View PDF Datastream
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Walter Burley Griffin and Marion Mahony Griffin, Architects of Anthroposophy
Walter Burley Griffin and Marion Mahony Griffin, Architects of Anthroposophy Dr John Paull [email protected] A century ago, on the 23rd of May 1912, the winning design of Canberra was announced. Soon after, two talented Chicago architects set sail for Australia. Their plan for Australia’s national capital, already named Canberra but at the time merely an empty paddock, had won first prize in an international competition which attracted 137 entries. The winning prize money for the design was a modest £1750 (McGregor, 2009). Walter Burley Griffin (1876-1937) and Marion Mahony (1871-1961) were married in the year preceding the win. Marion had nagged Walter to enter the competition, “What’s the use of thinking about a thing like this for ten years if when the time comes you don’t get it done in time!” She pointed out the practicalities: “Perhaps you can design a city in two days but the drawings take time and that falls on me” (Griffin, 1949, volume IV p.294). After the win was announced, Walter declared: “I have planned it not in a way that I expected any government in the world would accept. I have planned an ideal city - a city that meets my ideal of a city of the future” (New York Times, 1912). Marion chronicled events of their life together in a typewritten four- volume memoir of over 1600 pages (Griffin, 1949). Her memoir documents their life together and liberally reproduces personal correspondence between them and their associates. Her unpublished manuscript reveals the intensity with which she and Walter embraced the thoughts of Rudolf Steiner (1861-1925) and anthroposophy. -
New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 on View: October 4, 2015–January 18, 2016 Location: BCAM, 2Nd Floor
Exhibition: New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 On View: October 4, 2015–January 18, 2016 Location: BCAM, 2nd Floor Image captions on page 5 (Los Angeles—April 7, 2015) The Los Angeles County Museum of Art (LACMA) presents New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, the first comprehensive show in the United States to explore the themes that characterize the dominant artistic trends of the Weimar Republic. Organized in association with the Museo Correr in Venice, Italy, this exhibition features nearly 200 paintings, photographs, drawings, and prints by more than 50 artists, many of whom are little known in the United States. Key figures—Otto Dix, George Grosz, Christian Schad, August Sander, and Max Beckmann— whose heterogeneous careers are essential to understanding 20th century German modernism, are presented together with lesser known artists, including Herbert Ploberger, Hans Finsler, Georg Schrimpf, Heinrich Maria Davringhausen, Carl Grossberg, and Aenne Biermann, among others. Special attention is devoted to the juxtaposition of painting and photography, offering the rare opportunity to examine both the similarities and differences between the movement’s diverse media. During the 14 years of the Weimar Republic (1919–1933), artists in Germany grappled with the devastating aftermath of World War I: the social, cultural, and economic effects of rapid modernization and urbanization; staggering unemployment and despair; shifting gender identities; and developments in technology and industry. Situated between the end of World War I and the Nazi assumption of power, Germany’s first democracy thrived as a laboratory for widespread cultural achievement, witnessing the end of Expressionism, the exuberant anti- art activities of the Dadaists, the establishment of the Bauhaus design school, and the emergence of a new realism. -
Ferrara Di Ferrara
PROVINCIA COMUNE DI FERRARA DI FERRARA Visit Ferraraand its province United Nations Ferrara, City of Educational, Scientific and the Renaissance Cultural Organization and its Po Delta Parco Urbano G. Bassani Via R. Bacchelli A short history 2 Viale Orlando Furioso Living the city 3 A year of events CIMITERO The bicycle, queen of the roads DELLA CERTOSA Shopping and markets Cuisine Via Arianuova Viale Po Corso Ercole I d’Este ITINERARIES IN TOWN 6 CIMITERO EBRAICO THE MEDIAEVAL Parco Corso Porta Po CENTRE Via Ariosto Massari Piazzale C.so B. Rossetti Via Borso Stazione Via d.Corso Vigne Porta Mare ITINERARIES IN TOWN 20 Viale Cavour THE RENAISSANCE ADDITION Corso Ercole I d’Este Via Garibaldi ITINERARIES IN TOWN 32 RENAISSANCE Corso Giovecca RESIDENCES Piazza AND CHURCHES Trento e Trieste V. Mazzini ITINERARIES IN TOWN 40 Parco Darsena di San Paolo Pareschi WHERE THE RIVER Piazza Travaglio ONCE FLOWED Punta della