• Les #Femmes du #Bauhaus, punks avant l’heure ? – #Open_Culture (2)

    Poursuivons aujourd’hui cette mini-série de l’été consacrée à la culture ouverte avec une facette souvent ignorée ou oubliée du mouvement artistique Bauhaus : l’importance des femmes artistes qui y figuraient. Ce nouvel article traduit du site openculture.com leur rend justice à … Lire la suite­­

    #Libres_Cultures #Art #Brauer #Bush_tetras #Katt_Both #Martha_Erps #Punk #Ruth_Hollos

  • From Form‑Trans‑Inform to Atelier d’Architecture Autogérée. A Discussion with Doina Petrescu and Constantin Petcou

    Summer 2021

    Interview: Alex Axinte

    Co-founded by Constan­tin Petcou and Doina Petrescu, atelier d’architecture autogérée (aaa) is “a collective platform of research and action around urban change and emerging cultural, social and political practices in the contemporary city. aaa initiates and supports strategies of ecological transition involving citizen locally and internationally. aaa acts against global crisis (ecological, economic, political, social, etc) by creating the conditions for citizen to participate in the ecological transition and adopting resilient ways of living. aaa functions within an open interdisciplinary network, where different viewpoints cross each other: architects, artists, students, researchers, pensioners, politicians, activists, residents, etc.

    aaa is an international reference in the field of participative architecture and urban resilience, aaa’s projects have been exhibited at Venise Biennale 2012 and 2016, MoMA New York, Berlin Biennale, Pavilion d’Arsenal Paris, Untied Nation Pavilion Geneva, etc. For its activity, aaa has received international recogni­tion and numerous awards across the years including the International Resilient Award Building for Humanity (2018), The Innovation in Politics Award for Ecology (2017) being one of the “100 projects for the climate” selected by the public at COP21 (2015). (Alex Axinte)

    The passages bellow are extracted from a series of conversations I had during several days with Doina Petrescu and Constantin Petcou. At their studio, at home, in cafes and metros or visiting their projects located in different Paris suburbs, we spoke about their beginnings in Romania, about their current practice atelier d’architecture autogérée (aaa) and about future plans. While still in school, within the social and political context of 1980’s Romania, they were involved in initiating groups and networks, they engaged in experiment and innovation, building after graduation an alternative practice through a critically approach of architecture.

    Visiting aaa. Drawing by Alex Axinte

    Alex Axinte: Let’s start from the time when you were professionally and humanly trained in Romania within the socialist education system of that time. Has this contributed to what your practice became?

    Doina Petrescu: Certainly it was a seed there, which wasn’t enough by itself, but it was important because this prepared us to face practical situations, knowing everything that a traditional architect should know. And this thing was a solid base, for knowing how to build, knowing about materials, knowing about structure, knowing history, you can see now that this is not taught in schools anymore, that these became specializations, you specialize in such things. We learned them all. And somehow this general formation counted a solid base, as a foundation. On top of this you can add other more sophisticated things, you may try to position yourself, you can take a stand, and you can develop certain interests. So this was one of the good things. Other good thing from the school, not necessarily different from the school, but one that we took or created in the school, was some sort of parallel school, of which Constantin can say more because he initiated it, adding the fact that the school allowed us the freedom to do other things.

    Constantin Petcou: I did two interesting things in school: first is that I walked a lot through Bucharest and I took the street as a teacher. I had also good teachers, but I studied a lot vernacular architecture. And second is that I initiated a group, a sort of school in school, which was called Form-Trans-Inform and which was based on knowledge theory, and other theories as well. [Stratford H, Petrescu D & Petcou C (2008) Form-Trans-Inform: the ‘poetic’ resistance in architecture. arq: Architectural Research Quarterly, 12(02)] Basically it was a transdisciplinary group: there were students from scenography, we had interactions with others too, we also organized some events in Club A, we invited philosophes, art critiques, until they spotted me and wanted me to enrol in the party…

    “Inner Gesture“ – happening, Baneasa 1982, team: Constantin Petcou, Constantin Gorcea, Florin Neagoe, Lavinia Marșu, Doru Deacu, Sorin Vatamaniuc, Constantin Fagețean ©Form-Trans-Inform

    AA: What vernacular Bucharest meant?

    CP: It meant some fabulous neighbourhoods, because many they were self-constructed, this being usual in mahalas (ie. popular neighbourhoods). The inhabitants were partly self-sufficient: they were already controlling the household climate, having a lot of courtyards covered with vine, they were trying to produce energy, and there were quite a lot of wind mills, they were trying to produce food by raising pigeons in big cages , which were flying all around… It was like in Garcia Marquez. If you were really sensitive to space and wind and light, you were blown away by how much you could see and feel…

    AA: Is this something that you were looking for also in Paris, or you rather came with this type of looking from Bucharest?

