...World War. He survived being both buried under rubble and dead bodies, and shot out of the sky with a dead pilot. Like his father and his great-uncle Martin Gropius ,Walter Gropius then became an architect. Gropius's career further emerged in the post war period. He was appointed as master of the Bauhaus school in 1919. It was this academy which Gropius transformed into the world famous ‘Bauhaus’, attracting a faculty that included a lot of talented influential modernist artist. In principle, the Bauhaus represented an opportunity to extend beauty and quality to every home through well designed industrially produced objects. This building ‘The Bauhaus’ designed by Walter Gropius in year 1919 was designed with an emerging style that would forever influence architecture. The current state of the graphic design industry today owes a lot to the Bauhaus movement. The Bauhaus which means ‘building house’ in German, was a design school that persevered throughout a tough time of social and political upheaval to leave one of the biggest stamps on art, architecture and design in the 20th century. Four facts that loomed over the founding of the Bauhaus in 1919 in Germany were the; -World War I, 1914-1918. The War killed some two million Germans, and left Germany’s economy in shambles, ...
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...The Bauhaus originated in Weimar in 1919 as a new type of design school. In 1924, when further work in Weimar became impossible, the Bauhaus offered itself up to other towns. That Dessau, an aspiring industrial city in central Germany, was chosen by the Bauhaus Masters over Frankfurt am Main, for example, depended in part on the fact that it could offer the Bauhaus a new school building. Walter Gropius, founder of the Bauhaus in 1919 and its director until 1928, designed the building on behalf of the city of Dessau and in cooperation with Carl Fieger, Ernst Neufert and others in his private architectural practice – the Bauhaus did not have its own department of architecture until 1927. The Bauhaus workshops were integrated within the building’s interior design. The city of Dessau provided money for the new school building on a development site close to the train station and also for the Masters' Houses, and remained the owner of both properties. Designed in 1922 by Josef Hartwig, the best part about the chess pieces is that the design of each also indicates the type of movement it is capable of. Bauhaus Cradle The Bauhaus Cradle emerged in the early days of the German design school, but the simplicity of this magazine holder, both with regard to the form and colors used, doesn't undermine the inherent playfulness of the design. SEXPAND Bauhaus Wasilly Chair Of all the chairs to come out of the Bauhaus, this is the one that commonly comes to mind. Designed my Marcel...
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...Herbert Bayer He is one of the most recognized designers to come from the Bauhaus institution and his theories of design are still taught in many schools today. A Graphic designer type face designer, painter, sculptor, and art director, environmental and interior designer, Herbert Bayer. Herbert Bayer was born Haag am Hausruck. He was both a student and teacher from 1921 to 1923 he attended the Bauhaus in Weimar, studying mural painting with Vasily Kandinsky and typograph. A great deal of Herbert Bayer design activity took place in Germany Italy and New York. (2) Widely recognized as the last living member of the Bauhaus and was instrumental in the development of the Atlantic Richfield Company's corporate art collection until his death in 1985. Herbert was a producer of innovative thinking and creative problem solving. His design...
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...“Object based research provides unique insights into the historic and aesthetic developments of fashion” Steele, V (1998). “A museum of Fashion is more than a clothes bag”, Fashion Theory 2 (4): 327 For many years she was known within the family as Miss Yellow Peril. In her late twenties though, she decided to have a sex change, much to the consternation of the family. Thankfully, it was successful and he was re-christened, Monsieur Maurice Pom-Pom. Condemned as “the umbrella on four wheels”, “the flying dustbin”, “the tin snail” or “the ugly duckling” (Reynolds, 2005, p. 22) or just plain ‘Deux-Chevaux’ – the Citroën 2CV has suffered from an abundance of mockery throughout its forty-two years of existence, but is now regarded as an automotive and cultural icon. With over five million cars manufactured between 1948 and 1991, the 2CV remains to this day among the most successful motor vehicles ever to be produced. (Reynolds, 2005) Monsieur Pom-Pom was manufactured in Levellois, France in 1989 and my Father purchased him in 1990. Pastel yellow, clotted cream or buttermilk in colour, Monsieur Maurice Pom-Pom looks very similar to an upside-down pram with five large ribs running along its corrugated steel bonnet. An alloy grille with horizontal ventilation slots in between the lateral bars opening into the engine bay is placed at the end of his nose. The Citroën double chevron badge is mounted on it. Pom-Pom is adorned with circular orange lights on his two front panels;...
