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Lecture 3 From Here to Modernity. Mies van der Rohe Farnsworth House, Illinois, 1946-50 Is Less More?

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Presentation on theme: "Lecture 3 From Here to Modernity. Mies van der Rohe Farnsworth House, Illinois, 1946-50 Is Less More?"— Presentation transcript:

1 Lecture 3 From Here to Modernity

2 Mies van der Rohe Farnsworth House, Illinois, Is Less More?

3 The minimum could be defined as the perfection that an artefact achieves when it is no longer possible to improve it by subtraction. This is the quality that an object has when every component, every detail, and every junction has been reduced or condensed to the essentials. It is the result of the omission of the inessentials. John Pawson - Minimum, 1996

4 John Pawson 1990s Flowers, even salt and pepper get in the way… John Pawson Evolution is synonymous with the removal of ornament from objects of everyday use Adolf Loos (Ornament and Crime, 1928)

5 Josef and Anni Albers living room at the Dessau Bauhaus, 1920s Josef Albers Grid Mounted 1921 Anni Albers Weaving 1929

6 Josef and Anni Albers living room in Connecticut USA, 1970s

7 Peter van der Jagt (Droog Design) Bottoms Up doorbell, 1994

8 Utopia / Dystopia Thamesmead, London 1960s Things to Come William Cameron Menzies 1936

9 Le Corbusier, Villa Savoye, Nathan Coley, Villa Savoye, 1997

10 The site is expansive, bordered by trees on three sides, and has long views towards the softly rolling fields and valleys. At first sight, there is a shock of recognition - a sense of formal inevitability. What can be more natural than this horizontal white box, poised on pillars, set off against the rural surroundings, the far panorama and the sky?

11 This shows you how the long window becomes part of the façade solution. The moment one steps inside the villa one finds a new structural rhythm taking over.

12 Dan Flavin Untitled (monument for V. Tatlin) 1975 Vladimir Tatlin Monument to the Third International, Petrograd, 1920

13 Carl Andre (1935-) Equivalent VIII, 1966 My arrangements Ive found are essentially the simplest I can arrive at, given a material and a place … Carl Andre

14 David Mabb Self Portrait posing as Rodchenko, dressed in a Rodchenko Production Suit made from the Fruit William Morris fabric 2002 Alexander Rodchenko

15 Drum and Bass, 2003 Combat(after Rodchenko), 2003 Mathieu Mercier

16 Orla Kiely Autumn 07 Bauhaus art and design has been an important influence for many contemporary designers, but for Orla Kiely the geometry and colour of the work has special resonance. Tate Modern Shop: Orla Kiely Purse

17 Jim Lambie Touch Zobop, 2003 Tate Britain, London

18 Tomma Abts Winner of Turner Prize 2006 Ert, 2003 Boros Collection, Berlin

19 Less is More Mies van der Rohe Less is a Bore Robert Venturi

20 I like elements which are hybrid rather than pure, compromising rather than clean, distorted rather than straightforward, ambiguous rather than articulated, perverse as well as impersonal, boring as well as interesting, conventional rather than designed, accommodating rather than excluding, vestigial as well as well as innovating, inconsistent and equivocal rather than direct and clear. Robert Venturi 1966 (Architect)

21 I am for richness of meaning rather than clarity of meaning; for the implicit function as well as the explicit function. Robert Venturi 1966 (Architect)

22 Alessandro Mendini, Redesign of Modern Movement Chairs - Wassily by Breuer, 1978 Marcel Breuer 1925

23 We can no longer fulfill our obligations as architects if we carry on as cake decorators. Our role is far greater than that. We, the authors of architecture, have to take on the task of reinvestigating Modernity Zaha Hadid 1983 Zaha Hadid Terminus, Strasbourg France, 2001

24 Andreas Gursky Shanghai 2000

25 The Titanic - Photomontage, Stanley Tigerman, 1978, USA

26 Modernism ran out of steam over a decade ago. But at its core was an ethic - the responsibility that a designer has to actively contribute to, indeed enhance, the social, political, and cultural framework. Steven Heller, É migr é 33, 1995

27 Modernism is the expression by individual human beings of how they will live their own present, and consequently there are a thousand modernisms for every thousand persons. Octavio Paz (Nobel Prize reception speech 1990)

28 Doris Salcedo Tate Modern October 2007 Shibboleth

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