DOCSLIB.ORG

Explo R Ation S in a R C Hitecture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Explo R Ation S in a R C Hitecture E TABLE OF CONTENTS ExploRatIONS XPLO In ARCHITECTURE 4 ColopHON +4 RESEARCH ENVIRONMENTS* 6 ACKNOWLEDGMENTS 8 INTRODUCTION Reto Geiser C A METHODOLOGY 12 PERFORMATIVE MODERNITIES: REM KOOLHAAS’S DIDACTICS B NETWORKS DELIRIOUS NEW YORK AS INDUCTIVE RESEARCH C DIDACTICS 122 NOTES ON THE ANALYSIS OF FORM: Deane Simpson R D TECHNOLOGY 14 STOP MAKING SENSE Angelus Eisinger CHRISTOPHER ALEXANDER AND THE LANGUAGE OF PATTERNS Andri Gerber 26 ALTERNATIVE EDUCATIONAL PROGRAMS IN AT ARCHITECTURE: THE INSTITUTE FOR 124 UNDERSTANDING BY DESIGN: THE SYNTHETIC ARCHITECTURE AND URBAN STUDIES Kim Förster APPROACH TO INTELLIGENCE Daniel Bisig, Rolf Pfeifer 134 THE CITY AS ARCHITECTURE: ALDO ROSSI’S I DIDACTIC LEGACY Filip Geerts +4 RESEARCH ENVIRONMENTS* ON STUDIO CASE STUDIES 136 EXPLORING UNCOMMON TERRITORIES: A A SYNTHETIC APPROACH TO TEACHING 54 LAPA Laboratoire de la production d’architecture [EPFL] PLATZHALTER METHODOLOGY ARCHITECTURE Dieter Dietz PLATZHALTER 141 ALICE 98 MAS UD Master of Advanced Studies in Urban Design [ETHZ] S 34 A DISCOURS ON METHOD (FOR THE PROPER Atelier de la conception de l’espace EPFL 141 ALICE Atelier de la conception de l’espace [EPFL] CONDUCT OF REASON AND THE SEARCH FOR 158 STRUCTURE AND CONTENT FOR THE HUMAN 182 DFAB Architecture and Digital Fabrication [ETHZ] EFFIcacIty IN DESIGN) Sanford Kwinter ENVIRONMENT: HOCHSCHULE FÜR GESTALTUNG I 48 THE INVENTION OF THE URBAN RESEARCH STUDIO: ULM, 1953–1968 Tilo Richter A N ROBERT VENTURI, DENISE SCOTT BROWN, AND STEVEN IZENOUR’S LEARNING FROM LAS VEGAS, 1972 Martino Stierli +4 RESEARCH ENVIRONMENTS* HISTORICAL CASE STUDIES 50 FROM CITY TO DETAIL: THE SPHERE OF THE D R ARCHITECT Harry Gugger, Carolin Stapenhorst 12 REM KOOLHAAS Deane Simpson 54 LAPA TECHNOLOGY Laboratoire de la production d’architecture EPFL C 26 INSTITUTE FOR ARCHITECTURE AND URBAN STUDIES Kim Förster 166 ARCHITECTURE AS MEMBRANE, Georges Teyssot 48 VENTURI, SCOTT BROWN, AND IZENOUR Martino Stierli 176 WORLD GAME NEW YORK 1969: BUCKMINSTER HI 78 LUCIUS BURCKHARDT Martin Josephy +4 RESEARCH ENVIRONMENTS* FULLER’S GLOBAL SWITCHBOARD, Mark Wasiuta 178 DIGITAL MATERIALITY IN ARCHITECTURE: 90 CONSTANTINOS DOXIADIS Jeannie Kim B BRIDGING THE REALMS OF THE VIRTUAL AND T 114 TEAM 10 Tom Avermaete NETWORKS THE PHYSICAL, Fabio Gramazio, Matthias Kohler 122 CHRISTOPHER ALEXANDER Andri Gerber E 182 DFAB 134 ALDO ROSSI Filip Geerts Architecture and Digital Fabrication ETHZ 78 CRITICAL PRACTICE BETWEEN SCIENE AND ART: CT 158 HOCHSCHULE FÜR GESTALTUNG ULM Tilo Richter LUCIUS BURCKHARDT AND THE EMERGENCE OF 200 R AND D: THE EAMES OFFICE AT WORK, PLANNING THEORY Martin Josephy John Harwood 176 BUCKMINSTER FULLER Mark Wasiuta 80 “GIVE ME A GUN AND I WILL MAKE ALL 200 EAMES OFFICE John Harwood BUILDINGS MOVE”: AN ANT’S VIEW OF URE 208 HENRY VAN DE VELDE Ole W. Fischer ARCHITECTURE Bruno Latour, Albena Yaneva 202 CREDITS 90 THE ORACLE OF ATHENS: CONSTANTINOS 204 IndEX OF CONTRIBUtoRS DOXIADIS AND THE STUDY OF HUMAN 206 ImagE CREDITS SETTLEMENTS Jeannie Kim 207 PatRONS AND SPONSORS 92 URBAN TRANSFORMATION IN DEVELOPING 208 EXPERIMENTAL WORKSHOP OF MODERNITY: KEY ARTICLES TERRITORIES Marc Angélil REFORMIST DESIGN EDUCATION FROM 94 ADDIS THROUGH THE LOOKING-GLASS VAN DE