Razvoj oblikovanja 3

BERLAGE, PERRET, BEHRENS, GROPIUS; WIENER WERKSTATE; DEUTSCHER

WERKBUND

UTJECAJI NA POČETKU 20.STOLJEĆA

A.E.G – Peter
Behrens
Another huge landmark (150 m
long) of expressionistic brick
architecture is the headquarter
of the former Hoechst AG (a
large chemical factory,
producing colors) in Frankfurt-
Höchst, by Peter Behrens,
1920-24
"Built in 1920-25 the paint factory of the I.G. Farben Company features, in its
administration building, a large hall around which offices are arranged, on the model of
the Larkin Building by Frank Lloyd Wright. Peter Behrens' version is strongly marked by
Dutch expressionism, turning the well of light into a very dynamic space both by the
theatrical play of light and by the systematic use of slanting rafters which serve to disrupt
the overall rectilinearity."
 The glass domes
The atrium of the Peter-
Behrens-Building
The floor
Villa Karma (Montreux), Adolf Loos
architect.

The Villa Karma in Montreux is Adolf Looss

first building. Until then he had only
renovated the interiors of apartments and
stores. The architect was thirty-three years
old and in full possession of his powers
when his client, Dr. Beer, commissioned
him to transform an old structure into a
modern country house. The humor and
obstinacy Loos brought to the task would
help circumvent the obstacles usually
raised by the establishment to any work
that is original or strays from the beaten
path. In its single conception for the
volumes and spaces of the entire plan, the
work already has all the characteristics of
Looss future projects. Loos applied a
second skin to the old Vaudois farm and
punctuated it with four corner towers. The
original roof was removed and replaced by
a roof terrace. Loos chose to plaster the
exterior masonry entirely in white; for the
entrance he designed a grand doorway
with four fluted Doric columns supporting a
straight lintel and a balcony.
American Bar : Kärntner Bar, Kärntner Passage
1908
Adolf Loos
Kärntner Bar (American Bar)
Kärntner Passage (off Kärntner Strasse)
1010 Vienna

Adolf Loos 1908

This small bar, just off the Kärntner Strasse in central

Vienna, show Loos' combination of simple, unadorned
forms with opulent materials and fine, simple detailing
to give a modern, rich impression.

Mirrors covering the whole width of the wall above the

bar, and the parallel wall opposite, multiplies the
apparent size of the small room, giving the image of an
array of seemingly freestanding columns. The simple
geometry of the columns and joists in this image
matches that in Loos's House on Michaelerplatz of the
same period.

Seating is in small booths around three backlit tables,

which glow white in the dark, yellowish brown
atmosphere of the bar.
Vienna, Steiner House, 1910 – Adolf Loos
Adolf Loos, house of Tristan Tzara -Paris,
1926-27
Adolf Loos- Muller House, 1929-30
EKSPRESIONIZAM U NJEMAČKOJ I
HOLANDIJI
Ekspresionizam u Njemačkoj i Holandiji

EKSPRESIONIZAM U NJEMAČKOJ
‘The Glass Pavilion’
Designed by Bruno
Taut (1880–1938)
Germany
1914, reconstruction
1992–3
MDF, brass, acrylic
and other materials
h. 70cm, diam. 74cm
Werkbundarchiv,
Museum der Dinge,
Berlin
The Glass Pavilion was commissioned by the glass industry for the 1914 Werkbund exhibition in Cologne. Bruno
Taut’s structure demonstrated the various ways glass could be used in a building, but also indicated how the
material might be used to orchestrate human emotions and assist in the construction of a spiritual utopia.
Taut’s interest in this aspect of glass (explored more intensively during the First World War and later in his book
Alpine Architecture and in the Glass Chain letters) had been stimulated by the writer Paul Scheerbart whom he
had met in 1912 and who argued for an earthly paradise
based on a new architecture of glass and colour. Subsequently, Scheerbart wrote Glasarchitektur (Glass
Architecture) in 1914, which he dedicated to Taut, while Taut produced his Glass Pavilion and inscribed
aphorisms from Scheerbart on the lintels of the 14 side walls.

