1、 The Deutscher Werkbund(Work Federation)德国制造联盟Chief organization of artistic and cultural reform at the beginning of the 20th century in Germany德国20世纪初艺术和文化改革的主要组织Founded in Munich in 1907,Work Federation was aimed to accelerate the integration of art and industry at a national level and it had the
2、orientation towards high-quality goods for mass consumption.建立制造商与设计者之间的合作Friedrich Naumann:“Many people do not have the money to hire artists,and,consequently,many products are going to be mass produced;for this great problem,the only solution is to infuse mass-production with meaning and spirit by
3、 artistic means.”将艺术特点注入大工业生产的产品中 Deutscher Werkbund,1907Peter Behrens(1868-1940)Enobling effect of art on technology Behrens:architecture of the machine age should be based on classicism that in an age of speed the only appropriate buildings would be those with forms as distinct as possible,with qu
4、iet,flush surfaces.Peter BehrensThe Deutscher Werkbund(Work Federation)德国制造联盟AEG Turbine Factory,1908The Deutscher Werkbund(Work Federation)德国制造联盟Behrens also worked for AEG,designing consumer products,standardized parts,companys graphics,and a consistent corporate identity.Walter Gropius(1883-1969)
5、Gropius shared with Muthesius and Behrens that machine could be spiritualized by means of artHowever,Gropius rejected Muthesius idea of controlling artistic conceptualization by bureaucracy and big business.Different from Behrens,Gropius thought that art and pragmatism coexisted and there was no con
6、tradiction between type and the continuing role of the individual artist-architect.艺术和实用主义共存 The Deutscher Werkbund(Work Federation)德国制造联盟With emphasizing transcendent quality of materials,Fagus factory was a dramatic departure from the visual language of Behrens,which emphasized the formality and s
7、ymbolism.Classicism is abstract here,which is geometry.材料的表现力Radically simplified forms,the rationality and functionality,and the idea that mass-production was combined with the individual artistic spirit.These can be seen as prophetic of New Objective Modern Movement in the 1920s Germany.Fagus Fact
8、ory,1911The Deutscher Werkbund(Work Federation)德国制造联盟Fagus Factory,1911Weimar Republic(1919-1933)魏玛共和国Liberal Democratic Constitution In Germany,as in France,there was a return to order after the First World War,though it was delayed by political and economic crisis.Whereas in France the return to o
9、rder could be seen as re-affirming an established and triumphant national tradition,in Germany,defeated in the war,it implied a radical break with the national past and a search for alternative principles.与过去决裂，追求新的事物Society and politics in Germany between WWI and WWII二战前德国社会与政治状况Glass Pavilion,1914
10、German Expressionism德国表现主义The style was characterised by an early-modernist adoption of novel materials,formal innovation,and very unusual massing,sometimes inspired by natural biomorphic forms,sometimes by the new technical possibilities offered by the mass production of brick,steel and especially
11、glass.Many expressionist architects fought in World War I and their experiences,combined with the political turmoil and social upheaval,resulted in a utopian outlook and a romantic socialist agenda.Expressionist architecture was individualistic and in many ways eschewed aesthetic dogma.反美学教条、对新材料和形式
12、夸张运用 Monument to the March Dead,1921 Einstein Tower,1919-22German Expressionism德国表现主义 In the early years of the Soviet Union,Russian and Soviet artists embraced a wide variety of art forms.Revolutionary politics and radical non-traditional art forms were seen as complementary.In art,constructivism f
13、lourished.In poetry,the nontraditional and the avant-garde were often praised.Constructivism was an artistic and architectural movement that originated in Russia from 1919 onward which rejected the idea of“art for arts sake in favour of art as a practice directed towards social purposes.Tatlin Tower
14、,1914Influences from Constructivist Movement俄国结构主义运动Influences from Constructivist Movement俄国结构主义运动Workers Club,1927During the early 1920s,there was considerable cultural exchange between Germany and Soviet Russia.1922,Exhibition of Soviet Art1922,Constructivist Congress in WeimarExpressionist start
