Amsterdamse School, De Stijl & Tweed Ride
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The Vienna Method in Amsterdam: Peter Alma's Office for Pictorial Statistics Benjamin Benus, Wim Jansen
The Vienna Method in Amsterdam: Peter Alma’s Office for Pictorial Statistics Benjamin Benus, Wim Jansen The Dutch artist and designer, Peter Alma (see Figure 1), is today remembered for his 1939 Amstel Station murals, as well as for Downloaded from http://direct.mit.edu/desi/article-pdf/32/2/19/1715594/desi_a_00379.pdf by guest on 24 September 2021 his earlier involvement with the Cologne-based Gruppe progres- siver Künstler [Progressive Artists’ Group]. Yet Alma also pro- duced an extensive body of information graphics over the course of the 1930s. Working first in Vienna at the Gesellschafts- und Wirtschaftsmuseum [Social and Economic Museum] (GWM) and later setting up an independent design firm in Amsterdam, Alma became one of the principal Dutch practitioners and promoters of the design approach known as the “Vienna Method of Picto- rial Statistics.” To date, most accounts of this method’s history have focused on its chief inventor, Austrian social scientist Otto Figure 1 Neurath, and his principal collaborators, Germans Marie Neurath August Sander, photograph of Peter Alma, (née Reidemeister) and Gerd Arntz.1 Yet Alma’s work in pictorial late 1920s. Private collection. Reproduced by permission from Sinja L. Alma and statistics also constitutes a substantial chapter in this history, Peter L. Alma. although it has not yet been fully appreciated or adequately docu- mented.2 In addition to providing an account of Alma’s role in the 1 For a detailed history of the Vienna development and dissemination of the Vienna Method, this essay Method, see Christopher Burke, Eric assesses the nature of Alma’s contribution to the field of informa- Kindel, and Sue Walker, eds., Isotype: tion design and considers the place of his pictorial statistics work Design and Contexts, 1925–1971 within his larger oeuvre. -
The De Stijl Movement in the Netherlands and Related Aspects of Dutch Architecture 1917-1930
25 March 2002 Art History W36456 The De Stijl Movement in the Netherlands and related aspects of Dutch architecture 1917-1930. Walter Gropius, Design for Director’s Office in Weimar Bauhaus, 1923 Walter Gropius, Bauhaus Building, Dessau 1925-26 [Cubism and Architecture: Raymond Duchamp-Villon, Maison Cubiste exhibited at the Salon d’Automne, Paris 1912 Czech Cubism centered around the work of Josef Gocar and Josef Chocol in Prague, notably Gocar’s House of the Black Virgin, Prague and Apt. Building at Prague both of 1913] H.P. (Hendrik Petrus) Berlage Beurs (Stock Exchange), Amsterdam 1897-1903 Diamond Workers Union Building, Amsterdam 1899-1900 J.M. van der Mey, Michel de Klerk and P.L. Kramer’s work on the Sheepvaarthuis, Amsterdam 1911-16. Amsterdam School and in particular the project of social housing at Amsterdam South as well as other isolated housing estates in the expansion of the city. Michel de Klerk (Eigenhaard Development 1914-18; and Piet Kramer (De Dageraad c. 1920) chief proponents of a brick architecture sometimes called Expressionist Robert van t’Hoff, Villa ‘Huis ten Bosch at Huis ter Heide, 1915-16 De Stijl group formed in 1917: Piet Mondrian, Theo van Doesburg, Gerritt Rietveld and others (Van der Leck, Huzar, Oud, Jan Wils, Van t’Hoff) De Stijl (magazine) published 1917-31 and edited by Theo van Doesburg Piet Mondrian’s development of “Neo-Plasticism” in Painting Van Doesburg’s Sixteen Points to a Plastic Architecture Projects for exhibition at the Léonce Rosenberg Gallery, Paris 1923 (Villa à Plan transformable in collaboration with Cor van Eestern Gerritt Rietveld Red/Blue Chair c. -
Six Canonical Projects by Rem Koolhaas