ITINERARIES IN TOWN 46 Giovecca THE WALLS Via Cammello Po di Volano Via XX Settembre Via Bologna Porta VISIT THE PROVINCE 50 San Pietro Useful information 69 Chiesa di San Giorgio READER’S GUIDE Route indications Along with the Pedestrian Roadsigns sited in the Historic Centre, this booklet will guide the visitor through the most important areas of the The “MUSEO DI QUALITÀ“ city. is recognised by the Regional Emilia-Romagna The five themed routes are identified with different colour schemes. “Istituto per i Beni Artistici Culturali e Naturali” Please, check the opening hours and temporary closings on the The starting point for all these routes is the Tourist Information official Museums and Monuments schedule distributed by Office at the Estense Castle. -
Download the Complete Architecture of Adler and Sullivan, Richard
The Complete Architecture of Adler and Sullivan, Richard Nickel, Aaron Siskind, Richard Nickel Committee, 2010, 0966027329, 9780966027327, 461 pages. В Louis Sullivan (1856–1924) was a giant of architecture, the father of architectural modernism, and one of the earliest builders of the skyscraper. Along with Dankmar Adler (1844–1900) he designed many of the buildings that defined nineteenth-century architecture not only in Chicago but in cities across AmericaвЂ―and continue to be admired today. Among their iconic designs are the former Chicago Stock Exchange, Chicago’s Auditorium Building and Carson Pirie Scott flagship store, the Wainwright Building in St. Louis, and the Guaranty Building in Buffalo. This first-of-its-kind catalogue raisonnГ© of the work of Adler and SullivanвЂ―both as a team and individual architectsвЂ―is a lavish celebration of the designs of these two seminal architects who paved the way for the modern skylines that continue to inspire city dwellers today. The quest to pull together a complete catalogue of their work was first undertaken in 1952 by photographer Aaron Siskind and Richard Nickel, one of his graduate students at what is now the Illinois Institute of Technology in Chicago. This intense, decades-long labor of love has resulted in an extensive and unique resource that includes a complete listing of all of the buildings and projects undertaken by Adler and Sullivan. Each listing contains historic photographs, architectural plans (when available), and a description of each project. Alongside over two and hundred fifty essays are eight hundred photographs of their buildingsвЂ―many of which have since been demolishedвЂ―including images by Nickel, Siskind, and other noted photographers. -
Frank Lloyd Wright: Design/Method/Theory
1 SYLLABUS FALL 2016 Frank Lloyd Wright: Design/Method/Theory INSTRUCTOR: Dr. Anthony Alofsin TIME AND PLACE: 3:30-6:300pm. Tuesday, Location: WMB 4.118 Course Unique Numbers: 00390/00485/00840/1350/1860 v1 Prerequisites Open to students throughout the university. Upper division standing for undergraduates and graduate enrollment for others. It is preferable to have a background in the history of modern architecture and completion of survey courses I and II in the School of Architecture, but not required. This course is not intended to fulfill the University’s undergraduate writing component. Course Format There are many ways to look at the history of architecture. This lecture course is intended use the work of Frank Lloyd Wright to explore his designs, methods, and the theories supporting them. While the course includes a broad over of Frank Lloyd Wright’s work, it focuses on analysis of his designs and ideas.. Students will obtain a familiarity with Wright's work, an introduction to concepts of organic design, and a synthetic definition of architectural modernism. The themes of the course will be explored through a series of analytical exercises. Examples of organic architecture by other architects may also be considered as variation interpretations of organic design. Requirements and evaluation may change as a function of the availability of graders or Teaching Assistants. Educational Objectives Using the lens of historical inquiry into architecture, this course also intends to train students in fundamental skills of critical thinking, writing, and speaking. It seeks to present a monographic, analytical approach to the work of a major cultural figure and the phenomenon of modernism; to develop effective skills of analysis through writing, oral, and visual communication; to consider and analyze different viewpoints represented in diverse cultural and historic contexts; and to gain a greater appreciation of the role of architecture in the formation of regional, natural and global identity. -
Maquetacišn 1
