Abstract
For George Everard Kidder Smith, the Protestant Church at Altstetten (a former Zurich suburb, integrated in 1934) was “unquestionably the finest Modern church in Switzerland, and possibly anywhere else”. In his famous anthology of Swiss architecture from 1950, he points out that it embodies on the one hand “almost all the church building philosophy which both the protestants and catholics have sought: one room of simplicity and dignity, binding the pulpit and the altar to the congregation in respectful unity”. On the other hand, he was interested in the fact that the church, built on the edge of a low hill, seeks a subtle relationship with an old village church that the congregation had outgrown. Instead of destroying it, Moser “carefully preserved and related it to the new by the angle and space relation between them and by the repetition of a mutual eave height.” With a few words, Kidder Smith succeeded in capturing the double interest that Moser’s building represents even today. As a matter of fact, the church center’s interiors are, as well as the exteriors, wonderfully calibrated, fragile compositions that fascinate us for their typically undogmatic combination of modern and conventional materials and (decorative) forms, but also for Moser’s informal but precise dealings with the architectural heritage. It is immediately understandable that renovating and extending this building complex was quite a challenge.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Werner Max Moser, New Altstetten Church, Modern churches, Swiss modern architecture.

Issue 47
Year 2012
Pages 46-51
DOI: https://dx.doi.org/10.52200/47.A.6UL46N48

Abstract
Since its very beginning, the design of educational spaces is strongly connected with issues on pedagogy, hygiene, order and discipline, collective identity (hence with history, traditions, modernity and innovation). To materialize the concept of global design, seeking formal coherence and a close functional and ideological articulation between all components, furniture design is fundamental as is the role of fine arts. Addressing the relationship with the context implies considering the links established with all other objects which form the school system in its several degrees (nursery, primary, secondary, superior) and scales (the neighbourhood, the city, the country).

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Modern schools, Portuguese modern architecture.

Issue 47
Year 2012
Pages 42-45
DOI: https://dx.doi.org/10.52200/47.A.PW2JKMKG

Abstract
Even more than eighty years after its inauguration in 1930, Jan Duiker’s ‘First Open Air School for the Healthy Child’ in Amsterdam remains in use as an elementary school for the education of children between 6 and 12 years old. The building has recently undergone substantial restoration works, including some changes that were necessary to keep up with current regulations. Some 1950s interventions have been retained which posed particular challenges regarding the colors and finishes. The clear cut appearance of the building seems to ignore the complexity of the design decisions that had to be made to grant this building a second lease of life. Restoration architect Sander Nelissen (Wessel de Jonge architects, Rotterdam) and architectural paint researcher Mariël Polman (Cultural Heritage Agency) worked closely together on the restoration of the building and its interior.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Jan Duiker, Open Air School, Modern schools, Amsterdam modern architecture, Conservation of modern architecture.

Issue 47
Year 2012
Pages 34-41
DOI: https://dx.doi.org/10.52200/47.A.4LYGANH7

Abstract
In the post-war disciplinary discourse, the theme of architecture as a synthesis emerges evoking the idea of gesamtkunstwerk, this time associated with society’s collective spaces. This debate sought the integration of functionalism with a more humanist approach as an attempt to bring together architecture and society. Using as support two projects designed by Portuguese architect Alberto Pessoa (1919-1985), this text will explore the architect’s design of furniture as a fundamental token in the search for a Modern global design, to discuss one instance of how the idea of modern architecture as a synthesis of several disciplines was pursued.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Total work of art, Alberto Pessoa, Portuguese modern architecture.

Issue 47
Year 2012
Pages 28-33
DOI: https://dx.doi.org/10.52200/47.A.G35DJ6X3

Abstract
Nearly fifteen years after the beginning of the first systematic documentation works in the so-called “Masterhouses” in Dessau and actually with a distance of six years time since the inauguration of the restored “Bauhaus” school-building it seems to be useful to draw a critical résumé for further leading discussions. This is especially desirable because the guidelines, the methods and the strategies developed and finally realized during the conservation works were at the time without doubt at an experimental state.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Bauhaus, Conservation of modern architecture.

