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Base of International Style and Bauhaus

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Foundation of color in international style buildings Base of international style and Bauhaus You are.....-architect-restauring -color view planer- how do I get wath I want- material controller- quality- technology user - proof material- controll architect base..........nearly nothing left of color at the building thoughts of the time - roots decission: imitating, examble or new way fixed base: material on that time, mainstream 1930 -Movement: Arieh Sharon, Dov Karmi, Ze´ev Rechter, Carl Rubin, Josef Neufeld, Richard Kaufmann, Genia Averbuch, Shmuel Mestechkin, Shlomo Bernstein, Munio Gitai-Weinraub and Josef Berlin Like Berlin model they calld themselves HaChug (hebräisch für „der Ring“, so hieß das deutsche Pendant), Making a magazine (HaBinjan, „Der Bau“) went to be more and more important - at least building Tel Aviv- Influence of the expression has his base in the way peoble came to Israel.‚ M.Müller-Ortloff/ base of international style 2.1 Henry van de Velde 1863 - 1957 M.Müller-Ortloff/ base of international style 2.1 Base of international style and Bauhaus connection between craft and art - seeking expression for modern changing. „beaty with rationality“, „needs of a modern live“, „material handed“, „form as the result of modern function“ 1902 etablished van de Velde the „Kunstgewerbliche Seminar“ (die spä- tere Kunstgewerbeschule) in Weimar. Not only education as artist, also craft education – „handwerkliche Lehre“ in workshops, weaving mill, woodwork, metall, printing and bookbindery. There should be no more border between art and craft. Intent of van de Veldes was a„total work of art wich will climinate in architecture“. Later on told from Walter Gropius: „archtecture, sculpture all should base in craft to prepare the building of future“. M.Müller-Ortloff/ base of international style 2.1 Alfred Grenander 1863 - 1931 M.Müller-Ortloff/ base of international style 2.1 Grenander is comming from art nouveau - but industrial design and onamentic dont work well together. this is the main theme at ths time, finding an expression for modern necessesarities. He gets teacher at the „Kunstgewerbemuseum“ and meets there Walter Gropius. In 1902 he start as architect for the unterground, developing 70 sta- tions in Berlin. Le Corbusier: Leaving complitly design; house as a maschine. Radicallity - but also thin- king about detaills- like different high of the rooms...connetet with W. Gropius. He developed frame construction - building came very late in his live. Urban planning was revolutionary. (charta of Athen) M.Müller-Ortloff/ base of international style 2.1 Le Corbusier 1887 - 1965 M.Müller-Ortloff/ base of international style 2.1 M.Müller-Ortloff/ base of international style 2.1 suprematism solve to system light Moholy Nagy Johannes Itten Lyonel Feininger color differentition resolving figure plane, line, form in color Paul Klee Oskar Schlemmer W. Kandinsky prepaering for use Hinnerk Scheper Georg Muche Walter Gropius M.Müller-Ortloff/ base of international style 2.1 El Liisitzky Kasimir Malewitch Gerrit Rietveld Piet Mondrian Hans Scharoun Bruno Taut Harry Graf Kessler Hannes Meyer Ludwig Mies van der Rohe M.Müller-Ortloff/ base of international style 2.1 M.Müller-Ortloff/ base of international style 2.1 M.Müller-Ortloff/ base of international style 2.1 M.Müller-Ortloff/ mixing natural colors 3.1 M.Müller-Ortloff/ mixing natural colors 3.1 binder 3 years -dispersion Diffussion, hydrophob, film-forming 2D 10 years -acryl Diffusion, film-forming 3D tension reducing, reversible -glue storing humidity, (-mold) no water on it, Limecasein - diffusion, kapillar, no film -mineralic c. low tension, a bit abresion with water Diffussion -Kapillar, easy using- 10 years Limecasein/Boraxcasein - diffusion, kapillar, no film - thin - high color quality,tension, -casein Diffussion -kapillar, know about using -15 years in/outside -lime diffusion, kapillar, no film- thin-light color, know about using, very low tensin, no abra- sion -in/outside,no abrasion, 25 years,outside -silikat high diffusion, 2 komponents, 2N/mm2 M.Müller-Ortloff/ mixing natural colors 3.1/4.1 pigments mineralic organic earth - natural 1865 Anilinblack yellow to red - to black 1870 Anthrachinone green with aluminium 1880 beta-Naphtole ferrite - synthetic and natural 1900 Triarylcarbonium Bolus- never outside Azzopigmente clay- never outside 1910 Monoazoyellow 1920 complexes of metall -mineralic: metall-salt 1930 Pyrazolone cobalt- durable 1935 Diaryle Phtalocyanine cadmium- forbidden 1945 Thioindigo Dioxazine barium- some forbidden Perinone nickeltitan (fe)- easy 1955 Chinadrone zink- attention with using Disazo kondens. 