A new exhibition on postwar architecture in (the former) Yugoslavia opens up today (July 15) at the Museum of Modern Art in New York. It’s called, Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, and it runs until January 13, 2019.
Here is a bit more about the exhibition:
Situated between the capitalist West and the socialist East, Yugoslavia’s architects responded to contradictory demands and influences, developing a postwar architecture both in line with and distinct from the design approaches seen elsewhere in Europe and beyond. The architecture that emerged—from International Style skyscrapers to Brutalist “social condensers”—is a manifestation of the radical diversity, hybridity, and idealism that characterized the Yugoslav state itself.
And here is a panel discussion about the exhibition (click here if you can’t see the video below):
[youtube https://www.youtube.com/watch?v=M2S0bBTHu-8&w=560&h=315]
Architecture tells you a lot about a place and what was happening at the time in which it was built. I would love to see this exhibition and I hope to do exactly that if I’m in New York City before the new year.
Image: MoMA
Breuer House II is currently on the market in New Canaan, Connecticut for $5.85 million. The house has 4 bedrooms, 4 full bathrooms, and 2 half bathrooms. It is 4,777 square feet and sits on 3.11 acres of land.
Originally built in 1951, the house was designed by the Hungarian-born, Bauhaus-trained, and Harvard-teaching modernist architect, Marcel Breuer. It served as their family home until 1975, after which time it was sold and almost demolished. Thankfully it was instead purchased, restored, and expanded (by another Harvard architect).
Marcel Breuer was a member of what is known as the Harvard Five. They were a group of five architects who either taught at or went to the Harvard Graduate School of Design and who had moved out to New Canaan to build experimental modern homes starting in the 1940s. Homes like Philip Johnson’s Glass House.
Seeing the Breuer House II listed for sale this morning reminded me of how cool it must have been at the time for a bunch of radical architects to move out to a sleepy New England town and start building modernist boxes. I’m sure it pissed off more than a few people.
Does anyone know of anything similar to this happening today? :)
Image from Modern Homes Survey
If you’re into architecture, specifically epic modernism, then I would encourage you to pick up this new monograph on Mies van der Rohe–simply called Mies. It was written by the late Detlef Mertins, who was the Chair of the Department of Architecture at the University of Pennsylvania from 2002 to 2007, but is originally from Toronto.
Detlef was one of the most brilliant, but also nicest, people I’ve ever met and unquestionably the leading scholar on all things Mies. He passed away in the midst of working on this publication, but it was completed by his partner Keller Easterling–another powerful architecture mind–and a few other contributors.
For those of you unfamiliar with the work of Mies, here’s a brief description from the book publisher:
Ludwig Mies van der Rohe is one of the twentieth century’s most influential architects. His most well-known projects include the Barcelona Pavilion in Spain (1929); the Seagram Building in New York (1954-56); the Farnsworth House (1945-50), 860 and 880 Lakeshore Drive (1945-51) and the IIT Campus (1939-58), all in and around Chicago, and the New National Gallery in Berlin (1962-68). These are only a few of Mies’s pavilions, houses, skyscrapers and campuses, which all epitomized a radically new structural and spatial clarity.
For readers in Toronto, Mies’s biggest contribution is the Toronto Dominion Centre, which is a beautiful example of the International Style. The complex was designated under the Ontario Heritage Act in 2003. But in addition to it being great architecture, its construction in the late 60s really coincided with Toronto’s rise as a modern metropolis. Here’s a photo of the first tower from blogTO.
The TD Centre introduced not only a new architectural language into Toronto’s urban fabric, it also introduced a new and bolder way of how we thought of ourselves as a city. Remember this was a moment in time where Toronto was just about to overtake Montreal as the most populous city in Canada.
We were reimagining our city with Mies.