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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. -
Urban Landscapes Human Codes
via dufour 1 - 6900 lugano (CH) +41 (0)91 921 17 17 [email protected] PRESS RELEASE [dip] contemporary art is delighted to present I pag. 1 URBAN LANDSCAPES HUMAN CODES Opening: wednesday 22.01.2020 h. 18.00 - 20.30 Visits: 23.01 - 22.02.2020 A group show with Geraldo de Barros (Brazil), Paolo Canevari (Italy), Olga Kisseleva (France/Russia), Wang Tong (China), Avinash Veeraraghavan (India) A selection of works by three generations of artists, spanning four different continents. Different historical, political and artistic periods. Different social and urban contexts. Through their works, these artists depicts expressions of a visual vocabulary that refers to continuous interconnections between art and society: gathering strong inputs, eager to find a synergy between past and future, oscillating between different contexts. In this different explorations, the landscape, especially the urban one, becomes a metaphor for the incessant metamorphosis of society. PRESS RELEASE Geraldo De Barros (Sao Paulo, 1923 – 1998), was a Brazilian painter, I pag. 2 photographer and designer, who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Geraldo de Barros began his investigations into photography in the mid-1940s in São Paulo. He built a small photo studio and bought a 1939 Rolleiflex and, in According to The Guardian, 1949, he joined the Foto Cine Club Bandeirante, which was one of the few forums De Barros was "one of the most influential Brazilian artists of the for the city’s photography enthusiasts. -
William Lescaze Reconsidered
Syracuse University SURFACE The Courier Libraries Spring 1984 William Lescaze Reconsidered William H. Jordy Follow this and additional works at: https://surface.syr.edu/libassoc Part of the American Art and Architecture Commons, and the Architectural History and Criticism Commons Recommended Citation Jordy, William H. "William Lescaze Reconsidered." William Lescaze and the Rise of Modern Design in America. Spec. issue of The Courier 19.1 (1984): 81-104. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY ASSOCIATES CO URI ER THE RISE OF MODERN DESIGN IN AMERICA A BRIEF SURVEY OF THE SYRACUSE UNIVERSITY A R. CHI TEe T U R A L H 0 L 0 I N GS VOLUME XIX 1 SPRING 1 984 Contents Foreword by Chester Soling, Chairman of the Syracuse University 5 Library Associates WILLIAM LESCAZE AND THE RISE OF MODERN DESIGN IN AMERICA Preface by Dennis P. Doordan, Assistant Professor of Architecture, 7 Tulane University, and Guest Editor William Lescaze and the Machine Age by Arthur ]. Pulos, Pulos Design Associates, Inc., and 9 Professor Emeritus, Syracuse University William Lescaze and Hart Crane: A Bridge Between Architecture and Poetry by Lindsay Stamm Shapiro, Parsons School of Design 25 The "Modern" Skyscraper, 1931 by Carol Willis, Parsons School of Design 29 William Lescaze and CBS: A Case Study in Corporate Modernism by Dennis P. Doordan, Assistant Professor of Architecture, 43 Tulane University European Modernism in an American Commercial Context by Robert Bruce Dean, Assistant Professor of Architecture, 57 Syracuse University William Lescaze Symposium Panel Discussion Respondents: Stuart Cohen, University of Illinois 67 Werner Seligmann, Syracuse University Robert A. -
Josef Albers: Process and Printmaking (1916-1976)
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 JOSEF ALBERS PROCESS AND PRINT MAKING 2014 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es FUNDACIÓN JUAN MARCH www.march.es 9 11117884111111 70111 11117562071111111111 111 Josef Albers Process and Printmaking (1916 1976) Fundación Juan March Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March 6 Fundación Juan March Josef Albers Process and Printmaking (1916–1976) Fundación Juan March Fundación Juan March This catalogue and its Spanish edition have been published on the occasion of the exhibition Josef Albers Process and Printmaking (1916–1976) Museu Fundación Juan March, Palma April 2–June 28, 2014 Museo de Arte Abstracto Español, Cuenca July 8–October 5, 2014 And it is a companion publication to the exhibition catalogue Josef Albers: -
Exhibition of Architecture for the Modern School
^B-MUSEUM OF MODERN ART lt WEST 53RD STREET, NEW YORK ,, FPHONE: CIRCLE 5-8900 TgLE FOR IMMEDIATE RELEASE MUSEUM OP MODERN ART OPENS EXHIBITION OF ARCHITECTURE FOR THE MODERN SCHOOL The latest development in elementary school architecture embodies the intimate and personal qualities of the little red school- house of our forefathers. The importance of modern architecture in meeting a child1s psychological as well as physical needs will be shown in an exhibition Modern Architecture for the Modern School which opens to the public Wednesday, September 16, at the Museum of Modern Art, 11 West 53 Street. The exhibition has been designed by Elizabeth Mock for the Department of Circulating Exhibitions, which will send it on a tour of schools, colleges and museums throughout the country after it closes at the Museum of Modern Art on October 18, The exhibition consists of 40 enlargements of the best modern schools for the elementary grades, a scale model, and 30 panels with drawings, photographs and explanatory labels which contrast the old and the new methods of elementary education and show the contribution modern architecture can make to modern education. Examples of good modern design are shown not only in schoolhouses of the United States but in those of Brazil, England, France, Sweden and Switzerland. A few non-elementary schools are shown, which present different problems but similar principles of design. Solutions of the problems of school-building brought about by priorities in materials and stoppage of non-essential construction are also considered. Mrs. Mock, designer of the exhibition, comments on its purpose as follows: "Educators today are very much concernod with child psychology, but they often forget that the child's sense of unity and security, his appreciation of honesty and beauty, are affected by his school surroundings as well as by his school activities. -
Neighborhood Preservation Center
