The Bauhaus had a pioneering influence on design worldwide which still endures today; through education, experimentation and materialization, a revolution took place in architecture, urbanism and design for mass production. In 1918, during the immediate post-war period, Walter Gropius (1883-1969) achieved a fusion between the Kunstgewerbeschule and the Hochschule fur Bildende Kunst in Weimar, with the creation of an interdisciplinary school of design and crafts. In April 1919, he was elected director of the school which was by then called the Staatliches Bauhaus. He also published the Bauhaus Manifesto, which remains as a pioneering moment in history, with irreversible consequences at a global scale. The Bauhaus as a school, as a method of experimentation, education, and research, embodies the idea of science applied in service of the society. At the Bauhaus, utopia was combined with pragmatism, agitation and propaganda with public service, poetry with utility, Neue Sachlichkeit with creation and freedom. Its premises continue to be relevant today with the great issues of sustainability and democracy needing to be addressed through art and technology.
{"title":"100 years back, 100 years forward","authors":"A. Tostões","doi":"10.52200/61.a.5d5sbh9l","DOIUrl":"https://doi.org/10.52200/61.a.5d5sbh9l","url":null,"abstract":"The Bauhaus had a pioneering influence on design worldwide which still endures today; through education, experimentation and materialization, a revolution took place in architecture, urbanism and design for mass production. In 1918, during the immediate post-war period, Walter Gropius (1883-1969) achieved a fusion between the Kunstgewerbeschule and the Hochschule fur Bildende Kunst in Weimar, with the creation of an interdisciplinary school of design and crafts. In April 1919, he was elected director of the school which was by then called the Staatliches Bauhaus. He also published the Bauhaus Manifesto, which remains as a pioneering moment in history, with irreversible consequences at a global scale. The Bauhaus as a school, as a method of experimentation, education, and research, embodies the idea of science applied in service of the society. At the Bauhaus, utopia was combined with pragmatism, agitation and propaganda with public service, poetry with utility, Neue Sachlichkeit with creation and freedom. Its premises continue to be relevant today with the great issues of sustainability and democracy needing to be addressed through art and technology.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123335415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Section for Heritage and Architecture of the Faculty of Architecture and the Built Environment at the Delft University of Technology specializes in architectural education for adaptive reuse of heritage buildings, with a specific focus on the built heritage of the 20th century. Our approach combines architectural design and technological knowledge with an approach that places values as central informants. Here we present our approach, explore the past and project a future evolution of our educational methodology. Finally, we reflect on the lasting relevance of the tangible and intangible heritage of the recent past as aim and source of our educational practice.
{"title":"Education for Adaptive reuse – the TU Delft Heritage and Architecture Experience","authors":"N. Clarke, H. Zijlstra, W. D. Jonge","doi":"10.52200/61.a.jydu6qaf","DOIUrl":"https://doi.org/10.52200/61.a.jydu6qaf","url":null,"abstract":"The Section for Heritage and Architecture of the Faculty of Architecture and the Built Environment at the Delft University of Technology specializes in architectural education for adaptive reuse of heritage buildings, with a specific focus on the built heritage of the 20th century. Our approach combines architectural design and technological knowledge with an approach that places values as central informants. Here we present our approach, explore the past and project a future evolution of our educational methodology. Finally, we reflect on the lasting relevance of the tangible and intangible heritage of the recent past as aim and source of our educational practice.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"78 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132580088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The essay is part of an ongoing research work about the heritage of modernism, especially the relationship between material, information and message — projected on the genesis of values and a cultural practice of modern reuse, not least on our present legacy and an upcoming circular society. It examines narratives and developments of modernism, concerning the built environment and industry production, to question modern general principles, systems of values and socio-cultural interrelations. The examination is experimentally grounded on projects both in experimental architecture and discourse, which operate across research, practice and conceptual art — referring to the Bestandsverpflanzung (2008) and the current work with Bauhaus reuse from 2019.
{"title":"Modern Reuse","authors":"Robert K. Huber","doi":"10.52200/61.a.6a4z09oo","DOIUrl":"https://doi.org/10.52200/61.a.6a4z09oo","url":null,"abstract":"The essay is part of an ongoing research work about the heritage of modernism, especially the relationship between material, information and message — projected on the genesis of values and a cultural practice of modern reuse, not least on our present legacy and an upcoming circular society. It examines narratives and developments of modernism, concerning the built environment and industry production, to question modern general principles, systems of values and socio-cultural interrelations. The examination is experimentally grounded on projects both in experimental architecture and discourse, which operate across research, practice and conceptual art — referring to the Bestandsverpflanzung (2008) and the current work with Bauhaus reuse from 2019.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129228463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The importance of Bauhaus to Lina Bo Bardi is herein analyzed from two perspectives. One that follows her trajectory from the industrial design course she taught at MASP to its critique, searching in the Brazilian Northeastern popular culture for sources of renewal. The second one focuses on the project of adapting a factory to be used as a leisure center in São Paulo. In addition to valuing the rationality of the factory architecture built in the first phase of Brazilian industrialization, its preservation encompassed, in order for the building to be used for leisure purposes, interventions that altered the disciplinary attributes of the space. The design was conceived as part of the architecture, discarding its serial reproduction.
