- Architecture history

The Seagram Building in Manhattan (1954-58), by Ludwig Mies van der
Rohe and Philip Johnson, is one of those rare pieces of architecture
which has come to define an era. For Mies van der Rohe the achievement of the Seagram Building was the resolution of years of theoretical and exacting architectural investigation.
The influence of the Seagram Building stretches beyond that of a single work of a modernist master, however. Its significance is also felt in the way it changed planning legislation and became associated with the fragmentation of the urban realm, through the spread of the generic modernist combination of tower, plaza and artwork.

Early modern Amsterdam was an ultra-modern city, laid out conforming to the triple demand of functionality, beauty and profit; a city that takes a unique place in European urban history because of its location, design, and impressive scale. 'Metropolis in the Making' tells the story of Amsterdam becoming one of the largest cities in Europe in the seventeenth century. Amsterdam was one of the cradles of capitalism, but at the same time one of the most meticulously planned cities in the world.
After the Fall of Antwerp in 1585, Amsterdam took over its position as the main trade hub in northwestern Europe. The city grew rapidly to become the central harbour town – and one of the largest European cities. The boom in harbours and industry went hand in hand with an explosive population growth. This resulted in two huge city extensions in 1613 and 1663, multiplying the territory of Amsterdam by five. Around the old town, the now famous ring of canals was constructed. Beyond this residential zone mixed-use and industrial districts were laid out, with a series of harbour islands along the borders of the IJ. This book deals with the question how Amsterdam’s administration managed to realize these immense projects from the viewpoints of urban design, infrastructure, logistics, and finance.
The first part of this book is dedicated to the extension projects. A thorough analysis of all remaining administrative archives and a great many cartographic documents has enabled the author to reconstruct the decision process about the scale, design, and realization of the extensions. The second part contains chapters concerning land use, public space and water management. 'Metropolis in the Making' tells the story of one of the cradles of early modern capitalism and at the same time one of the most meticulously planned cities in the world.

This book investigates the architectural, product design, and urban typology of the capsule which, beginning in the 1960s, broadened the concept of the basic building blocks of architecture to include a minimal living unit, called the "capsule." Here it is presented with regard to the continuity of the development of the Modern Movement, its revisionist criticism, pioneering examples, as well as contemporary examples and uses. The typology of the capsule allows us to consider this theme in terms of the architecture of resistance, with the potential to search for an "other" architecture that is embedded in our contemporaneity (manifested in small dwellings, composite structures, and container units; shelters and mobile homes in nature and the urban environment; technology transfer in high-tech designs; devices, additions, and extensions, etc.). The concept of the capsule as a building element of architecture, as well as a spatial element, can therefore be regarded as having a generative potential for an architecture of personal space for the individual, forcing us to reflect on our existing living and dwelling conditions.

https://www.routledge.com/Capsules-Typology-of-Other-Architecture/Senk/p/book/9781138280359

PDF PREVIEW
https://www.taylorfrancis.com/books/9781315272177

Cette communication a eu lieu le 31 mars 2017, dans le cadre du séminaire doctoral d'Alexandre Gady. Elle fut l'occasion de révéler une documentation inédite permettant de porter un nouveau regard sur le projet de place Louis XVI destiné à la cité du Ponant en 1786.

This is a review of facsimile editions of two architects' sketchbooks, Eduardo Souto de Moura and Wang Shu. One factor in the staying power
of the sketch is its immediacy, another is its physicality. In a world in which we increasingly interact through various technological interfaces, in which architecture is mostly created virtually – before it has to interact with the messy reality of the site – the sketch can be seen as an intimate and individual protest against the prevailing norm. The two sketchbooks, Eduardo Souto de Moura – Sketchbook No. 76, and Wang Shu– Imagining the House, are examples of an architectural process in which hand-drafting still has a place.

Nel maggio 1757 Bernardo Antonio Vittone, autore del progetto
per la realizzazione di un nuovo altare nella cappella
della Beata Vergine delle Grazie di Chieri, è messo sotto
accusa. La committenza teme - probabilmente a torto - che
l’architetto abbia consegnato agli scalpellini, che hanno iniziato
a produrre delle stime di costi assai elevate, un progetto
diverso da quello inizialmente approvato. Vittone, nella
replica, si scagiona e rilancia.

