Mscara Oskar Schlemmer Silla Marcel Breuer, Bauhaus, ca.

1925

Historia, Teora y Composicin Arquitectnicas I Prof. Jos Prez de Lama / grupo 14 / clase 04 Orgenes de la Modernidad en Arquitectura: W. Gropius y la Bauhaus

Comentarios preliminares sobre contenidos del curso

Belleza
Venustas Voluptas

Arquitectura
Utilidad Tcnica
Construccin Firmitas Funcin Comodidad

Visin clsica / racionalista de la arquitectura

Redes

Orgenes de la Arquitectura Moderna I Walter Gropius y la Bauhaus

Por qu nos pueden hoy interesar los orgenes de la arquitectura moderna?

Walter Gropius [1883, 1969], Alemania -Estados Unidos Bauhaus,[1919, 1933] Weimar, Dessau, Bauhaus: se pone en marcha al final de la I Guerra Mundial... Entre el movimiento arts and crafts y la razn industrial Metrpolis industrial, y nuevas formas de vida Racionalismo Nuevas tecnologas y formas de produccin; ciencia Nueva idea de arte; Neue Sachlichkeit Nueva esttica [industrial, maquinista]; funcionalismo Estilo internacional Influencia a travs de los Estados Unidos, tras los aos 30 Gropius, Breuer, en Harvard Mies van der Rohe, en Chicago Contemporneos de otros arquitectos modernos Alemania: Bruno Taut, Ernst May, Hans Poelzig... Holanda Francia Unin Sovitica...

Walter Gropis Izq. ca. 1919; arriba: ca. 1965

Profesores [maestros] de la Bauhaus, hacia 1926, de iz. A derecha: Josef Albers, Hinnerk Scheper, Georg Muche, Lszl Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stlzl and Oskar Schlemmer

Manifiesto [1919, Walter Gropius; Bauhaus]

[traduccin de trabajo del ingls, con consultas puntuales del original en alemn]

El objetivo final de toda la actividad creativa es la edificacin [ der Bau]. La decoracin de edificios fue en un momento la ms noble de las bellas artes, y las bellas artes eran indispensables para la gran arquitectura. Hoy existen en un complaciente aislamiento, y pueden ser rescatadas solamente por la consciente cooperacin y colaboracin de todos los artesanos. Arquitectos, pintores y escultores tienen de nuevo que comprender el carcter compuesto de un edificio, a la vez como entidad y en trmino de sus varias partes. Entonces su trabajo se ver lleno del verdadero espritu arquitectnico, que como arte de saln, ha perdido. Las viejas escuelas de arte son incapaces de producir esta unidad; y cmo podran haberlo hecho si el arte no puede ser enseado? Las escuelas deben volver a los talleres. El mundo del diseador de patrones y del artista aplicado, consistente slo en dibujos y pintura debe convertirse de nuevo en un mundo en el que las cosas sean construidas. Si el joven que ama la actividad creativa comienza ahora su carrera como en los viejos tiempos aprendiendo el trabajo manual [Handwerk, crafts], entonces el artista improductivo dejar de estar condenado a una artisticidad inadecuada, pues sus habilidades sern guardadas para el trabajo manual [Handwerk] con el que podr conseguir grandes cosas.

Manifiesto [cont.] Arquitectos, escultores, pintores, todos tenemos que volver al trabajo manual! Porque no existe algo tal que arte profesional. No hay diferencia esencial entre el artista y el artesano. El artista es la exaltacin del artesano. Por la gracia del cielo en momentos extraordinarios de inspiracin que trascienden la voluntad, el arte puede inconscientemente folrecer del trabajo de su mano, pero una base en el trabajo manual es esencial para todo artista. Es hay donde reside la fuente original de la creatividad. Creemos por tanto una nueva asociacin [gremio] de artesanos sin las distinciones de clase que levantan arrogantes barreras entr artesanos y artistas! Deseemos, concibamos y creemos juntos nuevos edificios del futuro. Combinarn arquitectura, escultura y pintura en una nica forma, y se levantarn un da hacia el cielo de las manos de millones de trabajadores como el smbolo cristalino de una nueva fe que viene.

Walter Gropius, Bauhaus DessauPrinciples of Bauhaus Production [1926] The Bauhaus wants to serve in the development of present-day housing, from the simplest household appliances to the finished dwelling. In the conviction that household appliances and furnishings must be rationally related to each other, the Bauhaus is seeking-by systematic practical and theoretical research into formal,technical, and economic fields-to derive the design of an object from its natural functions and relationships. Modern man, who no longer dresses in historical garments but wears modern clothes, also needs a modern home appropriate to him and his time, equipped with all the modern devices of daily use. An object is defined by its nature. In order, then, to design it to function correctly-a container, a chair, or a house-one must first of all study its nature: for it must serve its purpose perfectly, that is, it must fulfill its function usefully, be durable, economical, and ''beautiful.'' This research into the nature of objects leads to the conclusion that by resolute consideration of modern production methods, constructions, and materials, forms will evolve that are often unusual and surprising, since they deviate from the conventional (consider, for example, the changes in the design of heating and lighting fixtures.)

Principles of Bauhaus Production [cont.]

It is only through constant contact with newly evolving techniques, with the discovery of new materials, and with new ways of putting things together, that the creative individual can learn to bring the design of objects into a living relationship with tradition and from that point to develop a new attitude toward design, which is: A resolute affirmation of the living environment of machines and vehicles The organic design of things based on their own present-day laws, without romantic gloss and wasteful frivolity The limitation to characteristic, primary forms and colors, readily accessible to everyone Simplicity in multiplicity, economical utilization of space, material, time, and money.

Principles of Bauhaus Production [cont.]