1960 Benzimiazolone -stone: 1965 Isoindoline schiefer/schist - never outside 1965 Pyrrole gneiss- very hard marmor- perfect outside granite- difficult mix quarz- easy/diff. colors M.Müller-Ortloff/ mixing natural colors 3.1/4.1 M.Müller-Ortloff/ mixing natural colors 3.1 M.Müller-Ortloff/ mixing natural colors 3.1 Rezept 1 3000gr-5000gr Pigments in same ml. water - 6 h 2,5 kg Quark ( 0,3%): 1/5 dry casein concentrat 0,5 kg Lime 12h in water- over night mix fine , 10min.-1hour wait 440Casein/330Lime: 10 Liter mix Casein with pigment Rezept 2 3000gr-5000gr Pigments in same ml. water - 6 h 2,5 kg Quark ( 0,3%): 1/5 dry casein concentrat 0,2 kg Borax 12h in water- over night mix Borax with 0,5l hot water mix with casein 70Casein/80 Borax: 10 Liter mix Casein with pigment Rezept 3 650gr. farine heat 15 min in 7 Liter water move allways 3kg Pigments inside cook 15 min. more moving 1Liter Oil,100gr.soap cook 15 min.more/100gr. Ferrum-disulfat optional M.Müller-Ortloff/ mixing natural colors 3.1 coloring Technological progress changed the composition of the colors: digital planing and drawing, choo- sing colors and using is part of a process which leaves room for in- terpretation: First the design is drafted on a di- gital surface with luminous colours - which needs to be translated in a printing color system, and then in NCS - system fields and last producing the colors by machines with own defined systems of pig- ments. The process above descri- bed the four-time change of the outcome of color. M.Müller-Ortloff/ coloring 3.1 coloring lime -unslaked attention porosity mineralic less hard -slaked (gelöscht) Marmor wiping proof wood/burned 2 years old plaster age 4-6 years color 10 years restore calcium hydroxyde short structure fix walls lime sintering water hydraulic nat. ashes,brick,puzzzol. calcium carbonate very white fill colours/plaster clay patschuk use again mineralic finger/cuttingproof 1. with straw 2. without sand plaster mineralic collecting water no lime drywall paper needs glue/ lime-casein paper methylcell. lime-casein acryl 3D dispers.:2D Disp./ cement, beton no oil used silicat Kaliwasserglas 2 components carbonation stop: CO2/ SO2 EM wood glue/oil oil varnish casein proof: abrasion/ waterresistant/ sinter layer/ epoxy proof: lime/plaster Salzsäure 30% M.Müller-Ortloff/ analysing color of international style 4.1 pure material: exactitude M.Müller-Ortloff/ analysing color of international style 4.1 M.Müller-Ortloff/ analysing color of international style 4.1 M.Müller-Ortloff/ analysing color of international style 4.1 Mixing „natural“ colors M.Müller-Ortloff/ mixing natural colors 4.1 Prepairing colors/painting =one profession production since 1950 collection: Dörner Wehlte Schmuck M.Müller-Ortloff/ mixing natural colors 3 4.1 color is material: material has to be proofed 1.base : wall layers - physic - whole wall plaster - base for interaction 2.material selection - characteristics 3.prepairing colors M.Müller-Ortloff/ mixing natural colors 4.1 color has a base: types of plaster - old with color proof: crosshatch adhesion hydrophob organic aceton/burn - new lime clay plaster dry wall beton M.Müller-Ortloff/ mixing natural colors 4.1 one has to know about the possibi- lities of combination, chemical reac- tions, for using desicion: lime-casein: albumin-reaktion - ma- kes different to glue open capillares, flexibel, high temperatures oil glue with soape: waterresistance (emulgator) lime with oil: saponification:waterresistence plaster with clabber: like stone clay with casein: resistent M.Müller-Ortloff/ analysing color of international style 4.1 Casein M.Müller-Ortloff/ analysing color of international style 4.1 plan of design M.Müller-Ortloff/ coloring 6.1 M.Müller-Ortloff/ coloring 6.1 Rezepturen neu plan of design M.Müller-Ortloff/ coloring 6.1 M.Müller-Ortloff/ coloring 6.1 uncovering: where?could I find something wath?could I expect which princip?could I find whow?could I rebuilt? M.Müller-Ortloff/ analysing color of international style 6.1 Raumbuch: - Instandsetzungsziel - Bestandsfähigkeit von Oberflächen - Erhaltungsperspektive Befundung und Dokumentation: -Schadenskartierung -überlieferter Bestand, Schadensursache -Musterflächen -Maßnahmenkonzept _Dokumentation Korrosion -physikalisch: Materialabtrag,Strahlung -chemisch Wasser, Dehnung Schichtsilikate auslaugen, ansäuern, zerstörung elektrochemischer Bindungen -biologisch Betonkorrosion from Weimar to Bauhaus Dessau 2 staircases Schlemmer M.Müller-Ortloff/ base of bauhaus 1.2 Color = sign, following through diffrent elements Grafik using of color - three strong elements Making differnt views from every dirction elementaring room element colors grey and white overlay M.Müller-Ortloff/ base of bauhaus 1.2 Color = sign Lines making windows to one element Showing direction and theme More than „only“ crystal - window area central perspective is main element 2 colors used i aerea/ 1 for
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  • Hinnerk Scheper Und Boris Ender Im Maljarstroj