L'Editore si dichiara disponibile a regolare eventuali spettanze per le immagini di cui non sia stato possibile reperire la fonte. Tutti i diritti sono riservati. Questa pubblicazione, per intero o in parte, non può essere riprodotta, trascritta, lmata, memorizzata, trasmessa in alcuna forma o in alcun sistema elettronico, digitale, meccanico, di fotocopia, di registrazione o altro senza la preventiva autorizzazione scritta degli editori.

Owen Hatherley’s 'A New Kind of Bleak – Journeys Through Urban Britain', is an animated narration of Hatherley’s travels through the UK, away from world heritage sites and conservation areas into what is arguably the day-to-day reality of how cities present themselves to their inhabitants.
The message of Hatherley’s materialist critique of the UK's urban and exurban landscapes is that it is deeply regrettable that both the socialist
and modernist projects have been abandoned in favour of the neo-liberal
myth of unfettered wealth creation through free trade, deregulation and
speculation.

The revolutionary Spangen social-housing complex (1919-1921) in Rotterdam, by Michiel Brinkman, has recently been immaculately restored (2012). The project pioneered “street in the sky” deck access, an idea that famously inspired Alison and Peter Smithson’s design of the 1950s Golden Lane housing project in London. The Spangen estate, or Justus van Effen complex, is a rectangular four-story brick urban block, centered around two large courts. Concrete balconies give access to the duplex apartments on the top floors. In its heyday, the project offered many shared amenities, like a public bathhouse located between the two courtyards. A communal spirit was further promoted by making the decks publicly accessible; large cargo lifts allowed tradesmen to reach tenants’ front doors.

This is a review of the monograph on the work of the Austrian architects Riegler Riewe, situating the work in the local history and architectural context. Eva Guttmann replaces the currently predominating and simplistic account, in which Riegler Riewe’s work is mainly understood in opposition to the Graz School, for a more complex view in which the work is explained as the result of differing circumstances and a variety of ideas. After the introduction by Guttmann, the book starts off with an interview by Otto Kapfinger with Riegler and Riewe. The focus is on the early influences and impressions in their work, such as the post-war modernists surrounding Ferdinand Schuster, relatively unknown local architects such as Josef Klose, and the highly tectonic work of Heinz Bienefeld.

Este artigo pretende elucidar algumas questões a respeito da historiografia da arquitetura no Brasil. Através do aporte teórico da disciplina da história, trata a periodização enquanto elemento de
estruturação narrativa, construído e proposto pelos autores, numa leitura referenciada e individualizada de um fragmento do passado. Para isso, selecionou três livros de história da arquitetura no Brasil: Arquitetura contemporânea no Brasil de Yves Bruand (1981), Arquiteturas no Brasil: 1900-1990 de Hugo Segawa (1998) e Brasil: arquitetura após 1950 de Maria Alice Junqueira Bastos e Ruth Verde
Zein (2010). Com o objetivo de analisar graficamente e textualmente algumas das questões presentes na seleção dos acontecimentos do passado e de apresentar uma leitura do verso da trama narrativa
visível, para além da inclusão das temáticas omitidas da historiografia. Esse artigo apresenta um de trecho de um trabalho maior e mais profundo em desenvolvimento.

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

RAZVOJ FRUŠKE GORE I OTVORENA PITANJA ODRŽIVOSTI
Milica Bajić Brković

JAPANSKA KULTURA KAO PARADIGMA U FORMIRANJU MINIMALIZMA U ARHITEKTURI
Dragana Vasilski

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

ARHITEKTURA MODERNE U FUNKCIJI PROMOCIJE BEOGRADA
Željka Manić, Vera Backović

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

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

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

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

RAZVOJ NARODNE ARHITEKTURE CENTRALNE SRBIJE U PROCESU URBANIZACIJE
autor: Igor Marić, prikaz: Mihailo Timotijević

