Study of the Bauhaus Ideas “bauen” in Periods of Walter Gropius, Hannes Meyer, and Mies van der Rohe

2020 ◽  
Author(s):  
Christophera Lucius ◽  
Imam Santosa ◽  
Setiawan Sabana
Keyword(s):  
Mies Van Der Rohe ◽  
Walter Gropius

scholarly journals Caminhando entre mortos – o monumento moderno

2020 ◽  
Vol 21 (38) ◽  
Author(s):  
Guilherme Bueno
Keyword(s):  
Peter Eisenman ◽  
Mies Van Der Rohe ◽  
Walter Gropius

O artigo analisa a partir de monumentos projetados por Walter Gropius, Mies van der Rohe, Rachel Whiteread e Peter Eisenman quais as implicações de uma nova simbolização da morte frente a eventos traumáticos do século XX. Para tanto, em certas passagens são discutidas questões formais ladeadas pela abordagem do luto em Freud.Palavras-chave: monumento; holocausto; arte e arquitetura: século XX

Das Bauhaus

2018 ◽  
Author(s):  
Winfried Nerdinger
Keyword(s):  
Paul Klee ◽  
Wassily Kandinsky ◽  
Mies Van Der Rohe ◽  
Walter Gropius

Das Bauhaus – heute ein Synonym für Architektur und Design der klassischen Moderne – wurde 1919 von Walter Gropius in Weimar gegründet. Zu den Mitgliedern zählten Wassily Kandinsky, Paul Klee, Oskar Schlemmer und Ludwig Mies van der Rohe. Sie alle wirkten mit, ein ganzheitliches Konzept zu entwickeln, um Kunst und Design, Handwerk und Technik miteinander zu verbinden. Winfried Nerdinger geht kenntnisreich auf die zentralen Ideen und die Form der Lehre am Bauhaus ein und stellt anschaulich die wichtigsten Personen und Produkte sowie die politischen und ökonomischen Zusammenhänge vor.

Bauhaus

2018 ◽  
Author(s):  
Anja Baumhoff ◽  
Susan Funkenstein
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Total Work ◽  
Paul Klee ◽  
Post War ◽  
Mies Van Der Rohe ◽  
Modern Artists ◽  
The City ◽  
Walter Gropius ◽  
Art Schools

In 1919 a young architect named Walter Gropius initiated one of the most modern art schools of the twentieth century in the city of Weimar in Thuringia, Germany. He called it the Bauhaus. Its unusual name can be translated as "building hut," indicating its connection with the medieval tradition of cathedral building and the idea of a total work of art. The Bauhaus is not only famous for its ideas or its buildings in Weimar and Dessau but also for its members, among them the three directors of the school—the architects Walter Gropius (1919–1928), Hannes Meyer (1928–1930), and Mies van der Rohe (1930–1932). Teachers included renowned modern artists such as Lyonel Feininger, Vassily Kandinsky, Paul Klee, László and Lucia Moholy-Nagy, Herbert Bayer, Marcel Breuer, Wilhelm Wagenfeld, Anni und Josef Albers, Oskar Schlemmer, Marianne Brandt, and Gunta Stölzl. All of them endorsed modernism at a time when modern art and abstraction was far from being accepted—contemporaries understood it first of all to be a post-war rebellion similar to the then notorious Dada movement. The overall aim of the Bauhaus was to redefine fundaments of composition and construction as well as the use of colors.

The Avant-Garde Monument

2021 ◽  
pp. 1-28
Author(s):  
Sascha Bru
Keyword(s):  
Avant Garde ◽  
Robert Smithson ◽  
Salvador Dali ◽  
The First World War ◽  
Man Ray ◽  
History Of ◽  
To Come ◽  
Mies Van Der Rohe ◽  
Walter Gropius ◽  
First World

Abstract This article homes in on monuments designed by proponents of the historical or classic avant-gardes. After the First World War, monuments by, among others, Kurt Schwitters and Johannes Baader, Walter Gropius and Mies van der Rohe, Vladimir Tatlin and El Lissitzky, Man Ray and Salvador Dalí, began to articulate a new function for the genre of the monument: no longer was it to commemorate the past, but to memorialize the present and time to come. This new architecture of memory also led to an expansion of the genre, which in the hands of avant-gardists further came to include temporary pavilions. Paying attention to theoretical writings on the monument, among others, by László Moholy-Nagy, Siegfried Giedion and Robert Smithson, the article concludes by referencing more recent experimentation in monument design by artists such as Flavin, Oldenburg and Hirschhorn, arguing that a comprehensive history of the avant-garde monument is long overdue.

scholarly journals Spesialisering eller samvirke? Om skulptur og arkitektur i gjenreisnings- og vekstårene etter andre verdenskrig

Nordlit ◽  
2015 ◽  
pp. 107
Author(s):  
Svein Aamold
Keyword(s):  
Second World War ◽  
Individual Autonomy ◽  
World War ◽  
The Public ◽  
Works Of Art ◽  
Artistic Values ◽  
Mies Van Der Rohe ◽  
Art And Architecture ◽  
Walter Gropius ◽  
Second World

