Debadatta Walter G

7/27/2019 Debadatta Walter G

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ADOLPH WALTERGROPIUS

(PIONEER ARCHITECT)(1883-1969)


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intro-duCt!oN

Walter Adolph Georg Gropius (May 18, 1883 July 5, 1969) wasa German architect and founder of the Bauhaus School,who, alongwith Ludwig Mies van der Rohe, Le Corbusier and Oscar Niemeyer,is widely regarded as one of the pioneering masters of modern

architecture. Walter Gropius, like his father and his great-uncle Martin Gropius before him, became an architect. Gropiuscould not draw, and was dependent on collaborators and partner-interpreters throughout his career. In school he hired an assistant tocomplete his homework for him. In 1908 Gropius foundemployment with the firm of Peter Behrens, one of the first

members of the utilitarian school. His fellow employees at this timeincluded Ludwig Mies van der Rohe, Le Corbusier, and DietrichMarcks. Gropius's career was interrupted by the outbreak of WorldWar I in 1914. Called up immediately as a reservist, Gropius servedas a sergeant major at the Western front during the war years, andwas wounded and almost killed


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An introduction to the work of Walter Gropius, the renownedGerman architect who is widely regarded as one of the

pioneering masters of modern architecture and design.Walter Gropius is widely regarded as one of the pioneers ofmodern architecture due to his belief in bridging the gapbetween technology, industry and architecture WalterGropius.

Studied at the Colleges of Technology of Berlin and Munich.Worked under the german architect Peter Behrens from 1907-10. He was influenced by the writings of Frank Lloyd Wright.Founded the Bauhaus (House of Building), one of the mostinfluential architecture and design schools of the 20thcentury. The rise of National Socialsim and Adolf Hitler droveGropius out of Germany. He first went to London, buteventually settled in Boston, where he taught at Harvard andMIT. (WJC)


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Beginning Career

Gropius's career advanced in the postwar period. Henry vande Velde, the master of the Grand-Ducal Saxon School of Artsand Crafts in Weimar was asked to step down in 1915 due tohis Belgian nationality. His recommendation for Gropius to

succeed him led eventually to Gropius's appointment asmaster of the school in 1919. It was this academy whichGropius transformed into the world famous Bauhaus,attracting a faculty that included Paul Klee, JohannesItten, Josef Albers, Herbert Bayer, Lszl Moholy-Nagy, Otto

Bartning and Wassily Kandinsky. One example product of the Bauhaus was the armchair F 51,

designed for the Bauhaus's directors room in 1920 - nowadaysa re-edition in the market, manufactured by the Germancompany TECTA/Lauenfoerde


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Gropius created innovative designs that borrowed

materials and methods of construction from moderntechnology. This advocacy of industrialized buildingcarried with it a belief in team work and an acceptanceof standardization and prefabrication. Using technologyas a basis, he transformed building into a science ofprecise mathematical calculations.

An important theorist and teacher, Gropius introduced ascreen wall system that utilized a structural steel frameto support the floors and which allowed the external

glass walls to continue without interruption


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PRACTICE Peter Behrens (19081910) Walter gropius work

under Peter behren in berlin,Germany.

The Architects' Collaborative (19451969) In1937 Gropius moved to America and became aSenior Professor at the Harvard Graduate Schoolof Design There he created The Architects'

Collaborative which fast became one of themost well-known and respected architecturalfirms in the world. This clip has subtitlesavailable in Flash
http://c/wiki/Peter_Behrenshttp://c/wiki/The_Architects'_Collaborativehttp://c/wiki/The_Architects'_Collaborativehttp://c/wiki/Peter_Behrens


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WaLter Gropius fieLd of interest

Bauhaus

Biedermeier

Constructivism

Cubism

Futurism

Historicism

Op-Art

Photography

Pop-Art Secession
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8/60CUBISM


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Cubism

Cubism (from the French, cube) formed in France at the beginning ofthe 20th century, and was employed simultaneously by Pablo Picassoand George Braque, who independently from each other found theirway to this pictorial solution. Cubism dissipated representation by usingsimple geometric surfaces, above all cubes. By use of this process,forms became split up, so that cubism created a first form of

abstraction. An important impulse for cubism was the art of PaulCzanne as well as his programmatic statement, "everything in art isformed of balls, cones and cylinders". On the other hand, Picassos"Demoiselles dAvignon" of 1907 is considered a programmatic work ofcubism itself. The work was shocking not only in its theme, but also thestark method of representation of the female nude. Picasso received animportant impulse for this picture from the angular carvings of African

art as well.


