CIAM Open-Air Museum Exhibitions 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 Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) 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  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 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 Slide 26 Session 1  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 Philip Johnson and Henry Russell Hitchcock Jr.,“A Modern Architecture: International Exhibition” (1932) S13: Architectural Education and Social Reform: Beaux-Arts, Bauhaus, Vkhutemas S14: Modern Languages across the World: Architecture beyond Central-Europe VAP DUE Philip Johnson and Henry Rusell Hichcock Jr.,“Foreword,” “Historical Note,” “Extent of Modern Architecture,” (1932), in Modern Architecture: International Exhibition, The Museum of Modern Art, New York, 1969 (1932), pp. 12-17; 18-20; 21-24.  Walter Gropius, Internationale Architektur, Bauhaus Bücher, 1925 A flourishing worldwide network of interactions among modern architects existed long before the famous MoMA exhibition, that picked up Gropius’s slogan. Modern Architecture: International Exhibition, installed at Museum of Modern Art, New York City February 9,1932 through March 23, 1932 CIRPAC preparatory meeting of CIAM 4, Barcelona De 8 en Opbouw, architectural journal Far from being limited to the circulation of styles, the internationalization of architecture manifested itself in a variety of formats AC (Documentos de actividad contemporánea), publication of the GATEPAC Conferences Periodicals Organizations Before that exhibition, architects were engaging with one another in new and diverse ways. The opposed to internationalism Between 1926 and 1928, Paul Schultze-Naumburg published a series of books that became progressively more nationalist and racist in tone. These helped to polarize the public debate between Modernists and traditionalists, identifying the later with the ideas of National Socialism. Everybody was not supporting modenism Ernst May, Neue Frankfurt master plan, 1928 The "Heimat" ("Homeland") style became increasingly associated with National Socialism and the extreme Right, in opposition to the Modernism favored by the Social Democratic Party. Paul Schultze-Naumburg Heimat-style Housing, general view, 1925-1927 JOURNALS AS A GLOBAL PHENOMENON L’Architecture Vivante (1923- 1932) founded by Jean Badovici L’Esprit Nouveau (1920-1925) founded by Paul Dermée, Charles Eduard Jeanneret, and Amédée Ozenfant. First Issue of De Stijl, Theo Van Doesburg, J.J.P. Oud and Willian Hszar, 1917 E1027 House in Roquebrune, France https://www.youtube.com/watch?v=wEZjYJo0Nhk International dissemination of images made possible the publication of By Eileen Gray periodicals, in which illustrations paid an increasingly important role. (1878-1976)  E1027 House in Roquebrune, France Le Cabanon Roquebrune-Cap Martin, Alpes-Maritmes, Le Corbusier, 1949-51.  Special issue devoted to the work of Le Corbusier and Pierret Centrosoyuz, Moscow, 1928-1930 Jeanneret L’Architecture d’Aujourd’hui, no. 10, December 1933. L’Architecture d’Aujourd’hui, no. 1, November 1930 Founded by the engineer André Bloc  Trade periodicals Bauwelt (Building World) Founded in 1910, continued to provide a mouthpiece for innovative positions until 1933 Frühlicht (Dawn), G: Material zur elementaren Gestaltung published by Bruno Taut Published by Hans Richter Wasmuths from 1920 to 1922 from 1923 to 1926 Monatshefte 1914-1942 Edited by Ernst Wasmuth, and Moderne Bauformen Avant-garde journals 1902-1944 Edited by Julius Hoffman favoured traditionalists Revista Arquitectura, 1st phase up to the 2nd Republic 1918-1931 Revista Arquitectura, 2nd phase up to the start of the Civil War, 1932-1936 Different phases that changed with the convoluted political times Revista Arquitectura, 3rd phase after the Civil War, 1941-1946 AC. Documentos de Actividad Contemporánea publishd by the GATEPAC (Grupo de Artistas y Técnicos Españoles para el Progreso de la Arquitectura Contemporánea), between 1931 and 1937 Das Werk published by the critic Peter Meyer. The journal of the Swiss Werkund. ABC. Beiträge zum Bauen published by the functionalists Emil Roth, Hans Schmidt, and Mart Stam, from 1924 to 1928 Domus funded by Gio Ponti in Milan 1928 Casabella founded by Guido Marangoni in Milan in 1928 More artistic perceptions Clear social focus SA. Sovrestskaia Arkhitektura (1928-1930) Arkhitektura SSSR, launched in 1933 and party-controlled, but continued publishing