architecture

Rietveld’s Schröderhuis in Utrecht (1924)

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Exterior view of the northeast façade of Schröder House, Utrecht, Netherlands, 1925 Blitz, E.A. von View of the southwest façade of Schröder House from the street, Utrecht, Netherlands, 1925

Jean-Louis Cohen
The Future of Architecture
Since 1889 (Lonon: 2012)
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The cabinetmaker Gerrit Rietveld, who had briefly made copies of Frank Lloyd Wright’s furniture for Robert van’t Hoff, was involved with De Stijl’s activities from the beginning. He conceived furniture prototypes composed of basic shapes — wood planes and standard profiles — sliced in ways that visually extended the volume of the objects. His most provocative piece from this period was the Red and Blue Armchair of 1918, which he later explained “was made to the end of showing that a thing of beauty, e.g., a spatial object, could be made of nothing but straight, machined materials.”

Rietveld, who rejected the inhibiting patronage of [Theo] van Doesburg, gave the most convincing interpretation of De Stijl’s longing for a synthesis of the arts with his Schröder house (1924) in Utrecht. Located at the end of a row of banal brick buildings, the house plays with vertical and horizontal planes in three dimensions. Individually, the rooms are very small but flow into each other. Sliding partitions make it possible to modify the floor plans of the two main levels, which are partly lit by a small skylight. The intersection of planes and linear elements and the articulation of joints and railings make the house’s interior spaces as difficult to grasp from the inside as they are from the outside. Walls are no longer the single determining factor of space. Actually very compact, the house was not intended to be a manifesto for an aesthetic reinterpretation of domestic functions but rather, according to Rietveld, to create formal clarity and intensify the experience of space.

Projects by the Vienna-based artist and architect Frederich Kiesler, invited in 1923 to join De Stijl, seem to echo Rietveld’s furniture and to transform it into broader, more inclusive spatial systems: the Leger- und Trägersystem, a flexible and independent hanging system for gallery displays, and the Raumbühne, or space stage, were constructed at the Ausstellung neuer Theatertechnik (Exhibition of New Theater Technology) in Vienna in 1924; while the “City in Space” appeared at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.

Schwitters, Kurt Exterior view of the southwest and southeast façades of Schröder House, Utrecht, Netherlands, 1924 Schwitters, Kurt Exterior view of the northeast façade of Schröder House, Utrecht, Netherlands, 1924FotoFotoFotoFoto

Kleinbeeld Foto Kleinbeeld Foto KleinbeeldFoto Continue reading →

Theo van Doesburg, Grundbegriffe der neuen gestaltenden Kunst (1925)

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Below is an article written in memoriam of De Stijl founder Theo van Doesburg upon his death in 1931. It discusses his pivotal intervention in the life of the Bauhaus, where Dexel was a student. In between there are reproduced all 72 pages from his Grundbegriffe der neuen gestaltenden Kunst (1925), published as part of the Bauhausbücher series.
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Theo van Doesburg

Walter Dexel
Das Neue Frankfurt
Vol. 4, №. 6 (1931)

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On March 7, Theo van Doesburg died at Davos. He was a highly significant and almost a tragic figure, since the opportunity to realize his potential to the full was largely denied him — a fact that is hard to understand if one looks at some of those who are permitted to work.

He was a painter, an architect, a typographer, and from 1917 the founding editor of the magazine De Stijl, the first ever to campaign consistently for new formal design. (The cover of De Stijl remains an exemplary piece of modern typography — think of the visual changes that have overtaken our periodicals in the past decade, and you have one small illustration of Van Doesburg’s startling anticipation of present-day design principles.). He fought in the foremost ranks of the Dutch shock troops alongside Mondrian, Oud, Rietveld, Wils, Huszár, Van t’Hoff and others. What they stand for is well known. Now that he is dead, let us reflect for a moment on what we in Germany owe to Doesburg. Historical justice and the memory of an important man demand that we remember.

In 1921 Theo van Doesburg came to Weimar, with his vital energy and his clear critical mind — Weimar, where the Bauhaus had been in existence since 1919, and where a considerable number of modern artists were living, attracted by the wind of progress that used to blow — in those far-off days — through Thuringia. The credit for inviting Doesburg to Weimar goes to Adolf Meyer; straightforward, phlegmatic, and consistent, Meyer never diverged from the straight line that led from the buildings designed in cooperation with Gropius in Cologne and Alfeld to the works of his later, mature period in Frankfurt. The teaching appointment as such was not a success, since it proved impossible to bridge the gap between Doesburg’s views and those of the then dominant Bauhaus personalities. Continue reading →

Bauhausbücher covers, № I-XIV (1925-1930)

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Below are the covers to the books in the Bauhausbücher series, № 1-14.