Gli stadi di calcio in Italia: un patrimonio a rischio? sabato 6 febbraio 2021 ore 9:00 -18:15 | Zoom webinar Roma, Stadio Flaminio (ICCD -MiBACT, Fondo Savio) L'articolo 55 bis del D.L. 76/2020, così detto 'sblocca stadi', ha proposto all'attenzione non solo di amministrazioni e organismi preposti alla tutela, ma anche di un più largo pubblico, l'interrogativo sul futuro degli attuali stadi di calcio in Italia. Il ruolo di landmark nel paesaggio urbano, la presenza di soluzioni avanzate e spesso emblematiche della cultura ingegneristica italiana, i significati e valori di comunità connessi a pratiche e comportamenti sociali condivisi: tutte queste condizioni consentono in molti casi di considerare le grandi attrezzature sportive parte integrante del patrimonio culturale, materiale e immateriale, del Ventesimo secolo. Oggi questo patrimonio è esposto a molteplici rischi: al deterioramento delle strutture, alla obsolescenza funzionale rispetto agli standard nazionali e internazionali di gioco, all'assenza di adeguati livelli di sicurezza come pure di servizi e attrezzature complementari, alla scomparsa o riduzione degli spazi-tampone per la crescita edilizia circostante. Fattori questi che rendono particolarmente delicata e complessa un'azione di conservazione integrata, in grado di contemperare la salvaguardia dei valori con le inevitabili esigenze di aggiornamento, evitando interventi di trasformazione radicale, che cancellino tracce significative della memoria collettiva, o addirittura di demolizione. Nella convinzione che il tema non possa essere limitato a singoli casi, sia pure eccellenti, né affrontato da visuali settoriali, inevitabilmente parziali, il Comitato scientifico sul Patrimonio del XX secolo di ICOMOS Italia, insieme al Gruppo di ricerca Paesaggi culturali contemporanei. Conoscenza, conservazione e sviluppo del Dipartimento di Architettura e Disegno Industriale dell'Università degli Studi della Campania Luigi Vanvitelli, ha promosso una giornata di studi, che offre, nella sessione mattutina, una panoramica su una ampia casistica di stadi italiani del Novecento, dai primi anni Venti agli anni Novanta, illustrandone l'origine, le modificazioni e l'attualità, e ospita, nella tavola rotonda pomeridiana, un confronto tra specialisti sulle varie problematiche implicate (da quelle legislative, a quelle urbanistiche, a quelle strutturali), sugli strumenti conoscitivi da mettere in campo (dalla catalogazione al rilievo), sulle categorie d'intervento da adottare (dalla rigenerazione urbana, al restauro, all'adeguamento), all'interno di una visione olistica e di una concezione di città sostenibile, nella quale il patrimonio tangibile e quello intangibile costituiscano elementi essenziali della sua identità.

Stimulé par le renouvellement des techniques, le XIXe siècle se plaît à rêver de halls pour de grandes assemblées, en réalise quelques-uns, mais n’imagine guère encore qu’ils puissent être dédiés à des manifestations sportives : la création d’une telle architecture est pour ainsi dire l’œuvre du siècle suivant. Dans quelle mesure la restauration des Jeux olympiques procure-t-elle des opportunités comparables à celles des expositions universelles pour conduire les concepteurs à se dépasser ? Feuilleter les sagas et les classiques de la modernité architecturale pourrait laisser croire que l’histoire des prouesses constructives ne rencontre qu’épisodiquement celle des équipements sportifs avant la deuxième moitié du XXe siècle. Pour autant, examinée rétrospectivement loin de toute perspective héroïque, cette catégorie d’édifices illustre bien souvent les enjeux touchant la production de structures capables d’abriter ou d’enclore de grands espaces. Il s’agit même volontiers pour les architectes, les ingénieurs et les constructeurs d’un terrain de démonstration, bénéficiant en outre de la valeur spectaculaire et médiatique désormais acquise par le sport. Si la veille de la Seconde guerre mondiale voit culminer l’affirmation d’un fonctionnalisme déterminé par les attendus des programmes et/ou par la mise en scène des matériaux, les réalisations acquièrent ensuite progressivement une part d’autonomie qui en fait primer le signe et la force évocatrice. Jusqu’à quel point ces structures reflètent-elles un imaginaire propre, où par exemple la conception plastique des ouvrages voire la rhétorique de la performance technique font écho à une idée de l’effort physique et du corps en tension ?

