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%20%E2%80%9Cconstruction,approach%20to%20architecture%20and%20design.
Throughout the 20th century, several styles of avant-garde art helped shape modern art. While
many of these genres—including subconscious-based surrealism and energetic abstract
expressionism—predominantly favored paintings, the Bauhaus movement encompassed a wide
array of mediums, materials, and disciplines.
What is Bauhaus?
Bauhaus—literally translated to “construction house”—originated as a German school of the arts
in the early 20th century. Founded by Walter Gropius, the school eventually morphed into its
own modern art movement characterized by its unique approach to architecture and design.
Today, Bauhaus is renowned for both its unique aesthetic that inventively combines the fine arts
with arts and crafts as well as its enduring influence on modern and contemporary art.
History
In 1919, German architect Walter Gropius established Staatliches Bauhaus, a school dedicated
to uniting all branches of the arts under one roof. The school acted as a hub for Europe's most
experimental creatives, with well-known artists like Josef Albers, Wassily Kandinsky, and Paul
Klee offering their expertise as instructors.
Weimar, aka State Bauhaus in Weimar, was where Gropius laid the groundwork for Bauhaus to
come; it's where he established ideals that would be considered visionary for the time. Art,
according to his manifesto and the program, should serve a social role and there should no
longer be a division of craft-based disciplines.
At Weimar, the “stage workshop” was an important part of the education. It was directed by
Lothar Schreyer from 1921 to 1923 and then by Oskar Schlemmer from 1923 to 1925. It brought
together visual and performing arts and stressed an interdisciplinary approach.
Dessau was considered the hotspot in the heyday of Bauhaus. It arose after the politically
motivated close of Weimar. During this time, it set forth on the path of designing new industrial
products for mass consumption. (Most of the products and designs that are well known today
came from Dessau.) It was also here that the famous Bauhaus Building was planned and built
by Gropius. This iteration of Bauhaus was dissolved on September 30, 1932.
Berlin was the last phase of Bauhaus. Due to mounting pressures from the Nazis and cutbacks
in funding, there was limited work done during this time. The move to Berlin happened after the
closure of Dessau, and Bauhaus masters and students reconvened in October 1932 out of an
abandoned telephone factory. By April 11, 1933, however, the premises were searched and
closed by the police and SA.
The teaching staff dissolved the Bauhaus in July 1933. But even after facing permanent
closure, the influence and aesthetic of the school persisted, culminating in the Bauhaus
movement.
Style of Bauhaus
The style of Bauhaus is commonly characterized as a combination of the Arts and Crafts
movement with modernism, as evident in its emphasis on function and, according to the Tate,
its “aim to bring art back into contact with everyday life.” Thus, typical Bauhaus designs—
whether evident in painting, architecture, or interior design—feature little ornamentation and a
focus on balanced forms and abstract shapes.
Bauhaus Art
In art, this emphasis on function is apparent in the balanced compositions of abstract
paintings by Bauhaus artists like Wassily Kandinsky and Paul Klee. Undoubtedly inspired by
architecture, the paintings typically pair flat planes with overlapping shapes to suggest
dimensionality. In addition to paintings, artists often produced abstract sculptures, avant-
garde collages, and modernist posters featuring bold typography and blocks of color.
Yellow-Red-Blue (1925)
by Wassily Kandinsky
(Photo: Musée national
d'art
moderne via Wikimedia
Commons)
Bauhaus Exhibition Poster (1923)
(Photo: iv toran [Public Domain])
Bauhaus Architecture
Similar to Bauhaus art, architecture in this style is characterized by
harmoniously balanced geometric shapes and an emphasis on
function. Featuring open plans and lots of glass, it is inspired by
the simple yet polished look of the American Arts and Crafts
movement—a genre popularized by master architect and Prairie School pioneer Frank Lloyd
Wright.
Although subtle, textiles also played a role in Bauhaus interior design. In fact, students studied
color theory as well as weaving in the textile workshop. Their pieces, as well as the occasional
wall painting, provided some levity to the otherwise industrial rooms.
Photo: Spyrosdrakopoulos
via Wikimedia Commons
Photo: pyrosdrakopoulos
via Wikimedia Commons
Legacy
Today, Bauhaus is often credited as the catalyst for modern architecture and furniture and
as an important influence on mid-20th century painting and sculpture. Some buildings—
including Bauhaus Dessau, a UNESCO World Heritage Site—have been turned into tourist
destinations and house museums, while many major modern art museums incorporate the
works of art into their permanent displays and popular exhibitions.
