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If an Order is placed in the last 5 minutes, the countdown starts again for 5 minutes and you can take advantage of this interval to overbid if you wish. Artcurial is honoured to organise this sale for the benefit of the Cartier Philanthropy Foundation, which is committed to improving the living conditions of the most vulnerable in the world's most deprived regions, such as Rajasthan or Uganda. Its actions are multiple and targeted and help in particular to overcome the lack of resources, knowledge and basic services, extreme inequalities and the limitation of rights to enable everyone - especially women and children - to act, prosper and live a dignified life.
In Rwanda, it is through its support to small farmers that it is helping people to feed themselves better. Today, while the health crisis is also affecting developed countries, the foundation has exceptionally extended its actions and granted more aid to NGOs that are on the front line.
We would like to invite you to join us on a journey to the heart of the world of the mythical Cartier House through its boutiques around the world. They have witnessed moments of emotion marking the milestones of a life, the passage to adulthood, unions, decisive stages and moments of happiness.
The furniture that we present has rubbed shoulders with the fabulous pieces of jewellery created by Cartier. It has welcomed the great jewellery lovers, American, Asian, European, Russian or Indian with almost unlimited means, in search of original and precious objects they cannot find elsewhere.
The choice of furniture and decor of Cartier shops has always been a central concern of the founders and they have taken the greatest care. This tradition has continued throughout the 20th century and even today, as can be Martin Woodworking Machinery Uk 8th seen from the selection of pieces we are presenting in this sale, which are in harmony with the personal tastes of the most prominent figures, Louis Cartier and Jeanne Toussaint These chairs, desks and luminaires also illustrate the classicism and elegance that are the soul of the French decorative arts.
Entirely restored to become part of the Cartier decor and spirit and to comfortably welcome customers, they embody the emblematic French luxury. Charcoal on paper, signed lower right. Pencil drawing on paper, signed and dated lower right. A pair of Louis XVI style white and grey lacquered marquises. A set of six Louis XV style carved beechwood chairs. A set of four Louis XV style white and grey lacquered chairs.
A set of four Louis XV style carved beechwood chairs. A Louis XVI style carved wood fauteuil a la reine.
A Louis XVI carved oak console. Charcoal and gouache on cardboard, signed lower right. A Neoclassical style, ebonised, giltwood and gilt-metal low table. A gilt-brass mounted and black patinated metal low table, attributed to Jean-Charles Moreux A pair of Louis XVI white and grey lacquered sofas, one of the two period, the other style.
A set of eight Louis XVI style carved beechwood stools. A Louis XVI white and grey lacquered chair. A set of three Louis XVI style carved beechwood chairs, together with a chair of the same model with a darker patina.
A Louis XVI style carved walnut bureau plat. A pair of Louis XVI style white and grey lacquered fauteuils en cabriolet. A Louis XVI style white and grey lacquered sofa. Illustration de Robert Desouches du 13, rue de la Paix,ducirca 1er au 8 mars A Louis XVI style fruitwood bureau plat. A Louis XV carved beechwood chaise a la reine. A pair of tinted terracotta and plaster busts of court ladies, in the 18th century style, French, second half of the 19th century.
A Louis XV style carved wood sofa. A Regence style carved beechwood stool. Two Louis XV caned beechwood armchairs, one period, the other style.
A Louis XVI style mahogany bureau plat. Two Regence white and grey lacquered caned chairs. A Louis XV style carved oak center table. A Louis XVI white and grey lacquered furniture set, including five armchairs and a pair of bergeres. A pair of Rococo giltwood mirrors. A Louis XVI style gilt-bronze mounted, tulipwood and amaranth bureau plat.
A composite bust of the Apollo Belvedere, after the Antique, probably English, 20th century. A Louis XV style white and grey painted chair. A Louis XV style carved white marble chimney piece, late 19th century.
A Louis XV style white and grey lacquered fauteuil en cabriolet. A pair of Louis XV style carved walnut veilleuses. A set of six Louis XVI style white and grey painted chairs, four of them upholstered.
A matched pair of Louis XVI white and grey lacquered fauteuils a la reine. A pair of Louis XVI style white and grey painted bergeres. A Directoire gilt-bronze mounted and mahogany bureau plat. A Louis XVI grey lacquered sofa. A gilt bronze console, in the Neoclassical taste. A set of three gilt-brass and faux parchment nested tables, 20th century. A pair of brown patinated metal floor-lamps, 20th century.
A gilt-bronze and travertine occasional table, attributed to Maison Bagues, 20th century. A set of three Neoclassical style gilt-brass lamps, modern. A gilt and patinated metal lamp, circa A pair of modern brass lamps. A Louis XV style giltwood mirror. A Louis XV style gilt-bronze mounted and tulipwood bureau plat. A pair of gilt and ebonised metal floor lamps, circa , Arlus edition, model A gilt-brass and ebonised gueridon, circa A gilt-brass and faux parchment low table, 20th century.
