Razvoj oblikovanja 3

UTJECAJI NA POČETKU 20.STOLJEĆA

BERLAGE, PERRET, BEHRENS, GROPIUS; WIENER WERKSTATE; DEUTSCHER WERKBUND

A.E.G – Peter Behrens

Another huge landmark (150 m long) of expressionistic brick architecture is the headquarter of the former Hoechst AG (a large chemical factory, producing colors) in Frankfurt-Höchst, by Peter Behrens, 1920-24

"Built in 1920-25 the paint factory of the I.G. Farben Company features, in its administration building, a large hall around which offices are arranged, on the model of the Larkin Building by Frank Lloyd Wright. Peter Behrens' version is strongly marked by Dutch expressionism, turning the well of light into a very dynamic space both by the theatrical play of light and by the systematic use of slanting rafters which serve to disrupt the overall rectilinearity."

The atrium of the Peter-Behrens-Building

The glass domes

The floor

Villa Karma (Montreux), Adolf Loos architect.

The Villa Karma in Montreux is Adolf Looss first building. Until then he had only renovated the interiors of apartments and stores. The architect was thirty-three years old and in full possession of his powers when his client, Dr. Beer, commissioned him to transform an old structure into a modern country house. The humor and obstinacy Loos brought to the task would help circumvent the obstacles usually raised by the establishment to any work that is original or strays from the beaten path. In its single conception for the volumes and spaces of the entire plan, the work already has all the characteristics of Looss future projects. Loos applied a second skin to the old Vaudois farm and punctuated it with four corner towers. The original roof was removed and replaced by a roof terrace. Loos chose to plaster the exterior masonry entirely in white; for the entrance he designed a grand doorway with four fluted Doric columns supporting a straight lintel and a balcony.

American Bar : Kärntner Bar, Kärntner Passage1908Adolf Loos

Kärntner Bar (American Bar)Kärntner Passage (off Kärntner Strasse) 1010 Vienna

Adolf Loos 1908

This small bar, just off the Kärntner Strasse in central Vienna, show Loos' combination of simple, unadorned forms with opulent materials and fine, simple detailing to give a modern, rich impression.

Mirrors covering the whole width of the wall above the bar, and the parallel wall opposite, multiplies the apparent size of the small room, giving the image of an array of seemingly freestanding columns. The simple geometry of the columns and joists in this image matches that in Loos's House on Michaelerplatz of the same period.

Seating is in small booths around three backlit tables, which glow white in the dark, yellowish brown atmosphere of the bar.

Vienna, Steiner House, 1910 – Adolf Loos

Adolf Loos, house of Tristan Tzara -Paris, 1926-27

Adolf Loos- Muller House, 1929-30

EKSPRESIONIZAM U NJEMAČKOJ I HOLANDIJI

EKSPRESIONIZAM U NJEMAČKOJEkspresionizam u Njemačkoj i Holandiji

‘The Glass Pavilion’Designed by Bruno Taut (1880–1938)Germany1914, reconstruction 1992–3MDF, brass, acrylic and other materialsh. 70cm, diam. 74cmWerkbundarchiv, Museum der Dinge, Berlin

The Glass Pavilion was commissioned by the glass industry for the 1914 Werkbund exhibition in Cologne. Bruno Taut’s structure demonstrated the various ways glass could be used in a building, but also indicated how the material might be used to orchestrate human emotions and assist in the construction of a spiritual utopia. Taut’s interest in this aspect of glass (explored more intensively during the First World War and later in his book Alpine Architecture and in the Glass Chain letters) had been stimulated by the writer Paul Scheerbart whom he had met in 1912 and who argued for an earthly paradise based on a new architecture of glass and colour. Subsequently, Scheerbart wrote Glasarchitektur (Glass Architecture) in 1914, which he dedicated to Taut, while Taut produced his Glass Pavilion and inscribed aphorisms from Scheerbart on the lintels of the 14 side walls.

