Request Permissions Exam copy. Overview Author s. Summary The present volume offers eloquent testimony that many of the master builders of this century have held passionate convictions regarding the philosophic and social basis of their art.
Share Share Share email. Authors Ulrich Conrads. The aristocrat lets them be; he knows that profes. WitCi thh the hours in which they work are their holy hours. I go to the rn Organic Architecture! I will pay you one thing, its furnishings another and its setting and environment still another. Ali are to be studiously foreseen and provided for in the by the additional price. He is happy. Happiness rarely enters bis house. Here nature of the structure. All these should become mere details of the character is a man who understands him, who values bis work and does not doubt bis and completeness of the structure.
He already sees the finished shoes in bis mind's eye. He knows where heating and ventilation. The very chairs and tables, cabrnets and even musical the best lea! And then I say lo him: 'But there's one To thus make of a human dwelling-place a complete work of art, in itself condition.
The shoes must be completely smooth. He has less work, lending itself more freely and suitably to the individual needs of the dw? I tolerate ornaments on my own body, and be really an expression of them in character, - this is the tall modern when they constitute the joy of my fellow men.
Then they are my joy too. I American opportnnity in Architecture. True basis of a true Culture. An e"alted can tolerate the ornaments of the Kaffir, the Persian, the Slovak peasant view to take of the 'property instinct' of our times? We have art, which has taken the place the prescribed fashion in a day when a dwelling was a composite of cells of ornament. Aller the toils and troubles of the day we go to Beethoven or to arranged as separate rooms: chambers to contain however good aggregations Tristan.
This my shoemaker cannot do. An I have nothing else to put in its place. But anyone who goes to the Nilllh organic-entity, this modern building as contrasted with that former insensate Symphony and then sits down and designs a wallpaper pattern is either a con- aggregation of parts.
Surely we have here the higher ideal of unity as a more fidence trickster or a degenerate. Absence of ornament has brought the other intimate working out of the expression of one's life in one's environment. One arts to unsuspected heights. Beethoven's symphonies would never have been great thing instead of a quarrelling collection of so many!
Anyone who goes around i11 a velvet coat today is not an artist but a buffoon or a house painter. We have grown finer, more subtle. The nomadic herdsmen had to distinguish themselves by various colours; modern man uses his clothes as a mask. Freedom from ornament is a sign of spiritual streng! Modern man uses the ornaments of earlier or alien cultures as he sees fit.
Purpose, material, and. AH hough one of the movers. Form is a higher spiritual need to the same degree that cleanli- particular it must be the content of any work of artistic reform embarked 1 ness is a higher bodily need. Crudities of form cause the really cultivated man upon today. The fortunate progress of the arts and crafts movement, which an almost phys1cal pain; in their presence he has the same feeling of dis- bas given new shape to the interior decoration of our rooms, breathed fresh comfort produced by dirt and a bad smell.
But as long as a sense of form has life into handicrafts and imparted fruitful inspiration to architecture, may be not been developed in the cultured members of our nation to the same level regarded as only a minor prelude to what must come. For in spite of all we of intensity as their need for dean linen, we are still far removed from con- have achieved we are still wading up to our knees in the brutalization of forms.
What sense is there in speaking of success so long as this is still the case? Is there a more accurate testimony to a nation's taste than the buildings with which it fills its streets and populated areas?
What would it mean, compared with this, if we could prove that today the energies required for decent architectural constructions are available and that these energies have simply not been able to get to grips with the tasks? Preeisely the fact that they have not got to grips with the tasks characterizes the cultural situation of our day. The very fact that thousands and thousands of our people not merely pass by this crime against form unperturbed, but as the employers of archi- tects contribute to its mulliplication by choosing unsuitable advisers, is un- mistakable proof of the abysmal condition of our sense of form and hence of our artistic culture ln generat The Deutscher Werkbund was founded in years when a dosing of the ranks of all those struggling for better things was made necessary by the violent assaults of their opponents.
Its years of struggle for its principles are now over. The ideas it existed to propagate are no longer contradicted by anyone; they enjoy universal acceptance. Does this mean that its existence is now super- fluous?
