecture in the early thirties of the twentieth century appears to be an ambiguous notion, straddling between idealism and ideology, innovative research and historicist formalism. The failure of socialist realism and the crisis of its emphatic and monumentalist architectural imagery, clearly shows the utopian character of the realist "dream," but also, in some ways, its imaginative power of striving to build a better world. After the Second World War the question of realism comes into discussion again. Especially in Italy realism turn into an alternative to the modern paradigm, no less utopian, but open for the emerging postmodern American ideas as well as for the architecture of the "Tendenza." The paper proposes a survey on the twentieth century realisms as an instrument of reflecting the current state of architecture: after the excesses of the postmodern populism, the disillusionment of the "Architettura Razionale" and the dialectics of reconstruction-deconstruction, a new spectre of "Realism" as a way to react to the current architectural and urban condition seems to emerge in architecture again.
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Richardson, William, and William C. Brumfield. "Reshaping Russian Architecture: Western Technology, Utopian Dreams." Russian Review 51, no. 2 (April 1992): 271. http://dx.doi.org/10.2307/130705.
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Beaujour, Elizabeth Klosty, and William C. Brumfield. "Reshaping Russian Architecture: Western Technology, Utopian Dreams." Slavic and East European Journal 37, no. 3 (1993): 408. http://dx.doi.org/10.2307/309303.
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Plant, Peter. "Utopia revisited: Green Guidance." Journal of the National Institute for Career Education and Counselling 47, no. 1 (October 1, 2021): 53–58. http://dx.doi.org/10.20856/jnicec.4708.
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Utopians have visions for a better society, often with a view to social justice and equality. Some utopians have focused, more specifically, on career development and career guidance. Such visionaries include Charles Fourier, Richard Owen, and Frank Parsons. They are worth revisiting. Currently, our societies need new visions of a just and sustainable future for all. Green Guidance is a contribution towards this, utopian as it may seem.
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Khomyakov, Alexander I. "Paper Architecture: Monuments of Utopia." Scientific journal “ACADEMIA. ARCHITECTURE AND CONSTRUCTION”, no. 2 (June 28, 2018): 66–72. http://dx.doi.org/10.22337/2077-9038-2018-2-66-72.
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The second article concludes the cycle "Paper Architecture" and narrates about the criteria for projects belonging to the considered genre of creativity, highlights its most representative representatives of both domestic and foreign schools. The publication mainly deals with architectural concepts that interpret the anti-utopian moods of the society of the late twentieth century, the comments of the participants of the movement themselves and the evaluation of art critics. The author hypothesis of factorsled to numerous victories of Moscow architects on international conceptual competitions is offered
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Miller, Tyrus. "Paul Scheerbart and the utopia of glass." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 85–95. http://dx.doi.org/10.5937/saj1501085m.
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This paper will consider the architectural writings of the German expressionist writer Paul Scheerbart, focusing on his fascination with glass as an architectural and symbolic material within his writings. I will discuss Scheerbart's architectural treatise Glass Architecture, his novel The Grey Cloth, and related writings on glass architecture. Scheerbart represents an alternative tradition within architectural modernism, which saw glass as a constructive material that represented modernity by exposing structural elements of the building, thus guaranteeing conformation of form to function. Scheerbart, in contrast, considered glass as a bearer of color and multiplier of light, which he saw as capable of transforming the human environment and exercising positive effects on individuals and collectives. He saw light as culture-formative, and glass architecture as the means by which the built environment could maximize modern culture's utopian potential. I also discuss the influence of Scheerbart on the anarchist architect Bruno Taut and on the thinking of Walter Benjamin.
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Hemmersam, Peter. "Arctic architectures." Polar Record 52, no. 4 (January 18, 2016): 412–22. http://dx.doi.org/10.1017/s003224741500100x.
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ABSTRACTIn 1968, the British/Swedish architect Ralph Erskine published an article ‘Architecture and town planning in the north’ in this journal, in which he called for a particular Arctic approach to the design of buildings and cities that is distinct from mainstream architecture due to conditions such as harsh climate, resident indigenous or sparse population and remoteness. One hundred years after his birth (in 1914), Erskine is still considered the authoritative ‘Arctic architect’, and his approach is paradigmatic among many architects dealing with the built environment in the Arctic, sub-Arctic and northern regions.However, a study of the literature on architectural practice and the built environment in the north reveals a number of varying conceptions of Arctic architecture. These different perspectives are social in nature and construct the architectural technologies, the natural environment and society in different configurations. This article finds that architectural discourses and readings of the Arctic change under the influence of social, cultural, political and architectural paradigms. The perspectives identified in the article are seen to be critical supplements to Erskine's utopian approach to developing new sustainable forms of urbanism and architecture in the Arctic. They also reveal that new conceptions do not necessarily replace previous ones but often overlap and place earlier ideas into fresh concepts and that certain conceptions appear to perpetuate over the decades, such as the Arctic as an ‘empty space’. The thinking on Arctic futures is, in many ways, trapped in certain modernist and utopian modes, and this article contributes to widening the range of possible relationships between people and the Arctic environment, using architecture as an aperture.
