S10 Modernism in France 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  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 In the evening, 19:00h, LECTURE at COAM: Prof. Dr. Andres Lepik “Architecture Exhibitions as Critical Practice” (2024) S13: Internationalization through Discourses and Networks: CIAM, Open-air and Museum Exhibitions S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE  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 In the evening, 19:00h, LECTURE at COAM: Prof. Dr. Andres Lepik “Architecture Exhibitions as Critical Practice” (2024) S13: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE https://www.coam.org/agend a-coam/jornada-architectura- exhibitions-as-critical- practice-andres-lepik  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 In the evening, 19:00h, LECTURE at COAM: Prof. Dr. Andres Lepik “Architecture Exhibitions as Critical Practice” (2024) S13: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas DISCUSSION ABOUT THE LECTURE at COAM / and comments of: 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 Slide 26 Session 1 Slide 20 Session 1 S10-11: Modernism in France: From the Machine Aesthetic to the Engagement with Landscape  A CALL TO ORDER “After a period of exuberance and force must follow a period of organization, or arrangement, of science –that is to say, a classic age.” Challenged architects to “reclaim the torch of innovation from artists” and to “construct with sublime intentions.” Guillaume Apollinaire, Les peintres cubistes (The cubist painters),1913 Pierre Reverdy and Paul Dermée, Nord-Sud, 1917 Charles Eduard Jeanneret with Amédée Ozenfant and his cousin, Pierre Jeanneret, around his arrival to Paris in 1917. Paul Dermée, Charles Eduard Jeanneret, and Amédée Ozenfant founders of L’Esprit Nouveau (1920-1925). The principal theme of L’Esprit Nouveau (already developed in Après le Cubisme), was the problematic relation between art and industrial society. There were 28 editions for the magazine that was published from October 1920 and January 1925. The subjects treated were: literature, architecture, painting, sculpture, music, pure and applied science, experimental aesthetics, the aesthetics of the engineer, urbanism, philosophy, sociology, economics, politics, modern life, theater, spectacles and sports. Amedée Ozenfant and Charles Eduard Pablo Picasso, Siphon, Glass, Newspaper and Violin, 1912 Jeanneret, Après le Cubisme, 1918 Pablo Picasso, Guitar, 1912  Le Corbusier, Automobile in front of the Villa Stein-De Monzie, 1927 “to express in an inteligible word the character of the modern spirit” Le Corbusier, Greek temple approached following a picturesque path. The Red Bowl [still life], 1919 Le Corbusier, Towards a New Architecture (1927, English translation from Vers une architecture, 1923) double page spread, [comparison of Parthenon and 1921 Delage "Grand-Sport" automobile] Le Corbusier reminded “Messr. Les architects” to “open the eyes that do not see” Science and technology had reached a state of perfection of which the Greeks had only dreamed. Reason could now create machines of extreme precision. Feeling, allied to reason, could create works of art of an equally precise plastic beauty.  Le Corbusier, Villa Stotzer, La Chaux-de-Fonds, 1907 Charles E’plattenier, mentor of La Chaux-de-Fonds Villa Jeanneret-Perret, La Chaux-de-Fonds, 1912 Charles Edouard Jeanneret (1887-1965), later known as Le Corbusier with his parents and brother Albert.  