    CP: In Paris you don’t have such a thing. I think it was a root that we came from there.

    DP: Yes, and we applied this later in projects like R-Urban and other projects which we developed later. It was a lesson we have learned, we have understood from those conditions. Also, we still kept having this sensibility to “read” spaces’ potentiality. For example you see a square and some trees: you realise that there is a place there with a certain urban quality and in Bucharest there were many such places with very special qualities due to the urban typologies and ways of living. This mahala type of living was actually a sensitive urban typology.

    Constantin rises on his tops and waters the plants hanging from the studio’s ceiling. We flip through black and white magazines in which there were published some of their projects receiving prizes in paper architecture competitions. They tell me about how they became involved in organizing exhibitions, about working with clothing, about publications which didn’t make it past the 1st issue and where many articles finished with ‘to be continued’. Than, they continued with their architect’s life in Romania before ’89: Doina working in sistematizare (state planning) and Constantin as ‘mister Design’ in a factory of clothing and shoes. Here, with found materials, they worked together for redesigning an office space as a sort of ‘participative deconstructivist’ manifesto, quite provocative at the time. Doina goes out in the courtyard and ransacks bended over some compost containers. Here are their pets, some big earthworms which just received banana peels as their favourite meal. After ’90 they left for Paris guided by the idea to continue their postgraduate studies and than to come back.

    “Catarg towards Ithaca“ –“Honorable mention“ at Shinkenchiku Residential Competition, Japan, 1986. Echipa de proiect/Project team: Constantin Petcou, Doina Petrescu, Mircea Stefan, Victor Badea

    *The Design section atelier – Valceana Leather Factory, 1988. Project team : Constantin Petcou, Doina Petrescu ©ConstantinPetcou

    AA: It is a fairly quite spread perception, that architecture is architecture and politics is politics. We are doing our job, we design, we build. If this supports an ideology or not, this is not architecture’s business. How architecture became for you a political acting?

    DP: I think that in a way it was the context that forced us when we started. We started from scratch. And we had to invent ways of negotiating to gain access to space, to gain access to ways of practicing architecture, and we quickly realized that such a negotiation is political and that actually you need to learn to speak with people caring political responsibilities. But at the same time, we realized that the very fact of asking, of doing the practice differently is a political act. There were some things we refused to do, such as the conventional capitalist practice. We wanted to facilitate the inhabitants’ access to space, for any city inhabitant, we wanted to open urban spaces that are closed and that are controlled either by the municipalities or other institutions, and this is already a political act. We managed to ensure access to space, and afterwards, slowly, the self-management of the space, which was also a process, by persuading people that they have to become responsible if they want to use the space, that they need to learn how to manage it, to get along, to organize. This is in fact what Deleuze and Guatarri are calling micro-politics, meaning politics at the level of the subject, transformations at the subjective level. [Deleuze, G. and F. Guattari (2004), Anti-Oedipus, London: Continuum] We always worked with people. Our architecture always included this subjective and social architecture into the project. The fact that we formed a social group around the project, that people have changed, that they changed their interest, all these are for us part of architecture.

    AA: Do you tend towards consensus in your projects?

    CP: We don’t really use the word consensus. It is about temporary equilibrium. In any such a project, as there are many people involved, and here we speak about governance, co-management and self-management, there are various interests, there are people with different cultural backgrounds – some are employed, others not -­ and people with more or less time. So they cannot have the same vision over the use of space, over the type of activities, and then you need to reach some agreements, some temporary, partial deals, which should not suffocate the others and allow others to emerge. What we do is to give the inhabitants the opportunity to appropriate a space, an equipment, a way of organising time together, of organising the neighbourhood’s life, which are ecological, solidary, all this obviously with some guidance. Because the majority of inhabitants of the banlieue are very much excluded. And we are offering them an emancipatory space, or, in Guatarri’s language, a re-subjectivation capacity, very useful in today’s society which excludes many. [F. Guattari (1977), La révolution Moléculaire, Paris: ed. Recherches] In such spaces they gain new qualities; someone is a gardener, someone else takes care of the chickens, somebody else of the compost, one of the kitchen…

    DP: This is actualy the micro-politics.

    CP: Including until the kids’ level. I remember when we were at the Ecobox I had a lot of keys and a kid asked me, mais Constantin, you have keys from every space in the neighbourhood?! Can you open any space? And obviously that I answered yes, because, for his imaginary it was very important to know that you can open spaces, that you can make this urban space to evolve, which has become now more and more expensive, inaccessible and segregated. Such imaginary is fundamental for the “right to the city”, it is to know that, even for a kid, space could be negotiable, accessible and welcoming, that there are no barriers and walls. Actually, we don’t make walls: we make doors, windows, bridges… this is the kind of things we are building.

