scholarly journals Selman Selmanagić – „balkanski Le Corbusier“

Ars Adriatica ◽  
2014 ◽  
pp. 385 ◽  
Author(s):  
Aida Abadžić Hodžić ◽  
Antonija Mlikota
Keyword(s):  
Eastern Europe ◽  
Le Corbusier ◽  
Decorative Arts ◽  
Furniture Design ◽  
Interior Decoration ◽  
Planning Team ◽  
Post War ◽  
Education Of Students ◽  
Architectural Modernism ◽  
Different Cultures

Croatian scholarship is poorly acquainted with the life of the well-known Berlin architect, designer and professor, Selman Selmanagić. The enviable and lengthy career of this successful Bosniak and his exciting and dynamic life, intersecting with different cultures, certainly warrants attention, especially considering the contemporary research into the legacy of the Bauhaus tradition and the modes of its reception in Eastern Europe. Selman Selmanagić was the only Yugoslav who did his entire degree in architecture at Bauhaus. For twenty years he led the Department of Architecture at the Kunsthochschule in Berlin, and through his work influenced not only the education of students of architecture but of all other fields. Through his long professorial career, Selman Selmanagić marked many generations of his students and colleagues equally by promoting the idea of a single curriculum which encapsulated architecture, design, applied and decorative arts, technology and science – “totalen Architektur.” It is interesting that in the 1930s he spent some time in the Near East and that he collaborated with, among others, the studio of Richard Kauffmann in Jerusalem precisely when a significant number of his Bauhaus colleagues emigrated to the then Palestine, and when a specific variety of European architectural modernism, and through that the Bauhaus tradition, was being interpreted creatively in this region. Of particular significance was his participation in the Planungskollektiv team (the planning team), together with a number of distinguished architects, many of whom attended Bauhaus and were his colleagues in the anti-Nazi movement, from 1945 to 1950 which, led by Hans Scharoun, planned the post-war rebuilding of Berlin, where Selmanagić was at the head of the Department for the Planning of Building and Renovation of Cultural and Sports Structures, and for the Protection of Monuments (Leiter des Referats für Kultur- und Erholungsstätten-plannung). As well as working as a professor and architect, he was an urbanist, a set designer and a very successful and established designer. Some of his designs have secured him a place as one of the classic figures of twentieth-century architecture. He extensively advocated the Bauhaus ideas and aesthetics in furniture design and interior decoration. It is of particular interest that he actively took part as a main consultant in the renovation project of the Bauhaus building in Dessau in 1975.

Concepts for reconstruction of the maritime economy of the polish underground state...in the years 1940–1944

2021 ◽  
Vol 24 (324) ◽  
pp. 142-151
Author(s):  
Bogdan Chrzanowski
Keyword(s):  
Eastern Europe ◽  
Central And Eastern Europe ◽  
Economic Structure ◽  
Maritime Economy ◽  
The Republic ◽  
The Government ◽  
Post War ◽  
Set Up ◽  
Polish Government ◽  
The Military

The regaining of the country’s independence, and then its revival after the war damages, including itseconomic infrastructure – these were the tasks set by the Polish government in exile, first in Paris and thenin London. The maritime economy was to play an important role here. The Polish government was fullyaware of the enormous economic and strategic benefits resulting from the fact that it had a coast, withthe port of Gdynia before the war. It was assumed that both in Gdynia and in the ports that were to belongto Poland after the war: Szczecin, Kołobrzeg, Gdańsk, Elbląg, Królewiec, the economic structure was to betransformed, and they were to become the supply points for Central and Eastern Europe. Work on thereconstruction of the post-war maritime economy was mainly carried out by the Ministry of Industry, Tradeand Shipping. In London, in 1942–1943, a number of government projects were set up to rebuild the entiremaritime infrastructure. All projects undertaken in exile were related to activities carried out by individualunderground divisions of the Polish Underground State domestically, i.e. the “Alfa” Naval Department of theHome Army Headquarters, the Maritime Department of the Military Bureau of Industry and Trade of the Headof the Military Bureau of the Home Army Headquarters and the Maritime Department of the Departmentof Industry Trade and Trade Delegation of the Government of the Republic of Poland in Poland. The abovementionedorganizational units also prepared plans for the reconstruction of the maritime economy, and theprojects developed in London were sent to the country. They collaborated here and a platform for mutualunderstanding was found.

