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Title10 STORIES OF COLLECTIVE HOUSING
SubtitleA graphical analysis of inspiring masterpieces by a+t research group
ISBN 978-84-616-4136-9
Authorsa+t research group: Aurora Fernández PerJavier MozasAlex S. Ollero Layout and production:Aurora Fernández PerAlex S. OlleroDelia Argote
Coordination:Idoia Esteban
Communication and Press:Patricia García
Editor English language version:Ken Mortimer
Printing:Gráficas Dosbi SLVI 366-2013Vitoria-Gasteiz, 2013
Published by:a+t architecture publishersGeneral Álava 15, 2ºA. E-01005. Vitoria-Gasteiz. Spainwww.aplust.net
© Edition: a+t architecture publishers© Texts and drawings: a+t research group© Photos: their authors
No part of this publication, including the cover, may be reproduced or transmitted without the express authorization in writing of the publisher.
CONTENTS
TIMELINE 08
01 THE STREET IN THE AIR JUSTUS VAN EFFEN COMPLEX. Michiel Brinkman. Rotterdam,1919-1922 12
02 THE SINKING OF THE SOCIAL CONDENSER NARKOMFIN DOM-KOMMUNA. Moisei Ginzburg, Ignaty Milinis. Moscow,1928-1930-1932 66
03 CHEAPER, FASTER, LIGHTER AND TALLER CITÉ DE LA MUETTE. Beaudouin, Lods, Mopin, Bodiansky. Paris, 1931-1934 116
04 THE ELEGANCE OF THE DISSIDENT HOUSING FOR BORSALINO EMPLOYEES. Ignazio Gardella. Alessandria,1948-1952 150
05 THE PROJECT AS SCRIPT MULTI-PURPOSE COMPLEX IN CORSO ITALIA. Luigi Moretti. Milan,1949-1956 176
06 AN EXQUISITE GHETTOBARBICAN. Peter Chamberlin, Geoffry Powell, Christof Bon, Arup. London, 1956-1976 216
07 CRISTAL LIQUIDE RÉSIDENCE DU POINT DU JOUR. Fernand Pouillon. Paris,1957-1963 278
08 SLOW CITYHILLSIDE TERRACE. Fumihiko Maki. Tokyo, 1967-1998 322
09 BUILDING MOODS BYKER REGENERATION. Ralph Erskine. Newcastle-upon-Tyne, 1969-1982 376
10 MY TERRACE, IN FRONT OF MY HOUSE, OVER YOURSJEANNE HACHETTE COMPLEX Jean Renaudie. Paris, 1970-1975 422
BIBLIOGRAPHY 482
INDEX OF NAMES 488
IMAGE CREDITS 492
01 02 03 04 05
Le CorbusierA&P Smithson
Le Corbusier
E. N. Rogers
P. Eisenman
R. Banham
R. Banham
R. Venturi
THE SINKING OF THE SOCIAL CONDENSER
CHEAPER, FASTER, LIGHTER AND TALLER
THE ELEGANCE OF THE DISSIDENT
THE PROJECT AS SCRIPTTHE STREET IN THE AIR
TIMELINE
FRANCISCO TERRACEFrank Lloyd Wright1895
PHALANSTÈRECharles Fourier1829
VERTICAL CITYLudwig Hilberseimer1927-1935
UNITÉ D’HABITATIONLe Corbusier1934. 1946-1952
MAISONS JAOULLe Corbusier1937. 1954-1956
EX-JUNGHANS HOUSINGCino Zucchi1997-2002
STONE HOUSEHerzog & de Meuron1982-1988
BARCELONETA HOUSINGCoderch, Valls1952-1954
CONVENTO DEI FILIPPINIFrancesco Borromini1637-1667
OOSTCAMPUSCarlos Arroyo2012
PAMPUSJ. H. van den Broek y J. B. Bakema1965
UNITÉ D’HABITATIONLe Corbusier1934. 1946-1952
PARK HILLLynn, Smith, Womersley1959-1961
JUSTUS VAN EFFEN COMPLEXMichiel Brinkman1919-1922
NARKOMFIN DOM-KOMMUNAMoisei Ginzburg, Ignaty Milinis1928-1930-1932
CITÉ DE LA MUETTEBeaudouin, Lods, Mopin, Bodiansky1931-1934
