Ernst May and the New Frankfurt Initiative, 1926-1931
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Shifts in Modernist Architects' Design Thinking
arts Article Function and Form: Shifts in Modernist Architects’ Design Thinking Atli Magnus Seelow Department of Architecture, Chalmers University of Technology, Sven Hultins Gata 6, 41296 Gothenburg, Sweden; [email protected]; Tel.: +46-72-968-88-85 Academic Editor: Marco Sosa Received: 22 August 2016; Accepted: 3 November 2016; Published: 9 January 2017 Abstract: Since the so-called “type-debate” at the 1914 Werkbund Exhibition in Cologne—on individual versus standardized types—the discussion about turning Function into Form has been an important topic in Architectural Theory. The aim of this article is to trace the historic shifts in the relationship between Function and Form: First, how Functional Thinking was turned into an Art Form; this orginates in the Werkbund concept of artistic refinement of industrial production. Second, how Functional Analysis was applied to design and production processes, focused on certain aspects, such as economic management or floor plan design. Third, how Architectural Function was used as a social or political argument; this is of particular interest during the interwar years. A comparison of theses different aspects of the relationship between Function and Form reveals that it has undergone fundamental shifts—from Art to Science and Politics—that are tied to historic developments. It is interesting to note that this happens in a short period of time in the first half of the 20th Century. Looking at these historic shifts not only sheds new light on the creative process in Modern Architecture, this may also serve as a stepstone towards a new rethinking of Function and Form. Keywords: Modern Architecture; functionalism; form; art; science; politics 1. -
Transfers of Modernism: Constructing Soviet Postwar Urbanity
Transfers of Modernism: Constructing Soviet Postwar Urbanity The housing shortage during the postwar period has brought a new surge in the development of prefabrication technologies, especially in 1950s East Germany, France and the Soviet Union— the countries that suffered significant physical damage from the war. Although the prefabrication building techniques were evidently not an invention of the MASHA PANTELEYEVA 1950s and there has been a long tradition of similar types of construction and experi- Princeton University mentation in building culture, the need for a new and improved efficiency in construction rapidly emerged in the situation of an extreme postwar housing crisis. Formed by the multiple geopolitical and economic aspects of the postwar architectural context, the new method focused on the construction with large concrete panels prefabricated offsite, which allowed cutting down production costs and significantly reducing time of construc- tion. This development was inseparable from architecture’s political and social context: most of the building associated with the new typology in the reconstruction period was subsidized by the state, characterized by the intense involvement of political figures. Originally developed in France with the initiative of the Ministry of Reconstruction and Urbanism in the late 1940s, the large-panel system building experienced a rapid adapta- tion across Europe: its aesthetic and technological qualities underwent “back-and-forth” cultural alterations between the countries, and eventually determined the failure of the system in the West, and its long-lasting success in Eastern Europe. The technological basis of most European prefabricated buildings was developed in European states with stable social-democratic policies, particularly in Scandinavia, Great Britain, and France. -
Frankfurt Rhine-Ruhr Metropole Berlin 2012