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...Discuss the Bauhaus, including its philosophy, key figures, product designs, sources and influences. Be sure to give examples of works with a detailed visual and contextual analysis of each example to demonstrate your understanding of the Bauhaus approach. The Bauhaus school of art opened in April of 1919 by Walter Gropius. Gropius originally rejected the need for standardization and mass production within the arts, but after the first world war Gropius accepted the need.(Fiell, 304) The Bauhaus was created when Gropius combined the art schools Kunstgewerbeschule and the Hochchule fur Bildende Kunst into one.(Fiell, 83) The Bauhaus, meaning "Building House" was located in Weimar, Germany. Gropius wanted to create a new organization of learning for design, and sought to reform educational theory and unify the arts.(Fiell, 83) The Bauhaus curriculum consisted of two parts; students had to complete a year of foundation courses that focused on the use of color, form and materials. Following the year of foundation courses, students were to enter a workshop of their choosing in areas such as carpentry, ceramics, metal etc. The Bauhaus drew influence from other movements such as the Arts & Crafts movement and De Stijl. Throughout the lifetime of the Bauhaus, three directors took charge and led the Bauhaus into different directions. Walter Gropius, originally an architect, was the first director appointed to the Bauhaus; also the founder. Under Gropius, the Bauhaus originally...
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...Space Conception of ‘Space-Time’ Giedion’s conception of history is Hegelian because Hegel say’s ‘Every historical period is unified within itself’ so as Giedion put in his text, developments in art and science show different expressions of simultaneity. Art shows this through Cubism and Science shows this through Einstein’s Theory of Relativity. The theory of relativity and cubism both came about in the 20th century so Giedion’s conception is Hegelian because they both fell under the same period in time. Giedion’s idea of history guides his opinions on architecture as he says that Space and time are unified into a 4 dimensional model through his own interpretation of Einstein’s theory of relativity. This is seen in Walter Gropius, The Bauhaus, Dessau (1926) where space and time coincide with one another. Giedion believes that the real role of the artist and architect is to unify thought and feelings. One without the other would lead to a society with too much rationality (if there were no feelings) or a society that is too emotional so cannot make any rational decisions. He says that ‘feeling continues to filters through every activity and situation’ this means that the artist and architect would need to be able to filter the feelings properly so the society is not deemed too emotional but has some rationality to balance it out. The ‘form-giving principals of the new space conception’ of modernism derive from a cubist painting from Paris where cubism was first seen, as Giedion...
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...History of Architecture Final Buildings Louvre east Facade, Paris 1670 pg 365 LeVau, LeBrun, Perrault Baroque * Originally a palace, now serves as an art museum * Updated with Baroque themes: ballistrate on top, double spaced columns lining the facade * There are 2 pavilions on the ends, and one in the middle * 330ft between pavilions * Architects won the chance to design the Facade in a contest Louis XIV made * Facade composition distinctly French: end pavilions, central pedimented unit and connecting stoalike wings Karlskirche (ext), Vienna 1725 pg 359 Fisher von Erlach Baroque * Church, dedicated to St. Charles Borromeo * Broad facade dominated by a dome on a drum above a pedimented portico, flanked by columns * Many historical influences: * Dome and drum from papal Rome * Columned portico from Roman temples like the Pantheon * Trajan’s Columns from Imperial Rome are repeated on both sides of the rotunda * Overall composition reminiscing the dome and minarets of Hagia Sophia * Ceiling embellished with frescoes depicting Charles Borromeo appealing to Virgin Mary as intercessor for relief from the plague St. Paul’s Cathedral (ext), London 1700 pg 372 Wren Gothic * Church * Triple shell dome includes a conical intermediate shell that supports the lantern and timber superstructure * Cathedral’s basilican structure comprised of saucer domes in the nave and aisles * Buttresses...
