2019 | 3rd RMB and 16th Docomomo Germany Conference | Germany

1. March 2019 | Werkstatt der Kulturen



DOCOMOMO Germany with the Detmold School of Architecture and Interior Architecture, Ostwestfalen-Lippe University of Applied Sciences (OWL UAS) and the EU project ‘Reuse of Modernist Buildings‘ (RMB) invite you to the 16th DOCOMOMO Germany and 3rd RMB Conference.
The International Conference in Berlin takes the 100th anniversary of the Bauhaus as an opportunity to discuss the significance of modernity in the 21st century. The conference focus will be on the concepts, visions, and impulses emanating from Modern Movement and how they can be related to today’s social, economic, cultural and in particular creative issues.

Are the social, spatial and constructional concepts formulated by modern movement and post-war modernism still sustainable today?

What role do cultural and climatic conditions play in the preservation, renovation and transformation of spaces, buildings, and modern
movement sites?

How can the basic ideas of classical modernism be continued 100 years later and thus contribute to solving current challenges?

What contribution can be expected from academic and professional education, and which learning formats are suitable for this?

The 2019 DOCOMOMO Germany event will move from Karlsruhe and be held for the first time in Berlin, Neukölln at the Werkstatt der Kulturen. It continues the tradition of the Karlsruhe DOCOMOMO Germany Conference. This year the conference is co-organised by ‘RMB‘, a project that is funded by the EU and coordinated by the OWL University of Applied Sciences. RMB initiates a pedagogical framework on a European level on the reuse of modernist buildings based on common definitions, methods, and approaches. RMB prepares a Joint Master on Reuse of Modernist Buildings. This cooperation of DOCOMOMO Germany and RMB resulted in a new conference format: a combination of invited keynote speakers and selected scientific lectures under the theme of ‘What interest do we take in the Modern Movement today?‘.

The conference is open to the public and is of special interest to design practitioners including, architects, interior designers, engineers, researchers and to those who are interested in the topic. The conference language is English and German.




Werkstatt der Kulturen
Wissmannstraße 32
12049 Berlin | Germany

Underground: Hermannplatz | subway line U7 and U8

PROGRAM | FRIDAY, 01.03.2019

8.30  Reception | Registration

9.00  Welcome and Introduction | Room: Saal
Franz Jaschke, Chair Docomomo Deutschland
Michel Melenhorst, OWL University of Applied Sciences, RMB

9.15  Keynote | Skin and Bones. Restoring Mies van der Rohe’s Neue Nationalgalerie | Room: Saal
David Chipperfield, Chipperfields Architects, London

9.45  Coffee break | Room: Foyer

10.15  Parallel sessions | 1

1.1  Theory and Politics | Moderation: Michel Melenhorst  | Room: Saal
Post-Socialist Rural Regions – Christoph Muth and Emily Bereskin

The Afterlife of Fascist Architecture and Town Planning. The Case of Italy’s Pontine Plain and Colonial Libya – Vittoria Capresi
Are we Modern in a Liquid World? A Latin American Perspective – João Pedro Cardoso

1.2  Register | Moderation: Ana Tostões | Room: Foyer
Honarmandan Forum – Somayeh Fadaei Nezhad Bahramjerdi and Hoda Sadrolashrafi
Freak Architecture – Deborah Ascher Barnstone
Werner March and the Design of the Cairo Stadium  – Florian Seidel
Dona Leonor High School – Francisco T. Bastos

1.3  Education und Theorie (Deutsch | German) | Moderation: Alex Dill | Room: S1
Bauhaus, HfG Ulm und das NID – kritische Inventur einer Bautypologie- Katja Szymczak
Framing Bauhaus – Sophie Stackmann
Bau1haus – Kaija Voss und Jean Molitor

11.15  Panel discussion

11.30  Coffee break | Room: Foyer

12.00 Parallel sessions | 2

2.1  Education | Moderation: Gonçalo Canto Moniz  | Room: Saal
Cathedrals of Modernity. The legacy of Piero Portaluppi’s electric architecture – Sara di Resta, E. Lemma and D. Tassera
Architecture of Modern Schools in the 1930’s Ankara – Extension to Atatürk High School as a design studio exercise – Haluk Zelef
Exploring the City Through the Eye of the Modernist Photographer – Jülide Akşiyote Görür

2.2  Technology | Moderation: Uta Pottgiesser | Room: Foyer
Architectural Glass Churches – Zsuzsanna Böröcz
The Danish Window – Eva Storgaard

Portuguese Secondary School – Patrícia Lourenco
Value Concept Residences – Su K. Erdogan

2.3  Education und Register (Deutsch | German) | Moderation Monika Markgraf  |  Room:  S1
Visuelle Module Moholy-Nagy – Innovation inspiriert von dem pädagogischen Nachlass ungarischer Meister des Bauhauses – Andrea Karpati
Otto Rudolf Salvisberg (1882-1940) – Architekt der Moderne – Steigenberger and Gstöhl
Bauhaus in Berlin? Die Entwicklungsgeschichte der Kantgarage – Thomas Katzke

13.00  Panel discussion

13.15 Lunch break | Room: Foyer

14.15 Keynote | Mexican Modernism | Room: Saal
Fernando Romero, fr-ee, New York, Miami, Mexico-City

15.00 Break

15.15 Parallel sessions | 3

3.1  Education | Moderation: Aslihan Tavil | Room: Saal
Walter Gropius and Operative History: An Architectural Palimpsest – Jasmine Benyamin
Constituting an Archive: Documentation as a Tool for the Preservation of the METU Faculty of Architecture – Ayşen Savaş
Teaching Modernism – A Study on Architectural Education in Hungary (1945–60) – Rita Karácsony and Zoran Vukoszavlyev

3.2  Standardisation and Rationalisation | Moderation: Els De Vos | Room: Foyer
Bauhaus Worldwide Shift – Ana Tostões
The Minimum Dwelling: New Belgrade Flat and Reflections on the Minimum Today – Anica Dragutinovic
Paulo Mendes da Rocha: Prototype and Housing – Fernando Delgado Páez

3.3  Diskurs und Detail (Deutsch | German) | Moderation: Luise Schier | Room: S1
Late modern beyond the icons. Industrialisierte Alltagsarchitektur nach 1960 erforschen und denkmalkundlich inventarisieren – Mark Escherich
The Graves Laura Perls and Albert Mendel in Berlin-Weissensee – Nina Nedeljkov and Pedro Moreira
Die Bauhausküchen – bis heute mehr als nur „Bauhausstil“ – Max Korinsky

16.15 Panel discussion

16.30 Coffee break | Room: Foyer

17.00 Parallel poster presentations | Pecha Kucha | 4 

4.1  Housing reloaded | Moderation: Ana Nikezic | Room: Saal
Unforeseen Impulses of Modernism: The case of New Belgrade – Anica Dragutinovic, Ana Nikezic, et.al.
Unforeseen Impulses of Modernism: The case of New Belgrade_Block 23 – Anica Dragutinovic, Ana Nikezic, et.al.
The Vertical Village – Sanne Kunst and Sanne Louwerens
Restore the old Promise of Modernism – Ellen Mollen, Anne Wisse and Pieternel Van Steenbrugge

4.2  Education and Theory | Moderation: Thomas Ludwig | Room: S1
Haus am Horn – Its Experimental Spirit – Moe Omiya
A case study on ‘revealing creativitiy through craftsmanship’ – Çiler Buket Tosun
Modern Socialist Landscape? The 1960s planning concept of ‘rural settlement centers’- Fridtjof Florian Dossin
The Zeitgeist – Zaida Garcia Requejo

17.50  Documentary movie | Off Season, 2018 | Room: Saal
Director: Andrea Kalinová

18.30  Conference dinner | Room: Foyer

20.00  Keynote | Interventions | Room: Saal
Wiel Arets, Wiel Arets Architects, Amsterdam

20.45  Moderated discussion | Room: Saal
Moderation: Tim Rieniets

21.30  Informal Conclusion


In the evening there will be a panel discussion with invited guests.

Wiel Arets
Fernando Romero
Ana Tostões
Regina Bittner
Jörg Haspel

Wiel Arets Architects, keynote speaker
Office fr-ee, keynote speaker
President of Docomomo International
Deputy Director of the Stiftung Bauhaus Dessau
President of ICOMOS | Former State Conservator of the Office for Monuments Berlin

The discussion will be moderated by Tim Rieniets (Professor at the Leibniz University Hannover).


The event will be accompanied by guided excursions to sites of the Modern Movement in Berlin. The group tours will be held in the morning and afternoon of 02.03.2019. You can choose between the following excursions:

Excursion 1 |  Siedlungen der Moderne | Berlin – 3,0 h
10:30 – 13:30 – group 1
13:00 – 16:00 – group 2

Excursion 2 | Museum – Neue Nationalgalerie | by Ludwig Mies van der Rohe, design and realisation, 1962-68,
refurbishment by David Chipperfield Architects, 2012-2019 – 1,5 h
9:00 – 10:30 – group 3 (booked out)
10:30 – 12:00 – group 4 (booked out)
12:00 – 13:30 – group 5
13:30 – 15:00 – group 6 (booked out)
15:00 – 16:30 – group 7 (booked out)

Starting point and group details will be announced here soon. The fee to attend the excursion is 25,00 Euro per person and must be paid with the event participation fee at the time of registration.


Professional Ticket
Professional Ticket (Early Bookers | until 31.01.19)

Member of German Chamber of Architects
Student, Graduate and PhD Student
Student (Early Bookers | until 31.01.19)

100,00 Euro
80,00 Euro

80,00 Euro
50,00 Euro
50,00 Euro
30,00 Euro
15,00 Euro

All fees include the catering.


Account holder DOCOMOMO Deutschland e.V.
IBAN DE91 5089 0000 0000 9221 02
Intended use Conference Berlin_Name_First Name_Invoice number


For German participants and members of the chamber of architects, the registration of the conference is in progress – currently, the chambers of architects (federal states) are checking the recognition. The following chambers of architects (federal states) have confirmed the recognition of the conference as further training, so far:

Baden-Württemberg – confirmed (4 Points) – 2019-149267-0001
Bayern – recognition rejected
Berlin – confirmed (9 Points)
Brandenburg – confirmed
Bremen – confirmed (3 Points) – 20019-19
Hamburg – recognition rejected

Hessen – confirmed (8 Points)
Mecklenburg-Vorpommern – confirmed (7,5 Points)
Niedersachsen – recognition rejected
Nordrhein-Westfalen – confirmed (4 Points) – 19-5638-001
Rheinland-Pfalz – registration is pending
Saarland – confirmed
Sachsen – confirmed
Sachsen-Anhalt – registration is pending
Thüringen – confirmed (12 Points)



David Chipperfield

David Chipperfield established David Chipperfield Architects in 1985. He was Professor of Architecture at the Staatliche Akademie der Bildenden Künste, Stuttgart from 1995 to 2001 and Norman R. Foster Visiting Professor of Architectural Design at Yale University in 2011, and he has taught and lectured worldwide at schools of architecture in Austria, Italy, Switzerland, the United Kingdom, and the United States. In 2012 David Chipperfield curated the 13th International Architecture Exhibition of the Venice Biennale.

