Irrational Artistic Ideas of the First Half of the 20Th Century As an Inspiration for the Architecture of the Later 20Th and Early 21St Centuries

Total Page:16

File Type:pdf, Size:1020Kb

Irrational Artistic Ideas of the First Half of the 20Th Century As an Inspiration for the Architecture of the Later 20Th and Early 21St Centuries RIHA Journal 0203 | 31 December 2018 Irrational Artistic Ideas of the First Half of the 20th Century as an Inspiration for the Architecture of the Later 20th and Early 21st Centuries Gytis Oržikauskas Abstract By applying the method o! categori ation" compari on and analysi o! written ource " thi article aim to reveal ho# %urreali t arti tic idea may have in&uenced ' through the intermediary o! the (o tmodern movement ' architectural trend up to the pre ent time) *he paper i organi+ed into three part " each dedicated to one o! the mo t important %urreali t architectural concept , the ynthe i o! the art " &uidity, and !ormali tic uper-ciality and pontaneity) .ach ection de cribe how the e idea #ere underlined in %urreali t art and theoretical text " compare them to ome example o! (o tmodern and contemporary architecture" and e/plain ho# the e idea #ere nurtured !rom the time they emerged until the time they materiali+ed in architectural de ign) Contents Introduction *he Synthe i o! the Art *he Formali m and Spontaneity o! Architecture *he Changed Spatial Parameter 1onclu ion Introduction 213 In 1924 the 0rench e ayi t and poet Andr6 Breton (1896–19669 wrote the %urreali t :ani!e to) It claimed that the ob;ect o! art wa no longer an external olid ob;ect" but the continuation o! the ub;ective inner< el!)1 %urreali t art e/plored #hat i out ide the border o! impo ed ocial behaviour and what i e entially per onal, the hidden erotic impul e " the un table tate o! mind" dream " nightmare and uncon ciou ne ) %uch idea were important at the time" when contemporary =rphi t" %upremati t" >eo<(la tici t and 1on tructi$i t arti t #ere exploring uni$er al arti tic principle and their appeal to the global 1 Andr6 Breton" :ani!esto o! %urrealism 714259" http ,??tc!)ua)edu?1lasse ?Jbutler?*350?%ur:ani!esto?:ani!esto=!%urrealism)htm (accessed 1@ January 201A9) RIHA Journal 0203 | 31 December 2018 audience)2 Bni$er al arti tic principle al o appealed to :oderni t architect " who e entially created the o<called International %tyle)3 A an oppo ition to arti tic univer ali m" %urreali t art wa imilar to the art produced by the (o tmodern cultural movement) *he (o tmodern attitude wa ba ed on the belie! that no ingular way to olving any cultural" ocial or piritual i ue exi t ) It wa al o no longer belie$ed that any cultural environment" idea or tandpoint were uperior to another) *hi tance oppo ed globali ation and ' importantly ' the global pread o! an international architectural tyle) *he %urreali t arti tic movement and the (o tmoderni t cultural movement both en ured that indi$idual thought would become the ob;ect o! both art and architecture) *he bond between the e imilar ideologie provoCed a truly uniDue opportunity to de$elop an irrationally arti tic architectural expre ion) 22] 0rom the 1920s to the 1970s" variou Surreali t arti t expre ed their opinion on architectural matter ) *he %pani h %urreali t arti t %alvador DalE (1904–1989) wrote an article F=n the *erri!ying and .dible Beauty o! Art >ouveau ArchitectureF, in which he claimed that >o collective eGort ha managed to create a world o! dream a pure and di turbing a the e Art >ouveau building " which by them elve con titute" on the very !ringe o! architecture" true reali+ation o! olidi-ed de ire " in #hich the mo t violent and cruel automati m pain!ully betray a hatred o! reality and a need for re!uge in an ideal world similar to tho e in a childhood neuro i )5 *he Art Nouveau architectural style wa notable