Werkbund Hessen
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
16 Bauhaus and Beyond Friday, March 20, 2020 1:45 PM
16 Bauhaus and Beyond Friday, March 20, 2020 1:45 PM Admin Remember, any photograph or image you don't create must be given attribution in EVERY post you use it in. It's fine to use designs from elsewhere, as long as you give credit. Possible format for virtual Expo during exam time: First half hour, everybody in Pod A host a Zoom room, demonstrate what they have, answer questions from folks in Pods B,C,D, who stroll between Zoom rooms. Next half hour, Pod B is host, etc. Zooms are open, can still invite family and friends online. http://www.rchoetzlein.com/website/artmap/ Fiell, Charlotte & Peter. Design of the 20th Century. Taschen America, 2012. AesDes2020 Page 1 Fiell, Charlotte & Peter. Design of the 20th Century. Taschen America, 2012. Everything changed around 1920. Modernist era began. Abstract shapes, unadorned surfaces, function rules 1914-1918 WORLD WAR I Economies changed Art changed See timelines Short discussion: What do you already know about Bauhaus? Bauhaus video Design in a Nutshell, from the British Open University: http://www2.open.ac.uk/openlearn/design_nutshell/index.php# Brian Douglas Hayes. Bauhaus: A History and Its Legacy, 2012. https://www.youtube.com/watch?v=xYrzrqB0B8I. 8:38 Bauhaus has roots in Deutscher Werkbund Still trying to integrate craftsmanship with industrialization: 1907 -1935. Big change in aesthetics. The Deutscher Werkbund (German Association of Craftsmen) is a German association of artists, architects, designers, and industrialists, established in 1907. The Werkbund became an important element in the development of modern architecture and industrial design, particularly in the later creation of the Bauhaus school of design. -
The 1914 Werkbund Debate Resolved: the Design and Manufacture of Frank O
The 1914 Werkbund Debate Resolved: The Design and Manufacture of Frank O. Gehry’s Guggenheim Museum, Bilbao Irene Nero Concern about McDonaldization in architecture is not new pride should dictate that goods be of fine quality, so as not to to architectural discourse.1 The terms of expression may be “pollute the visual environment.”4 different, but some of the important issues are fundamentally Van de Velde, another of the founding members, was also the same as those found at the core of the historic 1914 influenced by England’s Industrial Revolution, but this time, Werkbund debate between Hermann Muthesius and Henry van by its vocal opponent—John Ruskin. Van de Velde was in de Velde. This landmark debate serves as one of the earliest, if agreement with Muthesius that goods produced should be of not the earliest, example of publicly demonstrated concern high quality, but felt that handcrafting in the English Arts among modern architects regarding the origins of design and and Crafts tradition was more appropriate for establishing a manufacture of architecture.2 Primarily, at debate was the is- national identity.5 Both of the powerful Werkbund members sue of architecture becoming a standardized type-object, sub- agreed that quality was an issue in the production of German ject to ubiquitous distribution, versus architecture remaining goods, but had divergent ideas regarding their manufacture. an individualized, artistically-inspired creation. “Sameness” Manufactured goods, however, were not the only items under was an issue, simply because it was deemed an affront to the consideration at the Werkbund exhibition for standardization. creative process. -
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. -
MITTEILUNGEN Des Museumsverbandes in Mecklenburg-Vorpommern E.V
2019MITTEILUNGEN DES MUSEUMSVERBANDES IN M-V MITTEILUNGEN des Museumsverbandes in Mecklenburg-Vorpommern e.V. des Museumsverbandes inMecklenburg-Vorpommern 2019 MITTEILUNGEN des Museumsverbandes in Mecklenburg-Vorpommern e.V. 2019 IMPRESSUM Mitteilungen des Museumsverbandes in Mecklenburg-Vorpommern e.V. 28. Jahrgang, 2019 Herausgeber Museumsverband in Mecklenburg-Vorpommern e.V. Vorsitzende: Dr. Kathrin Möller Koordinationsbüro Burgwall 15 18055 Rostock Telefon: 0381.81706180 Fax: 0381.81706181 E-Mail: [email protected] www.museumsverband-mv.de Text- und Bildredaktion Dr. Peter Danker-Carstensen E-Mail: [email protected] Redaktionsschluss: 1.10.2019 Lektorat Dr. Stefan Knüppel Erscheinungsweise: jährlich © für die Abbildungen bei den jeweiligen Autoren bzw. bei den durch sie vertretenen Institutionen. Frühere Ausgaben der Mitteilungen können im Koordinationsbüro angefordert werden. Schutzgebühr 7,50 € zuzüglich Versand- kosten. Für Mitglieder des Museumsverbandes sind die Hefte kostenfrei. Nachdruck mit Genehmigung des Vorstandes. Hergestellt mit Förderung durch das Ministerium für Bildung, Wissenschaft und Kultur des Landes Mecklenburg-Vorpommern. Umschlagbild Die Kunsthalle Rostock im Winter 1970. Foto: Jürgen Sindermann Gestaltung Marco Pahl (www.grafikagenten.de) Druck Druckerei Weidner, Rostock INHALT VORWORT 5 BEITRÄGE 6 Bildende Kunst am Meer des Friedens. Die Biennale der Ostseeländer als Ursprung der Kunsthalle 6 Rostock Elke Neumann „Ein halbes Jahrhundert für die Kunst“: Die Kunsthalle Rostock hat 50 Jahre wechselvolle -