A Neoclassical style gilt-metal bouillotte lamp. A Neoclassical style gilt-brass lamp, by Maison Charles. A pair of Neoclassical style gilt-brass lamps. A pair of modern gilt-metal lamps.
A modernist style gilt-metal lamp, signed P. A Regence style gilt-bronze mounted and ebonised bureau plat. A Louis XVI style gilt-brass mounted and mahogany table bouillotte, 19th century. A gilt-brass and gilt-metal floor lamp, in the taste of Maison Jansen. A 20th century gilt-brass mounted and stone lamp.
A modern gilt-metal and stainless steel lamp. A 20th century gilt-metal mounted and glass floor lamp. Provenance : voir www. A Regence style gilt-bronze mounted and ebonised bureau plat, 20th century.
A pair of Louis XV style white and grey lacquered caned armchairs. A pair of Louis XV style white and grey lacquered chairs. A Louis XV style white and grey lacquered sofa. A Louis XVI style gilt-bronze mounted and mahogany bureau plat.
A pair of Neoclassical style gilt-metal and patinated oak gueridons, Emilie model, by Maison Taillardat. A 20th century gilt-bronze floor lamp, in the taste of Maison Jansen. A pair of gilt-metal floor-lamps, attributed to Maison Bagues, 20th century. A 20th century gilt-metal floor-lamp. A pair of gilt-bronze floor-lamps, circa , by Maison Charles. A set of four Directoire style carved beechwood fauteuils.
A Louis XVI style gilt-brass mounted and mahogany bureau plat. A pair of Louis XVI style mahogany chairs. A Louis XVI carved oak sofa. A pair of Louis XVI style white and grey painted chairs. A pair of Neoclassical style gilt-metal gueridons, attributed to Maison Charles. A pair of Louis XVI style grey lacquered bergeres. A modern glass and ebonised floor lamp.
A gilt-metal floor-lamp, attributed to Maison Bagues. An Empire style gilt and patinated metal floor lamp. A pair of Neoclassical style gilt-metal floor lamps. A modern gilt-metal floor lamp.
A gilt-metal floor lamp, 20th century. A pair of Neoclassical style gilt and patinated metal lamps, attributed to Maison Charles. A modern patinated metal floor lamp. A Neoclassical style patinated metal and faux parchment low table. Les estimations ne sauraient constituer une quelconque garantie. In such capacity Artcurial SAS acts as the agent of the seller who contracts with the buyer.
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The Growth of a new Tradition, Massachusetts, Harvard, Ein alternativer modernist, Basel, Christoph Merian Verlag, From Aldo van Eyck I learned that our memory of the past and anticipation of the future are both children of our imagination and that in our imagination, mind and intuition meet like a magic handshake.
This is the realm of the in-between. To set the athmospere I will begin in the middle, on a hot summer evening in Students and staff of various schools, participating in the INternational DEsign SEMinar gather in an oldfashioned lecture room packed to over-capacity. Ron Herron and Peter Cook start with an exiting talk about their futurisic Archigram walking cities. In comes Aldo and we all fall silent.
By now it is 10pm. Aldo starts. These important words by Piet Mondrian were spoken fourty years ago, yet they still are not taken seriously today, which should be regarded as a deviation at best, attributed to impatience and lack of insight. Today even art is in a hurry! But art-architecture- cannot be accelarated, no more than time and existance can be.
Then he refers to the Great Gang, a selected group of Avangardists who contributed to a new way of thinking, in which relativity opened completely new perspectives. This leads him to twin phenomena and the built homecoming, the meeting of inside and outside at the doorstep and the unconditional equality of architect and user. He is just starting at the value of tradition and timeless qualities of architecture when his words and our concentration are abruptly cut off by the loud voice of Hubert-Jan Henket The In-between Realm.
And so one of the most memorable architectural lectures ever, comes to a halt after 3 hours. That was the inspiring Aldo van Eyck, spontaniously weaving thoughts and practice into poetic strings of words, boyish almost. When I arrived at Delft in , the Netherlands were in an optimistic mood. Reconstuction efforts dominated life, everyday there were stories of bigger and better results and inventions. The wellfare state showed its wonders, yet society in general and the staff of our school in particular were still in the grip of pre-war conventions and the voice of authority.
About this dictate from above dissatisfaction was growing among the young generation in Europe and the States. We were attracted by a different kind of social responsibility and by individual freedom. Feelings well interpreted by the Beatles, Bob Dylan etc. They rejected the logic of CIAM rationalism, did an appeal on ones imagination instead and demanded residents participation.
We loved their optimistic belief in the future, their fight against universal solutions and their attention to everydayness and local conditions. They inspired us by their battle against formulae and formalism and their interest in non-western cultures. We were impressed by their search for a flexible yet indestructable communal aesthetic, called Configurative Design.
In my third year we did three projects with the extrovert and inspiring visionairy Jaap Bakema. In one of these Prof Cor van Eesteren was our mentor as well.
