Abstract
Villa Tugendhat is an expression of “gesamtkunstwerk”, where every detail is subordinated to the whole. Mies van der Rohe devoted the same amount of attention to the furnishings of the house as to its design. The furniture designed and placed according to his conception is such an important aspect of the house that without it the Villa is only half complete. The system governing the organization of all parts of the building – ratios, proportions, whole areas and details – is visible also in the precise placement of the house contents, which only allowed the owner limited variability in the use of space. The Villa became world famous not long after its completion, but Fritz and Grete Tugendhat were not destined to spend many happy years there. Even before the Munich Pact had been signed, signifying the de facto end of democratic Czechoslovakia, they left Brno forever. At the end of the summer of 1938 two removal vans came to take part of the furnishings to St. Gallen in Switzerland. Today the main body of the original equipment is, except for several pieces, still in the possession of the family. The Villa was, after two years of general reconstruction, reopened to the public in February this year. For the first time since 1938 it was equipped with all the furnishings Mies van der Rohe had designed for it. The most significant event was the return after seventy years of the original curved wall of the dining area to its original location. This famous Makassar wall had been considered lost for many decades.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Czech Republican modern architecture, Tugendhat House, Mies van der Rohe, Reconstruction and conservation.

Issue 46
Year 2012
Pages 26-31
DOI: https://dx.doi.org/10.52200/46.A.OAEXJPPM

Abstract
In his review of Franz Hessel’s "Spazieren in Berlin", Walter Benjamin noted that the author celebrated the "last monuments of an old culture […] for which cosiness came first", but whose time had come. The new architecture transferred "the domicile of men […] into a transit passage of all imaginable forces and waves in light and air. The future stands under the signature of transparency". Two years earlier, Siegfried Kracauer wrote about the exhibition of the Werkbund entitled "Die neue Wohnung" (The New Home) in 1927. Here, the attempt "to undermine the former isolation of the individual by dismantling the external partition walls" became evident. But perhaps "only the anonymous existence of the mass bound to capitalistic economy is granted a voice".

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Czech Republican modern architecture, Tugendhat House, Mies van der Rohe.

Issue 46
Year 2012
Pages 20-25
DOI: https://dx.doi.org/10.52200/46.A.F0FQWVA0

Abstract
Modern architecture and Modern furniture originated almost during the same period of time. Modern architects needed furniture compatible with their architecture and because it was not available on the market, architects had to design it themselves. This does not only apply for the period between 1920 and 1940, as other ambitious architectures had tried before to present their buildings as a unit both on the inside and on the outside. For example one can think of projects by Berlage, Gaudí, Mackintosh or Horta or the architectures of Czech Cubism and the Amsterdam School. This phenomenon originated in the 19th century and the furniture designs were usually developed for the architect’s own building designs and later offered to the broader consumer market, sometimes through specialized companies. This is the reason for which an agreement between the architect and the commissioner was needed, something which was not always taken for granted.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Modern materials.

Issue 46
Year 2012
Pages 14-19
DOI: https://dx.doi.org/10.52200/46.A.9RK52TG1

Abstract
The growing interest in Modern furniture, which by now can also be of a respectable age, has lent a new dimension to the profession of furniture conservation. New materials and techniques demand new conservation solutions.

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

Issue 46
Year 2012
Pages 10-13
DOI: https://dx.doi.org/10.52200/46.A.3VGF0EOI

Abstract
Coming to design in a natural development from architectural practice, Le Corbusier considered design not as a sum or addition to architecture. Its existence decisively constructed and modulated interior space, as light and shadows, materials or planes. From that belief, he quests the perfect and ideal form that asserts itself as a model of universal validity, arriving at three different furniture types: type–needs, type–furniture and human limb objects. Consequently, together with Charlotte Perriand and Pierre Jeanneret, in 1928 he drew the prototype of the Grand Confort armchair, presented the following year at the Salon d’Automne in Paris.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern living, Modern design preservation.

Issue 46
Year 2012
Pages 6-9
DOI: https://dx.doi.org/10.52200/46.A.RNQ217BP

Abstract
Although Chandigarh is linked to Le Corbusier due to the urban planning and the buildings of the Capitol complex, the footprint of the tandem between Jeanneret and the Fry–Drew team goes far beyond as reflected for example in different housing typologies and the design of interesting furniture collections. These have been seldom described and evaluated, perhaps partly due to the lack of attention that the authorities have towards Chandigarh’s heritage.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, Chandigarh modern architecture, Le Corbusier, Pierre Jeanneret, Fry and Drew.

Issue 47
Year 2012
Pages 74-79
DOI: https://dx.doi.org/10.52200/47.A.HJLNB2H8

Abstract
This study presents a brief history of design in the context of historic avant-gardes. It shows that, in parallel to the more classical historiographical interpretation which followed Pevsner’s ideas to “internationalize” the production of the 20s and 30s, other models with vernacular Latin roots were obviated.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, GATCPAC, MIDVA, Le Corbusier, Catalan modern architecture.

Issue 47
Year 2012
Pages 68-73
DOI: https://dx.doi.org/10.52200/47.A.TL5QHJGI

Abstract
Designed in late 1932 by Josep Lluís Sert and Josep Torres Clavé, Casa Bloc is one of the paradigmatic works of these architects who represented the most active core of the Modern Movement in Catalonia, known as GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture), founded in 1930 echoing the Spanish GATEPAC. I use the word “paradigm” in the sense of a theoretical framework or set of theories. In fact, Casa Bloc was not only the first major social housing building in Barcelona conceived in functional terms but it also exemplifies the reception in this city of the notions of the Modern Movement and how the guidelines recently approved in the 4th CIRPAC Congress were applied.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, GATCPAC, Casa Bloc, Catalan modern architecture, Modern social housing.

Issue 47
Year 2012
Pages 62-67
DOI: https://dx.doi.org/10.52200/47.A.OSAUWKM3

Abstract
In May 1931, the first issue of the long–awaited Spanish modernity platform appeared: A.C. Actividad Contemporánea. Although the publication of the magazine had become an indispensable requirement for the existence of the GATEPAC, its manufacturing process turned out to be very long and fraught with difficulties.

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, A.C. Actividad Contemporánea, GATEPAC, Spanish modern architecture.

Issue 47
Year 2012
Pages 56-61
DOI: https://dx.doi.org/10.52200/47.A.HW1ZDODO

Abstract
his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?

Keywords
Modern Movement, Modern architecture, Modern interior design, Furniture modern design, Modern global design, L’Architecture d’Aujourd’hui, Modern cinemas.

Issue 47
Year 2012
Pages 52-55
DOI: https://dx.doi.org/10.52200/47.A.43E7MT76