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ORLOV, Dmitry N., and Natalia A. ORLOVA. "«THEORY OF ARCHITECTURE» OF A. I. NEKRASOV IN THE CONTEXT OF THE PHILOSOPHY OF SPACE." Urban construction and architecture 7, no. 4 (December 15, 2017): 115–21. http://dx.doi.org/10.17673/vestnik.2017.04.20.
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The article gives a brief overview of the main philosophical and cultural approaches to the problem of space in architecture. There are three main approaches - utopian (or hypothetical), normative, and refl ective. The importance of professional architectural discourse on the subject as one of the most complete is emphasized. The famous work of A. Nekrasov “Theory of architecture” which presents a holistic, detailed, allowing extrapolation of new historical material, the concept of evolution of architectural form and space is discussed. Analysis of the work of Nekrasov is given in the context of his philosophical concepts. The assumption about cultural interdisciplinary importance of the work of Nekrasov is put forward with the aim of involving architecture into the general cultural discourse of culturologists and philosophers.
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Rong, Zhou. "Leaving Utopian China." Architectural Design 78, no. 5 (September 2008): 36–39. http://dx.doi.org/10.1002/ad.734.
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Lara, Fernando Luiz. "Incomplete utopias: embedded inequalities in Brazilian modern architecture." Architectural Research Quarterly 15, no. 2 (June 2011): 131–38. http://dx.doi.org/10.1017/s1359135511000558.
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Modern architecture has always had a complex relationship with its own utopian roots. From Marinetti proclaiming that war is the most beautiful choreography in 1918 to Le Corbusier's famous concluding sentence from 1923, ‘architecture can avoid revolution’, the attempt to build a better world through architecture has constantly been tainted by skewed definitions of what exactly this new world should be. The case of Brazil is not much different. The architecture of the 1930s and '40s was much more successful in promoting a national image of modernisation than in addressing modernisation as such. Traditional gender roles abide in modern housing design, which sadly has also absorbed class (and racial) inequalities in its spatial organisation. This paper departs from the discussion of the origins of modern architecture in Brazil to discuss the extent to which certain inequalities were so thoroughly embedded in Brazilian society that they were even incorporated into a utopian discourse about modernity - a discourse that is still very much present.
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Armond, Kate. "Wyndham Lewis and the Parables of Expressionist Architecture." Modernist Cultures 9, no. 2 (October 2014): 282–303. http://dx.doi.org/10.3366/mod.2014.0087.
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This article examines Wyndham Lewis’ The Caliph's Design alongside German Expressionist architectural design during the years 1918–1920, suggesting Bruno Taut for the role of Lewis’ sought-after ‘single architect with brains’. By analysing the intellectual and ideological context of an architectural project with similar concerns and prejudices it is possible to see Lewis’ post-war pamphlet as an exceptional phase in his writing, in which he teeters on the brink of approving political engagement for the arts and echoes some of the ideas promoted by Germany's Activist programme. These images of revolutionary utopian architecture can then be traced to Lewis’ construction of the Magnetic City in The Human Age.
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Kalashnikov, Antony. "Historicist Architecture and Stalinist Futurity." Slavic Review 79, no. 3 (2020): 591–612. http://dx.doi.org/10.1017/slr.2020.159.
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Architectural practice in the Stalinist USSR saw the sudden and rapid revival of historical forms and styles. One approach interprets this development as part of a reactionary shift in Soviet temporal culture, a “Great Retreat” across all spheres of social and political life. The rival conception sees in historicism an aesthetic of “timelessness” and “perfection,” which expressed Stalinism's self-characterization as an eternal, utopian present. This paper presents a third perspective, arguing that the revival of historicism stemmed, paradoxically, from a future-oriented impulse. This revolved around the charge that Stalinist architecture “immortalize the memory” of the era, to ensure posterity's gratitude and admiration. Accordingly, Stalinist architects drew upon supposedly enduring historical styles, which they expected to remain understandable to future generations. Further, time-tested traditional materials, forms, and decorative mediums were employed to ensure the physical durability of Stalinist architectural monuments. The paper concludes by situating this logic in the global context of interwar monumental architecture and considering some implications for our understanding of Stalinist temporality.