Just imagine, what a luxury for 10 students to have such prominent mentors for 2 months. At our first meeting van Eesteren told us that urban design was like music. Furiously Bakema got up and said that a new way of thinking had emerged. Urban design was not about music but about people, about social responsabilty and nothing else. One should do away with the CIAM doctrine of seperating functions. Van Eesteren, feeling terribly embarassed, got up and left.
Bakema followed. From the corridor we could hear loud voices and after three minutes Bakema came back. Aldo van Eyck who was appointed in at our faculty, was our mentor for the first 4th year project. Interestingly he was not a teacher at all, nor did he use any educational tools. All he did was inspire one to discover the exitement of architecture, to investigate whatever one thought important and to develop ones own selfconfidance.
On the contrary they form the space-time continuum. And when our imagination enters this continuum, reality is experienced as a dynamic continuous flow of energy. This flow is neither dependant on any type of centre nor on hierarchy. It is purely connected through reciprocal relations: you and I, chaos and order, young and old, land and sea, day and night.
To be honest it took me quite some time to begin to understand all this. Buber explained that modern Individualism implies part of man, whilst modern Collectivism implies man as part. Since the reality of man is one man and his fellow man, both Individualism and Collectivism cannot be reconciled as absolutes. Reality is something that happens between one man and another man in a dimension only accessable to both persons. Only what is real can shake hands.
But how does this in-between realm aquires form, since space has no room for man and time no moment for man. Space in the image of man is place and time is occassion. Meaning should be derived from the intrinsic nature of a building, form and content being a unity. Equality of things and their inter-relationships are at the core of this symbolic entity.
Architecture is a constant rediscovery of constant human values translated in place and occasion. Man is always and everywhere essentially the same. He has the same mental equipment, though he might use it differently according to differing social and environmental backgrounds.
We meet ourselves everywhere in all places and ages, doing the same things differently, reacting differently to the same. Consequently for van Eyck there was no distinction between him -as our professor- and us.
There is only relationship. An annecdote as illustration. He had for the first time attented the bi-weekly private meeting of the faculty professors. Imagine, the board sits on one side and we the others sit in rows behind each other, facing the board.
So I asked is this seriously a faculty of architecture? For a long time architects used to be the allies of kings, popes and tyrants. Today the architect is the ally of every man or no man. In the summer of , together with two friends, I represented Delft at the Columbia University workshop in Urbino Italy, organised by Team 10 activist Giancarlo de Carlo.
Like van Eyck, the anti-establishment de Carlo was outspoken about the participation of users. The historic town of Urbino- as a protected monument- was dying both socially and economically.
We were asked to study the environmental consequences of reactivation proposals for the region and the old town. With wonderfull precision de Carlo inserted new interventions in the old landscape and in the vernicular city fabric. He used to say things like: architecture is too important to be left to architects alone.
The barriers between users and builders should be taken down. For de Carlo it was the user experience that mattered. As the subject of my masters project I choose the social and environmental transformation of postwar highrise housing areas, with Aldo van Eyck as my mentor.
These CIAM inspired estates of merely 10 years old were desolate deserts of monoculture and emptiness. Could this result in a liveable place for a large multitude of people, whereas in former times the vernacular always coped with limited plurality.
The secret of form, according to van Eyck, is that it is the object and at the same time the border of it. If a built structure is to be the counterform of a social structure, it should be a configuration of repetitive polyvalent units which condition social contact and changing individual needs.
Image 1. Orphanage in Amsterdam by Aldo van Eyck, Copyright Aldo van Eyck, from the Aldo van Eyck archive. S07 human scale and in a single structural and constructional idiom.
The repetition of these units into clusters enriches the multi-meaning and identity of the total structure. The orphanage in Amsterdam is the first example of this configurative design approach, also referred to as Structuralism. According to this configurative concept, I tried to design conditioning units and clusters and join them into a city structure.
One of the complicated matters was the conflicting extremes of the long lifecycle of the collective structure and the short term lifecycle of loose fit elements catering for different individual needs. My design involved the adaptation of six highrise housing blocks for a variety of household types and a new lowrise development in between the blocks catering for the necessary multilayered variety of functions.
The roads, parking, trees, playgrounds, shops and public facilities were situated at ground floor level and adaptable dwellings on a deck at first and second floor levels. Besides how to multiply these into a city structure where users feel at home.
We clustered many different dwelling types, six units deep along parallel roads. In between footpaths, schools, playgrounds, and options for little shops. After we finished I went to study urban design at the Otaniemi University in Helsinki on a scholarship van Eyck had arranged with the Finnish government. In Helsinki I met Reima Pietila who asked to come and work on the demonstration projects in the old city Kuwait.
In the. Yet they did not demonstrate any connection between traditional Arab-Kuwaiti architecture and new urban form. The Smithsons, Candilis, Belgioso and Pietila were asked to design demonstration projects to show how this could be done.
