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Manufacturing a Socialist Modernity is a comprehensive history of architectural practice of the emergence of prefabricated housing in the Eastern Bloc. Through discussions of individual architects and projects, as well as building typologies, professional associations, and institutional organization, it opens a window into the cultural and economic life of Eastern Europe(...)
Manufacturing a socialist modernity: Housing in Czechoslovakia, 1945-1960
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Manufacturing a Socialist Modernity is a comprehensive history of architectural practice of the emergence of prefabricated housing in the Eastern Bloc. Through discussions of individual architects and projects, as well as building typologies, professional associations, and institutional organization, it opens a window into the cultural and economic life of Eastern Europe during the early postwar period.
Modernisme
Bauhaus 1919-1933
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Le musée du design Bauhaus Archiv de Berlin abrite la plus importante collection actuelle consacrée au Bauhaus. Cette collection très complète comprend aussi bien des documents ou des productions de l'atelier dans tous les domaines du design, que des dessins d'études faits en classe ou des plans et maquettes d'architecture. Le Bauhaus Archiv est dédié à la présentation et(...)
Bauhaus 1919-1933
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Le musée du design Bauhaus Archiv de Berlin abrite la plus importante collection actuelle consacrée au Bauhaus. Cette collection très complète comprend aussi bien des documents ou des productions de l'atelier dans tous les domaines du design, que des dessins d'études faits en classe ou des plans et maquettes d'architecture. Le Bauhaus Archiv est dédié à la présentation et à l'étude de l'histoire du Bauhaus qui comprend également le nouveau Bauhaus de Chicago et la Hochschule für Gestatltung (Institut de design) d'Ulm. Ce livre, élaboré à partir de l'immense collection du musée, retrace l'histoire de ce mouvement incontournable dans les domaines de l'art et de l'architecture à travers les réalisations de ses plus grands représentants, dont Walter Gropius, Marcel Breuer, Wassily Kandinsky et Paul Klee.
Modernisme
Vhutemas: Moscou 1920-1930
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Créées en 1920 au lendemain de la Révolution d’Octobre, les Vhutemas – Ateliers Supérieurs d’Art et de Technique - étaient composés de huit facultés : trois dites des beaux-arts (peinture, sculpture et architecture) et cinq dites industrielles ou de production (travail du bois, du métal, textile, céramique et arts graphiques). Souvent citée par les historiens du Mouvement(...)
Vhutemas: Moscou 1920-1930
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Créées en 1920 au lendemain de la Révolution d’Octobre, les Vhutemas – Ateliers Supérieurs d’Art et de Technique - étaient composés de huit facultés : trois dites des beaux-arts (peinture, sculpture et architecture) et cinq dites industrielles ou de production (travail du bois, du métal, textile, céramique et arts graphiques). Souvent citée par les historiens du Mouvement Moderne et comparée à juste titre à celle du Bauhaus allemand, l’histoire des Vhutemas reste malgré tout mal connue. L’enseignement qui y fut dispensé, la personnalité vitalité du patrimoine artistique légué par les Vhutemas, en font un des fleurons de l’histoire de l’art mondial.
Modernisme
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde(...)
Avant-garde as method: Vkhutemas and the pedagogy of space 1920-1930
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Throughout the 1920s and ’30s, the Higher Art and Technical Studios in Moscow, more commonly known as Vkhutemas, adopted what it called the ''objective method'' to facilitate instruction on a mass scale. The school was the first to implement mass art and technology education, which was seen as essential to the Soviet Union’s dominant modernist paradigm. With ''Avant-Garde as method,'' architect and historian Anna Bokov explores the nature of art and technology education in the Soviet Union. The pedagogical program at Vkhutemas, she shows, combined longstanding academic ideas and practices with more nascent industrial era ones to initiate a new type of pedagogy that took an explorative approach and drew its strength from continuous feedback and exchange between students and educators. Elaborating on the ways the Vkhutemas curriculum challenged established canons of academic tradition by replacing it with open-ended inquiry, Bokov then shows how this came to be articulated in architectural and urban projects within the school’s advanced studios.
Modernisme
Bauhaus gals
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À travers plus de 400 photographies prises entre 1919 et 1933, 'Bauhausmädels' forme une galerie de 87 portraits en images de ces femmes artistes qui, appartenant à l’école d’art la plus progressive du XXe siècle, s’en sont écartées pour changer le milieu de l’art, de l’architecture, du design et même de la politique. Des biographies détaillées mettent en lumière le(...)
