Foreign students pay double fees. Craft training forms the basis of all teaching at the Bauhaus. Every student Address enquiries to the Secretariat of the Staat! April 19! This coincidence of the volition behind them will find expression in the resulling work and will bring all the arts back into a unity. The and faith of a single individual, will one day become a law for all.
Jth slides which Mendelsohn de! The lecture pre. Naturally, this era will not be brought into being by social classes in the grip The simultaneous process of revolutionary political decisions and radical of tradition.
This does not mean that I am handing o. For internationalism means an aesthel! Such a great will unites all those who are engaged in the work. When we consider as yet unknown possibililies, we must not let ourselves It comes into being, it awakens an adequate religious faith only after the be misled by that dulling of vision which comes from too close a viewpoint.
That which seems today lo be flowing with viscous slowness will later appear Here we can do no m! Jte than oontribute the modest measure of our own to history as having moved at a breakneck and thrilling speed. We are dealing work, in faith and in a willingness to serve.
Before such a future the great achievements of historical times step back of their own accord; the immediacy of the present loses its im portanee. What will happen has value iy if it comes into being in the intoxication of vision.
Criticism bears fruit only if it can embrace the whole problem. Tutelage fails, because the future speaks for itself. In this, up to the present, three paths may be distinguished, which, though fundamentally different, follow parallel courses towards the same goal and nevertheless will one day cross. The brothers Gaboand Pevsner, both sculptors. November Group.
But Taut and Behr,e kept together their an:hitect fdefld"S. These mate: rials a. TCie text cep-rodui:. We reject the dosed spatial circumference as the plastic expression of the Hopp! My sweet little horsey! We assert that space can only be modelled from within Hopp! Where do you want to go? Over that high wa 11? Well really I don't know! We reject the closed mass as an exclusive element for the building up of Hopp!
Where - do you - want - to go? In opposition to it we set the demand that plastic bodies shall be constructed stereometrically. We reject de. We demand that the concrete material shall be employed as a furrowers, the eternally serious, the sweet-sour ones, the forever important! We reject the decorative line. We demand of every line in the work of art Smash the shell-lime Doric, Ionic and Corinthian columns, demolish the pin- that it shall serve solely to define the inner directions of force in the body to be heads!
We are no longer content with the static elements of form in plastic art. We 'Oh, our concepts: space, home, style l' Ugh, how these concepts stmk! Let nothing remain! Chase away their must be employed in plastic art, in order to make possible the use of kinetic schools, let the professorial wigs fly, we'll play catch with them. Blast, blast! Let the dusty, matted, gummed up world of concepts, ideologies and syste. Qeath to everythmg stuffy! Death to everything called title, dignity, a11thority!
Down with every- thing serious! Down with all camels that won't go through the eye of a needle, with all worshippers of Mammon and Moloch! Jn the distance shines our tomorrow. Hurray, three times hurray for onr B. Hurray for the transparent,! Hurray for Le Corbusier: purity! Hurray for crystal! Hurray and again hurray for the fluid, the graceful, the angular, the sparkling, the Hashing, the light - hurray for everlasting Towards a new architecture: guiding principles architecture!
He ach1eves harmony. Three reminders to architects Moss Our eyes are constructed to enable us to see forms in light. Primary forms are beautiful forms because they can be clearly appreciated. Architects today no longer achieve these simple forms. Surface A mass is enveloped in its surface, a surface which is divided up areording to the directing and generating lines of the mass; and this gives the mass its individuality. Architects today are afraid of the geometrical constituents of surfaces.
The great problems of modern construction must have a geometrical solution. They create limpid and moving plastic facts. Architecture operates in accordance with standards. Standards are a matter of logic, analysis, and minute study; they are based on Plan a problem which has been well 'stated'. A standard is definitely established by The Plan is the generator. Without a plan, you have lack of order and wilfulness. I of raw materials. Architecture goes beyond utilitarian needs.
An inevitable element of Architecture. The spirit of order, a unity of intention. The necessity for order. The regulating line is a guarantee agai1lst wilfulness. The sense of relationships; architecture deals with quantities. It brings satisfaction to the understanding. Passion csn create drama out of inert stone.
The regulating line is a means to an end; it is not a recipe. Its choice and the modalities of expression given to it are an integral par! The Plan proceeds from within to without; the exterior is the result of an interior. Arrangement is the gradation of aims, the classification of intentions. Liners Man looks at the creation of architecture with his eyes, whieh are 5 feet A great epoch has begun.
