Toward an Architecture
Vers une architecture, recently translated into English as Toward an Architecture but commonly known as Towards a New Architecture after the 1927 translation by Frederick Etchells, is a collection of essays written by Le Corbusier (Charles-Edouard Jeanneret), advocating for and exploring the concept of modern architecture. The book has had a lasting effect on the architectural profession, serving as the manifesto for a generation of architects, a subject of hatred for others, and unquestionably an important work of architectural theory. The architectural historian Reyner Banham wrote that its influence was "beyond that of any other architectural work published in this [20th] century to date",[1] and that unparalleled influence has continued, unabated, into the 21st century. The polemical book contains seven essays, all but one of which were published in the magazine L'Esprit Nouveau beginning in 1921. See also[edit] Le Corbusier's Five Points of Architecture References[edit] Sources[edit]
Art Nouveau
Style of art and architecture about 1890 to 1911 One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ("total work of art") that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.[3] From Belgium and France, it spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). Naming[edit] History[edit] Origins[edit]
Le Corbusier
Charles-Édouard Jeanneret (6 October 1887 – 27 August 1965), known as Le Corbusier (UK: /lə kɔːrˈbjuːzieɪ/ lə kor-BEW-zee-ay,[2] US: /lə ˌkɔːrbuːˈzjeɪ, -ˈsjeɪ/ lə KOR-boo-ZYAY, -SYAY,[3][4] French: [lə kɔʁbyzje]), was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, and he designed buildings in Europe, Japan, India, and North and South America. Dedicated to providing better living conditions for the residents of crowded cities, Le Corbusier was influential in urban planning, and was a founding member of the Congrès International d'Architecture Moderne (CIAM). On 17 July 2016, seventeen projects by Le Corbusier in seven countries were inscribed in the list of UNESCO World Heritage Sites as The Architectural Work of Le Corbusier, an Outstanding Contribution to the Modern Movement.[5] Death[edit] Ideas[edit]
Baroque
Artistic style in Europe and colonies, c. 1600–1750 The Baroque style used contrast, movement, exuberant detail, deep color, grandeur, and surprise to achieve a sense of awe. The style began at the start of the 17th century in Rome, then spread rapidly to the rest of Italy, France, Spain, and Portugal, then to Austria, southern Germany, and Poland. By the 1730s, it had evolved into an even more flamboyant style, called rocaille or Rococo, which appeared in France and Central Europe until the mid to late 18th century. In the territories of the Spanish and Portuguese Empires including the Iberian Peninsula it continued, together with new styles, until the first decade of the 19th century. Origin of the word[edit] The English word baroque comes directly from the French. In the 16th century the Medieval Latin word baroco moved beyond scholastic logic and came into use to characterise anything that seemed absurdly complex. Architecture: origins and characteristics[edit] Italian Baroque[edit]
Florence Charterhouse
Florence Charterhouse church The courtyard of the monastery Florence Charterhouse (Certosa di Firenze or Certosa del Galluzzo) is a charterhouse, or Carthusian monastery, located in the Florence suburb of Galluzzo, in central Italy. The building is a walled complex located on Monte Acuto, at the point of confluence of the Ema and Greve rivers. The charterhouse was founded in 1341 by the Florentine noble Niccolò Acciaioli, Grand Seneschal of the Kingdom of Naples, but continued to expand over the centuries as the recipient of numerous donations. Florence, Certosa, Charterhouse, chapel, ca.1878 Florence, Certosa, Charterhouse, cloister, ca.1878 In 1958 the monastery was taken over by Cistercian monks. The chapter house now holds lunettes from the cloister, frescoed by Pontormo, damaged by exposure to the elements. The charterhouse inspired Le Corbusier for his urban projects.[1] References[edit] External links[edit] Coordinates:
Bauhaus
German art school and art movement The Staatliches Bauhaus (German: [ˈʃtaːtlɪçəs ˈbaʊˌhaʊs] ( listen)), commonly known as the Bauhaus (German for 'building house'), was a German art school operational from 1919 to 1933 that combined crafts and the fine arts.[1] The school became famous for its approach to design, which attempted to unify individual artistic vision with the principles of mass production and emphasis on function.[1] The Bauhaus was founded by architect Walter Gropius in Weimar. The school existed in three German cities—Weimar, from 1919 to 1925; Dessau, from 1925 to 1932; and Berlin, from 1932 to 1933—under three different architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Design style[edit] Bauhaus and German modernism[edit] Weimar[edit] [edit]
Action painting
Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. Background[edit] Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting's creation. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who used the term "action" at first in this sense and fostered the theory of the subjective struggle with it. Historical context[edit] It is essential for the understanding of action painting to place it in historical context. Notable action painters[edit] Exhibitions[edit]