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Characteristic for cubistic works is the decrease of color andthe concentration on form. These features are applicable bothto analytical cubism of the years 1910-12 and to syntheticcubism from 1912-15. While analytical cubism breaks downthe forms into their individual parts, deforms them into cubesand simultaneously includes several perspectives in onepicture, the individual pictorial elements in a syntheticcubistic work are put together in such a way that one iscompelled to bring the original shape back together in onesthoughts. In addition, in synthetic cubism, newspaperclippings or pieces of carpet are integrated into the pictures,so that the first collages were created. It is first in orphiccubism that Robert and Sonia Delaunay brought color andsofter forms back into pictorial works.Important artists of cubism are: Georges Braque, LyonelFeininger, Juan Gris, Francis Picabia, Pablo Picasso.


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Futurism


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Futurism

An avante-garde movement seeking to break with all past art movements,Futurism (for "future", futuro in Italian) emerged in Italy around 1910. Futuristartists called for an end to all academies, equated museums with cemeteries,and sought an aesthetic of dynamic fragmentation. Similar to Cubism, Futurismwas preoccupied with the decomposition of form. However, formal

decomposition in Futurism is not the same as the pure fragmentation of form inCubism; rather, Futurist images seek to visualize a series of motions, usingchronophotography, or multiple photographic exposures (stop-motionphotography). The factor of time occupies a central role in Futurist art. Thedepiction of simultaneity in dynamic processes was meant to illustrate suchtechnical advances, signifying a futuristic approach to flow. Composition thusbecomes more rhythmic and protracted, as motion cannot insert itself into an

prescribed pictoral space. Futurist artists developed a rapid, vibrant style thatdismantled perspective and delineation so that color and shape could beexpressed. Futurist sculpture tried to capture the motion and speed of the worldof technology in a single object; figures are fragmented, as in Boccionis work,"Unique Forms of Continuity in Space".


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In terms of social history, this fascination with speed grew outof a desire to totally restructure society in the wake oftechnical advancements. The "Futurist Manifesto", publishedby the poet Marinetti on Febuary 20, 1909 on the front pageof Le Figaro, announced a total break with all establishedtradition. The Futurists regarded war as an opportunity topurge the world of old outdated views, a chance to startanew. Their insistence on working outside the boundaries ofartistic convention was progressive and was later echoed inDadaism. The Futurists were inspired by the writings of thephilosophers Nietzsche and Bergon.The artists Giacomo Balla, Umberto Boccioni, Carlo Carra,Filippo Tommaso Marinetti, Luigi Russolo, and Gino Severiniwere Futurists


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Historicism


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Historicism

Historicism, in the broadest sense, means the recourse to historicalstyle, which was also utilized during the Renaissance, for example.Normally, however, this term is understood to mean the more narrowcharacterization and stylistic pluralism in the second half of the 19thcentury, which in turn can be differentiated into the so-called neostyles(Neo-Romanticism, Neo-Gothic, Neo-Renaissance, Neo-Baroque, etc.).When these styles are intermixed, one also speaks of Eclecticism.During this period, several nations defined themselves anew, and insearch for a national style, historicism played a leading role; typical hereis Heinrich Hbschs work, In welchem Style sollen wir bauen [In WhatStyle Should We Build]. The origins of historicism lie both inRomanticism, in which national consciousness and interest for theMiddle Ages was awakened, and also in classicism, in which one usedelements from the Antique. The main carrier of historicism was

architecture: the historical styles that were rediscovered wereemployed contemporaneously and choreographed for certainstatements: in this way, Gothic elements were used for residences; forbanks, theaters and museums, on the other hand, the Neo-renaissancewas chosen. Well-to-do citizens prefered the forms of the Neo-Baroquestyle for their homes.


