DOCSLIB.ORG

Ludwig Mies Van Der Rohe 1 Ludwig Mies Van Der Rohe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ludwig Mies Van Der Rohe 1 Ludwig Mies Van Der Rohe Ludwig Mies van der Rohe 1 Ludwig Mies van der Rohe Ludwig Mies van der Rohe Born Ludwig MiesMarch 27, 1886Aachen, North Rhine-Westphalia, Germany Died August 17, 1969 (aged 83)Chicago, Illinois, USA Nationality German 1886-1944/American 1944-1969 Awards Order Pour le Mérite (1959) Royal Gold Medal (1959) AIA Gold Medal (1960) Presidential Medal of Freedom (1963) Work Buildings Barcelona Pavilion Tugendhat House Crown Hall Farnsworth House 860-880 Lake Shore Drive Seagram Building New National Gallery Toronto-Dominion Centre Ludwig Mies van der Rohe (March 27, 1886 – August 17, 1969) was a German architect.[1] He is commonly referred to and addressed by his surname, Mies, by his colleagues, students, writers, and others. Ludwig Mies van der Rohe, along with Walter Gropius and Le Corbusier, is widely regarded as one of the pioneering masters of Modern architecture. Mies, like many of his post World War I contemporaries, sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created an influential 20th century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strived towards an architecture with a minimal framework of structural order balanced against the implied freedom of free-flowing open space. He called his buildings "skin and bones" architecture. He sought a rational approach that would guide the creative process of architectural design. He is often associated with the aphorisms "less is more" and "God is in the details". Ludwig Mies van der Rohe 2 Early career Mies worked in his father's stone-carving shop and at several local design firms before he moved to Berlin joining the office of interior designer Bruno Paul. He began his architectural career as an apprentice at the studio of Peter Behrens from 1908 to 1912, where he was exposed to the current design theories and to progressive German culture, working alongside Walter Gropius and Le Corbusier. Mies served as construction manager of the Embassy of the German Empire in Saint Petersburg under Behrens.[2] His talent was quickly recognized and he soon began independent commissions, despite his lack of a formal college-level education. A physically imposing, deliberative, and reticent man, Ludwig Mies renamed himself as part of his rapid transformation from a tradesman's son to an architect working with Berlin's cultural elite, adding "van der" and his mother's surname "Rohe".[3] He began his independent professional career designing upper class homes, joining the movement seeking a return to the purity of early Nineteenth Century Germanic domestic styles. He admired the broad proportions, regularity of rhythmic elements, attention to the relationship of the manmade to nature, and compositions using simple cubic volumes of the early 19th century Prussian Neo-Classical architect Karl Friedrich Schinkel. He dismissed the eclectic and cluttered classical styles so common at the turn of the century as irrelevant to the modern times. Traditionalism to Modernism After World War I, Mies began, while still designing traditional neoclassical homes, a parallel experimental effort. He joined his avant-garde peers in the long-running search for a new style that would be suitable for the modern industrial age. The weak points of traditional styles had been under attack by progressive theorists since the mid-nineteenth century, primarily for the contradictions of hiding modern construction technology with an facade of ornamented traditional styles. The mounting criticism of the historical styles gained substantial cultural credibility after World War I, a disaster widely seen as a failure of Villa Tugendhat built in 1930 in Brno, in today's Czech Republic, for Fritz the old world order of imperial leadership of Tugendhat. Europe. The aristocratic classical revival styles were particularly reviled by many as the architectural symbol of a now-discredited and outmoded social system. Progressive thinkers called for a completely new architectural design process guided by rational problem-solving and an exterior expression of modern materials and structure rather than the superficial application of classical facades. While continuing his traditional neoclassical design practice Mies began to develop visionary projects that, though mostly unbuilt, rocketed him to fame as an architect capable of giving form that was in harmony with the spirit of the emerging modern society. Boldly abandoning ornament altogether, Mies made a dramatic modernist debut with his stunning competition proposal for the faceted all-glass Friedrichstraße skyscraper in 1921, followed by a taller curved version in 1922 named the Glass Skyscraper.