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    Interviews Volume 2

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    Al Manakh 2. Gulf Continued

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    An invention of Allan Kaprow for the moment

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    Perpetual Inventory

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    Die Stadt ist unsere Fabrik. The City is Our Factory.

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    Film-Montagen DVD

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    A Companion to Marx's Capital

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    Dado: Gebaut und bewohnt von Rudolf Olgiati und Valerio…

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    A Brief History of Curating New Media Art

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    The Gentrification Reader

  • Julia Bryan-Wilson

    Art Workers. Radical Practice in the Vietnam War Era

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    Figures of Speech

  • Kirsi Peltomäki

    Situation Aesthetics. The Work of Michael Asher

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    Mort Aux Vaches Ekstra Extra

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    Recession Recessione - A Nonexistent Exhibition

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    You Are Not a Gadget. A Manifesto

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    Heavy Metal (News) Around the World

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    Cedric Price - Hans-Ulrich Obrist (The Conversation Series)

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    The Master II

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    Net Pioneers 1.0. Contextualizing Early Net-Based Art

  • D.N. Rodowick

    Afterimages of Gilles Deleuze's Film Philosophy

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    Rote Berta Geht Ohne Liebe Wandern

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    Span. Span the Boundary between Space and Graphics

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    On Kindness

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    Total Trattoria

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    The Wire. Urban Decay and American Television

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    Insurgencies. Constituent Power and the Modern State

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    Rock/Music Writings

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    -arium. Weather and Architecture

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    Never Use White Type on a Black Background

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    The Situationists and the City

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    Echo of Space / Space of Echo

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    Studies in Organic

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    85 Zeichnungen

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    Stagings. Kabul, Film & Production of Representation

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    The Tao of Wu

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    Supercritical. Peter Eisenman & Rem Koolhaas

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    Made by the Office for Metropolitan Architecture

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    Harun Farocki. Against What? Against Whom?

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    Modern Architecture and the Mediterranean

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    Lecture Performance

  • Steve Goodman

    Sonic Warfare. Sound, Affect, and the Ecology of Fear

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    Bernhard Willhelm & Jutta Kraus

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    Iaspis Forum on Design and Critical Practice

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    For the Love of Vinyl. The Album Art of Hipgnosis

  • Alex Ross

    The Rest is Noise. Das 20. Jahrhundert hören

  • Helene Sommer

    I was (t)here.

  • Eckhard Schulze-Fielitz

    Metasprache des Raums / Metalanguage of Space

  • Keiko Nomura

    Red Water

  • Kenya Hara

    Weiss

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    Graphic Europe. An Alternative Guide to 31 European Cities

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    Self-Fab House. 2nd Advanced Architecture Contest

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    Tacit Urbanism

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    First Works. Emerging Architectural Experimentation of the…

  • Franco "Bifo" Berardi

    The Soul At Work. From Alienation to Autonomy

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    New Topographics

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    Now is the Time. Art and Theory in the 21st Century

  • Dexter Sinister

    Portable Document Format

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    Urbane Visionen am Arabischen Golf. Die "Post-Oil-…

  • Jacques Rancière

    The Emancipated Spectator

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    Yes is More. An Archicomic on Architectural Evolution

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    Institutional Critique. An Anthology of Artists'…

  • Valerie Viscardi

    Louis Vuitton. Art, Fashion and Architecture

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    Zone des Übergangs. Vom Ende des Postkommunismus

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    Souto de Moura 2005-2009. Theatres of the World.

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    Architecture's Desire. Reading the Late Avant-Garde

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    The Fall of the Studio. Artists at Work

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    Class Works. Weitere Beiträge zu vermittelnder,…

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    Colour in Contemporary Architecture

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    Blue Peter. Sixth Book

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    Wahrheit der Demokratie

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    Everywhere and All at Once. Performa 07

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    Being an Artist in Post-Fordist Times. Arts in Society

The Le Corbusier Gymnasium in Baghdad

The story begins end 2004, along with the very first research engaged for a thesis –concerning the urban and architectural transformations of the XXth century Baghdad, after three successive stays in Baghdad since June 2003. In June 1955, commissions were passed to world-famous architects by Nuri Said’s government via the Development Board, a governmental body created in 1950 in charge of developing new infrastructures throughout the whole country. There was a huge University campus by Walter Gropius, an opera-house by Frank Lloyd Wright, a building for the Ministry of Planning by the Italian Gio Ponti, a Civic Center by the Dutch Marinus Dudok, a Museum by the Finnish Alvar Aalto, etc. The aim of such a series of grand constructions was to endow the Iraqi capital with a modernist development, an ambition amply justified at the time by the country’s petrol booming revenues1. As concerns Le Corbusier he was to build an Olympic city, including a 50000 people capacity stadium, a gymnasium with a stage holding 3500 spectators, a pool for 5000 spectators, but also a basin with a “wave mechanism”, an outdoors amphitheater, several training grounds, “nautical amusements”. If indeed, some of these schemes were implemented in the following ten years, others, for instance those of Wright or Aalto, never came to be. As for Le Corbusier’s commission, it was only implemented partially and much later, with finally only the gymnasium being built in the spring of 1980. Yet this construction’s destiny is singular.
http://ifpo.hypotheses.org/3560


Mina Marefat
The Le Corbusier Gymnasium in Baghdad
Editions du Patrimoine , 2014, 9782757703021
12,00 €