 Okay, well this is a weird situation and I welcome you all back to this April Fool's Day presentation since it can be more appropriate really because the folly of the species is so evident with the coronavirus so we're all completely foolish we can say. Now I want to say something about this lecture is a sort of transitional lecture because of well because of this enormous hiatus in the first place and secondly because it's a lecture which was never really properly finished so there are some images that are missing and I will try and pick them up next time but there aren't too many. This image you're looking at here is of course the Maison Clartet in Geneva finished in 1932 designed by the Le Corbusier Pierre Generé the so-called 35S studio in Paris standing for 35 Route de Serpent and this building was made for Panna who was a metal manufacturer etc and you saw it before you know we went over it in some detail. It is very much a steel frame building with stone on the end panels otherwise it's very metallic throughout and I think if you recall I mentioned the last time it's a building very much influenced by the Maison there under construction in Paris from over the years well I think you know the last half of 1930 31 and 32 finished in 1932 designed by Pierre Chareau and Maifout who was the Dutch originally the Dutch partner of your Halus Dijker and or Dijker rather I think one should say and they have worked together in the Netherlands. They graduated in 1918 Maifout had come to the Paris 1935 exhibition and there he met Pierre Chareau and for various reasons some of which were personal he decided to stay in Paris and then from this point onwards those to say through the second half of the 20s Maifout and Chareau work together and it is argued by a number of people including at the time by Eileen Gray that in fact Bifout was absolutely essential to the Maison of air this if you look at the work of Pierre Chareau there's nothing that equals the Maison of air before his collaboration with Bifout on the building and there's nothing that equals the Maison of air afterwards by Pierre Chareau either and Gray Eileen Gray was of the opinion that it was this clever Dutch engineer as she put it that in fact made the building possible and the building was very much a montage and Luc Obusier was regularly going to the site watching the building under construction through the years 1931 to its completion in 1932 and this building was being worked on exactly at the same time so we have every reason for thinking that the Maison Clâté which you're looking at in Geneva of 1932 was in fact very influenced by the Maison of air the two coming to completion at more or less the same time and Luc Obusier and Pierre Chareau in fact realize two sorry four remarkable buildings you could almost call them high-tech buildings proto high-tech buildings over the very short span of time between 1931 and 1933 one of which is this building Maison Clâté engineer but the others are the Vivian Suisse in the State University in Paris and the army to stand you in Paris the Salvation Army building the building for the homeless in fact and finally his own apartment building in the rue Nougaté-Écolé in the Porte-Malatorre area of Paris they're all they're all worked on almost simultaneously and they're all finished certainly they're all finished by 1933 so one aspect that we were talking about during this lecture is this high-tech aspect if you like which you already are familiar with this is the Vivian Suisse under construction you can see it's a steel frame building very much like the Maison Clâté extremely economically framed out but the important thing here is that the frame is standing on a concrete earthwork or rather what we call it it's really a kind of platform a concrete platform supported by enormous calculability and behind this four-story slab sitting on a platform is the main public room the common room of the of this dormitory for Swiss students studying in the Cité Universitaire in Paris and you'll notice that the on the extreme right just beyond the hoarding you see this curved wall which is actually in rubble stone construction it's very important this relationship between the steel frame structure rubble stone construction and the concrete undercropped below the steel frame structure because they can be seen and I'll try to elaborate on this as the manifestation of these three cultural strands that Foucault Musée identified in his Voyage d'Orient map published at the end of the La Découture de Lui of the Voyage d'Orient in 1912 that he undertook with Auguste Kipstein and where he covers the map with a little C a little I and F I standing for industry I in this case the steel frame construction lightweight F standing for folklore i.e. vernacular which is the rubble stone wall you can see here and you could say that the concrete platform is somehow rather C in the map of 1925 1912 25 that map the C stands for culture but as I have argued before in my opinion it is it's sort of a surrogate for the word classic the interesting thing is that this building the justification for the concrete platform was this very unstable site condition which you can see here in section because these piles go down through a cave that cave is in fact the result of a quarry for lime on the site a big hole in fact in the ground and it goes down to find bedrock underneath and we see it again here and it also shows you specifically on the top left hand corner and just below that that the building is in fact steel frame and you can see the position of the steel i-beams between the i-beams the roof slab there are these hollow park floors I mean they're terracotta parts in fact and on to these