VELDE TO BAUHAUS Ole W. Fischer Marc Angélil, Cary Siress 210 STRUCTURAL OSCILLATIONS, INStallatION FOR 14 STOP MAKING SENSE Angelus Eisinger PLATZHALTER 98 MAS UD tHE 11TH VENICE ARCHITECTURAL BIENNALE, 34 A DISCOURS ON METHOD Sanford Kwinter PLATZHALTER Master of Advanced Studies in Urban Design ETHZ SwISS PavIllon 2008 80 AN ANT’S VIEW OF ARCHITECTURE Bruno Latour, Albena Yaneva 114 A WEB OF RESEARCH ON SOCIO-PLASTICS: 124 UNDERSTANDING BY DESIGN Daniel Bisig, Rolf Pfeifer TEAM 10 AND THE CRITICAL FRAMING OF EVERYDAY URBAN ENVIRONMENTS Tom Avermaete 166 ARCHITECTURE AS MEMBRANE Georges Teyssot A B C D BIRKHÄUSER 158 159 DIDactics Historical Case Study C HOCHSCHULE FÜR GestaLtuNG ULM Tilo Richter 1 Max Bill with Ray and Charles 3 Photo studio at HfG, 1957 5 Tomás Maldonado teaching, Structure AND CONTENT FOR THE HUMAN use of science and theory. Tomás Maldonado, an Argen- Eames at Ulm, 1955 (Photo: Ernst Hahn) (Photo: Wolfgang Siol) 1966 (Photo: Roland Fürst) ENVIRONMENT: THE HOCHSCHULE FÜR GestaLtuNG tinian who had previously taught in Italy, became an 2 Inge Aicher-Scholl and Walter 4 HfG campus buildings by Max 6 Students room in the “Wohn- ULM, 1953–1968 opponent of Bill, and Bill left the HfG in 1957 as a Gropius at the opening of the HfG cam- Bill, 1955 (Photo: Wolfgang Siol) turm” at HfG campus, 1958 (Photo: Wolf- pus, 1955 (Photo: Ike and Hannes Rosen- gang Siol) reaction to the impending change of course. At the berg) Tilo Richter International Exposition in Brussels in 1958, Maldonado gave an impassioned speech on the conceptual reorien- From its founding in 1953 until its closure in 1968, The tation of the HfG—the “Ulm model”—which he would Hochschule für Gestaltung (HfG) Ulm was considered one play a decisive role in shaping in the coming years. of the most important international centers for the design From that time on, under a council of directors, the of industrial products. Not only did graduates of the HfG institute at Ulm became more closely allied with the 1 become key players in contemporary product design, but production of industrial goods. The new symbiosis of the pedagogical concept developed at Ulm has had a design and industry was, for example, evident in the lasting influence on the education of designers. products of Max Braun AG, the renowned manufacturer In 1949 Inge Scholl, Otl Aicher and Hans Werner of electrical household appliances. Braun’s department 2 Richter began to configure an institute at Ulm that was of product design, developed by Fritz Eichler, cooper- equally oriented toward politics, science and the hu- ated closely with the HfG, as did Dieter Rams (“Mr. Braun”). manities. Education in politics and the comprehensive Several of the HfG faculty did design work for Braun design of the environment, both in structure and content, directly, such as Hans Gugelot (who designed the SK4, would establish and reinforce humanistic ideals and “Snow White’s Coffin,” with Dieter Rams), Inge Scholl democratic thought—nothing less than a “new culture.” and Otl Aicher (Corporate Design). As quickly and in- During its initial year, the faculty included former Bauhaus tensively as new design ideas flowed into production, instructors Josef Albers, Johannes Itten, Walter Peter- so the experience and knowledge gained there was fed hans and Helene Nonné-Schmidt. The first classes were