Topic: Skin and Bones. Restoring Mies van der Rohe’s Neue Nationalgalerie

He is an honorary fellow of both the American Institute of Architects and the Bund Deutscher Architekten, and a past winner of the Heinrich Tessenow Gold Medal, the Wolf Foundation Prize in the Arts, and the Grand DAI (Verband Deutscher Architekten- und Ingenieurvereine) Award for Building Culture. David Chipperfield was appointed Commander of the Order of the British Empire in 2004, appointed a Royal Designer for Industry in 2006, and elected to the Royal Academy in 2008. In 2009 he was awarded the Order of Merit of the Federal Republic of Germany and in 2010 he was knighted for services to architecture in the UK and Germany. In 2011 he received the RIBA Royal Gold Medal for Architecture, and in 2013, the Praemium Imperiale from the Japan Art Association, both given in recognition of a lifetime’s work.

Wiel Arets


Wiel Arets was born in Heerlen, the Netherlands, in 1955. His father was a printer and his mother was a fashion designer, and from them, he learned both the love of books and reading, as well as a deep respect for craft, materials and making. Heerlen, an ancient town founded by the Romans, located in the Limburg region in the south of Holland, near the borders of both Belgium and Germany, was from 1896 to 1966 the center of an important coal industry. As a result, the people of Heerlen were drawn from all over Europe, and together formed a strongly multicultural society. Arets grew up speaking four languages; French, German, Dutch and the regional dialect of Limburg. One of Arets’ grandfathers was a farmer, from whom he learned a respect for the unique aspects of the landscape of the Limburg region, while his other grandfather was a mining engineer, from whom he gained an abiding interest in technology.

Topic: Interventions

Intensely involved as a youth in soccer, and initially drawn to study physics, having been inspired by the first man landing on the Moon, Arets decided to focus on architecture after his grandfather gave him a book on the history of the Dutch house. After completing engineering school in Heerlen, he attended architecture school at the Technical University Eindhoven (TU/e), where, in addition to his classes and studio work, he spent three hours in the library every day. Among the writers who most inspired Arets from his youth was Paul Valéry, whose lifelong writing project, the Cahiers(Notebooks), Arets read in the original French, and Giorgio Grassi, whose La Construzione Logica della Architettura Moderna Arets translated into Dutch while a student. In addition, Arets has always been inspired by the works and thinking of the filmmaker, Jean-Luc Godard. It was at this time that Arets developed his admiration for the dialogue as an operative method, as exemplified by Valery’s Eupalinos, or the Architect, Cesar Cattaneo’s Giovanni e Giuseppe, and Plato’s Politeia.

While still in school, Arets undertook research in the archives and library of F.P.J. Peutz, an architect who built over 500 works in Heerlen, including the Town Hall and the Glaspaleis, which Arets would renovate and restore in 2004. In 1981, Arets organized an exhibit on Peutz at TU/e, and co-authored the book, F.P.J. Peutz Architekt 1916-1966, the only study on this important architect. While still a student, Arets co-founded the journal Wiederhall; organized a series of visiting lectures at the TU/e by architects such as Zaha Hadid, Peter Eisenman and John Hejduk; organized the first European exhibit of the work of Tadao Ando; as well as organizing student research trips to Paris, Como, and Russia.

Upon graduating from the TU/e in 1983, Arets went on a six-week research trip to Japan, where he met and wrote articles for the Dutch magazine De Architekt on the work of Ando, Maki, Shinohara, Hasegawa, Yamamoto, and others. Upon returning he opened his own office in Heerlen, where in the next years he designed his two most important early works, the Academy of Art and Architecture in Maastricht (1989-93) and the AZL Pension Fund Headquarters in Heerlen (1990-95), both of which were published in monographic form, and both of which received international awards. His work also received early recognition through the Rotterdam Maaskant Award of 1989, the Mies van der Rohe Award for European Architecture ‘Emerging Architect’ in 1994, and the publications Wiel Arets Architect (1989), An Alabaster Skin(1992), Wiel Arets Strange Bodies (1996), as well as the El Croquis monograph issue, Wiel Arets (1997).

Starting in 1986, Arets taught at the Architecture Academies of Amsterdam and Rotterdam, and from 1988-92 he was invited by Alvin Boyarsky to teach the Diploma Masters Unit at the Architectural Association in London. During this time, Arets organized research trips for his students to the Villa Malaparte in Capri, designed by the writer Curzio Malaparte, where they were among the first to enter the house after its return to the family (resulting in Arets’ ground-breaking article on the design of the house in the AA FilesCasa Come Me); to Hong Kong to study the walled city of Kowloon; as well as to Mexico City to study the work of Luis Barragán. From 1991-94, Arets was invited by Bernard Tschumi to teach at Columbia University in New York, and during this same time he was invited by John Hejduk to teach at Cooper Union, also in New York.

From 1995-2002, Arets was the Dean of the Berlage Institute School of Architecture, which moved from Amsterdam to Rotterdam during his tenure. He reorganized the Institute as a research laboratory focused on thematic issues of contemporary urban import at both the national and global scale. He also co-founded the journal Hunch as a way of documenting and presenting the research work of the school. From 2004-12, Arets was a tenured Professor at the UdK, Berlin; served on the Advisory Council for the Princeton University School of Architecture; as well as teaching as a visitor at selected schools including the Universidad Politecnica de Madrid and Washington University in St. Louis.

In autumn 2012 Arets was appointed Dean of the Illinois Institute of Technology’s College of Architecture (IIT CoA), in Chicago, Illinois, USA, where he is also the Rowe Family CoA Dean Endowed Chair Professor. Under his leadership, the IIT CoA has revitalized the school and restructured its curriculum, which now culminates in the innovative ‘horizontal studio’—a school-wide educational and research laboratory in which students in all degree programs (B.Arch, M.Arch. MLA and PhD), work together on research and design topics related to the metropolis, undertaken with the guidance and with criticism from internationally recognized visiting teachers and lecturers.

Starting in 1995 with the Stealth furniture line produced by Lensfelt, Arets has been involved in product design in both mass and limited production. Since 2001 he has designed almost one hundred products for the Italian company Alessi, including the Il Bagno dOt series of bathroom fixtures, a salt shaker, pepper mill, corkscrew, coffee maker, mixer, coffee-tea-milk-sugar set, espresso cup, saucer and spoon, tableware, and other kitchen products, as well as jewelry, a mobile phone, and a wristwatch; in 2009 Arets received the Good Design Award for his designs for Alessi. Arets has also worked with the jewelry maker Leon Martens, as well as designing three chairs that have gone into production, including the B’kini Chair by Gutzz and the Jellyfish Chair by Quinze & Milan. As with the Stealth furniture line, designed for the AZL Pension Fund Headquarters, many of Arets’ product designs have originated in his architectural commissions.

In 1997, Arets built his home and office in Maastricht, where his practice then moved from Heerlen. A second office was opened in Amsterdam in 2004, and a third office was opened in Zürich in 2008. A life-long fascination with Japanese culture, resulting in many trips to that country over the years, culminated in Arets designing and building a house for his family in Tokyo, completed in 2013. In 1997, Arets was one of ten finalists in the competition to design the addition to the Museum of Modern Art in New York, and from 1995-99 he saw realized a series of four innovative police stations in Vaals, Cuijk, Boxtel, and Heerlen. Over the past more than twenty years, Arets has designed and built a series of innovative and highly successful urban multi-family housing projects, both in the Netherlands and abroad, including the Four Towers Osdorp, in Amsterdam, for which Arets received the Amsterdam Architectural Prize in 2010.

The University Library Utrecht, which was completed in 2004, was the subject of the monograph, Living Library: Wiel Arets, as well as the site and subject of a ballet, staged by the Dutch National Dance Theater in the library during its construction. In 2005 Arets received the Rietveld Prize for the design of the University Library Utrecht, and that same year he received the BNA Kubus Award for his entire oeuvre. More recently, he received the AIT Innovation Award for Architecture and Technology, for Allianz Headquarters; the German Sustainable Building Council Silver Certification, for Schwäbisch Media; and the Victor de Stuers Award, for The Post. The book, Wiel Arets: Autobiographical References, won the Best Dutch Book Design Award in 2012. Arets was President of the Jury for the 2012 Venice Biennale of Architecture, and in 2013, Arets was Chair of the Jury for the Mies van der Rohe Award.

Other monographs on the work of Wiel Arets Architects include Wiel Arets Architect (010, 1998), Wiel Arets (C3, 1999), Wiel Arets: AZL Heerlen (010, 1999), Wiel Arets (Ediciones Poligrafia, 2002), Wiel Arets (Electa, 2004), The Bathing Dutchman (Alessi, 2007), Wiel Arets: Autobiographical References (Birkhäuser, 2012), Wiel Arets: Inspiration and Process in Architecture (Moleskin, 2012), and TC Cuadernos: Wiel Arets 1997-2013 (TC Cuadernos, 2013), and NOWNESS (IIT CoA, 2013), published to coincide with Arets’ investiture as the Rowe Family CoA Dean Chair at IIT; forthcoming publications include a new monograph and a book of photographs of Arets’ works by Bas Princen.

In 2010, Arets won the competition to design the expansion of the IJhal at the Central Train Station in Amsterdam, and in 2013 he won the competition to design Europaallee ‘Site D’ in Zürich. Recently completed works include the Allianz Headquarters, Zürich, Switzerland; Schwäbisch Media, Ravensburg, Germany; AvB Tower, The Hague; B’ Tower, Rotterdam; Campus Hoogvliet, Rotterdam; E’ Tower, Eindhoven; V’ House, Maastricht; The Post, a renovation project in Maastricht; and the Jellyfish House, Marbella, Spain. Arets has numerous projects under construction throughout Europe, and ongoing projects include the Cathedral and new urban district in Cape Coast, Ghana.

Fernando Romero

Fernando Romero, Hon. FAIA is recognized as one of the leading architects of his generation. He was named a Global Leader of Tomorrow at the World Economic Forum in 2002, one of the 50 Most Influential Designers by Fast Company in 2012 and became an Honorary Fellow of the American Institute of Architects (AIA) in 2013. His many accolades include the Bauhaus Award and the ‘Best of the Best’ Red Dot Award.

Topic: Mexican Modernism


Vittoria Capresi

Dr. Vittoria Capresi is senior researcher at the Habitat Unit at the Technical University of Berlin since October 2016, as PI of the International European Research Project MODSCAPES — Modern Reinvention of the Rural Landscapes, a fully granted HERA project. Vittoria studied architecture at the University of Florence and at the Technical University of Berlin before moving to Vienna at the Vienna University of Technology’s department of History of Architecture (2002-2011). Here, she completed her doctoral dissertation on the Italian rural centres built in colonial Libya. From 2011 until 2014, she was Associate Professor in History of Architecture and Urban Design at the German University in Cairo – GUC.

Topic: The Afterlife of Fascist Architecture and Town Planning.
The Case of Italy’s Pontine Plain and Colonial Libya.