Arthur Pope was one of the greatest scholars who introduced Persian culture and architecture to the world. This study aims to study the writing of Arthur Pope in his famous book entitled "A Survey of Persian Art". This book is one of the most important encyclopedias of Persian art before and after Islam and the most detailed and authoritative reference book on the history of Iranian art. This book is the richest resource of Persian art with the illustrations in which it has been published. In 1926, Pope began writing A Survey of Persian Art for the first time, after the first congress in Philadelphia, shortly after his return to the United States. In his research, he introduced any building using an image; Like the method that archaeologists use to present the results of their excavations. Pope's view of the history of Persian architectural art is positivist, influenced by the teachings of Kant's philosophy and the modern view of history. Relying on different types of resources, focusing on political and diplomatic history, this approach deals with the classification of documents, and with an empirical perspective, pays attention to objective spaces. The results indicated that the sub-criteria of Persian art that according to Pope, are effective in regulating the spatial system of Iranian architecture are: continuity, abstraction, symbolism, clarity and accuracy, social and traditional character of Iranian art history and the relationship and impact of Persian architecture and other civilizations and their influence on each other.

The book Megastructure Schiphol — Design in Spectacular Simplicity charts the design development of the airport, and reveals how Schiphol is both international in its orientation and as a result of the landscape and public-infrastructure planning tradition
of the Netherlands. The various aspects of Schiphol’s design, such as its growth over time, spatial impact and day-to-day operations, are effectively communicated through
so-called visual essays, data visualisations, while the essays give more detailed historical, political and economic background information.

Este texto pretende demostrar la importancia de la integración de los sistemas tipográficos en el proyecto arquitectónico a partir del análisis de la reforma del Grand's Restaurant (Filadelfia, 1962) de Robert Venturi y William Short. Elegir este caso de estudio permite entender el impacto de este recurso en la etapa temprana de Venturi (1962-1969). El tema remite a contenidos y aspectos que, hasta la fecha, permanecen prácticamente inéditos a pesar de los muchos estudios dedicados a la obra y escritos del arquitecto. A pesar de su discreto tamaño y presupuesto, el Grand's concen-tró de manera ejemplar tanto aspectos teóricos de la propia investigación de Venturi, como fue, asimismo, precursor de otras corrientes interdisciplinares del momento como Supergraphics. La escritura es aquí un elemento arquitectónico de ‹pleno derecho› que afecta a la interpretación del proyecto, a su carácter simbólico y su entendimiento como integrante del orden y la composición arquitectónicos.

Typography as an element integrated into the early work of Robert Venturi, 1962-1969.
This article, based on an analysis of the refurbishing of Grand's Restaurant (Philadelphia, 1962), designed by Robert Venturi and William Short, aims to show the importance of integrating systems of typography into architectural design. Choosing this case study enables the impact of typogra-phy on Venturi's early period (1962-1969) to be examined. The theme involves content and aspects which have remained virtually unexplored to date despite the many studies devoted to Ventu-ri's architecture and those written by the architect himself. Despite its modest size and budget, Grand's not only exemplarily condensed theoretical aspects of Venturi's own investigation but also served as a precursor for other interdisciplinary trends of the time such as Supergraphics. Writing in Grand's is a ‹fully-fledged› architectural element affecting the design's interpretation, its symbolic nature and its understanding as part of an architectural order and composition.

"Le territoire d’Amsterdam a plus que quintuplé entre 1585 et 1663. Cette croissance a, au travers des siècles, attiré l’attention des historiens comme des urbanistes. Ils ont passé au crible fin le développement de la ville au XVIIe siècle, et ce sous de nombreux angles. Deux aspects les ont
particulièrement intéressés : l’échelle de la croissance et la planification. Ce dernier aspect a, à partir du XIXe siècle, été étudié du point de vue du paysage urbain. La ville était considérée comme une composition scénographique géniale, comme le Versailles du Nord. Plus tard, le
regard s’est surtout porté sur le plan de ville au sol. Amsterdam était considérée comme l’incarnation de la ‘città ideale’, le summum de la planification.
Dans cette étude, nous nous baserons sur une idée plus pragmatique de l’urbanisme. La ville idéale, théorique, cède la place à la ville réelle et, par voie de conséquence, à la ville optimale : une réalité physique rétive dotée d’une dynamique spatiale et sociale imprévisible, laquelle est aménagée et gérée le mieux possible en vue de son utilisation par les autorités municipales en fonction de la situation du paysage et des eaux, des opinions prédominantes, des connaissances techniques, de la méthodologie urbanistique et de l’instrumentation disponible."