Issue 47
Year 2012
Pages 20-27
DOI: https://dx.doi.org/10.52200/47.A.T5I34TMT

Abstract
The relevance of the Bauhaus and the Ulm School of Design to the development of a global design is widely acknowledged. With the inclusion of the Bauhaus on the UNESCO list of World Heritage sites, this received worldwide recognition, and thereby acknowledged not only the architecture, but also the pedagogical concept. Since a comprehensive analysis of the pertinent issues far exceeds the parameters of this contribution, I would like to focus on two aspects: a brief exposition of the Bauhaus building and the Ulm School of Design as built manifestoes of their pedagogical concepts and the dissemination of these concepts by the institutions’ students and educators.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Bauhaus, Ulm School of Design, Architectural education.

Issue 47
Year 2012
Pages 12-19
DOI: https://dx.doi.org/10.52200/47.A.FOKO3WUN

Abstract
Interior design had a major relevance for Modern Movement and Modern Living. Actually, for the fully understanding and experiencing of Modern spatiality, interior design is determinant. Furthermore, the study of interiors is now marked by an increasing interest, with recent literature that emphasizes interior spaces globally and summons architecture, design and fine arts in an interdisciplinary approach. Despite all this, interior design is still a subject that requests a more in–depth study and a more extended debate in order to improve appreciation, understanding and preservation. Questions like modernity, privacy, efficiency, economy, comfort, utility, beauty in daily life or consumption need to be discussed when talking about interior space design. Product design, new materials and techniques, equipment and devices also have to be considered.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Modern living, Total work of art.

Issue 47
Year 2012
Pages 10-11
DOI: https://dx.doi.org/10.52200/47.A.M5ZPGG2V

Abstract
In the mid–1950s, British architects Maxwell Fry and Jane Drew were among the leading figures behind the institutionalization of the Tropical Architecture field, contributing to the proliferation of publications, international conferences and establishment of academic centers. During the same time, the global shortage of housing and United Nations’ development agendas for the “third world” brought a shift in planning priorities. Focusing in that particular moment, the paper traces the efforts for the de–tropicalization of Africa and planning practice alike, through the research activities of the Athens–based firm Doxiadis Associates and the writings and visions of Greek architect Constantinos Doxiadis.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Design with climate, African modern architecture, Maxwell Fry and Jane Drew, Constantinos Doxiadis, Urban development.

Issue 48
Year 2013
Pages 76-82
DOI: https://dx.doi.org/10.52200/48.A.5QVA2FOS

Abstract
Otto Koenigsberger is considered a pioneer in researching specific models and technical solutions for architecture and planning in the tropics. Educated within the core of the European Modern Movement, under the mentorship of Hans Poelzig, Bruno Taut and Ernst May, Koenigsberger moves away from the ideal and expressionist realm to the real and specific context whilst working in India. This non–western experience triggers an interest in developing countries, mainly tropical ones. In 1954, Koenigsberger conceives a new course on Tropical Architecture at the Architectural Association in London, followed by a great number of architects, such as the Portuguese Luís Possolo, António Seabra and Schiappa de Campos, who would apply their learning in the countries of “Portuguese Africa”, as it was formerly known.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Design with climate, African modern architecture, Otto Koenigsberger, Tropical architecture teaching.

Issue 48
Year 2013
Pages 70-75
DOI: https://dx.doi.org/10.52200/48.A.859CKS27

Abstract
Seminal publications on West African Architecture such as Kulterman’s New Architecture in Africa and the Architectural Review’s New Commonwealth Architecture came to define the African Modern Movement as it was understood internationally. This paper explores the specific context within which this new architecture developed and the actors that helped to shape it. Vaughan–Richards’ Ola–Oluwakitan House and Cubitt’s Elder Dempster Offices are analyzed in terms of their engagement with the socio-cultural context in which they were conceived, the site-specific Modernity of the former contrasting the corporate International Style response of the latter.

Keywords
Modern Movement, Modern architecture, Tropical architecture, Design with climate, African modern architecture, Alan Vaughan-Richards, Ola–Oluwakitan Cottage, James Cubitt, Elder Dempster Offices, Nigerian modern architecture.

Issue 48
Year 2013
Pages 62-69
DOI: https://dx.doi.org/10.52200/48.A.8ZFOUFGC