Bauhaus Fall 2024 PDF

laura S1: Why History? S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession S6: New Production, New Aesthetic: The Deutscher Werkbund S7: Modernism in Germany: From Paper Architecture to Exhibiti...

laura S1: Why History? S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession S6: New Production, New Aesthetic: The Deutscher Werkbund S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape S12: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions DISCUSSION ABOUT THE LECTURE at COAM S13: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas Walter Gropius, “Principles of Bauhaus Production” (1923) / Hannes Meyer, “Building” (1928) / Mies van der Rohe “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930) S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE Walter Gropius, “Principles of Bauhaus production [Dessau] (excerpt)” (1926); Hannes Meyer, “Building” (1928), in Ulrich Conrads (ed.), Programs and Manifestoes on 20th-century Architecture, pp. 95-97; 117-120; Mies van der Rohe, “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930), in Fritz Neumeyer, The Artless Word. Mies van der Rohe on the Building Art, The MIT Press, Cambridge, Massachusetts, 1991(1986), pp. 242-243. Antoine Jean Bail, Drawing classroom at the Ecole des Beaux-Arts (L'atelier de dessin), 1855 Ecole des Beaux-Arts, Paris, 1863-1874 The French-American vector Louis H. Sullivan (1856-1924). After studying at MIT he went to the École des Beaux-Arts, Paris (1874-76) Henry H. Richarson (1838-1886). First studied at Harvard College, and then went to study architecture at the École des Beaux-Arts, Paris. Arthur Brown, Jr. (1874–1957), Portrait of the Atelier Victor Laloux, First graduated from the University École des Beaux-Arts, Paris, 1901. of California, Berkeley in 1896, and More than 10 American students. later graduated from École des Laloux is the large man with beard, Beaux-Arts, Paris. top hat, and umbrela in the front row. Arthur Brown, Jr., (designer of many of the landmarks of San Francisco) second row, eleventh from the left. Arthur Brown, Jr., section drawing for a Palais d’Enfance (Palace of Childhood), 1902, submitted to the Concours Labarre, an annual sketch problem given at the École des Beaux-Arts, Paris.  Paul-Philippe Cret (1876-1945), who had been a student in Jean- Louis Pascal’s atelier at the Beaux- Arts, became a profesor at the University of Pennsylvania in 1903. He was the first Beaux-Arts alumnus of the first rank to teach in America. Louis I. Kahn (1901-1974) would teach here from 1957 until his death. Drafting studio, top floor of College Hall, University of Pennsylvannia, 1914 A typical Project developed at the time Winning Paris Prize competition project by Harry Sternfeld, 1914, for a city hall “forming the head of the municipal group of a great inland city.” at the University of Pennsylvannia. Sternfeld was a student of Paul-Philippe Cret at the University of Pennsylvania.  Robinson Hall, Harvard University, ca. 1903 Students copying Robinson Hall, drawings at the library of Harvard University, Robinson Hall, Harvard Plaster cast Halls, University, ca. 1925 ca. 1925 (Princeton: Princeton University Press, 2017) https://press.princeton.edu/books/hardcover/9780691177144/plaster-monuments?srsltid=AfmBOoqTiLTqKx- GZhWImkN4HkKbEYZl27sxSUUURc4vq3bAMrNlU6YV After WWI, the Beaux-Arts school in Paris retained its worldwide reputation; and it continued to attrack Latin Americans. Carlos Raúl Villanueva studied at the École Nationale Supérieure des Beaux-Arts from 1922 to 1929. Carlos Raúl Villanueva (1900-1975), Auditorium, Central University of Venezuela, 1952-1953  The Rome Prize was the highest award a student could get upon graduation. The classic architectural languages were well installed in the training of architects that a few years later would design fully modern works of architecture. Gran Prix de Rome project, École