Transparency reloaded by flying classroom

reloaded Tran spa rency. e i n e „bra si l i a n i sc he“ Lektüre.

P rof. My r i a m Ga u tsc h i . Al y ssa Rau M .A . Wa h l fa ch SS 2013. HT W G Ko nsta n z Fa ku l tä t Arc hitektur und Ges taltung

reloaded Tran spa rency. e i n e „bra si l i a n i sc he“ Lektüre.

P rof. My r i a m Ga u tsc h i . Al y ssa Rau M .A . Wa h l fa ch SS 2013. HT W G Ko nsta n z Fa ku l tä t Arc hitektur und Ges taltung

Inhalt . K u r s-Tei l nehmer : An na Eu c h n er. El i s ab eth Kais e r. Jan n is Re n n e r. Ker s tin S ie ber. Kl ara Schröd e r. Nilü f e r Umu l. S a n dr a Du r an.

Vor wor t .

P rof. M yr iam G a ut s chi .

VI I

L e s e r ic h t u n g

IIX

O r i g i na l tex t . Tr a nspa re ncy : Li te ra l a n d P h e n o m e n a l C ol i n Rowe w i th Ro b e r t S l u tz k y. E in e br a s ilia ni s che Lekt üre.

Vor t r ä g e . Die M o d e rn e i n E uro pa .

De r K u bis mu s .

Das Ba u h a u s .

L e C o r bu s ie r.

S e man a d e A r te Mo d erna . 1 9 2 2 S ã o Pa ul o .

A n n a E u c h n e r. Wo r t . b i l d .

E lis a be t h K a is er. R i efel . b i l d .

Jan n is Re n n e r. Mus i k . r a um .

Tr a nsf or m a t i on.

Ke r s t in S ie ber. C ub . i s m us .

100

K la r a S c h rö d er. Wa nd el . r a um .

104

Nilü f e r Umu l. B i l d . r a um .

108

S a n d r a Du r an. R a um . b i l d .

112

B i bl i og r a f i e . I mpressum.

114

Vo r wor t . Tr ans parency* re load e d _ e in e br a s ilia n is c h e L e kt üre * Tranparenz : ni ch t n u r wö r t lic h , s o n d e rn im üb er t r a g enen S i nne ve r standen, um vo n R a u m in M e h rd e u t ig ke it , Ü b er l a g er ung und Le sbarkei ten zu spre c h e n .

Der Aufsatz Transpa rency *, au s d e m Jah re 19 5 5 vo n C o l i n Ro we u n d Rob er t Sl utzk y is t k u r z u n d pr ä zis e , be bil d er t m i t B ei s p i el en au s der Kunst und d e r A rc h ite kt u r d e r M o d e rn e . C o l i n Ro we er l ä ute r t anhand der k u bis t is c h e n M ale re i d e s f r ü hen 2 0 . Ja hr hund er t s die zwei Interp ret a t io n s mö g lic h ke ite n vo n Tr an spa renz : lit e ral tran sp ar en cy u nd ph e no me nal t rans p ar e n c y.

Während lit eral t rans p ar e nc y an d as M ate r ia l g eb und en i s t – d a s h ei ßt ei ndeuti g, k la r u n d s ic h v. a. a u f d e n S ehs i nn b ez i eht – a l s archi tektoni s ches B e is pie l ve r we is t e r a u f d ie Gl a s fa s s a d e d es B a uh auses i n Des s au – e röf f n e t ph e no me nal tra n sp a r e n c y ei ne B etr achtungs wei se, d ie u n be s t immt , me h rd e u t ig und a b hä ng i g vo m Betrachter wahrg e n o mme n u n d in te r pre t ie r t werd en k a nn. Al s B ei spi el wähl t Rowe d ie V illa G arc h e s vo n L e C o r b us i er und z . B . d a s Bi l d ..... von Fernan d L é g e r. Bernhard Hösl i , P rof e s s o r an d e r E TH Z ü r ic h , ha t d i es en Text 1 9 6 8 ins Deuts che üb er s e t zt u n d mit e in e m Ko mme n t a r ver s ehen. Tr a ns parenz wi rd heute zu d e n G r u n d la g e n te x te n d e r Archi tekt ur t heo r i e gezähl t und verd e u t lic h t g le ic h ze it ig e in e E n t w ur fs m et ho d e, d i e auch heute noch ih re G ü lt ig ke it h a t . Das dünne Büchl e in , im g t a Z ü r ic h ve r le g t , is t i m Mo m ent verg r i ff en. Zi el des Kur s e s is t e s , d e m e n g lis c h e n O r i g i na l text und d en O ri gi nal b i l dern Bild ma te r ia l au s B r a s ilie n g e g e n üb er z u s tel l en. D a s bedeutet, di e Stu d ie re n d e n h a be n s ic h s o we it es uns m ö g l i ch w a r m i t der b rasi l i anis c h e n M o d e rn e au s e in an d e r g e s et z t und ha b en für je des Bi l d i m Ori g in ala u f s a t z vo n Ro we u n d S lut z k y i s t ei n B ei s p i el aus der b rasi l i anis c h e n K u n s t u n d A rc h ite kt u r d es 2 0 . Ja hr hund er t s gesucht. Ei n kur z e r Ko mme n t ar e r lä u te r t d e n A s p ekt d er Wa hl . A ls Grundl age s in d f ü r d a s Ve r s t ä n d n is d e s kul t urel l en U m fel d es sind fünf ver schi e d e n e Th e me n be re ic h e be le u chtet und d i s k ut i er t worden. Di es e Re c h e rc h e n zu K u bis mu s , . . . . . . S em a na d e Ar te Mo derna i n Sao Paulo s in d a ls k u r ze Z u s amme n s tel l ung en eb enfa l l i n di es er Dokument at io n e n t h alte n . In ei ner frei en A r be it w are n d ie St u d ie re n d e n a ufg efo rd er t , i hre e igene, ganz p er sö n lic h e A n n äh e r u n g u n d I n te rp ret a t i o n vo n Tra n pa renz zu „verräumlic h e n “. E n t s t an d e n s in d x A r b ei ten, d i e a uf d em e igenen Er fahrung s s c h at z be r u h e n u n d e ig e n s t ä nd i g e Tr a ns fo rm a tionen dar stel l en , o b a ls M o d e ll, S pie l o d e r M us i k s t ück . Di e Ausei nander s e t zu n g mit d e m G r u n d la g e n text vo n C o l i n Ro we u nd Rob er t Sl utzk y u n d d e r d ar a u s e n t w ic ke lten E nt w ur fs m et ho d e vo n Bernhard Hös li ve r s te h t s ic h als G r u n d lag ena r b ei t und Vo r b erei tung zur Summ e r s c h o o l LC : S P 2014.

P rof. My r i a m G a ut s chi

VII

Ve rgl e i chsbi l d bras. A rchi te k tur

Ve rgl e i chsbi l d bras. Kunst

VIII

Sei te n. A uf ba u . Wenn zu Begi nn de s 20. Ja h r h u n d e r t s in E u ro pa d i e K uns t d i e Arc h itektur b eei nfl us s t h a t , s o w ar e s in B r a s ilie n v i el m ehr d i e Archi te ktur, di e di e Kuns t be e in f lu s s t h a t . Daher wi rd j ewei l s d e m Bild e in e s e u ro p채 is c h en G em 채 l d es ei nem br a s i l i ani sches Ba u we r k g e g e n 체 be rg e s te llt u n d d er euro p채 i s chen A rchi tektur ei n Be s pie l a u s d e r br as ilia n is c h e n K uns t s z ene.

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Vergleic h s bild bras . Ku n s t

Vergleic h s bild bras . Arc h itek tu r

Tr an s pare nz. ei ne „ bra si l i a n i sc h e “ Le ktüre. 8

Der 1964 auf englisch und 1968 erstmals auf deutsch publizierte Aufsatz „Transparenz“ von Colin Rowe und Robert Slutzky gehört zu den Grundlagentexten der Architektur-Ausbildung unserer Zeit. Rowe und Slutzky bildeten in den fünfziger Jahren, zusammen mit John Hejduk, Werner Seligmann und Bernhard Hoesli, an der University of Texas in Austin die Architektengruppe der „Texas Rangers“. Im Rahmen ihrer Lehrtätigkeit versuchten sie eine neue Methode für den architektonischen Entwurf zu entwickeln und ihre Modell im praktischen Unterricht zu erproben, und dies ausgehend von der Erkenntnis der objektiven Grundlagen der Moderne und der modernen Architektur. Der Aufsatz „Transparenz“ bildete hierfür die theoretische Grundlage. (A usz ug aus K l appe n text Tran s paren z)

Transparency 1591 1. The quality or condition of being transparentÂˇ diapheneity; pellucidity 1615. 2. That which is transparent 1591. b. spec. A picture, print, inscription or device on some translucent substance, made visible by means of light behind 1807. c. A photograph or picture on glass or other transparent substance intended to be seen by transmitted light 1874. 3. A burlesque translation of the German title of address Durchlaucht 1844. Transparent 1. Having the property of transmitting light, so as to render bodies lying beyond completely visible, that can be seen through. b. Penetrating as light 1593. c. Admitting the passage of light through interstices (rare) 1693. 2. fig. a. Open, candid, ingenuous 1590. b. Easily seen through, recognized or detected; manifest, obvious 1592.

‚Simultaneity,‘ ‚interpenetration,‘ ‚superimposition,‘ ‚ambivalence,‘ ‚spacc-time,‘ ‚transparency‘: in the literature of contemporary architecture these words, and others like them, are often used as synonyms. We are all familiar with the manifestations to which they are applied–or assume ourselves to be so. These are, we believe, the specific formal characteristics of contemporary architecture; and, as we respond to these, we rarely seek to analyze the nature of our response. It may indeed be futile to attempt to make efficient critical instruments of such approximate definitions. Perhaps any such attempt can only result in sophistries. Yet it also becomes evident that, unless the evasive nature of these words is examined, we could be in danger of misinterpreting the forms of lucid cornplexity to which they may sometimes refer; and it is for this reason that here some attempt will be made to expose certain levels of meaning with which the term ‚transparency‘ has become endowed. By the dictionary definition the quality or state of being transparent is a material condition- that of being pervious to light and air, the result of an intellectual imperative- of our inherent demand for that which should be easily detectcd, perfectly evident; and an attribute of personality-the absence of guile, prerence or dissimulation; and thus the adjective transparent, by defining a purely physical significance, by functioning as a critical honorific, and in being dignified by far from disagreeable moral overtones, is a word, from the first, richly loaded with the possibilities of both meaning and misunderstanding. But, in addition to these accepted connotations, as a condition tobe discovered in a work of art, transparency has become involved with further levels of interpretation which, in his Language of Vision, are admirably defined by Gyorgy Kepes:

10 Colin Rowe. born 1920 in Rotherham (GB), study of Architecture at the Liverpool University and History of Art at Warburg Institute of the London University. Professor of Architecture at the University of Texas in Austin, of the Cambridge University and Cornell University. 1995 he was honoured by the Royal Institue of British Architects with the gold medal. He died 1999. Robert Slutzky. born 1929 in New York, apprenticeship as painter at the Yale University and the Cooper Union Art School. 1954-56 member of the „Texas Rangers“ at the University of Texas in Austin. Afterwards teaching at Pratt Institute in Brooklyin and at the Cooper Union Art and Archictecture School. Since 1990 Professor at the Graduate School of Fine Arts of the University of Pennsylvania.