Modern architecture often features bold, clean lines, and simple functionality, from mid-
century modern to Scandinavian minimalism. You can trace all of these design trends back
to a school of architecture that began in early twentieth-century Germany: the Bauhaus
school.
Bauhaus style was born in the Staatliches Bauhaus, a German art school that functioned
from 1919 to 1934. Here’s a brief overview of the school’s evolution and eventually closing:
Inception: Architect Walter Gropius, who founded the school, was upset by the rapid
industrialization of the era without any thought for artistic quality or humanity, and the
large rift between the fine arts (like painting and sculpture) and the applied arts (also
called arts and crafts during the time; things like furniture design, graphic design,
and architecture). A merger of two Grand-Ducal Saxon Academy of Fine Art and the
Grand Ducal Saxon School of Arts and Crafts resulted in the birth of the architecture
school, with Gropius leading the charge as director.
Faculty: Notable faculty of the Bauhaus school included Marcel Breuer, László Moholy-
Nagy, Paul Klee, Marianne Brandt, Johannes Itten, Oskar Schlemmer, Herbert Bayer,
Josef Albers, Anni Albers, Georg Muche, and Wassily Kandinsky.
Evolution: Over the next 14 years, the school went through several relocations and
school buildings (from Weimar to Dessau to Berlin) and several directors (from Gropius
to Hannes Meyer to Ludwig Mies van der Rohe), and its goals and tenants fluctuated
with each change. However, at its core, the Bauhaus school’s driving force was its aim to
reintegrate art and industrialization.
Closure: The school was forced to close during World War II in 1933 by the Nazi
regime. After the school’s closure, some Bauhaus students and faculty fled the city,
leading to the spread of the style throughout the world, from the United States to the
Middle East.
Global impact: A New Bauhaus school was founded in Chicago (later becoming the
Institute of Design, part of the Illinois Institute of Technology); Walter Gropius went on to
accept a teaching position at the Harvard Graduate School of Design; several Bauhaus
artists designed and built over 4,000 Bauhaus buildings (called the White City) in Tel
Aviv, Israel, and was declared a UNESCO World Heritage Site in 2003. The Bauhaus
style remains one of the most influential design schools of the twentieth century and a
vital piece of art history.
1. Functional Shapes.
Bauhaus design aims for cohesion and simplicity, so architectural color schemes are
often limited to basic industrial colors like white, gray, and beige. In interior design,
primary colors are often used—tones of red, yellow, or blue—sometimes all together
but more often in focused, deliberate ways (such as a single red wall, or a yellow
chair).
3. Industrial Materials.
Since the Bauhaus movement focuses on simplicity and industrialism, it most often
tries to incorporate the fewest different materials possible, all of which are considered
industrial, modern materials. These materials include glass (especially in ribbon
windows or glass curtain walls), concrete (especially in building design, and steel
(especially in appliances and objects like lamps and chairs).
4. Balanced Asymmetry.
Bauhaus architecture and design aimed for visual balance through asymmetry.
(Symmetry was considered too industrial without any artistic heart.) As a result,
Bauhaus designers worked to unite and balance buildings and rooms by
incorporating the same elements throughout (for instance, the same materials and
shapes, or repeating colors) without making both sides the same. A landmark
example of this is the Bauhaus building in Dessau, which includes several different
shapes and angles while remaining cohesive with white paint and extensive window
designs.
5. Holistic Design.
Among the essential tenets of Bauhaus design is integrating the school’s techniques
into every element of life, including city design, street corners, building architecture,
furniture design, appliances, eating utensils, and typography. This holistic, integrated
approach requires the designer to keep the school’s tenets at the forefront of every
choice they make when designing a room or building look in the Bauhaus style.
https://www.thespruce.com/what-is-bauhaus-architecture-4784133
https://www.bauhaus-dessau.de/en/architecture/bauhaus-building.html
https://www.archdaily.com/87728/ad-classics-dessau-bauhaus-walter-gropius
https://en.wikiarquitectura.com/building/bauhaus-building-in-dessau/
https://art.art/blog/10-bauhaus-principles-that-still-apply-today
Pertemuan 12 ; 16 Juni 2021
Tema : International Style
International Style
Dirangkum oleh Faiza Aidina ST., M.A
Gaya Internasional (International Style) , gaya arsitektur yang berkembang di Eropa dan
Amerika Serikat pada tahun 1920-an dan 30-an dan menjadi kecenderungan dominan
dalam arsitektur Barat selama dekade pertengahan abad ke-20.
