Reconsidering Hilberseimer's Chicago
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Berlín-Detroit Kahatt, Sharif S.: El Viaje De Un Ideal. Ideas Urbanas En
Berlín - Detroit: el viaje de un ideal Ideas urbanas en Lafayette Park, 1956 Sharif S. Kahatt Arquitecto. Universidad Ricardo Palma, Lima Las últimas causas de aquello que ocurre en la actualidad se encuentran en las discusiones de monjes aislados detrás de los muros de conventos románicos. Mies van der Rohe* Lafayette Park es una de las obras de mayores dimensio- nes y también una de las más desatendidas de Mies van der Rohe, tanto por sus estudiosos como por la crítica especializada, que desde la reivindicación del maestro alemán a finales de la década anterior, ha convertido sus obras en objetos de culto. Dentro de las publicaciones que consolidaron el rena- cimiento miesiano, Mies in Berlin y Mies in America1, no se publicaron documentos ni trabajos de investigación que den luz sobre cómo fue planteada y desarrollada esta obra. Entre las varias decenas de libros y catálogos de imágenes, apenas en algunas se menciona la realización de Lafayette Park y en otras pocas se ofrecen algunos datos básicos de las fechas de planteamiento y construc- ción. Incluso en los trabajos dedicados a Ludwig Hilberseimer, quien presenta una obra mucho menos extensa (que Mies) y donde Lafayette Park debería ocu- par el rol más importante, este proyecto permanece rela- tivamente relegado2. Lafayette Park. Propuesta de ordenación general. Sólo la reciente publicación de una monografía ha puesto en valor el conjunto de Detroit: Case, Lafayette Park3. El libro se compone de un grupo de escritos dedi- cados a distintos aspectos de la obra de Detroit. 226 dc De ellos, los mejores ensayos buscan construir el equilibrio entre el individuo y la sociedad, así como entre las pensamiento dominante del proyecto, relacionando las fuerzas materiales y espirituales. -
National Register of Historic Places Registration Form
NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a). 1. Name of Property historic name Promontory Point th other names/site number 55 Street Promontory Name of Multiple Property Listing (Enter "N/A" if property is not part of a multiple property listing) 2. Location street & number 5491 South Shore Drive not for publication city or town Chicago vicinity state Illinois county Cook zip code 60615 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: national statewide local Applicable National Register Criteria: A B C D Signature of certifying official/Title: Deputy State Historic Preservation Officer Date Illinois Historic Preservation Agency State or Federal agency/bureau or Tribal Government In my opinion, the property meets does not meet the National Register criteria. -
Ludwig Hilberseimer at the Illinois Institute of Technology: Architectural Education, Organic Democracy and Colonization
Ludwig Hilberseimer at the Illinois Institute of Technology: Architectural Education, Organic Democracy and Colonization. 34 docomomo 49 — 2013/2 docomomo49.indd 34 18/03/14 18:11 udwig Hilberseimer’s role at defining trends in architectural education in the United States is a relevant one, and deserves special attention due to its rigorous method. This article aims to cast Llight at his teaching experience at IIT, where he promoted an integration of urban theory and political ideals. Understood as an act of cultural colonization, architectural education appears as a powerful tool to reshape the territory in the United States and the world, as part of an ongoing process of Modern postwar globalization. By Plácido González Martínez t may seem paradoxical, but when asked about the The hierarchical scheme of the Settlement Unit served as names of his most influential teachers, Ludwig Hilber- a translation of Kropotkin’s organic social ideals into ur- Iseimer did not mention one, but a list of books. To- ban forms and principles. The democratic ideals underly- wards the end of his life and being the compulsive reader ing its design provided a powerful ideological backing to he had always been, he was convinced of the power of Hilberseimer’s teaching methods at IIT. paper as an effective way of conveying knowledge, in Following Mies van der Rohe’s definition of architec- contrast to the vanishing corporeity of old professors and ture as “structure plus the expression of structure”, the fish the uncertainty of their variable opinions. spine diagram of the Settlement Unit offered an urban Nevertheless, Hilberseimer’s teaching experience is structural archetype that remained undefined as of its for- quite an exceptional story within the evolution of archi- mal expression. -
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Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts. -
