Bibliografías temáticas / International Congress for Modern Architecture 1933)

Literatura académica sobre el tema "International Congress for Modern Architecture 1933)"

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Publicado: 25 de julio de 2024

Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "International Congress for Modern Architecture 1933)"

Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino". Enquiry The ARCC Journal for Architectural Research 17, n.º 1 (19 de junio de 2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.

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Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.

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Alonso Pereira, José Ramón. "Roma 1935: arquitectura, ciudad, retórica y propaganda en el Congreso Internacional de arquitectos = Rome 1935: Architecture, City, Rhetoric and Propaganda in the International Congress of Architects". Cuaderno de Notas, n.º 23 (30 de octubre de 2022): 38–55. http://dx.doi.org/10.20868/cn.2022.4983.

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AbstractThe period 1922-1943 —the so-called fascist venthenium— was a fruitful and creative time in Italian architecture. Its rich and plural fundamentals established singular relationships between classical and modern cultures, which transcends their historical moment and present new topics for analysis and reflection. To know and appreciate its architecture, we will use the journeys of the professionals who came to Rome from all over the world to participate in the International Congress of Architects in 1935, considering the Congress as a space of opportunity for that reflection, and taking the visits around Rome scheduled by the organizers as a source of the architectural and urban interests of its time, and a reflection of the trends that were stirring then in Italy.ResumenEl periodo entre 1922 y 1943 —el llamado ventenio fascista— fue una época fecunda y creativa en la arquitectura italiana. Sus bases ricas y plurales establecieron relaciones singulares entre el mundo cultural clásico y el moderno, que trascienden su momento histórico y plantean en nues-tros días nuevos temas de análisis y reflexión. Para conocer y valorar su arquitectura y su modelo urbano, nos serviremos del viaje al que fueron llevados los profesionales que de todo el mundo llegaron a Roma para participar en el Congreso Internacional de Arquitectos en 1935, considerando el Congreso como un espacio de oportunidad para esa reflexión y tomando las visitas a la ciudad programadas por los organizadores como fuente de los intereses arquitectónicos y urbanos de su tiempo, reflejo de las tendencias que se agitaban entonces en Italia.

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Clarke, Nicholas y Marieke Kuipers. "Acknowledging the Dignity of Architectural Heritage Adding a Fourth Virtue to the Vitruvian Triad". Athens Journal of Architecture 9, n.º 3 (29 de junio de 2023): 251–80. http://dx.doi.org/10.30958/aja.9-3-1.

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Addressing the complex legacies of the past in architectural education and built constructions, calls for a reconsidering of the principles of architectural design and conservation. The current challenges of housing, sustainable development and heritage adaptation present huge dilemmas for architects. Yet today architects are only by exception trained to detect heritage values prior to drafting their interventions for adaptive reuse or upgrading. To this day, Western architectural thinking is influenced by the Vitruvian triad Firmitas, Utilitas and Venustas, and the truncated maxim ‘Form Follows Function’ as disseminated by the protagonists of the Modern Movement. These established a divide between the design for new-build and the care of already existing buildings. This divide is marked by the two Charters of Athens: the 1931 Carta del Restauro adopted at the First International Congress of Architects and Technicians of Historic Monuments, and La Chartre d’Athènes presented by Le Corbusier as a result of the 4th CIAM Congress on the Functional City (1933). This paper attempts to bridge the identified divide by adding the idea of ‘Dignitas’ (dignity) as an equal virtue to the Vitruvian triad. Though not new for itself, this concept may aid to raise awareness of architectural dignity in extant buildings. Keywords: architectural theory, architectural education, conservation theory, Renovation Challenge, Dignitas

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Tsiambaos, Kostas. "Isotype diagrams from Neurath to Doxiadis". Architectural Research Quarterly 16, n.º 1 (marzo de 2012): 49–57. http://dx.doi.org/10.1017/s1359135512000280.