    Steering to the passers-by, Doina recollects her diploma project for which she collaborated with an ethnologist to design something which today could be called an ethnological cultural hub. Once arrived in Paris, after a master, they began teaching, being among others the co-founders of Paris-Malaquais architecture school. Step by step, they began to act as citizens, teachers and architects in the neighbourhood where they were living: La Chapelle. This is how aaa started. In the same time, they kept on teaching and initiating projects also in Romania, in Brezoi, but which got stuck. Constantin starts the fire in a small godin in the Agrocite, located in southern Paris, at Bagneux, which is a sort of ecological prototype spatializing aaa’s concepts: short circuits, popular ecology, urban resilience.

    Mobile modules – EcoBox project, 2003. Project team: Constantin Petcou, Doina Petrescu, Denis Favret, Giovanni Piovene ©aaa

    *Eco interstice “Passage 56“ – street view, 2007, Project team: Constantin Petcou, Doina Petrescu, Raimund Binder, Sandra Pauquet, Nolwenn Marchand ©aaa

    AA: 100 years after Bauhaus, 50 years after the May ’68 revolt and 30 years after the fall of the Berlin wall, within the current global capitalism crisis, all Bauhaus’ principles of how to live and work together are becoming again relevant. In this context, how legitimate is still Bauhaus’s questions if design can change society, and what it means to be modern today?

    DP: So all these ideas are reaching some sort of anniversary and one needs to take them together, one cannot take only Bauhaus ideas, but also other ideas which came after in order to understand what can design do today: participation, global democracy, ecology. Design need to remain open, as Ezio Manzini was saying: ‘design when everybody designs’. There is an acknowledgement of the fact that we are all designing, in our own way, we design our life, we design our decisions. How can you put all those things together in a strategic way, at a moment when the society and the humanity need to take some decisions, need to be prepared for a civilizational change, otherwise we become extinct? I think design has a role in this, by helping, by mediating, by formulating questions, decisions, or solutions together. And how to do design together is the big question, and there is not only one way of doing it, there are many ways. We also need to imagine what are these places where ways of designing together are possible. Which are the new institutions, the new mediating agents? – all these seem to me to be the questions of our times.

    Constantin confesses that Bauhaus changed his life, when, after an exhibition, improbable for that time, where 1:1 modernist furniture was exhibited, he quits the arts high school in Iași and joined the architecture school.

    CP: I am sure that design has an immense capacity to change society until even distorting it (see the tablet, the iPhone…). As architects, we are working a lot in a broader sense of design, and that’s why we are trying to launch not just projects, but also movements like One Planet Site or R-Urban which can be adopted also by others, because we have the capacity and the responsibility, so you have the capacity, but you have also the responsibility to act. It’s like a doctor. If you are in a plane and someone is sick, you have the capacity and responsibility to act. This is the case for us architects: we acted here in the neighbourhood we are living because there were many difficulties. The planet is now in great difficulty and you need to act. We know how to design, to project into the future, to find money, to create a horizon of hope, a model which becomes interesting for others too, so we have this capacity to design, in a broader sense, complex, temporal and functional. All these including re-balancing how much technology, how many resources, how much mutualisation, how much governance, all these are in fact design.

    DP: For example, with R-Urban we proposed a resilience strategy as designers. We have used design and the organization and shaping of space, of making visible specific practices, as a catalyst. We succeed in a way to organize a social group around the project, by giving it also a political dimension, again, by using architecture’s capacity to make visible, to make real the idea of short circuits for example. People could finally see what happens if you collect rain water, where it goes, that you have to think differently about space to make passive heating, and that you need to think differently about the heating system if you want to reduce the fuel consumption. That by using space in a certain way, in 1 year time you will have this amount of reduction of carbon emissions, which is much better than the national rate. So, all these things can be made visible through the way you design their experience. We didn’t just design a building, or a site, but we designed a usage and a way of creating an activity there.

    “ R-Urban “ – Diagrams on the ecological transition principles 2008. Echipa de proiect/Project team: Constantin Petcou, Doina Petrescu cu Nolwenn Marchand, Sara Carlini, Clémence Kempnich ©aaa

    ““Agrocité”—micro-farm for urban agriculture and ecological training, Colombes, 2013-2014

    “Recyclab”—social economy hub, urban waste recycling and eco-design, Colombes, 2013. Project team: Constantin Petcou, Doina Petrescu, Clémence Kempnich

    “Agrocité”—micro-farm for urban agriculture and ecological training, Bagneux, 2019. Project team: Constantin Petcou, Doina Petrescu, Anna Laura Bourguignon, Alex Gaiser, Rémi Buscot, Juliette Hennequin

    AA: So you could say that this means modernity now?