The Pavilion structure was raised up on a concrete plinth, the entrance reached by two flights of steps (one on
either side of the building), which gave the pavilion a temple-like quality. The glazed walls were topped by a
dome of reinforced concrete ribs and a double skin of glass: reflecting glass on the outside and
colored prisms inside. In the interior, the colour effects produced by sunlight were enhanced by the reflections
of the pool and water cascade on the lower level, visible through a circular opening in the floor. Two flights of
glass steps enclosed with glass walls produced the sensation of descending to the lower level ‘as if through
sparkling water’. The cascade was made of yellow glass, while the pool was of its complementary colour, violet.
A mechanical kaleidoscope overhead projected images, an early version of a light show, intensifying the overall
impression on the visitor.
Erich Mendelsohn - Universum, UFA Kino, Cinema UFA, Berlin
The icon of German
expressionism is the Einstein
Tower in Potsdam, built for
Professor Albert Einstein, born in
Ulm, an astrophysical
observatory, 1919-21, designed
by the great German-Jewish
architect Erich Mendelsohn.

The tower should have been

built with concrete, but shortly
after WW I., there wasn't
enough of it.
Therefore Mendelsohn used
bricks and covered them under a
thick layer of plaster.

The tower should be used to

validate Einstein's relativity
theory experimentally

Mendelsohn, the Jewish

architect, left Germany 1933,
survived and died 1953 in the
USA.

Einstein left Germany 1932,

never came back, died in the
USA 1955.
Perhaps the most important example
of Germany's expressionistic brick
architecture is the Chile House, a huge
Hamburg Kontorhaus (office building)
by the architect Fritz Höger, 1922 - 24.

The boatshaped building on the left is

the Chilehaus
The striking lean
bow of the building
The "smooth"
side front
A courtyard
Details
Rudolf Steiner – Goetheanum, Dornach
Hugo Haring – Gut Garkau, 1923-26
Hugo Häring (11 May 1882 Biberach an der Riß – 17 May 1958
Göppingen) was a German architect and architectural writer best known
for his writings on "organic architecture", and as a figure in architectural
debates about functionalism in the 1920s and 1930s, though he had an
important role as an expressionist architect.

A student of the great Theodor Fischer, Häring took the view that each
building should be uniquely developed according to the specific demands
of the site and client. Few of Häring's designs were built but he was a
strong influence on his friend and colleague Hans Scharoun. One built
design was a contribution to the Siemensstadt housing project in Berlin
from 1929 through 1931, which was master-planned by Scharoun.

Häring was a founding member of both The Ring and CIAM.

Ekspresionizam u Njemačkoj i Holandiji

EKSPRESIONIZAM U HOLANDIJI –
AMSTERDAMSKA ŠKOLA
Michel de Klerk - Eigen Haard
Even though industrialization and urbanization were late in arriving in Holland, the 1901 Housing Act was passed in response to poor housing conditions and the
need for organized planning in a small country. The Housing Act provided financing arrangements and the creation of cooperative housing associations to build
housing. These housing "corporations" have been responsible for the commission of a large percentage of housing built in Holland in this century. One of these
corporations, "Eigen Haard" (Our Hearth) developed much of the workers' housing built in the Spaarndammerbuurt district west of central Amsterdam along the IJ
River. This area developed during the period 1915-1920 and includes several buildings by Michael De Klerk including "Het Schip" (The Ship) which is perhaps the
most famous of the Amsterdam School buildings. Het Schip is literally the flag ship of Amsterdam School building establishing De Klerk as the best known of the
Amsterdam School architects.

The Spaarndammer district consists of an irregular pattern of perimeter block buildings in an area between the main railroad tracks into the city from the west and
the docks along the river. De Klerk's first commission, his first real commission after over 20 years in the younger Cuyper's office, but one of three buildings he
designed around the park was for the building on one side of a central park in the neighborhood (Spaarndammerplantsoen). Built in 1913-1915 for a private client,
this block shows many of the characteristics of typical Amsterdam School buildings: brick, five stories tall, with a full facade on the top floor instead of a mansard
roof, and a distinct emphasis upon variations of materials and details. The other two buildings around the park were built for Eigen Haard. The first of these was on
the opposite side of the park from the first and reveals an even more developed Amsterdam style now with odd windows, turrets, stairs and entrances, was built in
1916.