If one sees two or more figures overlapping one another, and each of them claims for itself the common overlapped part, then one is confronted with a contradiction of spatial dimensions. To resolve this contradiction one must assume the presence of a new optical quality. The figures are endowed with transparency: that is, they are able to interpenetrate without an optical destruction of each other. Transparency however implies more than an optical characteristic, it implies a broader spatial order. Transparency means a simultaneous perception of different spatial locations. Space not only recedes but fluctuates in a continuous activity. The positon of the transparent figures has equivocal meaning as one sees each figure now as the closer, now as the further one.1

Thus, there is now introduced a conception of transparency quite distinct from any physical quality of substance and almost equally remote frorn the idea of the transparent as the perfectly clear. ln fact, by this definition, the transparent ceases to be that which is perfectly clear and becomes, instead, that which is clearly ambiguous. Nor is this definition an entirely esoteric one; and when we read (as we so often do) of ‚transparent overlapping planes‘ we sense that more than a physical transparency is involved. For instance, while Moholy-Nagy in his Vision in Motion constantly refers to „transparent cellophane sheets,“ „transparent plastic,“ „transparency and movinglight“, „Rubens‘ radiant transparent shadows“2, a careful reading of the book might suggest that for him such literal transparency is often furnished with certain metaphorical qualities. Some superimpositions of form, Moholy tells us, „overcome space and time fixations. They transpose insignificant singularities into meaningful complexities ... The transparent qualities of the superimpositions often suggest transparency of context as well, revealing unnoticed structural qualities in the object.“3 And again, in commenting on what he calls „the manifold word agglutinations“ of

James Joyce, on the Joycean ‚pun,‘ Moholy finds that these are „the approach to the practical task of building up a completencss by an ingenious transparency of relationships.“4 In other words, he seems to have felt that, by a process of distortion, recomposition, and double entendre, a linguistic transparency–the literary equivalent of Kepes‘ „interpenetration without optical destruction“ – might be effected and that whoever experiences one of these Joycean ‚agglulinalions‘ will enjoy the sensation of looking through a first plane of significance to others lying behind. Therefore, at the beginning of any inquiry into transparency, a basic distinction must perhaps be established. Transparency may be an inherent quality of substance–as in a wire mesh or glass curtain wall, or it may be an inherent quality of organization–as both Kepes and, to a lesser degree, Moholy suggest it to be; and one might, for this reason, distinguish between a real or literal and a phenomenal or seeming transparency.

Possibly our feeling for literal transparency derives from two sources, from what might be designated as machine aesthetic and from Cubist painting; probably our feeling for phenomenal transparency derives from Cubist painting alone; and, certainly any Cubist canvas of 1911-12 could serve to illustrate the presence of these two orders or levels of the transparent. But, in considering phenomena so baffling and complex as those which distinguish Cubist painting, the would-be analyst is at a disadvantage; and, presumably, it is for this reason that, almost fifty years after the event, dispassionate analysis of the Cubist achievement is still almost entire lacking.5 Explanations which obscure the pictorial problems of Cubism are to be found in abundance, and one might be sceptical of these, just as one might be sceptical of those two plausible interpretations which involve the fusion of temporal and spatial factors, which see

Cubism as a premonition of relativity, and which in this way present it as little more than a ‚ natural‘ by-product of a particular cultural atmosphere. As Alfred Barr tells us, Apollinaire „invoked the fourth dimension ... in a metaphorical rather than a mathematical sense“;6 and, rather than attempt to relate Picasso to Minkowski, it would, for us, be preterable to refer to less disputable sources of inspiration. A late Cezanne such as the Mont Sainte Victoire of 1904-6 (Plate 58) in the Philadelphia Museum of Art is characterized by certain extreme simplifications: most notably, by a highly developed insistence on a frontal viewpoint of the whole scene; by a suppression of the more obvious elements suggestive of depth; and by a resultant contracting of foreground, middleground, and background into a distinctly compressed pictorial matrix. Sources of light are definite but various; and a further contemplation of the picture reveals a tipping forward of the objects in

space, which is assisted by the painter‘s use of opaque and contrasted color and made more emphatic by the intersetion of the canvas provided by the base of the mountain. The center of the composition is occupied by a rather dense gridding of oblique and rectilinear lines; and this area is then buttressed and stabilized by a more insistent horizontal and vertical grid which introduces a certain peripheric interest. Frontality, suppression of depth, contracting of space, definition of light sources, tipping torward of objects, restricted palette, oblique and rectilinear grids, propensities towards peripheric development, are all characteristics of Analytical Cubism; and, in the typical compositions of 1911-12, detached from a more overtly representational purpose, they assume a more evident significance.

A Ve n ta n a A n i ta M a l f a t t i , 1917

K l .S A u f l ö s e n vo n Vo rd e r- u n d Hi n tergr und. Der Imp ress i oni s mu s lö s t F o rm u n d R au m a u f. I n Li na B o B a rd i ‘s Glas haus i n São Pa u lo ve r s c h me lze n In n e n - u n d Auß enr a um . D urch die raumhohe Verg las u n g w ird d ie Nat u r B e s t a nd tei l d es R a um es u n d di e Raumgrenze n lö s e n s ic h au f.

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In these pictures, apart from the pulling to pieces and reassembly of objects, perhaps above all we are conscious of a further shrinkage of depth and an increased emphasis which is now awarded to the grid. We discover about this time a meshing of two systems of coordinates. On the one hand an arrangement of oblique and curved lines suggests a certain diagonal spatial recession. On the other, a series of horizontal and verticallines implies a contradictory statement ot frontality. Generally speaking, the oblique and curved lines possess a certain naturalistic significance while the rectilinear ones show a geometricizing tendency serving as a reassertion of the picture plane. But both systems of coordinates proviele for the orientation of the figures

Mont Sainte-Victoire, Cézanne,1904-1906 (Plate 58)

Glas h o u se, Lin a Bo Bardi São Pau lo , 1951

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simultaneously in an extended space and on a painted surface, while their intersecting, overlapping, interlocking, their building up into larger and fluctuating configurations, permits the genesis of the typical Cubist motif. But, as the observer distinguishes between all the planes to which these grids give rise, he becomes progressively conscious of an opposition between certain areas of luminous paint and others of a more dense coloration. He distinguishes between certain planes to which he is able to attribute a physical nature allied to that of celluloid, others whose essence is semiopaque, and further areas of a substance totally opposed to the transmission of light. And he may discover that all of these planes, translucent or otherwise, and regardless of their representational content, are to be found implicated in the manifestation which Kepes has defined as transparency. The double nature of this transparency may be illustrated by the comparison and analysis of a somewhat atypical Picasso, The Cla-

Barra de G uaratiba Burl e M ar x R i o de Ja n eiro 1949

S.D Durchd r i nge n vo n E l e m e n t u n d Natur. In der von Burl e M a r x g e s t alte te n M au e r be d in gen und d urchd r i ngen si ch N atur un d vo lu me t r is c h e G e s t a lt u n g der Ma uer und werden s o zu ei nem n e u e n G a n ze n .

rinet Player (Plate 59), and a representative Braque, The Portuguese (Plate 60), both of 1911. In each picture a pyramidal form implies an image; but then, while Picasso defines his pyramid by means of a streng contour, Braque uses a more complicated inference. Picasso’s contour is so assertive and inclependent of its background that thc observer has some sense of a positively transparent figure standing in a relatively deep space, and only Stthsequently does he redefinc this sensation to allow for the real shallowness of the space. But with Braque the reading of the picture follows a reverse order. A highly developed interlacing of horizontal and vertical

Pablo Picasso, Le C larinettiste, 1911 (Plate 59)

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gridding, created by gapped lines and intruding planes, establishes a primarily shallow space, and only gradually does the observer become able to invest this space with a depth which perrnits the figure to assume substance. Braque offers the possibility of an independent reading of figure and grid. Picasso scarcely does so. Picasso‘s grid is rather subsumed within his figure or appears as a form of peripheral incident intended to stabilize it. The differences of method in these two pictures could easily be overemphasized. At different times they will appear to be dissimilar and alike. But it is necessary to point out that there are present in this parallel the intimations of different directions. ln the Picasso we enjoy the sensation of looking through a figure standing in a deep space, whereas in Braque‘s shallow, flattened, laterally extended space, we are provi-

La sa r S e g a l l Fa ve l a , 1 9 5 4 - 5 5

A .E Fr a g me nti ere n . In Braques Bi l d „L e Po r t u g ais “ e n s te h t d u rc h d i e F r a g m ent i er ung e in Gefl echt aus L in ie n u n d F läc h e n . I h re Übe r lag er ung en führen z u e iner Raumti efe i m B ild . In Segal l 's Gemäl d e „ Fave la“ e n t s te h e n e be n f alls ver s chi ed ene B i l d e benen. Di ese si nd d u rc h d e n E in s a t z vo n M e n s chen und G eg en ständen j edoch of f e n s ic h t lic h e r d e f in ie r t . Der Ei nbau und die Ve r f re md u n g e in e s Ba u g e r üs tes i m Tea t ro O fic ina von Li na Bo B a rd i in S a o Pau lo f ü h r t zu e in er U m i nter p ret a t i o n des ehemal i gen St r aße n r a u me s . Da d u rc h w ird ei n D urchg a ng s o r t zu ei nem Aufenth alt s r a u m t r an s f o rmie r t . Das B a ug er üs t a l s vo rg elager te Schi chte e r ze u g t d a be i e in e Tie f w ir k u n g und fr a g m ent i er t glei chzei ti g den R a u m. 1_© Encyclopédie Itaú C ultural Arts Visuels

ded with no physically perspicuous object. In the one we receive a prevision of literal, in the other, of phenomenal transparency; and the evidence of these two distinct attitudes will become much clearer if a comparison is attempted between the works of two such slightly later painters as Robert Delaunay and Juan Gris. Delaunay‘s Simultaneous Windows of 1911 and Gris‘ Still Life of 1912 both include objects which are presumably transparent, the one windows, the other bottles; but, while Gris suppresses the literal transparency of glass in favor of a transparency of gridding, Delaunay accepts with unrestrained

Le Portugais, G eorges Braque, 1911 (Plate 60)