images of Western projects from 1934 to 1936 SA. Sovremennaia Arkhitektura (CA. Contemporary Architecture), no. 1, 1928 Stavba (Construction) in Prague Blok (Block) in Warsaw Significant effect on the architectural culture of Central and Eastern Europe Kokusai Kenchicu (The Modern Architect) in Japan. All these periodicals suggest the extent to which architectural periodicals had become a global phenomenon EXHIBITIONS, PAVILIONS. AND MODEL CITIES In addition to publications exhibitions became an essential medium to disseminate new forms The buildings themselves were exhibition objects Eliel Saarinen, Finnish Pavilion at Paris Expo, 1900 Le Corbusier, Pavilion of L’Esprit Nouveau, Exposition Internationale des Arts Décoratifs et Industriels Modernes, 1925  Ge rman Rep resentative Pavilion List of 24 se ctions distributed in 8 p alaces Ludwig Mies van der Rohe and Lilly Reich, Plan of the German sections at the 1929 Barcelona International Exhibition Lilly Reich’s Apartment at the Exhibition The Dwelling in Our Time, Berlin, 1931  Main exhibition hall with panels at upper left representing the four functions of architecture; Le Corbusier, Pavilon des Temps Nouveaux, 1937 dwelling, recreation, work and circulation Junzo Sakakura, Grand Prix of the Exposition internationale of Paris 1937, Japanese Pavilion Alvar Aalto, Finnish Pavilion, Paris, 1937 Alvar Aalto, Finnish Pavilion, New York,1939 Erik Gunnard Asplund, View of the principal façade of the Entrance Pavilion of the Stockholm Exhibition of 1930, Stockholm Stockholm Exhibition, Paradise Restaurant exterior, dining patio and circular entrance 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  Weissenhof, Stuttgart, 1906 Aesthetics of the white roof Other collective endeavours  Ludwig Mies van der Rohe, Werkbund Exhibition, Weissenhofsiedlung, Stuttgart, 1927 Walter Curt Behrendt, Der Sieg des Neuen Baustils (The Victory of the New Buidling Style), 1927 Arabic Village, Weissenhof Siedlung, Stuttgart, 1940 Novy Dum (New Dwelling) exhibition in Brno, Checoslovakia, 1928 Wohnung und Werkraum (Living and Work Space), exhibition in Breslau, Poland, 1929 The Weissenhof Siedlung inspired similar initiatives through Central Europe  Neubühl development, Zurich, Switzerland, 1932 Baba development, Prague, Checoslovakia, 1931-32 All these housing exhibitions demonstrated that a new way of living in sunlight and fresh air was not only possible, but also accessible to most people Ramensdorf-Housing Exhibition, Munich, 1933 These convictions were so strong, that the German traditionalists were compelled to return to Stuttgart in 1933 to take their revenge Kochenhof Siedlung, Stuttgart, 1933 MODERN ARCHITECTURE ENTERS THE MUSEUM Salon d’Automne, Sala Cezanne, 1904 Charlotte Perriand in the Salon d’Automne, Paris, 1922 Gabriele Münter, Murnau, 1902  First Russian avant-garde exhibition in the Van Diemen Gallery in Berlin, 1922 Some art galleries celebrated exhibitions that became milestones in circulating ideas and fostering the relationship between art and architecture Theo van Doesburg and Cornelis van Eesteren, architects of De Stijl Group, Galerie de L'Effort Moderne, Paris 1923  Published in "L'Architecture d'Aujourd'hui" July, 1935; View of cast of "Calf-Bearer" (Moscophoros), Fernand Leger's "Composition with Three Figures" (1932), bronze from Benin, sculpture by Henri Laurens and Le Corbusier's "Female Oyster-Fisher" (1935) Les Arts dits primitifs dans la maison d'aujourd'hui (Primitive Art in Today-s House), exhibition view, installed in Le Corbusier's home, Paris, 1935  Philip Goodwin and Edward Durell Stone, The Museum of Modern Art, 53rd Street, 1939 Heckscher Building, 57th Street and Fifth Avenue, SW corner, MoMA installed in the 20th floor in 1929. Modern Architecture: International Exhibition, installed at Museum of Modern Art, New York City February 9,1932 through March 23, 1932 The principles of what they described as constituents of the “International Style”. Volume was to replace mass.. Ornament was to be eliminated.. Regularity and flexibility were to supplant the academic obsession with symmetry.  