Créé en mai 1971 sous la double tutelle du Ministère du Développement Industriel et Scientifique et du Ministère de l’Équipement et du Logement, le Plan Construction est conçu pour encourager la qualité de l’habitat et pour tenter d’infléchir des politiques techniques du bâtiment de plus en plus critiquées. Cet article examine les stratégies éditoriales de cet organisme public au cours de sa première décennie d’existence, en confrontation avec sa mission mais également avec son statut. Ses périodiques sont ici envisagés à la fois comme sources historiques et comme objets d’étude à part entière. Faisant écho au caractère « expérimental » de ses activités, ces publications participent bien à la production de nouvelles représentations du cadre bâti. Mais au-delà de cette finalité directe, elles contribuent également à assurer la visibilité de l’organisme et à asseoir son statut encore précaire.

The Plan Construction (Building Plan) was created by the French government in May 1971 under the double aegis of the ministère du Développement Industrial et Scientifique (ministry of industrial and scientific development) and the ministère de l'Equipement et du Logement (ministry of housing). Its purpose was to improve the quality of housing and to modify existing building policies, whose purely technical approach was increasingly under attack. This article studies the editorial strategies deployed by this public organization during the first ten years of its existence, examining them in view of the Plan's original mission and its official status.
The periodicals published by the Plan are treated here both as historical sources and as objects of study in their own right. Echoing the "experimental" nature of the organization's activities, these publications were also engaged in renewing the representation of construction projects. In addition they helped ensure the visibility of the organization and legitimize its existence at a time when its status was still uncertain.

Until 1993 there were conducted first excavations in what promised to be the site of one of the most important buildings of Petra, the stunning capital of the Nabataean kingdom. Its construction, whose initiation century BC, several changes, reconstructions and landslides along its more than five hundred years of operation. But despite this still unknown for certain functions for which it was designed and that, regardless of the construction elements, materials have been located just still less inscriptions that shed some light on a mystery that will try here exhibit various theories that enable closer to resolution.

Le Corbusier (1887-1963) was not afraid to advertise his achievements in a wide range of media: painting, drawing, lithography, collage, sculpture, and tapestry, not to mention architecture and urbanism. But about one branch of his activity he always remained strangely silent. Between 1906 and 1916, and again from 1936 to 1938, Le Corbusier took hundreds of photographs. He published very few of these, and maintained that photography was a stultifying activity, good only for lazy people. The book 'Le Corbusier Secret Photographer' by Tim Benton complements earlier research on the photographic output of Le Corbusier. The work attributes prints and negatives held in different photo collections,  it analyses the photographic equipment owned and used by Le Corbusier, and it assesses Le Corbusier's artistic development in the field of photography and movies over time.

By order of Pope Urban VIII in 1625 the ancient bronze roof structure over the portico of the Pantheon in Rome was demolished and melted down for canons. So, after 1,500 years, this remarkable witness to Roman engineering, and the only known example of a completely metal structure built prior to the modern age, therefore disappeared. An interdisciplinary research team is now reconstructing this extraordinary roof structure and how it fits into the history of the Pantheon's construction. They have collected all the relevant sources and findings: drawings and writings of earlier architects, archival documents describing the weight and form of the bronze removed from the roof, the only remaining rivet in the Antikensammlung Berlin and, very importantly, the survey of the Pantheon itself, which reveals traces of the original roof structure. Structural calculations, copies of original castings and tensile/shear tests verify the archaeological reconstruction. Furthermore, the rebuilding of one joint at full size enabled important conclusions to be drawn regarding the jointing method. Owing to this project, it can be presumed that Roman engineers built a 152 tonne roof structure entirely in bronze long before the first iron structures of the industrial age.

