The Search for Modern Form 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: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE S1: Why History? Beatriz Colomina, “Outrage: Blindness to Women turns out to be blindness to architecture itself” (2018) | León Siminiani,“Arquitectura emocional 1959” (30 min., 2022) S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers Laura Martínez de Guereñu, “Plastic Fantastic: El B Auditorium” (2011) | READING RESPONSE 1 + prep VISUAL ANALYSIS PAPER S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession VAP PROPOSAL DUE Adolf Loos,“Architecture” (1910) | READING RESPONSE 2 S6: New Production, New Aesthetic: The Deutscher Werkbund Herman Muthesius/ Henry van de Velde, “Aims of the Werkbund” (1911)/ “Werkbund These and Antitheses” (1914) S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions. Magdalena Droste, “The Creative Pair: Lilly Reich and the Collaboration with Ludwig Mies van der Rohe” (2017) S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia Alice T. Friedman with Maristela Casciato, “Family Matters: The Schröder House, by Gerrit Rietveld and Truus Schröder” (1997) | READING RESPONSE 3 VAP OUTLINE DUE S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape Jean-Louis Cohen, “Pessac | Moscow | Poissy | Roquebrune-Cap Martin” (2013) | READING RESPONSE 4 + prep VISUAL ANALYSIS PAPER S12: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas W. Gropius, “Principles of Bauhaus Production” (1923) / H. Meyer, “Building” (1928) / Mies “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930) S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE Adolf Loos,“Architecture” (1910), in The Architecture of Adolf Loos: An Arts Council Exhibition, London, 1985, pp. 104-109.  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: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE Félix Edouard Vallotton, Art Nouveau-Permanent Exhibition, 1896 Gustav Klimt, Ver Sacrum: First Vienna Secession Exhibition, 1898  Ferdinand-Charles-Louis Dutert, Victor Contamin, Exposition universelle internationale de 1889 (World's Fair of 1889), Galerie des Machines (Machinery Gallery) [exhibition building] interior, general view Gustave Eiffel, Louis Auguste Boileau, Le Bon Marché, 1876. HOW TO PRESERVE THE HISTORICAL VALUES OF ART (& CRAFTS) UNDER CONDITIONS OF INDUSTRIAL CAPITALISM?? Louis Bonnier, Entrance to Siegfried Bing's gallery “L'Art Nouveau,” Rue de Provence, Paris, 1895  UNDERLYING FORMAL PRINCIPLES Eugène Rousseau, Jardinière, 1887 FLOWING PLANT-LIKE FORM “FUNCTIONAL” DEPENDENCY OF ORNAMENT Henry van de Velde, Havana Tabak Company (Havana Cigar Shop), interior, Sales Room, general view, c.1899  DIALOGUE BETWEEN 2 POSITIVE VALUES. ORNAMENT. EMPTY SPACE THE DISCOVERY OF “SPATIAL SILENCE” DESIGN OF (MULTISCALAR) WHOLE INTERIORS Eugène Gaillard, Dining room, L’Art Nouveau Bing Pavilion, Exhibited at the Universal Exposition of 1900, Paris Henry Van de Velde (1863-1957), photographed by Nicola Perscheid, 1904 Henry van de Velde, Formules de la Beauté Architectonique Moderne (Principles of Modern Architectonic Beauty), 1917 “Ornament completes form, of which it is the extension, and we recognize the meaning and justification of ornament in its function. This function consists in ‘structuring’ the form and not in adorning it…” Henry van de Velde, Chair with original batik fabrik, 1898 Henry van de Velde, House in Uccle, Belgium, 1895  Cover for a Book edited at the Bauhaus in Weimar concerning the work done during 1919-23 at the Institute, by Herbert Bayer. Henry van de Velde, Grand-Ducal School of Arts and Crafts (Staatliches Bauhaus Weimar) (Weimar State Bauhaus), view before the Bauhaus, 1906  Academy of Fine Arts (Hochschule für bildende Kunst) founded in 1860. Designed in 1904 by Henry van de Velde, directed by Fritz Mackensen. Bauhaus headquarters from 1919 a 1925 School of Arts and Crafts, constructed in 1907 Henry van de Velde, Déblaiement d’Art (The Purification of Art), 1895. *Lectures delivered in the salon of the group of painters Les XX. THE ARTWORK HAS TO EXPRESS THE JOY (OF THE LABOR BEHIND) Henry van de Velde's workshop in Brussels, with furniture makers, 1897.  