Search Results (4)

The Ateneo Sueco del Socorro, built in 1927 in Sueca, Spain, is a prime example of the 20th-century architectural transformation, using reinforced concrete. Designed by architect Juan Guardiola, it reflects the Art Deco style, incorporating ornamental elements from Eastern civilizations. The building’s structure includes masonry walls, concrete columns, and vaulted ceilings. The building displayed a high level of damage due to the oxidation and corrosion of the reinforcements that compose the façade, which led to the definition of the most appropriate study and intervention methodology, applying contemporary tests for reinforced concrete. The original project’s structural design reflects the construction methods of its time, with sculptural elements using Fallas modeling techniques, resulting in various concrete and mortar types. After the façade presented a pathological condition in the early 21st century that made its restoration urgent, a study methodology was followed with current tests to accurately determine the lesions, their degree of damage, and compatible materials for restoration. Corrosion on the façade is mainly triggered by carbonation and the depassivation of reinforcements, exacerbated by environmental issues like moisture retention and oxygen permeability. Repairs should use compatible pre-mixed mortars, with surface inhibitors recommended to extend the lifespan of reinforcements. Full article

Portugal’s architecture reflects a rich history influenced by Roman, Moorish, Neoclassical and Romantic styles, with the 20th century marked by Art Deco and colonial influences. Regional styles vary, with white-painted buildings commonly experiencing color changes due to biofilm formation. Visually striking are the red-colored biological patinascommon in the coastal areas. A survey of 120 historical buildings affected by bio-colonization helps to understand the reasons for the patinas’ growing, which beyond natural factors, is often linked to construction defects. A characterization of four samples utilizes Next-Generation Sequencing (NGS) to identify the microorganisms composing the red biofilm, while the SEM-EDS, FTIR-ATR and XRD techniques provide further insights into the biofilm and substrate features. The comprehensive data of biochemical characterization indicate a wide variety of microorganisms, including bacteria and fungi, some of which exhibit potential as producers of a UV-tolerant red/yellow pigment (carotenoid) responsible for the macroscopic coloration of bio-colonization. Full article

Since her debut in Paris in 1925 and meteoric rise to stardom, views of Josephine Baker have been dominated by the white artists and audiences who constructed her as an exotic “Other”. This article revisits the phenomenon of “La Bakaire” from the perspective of a Black female artist who witnessed her performance first-hand and participated in the same Jazz Age projects of fashioning New Negro womanhood and formulating Black Deco aesthetics. When Gwendolyn Bennett saw Baker perform, she recognized her as a familiar model of selfhood, fellow artist, and member of a diasporic Black cultural community. In her article “Let’s Go: In Gay Paree”, July 1926 Opportunity cover, and “Ebony Flute” column, she utilizes call and response patterns to transform racialized sexual objectification into collective affirmation of Black female beauty and artistry. The picture that emerges from Bennett’s art and writing is one of communal practices and interartistic expression, in which Baker joins a host of now-forgotten chorus girls, vaudeville actors, jazz singers, musicians, visual artists, and writers participating in a modern renaissance of Black expressive culture. Full article

This paper presents the theoretical assumptions and design praxis concerning colour schemes used in the multi-threaded Moderne, Streamline Moderne and Art Deco styles, which were used in Germany during the interwar period to design commercial facilities. We based our analysis on selected cases of department stores built in the years 1927–1930 in Berlin and Wrocław (Breslau at the time). Streamline Moderne and Art Deco, which was present in Germany alongside Expressionism, operated using a simple spatial structure that followed the precepts formulated by the Bauhaus: it featured rhythmically divided, disciplined facades clad in ceramics, sandstone or travertine, as well as large storefront windows with brass frames. These Modernist compositions were enriched with ceramic or brass cornices and friezes, overhangs and full-figure sculptures that were often gilded. The buildings’ interiors, designed following the principles of efficiency and functionality, had spatially accentuated and colour-marked entrance zones and grand, glazed courtyards that were given an expressive décor via ceramics, stone or exotic wood. The expression of these compositions was underscored by linear illumination and cascade-like chandeliers that formed light sculptures. In our paper, we also presented problems associated with the contemporary revitalisation and reconstruction of such buildings. We specifically focused on research findings that identified original ceramics production technologies and methods that allowed the recreation of the texture and colour of the facade of the A. Wertheim department store in Wrocław. Full article