S6 New Production New Aesthetic 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 Theses 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 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 Theses 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  Together with many inventions and advances in scientific research, architecture became both a factor for increasing industrial productivity and a key component of new visual strategies developed by big businesses. NEOTECHNIC Thomas Lowradson, The Cries of London: Mass production in AEG small motor factory, Berlin Coal-Heavers; 19th century PALEOTECHNIC Architects devoted themselves to interpreting this new stage in the machine’s age revolutionary advancedement. Both Patrick Geddes and Lewis Mumford described the new times as those of “neotechnic” (due to electricity) in opposition to the “paleotechnic” (the age of coal and steam power)  Architecture became both:. a factor for increasing industrial productivity.. a key component of new visual strategies Aerial view of the neighborhood of Moabit in Berlin. On the right, the AEG Turbine Factory developed by big businesses. Therefore, A new relationship between architects and industry began to take shape:. Integration of architects in major corporations.. Architects promoted the creative coordination of art and industry.. And they also developed independent activities within building programs and cultural institutions. THE AEG MODEL IN BERLIN During the German Empire of Kaiser Wilhelm II (1890- 1918), German companies were driven to technical and aesthetic innovation in order to improve the image of their products at home and abroad. AEG Brochure: Spiraldrahtlampen (Spiral Wire Lamp), c, 1912 Emil Rathenau (1838-1915) at the desk of his study in the headquater of AEG - 1915 taken by Waldemar Titzenthaler AEG: Allgemeine Elektrizitätsgesellschaft (General Electricity Company) In 1881, Rathenau was able to see the potential of electricity and acquired the rights to manufacture products based on Thomas Edison’s patents. By 1907, AEG had become the largest commercial company in the world.  Peter Behrens, Residence of Peter Behrens, Darmstadt, 1901 Drawing room, Behrens house Peter Behrens (1868-1940) Rathenau hired Peter Behrens to become engaged in all the AEG activities. Self-made architect, who had already a prolific career. Peter Behrens, Hagen Crematorium, Hagen, 1905-1908 71  AEG created electric products for mass consumption (fans, toasters, kettles…) Behrens created the “corporate identity” of AEG. He designed all AEG buildings in Berlin. From major factories to housing states. Peter Behrens, Allgemeine Elektricitäts Gesellschaft (AEG) shop window. Electric Kettle, c. 1909 76  Peter Behrens, design of the flyer for the Deutsche Schiffbau- Exhibition, 1908 Peter Behrens, AEG Pavilion, 1908 Peter Behrens, AEG Turbine Factory, 1908 It resembles a temple. A temple of work! The polygonal shape of the pediment evokes the contour of a bolt head at giant scale. Behrens played with a paradoxical contrast of mass and transparency. The corner pylons, are made of concrete yet carry only their own weight. 74 The roof is supported by a 25-meter triple-hinged frame (beneath which a crane moved the massive rotors and stators)  Today it is owned by Siemens, and apparently it is still the best space for mounting turbines. Architecture so well developed with engineering! AEG Turbine Hall, Corner of HuttenStrasse and BerlichingenStrasse, in Moabit, Berlin. 1909. Ground floor plan, elevation, and section, 75 Peter Behrens, AEG Kleinmotorenfabrik (Small Motor Factory), exterior, front [street] facade from southwest, 1913 Peter Behrens, AEG Hight Voltage Factory, 1910 The study, coordination, and control of production were integral to the manufacturing process. Architecture played a big role in the era of organization. Ludwig Mies van der Rohe and Walter Gropius working at the office of Peter Behrens, 1910-11 77  PROJECTS OF OTHER INDUSTRIAL COMPANIES where he explored the archetype of the Renaissance Palace MODULAR FACADE BAYS following the basic unit of the office Peter Behrens, Administrative Building, Mannesmann Tubes, Düsseldorf, 1912  PROJECTS OF THE STATE Throne room with view of the second reception room Peter Behrens, German Embassy, Saint Petersburg, Russia, 1912 Ludwig Mies van der Rohe was the main collaborator of this representative building FACTORIES AS INSPIRATION FROM MASTERS TO DISCIPLES The transparent corners contributed to the dematerialization of the building Shoe Forms, Pattern Room In Fagus- Werk Shoe Farm & Stamping Tool Factory from Die Welt Ist Schon (Albert Renger-Patzsch) Walter Gropius (1883-1969) / Adolf Meyer (1881-1929) Fagus Factory, 1913, Alfeld, Lower Saxony, Germany, 1911-13 78  Gropius thought that the machine could be spiritualized by means of art, and advocated an architecture of technical radionalism. Walter Gropius/ Adolf Meyer, Fagus Factory, 1913, Alfeld, Lower Saxony, Germany, 1911-13 Gropius was more concerned with the social implications of machine production. In an address entitled “Kunst und Industriebau,” given at the Volkwang Museum at Hagen in 1911, Gropius explained the idea: “Work must be established in palaces that give the workman, now a slave to industrial labour, not only light, air, and hygiene, but also an indication of the great common idea that drives everything. Only then can the individual submit to the impersonal without losing the joy of working together for that common good previously unattainable by a single individual.” It completely opened a new era. Factories were no longer reminiscent of castles or temples. 