Conservation of architecture - and the conversation of Modern architecture in particular – has assumed new challenges. Rather than attempting to return a Modern building to its resumed original state, the challenge of these proceedings is to revalue the essence of the manifold manifestations of Modern architecture and redefine its meanings in a rapidly changing world of digital revolution, worldwide mobility and environmental awareness. This volume aims to provide a variety of platforms for the exchange of ideas and experience. A large, international group of architects, historians, scholars, preservationists and other parties involved in the processes of preserving, renovating and transforming Modern buildings has been invited to investigate the paradox of the Modern monument, and to reflect on the manifold dilemmas of change and continuity. The general theme is elaborated through five sub-themes. The sub-theme ‘Change and Continuity’ addresses the tensions between change and continuity from a historical-theoretical perspective. ‘Restructuring Cities and Landscapes’ focuses on the larger scale of city and landscape, while ‘Shifts in Programme and Flexibility’ draws attention to the scale of the building or building complex, and questions limits of re-use and flexibility. The fourth sub-theme deals with education and the fifth sub-theme ‘Progress, Technology and Sustainability’ considers specific issues of techniques and materials.
Esta publicación recoge por primera vez su obra arquitectónica completa, desde los primeros proyectos como alumno de la Bauhaus, pasando por su primera casa en Zúrich-Höngg, numerosos montajes de exposiciones, hasta sus obras de madurez como la Hochschule für Gestaltung, la Expo’64 de Lausana o su casa propia en Zumikon, obras muchas de ellas no publicadas desde hace décadas. La información se completa con las esculturas-pabellón a las que Max Bill se dedicó durante dos décadas y que se encuentra a caballo entre la escultura y la arquitectura.
Although internationally known for his furniture, for his iconic Schröder House and for his relationship to the members of De Stijl, Gerrit Th. Rietveld developed a prolific career as an architect after his Neo-Plasticist phase in the 1920s. This double issue of 2G. Revista internacional de arquitectura takes another look at Rietveld's domestic built work from his first Neo-Plasticist buildings of the 1920s to his death in 1964. In it we discover a trajectory which, without renouncing the Neo-Plasticist precepts of his early days, gradually takes on a more domestic and everyday cast in direct rapport with his clients. Along with his endeavours as a cabinetmaker, the issue of suburban single-family housing constituted a fundamental mainstay in his trajectory, one in which the everyday is intermingled with spatial exploration. The revisit to this less-known oeuvre of Rietveld's is preceded by essays by Marijke Kuper (editor of this issue), Hans Ibelings and Wim Quist, and culminates in the nexus section with various texts by the architect himself.
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