Oue might think so if one were to consider only the narrower fidd of applied art. But we cannot rest content with having put cushions and chairs in order; we must think further. In June! So Jong as there are still artists in the Werkbund and so long as they exer- harmonious cu! By his innermost 2. Instinctively he distrusts everythhig that might.
As long as a universal high level of taste has not been achieved, we cannot thinking his thoughts through to their own free end, or that attempts to dnve count on German arts and crafts making their influence effectively felt abroad. TI1e world will demand our products only when they are the vehicles of a convincing stylistic expression.
The foundations for this have now been laid 2. The creative development of what has already been achieved is the most dence to the spirit of his age. These currents may be very manifold; he absorbs urgent! Upon i! He willingly sub- ing of a valuable possession. And for twenty years many of us have been seeking forms and decora- 6. Nevertheless it has not occurred to any of us that henceforth we ougllt to attention upon creating the preconditions for the export of its industrial arts.
We know that several generations will have to work 7. Germany's advances in applied art and architecture must be brought to the upon what we have started before the physiognomy of the new style is es- attention of foreign countries by effective publicity.
Next to exhibitions the tablished, and that we can talk of standards and standardization only after the most obvious means of doing this is by periodical illustrated publications. Exhibitions by the Deutscher Werkbund are only meaningful when they 4. Gradually the energies, the gifts of all, begin to combine together, antitheses become neutralized, and l :j created for export: think of Tiffany glasses, Copenhagen porcelain, jewellery bY Jensen, the books of Cobden-Sanderson, and so on.
The era of imitation will begin and forms 1o. Every exhibition must have as its purpose to show the world this native quality, and it is quite true that the Werkbund's exhibitions will have meaning and decorations will be used, the production of which no longer calls for any only when, as Herr Muthesius so rightly says, they restrict themselves radically creative impulse: the age of infertility will then have commenced. The de. It would be Henry van de Velie to destroy the embryo in the egg.
These premature effects have all the less prospect of enabling German arts and crafts to exercise an effective influence abroad, because foreign countries are a jump ahead of us in the old tradition and the old culture of good taste. Germa11y, on the other hand, has the great advantage of still possessing gifts which other, older, wearier peoples are losing: the gifts of invention, of brilliant personal brainwaves.
The efforts of the Werkbund should be directed toward cultivating precisely these gifls, as well as the gifts of individual manual skill, joy, and belief in the beauty of higbly differentiated execution, not toward inhibiting them by stan- dardization at the very moment when foreign countries are beginning to take an interest in German work. As far as fostering these gifts is concerned, almost everything still remains to be done. We do not deny anyone's good will and we are very well aware of the diffi- culties that have to be overcome in carcying this out.
On the other hand, we are well aware of the need to export that lies like a curse upon our industry. And yet 11othing, nothing good and splendid, was ever created out of mere consideration for exports. Quality will not be created out of the spirit of export. Quality is always first created exclusively for a quite limited circle of connoisseurs and those who commission the work.
These gradually gain con- fidence in! Ms quality. Scheerbf rt's. Utopian phantasmagoria, I i hapter 'Glass An:hitecture' ln Sturm. This terrace formation of the storeys will of course quickly replace the dreary frontal architecture of brick houses. The environment and its Influence on the evolution of e11ltnre. Transportable builolings We live for the most part within enclosed spaces.
These form the environment Transportable glass buildings can also be manufactured. They are particularly from which our culture grows. Our culture is in a sense a product of our well suited for exhibition purposes.
If we wish to raise our culture to a higher level, we are forced for Such transportable buildings are not exactly easy to produce. But let 1t not better or for worse to transform our architecture. And this will be possible only be forgotten tha! This most difficult pro bl em that is tackled first.
The new so fantastic or Utopian at all. Eighty years ago the steam railway came along environment that we shall thereby create must bring with it a new culture. The beauty of the Earth if gla;;s arcbitee!