for rich sculptural decoration and a ynthe i o! the art " #hich #ere certainly not #elcomed in :oderni t architecture) However" uch !eature were again revi$ed in the 1980s and 1990s (o tmodern architecture) %uch an arti tic ynthe i o! architecture and culpture or highly decorated architecture ha many analogue in contemporary architecture to thi day) 233 %urreali t expre ed their per onal approache by choo ing an architectural type per!ectly uited to thi endeavour, the individual hou e) However" the two mo t in&uential creation " the :er+bau (arti t Hurt %chwitter " 1923–1937) and the .ndle Hou e (arti t 0redericC John Hie ler" 1959), #ere di played" not a ob;ect o! architecture" but a a culpture@ and a emblage8, de pite the !act that they embodied the %urreali t under tanding o! a li$ing pace) Both the e culpture blurred the line between di tinct border o! pace or eparate ur!ace ' they introduced idea o! indeterminacy, continuity, &uid movement 2 Iill Jompert+" The %urprising" %hocking" and %ometime %trange %tory o! 1@0 Kear o! :odern Art" >e# KorC 2013" 138-13A" 1@0" 180" 188-184" 145) 3 Jona :inCe$ičiu " ArchitektMro krypty uNsieny;e" Hauna 14A1" 18) 5 %al$ador DalE" Duoted according to Thoma :ical" FIntroductionF" in, %urrealism and Architecture" ed) Thoma :ical" >e# KorC 200@" 1'10, 5) %ee also Hr+y +to! 0i;alCo#ski" FOBn salon au !ond dPun lac', The Domestic %pace o! %urrealismF" in, %urrealism and Architecture" ed) Thomas :ical" >e# Kork 200@" 11–30, 21) RIHA Journal 0203 | 31 December 2018 and al o the pontaneou creation o! un-ni hed" e$er<changing and unplanned !ormali tic architectural expre ion) 253 :any o! the e architectural idea can be !ound in contemporary architecture) 0luid movement and di tinctively vague" indi tinct interior pace are the trademarC o! uch #ell<Cnown architect a Qaha Hadid (1950–2016), HendricC Bang Hellogg (b) 1934), Jan HaplicCR (1937–2009), (eter 1ooC (b) 1936), Sar %puybroeC 7b) 1959) and :a Kan ong (b) 1975). >otoriou ly culptural exterior e/pre ion i al o the trademarC o! 0ranC Jehry 7b) 1925) and ome o! the worC o! Daniel Sibe Cind (b) 1946). Both o! the e Dualitie are common to Japane e architect Arata I o+aCi (b) 1931). *he extent o! the %urreali t P in&uence on contemporary architecture ha never been previou ly re earched) Howe$er" contemporary architectural trend uch a Decon tructivi m or Blobi m are o!ten treated a an exten ion o! (o tmoderni m" which" in it turn" wa heavily aGected by the irrational %urreali t arti tic idea and concept ) In the mid<twentieth century, uch irrational idea could only be reali+ed a conceptual de ign T howe$er" imilar idea are no# a !undamental part o! 21st<century architecture) *hi article #ill maCe the argument<ba ed tatement that tho e %urreali t concept were a potent catalyst !or the emergence o! ome o! the architectural trend from the second hal! o! 20th century right up to our pre ent age) *he %ynthesis o! the Arts 2@3 %uch arti tic movement a =rphi m" >eo<(la tici m" %upremati m and 1on tructivi m #ere ba ed on re earch into univer al and common rational arti tic principle )A 0or example" the Dutch painter (iet :ondrian (1872–1944) wrote the Dialogue on the New Pla tic (1919), in which he claimed that In naturali tic !orm" in naturali tic colour" and in naturali tic line" pla tic relation hip are veiled) *o be expre ed pla tically in a determinate way, relation hip mu t be repre ented only through colour and line)8 In hi own term , the Ru ian painter Ka+imir Male$ich (1878–1935) publi hed the %upremati t Mani!e to Unovi (1924), which claimed that, @ It had to be materiali+ed in scale !or :o:AP %culpture Jarden" see, Jason 0arago" (re$ie#9 FO.ndle HouseO ./pand the Defnition o! HomeF" in, The >e# KorC *ime (Aug) 2A" 201@9" see, http ,??###)nytime )com?201@?08?28?art ?de ign?re$ie#-endle <house< e/pands-the-defnition<o!