back into teaching. held in the Volkshochschule, while on Oberer Kuhberg According to some of the faculty, in the 1960s the the building for the new institute was being constructed teaching was becoming increasingly subject to scien- according to the designs of founding director and former tific premises. Maldonado and those who had supported Bauhaus pupil Max Bill. him in the dispute around Aicher and Gugelot now became When Bill’s school buildings were opened in 1955, the target of opposition. Lecturers such as mathematician Walter Gropius spoke of a “continued, organic develop- Horst Rittl, sociologist Hanno Kesting and industrial 3 4 ment” of the Bauhaus, and the new institute was even designer Bruce Archer advocated a strictly analytical sometimes referred to as “Bauhaus Ulm.” However, in methodology quite distinct from their colleagues’ orien- contrast to the legendary Bauhaus of Weimar, Dessau tation toward industrial practice. In the mid 60s, internal and Berlin, the teachers and students at Ulm thought conflicts around the pedagogical orientation of the HfG of themselves less as artists and individualists than as intensified, and were increasingly accompanied by industrial designers, the ones whose task it was to form public criticism. The institute’s closure in 1968 was the and to sustain what Aicher termed the “culture of civi- result of multiple factors: a lack of political support led lization.” Education at the HfG consisted of one year of to the elimination of necessary financial subsidies from basic study and three years of specialization, in product the government of Baden-Württemberg, which also had design, visual communication, construction, information not been able to offset the considerable debts of the (until 1964) or film (beginning in 1961). A main objective Scholl Foundation. Gui Bonsiepe, a designer who had common to all subjects was sensitizing students to received his diploma from Ulm in 1959, said of the insti- 5 6 cultural and social issues, and scientific and scholarly tute in the year of its closing, “Although the HfG did not approaches accompanied the design process. In the meet a heroic end, the hope at its beginning was indeed classrooms, workshops, studios and dormitories designed heroic. The HfG should not be measured by what it achieved, by Bill, the cooperative efforts of students and faculty but by what it was prevented from achieving.” from around the world reflected the pedagogical ap- proach of the HfG: design, scholarship, and society were BIBLIOGRAPHY tightly interwoven, and life and work formed a unique • Curdes, Gerhard. HfG Ulm: 21 Rückblicke. Bauen – Gemein- symbiosis. schaft – Doktrinen. Ulm: Verlag Dorothea Rohn-Klewe, 2006. • Krampen, Martin, and Günther Hörmann. Die Hochschule für As its first director, Max Bill primarily influenced Gestaltung Ulm – Anfänge eines Projektes der unnachgiebigen the early years of the HfG. Already by the mid 50s, the Moderne = The Ulm School of Design – Beginnings of a Project of orientation towards the Bauhaus had become the subject Unyielding Modernity. Berlin: Verlag Ernst & Sohn, 2003. • Maldonado, Tomás: “Design Education.” In Education of of controversial discussions. The younger instructors Vision, edited by Gyorgy Kepes, 122–135. New York: George called for a modified curriculum that would make greater Braziller, 1965..