Urll is everywhere transformed - and by glass architecture. Naturally, a part will also be played by other factors outside where displaced by glass architecture. It would be as though the Earth clad itself in jewellery of brilliants and It was the steam railway that produced the brick metropolis culture of enamel. Glass architecture will ""'. And we sho':1ld th:n have on the metropolis iu our sense of the word has been done away with.
Earth more exquisite things than the gardens of the Arabum Nights. That it must be done away with is perfectly clearto al! This is no longer worth talking about. We all know what colour means: it forms only a small part of the spectrum. But this we want to have.
Infra-red and ultra-violet are not perceptible to our XL!. Walls need no be vertical. But curved surfaces are also effective in the lower parts of the walls - this It is therefore to be hoped that glass architedure really will 'transform' the effect is particularly easy to achieve in smaller rooms. The house and the In two you r. The radlcal ideas put place without appearing a grotesque anachronism.
It is not a question of finding new profiles, new door and window 'Nhkh appeared in July of the same year, four months after Marinetti's frames, substitutes for columns, pilasters, consoles, caryatids, gargoy! It is manifesto Ifie SpienrJo. It is a question of creating the Futurist house according to a sound plan, of building it with the aid of every scientific and technical resource, of fulfilLing The words and passages in italics were added to Sant'Elia's statement by to the limit every demand of our way of life and our spirit, of rejecting every- Marinetti and Cinti.
What is called rolumes, an architecture whose raison d etre hes solely m the specm! The new beauty of concrete and iron is profaned by bility.
This architecture cannot be subject to any law of historical continuity, the superirnposition of carnival decorative incrustations justified neither by It must be as new as our frame of mind is new. The art of building has been able to evolve in time and to pass from one or Byzantine antiquity or in that astounding outburst of idiocies and in1potence sty le to another while maintaining the general characteristics of architecture knov..
Young Italian architects those who gain a reputation for origin- turn the old and create the new - such things as the discovery of natural laws, ality through the clandestine machinations of art magazines display their talents the perfecting of mechanical systems, the rational and scientific use of in the nelv quarters of our cities, where a joyful confusion of ogival columns, ma teria!
In modern times, the process of the consistent seventeenth-centur;. It must perforce begin again from the beginning. They ance of build in gs it la mode, in which an attempt is made to force the splendid- stubbornly contitwe to apply the rules of Vitruvius, Vignola and Sansovino and ly light and slender supporting members and the apparent fragility of re- with a few little German architectural publications in their hands try to re- inforced concrete to imitate the heavy curve of arches and the massive appear- impose age-old imbecilities upon our cities, which ought to be tire direct and ance of marble.
Elements stylistic exercise, an endless repetition of formu[as incompetently employed to have entered into our life of whose very possibility the ancients did not even disguise as a modern building the usua I hackneyed conglomeration of bricks and dream, Material possibilities and attitudes of mind have come into being that stones.
We have lost the sense of the mo nu- This is tire supreme idiocy of the modem architecture that constantly repeats mental, of the heavy, of the static; we have enriched our sensibility by a 'taste 34 JS.
We feel that we are no 'j longer the men of the cathedrals, the palaces, the assembly halls; but of big:' hotels, railway stations, immense roads, colossal ports, covered markets,. Tbe lifts must not hide like lonely i worms in the stair wells ; the stairs. Let us have ji done with monumental, f unercai, commemorative architecture. An1er ica. All class. Perpendicular and horizontal lines, cubic and pyramidal forms that are static, heavy, oppressive and absolutely alien to our new sensibility.
And proclain1: 1. That Futurist architecture is the architecture of calculation, of audacity and flntonio-Sant'Elfa. That this does not render architecture an arid combination of the practical. The famous first man ifes. A year ear 1ier a group- of 3.
The first word v1as 'purity': a 'v1hite'.. There is an old and a new consciousness of the age. The old one is directed 5. The new one is directed towards the umversal. The of nature, so we - being materially and spiritually artificial - must find this strnggle of the individual against the universal may be seen both in the world inspiration in the elements of the immensely new mechanical world which we war and in modem art.