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Industrialization, through manufacture of new materials, made newconstruction possibilities available; even so, these were not shown openly,but were rather hidden behind the masking facades of Neostyle. Theapplication of the style of a past epoch on new and for the most part largerbuildings often resulted in a certain conscious strictness to such an extentthat the proportions were no longer in harmony and the repertory of forms

had to be repeated. Engineering architecture is, however, an exception. Thereduction of the cost of producing crude iron resulted in the use of cast-ironas a building material. Here, Paxtons Crystal Palace from 1851 at the firstWorld Exhibition, or the Eiffel Tower at the Paris Universal Exhibition in1889 are definitive examples. Eugne Viollet le Duc finally combined thenew material with Gothic shapes.Industrialization also played an important role in the applied arts. On the

one hand, the retreat into old tried and true forms is a conscious reactionagainst the unreal and stereotype-reinforcing mass production of industry;on the other, however, it is precisely machine production that allows one toproduce everyday objects in the styles imitated at reasonable prices.In painting, historicism shows up in the categories of the Nazarenemovement and the Pre-Raphaelite Brotherhood. Both movements had athematic interest in medieval legends and literary works


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CONSTRUCTIVISM


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Contructivism

Constructivism is an artistic style that appeared in Russiaaround 1913. It concentrated on strictly geometriccomposition, and for this reason was non-representational. In this approach, constructivist (lat."constructio" = structure) artists strove at the same timefor a certain tectonics. The constructive nature of theirart lay in building a composition by means of simple

geometric building blocks. Constructivism receivedimportant impulses from cubism and from the dynamicfragmentation of futurism, which also put together theircompositions from geometricizing shapes. Within theconstructivist group itself, there were two strands:


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while one part concentrated itself on a functionalconstructivism and thought about architecture,design and typography, the suprematic grouparound Malewitsch strove for a pure form of art

that retreated from every social obligation.Constructivism established itself in any case afterthe October Revolution in both forms as theofficial Russian state art; in the political turmoil,however, many constructivists emigrated to theWest, where they joined groups such as de Stijl orBauhaus. For this reason, the designation"constructivist" is often used for other styles ofmodern art that follow similar principles


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SECESSION


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Secession

The Secession (from the Latin secessio, or split) refers to theconscious departure of certain groups of artists from official andacademic circles. Much like the historicism of the Gothic Revival, the

Secession took a stand against the standardization of form andindustrialized manufacturing, and may be viewed as part of thefight against mass production and its perceived threat to humanindividuality. However, Secessionist art was also directed againstthe propagation of historical styles, and turned more towardsstylized plant-like forms. Typical of the movement is an ornamental,

linear graphic style exemplified by the curving lines and floral motifof Peter Behrens woodcut The Kiss. Secessionist movementsformed at the end of the 19th century in European art centers; inGermany, the Jugendstil, named after the magazine Der Jugend,was centered in Munich, Berlin, and Darmstadt.


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In France and Belgium the Secession was called art nouveau, mainlyunderstood as a reaction against impressionism. In Italy, the Libertystyle emerged at the 1902 Turin Exhibition, and in England a newstyle grew out of the Arts and Crafts movement inspired by WilliamMorris. The Austrian group was known as the Wiener Secession after

its home in Vienna, with Gustav Klimt as its standard bearer; theSecession Building designed by Joseph Maria Olbrich becameknown as the movements "temple". Within the Secessionmovement were painters, sculptors, and even architects, whoturned away from official art. They sought an integrated conceptionof art and attempted to create a synthesis of all the arts. Applied artwas particularly influenced by the art of the Secession.

Among members of the Secession are: Gustav Klimt, Antonio Gaud,Victor Horta, Carl Faberg, Peter Behrens, Koloman Moser, AlfonsMucha, Walter Maria Olbrich, Franz von Stuck, Fritz von Uhde,Henry van de Velde, and Otto Wagner.


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OP ART


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Op-Art

Op-Art

Op-Art is short for "optical art", which is an art style that playswith the optical perception of the observer. Op-Art emergedin the 1950s and absorbed important impulses from orphism,

futurism and de Stijl. The optical illusion in Op Art is achievedby the repetition of strictly calculated, equal fields of colorthat are consecutively coordinated with each other. Theillusion is created by means of deliberate juxtaposition ofgraphic elements as well as the utilization of the laws of color,

such as for example the law of simultaneous contrast. Theterm "Op Art" itself caught on first in 1965 after the MoMAexhibit, "The Responsive Eye". Important representatives ofOp Art are: Victor Vasarely, Bridget Riley, Jsus Soto, CruzDiez , Julio Leparque, Youri Messen-Jaschin.