categories terracotta parks are later reinforced concrete slab then waterproofing insulation and finally the roof tiles and you can see this is the section top left you can also see on the extreme left of that section stone cladding on the exterior of the building you can see if we look closely a b b is in fact blockwork no in fact brickwork as a matter of fact and then there is airspace insulation and plaster so that is that section and you can see the wall section but no beneath that which shows no sorry this is still the I think it's still a roof security it's not the wall section but we'll come to the wall section in a minute okay this thing I'm not used to well let's look at this for a start and we'll come to the wall section yes what's extraordinary about this and I've never to be honest I've never really looked at it before is that the the paired Piloti the double long beam under the concrete platform you can see it shown there if there are two ends where it's like a bone a dog bone so to speak at either end and then you come in one day and there are two kind of vaguely C-shaped concrete piles and then you come in one day further and there are pairs of piles with round corners so the whole thing is a symmetrical front and it's symmetrical in relation to the platform and in relation to the passage of automobiles it's a platform beneath the platform you can see the tile threshold of the building with square tiles that are the whole building that is also interesting is asymmetrically situated in relation to the symmetry of the the undercroft structure which I've just been describing which is a five bay structure and the center line doesn't line up with the center line of the building in fact it shifted up to one side so there's a play here already between symmetry and asymmetry you can see the threshold the little door in entering into the tiled foyer and out of this for your rises this organic staircase which finally feeds into the stair tower and the elevator you see the elevator is immediately to the left of the entrance and you go around the corner to get inside it and then if you keep going from the main entrance you finally come to the double doors which give it to the common room where there is a surfery kitchen and beyond that in this long bar that's inclined towards the front is the concept the the apartment of the concierge which shows you well it shows you a double bedroom bathroom and kitchen dining living very very tight and above that is I think the director's study the house master in fact and then you can see in this kind of organic curve the rubble stone wall the folkloric elements so if we look at the plan by itself as it were the the frontal element is the classic the curved wall at the back is the folkloric and in between is the frame stator elevator tower which is in still frame construction industry so we've been there before and we've been there before so where am I here come on right so that's the one I want come back this is not so easy come in yeah this shows the facade of the building you can see the brick work which is built around the steel frame you can see the steel frame the roof construction I already described I one two three four at the top of the section five six seven you can see all the different parts so that ten for example is the stone facing and of course the same thing as before insulation plaster block work and you can even see the cramps holding the upper panel in position and you see the construction of the floors again it's quite obvious with the steel premise and okay all right so this is his own apartment finished at the same time as more or less we'll see some in 32 33 he's on the top floor when you look at this apartment you can see that it's a steel frame it's a cut and wall facade basically but it's it's not like the curtain curtain wall facades we we see today it's much more complicated once again you can see that the main elements of the facade are symmetrical like the protecting bay that comes forward which is actually five fenestration panels wide with glass blocks underneath the fenetra on longer you know the fenetra on girls and steel it's sliding other of course fenetra on longer underneath that so you have the notice that the entrance is again asymmetrical to one side the main entrance then there's a first floor apartment of course with this own balcony the second floor apartment with here you can notice that the balcony is in metal mesh the whole thing is in metal metal mesh glass blocks plate glass steel and at the top of the building you can see the view from his own apartment on the top floor in fact his own apartment on the top floor is also two stories and I think you can see just out there on the vista the the Eiffel Tower for example and you can see the you know one of these tables based on cast iron fixed on cast on bases that he first used in the Brussels the room for the young bachelor and the Brussels exhibition a year before so sorry where are we here what that yes so here we have the plan of his apartment and so his apartment I believe is on the right and so you see there is this central stair hall well elevator serving that stair hall and actually at the bottom center there is a kind of open-air gallery fed by this dog leg stair that also has a spiral half spiral at the end of it so you can get up to the gallery on foot and then enter the square entry hall that's serving two apartments one to the left one to the right the one to the right is his there's a light shaft behind all of this if you go into his apartment there you see the it seems to be that these are concertina walls that cut off the main entrance hall from the living dining and then concertina wall again