The third project includes a whole block, the tip of which fronts the park. This was built between 1917-1920. An odd-shaped, irregular triangular perimeter slab
defines an small interior garden area. Dwellings have entrance from the street in point access system of repeating entrances and stairs and have balconies facing the
garden. The five story height of the previous Spaarndammer buildings is roughly followed, however, the block steps down to three floors at the East end where it
faces the park. A post office was designed for this end of the building and thus makes a public space facing a small paved plaza which is the extension of the park. A
turret at this end marks the entrance to the post office. A small entrance next to the turret leads to a small paved inner courtyard from which entrance is made to
several dwellings and which opens to small cottage like meeting room which sets as freestanding element at the end of the interior garden. The building steps up
from the post office end to the typical 5 story block. A strong horizontal emphasis is maintained with continuous faceted strip windows and continuous brick bands,
and other repetitive elements including the traditional attic lifts, and windows and entrances. At the west end of the block, the building steps back with a strange,
steeple like tower fronting a small paved plaza in a symmetrical organization axially aligned with Walenhamp's more traditional block across the street. On the north
side of the block, along Oostzaanstraat, a public school occupies two floor of the building making a formal interruption to the facade.

While the overall form and organization is an angular stepping ensemble, De Klerk applies many local symmetrical episodes at entrances, windows the western
tower, balconies and other applied elements. The resulting effect, within the context of this peculiar, vaguely expressionistic, Maritime mass is the impression of
repetitive order, a veneer or classical detail and a distinctly naturalistic, organic quality. The basic order of the block is one of repeating five story blocks organized
around a common stair.

The Amsterdam School housing was widely criticized because it was thought to be too luxurious for municipally-financed social housing. But, in actual fact, while
there are a lot of different apartment plans because of all of the peculiar intersections, and there are many dwellings which have unusual qualities, corner turrets,
balconies, or slightly unconventional plans, in reality these are quite minimal 2 and 3 bedroom dwellings with a small living room, kitchen and W.C.

The Amsterdam urban renewal program of 1968 began in the Spaarndammerbuurt when dilapidated buildings were removed, new buildings built. In the years since
most of the historic Amsterdam School social housing has been refurbished and today they appear to be in excellent condition having provided quality dwelling for
lower income citizens continuously for over 75 years. It is interesting to note that the construction of De Klerk's "ship" was exactly contemporary with the
emergence of the Functionalist movement and even though J.J.P. Oud's classic Functionalist housing experiment Kiefhoek was built five years later, Kiefhoek has
since been entirely removed and rebuilt.
De Dageraad Gebouw,
designed by Michel de Klerk &
Piet Kramer, is a striking
example of the Dutch
expressionism. A housing
project, ordered by a Socialist
co-operative society De
Dageraad (The Dawn),
included vast public spaces for
the dwellers of 294
apartments.
Built in 1920-1923

Video
FUTURIZAM, DE STIJL, SUPREMATIZAM
I KONSTRUKTIVIZAM
Futurizam, de stijl, suprematizam i konstruktivizam

FUTURIZAM
Giacomo Balla - Dynamism of a Dog on a Leash, 1912
Antonio Sant'Ella's "La Citta Nuova“,
1914
Futurizam, de stijl, suprematizam i konstruktivizam

DE STIJL I OUD
Red Blue Chair
Gerrit Rietveld (Dutch, 1888-1964)

In the Red Blue Chair, Rietveld manipulated

rectilinear volumes and examined the interaction of
vertical and horizontal planes, much as he did in his
architecture. Although the chair was originally
designed in 1918, its color scheme of primary colors
(red, yellow, blue) plus black—so closely associated
with the de Stijl group and its most famous theorist
and practitioner Piet Mondrian—was applied to it
around 1923. Hoping that much of his furniture
would eventually be mass-produced rather than
handcrafted, Rietveld aimed for simplicity in
construction. The pieces of wood that comprise the
Red Blue Chair are in the standard lumber sizes
readily available at the time.