Museum Campus Burnham Park Points of Interest
Panel 1 Panel 2 Panel 3 Panel 4 POINTS OF INTEREST BURNHAM PARK MAN ENTERS AMERICA’S GOLD STAR FAMILIES 1 THE COSMOS 4 COURTYARD 11 MEMORIAL AND PARK BALBO Sixty stone pieces, each DAPHNE This memorial is dedicated to This sundial, installed MONUMENT GARDEN the families of the officers of 14 near the planetarium in from a different quarry, 8 This monument is the most In Greek mythology, the Chicago Police Department 1980, was created by were selected to represent ancient outdoor artifact Daphne was turned who have fallen in the line British sculptor Henry the diverse peoples of the in Chicago. Its breccia into a tree, imagery of duty. One monument Moore. Americas. Creators Denise shaft came from a Roman reinforced by plants poignantly reads in part, “It is Milan and Ary Perez also structure located on the growing on the three not how these officers died intended the stones to evoke ancient monuments. shores of Ostia, Italy, images of Daphne that made them heroes, it is NICOLAUS COPERNICUS Arranged in the shape of a spiral galaxy, the stones are from the time of Julius Source: Chicago Park District (one shown here). 2 MONUMENT oriented to the points of the compass so that they can how they lived.” Caesar. A gift of the Italian Originally part of a This monument, installed in be used to follow the progression of the seasons. This government, the monument CHARTER ONE PAVILION temporary exhibition MUSEUM CAMPUS 1973, commemorates the 500th unique feature was installed here in 2000. was dedicated on Italian birthday of Copernicus, the 6 Charter One Pavilion, built in 2005, is a state-of- in Grant Park, these CHILDREN’S Day in 1934 at A Century of Father of Modern Astronomy. -
Notes on the Design and Execution of the Painting, Iconic Landscapes of Chicago
Notes on the Design and Execution of the Painting, Iconic Landscapes of Chicago Craig D. Farnsworth, ASLA [email protected] Copyright 2009 Artist’s Statement This painting grew out of a desire to create a poster to commemorate two significant events of 2009 in Chicago: the Centennial of the Plan of Chicago and the ASLA Annual Meeting. The piece is intended to portray the context within which Windy City landscape architects design and execute their projects. It was also designed to be compatible with the ASLA Centennial poster I had painted ten years prior that commemorated significant landscapes of Illinois. This new painting picks up where the first one left off; it focuses on the Chicago parks that were mentioned but not illustrated in the earlier piece. Architecture and Landscape Chicago is a city recognized worldwide for its role in defining architecture. Indeed, the “Chicago School” is a term that is well understood to be a touchstone of Modern design. It is clear that in this context, designs on the land are often framed and defined by architecture. While this is not necessarily unique to Chicago, the personalities and imagery of city architecture are so pervasive and well-documented that they are a part of the local landscape. Given the wealth of historic parks in the city – parks that have stood the test of time and become significant in the eyes of the public – one of the first decisions made was how comprehensive the piece could be in documenting the parks and their designers. Luminaries of landscape architecture such as Frederick Law Olmsted, O.C. -
Social Housing in Mies Van Der Rohe9s Lafayette Towers
1999 ACSA INTERNATIONAL CONFERENCEmROME 161 Luxury and Fate: Social Housing in Mies Van Der Rohe9sLafayette Towers JANINE DEBANNE iversity of Detroit Mercy INTRODUCTION Lafayette Park sits immediately to the east of Detroit's Central Business District, severed from it by an expressway that runs northward toward the distant suburbs. Icon of the urban renewal movement, it is the fruit of a collaboration between urban planner Ludwig Hilberseimer and architect Ludwig Mies van der Rohe, and Mies' largest realized residential project. The reasons that motivated its inception were not unusual. Like many American cities, Detroit faced the problem of exodus to the suburbs and the deterioration of inner city residential neighborhoods. Because of its origins in urban renewal, it has perennially echoed the economic and social transfor- mations taking placein thecity at large.' Specifically,LafayettePark has been involved in a complex relationship with the city's poor, both causing them to lose their homes in the 1950's and beckoning them back in the early nineteen nineties after the worst years of Detroit's urban crisis.' In sharp contrast to his residential towers for Chicago, Mies can der Rohe's architecture was confronted in Detroit Fig. I. Lafayette Park viewed from downtown Detroit, figuring the now with a set ofcircurnstances under which it \vould be forced todisplay demolished Hudson Building in foreground. its own contradictions. DESCRIPTION AND HISTORY The twenty-one low-rise townhouse buildings designed by Mies vander Rohestill shimmeragainstthe backdropofAlfredCaldwell's flowing landscapes of footpaths. His three high-rise towers, with their precise clear aluminum curtain walled faAades, stand in sharp contrast to the ruination of the surrounding areas.' If from adistance this place appears to be unmarked by time, it is nonetheless woven into the very coniplex social and human fabric of Detroit's post- industrial history. -