  1. Walter Gropius, Internationale Architektur. Bauhausbücher 1, München 1925
  2. Paul Klee, Pädagogisches Skizzenbuch. Bd. 2, München 1925
  3. Adolf Meyer, Ein Versuchshaus des Bauhauses in Weimar. Bd. 3, München, 1925
  4. Oskar Schlemmer, Die Bühne im Bauhaus. Bd. 4, München 1925
  5. Piet Mondrian, Neue Gestaltung. Neoplastizismus. Bd. 5, Eschwege 1925
  6. Theo van Doesburg, Grundbegriffe der neuen gestaltenden Kunst. Bd. 6, München 1925
  7. Walter Gropius, Neue Arbeiten der Bauhauswerkstaetten. Bd. 7, München 1925
  8. Lazlo Moholy-Nagy, Malerei, Fotografie, Film. Bd. 8, München 1925
  9. Wassily Kandinsky, Punkt und Linie zur Fläche: Beitrag zur Analyse der malerischen Elemente. Bd. 9, München, 1926
  10. Jan Peter Oud, Holländische Architektur, Bd. 10, München 1926
  11. Kasimir Malewitsch, Die gegenstandslose Welt, Bd. 11, München 1927
  12. Walter Gropius, Bauhausbauten Dessau. Bd. 12, München 1928
  13. Albert Gleizes, Kubismus. Bd. 13, München 1928
  14. Laszlo Moholy-Nagy, Von Material zu Architektur. Bd. 14, 1929

Enjoy.

Bauhausbucher1200252.w.1280bauhausbucher 3867502_4_lLászló Moholy-Nagy Bauhaus Books No. 5- %22Neoplasticism%22 by Piet Mondrian, 1925bauhausbucher 6Bauhausbucher 7bauhausbucher 8 moholy-nagyBauhausbucher 9 Kandinsky8868072_1_lBauhausbucher 11 MalewitschLászló Moholy-Nagy Bauhaus Books No. 12- %22Bauhaus Buildings, Dessau%22 by Walter Gropius, 1930Bauhausbucher 13laszlo_moholy-nagy-dust_jackets_for_2_of_the_series_of_14_bauhaus_books-19291317188312990moholy-nagy-brochure_cover_for_the_series_of_fourteen_bauhaus_books-19291317188247231

Avant-garde journal design: Building Moscow [Строительство Москвы], 1927-1931

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Below are some pretty stellar avant-garde journal designs by Gustav Klutsis, Vasilii Elkin, and El Lissitzky for the monthly architecture journal Building Moscow. It ran through the 1930s, but progressively became less and less modernist in terms of both form (layout, formatting) and content (projects, proposals) as time went on. Number eleven from the year 1928 shows Le Corbusier’s influential proposal for the Tsentrosoiuz, or central union administration building, in Moscow. Here he incorporated a number of elements from his League of Nations proposal, which had been rejected the previous year.

There’s also a note here that I’ve included from the fourth issue of  1929. Enjoy!

Журнал Строительство Москвы, несомненно, становится все более содержательным. Им интересуются уже не только специалисты-строители и архитектора, но и широкие круги рабочей общественности. В свете строительных задач Москвы — ответственность органа Моссовета все более увеличивается. Continue reading →

Bauhaus master Walter Gropius’ submission to the Palace of the Soviets competition, 1931

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Just a few brief notes, since I’m presently occupied with other tasks and because I’ve dealt with this topic (however cursorily) elsewhere. Recently I stumbled upon a cache of outstanding images of Walter Gropius’ 1931 submission to the Palace of the Soviets competition in Moscow. The majority of these images are floor plans, numerous because of the complex multilevel structure Gropius envisioned. Many, however, are sketches — perspective and axonometric drawings — depicting the view of the Palace from the river as well as approaches to its various entrances. A few more show the building’s situation vis-à-vis the rest of the city, site plans and the like.

Some have noted the similarities between Gropius’ proposal for the Palace of the Soviets and his earlier experiments with the idea of “total theater” for Erwin Piscator. James Marston Fitch, for example, pointed out the continuities that exist between the designs Gropius made for Piscator up through a 1930 proposal for a theater in Kharkhiv, Ukraine, leading ultimately to his conception of the Palace of the Soviets (Fitch, Walter Gropius, pg. 22). Gropius had already designed a theater for Oskar Schlemmer at his Bauhaus building in Dessau.