Pietila was asked to design an extension to the Sief Palace, the new council of ministers and the ministeries of Islamic and of Foreign Affairs. On his own account Pietila added a proposal for inner city housing to cater for a vernacular functional mix. Reima, working together with his wife Raili Patelainen, had just finished the Suvikumpu housing estate in Tapiola and earlier the Dipoli Student Centre in Otaniemi.
We worked day and night in their small inner city appartement in a homely athmosphere. Reima unfolded his architectural theories in his self invented Anglo-Finnish language which only he could comprehend. His goal was to discover a language connecting Islamic-Kuwaiti tradition and the visual requirements of today. He was fascinated by the clever arrangement of the traditional Arab house with its privacy and quiet athmosphere centered around the inner courtyard.
He was equally asthonished by the bluntness of modern Kuwaiti houses. Here the traditional concept was turned inside out, a house in the middle of a plot without privacy or quality.
To suit todays requirements for living in a middle highrise urban situation, he translated the vernacular Kuwaiti concept, like he had done in Suvikumpu. In a similar approach we designed solutions for the large covered spaces of the ministeries. Here the traditional Arab lantern was the inspiration for huge beams providing filtered light and at the same time cool air. As he had done in Dipoli he treated a rational system.
Image 3. Images of master thesis by Hubert-Jan Henket Mentor Aldo van Eyck. Source:Hubert-Jan Henket archive. S07 Image 2. Otterlo Circles by Aldo van Eyck, Pietila often stressed his artistic approach to architecture contrary to rational modernists and CIAM doctrine.
He would look at any problem from many different angles for a long time, slowly discovering the poetic keys to the content.
Once he had found one, he would put his foot firmly down, like a. Image 4. First proposals for housing and ministeries in the old city of Kuwait, Reima Pietila.
Later he became very active in the first ten years of Docomomo. Aldo van Eyck described these as new, historic, or natural artefacts articulating visual meaning, framing civic association between people and remaining in our memory. Without these a house will not become a home. Particularly at city level one needs closely related identifying devices to establish comprehensability and the sensation of homecoming.
The last time Aldo van Eyck had a decisive impact on my life was in About people had gathered to convince the then Secretary of State of Cultural Affairs to finally restore the iconic sanatorium Zonnestraal of Jan Duiker.
In the pandimonium van Eyck asked for the microphone. This is impossible to do within the existing thickness of the frames without ruining the precious buildings Imagine restoring a Piet Mondrian by adding just 1mm to the thickness of the lines. Some time later Wessel de Jonge and I were appointed to restore this magic complex. This among others lays at the core of the idea of Docomomo. He introduced me to the in-between realm and reciprocity.
He showed me that tradition and invention form a twin phenomenon, embedded in the continuous change of existence. He showed me the importance of built homecoming and made me feel that architecture is the appreciation of it. All of these are contemporary and essential elements for a sustainable and humane architecture, fitting the polyvalent societies of today and the future.
Thank you Aldo! Aldo van Eyck, collected articles and other writings, SUN publishers,Amsterdam Ligtelijn Vincent editor: Aldo van Eyck, Werken.
Strauven Francis: Aldo van Eyck, relativiteit en verbeelding. Meulenhof publishers Amsterdam NAi publishers Rotterdam In he graduated cum laude with Aldo van Eyck as his mentor at Delft. From he practiced in Helsinki and London. In he started his own practice, since known as BiermanHenket architects.
The reason is understandable to some extent. The architectural profession was not capable of perceiving them because they were so immaterial, built out of thin air, as it were.
This oversight by the profession is surprising. A series of photographs of Amsterdam playgrounds, taken in the late s and s, captures the kind of impact they had in Amsterdam. Their focus was not close-up and engaged with actual children, but rather on the urban environment. Archival material documenting the playgrounds designed between and for the new western suburbs of Amsterdam—Geuseveld, Slotervaart and Slotermeer—points to.
Are they van Eyck playgrounds? It depends on how you define them. In the narrow sense of the term, they are not; in the largest sense, they are.
In fact, in this latter sense, given the superabundant spread of playgrounds all over the Netherlands since , the number is myriad. Aldo van Eyck has changed the Dutch cityscape to a much higher degree than he ever knew. Copyright Stadsarchief Amsterdam. Indeed, what is unique about the Amsterdam playgrounds that they are interstitial, inserted within the living fabric of the site.
They are all site-specific, now lopsided and blob-like as in Pontanusstraat, now contorted, now fractured and broken as in the Zeedijk playground a family of forms created in reality that was unprecedented in architecture and urbanism. The search to express the genius loci is always associated with irregularity or roughness of real forms.
I shalt no longer resist the passion growing in me for things of a natural kind; whether neither Art, nor the Conceit of Man has spoiled their genuine order, by breaking in upon that primitive State. Even rude rocks, the mossy caverns, the irregular unwrought Grottos, and broken Falls of Waters, with all the horrid Grace of the Wilderness itself, as representing Nature more, will be the more engaging and appear with magnificence beyond the formal Mockery of Princely Gardens.