Adamo Boari, Mexico City and Canberra Christopher Vernon Annette Condello Faculty of Architecture, Landscape and Visual Arts, The University of Western Australia, Australia Walter Burley and Marion Mahony Griffin’s victory in the 1912 international design competition for Australia’s new capital city Canberra propelled the couple out from under the shadow of their former employer Frank Lloyd Wright. Central to their submission’s success, the Griffins’ plan encapsulated an almost worshipful regard for the future city’s rugged site. Most striking is the plan’s symbolically-charged, crystalline geometry. Crucially, this modular system not only accommodated, but was also informed by, and accentuated the site’s irregular landforms. The remarkable structural dialogue between the plan’s geometry and the site’s topography has attracted considerable scholarly attention. When seeking to identify its compositional origins, many have concluded that the Griffins’ design cannot be ‘understood simply in terms of either late nineteenth century City Beautiful models or Howard’s Garden City principles’. Given this, some have ascribed the design’s structure to the ‘secret’ formulas of ancient cosmological and other esoteric sources. This paper, however, argues that the Griffins drew upon more immediate, exoteric sources. These sources, in turn, are to be more accurately identified through an investigation of the couple’s own pre-Canberra projects. This alternative interpretation features works produced during Walter Burley Griffin’s early (ca 1900) and little- known tenure with Italian-American architect Adamo Boari. Adamo Boari is today remembered almost exclusively (if at all) as the architect of Mexico City’s Palace of Fine Arts. -
UPTOWN and ANDERSONVILLE Bike Tour, Sunday June Twentynine, Two Thousand Eight
UPTOWN AND ANDERSONVILLE bike tour, sunday june twentynine, two thousand eight. All Content Copyright © 2007-2008 Big Shoulders Realty, LLC. All Rights Reserved. uptown and andersonville bike tour Our Route, Part One uptown and andersonville bike tour Tour Part One – turn by turn instructions 1. Start at Graceland Cemetery, 4001 N Clark 22. Turn right heading north on Racine 2. Proceed east on Irving Park 23. Take a SHARP right, heading southeast on Broadway 3. Turn left heading north on Sheridan 24. Turn right heading west on Montrose 4. Take a SHARP right heading south on Broadway 25. Turn right heading north on Clifton, which curves to the left 5. Turn left, heading east on Irving Park 26. Turn left heading south on Racine 6. Turn left, heading north on Marine Dr. 27. Turn right heading west on Montrose 7. Turn left, heading west on Hutchinson 28. Turn right heading north on Beacon 8. Turn left, heading south on Hazel 29. Turn left, heading west on Leland 9. Turn left, heading east on Buena 30. Turn left, heading south on Dover 10. Turn left, heading north on Clarendon 31. Turn right, heading west on Wilson 11. Turn right heading east on Montrose 32. Turn right, heading north on Ashland 12. Stay on Montrose until after you cross under Lake Shore Drive. 33. Turn left, heading west on Lawrence 13. Then veer left onto the bike path. 34. Turn left, heading south on Paulina 14. The path will veer northeast up to the Lake 35. Turn right, heading west on Sunnyside 15. -
Chicago No 16
CLASSICIST chicago No 16 CLASSICIST NO 16 chicago Institute of Classical Architecture & Art 20 West 44th Street, Suite 310, New York, NY 10036 4 Telephone: (212) 730-9646 Facsimile: (212) 730-9649 Foreword www.classicist.org THOMAS H. BEEBY 6 Russell Windham, Chairman Letter from the Editors Peter Lyden, President STUART COHEN AND JULIE HACKER Classicist Committee of the ICAA Board of Directors: Anne Kriken Mann and Gary Brewer, Co-Chairs; ESSAYS Michael Mesko, David Rau, David Rinehart, William Rutledge, Suzanne Santry 8 Charles Atwood, Daniel Burnham, and the Chicago World’s Fair Guest Editors: Stuart Cohen and Julie Hacker ANN LORENZ VAN ZANTEN Managing Editor: Stephanie Salomon 16 Design: Suzanne Ketchoyian The “Beaux-Arts Boys” of Chicago: An Architectural Genealogy, 1890–1930 J E A N N E SY LV EST ER ©2019 Institute of Classical Architecture & Art 26 All rights reserved. Teaching Classicism in Chicago, 1890–1930 ISBN: 978-1-7330309-0-8 ROLF ACHILLES ISSN: 1077-2922 34 ACKNOWLEDGMENTS Frank Lloyd Wright and Beaux-Arts Design The ICAA, the Classicist Committee, and the Guest Editors would like to thank James Caulfield for his extraordinary and exceedingly DAVID VAN ZANTEN generous contribution to Classicist No. 16, including photography for the front and back covers and numerous photographs located throughout 43 this issue. We are grateful to all the essay writers, and thank in particular David Van Zanten. Mr. Van Zanten both contributed his own essay Frank Lloyd Wright and the Classical Plan and made available a manuscript on Charles Atwood on which his late wife was working at the time of her death, allowing it to be excerpted STUART COHEN and edited for this issue of the Classicist. -