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Coleman, Nathaniel. "Where Are the Utopian Visionaries? Architecture of Social Exchange." Journal of Architectural Education 68, no. 1 (January 2, 2014): 118–19. http://dx.doi.org/10.1080/10464883.2014.864901.
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Mioduszewska, Zofia. "Historia bloku mieszkalnego jako koncepcji antropologicznej." Kultura i Społeczeństwo 53, no. 2 (June 22, 2009): 3–19. http://dx.doi.org/10.35757/kis.2009.53.2.1.
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This analysis is a chronological presentation of the proposals for architecture that would solve the problem of housing for the masses as well as concepts that influenced the designs of post-war housing estates — from patronage housing estate and the 19th century utopian ideas (phalanstery) through 20th century concepts of a neighbourhood unit (social housing estate), up to a modern block of flats. The prototypes of blocks of flats were on the one hand the first workers’ housing estates and the spatial concepts created by utopian socialism, and on the other the social housing realized in the 1930s, in line with the principles declared in the Athens Charter and during the International Congresses of Modern Architecture.
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Iorga, Alina. "Visages de l'utopie dans la par abole roumaine contemporaine: Le Cimetière des héros (2017) par Adrian Lesenciuc." Romanische Forschungen 134, no. 1 (March 1, 2022): 47–65. http://dx.doi.org/10.3196/003581222835027949.
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The emergence of globalization, the economic and political crisis of the postcommunist transition, the cultural and identity challenges of the integration in the European Union have modeled – within the Romanian social and cultural imaginary – a dynamics that is relevant for the incorporation of »social dreaming« or »utopianism« (L T Sargent) Connected to the »deep contradiction between universalism and particularism« (Ph Wegner) that is conceived of as a constant characteristic of modernity and that is illustrated by the Romanian opposition between »localism« and »Occidentalism«, and also related to the »memo- rial conflicts« (J Candau) regarding the recent past, this dynamics has been integrated in the narratives of contemporary Romanian novels Without adopting all the conventions of narrative utopia (its negative varieties included), the Romanian novels of the 2000s reveal the mutations of »social dreaming« either in realistic, or in allegorical or parabolic forms tributary to the utopian / dystopian imaginary It is also the case of the novel The Cemetery of Heroes (2017) by Adrian Lesenciuc, in which both the utopian satire and the dystopia are contrasted against a cultural-pedagogic utopia within a parable of multiple semantic levels The subjects, the narrative strategies and the elements of vision that are characteristic for (anti-)utopianism are here instrumented in a complex narrative architecture which includes a political novel, a parable of civilizations and a parable of the human condition
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Bozdoğan, Sibel. "Architecture, Modernism and Nation-Building in Kemalist Turkey." New Perspectives on Turkey 10 (1994): 37–55. http://dx.doi.org/10.1017/s0896634600000832.
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Deeply rooted in “the great transformation” brought about by capitalism, industrialization and urban life, the history of modern architecture in the West is intricately intertwined with the rise of the bourgeoisie. Modernism in architecture, before anything else, is a reaction to the social and environmental ills of the industrial city, and to the bourgeois aesthetic of the 19th century. It emerged first as a series of critical, utopian and radical movements in the first decades of the twentieth century, eventually consolidating itself into an architectural establishment by the 1930s. The dissemination of the so-called “modern movement” outside Europe coincides with the eclipse of the plurality and critical force of early modernist currents and their reduction to a unified, formalist and doctrinaire position.
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Caldenby, Claes. "“Utopias Are for Those Who Cannot Build”: The Structural Philosophy of the Swedish National Board of Building." Arts 7, no. 4 (November 2, 2018): 73. http://dx.doi.org/10.3390/arts7040073.