Van Eyck had particularly close ties with artists immediately after the war. He spent the war studying architecture at the ETH in Zurich and also under the aegis of a senior, authoritative figure, one of the greatest art historians and critics of the time, who introduced him to the world of avant-garde art, Carola Giedion-Welcker. That Aldo himself was an influence on one of the main figures of the group, Constant, is clear. It is one of the first site-specific sculptures of the post war period.
By situating the games not in some imaginary vacuum of time and space but in topographically meaningful … settings, nearly always with some public building, a town hall or guildhall in view, they evoke the civic and public virtues to which the correctly brought-up child should be led.
It was not so much an expression of homo ludens for the sake of play alone. It reflected the wish to instil republican values into children from an early age and bring them into the fold of the reality of civic life in a bourgeois society.
In fact, this old top-down, arch-functionalist architect and urban planner, who had made no provisions for playgrounds in his Extension Plan for Amsterdam of , became a devoted ground-up situationist, actively dedicated to placing what he, in a memo dated November 9 , idiomatically and, yes, Thus it was that what had begun as an ad-hoc response of a young architect to a perceived need on the part of a war torn city for playgrounds in became, by the time the new neighbourhoods went up, official policy.
Every block in the new towns that wanted a playground was granted one. As with the other ideas we have mentioned above, the idea of the ludic city projected by van Eyck was part of the debate of the time. The very first playgrounds were embedded very often in the voids of Amsterdam where the houses of deported Jews had stood.
Filling them with life, in the face of these facts, was a redeeming, therapeutic act, a way of weaving together once more the fabric of a devastated neighbourhood. Aldo van Eyck is simply the most well-known.
It is complex, interactive, seething mass of coincidences and chain reactions. The playgrounds were shaped by the city but they also shaped the city. The city was seen as a temporary phenomenon. So were the various interventions of the architect within it. For van Eyck, on the other hand, the playgrounds were actions in space occurring where and when they were needed.
They are conceived as a constellation, a scheme made up of situationally arising units—the playgrounds—bound to time, accident and circumstance. Photo credits: Liane Lefaivre. It was what might be called a cybernetic process, ground-up, top-down, inter-relating a mass of agents, each playing an equally crucial role, impossible to 15IDC Metamorphosis Keynote.
From this book is also the photo material of the playgrounds attached to the article. Among other versions is that appearing in her ToolGround Up City. Play as a Design Tool co-edited with Henk Doll. Rottrdam, NAI, Lefaivre and A. Tzonis, Aldo van Eyck, Humanist Rebel. Inbetweening in a Postwar World, Rotterdam, Aldo van Eyck Werken, Bussum, , p. In , Francis Strauven, van Eyck and different employees of the department of public works counted of them.
See Strauven, Aldo van Eyck. The Shape of Relativity, Amsterdam, Hilberseimer, Grosstadt Architectur, Stuttgart See Annales techniques. October , pp. See also Vincent van Rossem, , p. Cit, Amsterdam Municipal Archive, inv. Van en over Aldo van Eyck, Amsterdam, , pp. Carmean, Mondrian. The Diamond Compositions, Washington, , pp. Although he initially aspired to become a painter, he abandoned the idea following a misunderstanding with his teacher.
He came to Vienna as a factory worker in the furniture industry and would probably have re-. Even though he was rejected by the School of Arts and Crafts of the Austrian Museum of Art and Industry, he was accepted by Otto Wagner at the Academy of Fine Arts, who recognised in him a talented draughtsman with a vast creative.
She completed her undergraduate degree at McGill University and her doctorate at the University of Utrecht. Her writing and research relates to two formative modern periods: first, from the Renaissance to the end of the Enlightenment, and second from the late nineteenth century to the present.
She coined, with Alexander Tzonis, her partner in work and in life since , the concept of Critical Regionalism, inspired by the wide-ranging aesthetic, historical, political and environmentalist writings of Lewis Mumford and they have published widely on the topic of critical regionalism as a global phenomenon, in English, Spanish, Portuguese, French, Greek, German, Chinese and Japanese.
Her latest book, published in , is Rebel Modernists. His participation in planning the Vienna municipal railway stations clarified his view of the relation between construction and decoration, and he became an unsurpassed master in the adaption and application of classical architectural forms. He concluded his three years of study at the Academy of Fine Arts in Vienna by going on a study tour through Italy and France.
Upon his return, he was employed for a short time with Wagner, then went his own way. His reinforced concrete Church of the Holy Spirit — , located in a distinctly working-class district in Vienna, can be seen as a defiant response to the more lavish Kirche am Steinhof, designed by his master Otto Wagner.
The goal was to return the castle building as far as possible to its pre-Hapsburg appearance. Through his conversations with her, a partial renovation program began to evolve into a complex one. A further major task was the paving of the third castle courtyard — and its decoration with a monumental obelisk and the fountain of Saint George.
