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#6
Raționalism / Constructivism 1919-1932
– de pus în legătură cu idealurile revoluției ruse așa cum au fost acestea filtrate în
mediile artistice ale vremii
– reprezintă o abordare radical nouă a creației, esențializată de dezideratul de a înlocui
“compoziția” cu “construcția”
– artă pusă în slujba “construcției societății comuniste”
– abordare nouă a studiului materialelor și a lucrului cu diferitele materiale. Sticla,
lemnul, metalul trebuie puse în forme care le sunt proprii.
Vkhutemas / Vkhutein – Atelierele Superioare de Artă și Tehnică
1920-1930
Pentru arhitectură ASNOVA (1921) – Asociația Noilor Arhitecți
Nikolai Ladovsky
Vladimir Tatlin
El Lissitzky
Konstantin Melnikov
Alexander Vesnin
Moisei Ginzburg
Ivan Leonidov
Mikhail Okhitovich
AgitProp – tren al propagandei bolșevice, 1923
Vladimir Maiakovsky: ‘străzile sunt pensulele, piețele sunt paletele noastre”
Nikolai Ladovsky
1881 – 1941
Nikolai Ladovsky
1881 – 1941
1920/1922 : Proun 1A
El Lissitzky
1890 – 1941
1920/1922 : Proun 1C
El Lissitzky
1890 – 1941
1924 : Wolkenbügel
Konstantin Melnikov
1890 – 1974
1924 : Piața Sukhareva
1925 : Pavilionul Sovietic, Paris, Exposition Internationale des Arts Décoratifs et Industriels Modernes
1927-29 : Garajul Novo-Ryazanskaya
1927-29 : Casa Melnikov
1927-29 : Clubul Rusakov
Konstantin Melnikov
1890 – 1974
1925 : Pavilionul Sovietic, Paris, Exposition Internationale des Arts Décoratifs et Industriels Modernes
Konstantin Melnikov
1890 – 1974
1925 : Pavilionul Sovietic, Paris, Exposition Internationale des Arts Décoratifs et Industriels Modernes
Konstantin Melnikov
1890 – 1974
1925 : Pavilionul Sovietic, Paris, Exposition Internationale des Arts Décoratifs et Industriels Modernes
Konstantin Melnikov
1890 – 1974
1925 : Soviet Pavillion, Paris, Exposition Internationale des Arts Décoratifs et Industriels Modernes
Konstantin Melnikov
1890 – 1974
… o viziune: ideea de a crea un “om nou” […] înzestrat cu toate simțurile și pregătit
de cei mai buni artiști și arhitecți ai momentului, […] capabil să inventeze prezentul și
viitorul unui secol modern.
Fiedler, Bauhaus, 2006
Surse
– filosofie romantică germană (Schlegel, Novalis, Tieck)
– mișcările Arts and Crafts
– ideea Gesamtkunstwerk-ului ca sinteză a artelor minore și majore, conducând spre coeziune și coerență sociale
– Henry van der Velde și transiția dinspre artizanat la obiectle produse industrial, alături de primele idei și idealuri
funcționaliste
– Werkbund-ul între meșteșug și producție mecanizată – Hermann Muthesius
Walter Gropius, The Founding Manifesto – 1919
The ultimate goal of all art is the building! The ornamentation of the building was once
the main purpose of the visual arts, and they were considered indispensable parts of the
great building. Today, they exist in complacent isolation, from which they can only be
salvaged by the purposeful and cooperative endeavours of all artisans. Architects,
painters and sculptors must learn a new way of seeing and understanding the composite
character of the building, both as a totality and in terms of its parts. Their work will
then re-imbue itself with the spirit of architecture, which it lost in salon art.
The art schools of old were incapable of producing this unity – and how could they, for
art may not be taught. They must return to the workshop. This world of mere drawing
and painting of draughtsmen and applied artists must at long last become a world that
builds…
Architects, sculptors, painters – we all must return to craftsmanship! For there is no
such thing as “art by profession”. There is no essential difference between the artist
and the artisan. The artist is an exalted artisan…
So let us therefore create a new guild of craftsmen, free of the divisive class pretensions
that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive
for, conceive and create the new building of the future that will unite every discipline,
architecture and sculpture and painting, and which will one day rise heavenwards from
the million hands of craftsmen as a clear symbol of a new belief to come.
Bauhaus
1919 – 1933+
1919–1925: Weimar
1925–1930: Dessau
1930–1933: Berlin
The New Bauhaus – IIT, Black Mountain College, The Design College in Ulm + prin emigranți în multe alte țări
Walter Gropius
Walter Gropius
1883 – 1969
The Bauhaus year was shaped by the Lantern Festival on Gropius’s birthday, as well as
the Summer Solstice, Kite and Julklapp Festivals in the summer, autumn and winter. As
in 1920, the Lantern Festival in 1922 appears to have been held on the day of the
summer solstice and therefore on the birthday of the poet Johannes Schlaf. On his
postcard, Feininger clearly states that the event will be held on 21st June. The
lithograph shows the art school building, from which the Bauhaus members paraded
through the park on the Ilm river to the Ilmschlösschen (Ilm castle), illuminated by
moon and star lanterns.
