Modern Architecture: The Latest Architecture and News

With the onset of the Great Depression in the 1930s, the great World’s Fairs that had been held around the globe since the Crystal Palace Exhibition of 1851 lost much of their momentum. With the specter of another global conflict looming like a stormcloud on the horizon in the latter half of the decade, prospects for the future only grew darker. It was in this air of uncertainty and fear that the gleaming white Trylon and Perisphere of the 1939 New York World’s Fair made their debuts, the centerpiece of an exhibition that presented a vision of hope for things to come.

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The opening of the Century 21 Exposition on April 21, 1962 transformed the image of Seattle and the American Northwest in the eyes of the world. The region, which had been known until that point more for its natural resources than as a cultural capital, established a new reputation as a center of emergent technologies and aerospace design. This new identity was embodied by the centerpiece of the exposition: the Space Needle, a slender assemblage of steel and reinforced concrete which became—and remains—Seattle’s most iconic landmark.[1]

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Blue Crow Media in collaboration with editor Matthew Tempest has produced another alluring map — this time for modernists. The city of choice? Berlin. With its abundance of 20th-century architecture, the Modern Berlin Map highlights the details of fifty prominent buildings.

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Molenaar & Co architecten (Rotterdam), Hebly Theunissen architecten (Delft), and landscape architect Michael van Gessel (Amsterdam) have won the 2016 World Monuments Fund/ Knoll Modernism Prize for the preservation and rehabilitation of the Justus van Effen complex in Rotterdam, the Netherlands.

Originally designed by Michiel Brinkman in 1919-1921 and completed in 1922, the Justus van Effen complex is a strong example of the ideals embodied in the modern movement, particularly with its use of an elevated “street” as a means of facilitating social cohesion, which became very influential for subsequent generations of designers. 

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With a short career of only thirteen years, Italian architect Giuseppe Terragni (1904-1943) left an important legacy of built works that are now used as classic references of modern and rationalist architecture.

We traveled to Como and Milan to visit Terragni's emblematic works that clearly reflect his style. These projects are based on the organized configuration of architectural elements that individually appear clean, pure, and expressive, but together also form a harmonious whole.

These are: Novocomum, Casa Rustici, Asilo Sant'Elia, Casa Giuliani Frigerio and Casa Lavezzari. 

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At just 1,310 feet (400 meters) across at its widest point, Fire Island, a barrier island to the south of Long Island in New York, may not seem like an ideal place to host a community. Nonetheless, the island is home to a number of small villages, whose seclusion and proximity to the ocean make them popular getaway locations. With its beach atmosphere (the community is only accessible by ferry) and its growing reputation from the 1960s onward as a safe space for the gay community, Fire Island Pines is one such popular summer destination. As the village grew in the post-war years, the care-free recreational lifestyle encouraged by Fire Island Pines' setting was an ideal proving ground for many of the ideals of mid-century modernist house design, with architects such as the prolific Horace Gifford—who designed 40 homes in Fire Island Pines alone—answering the call.

The end of the First World War did not mark the end of struggle in Europe. France, as the primary location of the conflict’s Western Front, suffered heavy losses in both manpower and industrial productivity; the resulting economic instability would plague the country well into the 1920s.[1] It was in the midst of these uncertain times that the French would signal their intention to look not to their recent troubled past, but to a brighter and more optimistic future. This signal came in the form of the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries) of 1925 – a landmark exhibition which both gave rise to a new international style and, ultimately, provided its name: Art Deco.

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Concealed behind an 18th century Baroque façade in Strasbourg’s Place Kléber, the Café L’Aubette is a dazzlingly incongruous expression of the 1920s De Stijl movement. Designed by Theo van Doesburg, one of the movement’s founders and leading lights, the Aubette’s minimalist, geometric aesthetic was heavily influenced by the work of contemporary artists such as Piet Mondrian. In designing the café’s interiors, Van Doesburg sought to do more than simply place viewers before a painting; he wanted to envelop them in it.

The city of Venice has been caught in a tug of war between progress and traditionalism for many years, and particularly since the construction of a railroad viaduct in 1846 linked the island city to the Italian mainland for the first time in its history.[1] Over a century later, the Venetian government commissioned Louis Kahn to design a new Palazzo dei Congressi for the city; his proposal, while paying respect to the histories of both the Republic of Venice and a unified Italy, could not escape similar controversy.

Skidmore, Owings, and Merrill's Veterans Memorial Coliseum in Portland, Oregon has been on the chopping block for some time now: since the city’s NBA team moved to the Moda Center (known also as the Rose Garden) next door in 1995, the building has struggled to find the funding necessary for maintenance, and since 2009 calls have been made for the demolition of the iconic modernist structure. The threat reached peak levels last October, when the Portland City Council nearly voted to approve a proposal for demolition before ultimately denying it by a narrow 3-2 margin.

Now, preservationists have a new designation to use in their defense. Today, the National Trust for Historic Preservation named the Veterans Memorial Coliseum its newest National Treasure, joining 60 other threatened sites including the Houston Astrodome and Philip Johnson’s New York State Pavilion for the 1964-65 World’s Fair.

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