ETHICALLY “TRUE” ARCHITECTURE LOOKED AT “PLANT LIFE” Víctor Horta (1861-1947), Hotel Tassel, 1893-95, ground floor and first floor plan Victor Horta, Hotel Solvay, 1894-1898 “A dwelling like any other…but with an interior characterized by an exposed metal structure and a series of glass screens giving an extended perspective…for evening receptions.” Victor Horta, Hotel Van Eetvelde, 1895-1897  His vision was here legible to the working class It was a proletarian alternative to bourgeois gathering places Victor Horta, Maison du Peuple, auditorium, 1895-99  BACKGROUND/ ORIGIN >> GREAT BRITAIN Joseph Paxton (1803 - 1865), Crystal Palace (Great Exhibition Hall) photograph showing Digby Wyatt and Owen Jones during reconstruction of the Crystal Palace at Sydenham, 1853-1854 Great Exhibition of Industry of all Nations, 1851. View of the Interior, from Recollections of the Great Exhibition It confirmed the low quality of decorative products  > Reactions to this low quality Pl. VIII: Egyptian No. 5: designs based on lotus blossom and leaf motifs Victoria and Albert Museum, Owen Jones (1809-1894), The Grammar of founded in 1852 Ornament, 1856 Pl. XCVIII, Leaves and Flowers from Nature, No. 8  Morris, Marshall and Faulkner, Kelmscott House interior, Dining Room, tapestry, 1880s IN ENGLAND, THE REFORM OF THE ARTS BECAME A PRIVATE AFFAIR RE-LEARN THE VARIOUS CRAFTS UNDER CONDITIONS AS NEAR AS POSSIBLE TO THE MEDIEVAL William Morris (1834-1896) GUILDS, TO AVOID ALIENATION Green Dinning Room, originally in the Palace of Saint James, 1866. III CONFERENCIA JU AN DE VILLANU EVA Ma r ía Te r e s a Mu ñ o z Jim é n e z «Willia m Mo r r is y la u t o p ía p a s t o r a l» La Asociación de historiadores de la Arquitectura y el Urbanismo (AhAU) tiene el placer de invitarle a la III Conferencia Juan de Villanueva, a cargo de la profesora María Teresa Muñoz Jiménez el próximo jueves 3 de octubre a las 19:00h en el auditorio del Museo Nacional del Prado * Arquitecta por la Escuela Técnica Superior de Arquitectura de Madrid (1972), Master of Architecture (M. Arch.) por la Universidad de Toronto, Canadá (1974) y doctora arquitecta por la Escuela Técnica Superior de Arquitectura de Madrid (1982), María Teresa Muñoz Jiménez ha sido profesora titular de Proyectos arquitectónicos en la Escuela Técnica Superior de Arquitectura de Madrid hasta 2017 y directora del Departamento de Proyectos Arquitectónicos. Actualmente es profesora emérita de la ETSAM-UPM. Ha escrito numerosos artículos de teoría y crítica de arquitectura y arte en revistas especializadas, entre ellas Arquitecturas Bis, Arquitectura, Periferia, Metalocus, Circo, Iluminaciones, Varia y Arquitectura Viva. Entre sus publicaciones, destacan El laberinto expresionista (Molly, 1991), Jaulas y trampas. Escritos sobre arquitectura y arte 2000-2012 (Lampreave, 2013) y Escritos sobre la invisibilidad. Arquitectura y ocultación (Abada, 2018). Es coautora, con Juan Daniel Fullaondo, de los libros Historia de la Arquitectura Contemporánea Española. Tomos I, II y III (Kain, 1994 – Munillalería, 1995 – Molly, 1997), Laocoonte crepuscular. Conversaciones sobre Eduardo Chillida y Zevi (Kain, 1992). En el año 2008 obtuvo el premio FAD de pensamiento y crítica por el libro Juan Daniel Fullaondo. Escritos críticos (COAVN y Mairea, 2007), cuya segunda edición vio la luz en Ediciones Asimétricas en 2023. * Este acto dará inicio tras la presentación de la publicación de la I Conferencia Juan de Villanueva a cargo del profesor Rafael Moneo, «La Laurenziana frente a Ronchamp. Ser a un tiempo escultor y arquitecto» (AhAU, Museo Nacional del Prado, 2024)  John Ruskin, Abstract Lines, plate from The Stones of Venice, vol 1. 