Unfortunately, his grand theatrical design for the surroundings of the Prague Castle could not be fully realized as Czechoslovakia was suffering an economic crisis at this time, which impacted considerably on the political situation. He was engaged simultaneously on designing projects for his native Ljubljana and working on Prague castle. Although he had returned to Ljubljana, where he was appointed professor at the newly founded Technical University, he went back to Prague in the school vacations.
During his absence, his loyal pupil Otto Rothmayer continued his work on the castle. When he started to get larger commissions in Ljubljana towards the end of the s, his work in Prague in many respects influenced his designs for his home town and vice versa. Both assisted him with anything that he needed so that he could work without interruption on his work of transforming Ljubljana as the capital of the Slovene nation.
S13 al in Ljubljana, which is why he often had to use substitute concrete instead of real stone. Besides the Municipality of Ljubljana, which commissioned him to design city parks, streets, and squares, he worked extensively for the Franciscan and Jesuits orders. The high altar is located almost in the middle of the space, anticipating long before the Second Vatican Council the future direction that the church liturgy would take.
The ceramic plates on the church ceiling are an affectionate reminder of the pottery tradition in the Slovenian Prekmurje Region. Because of a lack of funds, he built the church with stones, bricks and sewer pipes. This also explains his frequent use of Tuscan order columns, the most magnificent example of which is St.
James in Ljubljana. In Belgrade, he built the Church of St. Anthony of Padua for the Bosnian Franciscans — , using clay facing brick. Since he believed he was insufficiently familiar with traditional Serbian. Furthermore, since he was unsure of the abilities of the contractors, he abandoned his original design for a dome and replaced it with a technically simpler concrete slab.
His reconstruction of the former Chamber of Trade, Industry and Commerce in Ljubljana — is worth mentioning among his secular works. Its staircase, built at the time of the birth of the international functionalism, is a real apotheosis of the classical column, as well as a reminder that this symbol of the humanism of western European civilization was disappearing from world architecture.
The single-flight staircase in the interior is shaped like an antique peristyle, with a reading room placed across it. Consequently, the large chandelier in the reading room does not hang on the axis of the staircase, but rather from the middle of the ceiling as the central decoration of an imaginary carpet.
Nevertheless, with the help of the municipality in the s, it was possible to implement part of the promenade he designed for Ljubljana Castle and to regulate the riverbed of the Ljubljanica river, over which he planned several bridges.
He also regulated the flow of the river through the city with a monumental floodgate — , composed of elements of classical architecture assembled in a very non-traditional combination. Most of his work was religious, renovating or modifying churches that had been damaged during the war.
From this period, his design of the Slovenian Parliament building , based on an older study of the Catholic cathedral in Sarajevo, is especially interesting. He covered the circular space with a much smaller dome resting on inclined columns, thus avoiding the technically difficult construction of a large dome supported by flanking buttresses. S10 in his home behind the Trnovo church in Ljubljana.
A magnificent funeral was arranged for him, as if in preemptive atonement for the decades of oblivion that were to follow. Everything that was once considered a fundamental principle is no longer valid. Through breaking and changing these rules, he arrived at unique new solutions, as Michelangelo once did by transforming the rules passed down from the antiquity.
Nowadays, when everything is allowed, this is no longer possible, and architecture veers constantly from one paradigm to another. He was an avid supporter of the tradition of the European humanism. His architecture is full of unusual ideas, turns and proportions; it is never dull and is always full of life. He studied history and history of art at the University of Ljubljana. After his graduation in he spent one year in Vienna as holder of the Herder post-graduate scholarship.
He has often made study trips to Italy. Austria and Germany. In , and he lectured as visiting professor at the University of Salzburg and in at the Middle European University in Prague. Since he has been a regular member of the European Academy of Science and Art, domiciled in Austria. His works appeared in Bohemia,. He certainly went through both good and bad time here, but he was by no means a man who cared for official success, however his activities in Prague cannot be regarded only as an episode.
Although Czech architecture between two world wars was taken with phenomena of the international Avant-guarde, went in. His architectural heritage in Prague, however, even after 90 years is by no means history. His strong individual architectural language still has much to say to present and future generations. Prague played a distinctive role in his life.
He admired Prague, like most of the central European intellectuals, as a metropolis uniting the Slavic world with the Western European culture.
The school respected each other and were connected also by their warm friendship. The schools differed immensely. The atmosphere there was strict, at times almost students could almost smell the frankincense of the catholic church which was introduced by the otherwise kind teacher. This was also reflected in the tasks which students were assigned: funeral chapel, baptistery, tombstone, mausoleum, a memorial, which were mixed with palaces, houses and town houses.
Their dependency on the style developed by their teacher was evident. During the World War the instruction at all schools was severely limited as the students were drafted to the army. Many of them did not come back. Although being only in their 50s, they were suddenly considered an old generation connected with Austrian-Hungarian administration; they were insulted in the press and had to face dirty intrigues concerning the commissioning of the works.
