包豪斯與魏瑪時期的德國現(xiàn)代主義建筑課件

BauhausandGermanModernArchitectureMovement包豪斯與德國現(xiàn)代建筑運動LectureSeries,ThoughtsofModernArchitecture

當代西方建筑思潮系列講座October,2012

BauhausandGermanModernArch1TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟Chieforganizationofartisticandculturalreformatthebeginningofthe20thcenturyinGermany德國20世紀初藝術和文化改革的主要組織FoundedinMunichin1907,WorkFederationwasaimedtoacceleratetheintegrationofartandindustryatanationallevelandithadtheorientationtowardshigh-qualitygoodsformassconsumption.建立制造商與設計者之間的合作FriedrichNaumann:“Manypeopledonothavethemoneytohireartists,and,consequently,manyproductsaregoingtobemassproduced;forthisgreatproblem,theonlysolutionistoinfusemass-productionwithmeaningandspiritbyartisticmeans.”將藝術特點注入大工業(yè)生產(chǎn)的產(chǎn)品中

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

Behrens:‘a(chǎn)rchitectureofthemachineageshouldbebasedonclassicism–thatinanageofspeedtheonlyappropriatebuildingswouldbethosewithformsasdistinctaspossible,withquiet,flushsurfaces.’

PeterBehrensTheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟PeterBehrens(1868-1940)Pete3AEGTurbineFactory,1908TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟BehrensalsoworkedforAEG,designingconsumerproducts,standardizedparts,company'sgraphics,andaconsistentcorporateidentity.AEGTurbineFactory,1908TheD4WalterGropius(1883-1969)GropiussharedwithMuthesiusandBehrensthatmachinecouldbespiritualizedbymeansofartHowever,GropiusrejectedMuthesius’ideaofcontrollingartisticconceptualizationbybureaucracyandbigbusiness.DifferentfromBehrens,Gropiusthoughtthatartandpragmatismcoexistedandtherewasnocontradictionbetweentypeandthecontinuingroleoftheindividualartist-architect.藝術和實用主義共存TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟WalterGropius(1883-1969)Th5Withemphasizingtranscendentqualityofmaterials,

FagusfactorywasadramaticdeparturefromthevisuallanguageofBehrens,whichemphasizedtheformalityandsymbolism.Classicismisabstracthere,whichisgeometry.材料的表現(xiàn)力Radicallysimplifiedforms,therationalityandfunctionality,andtheideathatmass-productionwascombinedwiththeindividualartisticspirit.ThesecanbeseenaspropheticofNewObjectiveModernMovementinthe1920sGermany.FagusFactory,1911TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟FagusFactory,1911Withemphasizingtranscendent6WeimarRepublic(1919-1933)魏瑪共和國LiberalDemocraticConstitution

InGermany,asinFrance,therewasa‘returntoorder’aftertheFirstWorldWar,thoughitwasdelayedbypoliticalandeconomiccrisis.WhereasinFrancethereturntoordercouldbeseenasre-affirminganestablishedandtriumphantnationaltradition,inGermany,defeatedinthewar,itimpliedaradicalbreakwiththenationalpastandasearchforalternativeprinciples.與過去決裂，追求新的事物SocietyandpoliticsinGermanybetweenWWIandWWII二戰(zhàn)前德國社會與政治狀況WeimarRepublic(1919-1933)魏瑪7GlassPavilion,1914GermanExpressionism德國表現(xiàn)主義Thestylewascharacterisedbyanearly-modernistadoptionofnovelmaterials,formalinnovation,andveryunusualmassing,sometimesinspiredbynaturalbiomorphicforms,sometimesbythenewtechnicalpossibilitiesofferedbythemassproductionofbrick,steelandespeciallyglass.ManyexpressionistarchitectsfoughtinWorldWarIandtheirexperiences,combinedwiththepoliticalturmoilandsocialupheaval,resultedinautopianoutlookandaromanticsocialistagenda.Expressionistarchitecturewasindividualisticandinmanywayseschewedaestheticdogma.反美學教條、對新材料和形式夸張運用GlassPavilion,1914GermanExp8MonumenttotheMarchDead,1921EinsteinTower,1919-22GermanExpressionism德國表現(xiàn)主義

