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

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