CORSO ITALIA COMPLEXLuigi Moretti1949-1956
BORSALINO HOUSINGIgnazio Gardella1948-1952
ROBIN HOOD GARDENSAlison and Peter Smithson1966-1972
8 HOUSEBIG 2010
ZAC SEGUIN HOUSINGDiener & Diener2010
LA GRAND’MARELods, Depondt, Beauclair1968-1970
VANNA VENTURI HOUSERobert Venturi1959-1964
PARALLAX AS GENERATORSteven Holl1988
GOLDEN LANE (competition)Alison and Peter Smithson1952
IROKO HOUSINGHaworth Tompkins2002
06 07 08 09 10
R. Koolhaas
R. Koolhaas
I. Scalbert
C. JencksR. Banham
R. Banham
CRISTAL LIQUIDE SLOW CITY BUILDING MOODS MY TERRACE, IN FRONT OF MY HOUSE, OVER YOURS
AN EXQUISITE GHETTO
ADELPHIRobert Adams and brothers1768-1772
MAIDAN OF ISFAHAN1598-1629
BANDIAGARADogon village1770
KATSURA PALACEPrince Toshihito1620-1663
ORPHANAGEAldo van Eyck1958-1960
EDEN BIOEdouard François2008
CASA DEL SOLEInnocenzo Sabbatini1926-1929
VM HOUSINGPLOT=BIG+JDS2002-2004
LE VAUDREUIL NEW TOWNAtelier de Montrouge1967-1968 Unbuilt project
INCLIPANClaude Parent1974
LE HAVRE REDEVELOPMENTAuguste Perret1945-1964
GALLARATESE BLOCK DAldo Rossi, (Carlo Aymonino) 1967-1974
PALAIS ROYALJacques Lemercier et al.1633
BARBICANChamberlin, Powell, Bon, Arup1955-1983 RÉSIDENCE DU POINT DU JOUR
Fernand Pouillon1957-1963
HILLSIDE TERRACEFumihiko Maki1967-1998
JEANNE HACHETTE COMPLEXJean Renaudie1970-1975
ALBANY COVERED WALKUnknown author1803
CODAN SHINONOMERiken Yamamoto, Kengo Kuma, Toyo Ito, et al.2003
MORIYAMA HOUSERyue Nishizawa2005
MURANO RESIDENCETogo Murano1940-1980
SVAPPAVAARARalph Erskine1961-1963
FACULTY OF MEDICINELucien Kroll1969-1974
PLAN OBÚSLe Corbusier1933
CHEMICAL ARCHITECTUREWilliam Katavolos1961
HANNA RESIDENCEFrank Lloyd Wright1934-1936
BYKER REGENERATIONRalph Erskine1969-1982
IVIRON MONASTERYIoannis, Efthymios980-983
01
JUSTUS VAN EFFEN COMPLEX Michiel BrinkmanSpangen (Rotterdam,The Netherlands) 1919-192251°54’57.15”N / 4°25’51.40”E
THE STREET IN THE AIR
The project put forward by Michiel Brinkman for Spangen came up against two models: the tradi-tional badly lit badly ventilated dwelling with alcove rooms, common up to that point among the working class, and the new trend towards the garden city with row houses. Brinkman arrived at a symbiosis between the terraced housing typology and the closed block with interior communal courtyard typology, between the individual and the collective.
Aiming for this new concept to take on the appropriate scale, he made the two blocks into one and pierced the perimeter creating access points for pedestrians and vehicles, this way transforming the interior into a semi-public space. He equipped the block with private and collective gardens, as well as a common service building which he located at the centre. Lastly, he incorporated different access solutions which changed according to the location of the dwelling, taking into consideration the Dutch tradition for direct entrance.