    DP: The concept of modernity is very much contested in fact, but in a way you could say that this means a hope for the future.

    CP: Modernity I think it had the quality of promoting progress, a democratic progress for all, through small prices, standardization, through in fact what they knew back then. And I think that these ideals remain somehow valid. Such as fablabs are in a way a continuity of this progressive modernist ideal of making accessible and democratic the use to technology. And it’s good. But the problem is the excess. When standardization becomes excessive and exploitative. I think modernity needs to be revisited, keeping what is good, like democracy, ethics, progress and others, and readapting it. Because modernity couldn’t address at that time the problems of limited resources issues, climate change, extractive capitalism, or extinction of species; those problems weren’t visible back than.

    AA: What is the relation with technology in your projects?

    DP: We document and present all our technological devices with an interface accessible to the users and we make them with means that makes them transferable and reproducible. I think we need to take into account the democratization of technology and the fact that the reproduction is not made by the industry, but by the masses, everyone being able to take part. What is important is to keep a degree of creativity, of appropriateness, of participative innovation possible at all levels. All these technological devices were conceived together with experts. The grey water filtration system was made together with a specialist in phyto-remediation. What we brought new is that we designed the first prototype used in urban contexts. This approach is also situated, is specific for a certain situation, you work with the specialist to find the solution there, and afterwards you integrate also local and traditional knowledge. For example, for the phyto-remediation device it was very cool that we built it with a team of Romanians having a construction company in France. Due to the fact we were in a flooding area, we needed to raise the device above the ground by 1 meter and we didn’t know how to build it. And then, the team of Romanians which knew how to make… barrels, manage with what we had, with found boards that were boarded like for barrels… and this is how we made the phyto-remediation device. This shows that all skills and ways of knowledge are useful in a certain situation.

    They choose together the tomatoes, than Doina the aubergines and Constantin the potatoes from a temporary market installed in the Paris former mortuary house. This is now a cultural centre, open to everyone and full of life. Recently they participated in the biggest architectural competition organized by the city of Paris which offered some difficult sites for development – “Reinventer Pars”. The brief was very close to the R-Urban model. They haven’t officially won, but their proposal was very good and this is how they were able to develop it in a different location. The project is called Wiki Village Factory (VWF) and is a cluster of technological and social innovation of 7000 sqm which aims to become a sort of central node in the R-Urban network towards developing the city 2.0 (ecological and collaborative).

    “Wiki-Village-Factory” – cluster of social and ecological innovation, Paris, 2016. Project team: Constantin Petcou, Doina Petrescu, Benjamin Poignon, Pierre Marie Cornin, Grégoire Beaumont © aaa-REI-Deswarte

    AA: With WVF for example, how important is for you the materiality and the aesthetics? Or is the program more important?

    CP: Aesthetics for as is a result. You need to take care for the building to be well integrated in the context, you need to express well what’s going on. For example, the coop spaces are trying to make you to wish to collaborate with others; it’s not just like any other office. The ground floor, we try to have it open towards the neighbourhood, despite it is a difficult neighbourhood.

    DP: I would say that aesthetics are trying to express not necessary the programme, but what is important in the program and beyond the program. We are using architecture tactically if you want, as a way of exposing and communicating principles of functioning, of governance, of construction and the ethics of using a building today.

    CP: We are exposing the ecology of the building in fact, and this is beyond function. In order to become more ecologic. This is to make you use fewer materials, less insulation, but count on the passive insulation of the building’ skin. We also succeeded in convincing them to have dry toilets. This will be the largest building with dry toilets in Europe. We will build a special device, like a large scale prototype, which doesn’t exist right now. In fact, although they are on a tight budget, they will put more money into this than into usual toilets, because also the developer and everybody want this aspect to be exemplary. And it will be quite vegetal, with urban agriculture; we will try to remediate the grey waters. All the principles that we are using in R-Urban hubs will be implementing as much as we can also here.

    AA: So, the city 2.0 should look differently because it values and creates hierarchies in a different way?

    DP: Yes, it is important to create a new discourse, but also governance is important, social and ecological governance, that is what we try to express through architecture. There are many layers which add up to the modernist functional layer. And there is also the idea of being reversible, the fact that a building needs to evolve, to adapt, to disappear if necessary after a while, so it is not built to last hundreds of years. Because we need to leave room for future generations to build the architecture they need, don’t we?

    #ville #écologie #participation #auto_gestion #urban_planning

  • Au Bauhaus, quelles pédagogies ?

