In Search of the Origins of Modernism: Venice and the Crisis of Classical Architecture in the mid-eighteenth century

This paper attempts to prove that in the years 1735 to 1755 Venice was the birthplace and cradle of Modern architectural theory, generating a major crisis in classical architecture traditionally based on the Vitruvian assumption that it imitates early wooden structures in stone or in marble. According to its rationalist critics such as the Venetian Observant Franciscan friar and architectural theorist Carlo Lodoli (1690-1761) and his nineteenth-century followers, classical architecture is singularly deceptive and not true to the nature of materials, in other words, dishonest and fallacious. This questioning did not emanate from practising architects, but from Lodoli himself– a philosopher and educator of the Venetian patriciate – who had not been trained as an architect. The roots of this crisis lay in a new approach to architecture stemming from the new rationalist philosophy of the Enlightenment age with its emphasis on reason and universal criticism.

"We Are All Homeless Wanderers". Transculturality and Modernism in the Works of Edith Södergran, Elias Canetti, Henry Parland and Marguerite Duras

This article investigates the notion of transculturality and applies it to four modernist authors of the 20th century: Edith Södergran, Elias Canetti, Henry Parland and Marguerite Duras. The concept of transculturality is used to reach a better – or at least different – understanding of the selected writers and their respective body of work.

Globalizing heritage: world heritage as a manifestation of modernism and the challenge from the periphery

Government efforts to protect monuments and sites of cultural heritage value have gone on for many centuries. The distinctive new chapter that
the 20th Century brought to cultural heritage protection was the establishment of a globalized effort over and above the work of nation states, This led to a new cultural heritage bureaucracy at the international level, the development of new sets of 'universal' standards, and a new set of places deemed to be of world heritage significance, All of this was done in the spirit of goodwill and optimism that infused the modem movement and that made possible the establishment of the so-called Bretton Woods organizations such as the United Nations as well as the parallel organizations specifically dealing with Cultural Heritage - UNESCO, ICOMOS, ICOM and ICCROM, In recent decades cultural relativists have challenged the drive towards uniformity implicit in the global activities of the modernist organizations, and various parts of the periphery have reacted against aspects of the global cultural heritage approach, The Venice Charter is no longer regarded as the single, universal way to conserve heritage places. It has been replaced or supplemented in large parts of the world by alternatives and modifications such as the Nara Document and Burra Charter. If it is no longer acceptable to provide a universal answer to the question of how do we identify and save heritage, the challenge of the 21st Century is to make the most of the complexity of standards that now exists.

Rhetoric versus practice: 'limits' in early modernism

This paper looks at the relationship between rhetoric and practice in the early days of Modernism in Europe by two proponents, Otto Wagner and Adolf Loos. It interprets their 'discrepancies' not so much as limits but different forms of rhetoric.