Which kind of afterlife can we imagine for buildings built as an expression of a political ideology? Is it possible to functionally reuse political architecture without forgetting about its original purpose? The new towns and settlements founded under Mussolini in Italy and in colonial Libya planned for internal colonisation purpouses, definitively changed the landscape, contributing to the building up of a political and territorial ideology. The main message was that of power: the buildings and town planning created by the Fascist State offered the perfect background to the political propaganda, showing the absolute bond between ideology and its physical representation. What happened after the end of Fascism? Were the buildings related to power, stripped of their political meanings? Is it enough to decolonise the single buildings, or should the overall townscape be involved in the process? The paper will introduce some theoretical thoughts to discuss the topic of the afterlives of fascist architecture. The idea of functional reuse will be questioned, using examples from the Italian fascism, in particular the new settlements in the Pontine Plain and in colonial Libya.

João Pedro Otoni

Architect and Urban Planner graduated from the Faculty of Architecture and Urbanism of the Federal University of Juiz de Fora, master’s student in ‘Built Environment and Sustainable Heritage’ in Federal University of Minas Gerais. Throughout his graduation he participated in several research and extension programs, working in the areas of heritage, memory and architectural design. During 2014/2015 he was a BA Architecture student at Leeds Beckett University – Leeds, England. He has great interest in the areas of Architecture and Urbanism, Social Memory, Cultural Heritage and Environmental Psychology.

Fernanda Freitas

Architecture and Urbanism student at Federal University of Juiz de Fora, Brazil. She was involved in several universities programs, in tutoring and research in ambiental analysis, history, urbanism and interior design. Fernanda Freitas studied at Algarve University in Portugal for one semester and has been a part of the “Spatial Poetry – An Phenomenological Approach” summer course in Bauhaus-Weimar Universität, both in 2017. The focus of her actual research is cultural heritage, architecture and perception, themes that were present in other published works.

Carlos Eduardo Ribeiro Silverira

PhD in “Performing Arts” (PPGAC – UNIRIO); Master in “Museology and Heritage” (PPG-PMUS – UNIRIO / MAST); Specialist in “Arts, Visual Culture and Communication” (UFJF); Graduated in “Architecture and Urbanism” (UFJF). Adjunct Professor of the Department of Design, History and Theory of the Faculty of Architecture and Urbanism (UFJF), set of subjects History and Theory of Architecture and Urbanism, Landscape Design, Architecture and Urbanism Project. Connected to Laboratories: Laboratory of Theater and Memory Space Studies (UNIRIO) and DOMVS-Research Laboratory in Architecture, Urbanism and Landscape (FAU / UFJF).


Topic: Are we Modern in a Liquid World? A Latin American Perspective

The main theme of this work is to question the permanence of the concepts and languages of the Modern Movement in the daily life of cities and, consequently, its uses and perceptions, considering the current modern-liquid world in which we live, from a Latin American perspective. It goes through studies of society and the present cities seeking to understand the liquid complexities we are experiencing, in addition to the multiple layers of cities and urban networks, having as a theoretical reference the work of Zygmunt Bauman. The present work gives a brief overview of the daily permanence of the Modern Movement from Europe to Latin America. It is illustrated by two case studies: one related to the recent collapse of the Wilton Paes de Almeida building in the centre of the city of São Paulo; and the other an analytical case study of the film “Medianeras” that exposes the solitude of the individual in present-day Buenos Aires. It is concluded that the Modern Movement still has outstanding characteristics that define how the inhabitants live within the cities. Moreover, in view of the modern-liquid world, certain characteristics such as solitude, non-permanence and non-recognition of others as individuals have been exposed reinforcing other social and urban facts made by the Modern Movement.

Somayeh Fadaei Nezhad Bahramjerdi

Somayeh Fadaei Nezhad Bahramjerdi is working as academic member and assistant professor of Architectural and Urban Heritage Conservation Group, School of Architecture, University of Tehran, Iran. She has written her PhD thesis, at the University of Tehran, about conservation in historic cities with the aim of balancing strategies and policies in historic cities. She is a member of the National Committee of TICCIH and a member of ICOMOS. Besides, she is currently collaborating with the DOCOMOMO_Iran.

Hoda Sadrolashrafi

Hoda Sadrolashrafi is working as Teacher at Tehran University of Arts and also as an architect. She graduated from Polytechnic of Milan. Her master thesis was about the Hadrian Library of Athens as historical and monumental site. She also has a master of Museography, Architecture and Archaeology, Strategic Planning and Innovative Management of Archaeological Areas of She is currently collaborating with the DOCOMOMO _Iran.


Topic: Change Management in Conservation of Modern Architectural Heritage in Tehran

Change management has been recognized as a dynamic concept in conservation of architectural and urban heritage. The purpose of this paper is to identify which aspects of heritage building should be preserved and which ones can be changed in the adaptive reusable process of changing in context of Tehran. The first step is to recognize its palimpsest. These places have witnessed Tehran’s transformation throughout the last two centuries, from the private gardens of the Qajar dynasty, causing the formation period of Tehran to become the capital of Iran, to converting to public and industrial buildings during the Pahlavi dynasty (Reza Shah) during the industrialization period. Henceforth, it investigates these aspects in three case studies; Qasr Garden Palace, Art Forum and Argo factory which are located in Tehran. In order to achieve this goal, the review of related literature by using qualitative methods have to be utilized. The second step claims this paper is addressing each case-study and the data for this research were collected through architectural and historical documents, Semi-structured interviews, observations and photography and they were analysed qualitatively to prove that it is essential for the conservation of architectural and urban heritage to understand the necessity of recognising changing management.

Deborah Ascher Barstone

Deborah Ascher Barnstone is professor of architecture at University of Technology Sydney. Barnstone’s primary research interests are in the origins of classical modernism and exploring the relationships between art, architecture, and culture more broadly. Recent publications include articles in Journal of Architecture, Journal of Design History, and New German Critique, the edited volume Art and Resistance in Germany (Bloomsbury, 2018) co-edited with Elizabeth Otto, The Break with the Past: German Avant-garde Architecture, 1910-1925 (Routledge, 2018) and Beyond the Bauhaus: Cultural Modernity in Weimar Breslau, 1918-1933 (University of Michigan Press, 2016).

Topic: Freak Architecture: Australia and Classical Modernism

One hundred years ago, Australia was hostile territory for the nascent modern movement — Australian architects and their clients had notoriously conservative taste and disparaged the new aesthetics emerging in Europe. Yet today, Australia is a bastion of modernism; modern aesthetics are not only the purview of trained architects but also commercial developers. Today, the “in” aesthetic for every building type is modern. Between 1918 and the mid-1920s successful Australian architects like Robert Haddon (1866-1929), Walter Butler (1864-1949), and Harold Desbrowe-Annear (1865-1933) favored a British-inspired Arts and Crafts style, or an Empire style. Australia’s first licensed woman architect, Florence Taylor (1879-1969), epitomized Australian sentiment in the 1920s when she denounced what she termed “freak architecture” warning her countrymen against modernism. Yet now, Australian architects like Peter Stutchbury (1954-present); and firms like Denton, Corker, Marshall are world renowned for their elegant neo-modernism while commercial developers of every size construct highly sought after open plan flats and houses in a streamlined, unadorned style clearly influenced by classical modernism. How did this transformation occur? Some scholars credit Walter Burley Griffin (1876-1937) and Harry Seidler (1923-2006) with altering Australian architects’ attitudes to modernism while others only address reception until the 1960s. The reasons for the transformation are many: postwar migration of practitioners educated at the most progressive schools abroad; trips and apprenticeships overseas made by Australian architects; changing pedagogy in Australian architecture schools because of the new emigrés but also the new desire to be leading players on the world stage; a postwar construction boom; and a developing sense of independence from British influence.

Florian Seidel

Florian Seidel studied architecture in Berlin and Delft. After his graduation from TU Delft in 1997, he worked as an architect in several architecture and urban planning firms in the Netherlands and Germany. In 2003-2007, he was an assistant professor at TU Munich, where in 2008 he also obtained his doctoral degree (Dr.-Ing.) with his doctoral thesis “Ernst May – Urban Design and Architecture in 1954-1970”. From 2012 until 2016, Florian Seidel was Associate Professor for Theory of Architecture at the Architecture and Urban Design Program of German University in Cairo, Egypt. Besides working as an architect, Florian Seidel currently holds a position as an assistant professor at the faculty of architecture of BTU Cottbus-Senftenberg. His principal research topics are modern architecture, urban design, and building-related art.

Topic: Werner March and the Design of the Cairo Stadium

The paper deals with architect Werner March´s (1894-1976) design for the Cairo Stadium (built 1956-1960) and its relation to his famous Berlin Olympic Stadium (built 1934-1936), with which it shares numerous similarities. These range from the urban plan layout to architectural features.

Francisco T. Bastos

Assistant Professor of Architecture at Instituto Superior Técnico, University of Lisbon. Involved in teaching at both the undergraduate and graduate levels as well as in research and other outreach activities. Research activity concentrated on Practice-based research, and involves a reflection upon the state of architectural and urban education and practice. Registered Architect in Portugal. Practice experience since 1 986. Practicing with Manuel Vicente (1989-98). Creates the Atelier dos Remédios (1997). Private and public works such as housing and schools. Works Published. Professional and Academic Lectures in Europe. Prémio Valmor 2011 prize (City of Lisbon). OCDE SITE for Good Practices for Education.

Ana Fernandes

Ana Fernandes is an architect and researcher in Architecture. Master in Architecture concluded in 2013, with a thesis entitled “BNU Headquarters Building. Adaptive reuse in the context of Baixa Pombalina: from Bank to Museum”. Ana started working as an architect in 2013, collaborating in architectural competitions, editorial projects and other works. In 2016, initiated her research activity, in the multidisciplinary team of the Atlas of School Architecture in Portugal_ Education, Heritage and Challenges.


Topic: Modernization of Dona Leonor Secondary School: Contributes for good practices

This paper seeks to discuss the methodological approach used in the refurbishment of Modern Heritage buildings. By understanding and analyzing the existing conditions of modern buildings – urban, social, cultural, physical, functional and technical – towards their reuse, the design project should be developed with the aim of attaining an informed and coherent building, adapted to new contemporary demands of use and social meaning. In 2007, the Portuguese state approved the Secondary School Modernization Program with the objective of renovating and modernizing elementary and secondary school buildings throughout the country. On presenting the experience and result of the refurbishment of Rainha Dona Leonor Secondary School, recognized by the city council of Lisbon and OECD as an example of a good practice intervention in an educational building, it is shown the role of the architect in coordinating all of the project implications. The first section of this paper presents a description of the existing school conditions and the Portuguese State program for modernization. The second section discusses the proposed methodology of the intervention, the technical and technologic choices taken for preservation and reinterpretation of the existing, and the dialogue created between old and new. The third section is centered on the critical evaluation and conclusions, ending with insights on how critical thinking resulting from this action of design and building could be integrated and improve new interventions, thus achieving professional and societal awareness regarding the reuse of modernist buildings.