Te atro O f i ci na, Li na Bo Bardi S ã o Paul o, 1980-84

1_© J a n n i s R e n n e r

enthusiasm the elusively reflective qualities of his superimposed ‚glazed openings‘. Gris weaves a system of oblique and curved lines into some sort of shallow, corrugated space; and, in the architectonic tradition of Cèzanne, in order to amplify both his objects and structure, he assumes varied but definite light sources. Delaunays preoccupation with form presupposes an entirely different attitude.Forms to him - e.g., a low block of buildings and various naturalistic objects reminiscent of the Eiffel Tower - are nothing but reflections and refractions of light which he presents in terms analogous to Cubist gridding.But, despite this geometricizing of image, the generally ethereal nature of both Delaunay‘s forms and his space appears more characteristic of impressionism; and this resemblance is further reinforced by the manner in which he uses his medium. In contrast to the flat, planar areas of opaque and almost monochromatic color which Gris invests with such

Ge om è t r i co I I S a m son Fl e xor, 1 9 52

M in is tr y of Health , Sketc h Le Co rbu s ier, 1934

E .K W i ed er. S che i n . In Del aunay‘s Bi l d „ L e s F e n ê t re s “ f in d e t s ic h we ni g er d i e üb er t r a g en e al s di e materi e lle Tr an s pare n z d e s g lä s e rn e n F ens ter s w i ed er. E r be s chäf ti gt s i ch m it d e n re f le kt ie re n u n d s pie g el nd en E i g ens cha fte n von Gl as und d e r d a d u rc h e n t s te h e n d e n Ü b er l a g er ung en vo n S c hei n und Sei n. Diese Ü b erl agerun g f in d e t s ic h au c h in d e n recht s a b g eb i l d eten drei Gebäuden: d e m Pa lá c io It ama r a t y in B r a s í l i a vo n O s ca r N i em eyer, dem b ras ilian is c h e n Pa v illo n d e r E x po 1 9 7 0 d es Pr i t z ker Prei s träger s Paul o M e n d e s d a Ro c h a in Os ak a s o w i e d en S k i z z en von Le Corb usi er f ü r d as M E S ( G e s u n d h e it s mini s ter i um ) i n R i o d e Janei ro. In dem Bi l d „Geomè t r ic o I I “ vo n S a ms o n F le xo r fi nd en s i ch eb en1_© Encyclopédie Itaú C ultural Arts Visuels

high tactile value, Delaunay emphasizes a quasi-impressionistic calligraphy; and, while Gris provides explicit definition of a rear plane functions as a catalyst which localizes the amiguities of his pictorial objects and engenders their fluctuating values. Delaunay‘s distaste for so specific a procedure leaves the latent ambiguities of his form unresolved, exposed, without reference. Both operations might berecognized as attempts to elucidate the congested intricacy of Analytical Cubism; but, where Gris seems to have intensified some of the characteristics of Cubist space and to have imbued its plastic principles with a new bravura, Delaunay has, perhaps, been led to explore the poetical overtones of Cubism by divorcing them from their metrical syntax.

Les Fenêtres, Robert D elaunay, 1912-1913 Plate 61

B ra zi lia n Pa v i l l i on f or E XP O in Osa ka 19 70 Pa u lo M e nd e s d a Roc h a

Itamaraty Palace, Bras ília Osc ar Niemeyer, 1970

f al l s di es e ver s chie d e n e n S c h ic h te n u n d E be n e n. E s ent s tehen üb ergeordnete Zuordn u n g e n , d ie te ilwe is e n u r s c hwer vo nei na nd er z u trennen s i nd und g le ic h ze it ig u n te r s c h ie d lic h e Les ba r kei ten erm ö g lichen.

1-2 _ © J a n n i s R e n n e r 3_ © An n e t te S p i ro , P a u l o M e ndes da R ocha - B auten und Pro j e k t e , S . 1 0 0 4_E l i s a b e t t a A n d re o l i u n d A d rian F ort, B razil‘ s M oder n Arc h i t e c t u re , S . 6 4

D i as C i ce ro I nte rpre tati on, 1990

Dias Cicero Cro n o métr ico , 1947

K .S G e o me tr i s i ere n . „ Sti l l Li fe“ von J ua n G r is is t e in We r k , d a s d u rc h ei nfa che Mi t tel , w i e der kl aren Kantens e t zu n g u n d d e r Ve r we n d u n g vo n g eo m et r i s chen F ormen Raumti efe s c h af f t . Der b ras i l i ani sche K ü n s t le r Dias C ic e ro ve r s t ä r ken d en G r a d d er Geometri si erung i n s e in e n We r ke n „ In te r pre t at io n“ und „C ro no m é tr ico“ und reduzi e re n d ie s e a u f e in e min ima lis t i s che B i l d s p r a che. Der b ras i l i ani sche Pa v illio n f ü r d ie E x po 1970 i n O s a k a vo n Pa u lo Mendes Da Roc h a we is t in s e in e r F o rme n s pra che eb enfa l l s ei ne starke Geometri s ie r u n g a u f, le bt je d o c h vo n d er S pa nnung , d i e du rch das Zusamme n s pie l vo n G e o me t r ie u n d frei e F o rm ent s teht . Das starke Dach, d a s ü be r e in e r g e bau te n L an ds cha f t z u s chweb en sc hei nt, i st ei ne H o mma g e an d as M ate r ia l u n d d a s Tr a gwerk . 1-2_© Encyclopédie Itaú Cultural Arts Visuels

When something of the attitude of a Delaunay becomes fused with a machine-aesthetic emphasis upon materials and stiffened by a certain enthusiasm for planar structures, then literal transparency becomes complete; and perhaps it is most appropriately to be illustrated by the work of Moholy-Nagy. In his Abstract of an Artist, Moholy tells us that around 1921 his „transparent paintings“ became completely freed from all elements reminiscent of nature, and, to quote him directly, ”I see today that this was the logical result of the Cubist paintings which I had admiringly studied.“7

Juan G ris Still Life, 1912 (Plate 5)

Braz i l i an Pav i l on fo r E X PO i n O saka Paul o Me nde s D a Ro c h a 1970

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Fu j i t a s A rc h i t e c t s O f f i c e Pa u l o M e n d e s d a R o c h a _ B auten und Werke_ S.96 Fu j i t a s A rc h i t e c t s O f f i c e Pa u l o M e n d e s d a R o c h a _ B auten und Werke_ S.97

Now whether a freedom from all elements reminiscent of nature may be considered a logical continuation of Cubism is not relevant to the present discussion, but whether Moholy did succeed in emptying his work of all naturalistic content is of some importance; and his seeming belief that Cubism had pointed the way towards a freeing of forms may justify us in the analysis of one of his subsequent works and its parallel with another post-Cubist painting. With Moholy‘s La Sarraz of 1930 (Plate 63) might reasonably be compared a Fernand Leger of 1926, Three Faces (Plate 64). In La Sarraz five circles connected by an S-shaped band, two sets of trapezoidal planes of translucent color, a number of near horizontal and vertical bars a liberal splattering of light and dark flecks, and a number of slightly convergent dashes are all imposed upon a black background.

G e om é t r i co S a m son Fl e xo r, 1 9 56

Compo c i ção Lui z S acilo tto 1950

J. R Ko ns tr ui er te Fo r m . Die Bi l der „Geomé t r ic o“ vo n S ams o n F le xo r u n d "C o m p o ci çã o" vo n Lu i z Saci l otto bau e n a u f e in e äh n lic h e F o rme ns p r a chen w i e „L a S arraz“ von Moho ly- Nag y a u f. Die Archi tektur de s C e n t ro C u lt u r al S ã o Pa u lo von Pr a d o Lo p es und des Centro Cul tur al S E S C Po mpe ia vo n L in a Bo B a rd i kö nnen m i t ih rer Wegeführung u n d Ko n s t r u kt io n g e g e n ü be r g es tel l t werd en. Bes onder s di e We g e f ü h r u n g d e r be id e n Be is piel e kö nnen i n i hren viel fäl ti gen Vari ante n d e r V - F o rm a ls r äu mlic he Ü b er s et z ung d es Bildes von Mohol y- Nag y be t r a c h te t we rd e n .

1-2_© Encyclopédie Itaú Cultural Arts Visuels

In Three Faces three major areas displaying organic forms, abstracted artifacts, and purely geometric shapes are tied together by horizontal banding and common contour. ln cantrast to Moholy, Léger aligns his pietonal objects at right angles to each other and to the edges of his picture plane; he provieles these objects with a flat, opaque coloring, setting up a figureground reading through the compressed disposition of highly contrasted surfaces and, while Moholy seems to have flung open a window on to some private version of outer space, Léger, working within an almost two-dimensional scheme achieves a maximum clarity of both ‚negative‘ and ‚positive‘ forms. By means of restriction, Léger‘s picture becomes charged with an equivocal

La Sarraz, Laszlo Moholy-Nagy, 1930 (Plate 63)

CC S P Cu ltu ral Cen tre Eur i co Prado Lo pes S ao Pa u lo 1975-82

S ES C Pompe i a Li na Bo Bardi S ão Paul o 1977-86

1-4 _ © J a n n is R e n n e r

depth reading, with a phenomenal transparency singularly reminiscent of that to which Moholy was so sensitive in the writings of Joyce, but which, in spite of the literal transparency of his paint, he himself has been unable or unwilling to achieve. For, in spite of its modernity of motif, Moholy‘s picture still shows the conventional pre-Cubist foreground, middleground and background; and, in spite of a rather casual interweaving of surface and depth elements introduced to destroy the logic of this deep space, Moholy‘s picture can be submitred to only one reading. But the case of Leger is very different. For Leger, through the refined virtuosity with which he assembles post-Cubist constituents, makes completely plain the multifunctioned behavior of clearly defined form. Through flat planes, through an absence of volume suggesting its presence, through the implication rather than the fact of a grid, through an interrupted checkerboard pattern

Bu r l e M a r x _C a re x , 1 9 6 7 _La g o D e C a r i oc a

K l .S Rel i e f. La nd sc h a f t. Die Arb ei t von Fe rn an d L é g e r we rd e n We r ke n vo n Ro b er to B ur l e M ar x. Auch Burl e M ar x s pie l in s e in e n B ild e rn und Rel i efs m i t d er Überl agerung und Du rc h d r in g u n g ve r s c h ie d e n e r F l ä chen. A ls Ü b er setzung i n A rc h ite kt u r kö n n e n d ie Re lie fa r b ei ten vo n B ur l e M ar x gel ten, di e s o wo h l im St a d t- a ls a u c h im L a nd s cha f t s r a um als 'gebaute Bi l de r ' R au m d e f in ie re n u n d mit Li cht und S cha t ten spi el en.

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stimulated by color·, proximity, and discreet superimposition, he leads the eye to experience an inexhaustible series of larger and smaller organizations within the whole. Leger‘s concern is with the structure of form: Moholy ‚s wi th materials and light. Moholy has accepted the Cubist figure but has lifted it from out of its spatialmatrix: Leger has preserved and even intensified the typically Cubist tension between figure and space.

