Speakers: Assoc. Prof. Dr. Nataša Koselj, architect
Date: 09/04/2024 12:00 am
Date details: 11:00 am Santiago Chile | (UTC -4) due to time change
LAKA – Her own studio in Ljubljana. Photo- MAO
Description
Abstract: Between 1967 and 1981, Vladimira Bratuž – Laka, a Slovenian architect and sculptor, taught at Ple?nik’s Križanke Art School in Ljubljana. These years represent the period of Slovenian structuralism with Cankarjev dom as the peak of this period. It is interesting that Laka built her own studio, which she named Moj dom (My home) on Veselova Street in Ljubljana, in the same year that Cankarjev dom (Cankar’s home) began to be built in the immediate vicinity. Both buildings have a lot in common, especially in terms of a structuralist approach to the treatment of space, since in both cases the classical understanding of perspective and facade breaks down into sequential views that give a more complex and multidimensional understanding of space and building elements. This brings a new dynamic to the understanding of architecture, in the case of Laka’s living studio ‘My Home’ on a very small scale and in the case of Ravnikar’s Cankarjev dom on a very large scale.
Join the excitement of the 18th Docomomo International Conference with our photo contest! Submit up to 3 original photos focused on the general theme of the Conference “Modern Futures: Sustainable development and cultural diversity”.
Photos must be original and unpublished (not submitted in any other competition or not wholly or partially restricted from reproduction or subject to copyright) and must refer to the thematic areas of the conference (see https://docomomoconference2024.com/thematic-areas/).
The jury, composed of prominent photographers, architects and Docomomo members, will choose one winner and five special mentions, who will exhibit their work at the event and appear in Docomomo promotions.
The photography registration form is open, you can find it in the following link or check our Linktree in bio.
The continuous documentation of modern masterpieces, emblematic neighborhoods and ordinary buildings and ensembles is at the very heart of Docomomo’s mission. Documentation has been the source of academic and professional exchange within Docomomo’s community in order to understand, protect, conserve and reuse the heritage of Modern Movement. The Docomomo International Specialist Committees Registers (ISC/Registers) was the first one to be established to engage the to engage the National Working Partiesin developing a global inventory of modern architecture and its conservation.
In its current homework Docomomo Germany documented impressive examples of conservation and reuse that can serve as best practices for different conservation approaches.
The session will give an overview of the current state of the discourse related to conservation technology and conservation management including latest impressions from the Docmomo Germany Conference 2024 dealing with large-scale buildings such as Airport Tegel, Airport Tempelhof or the famous Berlin ICC.
Exciting News for the Docomomo Community! We’re thrilled to announce that the deadline for abstract submissions for the 18th International Docomomo Conference has been extended to February 12th!
Don’t miss this golden opportunity to share your insights and research on modernist architecture and heritage preservation. Whether you’re a seasoned scholar or a fresh voice in the field, we want to hear from you!
Hurry and submit your abstracts by February 12th to be part of this global conversation shaping the future of modern architecture
Isabel García Pérez de Arce – Original Archives- FADEU- Pontificia Universidad Católica de Chile
Michelle Llona, Archivo de Arquitectura, Pontificia Universidad Católica del Perú
Date: 28/11/2023 11:00 am
Date details: Santiago Chile 11:00 hrs (UTC -3)
Image: Roberto Burle Marx’s gardens in progress for the Faculdade Nacional de Arquitetura, Rio de Janeiro, circ. 1960. Source: NPD – FAU/UFRJ
Description
Archives and restoration: Roberto Burle Marx’s gardens for the Faculdade Nacional de Arquitetura, Universidade do Brasil.
Abstract :
Archive collections allow different forms of manipulation as primary records for the restoration of listed gardens. This presentation discusses how the NPD’s collection – Research and Documentation Center, FAU-UFRJ, has being driving the restoration of Roberto Burle Marx’s gardens for the then Faculdade Nacional de Arquitetura of the Universidade do Brasil in Rio de Janeiro, which building was designed by the architect Jorge Machado Moreira. Created in the 1960s, it is an important and representative set of modern architecture and landscape in Brazil. The NPD’s Burle Marx collection, which mainly includes the original landscape design, institutional documents and photographs, is being explored by an interdisciplinary team that includes landscape architects, historians, designers and botanists. This work aims to support decisions to restore Burle Marx’s gardens for the University Campus, aiming to value and disclose their relevance within the scope of Modern Landscape Architecture.
Between archive and event: Ephemeral works from the Museum of Solidarity, 1971-1973
Abstract :
The Museo de la Solidaridad (Santiago, Chile, 1971–73), or Museum of Solidarity, is a singular attempt to reconcile the conflicting couple of art and politics. The Museum of Solidarity was the materialization of president Salvador Allende’s Unidad Popular Government’s ideas on artistic visibility, in relation to the shared agendas of both projects: the cultural change of Socialism in Chile and the new experimental model of the Museum.