Sara di Resta

Sara Di Resta, PhD in Conservation of Architectural Heritage, is Assistant Professor of Architectural Preservation at Iuav University of Venice. Her research activities are focused on the conservation of 20th-century heritage and on the architectural language in conservation design. Her last volume is Forms of conservation. Purposes and practices of contemporary architecture for restoration. She is member of SIRA, the Italian Society of Architectural Restoration. Gold Medal at the Domus International Prize for Architectural Conservation (2017), in the same year she obtained the habilitation as Associate Professor according to the Italian National Scientific Qualification procedure.

Elena Lemma

Elena Lemma, Master degree in Architecture for the New and the Old at Iuav University of Venice in 2018 and Bachelor degree in Science of Architecture at University of Parma in 2015. Currently working for La Biennale di Venezia Foundation as an ‘Active Catalogue’ of the 16th International Architecture Exhibition. She worked as a cultural mediator for the Global Art Affairs Foundation during the 57th International Art Exhibition. She attended a workshop for making the models exposed in Anupama Kundoo’s installation at the 15th International Architecture Exhibition.

Davide Tassera

Davide Tassera, Master degree in Architecture for the New and the Old at Iuav University of Venice in 2018 and Bachelor degree in Architecture at Polytechnic of Turin in 2015. Actually intern at Sergio Pascolo Architects, in Venice. Member of Associazione Canova whose main goal is the recovery and the re-evaluation of rural medieval stone architecture. He attended a workshop for making the models exposed in Anupama Kundoo’s installation at the 15th International Architecture Exhibition.


Topic: Cathedrals of Modernity. The legacy of Piero Portaluppi’s electric architecture Valdo power station (1919-1923) case study

Starting from 1912, the architect Piero Portaluppi (1888-1967) was entrusted to design six hydroelectric plants in Val d’Ossola, a valley in North-West Italy. The power stations, a clear representation of modern monumentality, became one of the most important systems of water reservoir exploitation in Europe.

Built in the Twenties and abandoned in 1941, the hydroelectric plant of Valdo played an important social role for the valley, becoming the vehicle for the development of the area.

Portaluppi’s hydroelectric architectures were illustrated as modern cathedrals or castles; the modernity of the plant (even though mainly built with traditional materials) resides in the idea of society, development and progress that building still documents. The spaces, the relationship established between the power station and its natural environment are part of the legacy of the Modern Movement. From a cultural point of view, dealing with the preservation of these buildings testifies an extension of the traditional concept of ‘heritage’. From an educational point of view, the challenge of their protection doesn’t represent only a technical issue, but a path that requires to involve these buildings in today’s social and economic demand.

The paper describes cultural and creative approaches of an academic path aimed at returning the modern building both to the locals and the community. The proposal is the outcome of a multi-layer research that converts the former hydroelectric plant of Valdo, actually used as a warehouse, into a multi-functional building that meets the needs of the inhabitants, becoming a new district hub.

Haluk Zelef

Haluk Zelef is an Associate Professor in the Architecture program at METU from which he received B. Arch. He completed his postgraduate studies in the History and Theory programme at AA School of Architecture in London, and earned a Ph.D. degree at METU. Currently he is giving architectural design and architectural communication courses at various levels. His research fields include 20th century modern architecture and documentation of modern and technological heritage in Turkey, about which he has published many articles in magazines, including Planning Perspectives, Journal of Urban History, New Perspectives on Turkey and Do-Co-Mo-Mo Journal. Professor Zelef recently authored the book Diplomacy and Architecture (2018) commissioned by the Ministry of Foreign Affairs of Turkey.

Topic: Architecure of Modern Schools in the 1930s Ankara – Extension to Atatürk High School as a Design Studio Exercise

Research on the reuse of the modernist buildings can be pursued with different approaches and methods. This paper focuses on the potential of the modern heritage buildings on the education of the young architects. Though such buildings are mostly covered in the history and theory courses, their role in the design studios are scarce. In this regard a design studio exercise at the Middle East Technical University (METU) with its pedagogical framework are described here. The case study is Ankara Atatürk High School (AAL) designed by Bruno Taut, to which the students were asked to design an annex. This exercise informed them not only in terms of the historical, social, economical and educational contexts of the school but also about the approach of a well-known master of modern architecture. Interpreting the historical/theoretical information mentioned at the first of the paper, students developed their own particular design approach.

Jülide Akşiyote Görür

Jülide Akşiyote Görür is a lecturer and vice chair at İ.D. Bilkent University, Department of Communication and Design, Ankara, Turkey. She holds an MFA degree in Photography, Video and Related Media from School of Visual Arts, New York. She had received her BFA in Graphic Design from Bilkent University. She recently received an associate degree for the program in Cultural Heritage and Tourism at Anadolu University. She has been teaching and coordinating the foundation design studio in her department for the past 17 years.

Topic: Exploring the City Through the Eye of the Modernist Photographer

Ankara is often considered a dull, grey city; cold and bland carrying the weight of the government as the capital of Turkey. The city is under constant deconstruction and reconstruction. In this city where there are layers upon layers, it is difficult to differentiate between the new and old, layers of Modernity that are perishing, and harbingers of the future of Ankara.

The aim of the Modernist Photo project is to turn the city into a muse for the creative person. It reminds us to look at forms cleared away from colours, to look upwards, and downwards, to zoom in and out of objects, buildings, streets, people and nature. It is to help recognize lines, curves, figurative relationships, the things that are at the centre, on the side, or on the corner of a frame. It is to help students who cannot approach the elements of a Modernist city, pull these modernist elements out of the post-modern city and pretend and create their own Utopian cities. It is an effort to discover and find the equivalent of the Modernist New Vision in the 21st Century.

The end results of the project created following the footsteps of Moholy-Nagy, the European Avant Garde and the American Modernists, provide information to the lecturer about the views and sensitivities of the students. Educational and informative, the results speak to the senses. The stories about the city are varied, and a timeless, rediscovered urban symphony is created when the photographs are brought together.

Zsuzsanna Börörcz

Zsuzsanna Böröcz is an art and architecture historian and obtained her Ph.D. with a study on postwar stained-glass windows (2004, KU Leuven). Since then she has had teaching assignments on art, design and architecture theory, worked on research projects, and has curated exhibitions. At the moment, she is a researcher affiliated to both the KU Leuven, Department of Architecture and the University of Antwerp, Faculty of Design Sciences. She is also Vice-President of DOCOMOMO Belgium and founding member and Co-Chair of the ISC-Interior Design of DOCOMOMO International. Her research topics are 19th– and 20th-century interior issues in the context of monument care and craftsmanship.

Topic: The Conservation Challenge of Architectural Glass in Modernist Churches

Traditionally, architectural stained glass is classified in the applied arts. This attribution belies its complex relation with architecture and culture, and does not help the conservation of modernist architectural glass, especially in the context of reuse.

During the Modern Movement, influenced by themes such as functionalism, innovation and democratisation, church windows were the subject of vivid debate. Opinions were proposed ranging from ‘an outdated visual medium’ over ‘the ideal pivot between contemporary and Christian art’ to ‘a true vehicle of artistic quality’. Meanwhile, countless modern stained glass windows were placed in modern churches and also in historic churches.

In dealing with the problem of architectural glass, we argue that it is crucial to consider its fluid identity in relation to architecture, technicity, liturgy and society.

Churches in Europe are among the most endangered cultural icons, in contrast, the field of architectural church glass enjoys relatively little interest. Architects and art historians are called upon to make inventories and assessments, while expertise remains limited. And the questions are many: How did modernist ideas on free expression reflect on these products of interdisciplinary collaboration? How does architectural glass deal with the functionality and rationality demanded by modernism and by liturgy, or by new use? How to assess value within the interdisciplinary context?

Our contribution attempts to shed light on the multifaceted position of church glass windows within the architectural, artistic and social context of early Modernism. And through a number of cases, we wish to show how this approach can inform decisions on preservation and (re)use.

Eva Storgaard

Eva Storgaard graduated as an architect at The Royal Danish Academy of Fine Arts, Copenhagen (Denmark). She is finishing a Ph.D. on Danish Modernism and teaching (Master Programme Interior Architecture) at the Faculty of Design Sciences, University of Antwerp (Belgium). Recent articles include Teaching Re-use Strategies for Modernist Buildings”, (Joelho. Journal of Architectural Culture, 2018), co-authored with Els De Vos and Domestic Monumentality in the Interwar Years” (OASE, #101, 2018). She is member of the Erasmus+/ RMB project which aim is to develop an international master with focus on the reuse of modernist buildings. Since 2018 she is secretary of the International Specialist Committee-Interior Design (ISC-ID) Docomomo International.

Topic: The Danish Window. Key Element of Modern Architecture, Site of new Themes and Techniques.

Main qualities of modern architecture, from its advent in the 1920s to the late 1950s, revolved around the window. Crucial, interdependent developments in the fields of aesthetics, techniques and ideology influenced its properties. In this process the window became much more than mere source of light and fresh air. It developed into a modern architectural element of vital importance, carried out in variegated designs and types.

This paper focusses on the particular development of the modern window in Denmark. In Denmark, architects attuned the concept of the window to native customs and regional, climatological specifics. The Danish climate is dominated by short days in winter and long days in summer. These climatological concerns, arguably, have led to an architectural focus on indoor living in the Danish dwelling culture in which the window has played an important role. This focus, related to specific Nordic conditions as well as to restrict building regulations, availability and preference of material and technical progress, is combined with a more general, modernist interest in the physical and visual connection between interior and exterior and enhanced the development of a number of window types that have become distinctive for Danish Modern.

This paper examines two prominent window types in the history of Danish Modernism: the bay-balcony window and the sliding glass door. It describes the influence of modern building methods and techniques on the development of these two examples of modern window types in Denmark as well as its architectural importance as mediator between inside and outside in the architecture of Danish dwelling.

Patricia Lourenco

Patricia Lourenço is an architect and invited assistant professor at Instituto Superior Técnico (IST), University of Lisbon, lecturing Architecture Project in the Integrated Master in Architecture. In 2015, she concluded a PhD in Architecture, at IST, researching on enhancing buildings’ sustainability through user oriented strategies and use data monitoring. The current primary areas of research include 1) Evidence based sustainable architecture, 2) Post occupancy evaluation & buildings in use monitoring 3) Users behaviour data for modelling and simulating buildings’ energy performance. She is a licenced professional architect since 1999, maintaining a professional practice since then.

Alexandra Alegre

Alexandra Alegre is an architect and assistant professor at Instituto Superior Técnico (IST), University of Lisbon. Her research interest is in the field of Portuguese architecture, focused on the history of architecture, construction and urban history, planning and design project process, and issues related to educational and recreational architecture and childhood studies. Principal researcher of the research project Atlas of School Architecture in Portugal_ Education, Heritage and Challenges, funded by FCT (Portugal). Author of the book Arquitectura Escolar. O Edifício Liceu em Portugal (1882-1978), published by Gulbenkian Foundation in 2012. Member of Docomomo International.