“Showcasing 100 Years of German Architecture and Design”
PRESS RELEASE WHAT: 100 Years Deutscher Werkbund: Architecture and Design from Germany WHEN: April 04 to May 25, 2019 | Mondays to Saturdays | 10:00AM to 5:30PM WHERE: Metropolitan Museum of Manila “Showcasing 100 Years of German IN COOPERATION WITH: Architecture and Design” An exhibition introducing German architecture and design from the 20th century is coming to Manila this April 04 to May 25 at Metropolitan Museum of Manila. The exhibition entitled “100 Years Deutscher Werkbund“ is designed to mark the hundredth anniversary of the Deutscher Werkbund (DWB), a German association of artists, architects, designers, and industrialists, born out of a desire for greater efficiency in the crafts industry, better design for industry, and a more modern approach to architecture. It celebrates DWB‘s existence and describes their efforts, successes and achievements as one of the most important and influential SUPPORTED BY: institutions of the 20th century- an institution that helped to shape cultural life in other European countries as well. With posters, models, furniture, design, drawings and photos arranged chronologically in seven sections, the exhibit shows vividly the achievements of Deutscher Werkbund (DWB) throughtout the years as well as the question to the future of the group. All the key ideas, concepts and activities are grouped thematically and are related to larger political and social contexts. "100 Years Deutscher Werkbund" will open on April 04 with a program at Metropolitan Museum of Manila at 6pm. The designer of the exhibition, Beate Rosalia Schmidt from Germany, will be present at the opening program. It will be on display at the museum from April 04 to May 25, 2019, every Monday to Saturday at 10:00am to 5:30pm. -
Volume 6. Weimar Germany, 1918/19–1933 Bruno Taut, Program of the “Arbeitsrat Für Kunst" (1918)
Volume 6. Weimar Germany, 1918/19–1933 Bruno Taut, Program of the “Arbeitsrat für Kunst" (1918) “Arbeitsrat für Kunst" in Berlin Convinced that the recent political revolution must be used to free art from decades of domination, a circle of like-minded artists and art lovers has congregated in Berlin. This circle is striving to collect all scattered and splintered forces committed to moving beyond the preservation of one-sided occupational interests, in order to cooperate in rebuilding our entire art world. In close touch with the elected governments and with like-minded associations such as the Art Council in Munich, Dresden, etc., the Arbeitsrat für Kunst hopes to be able to succeed in its immediate goals in the near future. The goals are outlined in the following program excerpt. Above all, this slogan guides us: Art and people must form a unity. Art should no longer be the pleasure of a few but should bring joy and sustenance to the masses. The goal is the union of the arts under the wings of a great architecture. From now on the artist, as shaper of the sensibilities of the people, is alone responsible for the external appearance of the new nation. He must determine the boundaries of form from statuary down to coins and stamps. On this basis, we currently make six demands: 1. Recognition of the public nature of all building activity, an end to public and private privileges enjoyed by civil servants. Uniform management of whole city boroughs, streets and housing developments, without encroaching on individual freedom. New assignments: community centers as distribution points of all arts to the people. -
Art and Technology (1910) PETER BEHRENS