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Structuralism in architecture was a widespread international phenomenon in the post-war decades. It was an avant-garde architecture, in many cases even utopian. In contrast to this, the structural philosophy of the Swedish National Board of Building was outspokenly pragmatic. This article, based on documents and interviews with the architects involved, gives the background of the National Board’s interest in “the chronological dimension of architecture”. The National Board was the largest client in Sweden for design and building and experienced managers of a large building stock. In the mid-1960s, they developed, in cooperation with consultants, a “building box” for office buildings. They gladly showed a lack of interest or downright scepticism towards international structuralism: “Utopias are for those who cannot build”. Two of the main involved practices were A4 and ELLT, later merged into Coordinator architects, and from early on focused on an architecture of change. Two of their iconic projects from the late 1960s are the large office block Garnisonen and IBM Nordic Education Center. They are examples of a “consequence architecture”, very clearly “ideas based”. For a period around 1970 the pragmatic theory led to radical projects. “Dogmatic theorising was part of the game” as it was said about contemporary art.
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MEHAN, Asma. "“TABULA RASA” PLANNING: CREATIVE DESTRUCTION AND BUILDING A NEW URBAN IDENTITY IN TEHRAN." JOURNAL OF ARCHITECTURE AND URBANISM 41, no. 3 (September 19, 2017): 210–20. http://dx.doi.org/10.3846/20297955.2017.1355277.
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The concept of Tabula Rasa, as a desire for sweeping renewal and creating a potential site for the construction of utopian dreams is presupposition of Modern Architecture. Starting from the middle of the 19th century to the first half of the 20th century, Iranian urban and architectural history has been integrated with modernization, and western-influenced modernity. The case of Tehran as the Middle Eastern political capital is the main scene for the manifestation of modernity within it’s urban projects that was associated with several changes to the social, political and spatial structure of the city. In this regard, the strategy of Tabula Rasa as a utopian blank slate upon which a new Iran could be conceived “over again” – was the dominant strategy of modernization during First Pahlavi era (1925–1941). This article explores the very concept of constructing a new image of Tehran through the processes of autocratic modernism and orientalist historicism that also influenced the discourse of national identity during First Pahlavi era.
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McGowan, Jérémie Michael. "Ralph Erskine, (Skiing) Architect." Nordlit 12, no. 1 (February 1, 2008): 241. http://dx.doi.org/10.7557/13.1313.
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In this paper I focus on Ralph Erskine's enduring image in architectural discourse as the Arctic Architect of Modernism. My interest lies with the relationship between portrayals of Erskine - both in textual accounts an images - and the way his sub-Arctic projects, especially his unrealised utopian projects for an ‘Ideal Town' north of the Arctic Circle, have been canonised in architectural discourse as exemplars of an architecture that is truly regional in character and, moreover, ideally suited to the unique cultural - especially with regard to indigenous populations - and environmental habitats of Arctic and sub-Arctic environments.
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Sachs Olsen, Cecilie. "Curating change: Spatial utopian politics and the architecture of degrowth." Transactions of the Institute of British Geographers 46, no. 3 (June 28, 2021): 704–16. http://dx.doi.org/10.1111/tran.12463.
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Cudzik, Jan, and Lucyna Nyka. "Utopian Kinetic Structures and Their Impact on the Contemporary Architecture." IOP Conference Series: Materials Science and Engineering 245 (October 2017): 052090. http://dx.doi.org/10.1088/1757-899x/245/5/052090.
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Al-Mamori, Yasir Khudeir Obid. "Addressing the Future with Data Visualization in Science Fiction Films: Dystopia or Utopia." Человек и культура, no. 2 (February 2022): 12–20. http://dx.doi.org/10.25136/2409-8744.2022.2.37817.
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The subject of the research is the methods and techniques of addressing the future in dystopian and utopian films. The object of research is visual effects and ways of displaying the future, which allow us to convey to the viewer the meaning of the narrative. In the process of research, special attention is paid to the possibilities of science fiction films that create another world with the help of special effects, emphasizing many themes and hidden ideas, while depicting a fairy tale. Special emphasis is placed on the fact that modern technologies, the possibilities of creating visual effects have changed the film industry, as a result of which it has strengthened the genre convergence of utopian and dystopian film products, as a result of which it has become possible to create plausible worlds so that science fiction films are perceived in a more immersive way. The main conclusions of the study are the conclusion that the modern tradition of visualizing science fiction films embraces and interweaves dystopias and utopias within the framework of one work, as a result of which the narratives are doubly fictional: they create a utopian or dystopian place as a backdrop for history, and at the same time the place itself becomes history. The author's special contribution lies in the fact that in the process of research, visual techniques of representing the future in cinematic fiction are highlighted, which invariably contain cultural meanings. The scientific novelty of the research is to identify and analyze the most typical techniques of reproducing the future in science fiction films using visual effects, which include brutalist architecture, creating an image of the future city.
