Abstract
Robert Maillart’s innovative views concerning the use of concrete come within the scope of the history of structures, structural materials and concrete as a material of structure. It will even lead us far beyond these issues. At the end, the point of view expressed in this article will be the view of a structural designer. When preparing this reflection, I realise that there is no straightforward answer to the question: “What is in fact Maillart’s real innovation considering all the contributions he made to the art of engineering?” Putting forward the different aspects mentioned above as an introduction seems to be a more relevant way to find a contemporary answer taking time and context into account. Consequently the first part of this text is a general presentation of Maillart’s works. Following we will make a detour to make what I, and many others, consider to be the most revolutionary aspects of Maillart’s practice fully comprehensible. So starting from the historical development of reinforced concrete as a structural material, we will move to the contemporary context to figure out how the intrinsic structural complexity of concrete is managed today. We will see that some difficulties emerge from the behaviour of concrete in relation to the classic theories of mechanics. If some Modern theories find an answer to the problem, it will become obvious that Maillart had already found a convincing way of dealing with these difficulties. We will then return to Maillart’s works to answer the question through the status he was to give concrete when it came to structural design and the methods he used to achieve his objectives. I hope this will lead us to consider Maillart’s approach as one of the most visionary ever devised.

Keywords
Modern Movement, Modern architecture, Modern bridges, Modern infrastructures, Modern engineering, Modern reinforced concrete structures, Robert Maillart, Swiss modern bridges.

Issue 45
Year 2011
Pages 12-21
DOI: https://dx.doi.org/10.52200/45.A.C9UKI0F3

Abstract
The engineer is an inseparable part of the Modern Movement. He has fulfilled its request of working unprejudiced. But he was driven to his most magnificent works by a mental concentration on technique excluding many other influences. Therefore, John Ruskin called the engineer a human beaver. Rarely the ambition of synthetic Modernism to suspend the difference between culture and civilization was converted. In the writer’s opinion, this is no reason to abandon this ambition and engineers should keep up the Modern tradition and continue to work on it.

Keywords
Modern Movement, Modern architecture, Modern bridges, Modern infrastructures, Modern engineering, Architecture and engineering.

Issue 45
Year 2011
Pages 8-11
DOI: https://dx.doi.org/10.52200/45.A.SFYTYEWF

Abstract
At present, it is by no means an exaggeration to say that innumerable bridges and infrastructures are able to bring us to the end of the earth, whether these are monuments, scattered in a remote area, recognized or not. situated where mankind intensively has made its effort to extend daily circles of life till the present day. Humans have always been on the move, in primitive ages they went up the hill and down the dale, over and beyond mountains, across streams and wherever obstacles had to be crossed, bridges and roads skilfully came into their hands. Emerging directly on the ground, as fruit of empirical and intuitive knowledge; as comprehensive static and dynamic engineering, state of the art science and creative use of information.

Keywords
Modern Movement, Modern architecture, Modern bridges, Modern infrastructures, Modern engineering.

Issue 45
Year 2011
Pages 4-7
DOI: https://dx.doi.org/10.52200/45.A.UA6JUGL4

Abstract
German industrial designer Dieter Rams has turned eighty this year. His attitude towards product and industrial design, which he has been developing since the 1950s, once again arouses keen interest today. On the occasion of his birthday, a major German daily news paper saw in him the representative of a "present–day Modernism that is not as megalomanic as that of the 20s, 30s and 50s" and also not "the adolescent unleashing that we erroneously call Postmodernism." A revision of Postmodernism or, more correctly, a new "revision of Modernism", certainly seems to have come to stay. Konstantin Grcic, undoubtedly the most prominent German designer active today, wrote in the same newspaper one day before: "the product lines that Rams developed for the Braun and Vitsoe corporations have founded our notion of representational form and function. The once - from the pre–Grcic generation - so-called cool technocrat Dieter Rams, has now been rediscovered by virtue of his "almost romantic look at the manufacture of products.""

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Dieter Rams, Modern industrial design.

Issue 46
Year 2012
Pages 68-75
DOI: https://dx.doi.org/10.52200/46.A.ERBGMDKW

Abstract
The city of Ostend became severely damaged during World War II. Practically all the main public buildings were destroyed: the City Hall, the Casino, the Horse Race–Track, the main Post Office building, etc. The city decided to rebuild a new Post Office on the location of the first construction. In 1945, architect Gaston Eysselinck (1907–1953) from Ghent was assigned to design the new main Post Office (PTT), including the telephone and telegraph offices (RTT) and the technical infrastructure. The project in Ostend was his first big assignment.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Gaston Eysselinck, Ostend Post Office Building, Belgian modern architecture.

