包豪斯与魏玛时期的德国现代主义建筑课件

BauhausandGermanModernArchitectureMovement包豪斯与德国现代建筑运动LectureSeries,ThoughtsofModernArchitecture

当代西方建筑思潮系列讲座October,2012

BauhausandGermanModernArch1TheDeutscherWerkbund(WorkFederation)德国制造联盟Chieforganizationofartisticandculturalreformatthebeginningofthe20thcenturyinGermany德国20世纪初艺术和文化改革的主要组织FoundedinMunichin1907,WorkFederationwasaimedtoacceleratetheintegrationofartandindustryatanationallevelandithadtheorientationtowardshigh-qualitygoodsformassconsumption.建立制造商与设计者之间的合作FriedrichNaumann:“Manypeopledonothavethemoneytohireartists,and,consequently,manyproductsaregoingtobemassproduced;forthisgreatproblem,theonlysolutionistoinfusemass-productionwithmeaningandspiritbyartisticmeans.”将艺术特点注入大工业生产的产品中

DeutscherWerkbund,1907TheDeutscherWerkbund(Work2PeterBehrens(1868-1940)Enoblingeffectofartontechnology

Behrens:‘architectureofthemachineageshouldbebasedonclassicism–thatinanageofspeedtheonlyappropriatebuildingswouldbethosewithformsasdistinctaspossible,withquiet,flushsurfaces.’

PeterBehrensTheDeutscherWerkbund(WorkFederation)德国制造联盟PeterBehrens(1868-1940)Pete3AEGTurbineFactory,1908TheDeutscherWerkbund(WorkFederation)德国制造联盟BehrensalsoworkedforAEG,designingconsumerproducts,standardizedparts,company'sgraphics,andaconsistentcorporateidentity.AEGTurbineFactory,1908TheD4WalterGropius(1883-1969)GropiussharedwithMuthesiusandBehrensthatmachinecouldbespiritualizedbymeansofartHowever,GropiusrejectedMuthesius’ideaofcontrollingartisticconceptualizationbybureaucracyandbigbusiness.DifferentfromBehrens,Gropiusthoughtthatartandpragmatismcoexistedandtherewasnocontradictionbetweentypeandthecontinuingroleoftheindividualartist-architect.艺术和实用主义共存TheDeutscherWerkbund(WorkFederation)德国制造联盟WalterGropius(1883-1969)Th5Withemphasizingtranscendentqualityofmaterials,

FagusfactorywasadramaticdeparturefromthevisuallanguageofBehrens,whichemphasizedtheformalityandsymbolism.Classicismisabstracthere,whichisgeometry.材料的表现力Radicallysimplifiedforms,therationalityandfunctionality,andtheideathatmass-productionwascombinedwiththeindividualartisticspirit.ThesecanbeseenaspropheticofNewObjectiveModernMovementinthe1920sGermany.FagusFactory,1911TheDeutscherWerkbund(WorkFederation)德国制造联盟FagusFactory,1911Withemphasizingtranscendent6WeimarRepublic(1919-1933)魏玛共和国LiberalDemocraticConstitution

InGermany,asinFrance,therewasa‘returntoorder’aftertheFirstWorldWar,thoughitwasdelayedbypoliticalandeconomiccrisis.WhereasinFrancethereturntoordercouldbeseenasre-affirminganestablishedandtriumphantnationaltradition,inGermany,defeatedinthewar,itimpliedaradicalbreakwiththenationalpastandasearchforalternativeprinciples.与过去决裂，追求新的事物SocietyandpoliticsinGermanybetweenWWIandWWII二战前德国社会与政治状况WeimarRepublic(1919-1933)魏玛7GlassPavilion,1914GermanExpressionism德国表现主义Thestylewascharacterisedbyanearly-modernistadoptionofnovelmaterials,formalinnovation,andveryunusualmassing,sometimesinspiredbynaturalbiomorphicforms,sometimesbythenewtechnicalpossibilitiesofferedbythemassproductionofbrick,steelandespeciallyglass.ManyexpressionistarchitectsfoughtinWorldWarIandtheirexperiences,combinedwiththepoliticalturmoilandsocialupheaval,resultedinautopianoutlookandaromanticsocialistagenda.Expressionistarchitecturewasindividualisticandinmanywayseschewedaestheticdogma.反美学教条、对新材料和形式夸张运用GlassPavilion,1914GermanExp8MonumenttotheMarchDead,1921EinsteinTower,1919-22GermanExpressionism德国表现主义

