20101021 Gropius Bauhaus

7/28/2019 20101021 Gropius Bauhaus

1/63

Historia, Teora y Composicin Arquitectnicas IProf. Jos Prez de Lama / grupo 14 / clase 04

Orgenes de la Modernidad en Arquitectura: W. Gropius y la Bauhaus

Mscara Oskar SchlemmerSilla Marcel Breuer,Bauhaus, ca. 1925


2/63

Comentarios preliminares sobre contenidos del curso


3/63


4/63


5/63


6/63

Redes


7/63


8/63

Por qu nos pueden hoy interesar los orgenes de la arquitectura moderna?


9/63

Walter Gropius [1883, 1969], Alemania -Estados Unidos

Bauhaus,[1919, 1933] Weimar, Dessau,

Bauhaus: se pone en marcha al final de la I Guerra Mundial...Entre el movimiento arts and crafts y la razn industrialMetrpolis industrial, y nuevas formas de vidaRacionalismoNuevas tecnologas y formas de produccin; ciencia

Nueva idea de arte; Neue SachlichkeitNueva esttica [industrial, maquinista]; funcionalismoEstilo internacional

Influencia a travs de los Estados Unidos, tras los aos 30Gropius, Breuer, en HarvardMies van der Rohe, en Chicago

Contemporneos de otros arquitectos modernosAlemania: Bruno Taut, Ernst May, Hans Poelzig...HolandaFranciaUnin Sovitica...


10/63

Walter GropisIzq. ca. 1919; arriba: ca. 1965


11/63

Profesores [maestros] de la Bauhaus, hacia 1926, de iz. A derecha: Josef Albers, Hinnerk Scheper, Georg Muche,Lszl Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee,Lyonel Feininger, Gunta Stlzl and Oskar Schlemmer


12/63


13/63

Manifiesto

[1919, Walter Gropius; Bauhaus]

[traduccin de trabajo del ingls, con consultas puntuales del original en alemn]

El objetivo final de toda la actividad creativa es la edificacin [der Bau]. Ladecoracin de edificios fue en un momento la ms noble de las bellas artes, ylas bellas artes eran indispensables para la gran arquitectura. Hoy existen enun complaciente aislamiento, y pueden ser rescatadas solamente por laconsciente cooperacin y colaboracin de todos los artesanos. Arquitectos,pintores y escultores tienen de nuevo que comprender el carcter compuesto

de un edificio, a la vez como entidad y en trmino de sus varias partes.Entonces su trabajo se ver lleno del verdadero espritu arquitectnico, quecomo arte de saln, ha perdido.

Las viejas escuelas de arte son incapaces de producir esta unidad; y cmopodran haberlo hecho si el arte no puede ser enseado? Las escuelas debenvolver a los talleres. El mundo del diseador de patrones y del artista

aplicado, consistente slo en dibujos y pintura debe convertirse de nuevo enun mundo en el que las cosas sean construidas. Si el joven que ama laactividad creativa comienza ahora su carrera como en los viejos tiemposaprendiendo el trabajo manual [Handwerk, crafts], entonces el artistaimproductivo dejar de estar condenado a una artisticidad inadecuada, puessus habilidades sern guardadas para el trabajo manual [Handwerk] con elque podr conseguir grandes cosas.


14/63

Manifiesto [cont.]

Arquitectos, escultores, pintores, todos tenemos que volver al trabajomanual! Porque no existe algo tal que arte profesional. No hay diferenciaesencial entre el artista y el artesano. El artista es la exaltacin del artesano.

Por la gracia del cielo en momentos extraordinarios de inspiracin quetrascienden la voluntad, el arte puede inconscientemente folrecer del trabajode su mano, pero una base en el trabajo manual es esencial para todo artista.Es hay donde reside la fuente original de la creatividad.

Creemos por tanto una nueva asociacin [gremio] de artesanos sin lasdistinciones de clase que levantan arrogantes barreras entr artesanos y

artistas! Deseemos, concibamos y creemos juntos nuevos edificios delfuturo. Combinarn arquitectura, escultura y pintura en una nica forma, y selevantarn un da hacia el cielo de las manos de millones de trabajadorescomo el smbolo cristalino de una nueva fe que viene.


