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Modern Movement

Modern Movement. 1910 – 1940s. Functionalism Ornament as Crime Raumplan & Plan Libre. whatever you design MUST work space planning issues. Adolph Loos, 1870-1933. “father of modern movement” architect—loved theory

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Modern Movement

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  1. Modern Movement 1910 – 1940s Functionalism Ornament as Crime Raumplan & Plan Libre whatever you design MUST work space planning issues

  2. Adolph Loos, 1870-1933 • “father of modern movement” • architect—loved theory • used no historical references in his architecture—especially ornamentation

  3. ornament does not serve a function • wrote of people that continue to ornament their bodies—backward & uncivilized • likened those with tattoos to criminals

  4. Steiner House, Adolph Loos, 1910-1920 backyard • strong desire for symmetry • white box as a dwelling

  5. very rigid • front façade • curved line for interest

  6. Moller House, Adolph Loos, 1910-1920 • believes society has two faces—public face (exterior) & private face (interior) • client did own interior

  7. space should be freed from having rigid floors • wanted much more organicism • gave you the shell to work with—you chose individual pieces

  8. Raumplan—he freed the space vertically—different sense of complexity

  9. Maison Domino, Le Corbusier, 1914 direct contrast with Le Corbusier’s—“Plan Libre”

  10. Walter Gropius • Director of Bauhaus School—1919 • combines two schools of • thought—hand craft & fine art • you design it, you make it, • but you accept that it will be • made by a machine & mass • produced

  11. first year • completely disregarded history in design • all incoming students went through a “ritual cleansing” • first year consisted of a study of elements and principles of design

  12. original location of the school—very conservative town • 1923—exhibition; public didn’t like it • thought that the Bauhaus was creating socialist freethinkers • made them move

  13. Bauhaus, Dessau, Gropius & Faculty, 1926 • city (Dessau) funded the construction of the new building • faculty designed building

  14. still exists • simplified approach to building • little ornamentation • very rational

  15. designed to function in a specific manner • if it functioned well, it was beautiful • used as few materials as possible

  16. very linear & avant garde

  17. Director's Office at Weimar Bauhaus, Gropius & collaborators, 1926 • did use color • only soft thing in the room is textile • lighting by Laslo

  18. two faculty members per studio • one to explain production & one to explain design • Itten believed his job was to reach into each student and unleash inner creativity • Gropius wasn’t happy with this Johannes Itten, 1916

  19. loved expressive and manipulative aspects of color Die Begegnung, Johannes Itten, 1916

  20. Laslo Moholy-Nagly • more of an industrial designer—about production • form is the expression

  21. Light Display: Black- White - Grey, Moholy-Nagy

  22. Marcel Breuer (Broyer) • taught furniture making • used materials efficiently and in new ways

  23. sling seat—fabric held in tension • step in the direction of trying to see function of chair • cantilevering becomes popular

  24. Cesca Chair Breuer, 1926 • inspired by a bicycle • sitting only on two legs—entirely cantilevered

  25. meant for a middle class market

  26. Tubular Steel furniture by Marcel Breuer, 1925-1927, Bauhaus Wassily Chair Wassily Chair, 1927 • named after his friend—Wassily Kandinsky • some people argue it uses more material than necessary

  27. Gunta Stolzl • weaving workshop director—began on a temporary basis • women could only go into weaving • would sell students designs to industry for money for school • women in weaving were supporting entire school eventually

  28. did wall hangings, rugs, bedspreads, etc… • only soft surface in entire space—humanized interior 1926

  29. Wallhanging, Stolzl, 1926

  30. Student dorm room with Stolzl’s bedspread, Pellerhaus, 1926

  31. Lily Reich • heads up weaving workshop in the 30s—when Mies van der Rohe becomes the director • called herself an “inner architect”

  32. Textiles from the Bauhaus Weaving Workshop

  33. Interiors by Lily Reich, Berlin Expositions of 1931, Bauhaus, 1934 Berlin exposition vignette—uses textiles to make space more livable

  34. Interiors by Lily Reich, Berlin Expositions of 1931, Bauhaus, 1934 manipulated textiles so that room feels soft—uses tubular steel like Breuer—chair reference to Mies

  35. Mies van der Rohe1886-1969“Architecture is the real battleground of the spirit.” • wants to take Bauhaus to its next step—focusing more on aesthetics

  36. Tubular Steel Cantilever Chair, Mies & Lily Reich, 1926 • MR2 • tubular steel • fabric in tension supports padding • injected lead into back stretcher to hold it down—in order to keep more elegant line of curved legs

  37. German Pavilion, Barcelona, Spain, World's Fair, 1929; w/ Barcelona furniture perhaps the most famous of all work

  38. based off of Corbusier’s “plan libre” • all walls are non-load bearing—do not articulate and close off space

  39. concrete ceiling & slab floors

  40. limited structure

  41. free flow of space—walls are accenting depth of space • rug/textile helps to identify space & function • can have glass walls now—are not supporting anything

  42. browns & oranges brilliant blue/ gray

  43. collection of different types of marble in structure

  44. Barcelona Chair, Spain, Mies, 1929 centers all weight on one point—had to thicken joint • throne for king & queen of Spain’s visit to pavilion • leather and strap steel with fabric & tension webbing

  45. Tugendhat (family) House, Mies, Brno (city), Czechoslovakia, 1928-1930 • residential—façade; simple white boxes • strong horizontal quality—flat roof • unornamented • generally unpretentious

  46. glass curtain wall can roll down into basement walls looks to be one story—actually two— top floor servants; ground floor family

  47. Corbusier’s idea of structure used—columns or “pilotes” only thing holding up structure

  48. frames an extraordinary view

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