Term
| Who was the architect invited by Gropius to give the keynote speech at the Bauhaus Week of 1923? |
|
Definition
|
|
Term
| The Dutch Architect known for his sachlich housing projects was? |
|
Definition
|
|
Term
| J.J. P. Oud belonged to what school? |
|
Definition
|
|
Term
| Name two abstract painters who played a major role in the aesthetic change in the Bauhaus curriculum: |
|
Definition
1. van Doesburg 2. Mondrian |
|
|
Term
| What typeface/font was used in the Bauhaus publications after the arrival of Moholy-Nagy? |
|
Definition
|
|
Term
| What two avant-garde artists were credited by Larson as being somewhat responsible for the change in its [the Bauhaus'] teaching ideology/pedagogy from Expressionism to abstract formalism? |
|
Definition
1. van Doesburg 2. Mondrian |
|
|
Term
| The event most responsible for the philosophical switch at the Bauhaus from Expressionism to "The New Architecture" was? |
|
Definition
| The Vkhutemas exposition in Berlin. |
|
|
Term
| What architectural theoretician was responsible for the shift in design theory away from Expressionism at the Weimar Bauhaus? |
|
Definition
|
|
Term
| The objective of the vorkurs (foundation course) was to: |
|
Definition
| Instill expressionist ideas in students. |
|
|
Term
| Describe the changes made in the first-year design at the Bauhaus made when Maholy-Nagy replaced Itten as the teacher |
|
Definition
| Maholy-Nagy favors machines, while Itten is an expressionist. |
|
|
Term
| When Walter Gropius assembled his faculty for the Bauhaus School, he drew many of them from which field of expertise? |
|
Definition
|
|
Term
| Who was the director of the trade/design school in Weimar when its name was changed to the Staatliches Bauhaus? |
|
Definition
|
|
Term
| The De Stijl movement received much of its initial impetus from what? |
|
Definition
| The non-objective paintings by Mondrian. |
|
|
Term
| The De Stijl theoretician whose lectures at the Bauhaus influenced its switch from Expressionism to Internationalism was: |
|
Definition
|
|
Term
| Van Doesburg's term for the new way he composed space as a continuous, but non-linear flow of space was: |
|
Definition
|
|
Term
| Who was the leading theoretician of the De Stijl movement? |
|
Definition
|
|
Term
| Neo-plasticism is a term associated with what movement? |
|
Definition
|
|
Term
|
Definition
|
|
Term
| Describe the spatial sequence implied in the paintings by van Doesburg: |
|
Definition
| Geometric abstract composition of free-flowing space |
|
|
Term
| Towards a Plastic Architecture was written by? |
|
Definition
|
|
Term
| Marcel Breuer is best known for: |
|
Definition
| The design of the Wassily chair while working at the Bauhaus. |
|
|
Term
| The "Wassily" chair was designed by: |
|
Definition
|
|
Term
| The "Red-Blue" chair was designed by: |
|
Definition
|
|
Term
| The Schroder House was designed by: |
|
Definition
|
|
Term
| The German term used by German designers after WWI who relied solely on realism and functionalism to describe their work was: |
|
Definition
|
|
Term
| Define the objective of Neue Sachlichkeit: |
|
Definition
| Realism and Functionalism with no need of art. |
|
|
Term
| What was the major building type that brought the International Style to the forefront of German design in the 1920's? |
|
Definition
|
|
Term
| The architect in overal charge of planning the 1927 Weissenhoff Siedlung was: |
|
Definition
|
|
Term
| The Karl Liebknecht and Rosa Luxemburg Monument was designed by: |
|
Definition
|
|
Term
| The "Barcelona Chair" was designed by: |
|
Definition
|
|
Term
| Sketch the elevation of the Barcelona Chair |
|
Definition
|
|
Term
| List 3 important design ideas Mies employed in the Barcelona Pavilion: |
|
Definition
1. Use of opulent materials 2. Free-flowing, continuous space 3. Non-axial sliding planes |
|
|
Term
| Sketch the entry sequence for the German State Pavilion at the 1929 Barcelona Fair: |
|
Definition
| The Pavilion is on the central axis of the fair at the end of the circulation spine, someone approaching the front is forced to make a right turn and enter on the right. |
|
|
Term
| What does Larson credit for the eventual appearance of columns in the Barcelona pavilion? |
|
Definition
| Nietzsche influence - reality is planes with juxtaposed lies as columns |
|
|
Term
| What was the major difference between Mies' Concrete and Brick Country House projects? |
|
Definition
Concrete- 3 separate boxes/spaces put together Brick - One giant, continuous space |
|
|
Term
| The German term that describes the spirit of Mies' Concrete office building of 1923 was: |
|
Definition
|
|
Term
| Describe Mies' spatial order in his designs of 1923-1929: |
|
Definition
| asymmetrical and defining space with freestanding planes in a rectilinear order |
|
|
Term
| The two young Dutch Expressionists who worked in the office of Johan van der Meij were: |
|
Definition
1. Michael de Klerk 2. Piet Kramer |
|
|
Term
| What was the major difference between de Klerk and Kramer's exterior design methodologies? |
|
Definition
De Klerk is additive Kramer is subtractive |
|
|
Term
| The Hilversum Town Hall was designed by: |
|
Definition
|
|
Term
| List two Wrightian motifs evident in Hilversum Town Hall: |
|
Definition
1. Pinwheel plan 2. Horizontal tooled brick joints |
|
|
Term
| Willem Dudok's buildings show a major influence from what American architect? |
|
Definition
|
|
Term
| One major element different in the work of Dudok's from that of Wright's? |
|
Definition
| Wright's interiors were more innovative than Dudok's conventional interiors. |
|
|
Term
| The Dutch architect responsible for spreading the influence of Wright throughout Holland was: |
|
Definition
|
|
Term
| The father of Modern Dutch Architecture who was a early advocate of Wright's work was: |
|
Definition
|
|
Term
| What was the difference in how Wright approached the design of his interiors and how van Doesburg designed his interiors? |
|
Definition
| Van Doesburg didn't understand the meaning and reason for Wright's design and copied his forms. Wright had a continuous flow of spaces and van Doesburg does not. |
|
|
Term
| Which building represented Berlage's revival of the Dutch indigenous masonry tradition? |
|
Definition
|
|
Term
| The home of Dutch Expressionism was: |
|
Definition
|
|
Term
| Name the two Dutch "Expressionist" architects best known for their designs of worker housing in Amsterdam during WWI: |
|
Definition
|
|
Term
| What was Berlage's opinion of Dutch urban housing? |
|
Definition
| Committed to the Dutch tradition and represented the Dutch idea of individuals with unity. |
|
|
Term
| The Zonnestraal Sanitarium was designed by: |
|
Definition
|
|
Term
| Sketch the typical floor plan of a dormitory wing of the Zonnestraal Sanitarium: |
|
Definition
| Single-loaded bedroom wing with balconies that open to the South |
|
|