MonumenttotheMarchDead,19IntheearlyyearsoftheSovietUnion,RussianandSovietartistsembracedawidevarietyofartforms.Revolutionarypoliticsandradicalnon-traditionalartformswereseenascomplementary.Inart,constructivismflourished.Inpoetry,thenontraditionalandtheavant-gardewereoftenpraised.ConstructivismwasanartisticandarchitecturalmovementthatoriginatedinRussiafrom1919onwardwhichrejectedtheideaof“artforart'ssake"infavourofartasapracticedirectedtowardssocialpurposes.TatlinTower,1914InfluencesfromConstructivistMovement俄國結構主義運動IntheearlyyearsoftheSovi10InfluencesfromConstructivistMovement俄國結構主義運動Worker’sClub,1927Duringtheearly1920s,therewasconsiderableculturalexchangebetweenGermanyandSovietRussia.1922,ExhibitionofSovietArt1922,ConstructivistCongressinWeimarInfluencesfromConstructivist11ExpressioniststartWhenGropiuswasappointedtosucceedHenryvandeVeldeasdirectoroftheAcademyofFineArtatWeimarin1919,hewasgiventhetaskofcreatinganewSchoolofArchitectureandAppliedArt.Hebelievedthatartisticculturewasthreatenedbythematerialismofindustrialcapitalismandcouldonlybesavedbyaspiritualrevolution.BauhausManifestoof1919:‘Letusconceiveanewbuildingofthefuture…architecture,painting,andsculpturerisingtoHeavenoutofhandsofamillioncraftsman.’BauhausManifesto,1919Bauhaus包豪斯ExpressioniststartBauhausMan12Changesbetween1919-1923BauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Bauha13Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesIttenBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan14Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan15Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan16Changesbetween1919-1923Moholy-Nagy,HeadofPreliminaryCourse,1922-IncontrasttoItten,Moholy-NagyintroducedanobjectiveConstructivistapproach,involvingthemanipulationofindustrialmaterials.László

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

Moholy-Nagy’spaintingBauhausinWeimar魏瑪時期的包豪斯“Moholy-Nagy’scoursewasaime18“TotalWorkofArt”:Allkindsofart,includingarchitecturewouldcometogether完整的藝術，包括建筑、設計、手工藝、繪畫、雕刻Gropius:Theunionofartandtechnology格羅皮烏斯：藝術與技術的融合“TheBauhausworkshopsareessentiallylaboratoriesinwhichprototypesofproductssuitableformassproductionandtypicalofourtimearecarefullydevelopedandimproved.”1923BauhausExhibitionBauhausinWeimar魏瑪時期的包豪斯“TotalWorkofArt”:Bauhausin19BauhausSchoolBuildinginDessau，1926-DynamicfunctionalmannerBauhausinDessau德紹時期的包豪斯BauhausSchoolBuildinginDes20BauhausinDessau德紹時期的包豪斯BauhausinDessau21BauhausinDessau德紹時期的包豪斯ImplementationoftheBauhausIdiom包豪斯理念的實現(xiàn)Commerciallysuccessfuldesigns商業(yè)上非常成功的設計，涵蓋家具、燈具、茶具、建筑等BauhausinDessauImplementatio22WeissenhofEstate,1927

HousingprojectsinGermany同時期的住宅實踐DeutscherWerkbund(WorkFederation)exhibition,1927WeissenhofEstate,1927Housin23Gro?siedlungSiemensstadtRingsiedlung,1929-34WohnstadtCarlLegien,1928-30HousingprojectsinGermany同時期的住宅建設Theestatesalsoprovideexceptionalexamplesofnewurbanandarchitecturaltypologies,featuringfreshdesignsolutions,aswellastechnicalandaestheticinnovations.BrunoTaut,MartinWagnerandWalterGropiuswereamongtheleadingarchitectsoftheseprojectswhichexercisedconsiderableinfluenceonthedevelopmentofhousingaroundtheworld.Gro?siedlungSiemensstadtRing24SiedlungSchillerpark,1924-30HorseshoeEstate,1925-30HousingprojectsinGermany同時期的住宅實踐Thepropertiesareoutstandingexamplesofthebuildingreformmovementthatcontributedtoimprovinghousingandlivingconditionsforpeoplewithlowincomesthroughnovelapproachestotownplanning,architectureandgardendesign.SiedlungSchillerpark,1924-3025HousingprojectsinGermany同時期的住宅建設HousingprojectsinGermany26Functionalistsvs.Rationalists功能主義與理性主義FunctionalistsVSRationalistsAdolfBehne DerModerneZweckbau ex-expressionistVanDoseburg HetBouwbedriffFunctionalistsvs.Rationalist27Functionalistsvs.Rationalists功能主義與理性主義Functionalistsvs.Rationalist28Functionalistsvs.Rationalists功能主義與理性主義Functionalistsvs.Rationalist29Functionalistsvs.Rationalists功能主義與理性主義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包豪斯與德國現(xiàn)代建筑運動LectureSeries,ThoughtsofModernArchitecture