Rietveld believed there was a greater goal for the

furniture designer than just physical comfort: the
well-being and comfort of the spirit. Rietveld and
his colleagues in the de Stijl art and architecture
movement sought to create a utopia based on a
harmonic human-made order, which they believed
could renew Europe after the devastating turmoil of
World War I. New forms, in their view, were
essential to this rebuilding.
Futurizam, de stijl, suprematizam i konstruktivizam

SUPREMATIZAM
K.Malevich - Black Square (1913)
The Black Square of Kazimir Malevich is one of the most famous creations of Russian art in the last century. The first Black Square was painted in 1915
to become the turning point in the development of Russian avant-garde.

Black Square against white background became the symbol, the basic element in the system of the art of suprematism, the step into the new art. The
artist himself created several variants of the Black Square. All four Squares painted by Malevich from 1915 to the early 1930s developed the same
idea. Different are not only the sequence and year of creation, but also the color, design and texture. Malevich turned back to the Black Square every
time he needed to present his work in an assertive and significant way, often in connection with the most important exhibitions. However he always
created a new version rather than copied the previous one.

Malevich for the first time showed his Black Square (now at the Tretyakov Gallery in Moscow) at the Last Futurist Exhibition 0,10 in Petrograd in 1915.
A Black Square put against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun.

The second Black Square was painted about 1923 with Kazimir Malevich's participation by his closest disciples, Anna Leporskaya, Konstantin
Rozhdestvensky and Nikolay Suyetin, for a triptych which also included Cross and Circle (now at the State Russian Museum in St. Petersburg). Being
one of the elementary forms, the square as a part of the triptych was no longer unique. Since the triptych embodied the idea of collective work which
was of great importance to Malevich, it is not as important by who exactly the idea was realized.

Some believe that the third Black Square (Tretyakov Gallery) was painted in 1929 for Malevich's one-man show, following request of Aleksey Fedorov-
Davydov, Assistant Director of the Gallery, because of the poor condition of the 1915 Square. This is the "blindest", most "hopeless" square, thickly
painted over black. It is as different from the first one, as Malevich's life and work were different compared to 1915.

One more Black Square, smallest and, probably, latest, touches upon the motif of red and black which was important to Malevich. It may have been
intended to make a diptych with the Red Square, though of smaller size, probably for the exhibition Artists of the RSFSR: 15 Years, held in Leningrad in
1932 which was to become the last important venue in the history of Russian avant-garde. The two Squares, Black and Red, were the centerpiece of
Malevich's exhibition in the show. This Black Square may have been a recapitulation when the artist worn by struggle and infirmity reproduced his
Victory over the Sun at a new stage. The last Square, despite the author's note "1913" on the reverse, is believed to have been created in the late
twenties or early thirties, for there are no earlier mentions of it. It was one of the few of Malevich's paintings which were not handed over by the
artist's heirs to the Russian Museum but were kept by his family. As legend goes, it was carried behind Malevich's coffin on the day when he was
buried. When the artist's widow Natalya Andreyevna Manchenko died, the last variant of the Black Square along with Malevich's Self-portrait and
Wife's Portrait passed to her relatives who later sold them to Incombank.

After the 1998 crisis this collection except the Black Square was offered for sale. The Culture Ministry of the Russian Federation used its privilege to
buy this precious work of art with the financial assistance of Vladimir Potanin, President of Interros Holding, and hand it over to the State Hermitage
Museum.
Futurizam, de stijl, suprematizam i konstruktivizam

KONSTRUKTIVIZAM
Vladimir Tatlin
BAUHAUS
Paul Klee: Twittering Machine, 1922

The "twittering" in the title doubtless refers to the

birds, while the "machine" is suggested by the hand
crank. The two elements are, literally, a fusing of the
natural with the industrial world. Each bird stands with
beak open, poised as if to announce the moment when
the misty cool blue of night gives way to the pink glow
of dawn. The scene evokes an abbreviated pastoral—
but the birds are shackled to their perch, which is in
turn connected to the hand crank.

Upon closer inspection, however, an uneasy sensation

of looming menace begins to manifest itself. Composed
of a wiry, nervous line, these creatures bear a
resemblance to birds only in their beaks and feathered
silhouettes; they appear closer to deformations of
nature. The hand crank conjures up the idea that this
"machine" is a music box, where the birds function as
bait to lure victims to the pit over which the machine
hovers. We can imagine the fiendish cacophony made
by the shrieking birds, their legs drawn thin and taut as
they strain against the machine to which they are fused.