Ackermann, Ute: “Bauhaus Parties – Histrionics between Eccentric Dancing and Animal Drama” in: Fiedler, Jeannine (Ed.):
Bauhaus, [pg.I.] 2007, 126-139.
The great Bauhaus exhibition took
place in Weimar from 15th August
to 30th September 1923, and
included the publication of
Staatliches Bauhaus in Weimar
1919-1923, an activity report which
took stock of the formation work,
the Haus am Horn as the only
realised Bauhaus building in
Weimar, the 1st International
Modernist Architecture Exhibition
and a Bauhaus Week with concerts,
lectures and stage productions in
Weimar and Jena. Gropius gave the
opening lecture, “Art and
Technology–A New Unity”
Michael Siebenbrodt and Lutz Schöbe,
Bauhaus 1919-1933. Weimar–Dessau–Berlin,
(Parkstone Press International, New York), 22
Pedagogie
I
Curs preliminar — proprietățile culorilor, formelor și materialelor
— bazele meșteșugului/priceperii și ale design-ului
— studenții erau testați și, în funcție de performanțe, acceptați într-un
atelier sau altul
Cursuri avansate — lucrul în ateliere, sub îndrumarea unui maestru al formei și a unui
maestru al lucrărilor
Toate activitățile stau la baza uceniciei în domeniul construcției (Bauen), aflată în
centrul curriculei
II
După mutarea la Dessau, în timpul directoratului lui Hannes Meyer, studiile se finalizau
cu o diploma / certificare a absolvirii (vs. un certificat după ucenicie).
Arhitectura a început să se studieze și în cheie teoretică (rezistență, chimie, desen
tehnic, statică, psihologie, management etc.
Brigade verticale curpinzând studenți de toate nivelurile și urmărind construcția din
stadiul de proiect până la finalizarea șantierului
III
Sub directoratul lui Ludwig Mies van der Rohe, Bauhaus-ul a devenit mai degrabă o
universitate tehnică de arhitectură, artele și atelierele meșteșugărești rămânând într-o
poziție secundară.
Cursul preliminar – Johannes Itten 1919-1923
In his classes, he had the students use simple tools to explore the properties of various
materials such as metal, wood and paper. The focus was on the development of spatial
structures where the correlation of material, construction, function and production
technology was to lead to optimal performance with a minimum input of material,
energy and time: a school of invention.
Bauhausbücher, László Moholy-Nagy
1925-30
Bauhausbücher, László Moholy-Nagy
Typophoto, László Moholy-Nagy
1923: Reclamă “Pneumatic”
Typophoto, László Moholy-Nagy
1929: Reclamă “Bauhausbücher”
Farkas Molnár, The red cube, 1922-23
Herbert Bayer, Design for a newspaper stand, 1924
Building Theory, 1927-1933
Gropius and Meyer gave courses on architectural design and organised planning
seminars in cooperation with the building trades school in Weimar. Through Gropius’s
office, all of the Bauhaus workshops were included in the design of buildings including
Sommerfeld House in Berlin in 1920/21, the renovation of the municipal theatre in Jena
in 1921/22 and the prototype Haus am Horn in Weimar in 1923. Plans for a Bauhaus
housing estate remained unrealised in Weimar due to the problematic economic
situation. Using methods that were sometimes new and oriented towards typologies and
standardisation, they designed not only a new architecture but also a new way of life.
1920-2 : Sommerfeld Haus, Gropius & Meyer +
1923 : Haus am Horn, Georg Muche
1925 : Școala Bauhaus, Dessau, Gropius & Meyer
1925 : Școala Bauhaus, Dessau, Gropius & Meyer
1926-28 : Cartierul/Ansamblul Törten, Dessau, Gropius
Building Theory, 1927-1933
The buildings designed in Gropius’s office and realised from 1925 – especially the
Bauhaus Building and the Masters' Houses – characterise the situation during the
Dessau years. In 1927, Hannes Meyer began developing his theory, which united all the
architecture-related subjects – draughtsmanship, design, construction, project planning
and town planning. For both Walter Gropius and Hannes Meyer, architecture
essentially meant the “design of life processes”.
Meyer went beyond Gropius’s “fundamental research”, which he thought was too
fixated on the object. Using scientific methods, he analysed the lifestyle patterns of the
future residents of a settlement or house and integrated biological and climatic on-site
studies in the design process.
The third Bauhaus director, Ludwig Mies van der Rohe, streamlined teaching into a
study system that offered little leeway for experimentation. The Bauhaus was now
primarily attended by students who already had other degrees and therefore became a
“university for the second degree”. Mies van der Rohe‘s teaching put the focus on
plans for the design of individual houses, where the form was not defined by Gropius’s
“fundamental research” or by the requirement of meeting the “people’s needs”
(Hannes Meyer). Instead, it aimed for a “spatial execution of spiritual decisions”
(Ludwig Mies van der Rohe) governed by aesthetic perfection.
1929-30 : Imobil în Törten, Dessau, Hannes Meyer
Philipp Tolziner, Tibor Weiner, Plan for a
communcal apartment block for factory workers,
1930
Siegfried Giesenschlag, Neighbor relations, 1930
Pius Pahl, Huis C, 1931-32
1932 : The attack on the Bauhaus,
Iwao Yamawaki