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1、還記得這個房子嗎？還記得這個房子嗎？表現(xiàn)主義和未來主義表現(xiàn)主義和未來主義1910年前后，視覺藝術到達了一個新的抽象的高度，拒絕藝術作為外界事物模擬態(tài)的概念。French Post-impressionist, Fauve paintingExpressionism （表現(xiàn)主義）（表現(xiàn)主義） in GermanyFuturism （未來主義）（未來主義） in Italy先鋒建筑愈發(fā)接近視覺藝術的氛圍，并逐級脫離其特定的建構傳統(tǒng)表現(xiàn)主義和未來主義的擁躉交往甚密表現(xiàn)主義和未來主義的擁躉交往甚密Der SturmExpressionist掙扎在現(xiàn)代的技術烏托邦和對傳統(tǒng)的浪漫主義懷舊之間Futuris
2、ts完全摒棄了傳統(tǒng)，視技術為新的大眾文化的基礎Expressionism1901 FranceHenri Matisse 亨利馬蒂斯1911 GermanyGerman variantDie Brcke (1905, Dresden)橋橋社社Der Blaue Reiter (1911, Munich)青騎士青騎士Der Sturm (1910, Berlin)風暴社風暴社Influenced by19世紀晚期的德國美學哲學Conrad Fiedler, Adolf Hildebrand: Sichtbarkeit (純粹視覺理論)Robert Vischer: Einfuhlung (移情)
3、Wilhelm WorringerAusdruckewollen (表現(xiàn)的意志)源自Riegal的Kunstwollen (藝術的意志)古典主義的水平向度遮掩了人們欣賞哥特藝術的能力/天性we perceive the great beyondthe road that lies behind us suddenly seems small and insignificant in comparison with the infinitude that is now unfolded to our gazeDie Brckewho want freedom in our work and in
4、 our lives, independence from older, established forces Bottom left Max Pechstein; left Erich Heckel; bottom right Ernst Ludwig Kirchner;top right Karl Schmidt-RottluffDer Blaue ReiterOskar Kokoschka, Murderer, hope of Woman, 1909Expressionist architecturePermanent, Recurrent tendency in modern arch
5、itectureHans PoelzigAmsterdam SchoolErich MendelsohnHugo Haring1914-1921，多類型的、融合政治的表現(xiàn)主義黃金時期Bruno TautWalter GropiusAdolf Behne繪畫的表現(xiàn)力更加抽象、綜合、結構化，并且成為一種統(tǒng)一的藝術形式的先驅建筑應該成為Bruno Taut師從Theodor FischerLow-cost housing within a Garden City context - colourVolkhaus人民住宅Stadtkrone城市之冠a crystal building of color
6、ed glass that would shine like a sparkling diamondBruno Taut, Glass Pavilion, Cologne Werkbund Exhibition 1914an ascent from telluric darkness to Apollonian clarityBruno Taut, Haus des Himmels, 1919Bruno Taut, Snow, Ice, Glass, from Alpine Architektur, 1919還有幾點關于Bruno TautPaul Scheerbart.a universal
7、 architecture of glass and steel.Romantic periodNovalislight and crystal symbolism Judeo-Christian, Islamic mysticismWorld CityPaul OtlerErnst Hebrard, Hendrik Andersen, 1912Hans Poelzig, Berlin Grosses Schauspielhaus, 1919 (1980s)Wassili Luckhardt, Peoples Theatre, 1921 Otto Bartning, Sternkirche,
8、1922 Rudolf Steiner, Goetheanum, 1924-8 Expressionism and politics無政府主義 / 支持工會AFK - Arbeitsrt fur Kunstfrom now on, the artist alone will be the modeller of the sensibilities of the volk, resposible for the visible fabric of the new stateThe Exhibition for Unknown Architects, 1919.4GropiusNovembergr
9、uppeHermann Finsterlin, Traum aus Glas, 1920 Wenzel Hablik, Exhibition Building, 1920 Jefim Goluscheff, Little Houses with Illuminated Roofs, 1920 Expressionism and Dada達達達達主義主義和表現(xiàn)主義The power of intellecturalsCommunist Spartacus LeagueSocial DemocratsGerman Revolution of 1918-1919掃清一切的未來主義掃清一切的未來主義F
10、illippo Tommaso Marinetti菲利菲利波波托馬索托馬索馬里內蒂馬里內蒂1909The Foundation and Manifesto of Furutism未來主義的基礎和宣言Le Figaro 費加羅報Henri Bergson reality as process作為過程的現(xiàn)實Georges Sorel spontaneous activism based on myth, violence虛幻、暴力中自發(fā)的激進主義Anarchism / Nationalism mass / elitewe should aspire to the creation of a typ