Burl e Mar x _F I ES P Ave ni da Paul i s ta, SP _Barra de G uarati ba, RdJ _Parque Robe r to Burl e M ar x, SP

1_© J a n n i s R e n n e r 2_w w w. 4 . b p . b l o g s p o t . c o m 3_w w w. s p t r a n s . c o m . b r

Trois Faces, Léger, 1926 (Plate 64)

These three comparisons may clarify some of the basic differences between literal and phenomenal transparency in the painting of the last forty-five years. Literal transparency, we might notice, tends to be associated with the trampe l‘oeil effect of a translucent object in a deep, naturalistic space; while phenomenal transparency seems to be found when a painter seeks the articulated presentation of frontally aligned objects in a shallow, abstracted space. But, in considering architectural rather than pictorial transparencies, inevitable confusions arise. For, while painting can only imply the third dimension, architecture cannot suppress it. Provided with the reality rather than the counterfeit of three dimensions, in architecture, literal transparency can become a physical fact; but phenomenal transparency will be more difficult to achieve - and is, indeed, so difficult to discuss that generally critics have been entirely willing to associate transparency

A Coroa de Espi nhos F l e xor 1950

Li brar y Bras ilian a U SP Eduardo Almeida S ão Pau lo , 201 2

J. R „ M a ter i e l l e “ Tra n spa re n z . In i hrem Es s ay „Tr a n s pare n z“ ve rg le ic h e n u n d unter s chei d en Ro we u n d Sl utzky unter a n d e re m d ie mate r ie lle u n d d i e r ä um l i che Tr a ns parenz. H i erb ei wird d a s Ba u h a u s a ls „ Ne g at iv b ei s p i el “ d er m a ter i e ll en Transparenz a u f g e f ü h r t . En tsp rechungen fin d e n s ic h in S ão Pau lo v ie lf a ch, a l l erd i ng s nur i n dem Maßs tab des Bild a u s s c h n it te s . G ro ßf lä c h ig e Verg l a s ung en s i nd au s kl i mati schen Gr ü n d e n s e lte n an zu t re f f e n , d enn o hne Ver s cha ttu ngs el emente ka n n e in e G las f as s a d e im K lima B r a s i l i ens nur d urch e inen s ehr hohen e n e rg e t is c h e n A u f w an d ko mpens i er t werd en.

1-4_© Escola de C idade São Paulo 5_© Encyclopédie Itaú Cultural Arts Visuels

in architecture exclusively with a transparency of materials. Thus Gyorgy Kepes, having provided an almost classical explanation of the phenomena we have noticed in Braque, Gris, and Léger, appears to consider that the architectural analogue of these must be found in the physical qualities of glass and plastics, that the equivalent of carefully calculated Cubist and post-Cubist compositions will be discovered in the

Bauhaus, Walter G ropius, D essau, 1926 (Plate 65) L‘Arlésienne, Pablo Picasso, 1912 (Plate 66)

Safra Ban k , Sido n io Po r to São Pau lo , 1982

House Broos Hans Broos S ão Paul o, 1971

1_© J a n n i s R e n n e r 2-3 _ © Ba u we l t 1 9 . 0 7 , S . 2 7

haphazard superimpositions provided by the accidental reflections of light playing upon a translucent or polished surface.8 And, similarly, Siegfried Giedion seems to assume that the presence of an all-glass wall at the Bauhaus (Plate 65), with „its extensive transparent areas,“ permits „the hovering relations of planes and the kind of ‚overlapping‘ which appears in contemporary painting“; and he proceeds to reinforce this suggestion with a quotation from Alfred Barr on the characteristic „transparency of overlapping planes“ in analytical Cubism.9 In Picasso‘s L‘Arlésienne (Plate 66), the picture which provides the visual support for these inferences of Giedion‘s, such a transparency of overlapping planes is very obviously to be found. There Picasso offers planes apparently of celluloid through which the observer has the Sensation of looking; and, in doing so, no doubt his sensations are somewhat similar to those of an observer of the workshop wing at the Bauhaus.

M AS P, L i n a B o Ba rd i Sã o Pa u l o, 19 5 7 - 6 8

S edes Sapien tiae In s titu te R in o Levi, S ã o Pau lo , 19 4 0 - 4 2

J. R C ur ta i n. Wa l l . Wi e b erei ts er wä h n t läs s t d as K lima S ü d a mer i k a s g ro ß fl ä chi g e G la s fass ade ei gen t lic h n u r mit d e m te c h n is c hem Auf w a nd ei ner Kli maanl age zu. In E u ro pa u n d No rd ame r ik a h in g eg en i s t d i e G l a s f assade sei t der Cu r t a in Wall, d e r s t at is c h e n L os l ö s ung d er Fa s s a d e, gängi g. G roßfl ächi ge Fass ad e n s t r u kt u re n we rd e n in B r a s i l i en m i t eb enfa l l s g roßfl ächi gen, di e g an ze Fas s a d e s c h ü t ze n d e n , B r i s e S o l ei s a l s Versc hattungs el ement g e bild e t . S ie e r ze u g e n e in en Mo i ré- E ffekt , d er d ie Fas s ade maßs t a bs lo s e r s c h e in e n lä s s t .

1_© Jannis Renner 2_© Brazil‘s Modern Architecture, S.99

In each case a transparency of materials is discovered. But then, in the laterally constructed space of his picture, Picasso, through the compilation of larger and smaller forms, also offers limitless possibilities of alternative interpretation. L‘Arlésienne has the fluctuating, equivocal meaning which Kepes recognizes as characteristic of transparency; while the glass wall at the Bauhaus, an unambiguous surface giving upon an unambiguous space, seems to be singularly free of this quality; and thus, for the evidence of what we have designated phenomenal transparency, we shall here be obliged to look elsewhere.

Bauhaus, Walter G ropius, D essau, 1926 (Plate 67)

Bi e nn ale Pavilio n O sca r Niemeyer São Pau lo 1954

V ibraco es Ver tic ais Lu iz Sac ilo tto 1952

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Julian Meyer Fa b i o D o i Yu l i a M a k s i m o v a En c y c l o p é d i e I t a ú C u l t u r al A rts Visuels

Almost contemporary with the Bauhaus, Le Corbusier‘s villa at Garches might fairly be juxtaposed with it. Superficially, the garden facade of this house and the elevations of the workshop wing at the Bauhaus are not dissimilar. Both employ cantilevered wall slabs and both display a recessed ground floor. Neither admits an interruption of the horizontal movement of the glazing and both make a point of carrying this glazing around the corner. But further similarities are looked for in vain. From here on, one might say that Le Corbusier is primarily occupied with the planar qualities of glass and Gropius with its translucent attributes. By the introduction of a wall surface almost equal in height to that of his glazing divisions, Le Corbusier stiffens his glass plane and provides it with an overall surface tension; while Gropius permits his translucent surface the appearance of hanging rather loosely from a fascia which protrudes somewhat in the fashion of a curtain box. At Garches one may

Itamaraty Palace, Osc ar Niemeyer Bras ilia 1970

Hou se B u ta n ta , Pa u l o M e n d e s D a Rocha Sa o Pa u l o 19 6 5

E .K L i ni e. F l ä che .Ra u m . In der Archi tektur mu s s mit d e r Tr a n s pare n z im üb er t r a g enen S i nn an der s umgegang e n we rd e n als in d e r K u n s t . O hne kl i mati s chen A bs c h lu s s ü be r lag e rn s ic h I nnen- und Auß en r aum, d.h. der Inne n r au m f in d e t s e in e E r we ite rung i n d er G a r tenoder N aturraum. Zu rück i n der Zwe id ime n s io n a lit ä t ze ig t d ie br a s i l i a ni s che K uns t , e benfal l s das Ü b e r la g e rn u n d Du rc h d r in g e n vo n m ehreren üb erei nan derl i egenden Eb e n e n zu r F o rmu n g e in e s G e s a m ten.

1_© Annette Spiro, Paulo Mendes da Rocha - Bauten und Projekte, S.92 2-3_© Kerstin Sieber

enjoy the illusion that possibly the framing of the windows passes behind the wall surface; but, at the Bauhaus, since one is never for a moment unaware the the slab is pressing up behind the window, one is not enabled to indulge in such speculations. At Garches the ground floor is conceived of as a vertical surface traversed by a range of horizontal windows; at the Bauhaus it is given the appearance of a solid wall extensively punctured by glazing. At Garches it offers an explicit indication of the frame which carries the cantilevers above; at the Bauhaus it shows somewhat stubby pirs which do not automatically connect with the idea of a skeleton structure. In this workshop wing of the Bauhaus one might say that Gropius is

Fl e xor Ar l e q u i n a de , 1957

Villa Stein, G arches, Le Corbusier, 1928-1931

Dias Cicero , Pó és ie, 1960

1-2 _ © En c y c l o p é d i e I t a ú C u l tural A rts Visuels

Glas h o u se Lin a Bo Bardi São Pau lo , 1977-1986

E .K Durchd r i nge n . Bei der Vi l l a Stei n in G arc h e s vo n L e C o r bu s ie r ent s teht d urch d i e Te rras s e ei ne hor izo n t a le u n d ve r t ik a le Übe r la g er ung vo n I nnen u n d Außen und füh r t d ad u rc h zu e in e r Ve r f le c h t ung d es G ebä ud es m i t dem Or t. Durch das H i nei nzie h e n d e r Na t u r in d a s G e bä ud e w i rd d a s G l a s h aus i n São Paul o vo n L in a Bo Ba rd i mit d e m O r t ver wo b en. D a s be wachs ene Atri um ve r bin d e t ve r t ik a l d ie Wo h nr ä um e, d i e s i ch i m O bergeschoss b efin d e n , mit s e in e r Umg e bu n g .

1-2_© Elisabetta Andreoli and Adrian Fort, Brazil‘s Modern Architecture, S. 152 ff.

absorbed with the idea of establishing a plinth upon which to dispose an arrangement of horizontal planes, and that his principal concern appears to be the wish that two of these planes should be visible through a veil of glass. But glass would hardly seem to hold such fascination for Le Corbusier; and, although one can obviously see through his windows, it is not here that the transparency of his building is to be found.

