At the end of the 19th century, industrialization, mass production, new materials and housing shortages converged to foster new building systems and types. Light timber housing in the form of balloon frames, steel skeletons covered in glass for tall buildings and intrinsically fireproofed reinforced concrete gave us the collective urban housing block. All three types, framed by construction methods, were also inflected by the broader reforms that were arising in society. New city patterns were shaped by these methods, suburbs sprouted with small houses in balloon and later in platform framing, and perhaps no urban environments were reshaped more than those spawned by the reinforced concrete block or slab building. These included some «mega» examples inspired by perceived assembly-line rationalizations applied to housing. Three examples, in Italy, Germany and France demonstrated the way these new buildings would be developed as autonomous urbanities.
Wartime propaganda led to Clemens Klotz's Colossus of Prora (1936-39) in Germany, (original design of 4,5 km in Rügen near Binz) planned as a leisure seaside retreat to keep the population loyal to the fascist regime through the concept of Strength Through Joy. France's Les Courtillières Serpentine building (1 060 m, in Pantin near Paris) designed by Émile Aillaud broke ground in the 1950s (1957-67) as part of the country's large-scale postwar building program and positioned flats in a curvilinear pattern that could conceivably go on endlessly. Not to be outdone, Italy's 1-km-long example in Rome (Corviale or Nuovo Corviale, 1975-82) designed by Mario Fiorentino was likely inspired by LeCorbusier's Slab buildings. All three express 20th-century modernism relating affordability with densely packed urban slabs, and quality of life with placing these buildings in large public gardens or scenic landscapes. Further their multifunctional infrastructures would generate economies and maximize social interactions between inhabitants.
While certainly an expression of optimized, serially designed dwelling systems, these megastructures came to connote a sameness and alienation. Located far from urban centres with inadequate services made most of these modern structures an argument against this type of dense urban living which and the underlying principles of modernism. Notwithstanding its negative aura, the long building remains one of the most iconic and optimistic representations of allying urbanism, construction systems, and assembly line principles in the pursuit of affordable housing.