1851. John Ruskin (1819-1900), The Seven Lamps of Architecture, 1849 ABSTRACT LINES, DERIVED SACRIFICE FROM NATURE, WERE THE TRUTH FIRST CONSTITUENTS OF POWER ORNAMENT. BEAUTY LIFE MEMORY OBEDIENCE John Ruskin, Saint Marks in Rain, Watercolor, 1849  BACKGROUND/ ORIGIN >> FRANCE IN ENGLAND, THE REFORM OF THE ARTS BECAME A QUESTION OF THE STATE Comité central del Beaux-Arts Appliqués à l’industrie, founded in 1852. The abolition of the guilds (during the french revolution) had not distroyed artisanal traditions Eugène Emmanuel Viollet-le-Duc (1814-1879), Vaulting of Large Spaces, from Entretiens sur Entretiens sur l’Architecture l’architecture expressing Gothic principles (Lectures on Architecture), 1863 STRUCTURAL RATIONALISM IRON BECAME ASSOCIATED WITH THE REFORM OF THE DECORATIVE ARTS The main precepts Viollet-Le-Duc bequeathed to the Art Nouveau movement were: 1. The exposure of the armature of a building, with a visually logical system. 2. The spatial organization of its parts according to function (rather than rules of symmetry or proportion) 3. The importance of materials (and their properties) as generators of forms. 4. The concept of organic form (deriving from the Romantic movement) 5. The study of vernacular domestic architecture. Eugène Emmanuel Viollet-le-Duc, Dictionnaire Raisonné de l’Architecture Française (Dictionary of French Architecture), 1875  HOW DID ART NOUVEAU SPREAD IN PARIS? 3 rooms of Siegfried Bing's gallery “L'Art Nouveau,” Rue de Provence, Paris, 1895, designed by Henry van de Velde Hector Guimard (1867-1942), Maison Coilliot in Lille, 1897, based on an illustration of Entretiéns d’Architecture Hector Guimard, Humbert de Romans Concert Hall in Paris, 1888-1901 Tuileries Station plan showing roof and stairs Hector Guimard, Metro entrances, Paris, 1900-1905 THE NETHERLANDS J.H.Cuypers (1827-1921) Central Station of Amsterdam, 1889 Lobby interior Rikjmuseum, 1885 H. P. Berlage (1856-1934), Brick bearing masonry with iron trusses for Amsterdam Stock Exchange glazed roof (Commodities Exchange) interior, Produce Exchange, general view looking south, 1897-1909 BARCELONA Ildefonso Cerdá (1815-1876), Barcelona, Plan Cerdà, 1859 MODERNISMO WAS AN URBAN SYMBOL OF NATIONAL PROGRESS VERY CATHOLIC NATIONALIST Antoni Gaudí i Cornet (1852-1926), Sagrada Familia, Barcelona, 1882-ongoing  2 PREMISES OF GAUDÍ:. THE STUDY OF ARCHITECTURE MUST START FROM THE MECHANICAL CONDITIONS OF A BUILDING. THE IMAGINATION OF THE ARCHITECT SHOULD BE FREE OF ALL STYLISTIC CONVENTIONS Antoni Gaudí, Park Güell, 1900-14 Oblique arched Longitudinal colonnade section through which supportshall the hypostyle plaza, 1914 Antoni Gaudí, Casa Batllo, 1904-06 Antoni Gaudí, Casa Milá (La Pedrera), 1906-12 Josep Puig i Cadafalch (1867-1956), Casa Amatller, Passeig de Gracia 41, 1898  Aeria view Barcelona 1929 Josep Puig i Cadafalch, original plan of the International Exposition, to be celebrated on 1917 Luis Doménech i Montaner (1850-1923), Hospital of Sant Pau, Barcelona, 1901-1903  VIENNA Plan for the Ringstrasse [circular Vienna, Ringstrasse boulevard], Vienna, 1860, by aerial view with Burgtheater (center right] and Parlament (bottom left], late 20th c. Ludwig Föster, Eduard von der Nüll and August von Siccardsburg Before construction of the Ringstrasse, 1853 2 DIFFERENT STRAINS OF ARCHITECTS IN THE CONTEXT OF THE AUSTRO-HUNGARIAN EMPIRE. FAVORING THE