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POP ART


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Pop-Art

Pop-Art

Pop Art is an abbreviation for popular art and represents a style thatdeveloped simultaneously in England and in the US during the 1950s.What was popular about pop art were the trivial pictorial subjects; forexample, pop art oriented itself strongly to advertising posters,

consumer goods and other elements of life in a big city. Thus pop artwanted to permit items fit for the masses and popular objects tobecome art. In the US, pop art was less theoretical and more directlytargeted: the world of supermarkets and mass production, comics, andshining stars with the image of eternal youth. Pop art worked in thisway with everyday objects, which it isolated and in so doing placed intofocus. Another method of representation of pop art was the

arrangement of represented objects in even rows. Pop art used thetechniques of screen printing and photo montage. Pop art reached itsclimax in the US during the 1960s; the English critic Lawrence Allowaycoined the term. Besides "pop art" Alloway is said to have also used theterm "pop culture". Among the most important American pop artistsare Andy Warhol, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg.


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Photography


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Photography

Photography is understood as an optical-technical process that enables copying andkeeping pictures permanently. The word "photography" comes from the Greek andmeans "to write light". The chemical foundation for photography, photochemistry, isbased on the discovery of the light sensitivity of halogen silver salts. The physical andchemical effects of light are used on certain substances to create photographs. Theidea of photography itself meanwhile can be traced back to the 15th century. Theexperiments of Brunelleschi, da Vinci and Drer with a hole camera and those ofAthanasius Kirchner with a projector are well known, and these created the technicalbasis for photography. The basic idea for photography as we know it today camefrom the siblings Claude and Joseph Nipce. Joseph Nipce created the firstphotograph (with an exposure time of 6 hours) that is still preserved today: a pictureof his yard. However, M. Daguerre is considered the actual inventor of photography;his exposure time took only a few minutes and thus attracted more imitators andmore interest among the public. The discovery of photography had in terms of arthistory immediate ramifications for impressionism, but also decades later forfuturism and hyperrealism as well.


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Photography itself also became an art medium, forexample in Bauhaus. Art photography however wasfor a long time not considered as such. Henri Cartier-Bresson, himself a photographer and a painter, saw

photography not as a form of art but rather as a craft:"Photography is a handcraft. Many want to make artout of it, but we are simply craftsmen who must dotheir job well". At the same time, it was preciselyCartier-Bressons photographs that were displayed inmuseums and art exhibits very early on, for example inthe MoMA retrospective (1947) and the Louvre exhibit(1955). Photography is now considered an artisticgenre on equal footing with the others.


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BIEDERMEIER


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BIEDERMEIER

The concept "Biedermeier" marks for the German-speaking worldthe time of the Restoration and the Pre-March Era. Originally, it wasthe pseudonym of a popular figure in the journal Fliegende Bltter[Flying Leaves/Pages] and had negative connotations. Thedisappointment after the Wars of Liberation and the restorativemeasures that had a braking effect on the middle classes lead to

their retreat into private spaces. This condition is also reflected inart; first primarily used for arts and crafts, Biedermeier is carriedover to painting and literature as well.In the cultivation of home decor, this style places simpler forms andfine materials with shiny, polished surfaces in opposition to theostentatious Empire style.

Light woods are preferred, and these can be delimited by artfulinlays. The decor is reserved: pilasters, pillars, palmettes and flowermotifs are readily used; gilding or the Egyptian embellishments ofthe Empire are strictly avoided. In painting, this simplicity isreflected in uncomplicated compositions; for the most part small-format pictures were made, meant for private rooms.


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In like manner, their themes are often narrative scenes withfamiliar content. The genre picture reaches its high point. Theapparently harmonious-looking representations contain,however especially in Spitzweg a deeper meaning. In hispaintings, the once represented unity of human and nature is

reduced to absurdity, and romantic motifs are observed at anironic distance, so that the works of the artist are entirelycritical of society. A characteristic feature of Biedermeier isfashion: women wear white tiered skirts and a high, tightlylaced bodice. The men wear a suit, vest, and the typical shirtwith a high collar as well as a top hat.

