Course Syllabus Jump to Today A8906 Architecture, GSAPP Columbia University Spring 2016 Mary Mcleod
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Open Etoth Dissertation Corrected.Pdf
The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. -
Henryk Berlewi
HENRYK BERLEWI HENRYK © 2019 Merrill C. Berman Collection © 2019 AGES IM CO U N R T IO E T S Y C E O L L F T HENRYK © O H C E M N 2019 A E R M R R I E L L B . C BERLEWI (1894-1967) HENRYK BERLEWI (1894-1967) Henryk Berlewi, Self-portrait,1922. Gouache on paper. Henryk Berlewi, Self-portrait, 1946. Pencil on paper. Muzeum Narodowe, Warsaw Published by the Merrill C. Berman Collection Concept and essay by Alla Rosenfeld, Ph.D. Design and production by Jolie Simpson Edited by Dr. Karen Kettering, Independent Scholar, Seattle, USA Copy edited by Lisa Berman Photography by Joelle Jensen and Jolie Simpson Printed and bound by www.blurb.com Plates © 2019 the Merrill C. Berman Collection Images courtesy of the Merrill C. Berman Collection unless otherwise noted. © 2019 The Merrill C. Berman Collection, Rye, New York Cover image: Élément de la Mécano- Facture, 1923. Gouache on paper, 21 1/2 x 17 3/4” (55 x 45 cm) Acknowledgements: We are grateful to the staf of the Frick Collection Library and of the New York Public Library (Art and Architecture Division) for assisting with research for this publication. We would like to thank Sabina Potaczek-Jasionowicz and Julia Gutsch for assisting in editing the titles in Polish, French, and German languages, as well as Gershom Tzipris for transliteration of titles in Yiddish. We would also like to acknowledge Dr. Marek Bartelik, author of Early Polish Modern Art (Manchester: Manchester University Press, 2005) and Adrian Sudhalter, Research Curator of the Merrill C. -
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. -
Light and Sight in Ter Brugghen's Man Writing by Candlelight
Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca. -
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 -
Collection 1880S–1940S, Floor 5 Checklist
The Museum of Modern Art Fifth Floor, 1880s-1940s 5th Fl: 500, Constantin Brancusi Constantin Brâncuși Bird in Space 1928 Bronze 54 x 8 1/2 x 6 1/2" (137.2 x 21.6 x 16.5 cm) Given anonymously 153.1934 Fall 19 - No restriction Constantin Brâncuși Fish Paris 1930 Blue-gray marble 21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point Acquired through the Lillie P. Bliss Bequest (by exchange) 695.1949.a-d Fall 19 - No restriction Constantin Brâncuși Mlle Pogany version I, 1913 (after a marble of 1912) Bronze with black patina 17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm), on limestone base 5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm) 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) Other (bronze): 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) 5 3/4 × 6 1/8 × 7 3/8" (14.6 × 15.6 × 18.7 cm) Other (approx. weight): 40 lb. (18.1 kg) Acquired through the Lillie P. Bliss Bequest (by exchange) 2.1953 Fall 19 - No restriction Constantin Brâncuși Maiastra 1910-12 White marble 22" (55.9 cm) high, on three-part limestone pedestal 70" (177.8 cm) high, of which the middle section is Double Caryatid, c. -
The Restorations of the Rietveld Schröderhuis
THE RESTORATIONS OF THE RIETVELD SCHRÖDERHUIS A REFLECTION Marie-Thérèse van Thoor The Netherlands World Heritage List currently num- Rietveld (1888-1964), a fame equal to that of Le Corbu- bers ten sites, most of which are related to water. The sier or Mies van der Rohe. In late 2015, a Keeping it exceptions are the Van Nelle Factory and the only pri- Modern Grant from the Getty Foundation enabled re- vate home on the list, the Rietveld Schröder House search to be carried out into the restorations of the (1924) in Utrecht. In 1987 the house opened as a muse- house in the 1970s and 1980s.1 Until now there have um and since 2013 it has been part of the collection of been only a few publications devoted to these resto- Utrecht’s Centraal Museum (fig. ).1 For the inhabitants rations, all personal accounts by the restoration archi- of the city the house is simply part of the Utrecht street- tect, Bertus Mulder (b. 1929).2 The new research project 15-31 PAGINA’S scape. But elsewhere in the world this one house (and made it possible to put these accounts on a scientific that one red-blue chair) earned its architect, Gerrit T. footing and to enrich them by means of extensive ar- chival research and oral history in the form of conver- m 1. The Rietveld Schröder House in Utrecht, Unesco World sations with Mulder.3 Heritage monument since 2000, photo Stijn Poelstra 2018 The materialization of external and internal walls, in (Centraal Museum, Utrecht (CMU)) plaster- and paintwork played a key role in Rietveld’s 15 2. -
Leseprobe 9783791385280.Pdf