Load more

Recommended publications
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Die Politische Geschichte Der Hochschule Für Gestaltung Ulm (1953–1968) Ein Beispiel Für Bildungs– Und Kulturpolitik in Der Bundesrepublik Deutschland
    Die politische Geschichte der Hochschule für Gestaltung Ulm (1953–1968) Ein Beispiel für Bildungs– und Kulturpolitik in der Bundesrepublik Deutschland Inaugural– Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Universität zu Köln vorgelegt von René Michael Spitz aus Rheinbach Euskirchen 1997 Erster Referent: Professor Dr. Harm Klueting Zweiter Referent: Professor Dr. Jost Dülffer Tag des Rigorosums: 22.11.1997 Inhalt Seite 1 Einleitung 1–29 1.1Was heißt hier politische Geschichte der HfG? 1 Gegenstand, Ziel, Grenzen und Methode dieser Studie 1.2 Charakterisierung und Bedeutung der HfG 4 Tabelle 1 Statistik der Studierenden und Dozenten an der HfG Tab. 1.1 Anzahl der Studierenden an der HfG pro Studienjahr 10 Tab. 1.2 Anteile der Frauen an den Studierenden an der HfG pro Studienjahr 10 Tab. 1.3 Anteile der Ausländer an den Studierenden an der HfG pro Studienjahr 11 Tab. 1.4 Anzahl der Studierenden an der HfG nach Studiendauer 11 Tab. 1.5 Anzahl der Immatrikulationen an der HfG pro Studienjahr 12 Tab. 1.6 Anteile der Frauen und Ausländer an den Immatrikulationen an der HfG pro Studienjahr 12 Tab. 1.7 Anzahl der Dozenten an der HfG pro Studienjahr 13 Tab. 1.8 Anzahl der Dozenten an der HfG nach zusammenhängender Dauer ihrer Dozentur 13 Tab. 1.9 Belegung der Dozenten an der HfG pro Studienjahr 14 Tab. 1.10 Verhältnis Dozenten/Studierende an der HfG pro Studienjahr 14 Tab. 1.11 Verhältnis Dozenten/Immatrikulationen an der HfG 14 Tab. 1.12 Verteilung der ausländischen Studierenden an der HfG nach ihrer Staatsangehörigkeit
    [Show full text]
  • Eine Legende Im Wandel Der Zeit Die Hochschule Für Gestaltung in Ulm
    Eine Legende im Wandel der Zeit Die Hochschule für Gestaltung in Ulm Seit ihrer Gründung zählt die Hochschule für Gestaltung in Ulm (HfG) zu den bedeutendsten und wegweisendsten Bildungseinrichtungen für Design und Umweltgestaltung der Zeit nach dem Zweiten Weltkrieg. Die zwischen 1953 und 1968 entwickelten Gestaltungsmaximen markieren den Ausgangspunkt einer bundesdeutschen Designentwicklung, die den wissenschaftlichen Diskurs und die Auffassung von Design bis heute maßgeblich prägt und große inter - nationale Anerkennung fand. Nach dem Auszug der Universität Ulm aus dem Gebäudekomplex der HfG und einer umfassenden Sanierung soll die ehema- lige HfG nun aus ihrem Dornröschenschlaf geweckt und durch die Nutzung als Zentrum für Gestaltung HfG Ulm neu belebt werden. Der vorliegende Beitrag über das Nutzungskonzept und die geplanten Maßnahmen basiert auf einer Magisterarbeit, die 2009 an der Otto-Friedrich-Universität in Bamberg ange- nommen wurde. Marie Schneider Das kulturelle Erbe der HfG seinem Einfluss ein entscheidender programmati- scher Wandel in der Zielsetzung. Die ursprünglich Die Geschichte der HfG war geprägt von Innova- politisch-geisteswissenschaftlichen Schwerpunkte ti onen und Veränderungen, wurde nach ihrem der Lehre wurden zunehmend von gestalterisch- Ende zum Mythos und soll nun mit einer neuen architektonischen Inhalten verdrängt. Nutzung in dem Schulgebäude auf dem Ulmer Kuhberg wiederbelebt werden. Die kulturellen Das gestalterische Erbe der HfG Verdienste der HfG sind komplex und vielschich- tig. Nachhaltige Bedeutung
    [Show full text]
  • The White Rose in Cooperation With: Bayerische Landeszentrale Für Politische Bildungsarbeit the White Rose