[4] He continued with a series of pioneering projects, culminating in his two European masterworks: the temporary German Pavilion for the Barcelona exposition (often called the Barcelona Pavilion) in 1929 (a 1986 reconstruction is now built on the original site) and the elegant Villa Tugendhat in Brno, Czech Republic, completed in 1930. Ludwig Mies van der Rohe 3 He joined the German avant-garde, working with the progressive design magazine G which started in July 1923. He developed prominence as architectural director of the Werkbund, organizing the influential Weissenhof Estate prototype modernist housing exhibition. He was also one of the founders of the architectural association Der Ring. He joined the avant-garde Bauhaus design school as their director of architecture, adopting and developing their functionalist application of simple geometric forms in the design of useful objects. Like many other avant-garde architects of the day, Mies based his own architectural theories and principles on his own personal re-combination of ideas developed by many other thinkers and designers who had pondered the flaws of the traditional design styles. Mies' modernist thinking was influenced by many of the design and art movements of the day. He selectively adopted theoretical ideas such as the aesthetic credos of Russian Constructivism with their ideology of "efficient" sculptural constructions using modern industrial materials. Mies found appeal in the use of simple rectilinear and planar forms, clean lines, pure use of color, and the extension of space around and beyond interior walls expounded by the Dutch De Stijl group. In particular, the layering of functional sub-spaces within an overall space and the distinct articulation of parts as expressed by Gerrit Rietveld appealed to Mies. The design theories of Adolf Loos found resonance with Mies, particularly the ideas of eradication of the superficial and unnecessary, substituting elaborate applied ornament with the straightforward display of rich materials and forms. Loos had famously declared, in the tongue-in-cheek humor of the day, that "ornament is a crime". Mies also admired his ideas about the nobility that could be found in the anonymity of modern life. The bold work of American architects was greatly admired by European architects. Like other architects who viewed the Wasmuth Portfolio and its associated exhibit, Mies was enthralled with the free-flowing spaces of inter-connected rooms which encompass their outdoor surroundings as demonstrated by the open floor plans of the American Prairie Style work of Frank Lloyd Wright. American engineering structures were also held up to be exemplary of the beauty possible in functional construction. Significance and meaning Mies pursued an ambitious lifelong mission to create a new architectural language that could be used to represent the new era of technology and production. He saw a need for an architecture expressive of and in harmony with his epoch, just as Gothic architecture was for an era of spiritualism. He applied a disciplined design process using rational thought to achieve his spiritual goals. He believed that the configuration and arrangement of every architectural element must contribute to a unified expression. The self-educated Mies painstakingly studied the great philosophers and thinkers, past and present, to enhance his own understanding of the character and essential qualities of the technological times he lived in. More than perhaps any other practising pioneer of modernism, Mies mined the writings of philosophers and thinkers for ideas that were relevant to his architectural mission. Mies' architecture was created at a high level of abstraction, and his own generalized descriptions of his principles intentionally leave much room for interpretation. Yet his buildings also seem very direct and simple when viewed in person. Every aspect of his architecture, from overall concept to the smallest detail, supports his effort to express the modern age. The depth of meaning conveyed by his work, beyond its aesthetic qualities, has drawn many contemporary philosophers and theoretical thinkers to continue to further explore and speculate about his architecture. Emigration to the United States Opportunities for commissions dwindled with the worldwide depression after 1929. In the early 1930s, Mies served briefly as the last Director of the faltering Bauhaus, at the request of his colleague and competitor Walter Gropius. After 1933, Nazi political pressure soon forced Mies to close the government-financed school. He built very little in these years (one built commission was Philip Johnson's New York apartment); his style was rejected by the Nazis as not "German"
