Bauhaus
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Contents
Genere o movimento
Bauhaus
Personaggi o Gruppo
Walter Gropius nasce a Berlino (1883/1969), Paul Klee, Lyonel Feininger, Vasilij Kandiskij, Oscar Schlemmer, [[Moholy-Nagy LÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂászlÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂó|LÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂászlÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂó Moholy-Nagy]], Albert-Mies Van der Rohe, Karl Schmidt-Rottluff, Erich Heckel-Kirchner.
Luogo
La scuola dÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂarte applicata e dei mestieri divenne dal 1919 anno di fondazione, e per il decennio successivo il centro del Design in Germania. FÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂù fondata a Weimer nel 1919 da Walter Gropius successivamente la sede fu trasferita a Dessau in una costruzione appositamente eretta da Gropius. Nel 1933 la scuola fu chiusa dai nazisti.
Storia
Il Bauhaus nasce nel 1919 a Weimer. NellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂimpostazione dei programmi, furono abbandonate tanto la tradizione storicistica dellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂAccademia,quanto le metodologie artigianali delle scuole di mestieri.Nel 1925 la sede fu trasferita a Dessau, nel 1928 Gropius cedette la direzione della scuola allo svizzero H. Meyer. Il Bauhaus fu soppresso nel 1933 dai nazisti, Gropius ed altri insegnanti, quali architetti, artisti, pittori, ceramisti, tessitori e designer, impegnati nellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂattivitÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàdi gruppo si spostarono in Inghilterra ( 1934 ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ37 ) e poi negli Stati Uniti, e qui il metodo del Bauhaus divenne base dellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂinsegnamento artistico, cercando di riprendere programmi e metodologia della scuola tedesca, che successivamente furono continuati nella school (poi Istitute) of Design fino al 1946. Correlazioni: Movimento architettonico olandese "De Stijl"; influenza di F.L. Wright nei rapporti tra natura e paesaggio; impronta del movimento nell'esilio inglese (1934-37); nuovi concetti di architettura con ispirazione poetica nel periodo statunitense; nel 1851 si costruivano strutture arditissime come il palazzo di cristallo a Londra, e nel 1889 la torre Eiffel a Parigi che influenzarono Gropius ed inoltre il paesaggio del cemento armato dalle costruzioni tecniche e industriali agli edifici civili ha introdotto una dinamica costruttiva al posto della vecchia linea statica. Esso permette insieme alla macchina la formazione di elementi di grande serie e interdipendenza fra architettura e industria. Le Corbusier con la casa intesa come "la macchina per abitare" fa nascere l'urbunistica moderna. In Italia l'architetto futurista Antonio Sant'Elia, nel 1919, giÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàesponeva le sue nuove composizioni lineari facendo tesoro della scienza e della tecnica.
Opere
Ad Alfred cittadina industriale sulla Leine fÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂù progettata la fabbrica Fagus-Werk uno dei primi edifici funzionali in acciaio, vetro e cemento, costruito da Walter Gropius nel 1911-ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ18, a Colonia nel 1919 il palazzo del Deustche Werkbound. In Inghilterra ( 1934-ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ37 ) e poi negli Stati Uniti, Gropius attenuÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂò il suo rigido razionalismo con piÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂù aderenza alle forme naturali, quali la scuola di Impington e lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂArt Center di Cambridge ( Massachussetts ) che esprimono questo nuovo concetto architettonico, in cui lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂispirazione poetica ha parte nominante. Insegnante nella Harward University, ha costruito edifici di grande interesse per le sapienti soluzioni di natura urbanistica. Per tali attivitÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàGropius ÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂè tra i rinnovatori di tutta lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂarchitettura moderna.
Bibliografia
- Germania ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàTouring Club Italiano, Guida dÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂEuropa
- Enciclopedia Motta, Voci : Bauhaus, architettura, Walter Gropius.
- Le Garzantine: Arte
Poetica
Riprendendo alcuni temi del socialismo, la filosofia del Bauhaus voleva portare arte e design nellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂambito della vita quotidiana;affrontando direttamente i problemi della produzione industriale, sia nei suoi aspetti sociali(perdita della qualitÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàartigiana nel lavoro massificato) che in quelli espressivi. Gropius considerava artisti ed architetti come artigiani e sosteneva che le loro creazioni dovessero essere pratiche ed abbordabili. Scopo principale della scuola era quello di giungere alla creazione dellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂopera dÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂarte unitaria, nella quale le esigenze monumentali e quelle decorative dovevano fondersi: a questo risultato veniva soprattutto chiamato lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂartigiano, ormai scaduto di tono a causa della concorrenza operata dalla grande industria. NellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂimpossibilitÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàperÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂò di ridare grande valore allÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂartigianato il Bauhaus si proponeva continuamente di migliorare la produzione industriale in modo che essa avesse un proprio significato artistico- decorativo. La scuola acquisÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂì una carica innovativa, i cui prodotti venivano diffusi attraverso mostre, conferenze,spettacoli, libri etc.Da parte della borghesia di Weimar questa iniziativa,ricevette molte ostilitÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂà, dovute alle nuove idee artistiche. Dopo questi contrasti,dovette cosÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂì trasferirsi a Dessau.
Importanti sono state le correlazioni con altri movimenti artistici di seguito presentati. Movimento architettonico olandese ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàDe Stijl ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂà.Influenza di F.L. Wright nei rapporti tra natura e paesaggio. Impronta del movimento nellÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂesilio inglese ( 1934-ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ37 ). Nuovi concetti di architettura con ispirazione poetica nel periodo statunitense. Nel 1851 si costruivano strutture arditissime, come il palazzo di cristallo a Londra, e nel 1889 la Torre Eiffel a Parigi, che influenzarono Gropius ed inoltre il paesaggio del cemento armato dalle costruzioni tecniche e industriali agli edifici civili ha introdotto una dinamica costruttiva al posto della vecchia linea statica. Esso permette insieme alla macchina la formazione di elementi di grande serie e interdipendenza fra architettura e industria. Le Corbusier, con la casa intesa come la ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂmacchina per abitare ÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂ, con questo concetto nasce lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂurbanistica moderna. In Italia, lÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂarchitetto futurista Antonio SantÃÂÃÂÃÂÃÂÃÂÃÂÃÂâÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂElia, nel 1919, giÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂÃÂàesponeva le sue nuove composizioni lieneari facendo tesoro della scienza e della tecnica.
Webliografia
www. Artemotore.com/bauhaus