    The White Rose In cooperation with: Bayerische Landeszentrale für Politische Bildungsarbeit The White Rose The Student Resistance against Hitler Munich 1942/43 The Name 'White Rose' The Origin of the White Rose The Activities of the White Rose The Third Reich Young People in the Third Reich A City in the Third Reich Munich – Capital of the Movement Munich – Capital of German Art The University of Munich Orientations Willi Graf Professor Kurt Huber Hans Leipelt Christoph Probst Alexander Schmorell Hans Scholl Sophie Scholl Ulm Senior Year Eugen Grimminger Saarbrücken Group Falk Harnack 'Uncle Emil' Group Service at the Front in Russia The Leaflets of the White Rose NS Justice The Trials against the White Rose Epilogue 1 The Name Weiße Rose (White Rose) "To get back to my pamphlet 'Die Weiße Rose', I would like to answer the question 'Why did I give the leaflet this title and no other?' by explaining the following: The name 'Die Weiße Rose' was cho- sen arbitrarily. I proceeded from the assumption that powerful propaganda has to contain certain phrases which do not necessarily mean anything, which sound good, but which still stand for a programme. I may have chosen the name intuitively since at that time I was directly under the influence of the Span- ish romances 'Rosa Blanca' by Brentano. There is no connection with the 'White Rose' in English history." Hans Scholl, interrogation protocol of the Gestapo, 20.2.1943 The Origin of the White Rose The White Rose originated from individual friend- ships growing into circles of friends. Christoph Probst and Alexander Schmorell had been friends since their school days.
    [Show full text]
  • Is the Bauhaus Relevant Today?”: Design Theory and Pedagogy at the Hochschule Für Gestaltung, Ulm (1953-1968)
    “Is the Bauhaus Relevant Today?”: Design Theory and Pedagogy at the Hochschule für Gestaltung, Ulm (1953-1968) Matthew Holt [email protected] University of Technology Sydney (Insearch) KEYWORDS: Hochschule für Gestaltung Ulm—Ulm Model—Environmental design Abstract The post-war German design school, The Hochschule für Gestaltung, Ulm (1953-1968), has long lain in the shadow of its more famous predecessor. Indeed, the school was initially conceived—at least by its first Rector, Max Bill— as a new Bauhaus rising from the ashes of the war, a home to bring back the scattered Bauhäuslers. Walter Gropius opened the purpose-built campus and Bill modelled the first year of its curriculum on the famous Bauhaus Vorkurs, or foundation year. But many members of Ulm led by its second Rector, the Argentine Tomás Maldonado, challenged this revival and questioned the scope and purpose of any presumed institutional inheritance. This paper examines this challenge that in turn produced an equally influential program of design education, the “Ulm Model” (Ulmer Modell). To explicate the Ulm Model, this paper explores three aspects of Ulm’s reinvention of the Bauhaus legacy: 1) The critique of Bauhaus pedagogy; 2) The School’s concept of environmental design (Umweltgestaltung) and environmental knowledge or science (Umweltwissenschaft); and, 3) The critique of the conservative canonisation of the Bauhaus in favour of what Maldonado called the “other” Bauhaus. Like its precursor, the HfG Ulm closed prematurely and under controversy, and its members underwent
    [Show full text]
  • Vom Erscheinungsbild Zum „Corporate Design“: Beiträge Zum Entwicklungsprozess Von Otl Aicher