Frankfurt Rhine-Ruhr Metropole Berlin 2012 SATURDAY ICAM 16 CONFERENCE IS HOSTED BY: SEPTEMBER 1, 2012 Deutsches Architekturmuseum (DAm) Schaumainkai 43, 60596 Frankfurt Tel: +49 (0)69 212 36 706; Fax: +49 (0)69 212 36 386 www.dam-online.de Peter Cachola Schmal, Director [email protected]; mobile: +49 (0)170 85 95 840 Wolfgang Voigt, Deputy Director [email protected]; mobile: +49 (0)162 61 65 677 Inge Wolf, Head of Archive [email protected] Peter Körner [email protected]; mobile: +49 (0)177 78 88 869 MUseUM FÜR ArchitektUR Und INGenieUrkUnst NRW (m:Ai) Leithestraße 33, 45886 Gelsenkirchen Tel: +49 (0)209 92 57 80; Fax: +49 (0)209 31 98 111 www.mai-nrw.de Dr. ursula kleefisch-Jobst, Director [email protected]; mobile: +49 (0)177 58 60 210 Peter Köddermann, Project Managment [email protected]; mobile: +49 (0)177 58 60 211 Akademie Der künste (AdK) Pariser Platz 4, 10117 Berlin Tel: +49 (0)30 20 05 70; Fax: +49 (0)30 20 05 71 702 www.adk.de Dr. eva-maria Barkhofen, Head of Architectural Archive [email protected]; mobile: +49 (0)176 46 686 386 OFFICIAL TRAVEL AGENCY: AGentUR ZeitsprUNG Kokerei Zollverein, Tor 3, Arendahlswiese, 45141 Essen Tel: +49 (0)201 28 95 80; Fax: +49 (0)201 28 95 818 www.zeitsprung-agentur.de Contact person: Anne Brosk [email protected]; mobile: +49 (0)179 51 64 504 2 SATURDAY SEPTEMBER 1, 2012 PRE-CONFERENCE TOUR DAM 13.00 – 17.00 REGISTRATION / MARKET PLACE 14.00 DEPARTURE BY BUS FROM THE DAM 14.20 – 15.30 FARBWERKE HOECHST ADMINISTRATION BUILDING by Peter Behrens, 1920 – 1924 With bridge and tower, the former administration building of the Hoechst AG is a master piece of expressionist architecture. -
JOHNSON WAX Building I. G. FARBEN Offices Site
Johnson Wax Building I. G. Farben Offices Frank Lloyd Wright Hans Poelzig Racine, Wisconsin Site Frankfurt, Germany, 1936-39 c. 1928-31 the site of the two buildings are vastly different; the johnson wax building is in a suburben area and takes un the entire block on which it is located. Con- versely, the ig farben building reads as a building in a landscape, the scale of the site is much larger than wright’s. Both building’s however are part of a larger complex of buildings. Prairie/streamline international era Social context Both buildings were built for rapidly expanding companies: IG Farben, at the time, was the largest conglomerate for dyes, chemicals and drugs and Johnson Wax, later SC Johnson. adam morgan danny sheng Johnson Wax Building I. G. Farben Offices Frank Lloyd Wright Hans Poelzig Racine, Wisconsin Composition Frankfurt, Germany, 1936-39 c. 1928-31 Both buildings are horizontally dominated compositions research tower office towers administration building connecting wing entrance hall building is almost bilaterally symmetrical Bilateral symmetry entry is similar to that of Unity Temple and Robie House. The Entry is on the transverse axis along entry is hidden from view and which the building is bilaterally symmetri- approached on the transverse cal. This classical approach is further axis, this leads to a low dark enforced by the “temple-like” portico on space just prior to entry which the front of the building opens up into a well lit expan- “temple Front” entrance sive space making the entry adam morgan danny sheng Johnson Wax Building I. G. -
Synthetic Worlds Nature, Art and the Chemical Industry