Villa Stein, G arches, Le Corbusier, 1928-1931

Rio Livio Abramo 1960

1_© En c y c l o p é d i e I t a ú C u l t u r a l A rts Visuels

At Garches (Plate 10) the recessed surface of the ground floor is redefined upon the roof by the two free-standing walls which terminate the terrace; and the same statement of depth is taken up by the glazed doors in the side walls which act as conclusions to the fenestration (Plate 7). In these ways Le Corbusier proposes the idea that, immediately behind his glazing, there lies a narrow slot of space traveling parallel to it; and, of course, in consequence of this , he implies a further idea_ that bounding this slot of space, and behind it, there lies a plane of which the ground floor, the free-standing walls, and the inner reveals of the doors all form a part; and, although this plane may be dismissed as very obviously a conceptual convenience rather than a physical fact, its obtrusive presence is undeniable. Recognizing the physical plane of glass and concrete and this imaginary (though scarcely less real) plane that lies behind, we become aware that here a transparency is effected

Gl a s h ou se , Li n a B o Ba rd i , S ã o Pa u l o, 1977-86

Ho u se Bu tan tã Pau lo M en des Da Ro c h a São Pau lo , 1960

K .S In nen. A uß en . D ie Grundri ss e de r V illa Ste in in G a rc h e s ( 1931 ) i n F r a nk rei ch vo n Le Corb us i er, ma c h e n d e n s t ar ke n B e zu g zwi s chen I nnen- und Au ßenraum des Ba u we r k s d e u t lic h . Die s e Be z i ehung vo n I nnenAu ßen mi t i hren f lie ße n d e n R a u mü be rg än g e i s t a uch für d i e br asi l i ani sche Mod e rn e c h ar a kte r is t is c h . In Le Corb usi er s V illa Ste in w ird d e r Übe rg an g s o wo hl d urch d i e Te rrass e, di e geba u te L a n d s c h af t , d ie g e bau te N a t ur, a l s a uch üb er d ie Dachterrass e u n d d e n an g e le g te n G ar te n mi t B l i ck i n d i e N a t ur g e schaffen. Der Au ße n be re ic h is t k la r a ls „ Dr auß en“ z u er kennen. 1_© Nelson K on D e nnoch führ t d ie E in f a s s u n g d e s Te r r a s s e n b erei chs und d er 2_ ww w.projetoblog.com .br D a chterrass e durch d ie K u bat u r zu e in e m Ve r s chm el z en vo n I nnen 3_© Paulo Mendes da Rocha, Bauten und Werke, S.57 u n d Außen. 4_© Annette Spiro D ie Cas a de Vi dro in S ã o Pa u lo vo n L in a B o B a rd i und d i e C a s a 5_© D aniel Bosshard

not through the agency of a window but rather through our being made conscious of primary concepts which „interpenetrate without optical destruction of each other.“ And obviously these two planes are not all, since a third and equally distinct parallel surface is both introduced and implied. It defines the rear wall of the terrace, and is further reiterated by other parallel dimensions: the parapets of the garden stairs, the terrace, and the second-floor balcony. . In itself, each of these planes is incomplete or perhaps even fragmentary; yet it is with these parallel planes as points of reference that the facade is organized, and the implication of all is that of a vertical layerlike stratification of

Villa Stein, Le C orbusier, 1928-1931 (Plate 10)

Concre to G e ra l do D e Barros 1958

He l i o O i ti ci ca G r upo F re nte 1954

Composi ção C ar vão A l uí si o 1953

39 Butantã i n São Pa u lo vo n Pa u lo M e n d e s d a Ro c h a z ei g en d en s t a r ken Ei nfl uss der N at u r, d e r To po g r aph ie u n d d e r La nd s cha f t , wel che sich b i s i ns Inne re d e s Ha u s e s zie h e n . Die s i s t ei n wes ent l i ches C harakteri s ti kum d e r br as ilia n is c h e n M o d e rn e und b es o nd er s d er A rchi tekturb ewegu n g E s c o la Pau lis t a au s S a o Pa ul o . Di e Cas a de Vi dro, d a s G la s h au s , vo n L in a B o B a rd i i s t um g eb en vo m di chter Vegetati on . G e ba u t mit u n d ü be r d ie To p o g r a p hi e s chei nt das Gebäude i n de n B a u mk ro n e n zu s c h we be n . D i e La nd s cha f t fl i eß t u nter dem Gebäu d e h in d u rc h . Die Ve g e t at io n w ä chs t d urch ei nen Lichthof i n das H e r z d e r Wo h n f läc h e . Die g ro ß z üg i g e Verg l a s ung ver stärkt den l an d s c h af t lic h e n Be zu g u n d erm ö g l i cht s o ei ne 1_© Ro mu l o F i a l d i n i Ve r s c h me lzu n g der N a t ur m i t d em 2_ © Fo t o g rá f i c a A u t o r i a D e s conhecida 3_© En c y c l o p é d i e I t a ú C u l t u r al A rts Visuels G e bäu d e in n e re n .

the interior space of the building, of a succession of laterally extended spaces traveling one behind the other. It is this system of spatial stratification which brings Le Corbusier‘s facade into the closest relationship with the Léger we have already examined. In Three Faces Léger conceives of his canvas as a field modeled in low relief. Of his three major panels (which overlap, dovetail, and alternately comprise and exclude each other), two are closely implicated in an almost equivalent depth relationship, while the third constitutes a coulisse which both advances and recedes. At Garches, Le Corbusier replaces Léger‘s picture plane with a most highly developed regard for the frontal viewpoint (the preferred views include only the slightest deviations from parallel perspective); Léger‘s canvas becomes Le Corbusier‘s second plane; other planes are either imposed upon or subtracted from this basic datum; and deep space is then contrived in similar

Ho u se Bu tan tã Pau lo M en des Da Ro c h a São Pau lo , 1960

Hou se D e V i d ro L i n a B o Ba rd i Sã o Pa u l o, 19 7 7 - 1 9 8 6

K .S In nen. A uß en . Paul o Mendes da Ro c h a ze ig t in s e in e m Wo hnha us , w i e m a n im Ei nkl ang mi t d e r Na t u r ba u t , s ie f lie ße n l ä s s t und d a d urch e ine ei nzi gar ti ge At mo s ph äre s c h af f t . De r Wo hnr a um i s t vo m Boden ab gel ös t u n d e r h e bt s ic h , w ie au c h b ei m G l a s ha us vo n Lina Bo Bardi , i n d as B lä t te rd ac h . Die A u s f ü hr ung i n S i cht b eto n u n ter strei cht den mas s ive n h ö h le n ar t ig e n C h a r a kter, d er um wo b en von wi l der N atur d ie St immu n g d e s A u ße n r au m s i n d en I nnenr a um tr ansp or ti er t und s o mit d as G e bä u d e in e in e n Ko ntext z u s ei ner u mgeb enden Ve g e t at io n s te llt . Da s L ic h t , g e b ro chen d urch d a s Gr ün des Bl attwer k s , ve r bre ite t im In n e re n e ine At m o s p hä re vo n 1_© Nelson K on geschütztem Woh n e n in d e r Nat u r. 2_ ww w.projetoblog.com .br Die Werke der „Gru po F re n te “ vo n Hé lio Oit íc íc a und „C o ncreto“ vo n 3_© Paulo Mendes da Rocha, Bauten und Werke, S.56 Geral do de Barros ze ig e n e be n f a lls e in e A bg renz ung vo n ' I nnen4-5_© Annette Spiro

coulisse fashion, with the facade cut open and depth inserted into the ensuing slot. These remarks, which might infer that Le Corbusier had indeed succeeded in alienating architecture from its necessary three-dimensional existence, require qualification; and, in order to provide it, it is now necessary to proceed to some discussion of the building‘s internal space. And here, at the very beginning, it may be noticed that this space appears to be a flat contradiction of the facade, particularly on the principal floor (Plate 7) where the volume revealed is almost directly opposite to that which might t have been anticipated. Thus, the glacing of the garden facade might have suggested the the presence of a single large room

Villa Stein, G arches Le C orbusier, 1928-1931 (Plate 10)

G e ra l d o D e Barros Fotof or m a , 1949

Samso n Flexo r _ Pu ro E Diago n al, 1 9 5 7 _ Fo r mas Su perpo s tas , 1 9 5 1

41 u n d A u ße n r a u m'. E in e k lare Trennung , d i e d enno ch ver b i nd et und e in G e f ü h l d e r Z u s amme n g e h ö r i g kei t verm i t tel t . S a ms o n F le xo r s „ P u ro e Diag o na l “ und G er a l d o B a r ro s „F o tofo rm a “ h abe n ma r k a n te Ä h n lic h ke it i n H i nb l i ck a uf ' I nnen_ Auß en' . I n be id e n We r ke n w ird d ie Th em a t i k d er D i a g o na l en, d i e B erei che vo n e in an d e r a bt re n n t , abe r kei ne d i rekte U nter tei l ung i n ' I nnenu n d A u ße n be re ic h ' zu läs s t , d eut l i ch. Mi t d er Ar b ei t „F o rm a s S u pe r po s t a s “ g e lin g t S ams o n F l exo r ei ne Mehr s chi cht i g kei t , d i e g e r ad e d u rc h ih re s c h a r f e n K anten ei nen F l us s d er E b enen g ener i er t . .

1-2 _ © Rô mu l o F i a l d i n i 3_© En c y c l o p é d i e I t a ú C u l t u r al A rts Visuels

behind it; and it might have further inspired the belief that the direction of this room was parallel with that of the facade. But the internal divisions of the space deny any such statement, disclosing, instead, a major volume whose primary direction is at right angles to the facade; while, in both the major volume and in the subsidiary spaces which surround it, the predominance of this direction is further conspicuously emphasized by the flanking walls. But the spatial structure of this floor is obviously more complex than at first appears, and ultimately it compels a revision of these initial assumptions. Gradually the lateral nature of the cantilevered slots becomes evident; and, while the apse of the dining room, the position of the principal stairs, the void, the library, all reaffirm the same dimension, by means of these elements the planes of the facade can now be seen to effect a profound modification of the deep extension of the internal space, which now comes to approach the stratified succession of flattened spaces suggested by the external appearance. So much might be said for a reading of the internal volumes in terms of the vertical planes; and a further reading in terms of the horizontal planes, the floors, will reveal similar characteristics. Thus, after recognizing that a floor is not a wall and that plans are not pain tings, we might still examine these horizontal planes in very much the same manner as we have the facade, again selecting Three Faces as a point of departure. A complement of LĂŠgerâ&#x20AC;&#x2DC;s picture plane may now be offered by the roofs of the penthouse and the elliptical pavilion, by the summits of the free-standing walls and by the top of the rather curious gazebo all of which lie on the same surface (Plate 10). The second plane now becomes the major roof terrace and the coulisse space becomes the cut in the slab which leads the eye down to the terrace below; and similar parallels are very obvious in considering the organization of the principal floor. For here the vertical equivalent of deep space is introduced by the double height of the outer terrace and by the void connecting living room with entrance hall; and here, just as LĂŠger enlarges spatial dimensions through the displacement of the inner edges of

his outer panels, so Le Corbusier encroaches upon the space of his central area. Thus, throughout this house, there is that contradiction of spatial dimensions which Kepes recognizes as characteristic of transparency. There is a continuous dialectic between fact and implication. The reality of deep space is constantly opposed to the inference of shallow; and, by means of the resultant tension , reading after reading is enforced. The five layers of space which, vertically , divide the buildingâ&#x20AC;&#x2DC;s volume and the four layers which cut it horizontally will all, from time to time, claim attention; and this gridding of space will then result in continuous fluctuations of interpretation.