Landmarks Preservation Commission January 27, 1976, Number 1 LP-0898 LESCAZE HOUSE, 211 East 43th Street Borough of Manhattan. Built 1933-34; archite~t William Lescaze. ' Landl'.lark Site: Borough of Manhattan Tax Map Block 1322, Lot 107. On September 23, 1975, the Landmarks Preservation Cor.~ission held a public hearing on the proposed designation as a Land~ark of the Lescnze House and the proposed designation of the related Landmark Site (Item No.2). 1be hearing was continued to November 25, 1975 (Item No. 1). B'oth hearings had been duly ~vertised in accordance with the provisior.s of law. A total of three Wltnesses spoke in favor of designation at the two hearings. ~~ry Lescaze, owner of the house, has given her approval of the designation. There were no speakers in opposition to designation. DESCRIPTION AND ANALYSIS The Lescaze House of 1933-34, desi~ed by William Lescaze for his own use as a co~bined residence and architectural office, is an ernbodiDent of the theory and practice of one of the most influential exponents of modern archi tecture in the United States. His go~l -- the creation of an architecture expressive of the spirit and life of the 20th century and of each client•s' indi vidual roquirements -- is fully r~aiizcd in this house by an ha~onious - design of deceptive siEplicity, dete~ined by a rational, functional plan, and developed through the use of the newest available technology, materials and Ee~ods of co~struction. The sudden appearance on East 48th Street of this startlingly "raodern" facade of 1934, set between deteriorating brownstones of the post-Civil War period, had a drama. -
“From Surface to Space”: Max Bill and Concrete Sculpture in Buenos Aires
“FROM SURFACE TO SPACE”: MAX BILL AND CONCRETE SCULPTURE IN BUENOS AIRES “FROM SURFACE TO SPACE”: within it. Artists such as Carmelo Arden Quin, Claudio Girola, Enio Iommi, MAX BILL AND CONCRETE SCULPTURE IN BUENOS AIRES and Gyula Kosice, among others, created sculptures that emphasize the artwork’s existence as a material presence rather than a representation. Francesca Ferrari I propose that these sculptures invoke visual, tactile, and synesthetic responses in the viewers that are meant to look at and move around them, concretizing Bill’s ambition to propel a practice for which “space is not Man’s relationship to his environment, and thus to space, has considered as something outside of the artistic relationship, but as a basic undergone a profound transformation in our century. This is most component of artistic expression.”7 The experiments of Bill’s Argentine evident in art. Indeed, this new change in art may be what has peers greatly informed his understanding of space as an apparatus through revealed man’s new relationship to space. which to renew the function of art in society in the deeply politicized years —Max Bill, “From Surface to Space”1 that overlapped with and followed the Second World War.8 Thus, Bill’s relation with the Buenos Aires avant-garde should not be framed merely as In a 1951 essay titled “From Surface to Space,” the Swiss artist Max Bill that of a European model to which the Argentine artists reacted but also as traced the role of concrete art in what he perceived as a fundamental that of a theorist who reoriented his characterization of concrete art upon shift in the way that human beings relate to space. -
Evolution of a Modern American Architecture: Adding to Square Shadows
University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1-1-2007 Evolution of A Modern American Architecture: Adding to Square Shadows Fon Shion Wang University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Wang, Fon Shion, "Evolution of A Modern American Architecture: Adding to Square Shadows" (2007). Theses (Historic Preservation). 93. https://repository.upenn.edu/hp_theses/93 A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: David G. De Long This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/93 For more information, please contact [email protected]. Evolution of A Modern American Architecture: Adding to Square Shadows Disciplines Historic Preservation and Conservation Comments A Thesis in Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Master of Science in Historic Preservation 2007. Advisor: David G. De Long This thesis or dissertation is available at ScholarlyCommons: https://repository.upenn.edu/hp_theses/93 EVOLUTION OF A MODERN AMERICAN ARCHITECTURE: ADDING TO SQUARE SHADOWS Fon Shion Wang A THESIS In Historic Preservation Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE IN HISTORIC PRESERVATION 2007 ________________________ ______________________________ Advisor Reader David G. De Long John Milner Professor Emeritus of Architecture Adjunct Professor of Architecture _______________________________ Program Chair Frank G. -
Max-Bill Poster Wbform 2017 EN.Pdf
RZ_MB_Poster_wbForm_2017_EN.indd 1 The beauty of function and as a function The max bill collection is characterised by clarity, simplicity and mathematical precision. For max bill, industrial design was of particular im- The phrase «beauty from and as function» from Bill’s portance in the economic upturn during the post-war legendary talk became a key statement. He opened up years and because of the widespread destruction left the rigid notion of functionalism by putting the forms of by the war: he saw industrial design as an opportunity everyday products into a larger context with the forms of to improve the environment with versatile products. both nature and the arts and by juxtaposing industrially Following the US example, the aesthetics of things produced everyday products with craft-based and tech- were becoming important during this period. For the nical objects. His major achievement was his call for a max bill’s wooden furniture is the physical expression rst time, exemplary products – most of which were «new beauty ideal»: harking back to Henry van de Velde’s of his belief that functionality, as well as the economy «anonymous» factory designs – were given a promi- concept of «rational beauty», which referred to «com- of materials and design, should be combined with nent place in the magazines. Authorities like max bill bining the rationalism of engineering with constructive meeting form-related and aesthetic demands. Bill’s and Siegfried Giedion had a clear attitude: they de- beauty,» Bill wanted things to not only function but also designs and products are based on qualities such spised any design that would only serve commercial look beautiful. -
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 -
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 -
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.