5 Six Canonical Projects by Rem Koolhaas has been part of the international avant-garde since the nineteen-seventies and has been named the Pritzker Rem Koolhaas Architecture Prize for the year 2000. This book, which builds on six canonical projects, traces the discursive practice analyse behind the design methods used by Koolhaas and his office + OMA. It uncovers recurring key themes—such as wall, void, tur montage, trajectory, infrastructure, and shape—that have tek structured this design discourse over the span of Koolhaas’s Essays on the History of Ideas oeuvre. The book moves beyond the six core pieces, as well: It explores how these identified thematic design principles archi manifest in other works by Koolhaas as both practical re- Ingrid Böck applications and further elaborations. In addition to Koolhaas’s individual genius, these textual and material layers are accounted for shaping the very context of his work’s relevance. By comparing the design principles with relevant concepts from the architectural Zeitgeist in which OMA has operated, the study moves beyond its specific subject—Rem Koolhaas—and provides novel insight into the broader history of architectural ideas. Ingrid Böck is a researcher at the Institute of Architectural Theory, Art History and Cultural Studies at the Graz Ingrid Böck University of Technology, Austria. “Despite the prominence and notoriety of Rem Koolhaas … there is not a single piece of scholarly writing coming close to the … length, to the intensity, or to the methodological rigor found in the manuscript -
ATINER's Conference Paper Series ARC2014-1334
ATINER CONFERENCE PAPER SERIES No: ART2014-1098 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series ARC2014-1334 Willem Marinus Dudok in Hilversum. The Primary Role of the School in the Construction of Urban Space. Idea and Method Alessandro Dalla Caneva Professor University of Padua Italy 1 ATINER CONFERENCE PAPER SERIES No: ARC2014-1334 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Association every year. From October 2014, the papers of this series are uploaded after they have been reviewed for clarity making sure they meet the basic standards of academic paper presentations. The series serves two purposes. First, we want to disseminate the information as fast as possible. Second, by doing so, the authors can receive comments useful to revise their papers before they are considered for publication in one of ATINER's journals and books, following our more rigorous standard procedures of a blind review. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Dalla Caneva, A., (2015) "Willem Marinus Dudok in Hilversum. The Primary Role of the School in the Construction of Urban Space. Idea and Method”, Athens: ATINER'S Conference Paper Series, No: ARC2014-1334. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. -
De Stijl – Mijn Stijl
De Stijl – Mijn Stijl Foto: Tomek Whitfield DOCENTENHANDLEIDING VOOR LEERKRACHTEN VAN HET PRIMAIR ONDERWIJS GROEP 6-7-8 Stedelijk Museum Amsterdam 2016 VOORWOORD Piet Mondriaan, Bart van der Leck, Gerrit Rietveld… Allemaal leden van de invloedrijke kunstbeweging De Stijl. Samen wilden zij met een nieuwe kunst de wereld veranderen, maar waarom dan eigenlijk? In de rondleiding De Stijl – Mijn Stijl ontdekken leerlingen op interactieve wijze de idealen van de kunstbeweging. Door een verband te leggen tussen muziek en beeldende kunst ontdekken leerlingen de typische beeldtaal van De Stijl. Zo zijn de leerlingen goed voorbereid om tijdens de afsluitende workshop twee composities te maken met schuimrubberen vormen en hun eigen lichaam. Eén daarvan geheel volgens de beeldende principes van De Stijl en één volgens de stijl van de leerlingen. De composities worden vanaf het plafond gefotografeerd en de eindresultaten worden achteraf naar de school gestuurd om te evalueren. Welke compositie zou Mondriaan hebben aangesproken? Om het museumbezoek goed te verankeren in de lessen op school is er een les ter introductie en ter evaluatie, die ligt nu voor je. In de lessen vind je suggesties voor kleine werkvormen die de creativiteit en verbeeldingskracht van de leerlingen stimuleren en het museumbezoek nog waardevoller maken. Veel plezier! Opmerkingen of suggesties? Die horen wij graag. Stuur een mail naar: [email protected] 2 INHOUD VOORBEREIDENDE LES ...................................................................................................... -
