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A new ichnotaxon, Lapillitubus montjuichensis n. i gen. n. isp., is described from the middle Miocene (Serravallian) of Montjuïc mountain (Barcelona, northeastern Spain). This ichnotaxon consists of a horizontal to vertical, cylindrical burrow with an agglutinated lining exclusively composed of lithoclasts. Lapillitubus montjuichensis is interpreted as the result of the burrowing activity of a deposit- or suspension-feeding annelid worm. This new ichnotaxon extends the record of the informal group known as clast-armored or agglutinated trace fossils. In addition, since part of its type material is located in the blocks that make up the façades of several modernist buildings in the city of Barcelona, this new ichnotaxon highlights the importance of fossils in urban settings for those cases in which natural outcrops are reduced, restricted or even missing.

This chapter focuses on the Larkin Building, which is firmly entrenched in histories of architectural modernism, such as Henry-Russell Hitchcock's Modern Architecture: Romanticism and Reintegration of 1929. It cites Hendrik Petrus Berlage's Amsterdam Stock Exchange, Peter Behren's AEG Turbine Factory, and Otto Wagner's Post Office Savings Bank as buildings that rival Frank Lloyd Wright's Larkin commission for architectural distinction at the turn of the twentieth century. It also reviews the origins of Wright's Larkin Building in the company's history, its material characteristics, and its principal functions. The chapter weighs the Larkin Building against similar considerations of three European buildings in order to identify the ideas and qualities that all four architects shared while also demonstrating characteristics in Wright's building. It describes the Larkin Administration Building that was modern in the abstractness of its blocklike forms and its many innovations.

This chapter is about architecture's modernisms in various cities, such as Vienna, Paris, Dessau, Rio de Janeiro and Chicago. It assumes polyvalency and polycentricity from the start but it also accepts that despite all of this multiplicity, it is as identifiable a form as neoclassicism. It is the architecture of simple, Platonic forms, the architecture of no ornament, the architecture of truth to materials, the architecture of slabs and towers and cubes. Ayn Rand's architectural novel, The Fountainhead, contains a large element of truth, depicting an outrageously phallic competition between the representatives of different architectural styles. Eurocentric histories of architecture naturally emphasize Paris and Dessau. One reason that architectural modernism was so slow to catch on after its initial appearance was the outbreak of the Second World War in 1939. Architectural histories of Glasgow by and large ignore the city's modernist reconstruction, or belittle it.

The birth of social democracy out of the ashes of a defeated, delegitimized Wilhelmine Empire galvanized the German art world as never before. Artists at Walter Gropius’s experimental Bauhaus school and in such diverse avant-garde art movements as Expressionism, Cubism, Dada, and Constructivism reflected a broad consensus that the pre-war empire had proved an absolute failure. The Kaiser, the government, the aristocracy, the military, big business, and the bourgeoisie were all seen as complicit in a corrupt system unable to cope with the many challenges of industrial modernity. Like a shifting kaleidoscope, artistic production during the Weimar era dazzled with

The twentieth century saw the emergence of the “peasant question” in Egypt as a discourse of social welfare and the reproduction of power relations. The reform of the Egyptian village and its inhabitants was a major concern within the discourse of social reform. Egyptian intellectuals often cited rural decay and criminality as reasons to institute reforms. A series of positivist interventions ensued to create a nahda rifiyya (rural renaissance) and to achieve new forms of social and spatial organization aimed at guiding the peasantry to “reformed” norms of behavior, modes of life, and social and cultural practices. The rural reconstruction work that was undertaken in the 1930s and 1940s was largely an attempt to have greater control over the laboring agricultural population. This chapter examines rural reconstruction in twentieth-century Egypt, focusing on the “peasant question” and the “problem of population.” It also discusses rural poverty and anomie by looking at discourses of positivist criminology, social welfare and hygiene, architectural modernism, and neo-Malthusianism.

In the summer of 2012 the German Architecture Museum (DAM) in Frankfurt was filled from top to bottom with models. Three hundred of them, give or take a few, clamored for visitors’ attention, asking them to shift their thinking about architecture from buildings to the artifacts of the design process. The models came from museums near – one-third were from the German Architecture Museum’s own collection – and far, including the Museum of Modern Art in New York; they came from private collections and architect’s offices in Germany and abroad. Models of Mies van der Rohe’s Seagram Building, Louis Kahn’s Meeting House at the Salk Institute, OMA’s design for the Parc de la Villette, Mendelsohn’s Einstein Tower, and O.M. Ungers’s building for the German Architecture Museum itself were interspersed among less familiar examples. These included Sergius Ruegenberg’s series of collaged models of houses, Gottfried Böhm’s plasticine models, Wolfgang Döring’s Space-Music Theater, Walter Jonas’s Intrapolis, and Conrad Roland’s elegant model of a Spiral Skyscraper from the 1960s, which welcomed visitors to the exhibition after having spent twenty-four years in a storage facility.