{"title":"Bauhaus and Lina Bo Bardi: from the modern factory to the Pompeia leisure center","authors":"R. Anelli","doi":"10.52200/61.a.3xczie4v","DOIUrl":"https://doi.org/10.52200/61.a.3xczie4v","url":null,"abstract":"The importance of Bauhaus to Lina Bo Bardi is herein analyzed from two perspectives. One that follows her trajectory from the industrial design course she taught at MASP to its critique, searching in the Brazilian Northeastern popular culture for sources of renewal. The second one focuses on the project of adapting a factory to be used as a leisure center in São Paulo. In addition to valuing the rationality of the factory architecture built in the first phase of Brazilian industrialization, its preservation encompassed, in order for the building to be used for leisure purposes, interventions that altered the disciplinary attributes of the space. The design was conceived as part of the architecture, discarding its serial reproduction.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133369483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On the occasion of the exhibition which I co-curated at New York’s Museum of Modern Art (MoMA) with Leah Dickerman in 2009 for the 90th anniversary of the founding of the Bauhaus (and the 80th anniversary of the founding of the museum), I delved into the museum’s archives to shed light on the political context as well as the complex logistics of the museum’s earlier Bauhaus exhibition staged in 1938. The museum’s 1938 book that accompanied that important episode in the early reception of the Bauhaus in America remained the standard work on the school and its art philosophy in the English speaking world until the publication of the English translation of Hans Maria Wingler’s monumental Bauhaus in 1969. This essay, addressing the exhibition staged in New York and the misconceptions about the Bauhaus it set in motion for many years, is based on a lecture I gave at the exhibition symposium; a version of that text was published for the first time in a book of essays published in honor of one of my professors at the University of Cambridge, Jean Michel Massing, in 2016. This is a slightly modified version for the 100th anniversary of the Bauhaus, a decade later.
2009年，我与利亚·迪克曼(Leah Dickerman)在纽约现代艺术博物馆(MoMA)共同策划了包豪斯成立90周年(也是博物馆成立80周年)的展览，在此之际，我深入研究了博物馆的档案，以阐明1938年举办的博物馆早期包豪斯展览的政治背景和复杂的后勤。博物馆1938年出版的这本书伴随了包豪斯在美国早期接受的重要事件，直到1969年汉斯·玛丽亚·温勒(Hans Maria Wingler)不朽的包豪斯的英文译本出版之前，这本书一直是英语世界关于包豪斯及其艺术哲学的标准著作。这篇文章是基于我在展览研讨会上的一次演讲，讨论在纽约举办的展览，以及它多年来引发的对包豪斯的误解;2016年，为了纪念我在剑桥大学的一位教授让·米歇尔·马辛(Jean Michel Massing)，这篇文章的一个版本首次发表在一本文集中。这是一个稍作修改的版本，是为了纪念十年后的包豪斯100周年。
{"title":"Memento mori or eternal Modernism? The Bauhaus at MoMA, 1938","authors":"Barry Bergdoll","doi":"10.52200/61.a.xgbb50il","DOIUrl":"https://doi.org/10.52200/61.a.xgbb50il","url":null,"abstract":"On the occasion of the exhibition which I co-curated at New York’s Museum of Modern Art (MoMA) with Leah Dickerman in 2009 for the 90th anniversary of the founding of the Bauhaus (and the 80th anniversary of the founding of the museum), I delved into the museum’s archives to shed light on the political context as well as the complex logistics of the museum’s earlier Bauhaus exhibition staged in 1938. The museum’s 1938 book that accompanied that important episode in the early reception of the Bauhaus in America remained the standard work on the school and its art philosophy in the English speaking world until the publication of the English translation of Hans Maria Wingler’s monumental Bauhaus in 1969. This essay, addressing the exhibition staged in New York and the misconceptions about the Bauhaus it set in motion for many years, is based on a lecture I gave at the exhibition symposium; a version of that text was published for the first time in a book of essays published in honor of one of my professors at the University of Cambridge, Jean Michel Massing, in 2016. This is a slightly modified version for the 100th anniversary of the Bauhaus, a decade later.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132285203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
More than a decade ago the TSAM addressed the question of teaching the preservation of modern and contemporary buildings as a new discipline, specifically and radically different from that of new architecture, both in terms of theoretical courses and the contemporary architecture project. It has established a methodology and a practice based on its research that embrace the whole of polytechnic or university education, whether basic or advanced. Finally, the TSAM affirms the richness and the educational power of preservation and its project, and, beyond the subjective feelings and formalistic emotions, base them on an objective and multidisciplinary argumentation combining fine observation of materiality, essential theoretical knowledge and thoughtful creativity.