des Beaux-Arts, Bernard Zehrfuss (1911-1996), 1939 Marcel Breuer, Pier Luigi Nervi, Bernard Zehruff, Joan Miró, UNESCO Building, 1952-1956 *The “architecture of bureaucracy” (anticipation of AHT4) In Paris, all the alternatives to the oficial mode of architectural training failed. This is why the École des Beaux-Arts survived for so long August Perret’s atelier at the Palais du Bois (affliliated with the École des Beaux-Arts) was not successful. André Lurcat’s founded autonomous atelier that did not succeed. Robert Mallet-Steven’s École Spécial d’Architecture opened in 1925 and closed in a few months. André Lurçat (1894-1970), [block-shaped building (École Karl Marx), Av- Karl Marx, Villejuif, France], 1930s Le Corbusier, Robert Mallet-Stevens, and August Perret at the École Spéciale d’Architecture, Paris, France, c. 1939 The vector reversal: from France to the US Traditionally, American architects went to study to France. But a reversal took place when the “Delano Fellowship” was established. The Delano and Aldrich/Emerson Fellowship, AIA, since 1930. Award for a French architect to study in the US. Robert Camelot, Bernard Zehrfuss, La Defénse, roof structure, 1958 https://www.aia.org/pages/18491-the-delano-and-aldrichemerson-fellowship 2023 Martin Paquot 2022 Annouk Soula 2020 Anna-Laura Bourguignon 2019 Justine Lajus-Pueyo It inaugurated the “modern grand tour” in which Chicago and New. York replaced Athens and Rome. 1934 Raymond Lopez 1933 Henri Walbert 1932 Robert Camelot 1931 Jean Meunier 1930 Pierre Mathé But not only traveling! French student Jean Labaut was hired to teach at Princeton University as soon as 1928 (he had graduated in 1927) and he would remain there until the 1960s. Labatut with students of Princeton University’s School of Architecture in his wartime class on camouflage Jean Labatut (1899-1986) working on his drawings for the Grand Prix de Rome in his rooms in Paris, 1924 But what happened in the professional world? Adolf Loos (1870-1933) Bruno Taut (1880-1938) Walter Gropius (1883-1969)/ Adolf Meyer (1881-1929) Ludwig Hilberseimer (1885-1967) The 1922 Chicago Tribune competition (with 204 entries!) brought new design concepts to the attention of academic institutions  Raymond M. Hood had studied in Brown University MIT École des Beaux Arts, Paris Raymond M. Hood (1881-1934), Winning design for the Chicago Tribune Tower Competition, 1922 The entry of Eliel Saarinen caused consternation. Despite the support of Louis Sullivan, it was placed 2nd. Eliel Saarinen, Helsinki Central Railway Station, 1904-1916 Eliel Saarinen (1873-1950), Second prize winner, Chicago Tribune Tower Competition 1922  But then, he was hired to teach at the University of Michigan School of Architecture, Ann Arbor. And became its director in 1932. Eliel Saarinen, Cranbrook Academy of Art, model constructed by Eero and Loja Saarinen, 1925 Eliel Saarinen, Cranbrook Academy. Bloomfield Hills, Michigan, 1940 An overview to see how different academic institutions moved forward towards modernism both in Europe and America, often requiring architects to move back-and-forth overseas. Bauhaus (1919-1933) a melting pot of new ideas Bauhaus students partying in Weimar, c. 1922 Oskar Schlemmer, Bauhaus Stairway, 1932  Bauhaus, Germany (1919-1933) Kandinsky at the Bauhaus, 1930s. Stiftung Bauhaus Dessau  Bauhaus Berlin + New Bauhaus + (Ins tit ute of Design) ++ Illinois Ins tit ute of + Bauhaus 193 8-194 9 Technology Bauhaus Dessau Weimar Golfo de Bizkaia + + GSD Ha rva rd University + Barcelona + Madrid + Blac k Mounta in College Bauhaus Networks Exhibiton, “Bauhaus: 1919-1928” (December 7, 1938 – January 30, 1939), with works of the New Bauhaus, Chicago. Museum of Modern Art (MoMA), New York. Photo: Soichi Sunami. 