One ean only deal with aims which the eye can There exists a new spirit. The 'styles' are a lie. Style is a unity of principle animating all the work of an epoch, the result of a Pure creation of the mirrd state of mind which has its own special character.
Contour and profile are the touchstone of the architect. Our own epoch is determining, day by day, its own style. Here he reveals himself as artist or mere engineer.
Our eyes, unhappily, are unable yet to discern it. Contour is free of all constraint. There is here no longer any question of custom, nor of tradition, nor of con- Aerapfarres struction nor of adaptation lo utilitarian needs. The aeroplane is the product of dose selection. Contour and profile are a pure creation of the mind; they call for the plastic The lesson of the aeroplane lies in the logie which governed the statement of artist.
The problem of the house has not yet been slated. Mass-prodnctfon lmuses Nevertheless there do exist staudards for the dwe! A great epoch has begun. Machinery contains in itself the factor of economy, which makes for selection.
There exists a new spirit. The house is a machine for living in. Industry, overwhelming us like a flood which rolls on towards its destined ends, has furnished us with new tools adapted to this new epoch, animated by Automobiles! The problem of the house is a problem of the epoch. Arch itect:ire has for its first duty, in this period Bruno Taut: of renewal, that of bnnging about a rev1s1on of values, a revision of the con- Friihlicht Daybreak stituent elements of the house.
Mass-production is based on analysis and experiment. Industry on the grand scale must occupy itself with building and establish the in Ju iy 8 ru no Taut had to end the first se6es of his. Ct'iai r. The spirit of living in mass-production houses. Once again Taut prefa-ted the frrst pub-lication v'ith a piece of-ex-pressi'. But in the er.
And nevi n. In bui! In Oe Sr. The end of exhibitions. Instead: demonstration rooms for total works. An International exchange of ideas concerning creative problems. J, The development of a universal means of creation for all arts. An end to the division between art and life. Art becomes life. An end to the division between artist and man. Collective building rt;eans: constructive. Therefore emotion. Theo van Ooesb-urg and Corvan Eeste rer..
The separated. Hence th-e term art has become urrusable. We are seeking an word 'art' no longer means anything to us. These laws, Jinked with those of economics mathematics, technology, hygiene, etc. Jn orde; I. Jn close co-operation we have examined architecture as a plastic unit made that the interrelationships of these reciprocal laws may be dcfi ned, the laws up of ind us try and technology and have estahl ished that a new sty le has themselves must first he established and understood.
Up to now the field of human creativity and the Jaws governing its constructions have never been emerged as a result.
They exist as facts and can be elucidated tial contrasts, spatial dissonances, spatial supplementations and have only hy collective work and hy experience. The new spm t which already governs almost all modern Ii fe is unity. We have examined the laws of colonr in space and time and have es tab- complicated hair-styles and elaborate cooking. If we discover the same qualities in different things, we have positive unity. For example, one of the basic laws is that the modern IV. By hrea king up enclosing elements walls, etc.
The time of destruction is at an end. A new age is dawning: the age of construction. Because of the statemen. The precaution was f:n vain, Severa! The Staatliches Bauhaus in Weimar is the first and so far the only government schoo1 in the Reich - if not in the world - which calls upon the crea live forces of the fine arts to become influential while they are vital.
At the same time it endeavours, through the establishment of workshops founded upon the crafts, to unite and productively stimulate the arts with the aim of combining them in architecture. The concept of building will restore the unity that perished in debased academicism and in finicky handicraft. It must reinstate the broad relationship with the 'whole' and, in the deepest sense, make possible the total work of art. The ideal is old, but its rendering always new: the fulfilment is the style, and never was the 'will-to-style' more powerful than today.
But confusion about concepts and attitudes caused the conflict and dispute over the nature of th is style which will emerge as the 'new beauty' from the clash of ideas. Such a school, animating and inwardly animated, unintentionally becomes the gauge for the convulsions of the political and intellectual life of the time, and the history of the Bau ha us becomes the history of contemporary art.
The Staatliches Bau ha us, founded after the catastrophe of the war in the chaos of the revolution and in the era of the tloweri ng of an emotion-laden, explosive art, becomes the rallying-point of all those who, with belief in the future and with sky-storming enthusiasm, wish to build the 'cathedral of Socialism'.