The war is destroying the old world with its content: individual pre- dominance in every field. Architecture as the art of arranging the forms of buildings according to pre- determined criteria is finished. The new art has brought to light that which is contained in the new con- sciousness of the age : a relationship of equality between the urn ''ersal and the 7.
Architecture 1nust be w1der. The new consciousness of the age is prepared to realize itself in everything, including external life. An architecture so conceived cannot give birth to any three-dimensional or linear habit, because the fundamental character is lies of Fut ur isl architecture 5.
Tradition, dogmas and the predominance of the individual stand in the way will be obsolescence and transience. The artists of today, all over the world, impelled by one and the same consciousness, have taken part on the spiritual plane in the world war agai'. They therefore sympathize with all who are fighting spiritually or materially for the formation of an international unity in life, art, and culture. The collaboration of all is Bruno Taut: possible by: Sending in to the editorial board as a proof of agreement the exact name A programme for architecture addressJ and profession.
Art-that is one single thing, when it exists! Today there is no art. The various disrupted tendencies can find their way back to a single unity only under the wings of a new architecture, so that every individual discipline will play its part in building.
Then there will be no frontiers between the applied arts and sculpture or painting. Everything will be one thing: architecture.
The direct carrier of the spiritual forces, moulder of the sensibilities of the general public, which today are slumbering and tomorrow will awake, is architecture. Both must be willed - today's architects must prepare the way for tomorrow's buildings. Their work on the future must receive public assistance to make it possible.
Therefore: J, Support and gathering together of the idea! Financial assistance towards the publication of written material, the construction of models and b for a wel! Here, too, new architectural effects, e. The layman, the woman, and the child will lead the architect farther than the inhibited specialist.
Expenses could be met by melting down public monuments, breaking down triumphal avennes, etc. Workshops with colonies of craftsmen and artists on concerned only with the control of local building, demolition, and financial the experimental s.
If agreement cannot be 1ei:;ts and gardeners. People's houses e In everything, preference to be given to the creative; no control over the a Beginning of large-scale people's housing estates not inside the towns, architect once he has been commissioned.
Prospect of a prolonged period of construction, hence the g Only such architeets' corporations are to have authority in this and other beginning should be made according to a grandiose plan with limited means, ,,! These corporations are to b Architects to be chosen not by competition but in accordance with I c.
They are to bring their c Tfbnilding is halted it should be given new incentives during the pauses by [ in! They cannot! The future lies on the newly developed land, which v. The education of arcbitecra will feed itself not 'on the water'. Estates collaboration with the students. Practical work on the b11ilding site and in the a Unitary direction in the sense that one architect will establish overall workshop like an apprentice in a craft.
Technical out thereby impeding personal freedom. This architect to have the right primary schools. No fear of c. Arcliltecture and the oilier arts IV. Other bulldlogs a Designing of exhibitions by architects in cheerful sh;ipes; lightweight a For street development and, according to circumstances, for whole urhan buildings in busy public squares and parks, on popular lines, almost like a districts the same thing applies as for III a and b.
As long as there are b Extensive employment of painters and sculptors on all buildings in order freelance architects there will be only freelance architects.
Until there are to draw them away from salon art; the arousal of mntual interest between State potters there need not be State architeets.
Public and private buildings architect and 'artist'. Anonymity is rendered endeavours of painting and sculpture. He alone will help to bring about the valueless by the recognizable artisttc handwriting of successful architects. No unity of the whole. Best of all a single adjudicator. Increased importance of the architect in public life through his holding Final selection possibly by plebiscite. In t'1arch! Transtormat of all mstructton m. State f11nds to be made avatlable for this Klein, and Adolf.
Just distribution In the conviction that the political revolution must be used to liberate art '. It strives for the gathering :;. Prevention of prematurely planned war memona. Jn close contact with and immediate cessation of work on the war museums proposed for Berlm associations with similar objectives in other parts of Germany, the Arbeitsrat and the Reich. Establishment of a national centre to ensure the fostering of the arts within the framework of future lawmaking. In the forefront stands the guiding principle: Art and people must form a unity.