ETHIC MINORITIES. SUPPORTING THE DEVELOPMENT OF THE METROPOLIS Camilo Sitte, Der Städtebau nach seinen Künstlerischen Grundstätzen (City Building According to its Artistic Principles) (1889). THE DECORATIVE ARTS WERE AT THE BASIS OF ALL ARTISTIC EXPRESSION HIS IDEAS WERE CLOSE TO RUSKIN AND MORRIS Alois Riegl (1858-1905), Stilfragen. Grundlegungen zu einer Geschichte der Ornamentik (Problems of Style: Foundations for a History of Ornament), 1893. LIBERAL RATIONALIST SPIRIT SUPPORTING THE DEVELOPMENT OF THE METROPOLIS Otto Wagner (1841-1908), Moderne Architektur: Seinen Schülern ein Führer auf diesem Kunstgebiete (Modern Architecture: A Guidebook for His Students to This Field of Art), Vienna, 1896.  Detail Karlsplatz [station] Otto Wagner, with the collaboration Joseph Maria Joseph Maria Olbrich (1867-1908) of the Stadtbahn (Metropolitan Railway), 1898-1899. Exterior perspective drawing Otto Wagner, with collaboration by Olbrich, Majolica House (Majolikahaus), elevation, 1898 Otto Wagner, Postsparkassenamt (Post Office Savings Bank), 1904-1912 interior, main hall Perspective drawing of front facade from Ringstrasse  Motto of Vienna Sezession: "Der Zeit ihre Kunst. Der Kunst ihre Freiheit" ("To every age its art. To every art its freedom”) Gustav Klimt Frieze, The Hostile Powers, 1902 Joseph Maria Olbrich (1867-1908), Haus der Secession (Secession Building), 1898  WIENER WERKSTÄTTE Flatware, 1905, Wiener Werkstätte Josef Hoffmann and Kolo Moser, Wiener Werkstätte Casa Piccola, Floge Fashion House, Vienna, 1904 Mariahilferstrasse 1b, Interior refurbishing  Dinning room Josef Hoffmann (1870-1956), Palais Stoclet, Brussels, 1905-1911 Interior, great hall, general view of double-height hall and columns Gustav Klimt, interior, dining room: detail, embracing couple Design for the kitchen Adolf Loos (1870-1933), Café Museum Nihilismus, 1899 on the corner of Operngasse and Friedrichstrasse Adolf Loos, Kärtner Bar, 1908, Vienna Adolf Loos [Jacob and Josef Kohn Mobel Fabrik], gebrüder thonet vienna, 1899  Upper/ apartment floors, stripped of all ornaments Adolf Loos, Kaufhaus am Michaelerplatz, Vienna, 1910 Lower floor, with a Tuscan order faced in marble  Loos REACTED strongly against Art Nouveau and Jugendstilj movements, and their attempt to replace Beaux-Arts eclecticism with what he saw as “a superficial system of ornament.” He claimed that the elimination of ornament from useful objects was the result of a cultural evolution leading to the abolition of waste and superfluity from human labour. The idea was to reduce the time spent on manual labour, releasing energy for the life of the mind. Loos’s critique was based on a rejection of the very concept of “art” when applied to the design of objects for the everyday use. According to Loos, art could only survive in 2 (absolutely antithetical) forms. 1. ARCHITECTURE: In the design of buildings that embodied the collective memory. Denkmal (the monument) Adolf Loos, Ornament and Crime. Poster for a lecture Owen Jones, “Ornament of Savage Tribes” (from The on 21. February 1913 Grammar of Ornaments, 1856) and Grabmal (the tomb) (everything else that fulfils a function does not belong to the domain of art) 2. FREE CREATION: Free in the sense that they do not have any social responsibility, and thus are able to project ideas into the future and criticize contemporary society. Adolf Loos, Scheu House, 1912, Vienna. RAUMPLAN  View of the raised sitting area off the living room Adolf Loos, Villa Moller, Vienna, 1926 Adolf Loos, Tristan Tzara House, Paris, 1925-1926 GLASGOW Margaret Macdonald Mackintosh Charles Rennie Mackintosh (1868-1928) and Margaret Macdonald Mackintosh (1864-1933) Charles Rennie Mackintosh Chair, 1898 Haus der Secession (Secession Building) (Sezession