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Tamás Niczki Zsófia Dankó Boglárka Szentirmai

Zoltán André Tímea Nikházy

Margó Szécsi Zoltán Török

Viola Tóth

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Péter Brenyó

Albert Máté

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preject TÁMOP-4.1.2.A/1-11/1-2011-0055., , ,

Abstract

In our curricular collection entitled Multi-Apartment Houses, we focus on multi-storey, multi-apartment residential buildings, while we deal with all the other types of multi-apartment houses in Low-Rise High-Density Housing.

Copyright 2013

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Rue Franklin Apartments, Paris, Franc ... 7

Casa Milà, Barcelona, Spain, 19 ... 13

Klerk, Hembrugstraat, Amsterdam, Netherland ... 16

Gradins Vavin, Paris, Franc ... 19

der Rohe, Weissenhofsiedlung, Stuttgart, German ... 22

- Martin Wagner, Britz Hufeisensiedlung, Berlin, Germany, ... 26

- Ignati Milinis, Narkomfin Communal House, Moscow, Russi ... 31

Siemensstadt Housing, Berlin, German ... 37

Karl-Marx-Court, Vienna, Austria ... 41

Highpoint Apartment Blocks, London, U ... 45

- Pietro Lingeri, Casa Lavezzari, Milan, Ital ... 50

Giuseppe Terragni - Pietro Lingeri, Casa Rustici, Corso Sempione, Milan, 1936 ... 55

Charles Marshall - William Tweedy, Viceroy Court in St. John’s Wood, London, UK, 1934-36 ... 59

amus - Palanti, Fabio Filzi Quarter - Residential complex in the Milan suburbs, Ital ... 64

Micthell - Bridgwater - Gollins & Smeeton AA, Viceroy Close, Birmingham, UK, 1938 ... 68

Robert Atkinson, Oslo Court, London, UK, 1938 ... 71

Mario Terzaghi - Augusto Magnaghi Delfino, Apartment Building, Como, Italy, 1939 ... 76

Giuseppe Terragni, Giuliani-Frigerio Apartments, Como, Italy, 1940 ... 78

2. Apartment Buildings from the First Half of the 20th Century – Hungarian Projects ... 82

... 82

Henrik Böhm – Ármin Hegedűs, Török Bank, Szervita Square No. 3, Budapest, District V, 1906 ... 82

Béla Lajta, Rózsavölgyi House, Szervita Square No. 5, Budapest, District V, 1911-12 ... 87

Béla Málnai, Former Czech-Hungarian Industrial Bank, Nádor Street No. 6, Budapest, District V, 1912 ... 94

Iván Kotsis, Luther House, Nyíregyháza, 1929 ... 99

Pál Ligeti – Farkas Molnár, Delej Mansion, Mihály Street No. 11, Budapest, District I, 1930 ... 103

Károly Rainer, Mailáth Houses, Keleti Károly Street, Budapest, District II, 1930 ... 105

Pál Detre - Máté Major, Tenement House, Attila Road No. 129, Budapest, District I, 1934 ... 108

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Móric Pogány - István Janáky, Bérvilla, Áfonya Street, Budapest, District II,

1936 ... 155

Károly Bálint, Tenement Mansion with Businesses, Kolumbusz Street No. 57/b, Budapest, District XIV, 1937 ... 158

Lajos Kozma - Vilmos Dénes, Tenement House, Régiposta Street No. 13, Budapest, District V, 1937 ... 160

György Rumszauer, Tenement House of the Association of the Royal Hungarian Postmasters and Postal Employees, Szalay Street No. 5/a, Budapest, District V, 1937 ... 168

Gyula Wälder, Tenement House (Holitscher House), Rákóczi Road No. 12, Budapest, District VII, 1937 ... 172

János Wanner, Tenement Mansion, Szilágyi Erzsébet Avenue No. 61, Budapest, District II, 1937 ... 174

Béla Hofstätter - Ferenc Domány, Tenement House of Weiss Manfréd Companies’ Recognised Pension Fund, Margit Boulevard Nos. 15-17, Budapest, District II, 1938 ... 176

Tibor Hübner - István Janáky, OTI Tenement House, Károly Boulevard Nos. 13-15, Budapest, District VII, 1940 ... 182

Dr. Dezső Hültl, Tenement House of the Hungarian Academy of Science (MTA), Károly Boulevard No. 1, Budapest, District VII, 1939 ... 186

Aladár and Viktor Olgyay, Tenement House, Városmajor Street No. 50/b, Budapest, District XII, 1941 ... 189

Gedeon Gerlóczy, Tenement House with Businesses, Petőfi Sándor Street No. 12, Budapest, District V, 1944 ... 194

3. Apartment Buildings from the Latter Half of the 20th Century – International Projects ... 200

... 200

Luciano Abenante - Francesco Di Salvo - Gian Tristano Papale, Social Housing, Naples, Italy, 1947 ... 200

Luigi Moretti, Il Girasole, Rome, Italy, 1950 ... 204

Ludwig Mies van der Rohe, Lake Shore Drive Apartments, Chicago, USA, 1951 ... 208

Le Corbusier, Unité d'Habitation, Marseille, France, 1948-52 ... 213

Mario Asnago - Claudio Vender, Residential Building, Via Faruffini 6, Milan, Italy, 1954 ... 219

José Antonio Coderch, Casa de la Marina, Barcelona, Spain, 1951–54 ... 223

Attilio Mariani - Carlo Perogalli, Via Crivelli, Milan, Italy, 1955 ... 231

Frank Lloyd Wright, Price Tower, Bartlesville, Oklahoma, USA, 1956 ... 234

Gio Ponti, Casa Via Dezza, Milan, Italy, 1957 ... 240

Kunio Maekawa, Harumi Apartments, Tokyo, Japan, 1958 ... 243 Gian Luigi Banfi - Lodovico Belgiojoso - Enrico Peresutti - Ernesto Rogers

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VII/VI, Budapest, 1961 ... 306

Zoltán Gulyás, OTP Apartments, Rumbach Sebestyén Street, District VII, Budapest, 1963 ... 310

György Vedres, OTP Apartments, Bem Embankment, District I, Budapest, 1962 .... 317

György Jánossy, Apartments, Úri Street No. 38, District I, Budapest, 1963 ... 320

Tibor Tenke, Medium-Rise Apartment Houses of an Experimental Housing Estate, Budapest, XXII, 1963 ... 325

Lajos Schmidt, Apartments, Gellérthegy Street, District I, Budapest, 1965 ... 329

György Tokár - Attila Emődy, Apartments, Hajnóczy József Street, District XII, Budapest, 1965 ... 333

János Sedlmayr, Apartments, Tárnok Street No. 7, District I, Budapest, 1964 ... 337

