DOI issue:
Heft 23/24
DOI issue:English Supplement
DOI Page / Citation link:https://doi.org/10.11588/diglit.27696#0670
is not meant, but rather llic ability with which lie
has put the construction, the structure to new
housing functions. The reconslruction of this
spare iron-concrete structure into a form which
meets the demands of the times we designate as
Corbusier’s truly constructive achievement.”
The author is convinced that'the new possibililes
offcred by these methods of construction are not
only to be found in “calculation“ but also in
intuilion. These possibi 1 ities are closely connected,
although this is difficult to provc, with thc forrna-
tive will of the times, which have produced them.
The skeleton building which uses a framework in
place of supporting walls, offers the possibility of
iighting heretofore unknown. Windows attain a
great importance and Corbusier therefore devel-
oped the horizontal sliding-window, wliich corre-
sponds to the openings in the wall.
To-day the demand goes farther: For the recon-
struction of this skeleton structure for living
purposes the roof must be developed and the space
utilised on the ground floor beneath the supports
which run unattached through Ihe whole building.
Further release from Lhe stiff and non-conforma-
tive house-cube such as Corbusier has attempted in
the Dc Monzie villa in rather a too experimental
way. This departure from the traditional facade
type, Ihis release from the rigid housc structure
required more than any thing else greatest archi-
tectural visionary power.
THE THREE GENERATIONS
The latest struggle in the new building problem
can be divided into three periods: the first cham-
pions about 1900. The generation which is now
about 60, Lloyd Wright, Auguste Perret, Peter
Behrens, Adolf Loos, Tony Garnier. In their
counlries they usually stood alone. They were the
ones who accomplished the first steps toward
clarity. They grew up during the 1 Q th century
and naturally w'ere influenced by the trends of
that period.
'fhe champions: that is, the generalion of Gro-
pius, Oud, Corbusier, men who are now about
forty. Tbey have decidedh' widened the breacli
which their fore-runners opened. It would seem
that this generation has done the most difficult
work. It was not enough to draw plans and carry
them out, they had also to become propaganclists
in some way or other.
The third generation: Thc thirty-year olds of to-
day have attained quiet work, without any outer
manifestation or agitation. The leaders of the
preceding generation have for the most part dis-
pensed w'ith school training, the representatives
of the younger generalion, however, have in most
cases gone through tlie usual technical education.
The so-called champion generation grew' up during
the last decades of the ig th cenlury. They have
retained a oertain inclination to formal pose. In
Ourl it is expressed in a belief ol an eternal clas-
sicism, in Gropius in an inclination to representa-
tion, in Corbusier in an inclination to the aesthetic.
Corbusier and others before him have shown tliat
it was possible to use a new' constructive basis for
the house, a basis which answers the biological
demands. Now it is necessäry to discover all such
biological demands and givc them an architectural
form.
Wit.h tliis as an introduction it is possible to toucli
upon the question of the aesthetic in Corbusier’s
w.ork. One can understand the fear of aesthelics.
Jüst as about 1900 the spectre of styles hindered
development, so to-day undefinable and dilettante
aesthetic regulations or wishes of the owner ot’ a
house hinder healthy development. Facade tyrani-
zes still.
The author has disagreed with Corbusier’s propor-
tion studies before. Corbusier calls them “Trace
regulateur”. Tliese studies in proportion seems
now not to be decisive as the eye is not now caught
by the facade but by tbe house as a whole. Cor-
busier himself has with his genius released llie
unplaned house block and the author believes that
a view from one of his roofs into the emergence of
inner and outer rooms which he creates is also
“aesthetically” more characteristic than the front
view of his houses.
ART NEWS AND NOTES
BERLIN EXHIBITIONS
Among the many pictures that the Flechtheim
gallery is now show'ing the most popular arc those
of the Sudan negro, Kalifala Sidibe, (ill. in No. 2)
w'itli his lively direct picture painting. He w~as
discovered in Paris with much morc ado than was
necessary, — w'e do not need to follow and yet
may be charmed with his candid description of his
surroundings in holiday imd work-a-day attire,
wdtli his naive hunting experiences and graceful
iclylls, w'ith his natural poetry and fresh colour
feeling.