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The Austrian philosopher Otto Neurath (Vienna 1882 - Oxford 1945) was the only non-architect who participated in the fourth CIAM conference (Congrès International d'Architecture Moderne) that took place in Athens in the summer of 1933. As we read in the minutes of the congress published in the journal of the Technical Chamber of Greece Technika Chronika (Technical Chronicles), it was at the meeting of 13 August 1933 that CIAM members decided to set up two categories of participants: a) partners (mainly young architects and students of architecture), and b) specific members (non-architects participating as full members). The one and only such member was Otto Neurath. Neurath was invited as a representative of the Mundaneum in Vienna in order to cooperate with the CIAM Committee of Statistics which had as its task to collect, review and process statistical data relating to some of the most important cities of the Western world. As noted in the minutes of the congress: ‘The Committee of Statistics in cooperation with the Vienna Mundaneum will collect, review and edit the necessary statistical material which will remain as the property of the Conference.’

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Guerrero, Salvador. "Team 10’s discourse and Madrid architecture of the second phase of modernity". Joelho Revista de Cultura Arquitectonica, n.º 10 (24 de diciembre de 2019): 118–35. http://dx.doi.org/10.14195/1647-8681_10_7.

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Madrid architects of the 20th century had little inclination, if any, to be gregarious. Remember their token presence in the first International Congresses of Modern Architecture (CIAM), a presence which had altogether vanished by the time of the fourth CIAM conference, which took place aboard the S.S. Patris. The only Spaniards we find in Athens in the summer of 1933 are Raimon Torres Clavé, Josep Lluís Sert, Antonio Bonet Castellana, Josep Torres Clavé, and Cristófol Alzamora. There is no sign of architects from Madrid. So who explained Madrid as a functional city?

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Bjažić Klarin, Tamara. "Constructing the world of equal opportunities: The case of architect Vladimir Antolić". Journal of Modern European History 18, n.º 4 (30 de julio de 2020): 474–93. http://dx.doi.org/10.1177/1611894420944840.

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Discourse in the field of architecture and urban planning remained essentially the same in Croatia from the 1930s until the Second World War, and then until the mid 1950s, despite radically changing socio-political systems. This should be credited to Zagreb-based ‘salaried architects’. In the 1930s, they pointed to a major social problem—the substandard living conditions present throughout the country. Questioning the implementation of projects and plans within liberal capitalism, some even entered politics. In post-war socialist Yugoslavia, the circumstances radically changed. Reviewing these pre-war and post-war stages as a single process, this article highlights to the contributions of architect Vladimir Antolić (1903–1981), one of the first trained urban planners in Croatia and a member of International Congress of Modern Architecture. It will demonstrate how his work on the Zagreb Regulation Plan helped to define key issues of urban planning practices in Yugoslavia and show the significance of the so-called European ‘periphery’ in the modern movement’s narrative.

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ISBATOV, ILQAR. "MASS HOUSING CONSTRUCTION AND TYPES OF HOUSES IN THE CONDITIONS OF THE SETTLEMENT SYSTEM OF GREAT BAKU". Urbanizm 26 (2021): 30–36. http://dx.doi.org/10.58225/urbanizm.2021-26-30-36.

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At the end of the twentieth century, the Azerbaijani Republic gained independence and, in this regard, began a new stage in the development of the country. With the advent of the outstanding statesman Heydar Aliyev to the leadership of the republic, and then Ilham Aliyev, the rapid development of the economy of Azerbaijan began. This entailed, along with the development of all areas of industry and agriculture, the development of the construction industry. Large-scale housing construction has begun in all cities and towns. Especially large-scale construction has begun in the city of Baku. At the beginning of the 21st century, as well as throughout the world, models of the future development of housing are emerging in Azerbaijan. Meeting the housing needs of people is a primary task of urban planning and architecture. According to the theses of «International Congress of Modern Architects» (SIAM), which were laid down in 1933 in «Athens Charter», the dwelling is subordinated to four main vital functions: work, life in home, rest, and transportation. Modern housing does not include only personal life; it is an essential and integral part of the overall social life process. A study of the process of life of the population clearly shows that all the functions of their vital activities are interconnected. This applies both to a person’s participation in the social production of material and spiritual values, to his participation in cultural life and to the restoration of his physical and spiritual strength. A complex life process requires an environment that functions as a system in which the apartment is only one of the elements.

