What Was Brauer's Accomplishments

The Bauhaus was an art and design school that operated in Germany from 1919 to 1933 (Smith 2005, p. 31) and was a major component of the Modernism movement. In 1923 the schools’ founder Walter Gropius called for “a new unity” between art and technology. Subsequently, one of the main aims of the Bauhaus was to merge art with mass-­‐production, however this ambitious aim often eluded the Bauhaus (Bergdoll and Dickermann 2010, p. 15) and its products were criticized as being for an elite. This essay will investigate the extent to which the Bauhaus achieved its goal of mass production through an exploration of the different phases and individuals of the iconic school.

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

This essay will focus on how those works are informed by both regional and international course. In this context, Sydney Ancher and his strong Miesian simplicity as well as Peter Muller’s affinity with Frank Lloyd Wright’s organic architecture principle.

The eighteenth-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces, focusing on the design theory of architects as Boullee and Durand, with his charts. Which legacy was continued later on through the architecture of Paul Philippe Cret, Frank Lloyd Wright and Louis Kahn, some of the most outstanding modern architects of 18th-19th century. Furthermore, distinctive features of neoclassicism and outlines

Through the close examination of Speer as an individual within the Nazi state, it is important to distinguish his architectural career into two distinct sections; pre-GBI and GBI. Through analysing Speer’s actions through these respective lenses, historians are equipped to make an informed historical judgement on Speer and his specific roles within the confines of the Nazi political hierarchy. Speer, through his early architectural role in the party, from 1931 to 1937, was able to demonstrate his aptitude for architecture and design. It is important to note that during the years 1931 to 1933, Hitler was not as influential as he became during his appointed time as Reich chancellor, as such, Speer’s role within the party at this point remains

It is considered beautiful to the public and the Stillman couple. The building speaks for its architect by the beauty and creativeness of the house. Since the house was considered successful and to be one of Breuer’s most successful post-war houses; the successfulness of the house being displayed at the museum of Art proves that the house does have true beauty and is respected in the design

Filippo Brunelleschi one of the greatest humanists of our time, has changed the world of architecture. Brunelleschi

Peter Behrens is one of the most influential German designers. At the beginning of the century, he brought forth amazing works in architecture, graphic design, and painting, which began to influence in all these various fields, opening uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture as well as modern industrial design. From the late 1800's he worked as a graphic artist in Munich, where he joined the Jugendstil movement. He produced woodcuts, colored illustrations, designs for book bindings and craft objects. Peter Behrens designed china, glass objects, and patterned linoleum flooring. This fused Graphic Design and Architecture.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Lloyd’s chapter, “The Brücke Studios: A Testing Ground for Primitivism”, in her book, German Expressionism: Primitivism and Modernity, discusses the influence of Primitivism artefacts used as decorative items and their cultural influence on the studios of the die Brücke movement. Lloyd asserts in her writings, that the work of the die Brücke were inspired by the primitivizing, bohemian interior design fashioned by the artists inside their individual studios. The non-European art that attracted the Brücke artists’ attention first of all—the Palau beams and Ajanta temple paintings—were in both cases related to decorative environments, and thus relevant for their own studio spaces, rather than random or arbitrary stylistic models . Shortly thereafter, Lloyd contradicts her earlier statements when she states the studios in the Friederichstadt neighborhood of Dresden that the Brücke artists’ shared were in a working-class neighborhood, agreeing with other art historians’ claims that the reason it was chosen was because it appealed to their anti-bourgeois sensibilities. Further reading exposes what I believe Lloyd was really trying to tell her audience, although the Brücke artists were antibourgeois, they were decorating their studios in a bourgeois, bohemian style to give their work, of how they thought, a worldly, and thusly, a more educated artist would decorate their atelier. Lloyd supports this when she supports Bleyl as he describes Kirchner’s studio in the fall of 1907. Bleyl’s memoirs, although not completely reliable with regard to dating, support this theory as he suggests that there were no decorations in Kirchner’s atelier when he left die Brücke in the autumn of 1907, but that when they met again the was decorated in a very bohemian style. Lloyd shares with us that although these Brücke artists were using Primitivism to influence their style, the underlying factor was because it was what they were currently exposed to with the rest of the population during the German colonization of Africa. Lloyd explains they were almost unwitting imposters as they were not well-educated, having never traveled farther than Dresden or Berlin. Her comments about Kirchner supports his antibourgeois attitudes, but his