Art and Technology (1910) PETER BEHRENS Peter Behrens (born April 14, 1868, Hamburg—died Feb. 27, 1940, Berlin) German Architect He has an influencel role to develop modern architecture in Germany. He made a name with his works of painting, graphic design and architecture and industrial de- sign, especially he was accepted as a pioneer of modern industrial design and mod- ern industrial architecture. “Design is not about decorating functional forms - it is about creating forms that accord with the character of the object and that show new technologies to advantage.” - Peter Behrens Arch222 Presentation 16.03.2017 1 From 1886 to 1889 - Behrens studied at Hamburg Kunstgewerbeschule (School for the Ap- plied Arts). After attending the fine arts school at Hamburg, Behrens went to Munich in 1897 during the time of the renaissance of arts and crafts in Germany before attending the Kunst- schule in Karlsruhe and the Düsseldorf Art Academy. In1890 - In Munich, He began to career of painter, in this period he joined a Munich’s popular art movement Jugendstil (German Art Nouveau) In 1893 - He was a founding member of the Munich Secession. In 1899 - Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse-Darmstadt Artists’ Colony, where he designed and built his own house (Haus Behrens) In 1903 - He became director of the arts and crafts school in Düsseldorf. In 1907 - Behrens came together with ten other artists and designers to create the Deutscher Werkbund, an organization that was deliberated to compete with the English Arts and Crafts movement and improves the status of German design and industry. -
Bruno Taut, Weltanschauung and the Concept of Dwelling
BRUNO TAUT, WELTANSCHAUUNG AND THE CONCEPT OF DWELLING A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF ENGINEERING AND SCIENCE OF BILKENT UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE By Nur Yıldız Kılınçer April 2021 BRUNO TAUT, WELTANSCHAUUNG AND THE CONCEPT OF DWELLING By Nur Yıldız Kılınçer April 2021 We certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, asa thesis for the degree of Master of Science. Giorgio Gasco (Advisor) Bülent Baturnan Esin Boyacıoğlu Approved for the Graduate School of Engineering and Science: Ezhan Karasan Directac af tbe Gcaduate Scbaol ABSTRACT BRUNO TAUT, WELTANSCHAUUNG AND THE CONCEPT OF DWELLING Nur Yıldız Kılınçer M.S. in Architecture Advisor: Giorgio Gasco April 2021 Among the building types that concern Bruno Taut, dwelling (Wohnung) is one of the most important. Therefore, it is inevitable to consider dwelling (Wohnung) in a distinct category from Taut's other architectural creations. On the one hand, dwelling is a design field of the architect that turns into a manifesto in which architect reflects his own stance and conviction. On the other hand, in the philosophical context, dwelling becomes the mental locus where existence of individual expands. In other words, within the cosmic environment, dwelling is not only a way of locating and inhabiting in the universe, but also a basis for evaluating life and understanding the world. With the intention of creating a theoretical framework in such a perspective, this research explains the importance of having a reference to a particular philosophical thinking, Weltanschauung, in development of the dwelling and in the elaboration of the architectural discourse of Taut. -
Then and Now – an Overview
Then and now – an overview 1909 – 1914 Hellerau makes the grade 1909 The non-pro t Gartenstadt Hellerau GmbH and the housing association Baugenossenscha Hellerau eGmbH are founded thanks in part to the vision of the cra sman and entrepreneur Karl Schmidt, the idea being to o er workers living at the Garden City a musical education. 1910 Commi ee formed to establish a Jaques-Dalcroze music school (Émile Jaques-Dalcroze, Adolphe Appia, Alexander von Salzmann and Heinrich Tessenow), nanced by the brothers Wolf and Harald Dohrn. 1911 Foundation stone ceremony for the music school. Lessons already begin in the November. Homes for teachers and a guesthouse added. 1912 / 1913 Hellerau Festival Theatre opens; world première of Paul Claudel’s “L‘Annonce faite à Marie”. Many well-known gures from the European avant-garde art scene travel to Hellerau to see it, giving the school its reputation as a festival theatre. 1914 Tram route to Hellerau completed. The school closes until the end of the First World War. Formation of a “Founding Commi ee for an Association to Preserve the Jaques Dalcroze Method in Germany” and of a “Hellerau Association for Teaching Rhythmics and Music”, made up of the teachers and students remaining in Hellerau. 1915 – 1925 Hellerau brings schools, culture and people together 1915 Émile Jaques-Dalcroze School of Music and Rhythm les for bankruptcy; renamed Bildungsanstalt Hellerau GmbH and limited to property management, under the direction of Harald Dohrn. “New School of Applied Rhythm” founded by the Hellerau Association for Teaching Rhythmics and Music. 1919 The Festival Theatre is empty. -
Bauhaus Engl 01 13 LA Innen Dali Schwarz 12.02.16 12:11 Seite 1