Total theater.

Important differences may be mentioned as well, however. Certainly Gropius’ Palace of the Soviets project was conceived on a much grander scale, given the specifications and requirements outlined by the Bolshevik government. Predictably, this entailed shifting qualitative dynamics that couldn’t be solved merely by quantitative increase or multiplication. Acoustical studies thus form an integral part of Gropius’ argument for the viability of his building.

Obviously, as everyone knows, things didn’t turn out the way the modernists had expected in the USSR. Neoclassicism won out, much to the chagrin of Le Corbusier, Moisei Ginzburg, Hans Poelzig, Erich Mendelsohn, Hannes Meyer, Sigfried Giedion, and the rest. Many felt it was a repeat of the whole League of Nations debacle. Giedion even sent Stalin an angry collage in protest — a futile but rather entertaining gesture. Would’ve loved to have seen the befuddled look on Dzugashvilii’s face when he opened that letter.

You can enlarge any of these images by clicking on them and scrolling through the gallery I’ve compiled.

Sketches.

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Erich Mendelsohn, Red Banner Textile Factory in Leningrad (1926)

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Charlottenburg, Germany
July 11th, 1926

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We have completed the early project for Stuttgart. The enclosed sheet shows its directness as a spatial organism. To alter it, i.e., to eliminate or add anything, will call for new work and a new design.

So it will be better to push it through as it is and thus bring it to life.

This evening I am traveling to Stuttgart via Nuremberg. We are doing without pictures — which are only attempts to deceive untrained eyes — but are having a colored model prepared straight away. K. is bringing it on Wednesday morning. Until then I will…put my iron in the fire. On Wednesday I am lunching with Bonatz and dining with him at Hildebrandt’s. The omens are favorable, though I cannot believe we shall triumph without a struggle.

But I have a good conscience with regard to this project, which is half the battle.

Still no final decision from Leningrad. My telegram in reply to the renewed Russian invitation is so far unanswered. In this I see neither a good nor a bad omen, but am simply remaining completely indifferent to the way things are developing, which is hard enough to control from close to and quite impossible at a distance.

The endless space of Russia makes dream and aspiration — idea and action — impenetrable in the negative sense, infinite in the positive. [my emphasis — RW]

Even having to reckon with the reality of the few months when building can be done in Leningrad upsets numerical calculations and shifts their emphasis. The constants remain, but the indices explode, because the Russians are not sufficiently knowledgeable about their inner value, and their necessary correlation.

Meanwhile speculation continues about our possible handling of the whole project development. My studio is today a complete forum for statical computations, not, as it is generally, a trapeze of intuition or a firm springboard of organized planning.

At the same time H. telephoned in order to hold out a 90 per cent certain prospect of the Mosse block being realized. All three blocks are to be built at once and my negotiations with the building authorities must be taken up “at once.” People coax me into making compromises, without permitting themselves to notice that they are prepared to sell me down the river at the appropriate moment. So it is necessary to be doubly watchful and unyielding.

If all this comes together, holidays and mountain lakes become unthinkable.

Leningrad, USSR
August 1st, 1926

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The presentation of the project in Moscow has caused the Textile Trust the greatest difficulties and disagreeable cuts, additions, and mixtures — in short a fine flower of compromise…

They want to create a prototype on the basis of the latest international experience, but they entrust the incomplete picture to the hand of a bad copyist.

They make a basic revolution but they are bogged down by even more basic administration. They look to America but they are stuck fast in the suburbs of Königsberg. And all the possibilities are here, as you know.

But this new structure needs a broad base on which to rest, from which to summon up its strength. Everywhere there are those knowledgeable and active people who have always given the hungry mass a new understanding of their freedom, of the goal of all freedom and of man himself.

German expressionist architect Erich Mendelsohn’s Red Banner Textile Factory in Leningrad (1926), first half of 1930s
Interior to German expressionist architect Erich Mendelsohn’s Red Banner Textile Factory in Leningrad (1926)

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Walter Gropius and Adolf Meyer, competition entry to the Chicago Tribune tower (1922)

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Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Model, dynamic perspective.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Sketch, dynamic perspective.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Model, dynamic perspective.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Sketch, section elevation.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Model, facade.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Model, rear view.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Sketch, section elevation.
Walter Gropius and Adolf Meyer: Competition Entry for “Chicago Tribune” Tower (1922). Sketch, dynamic perspective.