Load more

Recommended publications
  • Ludwig Mies Van Der Rohe from Traditional Neoclassical Homes to Modernism
    Ludwig Mies van der Rohe From Traditional Neoclassical Homes to Modernism AUK College of Art & Sciences/ID IND311 Interior Design History II Asst. Prof. Siniša Prvanov Spring 2019 Page 1 of 96 Contents: Introduction 1. Barcelona Pavilion 1929. 2. Villa Tugendhat 1930. 3. Farnsworth House 1946. 4. New National Gallery, Berlin 1968. 5. Furniture Design Page 2 of 96 INTRODUCTION Ludwig Mies van der Rohe (March 27, 1886 - August 17, 1969) was a German-American architect. Along with Alvar Aalto, Le Corbusier, Walter Gropius and Frank Lloyd Wright, he is regarded as one of the pioneers of modernist architecture. Mies was a director of the Bauhaus, a seminal school in modern architecture. After Nazism's rise to power, and with its strong opposition to modernism (leading to the closing of the Bauhaus itself), Mies went to the United States. He accepted the position to head the architectural school at the Illinois Institute of Technology, in Chicago. Mies sought to establish a new architectural style that could represent modern times just as Classical and Gothic did for their own eras. He created a new twentieth-century architectural style, stated with extreme clarity and simplicity. His mature buildings made use of modern materials such as industrial steel and plate glass to define interior spaces. He strove toward an architecture with a minimal framework of structural order balanced against the implied freedom of unobstructed free-flowing open space. He called his buildings "skin and bones" architecture. He sought an objective approach that would guide the creative process of architectural design, but was always concerned with Page 3 of 96 expressing the spirit of the modern era.
    [Show full text]
  • 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]
  • Seagram Building, First Floor Interior
    I.andmarks Preservation Commission october 3, 1989; Designation List 221 IP-1665 SEAGRAM BUIIDING, FIRST FLOOR INTERIOR consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; 375 Park Avenue, Manhattan. Designed by Ludwig Mies van der Rohe with Philip Johnson; Kahn & Jacobs, associate architects. Built 1956-58. Landmark Site: Borough of Manhattan Tax Map Block 1307, Lot 1. On May 17, 1988, the landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Seagram Building, first floor interior, consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; and the proposed designation of the related I.and.mark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Twenty witnesses, including a representative of the building's owner, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters in favor of designation. DFSCRIPI'ION AND ANALYSIS Summary The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Iudwig Mies van der Rohe. Constructed on Park Avenue at a time when it was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage.
    [Show full text]
  • EU Prize for Contemporary Architecture / Mies Van Der Rohe Award: a Tribute to Bauhaus
    AT A GLANCE EU Prize for Contemporary Architecture / Mies van der Rohe Award: A tribute to Bauhaus The EU Prize for Contemporary Architecture (also known as the EU Mies Award) was launched in recognition of the importance and quality of European architecture. Named after German architect Ludwig Mies van der Rohe, a figure emblematic of the Bauhaus movement, it aims to promote functionality, simplicity, sustainability and social vision in urban construction. Background Mies van der Rohe was the last director of the Bauhaus school. The official lifespan of the Bauhaus movement in Germany was only fourteen years. It was founded in 1919 as an educational project devoted to all art forms. By 1933, when the Nazi authorities closed the school, it had changed location and director three times. Artists who left continued the work begun in Germany wherever they settled. Recognition by Unesco The Bauhaus movement has influenced architecture all over the world. Unesco has recognised the value of its ideas of sober design, functionalism and social reform as embodied in the original buildings, putting some of the movement's achievements on the World Heritage List. The original buildings located in Weimar (the Former Art School, the Applied Art School and the Haus Am Horn) and Dessau (the Bauhaus Building and the group of seven Masters' Houses) have featured on the list since 1996. Other buildings were added in 2017. The list also comprises the White City of Tel-Aviv. German-Jewish architects fleeing Nazism designed many of its buildings, applying the principles of modernist urban design initiated by Bauhaus.