Béla Borvendeg, Apartments, Szeged, Oskola Street, 1968 ... 342

Levente Varga, Terrace House, Lévay Street No. 8, District II, Budapest, 1967– 1969 ... 348

Csaba Virág, White Dove House, Úri Street, District I, Budapest, 1969 ... 352

Zoltán Farkasdy - Attila Kenessey, Apartments in the Castle District, Dísz Square, District I, Budapest, 1970 ... 357

Zoltán Farkasdy, Apartments, Úri Street, District I, Budapest, 1970 ... 362

Mrs János Sedlmayr, Apartments, Hátsókapu Street, Sopron, 1971 ... 367

Olga Mináry, Apartment Buildings, Hankóczy Jenő Street, District II, Budapest, 1974 ... 371

Lajos Horváth, Infill Development in the Castle District, Úri Street, District I, Budapest, 1972 ... 374

Károly Jurcsik, Apartments, Toboz Street, District III, Budapest, 1977 ... 381

5. Contemporary Apartment Buildings – International Projects ... 384

... 384

Gilles Perraudin - Françoise Jourda, Croix Rousse Social Housing, Lyon, France, 1992 ... 384

Philippe Gazeau, Logements Postiers, Rue de l’Ourcq, Paris, France, 1993 ... 388

Carlo Baumschlager-Dietmar Eberle, Rohrbach 2 Residential Complex, Dombirn, Austria, 1997 ... 392

Frédéric Borel, Apartment Building, Rue Pelleport, Paris, France, 1999 ... 396

Carlos Ferrater, Paseo de Gracia - Diputación Building, Barcelona, Spain, 1999 ... 401

Herzog & de Meuron, Rue des Suisses Apartment Buildings, Paris, France, 2000 ... 406

de Architekten Cie, The Whale, Amsterdam, Netherlands, 2000 ... 412

Kazuyo Sejima–Ryue Nishiziwa (SANAA), Kitagata Housing, Kitagata, Japan, 2000 ... 416

Carlo Baumschlager - Dietmar Eberle, Hötting-West Development, Innsbruck, Austria, 2000 ... 422

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Ryue Nishizawa (SANAA), Moriyama House, Tokyo, Japan, 2005 ... 501

S-M.A.O., Social Housing, Carabanchel, Madrid, Spain, 2005 ... 505

Amann - Canovas - Maruri, 61-Apartment Social Tenement House, Coslada Puerto, Madrid, Spain, 2006 ... 507

C.F. Møller Architects, Østerbrogade 105, Copenhagen, Denmark, 2006 ... 511

Edouard François, La Closeraie, Louviers, France, 2006 ... 514

Emiliano López - Monica Rivera, 27-Apartment Social Tenement House for Young People, Barcelona, Spain, 2007 ... 516

Xiaodu Liu & Yan Meng (Urbanus Architecture & Design Inc.), Tolou Collective Housing, Nanhai District, Guandong Province, China, 2008 ... 522

ZIGZAG Arquitectura, VIVAZZ Social Housing, Mieres, Spain, 2011 ... 527

6. Contemporary Multi-Apartment Buildings – Hungarian Projects ... 533

... 533

Tamás Tomay, Three-Flat Apartment House, Kavics Street No. 8/D, Budapest, District II, 1996 ... 533

György Vadász - László Váncza, Residential Community, Beregszászi Road, Budapest, District XI, 1999 ... 536

Sándor Pálfy - Ferenc Keller, Residential Community, Csejtei Street Nos. 15–19, Budapest, District II, 1998 ... 539

Péter Reimholz, Hapimag Apartments, Fortuna Street, Budapest, District I, 2000 ... 544

Zsófia Csomay - Péter Reimholz, Raul Wallenberg Guesthouse, Toldy Ferenc Street Nos. 8-10 and Szabó Ilonka Street No. 7, Budapest, District I, 2000 ... 547

János Dobai, Passage House, Mária and Horánszky Streets, Budapest, District VIII, 2001 ... 555

Dévényi Tamás, Magház (“Core-House”), Rottenbiller Street, Budapest, VII, 2002 ... 561

Tamás Tomay, Apartment House, Gül Baba Street, Budapest, District II, 2002 ... 567

Ferenc Cságoly - Ferenc Keller, Barbican House, Pécs, 2001 ... 575

Margit Pelényi, Social Tenement House, Pécs, 2002 ... 580

Gábor Turányi, Owner-Occupied Apartment House in Mecset Street, Budapest, District II, 2003 ... 584

Gábor Csernyánszky, Municipal Tenements, Rákóczy F. Street Nos. 97–105, Budapest, District XXI, 2004 ... 588

László Kalmár - Zsolt Zsuffa, 4-Flat Apartment Block, Vágás Street No. 22, Budapest, District XIV, 2004 ... 592

Boros Pál, Owner-Occupied 9-Flat Apartment Block, Kecskemét, 2005 ... 597

Gunther Zsolt - Csillag Katalin, Owner-Occupied Apartment Block in Futó Street, Budapest, District VIII, 2005 ... 604 Zsolt Hajnal, Residential Complex, Kapás Street No. 26–44, Budapest, District II,

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District XI, 2010 ... 651

7. Sustainable and Energy-Efficient Apartment Buildings ... 656

... 656

BKK-2, Sargfabrik, Vienna, Austria, 1996 ... 656

Hentrich - Petschnigg & Partner (HPP), Dwellings for Young People, Leipzig, Germany, 2000 ... 661

BKK-3, Miss Sargfabrik, Vienna, Austria, 2000 ... 664

Roos Architekten, Apartment Block, Jona-Kempraten, Switzerland, 2004 ... 668

Johannes and Hermann Kaufmann, AM Mühlweg Housing Complex, Unit A, Vienna, Austria, 2006 ... 671

sps-architekten, Passive Energy Housing Complex “Samer Mösl", Salzburg, Austria, 2006 ... 675

Aldric Beckmann - Françoise N’Thépé, Lot M3B3, Paris, France, 2007 ... 679

Elenberg Fraser, Huski Apartments, Falls Creek, Australia, 2008 ... 683

Feilden Clegg Bradley Studios, One Brighton Apartment Complex, Brighton, Great Britain, 2009 ... 687

Grab Architekten, Kraftwerk B, Bennau, Switzerland, 2009 ... 689

8. Bibliography ... 693

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Categories of Multi-Apartment Houses

Multi-apartment houses may be classified according to several aspects. Our collection is based on a chronological order: the historical examples are followed by contemporary ones relevant from aspects of design. However, multi-apartment buildings are traditionally grouped according to their many other characteristics, too. The final design of the buildings, the dimensions of the apartments and their standards are defined by several factors. The clients commissioning the building are crucial to the outcome. In this regard, we can make a distinction between market-based investment, social housing (tenement flats), houses built by corporate builders (typical of the early-20th century), as well as co-operative houses built by the owners in collaboration. Except for the latter, it holds true for all these projects that the would-be occupants are unknown at the time of design work, which means that architects need a brand-new method instead of the usual design strategy used in the case of single- family detached houses. While having to meet the needs of an unknown prospective apartment-dweller, architects also depend on the economic and cultural standards of their direct clients. Categorizations based on propriety nexus (private house, tenement house), building height (medium-height, high-rise) or trusses (brick, reinforced concrete frame, prefab panels, etc.) also have numerous architectural consequences and relevances. However, for design considerations, it is categorizations based on the type of circulation system and the development that seem to be the most relevant, since they certainly influence the design of dwelling units and thus the lives of their would-be dwellers. According to the circulation system, we distinguish tiered buildings and buildings with passages and corridors.