Equivocal icon:
The competition design for the Chicago Tribune tower by Walter Gropius and Adolf Meyer

Bart Lootsma
Bauhaus: A Model
New York, 2009

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The design by Walter Gropius and Adolf Meyer for an office and administration building for the Chicago Tribune was conceived in 1922. The context was an international competition announced by the Tribune on the occasion of the sixty-fifth jubilee. For decades already, European architects had drawn inspiration from developments in the United States, and the competition represented an initial opportunity to come to terms with the specifically American task of designing a skyscraper. Many Europeans submitted designs, although the names of such well-known figures as Erich Mendelsohn, Ludwig Mies van der Rohe, and Le Corbusier — whom one might have expected to participate — were absent. Among the two hundred and sixty-five submissions from twenty-six different countries were thirty-seven from Germany, where debates about skyscrapers had been particularly intense, especially around the time of the 1921 competition for a high-rise building on Friedrichstrasse in Berlin. In Chicago, the winners were the Americans John Mead Howells and Raymond Hood, whose Neo-Gothic building was erected in 1925. The decision sparked passionate debate, instigated by critics who had preferred the modernist design of Finnish architect Eliel Saarinen.

The competition came to symbolize the heroic struggle of the modernist movement. As late as the 1949 film The Fountainhead, viewers saw Gary Cooper in the role of Howard Roark, his face filled with bitterness, viewing plans which strongly resemble those by Max Taut, Walter Gropius, and Adolf Meyer. They bear the handwritten inscription “NOT BUILT.” Roark’s rival, Peter Keating, prefers an eclectic style. Many years later, in 1950, Gropius explained in retrospect: “In 1922, when I designed the Chicago Tribune high-rise, I wanted to erect a building that avoided using any historical style, but which instead expressed the modern age with modern means; in this case with a reinforced concrete frame which would clearly express the building’s function.” The accuracy of this statement must however be called into question, as it seems to have been influenced by the design’s subsequent reception. In the 1950s, moreover, Gropius could no longer recall that in 1925, he had still presented the building in Internationale Architektur as being planned in “iron, glass, and terracotta.” Continue reading →

Suprematism in architecture: Kazimir Malevich and the arkhitektons

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Painting and the Problem of Architecture

Kazimir Malevich
Nova generatsiia
Vol. 3, №. 2 (1928)

If we examine the painting of the first quarter of the 20 century we immediately notice two trends: “objective” and “non-objective.”

These two trends differ both formally and in their Weltanschauung and attitude to art.

Corresponding to the different types of Weltempfang there arise various artistic classifications.

In the “objective” trend there exist various stages: the first stage is figurative; it perceives the model as such. In this stage we see objects in their artistic expression “as they are.”

In the second stage the subject or model is only a means of communicating the artist’s experience in works of art. What is more, all the objects, or nature, are artistically unified by the tone passing through them.

In the third stage we see how as the result of a particular artistic Weltempfang there occurs “artistic deformation of phenomena”; hence follows the disintegration of the object into separate pictorial elements. They create a new order which is called “the cubic form of revealing artistic expression.”

At this stage the object itself is not considered “as such,” and “as such” it is not the content of artistic skill; it exists only as the sum of unorganized painterly elements.

Next come two variants of the fourth stage of communicating Weltempfang: they are called “non-objective.”

In one of these types we see the total eclipse of the object and have a work of pure painterly Weltempfang.

The other “non-objective” type is not only the revelation of artistic Weltempfang but also of a whole series of the dynamic, static, magnetic, and other elements which exist in nature.

These two figurative stages deal exclusively with the form of objects, i.e. forms with the help of which objects are created on the canvas “as such.”

In the “non-objective” stages, on the other hand, form plays an important role, since without form it becomes impossible to convey any kind of Weltempfang.

In the “non-objective” stages one is not dealing with the representation of phenomena “as such,” but with the communication of definite sensations which exist in the phenomenal world.

In the “non-objective” stages there comes to the fore the question of creating the “forming element” with which to communicate sensations.

Thus the problem of form arises only in the new “non-objective” art. This is why the “non-objective” arts have had to rid themselves of the contents of various ideologies and also of the entire material side of everyday life, the system of which has been developing on a basis harmful to painting. Thus, for example, the table, house, motor, wedding, marriage did not develop as a result of people’s perceiving life artistically and expressing elements of this perception, as a revelation of artistic Weltempfang, in the form of a table.

The table, in common with all objects of a technical purpose, has practical utilitarian functions, and therefore the content of such objects is functionality; and all the elements of the world’s material constitute a firm functional order.

Thus the system of artistic perception of the functional order of the object may happen not to correspond to the artistic perception of the object, as one is dealing not with the functional content of a table but with its artistic content.