Town Hall Competitions in the Netherlands Before World War Ii
TOWN HALL COMPETITIONS IN THE NETHERLANDS BEFORE WORLD WAR II Dr. ir. ing. Jan Molema Senior researcher at the Faculty of Architecture TU DELFT Prof h.c. Novosibirsk State Academy for Fine Arts and Architecture Corresponding Academician of the Reial Acadèmia Catalana de Belles Arts St. Jordi ‘advertisement’ in: De 8 en OPBOUW of 1/4/1939 (Willy La Croix)1 Rotterdam was the first major city in The Netherlands in the Twentieth Century to acquire new premises for their city offices. The design to be built was the result of a closed competition, presumably the first ever for a town or city hall in the country. It also meant the first failure in the eyes of many and indeed the building, which miraculously survived, nearly undamaged, the fierce German bombardment in May 1940, when almost the whole city of Rotterdam vanished, is not the best, architecturally speaking. The competition took place in 1912.2 A Delft professor and writer of a set of books on architectural history, Hendrik (Henri) Jorden Evers (1855-1929), won the first price.3 Much to the displeasure of many colleagues, Karel Petrus Cornelis de Bazel’s and Willem Kromhout’s entries (and those of five other architects) were put aside. Famous masters as H.P. Berlage (Exchange of Amsterdam) or P.J.H. Cuypers (Central Station and National Rijksmuseum in Amsterdam) had not been invited. The history of the competition is indeed remarkable. Firstly, Evers had been invited by the mayor of Rotterdam to deliver a draught for a new city hall, which was adopted. -
Peircean Interpretation of Postmodern Architecture
PEIRCEAN INTERPRETATION OF POSTMODERN ARCHITECTURE A Dissertation by IWAO TAKAHASHI Submitted to the Office of Graduate and Professional Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Robert Warden Committee Members, Frances E. Downing Robert W. Burch Gregory F. Pappas Head of Department, Ward V. Wells December 2013 Major Subject: Architecture Copyright 2013 Iwao Takahashi ABSTRACT The influence of philosophy on architectural theory contributes to the formulation of architectural theory in the history of architecture. This relationship created the oscillation of architectural theory between rationalism and romanticism reflecting the woven tendency of philosophy such as enlightenment and counter-enlightenment movement. This dissertation research focuses on architectural language theory which maintains a tight relationship with the philosophy of language. Postmodern architecture during the period of the 1970s through 1980s is examined to determine meanings of architecture, and the language theory of architecture. It followed the philosophy of language originated from Ferdinand de Saussure who influenced theorists, and explicitly sign theorists influenced by Charles Sanders Peirce. This theoretical underpinning of language theory is questionable because of an inappropriate application of the sign theory of Charles Sanders Peirce in terms of principal interpretation of language structure, dyadic and triadic type of language. This research re-interprets the meaning of architecture during postmodern period along with Peirce’s semeiotic theory, and American Pragmatism that Peirce originally invented. The collection of evidence from architectural history and the influence from philosophy provides a conceptual sketch that the oscillation of theoretical tendency is the source of architectural creation. -
De Stijl, One of the Longest Lived and Most Influential Groups of Modern Artists, Was Formed in Holland During the First World War