    Berceau de créateurs et créatrices en tout genre, creuset d’un style avant-gardiste devenu international, idéal d’un design pour toutes et tous, école mythique aux enseignants uniques… le Bauhaus suscite toujours notre curiosité. Lionel Richard, fin connaisseur de l’école, de ses protagonistes et de l’Allemagne d’alors, retrace les circonvolutions de sa pédagogie étroitement liée aux personnalités... Voir l’article

  • The Bauhaus | Harvard Art Museums



    The Harvard Art Museums hold one of the first and largest collections relating to the #Bauhaus, the 20th century’s most influential school of art and design. Active during the years of Germany’s Weimar Republic (1919–33), the Bauhaus aimed to unite artists, architects, and craftsmen in the utopian project of designing a new world. The school promoted experimental, hands-on production; realigned hierarchies between high and low, artist and worker, teacher and student; sharpened the human senses toward both physical materials and media environments; embraced new technologies in conjunction with industry; and imagined and enacted cosmopolitan forms of communal living. The legacies of the Bauhaus are visible today, extending well beyond modernist forms and into the ways we live, teach, and learn.

  • The Lost History of the Women of the Bauhaus | ArchDaily

    When Walter Gropius created his renowned school of design and arts in 1919, he devised it as a place open to “any person of good reputation, regardless of age or sex,” a space where there would be “no differences between the fairer sex and the stronger sex.” His idea occurred in a period when women still had to ask permission to enter fields that were once off-limits. If women received an artistic education, it was imparted within the intimacy of their home. But at the Bauhaus and the Gropius school, they were welcome and their registration was accepted. Gropius’ idea was so well-received that more women applied than men.

    #bauhaus #invisibilité_des_femmes


    Un peu de publicité ;-)

    Now living in Berlin, artist Uli Aigner produced wonderfully shaped and functional white receptacles, elegant and robust, art objects for daily use, to eat and drink out of.

    It is her life project and will go well beyond it, as she plans to complete one million of them during her lifetime. She consequently marks out a trail through the world with every form of passing on, gifting and sending the objects – every receptacle is registered, photographed and recorded on a world map. Via the artist this then produces a traceable network of people who owned, own and will own the art objects; the story of a constantly growing participation simultaneously becomes part of her social artwork. She sees her life plan as “total artwork”, in which production, private life and the world form one entity.

    For the “Opening Festival 100 Years Bauhaus” she presented a new world collection, with which she reacted to the Bauhaus forms. The 207 receptacles were exhibited from 23 January, and during the opening the artist “fed” guests from more than 200 countries invited to the opening. On this evening, the shared meal out of 207 receptacles became the performance.

    The Bauhaus opening festival invited 207 people from all countries in this world who enjoyed being part of a performative dinner to participate in Aigner’s opening. Every participant received the unique dish - which was inspired by bauhaus forms - after the meal.

    #Berlin #bauhaus #art

  • Bauhaus : Evolution of an Idea | The Charnel-House

    Magnifique contribution sur l’idée du #Bauhaus


    I grew up with and at the Bauhaus. I was nine years old when my father was invited to join the founding staff in 1919, which necessitated our family’s removal from Berlin to Weimar. In my memory, the moving was attended by cheery circumstances. In the first spring since the cessation of hostilities a great upsurge of hope was evident everywhere.

    I liked the town and surroundings of Weimar, and best of all was the Bauhaus atmosphere itself. A boy does not trouble his head about the origin and history of things, and I accepted the interesting people and their works, and the attention they paid to me and my works, as something which might have been there always, but which was certainly very agreeable and delightfully different from the musty disciplines of the Gymnasium. The Bauhaus population was fond of gaiety and given to playing and the celebrating of feasts; a paper lantern serenade under our windows on my father’s birthday remains an unforgettable experience.

  • Cultural Evolution, Social Physics, and Metaphysical Design

    The Bauhaus began with the metaphor of a church and the Lyonel Feininger depiction of a modern cathedral as a symbol for a new faith in the synthesis of art and technology. It continues to be a powerful symbol of the influence of ideas about art and science through cultural evolution and social physics. One hundred years since Walter Gropius published the founding manifesto, the idea of the Bauhaus holds hope for a new iteration of the movement in a renaissance of its original focus on metaphysical design.

    #design #architecture #bauhaus

  • #Bauhaus: 100 years old but still ubiquitous in our homes today | Life and style | The Guardian

    Spending a night at the hallowed Bauhaus school in Dessau, in the German state of Saxony-Anhalt, was my teenage dream come true. The walls of my childhood bedroom were plastered not with posters of pop stars, but with the furniture manufacturer Vitra’s wall chart of iconic 20th-century chairs. As a design geek, growing up in a house bedecked with Laura Ashley, I found the idea of the Bauhaus thrilling: each chair was a mini manifesto, embodying the world of stripped-back modern design that I might one day inhabit (I’m still waiting).