Ausstellungsbebaude) interior, Mackintosh Room, c.1900 Charles Rennie Mackintosh and Margaret Macdonalds Mackintosh The Hill house, Helensburgh, Scotland, 1903. Buscar el groundfloor GESAMTKUNSTWERK Charles Rennie Mackintosh and Margaret Macdonalds Mackintosh Interior wall elevation and section, music Haus Eines Kunstfreundes Competition (House for an Art Lover), 1901 room, south side, ink and watercolor wash Interior wall elevation, bedroom, ink and watercolor wash S1: Why History? Beatriz Colomina, “Outrage: Blindness to Women turns out to be blindness to architecture itself” (2018) | León Siminiani,“Arquitectura emocional 1959” (30 min., 2022) S2-S3: America Rediscovered: The Chicago School, the Prairie Houses, the Skyscrapers Laura Martínez de Guereñu, “Plastic Fantastic: El B Auditorium” (2011) | READING RESPONSE 1 + prep VISUAL ANALYSIS PAPER S4-S5: The Search for Modern Form: Art Nouveau, Modernism, Sezession VAP PROPOSAL DUE Adolf Loos,“Architecture” (1910) | READING RESPONSE 2 S6: New Production, New Aesthetic: The Deutscher Werkbund Herman Muthesius/ Henry van de Velde, “Aims of the Werkbund” (1911)/ “Werkbund These and Antitheses” (1914) S7: Modernism in Germany: From Paper Architecture to Exhibition Commissions. Magdalena Droste, “The Creative Pair: Lilly Reich and the Collaboration with Ludwig Mies van der Rohe” (2017) S8-9: Avant-garde in Art and Architecture: Expressionism, Futurism, De Stilj, and Russia Alice T. Friedman with Maristela Casciato, “Family Matters: The Schröder House, by Gerrit Rietveld and Truus Schröder” (1997) | READING RESPONSE 3 VAP OUTLINE DUE S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape Jean-Louis Cohen, “Pessac | Moscow | Poissy | Roquebrune-Cap Martin” (2013) | READING RESPONSE 4 + prep VISUAL ANALYSIS PAPER S12: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas W. Gropius, “Principles of Bauhaus Production” (1923) / H. Meyer, “Building” (1928) / Mies “Building” (1923), “Build Beautifully and Practically! Stop This Cold Functionality” (1930) S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE Hermann Muthesius, “Aims of the Werkbund (excerpt),” (1911); Muthesius/ Henry Van del Velde, “Werkbund Theses and Antitheses,” (1914), in Ulrich Conrads (ed.), Programs and Manifestoes on 20th-century Architecture, The MIT Press, Cambridge, Massachusetts, 1970 (1964), pp. 26-27; 28-31. Opening today, starting at 18h. Manuel Illueca, Presidente de la Fundación ICO, tiene el placer de invitarle a la inauguración de la exposición “José María García de Paredes. Espacios de encuentro”, que tendrá lugar el miércoles 2 de oc tubre, de 18:00 a 21:00 h., en el Museo ICO. Zorrilla 3 28014 M adrid T 91 420 12 42 fundacionico.es Una exposición de Con la colaboración especial de A los efectos de lo dispuesto en el Reglamento (UE) 2016/ 679, de Protección de Datos de carácter personal, se le informa que sus datos se incluy en en un tratamiento de datos responsabilidad de la Fundación ICO. Respecto de los citados datos podrá ejercitar los derechos de acceso, a rectific ci ón, supresión, oposición, portabilidad, derecho a la limit ación en su tratamiento y derecho a no ser objeto de decisiones basadas en tratamientos individualizados. Si no desea seguir recibiendo información sobre nuestra actividad, por favor, escriba a [email protected] con la palabr a BAJA como asunto del correo electrónico. Puede encontrar información adicional sobr e nuestra política de pr otección de datos en el siguien te enlace: www.fundacionico.es/ politica-de-pr oteccion-de-datos/ Alberto Schommer, José María García de Paredes en la iglesia de Almendrales, Madrid, 1965. © Alberto Schommer, VEGAP, Madrid, 2024 https://caixaforum.org/es/madrid/p/weimar-un-puente-en-el-tiempo_c168831023