當代西方建筑思潮系列講座October,2012

BauhausandGermanModernArch41TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟Chieforganizationofartisticandculturalreformatthebeginningofthe20thcenturyinGermany德國20世紀初藝術和文化改革的主要組織FoundedinMunichin1907,WorkFederationwasaimedtoacceleratetheintegrationofartandindustryatanationallevelandithadtheorientationtowardshigh-qualitygoodsformassconsumption.建立制造商與設計者之間的合作FriedrichNaumann:“Manypeopledonothavethemoneytohireartists,and,consequently,manyproductsaregoingtobemassproduced;forthisgreatproblem,theonlysolutionistoinfusemass-productionwithmeaningandspiritbyartisticmeans.”將藝術特點注入大工業(yè)生產(chǎn)的產(chǎn)品中

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

Behrens:‘a(chǎn)rchitectureofthemachineageshouldbebasedonclassicism–thatinanageofspeedtheonlyappropriatebuildingswouldbethosewithformsasdistinctaspossible,withquiet,flushsurfaces.’

PeterBehrensTheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟PeterBehrens(1868-1940)Pete43AEGTurbineFactory,1908TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟BehrensalsoworkedforAEG,designingconsumerproducts,standardizedparts,company'sgraphics,andaconsistentcorporateidentity.AEGTurbineFactory,1908TheD44WalterGropius(1883-1969)GropiussharedwithMuthesiusandBehrensthatmachinecouldbespiritualizedbymeansofartHowever,GropiusrejectedMuthesius’ideaofcontrollingartisticconceptualizationbybureaucracyandbigbusiness.DifferentfromBehrens,Gropiusthoughtthatartandpragmatismcoexistedandtherewasnocontradictionbetweentypeandthecontinuingroleoftheindividualartist-architect.藝術和實用主義共存TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟WalterGropius(1883-1969)Th45Withemphasizingtranscendentqualityofmaterials,

FagusfactorywasadramaticdeparturefromthevisuallanguageofBehrens,whichemphasizedtheformalityandsymbolism.Classicismisabstracthere,whichisgeometry.材料的表現(xiàn)力Radicallysimplifiedforms,therationalityandfunctionality,andtheideathatmass-productionwascombinedwiththeindividualartisticspirit.ThesecanbeseenaspropheticofNewObjectiveModernMovementinthe1920sGermany.FagusFactory,1911TheDeutscherWerkbund(WorkFederation)德國制造聯(lián)盟FagusFactory,1911Withemphasizingtranscendent46WeimarRepublic(1919-1933)魏瑪共和國LiberalDemocraticConstitution

InGermany,asinFrance,therewasa‘returntoorder’aftertheFirstWorldWar,thoughitwasdelayedbypoliticalandeconomiccrisis.WhereasinFrancethereturntoordercouldbeseenasre-affirminganestablishedandtriumphantnationaltradition,inGermany,defeatedinthewar,itimpliedaradicalbreakwiththenationalpastandasearchforalternativeprinciples.與過去決裂，追求新的事物SocietyandpoliticsinGermanybetweenWWIandWWII二戰(zhàn)前德國社會與政治狀況WeimarRepublic(1919-1933)魏瑪47GlassPavilion,1914GermanExpressionism德國表現(xiàn)主義Thestylewascharacterisedbyanearly-modernistadoptionofnovelmaterials,formalinnovation,andveryunusualmassing,sometimesinspiredbynaturalbiomorphicforms,sometimesbythenewtechnicalpossibilitiesofferedbythemassproductionofbrick,steelandespeciallyglass.ManyexpressionistarchitectsfoughtinWorldWarIandtheirexperiences,combinedwiththepoliticalturmoilandsocialupheaval,resultedinautopianoutlookandaromanticsocialistagenda.Expressionistarchitecturewasindividualisticandinmanywayseschewedaestheticdogma.反美學教條、對新材料和形式夸張運用GlassPavilion,1914GermanExp48MonumenttotheMarchDead,1921EinsteinTower,1919-22GermanExpressionism德國表現(xiàn)主義