-home)html?_rW0 (accessed 1A June 20189) 8 Jompert+" The %urprising" %hocking" and %ometime %trange %tory o! 1@0 Kear o! :odern Art" 230) A Jompert+" The %urprising" %hocking" and %ometime %trange %tory o! 1@0 Kear o! :odern Art" 138-13A" 1@0" 180" 188-184" 145) 8 (iet :ondrian" Dialogue on the >e# (lastic 714149" http,??allen- her)edublog )org?fle ?2015?11?(ier<:ondrian-Dialogue<on<the<>e#<(la tic- 1m/uDD+)pd! (accessed 1@ January 201A9) RIHA Journal 0203 | 31 December 2018 *he art o! the pre ent" and in particular painting" ha been victoriou on the whole !ront) 1on ciou ne ha overcome the &at ur!ace and advanced to the art o! creation in pace) Hence!orth the painting o! picture #ill be le!t to tho e who have been unable" de pite tirele labour" to !ree their con ciou ne !rom the &at ur!ace" tho e who e con ciou ne ha remained &at becau e it could not overcome the &at ur!ace) *hrough patial con ciou ne painting ha developed into the con tructive creation o! form)4 283 %uch idea were an exact match !or the Je talt p ychology, #hich wa developed at roughly the ame time) *he Je talt p ychology tried to explain that ba ic geometry i not derived !rom the natural environment" but i rather a product o! the human mind) According to thi theory, all indi$idual have a common under tanding o! pace" order" colour and ' ub eDuently ' art) 0or example, when people see a group o! similar random element " mentally they are able to under tand it a a tructure or a compo ition) 10 *hi univer al principle o! compo ition wa empha i+ed in both the ab tract art o! the -r t hal! o! 20th century and :oderni t architecture) Bni$er al principle #ere ad$ocated by the leading global architect ) 0or example" the %#i <0rench architect and theori t Se 1orbu ier (1887–1965) and the American architect 0ranC Sloyd Iright (1867– 1959) hared an intere t in the idea o! the Jerman pedagogue 0riedrich 0rXbel (1782–1852) concerning the importance o! elementary geometry to a childP mind)11 Se 1orbu ier prai ed elementary geometrical -gure a element o! the univer eT12 he claimed that primary !orm are beauti!ul becau e they can be clearly appreciated" and that an inevitable element o! architecture i the nece ity !or order" which
Recommended publications
  • Press Release: Jose Dávila, Das Muss
    Press Release: Jose Dávila, Das muss der Ort sein. Opening: September 6, 2013 at 6.00 pm, the artist will be present. Exhibition: September 7 through November 2, 2013. We inaugurate on September 6 during DC-Open Das muss der Ort sein (This Must Be the Place), our second exhibition with the Mexican artist Jose Dávila (born 1974 in Guadalajara, Mexico). It is his first exhibition in the Rhineland. We are glad to show five sculptures and three of his Cut-outs. Cut-outs are works for which Dávila cuts away the central objects from enlarged re- productions of iconic architectures or artworks in order to induce our imagination or cultural memory to complete the images. By framing these images (or what remains of them) between two sheets of glass, a new spatial image is created in particular by the voids. Because there is a shadow cast on the back of the frame. One could say: the depicted object leaves, a new object comes. In our current exhibition the removed objects are artworks from the last 60 years, that is, sculptures and installations by Giovanni Anselmo, Joseph Beuys, Marcel Broodthaers, Alexander Calder, Anthony Caro, Liam Gillick, Michael Heizer, Norbert Kricke, Richard Long, Walter de Maria, Cildo Meireless, Bruce Nauman, Michelangelo Pistoletto, Richard Serra or Tony Smith. Many of these works belong to the canon of art history. Even if we do not immediately know who was the author of the removed object, we feel – as a knowledgeable viewer – that we know the works and that we have them in our mind's eye.