Topic: ‘New Architecture’ in Use. Mapping Portuguese Modern Secondary Schools.

Attempting to reflect upon the direction of modern architecture of the 1930’s, in his book “The New Architecture. 1930-1940” published in 1939, Alfred Roth selected twenty buildings as modern examples. Among them, two schools fulfilled the predefined criteria of what he called New Architecture. Beyond the establishment of a strong social purpose, these schools expressed a clear spatial structure, and incorporated new contributions provided by science, technics, economy, or art. In Portugal, secondary schools featured three main production moments relatively to the modern period: (i) built in the 1930s, (ii/iii) during the 1950s/60s, according to different approaches: standardized solutions and expressing the vocabulary of the late modern period. This article presents and discusses one example of each period, taking into account their ability to preserve their modern identity. The initial and contemporary technical, environmental and functional requirements are compared. Their impact is evaluated, as well as their effect on the modern identity, of interior atmospheres, spatial clarity, and the expression of materials. These schools combine a modern spatial structure with an expressive use of materials, taking advantage of the best solar orientation, natural ventilation, and construction solutions. This exploration of modern schools in use, enabled us to revisit Roth’s criteria and the relevance of New Architecture today. This research is developed under the scope of two research projects: ASAP_EHC aims at mapping the Portuguese school buildings from the 20th century, while RMB deals with the sustainable re-use of modernist buildings. The combined results of the two projects provided the means for insightful readings of the adaptive capacity of modern school buildings to assimilate various technical, environmental, and legal requirements, while keeping their modern identity.

Su Kardelen Erdoğan

Su Kardelen Erdoğan graduated from Istanbul Technical University (ITU), Department of Architecture in 2016. She is master student at ITU in Environmental Control and Construction Technologies Program and she works as research assistant at Izmir Democracy University at the same time. Her studies focus on modern movement heritage and technological value of modern buildings. In accordance with these subjects, she worked with ITU Team of EU Erasmus Strategic Partnership Project “Re-use of Modernist Buildings (RMB)” and joined RMB Conference in Detmold and student workshop in Marl. She has been taking part in various activities of DOCOMOMO Turkey Group.

Aslihan Unlu Tavil

Aslihan Unlu Tavil being a full-time professor at Istanbul Technical University (ITU), Department of Architecture, she has taught several PhD, master’s and undergraduate classes on building technology and has conducted extensive research on sustainable building technologies and construction, building performance simulation, and high performance façade and window systems. Being a Fulbright Fellow, she taught as a Visiting Professor at Roger Williams University, School of Architecture, Art and Historic Preservation at Bristol, Rhode Island between 2012-2013. She has been working as the ITU coordinator of EU Erasmus Strategic Partnership Project “Re-use of modernist buildings”.


Topic: Technological Value Concept for Modernist Residences in Turkey

Technology, one of the keys of architecture, has had a major role in Modern Movement, which represents a dramatic shift in construction, away from the traditional forms of the past and toward a new design era. We argue that by focusing on the evolution of technology within Modernism, the identification and documentation of the modern buildings due to their technological aspects are significant for conservation approaches as well as for the protection of the 20th century heritage. This paper focuses on an approach, which defines the “technological value” of modern buildings in order to be aware of the building components and materiality of the modern period. Furthermore, analyzing the best practices of the Modern Movement facilitates the representation of the technological diversity and developments by discussing the relationship between the technology and Modern Movement. In this context, residential buildings designed in 1950s reflecting Turkish modern life are selected as cases to emphasize the technological value by the determined criteria.

Andrea Karpati


Topic: Visuelle Module Moholy-Nagy – Innovation inspiriert von dem pädagogischen Nachlass ungarischer Meister des Bauhauses

Das von den Bauhausmeistern ausgearbeitete pädagogische Konzept innovativer Inhalte und Methoden der Kunst- und Werkerziehung ist auch heute noch aktuell und inspirierend für die Erziehung in den Bereichen Kunst und Design. Projektorientierte, kollektive Planung und Verwirklichung von Arbeiten, die gesellschaftliche Probleme darstellen und diese auch zu lösen versuchen, eine Synthese visueller Kunstgattungen mit Drama, Tanz und Musik, die Entdeckung der kreativen Möglichkeiten der neuen Technologie und vor allem die Betonung der Prozesse und nicht der Endresultate der Kunstgestaltung sind zentrale pädagogische Prinzipien von László Moholy-Nagy, Marcel Breuer und György Kepes, der bedeutenden ungarischen Meister des Bauhauses. Das Projekt „Visuelle Module Moholy-Nagy – die künstlerische Sprache des 21. Jahrhunderts lernen“ entwickelt Lehrplanmodule für die Jahrgänge 6 bis 12 und erprobt diese in den Jahren 2016 bis 2020 in 17 ungarischen Schulen in verschiedenen soziokulturellen Umgebungen.

Die Bereiche visuelle Kommunikation, visuelle Medien, Umweltkultur/Design und Zeitgenössische Kunst können als Bausteine eines Lehrprogramms miteinander kombiniert oder jeweils als Hauptthema eines kunstpädagogischen Programms eingeführt werden. In diesem Aufsatz werden Lerninhalte für Architektur und Umweltgestaltung und Beispiele für eine interaktive, digitale Auswertung von visuellen Fähigkeiten der Raumdarstellung und Raumperzeption wie Visualisierung, Rekonstruktion und Orientierung kurz vorgestellt. In der Begegnung mit historischen und zeitgenössischen Fragen der Stadtplanung und des Wohnungsbaus entwickelt sich eine problemlösende Haltung. Experimente mit Materialien und Techniken sowie die Schulung des Tast- und Sehsinns führen die SchülerInnen weg von einer Wahrnehmung der Architektur, die auf den zweidimensionalen Bildern der Fassaden basiert. Narrativ formulierte Aufgaben („Situationen“), die in einem Prozess des Design Thinkinggelöst werden sollen, und die Integration von Wissen und Fähigkeiten aus naturwissenschaftlichen und künstlerischen Studien (Lehrmodell STEAM – Science, Technology, Engineering, Arts and Mathematics) betonen auch die ökonomische und ethische Relevanz der Umweltgestaltung.

Thomas Steigenberger

Dr. des. Thomas Steigenberger, Jg. 1975, arbeitet am Institut für Kunstgeschichte der Universität Bern (Lehrstuhl Prof. Nicolai) im SNF-Forschungsprojekt „Otto Rudolf Salvisberg – Architekt der Moderne.“

Schwerpunkt seiner Forschungsarbeit ist die Architekturgeschichte und Denkmalpflege des 19. und 20. Jahrhunderts. Hierzu zahlreiche Ausstellungsbeiträge und Veröffentlichungen u.a. über Alfred Grenander, das Frühwerk Mies van der Rohes, den Berliner Architekten Georg Heinrichs sowie zur Architektur der Nachkriegsmoderne in Deutschland. Abschluss der Dissertation über den Grafiker, Raumkünstler und Reformarchitekten Bruno Paul im April 2018 („Der Neue Stil: Bruno Paul – Protagonist der Werkbund-Bewegung und künstlerischer Leiter der Vereinigten Werkstätten“).

Topic: Otto Rudolf Salvisberg (1882-1940) – Architekt der Moderne

Otto Rudolf Salvisberg (1882-1940) unterhielt in Berlin (1914-1932), Bern (1921-1940) und Zürich (1929-1940) florierende Architekturbüros und prägte seit 1929 als alleiniger Diplom-Professor an der ETH Zürich maßgeblich die ihm nachfolgende Architektengeneration.

Dieser Beitrag behandelt einen kleinen Ausschnitt seines facettenreichen Werkes: Salvisbergs Stellung zum Neuen Bauen im Wechsel- und Konkurrenzverhältnis zur deutsch-schweizer Avantgardeszene, deren zunehmend erfolgreiche Selbstvermarktung zu einer sehr einseitigen Wahrnehmung der Architekturmoderne nach 1945 führte. So gilt Salvisberg heute als Exponent einer „anderen Moderne“, dem vermeintlich nie ein vollgültiger Beitrag zum Neuen Bauen gelungen sei. Hier wirkt ein Verdikt nach, das im CIAM-Kreis um Karl Moser, Sigfried Giedion und Walter Gropius seinen Ursprung hat und noch die Wiederentdeckung des Architekten in den 1970er und 1980er Jahren überlagerte.

Im Zentrum dieser Untersuchung steht die gut dokumentierte Kontroverse um Salvisbergs Berufung an die ETH Zürich im Jahr 1928, an der sich beispielhaft die Argumentationsmuster und Abgrenzungsmechanismen der vorwiegend mit Schlagworten argumentierenden Avantgardeszene aufzeigen lassen sowie die Notwendigkeit, etablierte Entwicklungsmodelle und Narrative noch einmal zu hinterfragen.

Thomas Katzke

Architekturstudium an der TFH Berlin mit Schwerpunkt Bauerhaltung, Diplom bei Prof. Dr. Schäche mit dem Entwurf eines neuen Nutzungskonzeptes für das Kantgaragengebäude in Berlin. Aufbaustudium am Institut für Geschichtswissenschaften der HU Berlin bei Prof. Dr. Demps, Masterarbeit mit dem Thema: Die Großstadtgarage – Einfluss der Automobilisierung auf die Berliner Architektur der 1920er Jahre. Seit 1998 angestellter Architekt mit Schwerpunkt Denkmalpflege (Architekten Petersen GmbH; Winfried Brenne Architekten; FU Berlin, Referat Bauplanung und Baudurchführung). Historiker mit den Hauptaugenmerken Architektur der Zwischenkriegszeit und Berliner Großgaragenprojekte. Einschlägige Publikationen und Rezensionen in diversen Fachzeitschriften.

Topic: Bauhaus in Berlin? Die Entwicklungsgeschichte der Kantgarage 1928-2018

Bis Anfang 2017 deutete ein Leuchttransparent an einem in die Jahre gekommenen Gebäude in Berlin-Charlottenburg auf dessen Funktion hin – „Kantgaragen“. Zu seiner Eröffnung im Jahr 1930 war es das erste Garagenhochhaus in Berlin und ein Fanal moderner Sachlichkeit in der Phalanx der wilhelminischen Fassadenarchitektur der Kantstraße. Verantwortlich für die Entwicklung des Gebäudes waren neben dem Bauherrn Louis Serlin das Architekturbüro Lohmüller, Korschelt, Renker und zwei junge, gerade diplomierte Architekten – Herrmann Zweigenthal und Richard Paulick.

Die Gestaltung des zeitlos modernen Fassadenentwurfes und der Rampenanlage oblag federführend Hermann Zweigenthal. Dieser realisierte bereits als 19-jähriger Bühnenbilder in Berlin, mit 23 Jahren wurde er Architekt und sechs Jahre später infolge der nationalsozialistischen Machtergreifung seines beruflichen Erfolges in Deutschland beraubt. Zweigenthal emigrierte über die Schweiz und England in die USA und nannte sich von 1940 an Hermann Herrey. In den USA entwickelte er sich zu einem angesehenen Raum- und Stadtplaner, ohne seine Architektur- oder Theaterambitionen zu vergessen. In den 1950er Jahren kehrte er für einige längere Aufenthalte nach Berlin zurück und erhielt als Theaterregisseur den Kritikerpreis für die Saison 1957/58.

