Architecture Lab Magazine

Photo of Bauhaus masters in 1928: Marcel Breuer, Gunta Stölzl, Oskar Schlemmer, Wassily Kandinsky, Walter Gropius and Herbert Bayer

Gunta Stölzl (1897–1983) was a pioneering German textile artist and the only woman to hold a master position at the Bauhaus school. She transformed the weaving workshop, steering it from traditional, pictorial works toward modern industrial design and functional textiles. Stölzl joined the Bauhaus as a student in 1920, quickly rising through the ranks to become a junior master in 1927 and a full master the following year. Her innovative approach integrated fine art and industrial techniques, shaping modern textile design. Her leadership not only revolutionized the Bauhaus weaving workshop but also left a lasting impact on modern design.

© Bauhaus-Archiv Berlin

On January 8, 1979, Philip Johnson, often regarded as the grandfather of postmodernism, became the last architect to grace the cover of Time magazine. The issue marked a turning point in architectural history, declaring, “The 1970s were the decade in which Modernism died.” Johnson, who had once championed modernism, was now leading its stylistic departure with his bold embrace of postmodernism. This cover story signified the end of an era, while Johnson’s role in reshaping architecture through iconic works like the AT&T Building was just beginning.

In Toledo, a village project shifts architectural focus from light to shade to suit the local climate—harsh winters and hot summers. Centered around a courtyard, the design uses permeable structures to maintain privacy and solar efficiency. Traditional materials like ceramic bricks and herringbone drainage patterns merge historical elements with contemporary needs, seamlessly integrating old and new.

Alberto Ponis' approach to architecture in the 1970s emphasized harmony between built form and natural surroundings. His fireplace aspiration concept, seen in his Sardinian residences, integrates the hearth as both a functional and sculptural element. Designed with a sensitivity to local materials, Ponis’ fireplaces often feature raw stone, plaster, or exposed concrete, seamlessly merging with the rugged Mediterranean landscapes. His work embodies a refined yet essentialist approach, where architecture serves daily rituals without excess.

“I have decided to make beauty by contrast. I will find its complement and establish a play between crudity and finesse, between the dull and the intense, between precision and accident.” Le Corbusier

Casa POP / Gon Architects Casa POP transforms a conventional 78 m² apartment in Vicálvaro, Madrid, into a continuous domestic landscape organized around color, movement, and adaptable

The Trylon and Perisphere, designed by Wallace Harrison and J. André Fouilhoux for the 1939 New York World’s Fair, symbolized a bold vision of “Building the World of Tomorrow.” The Trylon’s soaring obelisk and the Perisphere’s monumental sphere, connected by the Helicline ramp, reflected the era’s embrace of modernist design and technological optimism. Inside, the “Democracity” diorama envisioned a future of balanced urban and rural living. Though dismantled for wartime materials, these structures left a lasting impression on mid-century architectural thinking and suburban planning.

Bagh GHushkhaneh Carpet Studio in Isfahan, Iran, designed by SE-BÆR Studio, transforms an old building into a versatile space for carpet weaving, exhibitions, and guest accommodations. This innovative project maintains the historical integrity of the site while introducing a contemporary cylindrical structure. The design enhances the site's value, balancing tradition and modernity. The project's inception came from Mohammad, a carpet brand owner, who chose to preserve the historic essence of the Bagh-e-Goushkhan district by integrating the new structure within the existing walls.

The Reading Pavilion at Jinhua Architecture Park in China, designed by Herzog & de Meuron in 2006, is an exquisite blend of modern design and natural harmony. This pavilion, with its open and airy structure, invites visitors to immerse themselves in a tranquil environment perfect for contemplation and reading. The interplay of light and shadow within the pavilion enhances its serene atmosphere, making it a peaceful sanctuary for those seeking a quiet retreat in nature.

In 1957, Le Corbusier's Atelier at 35 Rue de Sèvres in Paris served as the creative hub for one of modern architecture's most influential figures. This studio was the birthplace of many of Le Corbusier’s groundbreaking ideas and projects. Located in the heart of Paris, the atelier was a space where innovation thrived, and where Le Corbusier developed his theories on urbanism, architecture, and design. The building itself, embodying functionalist principles, provided an environment that fostered creativity and collaboration among his team. Today, it remains a symbol of Le Corbusier's lasting impact on architectural practice.

© W. Maywald, 1948