Friday, 6 March 2015

Architecture/Building Studies/ Building Department: Bauhaus 1919-1933: Weimar-Dessau-Berlin



“It was a truly experimental structure: a living experiment with individual rooms, minimised like ship’s cabins to make more room for a central living room; a technological experiment with light, pre-cast concrete blocks made of industrial waste products; an ecological experiment with thermal zoning of the rooms and minimised exterior surfaces and window openings to the south-west as well as insulation materials made of peat to provide for better heat insulation; finally, a social experiment intended to lighten the load of the occupier by using easy-care materials for floors, windows, doors and wet areas as well as the most modern household technology.”


Siebenbrodt, Michael, and Schöbe, Lutz. Temptis : Bauhaus. New York, NY, USA: Parkstone International, 2012. ProQuest ebrary. Web. 5 March 2015.

Regarding Gropius’ design style, the use of reclaimed materials, efficient insulation and manipulating internal design to suit the needs of the user, i.e. easy maintenance materials to adapt to their living styles, is especially relevant in today’s society. We live within a consumerist society, using and wasting, often not utilising the most from materials and not recycling as much as we use. Applying these key factors into his Architectural design helps reduce the negative environmental impact, whilst simultaneously creating a design to meet the exact needs of the modern day user, easy maintenance for a fast paced lifestyle and minimal waste in return lowering costs as well. Gropius’ design conscious is extremely relevant and a consideration I especially want to consider within my design developments.

A more modern day Architect who yields the same passion for efficient design is Gary Chang. Gary Chang developed a 24-room home within 32sq meters. Applying large interventions and manoeuvrable walls within the living space to create a comfortably inhabitable and adaptable space.

In regards to modern day production, the considerations of Gropius around the 1920’s is even more so applicable to today’s demand for new structures with our growing society, Gropius realised the need for mass production, therefore he focused on the unity of form and function. He developed designs, which were simplistic in design but in a way to be manufactured utilising the most of the materials used, minimising waste or excessive material use. This is exceedingly prevalent in today’s design world as the growing demand needs to be addressed more efficiently as time progresses to prevent an overwhelming reduction in available resources.



The Urn and the Chamberpot: Adolf Loos 1900-30 Colquhoun, Alan. Oxford History of Art: Modern architecture



A key theory within Adolf Loos concept of Architecture encapsulates the concept of the 'Tomb' and the 'Monument', terminology coined by Loos himself. According to Loos, the Tomb is the recognition of culture and memory of which, whilst the Monument critiques contemporary design, creating a forefront for modern developments. 
Loos believes that Art is not intrinsic within Architectural concepts, he believes form should be reflective of function and that in turn should develop it's own Architectural façade, whereas Art should be utilised merely for decoration, segregating the two components.  

Loos argues that function should be the driving force for design concepts and that excluding art from the process is design itself. The primary need of the space is the aesthetic, modern design Architects such as Muthesius fails to consider in the search for imminent design progressions, which as a result impacted the course of Architectural design.  Supported further by the quote
“modern style already exists within industrial design without artistic pretensions.”

“Art could now survive in only two (absolutely antithetical) forms: firstly as the free creation of works of art that no longer had any social responsibility and were therefore able to project ideas into the future and criticize contemporary society; and secondly in the design of buildings which embodied the collective memory”

Arguably it can be said that the incorporation of Art within Architecture prohibits the potential for ‘Industrial Design’ solely focused upon how the function

 Reflects upon the form. Whereas many would conclude that utilising each separately limits the potential within Architecture and the creativity which truly creates the drastic leaps in the Architectural design world that we see today.
Personally, I feel I can apply Loos precedent in the developmental stages of my work to achieve the most from the practicality of my design concepts. I also feel the application of Art within design allows the others to be inspired and designers to create a unique world in which we live in. It allows designers to  integrating cultures, Artistic movements and colour into the world we live, it allows us to show personal expression and the uniqueness of each individual Architect.

Modern Architecture. Oxford, GBR: Oxford University Press, 2002. ProQuest ebrary. Web. 6 March 2015.
Copyright © 2002. Oxford University Press. All rights reserved.