Synthetic Worlds Nature, Art and the Chemical Industry Esther Leslie Synthetic Worlds Synthetic Worlds Nature, Art and the Chemical Industry Esther Leslie reaktion books Published by reaktion books ltd www.reaktionbooks.co.uk First published 2005 Copyright © Esther Leslie 2005 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Colour printed by Creative Print and Design Group, Harmondsworth, Middlesex Printed and bound in Great Britain by Biddles Ltd, Kings Lynn British Library Cataloguing in Publication Data Leslie, Esther, 1964– Synthetic worlds: nature, art and the chemical industry 1.Art and science 2.Chemical industry - Social aspects 3.Nature (Aesthetics) I. Title 7-1'.05 isbn 1 86189 248 9 Contents introduction: Glints, Facets and Essence 7 one Substance and Philosophy, Coal and Poetry 25 two Eyelike Blots and Synthetic Colour 48 three Shimmer and Shine, Waste and Effort in the Exchange Economy 79 four Twinkle and Extra-terrestriality: A Utopian Interlude 95 five Class Struggle in Colour 118 six Nazi Rainbows 167 seven Abstraction and Extraction in the Third Reich 193 eight After Germany: Pollutants, Aura and Colours That Glow 218 conclusion: Nature’s Beautiful Corpse 248 References 254 Select Bibliography 270 Acknowledgements 274 Index 275 introduction Glints, Facets and Essence opposites and origins In Thomas Pynchon’s novel Gravity’s Rainbow a character remarks on an exploding missile whose approaching noise is heard only afterwards. The horror that the rocket induces is not just terror at its destructive power, but is a result of its reversal of the natural order of things. -
Die Späten Ernst-May-Siedlungen in Hessen
Die späten Ernst-May-Siedlungen in Hessen Maren Harnack Paola Wechs Julian Glunde Die späten Ernst-May-Siedlungen in Hessen Schelmengraben Klarenthal Parkfeld Kranichstein Die späten Ernst-May-Siedlungen in Hessen Eine Untersuchung von Prof. Dr.-Ing. Maren Harnack, MA Paola Wechs und Julian Glunde In Zusammenarbeit mit dem .andesamt fØr DenkmalRƃege Hessen Frankfurt University of Applied Sciences Fachbereich 1 Architektur, Bauingenieurwesen, Geomatik Nibelungenplatz 1 60318 Frankfurt am Main [email protected] Gestaltung Elmar Lixenfeld / www.duodez.de ISBN 978-3-947273-20-1 © 2019 Maren Harnack Inhalt 7 Einleitung 9 Kriterien für die Beschreibung und Bewertung von Siedlungen der Nachkriegsmoderne Planerisches Konzept / Geschichtliche Bedeutung / Städtebauliche Struktur / Architektur / Freiraumstruktur / Freiraumgestaltung / Erschließungsstruktur / Einbindung in die Umgebung 19 Fallstudien 20 Schelmengraben Wiesbaden Beschreibung Bewertung 66 Klarenthal Wiesbaden Beschreibung Bewertung 110 Parkfeld Wiesbaden Beschreibung Bewertung 148 Kranichstein Darmstadt Beschreibung Bewertung 190 Prinzipien für die Weiterentwicklung von Siedlungen der Nachkriegsmoderne Allgemeingültige Prinzipen Wiesbaden / Schelmengraben / Klarenthal / Parkfeld / Darmstadt Kranichstein 233 Wie weiterbauen? 235 Quellen Literatur / Bildnachweis Einleitung 7 Deutschlandweit herrscht in den prosperierenden Ballungsräumen ein Mangel an günstigem Wohnraum. Viele Großstädte verfügen kaum noch über Baulandreserven, und neu auszuweisendes Bauland konkurriert mit -
Martin-Elsaesser-Kirchen
Elisabeth Spitzbart S I M E Jörg Schilling S l u i B a „Wichtig ist nur, daß unsere Generation innerlich unab - s b N r a s t b k i hängig wird und aus Sachlichkeit und aus echter Gesin - 9 n e r 7 i t p E 8 nung heraus über ihre eigene religiöse Überzeugung h ❏ ❏ l t s i 3 S o a auch zu einer eigenen künstlerischen Anschauung und p n e 8 i s 0 s t Gestaltung kommt.“ s z p 3 Die Autoren e b r 0 r Martin Elsaesser 1919 e a . I I ( B i 0 r c c d K s t i 7 h h t u i b | 7 r t Elisabeth Spitzbart studierte Kunstgeschichte und r m b i c e J 8 c s h ö e h n ö 3 0 s r e Romanistik an den Universitäten Düsseldorf, Bonn und e g c t 1 e n h e h i . b S n 0 l t m l Stuttgart. Nach Abschluss der Dissertation über „Die c a e 8 e e h u e . d A … 2 i t n l Kirchenbauten von Martin Elsaesser“ (1989) arbeitete a 0 e l n … i Stadtpfarrkirche Stuttgart-Gaisburg, 1913 s S n n 1 z … i e B , 4 g sie als wissenschaftliche Mitarbeiterin und Hochschul - e Innenraum i P u E : g K Elisabeth Spitzbart | Jörg Schilling x f E c e a assistentin am Institut für Baugeschichte der TH Karls - o e h U , r n m p e r R t - r i ruhe (heute KIT). -
