E-033

Kanchanjunga Apartments, Mumbai . Charles Correa . 1970-83

E-022

Casa MR6, Alella . Soldevila & Llorens . 1984

E-015

Incremental Housing, Belapur, New Bombay . Charles Correa . 1983-86

'Based on observation of traditional Indian settlements, he has suggested that cities should be developed using a spatial hierarchy which ranges from the private world of the individual dwelling, through the ‘doorstep’, to the communal court (which traditionally contains the well or common tap), to the greater public space - the maidan – the public promenade of the community. The geometry of Belapur is a direct interpretation of this syntax. The basic element is the house. For Correa ‘the territorial privacy of families is of primary importance, and he believes that, in the Indian climate, ‘open-to-the-sky space’ is essential for family life. So each house has a private yard in which is a lavatory block. Lavatories are paired to reduce service runs and three or four pairs of houses are grouped round courts which, in turn, open on to larger public spaces where, given the boundless energy of Indian entrepreneuralism, shops and other enterprises will doubtless quickly spring up.'

https://www.architectural-review.com/rethink/belapur-housing-in-navi-mumbai-india-by-charles-correa/8684855.article

E-014

Teatro Oficina, São Paulo . Lina Bo Bardi . © Iñigo Bujedo Aguirre . 1984

'The building is 9m wide and 50 long and the plan that was developed for the building was to make it a corridor between two important pedestrian areas of the Bexiga neighborhood.
As a public street, this theatre would merge the past and present, the old and the new, architecture and the city, actors and audience – in a theatre without wings or curtains. This is a public street with no space for spectators, only for actors:  The public, the technicians, architecture, architecture and objects are literally on stage with the actors.The theatre is on longer a “box for dreaming in” but a real, possible way of life very close to that of everyday people in the street.'

http://positivedialogues.aaschool.ac.uk/?p=1842

F-005

Paseo San Juan junto a Arco de Triunfo, Barcelona . © Manolo Laguillo . 1980

'Manuel Laguillo (nacido en Madrid en 1953 y residente en Barcelona) es una figura de referencia en el documentalismo urbano, por la persistencia en su estilo descriptivo. Su trabajo es indisociable de la representación de la ciudad de Barcelona y sus transformaciones.'

http://www.cadadiaunfotografo.com/2011/06/manolo-laguillo.html

E-010

Stone House, Tavole, Italy . Herzog & de Meuron . 1985-88

Set in an undulating landscape of abandoned olive groves, the three-storey house stands on a promontory, engaging part of a former stone terrace. The design concept of the house is based on the fusion of plan, elevation and section. The building is characterized by a cross, made visible in the construction of the side walls where the in-fill dry stone comes in contact with the reinforced concrete frame. The structure occupies the centre on the “piano nobile“, while on the top floor spaces are more interconnected. Here, the house rises above the trees, giving a panoramic view through the vertically articulated strip windows. This notion of extension has its equivalent in the opposite direction with the raised terrace and its pergola-like enclosure. The external wall infills are of slate-like rubble stones, the window shutters are of steel sheets and the door and window linings are of split slate sheets. On the whole, the detailing is spare.

https://www.herzogdemeuron.com/index/projects/complete-works/001-025/017-stone-house.html

E-008

Institut La Llauna, Badalona . Enric Miralles & Carme Pinós . 1986

'La fàbrica d'envasos metàl·lics de Gottardo de Andreis, coneguda popularment com 'la Llauna', va ser construïda entre 1906 i 1909. És una de les obres més interessants de l'arquitecte modernista Joan Amigó [...] La fàbrica va ser rehabilitada el 1986 per convertir-la en institut d'ensenyament secundari segons projecte d'Enric Miralles i Carme Pinós. Aquesta restauració va rebre el premi FAD de rehabilitació l'any 1987.'

http://www.poblesdecatalunya.cat/element.php?e=1808

A-002

Cidade (from Héliographias) . León Ferrari . 1980

'From a far point of view, the large images look as chaotic patterns of walls, people, furnitures and cars. At a closer look it is possible to realize that the symbols stage paradoxical situations in which, i.e., people line up to enter empty spaces or are confined in a series of small cubicles. The paradoxes can be read as metaphors of contemporary cities where alienated individuals wander – without any apparent logic – through irrational urban patterns.The works turn the technical drawings into a narrative and symbolic device filled with sarcasm'

http://socks-studio.com/2014/01/31/the-architecture-of-madness-leon-ferraris-heliographias/

E-005

Bo Bardi’s studio . Morumbi, São Paulo . Lina Bo Bardi . 1986

'Levantó su estudio en el jardín de su casa de cristal en la capital paulista. Y ese estudio de madera, levantado del suelo y cubierta a dos aguas la retrata. Provisional, como una caseta de obra, era exactamente eso para la arquitecta: que lo trasladaba a cada una de sus obras para trabajar in situ y dibujar "solo lo necesario para los trámites burocráticos" [...] La arquitectura de BoBardi se hacía haciendo. Y el lugar para hacerlo era esta caseta prefabricada, móvil, provisional, humilde y alegre.'

http://blogs.elpais.com/del-tirador-a-la-ciudad/2011/08/obras-maestras-de-bolsillo-6-lina-bo-bardi-en-movimiento.html

F-001

Viaduct, Stockport . © John Davies . 1986

'Stockport Viaduct shows the reflective waters of the River Mersey flanked by warehouses: the civic architecture of the future is seen through the soaring arches of the Victorian viaduct. This image is part of the series A Green & Pleasant Land, which documents the realities of the industrial and post-industrial landscape'

http://www.meadowarts.org/page.php?Plv=3&P1=&P2=61&P3=121