Checklist of the exhibited work at the exhibition https://www.moma.org/calendar/exhibitions/2082 Exhibition, The Recent Work of Le Corbusier, October 24-35, 1935, MoMA Exhibition, Frank Lloyd Wright, American Architect, Nov 13, 1940–Jan 5, 1941, MoMA Exhibition, Mies van der Rohe Sep 16, 1947–Jan 25, 1948 Exhibition, Cubism and Abstract Art Mar 2–Apr 19, 1936 Cover, America Can’t Have Housing. From the exhibition Housing Exhibition of the City of New York. View of Housing Exhibition of the City of New York. The Museum of Modern Art, New York. October 15–November 7, 1934 Exhibition, Bauhaus 1919-1928 December 7, 1938-January 30, 1939 Plan of the Bauhaus exhibition, by Herbert Bayer. CIAM (CONGRÈS INTERNATIONAUX D’ARCHITECTURE MODERNE) Henri-Paul Nénot, József Vago, CamilleLefèbvre, Vágó, Carlo Broggi, Palace of Nations, Geneva, Switzerland, 1929-1936 Le Corbusier, competition entry Palace of Nations, Geneve, 1927 Hannes Meyer/ Hans Wittwer, Competition entry Architects gathering at the 1st CIAM in the Chateau of La Sarraz, June 26-28,1928 View of the Chateau of La Sarraz by Laszló Moholy-Nagy  By creating an international brotherhood on the model of Social Democrats, this elite association sought to use CIAM to make their voices heard by heads of state and industry. The Declaration proclaimed that: CIAM “battle plan” drawn by Le Corbusier for La Sarraz meeting, 1928. “urbanism can no longer submit exclusively to the rules 24 architects from 8 countries. of a gratitious aestheticism. It An original political conflict between French and German sides: is functional by its very. Le Corbusier wished to accommodate architecture to the demands of large-scale nature.” industrial capitalism. The Dutch, German, and German-Swiss wanted to use the advanced techniques of capitalism to help bring about a new collectivist society. These conflicts can be seen in the different versions of the text of the Declaration. The basic point of difference was over the architect’s proper role in modern society:. In the French text: the role of the architect is understood to be that of a technician who, in associating himself with industry, moves beyond the academic tradition. Sigfried Giedion, Bauen in Frankreich, Bauen in Eisen, Bauen. In the German text: the problem is how to fix the architect into the productive in Eisenbegon, 1928. Book jacket by Lazló Moholy-Nagy process.  1. Urbanism: Urbanism is the organization of all the functions of collective life; it extends over both urban agglomerations and over the countryside…Urbanization cannot be conditioned by the pretensions of a pre-existent estheticism: its essence is of a functional order. 2. This order consists of three functions: dwelling, producing, and relaxation (maintenance of the species). Its essential objects are land subdivisions, regulation of traffic, building legislation. 3. The chaotic division of land, resulting from sales, speculations, inheritances, must be abolished by a collective and methodological land economy. And this land redistribution, the indispensable preliminary basis for any town planning, must include the just division between the owners and community of the unearned increment resulting from works of joint interest. 4. There must be a traffic control. 5. There must be a new building legislation. Impromptu costume party in homage of Madame de Mandrot, Cover of the issue of i10 that included June 28, 1928 the “Declaration of La Sarraz,” 1928. Publication of Le Corbusier’s Villa Mandrot in the special issue devoted to the work of Le Corbusier and Pierret Jeanneret L’Architecture d’Aujourd’hui, no. 10, December 1933. 2nd CIAM Frankfurt-Am-Main, October 1929. “Die Wohnung für das Existenzminimum” exhibition. A three-bed unit from Lodz, exhibited and published in the catalog of Die Wohnung für das Existenzminimum, 1930 Die Wohnung fur das Existenzminimum (The Dwelling for Minimal Existence), 1930 Das Neue Frankfurt journal, Five Years, Housing in Frankfurt A. M., February 1930 Ernst May, Neue Frankfurt Master Plan, 1926  View of the window of Le Corbusier’s and Pierre Jeanneret’s Salvation Army Bulding, 1927. Page from Sigfried Giedion, Befreites Wohnen. The minimum dwelling unit should be combined with the tectonics and visual strategies of the new architecture. View of the housing settlement designed by Gropius and Bauhaus faculty at Dessau-Törten, under construction, ca. 1927. Gropius’s caption describes the Taylorized production methods being used. Sigfried Giedion, Befreites Wohnen (Literated Dwellings), 1929. Issued one month before the conference was opened. Margarete Schütte-Lihotzky Frankfurter Kuche (Frankfurt Kitchen), Frankfurt-am-Main, Germany, 1926 View of the work table with the kitchen garbage chute, the stepped window sill, the feed box and to the left the drying board 29  By perfecting the “scientific solution” to the minimum dwelling, CIAM