    Hinnerk Scheper Und Boris Ender Im Maljarstroj

    Wissenschaftliche Zeitschrift der Hochschule für Architektur und Bauwesen Weimar 26. Jahrgang 1 1979 1 Heft 4/5 Larissa A. Shadowa Hinnerk Scheper und Boris Ender im Maljarstroj über Verbindungen von Mitarbeitern des Bauhauses und sowjetischen Künstlern In der Geschichte der wechselseitigen Verbindungen der Mit­ naher praktischer Aufgaben zu verbinden, indem sie in diesem arbeiter des Bauhauses und der Vertreter der sowjetischen Fall die Produktion hochwertiger Farben auf eine reale ma­ künstlerischen Kultur ist die Zusammenarbeit von H. Scheper terielle Basis stellten. Deshalb betrachteten sie die Aufgabe und B. Ender im Maljarstroj in Moskau (1930-31) nur eine der Farbgebung in der Architektur komplex, sowohl als künst• kleine Episode, die jedoch ihre Spur in den Menschen und lerische als auch als bautechnologische Aufgabe und als Pro­ ihrer schöpferischen Tätigkeit hinterlassen hat. blem der Farbenchemie. Die Wahl von Scheper als Berater Es trafen sich zwei Künstler: der eine - Schüler von Johan­ von Maljarstroj zu Problemen der Farbgestaltung erklärt sich nes Itten, der andere - von M. Matjuschin. Itten und Matju­ auch durch das Programm dieser Organisation, das auf eine schin waren Maler, die in die Geschichte der künstlerischen organische VerschmelZl\Jng künstlerischer und produktiver Tä• Kultur des 20. Jahrhunderts vor allem als Pädagogen und als ügkeit gerichtet war. Schöpfer origineller Farbsysteme eingegangen sind. Sowohl die Denn Scheper gehörte zu den ersten A!bsolventen des Bau­ Pädagogik Ittens als auch sein Farbsystem erhielten schon hauses (1919-22), und er erhielt gleichzeitig eine künstlerische längst internationale Anerkennung. Die ganze Bedeutung der und produktive Ausbildung. In seinem Gepäck befand sich die Pädagogik und des Farbsystems von Matjuschin ist nur im Ausbildung im Vorkurs Ittens, im Kurs Paul Klees, die Arbeit Laufe der Zeit voll und ganz zu erschließen.
  • The Bauhaus-Archiv / Museum Für Gestaltung in Berlin Is Taking a Bauhaus Photo Exhibition to the White City in Tel Aviv

    The Bauhaus-Archiv / Museum Für Gestaltung in Berlin Is Taking a Bauhaus Photo Exhibition to the White City in Tel Aviv

    Press release The Bauhaus-Archiv / Museum für Gestaltung in Berlin is taking a Bauhaus Photo exhibition to the White City in Tel Aviv On the occasion of this year’s anniversary, ‘Fifty Years of German-Israeli Relations’, the Bauhaus-Archiv / Museum für Gestaltung is presenting an exhibition in the White City in Tel Aviv, showing 100 key photographic works from its collection of Bauhaus materials – the world’s largest such collection. Berlin, 30 September 2015. A selection of 100 Bauhaus photos from the collection of more than 70,000 photographic prints held by the Bauhaus-Archiv / Museum für Gestaltung in Berlin is being shown from 12 to 31 October 2015 in the ‘bauhaus.photo’ exhibition in the White City in Tel Aviv. The multifaceted content and style of Bauhaus photography is being presented under four headings: life at the Bauhaus, architecture and product photography, portrait shots and works from the Bauhaus photography course given by Walter Peterhans. ‘I am particularly pleased that our travelling exhibition “bauhaus.photo” is able to visit the Max Liebling House in the heart of the UNESCO World Heritage site of the White City in Tel Aviv. De- signed by Dov Karmi in 1935–36, the building is to become a German-Israeli historic monument project in the coming years and will develop into the central venue for modern architecture in Tel Aviv,’ explains Annemarie Jaeggi, Director of the Bauhaus-Archiv / Museum für Gestaltung in Berlin. The Bauhaus (1919–1933) was the twentieth century’s most important school of architecture, de- sign and art. It was closed under pressure from the Nazis.