cuts off the the main bedroom it's all very small which has a door opening onto a common toilet you can see it there it's quite a large space in fact and then there's a small sort of monk cell study room behind that and the balcony beyond so it's a very small very small apartment okay in nineteen thirty four which is the year that the radiant city is first published in a book entitled de canon des munitions merci des logis silver play. Callens ammunition thank you we dwellings if you don't mind basically and and in this year thirty four he he works on in relation to the radiant city something called the radiant farm of which we see a perspective here never built them and we can notice that in the center of this perspective there is a sort of barn like structure which is really I think more symbolic than useful sheltering trucks carts etc probably made out of corrugated metal on a skeleton metal structure and when you can see you just the buildings left to right so that's one image the courtyard of the farm the captain says and here we see another version more elaborated this will this farm will be elaborated and exhibited in the Paris World exhibition of 1937 which I will shortly come to and so this is this is kind of radiant farm you see at the top it says agricultural organization 1934 so well we see silos for grain etc we see axial approaches we see actually that the farmers are living or the workers are living in a kind of a small unit a block and we see the top is the small unit a block there is agricultural buildings that up shallow vaults they can be of lightweight concrete all they can be of car gets in metal it's unclear which is which but what is fascinating is that this is the shallow vault which appears in his work at this time so that one year later he will complete this amazing Mason weekend the song clue in 1935 which has a shallow river's concrete bolt over it and that will the shallow boat will appear in his work from this point onwards otherwise known as the Catalan or Ruslan bolt was all about that which was a kind of technical Mediterranean fireproof construction in terracotta that goes back to the 17th century and beyond then in this same moment you see we're not quite the same move this is 39 to 40 ma s Maison Montes sec the idea is pre-publicated dwellings which are faced in metal that have car gets in metal roofs that mono pitch but they pin pitch into a central gutter we notice and if we look carefully bottom left and corner we see a plan there is the usual kind of Pilati but now reduced to two tubular steel columns you enter again separately and asymmetrically to the kitchen on the right and to the entrance hall on the left with a stair opening out of the end of the hall and if you continue on you will enter that into the living dining as one thing when you go up the stairs you come to a kind of square pause space that before it is a toilet of course and then below are two bedrooms there bunk beds one suspended over the other for children and then so that's if you turn right having come up to stairs if you turn left and coming up having come upstairs you come to the master bedroom and I believe to a kind of living room a little unclear to me that might be I think it probably is almost certainly that is double height space over the living room on the ground floor I miss this reading the plan this is double-height space there so that the master bedroom raised up looks down into double-height space and these are drawings and they're very hard to decode because you know exactly what are these drawings they're published with the mesoarsec but it doesn't look anything like the systematic modular lightweight character of the mesoarsec we've just been looking at what's fascinating here is well first of all rubble stone wall appears again timber you see a big fuss is made over these timber bookcases rubble stone wall tile floors going out to a terrace bottle of wine purist table set the purist man is leaning against the wall okay and if we go to another one oh back okay this one again it's it doesn't correspond to the mesoarsec exactly what it's interesting it's already moving towards brutalism in fact for here of course it's made out of concrete the upper floor is made out of concrete the woman on the upper floor which we take it as to be the master bedroom is looking down and living that same relationship the man's out in the garden the woman is in the kitchen the dog is on the carpet what can we say I mean it's it's a kind of early brutalist image but not brutalist at all and here he's collaborating already very directly with the French constructeur Jean Prouvé this is the so called echo volant the kind of flying schools which are quintessentially prefabricated and so that the roof would be in what he uses the term to apply a pleated concrete pleated metal I mean and of course the panels are almost certainly metal although he describes them as wood it's it's raised up on a sort of concrete plinth just clear of the ground the other that's the only wet construction the rest of it is dry so this is also the moment of it's also somewhat high-tech moment and as this moment in this image there's no evidence of folklorique these kind of television window panels are typically of Prouvé after the Second World War and of course they're in metal on the left above the map of Europe right and then you have this kind of raised floor which looks as though it's made out of incision concrete which doesn't make any sense so there is this kind of odd tension between lightweight metal construction and heavyweight concrete construction and I suppose you can say that the tables in wood and the seats are folkloric okay so I wanted to concentrate in