    [Show full text]
  • Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency SARAH M
    VOLUME 26 · 2015 JOURNAL OF THE SOUTHEAST CHAPTER OF THE SOCIETY OF ARCHITECTURAL HISTORIANS Volume 26 · 2015 1 Editors’ Note Articles 6 Madness and Method in the Junkerhaus: The Creation and Reception of a Singular Residence in Modern Germany MIKESCH MUECKE AND NATHANIEL ROBERT WALKER 22 Curtained Walls: Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency SARAH M. DRELLER 40 The “Monster Problem”: Texas Architects Try to Keep it Cool Before Air Conditioning BETSY FREDERICK-ROTHWELL 54 Electrifying Entertainment: Social and Urban Modernization through Electricity in Savannah, Georgia JESSICA ARCHER Book Reviews 66 Cathleen Cummings, Decoding a Hindu Temple: Royalty and Religion in the Iconographic Program of the Virupaksha Temple, Pattadakal REVIEWED BY DAVID EFURD 68 Reiko Hillyer, Designing Dixie: Tourism, Memory, and Urban Space in the New South REVIEWED BY BARRY L. STIEFEL 70 Luis E, Carranza and Fernando L. Lara, Modern Architecture in Latin America: Art, Technology, and Utopia REVIEWED BY RAFAEL LONGORIA Field Notes 72 Preserving and Researching Modern Architecture Outside of the Canon: A View from the Field LYDIA MATTICE BRANDT 76 About SESAH ABSTRACTS Sarah M. Dreller Curtained Walls: Architectural Photography, the Farnsworth House, and the Opaque Discourse of Transparency Abstract This paper studies the creation, circulation, and reception of two groups of photographs of Ludwig Mies van der Rohe’s iconic Farnsworth House, both taken by Hedrich Blessing. The first set, produced for a 1951 Architectural Forum magazine cover story, features curtains carefully arranged according to the architect’s preferences; the Museum of Modern Art commis- sioned the second set in 1985 for a major Mies retrospective exhibition specifically because the show’s influential curator, Arthur Drexler, believed the curtains obscured Mies’ so-called “glass box” design.
    [Show full text]
  • Download This
    NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) r~ _ B-1382 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Completelhe National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property I historic name Highfield House____________________________________________ other names B-1382___________________________________________________ 2. Location street & number 4000 North Charles Street ____________________ LJ not for publication city or town Baltimore___________________________________________________ D vicinity state Maryland code MD county Baltimore City code 510 zip code 21218 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ^ nomination D request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property E] meets D does not meet the National Register criteria. I recommend that this property be considered significant D nationally D statewide ^ locally.
    [Show full text]
  • Kimmel in the C M Nity
    THE SIDNEY KIMMEL COMPREHENSIVE CANCER CENTE R AT JOHNS HOPKINS KIMMEL IN THE C MNITY PILLARS OF PROGRESS Closing the Gap in Cancer Disparities MUCH PROGRESS HAS been made in Maryland toward eliminating cancer disparities, and I am very proud of the role the Johns Hopkins Kimmel Cancer Center has played in this progress. Overcoming cultural and institutional barriers and increasing minority participation in clinical trials is a priority at the Kimmel Cancer Center. Programs like our Center to Reduce Cancer Disparities, Office of Community Cancer Research, the Maryland Cigarette Restitution Fund at Johns Hopkins, and Day at the Market are helping us obtain this goal. Historical Trends (1975-2012) The challenge before Maryland is greater than Mortality, Maryland most states. Thirty percent of Maryland’s citizens are All Cancer Sites, Both Sexes, All Ages Deaths per 100,000 resident population African-American, compared to a national average 350 of 13 percent. We view our state’s demographics as 300 black (includes hispanics) an opportunity to advance the understanding of 250 factors that cause disparities, unravel the science White (includes hispanics) 200 that may also play a contributory role, and become the model for the rest of the country. Our experts are 150 setting the standards for removing barriers and 100 hispanic (any race) improving cancer care for African-Americans and 50 other minorities in Maryland and around the world. 0 1975 1980 1985 1990 1995 2000 2005 2010 Although disparities still exist in Maryland, we year of Death continue to close that gap. Overall cancer death rates have declined in our state, and we have narrowed the gap in cancer death disparities between African -American and white Marylanders by more than 60 percent since 2001, far exceeding national progress.