MonumenttotheMarchDead,19IntheearlyyearsoftheSovietUnion,RussianandSovietartistsembracedawidevarietyofartforms.Revolutionarypoliticsandradicalnon-traditionalartformswereseenascomplementary.Inart,constructivismflourished.Inpoetry,thenontraditionalandtheavant-gardewereoftenpraised.ConstructivismwasanartisticandarchitecturalmovementthatoriginatedinRussiafrom1919onwardwhichrejectedtheideaof“artforart'ssake"infavourofartasapracticedirectedtowardssocialpurposes.TatlinTower,1914InfluencesfromConstructivistMovement俄国结构主义运动IntheearlyyearsoftheSovi10InfluencesfromConstructivistMovement俄国结构主义运动Worker’sClub,1927Duringtheearly1920s,therewasconsiderableculturalexchangebetweenGermanyandSovietRussia.1922,ExhibitionofSovietArt1922,ConstructivistCongressinWeimarInfluencesfromConstructivist11ExpressioniststartWhenGropiuswasappointedtosucceedHenryvandeVeldeasdirectoroftheAcademyofFineArtatWeimarin1919,hewasgiventhetaskofcreatinganewSchoolofArchitectureandAppliedArt.Hebelievedthatartisticculturewasthreatenedbythematerialismofindustrialcapitalismandcouldonlybesavedbyaspiritualrevolution.BauhausManifestoof1919:‘Letusconceiveanewbuildingofthefuture…architecture,painting,andsculpturerisingtoHeavenoutofhandsofamillioncraftsman.’BauhausManifesto,1919Bauhaus包豪斯ExpressioniststartBauhausMan12Changesbetween1919-1923BauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Bauha13Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesIttenBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan14Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan15Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan16Changesbetween1919-1923Moholy-Nagy,HeadofPreliminaryCourse,1922-IncontrasttoItten,Moholy-NagyintroducedanobjectiveConstructivistapproach,involvingthemanipulationofindustrialmaterials.László

Moholy-NagyBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Lászl17“Moholy-Nagy’scoursewasaimedatthedevelopmentofanew,contemporaryvisualidiom..ledfromanemphasisonpersonalexpressiontoamorerational,economic,andstructuraluseofmaterialitself,inpictorialterms”Moholy-NagybelievedintheassociationbetweenmachinesandPlatonicforms.László

Moholy-Nagy’spaintingBauhausinWeimar魏玛时期的包豪斯“Moholy-Nagy’scoursewasaime18“TotalWorkofArt”:Allkindsofart,includingarchitecturewouldcometogether完整的艺术，包括建筑、设计、手工艺、绘画、雕刻Gropius:Theunionofartandtechnology格罗皮乌斯：艺术与技术的融合“TheBauhausworkshopsareessentiallylaboratoriesinwhichprototypesofproductssuitableformassproductionandtypicalofourtimearecarefullydevelopedandimproved.”1923BauhausExhibitionBauhausinWeimar魏玛时期的包豪斯“TotalWorkofArt”:Bauhausin19BauhausSchoolBuildinginDessau，1926-DynamicfunctionalmannerBauhausinDessau德绍时期的包豪斯BauhausSchoolBuildinginDes20BauhausinDessau德绍时期的包豪斯BauhausinDessau21BauhausinDessau德绍时期的包豪斯ImplementationoftheBauhausIdiom包豪斯理念的实现Commerciallysuccessfuldesigns商业上非常成功的设计，涵盖家具、灯具、茶具、建筑等BauhausinDessauImplementatio22WeissenhofEstate,1927