this lecture on this extraordinary exhibition of which until now there is no good book it's really extraordinary because of all it's kind of breathtaking that this exhibition was made it was made by a very fragile government it was it was made under the auspices of that government which was a popular front so-called from a popular combining communist international socialist and radical socialist parties under the premiership of Leon Bloom and who was the first and I think maybe until now even the only Jewish Prime Minister France and because something what there was one earlier but but in any case it's it's it's an extraordinary moment and then of course it's on the axis it's in the shanty masses on the axis of the iPod Tower and and we're looking here at the forecourt of the palace shy who built for this exhibition still existing and on the extreme left there is this monumental shaft with a kind of crypto classical inverted columns on top and an eagle which is the pavilion of the Third Reich and this is directly opposite the vision of the new newly constitution relatively speaking when they both newly constituted Soviet Union USSR with a male and female worker carrying between the Maharia Hammer and sickle which was the symbol of the communist state on top of a kind of our Deco pedestal the one on the left of course is extremely static and and super monumental the one on the right is rather dynamic and so this setup which is extraordinary of left right wing left wing politics in this image of course the right wing politics are on the left and the left wing politics are on the right I never I find it very hard to get over this image of the way which is so so categorically stated here and going backwards very good oh come on excuse me all right what we see here of course is the Soviet pavilion and and the woman and man together the hammer and sickle on top of this stone-faced it looks a bit like the language of Rockefeller Center for example which is probably an accident and underneath well as combination of heroic workers and military the revolution and sorry the opposite is this you know this is ubermensch by by definition the beginning is designed by Albert Speer the Russian building is designed by Joffin who had won the Palace of Soviets competition finally the last Palace of Soviets competition in 1931 and so Albert Speer who had been trained by Heinrich Tezanov classically trained becomes Hitler's architect I mean the issue here is of course it's all happening at once by once I mean 1929 world crash at the stock market 1931 the beginning of the front popular 1933 the seizure of power by the National Socialist Workers Party noticed the title which we normally refer to as a Nazi party which is of course right wing totalitarian government masquerading by the way given the title Nash Socialist Workers Party as a revolutionary government and you could say of course revolution from the right as opposed to revolution from the left well here we see this is the exposition to national Paris 1937 I mean it they start to work on this at the end of 1936 it runs through the best part of 37 but Leon Blum falls the government of front popular under Leon Blum falls I think in September 37 so it's very short lived and actually represents an extraordinary effort you see the Trocadero I think pre-existed but the palatial which still exists by the way these two wings at the on the axis of the Eiffel Tower on either side let me write our foreign pavilions from all over the world and and and then of course the same and a whole cluster of pavilions running along the same then the Eiffel Tower and the Shandomast so this is the site and this is a view back as apparently Shire now you see from the other direction with the Soviet pavilion on the left and the building the third right on the right and actually you can make it out but if you look in the great distance in the sort of cradle of the left-hand wing of the palatial site Shire you can see the top of the finished pavilion which I will shortly begin to talk about this is by logic named Don Dell it was for a long time after the Second World War the music of Armadale in fact it's so today it's called the palatial Tokyo republished or you could say compliment in a way destroyed I'm sorry to say by the French architects Lacot-Armand Vercel is an amazing monumental work which was a very beautiful art gallery in fact still is part of it still is you can see it's set up like a palace with these huge columns the columns are very very tall they don't they're not of classical proportions they don't really end in classical capitals either but it's quite obvious that this whole thing is entirely indebted to classicism and you see it in the image at the bottom what it looked like floodlit at night this is looking out on the sand built by the city of Paris in fact it represents of course the museum of the city of Paris I did not say until now and that's what makes the Paris World Equipment so incredibly stimulating is that the two things are going on at the same time basically the Spanish Civil War starts in 1936 it started by Spanish right-wing military forces that had been stationed in Morocco in Spanish Morocco who come and to enter up into the south of Spain the reason for this is that the Spanish popular front had gone to the to power literally in 1936 and the reaction they were elected there was a democratic election that put the Spanish popular front which was like the French popular front the combination of communist socialist radical socialist forces anarchists also and so they went they went to power in 1936 in May 36 and I suppose what does it on the World Exhibition of 37 soon after that maybe two months afterwards