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Sabău, Nicolae. "„Sok szíves üdvözlettel régi barátos…”. Colegamenti di amicizia di Coriolan Petranu con storici magiari". Studia Universitatis Babeș-Bolyai Historia Artium 65, n.º 1 (31 de diciembre de 2020): 107–26. http://dx.doi.org/10.24193/subbhistart.2020.06.

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"„Sok szíves üdvözlettel régi barátos...” (“With kind regards, your old friend...”). Coriolan Petranu’s Friendly Connections to the Hungarian Historians. Coriolan Petranu is the founder of modern art history education and scientific research in Transylvania. He had received special education in this field of study that is relatively new in the region. He started his studies in 1911 at the University of Budapest, attending courses in law and art history. During the 1912-1913 academic year he joined the class of Professor Adolph Goldschmiedt (1863-1944) at the Friedrich-Wilhelm University in Berlin. The professor was an illustrious personality from the same generation as art historians Emil Mâle, Wilhelm Vögte, Bernard Berenson, Roger Fry, Aby Warburg, and Heinrich Wölfflin, specialists who had provided a decisive impetus to art historical research during the twentieth century. In the end of 1913, Coriolan Petranu favored Vienna, with its prestigious art historical school attached to the university from the capital of the Austro-Hungarian Empire. There he completed and perfected his education under the supervision of Professor Josef Strzygowski (1862-1941). The latter scholar was highly appreciated for his contributions to the field of universal art history by including the cultures of Asia Minor (Syria, Mesopotamia, Armenia, and Persia), revealing the influence that this area had on proto-Christian art, as well as by researching ancient art in Northern Europe. In March 1920 the young art historian successfully defended his doctoral dissertation entitled Inhaltsproblem und Kunstgeschichte (”Content and art history”). He thus earned his doctor in philosophy title that opened him access to higher education teaching and art history research. His debut was positively marked by his activity as museographer at the Fine Art Museum in Budapest (Szepműveszeti Muzeum) in 1917-1918. Coriolan Petranu has researched Romanian vernacular architecture (creating a topography of wooden churches in Transylvania) and his publications were appreciated, published in the era’s specialized periodicals and volumes or presented during international congresses (such as those held in Stockholm in 1933, Warsaw in 1933, Sofia in 1934, Basel in 1936 and Paris in 1937). The Transylvanian art historian under analysis has exchanged numerous letters with specialists in the field. The valuable lot of correspondence, comprising several thousands of letters that he has received from the United States of America, Great Britain, Spain, France, Switzerland, The Netherlands, Denmark, Sweden, Norway, Finland, Estonia, Latvia, Czechoslovakia, Austria, Hungary, Poland, the USSR, Serbia, Bulgaria, and Egypt represents a true history of the stage and development of art history as a field of study during the Interwar Period. The archive of the Art History Seminary of the University in Cluj preserves one section dedicated to Hungarian letters that he has send to Hungarian specialists, art historians, ethnographers, ethnologists or colleagues passionate about fine art (Prof. Gerevich Tibor, Prof. Takács Zoltán, Dr. Viski Károly, Count Dr. Teleki Domokos). His correspondence with Fritz Valjavec, editor of the “Südostdeutsche Forschungen” periodical printed in München, is also significant and revealing. The letters in question reveal C. Petranu’s significant contribution through his reviews of books published by Hungarian art historians and ethnographers. Beyond the theoretical debates during which Prof. Petranu has criticized the theories formulated by Prof. Gerevich’s school that envisaged the globalization of Hungarian art between the Middle Ages and the Early Modern Period and that also included in this general category the works of German masters and artists with other ethnic backgrounds, he has also displayed a friendly attitude and appreciation for the activity/works of his Hungarian colleagues (Viski Károly and Takács Zoltán). The previously unpublished Romanian-Hungarian and Hungarian-Romanian set of letters discussed here attest to this. Keywords: Transylvania, correspondence, vernacular architecture, reviews, photographs, Gerevich Tibor, Dr. Viski Károly "

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Stoica, Ruxandra-Iulia. "Urban Conservation in International Charters". Protection of Cultural Heritage, n.º 12 (29 de diciembre de 2021): 71–78. http://dx.doi.org/10.35784/odk.2789.