    [Show full text]
  • An Analysis from the Perspective of Artistic Intent Versus Audience Experience and Interpretation
    . Volume 18, Issue 1 May 2021 The representation of audiences after 1960: An analysis from the perspective of artistic intent versus audience experience and interpretation Patrick Van Rossem, Utrecht University, The Netherlands Abstract: In The representation of the audiences after 1960, the question is asked whether we can consider the representation of the audience after 1960 in relation to artists’ ideas on the presence of an audience and its meaning giving activity. The focus is both on the representation of individual audience members or participants as well as on visitor groups. Since the 1960s the audience for art has grown and museums have seen their attendance rise. It has led amongst others to a more sophisticated mediation between artwork and audience. Since the 1960s one can also observe an increased awareness amongst artists of the fact that the experience of art and the attribution of meaning to art is differential in nature. But have artists accepted this reality? And can they ever come to terms with a critical art mediation that invites audiences to relate to art more subjectively? Analyses of both the representation of audiences and artists’ ideas on the presence of the audience shows that artists have been and are sometimes still struggling with these issues. In recent times however we can detect a growing acceptance of a more free and personal interpretation of art by the audience. Artists such as Michelangelo Pistoletto, Dan Graham, Bruce Nauman, Thomas Struth, Rineke Dijkstra, and Sophie Calle have represented audiences in ways that reveal their – positive, negative, worrying… - attitudes towards the presence of an interpreting, art consuming, desiring audience.
    [Show full text]
  • Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
    ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject.
    [Show full text]
  • JORNAL GYPTEC #1 – Álvaro Siza: Nadir Paralelo Ao Tâmega
    Manuel Graça Dias entrevista o Arquitecto Álvaro Siza, a propósito do seu projecto para o edifício sede da Fundação Nadir Afonso, Jornal Gyptec prestes a ser inaugurado, em Chaves. Álvaro Siza: Nadir paralelo ao Tâmega FG + SG | Architectural Photography · JORNAL GYPTEC #1 · FUNDAÇÃO NADIR AFONSO · eitado paralelamente ao Tâmega, na sua com o objectivo de estudar pintura. Matriculou-se da beira rio onde se implanta, sobre uma série margem direita, sobre antigas hortas que na École des Beaux Arts, tendo obtido, graças à de lâminas transversais de irrepreensível betão Dcorriam nas traseiras da Avenida 5 de Outubro até intervenção de Cândido Portinari, uma bolsa do branco. Rasga-se de janelas longamente horizon- à Canelha das Longras, vendo a serra do Brunheiro Governo francês. De 1946 a 1948, e depois, de tais para o lado do Tâmega, de onde se soltam por pano de fundo, nasceu um edifício comprido, novo, em 1950, colaborou com Le Corbusier, novelos de nevoeiro nas manhãs de inverno. As em betão branco, desenhado pelo Arquitecto mantendo, em paralelo, a sua actividade como suas salas iluminam-se com a luz doce que vem Álvaro Siza, que albergará a Fundação Nadir pintor, frequentando, para tal, o atelier de Fernand com o adiantar do dia e que um lanternim longitu- Afonso, em Chaves. Léger. Entre 1951 e 1954 trabalhou no Brasil dinal complementa, fazendo chegar, por detrás de como colaborador de Oscar Niemeyer. Nesse ano, tijolo de vidro, luz zenital translúcida. Por baixo, as Nadir Afonso (Chaves, 1920 – Cascais, 2013), regressou a Paris, reaproximando-se dos artistas lâminas alegram-se com passagens desencontradas o mais relevante artista flaviense contemporâneo, mais ligados à arte cinética, entre os quais Victor que são arcos rasgados nas geometrias primárias entendeu deixar grande parte do seu espólio na Vasarely e publicou estudos inovadores sobre pin- que tanto interessavam Nadir: quadrados, semicír- cidade que o viu nascer.