1919 - 1925 1925 - 1932 1932 - 1933  191 9 - 192 8 1919 - 1925 192 8 - 193 0 1925 - 1932 1932 - 1933 193 0 - 193 3  Academy of Arts (Hochschule für bildende Kunst), founded in 1860 Designed by Henry van de Velde in 1904, directed Fritz Mackensen. Headquarters of the Bauhaus from 1919 to 1925. School of Arts and Crafts founded and directed by Henry van de Velde in 1907 German armor soldiers weaving a protective trench Walter Gropius already had a proposal to direct the Bauhaus in 1915 Walter Gropius as a cavalry officer during WWI. Henry van de Velde, c. 1919 The Bauhaus was born as as fusion The artist. Caricature of Paul Klee (melting pot) of the Academy of Arts created by Ernst Kállai, 1928-29 and the School of Arts and Crafts And the workshops kept this identity. Glass Workshop, Bauhaus Weimar, 1923 The artisan. Caricature of Josef Albers created by Marcel Beuer, 1921-22 Josef Albers, Glass Window for the house Dr. Otte, Berlín, 1922 (destroyed) Josef Albers, Grid mounted, 1921-1922 Lyonel Feininger, High House IV Walter Gropius (text), Lyonel Feininger (Woodcut): Manifesto and Original Program of the Bauhaus, 1919 The goal of the school: “To bring together all the creative efforts into one whole, to reunify all the disciplines of practical art –sculpture, painting, handicrafts, and the crafts – which were inseparable components of a new architecture.” “The ultimate (if distant) aim of the Bauhaus is the unified work of art –the great building in which there is no distinction between monumental and decorative art.” The Bauhaus was a public institution. Therefore it always needed the political support to finance the workshops. Henry van de Velde in his office of the School of Arts and Crafts, Weimar Theodor Fischer, Gartenstadt Alte Heide, Múnich, 1918-1928 The questions that were relevant then, are still relevant today; “What is more urgent, to invest in cultural, humanistic innovation or to invest in social housing? Wall painting workshop, Bauhaus Weimar, ca. 1923 Ernst Kállai, The Artist, caricature of Vassily Kandinsky, ca. 1929 Alma Buscher, student 1922-1927 Wood workshop, Bauhaus Weimar, ca. 1923 Oskar Schlemmer, master of form, drawn by Ernst Kállai Sculpture Workshop Bauhaus Weimar, ca. 1923 Ceramic Workshop, Gerhard Marcks Bauhaus Weimar, ca. 1923 Textiles Workshop, Bauhaus Weimar, Women at the Bauhaus behind the loom, c. 1928 photographed by George Muche, ca. 1923 Only workshop led by a woman, Gunta Stölzl (1897–1983) Office of Walter Gropius in the interior of the original building, Bauhaus, Weimar, ca.1923  Due to the need to gain external credibility, they always organized many exhibitions Exhibition Catalog, “Staatliches Bauhaus in Weimar, 1919-1923” It was entitled Kunst und Technik – eine neue Einheit Diagram with curriculum (Art and Technology: A New Unity), showing the products (outcome of the workshops) made clear the school’s new orientation toward industrial production. The projects (as opposed to the products) were gathered under the title “Internationale Architektur” Walter Gropius, Internationale Architektur, Bauhaus Bücher, 1925 Exposition Staatliches Bauhaus Weimar, 1919-1923 Kitchen designed by Benita Otte and Ernst Gebhardt; Kitchen pots byTheodor Bogler. Bedroom and boudoir for the wife, designed by Marcel Breuer Haus am Horn, by George Muche, constructed for the exhibition Staatliches Bauhaus Weimar, 1919-1923 Design of the children’s room, by Alma Buscher and Vasily Kandinsky Diagram with curriculum Portrait of Johannes Itten (1888-1967) Vorkurs (preliminary course): Johannes Itten, 1919-1923 7 colors chart Composition Study from Johannes Itten's Preliminary Course, author: Margit Téry-Adler, around 1920. Portrait of László Moholy-Nagy photo: Lucia Moholy, 1926. Photograph of a Study in Balance, from László Moholy-Nagy's Preliminary Course, author: Johannes Zabel Vorkurs (preliminary course): László Moholy-Nagy, 1923-1928 Tactile Board, from László Moholy-Nagy's Preliminary Course, author: Otti Berger, 1928.  