HousingprojectsinGermany同时期的住宅实践DeutscherWerkbund(WorkFederation)exhibition,1927WeissenhofEstate,1927Housin23GroßsiedlungSiemensstadtRingsiedlung,1929-34WohnstadtCarlLegien,1928-30HousingprojectsinGermany同时期的住宅建设Theestatesalsoprovideexceptionalexamplesofnewurbanandarchitecturaltypologies,featuringfreshdesignsolutions,aswellastechnicalandaestheticinnovations.BrunoTaut,MartinWagnerandWalterGropiuswereamongtheleadingarchitectsoftheseprojectswhichexercisedconsiderableinfluenceonthedevelopmentofhousingaroundtheworld.GroßsiedlungSiemensstadtRing24SiedlungSchillerpark,1924-30HorseshoeEstate,1925-30HousingprojectsinGermany同时期的住宅实践Thepropertiesareoutstandingexamplesofthebuildingreformmovementthatcontributedtoimprovinghousingandlivingconditionsforpeoplewithlowincomesthroughnovelapproachestotownplanning,architectureandgardendesign.SiedlungSchillerpark,1924-3025HousingprojectsinGermany同时期的住宅建设HousingprojectsinGermany26Functionalistsvs.Rationalists功能主义与理性主义FunctionalistsVSRationalistsAdolfBehne DerModerneZweckbau ex-expressionistVanDoseburg HetBouwbedriffFunctionalistsvs.Rationalist27Functionalistsvs.Rationalists功能主义与理性主义Functionalistsvs.Rationalist28Functionalistsvs.Rationalists功能主义与理性主义Functionalistsvs.Rationalist29Functionalistsvs.Rationalists功能主义与理性主义Functionalistsvs.Rationalist30LudwigMiesvanderRohe密斯MiesvanderRohewasthelastdirectorofBauhausSchooluntilNazisseizedpowerinGermany.Hewassettingthetuneofpracticeofmodernarchitectureinaestheticsininter-warGermanyandspreadhisinfluenceacrosstheAtlantictoAmericaandbeyond.LudwigMiesvanderRoheMiesv31LudwigMiesvanderRohe密斯MiesvanderRohewasthelastdirectorofBauhausSchooluntilNazisseizedpowerinGermany.Hewassettingthetuneofpracticeofmodernarchitectureinaestheticsininter-warGermanyandspreadhisinfluenceacrosstheAtlantictoAmericaandbeyond.LudwigMiesvanderRoheMiesv32LudwigMiesvanderRohe密斯SpiritualizationoftechnologyLudwigMiesvanderRoheSpirit33LudwigMiesvanderRohe密斯SpiritualizationoftechnologyLudwigMiesvanderRoheSpirit34LudwigMiesvanderRohe密斯LudwigMiesvanderRohe35LudwigMiesvanderRohe密斯LudwigMiesvanderRohe36LudwigMiesvanderRohe密斯LudwigMiesvanderRohe37LudwigMiesvanderRohe密斯LudwigMiesvanderRohe38LudwigMiesvanderRohe密斯SpiritualizationoftechnologyLudwigMiesvanderRoheSpirit39LudwigMiesvanderRohe密斯SpiritualizationoftechnologyLudwigMiesvanderRoheSpirit40BauhausandGermanModernArchitectureMovement包豪斯与德国现代建筑运动LectureSeries,ThoughtsofModernArchitecture

当代西方建筑思潮系列讲座October,2012

BauhausandGermanModernArch41TheDeutscherWerkbund(WorkFederation)德国制造联盟Chieforganizationofartisticandculturalreformatthebeginningofthe20thcenturyinGermany德国20世纪初艺术和文化改革的主要组织FoundedinMunichin1907,WorkFederationwasaimedtoacceleratetheintegrationofartandindustryatanationallevelandithadtheorientationtowardshigh-qualitygoodsformassconsumption.建立制造商与设计者之间的合作FriedrichNaumann:“Manypeopledonothavethemoneytohireartists,and,consequently,manyproductsaregoingtobemassproduced;forthisgreatproblem,theonlysolutionistoinfusemass-productionwithmeaningandspiritbyartisticmeans.”将艺术特点注入大工业生产的产品中

DeutscherWerkbund,1907TheDeutscherWerkbund(Work42PeterBehrens(1868-1940)Enoblingeffectofartontechnology

Behrens:‘architectureofthemachineageshouldbebasedonclassicism–thatinanageofspeedtheonlyappropriatebuildingswouldbethosewithformsasdistinctaspossible,withquiet,flushsurfaces.’