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This paper will present an analytical review of doctrinal texts that have been key for the shaping of integrated urban conservation practice internationally: from the Athens Charter to the Historic Urban Landscape Convention. The 1931 Athens Charter for the Restoration of Historic Monuments was published at the same time when the Congres Internationaux d’Architecture Moderne was summing up its controversial urbanist ideology in its own Charte d'Athènes of 1933. Whilst the Athens Charter focused on technical aspects of monument restoration, the preceding debate showed a raising interest in historic urban areas. CIAM’s Charter too, despite including a section regarding historic urban areas, limited its recommendations to the protection of individual monuments or ensembles. Substantial research of historic centres in European countries preceded the first national legislations and international charters targeted specifically at urban areas in 1960s and 70s. Notably, the 1964 Venice International Charter for the Conservation and Restoration of Monuments and Sites finally extended the concepts of restoration and rehabilitation of monuments to protected areas such as historical city centres, recommending expanded heritage protection legislation worldwide. European national legislations followed suit. In 1975, the European Architectural Heritage Year had seen also the first charter promoting the conservation of the historic built environment as a whole. However, by the end of the 20th century, despite a good number of further doctrinal texts being adopted internationally, and the publication of numerous books, articles and reports touching on the problematic of urban conservation, the paucity of theoretical and conceptual advance of this field remained evident. The delay in giving a sound theoretical structure to the field of urban conservation has been, quite understandably, due to the complexity of the urban environment and the ensuing difficulty of separating out the effects of different variables at work within it. Charters over the past three decades call for an integration of planning and urban conservation based on an appraisal of the historic urban fabric and its community, an approach which should eventually provide a more sustainable urban development. This means understanding and evaluating the significance of place, on one hand, and drawing out management implications for protecting this significance and identifying opportunities for change, on the other. The 2011 Historic Urban Landscape Recommendation goes some way to internationalise the theory and practice that has been developed so far predominantly within the European context. There are many issues that have been raised through charters over the last hundred years, and many still need a proper theoretical framework that can allow them to be used in practice widely, beyond the places with strong heritage conservation traditions and legislations.

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Vossoughian, Nader. "Mapping the Modern City: Otto Neurath, the International Congress of Modern Architecture (CIAM), and the Politics of Information Design". Design Issues 22, n.º 3 (julio de 2006): 48–65. http://dx.doi.org/10.1162/desi.2006.22.3.48.

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Tesis sobre el tema "International Congress for Modern Architecture 1933)"

Roland, Julie. "Les identités du mouvement moderne en Espagne dans le GATEPAC (1930-1937)". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040202.

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Notre thèse porte sur le GATEPAC, Grupo de Arquitectos y Técnicos Españoles para el Progreso de la Arquitectura Contemporánea, qui est un groupe d’architectes créé en 1930, et affilié au mouvement moderne et aux CIAM. Le groupe, attiré par l'exemple international, est composé d’une vingtaine d’architectes et se divise en trois sous-groupes : l’un à Madrid, un deuxième au Pays Basque; et un troisième en Catalogne. Le GATEPAC se définit dès lors comme intégrant les problématiques internationales des CIAM et propose l’application de celles-ci dans la péninsule avec sa participation à des concours, des expositions, mais aussi de commissions. Leurs travaux sont synthétisés dans la revue de propagande du GATEPAC, A.C., Arquitectura Contemporánea.Ce groupe d’architectes espagnols, qui appartient à la seconde génération du mouvement moderne, naît à la croisée de deux moments importants dans l’histoire de l’architecture et dans l’histoire politique de l’Espagne : la naissance des CIAM et des CIRPAC de 1928, et l’avènement de la Seconde République espagnole, après sept années de dictature, le 14 avril 1931. Cela nous invite à nous interroger sur la manière dont le GATEPAC, compris comme la seconde génération du mouvement moderne, s'inspire de l’architecture européenne pour ensuite s’en affranchir et participer pleinement aux réflexions internationales, mais aussi sur la façon dont les sous-groupes régionaux gèrent leurs identités pour participer aussi aux politiques nationales et régionales. L’action de chaque sous-groupe est fortement imbriquée dans les politiques régionales issues de la Seconde République
This thesis concerns the GATEPAC, Grupo de Arquitectos y Técnicos Españoles para el Progreso de la Arquitectura Contemporánea, a group of architects created in 1930 and affiliated both to the architectural modern movement and to the CIAM. This group, following the example of other international experiences, was composed by about twenty or so architects and was divided into three subgroups : one in Madrid, one in the Basque Country and the last one in Catalonia. The GATEPAC can be defined as a group integrating all the international issues ad subjects contained in the CIAM and proposes their application in the country by the participation to architect contests, expositions and commissions. Its work can be found synthesized in the propaganda magazine of the GATEPAC, A.C., Arquitectura Contemporánea.The GATEPAC, which belongs to the second generation of the modern movement, uprises at the junction of two important moments in architectural and in Spanish political histories : the CIAM and the CIRPAC’s births in 1928, and the advent of the Second Spanish Republic,on the 14th of april 1931, after seven years of dictatorship. These two conditions move us to think about how the GATEPAC, as part of the second generation of the architectural modern movement and inspired at the beginning by the European architecture gets to free itself and to participe in the international architectural discussions, but also about how the three sub-groups handle their identities in order to contribute to national and regional policies. Actually, the role of each subgroup is essential and strongly related to the regional policies implemented during the Second Republic