Examples of these two categories occur in countless formations, in mixed forms or even blended. The appropriate choice defines aspects such as the orientation of the apartments, their exposure to sunshine, interior configuration, ventillation, the economical maintenance and operation of the building, or even the ratio of the useable and overall floor-area, which is a most important concern regarding the costs of investment. Regarding the type of development, we distinguish free-standing (detached) dwelling-houses containing one or more buildings and development in unbroken rows adjusting to the existing urban fabric. Previously such developments were built exclusively to surround a closed internal courtyard. Later on, by building around site blocks like a frame, larger livable internal gardens were left undeveloped. In any given situation, architects’ inventiveness is manifest primarily in the way they are able to integrate the above so that as many of the units within the complex as possible have the same, or at least almost equally advantageous conditions. More often than not, the issues of development go beyond the confines of the actual structure. Thus, a genuinely innovative development entails consequences for town planning and civic design.

The Structuring of This Collection

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order. The collection concludes with descriptions of some exemplary sustainable and energy-efficient buildings.

Examples of Historic Periods and Vernacular Architectural Prototypes

The evolution of multi-storey, multi-apartment residential buildings is generally associated with industrial revolution and the dwellings created for the masses of working class people flocking into towns and cities in its wake. According to the interpretation discussed in detail in the introduction, this form of housing actually became massively widespread in the early 20th century. However, it has some fairly early prototypes. If we survey secular vernacular or early architectural examples, it also becomes obvious that, in spite of its multi-storey design and density, it does not only exist in societies that enjoy higher technological standards in an urbanized environment. In the town of Shibam, Yemen, ten-storey residential high-rises were built in the 16th century with fairly simple building technology using adobe. As for today, in South-East China and Malaysia, clans co-farming still build common dwellings of more than one storey in natural environments. Whereas, in the 19th- century, multi-apartment houses are a form of high-densitiy co-habitance where people feel compelled to live; the Chinese tulous (“earthen buildings”, LINK: Habitatio: V 37. Fucsieni Tulou) as well as the Malaysian longhouses (LINK: Habitatio: V 14. Iban longhouse) are advantageous formations of co- operation or joint defence against the enemy.

Unfortunately, very little information remains to us about dwelling-houses from historic periods, since they were typically made of poorer quality building materials than public buildings and thus were destroyed. Although some of the palaces in the ancient world were multi-storey and housed several suites, these cannot be interpreted as prototypes of more recent multi-apartment buildings. Built for the purposes of the ruling circles, they contain enormous, elegant suites as well as subordinate structures functioning as dwelling units for the servants and guests. In this formast they are actually enlarged variations of dwelling-houses. However, we also know of the insulae [http://en.wikipedia.org/wiki/

Insulae] built for the poorer social groups of the urban population in ancient Roman times. Many of these early tenement houses were constructed during the Republic in the 2nd-1st centuries B.C.E. The earliest of its known surviving examples are found in Ostia [http://www.ostia-antica.org/dict/12.htm].

Masses of merchants, artisans, sailors and unskilled workers rented dwellings for themselves in these buildings. The propped upper storeys projected above the ground-floor businesses and worskhops on the mezzanine floor. The height of the houses reached 20 metres, and the structures sometimes housed more than 8-9 storeys owing to the low heights. Designs with a central courtyard or patio (Casa di Diana [http://www.ostia-antica.org/regio1/3/3-3.htm]), with a central passage (Casa delle volte dipinte [http://www.ostia-antica.org/regio3/5/5-1.htm]) and with a garden (Casa a Giardino [http://www.ostia- antica.org/regio3/9/9.htm]) were also documented. Although these structures typically collapsed or

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on the outskirts of the cities, then near the factories, or on downtown sites to replace old houses soon deteriorated into slums. Because of the poor living and housing conditions, the concept of multi- apartment buildings was a synonym for the housing for the poor. Since it was a profitable investment of capital, the construction of tenement houses provided a temporarily response to the urgent housing shortage issue; yet, the lack of basic hygienic equipment, the stuffiness, the scarcity of light, and the high-density of housing led to frequent epidemics among people living in unhygienic dwellings. Over- crowded high-density tenement houses generate similar problems both in Europe and North America.

In Hungary, new tenement houses were also built mainly for the masses of workers flocking into the capital. Tax exemption was introduced to encourage the transformation of certain parts of the city by constructing multi-storey houses. This is how the Great Boulevard of Budapest was constructed. The old ground-floor houses were replaced by multi-storey residential buildings. The houses built with outside corridors in this period still define the atmosphere of downtown Budapest today. As regulations only defined the cornice height on street façades, the construction of tenement houses soon turned into a hotbed of speculation. In order to cover the largest area possible, the internal (enclosed) courtyards were completely enclosed; thus, the courtyard apartments were dark and airless. To make this situation even worse, the site layout system was insufficient. Building regulations became obsolete, while social demands remained conservative. There was a world of difference between the spacious street-facing apartments of merchants and civil servants, designed as enfilade-like sequences of rooms, and the tight courtyard-facing bedsitters of the poorer. The latter had no separate bathrooms, and their tenants had to share the toilet next to the back stairs for servants. The role of architects in housing was insignificant both in Hungary and abroad. The interiors of houses were made after standard designs; it was only the façades and the main stairwells of the more important buildings that were given more attention. Some ackowledged architects were commissioned to design them. All over Europe these eclectic tenement houses associated with historic forms define town- and cityscapes even today. Residential buildings built in this period tend to have anachronistic ground-floor plans. Thus, they were unsuitable as starting points for progress. This is why the introduction of a new urban form of housing seemed an imperative necessity.