Important artists are: Eduard Grtner, Johann PeterHasenclever, Georg Friedrich Kersting, Franz Krger, LudwigRichter, Moritz von Schwind, Carl Spitzweg, Ferdinand GeorgWaldmller, Franz Xaver Winterhalter.


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BAUHAUS


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Output Of Bahaus Students

Bahaus Chair Brewer

Bauhaus - design principle and global brand

Staircase

Product Design


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BAUHAUS Bauhaus

Bauhaus was founded by Walther Gropius in Weimar in the year 1919 as an art,design and architecture school. The goal of Bauhaus was to bring together art,handcrafts and architecture into one single synthesis of the arts. This guideline israther strongly oriented on the arts and crafts movement however, Bauhausopened itself for new technological possibilities, so that the way to industrial designwas smoothed. These artistic ambitions affected interpersonal relationships as well,so that no distinction was made any longer between the artist and the craftsman.Gropius goal was, "The final goal for all artistic activity is architecture! ... Architects,sculptors, painters, we must all go back to handwork! ... The artist is anintensification of the craftsman", which he proclaimed in the Bauhaus manifesto.This goal was also continued by his successors Hannes Meyer and Ludwig Mies vander Rohe after Bauhaus moved to Dessau and Berlin, which had to be done becauseof political reasons. Particularly under the leadership of van der Rohe, Bauhausbecame an architectural school with a strong emphasis on the technical. Formally,Bauhaus stood for simple and clear lines. Under the influence of Moholy- Nagy,photography was also taken up into the Bauhaus program. In 1932, Bauhaus wasforced to close; Mies van der Rohe opened it again briefly, but disbanded it shortlythereafter in 1933. Moholy- Nagy founded the new Bauhaus in Chicago in 1937.Important representatives of Bauhaus are: Johannes Itten, Gerhard Marcks, LyonelFeininger, Georg Muche, Paul Klee, Oskar Schlemmer, Wassily Kandinsky, JosefAlbers und Laszlo Moholy-Nagy.

i 0 t t P 0j t


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imp0rtant Pr0jects

19101911 the Fagus Factory, Alfeld an der Leine,

Germany

1914 Office and Factory Buildings at the WerkbundExhibition, 1914, Cologne, Germany

1921 Sommerfeld House, Berlin, Germany designedfor Adolf Sommerfeld

1922 competition entry for the Chicago TribuneTower competition

19251932 Bauhaus School and Faculty, Housin, Dessau,Germany

1936Village College, Impington, Cambridge, England

1936 66 Old Church Street, Chelsea, London, England
http://c/wiki/Fagus_Factoryhttp://c/w/index.php?title=Werkbund_Exhibition&action=edit&redlink=1http://c/w/index.php?title=Werkbund_Exhibition&action=edit&redlink=1http://c/wiki/Colognehttp://c/w/index.php?title=Sommerfeld_House&action=edit&redlink=1http://localhost/var/www/apps/conversion/tmp/scratch_14//en.wikipedia.org/wiki/de:Adolf_Sommerfeldhttp://c/wiki/Tribune_Towerhttp://c/wiki/Tribune_Towerhttp://c/wiki/Bauhaushttp://c/wiki/Dessauhttp://c/wiki/Village_Collegehttp://c/wiki/Village_Collegehttp://c/wiki/Impingtonhttp://c/wiki/66_Old_Church_Street,_Chelseahttp://c/wiki/66_Old_Church_Street,_Chelseahttp://c/wiki/Impingtonhttp://c/wiki/Village_Collegehttp://c/wiki/Dessauhttp://c/wiki/Bauhaushttp://c/wiki/Tribune_Towerhttp://c/wiki/Tribune_Towerhttp://localhost/var/www/apps/conversion/tmp/scratch_14//en.wikipedia.org/wiki/de:Adolf_Sommerfeldhttp://localhost/var/www/apps/conversion/tmp/scratch_14//en.wikipedia.org/wiki/de:Adolf_Sommerfeldhttp://c/w/index.php?title=Sommerfeld_House&action=edit&redlink=1http://c/w/index.php?title=Sommerfeld_House&action=edit&redlink=1http://c/w/index.php?title=Sommerfeld_House&action=edit&redlink=1http://c/wiki/Colognehttp://c/w/index.php?title=Werkbund_Exhibition&action=edit&redlink=1http://c/w/index.php?title=Werkbund_Exhibition&action=edit&redlink=1http://c/w/index.php?title=Werkbund_Exhibition&action=edit&redlink=1http://c/wiki/Fagus_Factoryhttp://c/wiki/Fagus_Factoryhttp://c/wiki/Fagus_Factory