  • Rebel with a cause: how the founder of #Bauhaus changed the world | Art and design | The Guardian

    Arrogant and charmless, obsessed with his own image, even phoney – this is how #Walter_Gropius, founder of the Bauhaus, the most influential of all art schools, is remembered. He is the rigid disciplinarian, the architect unable to draw. In the five years I’ve spent writing about Gropius’s life, I have often been treated as crazy for taking on such an unsympathetic subject. The architectural historian Joseph Rykwert described Gropius as someone “who seemed to have fewer redeeming features than many of his kind … his pinched humourless egotism was unrelieved by sparkle”. But these received ideas need to be challenged. Why have people got him so wrong?

  • Concert d’ouverture des « 100 ans du Bauhaus » depuis Berlin | ARTE Concert

    Lors de la soirée d’ouverture du festival Les 100 ans du #Bauhaus, le pianiste de #jazz allemand Michael Wollny donnera un concert, après l’allocution de bienvenue du président de la République fédérale d’Allemagne Frank-Walter Steinmeier. Il sera accompagné par Emile Parisien, Wolfgang Heisig, Leafcutter John et Max Stadtfeld.


  • 100 years #Bauhaus: more than good forms

    Formerly a school, now a foundation: following reunification, in 1994 the German Federal Government founded the Bauhaus Foundation in Dessau. Its task is to preserve the cultural heritage of the Bauhaus, which has been under UNESCO protection in Weimar and Dessau since 1996. In 2014, the architect Claudia Perren took over the direction of the foundation.

    Mrs Perren, in 2019 Germany will be celebrating 100 years Bauhaus. What was special about this College of Design?

    The Bauhaus was created after the First World War to find new ways of life. In Dessau, for example, they began building prototypes that would allow the working class to own their own homes. The Bauhaus has had a direct impact on society through social housing projects. It’s therefore not only a design model but also a social and an economic one.

    #art #design

  • Five hundred glass negatives by Lucia Moholy | The Charnel-House


    In 1915, twenty-one-year-old #Lucia_Schulz wrote in her journal that she could imagine herself using photography as “a passive artist,” recording everything from the best perspective, putting the film through the chemical processes she’d learned, and adding to the image her sense of “how the objects act on me.”

    On her twenty-seventh birthday, at the Registry Office in Charlottenburg, a borough of Berlin, she married the Hungarian Constructivist painter #Lászlo_Moholy-Nagy and became, in the blink of a bureaucratic instant, #Lucia_Moholy. A few years later, when Moholy-Nagy was recruited to teach as a master at the #Bauhaus school, Lucia went with him — she, her camera, her technical skills, and her knowledge of the darkroom.


  • BBC - Culture - Anni Albers and the forgotten women of the Bauhaus

    Many brilliant female designers were part of the famously forward-thinking German movement. But how progressive was it really? By Dominic Lutyens

    The Bauhaus, the interwar German design school that profoundly influenced later developments in art, architecture, product design and typography, was a complex, contradictory crucible of ideas.

    Founded by architect Walter Gropius in 1919 on the principle of the Gesamtkunstwerk – a total work of art that fused art, architecture and design – the school theoretically treated these disciplines in a non-hierarchical way. In practice, however, the Bauhaus viewed architecture as the apogee of these fields, even though its architecture department didn’t open until 1927.

    #femmes #invisibilisation #bauhaus

  • Suisse : Un chef d’oeuvre du Bauhaus sauvé par un architecte à la Tour-de-Peilz Sujet TV : Muriel Siki/Réalisation web : mcc - 5 Septembre 2018 - RTS

    Construite en 1931, la villa Kenwin a été rénovée avec passion par l’architecte Giovanni Pezzoli. Elle est aujourd’hui classée aux monuments historiques. Une immense maison aux airs de bateau ancré sur la Riviera lémanique.

    A l’origine de cette maison, un couple d’Anglais sulfureux, des intellectuels qui souhaitent créer un centre culturel avant-gardiste. Ils font appel à l’architecte hongrois Alexander Ferenczy et construisent en 1931 une énorme maison dans le style Bauhaus.


    Le mouvement Bauhaus apparaît en Allemagne avant la Seconde Guerre mondiale et affirme la volonté de « se débarrasser de tout ce qui est superflu pour la qualité de l’habitation, pour se concentrer sur les espaces et les couleurs », précise Giovanni Pezzoli, l’architecte. 

    Respect des matériaux
    Passionné par ce mouvement artistique, Giovanni Pezzoli achète la maison en 1987. Laissée à l’abandon, elle n’avait subi aucune transformation. Il y vit avec sa famille, se plonge dans son histoire et la rénove avec un grand respect des matériaux d’origine.

    La maison est particulière, « déjà par les dimensions et les liens entre les espaces », explique-t-il. « L’intégration est très intéressante dans le site aussi, on a des vues très bien exploitées ».