The Pavilion structure was raised up on a concrete plinth, the entrance reached by two flights of steps (one on either side of the building), which gave the pavilion a temple-like quality. The glazed walls were topped by a dome of reinforced concrete ribs and a double skin of glass: reflecting glass on the outside and colored prisms inside. In the interior, the colour effects produced by sunlight were enhanced by the reflections of the pool and water cascade on the lower level, visible through a circular opening in the floor. Two flights of glass steps enclosed with glass walls produced the sensation of descending to the lower level ‘as if through sparkling water’. The cascade was made of yellow glass, while the pool was of its complementary colour, violet. A mechanical kaleidoscope overhead projected images, an early version of a light show, intensifying the overall impression on the visitor.

Erich Mendelsohn - Universum, UFA Kino, Cinema UFA, Berlin

The icon of German expressionism is the Einstein Tower in Potsdam, built for Professor Albert Einstein, born in Ulm, an astrophysical observatory, 1919-21, designed by the great German-Jewish architect Erich Mendelsohn.

The tower should have been built with concrete, but shortly after WW I., there wasn't enough of it.Therefore Mendelsohn used bricks and covered them under a thick layer of plaster.

The tower should be used to validate Einstein's relativity theory experimentally

Mendelsohn, the Jewish architect, left Germany 1933, survived and died 1953 in the USA.

Einstein left Germany 1932, never came back, died in the USA 1955.

Perhaps the most important example of Germany's expressionistic brick architecture is the Chile House, a huge Hamburg Kontorhaus (office building) by the architect Fritz Höger, 1922 - 24.

The boatshaped building on the left is the Chilehaus

The striking lean bow of the building

The "smooth" side front

A courtyard

Details

Rudolf Steiner – Goetheanum, Dornach

Hugo Haring – Gut Garkau, 1923-26

Hugo Häring (11 May 1882 Biberach an der Riß – 17 May 1958 Göppingen) was a German architect and architectural writer best known for his writings on "organic architecture", and as a figure in architectural debates about functionalism in the 1920s and 1930s, though he had an important role as an expressionist architect.

A student of the great Theodor Fischer, Häring took the view that each building should be uniquely developed according to the specific demands of the site and client. Few of Häring's designs were built but he was a strong influence on his friend and colleague Hans Scharoun. One built design was a contribution to the Siemensstadt housing project in Berlin from 1929 through 1931, which was master-planned by Scharoun.

Häring was a founding member of both The Ring and CIAM.

EKSPRESIONIZAM U HOLANDIJI –AMSTERDAMSKA ŠKOLA

Ekspresionizam u Njemačkoj i Holandiji

Michel de Klerk - Eigen Haard

Even though industrialization and urbanization were late in arriving in Holland, the 1901 Housing Act was passed in response to poor housing conditions and the need for organized planning in a small country. The Housing Act provided financing arrangements and the creation of cooperative housing associations to build housing. These housing "corporations" have been responsible for the commission of a large percentage of housing built in Holland in this century. One of these corporations, "Eigen Haard" (Our Hearth) developed much of the workers' housing built in the Spaarndammerbuurt district west of central Amsterdam along the IJ River. This area developed during the period 1915-1920 and includes several buildings by Michael De Klerk including "Het Schip" (The Ship) which is perhaps the most famous of the Amsterdam School buildings. Het Schip is literally the flag ship of Amsterdam School building establishing De Klerk as the best known of the Amsterdam School architects.

The Spaarndammer district consists of an irregular pattern of perimeter block buildings in an area between the main railroad tracks into the city from the west and the docks along the river. De Klerk's first commission, his first real commission after over 20 years in the younger Cuyper's office, but one of three buildings he designed around the park was for the building on one side of a central park in the neighborhood (Spaarndammerplantsoen). Built in 1913-1915 for a private client, this block shows many of the characteristics of typical Amsterdam School buildings: brick, five stories tall, with a full facade on the top floor instead of a mansard roof, and a distinct emphasis upon variations of materials and details. The other two buildings around the park were built for Eigen Haard. The first of these was on the opposite side of the park from the first and reveals an even more developed Amsterdam style now with odd windows, turrets, stairs and entrances, was built in 1916.