Sejarah
Bauhaus, baik dari sistem pendidikanya dan bangunan-bangunannya, menjadi titik tolak
perkembangan arsitektur yang kemudian disebut dengan international style. Kedua
direktur Bauhaus (Walter Gropius dan kemudian digantikan oleh Mies Van der Rohe)
mempunyai peranan besar dalam hal ini.
Tahun 1927
Tahun 1928
Mies van der Rohe menciptakan dua proyek penting: Villa Tugendhat di Brno, dan
Paviliun Jerman di Barcelona (lambat laun banyak yang menyebutnya Paviliun
Barcelona) . Kedua bangunan ini merupakan campuran pengaruh Frank IIoyd Wright
dan Rietveld, selain itu pada karya tersebut juga bisa dapat dilihat terdapat pengaruh
berbagai elemen arsitektur Jepang.
Tahun 1929
Tahun 1932
Tahun 1940-an
Selama Perang Dunia II, banyak pendiri International Style bermukim kembali di
Amerika Serikat, beberapa menemukan kehidupan baru yang melekat pada
lembaga-lembaga Amerika: Gropius dan Breuer di Harvard dan Mies di Institut
Teknologi Illinois di Chicago, di mana mereka melatih generasi baru orang
Amerika dalam prinsip-prinsip Gaya Internasional.
Karakteristik paling umum dari bangunan gaya internasional adalah bentuk bujur
sangkar; permukaan bidang dengan onsep yang terlihat ringan (permainan
material).
Arsitektur gaya internasional sering digambarkan sebagai gaya "minimalis"
karena kecenderungan tidak memiliki ornamen dan dekorasi, juga bentuk yang
direduksi menjadi elemen struktural paling dasar.
penggunaan bahan yang diproduksi secara massal (dan kadang-kadang
prefabrikasi) memiliki potensi untuk diproduksi lebih efisien dan murah.
Penggunaan baru beton bertulang baja sebagai elemen pendukung sekunder
(lantai, dll.) dan kaca sebagai selubung untuk eksterior bangunan.
mengekspresikan potensi bahan dan rekayasa struktural.
ruang interior terbuka (open plan)
Penambahan elemen arsitektural, kantilever untuk membantu menghilangkan
perbedaan antara ruang interior dan eksterior.
penggunaan jendela besar yang tidak terputus.
Le Corbusier
Walter Gropius
Eero Saarinen
Richard Neutra
Villa Tugendhat di Brno, Republik Ceko (Vila Tugendhat , Brno, Czech Republic)
Daftar Pustaka:
https://www.britannica.com/art/International-Style-architecture
https://www.theartstory.org/movement/international-style/
https://www.architecture.org/learn/resources/architecture-dictionary/entry/international-style/
http://architecture-history.org/schools/INTERNATIONAL%20STYLE.html
https://www.archdaily.com/931129/12-important-modernist-styles-explained
Arsitektur Organik
Dirangkum oleh Faiza Aidina ST., M.A
"Sebuah filosofi desain arsitektur, yang muncul pada awal abad ke-20, menegaskan bahwa
dalam struktur dan penampilan sebuah bangunan harus didasarkan pada bentuk-bentuk
organik dan harus selaras dengan lingkungan alamnya."
Melihat dari pengertian diatas, maka ada 2 kata kunci yang bisa dijadikan acuan jika
menyebutkan definisi arsitektur organik, yaitu :
1). Bentuk organik
2). Selaras dengan lingkungan alamnya
Jika melihat dari sejarahnya hal tersebut akan kita pahami, oleh karena itu saya menyimpulkan
bahwa arsitektur organik adalah pendekatan rancangan arsitektur yang terinspirasi dari alam.
Para arsitek dunia kini menerjemahkan arsitektur organik melalui dua cara, yang pertama
adalah dengan menggunakan bentuk yang terdapat atau berasal dari alam, yang kedua adalah
meleburkan rancangan dengan alam.