Multi-Apartment Buildings in the First Half of the 20th Century

Following the examples set by British urban planner Ebenezer Howard in his book titled Garden Cities of To-morrow (1898), the garden city movement made efforts to blend gardens representing rural life with the density of urban housing and without high-rise apartment buildings. The influence of these single- or two-storey row house-style developments was substantial both in Europe and overseas. Their basic design principles were borrowed for a large number of projects later on. Although they were also criticised by many because of their density and rural character, it was now obvious to opponents as well that the improvement of dwelling places was an urgent issue that brooked no delay. In the Netherlands,

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means. As they popularized their theoretical research work and realised buildings with exhibitions and series of publications, the role of architects in residential buildings design grew more important than ever before. This new architecture defined practical objectives and articulated basic concepts of residential design that are still used today. A more rational lifestyle came into focus, which resulted in the birth of functional architecture. For the sake of appropriate utilization, advantageous orientation and satisfactory exposure to sunshine and ventillation, from then on the primary concern of design became an internal spatial organisation that was both economical and practicable. Apartments were designed by integrating contemporary technical achievements, introducing the bathroom, central heating, built-in kitchen furnishing and wardrobes. Exteriors emphasizing the structures of buildings were simplified, omitting ornamentation typical of historic periods. Forms were of secondary importance, and architects preferred constructing from the inside outwards, carefully avoiding associating and limiting themselves with the definition of any kind of “style”. Buildings now expressed an ultimate breakaway from historic elements in every respect. The new structural components, such as the reinforced concrete and steel frame, allowed for the separation of load- bearing and exterior spatial separation. This way, a formerly unforeseen and unprecedented multitude of potentials opened up, resulting in closer contact between the interior space and nature, basically re- formulating the relationship between people and their environment.

In Germany, tenements were built as municipal projects. Housing estates with social purposes designed by Bruno Taut and Ernst May were successful and became widepsread (Bruno Taut–Martin Wagner:

Berlin, Britz Hufeisensiedlung). In 1927 the Weissenhofsiedlung, a housing estate in Stuttgart, was built with unprecedented residential buildings that served as prototypes for a large number of dwellings later on. The multi-apartment house by Mies van der Rohe contained through apartments thanks to its smaller width. Two years later, the housing estate in Siemensstadt presented the latest achievements of functionalist housing. Breaking away from the former urban fabric, the apartments of these multi- storey linear developments along a north-south axis boasted undoubtedly more advantageous designs.

A year later, CIAM (Congres Internationaux d’Architecture Modern), the international organisation of Modernist architects, was founded, summoning the representatives of the new architecture to participate in worldwide co-operation. This marked a new social sensitivity and an ultimate breach with academism. In the years to come, congresses focussed on issues of studio apartment construction and new methods of development. Managed by Walter Gropius, the Bauhaus school was built meanwhile in Dessau to evolve into the intellectual centre of the new architecture.

In France, Le Corbusier’s housing project in Pessac was the very first experimental housing estate that was entirely new in its own time, both in the structural and aesthetic sense. In the Netherlands and England, the new apartments in housing estates built for the working class were typically equipped with more modern conveniences than the outdated housing of the middle-class. In the USSR, a utopian attempt was made to construct communal houses instead of apartment buildings based on the traditional family model. Level by level, these minimal apartments shared a communal kitchen as well as a dining-room (Moisei Ginzburg and Ignati Milinis: Moscow, Narkomfin).

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new development forms typical in green-belt zones, the tenement mansion (e.g., those designed by Lajos Kozma, Móric Pogány, István Janáky and János Wanner in Budapest) and the owner-occupied mansion (e.g., Farkas Molnár: Budapest, District II, Pasaréti Road).

However, many could not accept the schematic of Modernist architecture unconditionally. The dogmatic principles found their expressions in more softened forms that adapted more willingly to the existing urban fabrics as a result of the influence of local characteristics, especially in Scandinavia (in the wake of Gunnar Asplund and Alvar Aalto) and the Mediterranean. A fine example of this tendency is Casa Rustici, a building by Giuseppe Terragni in Milan.

Projects in the Latter Half of the 20th Century

Throughout the post-war era, especially in the European cities and towns that were destroyed by bombs, there was enormous demand for new residential buildings. The ideas of pre-war Modernist architecture were put in practice by architects reviving districts of towns and cities and erecting large-scale buildings. The disappearance of servants co-living with families brought about significant structural changes in the designs of interiors, just like the introduction and wide-spread use of technological novelties such as central heating and electric washing machines. The rooms of apartments were transformed, the servants’ quarters next to the kitchen disappeared, while the bathrooms and kitchens were completely upgraded. There was a tendency now to include various comfort features, as well as communal spaces, kindergartens and playgrounds within residential buildings. The most epochal project of this era was Le Corbusier’s Unité d'Habitation, which was an attempt to construct a vertical town as a follow-up of the principles realized by the aforementioned communal house in Moscow. Although this form of housing did not live up to expectations in Marseille, it has proven to be an important point of reference in the history of multi-apartment buildings design. This project has been influential worldwide ever since. Similar houses have sprung up in Germany (Van der Broek en Bakema: Berlin, Hansaviertel Tower) and Japan alike (Kunio Maekawa:

Tokyo, Harumi Flats). As a rule, experimentation is about more economical construction and issues such as the reduction of the areas occupied by the shared circulation system. The preferred responses were typically duplex apartments with small floor sizes, since this allowed for a communal circulation passage that only had to be integrated on every third level. From the 1940s on, prefabrication technology spread all over Europe, and mainstream architectural practice actually meant massive projects of large-scale dwelling houses. This resulted in essentially similar residential environments everywhere with few exceptions – such as Mediterranean countries where residential designs followed the traditional urban model, or the terrace houses in Germany and Switzerland that became widespread in the 1960s.

Hungarian architecture evolved along with the European trends up until the 1950s, but then it broke away from global tendencies in architecture for 40 years through the centralised enforcement of

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found the functionalist apartments too tight, and tensions among the lower social strata heightened.

Later on, cars needing parking space occupied the greeneries between row houses. Changing needs were not taken into account, however. Dissatisfaction with the precedents of Modernism gave birth to new architectural theories in the 1960s and 70s. What these various concepts had in common was that they approached the town as a dynamically changing environment. Plug-In City by Archigram architects in England describes this exactly. Their theoretical project presented the city as a machine walking on legs that keeps redefining itself to suit changing circumstances. Extreme examples of residential buildings constructed in this era represent attempts to find alternative ways. Concerning the forms of houses, as opposed to Modernist façades stripped of all superfluous components, they saw potential in geometrical motifs, a systematic repetition of basic units and the creation of extraordinary structures. Bertrand Goldberg’s Marina City (Chicago, Illinois, USA) is an excellent example of the latter, while the capsule house by the Metabolist architect Kurokawa (Tokyo, Japan) and Habitat 67 by Moshe Safdie (Montreal, Canada) exemplify structures made up of dwelling units connected in a flexible way. Buildings representing English Brutalist architecture of this era were designed by Ernő Goldfinger (London, Balfron and Trellick Tower) and by the Smithsons, a married couple (Alison and Peter Smithson: London, Robin Hood Gardens).