    Giovanni Pezzoli rajoute une cuisine, mais pour le reste il ne change rien. Ni les couleurs ni les baies vitrées qui laissent passer les courants d’air ni le radiateur d’origine.

    A l’époque, le permis de construire avait été refusé dans un premier temps. Aujourd’hui cette maison est classée en tant que site d’importance nationale. Une belle reconnaissance pour Giovanni Pezzoli qui aime passionnément cette maison.

    #Suisse #Montreux #Architecture #Art #Bauhaus #Alexandre_Ferenczy #logement

  • #Josef_Albers et le #Bauhaus

    Via le Bauhaus Movement @BauhausMovement sur Twitter

    Cette photo est simplement, minimalistiquement géniale. Outre le fait que j’ai une admiration sans borne pour l’œuvre de cet artiste extraordinaire.

    Josef Albers at Black Mountain College, 1940.

  • #Villes_méditerranéennes, passé, présent, futur

    Deux habitants sur trois vivent en ville dans les pays du pourtour méditerranéen. Vers 2030, ils représenteront les trois quarts de la population totale. Selon un rapport du Plan Bleu, dans l’ensemble des vingt et un pays du pourtour méditerranéen, la population urbaine – résidant dans des agglomérations de plus de 10 000 habitants – est passée de 94 millions en 1950 (44 % de la population) à 274 millions en 2000 (64 %).

    Comment gérer ce développement ? Que nous apprennent l’histoire et l’évolution de nos villes pour bâtir un futur durable ? 15–38 place les villes méditerranéennes au centre du viseur estival. Comme l’année dernière, nous prenons le temps et publions les reportages, analyses, images, balades sonores, au fil des semaines jusqu’à la fin du mois d’août. Pour ce premier opus direction la Syrie, en passant par Marseille, Barcelone et Tel Aviv.

    À Marseille, l’enchevêtrement de villages et de barres d’immeuble de la 2ème ville de France interroge. Comment en est-on arrivé à une telle organisation ? Quelles conséquences sur la vie quotidienne des habitants ? Cet ensemble disparate s’est constitué au grès d’une urbanisation que les spécialistes nomment de « comblement », ou comment combler les trous entre les noyaux villageois existants, en y plantant des tours.

    Quelle vie économique et sociale dans les centres villes avec l’ubérisation de la société, et des logements, comme à Barcelone en Espagne où les habitations sont de plus en plus louées aux touristes à la nuitée, entraînant une hausse conséquente des loyers ? Le conseil municipal de Ada Colau (Podemos) a déclaré la guerre aux locations illégales des appartements touristiques, comme Airbnb et similaires. Comment tout cela s’est produit, comment se passe l’action contre le tourisme de masse. Comment cela change la ville et qu’en pensent les résidents ?

    En Israël, l’histoire nous apprend comment les premières populations se sont installées et organisées. Tel Aviv, concentre plus de 4000 bâtiments de style Bauhaus (dont 1 000 ont été classés au patrimoine de l’UNESCO en 2003). La “ville blanche” abrite ainsi le plus grand ensemble d’architecture moderne au monde et le mieux préservé. Une particularité qui fait le charme de la ville mais raconte aussi son histoire. Des architectes avaient alors immigré après avoir été formés dans divers pays d’Europe et conçu les bâtiments. A l’époque, le choix du minimalisme était davantage motivé par des enjeux pratiques qu’esthétiques : il s’agissait de construire rapidement et à moindre coût pour accueillir les nouvelles vagues de migrants.

    Enfin, en Syrie, l’enjeu actuel de la reconstruction se trouve dans des lois sur la propriété décidées par le régime syrien en 2012 et 2018. Ces réglementations excluent de nombreux syriens déplacés à l’intérieur et réfugiés à l’extérieur du pays. Avocats, architectes et collectifs se constituent aujourd’hui pour informer la population et dénoncer l’injustice de ces décisions destinées à changer le visage de la Syrie.


    #villes #urban_matter #géographie_urbaine #Méditerranée #Syrie #Marseille #Barcelone #Tel-Aviv #Bauhaus #Immeuble_Gaza #Beyrouth #Egypte

    cc @reka

  • The Other Art History : The Forgotten Women of Bauhaus | Art for Sale | Artspace

    So technically women were allowed to study at the school, however the scope of disciplines they were encouraged to partake in were limited. Gropius famously believed that men and women’s brains operated differently––specifically, men had the capacity to think in three dimensions while women did not. Therefore many of the women artists of the Bauhaus movement stuck to practices commonly regarded as “women’s work”––textiles and weaving. Men, on the other hand, were encouraged to be architects, sculptors, and painters.