Art shall no lnnger be the enjoyment of the few but the life and happiness of the masses. On this basis six preliminary demands are made: 1. Recognition of the public character of all building activity, both State and private. Removal of all privileges accorded to Civil Servants. New tasks: people's housing as a means of bringing all the arts to the people. Permanent experimental sites for testing and perfecting new architectural effects.
Dissolution of the Academy of Arts, the Academy of Buildin. There are no architects today, we are all of us merely! Ur Kunst put on in!! At th-e tlme of the exhibition Walter Gropius Gropi-us had been appointed director of the former Vereinigten Gt'os. Are there any architects?
Let us not deceive. All our works are nothing but splinters. We shall not cease seeking for that which later may cr7sta! Let us together will, think out, create the new idea of various banalities, then there will be one single.
Painters and sculptors, break through the barriers lo architecture every nook and cranny. It alone prov. Architects, sculptors, painters, we must all return to the Bruno Taut craflsl For there is no 'professional art'. Artists arc craftsmen in the original sense of the word, and only in rare, b. The snob is look. Programme of the Staatliches Bauhaus in mg. For areh! The same month Gropius. Hed address themselves to the will ai;d thereby fulfil a mission.
To embellish ts quite certa1n. Today the arts exist in isola- stated here. Only then will their work be imbued with the Adolf Behne architectonic spirit which it has lost as 'salon art'. The old schools of art were unable to produce this unity; how could they, since art cannot be taught. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again.
When young people who take a joy in artistic creation once more begin their life's work by learning a tr. Arcbitects, sculptors, painters, we all must return to the crafis! For art is not a 'profession', There is no essential dilference between the artist and the craftsman. The artist is an exalted craftsman. In rare mo1nents of inspiration, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art.
But proficiency in a crafi is essential to every artist. Therein lies the prime source of creative imagination, Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create! Walter Gropius Programme 4f the Staatl! Aims ofthe Bonhaus The Bauhans strives to bring together all creative effort into one whole, to reunify all the disciplines of practical art - sculpture, painting, handicrafts, and the crafts - as inseparable components of a new architecture.
Principles of the Bauhaus Art rises above all methods; in itself it cannot be taught, but the craft. Architects, painters, and sculptors are craftsmen in the true sense of the word: hence, a thorough training in the crafts, acquired in work- shops and on experimental and practical sites, is required ofall studeuts asthe indispensable basis for all artistic production. Our own workshops are to be gradually built up, and apprenticeship agreements with outside workshops wiJI be concluded.
The s;;hool is the servant of the workshop and will one day be absorbed in it. Therefore there will be no teachers or pupils in the Bauhaus but masters, journe1'mc-n and apprentices. Master and journeyman examinations, according to the Guild Statutes, held before the Council of Masters of the Bauhaus or before outside masters.
Collaboration by the students in the work of the masters. Securing of commissions, afso for students. Collaboration of all masters and stude11ts - arcliitccts, painters, sculptors - on these designs with the object of gradually achieving a harinon ' of all the component elements and parts that make up architecture. Constant contact with the leaders of the crafts and industries of the country.
Contact with public life, with the people, through exlitbitions and other acttvities. Establish- g individual lectures on subjects of general interest m al! Range oflastructfoo Divisions of Instruction Instruction at the Bauhaus includes al! Architecture, I. Painting, JI. Sculpture III. In order to give the students as versatile and compre- ].
Craft training - either in our own, gradually enlarging workshops or in hensive a technical and artistic training as possible the work schedule will be outside workshops to which the student is bound by apprenticeship agree- so arranged that every architect-, painter-, and sculptor-to-be is able to partici- ment - i ndudes : pate in part of the other con rs es.
A non-recurring f weavers. Foreign students pay double fees. Craft training forms the basis of all teaching at the Bauhaus. Every student Address enquiries to the Secretariat of the Staat! April 19! This coincidence of the volition behind them will find expression in the resulling work and will bring all the arts back into a unity. The and faith of a single individual, will one day become a law for all.
