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Bauhaus & Mendelsohn

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Einstein Tower 1917-21
1. Astrophysicist Erin Finlay Freundlich commissioned Mendelsohn to design the Einstein Tower as a research facility for the theory of relativity. Between 1917-1920, Mendelsohn made numerous sketches of the facility, attempting to create a dynamic functionalist structure which would give form to Einstein’s groundbreaking theories.
2. Building commenced in Potsdam, Germany in 1921. It houses a telescope, a laboratory and housing facilities for a limited number of scientists and technicians.
3. The resulting plan revealed a centralized observatory tower, banded by rings of windows, raised on top of a wavelike platform that would house the laboratories. The experiments being carried out in the tower needed a laboratory completely isolated from the outside light and temperature changes, in order to accurately study the theories of Einstein. Hence the widening of the base of the building that achieve the objective through the thickness of the walls and antechambers prior to the laboratory. To get the light captured by the telescope to the lab than were available a system of mirrors at 45 degrees that reflected light from the top of the tower to its base.
4. The exterior was originally conceived in concrete, but due to construction difficulties with the complex design and shortages from the war, much of the building was actually realized in molded brick, covered with stucco.
This house accentuated the nature of institutional purpose as Mendelsohn’s functionalist ideology


1楼2016-02-12 14:46回复
    Bauhaus Building 1925-26
    1. The Bauhaus originated in Weimar in 1919 as a new type of design school. In 1924, when further work in Weimar became impossible, the Bauhaus moved to Dessau, an aspiring industrial city in central Germany. Walter Gropius, founder of the Bauhaus in 1919 and its director until 1928, designed the building on behalf of the city of Dessau. The Bauhaus workshops were integrated within the building’s interior design. The city of Dessau provided money for the new school building on a development site close to the train station.
    2. In his design, Walter Gropius refined architectonic ideas he first put into practice before WW I in the construction of the Fagus Factory in Alfeld. The glass curtain wall suspended in front of the load-bearing framework defines the exterior of the workshop wing and openly shows the constructive elements. Gropius, rather than visually amplifying the corners of the cubic body of the building, allowed the glass surface to overlap the edges, thereby creating the impression of lightness.
    3. Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. The extensive facilities in the plans of the Bauhaus at Dessau include spaces for teaching, housing for students and faculty members, an auditorium and offices. Each function sat in each volume, but they are all connected by bridges. He thereby arranged the different wings asymmetrically.
    4. To incorporate the students of the Bauhaus, the interior decoration of the entire building was done by the wall painting workshop, the lighting fixtures by the metal workshop, and the lettering by the print shop. With the Bauhaus building, Gropius thoughtfully laid out his notion of the building as a 'total work' of art.
    5. As a practiced architect, Gropius was interested in including structural and technological advancements as he designed this revolutionary school for architecture and design students. Some of the various progressions include a window glazing, a skeleton of reinforced concrete and brickwork, mushroom-like ceilings of the lower level, and roofs covered with asphalt tiles that were meant to be walked on.
    6. Like De Stijl painting, in a sense the Bauhaus was composed of basically related functional elements that produced a cohesive interrelated asymmetric whole.


    2楼2016-02-12 15:06
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