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...American Symphony Orchestra The concert I attended at Carnegie Hall on October 21, the conductor Leon Botstein and the American Symphony Orchestra explored the influence of Bach on the Bauhaus. One thing you can’t fault the American Symphony Orchestra for is lack of ambitious programming. The two hour long concert that they presented included impressive orchestrations of Bach chorales; preludes and fugues by Max Reger, Arnold Schoenberg and Wolfgang Gräser; as well as three complex fugues by Lyonel Feininger, and Schoenberg’s “Variations for Orchestra”, Op. 31. However, once the concert began it became clear that the American Symphony Orchestra had bit off slightly more than they could chew. In much of the Bach, including O Mensch, Bewein’ dein’ Sünde gross, section entrances were timid and the beginnings and endings of phrases were uncoordinated. Leon Botstein’s conducting did little to diminish the ensemble’s problems; alternately vague and abrupt. Intonation problems in the bass and viola sections abounded. There also appeared to be a conflict among the string players about the use of vibrato throughout the works by Bach, with some players employing lush, romantic vibrato and other players using none at all. In Bach’s Prelude and Fugue BWV 552, “St. Anne,” the principal cellist played out of tune and appeared to lose his place within the solo. The concertmaster’s solos, in contrast, were effortlessly brilliant. Her understated style of leadership also deserves...
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...The Stresemann years of 1924-29 have often been portrayed as the “golden years” of Weimar Germany; however this idea has been challenged my many historians. During this period there was an element of political calm but it was mainly typified by political inaction and a failure of coalition governments to agree on any important issues. Economic development did occur but was minimal, and the period was one of slow economic growth and “relative stagnation”. Similarly, there were several signs of social progress and cultural development, but the years were significantly characterised by cultural polarisation. Therefore the blanket statement: “Germany experienced a period of political calm, economic development and social progress in the mid 1920s” ignores the problems in Weimar Germany at this time and is therefore not entirely correct, each clause contains some validity. In politics, there was a clear reduction in extra-parliamentary attempts opposing the government and political system. This was particularly significant as the preceding 1919-23 period was characterised by such threats from the Left and Right of the political spectrum, for example the Spartacist uprising, the Kapp Putsch and the Beer Hall Putsch. However, the mid 1920s cannot be said to have been years of political stability. Despite the reduction in threats to the Weimar state, the parliamentary system failed to mature and develop - a political stagnation developed, not a political calm. Seven governments...
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...“Pioneers of Modern Architecture: Importance of their contribution in the development of 20th Century Architecture” Modernism roughly spans the time between World War I and the early 1970s. In regards to architecture, this particular movement or style is characterized by simplification of form and subtraction of ornament from the structure and theme of the building. Intrigued by the emerging technologies of the day, they mostly used concrete, glass, or steel in their revolutionary creations. They eschewed ornament, rejecting what they saw as the frivolous strokes of Victorian and art nouveau styles. At the same time new technological developments continued to influence architects' designs, such as the development of complex air conditioning and heating systems allowed modern architectures to spread from the temperate climates of Europe and North America to countries with extremely varied weather conditions such as India, as seen in the National Assembly Building in Dacca Bangladesh by Louis Kahn. Instead of viewing a building as a heavy mass made of ponderous materials, the leading pioneers of modern architecture considered it as a volume of space enclosed by light, thin curtain walls and resting on slender piers. The visual aesthetic of modern architecture was largely inspired by the machine and by abstract painting and sculpture. Since World War II, modern architecture has admitted a certain amount of free play in buildings of various designs. In all, the required ...
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...To what extent did artists and designers during the first three decades of the Twentieth Century realise their aims of social improvement through art and design? Discuss with examples from one or more of the following movements: Suprematism, Constructivism, the Bauhaus, the early Modern Movement in architecture. This essay discusses the impact of design and architecture of the early Modernist Movement and in particular the works of Frank Lloyd Wright and Le Corbusier. It will look at the most important works of both architects and conclude by examining the legacy they left the world. Frank Lloyd Wright, born (1867 -1959), Wisconsin, United States of America was by far the greatest American architect of his time. He initially trained as an engineer and later apprenticed to architect, Louis Sullivan who coined the phrase “Form follows function.”...
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...of Architecture course, instructed entirely in English, plus living and breathing the international atmosphere and integrating with English and German speaking people in pursuance of developing a third language. This is undoubtedly one of the motivations for studying in a country as multicultural as Germany. The opportunity to pursue the master's course represents the next important challenge in my life and momentous fulfillment to step up onto further education. Student experiences’ proved that studying and living abroad can help not only to branch out but also accelerate my personal and academic growth as well. With its cultural and UNESCO world heritage sites, Dessau sets the standard for an inspiring and picturesque student city. The Bauhaus Dessau, initially created by Walter Gropius with an emerging style that would forever influence architecture, hints at the more futuristic style that is being pursued at the DIA. I believe that technological advancements are the core of innovation, capable to attend the market transformations, environmental and economic exigencies, enabling multidimensional interaction to reach better results and quality for the architecture and urban planning. The splendid educational system and the interaction between the research and practice is an opportunity to enhance my skills and to attain my professional goals. The master program will provide me knowledge in advanced technologies, computational tools and make me equipped to deal with the environmental...