15、When Gropius was appointed to succeed Henry van de Velde as director of the Academy of Fine Art at Weimar in 1919,he was given the task of creating a new School of Architecture and Applied Art.He believed that artistic culture was threatened by the materialism of industrial capitalism and could only
16、 be saved by a spiritual revolution.Bauhaus Manifesto of 1919:Let us conceive a new building of the future architecture,painting,and sculpture rising to Heaven out of hands of a million craftsman.Bauhaus Manifesto,1919Bauhaus包豪斯Changes between 1919-1923Bauhaus in Weimar魏玛时期的包豪斯Changes between 1919-1
17、923Johannes Itten,Head of Preliminary Course,1919-1922Mystical approach to art teaching,based on psychological-formalist principlesJohannes Itten Bauhaus in Weimar魏玛时期的包豪斯Changes between 1919-1923Johannes Itten,Head of Preliminary Course,1919-1922Mystical approach to art teaching,based on psychologi
18、cal-formalist principlesJohannes Ittens painting Bauhaus in Weimar魏玛时期的包豪斯Changes between 1919-1923Johannes Itten,Head of Preliminary Course,1919-1922Mystical approach to art teaching,based on psychological-formalist principlesJohannes Ittens painting Bauhaus in Weimar魏玛时期的包豪斯Changes between 1919-19
19、23Moholy-Nagy,Head of Preliminary Course,1922-In contrast to Itten,Moholy-Nagy introduced an objective Constructivist approach,involving the manipulation of industrial materials.Lszl Moholy-NagyBauhaus in Weimar魏玛时期的包豪斯“Moholy-Nagys course was aimed at the development of a new,contemporary visual id
20、iom.led from an emphasis on personal expression to a more rational,economic,and structural use of material itself,in pictorial terms”Moholy-Nagy believed in the association between machines and Platonic forms.Lszl Moholy-Nagys paintingBauhaus in Weimar魏玛时期的包豪斯“Total Work of Art”:All kinds of art,inc
21、luding architecture would come together完整的艺术，包括建筑、设计、手工艺、绘画、雕刻 Gropius:The union of art and technology 格罗皮乌斯：艺术与技术的融合“The Bauhaus workshops are essentially laboratories in which prototypes of products suitable for mass production and typical of our time are carefully developed and improved.”1923 Bau
22、haus Exhibition Bauhaus in Weimar魏玛时期的包豪斯Bauhaus School Building in Dessau，1926-Dynamic functional mannerBauhaus in Dessau德绍时期的包豪斯Bauhaus in Dessau德绍时期的包豪斯Bauhaus in Dessau德绍时期的包豪斯Implementation of the Bauhaus Idiom包豪斯理念的实现Commercially successful designs商业上非常成功的设计，涵盖家具、灯具、茶具、建筑等Weissenhof Estate,192
23、7 Housing projects in Germany同时期的住宅实践Deutscher Werkbund(Work Federation)exhibition,1927Grosiedlung Siemensstadt Ringsiedlung,1929-34 Wohnstadt Carl Legien,1928-30 Housing projects in Germany同时期的住宅建设The estates also provide exceptional examples of new urban and architectural typologies,featuring fres
24、h design solutions,as well as technical and aesthetic innovations.Bruno Taut,Martin Wagner and Walter Gropius were among the leading architects of these projects which exercised considerable influence on the development of housing around the world.Siedlung Schillerpark,1924-30 Horseshoe Estate,1925-
25、30 Housing projects in Germany同时期的住宅实践The properties are outstanding examples of the building reform movement that contributed to improving housing and living conditions for people with low incomes through novel approaches to town planning,architecture and garden design.Housing projects in Germany同时
26、期的住宅建设Functionalists vs.Rationalists功能主义与理性主义Functionalists VS RationalistsAdolf BehneDer Moderne Zweckbauex-expressionistVan DoseburgHet BouwbedriffFunctionalists vs.Rationalists功能主义与理性主义Functionalists vs.Rationalists功能主义与理性主义Functionalists vs.Rationalists功能主义与理性主义Ludwig Mies van der Rohe密斯Mies van
27、 der Rohe was the last director of Bauhaus School until Nazis seized power in Germany.He was setting the tune of practice of modern architecture in aesthetics in inter-war Germany and spread his influence across the Atlantic to America and beyond.Ludwig Mies van der Rohe密斯Mies van der Rohe was the l
28、ast director of Bauhaus School until Nazis seized power in Germany.He was setting the tune of practice of modern architecture in aesthetics in inter-war Germany and spread his influence across the Atlantic to America and beyond.Ludwig Mies van der Rohe密斯Spiritualization of technologyLudwig Mies van der Rohe密斯Spiritualization of technologyLudwig Mies van der Rohe密斯Ludwig Mies van der Rohe密斯Ludwig Mies van der Rohe密斯Ludwig Mies van der Rohe密斯Ludwig Mies van der Rohe密斯Spiritualization of technologyLudwig Mies van der Rohe密斯Spiritualization of technology