and this famous painting by Picasso the title is Gunnica for many years was in the Museum of Art has now been returned to Spain shows the little village in Spain called Gunnica which was died bombed civilian population died bombed by Nazi pilots Yonka died bombers and this is a monumental painting of course representing the horror story of this this bombing of Gunnica and so this work is a key work that was first exhibited in the Spanish pavilion built for the Paris 1937 World Exhibition there was another very distinguished artwork in that building by Alexander Calder called Mercury a kind of fountain of Mercury as it happens and so these two works were in Jose Luis search Spanish provision that was search having left Catalunya it's important here to bring in the issue of Catalunya because the Republican government of Spain the next isn't power in May was very much centered on Catalonia and Catalonia in any case that was still is in my opinion perhaps the most progressive region of Spain and this tension between Madrid in the very center of Spain and Barcelona on the coast the effective central city of Catalonia this tension is has has gone on since the last quarter of the 19th century when Catalan was prohibited by them by Madrid etc this struggle between Catalan Catalanian independence and Spain well it's still a topic right now and and the Spanish at war is very connected to all to this so the reaction I either right wing military action against the Republican government comes from the south that the and generalist of Franco is a leading military commander who goes to power through the civil war and the civil war lasts basically for almost three years it's finally concluded in April 1939 when Franco finally seizes Barcelona and and the Republican government is over and of course many Spanish refugees flee overnight out of Spain to Mexico and also into France very interesting story about all this is despite the fact the UK and the USA and France acknowledged the belligency as a Republican government they would not intervene in the Spanish civil war so this is you know no secretary number one with the result that after Franco's victory in April 39 in September 39 the beginning of the second world war so that you in a way the Spanish civil war is a prologue for the second level so in a way what I'm trying to convey is the importance of the expression of 1937 the very delicate moment of the war here you see is a postal by Jean Miro it's called Ede España you know it's I think it must be a pamphlet actually it has a price one Frank help Spain and yes well that's what didn't do not happen in fact of course 10,000 at least volunteers from the UK USA France and Italy came to Spain as an international brigade to fight on the Republican side and the governments wouldn't intervene but ordinary people the famous American Lincoln Brigade is from that moment I'm just showing here slightly gratuitous a but also quite beautiful a a mural by further legé also a figure of the left for one of the pavilions in the 937 Spanish sorry 937 Paris World exhibition okay going backwards again this is a fascinating pavilion built for the 1937 Paris exhibition it's for the French glass monopoly Sango bag you can see it on the top there and cut out letters and it's a the dates here you can see are let's play out these days 1865 I think it says to 1937 so this company was making glass for you know for well for a century and one of the specialities is moment of glass lenses you can see them in the bottom of the image here in other words glass concrete construction and you see it the entire pavilion is covered in this and and indeed large parts of the maze on the bear which I've already mentioned were covered in this now on this occasion look obviously designs and builds his beyond the top mover for the exhibition of 1937 I'm not sure who the horse is by incidentally I think it's the Spanish the Spanish country but I'm not sure and but what you see is of course a tent or rather inverted tent inspired by of course the tradition of circus tents and and held in place by lattice lattice lightweight lattice steel girders and by guy ropes that hold the lattice steel girders with the canvas roof and sides in position and so it's really an inverted temp and with an interior like this so that you would enter this space which will have this yellow canvas roof and at the rear this red canvas wall and you see you will enter past the model of an aircraft of french fighter aircraft on a kind of steel rod and you see beyond I think you can make out the word siam and it is in fact the siam charter that is presented as a kind of frozen book in in lieu of an altar in fact you could say and to the left there is this balcadino acoustic shell come balcadino that is a speaker's rostrum the floor is gravel you could hold lectures here of course and that was the whole idea and this acoustic reflector is behind the speaker you can see also a blackboard underneath is a acoustic reflector is entitled a new era exists an era of solidarity it also of course is referenced as a popular printer and this whole pavilion is about the popular print and the strange thing is and this is very typical of lucobice that his reputation as a radical figure meant he was never on the main site so this this purveyor de tableaux was on the outskirts of the of the city center was a kind of agricultural precinct all by itself you see this model here by the way made by columbian students extraordinary model which is now in the cca in Montreal made for me when as a kind of a model coming out of the core studies in tectonic culture and so you get the general idea there is this tent and inside the tent there is this promenade