Collection 1880S–1940S, Floor 5 Checklist
The Museum of Modern Art Fifth Floor, 1880s-1940s 5th Fl: 500, Constantin Brancusi Constantin Brâncuși Bird in Space 1928 Bronze 54 x 8 1/2 x 6 1/2" (137.2 x 21.6 x 16.5 cm) Given anonymously 153.1934 Fall 19 - No restriction Constantin Brâncuși Fish Paris 1930 Blue-gray marble 21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of one marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diameter at widest point Acquired through the Lillie P. Bliss Bequest (by exchange) 695.1949.a-d Fall 19 - No restriction Constantin Brâncuși Mlle Pogany version I, 1913 (after a marble of 1912) Bronze with black patina 17 1/4 x 8 1/2 x 12 1/2" (43.8 x 21.5 x 31.7 cm), on limestone base 5 3/4 x 6 1/8 x 7 3/8" (14.6 x 15.6 x 18.7 cm) 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) Other (bronze): 17 1/4 × 8 1/2 × 12 1/2" (43.8 × 21.6 × 31.8 cm) 5 3/4 × 6 1/8 × 7 3/8" (14.6 × 15.6 × 18.7 cm) Other (approx. weight): 40 lb. (18.1 kg) Acquired through the Lillie P. Bliss Bequest (by exchange) 2.1953 Fall 19 - No restriction Constantin Brâncuși Maiastra 1910-12 White marble 22" (55.9 cm) high, on three-part limestone pedestal 70" (177.8 cm) high, of which the middle section is Double Caryatid, c. -
Frank Lloyd Wright - Wikipedia, the Free Encyclopedia
Frank Lloyd Wright - Wikipedia, the free encyclopedia http://en.wikipedia.org/w/index.php?title=Frank_... Frank Lloyd Wright From Wikipedia, the free encyclopedia Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, Frank Lloyd Wright 1959) was an American architect, interior designer, writer and educator, who designed more than 1000 structures and completed 532 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His work includes original and innovative examples of many different building types, including offices, churches, schools, Born Frank Lincoln Wright skyscrapers, hotels, and museums. Wright June 8, 1867 also designed many of the interior Richland Center, Wisconsin elements of his buildings, such as the furniture and stained glass. Wright Died April 9, 1959 (aged 91) authored 20 books and many articles and Phoenix, Arizona was a popular lecturer in the United Nationality American States and in Europe. His colorful Alma mater University of Wisconsin- personal life often made headlines, most Madison notably for the 1914 fire and murders at his Taliesin studio. Already well known Buildings Fallingwater during his lifetime, Wright was recognized Solomon R. Guggenheim in 1991 by the American Institute of Museum Architects as "the greatest American Johnson Wax Headquarters [1] architect of all time." Taliesin Taliesin West Robie House Contents Imperial Hotel, Tokyo Darwin D. -
The Importance of the Deutsche Luxfer Prismen Syndikat,The Victoria Regia Lily
THE IMPORTANCE OF THE DEUTSCHE LUXFER PRISMEN SYNDIKAT, THE VICTORIA REGIA LILY AND GOTHIC IMITATION IN THE DESIGN OF BRUNO TAUT’S GLASHAUS Neal David Nielsen N.Dip. Arch. Tech, N.H.Dip. Arch. Tech, B.Tech. Arch. Design, M.Tech. Arch. Design, B.Arch. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy School of Design Creative Industries Faculty Queensland University of Technology February 2015 1 Keywords Bruno Taut, Glashaus, Deutsche Luxfer Prismen Syndikat, Victoria regia, Frederick Keppler, Gothic 2 Abstract Bruno Taut's Glashaus at the Werkbund Exhibition of 1914 is considered a seminal example of early modernist architecture; hence it is included in all its official histories. Yet, some of the crucial factors behind the design of the Glashaus remain little understood. In an attempt to address this situation, this PhD reveals that the Glashaus was the result of a strong architect-client interaction. In fact, Frederick Keppler, the Glashaus’ patron and director of the Deutsche Luxfer Prismen Syndikat, had a significant influence on its design. He wanted his company's Luxfer prototype, which had been developed over many years at earlier exhibitions, to be the major material constituent of the building. In order to show the glazed products of Luxfer in the best manner possible, Keppler insisted on a design featuring a glazed dome, electric lighting, a fountain as well as a cascade. Taut, as the architect, had to formulate a design that met these detailed stipulations. For the Glashaus, Taut turned to myths and symbols associated with the Victoria regia lily and the Gothic in order to provide his interpretation of the brief.