2a-Education of An Architect

Arch 111 Introduction to Architectural Concepts
Fall Semester 2020-21
Week 2a. Education of an Architect:

École des Beaux-Arts and Bauhaus
Week 2a. Education of an Architect
Atelier Laloux à l'Ecole des Beaux Arts Bauhaus costume party

Arch 111 / 2020-21
Photo (C) Musée d'Orsay, Dist. Photograph by Karl Grill

RMN-Grand Palais / Patrice Schmidt
École des Beaux-Arts
17th century-20th century
Academy of Painting and

Sculpture (1648) & Academy of
Architecture (1671)
Emphasis on tradition rather

than originality: aim is to
preserve and pass to the next
generations the forms and
styles of the classical antiquities
Architects were “creative

eclectics” who “make new and
appropriate compositions with
traditional elements drawn
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from a wide variety of sources.” The library of the The École des Beaux-Arts, 1905.
John Draper, “The École des Beaux-Arts and the Architectural Profession in the United States: The Case of John Galen Howard,”
in The Architect, ed. Spiro Kostof, pp. 209-237.
Education:
Atelier is at the center of the education and they are maintained independently by the patrons
(design professors) who were practicing architects
Students get points from the

competitions and “for the diploma they
were required to win more
competitions, complete a thesis project
and gain a year’s work experience.
Culmination of the process for a select
few was the annual Grand Prix de Rome
competition, open only to French
citizens. The winners were sent to the
French Academy in Rome for four years
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of study and were guaranteed an

official government position when they
returned.” Atelier of Jean-Louis Pascal, Paris, 1866.
Design process:
Student “arrived at the Ecole, picked up the program, and was immediately shut up for twelve
hours in a little loge or alcove to produce from his imagination a sketch plan and section. This
was kept on file at the school. The student kept a copy of the esquisse, since the rendered
project he turned in two months later had to match it.”
Design starts with a parti (the basic concept of the design), then students worked on the
caractère of the building (the expression of its qualities) and finally they prepared the projet
rendu (drawings of the project).
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Left: Competition brief. Right: John Galen Howard’s project for the competition, 1891.
Beaux-Arts Style
Museum of Natural History, Paris Interior of the Sainte-Geneviève Library, Paris The Grand Palais, Paris (1897-1900)
Louis-Jules André (1877-1889) Henri Labrouste (1844–50)
Metropolitan Museum of Art, New York Low Memorial Library at Columbia University The San Francisco War Memorial Opera House
Richard Morris Hunt (1902) Charles Follen McKim (1895) Arthur Brown Jr. (1932)
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https://en.wikipedia.org/wiki/Beaux-Arts_architecture#United_States
Bauhaus
(1919-1933)
Locations:
1- Weimar, 1919-1925
2- Dessau, 1925-1932
3- Berlin, 1932-1933
Directors:
1- Walter Gropius, 1919-1927

2- Hannes Meyer, 1927-1930
3- Mies van der Rohe, 1930-1933
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Bauhaus Building by Walter Gropius (1925–26), Dessau

https://www.bauhaus-dessau.de/en/architecture/bauhaus-building.html
Bauhaus
Bauhaus Manifesto
“The complete building is the final

aim of the visual arts.
…
Architects, sculptors, painters, we
must all turn to the crafts.
…
There is no essential difference
between the artist and the
craftsman.
…
Together let us conceive and create
the new building of the future,
which will embrace architecture
and sculpture and painting in once
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unity …”
"Walter Gropius: Bauhause Manifesto and Programme with opening woodcut by Lyonel
Feinenger, 1919"
Droste, M. (2002). Bauhaus, 1919-1933. Taschen. (p.18)
Bauhaus
(1919-1933)
Education:
- Reconciliation of art, design and industrial manufacturing (mass production): the unification
of all training in art and design
- No separation of craftsmen and artists, crafts and fine arts are recombined
- Gesamtkunstwerk ("'total' work of art"): combines all the arts including architecture
- Gaining a knowledge of both material and form through direct experience
- New formal vocabulary: economy of form which depends on function and material
- Hierarchy of apprentice – journeyman – master
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Bauhaus
The Curriculum
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"This diagram, which Gropius published in the Bauhaus statutes of 1922, illustrated the
structure of school curriculum. Training started with the six-month preliminary course
('Vorlehre'). The two middle rings represent the tree-year period of workshop training together
with the form theory. The workshops are identified in the terms of their materials; 'Holz' (wood)
thus stands for the joinery and wood-carving workshops."
Bauhaus
The Curriculum
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Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus, 1919-1928. New York: The Museum of Modern Art.(p.23)
Bauhaus
Preliminary Course
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https://www.bauhaus-dessau.de/teaching-2.html
Bauhaus
Preliminary Course: Itten
"E. Dieckmann: Composition using

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commonplace materials. Exercise

designed to develop sense of touch and
subjective feeling for material"
Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus,
1919-1928. New York: The Museum of Modern Art.(p.
31)
Bauhaus
Johannes Itten and his teaching
"Cube composition by Else Mögelin, 1921"

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"Rudolf Lutz: Plaster relief with square and

rectangular form characters, 1920/21."
Bauhaus
Preliminary Course: Moholy-Nagy
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"Suspended construction"
Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus, 1919-1928. New York: The Museum of Modern Art.(p. 88)
Bauhaus
Preliminary Course: Albers
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"Exercise in transformation on one plane"

Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus, 1919-1928. New
York: The Museum of Modern Art.(p.115)
Bauhaus
Paul Klee's Classes
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"Franz Singer: Colour penetration of yellow and

violet. Watercolour from Paul Klee's course,
around 1922/23."