Edmund Collein Glass construction project 1927-1928 A Vorkurs class by Josef Albers “The school aimed at the development of a new, contemporary visual idiom…and this –over time– led from an emphasis on personal expression… to a more rational, economic, and Vorkurs (preliminary course): structural use of material itself…in pictorial terms, from collage to montage.” Josef Albers, 1928-1933 Masters of the Bauhaus in the roof of the new building in Dessau, during the opening, December 5, 1926 From left to right Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Gropius, Marcel Breuer, Vasili Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer. Bauhaus. Zeitschrift für Gestaltung [design journal], year 2, double number, 1928. View of the school of Bauhaus-Dessau from the northeast, Walter Gropius, 1926 Masters' Houses, semi-detached house Kandinsky-Klee from north-west. Workshops interiors Bauhaus GmbH, constituted in 1925 to commercialize certain products  Marcel Breuer sited at the B33 chair, 1926 The first contradiction under the idea of authorship emerged here Marcel Breuer’s furtniture in Josef and Anni Albers Master House in Dessau  With this first commission, architectural questions were addressed at urban scale Dessau-Torten Housing Estate with the Cooperative Building, 1927-1928 But architecture as a subject was not implemented until 1927, with the arrival of Hannes Meyer Hannes Meyer/ Hans Wittwer, Finalist competion entry for the League of Nations, Geneve, 1927 Hannes Meyer’s motto was to “put the needs of the people before any elitist luxury.” Hannes Meyer/ Hans Wittwer Petersschule, Basel, 1926. Project montage: The Swiss journal ABC (1924-1928) represents the extreme axonometric with “materialist” wing of the New Objectivity movement within the section, plan, and German speaking world. elevation Marianne Brandt and Hin Bredendieck on their drawing boards, Bauhaus Dessau Pedagogical plan for the Bauhaus Dessau, 1927. The plan demonstrates the new pedagogical structures, specially the division, after the 3rd semester, between design studio and interior design.  Meyer also developed a very ambitious program of exhibitions Exhibition Bauhaus Dessau, installed at the Gewerbemuseum List of exhibitions Basilea, 1929. January 1929 Hannes Meyer and Hans Wittwer, April 2023 School ADGB, Bernau, 1928-30 Scientific diagrams. Technical data weights more than artistic effects.  Anni Albers, Reversible material of absorbing white velvet and reflective silk thread, developed for the building of the ADGB, as an End of Degree Project. Developed by Zeiss Ikon, Berlin, 1929-30 However, Meyer’s actions and his pedagogical approach were seeing as being aligned with the radical left. (Once they found a replacement) to save the project of the Bauhaus the asked him to resign. Mies represented the opposed pole. He was very oriented to achieve a particular aesthetics, and as he said, “to translate the willness of the epoch into space.” Ludwig Mies van der Rohe Barcelona Pavilion, 1929 and Villa Tugendhat,1930 Mies with Ozenfant at the Bauhaus Dessau, 1931. Photograph by Josef Albers Mies had also experienced a transition in his architectural thinking. Reply of the survey of the newspaper Duisburger General Anzeiger, “¡Build beautifully and practically! ¡Stop this Cold Funcionality! January 26, 1930 Pizzigoni, Vittorio and M. Sabatino, eds., Mies in His Own Words. Complete Writings, Speeches and Interviews (Berlin: DOM Publishers, 2024) https://dom-publishers.com/products/mies-in-his-own-words LISTEN to what Mies had to say about architecture as a language: It is a 30- second excerpt of an interview in 1955.* *Source: John Peter, ‘Conversation with Mies’, in J. Peter, The Oral History of Modern Architecture: Interviews with the Greatest Architects of the Twentieth Century, (New York: Harry N. Abrams, 1994). https://cdn.shopify.com/s/files/1/1416/5196/files/Mies_-_prose_poet_audio_1964.m4a?v=1730980352  Changes in the workshops Costume dance with roles of paper Hubert Hoffman Herbert Bayer Jetzt. Einst. Bauhaus Tapeten (Now. Then. Bauhaus Wallpaper). 