    Vom Erscheinungsbild zum „Corporate Design“: Beiträge zum Entwicklungsprozess von Otl Aicher Nadine Schreiner Als Dissertation eingereicht bei der Bergischen Universität Wuppertal Fachbereich F: Architektur-Design-Kunst Wuppertal, im Juni 2005 Die Dissertation kann wie folgt zitiert werden: urn:nbn:de:hbz:468-20050270 [http://nbn-resolving.de/urn/resolver.pl?urn=urn%3Anbn%3Ade%3Ahbz%3A468-20050270] Mein ausdrücklicher Dank gilt, Prof. Dr. phil. Dr. h. c. Siegfried Maser und Prof. Dr. phil. Burghart Schmidt, für die äußerst wertvolle Unterstützung und Zusammenarbeit. Inhalt Einleitung 1 1. Kapitel Frühe Projekte 1.0 Frühe Projekte 4 1.1 Plakate Ulmer Volkshochschule 1945-62 4 1.2 Firma Max Braun, (Elektrogeräte) 1954-62 12 1.3 Deutsche Lufthansa 1962-64 21 1.4 Resümee 39 2. Kapitel XX. Olympische Spiele 1972 in München 2.0 Einleitung 40 2.1 Farbkodierung 43 2.2 Emblem 48 2.3 Eine humane Schrift – die Univers 54 2.4 Münchner Verkehrsschrift – Traffic 56 2.5 Typografisches System – Ordnungsprinzipien 60 2.6 Plakate 64 2.7 Piktogramme 67 2. 8 Urbanes Gestaltungskonzept – Fahnen 74 2. 9 Einkleidung 77 2.10 Olympia-Souvenirs 78 2.11 Architektur 84 2.12 Resümee 86 3. Kapitel Die Zeit nach Olympia – die 70er Jahre 3.0 Einleitung 89 3.1 Zweites Deutsches Fernsehen 95 3.2 Studioausstattung 95 3.3 Visuelle Konstanten und Elemente – Farbkodierung 98 3.4 Hausschrift und Logogramm 100 3.5 Senderkennzeichen 101 3.6 Bildschirm – Raster und Anwendungen 103 3.7 ZDF-Uhr – analog oder digital 104 3.8 Satzspiegel und Typografie 104 3.9 Beschilderung und Information 106 3.10 Objekte und Fahrzeuge 108 3.11 Resümee über ein neues Selbstverständnis 109 3.12 Re-Design Stufen im Erscheinungsbild ZDF 110 3.13 Zum Vergleich: 112 Das visuelle Erscheinungsbild des Südwestfunks von Herbert W.
    [Show full text]
  • Martha Schwendener Art and Language in Vilém Flusser's Brazil: Concrete Art and Poetry
    FLUSSER STUDIES 30 Martha Schwendener Art and Language in Vilém Flusser’s Brazil: Concrete Art and Poetry In his correspondence with friends and colleagues, Vilém Flusser often complained that he felt exiled to the periphery of culture and intellectual life after migrating from Europe to Brazil in 1940. Paradox- ically, however, he was arriving at a center of innovation that would shape his thinking. Concrete art and poetry flourished in Brazil in the fifties, and Flusser, who had decided that his primary focus would be language, was introduced to these new vernaculars. In particular, the formal layout of Concrete art and poetry, with their rigorous approaches to space, color, and typography, would impact Flusser. “The Gestalt,” he wrote, and “the visual character of writing” in “Concretist experiments are rupturing discursive thought and endowing it with a second dimension of ‘ideas’ which discursive thought cannot supply.”1 These methods served as proto-interfaces or screens, predicting the digital revolution, and offering what poet and theorist Haroldo de Campos called a “new dialogical relationship” with “im- perial” languages, since Concrete art was an international language and Concrete poetry took very little vocabulary to interpret and understand.2 This paper looks at Flusser’s personal engagement with these phenomena and how they informed his concept of “superficial” reading, non-linear “post-historical” thinking, and the idea that philosophy itself would eventually be practiced in images rather than written words. Art in Brazil Brazil was becoming a vital center for visual art in the forties. The Modern Art Week (Semana de Arte Moderna) in São Paolo in February 1922, with a flurry of exhibitions, lectures, poetry readings, and concerts is often seen as a seminal moment for the advent of modern art in Brazil, analogous to the Armory Show in 1913, which introduced European modernism to New York.