Bauhaus
Wassily Kandisky's Classes
"Ida Kerkovius: Linear

analysis of a still-life;
drawing from Kandinski's
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course, 1923."
Bauhaus
The Pottery Workshop
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"Tall lidded pot by Otto Lindig, 1922. height 59cm."

Bauhaus
The Textile Workshop
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"Lore Leudesdorff: Small slit göbelin, 1923."

Bauhaus
The Metal Workshop
"Marianne Brandt: Small

tea-essance pot, 1924.
brass (silver-plated
interior) and ebony,
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height 7.5cm."
Bauhaus
The Furniture Workshop
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"Painted chair and table

by Marcel Breuer, 1923."
Bauhaus
The Stained-glass and Mural-painting Workshop
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"Josef Albers: Grid Picture, 1922.

Glass composition."
Droste, M. (2002). Bauhaus, 1919-1933.

Taschen. (p.87)
Bauhaus
The Wood-carving Workshop and Stone Sculpture Workshops
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"Stone-sculpture
workshop, around 1923"
Bauhaus
The Bookbinding Workshop
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"Lyonel Feininger: Cover of the portfolio of 'Italian

and Russian Artists' in the 'Neue Europäische
Graphik' series, 1924."
Bauhaus
The Graphic Printing Workshop
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"László Moholy-Nagy: Untitled, 1923. Lino cut."

Bauhaus
The Printing and Advertising Workshop
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"Herbert Bayer: Design for

a universal type, 1926."
Droste, M. (2002). Bauhaus, 1919-
1933. Taschen. (p.149)
Bauhaus
Photography Workshop
"Bella Ullmann and Willi

Jungmittag learning
photography, around
1930."
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Bauhaus
Theatre At The Weimar Bauhause
"Oskar Schlemmer:
'Triadic Ballet' costumes
in the Wieder
Metropol' review at the
Berlin Metrapol
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theatre, 1926."
Bauhaus
On Saturdays there was sport!
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"Gymnastics at the Bauhaus, around

1930."
Droste, M. (2002). Bauhaus, 1919-1933. Taschen.
(p.171)
Bauhaus
Architecture Department
Architecture department was set in 1927,

there was no classes on architecture until
1927
During the Mies van der Rohe’s directorship

“the Bauhaus was turned into a school of
architecture to which a small number of
workshops were attached.”
"Hilberseimer set his students to

investigate the relationship between
development density and size of
population."
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Bauhaus
Architecture
"Architecture department:
Standardized serial houses.
Drawing shows the various units of
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which the houses are composed

according to the needs of the
inhabitants."
Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus,

1919-1928. New York: The Museum of Modern
Art.(pp.72)
The International Style
“Modern Architecture: International Exhibition”, 1932,

Museum of Modern Art, New York.
Curators: Philip Johnson and Henry-Russell Hitchcock
Some of the Exhibiting Architects:

Le Corbusier, Walter Gropius, Mies van der Rohe, Frank Lloyd
Wright, J. J. P Oud
Features of the new style:

Emphasis on volume over mass
Standardization of elements
Technical perfection
Lack of ornament
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Flexibility
Book of the exhibition:

https://www.moma.org/documents/moma_catalogue_2044_300061855.pdf
The International Style
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Equitable Building in Atlanta, PSFS Building in Philadelphia Seagram Building in New York
Skidmore, Owings & Merrill George Howe & William Lescaze Ludwig Mies van der Rohe
https://en.wikipedia.org/wiki/International_Style_(architecture)
Arch 111 / 2020-21 Week 2a. Education of an Architect
Bauhaus
https://www.bauhaus100.com/the-centenary/
References
-- Prepared by Esin Kömez
-- Related references cited underneath the slides
Arch 111 / 2020-21

2a-Education of An Architect

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Arch 111 Introduction to Architectural Concepts

Fall Semester 2020-21

Week 2a. Education of an Architect:

Atelier Laloux à l'Ecole des Beaux Arts Bauhaus costume party

Photo (C) Musée d'Orsay, Dist. Photograph by Karl Grill

Academy of Painting and

Emphasis on tradition rather

Architects were “creative

Students get points from the

of study and were guaranteed an

1- Walter Gropius, 1919-1927

Bauhaus Building by Walter Gropius (1925–26), Dessau

“The complete building is the final

"E. Dieckmann: Composition using

commonplace materials. Exercise

"Cube composition by Else Mögelin, 1921"

"Rudolf Lutz: Plaster relief with square and

"Exercise in transformation on one plane"

"Franz Singer: Colour penetration of yellow and

Droste, M. (2002). Bauhaus, 1919-1933. Taschen. (p.63)

"Ida Kerkovius: Linear

"Tall lidded pot by Otto Lindig, 1922. height 59cm."

"Lore Leudesdorff: Small slit göbelin, 1923."

"Marianne Brandt: Small

"Painted chair and table

"Josef Albers: Grid Picture, 1922.

Droste, M. (2002). Bauhaus, 1919-1933.

"Lyonel Feininger: Cover of the portfolio of 'Italian

"László Moholy-Nagy: Untitled, 1923. Lino cut."

"Herbert Bayer: Design for

"Bella Ullmann and Willi

Droste, M. (2002). Bauhaus, 1919-1933. Taschen. (p.213)

"Gymnastics at the Bauhaus, around

Architecture department was set in 1927,

During the Mies van der Rohe’s directorship

"Hilberseimer set his students to

Droste, M. (2002). Bauhaus, 1919-1933. Taschen. (p.213)

which the houses are composed

Gropius, W., Bayer, H., & Gropius, I. (1938). Bauhaus,

“Modern Architecture: International Exhibition”, 1932,

Museum of Modern Art, New York.

Curators: Philip Johnson and Henry-Russell Hitchcock

Some of the Exhibiting Architects:

Features of the new style:

Book of the exhibition:

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