    [Show full text]
  • Frederick Kiesler Y El Teatro De Vanguardia
    Oppidum, nº 2. Universidad SEK. Segovia, 2006, 291-320 - I.S.S.N.: 1885-6292 FREDERICK KIESLER Y EL TEATRO DE VANGUARDIA José Luis Luque Blanco Universidad SEK [email protected] Resumen Análisis y evolución del Espacio Escénico a través de la obra e investigación artística del arquitecto Frederick John Kiesler (1890-1965). Palabras clave: Vanguardia, Espacio escenográfico, Estética de la máquina, Innovación, Flexibilidad. Summary Scene Space: Analisis and avant-garde progress through the work and the art rese- arch of architect Frederick John Kiesler (1860-1965). Key Words: Avant-Gard, Scene Space, Machine aesthetic, Innovation, Flexibility, Endless. ******* 291 JOSÉ LUIS LUQUE BLANCO Frederick John Kiesler (1890-1965), arquitecto, escultor, pintor, diseña- dor de interiores, tipógrafo y poeta, proyectó pabellones de exposiciones, gale- rías de arte y escaparates de grandes almacenes, escenografías para teatro y ópera, muebles y alojamientos prefabricados, rascacielos y sus llamados Endless. Nació en Cernauti, Bucovina (Rumania) cuando formaba parte del Imperio Austro-Húngaro aunque todas las referencias sobre su infancia y educación le vinculan con Viena. Se nacionalizó americano en el año 1936. Frederick Kiesler participó de los espacios estilísticos del Expresionismo, De Stijl, Futurismo, Elementarismo, Cubismo, Neoplasticismo y otras categorías artísticas de nuestro siglo. Esto dio como resultado un con- junto de trabajos complejo y multifacético. Fue pionero en el diseño de nuevas formas de escenarios, teatros, cines y galerías de arte. Además, escribió una importante y extensa obra teórica y colaboró con grandes figuras del Movimiento Moderno o de la generación de artistas más jóvenes del Nueva York de Postguerra como Adolf Loos, Theo van Doesburg, Marcel Duchamp, Arshile Gorky, Willem de Kooning, Robert Rauschenberg, entre otros.
    [Show full text]
  • APPROVED BUDGET PER LINE ITEM PROCUREMENT of LIBRARY BOOKS for ENGINEERING and ARCHITECTURE COURSES Item Qty
    APPROVED BUDGET PER LINE ITEM PROCUREMENT OF LIBRARY BOOKS FOR ENGINEERING AND ARCHITECTURE COURSES Item Qty. Unit Item Description Cover Paper Quality Approved No. Bound (Bookpaper or Budget (Hard or Newsprint) (in peso/Php) Soft) 1 5 pcs Construction Quantity Surveying - A Practical Guide for The Soft Bookpaper 30,475.00 Contractor's QS Author: Towey Copyright 2012 2 5 pcs Hydrology and Water Resources Engineering Hard Bookpaper 20,475.00 Author: Shagufta Copyright 2013 3 4 pcs The Behavior &Design of Steel Structures to EC3 Soft Bookpaper 30,600.00 4th Edition Author: Trahair Copyright 2008 4 14 pcs NUMERICAL METHODS FOR ENGINEERS Soft Bookpaper 27,930.00 2nd Edition Author: Griffiths D.V. Copyright 2011 5 3 pcs PRINCIPLES OF PAVEMENT ENGINEERING Soft Bookpaper 17,085.00 Author: Thom N. Copyright 2010 CONSTRUCTION PROJECT MANAGEMENT: AN INTEGRATED Soft Bookpaper 19,975.00 6 5 pcs APPROACH 2nd Edition Author: Fewings P. Copyright 2012 7 5 pcs PRINCIPLES OF FOUNDATION ENGINEERING Soft Bookpaper 20,975.00 6th Edition Author: Das B.M. Copyright 2007 8 4 pcs BRIDGE ENGINEERING: DESIGN, REHABILITATION, AND Hard Bookpaper 32,780.00 MAINTENANCE OF MODERN HIGHWAY BRIDGES Author: Tonias D.E. Copyright 2007 9 4 pcs CPM IN CONSTRUCTION MANAGEMENT Hard Bookpaper 28,780.00 6th Edition Author: O’Brien J.J. Copyright 2006 10 4 pcs MODERN CONSTRUCTION MANAGEMENT Soft Bookpaper 11,980.00 6th Edition Author: Harris F. Copyright 2013 11 5 pcs Construction Planning, Equipment, and Methods Soft Bookpaper 9,690.00 Author: Peurifoy Copyright 2011 12 4 pcs
    [Show full text]
  • ENGLISH - the Blueproject Foundation Wants to Thank Their Kindness to the Artist Michelangelo Pistoletto and His Wife Maria Pioppi and the Staff of Galleria Continua
    - ENGLISH - The Blueproject Foundation wants to thank their kindness to the artist Michelangelo Pistoletto and his wife Maria Pioppi and the staff of Galleria Continua. The Blueproject Foundation hosts the solo exhibition neighbourhood of La Ribera and El Born. of Michelangelo Pistoletto, which can be seen in Il Salotto from November 13th 2015 to March 27th 2016. On the other hand, the Blueproject Foundation is proud to offer an exclusive and unique conference, with free admission, by the famous The exhibition features a selection of works by the Italian artist held in the Auditorium of the Escola Massana on Friday famous Italian artist that comprise a career of almost November 13th. As a central element of the activities related to his solo forty years, from the mid-seventies until today, in exhibition, this conference is the perfect opportunity to better discover which he reflects on the perception of the self and the the thought and career of one of the most important living contemporary society to which we belong through everyday objects artists in the recent decades and precursor of the movement Arte Povera. like mirrors, used as an element of identification and turning them into artworks by themselves. These The conference is a perfect way for young art students, and the interested pieces are not only part of the history of a great creator public, to delve into some of the central topics developed by the art of but also the testimony of a key period in the history of Pistoletto such as the self-portrait, infinity, mirrors or the perception of contemporary art.