PeterBehrensTheDeutscherWerkbund(WorkFederation)德国制造联盟PeterBehrens(1868-1940)Pete43AEGTurbineFactory,1908TheDeutscherWerkbund(WorkFederation)德国制造联盟BehrensalsoworkedforAEG,designingconsumerproducts,standardizedparts,company'sgraphics,andaconsistentcorporateidentity.AEGTurbineFactory,1908TheD44WalterGropius(1883-1969)GropiussharedwithMuthesiusandBehrensthatmachinecouldbespiritualizedbymeansofartHowever,GropiusrejectedMuthesius’ideaofcontrollingartisticconceptualizationbybureaucracyandbigbusiness.DifferentfromBehrens,Gropiusthoughtthatartandpragmatismcoexistedandtherewasnocontradictionbetweentypeandthecontinuingroleoftheindividualartist-architect.艺术和实用主义共存TheDeutscherWerkbund(WorkFederation)德国制造联盟WalterGropius(1883-1969)Th45Withemphasizingtranscendentqualityofmaterials,

FagusfactorywasadramaticdeparturefromthevisuallanguageofBehrens,whichemphasizedtheformalityandsymbolism.Classicismisabstracthere,whichisgeometry.材料的表现力Radicallysimplifiedforms,therationalityandfunctionality,andtheideathatmass-productionwascombinedwiththeindividualartisticspirit.ThesecanbeseenaspropheticofNewObjectiveModernMovementinthe1920sGermany.FagusFactory,1911TheDeutscherWerkbund(WorkFederation)德国制造联盟FagusFactory,1911Withemphasizingtranscendent46WeimarRepublic(1919-1933)魏玛共和国LiberalDemocraticConstitution

InGermany,asinFrance,therewasa‘returntoorder’aftertheFirstWorldWar,thoughitwasdelayedbypoliticalandeconomiccrisis.WhereasinFrancethereturntoordercouldbeseenasre-affirminganestablishedandtriumphantnationaltradition,inGermany,defeatedinthewar,itimpliedaradicalbreakwiththenationalpastandasearchforalternativeprinciples.与过去决裂，追求新的事物SocietyandpoliticsinGermanybetweenWWIandWWII二战前德国社会与政治状况WeimarRepublic(1919-1933)魏玛47GlassPavilion,1914GermanExpressionism德国表现主义Thestylewascharacterisedbyanearly-modernistadoptionofnovelmaterials,formalinnovation,andveryunusualmassing,sometimesinspiredbynaturalbiomorphicforms,sometimesbythenewtechnicalpossibilitiesofferedbythemassproductionofbrick,steelandespeciallyglass.ManyexpressionistarchitectsfoughtinWorldWarIandtheirexperiences,combinedwiththepoliticalturmoilandsocialupheaval,resultedinautopianoutlookandaromanticsocialistagenda.Expressionistarchitecturewasindividualisticandinmanywayseschewedaestheticdogma.反美学教条、对新材料和形式夸张运用GlassPavilion,1914GermanExp48MonumenttotheMarchDead,1921EinsteinTower,1919-22GermanExpressionism德国表现主义