79  Carl Benscheid, the commissioner of the Fagus Factory, had shown Gropius photographs of another industrial world. Le Corbusier, “Three reminders to architects,” Towards a New Architecture, 1927 (1923). Walter Gropius, “The Development of Modern Industrial Architecture,” Jahrbuch des Deutschen Werkbundes, 1913. “The compelling monumentality of the Canadian and South American grain silos, the coal silos built for the large railway companies, and the totally modern workshops of the North American firms almost bear comparison with the building of ancient Egypt. Their individuality is so unmistakable that the meaning with the structure becomes overwhelmingly clear to the passer-by.” Walter Gropius in front of his entry for the Chicago Tribune Competition, 1922. THE GRAIN SILOS Gropius himself travelled to America in 1928. Eric Mendelsohn, Amerika: Bilderbuch eines Architekten, 1926 80  THE AUTOMOBILE FACTORIES Albert Kahn, Packard Motor Car Company, 1903-05 “Daylight” factories (more than the skyscrapers, which were still beyond the reach of German designers) opened the way to an architecture of Precedents of the Fagus factory. pure economic rationality There is no doubt that Gropius studied them while preparing his project.  There were exceptions! Not all the architects embraced the rationality of factories. It is a reinforced concrete building clad in stone, implicitly asserting that modern networks like rairoads demanded a monumentality that was beyond steel and glass Paul Bonatz, Suttgardt Railway Station, 1912-1928.  Evoked the brick buildings in Hanseatic cities like Bremen and Hamburg in the north of Germany, as well as medieval fortifications Hans Poelzig, Chemische Fabrik, Luban, Poland, 1911-12 What was behind all this? The creation of the DEUTSCHER WERKBUND Early in the 20th century, German art reformers seeking an aesthetic transformation of daily life longed for a mutually beneficial alliance with industry. And other connections existing within institutional networks fostered personal relationships between architects and industrial figures. The Munich group soon abandoned Van de Velde’s curvilinear style (Art Nouveau) and began to give close attention to the Arts and Crafts. The Vereinigten Werkstätten für Kunst im Handwerk, founded in 1897 by Richard Riemerschid and Bruno Paul The entire idea of “Kunst im Handwerk” (art in craftmanship) was an exploration to try to see whether it was possible to endow an artistic dimension to handicraft. Jugend, magazine, launched in 1896 55  Richard Riemerschmid Vereinigten Werkstatten für Kunst Adolf Loos und Handwerk, Side Chair,1899 Sitting room, 1902. The furniture they produced was semi mass-produced. Chest, typical of the semi- mass produced furniture Richard Riemerschmid (1868- 1957) Buffet, 1897 Cupboard, 1903 Chest, 1905 56 Richard Riemerschmid, Dresdner Werkstätten für Handwerkskunst, Dresden, (Manufacturer), 1905 They started exhibiting room ensembles. However, all these hand-crafted products were only affordable by a wealthy minority. This was the real problem of the Art Nouveau. Richard Riemerschmid, shop interior. Dresdner Werkstätten Hellerau. From the Magazine Innendekoration,1906. 59 The success of the 1906 Kunstgewerbeausstellung (Arts and Crafts Exhibiton) in Dresden led to the creation of the Deutscher Werkbund, a federation of industrialists, state officials, architects, artists, and critics. The Deutscher Werkund’s main ideas were:. General propaganda (publishing, exhibitions, congresses). The education of the consumer (lectures, window dressing competitions). The reform of the product design (persuading industrialists to employ artists) Unlike their British predecessor of the Arts and Crafts movement (William Morris, etc) with whom they identified, the founders of the Werkbund were not opposed to the leading capitalist firms of the day. Instead, they tried to figure out a way to cooperate with industry so as to achieve the desired reform of material culture. Portrait of Hermann Muthesius (1861-1927) Most of the involved companies were manufacturers of domestic furniture and equipment. Josef Hoffman (1870-1956) Josef Maria Olbrich (1867-1908) The architects played an important role in the idea of imprinting an artistic dimension to the everyday life. Peter Behrens (1868-1940) Theodor Fischer (1862-1938) Paul Schulze-Naumburg (1869-1949) Fritz Schumacher (1869-1947) 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. Joseph August Lux, Ingenieur-Ästhetik. (München: Verlag von Gustav Lammers, 1910). The Werkbund’s primary goals were to raise the “artistic” level of German