    So it’s really no surprise that although the Bauhaus movement was largely populated by women, the seminal works that are remembered in art historical retellings are those of Josef Albers, Marcel Breuer, Wassily Kandinsky, and Paul Klee––basically: men. Now we’re not discrediting the work of these aforementioned artists, however it’s kind of a bummer that when we talk about this major movement in modern art, women are basically written out of the narrative (or if they are mentioned––they’re written about as the wives or counterparts of great artists).

    In the past decade, (only about 90 years later), it’s come to light that these women were not just the plus-ones of great minds, but rather some of the formative artists of the Bauhaus movement themselves. In honor of these long-forgotten artists, we highlighted eight women of the Bauhaus movement whose influence has had lasting effects on contemporary art.

    #art #bauhaus

  • Kandinsky | The Charnel-House


    Avec cet opus, les amoureuses et amoureux de #Kandinsky (ici quelques peintures « inhabituelles » de ses premières périodes) vont s’évanouir de plaisir !

    Art as rhetoric, by Boris Groys: Particular Cases

    In light of recent discussions about art as knowledge production and the ways art should or could be taught, it seems fitting to look back at the early days of modernism. Avant-garde art was not yet taken for granted then, having instead to be legitimized, interpreted, and taught. One influential example of such a strategy of legitimization is Wassily Kandinsky’s Concerning the Spiritual in Art (1911). The book posits an equivalence between art production, art theory, and art teaching, in order to render art rational and scientific, with the aim of establishing it as an academic discipline. Over the course of his artistic career, Kandinsky made various attempts to give an institutional form to his ideas. Der Blaue Reiter (The Blue Rider) both the group and the almanac of the same name — can be seen as the first such attempt. Following his return to Russia from Munich at the outbreak of World War I, and especially throughout the postrevolution years, Kandinsky engaged in extensive institutional activity, teaching as a professor at Vkhutemas (Higher Art and Technical Studios, from 1918), as well as founding and directing the Moscow Institute of Artistic Culture (InKhuK, 1920-1921) and GAKhN (State Academy for the Scientific Study of Art, 1921). During his time at the Bauhaus, from his appointment in 1922 until its closure in 1933, he pursued his analysis of art as a science and academic discipline, as reflected in Point and Line to Plane, a theoretical treatise published by the Bauhaus in 1926.



    #art #peinture #bauhaus

  • Das Bauhaus in Dessau revolutionierte 1919 Kunst, Design und Archit...

    Das Bauhaus in Dessau revolutionierte 1919 Kunst, Design und Architektur. Bis heute hat die Bauhaus-Philosophie weltweit begeisterte Anhänger. Eine Ausstellung in Hangzhou macht den Auftakt zum Jubiläum im nächsten Jahr. Jubiläumsauftakt: Ausstellung „bauhaus imaginista“ eröffnet in China | DW | 08.04.2018 #Bauhaus #BauhausDessau #Bauhaus-Philosophie #WalterGropius #PaulKlee #MiesvanderRohe #MarcelBreuer #LyonelFeininger #MonikaGrütters #Hangzhou

  • #VKhUTEMAS: The “Soviet #Bauhaus

    The Charnel-House | From Bauhaus to Beinhaus




    VKhUTEMAS was an art and technical school set up in 1920 in Moscow that saw itself as a realization of the new revolutionary government’s approach to art, and which was to become a vital part of building a new society. Often this ‘building’ was in the most literal sense: one of the chief skills taught there was architecture, next to industrial and technical design, textiles, painting and sculpture. This exhibition in Martin-Gropius-Bau focuses on the school’s architecture teaching, and on the highly interdisciplinary, experimental methods developed there by some of the greatest Russian architects of the 20th century, such as Nikolai Ladovsky, Moisei Ginsburg, and Konstantin Melnikov. They were able to produce such pioneering results by treating artistic education as part of a whole. Many of these architects were also fascinating painters. At the same time, few of VKhUTEMAS students’ boldest designs were built, and the school faced a political backlash as early as 1929.

    #urss #photographie #architecture #soviétisme #union_soviétique

  • « Étudier la radio expérimentale au Bauhaus de Weimar »

    Située dans la région de la Thuringe au centre de l’Allemagne, #Weimar participe depuis plus de cent cinquante ans au rayonnement institutionnel des disciplines artistiques grâce à son école des Beaux-Arts. C’est la fusion de celle-ci et d’une école de l’artisanat qui permit en 1919 la fondation de l’Université #Bauhaus Weimar, alors même que le mouvement artistique du Bauhaus prenait forme. Malgré les instabilités et dictatures politiques du siècle passé, l’université n’a rien perdu de sa réputation et n’a eu de cesse de se renouveler, jusqu’à créer à la fin des années 1990, une « chaire de #radio_expérimentale ».