Abstract
The essay is part of an ongoing research work about the heritage of modernism, especially the relationship between material, information and message — projected on the genesis of values and a cultural practice of modern reuse, not least on our present legacy and an upcoming circular society. It examines narratives and developments of modernism, concerning the built environment and industry production, to question modern general principles, systems of values and socio-cultural interrelations. The examination is experimentally grounded on projects both in experimental architecture and discourse, which operate across research, practice and conceptual art — referring to the Bestandsverpflanzung (2008) and the current work with Bauhaus reuse from 2019.

Keywords
Modern Movement, Modern architecture, Architectural education, Bauhaus, Reuse, Rehabilitation of modern architecture, Modern building materials.

Issue 61
Year 2019
Pages 50-59
DOI: https://dx.doi.org/10.52200/61.A.6A4Z09OO

Abstract
The importance of Bauhaus to Lina Bo Bardi is herein analyzed from two perspectives. One that follows her trajectory from the industrial design course she taught at MASP to its critique, searching in the Brazilian Northeastern popular culture for sources of renewal. The second one focuses on the project of adapting a factory to be used as a leisure center in São Paulo. In addition to valuing the rationality of the factory architecture built in the first phase of Brazilian industrialization, its preservation encompassed, in order for the building to be used for leisure purposes, interventions that altered the disciplinary attributes of the space. The design was conceived as part of the architecture, discarding its serial reproduction.

Keywords
Modern Movement, Modern architecture, Architectural education, Reuse, Bauhaus, Brazilian modern architecture, Lina Bo Bardi, Pompeia Leisure Center.

Issue 61
Year 2019
Pages 42-49
DOI: https://dx.doi.org/10.52200/61.A.3XCZIE4V

Abstract
Aldo van Eyck design experiences engendered the development of broader architectural concepts, many of which he further developed in his writings. Aldo van Eyck used various forums to attack an impoverished functionalism that was devoid of qualities such as ambiguity and reversibility. In the history of architecture, it is rare for architects to reflect on their own work, but design and research, writing and building were intrinsic to Aldo van Eyck. He kept on looking for a formal vocabulary to bring the multiple and the general into order and harmony through his architectural assignments. When he set to work at the Amsterdam public works department the opportunity to regenerate the vacant urban spaces in the city arose through the design of an intricate network of playgrounds. This essay will focus on the architectural qualities of these playgrounds.

Keywords
Modern Movement, Modern architecture, Architectural education, Reuse, Bauhaus, Playground architecture, Aldo van Eyck, Public space.

Issue 61
Year 2019
Pages 30-41
DOI: https://dx.doi.org/10.52200/61.A.N2T5PK5P

Abstract
In the early 1930s, Modernism became the normative style of architecture in Tel Aviv. This was due to the architects who operated in Tel Aviv, from all over Europe, including architects who studied at the Bauhaus. This essay will discuss how Modernist Tel Aviv evolved from the “White City” (UNESCO World Heritage Site) to the “Bauhaus City”, and how these myths, constantly being reinvented, have contributed to the city’s resilience, which has enabled urban and architectural conservation.

Keywords
Modern Movement, Modern architecture, Architectural education, Reuse, Bauhaus, Israeli modern architecture, Modern urban planning.

Issue 61
Year 2019
Pages 24-29
DOI: https://dx.doi.org/10.52200/61.A.7PDJTAIW

Abstract
This essay evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Walter Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Walter Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to “make history” for themselves. What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to 20th century Modernism? It is undeniable that there is a concerted effort among contemporary historians to complicate the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.

Keywords
Modern Movement, Modern architecture, Architectural education, Reuse, Bauhaus, Walter Gropius, Modern urban planning.

Issue 61
Year 2019
Pages 18-23
DOI: https://dx.doi.org/10.52200/61.A.YY72UCKW

Abstract
On the occasion of the exhibition which I co-curated at New York’s Museum of Modern Art (MoMA) with Leah Dickerman in 2009 for the 90th anniversary of the founding of the Bauhaus (and the 80th anniversary of the founding of the museum), I delved into the museum’s archives to shed light on the political context as well as the complex logistics of the museum’s earlier Bauhaus exhibition staged in 1938. The museum’s 1938 book that accompanied that important episode in the early reception of the Bauhaus in America remained the standard work on the school and its art philosophy in the English speaking world until the publication of the English translation of Hans Maria Wingler’s monumental Bauhaus in 1969. This essay, addressing the exhibition staged in New York and the misconceptions about the Bauhaus it set in motion for many years, is based on a lecture I gave at the exhibition symposium; a version of that text was published for the first time in a book of essays published in honor of one of my professors at the University of Cambridge, Jean Michel Massing, in 2016. This is a slightly modified version for the 100th anniversary of the Bauhaus, a decade later.

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

Issue 61
Year 2019
Pages 8-17
DOI: https://dx.doi.org/10.52200/61.A.XGBB50IL