01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 1 Boris Friedewald Bauhaus Prestel Munich · London · New York 01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 2 01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 3 p. 9 Context “A ceremony of our own” p. 21 Fame Battles and Bestsellers p. 33 School The Laboratory of Modernism p. 83 Life Freedom, Celebration, and Arrests p. 105 Love Workshop of Emotions p. 117 Today The Bauhaus Myth 01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 4 Context 01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 5 “The main principle of the Bauhaus is the idea of a new unity; a gathering of art, styles, and appearances that forms an indivisible unit. A unit that is complete within its self and that generates its meaning only through animated life.” Walter Gropius, 1925 01_15_LA_RB_bauhaus_engl_01_13_LA_Innen_Dali Schwarz 12.02.16 12:11 Seite 6 Modernism’s Lines of Development The Bauhaus was unique, avant-garde, and pursued a path that led purpose- fully toward Modernism. Its members practiced an anti-academic education, had a concept of utopia and sought the mankind of the future, for whom they wanted to design according to need. Before the Bauhaus there had admittedly already been various reformist approaches to, and ideas on, education and art. But the Bauhaus was unique because it concentrated these aspirations and made them into reality. The Expressionist Bauhaus Many pieces of work by the students, but also by the masters, from the first years of the Bauhaus speak an Expressionist language and continue an artistic direction that came into being before the First World War. -
The Early Design Globalization Exploration of the Deutscher Werkbund
Advances in Social Science, Education and Humanities Research, volume 416 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020) The Early Design Globalization Exploration of the Deutscher Werkbund Xiaonan Zhang College of Arts Sichuan University Chengdu, China Abstract—By reviewing the art education reform and application of art colleges, these changes may have reached industrial policy of Germany in the early 20th century and the the peak and merged together, which is the emergence of the art education work of the Deutscher Werkbund before the first "German manufacturing union". It has a far-reaching impact world war of German foreign policy from 1907 to 1914, this and has prompted similar action in Austria, Switzerland, the paper tries to understand the background and original Czech Republic, Hungary, Sweden and the United Kingdom. intention of the Deutscher Werkbund. By the study of the early design globalization exploration of the Deutscher Werkbund, we can clearly sort out its development process, as well as its II. ESTABLISHMENT OF THE DEUTSCHER WERKBUND influence on modern design and its inspiration to the From 1903 to 1907, the ministry of commerce of Prussia development of contemporary design in China. institutionalized a veritable catalogue of modernist design through the reform of its top three dozen schools of art, craft, Keywords: Deutscher Werkbund, design, globalization, art history and trade, with the aim of integrating economic revelation development, design aesthetics and educational reform. From 1904 Herman Muthesius of the Prussian Ministry of Trade is I. INTRODUCTION in charge of the academy of Arts School development and The Deutscher Werkbund was the first design reform. -
Helmuth Plessner and His Influence on Twentieth-Century Architecture
ARCHITECTURE IS CONCEALED UNTO ITSELF: HELMUTH PLESSNER AND HIS INFLUENCE ON TWENTIETH-CENTURY ARCHITECTURE Gerald Adler INTRODUCTION Nestling in, moving along, feeling one’s way, occupying space, the thousand ways of living within our postures and giving the silent image of spaces and planes through such postures an immediate connection to me, these are the ways to understand architecture. We always have to feel such an image and its ideal system of expression on our own body in order to taste the sense of a building. The purely ornamental, the effect of light, the qualities of materials form a meaningful structure, if not consciously, then in a more or less Nestling in, immediate reaction to the artificially formed world of 1 moving along, space. “ By any measure, this is an inspiring, evocative, feeling one’s and illuminating text that feels absolutely of the way, occupying moment. That it was written almost one hundred years ago by an aspirant former student of zoology space, the on his way to obtaining a chair in philosophy at the thousand ways University of Göttingen, gives pause for thought. of living within The writer was Helmuth Plessner, and the field of study he made his own was Philosophical our postures [...] Anthropology. The purpose of this paper is to elucidate Plessner’s thinking and the relationship ” Philosophical Anthropology had with architecture. BIOGRAPHICAL SKETCH Helmuth Plessner was born into an affluent family of Jewish descent in Wiesbaden, in 1892. isparchitecture.com A bright schoolboy, he went on to study medicine, and then zoology and philosophy in Heidelberg.