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PRENCIPE, MONICA. "Building exchanges (1895-1953). International Exhibitions and Swedish resonances in Italian Modern Architecture". Doctoral thesis, Università Politecnica delle Marche, 2018. http://hdl.handle.net/11566/253126.

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Questo lavoro fa parte di una più ampia ricerca sul rapporto tra l’Italia e i Paesi Nordici, guidata dal prof. Antonello Alici presso l'Università Politecnica delle Marche. Il lavoro è stato organizzato cronologicamente, attorno all'analisi di articoli italiani sul tema paesi nordici e di materiali d'archivio originali, tracciandone i rapporti reciproci con il pubblico italiano, e concentrandosi su viaggi ed esposizioni architettoniche e artistiche. In particolare, la ricerca si concentra sugli eventi legati alla nazione –la Svezia– che per prima ha avuto l'introduzione più rilevante nel panorama italiano, a partire dalla prima Biennale veneziana nel 1895. Il primo capitolo indaga la genesi di questo rapporto prima dell'inizio della prima guerra mondiale, grazie al contributo di persone come Vittorio Pica e Ferdinand Boberg. Il secondo capitolo affronta le conseguenze della prima guerra mondiale, con l'emigrazione del futurista Arturo Ciacelli (1883-1966), l'incisore Guido Balsamo Stella (1882-1941) ed i viaggi dell'architetto Giuseppe Broglio (1874-1956). Il terzo capitolo si concentra sui due decenni fascisti, concentrandosi sul ruolo di istituzioni come la Triennale di Milano e l'Istituto Svedese di Studi Classici a Roma. Infine, l'ultimo capitolo esamina il periodo del dopoguerra, quando l'ammirazione italiana per il design e l'architettura svedese ha trovato risonanze interessanti sia nei piani INA Casa che in alcuni progetti espositivi, nel lavoro di architetti quali Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti e Franco Albini (1905-1977). La ricerca ha evidenziato come le nuove Istituzioni, sulla scia di quelle fondate nei decenni precedenti, come l'Istituto Svedese (SI) e l'Istituto Italiano di Cultura di Stoccolma (IIC) –oggi ancora attive– abbiano avuto un ruolo fondamentale nel propaganda internazionale. Infine, la ricerca vuole mettere in luce come questa complessa combinazione di esperienze personali, riviste (di arte e architettura) e istituzioni costituisca il vero sfondo per storici come Bruno Zevi (che fu il primo a inserire tre maestri nordici nel suo pamphlet Verso un'architettura organica) e Leonardo Benevolo, che nel 1960 riconobbe il ruolo di aree ‘periferiche’ come la Svezia e la Finlandia, nella sua Storia dell'architettura moderna.
This work is part of a wider research on the relationship between Italy and the Nordic countries, headed by prof. Antonello Alici at the Università Politecnica delle Marche. The work is organized chronologically around the analysis of both Italian articles on Nordic countries and original archival materials, tracing back the mutual relationships with the Italian audience, focusing on artistic and architectural travels and exhibitions. In particular, the research focuses on the events related to the nation –Sweden– which first had the most relevant introduction into Italian Architecture since the first Venetian Biennale in 1895. The first chapter investigates the genesis of this relationship before the beginning of the First World War, thanks to the contribution of figures as Vittorio Pica and Ferdinand Boberg. The second chapter deals with the consequences occurred after the First World War, with the emigration of the futurist Arturo Ciacelli (1883-1966), the engraver Guido Balsamo Stella (1882-1941) and the travels of the architect Giuseppe Broglio (1874-1956). The third chapter concentrates on the two Fascist decades, focusing on the role of Institutions like the Triennale in Milan and the Swedish Institute of Classical Studies in Rome. Finally, the last chapter examines the Post-war period, when Italian admiration for Swedish design and architecture found interesting resonances both in the INA Casa plans as well as in some exhibition projects, in the work of Italian architects like Piero Bottoni (1903-1973), Piero Maria Lugli (1923-2008), Gio Ponti and Franco Albini (1905-1977). The research highlights how the new Institutions, on the heels of the ones founded in the previous decades, like the Swedish Institute (SI) and the Italian Institute of Culture in Stockholm (IIC) –both still active nowadays– had a fundamental role in the International propaganda. Finally, the thesis discusses how this complex combination of personal experiences, art and architectural magazines and official institutions formed the real background for an historian like Bruno Zevi, who was the first to insert three Nordic masters in his seminal pamphlet Verso un’architettura organica, and Leonardo Benevolo, who in 1960 recognized the role of ‘peripheral’ areas like Sweden and Finland, in his History of Modern Architecture.