The third project includes a whole block, the tip of which fronts the park. This was built between 1917-1920. An odd-shaped, irregular triangular perimeter slab defines an small interior garden area. Dwellings have entrance from the street in point access system of repeating entrances and stairs and have balconies facing the garden. The five story height of the previous Spaarndammer buildings is roughly followed, however, the block steps down to three floors at the East end where it faces the park. A post office was designed for this end of the building and thus makes a public space facing a small paved plaza which is the extension of the park. A turret at this end marks the entrance to the post office. A small entrance next to the turret leads to a small paved inner courtyard from which entrance is made to several dwellings and which opens to small cottage like meeting room which sets as freestanding element at the end of the interior garden. The building steps up from the post office end to the typical 5 story block. A strong horizontal emphasis is maintained with continuous faceted strip windows and continuous brick bands, and other repetitive elements including the traditional attic lifts, and windows and entrances. At the west end of the block, the building steps back with a strange, steeple like tower fronting a small paved plaza in a symmetrical organization axially aligned with Walenhamp's more traditional block across the street. On the north side of the block, along Oostzaanstraat, a public school occupies two floor of the building making a formal interruption to the facade.

While the overall form and organization is an angular stepping ensemble, De Klerk applies many local symmetrical episodes at entrances, windows the western tower, balconies and other applied elements. The resulting effect, within the context of this peculiar, vaguely expressionistic, Maritime mass is the impression of repetitive order, a veneer or classical detail and a distinctly naturalistic, organic quality. The basic order of the block is one of repeating five story blocks organized around a common stair.

The Amsterdam School housing was widely criticized because it was thought to be too luxurious for municipally-financed social housing. But, in actual fact, while there are a lot of different apartment plans because of all of the peculiar intersections, and there are many dwellings which have unusual qualities, corner turrets, balconies, or slightly unconventional plans, in reality these are quite minimal 2 and 3 bedroom dwellings with a small living room, kitchen and W.C.

The Amsterdam urban renewal program of 1968 began in the Spaarndammerbuurt when dilapidated buildings were removed, new buildings built. In the years since most of the historic Amsterdam School social housing has been refurbished and today they appear to be in excellent condition having provided quality dwelling for lower income citizens continuously for over 75 years. It is interesting to note that the construction of De Klerk's "ship" was exactly contemporary with the emergence of the Functionalist movement and even though J.J.P. Oud's classic Functionalist housing experiment Kiefhoek was built five years later, Kiefhoek has since been entirely removed and rebuilt.

De Dageraad Gebouw, designed by Michel de Klerk & Piet Kramer, is a striking example of the Dutch expressionism. A housing project, ordered by a Socialist co-operative society De Dageraad (The Dawn), included vast public spaces for the dwellers of 294 apartments.Built in 1920-1923

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FUTURIZAM, DE STIJL, SUPREMATIZAM I KONSTRUKTIVIZAM

FUTURIZAMFuturizam, de stijl, suprematizam i konstruktivizam

Giacomo Balla - Dynamism of a Dog on a Leash, 1912

Antonio Sant'Ella's "La Citta Nuova“, 1914

DE STIJL I OUDFuturizam, de stijl, suprematizam i konstruktivizam

Red Blue ChairGerrit Rietveld (Dutch, 1888-1964)

In the Red Blue Chair, Rietveld manipulated rectilinear volumes and examined the interaction of vertical and horizontal planes, much as he did in his architecture. Although the chair was originally designed in 1918, its color scheme of primary colors (red, yellow, blue) plus black—so closely associated with the de Stijl group and its most famous theorist and practitioner Piet Mondrian—was applied to it around 1923. Hoping that much of his furniture would eventually be mass-produced rather than handcrafted, Rietveld aimed for simplicity in construction. The pieces of wood that comprise the Red Blue Chair are in the standard lumber sizes readily available at the time.