members believed that the collective dwellings envisioned in the Soviet Union and Germany could become economically feasible for mass housing. Ernst May, Neue Frankfurt master plan Bornheimer Hang Siedlung, 1930  It addressed urban form with a focus on hygiene and mass production. Participants discussed the theme of the rational development of the housing schemes. The goal was the “aireation” of the elements of the city. Group photograph, CIAM 3, Brussels, 1930. Gropius’s big question in this conference was whether there should be built Low-, Mid-, High-Rise Buildings? Le Corbusier, La Ville Radieuse, 1930 One of twenty theoretical plates of the “Ville Radieuse”. These four city schemes, on the same scale, show the real evolution of the use of urban land. Gropius, Zeilenbau Housing Project, Karlsruhe, Baden-Wurttemberg, Germany, 1931 Gropius in his talk illustrated old and new block division methods and showed how taller, more widely spaced slab buildings could house more people per hectare.  The comments on the plans made the discourse of CIAM 3 clear: The CIAM excluded the Garden City, the Beaux-Arts, and Berlage’s urbanistic methods as well as any kind of explicit “formalism.” All forms of traditional urbanism were seen through a regularizing prism that made them appear dark, unsanitary, and chaotic, unsuited to “modern needs.” Publication of CIAM 3 Categorized as low, middle, or high-rise, the majority of projects displayed at CIAM 3 exhibition and published in Rationelle Bebauungsweisen came from Holland (11), Germany (9), Belgium (8), Switzerland (6), with some other few from France, Italy, Poland, Czechoslovakia, Hungary, Finland, Sweden, and Denmark. Hellerhof-Siedlung, Frankfurt, 1930 Barcelona, CIRPAC preparatory meeting of CIAM 4, March 1932 Giedion (CIAM) to Sert, Paris, November 30, 1931 Le Corbusier’s lecture on “Urbanisme”. Barcelona, March 30, 1932 Breuer in Spain Berlin Ascona Toulon Hyères El Escorial Barcelona Toledo Madrid Granada Cádiz Málaga Algeciras Larache Tetoua n Rabat Fez Casablanc a Meknes  Sert, Casa Muntaner, 1929 AC (Documentos de Arquitectura) magazine, Barcelona José Manuel Aizpurúa. Giedion and Mercadal at Plaza Catalunya Giedion to Sert, Zurich, March 14, 1932 Gropius and Breuer (behind the back) during lunchtime, CIRPAC Barcelona Gropius to Sert, Berlin, March 18, 1932 Bullfight at the Monumental Barcelona 1932 Walter Gropius Archive Marcel Breuer: the Philosophy of an Architect, Dodd & Mead, New York, 1955  CIAM 4 was originally planned for Moscow, in the effort to expand CIAM’s territory still further. But the aggresive campaign against modern architecture in the USSR led the organizers to relocate the 1933 meeting to Athens. Stills from László Moholy-Nagy: The Architects‘ Congress, 1933 https://vimeo.com/283726259 Discussions started in international waters, as participants sailed to Athens from Marseille aboard the Patris II, a ship belonging to a relative of Christian Zervos, publisher of the magazine Cahier d’Art, following a proposal by Marcel Breuer.  Discussions resolved around a graphic display that addressed the urban situation of some 30 cities, the plans of which featured standardized grids underscoring the similarity of problems from one city to the next. Cornelis Van Eesteren & Theodor Karel van Lohuizen, Amsterdam for Functional City Congress, 1933 Dessau. Housing, Developed by Bauhaus students: Wilhelm Hess, Cornelis van der Linden, Hubert Hoffnann Analytical map I. Housing, Working. and Recreation Cornelis Van Eesteren & Theodor Karel van Lohuizen, Amsterdam for Functional City Congress, 1933 Dessau. Traffic situation. Developed by Bauhaus students: Wilhelm Hess, Cornelis van der Linden, Hubert Hoffnann Analytical map 2. Traffic situation Cornelis Van Eesteren & Theodor Karel van Lohuizen, Amsterdam for Functional City Congress, 1933 Dessau. The City in the Environment. Developed by Bauhaus students: Wilhelm Hess, Cornelis van der Linden, Hubert Hoffnann Analytical map 3. The city with the environment Barcelona analyzed using a system of universal codification  Le Corbusier emphasized that the base of CIAM’s judgments must be “dwelling,” the first of the hierarchy of four functions: dwelling, work, amusement (soon changed to “leisure”) and circulation. The concentrated city, favored with modern techniques, assures the liberty of the individual within the housing fabric and organizes the collective life in relation to recreation (loisirs). While the garden city pattern satisfies the