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Towards Modernist Classicism

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Towards Modernist Classicism Towards modernist classicism Autor(en): Benton, Tim / Benton, Charlotte Objekttyp: Article Zeitschrift: Werk - Archithese : Zeitschrift und Schriftenreihe für Architektur und Kunst = revue et collection d'architecture et d'art Band (Jahr): 65 (1978) Heft 23-24: Unterbrochene Stadt : Aspekte der Schweizer Architektur 1930-40 = La ville interrompue : aspects de l'architecture suisse 1930-40 PDF erstellt am: 08.10.2021 Persistenter Link: http://doi.org/10.5169/seals-50167 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Schweizer Architektur, 1930^40 23 2. Monumentalität? (Zeichnungen/dessihs: Osbert Lancaster) Sehr viel Druckerschwärze ist dem Anliegen gewidmet England und der UdSSR stand bei diesem Unternehmen worden, zu demonstrieren, dass klassizistische Kolonnaden die Absicht im Vordergrund, eine Architektur zu bauen, in der Architektur «diktatorial», «totalitär» und die Humanität und Dauer verkörpert - und dies in einer «faschistisch» seien. Bevor sie das alles waren, konstituierten anschaulichen, «im Volksbewusstsein verankerten» sie jedoch - wie Tim und Charlotte Benton im hier Sprache. folgenden Aufsatz belegen - den «internationalen Stil» Die folgenden Beiträge zeigen darüber hinaus, dass die des Jahrzehnts. Dabei waren die Argumente, mit denen Grenzen zwischen «moderner Architektur» und man für Monumentalität und Klassik - im Gegensatz zum neoklassizistischem «Monumentalstil» fliessend waren - durchlässig, kalten «Rationalismus» desneuen bauens -plädierte, fast und zwar nach beiden Seiten hin. S.v.M. überall analog: in Genf, in Deutschland, in Frankreich, Tim and Charlotte Benton Towards Modernist Classicism Le nouvel art veut exprimer sin- Several factors contribute to add- tical problems posed by the brief. could claim supra-national Status cerement la mentalite nouvelle. ing to this dialectic that of as the embodiment of those laws L'esprit de ce mouvement artistique nationalism versus inter- A "diplomatie" language of of composition, Organization and se rapproche de celui de nationalism. Ironically, the two architecture symbolism with which architects l'architecture grecque... most "international" schemes of many nations were familiär amongst the first prize winning The seif professed inter- from their education. By tradition, designs in the competition were nationalism of the "new architecture", classicism provided the Par l'etat des choses, la marche par those which might appear, at first as well as its freedom from universal "diplomatie" language of de l'Histoire, l'homme de nos sight, to have least in common: the historical and symbolic architecture, in much the same jours est force de devenir universel. the projeet by the septuagenarian associations of les styles, seemed to way as French provided the (M. Malkiel-Jirmounsky, Les academician H.-P. Nenot (in its protagonists to make it the per- international language of practical Tendances de l'Architecture association with Julien Flegenheimer), fect vehicle for the material diplomacy. Contemporaine, 1931) and that by the "apostle of expression of the values of the new Shorn of its most distinctively functionalism" Le Corbusier. The institutions founded to promote "French" Beaux-Arts qualities, The competition for the Palais de former could be understood as a world peace and international and adopting the more rational la Societe des Nations is usually normative Solution to the problem justice.2 But equally, the classical features of Le Corbusier's overall seen as a struggle between mod- of monumentality, the latter tradition preserved and promoted layout, the finished building may ernism and the ancien regime.' as a rational response to the prac- through the Beaux-Arts System be regarded as prototypical of the 24 werk-archithese 23—24 reformed monumental style of Der Nationalsozialismus, aus dem Adaptability: semantic and formal and design. The forces which the thirties. Modern in its strueture, Geist des Soldatentums geboren, moulded what Hitchcock and wollte und will die Wache» its adoption of a Standard «Ewige Johnson dubbed the "International seines Volkes sein, und so war es eine office plan for the Secretariat building, If, on the one hand, we can see the Style" also effected a seiner ersten Taten, dass er dafür ein similarities of architectural transformation in the field of its materials and its equip- Sinnbild schuf.4 ment, the Palais de la SDN language throughout Europe as a re- monumental architecture: nevertheless retained, in its clas- The genuine "modernity" of NS flection of the common tenden- L'architecte recherche avant tout. cies towards the sieizing style, those qualities of architecture lies in its use of Space, centralization of lorsqu'il bätit, l'economie, le confort. "synthesis" and "reconciliation", movement, colour, light and political and social institutions in le pratique. II elimine toutes les "dignity" and "authority" which human partieipation, to the ut- a period of economic depression formes qui etaient l'heritage d'un were considered essential to the most. and increasing international ten- passe aujourd'hui aboli. Le eiment expression of the diplomatie sions, we can also see them as a arme, les materiaux impermeables lui la construction de terrasses, ambitions of the SDN.3 Die neue gestalterische Kunst ist reflection of the plurality of permettent daher lui des formes auch nicht von der Kunst associations of classicism and of imposent rigides, sondern Leben.5 geometriques. Le caractere artistique Classicism and totalitarian ausgegangen, vom their capacity for adaptation est donne par la justesse des proportions aecording to circumstance and ideology The absolute clarity of these et non plus par le pittoresque des need. In the usage of the thirties elements, l'harmonie des revetements coneeptions, despite their purely mi- par is usual to associate the revival this is central to the of et non plus la richesse du It litaristic context, provides the appeal par of classicism this classicism: it be in the detail. during period semiological primer for modernist may "zeitlos", with those totalitarian regimes millenial Interpretation of the Une nouvelle architecture est rationalism in general. Of the toutes les architec- which employed the style for Third Reich; or the means to a re- nee,... qui comme NS "Feier": est en le resultat more or less defined discovery of cultural identity, in tures, grande partie clearly des conditions economiques et Sie ist der in ideological ends. Thus the symbolische Augenblick, Mussolini's Italy; or conveniently sociales.9 "ironic" resemblances in scale dem Tod und Leben. Vergangenheit, "en dehors de la mode", in and style between the German Gegenwart und Zukunft sich begegnen.6 France; or merely "good man- Classicism" and Soviet national pavilions in nered", in England. It can be "re- „Modernist the international exhibition in The heart of NS mythology the publican", "democratie", - The style which is particularly a Paris in 1937 are often noted in celebration of death and racial "imperial" or a combination - - feature of the public architecture the histories of architecture of the continuity took place in the ral- aecording to need and application. - of the thirties may be understood period. And this convergence of lies at but by implication And by tradition and usage it car- Nürnberg, as a synthesis of classicism and the forms of expression of oppos- the applies to all ries associations of "universali- "message" modernism and perhaps best be ing ideologies is usually inter- NS architecture, not the ty", "authority", "dignity", merely described as "modernist preted (at least by implication) as "monumentality", "continuity", Zeppelinfeld. classicism". We from resulting from the common and so on, which, however can distinguish it the "stripped" classicism to be totalitarian aspects in the practice of Sie hat die Haupttribüne und in deren generalized they may seem, are den als Abschluss found in such as those ideologies. Yet it is an ob- Mitte Führerstand, capable of explicit demagogic buildings Speer's aber eine alle Tribünen überragende New Troost's servable fact that the revival (and exploitation. Further, the language Chancellery, or Pfeilerhalle. Auf sie blicken die politischen Haus der Kunst, where reformation) of classicism during of classicism is innately adaptable explicit Soldaten. Alle
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