Villa Stein, G arches Le C orbusier, 1928-1931 (Plate 10)

Trois F aces, L ĂŠg er, 1926 ( P late 64)

These possibly cerebral refinements are scarcely so conspicuous at the Bauhaus; indeed they are attributes of which an aesthetic of materials is apt to be impatient. ln the workshop wing of the Bauhaus it is the literal transparency which Giedion has chiefly applauded, at Garches it is the phenomenal transparency which has engaged our attention; and, if with some reason we have been able to relate the achievement of Le Corbusier to that of Leger, with equal justification we might notice a community of interest in the expression of Gropius and Moholy. Moholy was always preoccupied with the expression of glass, metal, reflecting substances, light; and Gropius, at least in the 1920s, would seem to have been equally concerned with the idea of using materials for their intrinsic qualities. Both, it may be said without injustice, received a certain stimulus from the expcriments of De Stijl and the Russian Constructivists; but both apparently were unwilling to accept certain more Parisian conclusions.

FAU U S P J oã o V i l a n ova Ar ti gas S ã o Pa u l o, 1961-1969

K l .S Öf f e ntl i ch e r Ra u m . Das Bauhausgebäu d e e n t s t a n d , n a c h P län e n vo n Wa l ter G ro p i us , a l s S c hul gebäude für d ie K u n s t- , De s ig n - u n d A rc h i tekt ur s chul e B a uh aus. Auch di e FAU US P ( Fa k u lt ät f ü r A rc h ite kt ur und U r ba ni s m us der U ni ver si tät Sa o Pa u lo ) vo n V ilan o va A r t ig as i s t ei n Lehrg ebä ude, das al s öffentl ic h e r R a u m ko n zipie r t is t . Das , unter d em g ro ß en S ichtb etonkub us l ie g e n d e , ze n t r ale At r iu m is t für unter s chi ed l i che Zu sammenkünf te n u t zba r. Du rc h R ampe n u n d D urchb l i cke, werd en im Innenraum fl i e ße n d e R a u mbe zü g e g e s c h af f en, d i e d i e wei tg eh e nd geschl os s ene G ro ßf o rm vo n au ße n zu n ä chs t ni cht verm uten lässt.

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G rundriss Bauhaus, Walter G ropius, D essau, 1926 (Plate 65)

H é l i o O i ti ci ca 1937-1980 _ M a g i c S quare _Nucleo Nc

45 Hé lio Oit ic ic a , M itg lie d d e r „G r up o F rente“, ver s ucht i n s ei nen I ns t a lla t io n e n n e u e R au me r f ah r u ng en s p ür ba r z u m a chen, d i e ä hnl i ch d e r g e ze ig te n A rc h ite kt u r d u rch ei n fl i eß end es R a um g efüg e üb er d e n S c h n it t o d e r d as Du rc h s c h rei ten vo l l ko m m en ver i nner l i cht werd e kö n n e n .

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For, seemingly, it was in Paristhat the Cubist ‚discovery‘ of shallow space was most completely exploited; and it was there that the idea of the picture plane as uniformly activated field was most entirely understood. With Picasso, Braque, Gris, Leger, Ozenfant, we are never conscious of the picture plane functioning in any passive role. Both it, as negative space, and the objects placed upon it, as positive figure, are endowed with an equal Capacity to stimulate. But outside the school of Paris this condition is not typical, although Mondrian, a Parisian by adoption, constitutcs one major exception and Klee another. But a glance at any representative works of Kanclinsky, Malevitch, EI Lissitzky, or Van Doesburg will reveal that these painters, like Moholy, scarcelyfeit the necessity of providing any distinct spatial matrix for their principal objects. They are apt to accept a simplification of the Cubist image as a composition of geometrical planes, but they are apt to reject the

M ASP Lin a Bo Bardi São Pau lo , 1957

K l .S G r und . F o r m . Die „Fi gur-Grund- B e zie h u n g “ be s ag t , d as s e in e F i g ur ni cht una b h ängi g von i hrem Hin te rg r u n d w a h rg e n o mme n werd en k a nn. D a s Wes entl i che wi rd vo m Un we s e n t lic h e n in n e r h a lb ei ner w a hrg eno mm enen Ganzhei t un te r s c h ie d e n . In der Form des B au h a u s g e bä u d e s s ie h t ma n , w i e d a s G ebä ud e m i t der U mgeb ung zus a mme n s pie lt . I m u r ban e n Pa l i m p s es t vo n S ã o Paul o steht das MA S P, M u s e u d e A r te d e S ã o Pa ul o , vo n Li na B o Bardi , durch s ei ne s k u lpt u r a le P r äs e n z, als 'L a n dm a r k ' vo r d em H i nte rgrund des woge n d e n u r ba n e n R a u me s .

1-3_© Baunetzw oche #229

comparable Cubist abstraction of space; and, if for these reasons their pictures offer us figures which float in an infinite, atmospheric, naturalistic void, without any of the rich Parisian stratification of volume, the Bauhaus may be accepted as their architectural equivalent. Thus, in the Bauhaus complex, although we are presented with a composition of slablike buildings whose forms suggest the possibility of a reading of space by layers, we are scarcely conscious of the presence of spatial stratification. Through the movements of the dormitory building, the administrative offices, and the workshop wing, the principal floor may suggest a

G r upo fre nte , Hé l i o O i ti ci ca, 1937-1980

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Kontur Bauhaus, Walter G ropius, D essau, 1926 (Plate 65)

channeling of space in one direction (Figure 18). Through the countennovements of roadway, classrooms, and auditorium wing, the ground floor may suggest a movement of space in the other (Figure 19). A preference for neither direction is stated; and the ensuing dilemma is resolved, as indeed it only can be resolved in th is case, by giving priority to diagonal points of view. Much as Van Doesburg and Moholy eschew Cubist frontality, so does Gropius; and it is significant that, while thc published photographs of Garches tend to minimize factors of diagonal recession, almost invariably the published photographs of the Bauhaus tend to play up just these factors. And the importance of these diagonal views of the Bauhaus is constantly reasserted-by the translucent corner of the workshop wing and by such features as the balconies of the dormitory and the protruding slab over the entrance to the workshops, features which require for their understanding a renunciation of the principle of frontality.

Bu i l d i n g H i g i e n ópol i s R i n o Le v i , S ã o Pa u l o, 1936

A .E Rep eti ti o n. Durch s i ch wi ede r h o le n d e n Fa s s a d e n e le me n te , w i e z . B . B a l ko ne, au skragende Pl atte n e tc . , e n t s te h t e in S pie l vo n L i cht und S cha t ten. Die Ansi cht üb er d ie Diag o n ale ve r s t är kt d ie r ä um l i che W i r k ung . Im gegenüb erges te llte n Bild vo n G e r a ld o d e B a r ro s „S em T i t ul o“ w ird durch di e fro n t ale A n s ic h t u n d d ie Re d u kt i o n a uf ei ne, s i ch w iederhol ende Fo rm, d ie G e s t a lt u n g s s pr ac h e d er E i nz el el em ente vari i er t und ges tä r kt .

1_© Acervo D igital Rino Levi

Bauhaus, Walter G ropius, D essau, 1926

G e ral do D e Barros S e m Ti tul o, 1983-85

Corde iro Waldemar Idéia Vis ível 1957

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In plan, the Bauhaus reveals a succession of spaces but scarcely ‚a contradiction of spatial dimensions.‘ Relying on the diagonal viewpoint, Gropius has exteriorized the opposed movements of his space, has allowed them to flow away into infinity; and, by being unwilling to attribute to either one any significant difference of quality, he has prohibited the possibilities of a potential ambiguity. Thus, only the contours of his buildings assume a layerlike character; but these layers of building scarcely act to suggest a layerlike structure of either internal or external space. Denied, by these means, the possibility of penetrating a stratified space defined either by real planes or their imaginary projections, the observer is also denied the possibility of experiencing those conflicts between one space which is explicit and another which is implied. He may enjoy the sensation of looking through a glass wall and thus be able to see the interior and the exterior of the building simultaneously; but,

Hou se M od e r n i s ta G re g or i Wa rc h a vc hi k S ã o Pa u l o, 19 2 9 - 3 0

A .E R a um. Kö r p e r. Durch das Hi nterein a n d e r re ih e n d e r B a u kö r pe r ent s tehen ver s chi e dene Eb enen. J e n a c h Pe r s pe kt ive e r ke n n t d er B et r a chter untersc hi edl i che Schi chte n . Die Künstl eri n Tar s ila d o A mar a l ve r zic h te t in i hren G em ä l d en a uf je gl i che Per sp ekti ve . Du rc h d ie s o g e s c h a f f e n e F ro nt a l i t ä t w i rd j edoch der Schi chtun g s c h a r a kte r in d e n G e mä ld en, verg l ei chba r z u den Archi tektur fo to g r af ie n , ve r s t är kt .

1_© Fashion Bubbles 2_© w w w.educadores.diaadia.pr.gov.br

in doing so, he will be conscious of few of those equivocal emotions which derive from phenomenal transparency. simultaneously; but, in doing so, he will be conscious of few of those equivocal emotions which derive from phenomenal transparency.

Bauhaus, Walter G ropius, D essau, 1926

Tar si l a D o A maral _Passage m D e N i ve l , 1965 _S ĂŁ o Paul o, 1924

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Hou se M a r i a n a G re g or i Wa rc h a vc hi k S ã o Pa u l o, 19 2 7

A .E Ko m p o ni ere n . Bei m Zus ammens pie l ve r s c h ie d e n e r G e s t a lt u n g s el em ente ent s teht , sowohl b ei Le Cor bu s ie r s V illa Ste in in G arc h e s , a l s a uch b ei G re gori Warchavchi ks C a s a M ar ia n a in S ão Pa u lo , ei ne d i fferenz i er te Fas s adenkomp osi t io n . Über s chnei dungen , Übe r la g e r u n g e n u n d Du rc h d r i ng ung en l a s s en e ine v i el schi chti ge Ko mpo s it io n , s o wo h l in d e r Vo rd er- , a l s a uch i n der Rückansi cht en t s te h e n . A natol W l adys l aw s e t zt in s e in e m G e mäld e e be nfa l l s unter s chi ed l ic h e Gestal tungs el e me n te e in , o rd n e t s o s e in Wer k und s cha ff t ei ne differenzi er te Kompo s it io n .

1_© „Casa Modernista: A H istory of the Brazil Modern H ouse“ S. 28 ff.

Villa Stein, G arches, Le Corbusier, 1927-1931

Lui z S aci l otto Concre çã o 1952

C a r vã o Al uí si o _ S e m T i t u lo, 1958 _R it mo Ce n t r í p e to Ce n t r i f ugal , 1958

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But to some degree, since the one is a single block and the other a complex of wings, an extended comparison between Garches and the Bauhaus is unjust to both. For, within the limitations of a simple volume, it is possible that certain relationships can be inferred which, in a more elaborate composition, will always lie beyond the bounds of possibility; and for these reasons, it may be more apt to distinguish literal from phenomenal transparency by a futher parallel between Gropius and Le Corbusier.