industrial production and to modernize consumer taste. ”Engeniering aesthetics” that was opposed to classicism and to Art Nouveau. Plate VIII: New Stock Exchange by Berlage, Amsterdam They tried to dispel the German inferiority complex with respect to British industrial production, and also to combat German anxieties regarding the domination of French taste. Dilemma! In Germany there was a consciousness of a specifically German Kultur. The movement for artistic reform in Germany was, from the start, deeply involved in the question of national identity. Those participating in the movement were caught between a desire to return to their pre- industrial roots and an equally strong impulse towards modernization, as the necessary condition of competing commercially within the Western nations.  Ground plans of the stalls and gallery of the third version, largely based on earlier designs The extent of Werkbund’s access may be gauged by its 1914 Exhibition in Cologne A city that was close to France! Henry van de Velde, Deuscher Werkbund Exhibiton Cologne, Theater, 1914  Walter Gropius, Building of the Werkbundausstellung 1914 in Cologne. The administration building of the Exhibition Conference organized to coincide with the exhibition, July 1914 MUTHESIUS: fostered the concept of Typisierung (typification), which was connected with the idea of Gestalt; it was a word coined to denote the establishment (top- down) of standard or typical forms. In the design of machine products, “form” or Gestalt should take precedence over function, material, and technique, which had been stressed by the Arts and Crafts and Jugendstil movements. “More than any other art, architecture strives toward the typical. Only in this can it find fulfillment. Only in the all- embracing and continuous pursuit of this aim can it regain that effectiveness and undoubted assurance that we admire in the works of past times that marched along the road of homogeneity.” VAN DE VELDE: did not question the need for machine production, nor he disagreed with the notion of a unified culture. But he disagreed with the bureaucratic methods proposed by Muthesius. For him, culture could not be created by the imposition of typical forms. High artistic quality depended on the freedom of the individual artist. Fixed types did indeed emerge in all artistic cultures, but they were the end-products of an evolutionary process of artistic development, not its initial condition. Muthesius/ Van de Velde controversy, 1914 The “status of the artist” in the modern industrial arts Hans (Nick) Roericht, TC100 Stacking Tableware for Thomas Rosenthal. Johannes Vermeer, The Milk Maid, 1658-1661 End of Degree Project, Ulm School of Design, 1958-59. Oil on canvas, 45.5 x 41 cm, The Rijksmuseum, Amsterdam Washbasin at the Villa Savoye. Anonymous ready-made object (without an artist) that can be found in any hardware store. The “vernacular” of machined forms The type: End product of an evolutionary process of artistic development? Or the initial condition? 65 Both groups believed that, under conditions of machine production, division of labour had separated technique from art and that it was necessary to reintroduce the artist into the production process. They differed in their interpretation of the role that the artist would play.  Muthesius argued that there was a kinship between the law-like and anonymity of the classical and vernacular traditions and the repetitiveness, regularity, and simplicity of machined forms Electric Kettle, AEG 1909 Tea-Kettle, AEG 1910 Electric Kettle, AEG 1910 Vernaculars Anonymous form-givers Non-pedigreed Non-authored In 1991 the artists won the Golden Lion award for sculpture at the Venice Biennale. Bernd and Hilla Becher, Photographs of Anonymous industrial constructions 62 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 Theses 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. Muthesius Van de Velde Muthesius Van de Velde 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 Theses 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 Conference organized to coincide with the exhibition, July 1914 Gropius was one of the most implacable of all Muthesius critics at the Cologne congress. He rejected the idea of the control of artistic conceptualization by the state bureaucracy, as Muthesius promoted. Both Gropius and Van de Velde believed that the architect-as-an-artist was now an intelectual charged with the task of inventing the forms of the machine age, considered as a cultural totality. For Gropius, the architect-as-artista should remain free of political interference. Only the best and the most original ideas would be worthy of mechanical reproduction- Muthesius/ Van de Velde controversy, 1914 Bruno Taut (1880-1938) Glass Pavilion at Werkbund exhibit in Cologne, 1914 Happiness without glass, how crass!” “Colored glass destroys hatred” “Glass opens up a new age” The most original building of “Brick building only does harm” the exhibition By poet Paul Scheebart 12 Bruno Taut, Glass Pavilion, Cologne, 1914. Upper glass room. Bruno Taut, Glass Pavilion, Cologne, 1914. Cascade room.  