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Özkan Üstün, Gizem, and Sena Işıklar Bengi. "A Study on Developing Future Scenarios in Architectural Design." Periodica Polytechnica Architecture 52, no. 1 (May 31, 2021): 75–84. http://dx.doi.org/10.3311/ppar.14965.
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The 21st century is known for globalisation and rapid transformations in technology. These transformations also affect architecture and the urban environment. Developing projections for the future of architecture is becoming more critical in this era, where the opportunities to adapt to rapid transformations are scarce. This study investigates how to develop future perspectives for the 21st century. Utopian speculations in the historical process and the 20th century's Futurism movement were examined in this regard. A collective and multi-future methodology has been developed as a unique approach. In this paper, a multifuture experimental study was conducted as a daily workshop. In the workshop, seven architecture students from various universities and different architectural education years studied possible future scenarios for Beşiktaş Fish Market. Students were tasked to produce designs in compliance with the chronological timeline of the future for the possible transformation of the Beşiktaş Fish Market. The market, designed by Gökhan Avcıoğlu and GAD in 2009, was accorded the 2012 International Architecture Award and 2014 Archmarathon Crowd. In light of the outcome products obtained from the workshop, it can be stated that a multi-future way of thinking and collective production contributes to imaginative free play in the architectural design process and is a proposal to architecture as a possible preparation for the future.
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Shadar, Hadas. "Vernacular values in public housing." Architectural Research Quarterly 8, no. 2 (June 2004): 171–81. http://dx.doi.org/10.1017/s135913550400020x.
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The crisis in modern architecture in the middle of the twentieth century brought about a reaction to total Utopian solutions and ideas and the realization of the importance of ‘place’ and identity. These notions found expression, among others, in a renewed interest in vernacular construction. Vernacular construction is evolutionary and contains key, a priori, aspects of identity and place. As such it constituted a focus of attention and gained special exposure and popularity after the exhibition ‘Architecture without Architects’, held in MoMA, New York in 1964. As a result of this attention, the patio, that external room constituting the heart of the house in the Middle East, in the Mediterranean basin and in the Far East, gained architectural significance. At the same time it found a place in modern housing in the Western world.
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Morrison, Tessa, and Mark Rubin. "DO UTOPIAN CITY DESIGNS FROM THE SOCIAL REFORM LITERATURE OF THE SEVENTEENTH AND NINETEENTH CENTURIES RESONATE WITH A MODERN AUDIENCE?" Journal of Architecture and Urbanism 40, no. 1 (April 6, 2016): 35–46. http://dx.doi.org/10.3846/20297955.2016.1163244.
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Utopian cities from social reform literature from the seventeenth and nineteenth centuries were a serious attempt to improve living and working conditions of their time. Some of this literature included a design for a city that would be complimentary to and enhance the political philosophy of the respective authors. Four of the most famous works which include a plan of a city are, Tommaso Campanella’s Civitas Solis (City of the Sun) (1602), Johann Valentin Andreae’s Christianopolis (1619), Robert Owen’s Villages of Co-operation (1817 & 1830) and James Silk Buckingham’s Victoria (1849). These works are frequently featured in literature on utopian cities. However, no consideration is given to whether these ‘utopian’ cities have any value as urban plans or whether they incorporate any desirable urban features. These urban designs of the city are significant to political philosophies because the cities are presented as being integral to such philosophies. This paper considers the following questions: ‘Do the main principles behind the initial political philosophies and their coinciding plan endure within the design of these cities?’ ‘Does a modern audience perceive in these cities the features that made them utopian in the centuries in which they were planned?’
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Jeevendrampillai, David, and Aaron Parkhurst. "Making A Martian Home: Finding Humans On Mars Through Utopian Architecture." Home Cultures 18, no. 1 (January 2, 2021): 25–46. http://dx.doi.org/10.1080/17406315.2021.1962136.
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Tostões, Ana. "The Home at the core of Modernity, an optimistic architecture." Modern Houses, no. 64 (2021): 2–3. http://dx.doi.org/10.52200/64.a.s9cv1hmo.