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1937 The Gropius House, Lincoln, Massachusetts, USA

1939 Waldenmark, Wrightstown Township,Pennsylvania (with Marcel Breuer)

19421944 Aluminum City Terrace housing

project, New Kensington, Pennsylvania, USA 19491950 Harvard Graduate Center, Cambridge,

Massachusetts, USA (The Architects' Collaborative)

19451959 Michael Reese Hospital, Chicago, Illinois,

USA - Master planned 37-acre (150,000 m

2

) site andled the design for at least 8 of the approx. 28buildings.

19571960 University of Baghdad, Baghdad, Iraq
http://c/wiki/Gropius_Househttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/Waldenmarkhttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/New_Kensingtonhttp://c/wiki/New_Kensingtonhttp://c/wiki/Harvard_Graduate_Centerhttp://c/wiki/Michael_Reese_Hospitalhttp://c/wiki/University_of_Baghdadhttp://c/wiki/University_of_Baghdadhttp://c/wiki/Michael_Reese_Hospitalhttp://c/wiki/Harvard_Graduate_Centerhttp://c/wiki/Harvard_Graduate_Centerhttp://c/wiki/New_Kensingtonhttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/Wrightstown_Township,_Bucks_County,_Pennsylvaniahttp://c/wiki/Waldenmarkhttp://c/wiki/Gropius_House


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19631966 John F. Kennedy Federal OfficeBuilding, Boston, Massachusetts, USA

1948 Peter Thacher Junior High School,

1957-1959 Dr. and Mrs. Carl Murchison House,

Provincetown, Massachusetts, USA (The Architects'Collaborative)

19581963 Pan Am Building (now the MetlifeBuilding), New York, with Pietro Belluschi and projectarchitects Emery Roth & Sons

1957 Interbau Apartment blocks, Hansaviertel, Berlin,Germany, with The Architects' Collaborative and Wils Ebert

1960 Temple Oheb Shalom (Baltimore, Maryland)
http://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/Bostonhttp://c/wiki/Bostonhttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/Massachusettshttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/Bostonhttp://c/wiki/Massachusettshttp://c/wiki/Peter_Thacher_Junior_High_Schoolhttp://c/wiki/New_Yorkhttp://c/wiki/New_Yorkhttp://c/wiki/Pan_Am_Buildinghttp://c/wiki/Pietro_Belluschihttp://c/wiki/Pietro_Belluschihttp://c/wiki/Emery_Rothhttp://c/wiki/Emery_Rothhttp://c/wiki/Pietro_Belluschihttp://c/wiki/Emery_Rothhttp://c/wiki/Interbauhttp://c/w/index.php?title=Wils_Ebert&action=edit&redlink=1http://c/w/index.php?title=Wils_Ebert&action=edit&redlink=1http://c/wiki/Temple_Oheb_Shalom_(Baltimore,_Maryland)http://c/wiki/Temple_Oheb_Shalom_(Baltimore,_Maryland)http://c/wiki/Temple_Oheb_Shalom_(Baltimore,_Maryland)http://c/wiki/Temple_Oheb_Shalom_(Baltimore,_Maryland)http://c/wiki/Temple_Oheb_Shalom_(Baltimore,_Maryland)http://c/w/index.php?title=Wils_Ebert&action=edit&redlink=1http://c/w/index.php?title=Wils_Ebert&action=edit&redlink=1http://c/w/index.php?title=Wils_Ebert&action=edit&redlink=1http://c/wiki/Interbauhttp://c/wiki/Emery_Rothhttp://c/wiki/Pietro_Belluschihttp://c/wiki/Pietro_Belluschihttp://c/wiki/Pietro_Belluschihttp://c/wiki/New_Yorkhttp://c/wiki/Pan_Am_Buildinghttp://c/wiki/Peter_Thacher_Junior_High_Schoolhttp://c/wiki/Peter_Thacher_Junior_High_Schoolhttp://c/wiki/Peter_Thacher_Junior_High_Schoolhttp://c/wiki/Peter_Thacher_Junior_High_Schoolhttp://c/wiki/Massachusettshttp://c/wiki/Bostonhttp://c/wiki/John_F._Kennedy_Federal_Buildinghttp://c/wiki/John_F._Kennedy_Federal_Building