scholarly journals The Gilded Interior: French Style and American Renaissance

2021 ◽  
pp. 1-22
Author(s):  
Laura C. Jenkins
Keyword(s):  
United States ◽  
New York ◽  
Eighteenth Century ◽  
Gilded Age ◽  
The United States ◽  
Decorative Arts ◽  
American Renaissance ◽  
Interior Decoration ◽  
Architectural Tradition

ABSTRACT In the decades around the turn of the twentieth century, New York was seized by a passion for things French in interior decoration. The influx of French eighteenth-century decorative arts from London and Paris exerted a powerful influence over the imaginations of a new millionaire class, while the emergence of the professional dealer-decorator established channels for the incorporation of these materials into the luxury residence. While these interiors were developed in collaboration with leading US architects such as Richard Morris Hunt and George B. Post, they also posed a subtle challenge to the discourse of intellectualism developed on architects’ behalf. Governed by issues of taste and commerce as well as by artistic judgement, these French interiors presented a compelling vision of aristocratic stature that was at once in keeping, and in conflict, with the aspirations of an American Renaissance. This article considers the role of eighteenth-century French-style interiors in the articulation of a ‘civilised’ architectural tradition in the United States during the so-called Gilded Age. Focusing on the private mansion, it reconsiders the notion of the American Renaissance as a principally academic movement by calling attention to the ways in which it also responded to the requirements of the elite class as well as the commercial marketplace.

Classics of Polish Design. Post-War Polish Furniture Design.

2021 ◽  
Vol 115 ◽  
pp. 85-94
Author(s):  
Anna Różańska
Keyword(s):  
Mass Production ◽  
Life Sciences ◽  
Furniture Design ◽  
New Materials ◽  
Wood Technology ◽  
Global Trends ◽  
Industrial Designers ◽  
Post War ◽  
The Times ◽  
The Impact

Classics of Polish Design. Post-War Polish Furniture Design the paper presents a review of Polish post-war design in the times of Polish People's Republic: in the 1950s and 1960s. It is the first paper in the series of "Classical Polish Design", presenting the results of research on Polish furniture and the icons of Polish design, carried out within the framework of dissertations in the Department of Wood Technology in the Warsaw University of Life Sciences (SGGW). The paper presents two main trends in Polish post-war design, together with their background. We analysed the development of industrial design and of mass production dedicated for mass users, as well as the education system for industrial designers. We present the concept of furniture for small living spaces and the impact of global trends, availability of new materials and technological solutions on Polish furniture design.

Changing Societies: The Red House, The Hanging Tree, Spencer’s Mountain, and Post-war America

2016 ◽  
Author(s):  
Fernando Gabriel Pagnoni Berns
Keyword(s):  
Social Progress ◽  
Post War ◽  
Different Cultures

Fernando Gabriel Pagnoni Berns argues that the clash between different cultures is a key element of the films of Delmer Daves. He offers a dialectical account of these cultural clashes, suggesting that Daves dramatises social progress by conceiving it as the passage from one social stage to another that supplants, in an act of improvement, the preceding one. Through analysis of three of his films from three different decades and representing three different genres – The Red House, The Hanging Tree, and Spencer’s Mountain – Berns demonstrates the sustained and consistent authorial concern that Daves felt for the betterment of society. What was required, Daves felt, was a community constantly willing to work to achieve social concord. In this regard, Berns’ analysis is one that is contextualised in America’s post-War years, representing a period in which hope was held out for a better society.

‘Built-in variety’: David and Mary Medd and the Child-Centred Primary School, 1944-80

2012 ◽  
Vol 55 ◽  
pp. 321-367 ◽  
Author(s):  
Geraint Franklin
Keyword(s):  
Teaching And Learning ◽  
School Design ◽  
Social Aspect ◽  
Ministry Of Education ◽  
Creative Collaboration ◽  
The Social ◽  
Post War ◽  
Architectural Modernism ◽  
The Welfare State

Children are the basis of school design.(Ministry of Education Building Bulletin 1,1949, David and Mary Medd)Connections between ideas of ‘child-centred’ primary education and the design of schools were arguably closer in post-war Britain than any period before or since. These relationships provide a commentary on the role of public architecture within a British post-war social democracy that combined the social objectives of architectural Modernism with an awareness of, and continuity with, preceding reformist movements for the advancement of public health and education. The ‘social’ aspect of the post-war school-building programme stemmed not so much from the application of labour or technology to processes of building, nor even the equitable distribution of common resources, but rather from the ability of the designer to shape and articulate processes of teaching and learning within the locus of the welfare state. Social and pedagogical ends were often pursued to the almost total exclusion of architectural self-expression. If this ‘humane functionalism’ was rooted in an understanding of the activities and experiences of learning, it was dependent on a multi-disciplinary, investigative and creative collaboration between architect and educational ‘client’.