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Devoted to the theme of single-family houses, given the key role they played in the ideal definition of the Modern Movement architecture, as a symbolic and functional affirmation of the utopian turning of dreams into reality, the aim of this issue is to consider the transformation of daily life, and to address the architectural challenges that arose from the joy contained in what we might call the “architecture of happiness.” As we continue to endure a pandemic that has now lasted for more than a year, docomomo wishes to declare that “till the moment, the best vaccine to prevent contagion was invented by architects: the house”. Thus, in response to the question “How should we live?”, it is intended to debate the house and the home agenda as an important topic at the core of Modern Movement architecture. Nowadays, the growing emphasis on wellbeing goes beyond the seminal ideas that modern houses were “machines à habiter” and is closer to an idealistic vision of a stimulating shell for humans, which is shaped by imagination, experimentation, efficiency, and knowledge.
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Karczewska, Anna Maria. "From Bauhaus to Our House: Tom Wolfe contra modernist architecture." Świat i Słowo 34, no. 1 (March 10, 2020): 211–30. http://dx.doi.org/10.5604/01.3001.0014.3069.
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In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.
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Chertenko, Alexander. "„Die Moskauer Sonne scheint überall“. Die sowjetische Hauptstandt als Raum der Utopie in Das neue Moskau (1938) und Die Schweinepflegerin und der Hirt (1941)." Studia Rossica Posnaniensia 46, no. 2 (October 14, 2021): 51–68. http://dx.doi.org/10.14746/strp.2021.46.2.4.
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Basing on Aleksandr Medvedkin’s New Moscow and Ivan Pyryev’s The Swineherd and the Shepherd, this case study analyses the way the “new” Moscow was represented as a space of realised utopia in the Soviet socialist realist films of the 1930s and at the beginning of the 1940s. Functioning as a supranational centre of the Soviet “affirmative action empire” (Terry Martin), the cinematographic Moscow casts off all constraints of ‘Russianness’ in order to become a pan-Soviet model which, both in its architecture and semantics, could epitomize the perfect city and the perfect state. The comparative analysis of both films demonstrates that, although both directors show Moscow through the lens of the so-called “spaces of celebration” (Mikhail Ryklin), ‘their’ Soviet capital does not compensate for the “traumas of the early phases of enforced urbanization”, as Ryklin supposed. Rather, it operates as a transformation machine whose impact pertains only to periphery and can be effective once the representatives of this periphery have left Moscow. The complex inclusion and exclusion mechanisms resulting from this logic turn the idealised Soviet capital into a space which only the guests from peripheral regions can perceive as utopian. The ensuing suppression ofthe inner perspectives on ‘utopian’ Moscow is interpreted here as a manifestation of the “cinematicunconscious”, which accounts for the anxieties of the inhabitants of the capital concerning both Stalinist terror and their own hegemony in a society haunted by the purges.
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Domazet, Sanja, and Darko Nadić. "Sustainability and ecology in the architecture of Friedensreich Hundertwasser." Socioloski pregled 56, no. 3 (2022): 1003–31. http://dx.doi.org/10.5937/socpreg56-39245.
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Austrian artist Friedensreich Hundertwasser today stands for a veritable example of a man as an accomplished ecological being. The merging of art, architecture, politics, and ecology into one utopian concept oriented towards the future positioned Hundertwasser not only an architectural experimenter but also as a specific visionary of ecological architecture. Throughout his lifetime, Hundertwasser opposed the so-called "mainstream" culture and materialism, which later contributed to his popularity. This popularity is certainly limited just as for those circles of social activists who believed that architecture must possess a "human figure". He was a man who, through art, knowledge of nature and its processes, created a new chapter in various fields, such as painting and design, all the way to architecture and the fight to preserve nature. This paper deals with the contribution of an unconventional artist to architecture and ecology. The introductory discussion approximates the significance of sustainable architecture, while the first part of the paper presents a brief biographical overview of Hundertwasser's character and oeuvre, as well as his understanding of life. The second part of the paper focuses on his views of the importance of ecological identity and the place of architecture in it, while the third part of the paper shows examples of the ideas of sustainable construction and their possible implementation in practice.
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Elizabeth Stainforth and Helen Graham. "Editors' Introduction: Utopian Currents in Heritage." Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 14, no. 2 (2017): iii. http://dx.doi.org/10.5749/futuante.14.2.0iii.
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Nielsen, David, and Anoma Kumarasuriyar. "The lily, client and measure of Bruno Taut's Glashaus." Architectural Research Quarterly 18, no. 3 (September 2014): 257–66. http://dx.doi.org/10.1017/s1359135514000608.