By the late 1970s and early 80s, the popularity of multi-storey residential buildings rapidly decreased in the more developed countries, and social tensions within housing estates grew more intense. In Aldo Rossi’s wake (L'architettura della città, 1966) many emphasized the significance of traditional towns.

An architectural exhibition was organized to revive bomb-devastated West Berlin (Internationale Bauausstellung Berlin, IBA Berlin: 1979-87) with the slogan “the inner city as a dwelling-place”. This brought about the re-evaluation of town centres and the traditional urban fabric. The exhibition defined two fundamental strategies: the “humane approach to urban reconstruction" and “critical-judicial reconstruction", both of which emphasized the necessity of adjusting to context, the given and existing conditions and circumstances. Instead of a comprehensive reconstruction, now the conservation of urban fabric and structures was given priority, along with establishing dialogue with the people concerned. The enclosure-type development and the urban villa or mansion (see Rauchstrasse in Berlin) re-appeared. The exhibition presented the achievements of contemporary residential design.

The architects invited to represent Post-Modernism (e.g., Peter Eisenman, Aldo Rossi, Rob Krier, Hans Hollein and James Stirling) reached back to historical forms as opposed to the anonimity of Modernism.

There were also significant residential projects in France, though more typically in suburbs. These regions had no powerful historical background comparable to that of Berlin’s revival, but there was also the need for a continuity of the past. An interesting momentum in the history of design theories concerning multi-apartment residential buildings is the social dwelling house (Nemausus) by Jean Nouvel in Nîmes with flexibly adjustable living spaces that were more spacious than usual. Apart from the service/ancillary areas rooms, the apartments form a large open-plan space lacking separations.

The costs of construction were reduced by using simple structures applied exclusively on industrial

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houses became widespread. Built as public projects, the brick houses of the Socialist housing estates were replaced by concrete block houses in the early 1960s, only to be replaced by prefab buildings by the end of the very same decade. Imported from the Soviet Union, this technology ruled housing projects in Hungary for the next 20 years. In the spirit of economic efficiency, only a few building types were erected, while variations were concentrated on the margins of towns and cities with standardized flat sizes. Prefab houses seemed like adequate responses to the housing shortage, chiefly because they embodied the promise of social equality and welfare to people flocking from the countryside to cities. However, the monotony of the buildings combined with poor-quality construction soon ruined hopes, and thus the houses rapidly became obsolete, both in the physical and moral sense. Owner- occupied multi-apartment buildings built by OTP (National Savings Bank) or on public initiative were not limited by norms. In the green-belts of Buda, or on vacant sites downtown and in the Castle District, prefab technology could not be applied. Hence, these areas offered more scope for architects. Péter Molnár, György Jánossy and Zoltán Gulyás are only a few of the architects who designed houses with Modernist tones, responding sensitively to their environment as the counterpoint of industrial production. The brick cladding often used on their buildings resulted as much from their desire for originality as the rejection of prefab technology. The 1980s put an end to prefab constructions and brought about uncertainty. The change of the political system and the privatisation of state-owned apartments brought about a reconfiguration in the housing market and a dramatic drop of the ratio of residential projects. The wide variety of new building materials appearing in the 1990s, the lack of reference points and the expectations of typically profit-oriented private investors posed particular problems for architects.

Contemporary Experiments, Design Issues

Residential projects in the 1990s had the tendency of appearing more like portions of urban rehabilitation, both in Europe and in the USA. The ambition to integrate with existing urban fabric and brown-field developments as such require a new kind of design approach. Items on the agenda include a differentiated use of homes, resulting from the polarisation of society, combined with the need for flexibility, as well as issues of energy conservation and sustainability which are now invoked in the social sense. In this world of rapid changes, our homes play a key role in how we define ourselves.

Communal life in the traditional sense has also undergone radical changes, while new social activities came into being in a digitized world. Although physical contact among individuals tends to dwindle, contact is expanded unbelievably through a variety of media such as the Internet. Compared to the concepts of idealistic designs of housing estates in the 1960s, the role of the individual in this world has undergone fundamental changes. Communal spaces conceived and designed to facilitate meetings and free-time activities have been abandoned. Meanwhile, the world itself has accelerated, and people tend to be left to themselves more and more as individual human beings. The difference between communal and private spaces has become apparent: the former is losing its appeal, while we are more particular and have higher expectations about our own private domains. To meet such demands is an especially

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whether or not they treat their homes as their own.

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front is the eponymous majolica, a type of durable, colour- and weather-proof glazed ceramic. Another distinguishing feature of the streetscape is the predominate green wrought-iron balcony railing evoking botanical forms – found on the bottom two floors of the street elevation, but only on the topmost storeys of the two lateral spans of the house. Designed to contain elegant flats with all the conveniences, this house rose to fame because of its exemplary dwelling unit featuring a glass-walled bathtub.

© Wien Museum, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

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© Monica Nikolic, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

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© Foto Bildarchiv, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

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© Foto Bildarchiv, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

© Otto Wagner, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

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© Technische Universitat Wien, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

© Akademie del Bildenden Künste, source: August Sarnitz: Wagner, Taschen / Vincze Kiadó 2006

mp; Russell, Graham Court, New York, US

Graham Court is the result of extensive real estate developments at the turn of the 19th and 20th centuries, a stylistically flourishing era when the adaptation of classical architecture was a tool to design large-scale buildings, which in turn also showed the influence of extravagance and monumentality. This was the first project of Clinton and Russell in the style of Renaissance

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© Museum of the City of New York, Wurts Collection, source: New Urban Housing, 56. old.

© Emilio Guerra, source: http://www.flickr.com/photos/emilio_guerra/7976208525/

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© ismeretlen, source: http://veronicatsgardens.blogspot.hu/2012/05/graham-court-gem-in- harlem.html

© ismeretlen, source: New Urban Housing, 57. old.

Rue Franklin Apartments, Paris, Franc

This apartment block is significant for the generous use of the then-new R-C frame (Hennebique’s system); the weight of the ceilings is supported by free-standing columns. The technology allowed for a reduction in wall surfaces, thus opening the interior spaces more towards the street. Due to the spatial organization resulting from the structure, it may be regarded as the prototype of free horizontal organisation, which is favoured by Modernism. Turning towards the street, the U-shape plan of the house made it possible to utilize the dimensions of the site more efficiently. As a result of the layout, the stairs, the lifts and the water blocks are housed at the rear, so the dwelling spaces have more advantageous views and light conditions. The in-between levels of the nine-storey building contain the apartmants with the parlour, the dining- and the bedroom at their centres.