1929-30 Poster for the Bauhaus “standard-tapete” (Standard wallpaper) Cut-and-pasted paper with gouache and ink on paper fabricated by Gebr. Rasch & Co., Bramsche. c1927 Lilly Reich teaching at the Bauhaus, c. 1932 Edward Ludwig Group of houses Wilhem Hess Interior of apartment Pius Pahl: Villa at Lake Garda, 1932/33 floor plan und view  Moving of the Bauhaus to Berlin, October, 1932 Iwao Yamasaki, Attack on the Bauhaus, 1932 Ludwig Mies van der Rohe with students at the Bauhaus, Berlin, c. 1932 Final closing of the Bauhaus in Berlin Meeting after the search of the Gestapo with Lilly Reich and Ludwig Hilberseimer, April 12, 1933 Bauhaus Diaspora (1933, - ) “The End of the Bauhaus”, 1952. Mies van der Rohe Papers, Library of Congress, Washington DC  Bauhaus Berlin + New Bauhaus + (Ins tit ute of Design) + + Illinois Ins tit ute of Technology Bauhaus 193 8-194 9 193 8-195 8 Dessau + Bauhaus Weimar + GSD Ha rva rd University 193 7-195 2 + Blac k Mounta in College 193 3-195 0 Letter from Philip Johnson to Josef Albers, August 17,1933. Marshall, Exercise of line spacing. Black Mountain Collece, n.d. Josef Albers imported the Vorkurs. Unique goal: “to open eyes”  Josef Albers tested the ability of materials to shape constructions, by folding, cutting, twisting… Josef Albers teaching his course of Werklehere Studies of color (four colors that seem three) Color paper on top of carboard Black Mountain College Color study, vibrant boundaries Color paper on top of carboard Black Mountain College  Lore Kadden Lindenfeld, notes showing a compartive of proportional divisions. Basid Design course, Black Mountain College Josef Albers teaching a color course Josef Albers teaching proportions. Black Mountain College, summer 1948 Foundation of this book Interaction of Color  Diagram from Walter Gropius showing the training and education of architects that will produce architects of ”acredited importance” Gropius giving a desk-crit to his students at the GSD Group project developed at the GSD, civic center in Cambridge, 1950 Walter Gropius in a design pin up at Harvard University, ca. 1939 Gropius offering a desk-crit to the studets of the GSD  Foundations of design at the GSD, two dimensional projects, 1951 Experiment “From plan to structure” developed by Richard E. Filipowski with a design proposal for the course Design Fundamentals, Harvard GSD, 1950-51 Installation of the foundational course of the New Bauhaus School of Design, with students work in Wood and paper, Chicago, 1938  Curriculum of the Bauhaus, ca. 1919 Diagram of the study program wtih six academic courses published in the catalog of the academic course 1937-1938 New Bauhaus School of Design. Moholy-Nagy Analyzing a Hand Sculpture, 1942 Textures card by Richard Filipovsky and Patricia Parker (1944). Published in László Moholy-Nagy, Vision in Motion, (Chicago: P. Theobald, 1944), p. 69. New Bauhaus Chicago, c. 1938 Program for the educaton of architecture, Armour Institute of Technology, 1938 Mies van der Rohe offering a desk-crit of projects to his four year students George Danforth y A. J. Speyer, Chicago, Armour Institute of Technology, 1939. Donald Wrobleski. Brick supporting walls with concrete roof. Project developed at IIT, Chicago 1951-1952. Drawing developed by Howard Dearstyne in one of the houses developed at the Bauhaus in Berlín, under the directoion of Mies van der Rohe, 1932. Alfred Calwell teaching a class at the S. R. Crown Hall, ca, 1956. Current relevance of the Bauhaus? Bauhaus Museum Weimar – Klassik Stiftung, Bauhaus Museum Dessau – Stiftung Bauhaus Dessau Bauhaus-Archiv extension, Berlin Prof. Heike Hanada, laboratory for art and architecture, Berlin, 2019 Addenda Architects, Barcelona, 2019 Stav Architekten, ongoing “Forgotten Bauhaus Women,” exhibition, Bauhaus Museum-Klassik Stiftung Weimar (October 1, 2021 – January 3, 2022)