    [Show full text]
  • Beyond the Exit
    New Jersey Road Trips Beyond the Exit ROUTE 80 Mountain Magic NJ TURNPIKE Bridge to Bridge ROUTE 78 Farm to City ROUTE 42 Wine Trail GARDEN STATE PARKWAY Down the Shore BY THE ROUTE: Six major road ROUTE 40 Southern trips across the River to state where you Shore can stop along the way and experience New Jersey’s best! Due to COVID19, some attractions may be following adjusted hours and attendance guidelines. Please contact attraction for updated policies and procedures. NJ TURNPIKE – Bridge to Bridge 1 PALISADES 8 GROUNDS 9 SIX FLAGS CLIFFS FOR SCULPTURE GREAT ADVENTURE 5 6 1 2 4 3 2 7 10 ADVENTURE NYC SKYLINE PRINCETON AQUARIUM 7 8 9 3 LIBERTY STATE 6 MEADOWLANDS 11 BATTLESHIP PARK/STATUE SPORTS COMPLEX NEW JERSEY 10 OF LIBERTY 11 4 LIBERTY 5 AMERICAN SCIENCE CENTER DREAM 1 PALISADES CLIFFS - The Palisades are among the most dramatic 7 PRINCETON - Princeton is a town in New Jersey, known for the Ivy geologic features in the vicinity of New York City, forming a canyon of the League Princeton University. The campus includes the Collegiate Hudson north of the George Washington Bridge, as well as providing a University Chapel and the broad collection of the Princeton University vista of the Manhattan skyline. They sit in the Newark Basin, a rift basin Art Museum. Other notable sites of the town are the Morven Museum located mostly in New Jersey. & Garden, an 18th-century mansion with period furnishings; Princeton Battlefield State Park, a Revolutionary War site; and the colonial Clarke NYC SKYLINE – Hudson County, NJ offers restaurants and hotels along 2 House Museum which exhibits historic weapons the Hudson River where visitors can view the iconic NYC Skyline – from rooftop dining to walk/ biking promenades.
    [Show full text]
  • Mário Pedrosa PRIMARY DOCUMENTS
    Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil.