MonumenttotheMarchDead,149IntheearlyyearsoftheSovietUnion,RussianandSovietartistsembracedawidevarietyofartforms.Revolutionarypoliticsandradicalnon-traditionalartformswereseenascomplementary.Inart,constructivismflourished.Inpoetry,thenontraditionalandtheavant-gardewereoftenpraised.ConstructivismwasanartisticandarchitecturalmovementthatoriginatedinRussiafrom1919onwardwhichrejectedtheideaof“artforart'ssake"infavourofartasapracticedirectedtowardssocialpurposes.TatlinTower,1914InfluencesfromConstructivistMovement俄国结构主义运动IntheearlyyearsoftheSovi50InfluencesfromConstructivistMovement俄国结构主义运动Worker’sClub,1927Duringtheearly1920s,therewasconsiderableculturalexchangebetweenGermanyandSovietRussia.1922,ExhibitionofSovietArt1922,ConstructivistCongressinWeimarInfluencesfromConstructivist51ExpressioniststartWhenGropiuswasappointedtosucceedHenryvandeVeldeasdirectoroftheAcademyofFineArtatWeimarin1919,hewasgiventhetaskofcreatinganewSchoolofArchitectureandAppliedArt.Hebelievedthatartisticculturewasthreatenedbythematerialismofindustrialcapitalismandcouldonlybesavedbyaspiritualrevolution.BauhausManifestoof1919:‘Letusconceiveanewbuildingofthefuture…architecture,painting,andsculpturerisingtoHeavenoutofhandsofamillioncraftsman.’BauhausManifesto,1919Bauhaus包豪斯ExpressioniststartBauhausMan52Changesbetween1919-1923BauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Bauha53Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesIttenBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan54Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan55Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Johan56Changesbetween1919-1923Moholy-Nagy,HeadofPreliminaryCourse,1922-IncontrasttoItten,Moholy-NagyintroducedanobjectiveConstructivistapproach,involvingthemanipulationofindustrialmaterials.László

Moholy-NagyBauhausinWeimar魏玛时期的包豪斯Changesbetween1919-1923Lászl57“Moholy-Nagy’scoursewasaimedatthedevelopmentofanew,contemporaryvisualidiom..ledfromanemphasisonpersonalexpressiontoamorerational,economic,andstructuraluseofmaterialitself,inpictorialterms”Moholy-NagybelievedintheassociationbetweenmachinesandPlatonicforms.László

Moholy-Nagy’spaintingBauhausinWeimar魏玛时期的包豪斯“Moholy-Nagy’scoursewasaime58“TotalWorkofArt”:Allkindsofart,includingarchitecturewouldcometogether完整的艺术，包括建筑、设计、手工艺、绘画、雕刻Gropius:Theunionofartandtechnology格罗皮乌斯：艺术与技术的融合“TheBauhausworkshopsareessentiallylaboratoriesinwhichprototypesofproductssuitableformassproductionandtypicalofourtimearecarefullydevelopedandimproved.”1923BauhausExhibitionBauhausinWeimar魏玛时期的包豪斯“TotalWorkofArt”:Bauhausin59BauhausSchoolBuildinginDessau，1926-DynamicfunctionalmannerBauhausinDessau德绍时期的包豪斯BauhausSchoolBuildinginDes60BauhausinDessau德绍时期的包豪斯BauhausinDessau61BauhausinDessau德绍时期的包豪斯ImplementationoftheBauhausIdiom包豪斯理念的实现Commerciallysuccessfuldesigns商业上非常成功的设计，涵盖家具、灯具、茶具、建筑等BauhausinDessauImplementatio62WeissenhofEstate,1927

HousingprojectsinGermany同时期的住宅实践DeutscherWerkbund(WorkFederation)exhibition,1927WeissenhofEstate,1927Housin63GroßsiedlungSiemensstadtRingsiedlung,1929-34WohnstadtCarlLegien,1928-30HousingprojectsinGermany同时期的住宅建设Theestatesalsoprovideexceptionalexamplesofnewurbanandarchitecturaltypologies,featuringfreshdesignsolutions,aswellastechnicalandaestheticinnovations.BrunoTaut,MartinWagnerandWalterGropiuswereamongtheleadingarchitectsoftheseprojectswhichexercisedconsiderableinfluenceonthedevelopmentofhousingaroundtheworld.GroßsiedlungSiemensstadtRing64Siedlu