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1960 the Gropiusstadt building complex, Berlin,Germany

1961 The award-winning Wayland High School,

Wayland, Massachusetts, USA (demolished 2012) 19591961 Embassy of the United States, Athens,

Greece (The Architects' Collaborative and consultingarchitect Pericles A. Sakellarios)

1968 Glass Cathedral, Thomas Glassworks, Amberg 1967 69Tower East, Shaker Heights, Ohio, this was

Gropius' last major project.
http://c/wiki/Gropiusstadthttp://c/wiki/Wayland_High_Schoolhttp://c/wiki/Embassy_of_the_United_States_in_Athenshttp://c/wiki/Athenshttp://c/wiki/Pericles_A._Sakellarioshttp://c/wiki/Amberghttp://c/wiki/Tower_Easthttp://c/wiki/Tower_Easthttp://c/wiki/Shaker_Heights,_Ohiohttp://c/wiki/Shaker_Heights,_Ohiohttp://c/wiki/Tower_Easthttp://c/wiki/Amberghttp://c/wiki/Pericles_A._Sakellarioshttp://c/wiki/Pericles_A._Sakellarioshttp://c/wiki/Athenshttp://c/wiki/Embassy_of_the_United_States_in_Athenshttp://c/wiki/Wayland_High_Schoolhttp://c/wiki/Gropiusstadt


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The Fagus Factory


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The Fagus Factory


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The Fagus Factory Plan


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The Fagus Factory (German: Fagus Fabrik or Fagus Werk),a shoe last factory in Alfeld on the Leine in Germany, is animportant example of early modernism. Fagus Factory inAlfeld - UNESCO World Heritage Centre Fagus Factory inAlfeld is a 10-building complex - began around 1910 to the

design of Walter Gropius, which is a landmark in thedevelopment of modern architecture and industrial design.Serving all stages of manufacture, storage and dispatch oflasts used by the shoe industry, the complex, which is stilloperational today, is situated in Alfeld an der Leine in LowerSaxony. With its groundbreaking vast expanses of glass

panels and functionalist aesthetics, the complexforeshadowed the work of the Bauhaus school and is alandmark in the development of architecture in Europe andNorth America. For the first time a complete facade isconceived in glass.

The Fagus Factory


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The supporting piers are reduced to narrowmullions of brick. The corners are left withoutany support... The expression of the flat roof has

also changed. Only in the building [the SteinerHouse, Vienna] byAdolf Loos which was doneone year before the Fagus Factory, have we seenthe same feeling for the pure cube. Anotherexceedingly important quality of Gropius'sbuilding is that, thanks to the large expanses ofclear glass, the usual hard separation of exteriorand interior is annihilated.


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GROPIUSSTADT


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GROPIUSSTADT

GROPIUSSTADT


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GROPIUSSTADT

Gropiusstadt is a locality (Ortsteil) withinthe Berlin borough (Bezirk) of Neuklln. It wasnamed after the architect who projected thecomplex:Walter Gropius. Building of the quarter,

initially named Britz-Buckow-Rudow and projectedin a modernist style by Walter Gropius, ended in1960. In Berlin, Gropius also projectedthe Sommerfeld House, the Interbau andthe Grosiedlung Siemensstadt quarter. As part

of West Berlin, its borders withBrandenburg (partof East Germany) were crossed by the BerlinWall from 1961 to 1989. As of 2001 it was still anautonomous Ortsteil.