Le Corbusier, Ville Contemporaine for Three Million Inhabitants, 1922. A street passing through an area with projections (6 double-story). Public circulation was seen as a single system, with the corridors serving the flats becoming streets-in-the-air replacing access roads. The impact of Le Corbusier’s writings was reinforced by The glass towers in the background created a “city of business”, which was a the power of this theoretical projects capitalist version of Bruno Taut’s Stadtskrone. Le Corbusier, Inmueble villa, 1922  Perspective showing a central transportation hub (with airplanes on the roof), flanked by cruciform skyscrapers that recall those used in the Ville Contemporaine Le Corbusier, View of Plan Voisin, 1925. Pierre Chenal, L’Architecture d’aujourd’hui, 1930 https://vimeo.com/67793221 Le Corbusier and the Modern House Le Corbusier, House and studio for Amédée Ozenfant, 1922-1924 Le Corbusier, Villa La Roche-Jeanneret, 1923-1924 After seeing the The house as a exhibition, Le Corbusier re- promenade configured the architecturale conventional arrangement of the windows in the facade. Theo van Doesburg and Cornelis van Eesteren, architects of De Stijl Group, Galerie de L'Effort Moderne, Paris 1923  Pre-5 points of modern architecture time Le Corbusier, Villa Le Lac, Geneve, 1923 Le Corbusier, Quartier Modern Frugès, Axonometric showing scheme for polychrome exterior walls, 1925-28  DOM·INO Emblematic scheme of the Dom·Ino Frame, 1914 Le Corbusier, Maison Citrohan, 1920.  A complex house which years later will generate the concept of Phenomenal Transparency Le Corbusier, Villa Stein-De Monzie, Garches, 1927  Colin Rowe also would detect a rhythm of proportions that was similar to Palladio’s Villas. Le Corbusier, Villa Stein-De Monzie, Garches, 1927 THE FOUR VILLAS OF THE 1920s (1) Villa La Roche. An organic reasoning. Each organ rises up next to its neighbor. (2) Villa in Garches. The compression of organs within a rigid envelope. (3) Villa in Carthago. Furnishes a simple envelope with a visible framework. It allows the creation of useful volumes of rooms. (4) Villa Savoye in Poissy. On the outside it is like type 2. Inside, it has the advantages of 1 and Le Corbusier, La Villa Baizeau in Carthago, under construction, 1928 Roberto Gargiani (ed.), Architecture Simple: La Villa Baizeau à Carthage de Le Corbusier et Jeanneret (Accatone: 2024) Installation view of Le Corbusier’s work, including a model of Villa Savoye, in the 1932 MoMA exhibition Modern Architecture: International Exhibition Cubism and Abstract Art, 1936. View of the Le Corbusier section. The Museum of Modern Art, New York. THE FIVE POINTS FOR A NEW ARCHITECTURE (1926) The pilotis: freeing up the ground plane. The roof garden: affording sunlight and communication with the skylight The free plan: replazing the “paralyzed plan” of load-bearing structures The ribbon window: offering horizontal vistas The free façade: whose openings were no longer dependent on traditional structural mechanics. Each element INVERTED a specific element of academic tradition, and was presented as a freedom achieved by means of modern technology, a decoding of conventions of a supposedly “natural” architecture. Le Corbusier, Villa Savoye, 1929-31 Le Corbusier, Villa Savoye, 1929-31 THRESHOLD QUALITY STRUCTURE/ ENCLOSURE VOLUME OCCUPATION Le Corbusier, Villa Savoye, Poissy, 1928-1931. Diagrams: Claudia Maier.  promenade architecturale territorial location site SITE CIRCULATION pedestrian (ramp) pedestrian (spiral stairway) Road traffic Le Corbusier, Villa Savoye, Poissy, 1928-1931. Diagrams: Claudia Maier. August Choisy, Historie de l’Architecture, 1899 Large Scale Buildings Le Corbusier League of Nations Competition Entry 1927 Henri-Paul Nénot, József Vago, CamilleLefèbvre, Vágó, Carlo Broggi, Palace of Nations, Geneva, Switzerland, 1929-1936 Le Corbusier, Centrosoyus cooperative building in Moscow, 1929-1935 Le Corbusier, Salvation Army Headquarters, Cité Refuge in Paris, 1929-1933 Le Corbusier, Swiss Pavilion at the Cité Universitaire, 1929-1933. Controversy between master and disciple Le Corbusier, Porte Molitor Apartments, 24 rue Nungesser-et- Coli, 1931-1933 August Perret, Apartments at 25 bis rue Franklin, Paris, 1903 August Perret, Notre-Dame de Consolation, Le Raincy, Ile-de-France, France, 1922-23. August Perret had revolutionized the construction technology with concrete.  “the vertical window frames man [and] agrees with his silhouette” “engaging the horizon” Le Corbusier, Interior Porte Molitor Apartments, 24 rue Nungesser-et- August Perret, Coli, 1931-1933 Interior of the Apartments at 25 bis rue Franklin, Paris, 1903 Bruno Reichlin, 'The Pros and Cons of the Horizontal Window: The Perret-Le Corbusier Controversy', Daidalos, 13, (September 1984), pp. 65-78. Exposition Internationale des Arts Décoratifs et Industriels Modernes, 1925 Revived classicism with nationalistic accents The large building: “A vessel, a framework, a sovereign shelter capable of housing in its unity the variety of organs necessary to fullfill its funtion” August Perret, Theater at the Exposition Internationale des Arts Décoratifs et Industriels Modernes, 1925 Program of the Exposition Internationale des Arts Décoratifs et Industriels Modernes,1925, to reassert French supremacy in the applied arts (over Germany) Le Corbusier, Pavilion of L’Esprit Nouveau, Exposition View of room 204.03 at the Reina Sofía Museum Internationale des Arts Décoratifs et Industriels Modernes, 1925 The Pavilion was an implicit critique to Inside the Pavilion Le Corbusier displayed dioramas of the program of the exposition his Ville Contemporaine and Plan Voisin  Le Corbusier and Pierre Jeanneret, Interior of L’Esprit Nouveau Pavilion at the Exposition des Arts Décoratifs, Paris 1925 Le Corbusier, L’Art Décoratif d’Aujourd’hui, 1925 The Pavilion displayed a unit of his inmueble-villas outfitted with typical furniture bought from manufacturer’s catalogs (ready-made) The Pavillon proposed nothing less than the abolition of the decorative arts as such. The furniture was of 2 kinds:. fixed (equipment: modular storage units or cassier standard). mobile (free-standing: chosen from products available in the market)  Key moment of the history of the avant-garde Le Corbusier, page from L’Art Decorative d’aujourhui, 1925 Marcel Duchamp, The Fountainhead, 1917 21 Joseph Hiriart, Georges Tribout, Georges Beau, Exposition internationale des arts decoratifs et industriels modernes, La Maitrise (Pavilion 'Aux Galeries Lafayette') [exhibition building], 1925 Most of the architects featured in the exhibition were successful interior decorators who designed the “ensembles” of furniture associated with department stores Francis Jourdain, Salon-bibliothèque pour une ambassade, 1925, from Le Style Moderne Contribution de la France, Introduction de Henry Van De Velde, pl. 57 Francis Jourdain, Hall d'administration, 1925, from Le Style Moderne Contribution de la France, Introduction de Henry Van De Velde, pl. 52 Table de bureau, Le Style Moderne Contribution de la France, Introduction de Henry Van De Velde, pl. 51 Pierre Chareau, Cabinet de Toilette, Le Style Moderne Contribution de la France, Introduction de Henry Van De Velde, pl. 28 Pierre Chareau, Maison de Verre, Paris, France, 1928-1932 Robert Mallet-Stevens, Pavilion of Tourism, 1925 Adolf Loos had described him as “the most modern architect in France” (1924).  10 Rue Mallet-Stevens Detail of window Rober Mallet-Stevens, 12 Rue Mallet-Stevens, Paris, 1927 Rober Mallet-Stevens, Villa in Hyères, for Charles and Marie-Laure de Noailles, 1923-26 Robert Malllet-Stevens: “It is no longer just some moldings that catch up the light, it is the entire facade. The architect scultps an enormous block, the house.”  Jean Cocteau, The Blood of a Poet, 1932 Luis Buñuel, L’âge d’or, 1930 Man Ray, The Mysteries of the Chateau of Dice, 1929 https://www.youtube.com/watch?v=FQFFU955Q24 Robert Mallet-Stevens, Casino La Pergola, Saint-Jean de Luz, 1928 Man Ray, Robert Mallet-Stevens, Portrait, c.1935 Man Ray, Le Corbusier, Portrait, c.1927 Hôtel-Casino La Pergola, Saint-Jean-de-Luz. Project by William Marcel, c1924. Hôtel-Casino La Pergola, Saint-Jean-de-Luz. Built work by Robert Mallet-Stevens, 1928.  Le Corbusier with Albert Jeanneret in Arcachon, 1930. Le Corbusier, Une Maison-Un Palais, Éditions Crès, Collection de "L'Esprit Nouveau", Paris, 1928 “I like wooden houses because they are honest: both spiritually and in construction.