Dennoch ist der Architekt, Designer, Bühnenbildner, Regisseur, Raum- und Verkehrsplaner, Dozent und Autor Hermann (Herrey-)Zweigenthal heute selbst den Kennern der Berliner Baugeschichte unbekannt. Und wer doch die Kantgarage mit seinem Namen in Verbindung bringt, kann kaum weitere seiner Arbeiten nennen.

Jasmine Benyamin

Jasmine Benyamin is currently Associate Professor of Architecture at the University of Wisconsin-Milwaukee School of Architecture and Urban Planning. She holds a Bachelor’s degree in Architecture and French Literature from Columbia University, a Master of Architecture degree from Yale University, and a PhD in architecture from Princeton University. Her doctoral research was the recipient of several grants, as well as fellowships from both the DAAD and Fulbright Foundation. Among her publications include essays and reviews for the Journal of the Society of Architectural Historians, the Journal of Architectural Education and the Journal of Architecture.

Topic: Walter Gropius and Operative History: An Architectural Palimpsest

This paper evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to ‘make history’ for themselves.

What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to twentieth century modernism? It is undeniable that there is a concerted effort among contemporary historians to complicated the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.

Aysen Savas

After being trained as an architect in the METU Department of Architecture and Bartlett School of Architecture, she received her PhD from the History, Theory, and Criticism Program at MIT. For the last 20 years she has been converting historical buildings into museums and curating national and international exhibitions. Currently, she is teaching courses on representation and architectural design at METU. Her publications include exhibition catalogues, books and articles particularly on the transformation of space by means of architectural interventions and the preservation of Modern Architecture. She is the founder of a non-profit organization: Exhibition Design Workshop that established and designed museums such as Sabancı Museum, Erimtan Archeology Museum (EMYA finalist 2017), MKEK Technology Museum and METU Science and Technology Museum. Her achievements include a number of national and international awards and fellowships, including the Getty Keeping It Modern Grant, AIA Architectural Award, AAUW Research Prize, Schlossman Prize in historical research, Sir John Soane Museum, CCA and Bologna University fellowships. The museological theme she had developed for the Turkish Pavilion at the World EXPO in Shanghai won The Silver Medal in 2010.

Ipek Gürsel Dino

Dr. Gürsel-Dino completed her M.Arch degree at Middle East Technical University, Department of Architecture. She pursued her studies further in computational design at Carnegie Mellon University in USA (M.Arch) and Technische Universiteit Delft in the Netherlands (PhD in Architecture). She has led and participated in research projects in both USA and Europe on the development of computational tools and methods for building performance assessment, sustainable building design, parametric design systems, building information modeling, building energy efficiency, virtual-reality design tools and building retrofit. Dr. Gürsel Dino is currently working as a faculty member at METU Department of Architecture, where she also acts as the coordinator to the Graduate Program in Architecture.

Topic: Constituting an Archive: Documentation as a Tool for the Preservation of the METU Faculty of Architecture

It is not an overstatement to say that METU Campus located in Ankara is the best product of Modern Architecture in Turkey. Not only with its architectural elements, built-in furniture and art works but also with its mission, vision and social structure, it is the material and symbolic manifestation of a holistic Modernist approach. Embodying the branded aphorism “university as a society” and designed by the architect couple Behruz-Altuğ Çinici, the campus was erected on the bare mounds of Anatolian prairie in late 1950s. For the last ten years, the campus has been exposed to a series of physical interventions and started to lose its original qualities. The 20th century architecture is not of interest particularly in Turkish governance, where the definition of historical heritage is quite narrowly defined within a time limit of the late 19th century. Appreciating the minimalist interiors, white plaster surfaces, glass brick separators, exposed concrete walls has also been rather difficult for the users coming from different backgrounds and social classes. The maintenance of the buildings becomes an obvious necessity in regard to central Anatolia’s severe geographic characteristics. Recently a comprehensive research and management plan is implemented with the support of international organizations and this paper focuses on the new methodology developed to address the existing challenges and prepare long-term conservation policies for the campus. Documentation here is understood as the leading action of preservation.

Rita Karácsony

Rita Karácsony is an Art historian, graduated in 2014. Her field of research is Hungarian architecture and architectural education during the first half of the 20th century. Her latest research topic focuses on the works and educational backgrounds of architects who emigrated from Hungary due to political reasons after 1956. This has turned her attention to the architectural educational methods applied at the Technical University of Budapest between1945-1956: a period that was shaped by many ideological and economical changes. She is a PhD student at the Department of History of Architecture and Monument Preservation, BUTE.

Zoran Vukoszavlyev

Zorán Vukoszávlyev PhD is an Architect and monument protection specialist. Receiving his PhD with a Summa cum laude distinction in 2003, he is currently an associate professor at the Department of History of Architecture and Monument Preservation, BUTE. He lectures on contemporary and sacral architecture, has authored and edited multiple publications on architectural issues and addressed several international conferences. He has supervised academic research on contemporary Portuguese architecture (OTKA 68610) and Spanish architecture. He is the author of the books ‘Serbian Orthodox Churches of Hungary’, ‘Contemporary Dutch Architecture’ and co-author of ‘Model of the Universe – Contemporary Hungarian Church Architecture’ and ‘Contemporary Portuguese Architecture’.

Topic: Teaching Modernism A Study on Architectural Education in Hungary (1945–60)

“One should not wear swimming suits where others wear smoking. Modern architecture needs to be humanised.” These are the words Károly Weichinger used in a consultation at the Architecture Faculty of the Budapest Technical University during the 1940s. The influence of the Modern Movement was felt in Hungary from the ‘20s onwards – teaching architecture was challenged to adapt to this situation.

How did professors designing in historical styles react to the new architectural tendencies? To what extent was the architectural profession or the student community satisfied with the changes?

From the ’30s onwards the teaching methods were increasingly related to modernism, but after WWII the Soviet occupation had a significant impact on the alteration process: it was temporarily suspended. The Soviet-type state organisation forced socialist realism as style dictatorship on culture. This paper’s aim is to investigate what kind of influence that commitment caused around 1951 on the architectural education, which was fundamentally based on modernism that time. Several interviews have been conducted with former students, which can help in answering the question. The recollections point to the fact that the changes that started at the end of the ‘20s did not stop entirely in the 1951–54 period due to some teachers devoted to modernism.

Anica Dragutinovic

ANICA DRAGUTINOVIC, M.ARCH, is a PhD Candidate at the University of Antwerp (Belgium). Her PhD research is focusing on the evaluation and transformation of modernist housing blocks in New Belgrade. She is a research assistant and coordinator of Master Program MIAD/MID-Facade Design at OWL UAS (Germany) since 2016; and a member of the Erasmus+ project Re-use of Modernist Buildings. She obtained Master of Architecture in 2016 at the University of Belgrade, Faculty of Architecture (Serbia), and Bachelor of Architecture in 2014 at the same Faculty. During her studies she was a student teaching assistant and had different internships on international level.

Topic: The Minimum Dwelling: New Belgrade Flat and Reflections on the Minimum Today

The concepts for the minimum dwelling investigated by inter-war modernists were further developed and largely applied in the construction of post-war large-scale housing. As elsewhere in post-war Europe, affordable housing was high on the agenda in Socialist Yugoslavia. The right to a residence was an imperative of the socialist state, which set an enormous housing construction program so that each family could be housed in its own apartment. To meet the huge housing needs, another imperative was to build quickly and cheaply. New Belgrade, a project for the capital of the newly founded socialist state, eventually became the biggest construction field for providing societally owned flats for tens of thousands of inhabitants. The demand for huge amounts of flats, efficient construction and low-costs dictated the optimization of design, standardization, and rationalization. The paper investigates the design of New Belgrade flats focusing on different aspects of the “minimum” that were applied. It additionally analyses how compared to the inter-war concepts the perspective on the minimal needs changed. Furthermore, it compares these standards and needs with the actual ones. The research aims to trace these changing perspectives on minimum, to rethink the modernist minimum dwelling and explore how it relates and reflects the minimum in design today.

Fernando Delgado Páez

Fernando Delgado Páez qualified as an Architect at University of Málaga (Spain) and has a Master of Architecture degree in Theory, History and Criticism from the School of Architecture and Urbanism of the Federal University of Rio de Janeiro (Brazil), where he is currently a PhD candidate and also a researcher at the Professor Roberto Segre’s Archive, in the Laboratory of Urban Analysis and Digital Representation at the Graduate Program of Urban Design (PROURB).

Topic: Paulo Mendes da Rocha: Prototype and Housing

Paulo Mendes da Rocha is being considered as one of the most prominent figures of the contemporary architecture, which is reflected by the relevant prizes he won in the last years, exemplified by the Biennale’s Golden Lion (2016) or the Pritzker (2006). On the other hand, his work grew up in the 50s, in the Brazilian modern architecture apogee and consolidation. So, main topics for the Modern Movement architect’s agenda, such as the architectural object’s to be serialised, appear frequently in the architect’s works. The accelerated population growth was a perfect problem to justify experiments following these strategies in the field of housing, and, in Brazil, the vertiginous population growth was also a problem that encouraged local architects to follow the same way. The result was an important number of relevant works in Brazil, like CECAP Cumbica (1967), one of the first of housing projects designed by Mendes da Rocha. The analysis of the housing projects we know Mendes da Rocha later designed –until the last housing built by the architect in Madrid (2006)– shows that there are significant oscillations on the idea of prototype, oscillations on how Mendes da Rocha deal with this topic and with those related to it, like standardisation and rationalisation. The analysis of this group of projects, that belongs to a contemporary architect with modern roots, could give us some possible answers about the conference’s main question: which interest do we take in Modern Movement today?

Mark Escherich

Tischlerlehre, Studium des Bauingenieurwesens, der Architektur und der Kunstgeschichte; 2002-04 Lehrauftrag an der Fachhochschule Erfurt; 2004-08 wiss. Mitarbeiter am Lehrstuhl Bauaufnahme und Baudenkmalpflege der Bauhaus-Universität Weimar; 2008 Promotion mit einer Arbeit zu Stadtbaugeschichte 1918-33; wiss. Mitarbeiter seit 2008 bei der Denkmalbehörde Erfurt und seit 2011 an der Professur Denkmalpflege und Baugeschichte der Bauhaus-Universität Weimar; 2011-16 Konzeption und Durchführung der Tagungen “Denkmal Ost-Moderne” ebenda; seit 2016 Kollegiumsmitglied beim DFG-Graduiertenkolleg 2227 „Identität und Erbe“, http://www.identitaet-und-erbe.org; seit 2018 Gründungsmitglied beim DFG-Netzwerk „Netzwerk Bauforschung für jüngere Baubestände (1945+)“; SoSe 2019 Gastprofessur an der an der Fakultät Architektur und Stadtplanung der FH Erfurt.