Detroit Modern Lafayette/Elmwood Park Tour
Detroit Modern Lafayette/Elmwood Park Tour DETROIT MODERN Lafayette Park/Elmwood Park Biking Tour Tour begins at the Gratiot Avenue entrance to the Dequindre Cut and ends with a ride heading north on the Dequindre Cut from East Lafayette Street. Conceived in 1946 as the Gratiot Redevelopment Project, Lafayette Park was Detroit’s first residential urban renewal project. The nation’s pioneering effort under the Housing Act of 1949; it was the first phase of a larger housing redevelopment plan for Detroit. Construction began at the 129-acre site in 1956. The site plan for Lafayette Park was developed through a collabora- tive effort among Herbert Greenwald, developer; Ludwig Mies van der Rohe, architect; Ludwig Hilberseimer, city planner; and Alfred Caldwell, landscape architect. Greenwald had a vision of creating a modern urban neighborhood with the amenities of a suburb. Bounded by East Lafayette, Rivard, Antietam and Orleans Streets, Lafayette Park is based on the ‘super- block’ plan that Mies van der Rohe and Hilberseimer devised in the mid-1950s. The 13-acre, city-owned park is surrounded by eight separate housing components, a school and a shopping center. Mies van de Rohe designed the high-rise Pavilion Apartment buildings, the twin Lafayette Towers, and the low-rise townhouses and court houses in the International style for which he is famous. They are his only works in Michigan and the largest collection of Mies van de Rohe-designed residential buildings in the world. Caldwell’s Prairie style landscape uses native trees, curving pathways, and spacious meadows to create natural looking landscapes that contrast with the simplicity of the buildings and the density of the city. -
100 Years of Bauhaus
Excursions to the Visit the Sites of the Bauhaus Sites of and the Bauhaus Modernism A travel planner and Modernism! ↘ bauhaus100.de/en # bauhaus100 The UNESCO World Heritage Sites and the Sites of Bauhaus Modernism Hamburg P. 31 Celle Bernau P. 17 P. 29 Potsdam Berlin P. 13 Caputh P. 17 P. 17 Alfeld Luckenwalde Goslar Wittenberg P. 29 P. 17 Dessau P. 29 P. 10 Quedlinburg P. 10 Essen P. 10 P. 27 Krefeld Leipzig P. 27 P. 19 Düsseldorf Löbau Zwenkau Weimar P. 19 P. 27 Dornburg Dresden P. 19 Gera P. 19 P. 7 P. 7 P. 7 Künzell P. 23 Frankfurt P. 23 Kindenheim P. 25 Ludwigshafen P. 25 Völklingen P. 25 Karlsruhe Stuttgart P. 21 P. 21 Ulm P. 21 Bauhaus institutions that maintain collections Modernist UNESCO World Heritage Sites Additional modernist sites 3 100 years of bauhaus The Bauhaus: an idea that has really caught on. Not just in Germany, but also worldwide. Functional design and modern construction have shaped an era. The dream of a Gesamtkunst- werk—a total work of art that synthesises fine and applied art, architecture and design, dance and theatre—continues to this day to provide impulses for our cultural creation and our living environments. The year 2019 marks the 100 th anniversary of the celebration, but the allure of an idea that transcends founding of the Bauhaus. Established in Weimar both time and borders. The centenary year is being in 1919, relocated to Dessau in 1925 and closed in marked by an extensive programme with a multitude Berlin under pressure from the National Socialists in of exhibitions and events about architecture 1933, the Bauhaus existed for only 14 years. -
Art and Political Ideology : the Bauhaus As Victim