de stil De Stijl, one of the longest lived and most influential groups of modern artists, was formed in Holland during the first world war. From the very beginning it was marked by extraordinary collaboration on the part of painters and sculptors on the one hand and architects and practical de- signers on the other. It included among its leaders two of the finest artists of the period, the painter Piet Mondrian and the architect J. J. P. Oud; bul its wide influence was exerted principally through the theory and tireless propaganda of its founder, Theo van Doesburg, painter, sculptor, architect, typographer, poet, novelist, critic and lecturer-a man as versatile as any figure of the renaissance. DE STIJLPAINTING, MONDRIAN AND VAN DOESBURG, 1912-1920 Three elements or principles formed the fundamental basis of the work of de Stijl, whether in painting, architecture or sculpture, furniture or typography: in form the rectangle; in color the "primary" hues, red, blue and yellow; in composition the asymmetric balance. These severely simplified elements were not, however, developed in a moment but as the result of years of trial and error on the part of the painters Mondrian, van Doesburg, and van der Leck. Mondrian first studied with his uncle, a follower of Willem Maris. Then, after three years at the Amsterdam Academy, he passed through a period of naturalistic landscapes to a mannered, mystical style resem- bling the work of Thorn-Prikkerand Toorop. By the beginning of 1912 he was in Paris and there very soon fell under the influence of Picasso. Some of his paintings of 1 91 2, based upon tree forms, were as abstract as any Braque or Picasso of that time. -
Pdf (Boe-A-2020-11264
BOLETÍN OFICIAL DEL ESTADO Núm. 256 Sábado 26 de septiembre de 2020 Sec. III. Pág. 81347 III. OTRAS DISPOSICIONES MINISTERIO DE CULTURA Y DEPORTE 11264 Orden CUD/892/2020, de 22 de septiembre, por la que se otorga la garantía del Estado a 99 obras para su exhibición en el Museo Nacional Centro de Arte Reina Sofía, en la exposición temporal «Mondrian y De Stijl». A petición del Museo Nacional Centro de Arte Reina Sofía. De conformidad con la disposición adicional novena de la Ley 16/1985, de 25 de junio, del Patrimonio Histórico Español; el Real Decreto 1680/1991, de 15 de noviembre, por el que se desarrolla dicha disposición adicional sobre garantía del Estado para obras de interés cultural, y la disposición adicional primera del Real Decreto-ley 17/2020, de 5 de mayo, por el que se aprueban medidas de apoyo al sector cultural y de carácter tributario para hacer frente al impacto económico y social del COVID-19. Vistos los informes favorables de la Junta de Calificación, Valoración y Exportación de Bienes del Patrimonio Histórico Español, adoptado en su reunión plenaria del día 21 de julio de 2020, de la Abogacía del Estado del Ministerio de Cultura y Deporte emitido con fecha 23 de julio de 2020, y de la Subdirección General de la Oficina Presupuestaria con fecha de 4 de agosto de 2020, y una vez fiscalizado de conformidad por la Intervención Delegada en el Departamento. De conformidad con la propuesta de la Dirección General de Bellas Artes formulada el día el 4 de agosto de 2020, en cumplimiento del artículo 3 del Real Decreto 1680/1991, de 15 de noviembre, y el acuerdo de autorización de Consejo de Ministros de fecha 8 de septiembre de 2020, dispongo: Primero. -
De Stijl De D
Lopez D. HARMONY AND ORDER DE STIJL Kristian DE STIJL WAS A DUTCH ARTISTIC MOVEMENT. FOUNDED IN 1917, DE STIJL REFERS TO A BODY OF WORK CREATED BY A GROUP OF DUTCH ARTISTS, FROM 1917 TO 1931, AND A JOURNAL PUBLISHED BY THE PAINTER AND CRITIC THEO VAN DOESBURG, PROMOTING THE GROUP’S THEORIES. NEXT TO VAN DOESBURG, DE STIJL’S PRINCIPAL MEMBERS WERE THE PAINTERS PIET MONDRIAN AND BART VAN DER LECK, AND THE ARCHI- TECTS GERRIT RIETVELD AND J.J.P. LopezOUD. MEMBERS OF DE STIJL SOUGHT TO EXPRESS A NEW UTOPIAN IDEAL OF SPIRITUAL HARMONY AND ORDER. THROUGH A REDUCTION TO THE INTRODUCTION ESSENTIALS OF FORMD. AND COLOR, THEY PROMOTED PURE ABSTRACTION AND UNIVERSALITY. VISUAL COMPOSITIONS WERE SIMPLIFIED TO THE VERTICAL AND HORIZONTAL DIRECTIONS, AND ONLY PRIMARY COLORS, BLACK AND WHITE WERE UTILIZED IN WORKS. Kristian THEO VAN DOESBURG (1883 – 1931) PAINTER, DESIGNER AND WRITER, PUBLISHED “DE STIJL “ 1917 – 1931 CORNELIS VAN EESTEREN (1897 – 1981) ARCHITECT ROBERT VAN’T HOFF (1887 – 1979) ARCHITECT ANTHONY KOK (1882 – 1969) POET BART VAN DER LECK (1876 – 1958) PAINTER Lopez PIET MONDRIAN (1872 – 1944) PAINTER MARLOW MOSS (1890 – 1958) PAINTER AND SCULPTOR ARTISTS OF DE STIJL J. J. P. OUD (1890D. – 1963) ARCHITECT AMÉDÉE OZENFANT (1886 – 1966) PAINTER GERRIT RIETVELD (1888 – 1964) ARCHITECT AND DESIGNER Kristian THEO VAN DOESBURG WAS BORN AS CHRISTIAAN EMIL MARIE KÜPPER ON AUGUST 30 1883 IN UTRECHT. HE WAS THE SON OF THE PHOTOGRAPHER WILHELM KÜPPER AND HENRIETTA CATHERINA MARGADANT. IN HIS EARLY TWENTIES, KÜPPER STARTED USING THE NAME OF HIS STEPFATHER THEODORUS DOESBURG TO SIGN HIS EARLY PAINTINGS. -