Review of three books:
Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics, by Elizabeth Otto
Bauhaus Women: A Global Perspective, by Elizabeth Otto and Patrick Rössler
Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism's Legendary Art School, edited by Elizabeth Otto and Patrick Rössler

ansal ler kentin kolbine b ( YürüYüŞ Ömüı Hormonsoh ''Sczgilcıiııin kcnclisini -vanıLıal:iltıcclğiııtl irrıııırlıyiı 1ıı'sIarsı Ştllriıde (3ylııılaçağınclen kıışkrısu vcıIıtu hiç: Hilüiiyelelali kdlalisini ayarl(ta trt1iıö. ]]ir kairi]ıı ely<ııclaııı-vla b\ılr]P taı]ı(iığı ncsı]olcI gibi sezgileıiylc brılup qliaıclığı hikıvc]cı. ijç: gilııdijr şcJıiıclc yiizc-vJcre lırırıır nu silrte siirte dolaşırken işııcılerc1cıı biı hikı'ıır: kurıbildiİi için avektf, kalabilırristi' (.evtesinclelii iııslın]ırın clı lıi1iaycicr yiiziiııcleıı ay:ıkıt cllu-alıilcliğ,rn,,, ,,,.:'r:::[::: ()ıhan Pamı'ık , ,,,ırı Kitap' istırıllul 1990. s. 206. Gündelik yaşam pratikleri ile toplumsal mekanın üretimi arasındaki ilişkinin tekrar tekrar ele alınması kentsel yaşamln ve mekanlarının 'inşa'sına dair önemli tartışmaları gündeme getiriyor'. Kent_ sel yaşamın bu kural İafllmaz, ele avuca ge|mez, dile dökülmez pratikleri kentsel mekanlarl işgal ediyor, dönüştürerek yerlerinden oynatlyoI. Bu pratiklerle kuru]an bellek, kentin mekanlarını olumladığı, desteklediği sürece mekanlar varlı]<larını sürdürebiliyor. Kent]inin, gündelik (kentse]) yaşam pratikleri içinde mekan üzerine yazageldigi Öyküsel örüntüler, kentse] mekanı 'toplaylcl bellek' denen o saydam ve şiirsel soykütüğüne kaydeder.

Looks at Haacke's famous Condensation Cube from the perspective of the history - and theory - of condensation. How does the problem of condensation help us re-imagine the interior of the museum as a climactic project? As it turns out 'condensation' is a type of inadvertant invention of modern architecture as was the attempted mitigation. Haacke art work brings to fore the repressed problem of moisture within the narrative of modern architecture and, by way of extension, the modern museum

The book Architecture and Structuralism — The Ordering of Space is intended as Hertzberger’s definitive text on structuralism, and is at once a synopsis of his earlier books, such as Lessons for Students in Architecture I & II, as well as an effort to enrich and bring his theoretical framework up-to-date.

Contrairement à ce qui est traditionnellement écrit, la période de la Régence ne fut pas une période de « belle endormie » pour le château de Saint-Cloud. Les gazettes montrent en effet que les fêtes, comme au Palais-Royal à Paris, s’y succédèrent. Pour les accueillir, le Régent put profiter du château mais surtout du parc. A la fin de sa vie, il pensa même y conduire d’importants travaux. La mort du prince empêcha leur mise en œuvre, mais ils sont connus par des dessins de l’architecte Oppenord.

Dutch Architects in the South African Republic

Jaap Evert Abrahamse

South Africa is one of the eight countries taking part in the Mutual Cultural Heritage programme, which was set up by the Dutch Ministries of Foreign Affairs and Education, Culture and Science. The Cultural Heritage Agency of the Netherlands is a participator in the research project ZA/Wilhelmiens, in which the contribution of Dutch architects to the architecture and building practice in the South African Republic in the Transvaal region is the central theme.
In the 19th century, the South African Republic was seen as a legal and moral successor of the Dutch Republic, that had long before lost its military and economic power and its leading role in international politics, as the English took over most international trade routes and London replaced Amsterdam as the main commercial centre. Many civil servants and other professionals left for the Transvaal to help build the new South African Republic, especially as tax revenues boomed when gold was found near Johannesburg. Among them were quite a number of architects and engineers. Sytze Wierda was appointed the head of the Public Works Department with Klaas van Rijsse as his assistant. Both were architects of Dutch origin. In the period until 1899, the beginning of the Second Anglo-Boer War, the department would design and construct many public buildings, such as the Government Building and the Palace of Justice in Pretoria, but also post offices, prisons, local government buildings, and many others. At the same time, the NZASM railway company built railway lines, station buildings and company towns, many churches were built in which a Dutch influence is clearly visible, and military works were realized outside Pretoria, that seem to be closely connected with the Stelling van Amsterdam, which was also built in this period.