    [Show full text]
  • The White Rose's Resistance to Nazism
    Western Oregon University Digital Commons@WOU Student Theses, Papers and Projects (History) Department of History 2017 The White Rose’s Resistance to Nazism: The Influence of Friedrich Nietzsche Katilyn R. Kirkman Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/his Part of the European History Commons Recommended Citation Kirkman, Katilyn R., "The White Rose’s Resistance to Nazism: The nflueI nce of Friedrich Nietzsche" (2017). Student Theses, Papers and Projects (History). 65. https://digitalcommons.wou.edu/his/65 This Paper is brought to you for free and open access by the Department of History at Digital Commons@WOU. It has been accepted for inclusion in Student Theses, Papers and Projects (History) by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. The White Rose’s Resistance to Nazism: The Influence of Friedrich Nietzsche Katilyn Kirkman History 499, Senior Seminar Primary Reader: Professor David Doellinger Secondary Reader: Professor Patricia Goldsworthy-Bishop Spring 2017 The White Rose was a non-violent resistance organization that was run by students and a professor from Ludwig Maximilian University of Munich (LMU) that was active from 1942- 1943. The organization anonymously distributed anti-Nazi leaflets and tagged public places with anti-Nazi graffiti in response to Hitler’s anti-Semitic actions. The two main members were Hans and Sophie Scholl because Hans founded the organization and Sophie ran the operations of the organization, quickly becoming one of the leaders of the organization. By reading and discussing the works of Friedrich Nietzsche, members of the White Rose, particularly Hans and Sophie Scholl, solidifying their commitment to opposing Nazism, including their belief that Germans could no longer ignore the crimes of the Nazi State.
    [Show full text]
  • 'The Better Form'
    Art Style | Art & Culture International Magazine ‘The Better Form’ Josef Albers’s Idealistic Concept of Art Reveals its Socio-Cultural Function Martina Sauer Abstract With the aim of teaching and practicing art for the good or moreover the better, Josef Albers proves to be an idealist. At the same time, he confirms with this conviction that art can also arouse the opposite. This conviction is already evident in the grammatical form of the term, which proves that art is functional or a technique for socio-cultural applications, whether good or bad. In the presentation of the political and philosophical background of this idea as well as in the analysis of Josef Albers´s ´artistic research´ on the artistic means as cultural techniques, this assumption is to be proved by the essay. Political backgrounds to the ´better form´ as opposed to ´the worse form´ It was Max Bill who, in the 1950s, invented the well-known term ‘The Good Form’ at the Bauhaus successor institution, the Ulm School of Design in Germany. From 1969 to 1992, the official design award of the Federal Republic of Germany was listed under this name. With this idea, Bill joined originally Josef Albers, whom he had already invited before the completion of the new building for first preparatory design courses in 1953/54 and again in 1955. For Bill, however, not only the idealistic ideals of Albers were important, but his affiliation with the Bauhaus, where from 1923 until its closing in 1933 he was the teacher of the preparatory course, the so-called Vorkurs.