Our Bauhaus Our Bauhaus Memories of Bauhaus People Edited by Magdalena Droste and Boris Friedewald PRESTEL Munich · London · New York 7 Preface 11 71 126 Bruno Adler Lotte Collein Walter Gropius Weimar in Those Days Photography The Idea of the at the Bauhaus Bauhaus: The Battle 16 for New Educational Josef Albers 76 Foundations Thirteen Years Howard at the Bauhaus Dearstyne 131 Mies van der Rohe’s Hans 22 Teaching at the Haffenrichter Alfred Arndt Bauhaus in Dessau Lothar Schreyer how i got to the and the Bauhaus bauhaus in weimar 83 Stage Walter Dexel 30 The Bauhaus 137 Herbert Bayer Style: a Myth Gustav Homage to Gropius Hassenpflug 89 A Look at the Bauhaus 33 Lydia Today Hannes Beckmann Driesch-Foucar Formative Years Memories of the 139 Beginnings of the Fritz Hesse 41 Dornburg Pottery Dessau Max Bill Workshop of the State and the Bauhaus the bauhaus must go on Bauhaus in Weimar, 1920–1923 145 43 Hubert Hoffmann Sándor Bortnyik 100 the revival of the Something T. Lux Feininger bauhaus after 1945 on the Bauhaus The Bauhaus: Evolution of an Idea 150 50 Hubert Hoffmann Marianne Brandt 117 the dessau and the Letter to the Max Gebhard moscow bauhaus Younger Generation Advertising (VKhUTEMAS) and Typography 55 at the Bauhaus 156 Hin Bredendieck Johannes Itten The Preliminary Course 121 How the Tremendous and Design Werner Graeff Influence of the The Bauhaus, Bauhaus Began 64 the De Stijl group Paul Citroen in Weimar, and the 160 Mazdaznan Constructivist Nina Kandinsky at the Bauhaus Congress of 1922 Interview 167 226 278 Felix Klee Hannes -
Colour, Form, and Space: Rietveld Schröder House Challenging The
COLOUR, FORM AND SPACE RIETVELD SCHRÖDER HOUSE CHALLENGING THE FUTURE Marie-Thérèse van Thoor [ed.] COLOUR, FORM AND SPACE TU Delft, in collaboration with Centraal Museum, Utrecht. This publication is made possible with support from the Getty Foundation as part of its Keeping It Modern initiative. ISBN 978-94-6366-145-4 © 2019 TU Delft No part of these pages, either text or image, may be used for any purpose other than research, academic or non-commercial use. The publisher has done its utmost to trace those who hold the rights to the displayed materials. COLOUR, FORM AND SPACE RIETVELD SCHRÖDER HOUSE CHALLENGING THE FUTURE Marie-Thérèse van Thoor [ed.] COLOUR, FORM AND SPACE / Rietveld Schröder House challenging the Future 4 Contents CONTENTS INTRODUCTION 7 Marie-Thérèse van Thoor THE RESTORATION OF THE EXTERIOR 11 Marie-Thérèse van Thoor THE PAINTWORK AND THE COLOURS OF THE EXTERIOR 23 Marie-Thérèse van Thoor RESTORATION OF THE INTERIOR 35 Marie-Thérèse van Thoor THE HOUSE OF TRUUS SCHRÖDER: FROM HOME TO MUSEUM HOUSE 55 Natalie Dubois INDOOR CLIMATE IN THE RIETVELD SCHRÖDER HOUSE 91 Barbara Lubelli and Rob van Hees EPILOGUE 101 ENDNOTES 105 LITERATURE 113 ARCHIVES 114 CONVERSATIONS 114 COLOPHON 117 5 COLOUR, FORM AND SPACE / Rietveld Schröder House challenging the Future INTRODUCTION MARIE-THÉRÈSE VAN THOOR 6 Introduction INTRODUCTION MARIE-THÉRÈSE VAN THOOR The Rietveld Schröder House in Utrecht was designed in 1924 is also a milestone in the history of modern heritage restoration by Gerrit Thomas Rietveld (1888-1964) for Mrs Truus Schröder- and a manifesto for the concern for modern heritage in Schräder (1889-1985), as a home for her and her three young the Netherlands. -
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. -
Technical Art History Colloquium
TECHNICAL ART HISTORY COLLOQUIUM ‘The Calling of St. Matthew’ (1621) by Hendrick ter Brugghen. Centraal Museum, Utrecht The Technical Art History Colloquium is organised by Sven Dupré (Utrecht University and University of Amsterdam, PI ERC ARTECHNE), Arjan de Koomen (University of Amsterdam, Coordinator MA Technical Art History) and Abbie Vandivere (Paintings conservator, Mauritshuis, The Hague & Vice-Program Director MA Technical Art History). Monthly meetings take place on Thursdays, alternately in Utrecht and Amsterdam. The fifth edition of the Technical Art History Colloquium will be held at the Centraal Museum Utrecht, in connection with the upcoming exhibition Caravaggio, Utrecht and Europe. Liesbeth M. Helmus (Curator of old masters, Centraal Museum Utrecht) will present preliminary results of technical research on paintings by Dirck van Baburen and Hendrick ter Brugghen. Marco Cardinali (Technical art historian at Emmebi Diagnostica Artistica, Rome and visiting professor at the Stockholm University and UNAM-Mexico City) will present — as co-editor and curator of the scientific research — the recently published Caravaggio. Works in Rome. Technique and Style (2016). The result of an ambitious project launched in 2009 and funded by the National Committee for the Celebrations of the Fourth Centenary of the Death of Caravaggio, this book sheds light on Caravaggio’s pictorial methods through technical research on twenty- two unquestionably original works in Rome. Date: September 22, 2016 Time: 14:00 – 16:00 (presentations) — 16:00 – 17:00 (possibility to visit the museum) Location: Centraal Museum, Agnietenstraat 1, Utrecht — Aula Admission free Caravaggio’s Painting Technique and the Art Critique. A Technical Art History Marco Cardinali The recently published book Caravaggio.