To All Asa Comm Unit Vets
Page 1 of 14 TO ALL ASA COMM UNIT VETS TRIVIA QUESTIONS: What does Dachsbau mean in English? What was the name of the park where Dachsbau was located? Dachsbau was just off what street? What was Dachsbau used for by the German army in WWll? THE DAY DACHSBAU BURNED TRIVIA ANSWERS: Badger's Den, Grueneburg Park, and August - Siebert Strasse. Dachsbau was used as a mess hall by the Germany army during WWll (per Joe Tovarek). The German army leased the I.G. Farben building in 1940 for office space and used Dachsbau for dining. I'm presuming it was for enlisted personnel and that the building directly behind the Farben building (the Officers' Club) was for officers. Grueneburg Park is said to have been used to hold Allied POWs as one website states or for war refugees as Joe tells me. Page 2 of 14 Did you know that Dachsbau, the ASA Frankfurt Communication Center, had a major fire on December 8, 1971 that led to its closure? I didn't until I started this project. I was on the phone with Ray Anfang when he brought up the subject of the fire. It was the first I had heard of it and it led me down a curious and interesting path. Ray was an MOS 345 Crypto Maintenance & Repair SP5 and a Duty NCO at Dachsbau. He later transferred to ASAE S3 at the Farben Building where he was promoted to SSgt. He spent thirty years in the army with an incredible list of duty sites including Viet Nam, Iran, Presidio of San Francisco, Vint Hill and TDY trips all around the world inspecting crypto facilities. -
Press Release
www.frankfurt-tourismus.de Press Release “New Frankfurt” – Between the Skyline and the Römerberg Older than the city’s banking high-rises, newer than the old town centre: Frankfurt has the Bauhaus movement of the 1920s to thank for its very first high-rise … and the fitted kitchen. The Bauhaus style is widely regarded as one of the world’s most significant architectonic movements, influencing modern architecture, art and design far beyond Germany’s borders. The fundamental idea behind Bauhaus was to harmoniously combine architecture, art and handcraft, resulting in a single structural masterpiece. Walter Gropius founded the Bauhaus School of Architecture in Weimar, Germany, in 1919. It remained there until 1925, when it was moved to Dessau. In 1932, the school moved to Berlin, closing only a year later because of pressure put on its leadership by the National Socialist regime. But how much did the Bauhaus movement influence Frankfurt? Locals and visitors are of course familiar with the city’s modern skyline and the Römerberg old town centre. But do they know of “New Frankfurt”? This housing programme was equally important in shaping the cityscape of the metropolis on the River Main. It was the architect duo of Ernst May and Martin Elsaesser who implemented the ideas of “New Objectivity”, which were taught at the Bauhaus School, in various Frankfurt districts between 1925 and 1930, thereby creating what became known as “New Frankfurt”. Bauhaus-styled residential estates include, for example, Estate Westhausen, Estate Praunheim, Estate Höhenblick, Estate Bruchfeldstraße, Estate Am Bornheimer Hang and Estate Hellerhof. The Römerstadt and the Ernst May Show-House – home of the world’s very first series-produced fitted kitchen – are two further, particularly interesting examples of the Bauhaus style. -
The Rockefeller Syndicate by Eustace Mullins