    [Show full text]
  • Literature of Warning: the State-Private Network, Cultural Patronage, and the Emergence of Foundation Literature During the Cold War
    Literature of Warning: The State-Private Network, Cultural Patronage, and the Emergence of Foundation Literature during the Cold War A DISSERTATION SUBMITTED TO THE FACULTY OF THE UNIVERSITY OF MINNESOTA BY Amanda Niedfeldt IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Under the supervision of Dr. Paula Rabinowitz February 2021 Copyright © 2021 by Amanda Niedfeldt All rights reserved “But how impossible it must have been for them not to budge either to the right or to the left. What genius, what integrity it must have required in face of all that criticism…to hold fast to the thing as they saw it without shrinking.” Virginia Woolf, A Room of One’s Own (74) i Acknowledgements I must first thank Paula Rabinowitz for her support and patience through the journey of this project, especially for understanding, better than I, that all aspects of our lives shape our work and our ability to see it through. Thank you for supporting me throughout the process, even going the extra mile to help me access archival sources out of my physical reach. Thank you also for encouraging me to push against bureaucratic boundaries from day one and supporting me in spreading my net wide both intellectually and professionally, by doing so I have been able to grow not only academically, but also as a person. Thank you also to my committee members Siobhan Craig, Leslie Morris, Jani Scandura, and Frances Vavrus for your questions, feedback, and particularly your patience as the end date of this project was shifted around the calendar while 2020 unfolded.
    [Show full text]
  • Bauhaus and Ulm School of Design Pedagogy Towards the Creation of a Global Design
    Bauhaus and Ulm School of Design Pedagogy towards the Creation of a Global Design 12 docomomo 47 — 2012/2 docomomo_47.indd 12 08/12/12 18:29 he relevance of the Bauhaus and the Ulm School of Design to the development of a global design is widely acknowledged. With the inclusion of the Bauhaus on the UNESCO list of World THeritage sites, this received worldwide recognition, and thereby acknowledged not only the architecture, but also the pedagogical concept. Since a comprehensive analysis of the pertinent issues far exceeds the parameters of this contribution, I would like to focus on two aspects: a brief exposition of the Bauhaus building and the Ulm School of Design as built manifestoes of their pedagogical concepts and the dissemination of these concepts by the institutions’ students and educators. By Monika Markgraf he pedagogical concept of the Bauhaus involved Since its foundation, the Bauhaus was engaged in practice–based training for a new type of designer an ongoing process of reform. As such, Hannes Meyer, Twho worked in an interdisciplinary way and col- the director who succeeded Gropius, developed a laborated on life reform: “the primary aim for the devel- pedagogical concept for the training of architects, in opment of the Bauhaus was the synthesis of all forms of which the design process was based on systematic and artistic activity, the unification of all manual handicrafts detailed analyses, such as the precise calculation of the and technical disciplines as the indispensable parts of a positions of the sun or the investigation of domestic pro- new architecture, that is, an architecture conducive to the cesses, and incorporated aspects from sciences such as spirited life”.1 Before beginning their training, the students sociology or psychology.
    [Show full text]
  • Lycurgus in Leaflets and Lectures: the Weiße Rose and Classics at Munich University, 1941–45
    Lycurgus in Leaflets and Lectures: The Weiße Rose and Classics at Munich University, 1941–45 NIKLAS HOLZBERG The main building of the university at which I used to teach is situated in the heart of Munich, and the square on which it stands—Geschwister-Scholl-Platz—is named after the two best-known members of the Weiße Rose, or “White Rose,” a small group of men and women united in their re- sistance to Hitler.1 On February 18, 1943, at about 11 am, Sophie Scholl and her brother Hans, both students at the university, were observed by the janitor in the central hall as they sent fluttering down from the upper floor the rest of the leaflets they had just set out on the steps of the main stair- case and on the windowsills. The man detained them and took them to the rector, who then arranged for them to be handed over to the Gestapo as swiftly as possible. Taken to the Gestapo’s Munich headquarters, they underwent several sessions of intensive questioning and—together with another member of their group, Christoph Probst, who was arrested on February 19—they were formally charged on February 21 with having committed “treasonable acts likely to ad- vance the enemy cause” and with conspiring to commit “high treason and demoralization of the troops.”2 On the morning of the following day, the Volksgerichtshof, its pre- siding judge Roland Freisler having journeyed from Berlin to Munich for the occasion, sentenced them to death. That same afternoon at 5pm—only four days after the first ar- rests—they were guillotined.
    [Show full text]