The misery of the ti me was also a spiritual anguish. A cult of the unconscious and of the unexplainable, a propensity for mysticism and sectarianism, originated in the quest for those highest things wh icb are in danger of being deprived of their meaning in a world full of doubt and dis- ruption.
Breaking the limitations of classical aesthetics reinforced boundless- ness offeeli ng, which found nourishment and verification in the discovery of the East and the art of the Negro, peasants, child reo, and the insane. The origin of artistic ere a tion was as much sought after as its limits were courageously extended. Americanisms trans. I programme foHov. A p'Llre relationship b-et Velocity of rigid matter, dematerialization of matter, organiza. Based 1 Essential criterion for modern, creative people: on the laws of nature, these are the achievements of mind in the conquest of l The capacity to think andfashion elementally.
The school for the new creation of form is: to elucidate the elements of speed and supertension of commercialism make expediency and utility the! And: to live the modern measure of all effectiveness, and calculation seizes the transcendent world: art j world-view in its most extreme implications. Art, long bereft of its name, lives a life after death, in the! Now the new generation of engineers is growing up! Religion is the precise' l This means: first the perfection - then the end of mechamst1c tec.
Necessary consequences of this c! The idea of the mean, far from mediocrity and t In a few years, the new elementally trained generat10n of engmcers. Above and beyond this, an immense, far more magnificent field, whose first Jn balancing the polar contrasts loving the remotest past as well as the 1 , outlines are already emerging in science and art, will open up to the leaders remotest future; averting reaction as much as anarchism; advancing from the I among the new creators.
Then the capacity to treat every fresh demand to the valid and secure we become the bearers of responsibility and the! An idealism of activity that embraces, penetrates, and i part of man's flesh and blood. The new, more splendid technology of tensions, of invisible movements, of work will construct the 'art-edifice' of Man, which is but an allegory of the! Today we can do no more than ponder the total plan, lay the l into being, uninfluenced by the methods of mechanistic technology Long lfre elemental creatmty!
But We exist! The child learns to telephone; numbers have lost their magmtude; distances A! An fss ue devoted to his: work Technology is handicraft. The laboratory JS a workplace.
Oud and members of the Rotterdam De Stijl group. To work, construct, re-calculate the Earth! But form the wodd! From primal states he deduces the laws determining interactions. His reality, elevate its functions to dynamic supra-sensuahty. The as the machine, clear and bold as construction. But do not forget that ator. The machine, till now the pliable too!
We ovle its existence totality of the phenomena of the age. It is just as bound to the relativity of its neither to the whim of an unknown donor nor to the joy in invention of a facts as present and future are to the relativity of history. Thus it becomes ho th a symbol of intensified decay and an element in a Ii fe that is ordering itself anew. Now that we have discovered its forces we apparently dominate nature.
In reality we merely serve it with new means. We have apparently freed ourselves from the law of gravity. Jn truth we merely comprehend its logic with new senses. The precision of its revolutions, the harsh sound of its course, imp el us to fresh clarity, the metallic gleam of its material thrusts us into a fresh light. A new rhythm is taking possession of the world, a new movement. Modern man, amidst the excited flurry of his fast-moving life, can find equilibrium only in the tension-free horizontal.
Only by means of his will to reality can he become master of his unrest, only by moving at maximum speed will he overcome his haste. For the rotating earth stands still! A construction of girders that carry the weight, and walls that carry no weight.
That is to say, buildings Mi-cs. Chapelfe, d. Chkago , Graeff, a. Architecture is the will of the age conceived in spat ia! Not yesterday, not tom or row, only today can be given form. Create form out of the nature of the task with the means of our time. Th is is our work. Bright, wide workrooms, easy to oversee, undivided except as the organism of the undertaking is divided. The maximum effect with the mini mum expenditure of means.
The materials are concrete iron glass. Arthur Korn b. Construction, however, is attained only through analysis. The Jllachine des! In J92'3 he l'Ianing, boring? And 1fI wish to produce a boring action, I need the rotating designed a business centre for Haifa that won second prize i.
He first analyses and then constructs. Munfch 1' In ArthJJr Korn D'ecam-e 'fhe architect also begins with an analysis of the building programme, the s-ei::retary of the November Group. The following essay. He discovers parts, rooms, cells. He discovers the primal cell that is peculiar to every organism, every house A. Tendency to organization - music, towards and every town and to it alone, and that stamps all its forms.