    [Show full text]
  • Panificadora De Vila Real Um Moderno Condenado À Morte
    PANIFICADORA DE VILA REAL UM MODERNO CONDENADO À MORTE Carolina Joana dos Santos Rodrigues Dissertação de Mestrado Integrado em Arquitectura Sob orientação do Professor Doutor Joaquim Almeida Departamento de Arquitectura, FCTUC Julho de 2013 PANIFICADORA DE VILA REAL UM MODERNO CONDENADO À MORTE Agradeço: Ao professor Joaquim Almeida pela orientação. Ao Arquivo Municipal de Vila Real pelos documentos disponibilizados. A todos aqueles que, de alguma forma, ajudaram na elaboração da presente dissertação. A toda a comunidade do d’ARQ por contribuírem para a minha formação. À família pelo incentivo. Ao Cláudio, Diana, Ana e Tiago por serem família. À Joana Orêncio pela ajuda incondicional e à Lara pelas palavras sempre sábias. Aos Pedigree que tornaram esta temporada por Coimbra em algo que “levo comigo pra vida”. Ao João pelo carinho e compreensão. E um especial obrigada aos meus pais pelo apoio incondicional e por serem os verdadeiros orientadores em tudo na minha vida. SIGLAS E ABREVIATURAS IGESPAR - Instituto de Gestão do Património Arquitectónico e Arqueológico. IPAR - Instituto Português do Património Arquitectónico. DOCOMOMO - Organização sem fins lucrativos que subsidia a documentação e conservação da arquitectura e do urbanismo do movimento moderno. ICAT - Iniciativas Culturais Arte e Técnica ODAM - Organização dos Arquitectos Modernos. EBAP – Escola de Belas Artes do Porto. CODA – Curso para a Obtenção do Diploma de Arquitecto. ICOMOS – International Council on Monuments and Sites. UNESCO - Organização das Nações Unidas para a Educação,
    [Show full text]
  • Contemporary Design Philosophy in American Architecture
    ^O 1 CONTEMPORARY DESIGN PHILOSOPHY IN AMERICAN ARCHITECTURE by KENNETH EDWARD LAY, JR. B. Arch., The Pennsylvania State University, 1956 e\\i A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF ARCHITECTURE College of Architecture and Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1966 Approved by: Ma^or Professor , Lb 2j>^i ii a.o- ACKNOWLEDGEMENTS I gratefully acknowledge the guidance and encouragement given me during the planning and writing of this report by Professor Emil C. Fischer, Dean of the College of Architecture and Design at Kansas State University. My most sincere appreciation goes to my wife, Margaret F. Lay, A.S.L.A. whose professional advice and understanding helped immeasurably in its preparation. Appreciation is further extended to my committee members, Professor Jack C. Durgan, Professor J. Cranston Heintzelman, Professor Cecil H. Miller, and Dr. William C. Tremmel, and to my typist, Mrs. Michael R. Hawkins. , TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION: THE MODERN MOVEMENT 1 Prior to the Chicago School 2 The Chicago School of Architecture 4 L'Art Nouveau and Cubism 6 The Organic Architecture of Frank Lloyd Wright . 8 The International Style 10 Mies van der Rohe 12 LeCorbusier 14 The Present Situation .............. 16 Design Trends in Architectural Education 17 The Rediscovery of History 19 Structural Experimentation 20 II. THE CLASSIC ARTICLE 22 III. STRUCTURAL EXPRESSIONISM 27 IV. THE AESTHETIC REVIVAL 36 V. THE DIRECTION OF AMERICAN ARCHITECTURE 42 VI. CRITICISM OF CONTEMPORARY DESIGN PHILOSOPHY .... 45 VII. THE NEW FREEDOM WITHIN THE MODERN MOVEMENT 57 VIII. THE NEW FREEDOM'S AVANT-GARDE 71 Dr.
    [Show full text]
  • Designing the Airstream: the Cultural History of Compact Space, Ca. 1920 to the 1960S” a Thesis Submitted to the Kent St
    "Designing the Airstream: The Cultural History of Compact Space, ca. 1920 to the 1960s” A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for General Honors by Ronald Balas Aug. 6, 2014 Table of Contents Introduction 1 Background 4 Airstream Design and Development 17 Data Visualization 25 Conclusion 34 List of Figures (if any) List of Illustrations (if any) List of Tables (if any) Preface, including acknowledgements, or acknowledgements alone if there is no preface List of Illustrations Model T with tent 10 Covered Wagon (vardos) 17 Diagram of Airstream 23 Diagram of music 25 Levittown 28 Airstream roundup 28 Airstream diagram 29 Girls on train 30 Airstream blueprint 30 Color diagram 31 Floor plan diagram 32 Base camp diagram with photos 33 I would like to thank Dr. Diane Scillia for all of her patience, guidance, and understanding during my commitment to this thesis. I would not have been able to complete this without her and her knowledge. I would also like to thank my wife, Katherine, and my kids for putting up with this ‘folly of going back to school at my age...’ "DESIGNING THE AIRSTREAM: THE CULTURAL HISTORY OF COMPACT SPACE, CA. 1920 TO THE 1960S" INTRO Since 1931, with more than 80 years of war, social, and political changes, there is an industry that began with less than 50 manufacturers, swelled within seven years to more than 400, only to have one company from that time period remain: the Airstream1. To make this even more astounding: the original design never changed.
    [Show full text]