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Schrenk, Lisa Diane. "The role of the 1933-34 Century of Progress International Exposition in the development and promotion of modern architecture in the United States /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Libros sobre el tema "International Congress for Modern Architecture 1933)"

Autour, du CIAM 9. d'Aix-en-Provence 1953 (2003 Aix-en-Provence France). La modernité critique: Autour du CIAM 9 d'Aix-en-Provence, 1953. Marseille: Editions Imbernon, 2006.

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Biagi, Paola Di. La Carta d'Atene: Manifesto e frammento dell'urbanistica moderna. Roma: Officina, 1998.

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Domhardt, Konstanze Sylva. The heart of the city: Die Stadt in den transatlantischen Debatten der CIAM, 1933-1951. Zürich: gta Verlag, 2012.

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Mumford, Eric Paul. Defining urban design: CIAM architects and the formation of a discipline, 1937-69. New Haven: Yale University Press, 2009.

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Domhardt, Konstanze Sylva. Die CIAM-Debatten zum Stadtzentrum und die amerikanische Nachbarschaftstheorie: Ein transatlantisher Ideenaustausch, 1937-1951. Zurich: ETH, 2008.

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Kees, Somer. The functional city: CIAM and the legacy of Van Eesteren. Rotterdam: NAi Publishers, 2007.

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Kees, Somer. The functional city: The CIAM and Cornelis van Eesteren, 1928-1960. Editado por Taverne Ed, Van Eesteren-Fluck & Van Lohuizen Stichting. y Amsterdam (Netherlands) Stedelijk Museum. Rotterdam: NAi Publishers, 2007.

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Kees, Somer. The functional city: The CIAM and Cornelis van Eesteren, 1928-1960. Rotterdam: NAi Publishers, 2007.

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Ballent, Anahí. El diálogo de los antípodas: Los CIAM y América latina : refundacíon de lo moderno y nuevo internacionalismo en la posguerra. Buenos Aires: Secretaría de Investigaciones en Ciencia y Técnica, Facultad de Arquitectura, Diseño y Urbanismo, UBA, 1995.

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IEE International Conference on Artificial Neural Networks (3rd 1993 Brighton Conference Centre, Brighton, England). Third International Conference on Artificial Neural Networks: 25-27 May 1993. London: Institution of Electrical Engineers, 1993.