architectural that has this pole so you see blue here is the of the ground floor is top left the uh raised circulation on the right going up on the on the left coming down is a wall exhibition space within this volume the red is in fact the back wall there is a pivoting door here that leads you to the top right of this page and um and the sections and elevations of course are underneath and and so the itinerary of movement both entering and exit so it is a the term is lucobuses promenade artichoke realm which is also um an exhibition sequence a excuse me didactic exhibitions that come here oh my god all right i'm i in the book um genealogy of modern architecture i make the comparison between this finished pavilion by alba alto and i know alto to husband and wife architects helsey gate one in competition unique in as much as is built almost entirely of wood there is some steel frame construction but most of it is entirely wood the main finish export after all suomi is of course finished for finland and there is of course a spiral stair and steel etc etc but mostly it is in wood very unique top lid you can see at the top here one two three four five skylights and uh no why don't keep on getting there uh this is the interior on the the section bottom right you can see the skylights the interior is the itinerary around uh a little atrium you can see that it's all proto montage it's uh nationalistic uh representation represent representation of the um of the um finished timber industry pulp industry newspaper pulp uh and also furniture made by artek to alba alto's designs all of this stuff is uh is shown for the first time in this 937 pavilion and um yes you see the what's fascinating here is that um the top left you can see in red the steel frame structure which is partly suppressed um and you know the the as it were correct the steel frame structure cradles the main space which is uh showing primarily finished textiles and and uh in the rest of the site plan you can see the uh steps going up there is a piece of the one wing of the penalty shower and and then there is the extraordinary kind of experiments with um uh columns like this this uh bottom right here you know a cylindrical timber column is stiffened by timber blades or the detail above that shows the cladding of the main uh mass of the pavilion as opposed to look obvious uh um high tech uh cable suspension i mean i think this is the first fully cable wire cable construction in the world actually well there was a a russian wire cable construction soon after the 10th century by an engineer called tricot and uh but this is the next one and you can see that the what is shown in red in the left is is the skeleton structure of the of the exhibition structure inside and red are the guidelines and the main restraining girders and here you see what you've seen already uh you see also the color scheme of the outside of the vision so you're entering under a red portico uh into a white segment with left and right blue panels so in fact of course it's a french tricolor treatment and when you enter under the red again the socialist red you are confronted with the socialist red immediately impressive and uh okay so i don't think what you can see in this image is uh uh in particularly the top image top right you see uh the beginning of the slope and a new era exists the era of solid art okay and uh well i'm getting i'm getting out of hand here okay this is uh is also uh 1937 it's uh there was a famous communist leader in france called paul via couture couturier and this is lucario's uh monumental set piece to his memory and uh well it's it's not so easy to analyze what is this all about when you see what can see of course the scale of humans in relation to this monument we assume that this bar which is triangular and plan coming forward carried on a single column is inscribed uh with um you know with his life story and various dedications and so on and then about we have this woman who is uh really a kind of um it's really french it's the image of french nationalist it's the image of the french revolution effect and above this for the first time this open hand which we will also see in when look obviously it goes to um to india uh in uh after the declaration of independence uh by uh nehru in 1947 yawahal nehru uh the british leaf uh india is partitioned into pakistan and india pakistan primarily islamic and and india hindu and um and uh nehru commissionals first somebody um well somebody named elbert mayer and um and someone named new viki uh young polish architect named new viki and to be followed by elbert mayer who was a kind of professional uh a god an american garden city planner as a matter of fact and new viki the plan that new viki makes for shandiga because it's a commission to design the new capital of the punjab uh is a plan that to in many respects that lucario will follow and i will pick that up next week because um i will give this lecture with the title passage to india and um so april the eighth is um passage to india um april the 15th sacred and propane and april the 22nd uh bluecock museum alchemy last works so um these are the three exhibition three lectures with which this course will conclude um i would like all of you who have not yet submitted the paper either to myself or to uh oscar anelson uh to do so by this time next week that is to say by april the eighth at the very latest so we can react and um somehow get you going i would try to issue before that um also before april the eighth's before next week a whole range of possible topics that one could write about uh plus um a list of current topics that we have received and plus an outline of the future uh three lectures in fact