The creation of standard types for all practical commodities of everyday use is a social necessity. On the whole, the necessities of life are the same for the majority of people. The home and its furnishings are mass consumer goods. and their design is more a matter of reason than a matter of passion. The machine-capable of producing standardized products-is an effective device, which, by means of mechanical aidssteam and electricity-can free the individual from working manually for the satisfaction of his daily needs and can provide him with mass-produced products that are cheaper and better than those manufactured by hand. There is no danger that standardization will force a choice upon the individual, since due to natural competition the number of available types of each object will always be ample to provide the individual with a choice of design that suits him best. The Bauhaus workshops are essentially laboratories in which prototypes of products suitable for mass production and typical of our time are carefully developed and constantly improved. In these laboratories the Bauhaus wants to train a new kind of collaborator for industry and the crafts, who has an equal command of both technology and form. .

Principles of Bauhaus Production [cont.]

To reach the objective of creating a set of standard prototypes which meet all the demands of economy, technology, and form, requires the selection of the best, most versatile,and most thoroughly educated men who are well grounded in workshop experience and who are imbued with an exact knowledge of the design elements of form and mechanics and their underlying laws. The Bauhaus represents the opinion that the contrast between industry and the crafts is much less marked by the difference in the tools they use than by the division of labor in industry and the unity of the work in the crafts. But the two are constantly getting closer to each other. The crafts of the past have changed, and future crafts will be merged in a new productive unity in which they will carry out the experimental work for industrial production. Speculative experiments in laboratory workshops will yield models and prototypes for productive implementation in factories. The prototypes that have been completed in the Bauhaus workshops are being reproduced by outside firms with whom the workshops are closely related. .

Principles of Bauhaus Production [cont.]

The production of the Bauhaus thus does not represent any kind of competition for either industry or crafts but rather provides them with impetus for their development. The Bauhaus does this by bringing creatively talented people with ample practical experience into the actual course of production, to take over the preparatory work for production, from industry and the crafts. The products reproduced from prototypes that have been developed by the Bauhaus can be offered at a reasonable price only by utilization of all the modern, economical methods of standardization (mass production by industry) and by large-scale sales. The dangers of a decline in the quality of the product by comparison to the prototype, in regard to quality of material and workmanship, as a result of mechanical reproduction will be countered by all available means. The Bauhaus fights against the cheap substitute, inferior workmanship, and the dilettantism of the handicrafts, for a new standard of quality work. .

Marcel Breuer, ca. 1925, Silla Wassily y silla Freischwinger, Mies van der Rohe

Walter Gropius y Adolf Meyer, 1911-1925, Fbrica Fagus, Alemania

Fuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus

la "vida moderna necesitaba nuevos organismos constructivos que se correspondan con las formas de vida de nuestro tiempo". "Las estaciones, almacenes y fbricas necesitan una expresin propia y no se pueden regir por ningn modo de vida de pocas pasadas sin caer en el esquematismo vaco y en la mascarada histrica. La forma exacta, carente de toda casualidad, los contrastes de forma y color constituyen la base de la rtmica de la creacin arquitectnica".

Walter Gropius y Adolf Meyer, 1911-1925, Fbrica Fagus, Alemania

Fuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus

Algunas cuestiones: Expresin / lenguaje nuevo / propio para el uso industrial Nuevos materiales y tcnicas constructivas Funcionalismo expresivo No decorativismo; eliminacin lenguaje clsico o histrico Muro cortina; iluminacin

Walter Gropius y colaboradores, 1925, edificio de la Bauhaus en Dessau

Fuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus http://en.wikipedia.org/wiki/Bauhaus

Talleres

Residencia Aulas

Oficinas Zona festiva

Algunas cuestiones: Simetra vs equilibrio compositivo; no hay una fachada principal; inters por la composicin dinmica de volmenes Racionalismo; objetividad Funcionalismo en la organizacin de los espacios; zonificaciones, circulaciones Funcionalismo expresivo La industria como modelo Transparencia, espacio continuo y homogneo Desmaterializacin: volmenes que pretenden flotar en el espacio Cubierta plana, estructura independiente de los cerramientos Desvinculacin de lenguajes histricos y tambin locales No decorativismo; blanco y gris No monumentalidad Experimentacin nuevos materiales y sistemas constructivos Integracin de las instalaciones en el diseo arquitectnico: calefaccin, iluminacin / electricidad... Integracin de aspectos constructivos, funcionales y estticos [...]

Walter Gropius, ca. 1938, casa Gropius en Lincoln, Massachusetts

Fuente: http://es.wikiarquitectura.com/index.php/Casa_Gropius http://en.wikipedia.org/wiki/Gropius_House http://www.knowledgefarm.org

Gropius lleg en 1937 a dar clases en Harvard. Pronto se construy una casa para su familia. Modesta de tamao, la casa tuvo un impacto revolucionario. Combinaba elementos familiares de Nueva Inglaterra como los revestimientos de madera, la piedra local y la chimenea de ladrillo, con materiales industriales como los bloques de vidrio, revestimientos acsticos, barandillas metlicas y la ltima tecnologa en instalaciones. Todos los aspectos de la casa y su entorno estaban planificados para la mxima eficiencia y simplicidad del diseo...
Modest in scale, the house was revolutionary in impact. It combined familiar elements of New England houses-wood siding, stone foundation, and brick chimney with industrial materials, like glass block, acoustical plaster, and chrome banisters, and the latest technology in fixtures. Every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity of design. [http://www.knowledgefarm.org & http://en.wikipedia.org/wiki/Gropius_House ]

Oak: roble Birch: abedul Scotch pine: pino Elm: olmo

Escalera y W. Gropius asomndose al hueco de escalera