Expressed similar ideas to Taut and enumerated potential types of glass buildings, declaring that glass had the potential to be the salvation of society and individuals Paul Scheerbart (1836-1915), Glasarchitektur, 1914  The relationship between architects and glass shifted. In the 19th century, it had been centered in train stations and exhibition halls, and more recently in factory buildings. In 1919, they started celebrating its utopian possibilities. Bruno Taut, Die Stadtkrone, 1919 Historical examples of buildings symbolizing the Volk Bruno Taut founded in 1919 the Gläserne Kette (Glass Apocalyptic images of an Chain) to exchange architectural ideas and fantasies. imaginary architecture Bruno Taut, (Snow, Ice, Glass) from Many of the drawings originated in the Glass Chain, were later published Alpine Architecture, 1919 by Taut in his magazine Frühlicht (Dawn), from 1920 to 1922 11 FUTURISM Futurism was the 1st artistic movement to see the unprecedented development of new technologies, as necessarily implying a total revolution in the everyday culture. They advocated the elimination of all traces of traditional culture, and the creation of a totally new, machine-based culture of the masses. In “The Originality of the Avant-Garde,” Rosalind Krauss says: (p. 157) “More than a rejection or dissolution of the past, avant-garde originality is conceived as a literal origin, a beginning from ground zero, a birth. Marinetti, thrown from his automobile one evening in 1909 into a factory ditch filled with water, emerges as if from amniotic fluid to be born – without ancestors– a futurist. This parable of absolute self-creation that begins the first Futurist Manifesto functions as a model for what is meant by originality among the early 20 th avant-garde. For originality becomes an organicist metaphor referring not so much to formal invention as to sources of life. The self as origin is safe from contamination by tradition because it possesses a kind of originary naiveté.” The movement, based in Milan, was “founded” when the writer Filippo Tommasso Marinetti (1876-1944) published “The Foundation and Manifesto of Futurism”, on the front page of the Parisian daily newspaper Le Figaro in 1909. 23  Umberto Boccioni (1882-1916) Boccioni, Development of a Bottle in Space, 1913 Dynamism of a Speeding Horse + Houses, 1914-15 Umberto Boccioni, Carlo Carrá, Luigi Rusolo, Giacomo Balla, and Gino Severini, Between 1909 and 1914, Marinetti and a small group of “The Technical Manifesto of Futurist Painting” (La Pittura Futurista), April 1910. writers, painters, and musicians published about 50 manifestoes on every conceivable aspect of cultural life. The main theoretical statement of the movement 24 FUTURISM AND ARCHITECTURE 2 manifestos of Futurist architecture were written in 1914 (although one of them was not published until 1960). One of them was written by Antonio Sant’Elia (1888-1916). The other also by Boccioni. Sant’ Elia’s legacy consisted mainly in architectural drawings. They were 3 types. Type 1. Totally unornamented, astylar Type 2. A set of drawings in which Type 3. Stepped-back floors of multi-storey The drawings depict a city from which all compositions with generic titles: similarly abstract forms are adapted to apartment blocks (resembling the powerful traces of nature have been removed, a city “Modern Buildings”, “Monument”, one particular industrial type: the sloping walls of the hydroelectric dams) are dominated by a plethora of horizontal and “Industrial Building” (1913) hydroelectric power station (a type of contrasted with vertical elevator towers, to vertical distribution systems, against which building almost synonymous with the which they are connected by bridges. the facades of the apartment units seem to rapid industrialization of the Po Valley in play a passive and secondary role. the first years of the 20th century) Antonio Sant’Elia, La Citta Nuova, sketch, 1914 Walter Gropius, Jahrbuch des Deutschen Werkbundes, 1913. Antonio Sant’Elia, Power Station, 1914 Casa a Gradinata for the Citta Nuova 25 Although Sant’Elia’s drawings are impressive in their dramatic representation of the city of the future, their forms and technique contradict many of the ideas put forward by the Futurist manifestos. 1. The manifestoes stress lightness, permeability, and practicability. The drawings express mass and monumentality. 2. The manifestoes place the spectator within the work. The drawings imply that the viewer is an externall observer by providing a panoramic and perspectival view f the word. 3. The manifestos condemn static, pyramidal forms. The drawings abound in them. They were opposed to Boccioni’s “X-ray” axonometries, which implied a spiritualized and transparent object. Boccioni's Studio, 1913 Umberto Boccioni, Table + Bottle + House, 1912 27 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 Theses 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 Magdalena Droste, “The Creative Pair: Lilly Reich and the Collaboration with Ludwig Mies van der Rohe,” in Frau Architekt. Over 100 Years of Women in Architecture, Wasmuth, Tübingen, 2017, pp. 105-111.