The modern department of the Prmt Room is
showing a very inleresting exhibition of the pur-
chases made this last year. The collection has been
considerably enlarged. It is evident that all the
various view poinls have been considered. Additions
have been made which are of purely librärian
nature but purchases have also been made in tlie
IO
has put the construction, the structure to new
housing functions. The reconslruction of this
spare iron-concrete structure into a form which
meets the demands of the times we designate as
Corbusier’s truly constructive achievement.”
The author is convinced that'the new possibililes
offcred by these methods of construction are not
only to be found in “calculation“ but also in
intuilion. These possibi 1 ities are closely connected,
although this is difficult to provc, with thc forrna-
tive will of the times, which have produced them.
The skeleton building which uses a framework in
place of supporting walls, offers the possibility of
iighting heretofore unknown. Windows attain a
great importance and Corbusier therefore devel-
oped the horizontal sliding-window, wliich corre-
sponds to the openings in the wall.
To-day the demand goes farther: For the recon-
struction of this skeleton structure for living
purposes the roof must be developed and the space
utilised on the ground floor beneath the supports
which run unattached through Ihe whole building.
Further release from Lhe stiff and non-conforma-
tive house-cube such as Corbusier has attempted in
the Dc Monzie villa in rather a too experimental
way. This departure from the traditional facade
type, Ihis release from the rigid housc structure
required more than any thing else greatest archi-
tectural visionary power.
THE THREE GENERATIONS
The latest struggle in the new building problem
can be divided into three periods: the first cham-
pions about 1900. The generation which is now
about 60, Lloyd Wright, Auguste Perret, Peter
Behrens, Adolf Loos, Tony Garnier. In their
counlries they usually stood alone. They were the
ones who accomplished the first steps toward
clarity. They grew up during the 1 Q th century
and naturally w'ere influenced by the trends of
that period.
'fhe champions: that is, the generalion of Gro-
pius, Oud, Corbusier, men who are now about
forty. Tbey have decidedh' widened the breacli
which their fore-runners opened. It would seem
that this generation has done the most difficult
work. It was not enough to draw plans and carry
them out, they had also to become propaganclists
in some way or other.
The third generation: Thc thirty-year olds of to-
day have attained quiet work, without any outer
manifestation or agitation. The leaders of the
preceding generation have for the most part dis-
pensed w'ith school training, the representatives
of the younger generalion, however, have in most
cases gone through tlie usual technical education.
The so-called champion generation grew' up during
the last decades of the ig th cenlury. They have
retained a oertain inclination to formal pose. In
Ourl it is expressed in a belief ol an eternal clas-
sicism, in Gropius in an inclination to representa-
tion, in Corbusier in an inclination to the aesthetic.
Corbusier and others before him have shown tliat
it was possible to use a new' constructive basis for
the house, a basis which answers the biological
demands. Now it is necessäry to discover all such
biological demands and givc them an architectural
form.
Wit.h tliis as an introduction it is possible to toucli
upon the question of the aesthetic in Corbusier’s
w.ork. One can understand the fear of aesthelics.
Jüst as about 1900 the spectre of styles hindered
development, so to-day undefinable and dilettante
aesthetic regulations or wishes of the owner ot’ a
house hinder healthy development. Facade tyrani-
zes still.
The author has disagreed with Corbusier’s propor-
tion studies before. Corbusier calls them “Trace
regulateur”. Tliese studies in proportion seems
now not to be decisive as the eye is not now caught
by the facade but by tbe house as a whole. Cor-
busier himself has with his genius released llie
unplaned house block and the author believes that
a view from one of his roofs into the emergence of
inner and outer rooms which he creates is also
“aesthetically” more characteristic than the front
view of his houses.
ART NEWS AND NOTES
BERLIN EXHIBITIONS
Among the many pictures that the Flechtheim
gallery is now show'ing the most popular arc those
of the Sudan negro, Kalifala Sidibe, (ill. in No. 2)
w'itli his lively direct picture painting. He w~as
discovered in Paris with much morc ado than was
necessary, — w'e do not need to follow and yet
may be charmed with his candid description of his
surroundings in holiday imd work-a-day attire,
wdtli his naive hunting experiences and graceful
iclylls, w'ith his natural poetry and fresh colour
feeling.
The modern department of the Prmt Room is
showing a very inleresting exhibition of the pur-
chases made this last year. The collection has been
considerably enlarged. It is evident that all the
various view poinls have been considered. Additions
have been made which are of purely librärian
nature but purchases have also been made in tlie
IO