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A current issue in architectural scholarship is the rethinking of the origins of Modernism. As a formative exemplar of early architectural Modernism, Bruno Taut's seminal exhibition pavilion, the Glashaus (1914) [1] is understandably part of this debate. In 1959, Reyner Banham in his article, ‘The Glass Paradise’ suggested that it would be appropriate to investigate the origins of the Glashaus, as it was both vastly dissimilar to and exceeded any of Taut's previous designs. In an effort to answer this question, Banham subsequently introduced the unique role played by the Bohemian poet Paul Scheerbart in the design of the Glashaus. As a result of Banham's inference, Rosemarie Haag Bletter systematically explored the Taut/Scheerbart relationship in ‘Bruno Taut and Paul Scheerbart's Vision: Utopian Aspects of German Expressionist Architecture’ in 1973.
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Palardy, Diana Q. "The sinister side of transparency in architecture and social media in Ray Loriga’s Rendición (Surrender) (2017)." Journal of Urban Cultural Studies 9, no. 1 (June 1, 2022): 3–20. http://dx.doi.org/10.1386/jucs_00046_1.
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While the concept of transparency generally has positive connotations, as it suggests an attempt at honesty and the eradication of corruption, Ray Loriga explores its darker side in his 2017 novel Rendición. In his novel, a transparent domed city with buildings constructed entirely of glass is intended to be a utopian refuge in a country plagued by war and scarcity of resources; however, this self-sufficient city is hardly ideal, as transparency encourages citizens to constantly watch one another, engage in self-monitoring and suppress individuality. An analysis of the transparent structures in Ray Loriga’s novel Rendición facilitates a discussion about what transparency means on the internet, especially social media, and ways that utopian aspirations of transparency may sometimes have unintended consequences. This analysis is also informed by a survey of metaphorical appropriations of transparency in the cultural imaginary, with more of an emphasis on urban architecture and literature.
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Butt, Amy. "‘Endless forms, vistas and hues’: why architects should read science fiction." Architectural Research Quarterly 22, no. 2 (June 2018): 151–60. http://dx.doi.org/10.1017/s1359135518000374.
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Most of an architect's life is concerned with that which has not yet taken place, both foreseeing the near future and expressing an intention of how this future world should be remade. However small the intervention, all design proposals are utopian works. With this in mind, this article is a celebration of the utopian potential of reading science fiction (SF); to make the familiar strange, to reveal fears about the future, to confront us with ourselves, and to shape the world we inhabit. It is an unabashed call from an architect and avid SF reader, for architects to raid the bookshelves for the most lurid cover and glaring font and lose themselves in the exuberant worlds of science fiction.
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Koehler, Karen. "Kandinsky's "Kleine Welten" and Utopian City Plans." Journal of the Society of Architectural Historians 57, no. 4 (December 1, 1998): 432–47. http://dx.doi.org/10.2307/991460.
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Wassily Kandinsky's Kleine Welten (Small Worlds) was printed at the Bauhaus in 1922, shortly after he joined the faculty in Weimar, having left his post with the People's Commissariat for Enlightenment in Moscow. Kleine Welten illustrates how Kandinsky's utopian visions of community united with Walter Gropius's changing visions for the Bauhaus. Through an examination of Kandinsky's writings and drawings, as well as the historical conditions of their making, it can be demonstrated that his Kleine Welten portfolio is connected to material and imaginary city-planning efforts in Russia and Germany. Additionally, it can be shown that Kandinsky's portfolio is related to utopian theories and representational conventions of city portraiture. Finally, Kandinsky's ideas about social organization are shown to correspond to the shifting philosophies of art and life current at the Bauhaus in the 1920s.
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Marino, Maria Fernanda García. "Carthusian symbolism in Architecture and Art: San Lorenzo of Padula." Resourceedings 2, no. 3 (November 12, 2019): 76. http://dx.doi.org/10.21625/resourceedings.v2i3.629.
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The aim of this contribution is to demonstrate through the study of the concrete example of the Charterhouse di San Lorenzo in Padula (Province of Salerno, Italy) how and to what extent, the utopian value of the spirituality of the Carthusian monks - inspired by the model of the Desert Fathers and the Church of primitive Christianity, devoted to the practices of strict enclosure, of rigorous abstinence, of meditation, of contemplation and of prayer - has affected the definition and development of a specific iconography; both for what concerns the figurative arts, which have as a milestone the theme of martyrdom and angels (the creatures closest to God), present within the monasteries of the order, both for what interests the architectural structure of buildings. Always the same as themselves, especially for the design, distribution and function of the spaces, which as a whole and in particular, they reflect, strictly and everywhere, the immutability of the Carthusian Rule, never changed since the foundation of the order in 1084. Following the model of the first monastery, built on the Chartreuse massif, in Grenoble (France), made by St. Bruno of Cologne, new settlements were erected and spread throughout Europe, with an exponential growth that does not suffer interruptions until the end of eighteenth century and that, left a deep and unequivocal cultural mark in the territory on which they extended. The Charterhouse model, a kind of Earthly Jerusalem like an imitation of the Celestial Jerusalem, can be well included in the universe of utopian architecture, but of the possible ones, where spirituality became tangible reality and where the sacredness of space conceived and built by the monks puts us in touch today the man with sensitive and perceptible experience, the so-called hierophany.