scholarly journals MODERN DESIGNS: HISTORY AND MEMORY IN LE CORBUSIER’S CHANDIGARH

2016 ◽  
Vol 40 (3) ◽  
pp. 220-228 ◽  
Author(s):  
Nabaparna Ghosh
Keyword(s):  
Le Corbusier ◽  
Careful Study ◽  
Human Beings ◽  
Architectural Discourse ◽  
Urban Modernity ◽  
Local Conditions ◽  
History And Memory ◽  
Architectural Modernism ◽  
New Generation ◽  
Jawaharlal Nehru

Located at the foothills of the Sivalik Mountains, Chandigarh was the dream city of independent India’s first Prime Minister Jawaharlal Nehru. In 1952, Nehru commissioned the Swiss-French architect Le Corbusier to design Chandigarh. Scholars often locate in Corbusier’s plans an urban modernity that required a break with the past. Moving away from such scholarship, this article will argue that Chandigarh marked a climactic moment in Le Corbusier’s career when he tried to weave together modern architecture with tradition, and through it, human beings with nature. A careful study of the cosmic iconography of Chandigarh clearly reveals that nature for Le Corbusier was more than a vast expanse of greenery: it was organized in symbolic ways, as a cosmic form emblematic of Hindu mythologies. I will argue that in addition to local conditions – economic and cultural – that impacted the actual execution of Le Corbusier’s plans, cosmic iconography shaped a modernism profoundly reliant on Hindu traditions. This iconography also inspired a new generation of Indian architects like Balkrishna Vithaldas Doshi (1927 – present). Doshi played a key role in authoring the postcolonial architectural discourse in India. Following Le Corbusier, he advocated an architectural modernism anchored in sacred Hindu traditions.

scholarly journals Modernist architects and the age of extremes in Eastern Europe, 1920-1950: Introduction

2020 ◽  
Vol 18 (4) ◽  
pp. 408-414
Author(s):  
Martin Kohlrausch ◽  
Daria Bocharnikova
Keyword(s):  
Eastern Europe ◽  
Central Europe ◽  
East Central Europe ◽  
East Central ◽  
Sociotechnical Imaginaries ◽  
The Social ◽  
Political Impact ◽  
Social Visions ◽  
Post War ◽  
Ideological Tensions

This article demonstrates the social and political impact of modernist architects in Europe’s age of extremes beyond the narrower confines of architecture. In East Central Europe with its ideological tensions, massive socio-political ruptures and eventually the establishment of communist regimes, architects’ social visions and the states’ aspirations led to intense interactions as well as strong controversies. In order to unravel these, we stress the relevance of modernism as a belief and knowledge system. In so doing we point to often unacknowledged continuities between the interwar and the immediate post-war period thus re-politicising the work of modernist architects as a project of worldmaking in the context of competing ideologies and sociotechnical imaginaries.

Communism with a Theatrical Face: STS and the Polish October of 1956

1994 ◽  
Vol 35 (2) ◽  
pp. 19-29 ◽  
Author(s):  
Kathleen Cioffi
Keyword(s):  
Eastern Europe ◽  
Complex Network ◽  
Communist Party ◽  
Human Face ◽  
Free Markets ◽  
Communist System ◽  
The World ◽  
Alternative Theatre ◽  
Post War ◽  
Cultural Niche

Communism was not always hated and feared by everyone in Eastern Europe. At a certain moment in recent post-war history, a group of influential intellectuals in Poland—now a place where even ex-communist politicians are careful to swear their allegiance to free markets—wanted to reform but still keep a Communist system. That moment was the Polish October, named for the month in 1956 when Wladyslaw Gomulka, a man who believed in a “Polish road to socialism,” took power as First Secretary of the Communist Party. Just as the Czechs in 1968 believed in “socialism with a human face,” the Poles in 1956 believed that Communism could be, in the jargon of their day, “revised” to better fit people's needs. The Polish October was the result of a complex network of events beginning with Stalin's death in 1953, coming to a climax with workers' strikes in June, 1956 in Poznan, and ending in Khrushchev's acquiescence to Gomulka's election in October, 1956. During this period, one of the important contributors to the intellectual ferment that led to the October, the theatre group Studencki Theatr Satyryków or STS, established a cultural niche for alternative theatre that mocked the Communist system and led to one of the most political, vital alternative theatre movements in the world.

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