<p>One of the characteristics of modernist art and architecture is the insistence on autonomy. What happens if the two media are combined? Will they activate new artistic values – or will their insistence on individual autonomy lead to a differentiation which negates any true dialogue bearing on their status as works of art? These questions are discussed with references to sculptures by Georg Kolbe, Antoine Pevsner, Barbara Hepworth, Jean Arp, Arnold Haukeland and Ramon Isern; and the architecture of Ludwig Mies van der Rohe, Walter Gropius and Erling Viksjø. Also central to these topics are the public debates between architects, sculptors and architectural historians in Europe and America during the first decades after the Second World War. The issues regarding a possible integration of sculpture and architecture were highly contested during these years of optimism and economic growth. For some, the idea of a union between the two media proved to be an ideal that was perhaps never fully accomplished. Many sculptors, however, wanted to create works intended for public spaces, whether in architectural urban settings or in landscapes. Among the architects, the opinions differed from a refusal to include any works of art as part of their buildings, to those who involved in collaborative projects with artists. Others maintained that a new spatial unity could be achieved based on joint efforts on equal terms between sculptors and architects.</p>

Neue Sachlichkeit in Architecture

2018 ◽  
Author(s):  
Tanja Poppelreuter
Keyword(s):  
Subject Matter ◽  
Weimar Republic ◽  
Personal Taste ◽  
New Objectivity ◽  
Avant Garde ◽  
Neue Sachlichkeit ◽  
Architecture And Design ◽  
Mies Van Der Rohe ◽  
Martin Wagner ◽  
Walter Gropius

The term Neue Sachlichkeit was coined by Gustav Hartlaub with his exhibition: ‘Neue Sachlichkeit. Deutsche Malerei seit dem Expressionismus’ (New Objectivity. German Painting Since Expressionism) at the Kunsthalle Mannheim in 1925 and is now used to describe a movement during the politically, socially, and economically unstable years of the Weimar Republic in Germany (1919–1933) that includes painting, photography, design, and architecture (Rewald, 2006). In architecture the term mainly relates to Neues Bauen (New Building) and avant-garde currents of rationalist and functionalist Modernism that existed alongside conservative counterparts and Expressionism. Among its contributors in Germany were Walter Gropius, Otto Haesler, Ludwig Hilberseimer, Ernst May, Hannes Meyer, Ludwig Mies van der Rohe, and Martin Wagner. Architecture and design was created in order to fulfill objective functions and not along the lines of personal taste, preexisting historical, national, or regional styles. The Sache–the object, subject matter–was scrutinized in order to fulfill its function and serve its user best as possible. The way in which this was approached was sachlich–objectively and factually–without emotional attachment to ways in which the object was designed or used previously. Neue Sachlichkeit therefore was an approach to design pursuing, but not always achieving, practicality, suitability, and objectivity by setting aside all matters considered by its practitioners as irrelevant (Schwartz, 1998 and Schmalenbach, 1940).

From Bauhaus to Our House: Tom Wolfe contra modernist architecture

2020 ◽  
Vol 34 (1) ◽  
pp. 211-230
Author(s):  
Anna Maria Karczewska
Keyword(s):  
Le Corbusier ◽  
Modern Architecture ◽  
The Other ◽  
Tom Wolfe ◽  
History Of ◽  
Modernist Architecture ◽  
Political Conditions ◽  
Mies Van Der Rohe ◽  
American Cities ◽  
Walter Gropius

In his 1981 book-length essay From Bauhaus To Our House, Tom Wolfe not only presents a compact history of modernist architecture, devoting the pages to masters such as Le Corbusier, Walter Gropius or Ludwig Mies van der Rohe but also frontally attacks modern architecture and complains that a small group of architects took over control of people’s aesthetic choices. According to Wolfe, modern buildings wrought destruction on American cities, sweeping away their vitality and diversity in favour of the pure, abstract order of towers in a row. Modernist architects, on the other hand, saw the austere buildings of concrete, glass and steel as signposts of a new age, as the physical shelter for a new, utopian society. This article attempts to analyse Tom Wolfe’s selected criticisms of the modernist architecture presented in From Bauhaus to Our House. In order to understand Wolfe’s discontent with modernist architecture’s basic tenets of economic, social, and political conditions that prompted architects to pursue a modernist approach to design will be discussed.

Verortung in der Zeit

Architectura ◽  
2019 ◽  
Vol 46 (2) ◽  
pp. 176-189
Author(s):  
Anke Köth
Keyword(s):  
World War Ii ◽  
Modern Architecture ◽  
World War ◽  
The Past ◽  
Abstract Level ◽  
Institute Of Technology ◽  
The One ◽  
The University ◽  
Mies Van Der Rohe ◽  
Walter Gropius

AbstractThe article discusses the question, if the past as a legitimation for collegiate architecture becomes obsolete after the change from historical styles to modern architecture in 20th century America. On the one hand, the example of Walter Gropius’ Harvard Graduate Center (1948) shows that traditions like the Harvard’s yard are still used on a very abstract level to fit a new building group into the university. On the other hand, the ambition of past decades to define future through architecture or a masterplan seems to be inappropriate after deep changes in society caused by the depression and by World War II later. As a consequence, Ludwig Mies van der Rohe tries to make changes possible for the new Campus of the Illinois Institute of Technology (after 1938): his grid allows to add new building parts easily, and to give them more or less a shape for changing functions.

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