individual, he argued that it loses the advantages of collective organization. Le Corbusier speaking on the Patris II, CIAM 4, July 30, 1933. ”Constatations” (Observations) were published in the journal of the Technical Chamber of Greece, November 1933. DWELLING: CIAM found that population densities were typically too high in historic centers, with up to 1025 people per hectare, conditions were unhealthy and open spaces were lacking. LEISURE: Existing free areas were found to be generally insufficient for recreation, or poorly situated to benefit the inhabitants of dense central areas. CIAM called for the demolition of these central areas, to be turned into green spaces, with preschools, schools, and other collective facilities sited in them. WORK: CIAM found that workplaces were generally not well-situated for their functions, and that the relationship between dwelling and workplace was not rational, as it usually required long commutes (1 hour in Berlin, 1.5 hours CIAM 4, Athens, SS Patris, 1933 in London). They recommended that travel distances should be reduced to a minimum, and that industrial quarters, separated from housing and buffered by a neutral zone of green areas and sports fields, should be located adjacent to transportation routes. CIRCULATION: CIAM observed that most cities had medieval street patterns, which had become unsuitable for modern means of transportation such as streetcars and automobiles. The proposed that rigorous statistical methods be used to establish rational street widths, classed according to the speed of different means of transport. Housing quarters should be isolated from major transportation routes by green zones. HISTORIC DISTRICTS OF THE CITY: CIAM stated that historic monuments should be respected when they “are a pure expression of previous cultures and are of general interest”; when their conservation does not mean that their inhabitants have to live in unhealthy conditions; and when main traffic routes can be routed around them. At the same time, they declared that “aesthetic adaptation” of new buildings in historic districts has “evil consequences,” which should not be tolerated in any form. The destruction of slums around historic monuments provides green areas that can improve health conditions. REQUIREMENTS: CIAM demanded that housing districts should occupy the best sites, and a minimum amount of solar exposure should be required in all dwellings. For hygienic reasons, buildings should not be built along transportation routes, and modern techniques should be used to construct high apartment buildings spaced widely apart, to free the soil for large green parks. Josep Lluís Sert, Can Our Cities Survive?, 1942 Herbert Bayer, (graphic designer), bookjacket New Bauhaus (Ins tit ute of Design) + 193 8-194 9 Group photograph, + CIAM 5, Paris, 1937. Le Corbusier at right center. + GSD Ha rva rd University 193 7-195 2 Exposition Internationale des Arts et Techniques dans la Vie Moderne, Paris, 1937  Josep Lluis Sert and Luis Lacasa, Pavilion of the Spanish Republic at the Paris World’s Fair of 1937 https://www.museoreinasofi a.es/publicaciones/viajes- guernica Interior of the Temps Nouveaux pavilion, by Le Corbusier and Pierre Jeanneret with the four functions: Habiter, Recréer, Travailler, Transporter “Habiter” (Dwelling) photomontage from Temps Nouveaux pavilion, by Le Corbusier and Pierre Jeanneret. “Travailler” (working) photomontage from Temps Nouveaux pavilion, by Fernand Léger. “Transporter” (transport) photomontage from Temps Nouveaux pavilion, by Beauquier. “Recréer” (leisure) photomontage from Temps Nouveaux pavilion, by Léon Gischia and Lucien Mazeod. Le Corbusier & CIAM, La Charte d'Athènes from Des canons, des munitions? Merci! Des logis... s.v.p., 1938 (Canyons, munitions? Thank you! Dwellings…please) Other networks of influence and historical narratives Giedion was appointed professor in Harvard University's Graduate School of Design in 1938. Picasso, L’ Arlésienne, 1911-12. Walter Gropius, Corner of the workshop Cubist device of simultaneity, wing of the Bauhaus building, 1926. showing two aspects of a single Dematerializing of corners, permitting the object at the same time. hovering relations of planes. A milestone in modern thought Space, Time and Architecture: The Growth of a New Tradition, Harvard University Press, Cambridge, Mass., 1941 is the outcome of the Norton lectures he gave in 1938 and 1939.  Marcel Breuer sited at the B33 chair, 1926 Josep Lluís Sert in Spain, 1972