MonumenttotheMarchDead,149IntheearlyyearsoftheSovietUnion,RussianandSovietartistsembracedawidevarietyofartforms.Revolutionarypoliticsandradicalnon-traditionalartformswereseenascomplementary.Inart,constructivismflourished.Inpoetry,thenontraditionalandtheavant-gardewereoftenpraised.ConstructivismwasanartisticandarchitecturalmovementthatoriginatedinRussiafrom1919onwardwhichrejectedtheideaof“artforart'ssake"infavourofartasapracticedirectedtowardssocialpurposes.TatlinTower,1914InfluencesfromConstructivistMovement俄國結構主義運動IntheearlyyearsoftheSovi50InfluencesfromConstructivistMovement俄國結構主義運動Worker’sClub,1927Duringtheearly1920s,therewasconsiderableculturalexchangebetweenGermanyandSovietRussia.1922,ExhibitionofSovietArt1922,ConstructivistCongressinWeimarInfluencesfromConstructivist51ExpressioniststartWhenGropiuswasappointedtosucceedHenryvandeVeldeasdirectoroftheAcademyofFineArtatWeimarin1919,hewasgiventhetaskofcreatinganewSchoolofArchitectureandAppliedArt.Hebelievedthatartisticculturewasthreatenedbythematerialismofindustrialcapitalismandcouldonlybesavedbyaspiritualrevolution.BauhausManifestoof1919:‘Letusconceiveanewbuildingofthefuture…architecture,painting,andsculpturerisingtoHeavenoutofhandsofamillioncraftsman.’BauhausManifesto,1919Bauhaus包豪斯ExpressioniststartBauhausMan52Changesbetween1919-1923BauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Bauha53Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesIttenBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan54Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan55Changesbetween1919-1923JohannesItten,HeadofPreliminaryCourse,1919-1922Mysticalapproachtoartteaching,basedonpsychological-formalistprinciplesJohannesItten’spaintingBauhausinWeimar魏瑪時期的包豪斯Changesbetween1919-1923Johan56Changesbetween1919-1923Moholy-Nagy,HeadofPreliminaryCourse,1922-IncontrasttoItten,Moholy-NagyintroducedanobjectiveConstructivistapproach,involvingthemanipulationofindustrialmaterials.László

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

Moholy-Nagy’spaintingBauhausinWeimar魏瑪時期的包豪斯“Moholy-Nagy’scoursewasaime58“TotalWorkofArt”:Allkindsofart,includingarchitecturewouldcometogether完整的藝術，包括建筑、設計、手工藝、繪畫、雕刻Gropius:Theunionofartandtechnology格羅皮烏斯：藝術與技術的融合“TheBauhausworkshopsareessentiallylaboratoriesinwhichprototypesofproductssuitableformassproductionandtypicalofourtimearecarefullydevelopedandimproved.”1923BauhausExhibitionBauhausinWeimar魏瑪時期的包豪斯“TotalWorkofArt”:Bauhausin59BauhausSchoolBuildinginDessau，1926-DynamicfunctionalmannerBauhausinDessau德紹時期的包豪斯BauhausSchoolBuildinginDes60BauhausinDessau德紹時期的包豪斯BauhausinDessau61BauhausinDessau德紹時期的包豪斯ImplementationoftheBauhausIdiom包豪斯理念的實現(xiàn)Commerciallysuccessfuldesigns商業(yè)上非常成功的設計，涵蓋家具、燈具、茶具、建筑等BauhausinDessauImplementatio62WeissenhofEstate,1927

HousingprojectsinGermany同時期的住宅實踐DeutscherWerkbund(WorkFederation)exhibition,1927WeissenhofEstate,1927Housin63Gro?siedlungSiemensstadtRingsiedlung,1929-34WohnstadtCarlLegien,1928-30HousingprojectsinGermany同時期的住宅建設Theestatesalsoprovideexceptionalexamplesofnewurbanandarchitecturaltypologies,featuringfreshdesignsolutions,aswellastechnicalandaestheticinnovations.BrunoTaut,MartinWagnerandWalterGropiuswereamongtheleadingarchitectsoftheseprojectswhichexercisedconsiderableinfluenceonthedevelopmentofhousingaroundtheworld.Gro?siedlungSiemensstadtRing64Siedlu