The lack of attention paid to the disempowerment of the residents has been a shortcoming of the modern mass housing model. Even today, no policies promote and support the residents’ efforts to continue improving their quality of life through actions involving changing the physical environment. Following a brief history of the origins of mass housing in the West through the discourse in the modern movement, the paper expands on implementing these modern ideas in the post-War non-Western region and how they were received and appropriated there. The article presents the case study from the author’s work on Korangi Town in Karachi, Pakistan, to show that the residents’ changes reflect their active agency. However, it was an unintentional outcome of modernist design and planning. This paper is more than just a critique of the cultural apathy of modernism. It questions what happens to a modernist project after the expert leaves the arena. How do residents adapt to or cope with their physical environment? Moreover, is there a way to include human agency in mass housing?

This study is based on the work of Vienna-based architectural firm Delugan Meissl Associated Architects. Together with a group of experts, the office has developed an exemplary approach for the energy transition in the field of architecture and landscape design on the basis of five concrete scenarios. The authors maintain that the energy transition is not only subject to technical solutions but of equal importance to designers, which they underpin by policy frameworks on climate change in the DACH region. Since all five design scenarios are located in Austria, the study focuses on the situation there. The authors view the scenarios as concrete examples and practical guidelines for the implementation of similar projects at a municipal level by providing local decision-makers with concrete planning tools. The design is focused on photovoltaic energy provision since the implementation of such systems currently has the greatest financial incentives and the lowest implementation hurdles in terms of legal frameworks in the DACH region. 

Le Corbusier’s Unité d’Habitation in Marseille established the relationship between an old man and a new world that arrived. This old self found in the interior of a long rectangle a domestic Eden that was once lost. The exterior was still a place for waiting, a place to be seen, writes Beatriz Colomina. But this modern Eden could not last forever: his indoor paradise had to move. In 1999 Terence Riley inaugurated at the Museum of Modern Art of New York the Un-private House. In it, he discovers a new dweller that does not occupy the interior of that domestic laboratory, but its own limits. Contemporary man is a social being, Jose Pardo asserts. His public self is moved to a liminal threshold, writes Victor Turner, that Kazuyo Sejima turns into the new house. Architecture is no longer the air volume contained within its limits, but that which prowls said limits. The new domestic home of contemporaneity becomes a porosity line: a curtain that publicizes domestic life. The house is converted into a habitat of borders, where man discovers his new domestic Eden.

This essay discusses various aspects of the term “nostalgia.” Rather than an individual plight, it will be considered here as a symptom of contemporary society, which does not stand in contrast to modernity but is derived from it. Nostalgia characterizes humans’ connections to the past, to their sense of self, home and community. We reflect on how this affects our longing for home, how we envision our collective home, and how we place ourselves in the world. We distinguish three types of nostalgia: Restorative, longing for the restoration of a lost home; Utopian, transforming our longing into a utopian ideal; and Reflective, which differs by shifting the focus from recovering what is perceived as a loss of absolute truth to pondering questions of history and the passing of time. The essay focuses on nostalgia’s bearing on architecture, as demonstrated in the work of Architect Aldo Rossi. His oeuvre, in which the contemplation of time and memory are inherent, reveals all three forms of nostalgia, highlighting and questioning their centrality to architectural thought and practice.

More Water, Less Land, New Architecture Sea Level Rise and the Future of Coastal Urbanism

By Weston Wright With forewords by Kenneth Framptonand Ana Tostoes, and afterwords by Rasmus Waern and Karsten Harries

Baunach, Ger.: AADR - Spurbuch Verlag, 2022

17.3 x 2 x 24 cm
[6.8 x 0.8 x 9.4 inches in.] illustrated

176 pages

€38 / $36.42 paperback

ISBN: 978-3-88778-588-8