The critics have regarded this trend as “abstract,” at the basis of “abstract” art, parting from practical, concrete life.

To this “non-objective” type belongs Suprematism.

From this short analysis we see that in the first two stages of revealing sensations “form” is not a problem and does not have the same importance as in the third stage and, particularly, in the “non-objective” stages.

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Lissitzky, Wolkenbügel (1924)

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El Lissitzky’s skyscrapers stood on great elevated piers above intersections of radial and ring-rods in Moscow. These piers with their open-faced lift-shafts, support the horizontally cantilevered building. Beneath them are metro stations and bus-stops. The building is supposed to be made of steel and glass, all the parts being standardized so that no scaffolding is needed for its erection.

Emil Roth, the Swiss architect, also helped in working out this design. He, as well as Mart Stam, were extraterritorial members of the Society of New Architects (ASNOVA) founded in Moscow in 1923. This society consisted mostly of architects connected with the VKhUTEMAS school in Moscow. The work of Ladovskii’s pupils from that school was published in the journal ABC.

Click any of the images below to enlarge them.

El_Lissitzky_in_Weimar1Emil Roth (left) and Mart Stam (right)

The Reconstruction of Architecture in the Soviet Union (1929)

Old cities — New buildings
The future and utopia
El Lissitzky (1929)

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The creation of an office complex that would respond to the demands of the new times within the context of the old Moscow urban fabric was the basic idea leading to the concept of the so-called “sky-hook.” Moscow is a centralized city, characterized by a number of concentric ring boulevards connected by radial main streets emanating from the Kremlin. The proposal intends to place these structures at the intersections of the radials and the boulevards, where the most intense traffic is generated. Everything delivered to the building by horizontal traffic is subsequently transported vertically by elevator and then redistributed in a horizontal direction.

Compared to the prevalent American high-rise system the innovation consists in the fact that the horizontal (the useful) is clearly separated from the vertical (the support, the necessary). This in turn allows for clarity in the interior layout, which is essential for office structures and is usually predicated by the structural system. The resulting external building volume achieves elementary diversity in all six visual directions.

The problems connected with the development of these building types, including the scientific organization of work and business, are being dealt with on an international level. In this field, as in others, reconstruction will pose new demands.

In these times we must be very objective, very practical, and totally unromantic, so that we can catch up with the rest of the world and overtake it. But we also know that even the best “business” will not of itself advance us to a higher level of culture. The next stage of cultural development will encompass all aspects of life: human productivity and creativity, the most precious faculties of man. And not in order to accumulate profits for individuals, but to produce works that belong to everybody. If we just consider all the accomplishments of our own generation, we are certainly justified in taking for granted a technology capable of solving all the tasks mentioned earlier. One of our utopian ideas is the desire to overcome the limitations of the substructure, of the earthbound. We have developed this idea in a series of proposals (sky-hooks, stadium grandstands, Paris garage).

It is the task of technology to make sure that all these elementary volumes that produce new relationships and tensions in space will be structurally safe.

The idea of the conquest of the substructure, the earthbound, can be extended even further and calls for the conquest of gravity as such. It demands floating structures, a physical-dynamic architecture.

“For Oud”

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The decantation chamber of Soviet modernism: VKhUTEMAS projects from the 1920s

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Academic Conferences in the VKhUTEMAS

Iakov A. Kornfel’d
Sovremennaia arkhitektura
No. 5-6, 1926. Pgs. 135-137

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In November each faculty in the VKhUTEMAS had a conference and set itself the following aims:

  1. to establish direct links between the school and its main “consumers,” i.e. the state economic organizations and soviet society;
  2. to sort out the faculty’s own program;
  3. to take note of practical shortcomings in their training of specialists and to discuss proposals for correcting the teaching program appropriately, and to look at the ideological make-up of their curriculum.

The conference in the Architecture Faculty took place on Thursday 18 November. The first session attracted 70 percent of those invited. VKhUTEMAS Rector P.I. Novitskii was elected chairman and spoke on the change taking place in the social context of our lives, with its requirement that we give form to the new way of life and solve architectural tasks of a vast scale in the fields of social, industrial, and housing construction.

Dean of the Architecture Faculty I.V. Rylskii then reported on the academic life of the faculty and on the structure of the curriculum. He noted that of the 70 students who have left the school in the three graduating classes completing the whole course since the Revolution, only one has remained on the unemployment list at the Labor Exchange — which shows that architects emerging from here really are being trained to meet today’s practical requirements. Continue reading →