Issue 46
Year 2012
Pages 60-67
DOI: https://dx.doi.org/10.52200/46.A.E80SY5CT

Abstract
The idea of design came about, following various approaches, at the end of the 1920s in the last century. The design and production of furniture and household appliances, as part of the work of a specialist, is an experience that evolved from the Bauhaus and wanted “to serve in the development of present day housing, from the simplest household appliance to the finished dwelling”, as Walter Gropius explained in 1927 in the Principles of Bauhaus Production. Other architects like Hugo Haring, in 1927, talked about “objects that are on the one hand works of art, and on the other are intended for use”, while 24 architects headed by Le Corbusier founded the CIAM in 1928 and sated “the need for a new conception of architecture that satisfies the spiritual, intellectual and material demands of present day life”. This was the atmosphere laid out by the avant–garde movements in Europe when Clara Porset arrived in Paris to pursue her graduate studies in art and architecture.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Clara Porset, Mexican modern design.

Issue 46
Year 2012
Pages 54-59
DOI: https://dx.doi.org/10.52200/46.A.43MA5JKE

Abstract
Anything seemed possible within the spirit of the postwar era. It is often noted that Charles and Ray Eames advocated the principles of Modernism through the adaptation of innovation from wartime technology. Undoubtedly, Charles and Ray Eames were pioneers who gave shape to America’s 20th century through the pursuit of industrialization, including their influence in the process of prefabricated mass production and residential construction. Their lives and work are significant not only due to their innovative furniture but also because of the internationalization and global expansion of American culture through their contributions to architecture, film, and industrial and graphic design.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Charles and Ray Eames, USA modern architecture, Prefabrication in architecture.

Issue 46
Year 2012
Pages 48-53
DOI: https://dx.doi.org/10.52200/46.A.GIECAHQ3

Abstract
Nowadays, the emphasis in the design of exposition pavilions is mainly full of pseudo–technical or rhetorical ideas of progress. Nevertheless most of them do not communicate a vision. They show a lack of spatial qualities and continuity with the built environment. In general, there is not a common conservation agenda to adapt or reuse exemplary Modern Pavilions. Some emblematic cases are haunted icons, a consequence of undocumented, incorrect or simply fake reconstruction, whilst others are victims of neglectfulness and degradation. Nevertheless, what can we still rediscover by reviving or reconstructing Modern Movement Exposition pavilions? During the 1930s, pavilions were not only visionary and experimental manifestations of living systems but were also temporary and fast–built showrooms disseminating a cultural or ideological message.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Metsäpaviljonski, Alvar Aalto, Modern exposition pavilions, Finnish modern architecture, Wood architecture.

Issue 46
Year 2012
Pages 42-47
DOI: https://dx.doi.org/10.52200/46.A.E19KW0YB

Abstract
Artek was founded in November 1935. The name of the company, Art + Technology, reflects its objectives and methods of operation. The intention was to offer to its wide range of customers, practical, economical, hygienic and above all Modern furniture that reflected its own time. The furniture was to represent the values of an urban and efficient lifestyle. In the company’s founding meeting on 26.11.1935, Maire Gullichsen and Alvar Aalto became the main shareholders. Other shareholders were: Nils–Gustaf Hahl, Artek’s first managing director; P.W. Puhakka, the managing director of Huonekalu- ja Rakennustyötehdas, the company that produced the furniture designed by Aalto; Aino Marsio–Aalto; architect Aili–Salli Ahde; professor Carl Hahl; and architect Arne Ervi.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Alvar Aalto, Artek, Finnish furniture design.

Issue 46
Year 2012
Pages 36-41
DOI: https://dx.doi.org/10.52200/46.A.1VT1MFZF

Abstract
When looking at the development of Modernism in Finnish furniture design from abroad the conventional image is Alvar Aalto´s Paimio chair descending in 1931 into a desert of traditionalism and starting a new, bright era of Modernity. This cliché is partly, but only partly true. In the following I will outline some major trends in design, use of materials and techniques of production in Finnish furniture before World War II.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Finnish furniture design.

Issue 46
Year 2012
Pages 32-35
DOI: https://dx.doi.org/10.52200/46.A.JXXTSXNI