Abstract
“Chochikukyo” (1928) is the fifth residence designed by and for the architect Koji Fujii (1888-1938). As a result of his research on environmental engineering at Kyoto University, “Chochikukyo” presents the ideal form of a universal “Japanese house” that suits the climate of Japan as well as the sensitivity and lifestyle of the Japanese people. In 1999, “Chochikukyo” was selected as one of the twenty best docomomo buildings to represent Japanese modernist architecture, and in 2017, it was designated as a National Important Cultural Property which was the first time for an architect’s own house built in the Showa period (1926-1989).

Keywords
Modern Movement, Modern architecture, Modern single-family houses, Modern living space, Architecture of happiness, Koji Fuji, Chochikukyo, Timber architecture, Japanese modern architecture.

Issue 64
Year 2021
Pages 10-17
DOI: https://dx.doi.org/10.52200/64.A.YKIFL76A

Abstract
1948-49 were key years for the reaction of the Museum of Modern Art’s newly amalgamated Department of Architecture and Design to respond to the rising discourse on the “Synthesis of the Arts.” The response was indirect and took the form of MoMA assessing the progress of modern architecture that it had been describing and forecasting for fifteen years. The exhibition “From Le Corbusier to Niemeyer, 1929–1949” was part of a larger assessment of the fate of the international style and of the interaction between abstraction in painting and sculpture and in architectural design, a theme laid out by Alfred Barr and Hitchcock in the 1948 book Painting Toward Architecture. Niemeyer’s unbuilt Treamine House, designed with Roberto Burle Marx, was upheld as a synthesis not only of the arts but of the movements coalescing towards a postwar abstract consensus.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Museum of Modern Arts, Synthesis of the arts.

Issue 42
Year 2010
Pages 110-113
DOI: https://dx.doi.org/10.52200/42.A.TLVMHUCY

Abstract
Max Bill was an important reference in the field of art and architecture in Latin America. Unlike the synthesis of the arts, Max Bill was proposing a program based on “concrete art” and the idea of gute form, which sought to provide a common principle to the built environment that would guarantee its formal quality and harmony. This point was central to the reception of his ideas in Argentina. It was largely Tomás Maldonado who introduced these ideas. He presented Max Bill as a “total artist”, a sort of premonition of the “man of the future”, endowed with a capacity of coherence that would allow the synthesis not of the arts, but that of the artistic product with mass production.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Max Bill, Latin American modern architecture, Concrete art.

Issue 42
Year 2010
Pages 100-109
DOI: https://dx.doi.org/10.52200/42.A.STR8TDH8

Abstract
In the light of contemporary architecture, last century’s emblematic ‘artist-architect’ may appear at once disquietingly prophetic and almost surrealistically antiquarian. This essay explores the hypothesis that Le Corbusier’s ultimate passion was the museum, and his ultimate dream that of being assigned a key place in the history of art. Though this may sound simple enough - perhaps trivial - it may help re-organizing a very well-known (but also partly unknown) body of knowledge on the master and to understand better the paradox of the continuing presence in current architectural discussions.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Le Corbusier, Archi-sculpture, Synthesis of the arts.

Issue 42
Year 2010
Pages 90-99
DOI: https://dx.doi.org/10.52200/42.A.9QDJIPBO

Abstract
In the decades after World War II there was much discussion about the need for collaboration between the architect and artist either as embodied in one or as distinctly different creative talents working closely but creatively independently together. Many saw little actual collaboration and questioned the relationship artistically or saw art as a cover for otherwise bland architecture. However, architects like Wallace K. Harrison, Gordon Bunshaft, and others worked regularly with artists like Josef Albers, Isamu Noguchi, Gyorgy Kepes or Richard Lippold. While many of those art installations remain today, they are under constant pressure because of real estate changes, renovations or simply neglect.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Public space, New York modern architecture.

Issue 42
Year 2010
Pages 78-89
DOI: https://dx.doi.org/10.52200/42.A.6ISNHKDW

Abstract
Painting, architecture and landscaping have never been so well incorporated in one person as in Roberto Burle Marx. His painter skills enabled Roberto Burle Marx to apply deep thorough pictorial principles to the landscape, thus avoiding other approaches made by pioneers who literally transposed cubist or abstract art, which almost resulted in caricatures. His botanical knowledge allowed him to discover new species in regard to their individual beauty and to their proper integration in ecological environments, which provided adequate choices of harmonious systems in terms of their aesthetics and their good survival in the new garden habitat.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Roberto Burle Marx, Modern painting, Modern gardens, Modern landscapes.

Issue 42
Year 2010
Pages 66-77
DOI: https://dx.doi.org/10.52200/42.A.J1FE0N0P

Abstract
The text registers and discusses the affinities between the transparency of a branch of modern sculpture and the characteristic porosity of Brazilian modern architecture, placed in the broader context of the exchange between architecture, painting, sculpture and construction in the twentieth century.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Transparent sculpture, Porous architecture, Brazilian modern architecture.

Issue 42
Year 2010
Pages 56-65
DOI: https://dx.doi.org/10.52200/42.A.TF7Z3LRE

Abstract
The arts bear witness to the cultural meaning of each period; we can discover the features that marked a historic individuality thanks to them. The more they demonstrate the union of concept or formal participation between them, the more clearly the social axis around which the man/culture duality revolves unfolds itself. The presence of this axis favours the agglutination of artistic expression. What is more, the unity of human content is fertile and a necessary condition so that the total integration flourishes. Architecture, painting, sculpture and technique combine around a common aim, around a collective purpose. The coming together of objectives facilitates the plastic synthesis.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Carlos Villanueva, Integration of the arts, Venezuelan modern architecture.

Issue 42
Year 2010
Pages 53-55
DOI: https://dx.doi.org/10.52200/42.A.SXIGO0SV

Abstract
When Villanueva worked in the Integration of the Arts project for the Ciudad Universitaria de Caracas, he moved from the idea of ‘synthesis of the arts’ (where arts “preserved their traditional features in order to qualify something whose existence was prior to them and of which architecture was the previous framework”) to the idea of ‘integration of the arts’, which “created a new architectural–sculptural–pictorial organism which did not express hierarchy but the formal combination of the functional and the spatial as equal categories,” he took a transcendental step to open his architecture to experimentation in the field of modern art.

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Carlos Villanueva, Ciudad Universitaria de Caracas, Integration of the arts, Venezuelan modern architecture, Urban art.

Issue 42
Year 2010
Pages 46-52
DOI: https://dx.doi.org/10.52200/42.A.SBSUOF7N

Abstract
One of Alexander Calder’s largest artworks can be found in Venezuela, at the University of Caracas. It is the result of a unique collaboration between an architect, an acoustician and an artist. The university’s great fan shaped auditorium, designed by Carlos Villanueva in 1953, proved to be acoustically problematic and the engineer therefore proposed a solution with interior claddings. This was rejected, however, because it would radically change the shape of the hall. Finally, Alexander Calder was approached. He came up with an innovative installation consisting of 30 reflectors shaped as flying saucers and suspended from the ceiling

Keywords
Modern Movement, Modern architecture, Art and architecture, Modern art, Alexander Calder, Carlos Villanueva, University of Caracas Auditorium, Acoustic, Venezuelan modern architecture.

Issue 42
Year 2010
Pages 44-45
DOI: https://dx.doi.org/10.52200/42.A.LTFH6JET