Jth slides which Mendelsohn de! The lecture pre. Naturally, this era will not be brought into being by social classes in the grip The simultaneous process of revolutionary political decisions and radical of tradition. This does not mean that I am handing o. For internationalism means an aesthel!
Such a great will unites all those who are engaged in the work. When we consider as yet unknown possibililies, we must not let ourselves It comes into being, it awakens an adequate religious faith only after the be misled by that dulling of vision which comes from too close a viewpoint.
That which seems today lo be flowing with viscous slowness will later appear Here we can do no m! Jte than oontribute the modest measure of our own to history as having moved at a breakneck and thrilling speed. We are dealing work, in faith and in a willingness to serve. Before such a future the great achievements of historical times step back of their own accord; the immediacy of the present loses its im portanee.
What will happen has value iy if it comes into being in the intoxication of vision. Criticism bears fruit only if it can embrace the whole problem. Tutelage fails, because the future speaks for itself. In this, up to the present, three paths may be distinguished, which, though fundamentally different, follow parallel courses towards the same goal and nevertheless will one day cross. The brothers Gaboand Pevsner, both sculptors. November Group. But Taut and Behr,e kept together their an:hitect fdefld"S.
These mate: rials a. TCie text cep-rodui:. We reject the dosed spatial circumference as the plastic expression of the Hopp! My sweet little horsey! We assert that space can only be modelled from within Hopp! Where do you want to go? Over that high wa 11? Well really I don't know! We reject the closed mass as an exclusive element for the building up of Hopp! Where - do you - want - to go? In opposition to it we set the demand that plastic bodies shall be constructed stereometrically.
We reject de. We demand that the concrete material shall be employed as a furrowers, the eternally serious, the sweet-sour ones, the forever important! We reject the decorative line. We demand of every line in the work of art Smash the shell-lime Doric, Ionic and Corinthian columns, demolish the pin- that it shall serve solely to define the inner directions of force in the body to be heads!
We are no longer content with the static elements of form in plastic art. We 'Oh, our concepts: space, home, style l' Ugh, how these concepts stmk! Let nothing remain!
Chase away their must be employed in plastic art, in order to make possible the use of kinetic schools, let the professorial wigs fly, we'll play catch with them.
Blast, blast! Let the dusty, matted, gummed up world of concepts, ideologies and syste. Qeath to everythmg stuffy! Death to everything called title, dignity, a11thority!
Down with every- thing serious! Down with all camels that won't go through the eye of a needle, with all worshippers of Mammon and Moloch! Jn the distance shines our tomorrow. Hurray, three times hurray for onr B. Hurray for the transparent,! Hurray for Le Corbusier: purity! Hurray for crystal! Hurray and again hurray for the fluid, the graceful, the angular, the sparkling, the Hashing, the light - hurray for everlasting Towards a new architecture: guiding principles architecture!
He ach1eves harmony. Three reminders to architects Moss Our eyes are constructed to enable us to see forms in light. Primary forms are beautiful forms because they can be clearly appreciated. Architects today no longer achieve these simple forms. Surface A mass is enveloped in its surface, a surface which is divided up areording to the directing and generating lines of the mass; and this gives the mass its individuality.
Architects today are afraid of the geometrical constituents of surfaces. The great problems of modern construction must have a geometrical solution.
They create limpid and moving plastic facts. Architecture operates in accordance with standards. Standards are a matter of logic, analysis, and minute study; they are based on Plan a problem which has been well 'stated'.
A standard is definitely established by The Plan is the generator. Without a plan, you have lack of order and wilfulness. I of raw materials. Architecture goes beyond utilitarian needs. An inevitable element of Architecture. The spirit of order, a unity of intention.
The necessity for order. The regulating line is a guarantee agai1lst wilfulness. The sense of relationships; architecture deals with quantities. It brings satisfaction to the understanding. It will be very important for you and other readers in the world. So, human life will be harmonious and full of peace. To serve many readers to get the book entitled Programs and Manifestoes on 20th-Century Architecture FromThe MIT Press , this website is ready with easy way in downloading the online book.
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