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Capítulos de libros sobre el tema "International Congress for Modern Architecture 1933)"

Meglin, Joellen A. "“Gone Modern”". En Ruth Page, 59–92. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.003.0003.

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This chapter explores Page’s collaborations with international visual artists who designed costumes and props for the choreographer in ways that ushered her toward modernism in a variety of modes: Constructivism, neo-primitivism, abstraction, the fourth dimension, and Bauhausian functionalism. The solos of the late 1920s and early 1930s are read in close detail: Ballet Scaffolding (1928), Tropic (1932), Possessed (1932), and Phoenix (1933), designed by Remisoff; Expanding Universe (1932), designed by Isamu Noguchi; and Variations on Euclid (1933), designed by Pavel Tchelitchew. In these works, choreographer and designer explored materiality in motion—the dynamic architecture of the body as it moved in space, whether through portable sculptures, sculpted fabric, extensional props, or multifaceted masks. The sense of experiment and impulse toward the avant-garde in such works led critic John Martin, stalwart champion of modern dance, to comment in a 1933 review that the ballet choreographer had “gone modern.” So, too, creating several solos with Louis Horst—modern dance’s mentor—as her accompanist and musical advisor nudged her toward modern music. This chapter unfolds against the backdrop of Page’s love affair with Noguchi and her eventual reconciliation with her husband, Thomas Hart Fisher. Prelude to these modernist thrusts were Page’s subscription, early in her career, to minstrel stereotypes (Negro Dances of New Orleans, 1927) and her shift, beginning with Blues (1928), to the aesthetics of blues and jazz.

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Actas de conferencias sobre el tema "International Congress for Modern Architecture 1933)"

Sisson, Patterson B. y David K. Faymon. "Digital Control Brings Large Turbofan Benefits to the Regional Jetliner Turbofan Market". En ASME 1994 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1994. http://dx.doi.org/10.1115/94-gt-130.

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In keeping with the general industry trend of applying Full Authority Digital Electronic Control (FADEC) technology to small gas turbine engines, Textron Lycoming and Chandler Evans Division of Coltec Industries have developed and qualified a single channel control system for use on the Textron Lycoming LF507-1F turbofan engine. The LF507-1F is the world’s smallest FADEC-equipped airline turbofan engine and is the only FADEC-equipped turbofan developed and certified for the regional jetliner market. The application for this powerplant, the four-engine AVRO International Aerospace RJ Avroliner series of aircraft, began airline service in April of 1993. The FADEC employs modern control algorithms to achieve surge-free operation over the flight envelope while providing rapid transient performance and crisp handling qualities. The control interfaces with the aircraft via an ARINC 429 data link to control each engine automatically to the desired power setting with or without N1 synchronization. A simple hydromechanical backup control provides full dispatch capability in the event of a critical FADEC system failure. In addition, the FADEC includes advanced diagnostics for fault identification to the line replaceable unit (LRU) level without specialized test equipment. This paper describes the architecture, primary features, and development process of the engine control system. Emphasis is placed on the design characteristics and technical challenges unique to the development of an inexpensive control system for the low thrust turbofan market.

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Fernandes da Silva, Fernanda. "Le Corbusier y Lúcio Costa. Diálogos sobre la síntesis de las artes". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.783.