Renowned artists, curators and critics such as Harald Szeemann, Guy Brett, Sol Levitt, Helio Oticica and others participated in the inception of this Museum. This was possible thanks to the social and ethical commitment that Mario Pedrosa’s experimental curatorial? proposal, which involved participating in this unique museum based on the word «Solidarity».The experimental museum project of Allende and Pedrosa was left unfinished, as consequence of the military coup of 11 September 1973. The documents kept from this period are footprints left from an interrupted conversation. Non-objectual works of art, which are now in the archive, raise relevant questions related to their activation: how can we confront these artistic works that were created under specific motivations and contexts, without tearing the poetic and political memory contained in their original proposal?
Lima Civic Center. Promenade axis perspective (c.1966). García Bryce collection. Archivo de Arquitectura PUCP.
José García Bryce: Collections for a history of Peruvian architecture
Abstract:
The exhibition is a story told from architectural documents. It focuses on showing its value as proof of the intellectual activity inherent to the project, as tangible and conceptual evidence of a story, establishing a parallel between the constructed work and the documents—plans, perspectives, photographs, articles and essays—; in this case, by the architect José García Bryce. I selected nine of his productions, and brought them together in a chronological narrative that allows us to take a glimpse at the evolution of his thought.
In search of a dialogue, and to achieve diverse readings of the documents and ideas that García Bryce handles, we review the selected material with other architects and artists. I invited people who maintained some connection with García Bryce to review a set of documents from the archive and to propose hypotheses about the built works compiled here. To this dialogue we added analytical texts on the written essays, as well as graphics and photographs, which allow us to reflect on the architect’s research.
Juan José Fontana Architect PhD Universidad de Alicante, Professor Instituto de Tecnologias FADU, UDELAR, Uruguay.
Jorge Gambini Architect, Professor Instituto de Tecnologias FADU, UDELAR, Uruguay.
Mary Méndez Architect, Magister of History of architecture Universidad Torcuato Di Tella
Professor Instituto de Historia FADU, UDELAR, Uruguay.
Fernando Tomeo Architect, Professor Instituto de Tecnologias FADU, UDELAR, Uruguay.
Ruth Verde Zein, Brazil
Date: 14/11/2023 11:00 am
Date details: Santiago Chile 11:00 hrs (UTC -3)
Description
Absolute limit. The Municipal Columbarium of Nelson Bayardo in Montevideo, Uruguay
Abstract:
The Municipal Urnarium in Montevideo, Uruguay, was designed in 1959 by architect Nelson Bayardo and engineer José Pedro Tizze to house funerary urns (National Historic Monument since 2014). It is one of the most significant works built in Uruguay in the second half of the twentieth century. A carefully studied implantation shows the intimate relationship of the building with the surrounding landscape. In contrast, the continuity of the building evidences the identity between reinforced concrete and a system of spatial organization proposed in dynamic terms. The Urnarium reflects the main discussions of the time, such as the sculptural valuation of the load-bearing system and the respect for the constructive qualities of the materials. It manifests the search for integration of the arts and the obsession with geometry. It even allows the exploration of problems related to symbolism; themes also present in other examples of the period.
Photo Nelson Kon
4 x 1961(2). Vilanova Artigas & Contemporaries
Abstract:
About four buildings designed in 1961/2, situated on the American continent, sharing similarities and differences. Almost like a family. FAU-USP Building, Artigas & Cascaldi, São Paulo, Brazil; Boston City Hall, Kallmann, McKinnell & Knowles, Boston, United States; CEPAL Building, Duhart, De Groote, Goycolea, Santelices, Santiago, Chile; National Library, Testa, Bullrich, Cazzaniga, Buenos Aires, Argentina. Rereading them in the light of the disciplinary culture, activating the possibility of understanding them through the complex relationships they establish with their predecessors and contemporaries.
The debate focuses on the challenges and strategies that have been encountered in efforts to preserve collective housing, seen as a major issue in the contemporary sustainable agenda.Symbols of architectural, technological, and social aspirations, neighbourhoods and ensembles of Social Housing have nowadays begun to be appreciated by users and authorities, as a value being part of the current city. The obsolescence of these big complexes is determined on two different levels: the technical one (regarding comfort, such as thermal or acoustic, and the need for mechanical and safety improvements, as infrastructures, systems, elevators), and the functional one (involving space dimensions, organisation, orientation, and the introduction of new uses); all while complying with environmental demands following climate changes and current regulatory standards.