Focusing on the house-building boom of the interwar years, when Britain became a nation of homeowners, this book investigates the ways in which ordinary people expressed new class and gender identities through the design, architecture and decoration of their homes.

The historiography of modern architecture emphasises Western narratives, imposing periodisations that do not capture the intricate temporalities of other contexts. This paper investigates the architectural development of Kinshasa as a laboratory of tropical modernism, where architecture did not merely adhere to canonical trajectories; instead, this concept was cultivated through hybridisations and reinterpretations. Beginning in the late colonial period of the 1940s–1950s and extending into the post-independence decades, Kinshasa's built environment exemplifies overlapping modernities shaped by colonial governance, local cultural negotiations, and postcolonial identity formation. The works of European and local architects intersect, creating a rational chronology wherein climatic adaptation, vernacular references, and political shifts influence both formal and technical decisions. The research methodology integrates archival investigation and critical analysis of historical documents.

The exhibition Edith Farnsworth, Reconsidered, on view from March 2020 to December 2021, presents the Farnsworth House (Ludwig Mies van der Rohe, Plano, Illinois, 1951) as it was inhabited by the client and reveals the lived history of the house to the public for the first time. Focusing on the period from 1951 to 1954, shortly after Dr. Farnsworth took ownership and just before a flood destroyed the interior furnishings from this time, the exhibition also traces a timeline of uncertainty: in 1951, Mies van der Rohe initiated the lawsuit van der Rohe vs. Farnsworth (1951–1955), suing his former client for unpaid bills and for ownership of the structure. This essay follows the chronology of that trial and its outcome, taking the temporary exhibition and heavily guarded trial transcript into consideration as twin artifacts: both of which occupy nearly the same period of time, and both institutionally “redacted” in order to protect the patriarchal legacy of the architect. Redaction, here, is seen as temporary: foreshadowing the future liberation of histories from the institutions that bind them. La exposición “Edith Farnsworth, Reconsidered” [Edith Farnsworth, replanteada], visitable desde marzo de 2020 hasta diciembre de 2021, presenta la Casa Farnsworth (Ludwig Mies van der Rohe, Plano, Illinois, 1951) tal como fue habitada por la clienta y muestra al público por primera vez la historia vivida de la vivienda. Se centra en el periodo 1951-1954, poco después de que la Dra. Farnsworth tomara posesión de ella y justo antes de que una inundación destruyera el mobiliario interior de estos años, y recorre así unos años de incertidumbre: en 1951, Mies van der Rohe inició el proceso judicial Van der Rohe contra Farnsworth (1951-1955), en el que demandaba a su antigua clienta por unas facturas pendientes y le reclamaba la titularidad de la construcción. Este artículo recorre la cronología de ese juicio hasta su desenlace y considera que la exposición temporal y el expediente del juicio, celosamente custodiado, son dos artefactos con muchos puntos en común: ambos se refieren a unos hechos coincidentes en el tiempo y también ambos han sido “censurados” por las instituciones con el objetivo de salvaguardar el patriarcal legado del arquitecto. La censura, en este caso, no es definitiva: es el augurio de otras historias que pueden ser liberadas de las instituciones que las amarran.

Architecture form has been one of the hot areas in the field of architectural design, which reflects regional architectural features to some extent. However, most of the existing methods for architecture form belong to the field of qualitative analysis. Accordingly, quantitative methods are urgently required to extract regional architectural style, identify architecture form, and to and further provide the quantitative evaluation. Based on machine learning technology, this paper proposes a novel method to quantify the feature, form, and evaluation of regional architectures. First, we construct a training dataset—the Chinese Ancient Architecture Image Dataset (CAAID), in which each image is labeled by some experts as having at least one of three typical features such as “High Pedestal”, “Deep Eave” and “Elegant Gable”. Second, the CAAID is used to train our neural network model to identify three kinds of architectural features. In order to reveal the traditional forms of regional architecture in Hubei, we built the Hubei Architectural Heritage Image Dataset (HAHID) as our object dataset, in which we collected architectural images from four different regions including southeast, northeast, southwest, and northwest Hubei. Our object dataset is then fed into our neural network model to predict the typical features for those four regions in Hubei. The obtained quantitative results show that the feature identification of the architectural form is consistent with that of regional architectures in Hubei. Moreover, we can observe from the quantitative results that four geographic regions in Hubei show variation; for instance, the feature of the ‘elegant gable’ in southeastern Hubei is more evident, while the “Deep Eave” in the northwest is more evident. In addition, some new building images are selected to feed into our neural network model and the output quantitative results can effectively identify the corresponding feature style of regional architectures in Hubei. Therefore, our proposed method based on machine learning can be used not only as a quantitative tool to extract features of regional architectures, but also as an effective approach to evaluate architecture forms in the urban renewal process.