Sejarah
Semua bermula dari konsep rumah-rumah yang dirancang oleh Frank Lloyd Wright
pada tahun 1901 hingga 1911 yang kemudian disebut „Prairie Style“ / Prairie School
Style. Rumah Taliesin (Taliesin I, Wisconsin), Taliesin Barat (Taliesin West, Arizona)
Rumah Robie (Robie House) merupakan proyek yang menjadi dasar teori arsitektur
organik yang akan digagas di belasan tahun berikutnya. Sejalan dengan gaya
internasional (berdasarkan abstraksi geometris, standardisasi dan industrialisasi),
arsitektur organik dikembangkan dan dirancang untuk menciptakan keselarasan
lingkungan buatan manusia dengan lingkungan alam.
Prinsip selaras dengan alam adalah cara Wright mengenalkan dan menerjemahkan
arsitektur organik, namun pada paruh terakhir abad ke-20, arsitek Modernis membawa
konsep arsitektur organik ke tingkat yang lebih tinggi. Dengan menggunakan bentuk
baru dari rangka beton dan kantilever, arsitek mampu membuat lengkungan menukik
tanpa balok atau pilar yang terlihat. Bangunan organik para arsitek modernis tidak linier
atau geometris kaku seperti yang dilakukan oleh Wright. Sebaliknya, garis
bergelombang dan bentuk melengkung yang khas menunjukkan bentuk alami,
penekanan mereka adalah pada bentuk yang berasal atau berada di alam.
Prinsip arsitektur organik kemudian bergeser mencakup objek rancangan yang bentuk
dan pemilihan materialnya terinspirasi oleh dunia tumbuhan dan hewan. Penggunaan
garis lengkung yang dinamis, tekstur façade atau interior yang menyerupai hewan/
tanaman, ornamen yang terinspirasi dari elemen alam, menjadi beberapa penciri yang
menunjukkan rancangan tersebut sebagai arsitektur organik, oleh karena itu arsitektur
organik dengan cara ini sering tumpang tindih / menimbulkan ambiguitas dengan gaya
Art Nouveau, Ekspresionisme dan beberapa gaya lain yang mengedepankan elemen
streamline / garis lengkung.
Kekuatan pemersatu di balik visi arsitektur Wright untuk rumah pribadi (sebagai lawan
dari desain untuk struktur komersial) adalah untuk mencapai keseimbangan yang
harmonis dengan lokasi pembangunan, baik itu gurun (desert) atau padang rumput
(prairie). Oleh karena itu karateristik arsitektur organik Wright adalah sebagai berikut:
Adaptasi dengan lingkungan (lebih kepada site, lahan yang akan dibangun)
Mengikuti garis alam site dan biasanya cenderung secara horizontal (Horizontal
lines mimic)
Melebur dengan alam, tidak kontras
Berlantai satu
Kesederhanaan (menyederhanakan desain struktur) dan ketenangan.
Pintu, jendela, dan furnitur yang menyatu dengan struktur.
keterbukaan, Open plan, membatasi jumlah ruangan yang berbeda
Keterbukaan, Ruang dalam (interior) seolah menyatu dengan ruang luar
(outdoor/exterior)
Garis linear, bentuk persegi atau persegi panjang
Material beton, kaca, bebatuan, dan baja
Penggunaan garis lengkung (arch), kurva (curve), gelombang (wavy) dan elemen
streamline lainnya.
Meniru bentuk-bentuk yang ada atau berasal dari alam, baik sebagian ataupun
secara utuh
Mempelajari prinsip dan cara kerja alam
Menerapkan material yang menampilkan kesan alam (bisa berupa buatan atau
elemen alamiah)
Dapat menggunakan material apapun selama merepresentasikan ciri alam
https://www.archdaily.com/123117/ad-classics-taliesin-west-frank-lloyd-wright
https://www.britannica.com/topic/Taliesin-and-Taliesin-West
Robie House
https://franklloydwright.org/site/robie-house/
https://www.archdaily.com/60246/ad-classics-frederick-c-robie-house-frank-lloyd-wright
dan untuk modernis arsitek akan dibatasi hanya sampai dengan abad ke 20 saja, karena
setelah itu masih banyak arsitek dunia yang kemudian mengusung konsep arsitektur organik.
Modernis arsitek : Louis Sullivan, Eero Saarinen, Zaha hadid dan masih banyak lagi.
Referensi rangkuman :
https://www.thoughtco.com/organic-architecture-nature-as-a-tool-178199
https://www.scienceabc.com/innovation/what-is-organic-architecture.html
https://study.com/academy/lesson/organic-architecture-definition-architects.html
https://impakter.com/organic-architecture-reinterpreting-the-principles-of-nature/