表现主义和未来主义建筑

1、表现主义和未来主义Ludwig Mies van der Rohe Caspar David Friedrich 还记得这个房子吗？表现主义和未来主义1910年前后，视觉艺术到达了一个新的抽象的高度，拒绝艺术作为外界事物模拟态的概念。French Post-impressionist, Fauve paintingExpressionism （表现主义） in GermanyFuturism （未来主义） in Italy先锋建筑愈发接近视觉艺术的氛围，并逐级脱离其特定的建构传统表现主义和未来主义的拥趸交往甚密Der SturmExpressionist挣扎在现代的技术乌托邦和对传统的浪漫主义

2、怀旧之间Futurists完全摒弃了传统，视技术为新的大众文化的基础Expressionism1901 FranceHenri Matisse 亨利马蒂斯1911 GermanyGerman variantDie Brcke (1905, Dresden)桥社Der Blaue Reiter (1911, Munich)青骑士Der Sturm (1910, Berlin)风暴社Influenced by19世纪晚期的德国美学哲学Conrad Fiedler, Adolf Hildebrand: Sichtbarkeit (纯粹视觉理论)Robert Vischer: Einfuhlung (

3、移情)Wilhelm WorringerAusdruckewollen (表现的意志)源自Riegal的Kunstwollen (艺术的意志)古典主义的水平向度遮掩了人们欣赏哥特艺术的能力/天性we perceive the great beyondthe road that lies behind us suddenly seems small and insignificant in comparison with the infinitude that is now unfolded to our gazeDie Brckewho want freedom in our work and

4、 in our lives, independence from older, established forces Bottom left Max Pechstein; left Erich Heckel; bottom right Ernst Ludwig Kirchner;top right Karl Schmidt-RottluffDer Blaue ReiterOskar Kokoschka, Murderer, hope of Woman, 1909Expressionist architecturePermanent, Recurrent tendency in modern a

5、rchitectureHans PoelzigAmsterdam SchoolErich MendelsohnHugo Haring1914-1921，多类型的、融合政治的表现主义黄金时期Bruno TautWalter GropiusAdolf Behne绘画的表现力更加抽象、综合、结构化，并且成为一种统一的艺术形式的先驱建筑应该成为Bruno Taut师从Theodor FischerLow-cost housing within a Garden City context - colourVolkhaus人民住宅Stadtkrone城市之冠a crystal building of co

6、lored glass that would shine like a sparkling diamondBruno Taut, Glass Pavilion, Cologne Werkbund Exhibition 1914an ascent from telluric darkness to Apollonian clarityBruno Taut, Haus des Himmels, 1919Bruno Taut, Snow, Ice, Glass, from Alpine Architektur, 1919还有几点关于Bruno TautPaul Scheerbart.a univer

7、sal architecture of glass and steel.Romantic periodNovalislight and crystal symbolism Judeo-Christian, Islamic mysticismWorld CityPaul OtlerErnst Hebrard, Hendrik Andersen, 1912Hans Poelzig, Berlin Grosses Schauspielhaus, 1919 (1980s)Wassili Luckhardt, Peoples Theatre, 1921 Otto Bartning, Sternkirch

8、e, 1922 Rudolf Steiner, Goetheanum, 1924-8 Expressionism and politics无政府主义 / 支持工会AFK - Arbeitsrt fur Kunstfrom now on, the artist alone will be the modeller of the sensibilities of the volk, resposible for the visible fabric of the new stateThe Exhibition for Unknown Architects, 1919.4GropiusNovembe

9、rgruppeHermann Finsterlin, Traum aus Glas, 1920 Wenzel Hablik, Exhibition Building, 1920 Jefim Goluscheff, Little Houses with Illuminated Roofs, 1920 Expressionism and Dada达达主义和表现主义The power of intellecturalsCommunist Spartacus LeagueSocial DemocratsGerman Revolution of 1918-1919扫清一切的未来主义Fillippo To

10、mmaso Marinetti菲利波托马索马里内蒂1909The Foundation and Manifesto of Furutism未来主义的基础和宣言Le Figaro 费加罗报Henri Bergson reality as process作为过程的现实Georges Sorel spontaneous activism based on myth, violence虚幻、暴力中自发的激进主义Anarchism / Nationalism mass / elitewe should aspire to the creation of a type of man who is not

11、human, from whom will have been eliminated moral pain, goodness, and love, the passions that alone can corrode inexhaustible vital energy我们应该追求一种非人类的人类创造，他们身上已经消除了只会损坏无尽活力能量的道德伤痛、善良和爱Futurism and Cubism the dislocation and dismemberment of objects freed from accepted logic and independent from each

12、other 对象的移位和肢解摆脱了固有的逻辑，并且相互独立ConflictsCubism demand for the autonomy of artFuturism desire to fuse art and lifeThe Technical Manifesto of Futurist Painting, 1910.4未来派绘画的技术宣言Umberto BoccioniCarlo CarraLuigi RussoloGiacomo BallaGino Severinithe gesture that we would reproduce will no longer be a fixed

13、 moment in a universal dynamism, it will be the dynamism itself我们复制将不再是普遍动态中的一个确定时刻，而是那个动态本身Giacomo Balla, Dynamisme dun chien en laisse 系在皮带上的狗的动态， 1912Giacomo Balla, Flight Swallow 飞行的燕/连续的线条， 1913Giacomo Balla, Velocit Astratta e Rumore 抽象的速度和声音， 1913-4Giacomo Balla, Paesaggio e Temporale风景和暴风雨，

14、1914Umberto Boccioni, La Citt Che Sale 城市的崛起, 1910-1 Umberto Boccioni, La Strada Entra Nella Casa 回家之路, 1911 Umberto Boccioni, Dynamism of a Speeding Horse + Houses 动态雕塑, 1914-5 Technical Manifesto of Futurist Sculpture 1910 the modern city can no longer be thought of as a series of static panoramas

15、 as in the past, but as an enveloping environment in a constant state of flux Boccioni建筑的外在通过破碎来回应内部的压力 / 艺术回归世界，强化环境而非与之对立This synthesis given the tendency to render the concrete in terms of the abstract can be expressed only by precisely dimensioned geometrical forms, instead of by traditional met

16、hods (now devalued by the mechanical media) if we thus make use of mathematical objects, it is the relation between them that will provide the rhythm and the emotion.Boccioni精准维度的几何体 / 抽象的实体数理式的对象 / 韵律、节奏、情感Antonio SantElia (1888-1916)圣伊利亚Nuove Tendenze 新趋势Adolf AppiaGordon CraigNew York CityHenri S

17、auvages Maison a Gradins (巴黎阶梯公寓) in Paris, 1912Otto Wagners new transport infrastructure for ViennaWagnerschule (Austrian Academy of Fine Arts) Brera Academy Giuseppe Mentessi Baroque theatre / scena per angolo 斜透视Tradition of Piranesi and Bibienas 全景画家Both movements, whatever their other differenc

18、es, reject the Enlightenment tradition of reason and stressed the importance of myth and instinct in the social life of nations;这两个运动，无论差异如何，都通过强调国家社会生活中的神话和直觉感受，来抵抗启蒙运动的理性传统；They denounced a rationalistic civilization which they believed had sown discord in a previously unified and organic society;它们都谴责理性文明制造了先前统一有机社会中的不协调；They espoused a set of ideas anti materialist, anti liberal democratic and anti Marxist which became increasingly influential in the countries of western Europe in the years leading up to the First