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© Studio Chevojon, source: Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

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© ismeretlen, source: http://parisisinvisible.blogspot.hu/2011/09/homes-of-auguste-perret-rue- franklin.html

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© ismeretlen, source: http://parisisinvisible.blogspot.hu/2011/09/homes-of-auguste-perret-rue- franklin.html

© ismeretlen, source: http://parisisinvisible.blogspot.hu/2011/09/homes-of-auguste-perret-rue- franklin.html

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© ismeretlen, source: http://parisisinvisible.blogspot.hu/2011/09/homes-of-auguste-perret-rue- franklin.html

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© Auguste Perret, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Auguste Perret, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

Casa Milà, Barcelona, Spain, 19

Barcelona’s Casa Milà (La Pedrera – The Quarry) ranks amongst Gaudí’s most famous residential projects of symbolic significance. (It presently functions as a public building.) The five-storey apartment house* is an elegant iconic building with an undulating floor-plan and two skylit interior courtyards. An essential design in the architect’s oeuvre, this building uniquely blends the forms of nature and architecture. The frame consists of steel columns, buttresses and vaults. The façade is graced with a profusion of ornaments (floral motifs, cave-like balconies, sculpturesque chimneys) and organic components. Casa Milà, which is a UNESCO [http://hu.wikipedia.org/wiki/UNESCO] World Heritage Site, was built after some drafts by Gaudí who supervised the construction process himself without working drawings.

© ismeretlen, source: http://laboratoriodeintervencionespacial.files.wordpress.com/2011/05/la- pedrera-vista-general.jpg

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© Lara Vinca Masini, source: Lara Vinca Masini: Antoni Gaudi, Sadea Sansoni, Firenze, 1969

© K. W. Schmitt, source: Karl Wilhelm Schmitt: Multi-Storey Housing, Verlag Gerd Hatje, Stuttgart, 1966

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© Antonin Gaudi, source: Karl Wilhelm Schmitt: Multi-Storey Housing, Verlag Gerd Hatje, Stuttgart, 1966

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© Antonin Gaudi, source: Karl Wilhelm Schmitt: Multi-Storey Housing, Verlag Gerd Hatje, Stuttgart, 1966

Klerk, Hembrugstraat, Amsterdam, Netherland

This complex was designed by Michel de Klerk, a prominent figure of the Modernist architectural movement in the 1920s, who headed the prestigious Amsterdam School, which orchestrated the young generation. Evoking the expressive forms of naval designs, the complex named Het Schip (“The Ship”) was built on a triangular site. Housing a total of 102 apartments originally meant for workers, it includes a post office fitted to the acute-angle of the site (presently the Museum of the Amsterdam School), as well as a community hall. The apartments are accessible from the intermediate zone, along which the central courtyard is oriented. The arc-shaped retraction of the whole development, which created an entrance plaza, is accentuated by a tower motif. The complex as such shows the influence of Expressionism. The overall impression of Het Schip is defined by its versatile masonry, ornamental spires, round forms, unusual window designs and unique motifs. Wrought-iron and carpentry work (with a palette of black, dark green and white) are characteristic features of the simple decoration.

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© Nieuwe-Nederlandsche Bouwkunst I, 1924, source: Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

© Tihanyi Judit - Halmos György, source: Tihanyi Judit - Halmos György: Az Amszterdami Iskola, Akadémiai Kiadó, Budapest, 1993

© Tihanyi Judit - Halmos György, source: Tihanyi Judit - Halmos György: Az Amszterdami Iskola, Akadémiai Kiadó, Budapest, 1993

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© Klaus Frahm, source: Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

© Tihanyi Judit - Halmos György, source: Tihanyi Judit - Halmos György: Az Amszterdami Iskola, Akadémiai Kiadó, Budapest, 1993

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© Klaus Frahm, source: Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

© Michel de Klerk, source: Peter Gössel-Gabriele Leuthauser: Architecture in the Twentieth Century, Taschen, Köln, 1991

Gradins Vavin, Paris, Franc

Designed by Henri Sauvage, this terraced apartment block was built in 1922 on Rue Vavin, Paris. By applying the monolith reinforced concrete frame, which was a novelty then, the architect was trying to unleash the potentials of this material in terms of volume. Besides constructing cheap social housing, another important concern of the project was to create healthy living conditions. Originally a follower of Art Nouveau, Sauvage later on experimented with terraced houses and realised a building this time with minimal reliance on architectural devices combined with a vocabulary of sophisticated forms. In line with his ambition to improve the environment, the terraces on the receding façade made both the apartments and the street breezier and more advantageously exposed to sunshine. The white glazed tiles enriched with dark-blue ornamentation and the natural vegetation which enwraps the balustrade are extraordinary formal components of the façade. The seven storeys of the apartment block contain 78 apartments altogether. The interior zone, freed up by the terraced form resembling a stair-stepped

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© Fondation Sauvage, Direction des Archives de France, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Sylvie Niel, source: http://blog.couleuraddict.com/post/2011/06/26/Fa%C3%A7ade-en-gradins-d

%C3%A9grad%C3%A9e-d%E2%80%99Henri-Sauvage

© Sylvie Niel, source: http://blog.couleuraddict.com/post/2011/06/26/Fa%C3%A7ade-en-gradins-d

%C3%A9grad%C3%A9e-d%E2%80%99Henri-Sauvage

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© Henry Sauvage, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Henry Sauvage, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

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© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

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© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

© Rui Morais de Sousa, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

© Ludwig Mies van der Rohe, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

© Ludwig Mies van der Rohe, source: Mies van der Rohe, szerk. Paco Asensio, teNeues 2002

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blocks here. Breezy and spacious greeneries in between the buildings, providing a sensitively connection with the garden city environment, highlight the importance of gardens. Using architectural means economically, Bruno Taut [http://hu.wikipedia.org/wiki/Bruno_Taut] achieved spectacular effects through the use of various plastered surfaces, integrating mullioned doors and windows and adopting a palette dominated by “Berlin red“. When designing this simple and functional housing estate, standardized floor-plans, prefabrication technology and the rationalisation of the building system came into focus. The prevailing logic of the configuration of the apartments placed the important living spaces and niches, the balconies or loggias, along the elevation facing the garden. The entrances, staircases and service functions are situated along the street façade. The rather small (49 m²) dwelling units have been popular ever since. Significant as an historical monument, this housing estate was listed by UNESCO as a protected World Heritage Site in 2008.