Rietveld believed there was a greater goal for the furniture designer than just physical comfort: the well-being and comfort of the spirit. Rietveld and his colleagues in the de Stijl art and architecture movement sought to create a utopia based on a harmonic human-made order, which they believed could renew Europe after the devastating turmoil of World War I. New forms, in their view, were essential to this rebuilding.

SUPREMATIZAMFuturizam, de stijl, suprematizam i konstruktivizam

K.Malevich - Black Square (1913)

The Black Square of Kazimir Malevich is one of the most famous creations of Russian art in the last century. The first Black Square was painted in 1915 to become the turning point in the development of Russian avant-garde.

Black Square against white background became the symbol, the basic element in the system of the art of suprematism, the step into the new art. The artist himself created several variants of the Black Square. All four Squares painted by Malevich from 1915 to the early 1930s developed the same idea. Different are not only the sequence and year of creation, but also the color, design and texture. Malevich turned back to the Black Square every time he needed to present his work in an assertive and significant way, often in connection with the most important exhibitions. However he always created a new version rather than copied the previous one.

Malevich for the first time showed his Black Square (now at the Tretyakov Gallery in Moscow) at the Last Futurist Exhibition 0,10 in Petrograd in 1915. A Black Square put against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun.

The second Black Square was painted about 1923 with Kazimir Malevich's participation by his closest disciples, Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin, for a triptych which also included Cross and Circle (now at the State Russian Museum in St. Petersburg). Being one of the elementary forms, the square as a part of the triptych was no longer unique. Since the triptych embodied the idea of collective work which was of great importance to Malevich, it is not as important by who exactly the idea was realized.

Some believe that the third Black Square (Tretyakov Gallery) was painted in 1929 for Malevich's one-man show, following request of Aleksey Fedorov-Davydov, Assistant Director of the Gallery, because of the poor condition of the 1915 Square. This is the "blindest", most "hopeless" square, thickly painted over black. It is as different from the first one, as Malevich's life and work were different compared to 1915.

One more Black Square, smallest and, probably, latest, touches upon the motif of red and black which was important to Malevich. It may have been intended to make a diptych with the Red Square, though of smaller size, probably for the exhibition Artists of the RSFSR: 15 Years, held in Leningrad in 1932 which was to become the last important venue in the history of Russian avant-garde. The two Squares, Black and Red, were the centerpiece of Malevich's exhibition in the show. This Black Square may have been a recapitulation when the artist worn by struggle and infirmity reproduced his Victory over the Sun at a new stage. The last Square, despite the author's note "1913" on the reverse, is believed to have been created in the late twenties or early thirties, for there are no earlier mentions of it. It was one of the few of Malevich's paintings which were not handed over by the artist's heirs to the Russian Museum but were kept by his family. As legend goes, it was carried behind Malevich's coffin on the day when he was buried. When the artist's widow Natalya Andreyevna Manchenko died, the last variant of the Black Square along with Malevich's Self-portrait and Wife's Portrait passed to her relatives who later sold them to Incombank.

After the 1998 crisis this collection except the Black Square was offered for sale. The Culture Ministry of the Russian Federation used its privilege to buy this precious work of art with the financial assistance of Vladimir Potanin, President of Interros Holding, and hand it over to the State Hermitage Museum.

KONSTRUKTIVIZAMFuturizam, de stijl, suprematizam i konstruktivizam

Vladimir Tatlin

BAUHAUS

Paul Klee: Twittering Machine, 1922

The "twittering" in the title doubtless refers to the birds, while the "machine" is suggested by the hand crank. The two elements are, literally, a fusing of the natural with the industrial world. Each bird stands with beak open, poised as if to announce the moment when the misty cool blue of night gives way to the pink glow of dawn. The scene evokes an abbreviated pastoral—but the birds are shackled to their perch, which is in turn connected to the hand crank.

Upon closer inspection, however, an uneasy sensation of looming menace begins to manifest itself. Composed of a wiry, nervous line, these creatures bear a resemblance to birds only in their beaks and feathered silhouettes; they appear closer to deformations of nature. The hand crank conjures up the idea that this "machine" is a music box, where the birds function as bait to lure victims to the pit over which the machine hovers. We can imagine the fiendish cacophony made by the shrieking birds, their legs drawn thin and taut as they strain against the machine to which they are fused.