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Resumen: En la poética de Le Corbusier, el arte comparece como presencia continua y articulada propuesta en los diálogos entre pintura, escultura y arquitectura, procedimiento que confluye posteriormente en la noción de síntesis de las artes. Es en ese aspecto de su producción que nos detenemos en este trabajo con los textos del arquitecto que se refieren al tema y analizando la interlocución que establece con el teórico brasileño Lúcio Costa. Damos relieve a dos momentos importantes del análisis del tema de los dos arquitectos: primero durante la segunda visita de Le Corbusier a Brasil en 1936, cuando presenta La Arquitectura y las Bellas Artes, texto en el que incorpora a sus ya conocidos postulados arquitectónicos la noción de síntesis de las artes, considerada como forma de ofrecer a la arquitectura recursos expresivos que van más allá del lenguaje abstracto y técnico del funcionalismo. La segunda ocasión de diálogo entre Le Corbusier y Lúcio Costa tiene lugar durante el Congreso Internacional de Artistas, organizado por la UNESCO en Venecia, cuando desenvuelven consideraciones sobre la relación entre arte y arquitectura. Abstract: In the poetics of Le Corbusier, art appears as a continuous and articulate presence, as proposed in the dialogs between painting, sculpture and architecture, a process that converges, later, in the notion of the synthesis of the arts. It is on this aspect of his work that we focus exploring texts written by the architect on the theme. The proposed collaboration between the major arts—architecture, painting and sculpting—is recorded in a paper that the architect presented during his second visit to Brazil, in 1936, when he met Lúcio Costa, the Brazilian architect and theoretician, who was attuned to the poetics of Le Corbusier concerning the relationship between architecture and visual arts. The paper by Le Corbusier A Arquitetura e as Belas Artes [Architecture and Fine Arts], from 1936, emphasizes the idea of modern architecture in dialogue with the machine age, and to this well-known formula, a new topic is added: the collaboration between architecture and the major arts of painting and sculpting. In this way, Le Corbusier in 1952, participates in the International Conference of Artists, organized by Unesco in Venice, this conference was another opportunity for dialog between Lúcio Costa and Le Corbusier, emphasizing the poetic dimension of the architecture. Palabras clave: síntesis de las artes; Le Corbusier; Lúcio Costa; arquitectura moderna. Keywords: synthesis of the arts; Le Corbusier; Lúcio Costa; modern architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.783

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Vorobieva, Daria, Igro Kefeli, Mihail Kolbanev y Alexey Shamin. "Architecture of Digital Economy". En 2018 10th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2018. http://dx.doi.org/10.1109/icumt.2018.8631210.

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Luz Pinto, Pedro. "The Teaching Didactics of Álvaro Siza". En 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.51.

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Álvaro Siza Vieira (1933) began his training at the Architecture Department of the School of Fine Arts in Porto (EBAP) in 1949, one year after the 1st Congress of Portuguese Architects (1948), which became known as the congress of modern architects. There were two fine arts schools at the time in Portugal, in Porto and Lisbon (EBAP and EBAL), both with an equivalent curriculum that was coordinated by the state. Siza attended the course based on the “beaux arts” programs of 1932, concluding the curricular part of his course in 1955 and presenting his final graduation design in 1965. But by this time, Portuguese education in the arts had already switched to “modern”curricula (1952-57 Reform). The following year, having already seen some of his important works built, Siza began his career as assistant professor at the school in Porto.

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Yastrebova, Anastasia, Ruslan Kirichek, Yevgeni Koucheryavy, Aleksey Borodin y Andrey Koucheryavy. "Future Networks 2030: Architecture & Requirements". En 2018 10th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2018. http://dx.doi.org/10.1109/icumt.2018.8631208.

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Tran, Hai Anh, Abdelhamid Mellouk, Said Hoceini y Julien Perez. "User-centric Content Distribution Network architecture". En 2012 IV International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT 2012). IEEE, 2012. http://dx.doi.org/10.1109/icumt.2012.6459690.

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Wilson, Matthew. "The utopian moment: The language of positivism in modern architecture and urbanism". En The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-14.

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Grusho, Alexander, Michael Levykin, Elena Timonina, Viktor Piskovski y Antonina Timonina. "Architecture of consecutive identification of attack to information resources". En 2015 7th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2015. http://dx.doi.org/10.1109/icumt.2015.7382440.

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Yastrebova, Anastasia, Marko Hoyhtya, Ruslan Kirichek y Alina Serebryakova. "Airborne-terrestrial integrated architecture for self-driving vehicles realization". En 2019 11th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2019. http://dx.doi.org/10.1109/icumt48472.2019.8970960.

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Al-Bahri, Mahmood, Ammar Muthanna, Ravindra R. Dharamshi, Naeem Al-shukail, Dmitriy Sazonov y Salim Al-Wardi. "Multi-Level Edge Computing System Architecture For V2X Technology". En 2020 12th International Congress on Ultra Modern Telecommunications and Control Systems and Workshops (ICUMT). IEEE, 2020. http://dx.doi.org/10.1109/icumt51630.2020.9222430.

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