The Rockefeller Syndicate by Eustace Mullins. The Rockefeller Syndicate Excerpted from the book Murder by Injection by Eustace Mullins. [back] Chapter 10 Many American conservatives believe as a matter of faith that the Rockefellers and the Council on Foreign Relations exercise absolute control over the government and the people of United States . This thesis can be accepted as a working formula if one remains conscious of the larger issues . Two writers for whom the present writer has great respect, Dr. Emanuel Josephson and Morris Bealle, insisted on focusing on the Rockefellers and excluding all other aspects of the World Order . This severely limited the effect of their otherwise ground breaking work on the Medical Monopoly. This writer advanced a contrary view in "The World Order," fixing upon the Rothschild monetary power, which reached a point of world control by 1885, and its London policy group, the Royal Institute of International Affairs, as the policy makers for what has essentially been since 1900, re-established colonial government in the United States. The colonial, or occupation, government, functions primarily through the Council on Foreign Relations, but only as the subsidiary of RIIA and through the Rockefeller Foundation which controls government functions, the educational establishments, the media, the religions and the state legislatures. It is true that the American colonials have "free elections," in which they have the absolute right to vote for one of two opposing candidates, both of whom have been handpicked and financed by the Rockefeller syndicate. This touching evidence of "democracy" serves to convince most Americana that we are indeed a free people. -
The ECB Main Building
Main Building November 2020 Contents 1 Overview 2 1.1 The commencement Error! Bookmark not defined. 1.2 Project Milestones 8 1.3 Building Description 14 1.4 Site 19 1.5 Energy Design 27 1.6 Sustainability 29 1.7 Memorial 31 1.8 Photo Gallery Timeline (2004-2015) 34 2 Competition 35 2.1 Competition phases 37 2.2 Competition format 54 3 Planning Phase 56 3.1 Different planning phases 56 3.2 Optimisation phase 57 3.3 Preliminary planning phase 59 3.4 Detailed planning phase 60 3.5 Execution planning phase 62 4 Construction Phase 65 4.1 Preliminary works 65 4.2 Structural work 71 4.3 Façade 82 4.4 Landscape architecture 85 5 Appendix 87 Main Building – Contents 1 1 Overview 1.1 The project begins 1.1.1 A new home for the ECB Upon a recommendation by the European Court of Auditors to all European institutions that it is much more economical in the long term to own premises rather than to rent office space, the ECB built its own premises on the site of the Grossmarkthalle (Frankfurt’s former wholesale market hall). The premises were designed by Vienna-based architects COOP HIMMELB(L)AU. Figure 1 185 m high office tower Main Building – Overview 2 Figure 2 120,000 m² entire site area Figure 3 250 m long Grossmarkthalle 1.1.2 Choosing the location When the Maastricht Treaty was signed in 1992, it was decided that the ECB would be located in Frankfurt am Main. In 1998, when the ECB started operations in rented offices in the Eurotower, the search for a suitable site for its own premises in Frankfurt began. -
Utopia and Vision: Learning from Vienna and Frankfurt Autor(Es
Utopia and vision: learning from Vienna and Frankfurt Autor(es): Porotto, Alessandro Publicado por: Editorial do Departamento de Arquitetura URL persistente: URI:http://hdl.handle.net/10316.2/41248 DOI: DOI:https://doi.org/10.14195/1647-8681_7_7 Accessed : 4-Oct-2021 13:18:21 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt EDARQ JOURNAL OF ARCHITECTURAL CULTURE 2016 JOELHO # 07 LEARNING FROM MODERN UTOPIAS —— Guest Editors: Armando Rabaça Carlos Martins Tim Verlaan Hans Ibelings Caroline Constant Alexander Eisenschmidt Carola Hein Celina Kress Alessandro Porotto César Losada Romero Cecilia Bischeri and Silvia Micheli Manfredo Manfredini and Anh-Dung Ta Exhibition History of Portuguese Architecture École Polytechnique Fédérale Alessandro Porotto de Lausanne Utopia and Vision.