Topic: Late modern beyond the icons. Industrialisierte Alltagsarchitektur nach 1960 erforschen und denkmalkundlich inventarisieren

Zur Moderne gehören die gewaltigen Baubestände, die während der Boomzeiten nach dem Zweiten Weltkrieg weltweit und in den beiden Teilstaaten Deutschlands entstanden sind. Vor allem die konzeptuell seriellen Architekturen der 1960er und 70er Jahre stellen uns weit mehr als die Bauten und Anlangen des Neuen Bauens der zwanziger Jahre vor aktuelle Herausforderungen. Vielfältige soziale, wirtschaftliche und kulturelle Problemstellungen ergeben sich im Zusammenhang mit der Frage des angemessenen Umgangs mit diesen Beständen. Sie sind maßgeblich von modernen Denk- und Organisationsweisen im Bauen geprägt worden und werden zukünftig einen großen Teil des Erbes der Moderne ausmachen.

Pedro Moreira

Pedro Moreira was born in São Paulo, studied Architecture and Urbanism at the FAU-USP and the Technical University Berlin. Architect, Historian and Visual Artist. Worked at offices in São Paulo and London (1988-91), and Berlin (1991-94). Publications, Lectures and Debates on Architecture, Material Heritage and History in Germany, Switzerland, Spain, Brazil, UAE and Ethiopia a.o.. Member of the Architects and Urbanists Council of São Paulo. Member of do.co.mo.mo Germany.

Nina Nedelykov

Nina Nedelykov was born in Berlin, studied Architecture at the Technical University Berlin. Numerous publications, lectures and moderations in Germany and internationally, member of the Förderverein Bundesstiftung Baukultur e.V. and ICOMOS Germany. Institutional activities 2000-2014: Vice-President of the Berlin Architects Chamber (AKB), Architects Chamber of Germany (BAK), Council Member oft the International Union of Architectes (UIA) and the Architecs Council of Europe (ACE).

Topic: The Graves Laura Perls and Albert Mendel in Berlin-Weissensee

The Graves of Laura Perls (1919) designed by Ludwig Mies (van der Rohe) and of Albert Mendel (1923) designed by Walter Gropius are located in the Jewish Cemetery Weissensee in Berlin. Both were commissioned by early clients and promoters of the architects: Ludwig Mies had built House Perls in Berlin-Zehlendorf for Laura Pearl´s only son Hugo in 1911-12, and Gropius designed interiors and furniture for the apartment of Albert Mendel and his wife Tony in Berlin-Tiergarten in 1913-14 and 1921 remodelled their lakeside mansion in Berlin-Wannsee.

Members of both families left Germany in the early 1930´s, the cemetery remained neglected and the graves were almost forgotten. At the beginning of the 1980´s they were „rediscovered“, when in 1985 Franz Schulze included the Laura Perls Grave in his monography on Mies van der Rohe, and Hartmut Probst, preparing the work-catalogue of Gropius with Christian Schädlich, rediscovered the Albert Mendel Grave and documented it for the first time in 1983.

These two graves stand for an almost forgotten field of activity of architects in the early XXth century, sepulchral architecture. They document the special relationship between the architects and their clients, and they well represent a transitional phase in the œuvre of both architects, in which seeds for subsequent developments can be recognized. The research and the restoration work also brought us new insights into the lives of the clients and into the working methods and techniques of both architects in that period.

Max Korinsky

Studium Freie Kunst an der Kunstakademie Düsseldorf, Germanistik und Geschichte an der Universität Wuppertal. Mitbegründer des Studios Korinsky in Berlin. Künstlerische Forschung zur akustischen Wahrnehmung von Architektur und Veröffentlichungen und Vorträge zum Thema, z.B. an der University of Greenwich, der Muthesius Hochschule Kiel und der Kunstakademie Düsseldorf. 2014-17 Lehrbeauftragter an der HTWG Konstanz, Fachbereich Architektur und Gestaltung. Dissertationsprojekt an der Kunstakademie Düsseldorf über die Kontinuitäten im westdeutschen Alltagsdesign der 1950er-Jahre.

Topic: Die Bauhausküchen – bis heute mehr als nur „Bauhausstil“

Küchentrends werden heute fast immer mit unterschiedlichsten Design-Begriffen beworben. Doch entgegen der Vermutung, dass damit die funktionalen Vorzüge beschrieben werden, sind es zumeist emotionale Verheißungen, die zum Kauf einer neuen Küche anregen sollen. Vor 100 Jahren stand die Funktion der Küche und die Effizienz der Hausarbeit im Mittelpunkt der Untersuchungen und Entwürfe unterschiedlichster Protagonisten. In einem engen personellen Geflecht entstanden in den 1920er-Jahren fast zeitgleich moderne Küchen am Bauhaus und die weltberühmte Frankfurter Küche. Aber was unterscheidet heutige Ansprüche an die Küche von denen vor knapp einem Jahrhundert?

Anicia Dragutinovic

ANICA DRAGUTINOVIC, M.ARCH, is a PhD Candidate at the University of Antwerp (Belgium). Her PhD research is focusing on the evaluation and transformation of modernist housing blocks in New Belgrade. She is a research assistant and coordinator of Master Program MIAD/MID-Facade Design at OWL UAS (Germany) since 2016; and a member of the Erasmus+ project Re-use of Modernist Buildings. She obtained Master of Architecture in 2016 at the University of Belgrade, Faculty of Architecture (Serbia), and Bachelor of Architecture in 2014 at the same Faculty. During her studies she was a student teaching assistant and had different internships on international level.

Ana Nikezic

PROF. DR. ANA NIKEZIC is associate professor and Vice Dean for Education and Research at the University of Belgrade – Faculty of Architecture. She holds a PhD in Architecture (2006) with more than 20 years of teaching experience in the area of Architectural and Urban design and over 14 years of experience in research projects. Since 2010 she is a member and mentor for the elaborations of doctoral thesis. She has had more than 30 papers published in monographies, magazines, journals and conference proceedings of international importance. She was also a member of the organizing and science committee for a number of national and international conferences. She also participated in a great amount of international and national workshops. She is particularly interested in connecting of the theoretical and the practical dimension of designing and architecture in general. Particular academic attention has been brought to the subject of relations between architecture and nature, architecture and urban culture, as well as to the subject of socially responsible architectural education based on an interdisciplinary approach.

Topic: Unforeseen Impulses of Modernism: The case of New Belgrade

Sanne Louwerens

In 2018 I graduated from the University of Antwerp with a Master’s degree in
Interior Architecture, before which I completed a Bachelor of Interior and Spatial Design at The University of Technology Sydney.
I hope that in the future I can help our society by designing spaces that focus on our future population and the environment. I want to implement more sustainability within buildings and combine this with my vision to incorporate thresholds, transition or shared spaces to stimulate social interaction.

Sanne Kunst

Recently I graduated from the University of Antwerp with a Master’s degree in
Interior Architecture. Currently working in Belgium as project manager for a young and upcoming construction company specialising in technical renovations.
I have always had a small, but healthy, obsession with social interactions. I like to observe people and their behaviour in public spaces, like parks, city squares or public buildings. It still fascinates me how people use spaces designed for them; how they copy each others’ behaviour, the good and the bad ones, sometimes resulting in the destruction of the designer’s intention.

Topic: The Vertical Village

We as interior architects play a leading role in addressing current issues such as the aging population and social segregation. These aspects were addressed in our project where we created a collective living community: a place for connectivity in a reused modernist building. ‘The Vertical Village’ is split up into elements that reflect a village experience, allowing a social community to form within. The concept of ‘The Vertical Village’ is a potential answer to the complex socio-economic issues of today’s society. This model can be used within other modernist buildings to bring back social aspects, giving the residents the opportunity to create a community together.

Ellen Mollen

Ellen graduated from the University of Antwerp as Master in Interior architecture in 2018. During her education she participated in student workshops in Marl and Coimbra that specified on the Reuse of Modernist Buildings theme.
For the subject of her master thesis she also focused on this theme. After her education she started working as an interior architect at Trias Architecten. Trias Architecten is a multidisciplinary design studio where urbanism, architecture, interior architecture and landscape design meet each other to obtain a total design.

Anne Wisse

Anneke Wisse obtained her master of science in interior architecture at the University of Antwerp in 2018. During study, she participated in Docomomo congreses and workshops in Coimbra and Marl. Reuse of modernist buildings is challenging and interesting. Soon after her graduation Anneke started working as a designer at Lavoir, which is a designing company with over 35 years of experience that focuses on the design of cafeterias, health care institutions and schools with a young and energetic team.
Anneke is a creative designer who focuses on interaction with users to determine their wishes and deliver high quality end products.

Piernete Van Steegenboorg

In 2018, Pieternel obtained her Master in Interior architecture at the University of Antwerp. After her studies she started working at the architectural office Blockx, Peeters & Van Looveren in Belgium. Here she hopes to learn more about the building process in the practice and the connection between interior and exterior. In addition, she is working on own interior projects. She tries to design a timeless and contemporary interior with a twist (personification of the user). “I love it when an interior is taken for granted, when at the same time it represents something expressive.”

Topic: Restore the old Promise of Modernism

What can modernism mean today? We gave three modern building blocks, which no longer met our current housing standards and needs, a new life by rethinking, reusing and redesigning the building from the late 1960s into a new modern context. We appealed to our current living culture and responded to the changeable and temporary living situations of today.
We have studied the usable surfaces and living capacity so that more people can live and use collective and private areas in the new design.

Ciler Buket Tosun

Dr. Çiler Buket Tosun has a 20 years of experience as a researcher and lecturer at Hacettepe University, Department of Art History, Ankara, Turkey from where she holds PhD with specialization in Late Ottoman and Early Republican Architecture. She completed her M.S degree in Architectural Conservation and Restoration at the Middle East Technical University, METU. Her B.S degree is in architecture from İstanbul Technical University, İTÜ. She is granted 2017 VEKAM (Koç University, Vehbi Koç Ankara Studies Research Center) Research Award for her research on Ankara Construction Craftsmen School.

Topic: A case study on ‘revealing creativitiy through craftsmanship’

This research is a reading on Bauhaus ‘revealing creativity through making’ based on a case study on Construction Craftsmen School in Turkey. The republican ideology of the newly founded Turkish Republic integrated with a determination of modernization and industrialization in national development,
thus modernization in education and modern movement in architecture. Ankara Construction Craftsmen School founded in 1931 as the first vocational and technical training school to train skilled construction craftsmen needed in nation building in Turkey. The research concentrates on the ‘creativity’ revealed through Construction Craftsmen School, questioning how the vision of Bauhaus emanate through modern movement in time.

Zaida Garcia Requejo

Zaida Garcia Requejo has a Bachelor of Architecture and a Master in Architectural Restoration (2014) from University of A Coruña. She is currently working on her PhD dissertation about the collaboration between Mies van der Rohe and the structural engineer Frank Kornacker. She has done research at the IIT in Chicago and at MoMA in New York.
She is a professor in the Department of Architectural Projects, Urban Planning and Composition in the School of Architecture at University of A Coruña.