Klee's art, with its extraordinary technical facility and expressive color, draws comparisons to caricature, children's art, and the automatic drawing technique of the Surrealists. In Twittering Machine, his affinity for the contrasting sensibilities of humor and monstrosity converges with formal elements to create a work as intriguing in its technical composition as it is in its multiplicity of meanings.

Paul Klee, Fish Magic, 1925

Paul Klee , Revolution des Viadukts, 1937

Marcel BreuerWassily Chair1927-28Museum of Modern Art

Maria Ludwig Michael Mies was born on the 27th of May 1886 in Aachen Germany as the youngest of five children of the stonemason Michael Mies and his wife Amalie. He attended the general and Catholic cathedral school and industrial school in Aachen from 1892-1902. He at the same time trained as a bricklayer and worked as a sketcher. He left for Berlin in the year 1905 where he worked up until the year 1907 for Bruno Paul. Here he prepared his first independent realized project for a house for Alois and Sophie Riehl in the villa colony of Neubabelsberg in Potsdam (1906-07). He worked for Peter Behrens over the years 1908-11 through whom he seemingly developed an interest in Schinkel's Classicism. He designed a home in Berlin-Zehlendorffor the art collector Hugo Perls (1911-12; 1928 the addition of a gallery for the art historian and collector Eduard Fuchs). He opened his own architectural office in the year 1913 and married Ada Bruhn (1885-1951) with whom he had three daughters: Dorothea (1914, known under the name Georgia van der Rohe), Marianne (1915) and Waltraut (1917; that same year while in Romania where he served as a soldier Mies had a son born out of wedlock). He left his wife Ada in the year 1921 who he never divorced and added his mother's maiden name to Mies. Over the years 1921-24 he created fantastic projects for glazed skyscrapers with constructions based on the principle of “skin and bones”. He became a member of Novembergruppe and co-founder of the association of architects Der Ring. Over the years 1925-27 he realized apartment blocks in Berlin-Wedding, significantly making use of modern principles of function and hygiene.

Mies' working and life partnership with Lilly Reich (1885-1947) became an important turning point in his life, working together on the exhibition of the German Werkbund “The Dwelling” carried out in the form of the housing estate Weissenhof in Stuttgart (1927). Here and once again at the Berlin fashion exhibition (1927), the central theme of which was silk, Mies and Reich presented their concept of “flowing” or “unrestricted” space which was further developed in the Barcelona pavilion (1928-29) and in the Brno Villa (1928-30). They also both cooperated on the projects for the “brick” houses for Erich Wolf in Guben (1925-27) and Hermann Lange and Josef Esters in Krefeld (1927-30). The Tugendhats were impressed by the house in Guben and strongly influenced by Mies' personality. “He had a calm, self-confident certainty which immediately served to convince you. From the manner in which he spoke about his projects, we realised that we were dealing with a genuine artist. He said, for example, that the ideal dimensions of space cannot be calculated, space must be felt.” Mies was the final director of the Bauhaus over the years 1930-33.

He left for the USA in the year 1938 where he took up the directorship of the the Illinois Institute of Technology (IIT) in Chicago where he also established his own office. In the year 1940 he met Lora Marx, his companion during his American years and obtained American citizenship in 1944. Mies worked on the plans for the university grounds for IIT over the years 1939-58. He designed his most radical domestic design for Edith Farnsworth in the form of a glass pavilion (1945-51). He realized the high-rise Lake Shore Drive Apartments in Chicago (1948-51) and the administration skyscraper Seagram Building in New York (1954-58). Mies designed the New National Gallery in Berlin back in his native Germany (1962-68). At the beginning of the year 1969 Mies' Chicago office promised to assist in the restoration of Tugendhat Villa initiated by the Brno architect František Kalivoda and Grete Tugendhat. Ludwig Mies van der Rohe passed away, however, on the 17th of August 1969 in Chicago.