M u se u m O f Con temporar y A r t O sc a r N i e m e ye r R i o D e Ja n e i ro, 1950

Au dito r iu m Ibirapu era Park Osc ar Niemeyer SĂŁo Pau lo , 1950

S.D A n ko m m e n . Der Weg al s Erl ebn is . Das A n ko mme n als I n s ze n i er ung . E i ne Pro m en ade archi tectural.

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Villa Stein, G arches, Le C orbusier 1929-1931 (Plate 65)

N a t i on a l Congre ss O sc a r N i e m e ye r B ra s i l í a , 1957-60

Livio Abramo Sem T itu lo 1947

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Le Corbusier‘s League of Nations project of 1927 (Piates 68 and 69), like the Bauhaus, possesses heterogeneous elements and functions which lead to an extended organization and to the appearance of a further feature which both buildings have in common: the narrow block. But it is here again that similarities cease: for, whlle the Bauhaus blocks pinwheel in a manner highly suggestive of Consrructivist compositions (Figure 20). In the League of Nations these same long blocks define a system of striations almost more rigid than is evident at Garches. ln the League of Nations project lateral extension characterizes the two principal wings of the Secretariat, qualifies the library and book stack area, is reemphasized by the entrance quay and foyers of the General Assembly Building, and dominates even the auditorium itself. There, the introduction of glazing along the side walls, disturbing the normal focus of the hall upon the presidential box, introduces the same

M o n u men tal Axis of Bras ilía

P i l ot M a s te r p l a n of B ra s i l í a Lu c í o Cos ta , 1960

N.U Ord nen. Die Idee zum Mas te r pla n f ü r d ie n e u e Hau pt s t a d t B r a s i l i ens , B r a silía, von Luci o Co s t a is t e in f ac h u n d ü be r ze u gend . Al s a rcha i s che M arki erung ei nes Or te s le g te e r a ls Ba s is d e s g es a m ten „Pl a no Pilotoʺ ei n Wege k re u z an . Die M o n u me n t a la chs e b ei nha l tet d i e Re p räsentati ons- u n d St aa t s ba u te n . Die a n d e re Achs e a l s B o g en au sgeb i l det, der To po g r a ph ie f o lg t , be in h a lte t d i e Wo hnq ua r t i ere. Im Kreuzungsp unkt be id e r A c h s e n lie g t d e r zent r a l e Ver tei l er für Ha ndel und Trans po r t we s e n .

1_© Alyssa Rau 2_©Brazil‘s Modern Architecture, S.41

Place of the League of N ations, Le C orbusier, G eneva, 1927 Place of the League of N ations, Analytical diagram (Plate 69)

O s Jogos E Eni gmas Mar i a Le onti na, 1956

Co mpo s iç ão M ar ia Leo n tin a, 1953

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Ro b e r to B u r l e Toa l h a

transverse direction. And, by such means, the counterstatement of deep space becomes a highly assertive proposition, chiefly suggested by a lozenge shape whose major axis passes through the General Assembly Building and whose outline is comprised by a mirror image projection of the auditorium volume into the approach roads of the cour d‘honneur. But again, as at Garches, the intimations of depth inherent in this form are consistently retracted. A cut, a displacement, and a sliding sideways occur along the line of its minor axis; and, as a figure, it is repeatedly scored through and broken down into a series of lateral references - by trees, by circulations, by the momentum of the buildings themselves - so that finally, by a series of positive and negative implications, the whole area becomes a sort of monumental debate, an argument between a real and deep space and an ideal and shallow one. We will presume the Palace of the League of Nations as having been built and an observer following the axial approach to its auditorium. Necessarily he is subjected to the polar attraction of its principal entrance which he sees framed within a screen of trees. But these trees, intersecring his vision, also introduce a lateral deflection of interest, so that he become successively aware, first, of a relation between the flanking office building and the foreground parterre, and second, of a relation between the crosswalk and the courtyard of the Secretariat. And once within the trees, beneath the low umbrella which they provide, yet a further tension is established: the space, which is inflected towards the General Assembly Building, is defined by, and reads as, a projection of the book stack and library. And finally, with the trees as a volume behind him, the observer at last finds himself standing on a low terrace, confronting the entrance quay but separated from it by a rift of space so complete that it is only by the propulsive power of the walk behind him that he can be enabled to cross it. With his arc of vision no longer restricted, he is now offered the General Assembly Building in its full extent; but since a newly revealed lack of focus compels his eye to slide along this facade, it is again irresistibly drawn sideways - to the view of gardens and lake beyond. And should the observer turn around from this rift between him and his obvious goal, and should he look back at the trees which he has just abandoned, he will find that the lateral sliding of the space becomes only more determined, emphasized by the trees themselves and the cross alley leading into the slotted indenture alongside the bookstack. While further, if our observer isaman of moderate sophistication, and if the piercing of a volume or screen of trees by a road might have come to suggest to him that the intrinsic function of this road is to penetrate similar volumes and screens, then, by inference, the terrace upon which he is standing becomes, not a prelude to the auditorium, as its axial relationship suggests, but a projection of the volumes and planes of the office building with which it is aligned. Mar x

1_© Encyclopédie Itaú C ultural Arts Visuels

Place of the League of Nations, Le C orbusier, (Plate 68)

P i l ot P l a n , Lu c i o Cos ta , P l a ce O f T h e T h re e Powe r s, Bra s i l i a

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These stratifications, devices by means of which space becomes constructed, substantial, and articulate, are the essence ofthat phenomenal transparency which has been noticed as characteristic of the central post-Cubist tradition. They have never been noticed as characteristic of the Bauhaus. For obviously there completely different space conceptions are manifest. In the League of Nations project Le Corbusier provides the observer with a series of quite specific locations: at the Bauhaus the observer is without such points of reference. Although the League of Nations project is extensively glazed, except in the auditorium, such glazing is scarcely of capital importance. At the Palace of the League of Nations corners and angles, as the indices of spatial dimension, are assertive and definite. At the Bauhaus, Giedion teils us, they are „dematerialized.“ At the Palace of the League of Nations space is crystalline; but at the Bauhaus it is glazing which gives the building a

FAU U S P V i l a n ova Ar t i g a s S ã o Pa u l o, 1969

U n iver s ity of Bras ilía Osc ar Niemeyer 1962

N.U Z w i s che n. Ra u m . Nicht nur der Völ ke r bu n d pala s t vo n L e C o r bu s ier, s o nd ern a uch d i e drei b rasi l i ani sche n Be is pie le , la s s e n Z w is c h e n r ä um e, o hne k l a re Trennung von Inne n u n d A u ße n , e n t s te h e n . Die B l i ck a chs e d er d rei Gebäude, FAU U SP, Un ive r s it ät Br a s ilía u n d Wo hnha us B ro o s , er i nn e rn an den Völ ke r bu n d pala s t . Rob er to Burl e Ma r x lö s t in s e in e m We r k „ S e m T i t ul o“ R a um a uf, ve r vi el facht i hn un d s c h af f t d amit n e u e Z w is c h enr ä um e.

1-2_© Kerstin Sieber

„crystalline translucence.“ At the Palace of the League of Nations glass provides a surface as definite and as taut as the top of a drum; but at the Bauhaus glass walls „flow into one another,“ „blend into each other,“ „wrap around the building,“ and in other ways (by acting as the absence of plane) „contribute to that process of loosening up which now dominates the architectural scene.“10

Place of the League of N ations, Le C orbusier, G eneva, 1927

Robe r to Burl e Mar x S e m Titu lo

Ho u se Bro o s Han s Bro o s São Pau lo , 1971

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M i n i s te r y of J u s t i ce Osc a r N i e m e ye r Bra s i l í a , 19 6 2

Ibirapu era Park M arqu ise Osc ar Niemeyer São Pau lo , 1951

N.U R a um. B i l d un g . R äume werden du rc h h o r izo n t a le u n d ve r t ik a le S chei b en g eb i l d et , n icht nur i m s tädte ba u lic h e n M a ßs t a b u n d d e m g eba uten O b j ekt , sondern auch i n d e n r äu mlic h be g e h bare n S k u lp t uren vo n H él i o O i tic i ca. Raum wi rd g r u n d s ä t zlic h in d e r Be we g u ng w a hrg eno m m en. Die Bewegungs abf o lg e f ü h r t d ad u rc h zu e in e r Ra um ko m p o s i t i o n.

1_© Rubens C raveiro 2_© ww w.karlacunha.com .br

Place of the League of N ations, Le C orbusier, G eneva, 1927

G rande N úcl e o H él i o O i ti ci ca Ri o D e Jane i ro, 1960

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But we look in vain for ‚loosening up‘ in the Palace of the League of Nations. There is no evidence there of any desire to obliterate sharp distinction. Le Corbusier‘s planes are like knives for the apportionate slicing of space. lf we could attribute to space the qualities of water, then his building is like a dam by means of which space is contained, embanked, tunneled, sluiced, and finally spilled into theinformal gardens alongside the Iake. While by contrast, the Bauhaus, insulated in a sea of amorphic outline, is like a reef gently lapped by a placid tide (Figure 21 ). The foregoing, no doubt an overextended discussion of two schemes, the one mutilated, the other unbuilt, has bcen a necessary means towards clarifying the spatial milieu in which phenomenal transparency becomes possible. lt is not intended to suggcst that phenomenal transparency (for all its Cubist descent) is a necessary constituent of modern architecture,

MA SP, Lina Bo Bard i São Pa ulo , 1940 -42

FAU U SP Vilan ova Ar tigas São Pau lo , 1961-68

St. F ranci s O scar N i e me ye r Pampul ha, 1940-42

S.D A xo no m e tr i e . Die Axonometri e als vo lu me t r is c h e Übe r pr ü f u n g d er K uba t ur und des Raumes s owoh l im d re id ime n s io n a le n als auch i m B i l d r a um d er Ku ns t.

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nor that its presence might be used as a piece of litmus paper for the test of architectural orthodoxy. lt is simply intended to serve as a characterization of species and, also, as a warning against the confusion of species. Bauhaus D essau, Walter G ropius, 1926 (Figure 21)

Völkerbunpalast, Le Corbusier und P. Jeanneret (Figure 21)

F ranz We i ssmann S e m Ti tul o 1958

Pav i l i on for the I n te r n a t i o nal Exposi ti on i n O saka Pa u l o M ende s D a Rocha 1969-70

San tu sa An drade Sem T itu lo 1941

Ho u se Bu tan ta Pau lo M en des Da Ro c h a B u tan ta, 19 6 0

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Vo r t r äg e .

Fü nf Annä h e r u n g e n a n de n ku lturellen Kontext.

Um an den kul tu re lle n Ko n te x t d e s A u f s at ze s „Tr a ns pa renz “ vo n 1 955 von Col i n Ro we u n d Ro be r t S lu t zk y h e r an z uführen, ha b en s i ch di e Studi erenden in ve r s c h ie d e n e n Vo r t r äg e n m i t fo l g end en T hem en b eschäf ti gt. _Di e Moderne i n E u ro pa. _Der Kub i s mus. _Das Bauhaus . _Le Corb usi er. A ls ei ne er s te Ann ä h e r u n g a n d e n br a s ilia n is c hen Ko ntext , ha t ei ne Grup p e ei n b ras i l ian is c h e s S o n d e r t h e ma be h a nd el t . _Semana de Ar te M o d e rn a , 1922, S ã o Pau lo .