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Tower East, Shaker Heights, Ohio

Tower east shaker height ohio


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Tower east, shaker height, ohio

Tower East, a high-rise office building that overlooks thecomplex and heavily-trafficked six-way intersection of ChagrinBoulevard, Van Aken Boulevard, Warrensville Center Road andNorthfield Road at the eastern end of Shaker Heights, Ohio, isthe citys tallest structure. It is also the last United Statesbuilding designed by famed Bauhaus architect Walter Gropius,and his firm The Architects Collaborative (TAC), with assistancefrom Norman C. Fletcher. Completed in 1969, the 12-story officetower rises to a height of 160 feet and contains over 173,000square feet of area. The large cubic mass of the tower is clad inrepetitive precast concrete wall panels over a skeletal steelframe, and hovers above a recessed base that receives visitors

and accommodates the surrounding site access anddevelopment. The complex includes a structured parking garage

just east of the tower, as well as an incorporated restaurant.


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Pan Am(Metlife)

View of 21st century


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Plan of Panam

Pan Am (Metlife)


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Pan Am (Metlife)

Designed by Emery Roth & Sons with the assistance of WalterGropius and Pietro Belluschi, the Pan Am Building is an example ofan International style skyscraper. It is purely commercial in design with largefloors, simple massing, with an absence of ornamentation inside and out. It hasbeen popular with tenants, not least because of its location next to GrandCentral Terminal.

In 1987, the lifestyle periodical New Yorkrevealed in a poll that MetLifethenPan Amwas the building that New Yorkers would most like to see demolished.Perhaps contributing to the hatred of the building is the fact that it is so visible.Situated behind Grand Central Terminal outside of the grid, the building, whichwould have otherwise been tucked away into the city, is left totally exposed andcontrasted with the other buildings around it, most notably the New YorkCentral Building, which is now called the Helmsley Building. Today the buildingis one of the most recognizable skyscrapers in the City.

The building previously had helicopter service to Pan Am's terminal at John F.Kennedy International Airport, a 7-to-10-minute flight from the rooftophelipad.The New York Airways Vertol 107 flights lasted from December 21, 1965, toFebruary 18, 1968

Pan Am originally occupied 15 floors of the building


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Embassy of the US, Athens

Embassy of the United States


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Embassy of the United States,

Athens

The chancery building in Athens wasdesigned by famed Bauhaus architect Walter

Gropius with consulting architect Pericles A.

Sakellarios. It was constructed between 1959and 1961 and is a protected architectural

landmark. Gropius' famous design was in the

characteristic simple Bauhaus form, inspiredby the architecture of the Parthenon.


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Gropius house


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Gropius house

The house caused a sensation when built. In keeping withBauhaus philosophy, every aspect of the house and itssurrounding landscape was planned for maximum efficiency andsimplicity. Gropius carefully sited the house to complementits New England habitat on a rise within an orchard of 90 appletrees.

Set amid fields, forests, and farmhouses, the Gropius Housemixes up the traditional materials of New England architecture(wood, brick, and fieldstone) with industrial materials such asglass block, acoustic plaster, and chrome banisters. The housestructure consists of a traditional New England post and beamwooden frame, sheathed with white painted tongue and grovevertical siding. Traditional clapboards are used in the interiorfoyer, but are applied vertically. Striking as it is, the house wasbuilt with economy in mind, and total construction costs were$18,000


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66 old sreet, Chelsea

66 Old Sreet, chelsea


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66 Old Sreet, chelsea

66 Old Church Street, Chelsea, London wasdesigned in 1935-1936 for the politician andplaywright Benn Levy by WalterGropius and Maxwell Fr

Levy House formed part of a joint developmentwith Cohen House, designed by ErichMendelsohn and Serge Chermayeff for thepublisher Denis Cohen. It was listed Grade II in1970

rEfErEncEs


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rEfErEncEs

Wikipedia (internet)

Bauhaus, The Tate Collection, retrieved 2008-

05-18

Gropius House by Walter Gropius

The Development of Industrial Buildings,Walter Gropius,

The Walter Gropius Archive, Routledge(publisher), 19901991.

History Of Architecture III
http://www.american-colossus.com/http://www.american-colossus.com/


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History Of Architecture_III

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