Table of Contents
CONTENTS A C F H K 6 What is modern architecture? 8 Hugo Henrik Alvar Aalto 82 Santiago Calatrava 136 Emil Fahrenkamp 188 Zaha Hadid 244 Louis Isodore Kahn by Peter Gössel 12 Thornton Abell 86 Félix Candela 137 Hassan Fathy 192 Oswald Haerdtl 250 Ray Kappe 14 Adler and Sullivan 88 Case Study House 138 Sverre Fehn 193 Hiroshi Hara 252 Friedrich Kiesler 18 Gregory Ain Program 139 Luigi Figini and Gino Pollini 194 Harrison and Abramowitz 253 Kiyonori Kikutake 19 Franco Albini 90 Pierre Chareau 140 Lord Norman Foster 196 Zvi Hecker 254 Edward Killingsworth 20 Will Alsop 92 Serge Ivan Chermayeff 144 Albert Frey 197 Paul Hedqvist 255 Waro Kishi 21 Amsterdam School 93 Chicago School 148 Richard Buckminster Fuller 198 Agustín Hernández 256 Michel de Klerk 22 Tadao Ando 94 David Chipperfi eld 150 Future Systems 200 Herzog & de Meuron 258 Pierre Koenig 26 Art Déco 96 Josef Chochol 152 Futurism 204 Josef Hoffmann 260 Rem Koolhaas 30 Art nouveau 97 Connell, Ward & Lucas 208 Fritz Höger 264 Kengo Kuma 34 Erik Gunnar Asplund 98 Constructivism 210 Steven Holl 265 Kisho Kurokawa 100 Coop Himmelb(l)au 212 Hans Hollein 102 Charles Mark Correa G 213 Raymond Hood 104 Lúcio Costa 214 Victor Horta 153 Ignazio Gardella 106 Crites & McConnell 218 HPP B 154 Tony Garnier L 36 Shigeru Ban 156 Antoni Gaudí i Cornet 266 Denys Louis Lasdun 40 Barclay & Crousse 160 Frank Owen Gehry 267 Mogens Lassen 41 Edward Larrabee Barnes 164 Andrew Geller 268 Paul László 42 Luis Barragán D 165 von Gerkan, I 270 John Lautner 46 Bauhaus 108 Deconstructivism Marg and Partner 219 International -
SIGNIFICANCE and RESTORATION of HET SCHIP, AMSTERDAM Design Movement Known Today As the an ICON of SOCIAL HOUSING and ARCHITECTURE, 1919-1921 Amsterdam School
Het Schip A WORK OF ART IN BRICK Amsterdam 1919-1921 Up-and-coming architect Michel de Klerk designed an urban block of 102 apartments and one post office, envel- A WORK OF oping an existing primary school. The patron of this prominent project was the visionary housing society, Eigen Haard. This “workers’ palace” is now ART IN BRICK the acknowledged culmination of the SIGNIFICANCE AND RESTORATION OF HET SCHIP, AMSTERDAM design movement known today as the AN ICON OF SOCIAL HOUSING AND ARCHITECTURE, 1919-1921 Amsterdam School. One hundred years later, the restoration of this complex has again come to the fore. The histories and controversies con- cerning the Amsterdam School are PETRA VAN DIEMEN uncovered and reinterpreted, and the TON HEIJDRA genesis and life cycle of the building are NIKO KOERS brought into focus. The book describes CISCA VAN DER LEEDEN the choices that were made for mate- RAMON PATER rials and working methods during the RICHELLE WANSING restoration of 2015-2018. Recipes used are described in meticulous detail, from brick to leaded glass and from “lion head” to “cigar”. Few compromises have been made in restoring the integrity of the original image of this complete work of art, an icon of social housing and architecture. This book is abun- dantly illustrated and written by the very specialists who were leading in this restoration. Oostzaanstraat 45 MUSEUM 1013 WG Amsterdam HET SCHIP www.hetschip.nl A WORK OF ART IN BRICK SIGNIFICANCE AND RESTORATION OF HET SCHIP, AMSTERDAM AN ICON OF SOCIAL HOUSING AND ARCHITECTURE, 1919-1921 PETRA VAN DIEMEN TON HEIJDRA NIKO KOERS CISCA VAN DER LEEDEN RAMON PATER RICHELLE WANSING WEBSITE VERSION This PDF is the website version of the book A WORK OF ART IN BRICK.