Klee's art, with its extraordinary technical facility and

expressive color, draws comparisons to caricature,
children's art, and the automatic drawing technique of
the Surrealists. In Twittering Machine, his affinity for the
contrasting sensibilities of humor and monstrosity
converges with formal elements to create a work as
intriguing in its technical composition as it is in its
multiplicity of meanings.
Paul Klee, Fish Magic, 1925
Paul Klee , Revolution des Viadukts,
1937
Marcel Breuer
Wassily Chair
1927-28
Museum of Modern Art
Maria Ludwig Michael Mies was born on the 27th of May 1886 in Aachen Germany as the youngest of five
children of the stonemason Michael Mies and his wife Amalie. He attended the general and Catholic cathedral
school and industrial school in Aachen from 1892-1902. He at the same time trained as a bricklayer and
worked as a sketcher. He left for Berlin in the year 1905 where he worked up until the year 1907 for Bruno
Paul. Here he prepared his first independent realized project for a house for Alois and Sophie Riehl in the villa
colony of Neubabelsberg in Potsdam (1906-07). He worked for Peter Behrens over the years 1908-11 through
whom he seemingly developed an interest in Schinkel's Classicism. He designed a home in Berlin-Zehlendorf
for the art collector Hugo Perls (1911-12; 1928 the addition of a gallery for the art historian and collector
Eduard Fuchs). He opened his own architectural office in the year 1913 and married Ada Bruhn (1885-1951)
with whom he had three daughters: Dorothea (1914, known under the name Georgia van der Rohe), Marianne
(1915) and Waltraut (1917; that same year while in Romania where he served as a soldier Mies had a son born
out of wedlock). He left his wife Ada in the year 1921 who he never divorced and added his mother's maiden
name to Mies. Over the years 1921-24 he created fantastic projects for glazed skyscrapers with constructions
based on the principle of “skin and bones”. He became a member of Novembergruppe and co-founder of the
association of architects Der Ring. Over the years 1925-27 he realized apartment blocks in Berlin-Wedding,
significantly making use of modern principles of function and hygiene.

Mies' working and life partnership with Lilly Reich (1885-1947) became an important turning point in his life,
working together on the exhibition of the German Werkbund “The Dwelling” carried out in the form of the
housing estate Weissenhof in Stuttgart (1927). Here and once again at the Berlin fashion exhibition (1927), the
central theme of which was silk, Mies and Reich presented their concept of “flowing” or “unrestricted” space
which was further developed in the Barcelona pavilion (1928-29) and in the Brno Villa (1928-30). They also
both cooperated on the projects for the “brick” houses for Erich Wolf in Guben (1925-27) and Hermann Lange
and Josef Esters in Krefeld (1927-30). The Tugendhats were impressed by the house in Guben and strongly
influenced by Mies' personality. “He had a calm, self-confident certainty which immediately served to
convince you. From the manner in which he spoke about his projects, we realised that we were dealing with a
genuine artist. He said, for example, that the ideal dimensions of space cannot be calculated, space must be
felt.” Mies was the final director of the Bauhaus over the years 1930-33.

He left for the USA in the year 1938 where he took up the directorship of the the Illinois Institute of
Technology (IIT) in Chicago where he also established his own office. In the year 1940 he met Lora Marx, his
companion during his American years and obtained American citizenship in 1944. Mies worked on the plans
for the university grounds for IIT over the years 1939-58. He designed his most radical domestic design for
Edith Farnsworth in the form of a glass pavilion (1945-51). He realized the high-rise Lake Shore Drive
Apartments in Chicago (1948-51) and the administration skyscraper Seagram Building in New York (1954-58).
Mies designed the New National Gallery in Berlin back in his native Germany (1962-68). At the beginning of
the year 1969 Mies' Chicago office promised to assist in the restoration of Tugendhat Villa initiated by the
Brno architect František Kalivoda and Grete Tugendhat. Ludwig Mies van der Rohe passed away, however, on
the 17th of August 1969 in Chicago.