15/63


16/63

Walter Gropius, Bauhaus DessauPrinciples of Bauhaus Production [1926]

The Bauhaus wants to serve in the development of present-day housing, from thesimplest household appliances to the finished dwelling.

In the conviction that household appliances and furnishings must be rationally relatedtoeach other, the Bauhaus is seeking-by systematic practical and theoretical researchinto formal,technical, and economic fields-to derive the design of an object from itsnatural functions and relationships.

Modern man, who no longer dresses in historical garments but wears modernclothes,also needs a modern home appropriate to him and his time, equipped with all themodern devices of daily use.

An object is defined by its nature. In order, then, to design it to function correctly-acontainer, a chair, or a house-one must first of all study its nature: for it must serve its

purpose perfectly, that is, it must fulfill its function usefully, be durable, economical,and ''beautiful.''

This research into the nature of objects leads to the conclusion that by resoluteconsideration of modern production methods, constructions, and materials, forms willevolve that are often unusual and surprising, since they deviate from the conventional(consider, for example, the changes in the design of heating and lighting fixtures.)


17/63

Principles of Bauhaus Production [cont.]

It is only through constant contact with newly evolving techniques, with the discoveryof new materials, and with new ways of putting things together, that the creativeindividual can learn to bring the design of objects into a living relationship withtradition and from that point to develop a new attitude toward design, which is:

A resolute affirmation of the living environment of machines and vehicles

The organic design of things based on their own present-day laws, without romanticgloss and wasteful frivolity

The limitation to characteristic, primary forms and colors, readily accessible toeveryone

Simplicity in multiplicity, economical utilization of space, material, time, and money.


18/63


The creation of standard types for all practical commodities of everyday use is asocial necessity.

On the whole, the necessities of life are the same for the majority of people. Thehome and its furnishings are mass consumer goods. and their design is more amatter of reason than a matter of passion. The machine-capable of producingstandardized products-is an effective device, which, by means of mechanical aids-steam and electricity-can free the individual from working manually for the satisfactionof his daily needs and can provide him with mass-produced products that arecheaper and better than those manufactured by hand. There is no danger thatstandardization will force a choice upon the individual, since due to naturalcompetition the number of available types of each object will always be ample toprovide the individual with a choice of design that suits him best.

The Bauhaus workshops are essentially laboratories in which prototypes of productssuitable for mass production and typical of our time are carefully developed and

constantly improved.

In these laboratories the Bauhaus wants to train a new kind of collaborator forindustry and the crafts, who has an equal command of both technology and form..


19/63


To reach the objective of creating a set of standard prototypes which meet all thedemands of economy, technology, and form, requires the selection of the best, mostversatile,and most thoroughly educated men who are well grounded in workshopexperience and who are imbued with an exact knowledge of the design elements ofform and mechanics and their underlying laws.

The Bauhaus represents the opinion that the contrast between industry and the craftsis much less marked by the difference in the tools they use than by the division oflabor in industry and the unity of the work in the crafts. But the two are constantlygetting closer to each other.

The crafts of the past have changed, and future crafts will be merged in a newproductive unity in which they will carry out the experimental work for industrialproduction. Speculative experiments in laboratory workshops will yield models andprototypes for productive implementation in factories.

The prototypes that have been completed in the Bauhaus workshops are beingreproduced by outside firms with whom the workshops are closely related.

.


20/63


The production of the Bauhaus thus does not represent any kind of competition foreither industry or crafts but rather provides them with impetus for their development.

The Bauhaus does this by bringing creatively talented people with ample practicalexperience into the actual course of production, to take over the preparatory work forproduction, from industry and the crafts.

The products reproduced from prototypes that have been developed by the Bauhauscan be offered at a reasonable price only by utilization of all the modern, economicalmethods of standardization (mass production by industry) and by large-scale sales.

The dangers of a decline in the quality of the product by comparison to the prototype,in regard to quality of material and workmanship, as a result of mechanicalreproduction will be countered by all available means.

The Bauhaus fights against the cheap substitute, inferior workmanship, and thedilettantism of the handicrafts, for a new standard of quality work.

.


