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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 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Adolph Loos, 1870-1933 • “father of modern movement” • architect—loved theory • used no historical references in his architecture—especially ornamentation
ornament does not serve a function • wrote of people that continue to ornament their bodies—backward & uncivilized • likened those with tattoos to criminals
Steiner House, Adolph Loos, 1910-1920 backyard • strong desire for symmetry • white box as a dwelling
very rigid • front façade • curved line for interest
Moller House, Adolph Loos, 1910-1920 • believes society has two faces—public face (exterior) & private face (interior) • client did own interior
space should be freed from having rigid floors • wanted much more organicism • gave you the shell to work with—you chose individual pieces
Raumplan—he freed the space vertically—different sense of complexity
Maison Domino, Le Corbusier, 1914 direct contrast with Le Corbusier’s—“Plan Libre”
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
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
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
Bauhaus, Dessau, Gropius & Faculty, 1926 • city (Dessau) funded the construction of the new building • faculty designed building
still exists • simplified approach to building • little ornamentation • very rational
designed to function in a specific manner • if it functioned well, it was beautiful • used as few materials as possible
Director's Office at Weimar Bauhaus, Gropius & collaborators, 1926 • did use color • only soft thing in the room is textile • lighting by Laslo
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
loved expressive and manipulative aspects of color Die Begegnung, Johannes Itten, 1916
Laslo Moholy-Nagly • more of an industrial designer—about production • form is the expression
Marcel Breuer (Broyer) • taught furniture making • used materials efficiently and in new ways
sling seat—fabric held in tension • step in the direction of trying to see function of chair • cantilevering becomes popular
Cesca Chair Breuer, 1926 • inspired by a bicycle • sitting only on two legs—entirely cantilevered
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
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
did wall hangings, rugs, bedspreads, etc… • only soft surface in entire space—humanized interior 1926
Lily Reich • heads up weaving workshop in the 30s—when Mies van der Rohe becomes the director • called herself an “inner architect”
Interiors by Lily Reich, Berlin Expositions of 1931, Bauhaus, 1934 Berlin exposition vignette—uses textiles to make space more livable
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
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
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
German Pavilion, Barcelona, Spain, World's Fair, 1929; w/ Barcelona furniture perhaps the most famous of all work
based off of Corbusier’s “plan libre” • all walls are non-load bearing—do not articulate and close off space
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
browns & oranges brilliant blue/ gray
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
Tugendhat (family) House, Mies, Brno (city), Czechoslovakia, 1928-1930 • residential—façade; simple white boxes • strong horizontal quality—flat roof • unornamented • generally unpretentious
glass curtain wall can roll down into basement walls looks to be one story—actually two— top floor servants; ground floor family
Corbusier’s idea of structure used—columns or “pilotes” only thing holding up structure