/ART AND POLITICAL IDEOLOGY: THE BAUHAUS AS VICTIM by LACY WOODS DICK A., Randolph-Macon Woman's College, 1959 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of History KANSAS STATE UNIVERSITY Manhattan, Kansas 1984 Approved by: Donald J. ftrozek A113D5 bSllSfl T4 vM4- c. 3~ TABLE OF CONTENTS Page Preface iii Chapter I Introduction 1 Chapter II The Bauhaus Experience: In Pursuit of the Aesthetic Chapter III The Bauhaus Image: Views of the Outsiders 48 Chapter IV Nazi Culture: Art and Ideology 92 Chapter V Conclusion 119 Endnotes 134 Selected Bibliography 150 -PREFACE- The Bauhaus, as a vital entity of the Weimar Republic and as a concept of modernity and the avant-garde, has been the object of an ongoing study for me during the months I have spent in the History Depart- ment at Kansas State University. My appreciation and grateful thanks go to the faculty members who patiently encouraged me in the historical process: to Dr. Marion Gray, who fostered my enthusiasm for things German; to Dr. George Kren, who closely followed my investigations of both intellectual thought and National Socialism; to Dr. LouAnn Culley who brought to life the nineteenth and twentieth century art world; and to Dr. Donald Mrozek who guided this historical pursuit and through- out demanded explicit definition and precise expression. I am also indebted to the Interlibrary Loan Department of the Farrell Library who tirelessly and cheerfully searched out and acquired many of the materials necessary for this study. Chapter I Introduction John Ruskin and William Morris, artist-philosophers of raid-nine- teenth century England, recognized and deplored the social isolation of art with artists living and working apart from society. -
German City Planning in the 1920'S: a North American Perspective of the Frankfurt Experience John Mullin, University of Massachusetts - Amherst
University of Massachusetts Amherst From the SelectedWorks of John R. Mullin February, 1975 German City Planning in the 1920's: A North American Perspective of the Frankfurt Experience John Mullin, University of Massachusetts - Amherst Available at: https://works.bepress.com/john_mullin/69/ German City Planning in the 1920’s: A North American Perspective of the Frankfurt Experience John R. Mullin, MCP, MSBA Introduction German city planning has been characterized in most of the Twentieth Century by such words as “authoritarian”, “militaristic”, “megalomania” and “teutonic”. These words accurately describe attributes considered characteristic of the Bismarck-Wilhelmian years (1871-1918) and the years of the Third Reich (1933-1945). Yet, for a brief interlude, between these two eras, during the period of the Weimar Government (1919-1933), the nation underwent an intellectual and spiritual catharsis which rejected the above attributes. New concepts and approaches towards architecture, urban design, and planning flourished. Many of these have had a lasting impact upon the western world. Nowhere were these new ideas so readily accepted as in the city of Frankfurt am Main. Years of neglect due to war and economic crises, coupled with the strong support of the administration and citizenry, had helped to create an atmosphere which was highly conducive to radical planning measures. The plans that were created were indeed unique and, according to Giedeon and Mumford, the program was of such high quality that the results were among the world’s best during this period. 1 A natural question occurs upon review of this experience: Why did this happen in Frankfurt? This paper endeavors to answer this question by reviewing and analyzing the planning tradition, the social, governmental and cultural setting, and the application of the new planning concepts. -
Avant-Garde” Modernism in Architecture: a Re-Analysis of the “Neue Sachlichkeit” Architecture Within the Framework of Posthumanism
“AVANT-GARDE” MODERNISM IN ARCHITECTURE: A RE-ANALYSIS OF THE “NEUE SACHLICHKEIT” ARCHITECTURE WITHIN THE FRAMEWORK OF POSTHUMANISM A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY CEYDA BARAN IN PARTIAL FULFILLMENT OF THE REGUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE SEPTEMBER 2004 Approval of the Graduate School of Natural and Applied Sciences Prof. Dr. Canan ÖZGEN Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Architecture Assoc. Prof. Dr. Selahattin ÖNÜR Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Architecture. Inst. Dr. Rana Nergis ÖĞÜT Supervisor Examining Committee Members Assis. Prof. Dr. Mahmut MUTMAN (BİLKENT, COM. D.) Inst. Dr. Rana Nergis ÖĞÜT (METU, ARCH) Prof. Dr. Vacit İMAMOĞLU (METU, ARCH) Assoc. Prof. Dr. Güven SARGIN (METU, ARCH) Assoc. Prof. Dr. Mualla Erkılıç (METU, ARCH) I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Ceyda Baran Signature : iii ABSTRACT “AVANT-GARDE” MODERNISM IN ARCHITECTURE: A RE-ANALYSIS OF THE “NEUE SACHLICHKEIT” ARCHITECTURE WITHIN THE FRAMEWORK OF POSTHUMANISM Baran, Ceyda M. Arch., Department Of Architecture Supervisor: Ins. Dr. Rana Nergis Öğüt September 2004, 171 pages This thesis aims to re-analyze the early twentieth century “modern architecture,” with in the frame work of “posthumanism.” Referring to the “materialist” and “socio- constructive” architecture of Hannes Meyer, the study proposes a “shift” from “humanist” ways of production and reception to posthumanism, where the centrality of human in the productive processes of both art and life is questioned.