…The fishermen are very attentive to what they do. When deciding where to place something, they turn round and round like a cat deciding where to lie down; they weigh up the situation, unconsciously calculating the point of equilibrium… intuition proposes, reason reasons”. Countess Adela Victoria Ocampo. Cuevas de Vera. Third letter, from Adela Cuevas de Vera to Le Corbusier. September 6, 1928. Dossier Vera, FLC I1-17-5-002. FLC I1-17-5-003. Villa Delphine. Avenue Guynemer 42, Anglet.  “When will you come here? They are building tremendously, and above all, they are dividing up plots, they are constructing a new cliff road between St. Jean de Luz and Hendaye on uninhabited land…how wonderful if you could line this route with beautiful houses!” Saint-Jean-de-Luz Hendaye-Plage  “When will you come here? They are building tremendously, and above all, they are dividing up plots, they are constructing a new cliff road between St. Jean de Luz and Hendaye on uninhabited land…how wonderful if you could line this route with beautiful houses!” “Mallet Stevens has made a Casino in the bay of St. Jean de Luz. It does not have a pretty outline, but at least it is better than the Basque style, and it offers an idea of what could be done.” Saint-Jean-de-Luz Hendaye-Plage  Villa Meyer. Seventh perspective of the third project, April 1926. FLC 31514. Inscription on the left page “Mme. Meyer, Guéthary.” FLC F3-4-3-018, Carnet de Notes 3 02/1926-06/1926. Villa Ocampo, Buenos Aires. September 1928. FLC 24232A. Villa Meyer, Paris. Third project, April 1926, first floor. FLC 10370. Villa Ocampo, Buenos Aires. September 1928. FLC 24232A. Le Corbusier writing the lectures of Precisions, while returning from his trip to South America Le Corbusier: “America, the land of the timids.” Drawing by Le Corbusier during the lecture “The Plan of the Modern House.” October 11, 1929. FLC 33493 Involvement in entirely new urban projects Le Corbusier, Urban Sketch for Rio de Janeiro, 1929 Le Corbusier, Law of the Meander, 1929 Captures the experience of America’s natural and urban landscape, which Le Corbusier captured from the plane  Le Corbusier, Femme assise (au peignoir), 1933 Le Corbusier, Plan Obus for Algiers, 1931 Marriage of painting and architecture that characterizes Le Corbusier’s oeuvre is present in his landscapes, as it happens in the organic traces of the infrastructure-dwelling in the Plan Obus for Algiers.  The separation of infrastructure and infill, allowed the inhabitants to build their own houses within the structure Le Corbusier, Plan Obus for Algiers, 1931 Integration of circulation and housing became the dominant theme. Housing with infrastructural dimension. Forms became more sentitive to local topographies. Edgar Chambless, Roadtown, 1910  Brise-soleil, Cité des Affaires Quartier de la Marine The sun-breaker was much more than a means of solar protection! It was an expressive device giving back to the Corbusian façade the plasticity and play of scale that had been sacrificed with the suppression of structure. Office tower of the Obus E Project for Algiers, 1939 First appearance in Le Corbusier’s work of the brise-soleil (sun-breaker) as an integral part of a concrete structure, by means of which the internal hierarchy of the building is made legible. 1945, Raoul Dautry, Minister of Reconstruction in the first post-war French government, commissioned Le Corbusier to build a Unité d’habitation in Marselle. Charles Fourier, Phalanstère, 19th c (same amount of population, 1800) Le Corbusier, cross section of the Unité d’Habitation Interior section of a transatlantic Terrace with its brise-soleil (sunshade) “Bottle” and “wine rack” assembly, devised by Alfred Roth in the 1920s and used by Le Corbusier to lower costs in constructing Unite and future projects Le Corbusier, Unité d’Habitation, Upper floor, 1947-1952 type E1: Apartment for a family of 2, 3 or 4 children View from the rooftop towards the sea Children playing on the roof