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Pandey, Divya, and Tamnna Tyagi. "Critical Regionalism in Architecture with Respect to the Jaipur City." International Journal for Research in Applied Science and Engineering Technology 10, no. 7 (July 31, 2022): 3971–79. http://dx.doi.org/10.22214/ijraset.2022.45877.
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Abstract: Critical regionalism has emerged as an attack on the universal and homogeneous image of utopian modernity in architecture. Critical regionalist theory is used to address the literal imitation of folk style and the importance of a universal architectural environment. Critical regionalism is an architectural concept that aims to remedy sterile and abstract modernism by focusing on local needs, native wants, and potential using contextual influences. Critical regionalism provides resistance to the homogenizing pressures of global modernism as economic processes disrupt and supplant local construction traditions in India's metropolitan centers. This study examines important architectural importance in Jaipur from history to the present day that incorporates critical regionalism ideas into their designs. The many strategies used by regionalist architects to deal with local climate, topography, materials, and socialism complexes are discussed. By focusing on urban regionalist works, the paper aims to emphasis that important regionalism is more than a collection of aesthetic preferences; it is a conceptual framework capable of producing varied types of architecture despite identical external forces coming from similar site conditions. (bahga, 1 May 2019). This post attempts to understand the main theory of critical regionalism as an approach to post-independence Indian architectural practices. The city of Jaipur, Rajasthan takes advantage of these qualities for research. The current discussion of critical regionalism is a case study of two institutional buildings in Jaipur, 20 years apart, with a critical regionalism of from a theoretical approach to a practical approach in two very different approaches. Analysing the translation. Supported by research. These studies will help determine how to translate and approach critical regionalism in more recent Indian architecture.
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Stupar, Aleksandra. "Living in the technopolis: Between reality and imagination." Spatium, no. 17-18 (2008): 21–26. http://dx.doi.org/10.2298/spat0818021s.
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Perceived as one of the possible reflections of the contemporary society, the technopolis (or the 'techno-city') integrates the latest technology, various modernist and anti-modernist elements, as well as numerous 'utopian' features which should facilitate our lives and underline aspirations for the future. Consequently, our world, composed of overlapped digital and physical realms, flexible spaces and transformable webs, is balancing between utopia and anti-utopia, progress and decay, geography and non-geography. The stunning, but also horrifying images of the present create tension and confusion, while their fast-changing scales and modes additionally complicate the latest morphing and charting of the global world and its urban nodes. Obviously, the city, as always, depicts the technological background of the society, demonstrating its potentials, paradoxes and threats. However, the modern cities, whose spaces and buildings often represent the wonders of technology, are facing numerous problems. Placed between material and virtual reality, their landscapes are blended and distorted, but colored by similar imperatives and demands. Therefore, the purpose of this paper is to define and analyze the outcomes of the urban/architectural interventions which explicitly or implicitly used modern technologies, generating a stage for the 21st century technopolis. .
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Fierro, Alfonso. "Modeling the Urban Commune." Mexican Studies/Estudios Mexicanos 38, no. 2 (2022): 272–99. http://dx.doi.org/10.1525/msem.2022.38.2.272.
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This article discusses a utopian architecture project presented by the Unión de Arquitectos Socialistas (UAS) in 1938 titled Proyecto de ciudad obrera para México DF. The UAS architects designed a city for industrial workers organized around cooperative principles and common property. The article situates the project in the period’s broader discussions on social housing and the industrializing political program of President Lázaro Cárdenas (1934–40). Drawing on social-reproduction theorists, I analyze the project’s political and architectural position, as well as the potentials and limits of its proposal to collectivize social-reproduction responsibilities that were normally placed on the family, such as cleaning, cooking, and childcare. Finally, the article charts the project’s later influence in social-housing debates and experiments in Mexico.