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...HISTORY AND THEORY STUDIES FIRST YEAR Terms 1 and 2 Course Lecturers: CHRISTOPHER PIERCE / BRETT STEELE (Term 1) Course Lecturer: PIER VITTORIO AURELI (Term 2) Course Tutor: MOLLIE CLAYPOOL Teaching Assistants: FABRIZIO BALLABIO SHUMI BOSE POL ESTEVE Course Structure The course runs for 3 hours per week on Tuesday mornings in Terms 1 and 2. There are four parallel seminar sessions. Each seminar session is divided into parts, discussion and submission development. Seminar 10.00-12.00 Mollie Claypool, Fabrizio Ballabio, Shumi Bose and Pol Esteve Lecture 12.00-13.00 Christopher Pierce, Brett Steele and Pier Vittorio Aureli Attendance Attendance is mandatory to both seminars and lectures. We expect students to attend all lectures and seminars. Attendance is tracked to both seminars and lectures and repeated absence has the potential to affect your final mark and the course tutor and undergraduate coordinator will be notified. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Complete-toPass system. Poor attendance can affect this final mark. Course Materials Readings for each week are provided both online on the course website at aafirstyearhts.wordpress.com and on the course library bookshelf. Students are expected to read each assigned reading every week to be discussed in seminar. The password to access the course readings is “readings”. TERM 1: CANONICAL BUILDINGS, PROJECTS, TEXTS In this first term of...
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...The Roaring Twenties and Modernism 7 F. Scott Fitzgerald “Bernice Bobs Her Hair” (1920) A. Characterisation - Comment on the characters with regard to the final chapters and the end. B. Narration and Language - What sort of narrator narrates “Bernice Bobs Her Hair”? Compare with Hemingway. - Characterise Fitzgerald’s language; you may find the adjectives below helpful. Compare with Hemingway; who is the more experimental? metaphorical – religious – humoristic – serious – playful – matter-of-fact – straightforward - | - What function do the passages of dialogue have? - Does Fitzgerald mainly ‘tell’ or ‘show’? telling – the narrator tells the readers what the characters feel: | showing – the narrator shows the readers what the characters feel: | When the teacher asked the students if they had done their homework, they felt very embarrassed. | When the teacher asked the students if they had done their homework, they looked down. | C. Structure - How has the short story been structured? (exposition and presentation of main conflict, subordinate conflicts, climax, coda) - What function does each chapter have, or how does chapter contribute to deepening or relaxing the conflict(s)? D. List the ten most important words of advice that would necessarily be included in a guidebook for a society vampire of the 1920s. E. Modernism In Life and Literature, Christensen writes about F. Scott Fitzgerald that * his works often...
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...Roshnara Anwar 51937 ARC 271 24th November 2014 Eames House and Studio/ Case Study House #8 After the Second World War, John Entenza, owner of the “Art and Architecture” magazine, launched The Case Study House Experiment. The aim was to build modernist houses with minimum cost and minimum effort. These houses were made as a response to the shortage in housing after the war. By “Modernist” houses, Entenza meant houses that could be pre fabricated, mass-produced and would industrialize residential construction. Initially, he selected eight architects and firms for the experiment. They were expected to design these houses to match the change in lifestyle during the post-war period. Later, these eight houses expanded into thirty-four houses. In these houses, the Eames house was case study house #8. The site for the Eames house is in Pacific Palisades in Los Angeles, California. The site overlooks the Pacific Ocean. The main frame of the Eames house is made of pre fabricated steel. The rest of the house is made of industrial materials like concrete, steel, glass, asbestos, plyon and insulation board on plywood. Although the house is made of only inorganic material, it does not stand out of the landscape like a sore thumb. Instead, these materials are complementary to the landscape surrounding it. Charles Eames was quoted as saying: “The texture of the ceiling, the metal joists, the repetition of the standard sash, the change of glazing from transparent to translucent… all add...
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