Gropius traces the growth of the New Architecture and the work of the now well-known Bauhaus, with accuracy, calls for a new artist and architect educated to new materials and approaches as well as meeting the requirements of the age. It is also mentioned in The New Architecture and the Bauhaus that the intention of the Bauhaus was not to reproduce any “style”, system or belief, but simply to exert a revitalizing impact on design. Even though the outward forms of the New Architecture differ primarily in an organic sense from the old, it is the inevitable logical product of the intellectual, social and technical conditions of our age. A gap has been made with the past, allowing us to face a new aspect of architecture corresponding to the technical civilization of the age we live in. The analysis of the dead styles has been destroyed. Furthermore, the new building throws open the walls like curtains to allow an abundance of fresh air, daylight and sunshine. Instead of securing the building ponderously into the ground, it poises them lightly, yet firmly at the same

“Architecture or Revolution?” in Le Corbusier’s belief was the only way to avoid class-based revolution in industrialized architecture (Quirk, 2012). Le Corbusier, born Charles Édouard Jeanneret, was born into an artistic family in 1877 in a small village in Switzerland. His mother was a pianist and his father was a designer of watch dials. Even though he learned piano and father’s trade he got interested in the architecture when he was 13 years old. He learned from L’Eplatenier, a teacher in La Chaaux-de-Fund. His teacher opened his eyes and led him to the direct observation of life. He was an instinctive genius by turning older building designs into newer more modern designs. Le Corbusier is one of the most significant architecture’s of the 20th century, and one who led architecture to the modern era.

In relation to this the book ’Le Corbusier ‘by Kenneth Frampton (British architect, critic and historian, born: 20/11/1930) also holds a link within some of the opinions, movements and beliefs of Le Corbusier. Focusing from the early stages of Corbusier’s life to his last works, we find ourselves indulging in facts and creations of Corbusier himself such as the Dom-ino. As featured in the previous reading ‘towards a new architecture’ Corbusier talks about the engineers aesthetic ‘two things that march together and follow one from the other one at its full height, the other in an unhappy state of retrogression’. After some research in to this I was lead to the dom-ino design (image above). The dom –ino was an early example of the engineers aesthetic and became the theoretical basis of most of Corbusiers houses up to 1935 and extended on a scale much larger than the two story house. The dom-ino led to a number of prototype buildings such as the United De Habitation. The design allows the concept of the free facade, The pieces were to be pre-fabricated allowing the construction time of the design to be reduced and thereby a product of Corbusier’s application of

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.

The five principles of architecture that Le Corbusier proposed in 1923 can be noted in, not only Le Corbusier’s work, but also in other modern architecture, because each principle contributes to the overall aesthetic of the building, as well as providing a functional use. However, all five principles don’t have to be incorporated into one design, which is what this essay will explore. It will attempt to show that one principle can prevail over the other four, but all five are needed to create a full representation of Le Corbusier’s envision of architecture. This is shown through Le Corbusier’s villas, specifically the Villa Shodhan and this essay will analyse how the principles contrast against one another. Furthermore, a small scale design project will be created alongside the essay in an attempt to produce a unique villa through the embodiment of Le Corbusier’s five principles of architecture. Through further analysis of the Villa Shodhan I will also argue that not all principles are independent and that some principles can function efficiently without the rest. Nonetheless, Le Corbusier’s most renowned villa, Villa Savoye, utilizes all five principles; therefore, it is the most accurate image of Le Corbusier’s five principles of architecture. However, after this villa had been completed it became clear that the flat roof, which served a domestic purpose as a roof garden had failed