Nasty figures are multiplying. It will be necessary to face this reluctance and to show that not an escape from the public life, but an active and determined participation will lead to the improvement of the situation. Only bad principles may fail. Must we drink the bitter cup to the last, we shall not get scared not even by the last piece Simultaneously he had had health issues for many years which led to his premature death on 18th of April It meant for him a challenge to take up this long-time and extremely demanding but interesting creative work in Prague when he was about to leave.
He managed to unify this unique historic complex via a generous concept of public spaces — courtyards and gardens, to connect it with the context of the topographic terrain and the town via a number of new views and vistas, and thus to complete here this remarkable gradation of scales, from an intimate to a monumental character. Prague Castle was renovated by a foreigner. Thanks to the perspective, this generous, wide interior of the church with a coffered ceiling covering the steel structure of the roof truss gives an impression that it is a central space, although in fact it is a longitudinal space.
This monumental figure of the Vinohrady church and the grandioso intervention at the Prague Castle were created in a deliberate contrast to the Czech functionalistic architecture developing in the Prague city below the castle and in many other Czech towns.
Meanwhile the Czech architectural community was briefly attracted to the Dutch modernism and later Bauhaus and Le Corbusier whose influence dominated until the end s. There were about 50 of them. Later, when they had coped with his leg He was also successful in the international competition for a new parliament building in Ankara where he was awarded second place.
Later in s he designed a villa for F. In the same year he was the chief editor of Stavitel Builder , a leading Prague architectural magazine. During this exhibition there was the invasion of Soviet troops into Czechoslovakia on 21st of August After short architectural practice in Ostrava, he served as a Head of Architecture Dpt. The Stockholm exhibition in was a breakthrough for the Modern Movement in Sweden. Even if not uncontested it was a great success both domestically and internationally.
The exhibition almost coincided with the Social-Democratic access to power in , which made Sweden into a Middle-Way model for many in a politically dark period, even if the Social-Democratic support for modernist architecture to begin with was by no means unanimous. With the help of politically active modernist architects the policies for building a modern society were formulated in earnest in the first post-war years.
A new housing policy was installed in —48, with advantageous state loans to municipal housing companies and with a focus on multi-family dwellings. The international economic boom rapidly raised the demand for Swedish export of wood, paper, iron and machinery and there was a lack of workforce. Swedish housing standards were low in an international comparison.
This social problem was made worse by a migration of workers from farming to industrial towns. The building trade, traditionally organized in small companies, had to meet the challenge to build more without using more workforce. This was solved with an agreement between a few larger builders and the state, which gave loans for a rapid mechanization of the building industry. The builders promised to solve the housing problem if they were given control over the building process.
During the s the Swedish building industry became unusually large-scale for a small country. Generally the autonomous field is valued higher than the heteronomous, within the field. The success, not to be forgotten, lay in the fact that in the early s Sweden had one of the highest housing standards in Europe, starting 25 years earlier with one of the lowest.
The other pole, the autonomous one, was also quite strong in Sweden. Somewhat paradoxically the clearest case for this is the very active church building in Swedish suburbs, in a country which already was one of the most secularized and with a government that was reluctant to give building permissions to non-prioritized buildings like churches.
Architects like Sigurd Lewerentz and Peter Celsing designed archaic brick churches in stark contrast to the surrounding welfare society. In the internationally renowned suburban satellite centre outside Stockholm this church turned inwards into a monastery-like courtyard. This was the context in which White architects started in A prosperous market for large scale housing projects, with social ambitions but also with a strong pressure to rationalize.
To this can be added a strong belief in evidence based knowledge and a model of partnership, introduced in the late s.
This legacy from Sid White has proven to be sustainable. It has its own research department and a research foundation and it is owned by its working staff, with two levels of shareholding. This has been a challenge for the office. Jack married a Swedish woman and Swedish was the language spoken at home, so Sid never really mastered English. He studied architecture in Stockholm and came back to Gothenburg to work in the town-planning office.
When Ekholm left in the office already had some 50 employees. Now the collaboration is more on an equal basis. This is especially important in relation to the engineers and the economic consultants … Here there must be true coordination, constant contact and exchange. This is again Sid White interviewed in a daily newspaper in Until now White has only designed one church and one mosque!
Over apartments should have a small centre with shops as well as school, day nursery, auditorium and library. Children should not have to cross car traffic to get to the school. The meander pattern of the housing had courtyards with playgrounds facing the large interior park alternating with car parking courtyards towards the ring-road around the whole area.
A decent family apartment should have 3 rooms parents sleeping in the living room and sons and daughters having each a room of their own. By shrinking the kitchen and presuming that families should eat, do homework and sewing in the multipurpose room an extra bedroom could be achieved.
Post-occupancy evaluations showed that people preferred to eat in shifts in the small kitchen to be able to keep the living room as a parlour only for guests. The corners of the houses are not rectangular, to avoid standing sound waves from playing children in the courtyards.