By studying metaphor, this monograph reveals the conflict between what (1.0)George Dodds refers to as the "good" and "bad" mimesis (copy)  or the difference between imitation and origination.  The former results in 1eclecticism while the latter in vernacularism.  Should, could, or need one or the other be more or less required is left for a reader's evaluation and his or her's circumstances.  But this kind of tautology exists at the basis of the "becoming" of Arabia's metaphor.  The metaphor is an agent for change and its' understanding and perspective-view of these complementarities can be enlightening.  The metaphor in this context is the commonality between eclecticism and vernacularism.  This monograph describes the current contradictions and complexities of this phenomena. There are both paraphrases and quotations from scholars and authors such as Edmund Husserl, Jarava Lal Mehta, Martin Heidegger, S. Gulzar Haider, Paul Weiss, Ismail Serageldin, Samir El Sadek, Keith Critchlow, Mohammed Arkoun, Christian Norberg Schulz, Jamel Akbar, Muhammad Arkoun, A.H. Hourani, S.M. Stern, Ira M. Lapidus, George Dodds, Hjelmalev and Dorfman.  All contribute to explicate the basis of the metaphor of Arabia.’

International Architecture Exhibitions reinforce the negative idea of pre-established formal concepts in favour of a discussion rich in alternatives and with different thinking processes. Behutsame Stadterneuerung-'careful urban renewal'-was established after a long conflict between the political and administrative systems in power and construction cooperatives, which had its decisive moment in 1975. The urbanism of the Modern Movement started to be abandoned and the building industry connected to the promotion of houses, often closely related to political parties, started to decay. The refurbishment and revival of a very specific neighbourhood with a significant plan in Berlin-Kreuzberg-called for measures to interweave and reorganise the old and the new, but also houses and industries. In this area, there was a proposal to create a better ecological quality that preserved the traditional atmosphere and sought ways to incorporate the political efforts to integrate foreign families. The 'careful urban renewal' programme was seen as a planning in close connection to the local situation to harmonise total and individual conditions. The conditions related to the urban space and the built should be connected to the social assumptions of daily life. This research is focused on the process developed in Kreuzberg and provides a general account of the difficulties that occurred in the framework of the 'careful urban renewal' programme. This big district of Berlin used to be a central area of the city but it became a peripheral area of West Berlin due to the political division of the city. The neighbourhood would become one of the areas appointed for IBA, whose role was to regenerate and revive the old substance of Kreuzberg and to rebuild the urban fabric, particularly building houses and social amenities.

The concepts of expression, expressiveness and expressionism present the key terms on which contemporary architectural and artistic works are based. Although these are essential esthetic categories, the explanations of these concepts are not clearly defined in scientific and theoretical texts. When the term expressionism is mentioned, it often implies the stylistic direction in architecture and the arts, which was created and lasted until the beginning of the XX century in northern Europe (especially in Germany and the Netherlands), and in which the artists have twisted the reality with exaggerated and energetic strokes to express their inner visions, ideas or emotions. However, contemporary theoretical discussions in the arts and architecture point to the manifestation of expressionism in other periods and contexts as well. The basic aim of the text is a critical discourse of interrelations among esthetic categories of expression, expressiveness and expressionism; reexamination of their positions and roles in the system of visual expression, as well as the examination of the starting hypothesis in research, according to which expressionism in architecture is a radical creative tendency with distinctive choleric-sanguine characteristics.