Embrace and dissol11tio Air sinks down between them iis apertures. Thus he analyses every factor that plays a part. Air has streamed into them and makes them firm and And only then does he build up the construction. Interlocking of the material body and the spherical air space above it. Rearing up. Circling round. Like us pressed ' produce new air planes. Arms, stretched out from the centre into the air, and down, jumped up.
Fiery sign. For what turns reality into a work of art is the fiery sign. Burning cities. Analytical building, utilizing the ultimate secrets of the material. Burning landscapes. It is the basis - no less, and uo more. Architecture as royal leader. All materials have been given into its band: iron, But then it is a matier of art to create the total work in a completely original steel and glass, wood and porcelain, fabric and paper.
It develops a feeling way, as though it had just come into the world. Furnitnre A mystical happening according to unknown, unconscious laws and yet a bursts forth from germinating walls, and the reed huts of the natives have Jong concrete event, which mysteriously recreates the first rational procedure in a ago grown up into fantastic grass towers.
Inconspicuously collective. The symbol and the fiery sign in us is as concrete as the analytical con- But the impersonal utilitarian building is only habitable if behind the satisfied struction.
And not only in me. The conflict between the machine-man and the need there stands the symbolic art form that feels the organism and asks: anarchistic-artistic man, between the collective and the individual personality Upon what points of support, what outer surfaces does the building stand?
How does the colour stand or move 1 How does the building relate lo the close and distant environment, lo the atmos- phere? How do the individual rooms relate collectively?
It has overcome the Towards a plastic architecture opening in the wall. With its openness the window plays an active role in opposition lo the closedness of the wall surface. Nowhere does an opening or. Compare the various counte«constructions in which the elements that archi- tecture consists of surface, line, and mass are placed without constraint in a three-dimensional relationship.
The new architecture has opened the walls and so done away with the separation of inside and outside. The walls themselves no longer support; they merely provide supporting points.
The result is a new, open ground-plan entirely different from the classical one, since inside and outside now pass over into one another. Elimination of all concept of form. I 9, The new architecture is open. The whole structure consists of a space that is divided in accordance with the various functional demands.
This division is stead of using earlier styles as models and imitating them, the problem 0 f'l carried out by means of dMdittg surfaces in the interior or protective surfaces architecture must be posed entirely afresh. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page.
Michael Bullock Translator. The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art.
Nearly every important development in the modern architectural movement began with the proclamation of these convictions in the form of a program or manifesto. The most influential of these a The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art.
The most influential of these are collected here in chronological order from to Taken together, they constitute a subjective history of modern architecture; compared with one another, their great diversity of style reveals in many cases the basic differences of attitude and temperament that produced a corresponding divergence in architectural style. In point of view, the book covers the aesthetic spectrum from right to left; from programs that rigidly generate designs down to the smallest detail to revolutionary manifestoes that call for anarchy in building form and town plan.
The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in ; Towards a New Architecture, Guiding Principles by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R.
Buckminster Fuller on universal architecture and the architect as world planner. Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted. Get A Copy. Paperback , pages. More Details Original Title. Other Editions 8. Friend Reviews. To see what your friends thought of this book, please sign up.
To ask other readers questions about Programs and Manifestoes on 20th-Century Architecture , please sign up. Be the first to ask a question about Programs and Manifestoes on 20th-Century Architecture.
Lists with This Book. Community Reviews. Author : R. In: Conrads U. Programs and Manifestoes on 20th Century Architecture. Cambridge: MIT Press; Collins P. Changing Ideals in Modern Architecture, — The documents, placed in context by the editor, are also international in their range: among them are the seminal and prophetic statements of Henry van de Velde, Adolf Loos, and Bruno Taut from the early years of the century; Frank Lloyd Wright's annunciation of Organic Architecture; Gropius's original program for the Bauhaus, founded in Weimar in ; "Towards a New Architecture, Guiding Principles" by Le Corbusier; the formulation by Naum Gabo and Antoine Pevsner of the basic principles of Constructivism; and articles by R.
Buckminster Fuller on universal architecture and the architect as world planner. Since the dramatic effectiveness of the manifesto form is usually heightened by brevity and conciseness, it has been possible to reproduce most of the documents in their entirety; only a few have been excerpted. Search Search.
0コメント