11、e of man who is not human, from whom will have been eliminated moral pain, goodness, and love, the passions that alone can corrode inexhaustible vital energy我們應該追求一種非人類的人類創(chuàng)造，他們身上已經消除了只會損壞無盡活力能量的道德傷痛、善良和愛Futurism and Cubism the dislocation and dismemberment of objects freed from accepted logic and in
12、dependent from each other 對象的移位和肢解擺脫了固有的邏輯，并且相互獨立ConflictsCubism demand for the autonomy of artFuturism desire to fuse art and lifeThe Technical Manifesto of Futurist Painting, 1910.4未來派繪畫的技術未來派繪畫的技術宣言宣言Umberto BoccioniCarlo CarraLuigi RussoloGiacomo BallaGino Severinithe gesture that we would repro
13、duce will no longer be a fixed moment in a universal dynamism, it will be the dynamism itself我們復制將不再是普遍動態(tài)中的一個確定時刻，而是那個動態(tài)本身Giacomo Balla, Dynamisme dun chien en laisse 系在皮帶上的狗的動態(tài)， 1912Giacomo Balla, Flight Swallow 飛行的燕/連續(xù)的線條， 1913Giacomo Balla, Velocit Astratta e Rumore 抽象的速度和聲音， 1913-4Giacomo Balla,
14、 Paesaggio e Temporale風景和暴風雨， 1914Umberto Boccioni, La Citt Che Sale 城市的崛起, 1910-1 Umberto Boccioni, La Strada Entra Nella Casa 回家之路, 1911 Umberto Boccioni, Dynamism of a Speeding Horse + Houses 動態(tài)雕塑, 1914-5 Technical Manifesto of Futurist Sculpture 1910 the modern city can no longer be thought of a
15、s a series of static panoramas as in the past, but as an enveloping environment in a constant state of flux Boccioni建筑的外在通過破碎來回應內部的壓力 / 藝術回歸世界，強化環(huán)境而非與之對立This synthesis given the tendency to render the concrete in terms of the abstract can be expressed only by precisely dimensioned geometrical forms,
16、 instead of by traditional methods (now devalued by the mechanical media) if we thus make use of mathematical objects, it is the relation between them that will provide the rhythm and the emotion.Boccioni精準維度的幾何體 / 抽象的實體數理式的對象 / 韻律、節(jié)奏、情感Antonio SantElia (1888-1916)圣圣伊利亞伊利亞Nuove Tendenze 新趨勢Adolf App
17、iaGordon CraigNew York CityHenri Sauvages Maison a Gradins (巴黎階梯公寓) in Paris, 1912Otto Wagners new transport infrastructure for ViennaWagnerschule (Austrian Academy of Fine Arts) Brera Academy Giuseppe Mentessi Baroque theatre / scena per angolo 斜透視Tradition of Piranesi and Bibienas 全景畫家Both movemen
18、ts, whatever their other differences, reject the Enlightenment tradition of reason and stressed the importance of myth and instinct in the social life of nations;這兩個運動，無論差異如何，都通過強調國家社會生活中的神話和直覺感受，來抵抗啟蒙運動的理性傳統(tǒng)；They denounced a rationalistic civilization which they believed had sown discord in a previ
19、ously unified and organic society;它們都譴責理性文明制造了先前統(tǒng)一有機社會中的不協(xié)調；They espoused a set of ideas anti materialist, anti liberal democratic and anti Marxist which became increasingly influential in the countries of western Europe in the years leading up to the First World War and which, in their extreme form, found political expression in the Fascism and National Socialism of the inter-war years. 它們支持反唯物主義的、反自由民主的、反馬克思的一系列觀點，這些觀點在西歐國家影響日益深遠，并最終導致了一戰(zhàn)的爆發(fā)。在它們的一些極端形式中，可以發(fā)現(xiàn)兩次大戰(zhàn)之間的法西斯主義和國家社會主義的政治表述。To be cooooooooooooooooooooooooooooooooooooooooooooooooontinued
當代建筑思潮：06 表現(xiàn)主義和未來主義