© ismeretlen, source: http://www.dieselpunks.org/profiles/blogs/tauts-horseshoe

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© Doctor Casino, source: http://www.flickr.com/photos/doctorcasino/4946524476/sizes/o/in/

photostream/

© Doctor Casino, source: http://www.flickr.com/photos/doctorcasino/4946524476/sizes/o/in/

photostream/

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© Doctor Casino, source: http://www.flickr.com/photos/doctorcasino/4946524476/sizes/o/in/

photostream/

© Doctor Casino, source: http://www.flickr.com/photos/doctorcasino/4946524476/sizes/o/in/

photostream/

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© ismeretlen, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Bruno Taut - Martin Wagner, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Bruno Taut - Martin Wagner, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Bruno Taut - Martin Wagner, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Bruno Taut - Martin Wagner, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

- Ignati Milinis, Narkomfin Communal House, Moscow, Russi

A prominent figure of the Russian avantgarde (materialistic and pragmatic) architecture, Ginzburg also headed the OSA group (the association of contemporary Russian architects). The main objective of this organisation was a communal housing project to construct modern flat types and thus realise a new form of housing. Narkomfin Dom Kommuna in Moscow is one of the variations of the strojkem standardized apartment type, designed by a research team under Ginzburg’s management. The designer focussed on such issues as the integration of communal and individual dwelling spaces, while propagating the principle of gradually introducing collectivity and the communal use of amenities.

A distinguishing feature of this communal house is the two-way internal street connecting duplex apartments. The green-roof building unit containing a restaurant, a library, a gym hall and a day-care nursery is also strung along the circulation axis. Due to its severely dilapidated condition, Narkomfin Dom Kommuna has been scheduled for demolition.

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File:Narkomfin_Building_Moscow_2007_04.jpg

© NVO, source: http://commons.wikimedia.org/wiki/

File:Narkomfin_Building_Moscow_2007_04.jpg

© NVO, source: http://commons.wikimedia.org/wiki/

File:Narkomfin_Building_Moscow_2007_04.jpg

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© NVO, source: http://commons.wikimedia.org/wiki/

File:Narkomfin_Building_Moscow_2007_04.jpg

© Owenhatherley at en.wikipedia, source: http://en.wikipedia.org/wiki/File:Narkmomfinfoto2.jpg

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© foto 1945 előttről, source: http://en.wikipedia.org/wiki/File:Narkmomfinfoto1.jpg

© Moisei Ginzburg / Ignati Milinis, source: http://nickkahler.tumblr.com/image/18091543720

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© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Moisei Ginzburg / Ignati Milinis, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

Siemensstadt Housing, Berlin, German

Showing characteristics of Modernist architecture and featuring different vocabularies of forms designed by several architects (Scharoun, Gropius, Forbat, Bartning, Henning and Häring), the highly versatile Siemensstadt estate created new standards in social housing. Based on a concept by Hans Scharoun, a residential complex with open spaces floating in green was constructed. Divided into three parts, the five-storey apartment block, arranged on a north-south axis to optimise building orientation, offered exemplary forms of housing, primarily containing dwelling units with 2+1 rooms. Since distinguishing features of the design – such as the loggias, roof superstructures and the proportions of openings – are reminiscences of naval architecture (ship forms), this tenement house earned the moniker “Panzerkreuzer“ (or armoured cruiser). As a significant Modernist residential estate of Berlin, the Ring Estate (in German: Großsiedlung Siemensstadt, also known as Ringsiedlung) was recognized by UNESCO [http://hu.wikipedia.org/wiki/UNESCO] as a World Heritage Site in 2008.

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© Dieter Leistner/artur, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© ismeretlen, source: http://katkestuste-linn.blogspot.hu/2010/04/101-tukike-weimari-vabariigi- unistust.html

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© ismeretlen, source: http://katkestuste-linn.blogspot.hu/2010/04/101-tukike-weimari-vabariigi- unistust.html

© ismeretlen, source: http://commons.wikimedia.org/wiki/

File:Berlin_GS_Siemensstadt_Panzerkreuzer.jpg

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© Alexander Hartmann, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Hans Scharoun, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Hans Scharoun, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

Karl-Marx-Court, Vienna, Austria

As a result of intensive housing projects after World War I, more than 60,000 new homes were built in the capital of Austria. The majority of municipal tenement complexes (Gemeindebauten) of

”Red Vienna” (Rotes Wien) were designed by Otto Wagner’s apprentices. Typologically, the Karl- Marx-Hof (“Court”) complex may be regarded as a large-scale block development. The apartments are organized around huge interior courtyards which span almost 1 km long and 11 m deep. The street front – with gates leading into the courtyards and rhythmically spaced spires – represents both monumental architecture and social housing. The design programme contained a total of 1,382 apartments, the overwhelming majority of them with two rooms. The premises include a variety of communal amenities such as laundromats, baths, shower rooms, two kindergartens, a library and 25 business offices.

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© Georg Mittenecker, source: http://commons.wikimedia.org/wiki/File:Karl-Marx-Hof2b.jpg

© Georg Mittenecker, source: http://commons.wikimedia.org/wiki/File:Karl-Marx-Hof2b.jpg

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© ismeretlen, source: http://commons.wikimedia.org/wiki/File:K.M.Hof_Vienna_detail.JPG

© Anton-kurt, source: http://commons.wikimedia.org/wiki/File:JosefFranzRiedl.KarlMarxHof.C.jpg

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© Peter Mulacz, source: http://commons.wikimedia.org/wiki/File:T%C3%BCrdr

%C3%BCcker_von_einem_Tor_des_Karl_Marx.Hofs.jpg

© Karl Ehn, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Karl Ehn, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

Highpoint Apartment Blocks, London, U

Highpoint 1 may be regarded as the first realised designs of Le Corbusier’s five architectural points in England. The transversal wings allowed for ideal separation of the adjacent apartments. The majority of the residential units are open on three sides, which makes them both breezier and lighter. Highpoint 1 was meant for affluent clients, as well as for women wanting modern and comfortable housekeeping.

The floor-plan layout of the two- and three-room flats created an exemplary formal and functional order. The interior spatial organization of the flats is logical and clear. The design of the bedroom- bathroom-hall, separate from the spaciously furnished living and dining room has proven exemplary.

As a follow-up, Highpoint 2, built on an adjoining site, contains duplex apartments with symmetrical floor-plans.

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© adrian welch, source: http://openbuildings.com/buildings/highpoint-1-profile-1863#

© adrian welch, source: http://openbuildings.com/buildings/highpoint-1-profile-1863#

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© adrian welch, source: http://openbuildings.com/buildings/highpoint-1-profile-1863#

© adrian welch, source: http://openbuildings.com/buildings/highpoint-1-profile-1863#

© Philip Sayer, source: http://www.coppindockray.co.uk/projects/highpoint-i-apartment/

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© ismeretlen, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Berthold Lubetkin, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Berthold Lubetkin, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Berthold Lubetkin, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Berthold Lubetkin, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

- Pietro Lingeri, Casa Lavezzari, Milan, Ital

Designed by Giuseppe Terragni, a member of Gruppo 7 and a prominent figure of Modernist Italian architecture, Lavezzari House in Milan was erected on an acute-angled site as a development in unbroken rows with a symmetrical, flat-roof structure. With its modern vocabulary of forms and materials, it is one of the five most remarkable multiple-family dwelling houses in Milan, which Terragni co-designed with Pietro Lingeri. On each strorey, three apartments open from the circulation core, centred around a three-flight stairwell and a lift. Jutting out from the front, as well as in the direction of the side streets, cantilevered balconies with upturned R-C sheets provide the leitmotifs of this corner building, which is divided into three parts. The side façade is gradually stepped back towards the neighbouring houses.