so that will be coming shortly i hope i'll get it out tomorrow and um um yes i i would like to say something about turning points also in relation to uh the present because it's quite obvious with the conar cd 19 um this is also historical turning point and not entirely unrelated to the turning point that i've been directly and elliptically referring to in this um in this lecture and um i i have tried to show that in the early 30s the convent here in piaget ray were very much oriented towards uh uh an industrial architect for the fact with the meso montaisec with the meso clarté with um the curtain wall of the army to sell you which i will return to next week the salvation army building and um with his own apartment blocks in the ruin i'm going to say a colleague um so that's that's the first thing to be said the second thing to be said about this moment historically this moment being for argument's sake 1930 to 1939 is that uh look of his ears very involved politically in this moment and in fact joins forces with the uh two uh intellectual syndicalists um um and of course it's a whole discourse about what what kind of political positions did they occupy well they also in fact ultimately revolutions on the right and mary mcleod professor mcleod has wrote a whole thesis about this issue and um but in any case over the year in 1931 look of his a precip participated extensively with uh pili plamur and hubert lancadel who were editors of a magazine with the title plan and there uh i think there were 13 issues of plan that published in that year and and afterwards they shifted the ground to a second magazine with the title prelude to which look obviously also contributed and in fact most of the chapters of the radiant city navide radius uh published in 34 for the first time first appeared in the magazine plan and in the magazine prelude um exactly as he had uh had been his practice with regard to the magazine the spinoff ball as he said by himself and um between um 1920 and 1925 so there of course the the essays that are collected together to make the publications um there's an architecture of 1923 and urbanism of 1935 first appeared in the magazine in spinoff likewise the most material of labir radius first appears in the magazine plan and i think at least one essay from the magazine so that's about this sort of double aspect of the studio 35 uh s 30 35 ruda seven 35 rs generated look of is there and of course charlotte perio and uh this was extremely tartare period but also extremely turbulent from an economic and political point of view i mean says in motion by the worldwide stock market crash at 29 leaving ultimately to enormous inflation to the fact that um when leon bloom becomes the president of france in may 1936 at the head of the coalition known as popular front uh the the um french production had not yet recovered from the 29 crash and the fact is that uh the popular front is short lived in france because of this crisis of capitalism i mean the whole thing of course has been produced by crisis of capitalism so the popular front has a normal success when blum becomes president they organize a general strike and with this general strike achieve 40 hour work week two weeks holiday to pay um union rights etc etc uh the so-called maintain your agreement gives the workers all of this and and they they retain it really although the right of course i business power the owners of capital are very reluctant and we are we can see that we are in the same situation today exactly the same situation as in here we are 2020 and we're living through a situation which is almost parallel to the uh the crisis of 1936 and and and this extraordinary uh exhibition of 1937 so and if you want to read more about all of this uh you can find it in chapter 24 of mathematical critical history chapter in times of architecture and the state the ideology representation and uh and there i uh i i try to discuss in some detail the the architecture of the third rite the architecture of fascist italy under musselini who musselini hadn't gone to power early in 1922 before the crash in fact in italy there was martin rome of 1922 a decade later it Hitler goes to power 1903 and um so uh this chapter 24 should yeah i think worth reading i would try to somewhere other get it online so you because it is this transitional lecture as i've called it is about it's both about the past long since past but also about the present it's the two things of once so it's a transitional lecture in more ways than one and uh i'd like to remind you just of of some other things first of all the first world war which is you could say maybe the first capitalist competitive war uh 1914 to 1918 has has as its result the russian revolution in 1917 and um and of course the creation of the servitude and the great crash of 1959 the stock market crash of 1969 has has the result of the third rite coming to power than the the uh yes the overwhelming of the by my republic that it existed from 1918 to uh 1933 and uh six years later the first world the second world war breaks out so the second world war is really a continuation of the first and moreover the spanish civil war is a kind of peace in between you know the civil war of 36 to 39 um which i've already discussed so and it's interesting you know franco goes to power in 39 and he remains as the central powerful totalitarian figure in spain until 1975 until his death in 75 and um the new spain coming out of that had uh many of the kind of echoes of the initial uh divide was already present in the new spain under the king of spain okay so that's all for this week thank you for listening uh i will return next week with a lecture on the new habitat um okay thank you