It also made a very precise adaptation to the site with its trees and boulders possible. Already in the late s such sensibility was seen to stand in the way for an industrialization of building. Much to the irritation of the client the town-planning office required closed corners of the blocks, and thus special corner solutions, because of the windy site.
Economy was booming, people were moving into cities and the public sector was expanding like never before. The Million Program was a state program to build one million flats in ten years, — The state guaranteed loans which should make it possible for builders to invest in prefabrication systems.
Step by step, within a few years, mechanization took command and designs had to adapt. Three housing areas in Gothenburg by White architects for the same municipal housing company show the change. In Tynnered a project from with just over apartments was asked to avoid levelling of the steep ground because of high costs. A solution with U-shaped houses built from crane tracks left the terrain relatively untouched.
Sloping courtyards gave additional ground floor Ses Woodwork Set Anleitung Wood space for temporary facilities. Facades are in brick. In a block of eight storey houses in Hammarkullen from most of the ideas of the architects to temper the new concrete panel system were rejected with economic arguments.
Now it was considered economical to blow the rugged terrain flat to build on. Floor area ratio was higher than before. Two 1 km long rows of houses, in 3 and 8 storeys, were built to form a street of the same measures as the main avenue in the centre of Gothenburg.
The oil crisis made things worse. The Million Program was cut short, housing projects were stopped and White architects had to fire half the staff and try to reorient the office in a new context. Building costs were rocketing when large prefabricated housing areas were replaced by small infill projects with higher demands on detailing. In the late s there was an inflation economy which caused a short boom for the real estate business, building luxury offices and commercial facilities, a new and somewhat inconvenient market for White architects.
Offices for private clients were a new market for White architects. Asken in central Gothenburg from is in all ways a characteristic project for the short boom of the late s. It was built in sandstone, teak and copper with specially designed furniture and a winter garden and a sauna with a view on the roof. Quality was high and money was not an issue. Five years later the company went bankrupt.
Export of architecture became another option when the domestic market failed. After the fall of the wall former eastern Germany became a potential market. Problems with clients were many and the number of employees working with international projects was never very big, but many lessons were learnt. Post-modernism was part of this development, a tendency rather reluctantly embraced by fundamentally modernist White architects. Recommendations focused on concepts like variation, corners, roofs, detailed facades, identity and friendly houses.
In a competition in White architects got a second prize for a meter long eight storey house with a funicular overcoming the steep verge. Nothing was built then. The following economic crisis struck Sweden quite hard, with reductions in welfare systems managed by alternating right-wing and Social-Democratic governments. The new values were state policies on ecology, aesthetics and gender equality, more ideological statements than substantial support.
Waterfront projects on former industrial ground was an international phenomenon in the s. Most of them were quite luxurious projects, sold as condominiums to those who could pay. At the same time the total number of apartments built remained low. But there was a lack of economic interest from the dominating big developers in building rented apartments. As a solution to this White, and other architects, started in small scale to act not only as designers but also as clients for new housing.
This gave back the control of the building process lost in the s. Schools were one of the public institutions that White architects had designed from the very beginning in the s. A special group for research and development and consulting in environmental questions was started. The client was the Swedish Environmental Protections Agency, usually organizing a competition.
White architects designed some ten Naturum in late s and early s, almost half of all built. The buildings are trying to. In White architects merged with Coordinator architects, known for its structuralist projects for the National Board of Building. Soon after the merging the crisis struck but in the long run there was a need for new larger facilities in Stockholm.
A site on the southern outskirts of central Stockholm was found. White architects decided in this case to be both client and designer of their own office. The building from is a rectangular glass-box with a sophisticated climate control system using the nearby canal for cooling and existing bridges to the west as sun blinds.
A structuralist design method proved its value in thinking sustainability. The building was awarded with the Kasper Salin prize, the most prestigious architecture.
Natural ventilation, no chemicals, recycled bricks and windows. This credit from the architectural profession for the first time was obviously very important for White architects. The quality of their work also counted. An international competition for its reconstruction in was won by White architects with a proposal that combined ecological and social sustainability.
The motto was Small means, great ends, indicating incremental measures with respect for nature and local people to create a great sustainable future. When developers entered the project they showed no interest in the social sustainability, no support was to be had from planning authorities and White architects decided to back out from the prestigious project.
The crisis in left Sweden relatively unharmed. The economy is hot and there is a lot of building going on, both of housing and of Best Tape Measure For Woodworking Instructions commercial and public buildings. Architects are very busy.
At the same time inequality is increasing dramatically, not least in Sweden, and sustainability policies leave a lot to be desired. There is a general distrust in planning.
Essential parts of the modernist project are thus questioned. At the same time White architects are involved in one of the biggest planning projects ever, that to move the whole city of Kiruna in the very north of Sweden. The reason is that the rich and expanding iron mine, owned by state company LKAB, is literally undermining the existing city, established in the early s.
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