Mies' statement “less is more” is characterised by his pure forms and work with material. Glass, steel and concrete are the attributes of his distinct “International Style” which has influenced architecture up to the present day.

Tugendhat House Brno, Czech Republic, 1928-30 Mies Van der Rohe

Barcelona Pavilion Building

The Barcelona Pavilion building is for many architects their favorite building in the World. It's architecture is pure poetry, simple honest planes of stone with slim, graceful polished steel cruciform columns. The integration of water through two shallow pools brings calmness and reflection to the pavilion.

The architect Mies van der Rohe was interested in developing free flowing space and this is done using walls as planes in isolation, joined by sliding elements or glass. Thus the wall is expressed as a single element with space flowing around it. The majority of the pavilion building is constructed out of (cream-coloured) travertine which gives the building a luxurious feel and aids the perception of spaciousness.

Mies van der Rohe -Seagram Building 1969

Mies van der Rohe - Sketch Seagram Plaza 1969

HEROJSKA IMENA MODERNE ARHITEKTURE I DIZAJNA

Fagus Shoe Factory by Walter Gropius

Widely regarded as one of the pioneering masters of modern architecture, Walter Gropius’s first large building, the Fagus Shoe Factory in Alfred on the Leine in 1911 was materialized due to his connection with Peter Behrens and in cooperation with Adolf Meyer.The client’s wish for an attractive facade was solved by Gropius in a special way: by means of a projected steel skeleton, which pulled the function of support to the inside, thereby making possible a broad dissolution of the exterior envelope into glass walls; the idea of the ‘curtain wall’ was at this point first expressed in a consistent manner.— from Udo Kultermann. Architecture in the 20th Century.

Fagus Shoe Factory, 1911, by Walter Gropius with Adolf Meyer.

Walter Gropius’ Bauhaus Building, Dessau

Walter Gropius, German (1883 - 1969)Total Theater for Erwin Piscator, Berlin, 1927: Perspective, 1927DrawingBlack ink, gray wash, gouache and spatter paint, on cream paperboard69 x 95.7 cm (27 3/16 x 37 11/16 in.)Harvard University Art Museums, Busch-Reisinger Museum, Gift of Walter Gropius, BRGA.24.100

Walter Gropius - Harward Graduate Center (1945.)

U.S. Embassy - [Athens] The American Embassy "Chancery" (office) building in Athens was designed by famed Bauhaus School architect Walter Gropius (the Architects' Collaborative and consulting architect was Pericles Sakellarios - 1905/1985). It was constructed between 1959 and 1961 and is a protected architectural landmark. Gropius' famous design was in the characteristic simple Bauhaus form, and, as the architect said, it had been inspired by the architecture of the Parthenon.The Embassy is now constructing a Chancery Annex, the first new diplomatic construction in Greece by the United States in 45 years. The new Annex, designed by Kallman, McKinnell and Wood, will feature a classic, understated style.Indigenous materials will be used in the construction and the Annex will feature facades of the same Greek marble used in the Chancery.

Winslow House, River Forest, IL (1893-4), F. L. Wright

This drawing of the Winslow House was prepared in 1910 for use in the porfolio of Wright's drawings published in Germany by Ernst Wasmuth. Drawing copyright © 1985 the Frank Lloyd Wright Foundation.

The Ward W. Willits House is a building designed by famous architect Frank Lloyd Wright. Designed in 1901 the Willits house is considered the first of the great Prairie houses. Built in the Chicago suburb of Highland Park, Illinois, the house presents a symmetrical facade to the street, the plan is a cruciform with four wings that extend out from a central hearth. In addition to art glass windows and wooden screens that divide rooms, Wright also designed most of the furniture in the house.

Frank Lloyd WRIGHT (1867-1959)Robie House1909Chicago

LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)Project for a Contemporary City of Three Million Inhabitants1922

LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)Perspective drawing for Domino Housing Project1914

LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)Villa Savoye1928-30PoissyFrance

Mies van der Rohe - Apartmani Lake Shore Drive u Čikagu (1949.-1951.)