Abstract
In 1937, CIAM 5 specifically linked the housing question to leisure, considering it an absolute necessity to acknowledge that the most privileged places will be chosen for the location of these leisure areas. Taking possession of these places by large masses will allow for rest and outdoor exercise, the indispensable recuperation of the forces lost in the city. As Charlotte Périand (1903–1999) asserted, the need to create machines à recréer, the goal was definitively to assure “the happiness of men”. From the first optimistic architectural swimming-pool complexes to discovering the enjoyment of beaches or of winter sports in the mountains, these “architectures of the Sun” began to link the power of landscapes with the relaxation and pleasure of the human body. Associated with healthy living and claimed for all, for the first time, the beaches, mountains, lakes and forests became identified as places for vacations.

Keywords
Modern Movement, Modern architecture, Holiday architecture, Leisure architecture, Tourism modern architecture, CIAM, Eileen Gray.

Issue 60
Year 2019
Pages 2-3
DOI: https://dx.doi.org/10.52200/60.A.IU28TYMD

Abstract
Louis I. Kahn fascinate us all with his passion for Mediterranean culture. Precisely at the moment when the center of the dominant culture moved from Europe to North America, he was able to immerse himself in the Roman brick structures of the great classical buildings, interpreting the timeless forms of antiquity. When the glass curtain of the bureaucratic International Style became trivialized, he turned to the archaic sources of architecture to discover light, matter and desire, in the pyramids of Gis. or in the ruins of the Caracalla Baths. Kahn is a unique case in the history of 20th-century architecture: he introduced the question of monumentality, a matter heretical to the Modern Movement, and emphasized the value of permanence, and the tectonic character and materiality of constructive elements. He was able to read History creatively, interpreting the permanent value of the monuments for the community and rescuing their public sense of place. Posing questions such as “what do you want, brick?” or “does the inside of a column contain a promise?”, he produced an impressive body of work and a doctrine with originality, often appearing philosophical, poetic or even mystical. Moving away from dogmas, but never losing the functional and constructive sense of modulation, he broke the systematic use of fluid space and reintroduced a sense of ritual and the value of solemnity, while achieving the most suggestive syntheses between modernity and tradition, as Otávio Paz recognized, between the use of technique and memory.

Keywords
Modern Movement, Modern architecture, Louis Kahn, Modern monumentality, Conservation of modern architecture.

Issue 58
Year 2018
Pages 2-3
DOI: https://dx.doi.org/10.52200/58.A.3GAWCFE7

Abstract
While visiting the MAO (Museum of Architecture and Design) in Ljubljana one can appreciate the architectural power of Stanko Kristl’s work. The impressive buildings of this Slovenian architect revealed through the exhibition "Humanity and Space", illuminate the beauty of the museum space with some astonishing works and show why Eastern Europe deserves to be included in the historiography of the Modern Movement, to clearly demonstrate the contribution of Iron Curtain countries to the modern avant-garde. As Matevz Celik recognizes, “through his architecture he worked to provide responses to the needs of the people — for whom it was intended. This basic premise served as a guiding principle in experiments and his search for spatial and social innovation in architecture."

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture.

Issue 59
Year 2018
Pages 2-3
DOI: https://dx.doi.org/10.52200/59.A.VHVQPXAS

Abstract
The Bauhaus had a pioneering influence on design worldwide which still endures today; through education, experimentation and materialization, a revolution took place in architecture, urbanism and design for mass production. In 1918, during the immediate post-war period, Walter Gropius (1883-1969) achieved a fusion between the Kunstgewerbeschule and the Hochschule fur Bildende Kunst in Weimar, with the creation of an interdisciplinary school of design and crafts. In April 1919, he was elected director of the school which was by then called the Staatliches Bauhaus. He also published the Bauhaus Manifesto, which remains as a pioneering moment in history, with irreversible consequences at a global scale. The Bauhaus as a school, as a method of experimentation, education, and research, embodies the idea of science applied in service of the society. At the Bauhaus, utopia was combined with pragmatism, agitation and propaganda with public service, poetry with utility, Neue Sachlichkeit with creation and freedom. Its premises continue to be relevant today with the great issues of sustainability and democracy needing to be addressed through art and technology.

Keywords
Modern Movement, Modern architecture, Architectural education, Reuse, Bauhaus.

Issue 61
Year 2019
Pages 2-3
DOI: https://dx.doi.org/10.52200/61.A.5D5SBH9L