Mies' statement “less is more” is characterised by his pure forms and work with material. Glass, steel and
concrete are the attributes of his distinct “International Style” which has influenced architecture up to the
present day.
Tugendhat House
Brno, Czech Republic, 1928-30
Mies Van der Rohe
Barcelona Pavilion Building
The Barcelona Pavilion building is for many architects their favorite building in the
World. It's architecture is pure poetry, simple honest planes of stone with slim,
graceful polished steel cruciform columns. The integration of water through two
shallow pools brings calmness and reflection to the pavilion.
The architect Mies van der Rohe was interested in developing free flowing space and
this is done using walls as planes in isolation, joined by sliding elements or glass. Thus
the wall is expressed as a single element with space flowing around it. The majority of
the pavilion building is constructed out of (cream-coloured) travertine which gives the
building a luxurious feel and aids the perception of spaciousness.
Mies van der Rohe -
Seagram Building 1969
Mies van der Rohe - Sketch Seagram Plaza 1969
HEROJSKA IMENA MODERNE
ARHITEKTURE I DIZAJNA
Fagus Shoe Factory by Walter Gropius

Widely regarded as one of the pioneering masters of modern architecture, Walter

Gropius’s first large building, the Fagus Shoe Factory in Alfred on the Leine in 1911 was
materialized due to his connection with Peter Behrens and in cooperation with Adolf
Meyer.
The client’s wish for an attractive facade was solved by Gropius in a special way: by
means of a projected steel skeleton, which pulled the function of support to the inside,
thereby making possible a broad dissolution of the exterior envelope into glass walls;
the idea of the ‘curtain wall’ was at this point first expressed in a consistent manner.
— from Udo Kultermann. Architecture in the 20th Century.

Fagus Shoe Factory, 1911, by Walter Gropius with Adolf Meyer.

Walter Gropius’ Bauhaus Building, Dessau
Walter Gropius, German (1883 - 1969)
Total Theater for Erwin Piscator, Berlin, 1927:
Perspective, 1927
Drawing
Black ink, gray wash, gouache and spatter paint,
on cream paperboard
69 x 95.7 cm (27 3/16 x 37 11/16 in.)
Harvard University Art Museums, Busch-Reisinger
Museum, Gift of Walter Gropius, BRGA.24.100
Walter Gropius - Harward Graduate Center (1945.)
U.S. Embassy - [Athens]
The American Embassy "Chancery" (office) building in Athens was designed by famed Bauhaus School architect
Walter Gropius (the Architects' Collaborative and consulting architect was Pericles Sakellarios - 1905/1985). It
was constructed between 1959 and 1961 and is a protected architectural landmark. Gropius' famous design was
in the characteristic simple Bauhaus form, and, as the architect said, it had been inspired by the architecture of
the Parthenon.
The Embassy is now constructing a Chancery Annex, the first new diplomatic construction in Greece by the
United States in 45 years. The new Annex, designed by Kallman, McKinnell and Wood, will feature a classic,
understated style.Indigenous materials will be used in the construction and the Annex will feature facades of the
same Greek marble used in the Chancery.
Winslow House, River Forest, IL (1893-4), F. L. Wright
This drawing of the Winslow House was prepared in 1910 for use in the
porfolio of Wright's drawings published in Germany by Ernst Wasmuth.
Drawing copyright © 1985 the Frank Lloyd Wright Foundation.
The Ward W. Willits House is a building designed by famous architect Frank Lloyd Wright. Designed in 1901 the Willits
house is considered the first of the great Prairie houses. Built in the Chicago suburb of Highland Park, Illinois, the
house presents a symmetrical facade to the street, the plan is a cruciform with four wings that extend out from a
central hearth. In addition to art glass windows and wooden screens that divide rooms, Wright also designed most of
the furniture in the house.
Frank Lloyd WRIGHT (1867-1959)
Robie House
1909
Chicago
LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)
Project for a Contemporary City of Three Million Inhabitants
1922
LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)
Perspective drawing for Domino Housing Project
1914
LE CORBUSIER (Charles-Édouard Jenneret, 1887-1965)
Villa Savoye
1928-30
Poissy
France
Mies van der Rohe - Apartmani Lake Shore
Drive u Čikagu (1949.-1951.)