The ground floor and first floor dwellings can be accessed from the large open space in the block while second floor dwellings look onto a deck which runs the length of the whole complex and functions as an elevated street. With this solution Brinkman was to reaffirm the street as an element which linked not only the elements built into the section but also the collective living units and the residents of the housing complex. He valued the sense of community yet was unwilling to discard individualist features. He incorporated subtle degrees of graduation between the public and the private. He protected the privacy which had been relinquished in the alcove-houses yet at the same time encouraged communal living.
Brinkman’s utopian vision relied on the singular political aims of the socialist councillors Hen-drik Spiekman and A.W. Heijkoop and the Rotterdam Housing Department Director, August Plate, who defended this solution, against conservative criticism, as a true invention of the so-cial-democratic era.
12 / 10STORIES OF COLLECTIVE HOUSING
01
“You know the milkman, you are outside your house in your street.”ALISON AND PETER SMITHSON, 1953.1
13
1. Alison and Peter Smithson. Team 10 Primer. MIT Press, 1974. P. 78.
Narkomfin Dom-KommunaMOISEI GIZBURG, IGNATY MILINIS1928-1930-1932
3A
4A
1A
2A
ACCESS THE ELEVATED STREET
REFERENCES
This comparison between the four sections looks at the differences which converge in the afore-mentioned perception. The first difference is the position regarding the facade: in Spangen and 8 House the elevated street is an exposed element which marks a turning point in the section. The facade is set back from the elevated street. However, in Narkomfin and Robin Hood Gar-dens, the street is built into the facade, sheltered on three sides. It looks more like a carved out gallery in one of the sides of the volume.
Chapter 7
58 / 10STORIES OF COLLECTIVE HOUSING
“Thus, while the deck never offers grandiose perspectives, but keeps down to a domestic scale of views along its length, the act of walking along one is a serial scenic experience punctuated by irregular spatial constrictions, that is continuously fascinating.”REYNER BANHAM, 1961.10
10. Reyner Banham. “Park Hill Housing”. Architectural Review, 1961.
Justus van Effen ComplexMICHIEL BRINKMAN1919-1922
01
0 10521 20
Robin Hood GardensALISON & PETER SMITHSON1966-1972
8 HouseBIG2008-2010
4A
2A 2A
THE STREET IN THE AIR
59
The second difference is the visibility through the parapet: in Spangen the parapets have been pierced, in 8 House they have transparent glazing. Both are one metre high, while in Narkomfin it is an opaque parapet and in Robin Hood Gardens they are pre-fabricated concrete modules with built-in glass which let light pass but not sight-lines and they are 1.20 m high. The third difference concerns the route. In Narkomfin it is a straight line, while in Robin Hood Gardens this is a line with two turning points which always runs around the exterior facades of the linear blocks. In Spangen and in 8 House the routes follow a looped path which flows, mainly on the interior, but which also in some sections overlooks the street.
COMPARATIVE SECTIONS 1:400
1A ACCESS FROM GROUND FLOOR2A ACCESS FROM ELEVATED STREET3A ACCESS FROM COVERED GALLERY4A ACCESS FROM SKIP-STOP CORRIDOR
02
66 / 10STORIES OF COLLECTIVE HOUSING
In the early years of the new Soviet Socialist State, there were large migrations from country to cities in search of better living standards, which worsened the housing crisis brought about by the industrial revolution. This emergency situation led to the forced occupation of traditional dwellings which were shared by several families, with collective use of the services, bathrooms and kitchens. To remedy this important shortage it was necessary to adopt a subsistence economy to save on production resources.
The young State opted for a new social order based on a reformulation of the traditional family and on planning and building new housing types, with an emphasis on communal uses and on the socialization of household tasks. The Communist Party’s ambitious house-building programme gave architects and urban planners the opportunity to create new solutions for this new future. In response to this problem, OSA, the Association of Contemporary Architects,1 which Moisei Ginzburg belonged to, developed several housing proposals with social club, kitchen, gymnasium, library, kindergarten and roof gardens as shared services and with private cells, as basic as possible, as the only financially viable solution.