    [Show full text]
  • National Register of Historic Places Registration Form
    B-4480 NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking V in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word process, or computer, to complete all items. 1. Name of Property historic name One Charles Center other names B-4480 2. Location street & number 100 North Charles Street Q not for publication city or town Baltimore • vicinity state Maryland code MP County Independent city code 510 zip code 21201 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this G3 nomination • request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property C3 meets • does not meet the National Register criteria. I recommend that this property be considered significant D nationally • statewide K locally.
    [Show full text]
  • Flooded at the Farnsworth House MICHAEL CADWELL the Ohio State University
    392 THE ART OF ARCHITECTURE/THE SCIENCE OF ARCHITECTURE Flooded at the Farnsworth House MICHAEL CADWELL The Ohio State University In 1988, nearly twenty years after his mentor’s the means by which this drama unfolded. Duckett’s death, the architect Edward A. Duckett remem- stick and his act of framing recall the central ar- bered an afternoon outing with Mies van der Rohe. chitectural activity of drawing: the stick, now a One time we were out at the Farnsworth House, pencil, describes a frame, now a building, which and Mies and several of us decided to walk down affords a particular view of the world. In this es- to the river’s edge. So we were cutting a path say, I will elaborate on the peculiar intertwining of through the weeds. I was leading and Mies was building, drawing, and nature at the Farnsworth right behind me. Right in front of me I saw a young House; how drawing erases a positivist approach possum. If you take a stick and put it under a young to building technology and how, in turn, a pro- possum’s tail, it will curl its tail around the stick found respect for the natural world deflects and, and you can hold it upside down. So I reached finally, absorbs the unifying thrust of perspective. down, picked up a branch, stuck it under this little possum’s tail and it caught onto it and I turned Approached by Dr. Farnsworth in the winter of around and showed it to Mies. Now, this animal is 1946/7 to design a weekend house, Mies responded thought by many to be one of the world’s ugliest, with uncharacteristic alacrity.
    [Show full text]
  • Pablo Picasso (Spanish, 1881 - 1973)
    Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics.
    [Show full text]
  • Miller on Harrod, 'Bruno Paul: the Life and Work of a Pragmatic Modernist'
    H-German Miller on Harrod, 'Bruno Paul: The Life and Work of a Pragmatic Modernist' Review published on Sunday, July 1, 2007 William Owen Harrod. Bruno Paul: The Life and Work of a Pragmatic Modernist. Stuttgart: Edition Axel Menges, 2005. 128 pp. $69.00 (cloth), ISBN 978-3-932565-47-2. Reviewed by Wallis Miller (School of Architecture, University of Kentucky) Published on H-German (July, 2007) Forgotten Modernist In a beautifully produced book, typical of this publisher's productions, William Owen Harrod introduces an English-speaking audience to the German designer Bruno Paul (1874-1968). One might call Paul a polymath because his oeuvre included illustrations and caricatures as well as furniture, interior, and architectural designs. Indeed, Harrod's monograph chronicles Paul's career in terms of a Gesamtkunstwerk (from illustrations for the periodicals Jugend and Simplicissimus to standardized furniture, ship interiors, and villas for a range of clients) subject to Paul's evolving stylistic approaches. But Harrod is also able to insist on a certain degree of consistency in Paul's work by identifying several principles that underpinned all of his efforts: a regard for a non-professional audience, especially a middle-class one; an eagerness to define and refine modern form without a fear of history; an attention to craft; and the belief that the integration of art in all aspects of daily life would produce a harmonious culture. Bruno Paul was, above all else, a practitioner and not a theoretician. He seldom wrote about design. Aside from posing a problem for discussing content, this fact points to the issue of evidence for such a discussion in the first place.
    [Show full text]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [Show full text]