Bauhaus gals
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À travers plus de 400 photographies prises entre 1919 et 1933, 'Bauhausmädels' forme une galerie de 87 portraits en images de ces femmes artistes qui, appartenant à l’école d’art la plus progressive du XXe siècle, s’en sont écartées pour changer le milieu de l’art, de l’architecture, du design et même de la politique. Des biographies détaillées mettent en lumière le combat individuel, la détermination face à l’adversité et l’incroyable réussite de chaque artiste. Cet album de famille nous fait alors découvrir un groupe d’avant-gardistes unique, dont l’héritage a ouvert la voie aux femmes artistes des générations suivantes.
Modernisme
Bauhaus Journal 1926-1931
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One hundred years after the founding of the Bauhaus, it’s time to revisit Bauhaus, the school’s journal, as a crucial testimony of this iconic moment in the history of modern art.
Bauhaus Journal 1926-1931
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One hundred years after the founding of the Bauhaus, it’s time to revisit Bauhaus, the school’s journal, as a crucial testimony of this iconic moment in the history of modern art.
Modernisme
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When the Bauhaus moved to Dessau in 1924, it was finally possible to publish the first of the ''Bauhausbücher'' that Walter Gropius (1883–1969) and László Moholy-Nagy (1895–1946) had first conceived of in Weimar. The series was intended to give insight into the teachings of the Bauhaus and the possibilities it offered for incorporating modern design into everyday aspects(...)
Walter Gropius: international architecture, Bauhausbücher 1
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When the Bauhaus moved to Dessau in 1924, it was finally possible to publish the first of the ''Bauhausbücher'' that Walter Gropius (1883–1969) and László Moholy-Nagy (1895–1946) had first conceived of in Weimar. The series was intended to give insight into the teachings of the Bauhaus and the possibilities it offered for incorporating modern design into everyday aspects of an ever-more-modern world.
Modernisme
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Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school- and, with the second volume in the Bauhausbücher series, beyond its walls. In his legendary ''Pedagogical Sketchbook,'' Klee presents his theoretical approach to drawing(...)
Paul Klee: Pedagogical sketchbook. Bauhausbücher 2
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Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school- and, with the second volume in the Bauhausbücher series, beyond its walls. In his legendary ''Pedagogical Sketchbook,'' Klee presents his theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee's text expresses key aspects of the Bauhaus' pedagogy and guiding philosophies.
Modernisme
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Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. It is therefore not(...)
Piet Mondrian: New design. Bauhausbücher 5
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Although Piet Mondrian (1872–1944) was not an active member of the Bauhaus, his name is often mentioned in connection with the art school. Mondrian, cofounder of the De Stijl movement in the Netherlands, called for a strict reduction of visual language to orthogonal composition and primary colors, which met with great approval in Bauhaus circles. It is therefore not surprising that Mondrian’s essays on art theory, most of them written for the De Stijl journal, were translated into German and published as number five in the Bauhausbücher series. “New Design” starts with a philosophical foray into art, which Mondrian describes as a figurative expression of human existence—an expression which will find its natural conclusion in his own concept of a “New Design.” Mondrian then considers the relationship between painting and architecture and dares to take a far-reaching look at the future of Neoplasticism, which he imagines revolutionizing design and architecture around the world.
Modernisme
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Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895–1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the “Bauhausbücher” series. In addition to designing and editing the “Bauhausbücher”, Moholy-Nagy produced a title of his(...)
László Moholy-Nagy: Painting, photography, film. Bauhausbücher 8
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Offered a position at the Weimar Bauhaus in 1923, László Moholy-Nagy (1895–1946) soon belonged to the inner circle of Bauhaus masters. When the school moved to Dessau, Moholy-Nagy and Walter Gropius began a fruitful collaboration as joint publishers of the “Bauhausbücher” series. In addition to designing and editing the “Bauhausbücher”, Moholy-Nagy produced a title of his own: the legendary “Painting, Photography, Film”. In this book, Moholy-Nagy’s efforts to have photography and filmmaking recognized as art forms on the same level as painting are propounded and explained at length. The artist makes the case for a radical rethinking of the visual arts and the further development of photographic design to keep pace with a radically changing technological modernity.
Modernisme