{"title":"Teaching the Laboratory of the Techniques and Preservation of Modern Architecture (TSAM) at the École Polytechnique Fédéral de Lausanne","authors":"Franz Graf","doi":"10.52200/61.a.8chd4l9k","DOIUrl":"https://doi.org/10.52200/61.a.8chd4l9k","url":null,"abstract":"More than a decade ago the TSAM addressed the question of teaching the preservation of modern and contemporary buildings as a new discipline, specifically and radically different from that of new architecture, both in terms of theoretical courses and the contemporary architecture project. It has established a methodology and a practice based on its research that embrace the whole of polytechnic or university education, whether basic or advanced. Finally, the TSAM affirms the richness and the educational power of preservation and its project, and, beyond the subjective feelings and formalistic emotions, base them on an objective and multidisciplinary argumentation combining fine observation of materiality, essential theoretical knowledge and thoughtful creativity.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124114660","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Aldo van Eyck design experiences engendered the development of broader architectural concepts, many of which he further developed in his writings. Aldo van Eyck used various forums to attack an impoverished functionalism that was devoid of qualities such as ambiguity and reversibility. In the history of architecture, it is rare for architects to reflect on their own work, but design and research, writing and building were intrinsic to Aldo van Eyck. He kept on looking for a formal vocabulary to bring the multiple and the general into order and harmony through his architectural assignments. When he set to work at the Amsterdam public works department the opportunity to regenerate the vacant urban spaces in the city arose through the design of an intricate network of playgrounds. This essay will focus on the architectural qualities of these playgrounds.
阿尔多·凡·艾克的设计经历产生了更广泛的建筑概念的发展，其中许多他在他的著作中进一步发展。Aldo van Eyck利用各种论坛来攻击缺乏模糊性和可逆性等品质的贫困功能主义。在建筑史上，建筑师很少反思自己的工作，但设计和研究，写作和建筑是Aldo van Eyck固有的。他一直在寻找一种正式的词汇，通过他的建筑任务将多元和一般带入秩序与和谐。当他开始在阿姆斯特丹公共工程部门工作时，他有机会通过设计一个复杂的游乐场网络来再生城市中空置的城市空间。这篇文章将关注这些操场的建筑质量。
{"title":"Aldo van Eyck and the Amsterdam playgrounds","authors":"Vincent Ligtelijn","doi":"10.52200/61.a.n2t5pk5p","DOIUrl":"https://doi.org/10.52200/61.a.n2t5pk5p","url":null,"abstract":"Aldo van Eyck design experiences engendered the development of broader architectural concepts, many of which he further developed in his writings. Aldo van Eyck used various forums to attack an impoverished functionalism that was devoid of qualities such as ambiguity and reversibility. In the history of architecture, it is rare for architects to reflect on their own work, but design and research, writing and building were intrinsic to Aldo van Eyck. He kept on looking for a formal vocabulary to bring the multiple and the general into order and harmony through his architectural assignments. When he set to work at the Amsterdam public works department the opportunity to regenerate the vacant urban spaces in the city arose through the design of an intricate network of playgrounds. This essay will focus on the architectural qualities of these playgrounds.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129231836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On the 4th March 2019, at his Berlin Office, DJ (Ana Tostões, editor, and Michel Melenhorst, guest editor) interviewed David Chipperfield, an internationally renowned architect, founder of David Chipperfield Architects (1985) whose work is recognized with important awards such as the RIBA Stirling Prize, the European Union Prize for Contemporary Architecture (Mies van der Rohe Award) and the Deutscher Architekturpreis.
2019年3月4日，DJ (Ana Tostões，编辑，Michel Melenhorst，客座编辑)在他的柏林办公室采访了David Chipperfield，一位国际知名建筑师，David Chipperfield Architects(1985)的创始人，他的作品获得了RIBA Stirling奖，欧盟当代建筑奖(Mies van der Rohe奖)和Deutscher Architekturpreis等重要奖项。
{"title":"David Chipperfield","authors":"A. Tostões, M. Melenhorst","doi":"10.52200/61.a.xwqh23ql","DOIUrl":"https://doi.org/10.52200/61.a.xwqh23ql","url":null,"abstract":"On the 4th March 2019, at his Berlin Office, DJ (Ana Tostões, editor, and Michel Melenhorst, guest editor) interviewed David Chipperfield, an internationally renowned architect, founder of David Chipperfield Architects (1985) whose work is recognized with important awards such as the RIBA Stirling Prize, the\u0000European Union Prize for Contemporary Architecture (Mies van der Rohe Award) and the Deutscher Architekturpreis.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115707512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Walter Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Walter Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to “make history” for themselves. What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to 20th century Modernism? It is undeniable that there is a concerted effort among contemporary historians to complicate the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.
{"title":"Walter Gropius and Operative History: an Architectural Palimpsest","authors":"Jasmine Benyamin","doi":"10.52200/61.a.yy72uckw","DOIUrl":"https://doi.org/10.52200/61.a.yy72uckw","url":null,"abstract":"This essay evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Walter Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Walter Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to “make history” for themselves. \u0000What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to 20th century Modernism? It is undeniable that there is a concerted effort among contemporary historians to complicate the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.","PeriodicalId":404729,"journal":{"name":"Education and Reuse","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126434487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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