Today the main topics become centred on the question of how to keep these large structures alive, while meeting contemporary indoor and outdoor standards of comfort? Characterized by adventurous experiments in the use of new materials and techniques, green space creation and gender changes, the aim is to envisage the transformation necessary to assure the future of these complexes.
Arch. Flavia Rinaldi -Infrastructure and Architecture ex Manager in Urban Regeneration Direction, Environment and Public Space Ministry, Buenos Aires City Government.
Juan Vaca
Claudio Vasquez – PUC
Date: 31/10/2023 11:00 am
Date details: Santiago Chile 11:00 hrs (UTC – 3)
House studio for Artists. Bonet, Vera Barros, and López Chas.
Description
Artists’ ateliers in Buenos Aires, Argentina.
Abstract:
In 1938 Antonio Bonet, Horacio Vera Barros and Abel López Chas designed “Casa de Estudio para Artistas” in Buenos Aires, Argentina. They were members of Grupo Austral -local avant-garde group- concerned with Rio de la Plata modern architecture, landscape and urbanism. They proposed an unusual program for a 1930´s building seven ateliers combined with independent stores.
Since 2012, the building has been the object of interventions whose goal was to consolidate the city center’s urban landscape by revaluing existing historic buildings while incorporating modern concepts of urban sustainability, walkability, environmental protection and enjoyment of public space.
The intervention of this exceptional building is one of the first conservative actions addressed by a public office on the modern heritage assets in Buenos Aires City. This project motivated a series of historical investigations that supported the restoration process and allowed us to read the work from different analysis levels. The presentation addresses the facade’s restoration process and the building’s revalorization.
Image created by the author
Le Corbusier’s design for Maison Errázuriz in Zapallar, Chile
Abstract:
Le Corbusier visited South America for the first time between September and December 1929, when he visited Buenos Aires, Montevideo, Asunción, Sao Paulo and Rio de Janeiro. In Buenos Aires, the Chilean diplomat Matías Errázuriz Ortúzar (1866-1953), formalized the second commission that the Le Corbusier-Jeanneret office received from South America. It involved the construction of a summer house in Zapallar, an exclusive seaside resort located on the central coast of Chile. This commission had, from every point of view, a complicated configuration; architects in Paris, France; client in Buenos Aires, Argentina; and work in Zapallar, Chile. Finally, the Project was not built, however, it reached a relevance that the architects themselves attributed to it in publications, exhibitions and events.
This presentation will show the circumstances of the commission, the characteristics of the project and will interpret its relevance as a piece within the work of the Le Corbusier-Jeanneret office.
Dra. Arq. Sonia Mercedes Fuentes Padilla. Professor Faculty of Architecture, University of San Carlos, Guatemala. Docomomo Guatemala.
Carlos Eduardo Comas. Universidade Federal do Río Grande do Sul – Docomomo Brasil.
Date: 24/10/2023 11:00 am
Date details: Santiago Chile 11:00 hrs (UTC -3)
Guatemala Civic Center (2019), Sonia Fuentes
The consolidation of Modernity in Guatemala: the Civic Center
Abstract :
Throughout the years, architecture in Guatemala City was predominately colonial until a series of earthquakes in the early 1910s destroyed most of the city. Between 1920 and 1940, there was this transition in the city’s morphology, and new materials were used to rebuild, so modernity and industrialization began to emerge in Guatemala. Colonial center needed to be renewed and decentralized, so the Civic Center was designed and constructed in the new areas in the south of the city. The City Centre is known as the consolidation of modern architecture in Guatemala. The four buildings of the first phase -Municipality of Guatemala, Guatemalan Social Security Institute IGSS, Bank of Guatemala, and National Mortgage Bank CHN- are already cataloged as national heritage since they were designed by Guatemalans and integrated art and architecture. Considering all the architectonic and cultural values and as an initiative of Docomomo Guatemala, the Ministry of Culture created the Technical Committee for the preservation, and because of their work, the Civic Center was declared a National Cultural Heritage of the Nation. The declaration is the first step before it can be considered for the indicative list and then to be eligible to become a World Heritage Site.
Image Credits: Marcel Gautherot/IMS. Aerial View Three Powers square, Brasilia, Brazil 1960.
Beijing – Brasilia: a match of two squares
Abstract:
The contemporariness as well as the programmatic and formal similarities of the Plaza of the Three Powers in Brasilia (by Lucio Costa and Oscar Niemeryer) and Tiananmen Square in Beijing (by Liang Sicheng, Lin Huiyin, Yang Tingbao, XU Yinpei, and others) have escaped notice so far. Yet, they demonstrate in a very vivid way the complicated relationships between architecture and politics as well as between progressive and conservative values regarding the nature of modernity and its architectural expression.
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