Topic: The Zeitgeist

From the moment the first primitive huts appeared, through different historical periods, the authenticity of the form and the yardstick used to measure it gradually evolved, becoming progressively complex as the canons of beauty evolved. However, this authenticity of form entered into crisis with the arrival of the Modernism, as it sought to return to pure forms.
In the same way, in the twenty-first century incipient technology has once again had this effect on our current architecture. Where are we heading? The purpose of this communication is to try and answer the question of why we have not been able to properly interpret our era.

Moe Omiya

Born in Tokyo in 1994, Moe Omiya spent her schooldays in Tokyo – Futaba School – and in Berlin – Rudolf Steiner Schule –. On graduating from high school in 2013, she entered the University of Tokyo, Japan, which was followed by the entrance into Bauhaus-Universität Weimar, Germany, Faculty of Architecture. She spent one semester at the Bauhaus University, after which she returned to Tokyo. Graduating from Cultural Representation course in March 2018 with a BA’s degree for the dissertation on Bauhaus movements, she went on to the Graduate School of the University of Tokyo. In October 2018, she entered the Graduate School of the University of Oxford, England, where she is currently studying for her Master’s degree at the History of Art department.

Topic: Haus am Horn – Its Experimental Spirit

The experimental house, ‘Haus am Horn’, is a coproduction of all the Bauhaus members for the first and only official Bauhaus Exhibition in Weimar in 1923, which marks the crucial point in the 14 years of Bauhaus’ existence, a change from mere pursuit of ‘the total work of art’ by ‘Zunft-cooperation’ to becoming more conscious of industrial demand.
This remaining ‘specimen’ refl ects the members’ efforts to include traditional elements, modern materials, and artistry at the same time. Despite the contemporaneous dispute over its value, this house should still be re-appreciated in representing the integral forms of two contrary destinations of the Bauhaus; toward the past and toward the future.

Florian Dossin


Topic:Moderne auf dem Land? Städtebau und Konzeption Ländlicher Siedlungszentren im Kontext
der industrialisierten DDR-Landwirtschaft

Das Bauwesen war ein konstituierender Bestandteil der gesellschaftlichen Entwicklung der DDR. Die architektur- und planungshistorische Betrachtung ist trotz der bisherigen Fülle an Forschungen vorwiegend durch einen urbanen Fokus geprägt. Das Selbstbild der DDR versteht sich jedoch als Arbeiter- und Bauernstaat, sodass neben dem „urbanen Raum der Arbeiter“ auch der „nicht-urbane Raum der Bauern“ entwickelt werden sollte. Die dafür angewendeten Konzepte aus dem Bereich der Architektur-, Stadt- und Territorialplanung sind besonders mit der sogenannten „Einführung industriemäßiger Methoden in der Land- und Bauwirtschaft“ ab den 1960er-Jahren kaum untersucht und bilden das Forschungsdesiderat des vorliegenden Beitrags.
Im Mittelpunkt stehen dabei die sogenannten „Ländlichen Siedlungszentren“, welche als übergreifendes Konzept zwischen Dorf- und Territorialplanung zur Entwicklung des ländlichen Raums dienen sollten. Die politischen Hauptziele
dieser Entwicklung bestanden in der „Schaffung gleichwertiger Lebensverhältnisse in Stadt und Land durch Herausbildung sozialistischer Lebensverhältnisse“ sowie der „Anpassung der Lebensverhältnisse auf dem Land an die industriemäßigen Methoden in der Landwirtschaft“. Die Fachplanung setzte dabei auf die Herausbildung eines „hierarchisierten Siedlungssystems“ mit ausgewählten Zentren, in denen durch umfangreiche bauliche und strukturelle Eingriffe im Sinne der Moderne, die Lebensverhältnisse drastisch verbessert werden sollten. Die industrialisierte Landwirtschaft fungierte hierbei als dorfprägender Faktor und Antriebskraft dieser Entwicklung. Es entstanden sogenannte Agro-Städte.
Die Forschung stellte die Frage nach der Beurteilung und Einordnung dieser Planungen als eigenständigen Typus in der Architekturlandschaft der Nachkriegs- bzw. Spätmoderne. Dazu wurden sowohl theoretische Konzeptionen und Planungen auf dem Papier, als auch ein verwirklichtes „Ländliches Siedlungszentrum“ mittels einer städtebaulichen Analyse und der Charakterisierung von konzeptionellen und städtebaulichen „Bausteinen“ herangezogen.
Die herausgearbeiteten Charakteristika in Architektur und Städtebau lassen zahlreiche Bezüge zwischen „Ländlichen Siedlungszentren“ und „Sozialistischen Stadtzentren“ erkennen. Die ländliche Lage sowie die Integration in ein übergeordnetes raumplanerisches Netz ermöglichen jedoch eine klare typologische Unterscheidung, sodass der Forschungsgegenstand nicht nur als „verkleinerte Städte“ oder „Platten auf dem Acker“ angesehen werden kann.



Michel Melenhorst

Michel Melenhorst studied at Delft Technical University and the Politecnico di Milano. Melenhorst worked as an architect for the offices of Wiel Arets (1991-1995) and Rem Koolhaas OMA (1995-1999) before starting his own office M in 1999. 2005 He became a partner in DAAD Architects till he made the switch in 2012 to Detmold Germany to hold the chair for Contextual Design, building transformation, reuse and cultural heritage at the Hochschule Ostwestfalen Lippe/ University of Applied Sciences, since 2012. Till 2012 Michel Melenhorst was in the editorial Board of the web platform ´the Netherland will change´, a professional platform for knowledge exchange and a database with best practices on new and experimental developments in spatial planning and architecture. Besides the Detmold school Michel Melenhorst has an extensive experience in teaching and lecturing at i.e. TU Delft, KTH Stockholm, Design Academy Eindhoven, the Pontificia University in Quito Ecuador the La Salle University in Bogota Colombia, Hafencity University Hamburg, Aarhus School of Architecture and at the Academy of Architecture Groningen and most recently at the University of Antwerp and the K´Arts – National University of the Arts in Seoul. Michel Melenhorst is member of Docomomo international and is active in Docomomo Deutschland workgroup education. At the HS OWL he is coordinating the Master Architecture, is speaker for the research group ConstructionLab and is a member of the UrbanLab.

Uta Pottgiesser

Uta Pottgiesser is Professor for Interior Architecture at the University of Antwerp (Belgium) and Chair of Heritage & Technology at TU Delft (The Netherlands). She has been Professor of Building Construction and Materials at the Detmold School of Architecture and Interior Architecture at Ostwestfalen-Lippe (OWL UAS) in Germany. After her diploma of architecture at Technical University Berlin (TU Berlin), she worked as practicing architect for office, administration and high-rise buildings and is today a member of the Berlin Chamber of Architects. From 1998-2004 she had been research assistant at Technical University Dresden (TU Dresden) and obtained her PhD (Dr.-Ing.) in the field of “Multi-layered Glass Constructions” in 2002.
She is active in vice-chair of DOCOMOMO Germany and member of DOCOMOMO International and since 2016 she chairs the International Specialist Committee of Technology (ISC-T). Numerous national and international research projects, teaching and research stays, including the Getty Conservation Institute (GCI) in Los Angeles. As a member in juries of architectural competitions and PhD commissions and as a reviewer and author of international journals and book publications, she has published in particular on constructive and heritage topics.

Monika Markgraf

Monika Markgraf ist wissenschaftliche Mitarbeiterin für Bauforschung und Denkmalpflege bei der Stiftung Bauhaus Dessau. Davor war sie als Architektin mit den Arbeitsschwerpunkten Bauforschung und Sanierung von denkmalgeschützten Bauten tätig. Heute gilt ihr besonderes Interesse der Erforschung von Architektur und Geschichte der Bauhausbauten sowie der Erhaltung und Pflege dieser Bauten. Denkmalpflege der Moderne sowie Aufbau und Pflege eines Bauforschungsarchivs sind weitere Kernpunkte ihrer Tätigkeit. Ihre Arbeitsergebnisse werden regelmäßig publiziert und sie ist Mitglied bei ICOMOS und DOCOMOMO.

Aslihan Unlu Tavil

Aslihan Unlu Tavil being a full-time professor at Istanbul Technical University (ITU), Department of Architecture, she has taught several PhD, master’s and undergraduate classes on building technology and has conducted extensive research on sustainable building technologies and construction, building performance simulation, and high performance façade and window systems. Being a Fulbright Fellow, she taught as a Visiting Professor at Roger Williams University, School of Architecture, Art and Historic Preservation at Bristol, Rhode Island between 2012-2013. She has been working as the ITU coordinator of EU Erasmus Strategic Partnership Project “Re-use of modernist buildings”.

Ana Nikezic

PROF. DR. ANA NIKEZIC is associate professor and Vice Dean for Education and Research at the University of Belgrade – Faculty of Architecture. She holds a PhD in Architecture (2006) with more than 20 years of teaching experience in the area of Architectural and Urban design and over 14 years of experience in research projects. Since 2010 she is a member and mentor for the elaborations of doctoral thesis. She has had more than 30 papers published in monographies, magazines, journals and conference proceedings of international importance. She was also a member of the organizing and science committee for a number of national and international conferences. She also participated in a great amount of international and national workshops. She is particularly interested in connecting of the theoretical and the practical dimension of designing and architecture in general. Particular academic attention has been brought to the subject of relations between architecture and nature, architecture and urban culture, as well as to the subject of socially responsible architectural education based on an interdisciplinary approach.



Tim Rieniets

As a trained architect, Tim Rieniets dedicated his professional life to the research, teaching and discussion of contemporary questions regarding architecture and city planning. In this profession he worked as a freelancing curator und publicist as well as visiting professor at TU München and as a lecturer at ETH Zürich. He was involved in research- and exhibitionprojects domestic and abroad and is author of many specialist books. Since 2013 he was CEO of the Landesinitiative StadtBauKunst NRW and made a name for himself transpassing the borders of NRW for innovative and well recieved projects in the branch of city planning. Currently he is working as a Professor at the Leibniz University in Hannover.


Alex Dill (Germany), Ana Tostões (Docomomo International, Portugal), Anica Dragutinovic (Germany), Aslihan Tavil (Turkey), Els de Vos (Belgium), Goncalo Canto Moniz (Portugal), Kathrin Volk (Germany), Luise Schier (Germany), Michel Melenhorst (Germany), Miquel Amado (Portugal), Monika Markgraf (Germany), Teresa Heitor (Portugal), Thimo Ebbert (Germany), Thomas Ludwig (Germany), Uta Pottgiesser (Belgium/Germany), Zara Ferreira (Docomomo International, Portugal)



office md



wa wettbewerbe aktuell


DOCOMOMO Deutschland e.V.
Gropiusallee 38, 06846 Dessau | Germany
Franz Jaschke and Uta Pottgiesser

Ostwestfalen-Lippe University of Applied Sciences
Detmold School of Architecture and Interior Architecture
Emilienstr. 45, 32756 Detmold | Germany
phone +49 5231 769 6041
Michel Melenhorst and Theresa Kellner