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© Thomas R. Schumacher, source: Thomas R. Schumacher: Surface and symbol, Princeton Architectural Press, New York 1991

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© CharlierBrigante, source: http://www.flickr.com/photos/15490726@N05/4799436064/

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© CharlierBrigante, source: http://www.flickr.com/photos/15490726@N05/4799436064/

© CharlierBrigante, source: http://www.flickr.com/photos/15490726@N05/4799436064/

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© Giuseppe Terragni - Pietro Lingeri, source: Thomas R. Schumacher: Surface and symbol, Princeton Architectural Press, New York 1991

© Giuseppe Terragni - Pietro Lingeri, source: Thomas R. Schumacher: Surface and symbol, Princeton Architectural Press, New York 1991

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© Giuseppe Terragni - Pietro Lingeri, source: Thomas R. Schumacher: Surface and symbol, Princeton Architectural Press, New York 1991

Giuseppe Terragni - Pietro Lingeri, Casa Rustici, Corso Sempione, Milan, 1936

Built after one of the Rationalist designs by Terragni, Casa Rustici realises two innovative architectural concepts: transparency and the integration of glass surfaces. With this strictly organised, Modernist- style seven-storey block of flats, Terragni interpreted the communication between the environment and the building’s space in his own characteristic and original way. The building is made up of parallel cubes, which open towards the street, creating transparency and a living space bathed in light. The volumes perpendicular to the street front and the court that they surround are strung along bridges and terraces that are open in the direction of the public space.

© ismeretlen, source: http://photo.net/photodb/photo?photo_id=5984065&size=lg

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© sokan, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

© Hilary French, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

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© Laura Montedoro, source: https://sites.google.com/site/lauramontedoro/varie

© Giuseppe Terragni, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

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© Giuseppe Terragni, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

© Giuseppe Terragni, source: Hilary French: Key Urban Housing of the Twentieth Century, Laurence King Publishing Ltd, London, 2008

Charles Marshall - William Tweedy, Viceroy Court in St.

John’s Wood, London, UK, 1934-36

Designed by Marshall & Tweedy, this building in St. John’s Wood contains 84 modern luxury apartments. The seven-storey block stands out against its environment with its elegant and yet restrained style, volume and materials. Clinker-clad and trimmed with cast stone borders, the projecting main front overlooking the street features semi-circular windows, loggias and balcony doors. The leitmotifs of the façade are the semi-circular, cantilevered balconies joining the glass partitions. They turn around the angles of the building with their horizontal metal railings. Owing to its simple and smooth brick cladding, the front overlooking the court remains a restrained composition.

The elongated H-shape of the block contains a variety of apartment types, ranging from studio units with minimum floor space to the largest five-bedroom flats. The modern and generous apartments are furnished and equipped with all the modern conveniences. Besides, tenants have an underground car garage at their disposal.

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© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

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© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

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© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

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© nincs megjelölve, source: The Architectural Review, 1938 january-june, The Architectural Press, London

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© Marshall and Tweedy Architects, source: The Architectural Review, 1938 january-june, The Architectural Press, London

amus - Palanti, Fabio Filzi Quarter - Residential complex in the Milan suburbs, Ital

Taking up a whole city block, this residential complex containing small flats was built after integral designs of a linear development. The main principles of design work typical of Modernist architecture were to position parallel buildings aligned on a north–south axis, as well as to position empty spaces rhythmically and volumes succeeding each other in rows. This standardized residential district contains ten buildings in three rows inside the slab along the perimeter of the housing estate. Featuring simple Modernist architecture, the complex has a floor-plan system contained in a rectangle which mediates the finely articulated, composed facade and the well-balanced volumes. The distances between the buildings are in proportion with their heights, thus optimising light and ventillation. The block’s general types are made up of three-tiered parts. The flats of one, two or three rooms have a floor space of 25, 45 and 55 m² respectively. The minimal studio units include an integrated bathroom-kitchen block, as well as a living room with a loggia, while the living areas include the dining hall and the hallway. By the early 1980s, the buildings had deteriorated to an extent that they were in a dangerous condition.

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Milano 1941

© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico

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© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

© ismeretlen, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

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© Scott Budzynski, source: http://www.flickr.com/photos/27539176@N04/7800816934/

© Scott Budzynski, source: http://www.flickr.com/photos/27539176@N04/7800816934/

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© Albini-Camus-Palanti, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

Micthell - Bridgwater - Gollins & Smeeton AA, Viceroy Close, Birmingham, UK, 1938

Viceroy Close was built in downtown Birmingham as the first multi-storey block of flats in the interwar period on the sites of former Victorian houses. It was also the first to include a vast expanse of garden, offering tenants a suitable space for privacy despite the high density development. The entrance core of each building is a lounge from which flats are accessible via the staircase and an elevator. The robust brick-clad volume of the building is articulated by the refined tracery in the shifting planes along the façade. Of the eight flat types this block contains, the single-room units feature a bathroom, dining room and living room, while the five-room flats contain two bathrooms and two living rooms.

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

© ismeretlen, source: The Architectural Review, vol. 83, 1938

© ismeretlen, source: The Architectural Review, vol. 83, 1938

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

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© Mitchell - Bridgewater - Golins - Smeeton AA, source: The Architectural Review, vol. 83, 1938

© Mitchell - Bridgewater - Golins - Smeeton AA, source: The Architectural Review, vol. 83, 1938

© Mitchell - Bridgewater - Golins - Smeeton AA, source: The Architectural Review, vol. 83, 1938

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

© ismeretlen, source: The Architectural Review, vol. 83, 1938

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

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© ismeretlen, source: The Architectural Review, vol. 83, 1938

© ismeretlen, source: The Architectural Review, vol. 83, 1938

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courtyard is mediated by solid and pierced parapets outside the apartments, as well as by the rhythm and harmony of the open stairwell’s railings. There are parking spaces in the ground-floor street lane, aw well as light-bathed communal spaces that open towards the courtyard.

© nincs pontosítva, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

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© nincs pontosítva, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

© nincs pontosítva, source: Alberto Sartoris: Gli elementi dell'architectura funzionale, Editore Ulrico Hoepli, Milano 1941

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