In 1928, STROIKOM, the Building Committee of the RSFSR (Russian Soviet Federative Socialist Republic), commissioned M. Ginzburg, M. Barshch, V. Vladimirov, A. Pasternak and Sum-Sik to create standardized types for the new collective housing. In a later phase, Ginzburg based his projects for the experimental dwelling types on this theoretical study. Of all the projects carried out, only six experimental blocks were actually built. The most significant was the Narkomfin building which was to become an icon for defenders of Modern architecture.
1. In this story when the term Contemporary appears in Russian acronyms it should be taken to mean Modern.
NARKOMFIN DOM-KOMMUNA Moisei Ginzburg, Ignaty MilinisNovinsky bulevar 25, korpus B. (Moscow. Russia) 1928-1930-193255°45’25.43”N / 37°34’52.34”E
THE SINKING OF THE SOCIAL CONDENSER
02
67
To what extent can we go on condensing the housing model and which elements should be removed when doing so?
MOISEI GINZBURG, 1929.2
2. Moisei Ginzburg. “El problema de la estandarización de la vivienda en la URSS, 1929”. Escritos 1923-1930. El Croquis Editorial, 2007. P. 372.
06
05
05
02
Chapter 2
In 1936 the open space between the pilotis on the ground floor was filled in with conventional dwellings which did not correspond to the types designed by Ginzburg. Later, a library was also installed in the set of ground floor rooms in residential block (01), to be exact on the south end. After Stalin died, a lift was built on the western facade of the south staircase.7
7. Victor Buchli. An Archaeology of Socialism. Berg, 2000. P 101, 168.
URBAN FORM THE SOVIET RESIDENTIAL MODEL
4f
80 / 10STORIES OF COLLECTIVE HOUSING
02
03
05
04
01
05
THE SINKING OF THE SOCIAL CONDENSER
81
“Even in these initial steps we encounter a spirit of collectivism, a range of architectural scale that impels an
austere and energetic expression.”MOISEI GINZBURG,1924.8
8. Moisei Ginzburg. Style and Epoch. MIT Press, 1982. P. 79.
01 RESIDENTIAL BLOCK02 COMMUNAL FACILITIES03 MILIUTIN PENTHOUSE04 D UNITS05 STAIRCASE06 BRIDGE
Pilotis
Pedestr
ian lin
k
West side
2f
8f
6f
03
116 / 10STORIES OF COLLECTIVE HOUSING
Systematized housing is an objective which has emerged parallel to collective housing. Ever since the Industrial Revolution boosted city growth and demonstrated the need to provide shelter for the working masses, building as fast and as cheaply as possible has become a constant objective.
The two great methods which systematized housing process development is based on are: the closed system method (three-dimensional models, formwork-tunnel or large panels) and the component method also known as open building industrialization (sub-structural components).
Despite the heyday of systematization being in the years following the Second World War, the Cité de Muette is the first case of the use of industrialization in high-rise collective housing. It was implemented using a mixed steel framework system reinforced with pre-fabricated light-weight concrete panels, installed horizontally and vertically.
Its relevance lies in the architects’ ambition to improve house-building by incorporating the advantages of new materials: the lightness of steel, and by assembling with industrial compo-nents. However, fire regulations curtailed the development of this mixed system which seemed to be the most suitable system for systematizing dry construction.
CITÉ DE LA MUETTE Beaudouin, Lods, Mopin, BodianskyDrancy (Paris. France) 1931-193448°55’13.10”N / 2°27’19.74”E
CHEAPER, FASTER, LIGHTER AND TALLER
03
117
“Techniques are the very basis of the poetry.”LE CORBUSIER, 1930.1
1. Le Corbusier. Précisions sur un état présent de l’architecture et de l’urbanisme. G. Crès,1930. P. 67.
Interior panels of the facade
Exterior lattice concrete panelsof the balcony
Lower level panels, plinth elements