Oslanjajući se na stavove poznatog umetničkog kritičara Herberta Rida (Herbert Read), po kome realizam, idealizam i ekspresionizam nisu posebni pravci u umetnosti, već predstavljaju stalne osnovne činioce u svim umetnostima, u ovom radu se razmatra mogućnost postojanja elementarnih stvaralačkih opredeljenja i u arhitekturi. Polazeći od osnovnih vidova opažanja i predstavljanja sveta oko nas, putem komparativne analize i primera iz drugih oblasti, izložena je teza da bi adekvatan pandan Ridovim osnovnim činiocima u umetnosti - realizmu, idealizmu i ekspresionizmu, u arhitekturi bili pojmovi mimezisa (mimikrije), asocijativnosti i ekspresije. U zavisnosti od društveno-političkih, kulturno-istorijskih i drugih okolnosti, neki od ovih činilaca s vremena na vreme izlaze na površinu i zaogrnuti miljeom vremena, javljaju se u nekom novom ili starom obliku, koji možemo prepoznati kao umetnički pravac ili stil.

The purpose of the article is to present a (chronological) overview of denomination, renaming or abolishing streets and squares, setting up and tearing down monuments, naming and renaming primary schools, etc. of Yugoslav connotation in Ljubljana from 1918 onwards. This kind of establishing of collective memory in Slovenia is most evident in political fractures, such as: fracturing from the Austro-Hungarian monarchy and entering the States of Slovenes, Croats and Serbs, and the Kingdom of Serbs, Croats and Slovenes, when it was necessary to redefine the collective memory and clean up the old. This is most evident in renaming streets and institutions or tearing down and putting up new monuments. Or furthermore, the more striking marking of space: the post-war regime in the time of the "second" Yugoslavia. The process was also present during the period of occupation of Slovenia between 1941 and 1945; and during the post-independence Slovenia after the year 1991.

KEYWORDS: Yugoslavism, Yugoslavia, monuments, Slovenia, Ljubljana

PROBLEMI I NEDOUMICE U IZRADI I IMPLEMENTACIJI PROSTORNOG PLANA OPŠTINE
Marija Maksin, Nadežda Tankosić

ODRŽIVI RAZVOJ - PARADIGMA BUDUĆNOSTI
Milutin A. Lješević, Vladica Ristić, Milutin Mrkša

PLAN PARCELACIJE KAO USLOV ZA ODRŽIVU IZGRADNJU NA PRIMERU PLANA DETALJNE REGULACIJE „STANKO VLASOTINČANIN” U NIŠU
Tanja Obradović

DA LI JE NARUŠEN KONCEPT VRTNOG GRADA – URBANIZAM I ARHITEKTURA U PROFESORSKOJ KOLONIJI
Bojan Bojanić

PLANIRANJE I UREĐENJE JODNE BANJE U NOVOM SADU
Vuk Garača, Nevena Ćurčić, Svetlana Vukosav

ZGRADA AUSTRO-UGARSKE BANKE U SUBOTICI
Viktorija Aladžić

REGIONALNE STRATEGIJE PRILAGOĐAVANJA KLIMATSKIM PROMENAMA: SMERNICE ZA URBANISTIČKO PLANIRANJE U SRBIJI
Marija Maruna

ZELENI KROVOVI U KONTEKSTU KLIMATSKIH PROMENA - PREGLED NOVIJIH ISKUSTAVA
Tijana Crnčević, Mirjana Sekulić

TRANSFORMACIJA URBANOG RAZVOJA NA PRIMERU PRVOG URBANISTIČKOG PLANA UŽICA IZ 1863. GODINE OSNOVNE KARAKTERISTIKE
Duško Kuzović

IMA LI EKSPRESIONIZMA U SRPSKOJ ARHITEKTURI? INTEVJUI SA ALEKSANDROM SPAJIĆEM, PREDRAGOM RISTIĆEM I ZORANOM BULAJIĆEM
Đorđe Alfirević

BIJENALE U VENECIJI
prikaz: Igor Marić

TRAGANJE ZA GRADOM
autor: Đorđe Bobić, prikaz: Sreten Vujović

DAS UNHEIMLICHE / PSIHOANALITIČKE I KULTURALNE TEORIJE PROSTORA
autor: Mariela Cvetić, prikaz: Vladimir Mako