21/63

Marcel Breuer, ca. 1925, Silla Wassily y silla Freischwinger, Mies van der Rohe


22/63

Walter Gropius y Adolf Meyer, 1911-1925, Fbrica Fagus, AlemaniaFuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus


23/63

Walter Gropius y Adolf Meyer, 1911-1925, Fbrica Fagus, AlemaniaFuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus

la "vida moderna necesitabanuevos organismos constructivosque se correspondan con lasformas de vida de nuestro tiempo"."Las estaciones, almacenes yfbricas necesitan una expresinpropia y no se pueden regir porningn modo de vida de pocaspasadas sin caer en elesquematismo vaco y en lamascarada histrica. La formaexacta, carente de todacasualidad, los contrastes de formay color constituyen la base de lartmica de la creacinarquitectnica".


24/63


25/63


26/63


27/63

Algunas cuestiones:

Expresin / lenguaje nuevo / propio para el uso industrialNuevos materiales y tcnicas constructivasFuncionalismo expresivoNo decorativismo; eliminacin lenguaje clsico o histricoMuro cortina; iluminacin


28/63

Walter Gropius y colaboradores, 1925, edificio de la Bauhaus en Dessau

Fuente: http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagushttp://en.wikipedia.org/wiki/Bauhaus
http://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagushttp://en.wikipedia.org/wiki/Bauhaushttp://en.wikipedia.org/wiki/Bauhaushttp://es.wikiarquitectura.com/index.php/F%C3%A1brica_Fagus


29/63


30/63


31/63


32/63


33/63


34/63


35/63


36/63


37/63


38/63


39/63


40/63


41/63


42/63


43/63


44/63


45/63


46/63


47/63


48/63

Algunas cuestiones:

Simetra vs equilibrio compositivo; no hay una fachada principal; interspor la composicin dinmica de volmenesRacionalismo; objetividadFuncionalismo en la organizacin de los espacios; zonificaciones,circulacionesFuncionalismo expresivoLa industria como modelo

Transparencia, espacio continuo y homogneoDesmaterializacin: volmenes que pretenden flotar en el espacioCubierta plana, estructura independiente de los cerramientosDesvinculacin de lenguajes histricos y tambin localesNo decorativismo; blanco y grisNo monumentalidadExperimentacin nuevos materiales y sistemas constructivos

Integracin de las instalaciones en el diseo arquitectnico: calefaccin,iluminacin / electricidad...Integracin de aspectos constructivos, funcionales y estticos[...]


49/63

Walter Gropius, ca. 1938, casa Gropius en Lincoln, Massachusetts

Fuente: http://es.wikiarquitectura.com/index.php/Casa_Gropiushttp://en.wikipedia.org/wiki/Gropius_House

http://www.knowledgefarm.org
http://es.wikiarquitectura.com/index.php/Casa_Gropiushttp://en.wikipedia.org/wiki/Gropius_Househttp://www.knowledgefarm.org/http://www.knowledgefarm.org/http://en.wikipedia.org/wiki/Gropius_Househttp://es.wikiarquitectura.com/index.php/Casa_Gropius


50/63

Gropius lleg en 1937 a dar clases en Harvard. Pronto se construy unacasa para su familia. Modesta de tamao, la casa tuvo un impactorevolucionario. Combinaba elementos familiares de Nueva Inglaterra

como los revestimientos de madera, la piedra local y la chimenea deladrillo, con materiales industriales como los bloques de vidrio,revestimientos acsticos, barandillas metlicas y la ltima tecnologa eninstalaciones. Todos los aspectos de la casa y su entorno estabanplanificados para la mxima eficiencia y simplicidad del diseo...

Modest in scale, the house was revolutionary in impact. It combined familiar elements of New

England houses-wood siding, stone foundation, and brick chimney with industrial materials, likeglass block, acoustical plaster, and chrome banisters, and the latest technology in fixtures. Everyaspect of the house and its surrounding landscape was planned for maximum efficiency andsimplicity of design.[http://www.knowledgefarm.org & http://en.wikipedia.org/wiki/Gropius_House ]
http://www.knowledgefarm.org/http://en.wikipedia.org/wiki/Gropius_Househttp://en.wikipedia.org/wiki/Gropius_Househttp://www.knowledgefarm.org/


51/63


52/63


53/63


54/63


55/63


56/63


57/63


58/63

Oak: robleBirch: abedulScotch pine: pinoElm: olmo


59/63


60/63

Escalera y W. Gropius asomndose al hueco de escalera


61/63


62/63


63/63

20101021 Gropius Bauhaus

Documents

Transcript of 20101021 Gropius Bauhaus