„Die Methode, räumliche Beziehungen darzustellen, wie sie die Kubisten entwickelt hatten, führte zu plastischen Methoden der Raumkonzeption“ Sigfried Giedion

Fagus-Werk Sc h u h leis ten fabr ik Wal te r Gro piu s A l fe l d 1910-1 4

Kr istal lpal a st Jo seph Pa x to n Welta us s tellu n g Lon d on 1851

Au gu s te Perret Wo h n h au s in Par is 1903

A .E K l . S Di e Mo d e r n e i n E u ro pa . Zu sammen mi t de r E n t w ic k lu n g n e u e r Ba u mate r i a l i en, w a r es d en A rchi tekten möglic h , d ie n e u e F o rme n s pr a c h e i n d i e Archi tekt ur zu üb er setzen. Sta h lbe to n , d ie M ö g lic h ke it in d us t r i el l vo rg efer t i g te und standardi sie r te B a u te ile zu ve r we n d e n und d er verm ehr te Einsatz von Stahl , bo t d e n A rc h ite kte n d ie F re ih ei ten C ur t a i n- Wa l l Fas s aden oder gen e re ll g ro ßf lä c h ig e G la s f as s a d en z u p l a nen. Al s Vo rl äufer der Mo d e rn e g ilt d ie E is e n - u n d In g eni eur s a rchi tekt ur des 19. Jahrhunde r t . Deut scher Werk b und . In De u t s c h lan d g r if f der D eut s che Wer kbund (gegründet 1907) d ie Id e e d e r in d u s t r ie lle n B a uwei s e a uf und be ei nfl uss te damit ma ßg e blic h d ie G e s t a lt u n g vo n I nd us t r i eba u-

Relian ce Bu ildin g Ch arles B. Atw o o d Ch ic ago 1890-1895

Marg a rete Ste i f f G m b H Gieng e n 190 0

A EG Tu rbin en h alle Pe te r Beh ren s Be rl i n 1909

Haus S chröde r G e rr i t R i e tve l d Utre cht 1 924

Piet M o n dr ian , Tableau I mit Sc h war z, Ro t, Gelb, Blau u n d Hellblau , 1921

69 we r ke n . Die Fa s s a d e e in e s I n dus t r i eba us s o l l te ni cht m ehr a uf hi s to r is c h e B a u f o rme n B e zu g n e h m en, s o nd ern z ei g en, w a s i m I nneren g e s c h ie h t . „ D e St i j l “ Be we g ung . ( 1917 i n H o l l a nd g eg r ünd et ) I hr B es t reb en w ar e s , d ie F o rme n s o we it e s g eht a ufz ul ö s en, s o d a s s g a nz hei t l i che Ko mpo s it io n e n , e n t s te h e n ähnl i ch d es B i l d es vo n Pi et Mo nd r i a ns au s ro te n , g e lbe n , blau e n u n d wei ß en F l ä chen. D a s B a uh a us. ( g e g r ü n d e t 191 9 ) g i l t a l s d i e w i cht i g s te Archi tekt urs c h u le d e r M o d e rn e . ( Nä h e re s s i ehe S ei te 7 6 )

N ature mor te du Pavillo n de l ‘Espr it No u veau Le Corbu s ier, 1 9 2 4

A .E K l . S Le Corb usier. Der Z u s a mme n h an g zw is c h e n K u b i s m us und Mo d ern e wi rd i n zwei We r ke n vo n L e C o r bu s ie r d e u t l i ch. I n s ei nem B i l d „ N ature mor te du Pa v illo n d e l‘ E s pr it No u ve a u “ ( 1 9 2 4 ) b es chä f t i g t sich Le Corb usi er mit d e r Tr an s pare n z d e r Obje kte. „Die verschiedenen Gegenstände und Umrisse auf diesem Bild deuten bereits auf die Durchdringung von Innen- und Außenraum hin, die Le Corbusier später in seinen Bauten verwirklichte.“ S.Giedion „Raum, Zeit, Architektur, S.330

A uch b ei der Vi l l a S a vo y ( 1928) w ird d ie s e Du rc hd r i ng ung d eut l i ch. „Das Haus ist ein auf Pfeilern gestellter Kubus.“ S.Giedion „Raum, Zeit, Architektur, S.330

V i l l a S avoye Le Corbusi e r Poi s sy, 1928

71 Im r u n d e n E rd g e s c h o s s be f in den s i ch l ed i g l i ch d i e G a r a g e und d i e Die n s t bo te n wo h n u n g . Übe r e i ne R a m p e er rei cht m a n d a s Wo hng es c h o s s . M it d e r R a mpe in s ze n i er t Le C o r b us i er d en Weg d urch d i e V illa . Die „ P ro me n ad e A rc h itect ur a l “ eröffnet ver s chi ed ens te B l i ckw in ke l. Ä h n lic h , w ie in s e in e m G em ä l d e, i s t es s o ni cht m ö g l i ch d i e V illa S avo y vo n e in e m B lic k pu n kt a us ko m p l et t z u er fa s s en, d i e z ei tlic h e Dime n s io n d e r B e t r ac h t ung z um R a um er l eb ni s hi nz uko m m t .

C afe La Rotonde Par i s

Les Demo iselles d´ Avign o n Pa blo Pic as so ( 1 8 8 1 -1 9 7 3 ) 19 0 7

Bade nde , 1895 Paul Cè z anne (1839-1906)

A .E K l . S Der K ub i s mu s. F r ühk ub ismus 1 90 6 bi s 1 9 1 0 . „Alle Formen in der Natur lassen sich auf Kugel, Kegel und Zylinder zurückführen lassen.“ Paul Cèzanne

Die Merkmal e de s F r ü h k u bis mu s s in d e in e s cha r fk a nt i g e F o rm ens p rache, di e St ilis ie r u n g , d e r Pe r s pe kt iv ve r l us t , s o w i e d i e Tendenz zur Verei nfac h u n g d e r F o rm u n d d e r Fa r be .

G e i ge und K r ug G e orge s Braque (1882 -1 9 6 3 ) 1910

Am b roi se Vol l ard Pa b l o P i casso 1910

73 A na l y t i scher Kubi sm us von 1910 b i s 1912. „Die Sinne deformieren, aber der Geist formt.“

Georges Braque

De r an aly t is c h e K u bis mu s is t u nter a nd erem g ekennz ei chnet d urch d ie A n alys e d e s Da r zu s te lle n den und d i e Ab kehr vo n ei nem fi xen Be t r ac h te r s t a n d pu n kte s . Ve r schi ed ene s i ch d urchd r i ng end e Ans ic h te n ü be r lag e rn s ic h u n d b i l d en ei n N et z vo n F l ä chen und L i nie n . Dad u rc h is t e in e g le ic h t ze i t i g e D a r s tel l ung ver s chi ed ener G e g e n s t än d e , e in e S imu lt a n it ät , m ö g l i ch. F i g ur und R a um s i nd ni cht me h r t re n n bar u n d re s u lt ie re n i n ei ner vö l l i g en Aufl ö s ung und Vers c h ac h te lu n g .

Bi l dni ss Pic as so , 1 9 1 2 D e r Kaf fesac k , 1 9 2 0 Ju an Gr is (1887-1927)

Akt G e orge s Braque 1908

Ak te Im Wald, 1 9 0 9 Fer n an d Léger (1881-1955)

A .E K l . S Synt het ischer K ubi smus von 1 9 1 2 bi s i n d i e 1 920e r. „Wenn das, was man Kubismus nannte, nur ein bestimmter Aspekt war, so ist der Kubismus verschwunden, wenn er eine Ästhetik ist, so hat er sich mit der Malerei vereinigt.“ Juan Gris

Die Charakteri stik a d e s s y n t h e t is c h e n K u bis m us s i nd vo r a l l em das Zusammens te lle n g e o me t r is c h e r E in ze lf o rm en, d a s „a d d i t i ve Gr undsys tem“. Ei n we ite re s Ke n n ze ic h e n is t d ie B em ühung um d en A uf bau des Gegens t a n d e s u n te r Wa h r u n g d e r er r ung enen F rei hei t der Bi l dges tal tung . K r ä f t ig e , g ro ßf läc h ig e Fa r be n, s o w i e d i e Ü b ersc hnei dung von Flä c h e n u n d S c h a t te n , a be r a uch Kö r p er l i chkei t u n d Col l agetechnik ze ic h n e n zu d e m d ie s e K u n st r i cht ung a us .

Gitarre Au f E in em T isc h Ju an Gr is 1915

Es gab n icht n u r d a s Bauh a us .

D i e K r i se de r Kuns t.

J.R N . U S . D Da s B a uha u s. „Es gab nicht nur d a s Ba uha us.“ Walte r G ro p i us g r ünd ete 1 9 1 9 d a s B a uha us . 1 9 25 kam es dann au f g r u n d vo n po lit is c h e n Z w ä ng en z um U m z ug na ch D es s a u. 1 9 33 wurde das Ba u h a u s au c h in De s s a u g e s c h l o s s en und B er l i n z um neuen St a nd or t. Di eser mus s te je d o c h A u f g r u n d d e s a u f s t reb end en N S - Reg i m es na ch weni g en M o naten,aufgege be n we rd e n u n d f ü h r te s o mit z um entg ül t i g en E nd e d er B a uha us be wegung i n Deut s c h lan d . Das Bauhaus s tand im Ko n te x t v ie le r a n d e re r Refo rm b eweg ung en d i es er Z ei t , w i e z. B. den W i ener We r k s t ät te n , d e m De u t s c h e n Wer k b und , d er D e St i j l B eweg ung i n Hol l and und ni cht zu le t zt d e m R u s s is c h e n Ko n s t r ukt i v i s m us . D i e a m B a uha us ver t rete nen Posi ti onen s t a n d e n im Ko n te x t mit d ie s e n, o d er s i nd a l s Rea kt i o nen a uf d i es e Bewegungen zu se h e n .

„Nicht das Objekt, der Mensch ist das Ziel [...]. Nicht ein Beruf, nicht ein herzustellendes Objekt wird zunächst in den Vordergrund zu stellen sein, sondern vielmehr müssten die organischen Funktionen des Menschen erkannt werden. Von seiner Funktionsbereitschaft kann man dann zur Aktion, zu einem von innen her begründeten Leben übergehen. So schafft man die organische Basis für eine Produktion, deren Mittelpunkt der Mensch ist und nicht die Profitinteressen mit mechanischen Werkresultat.“ Laszlo Moholy-Nagy

Bilden o h n e E r zieh en .

77 Bilden ohne Er zi ehen – d a s pä d a g og i sch e Ze i ta l te r. D a s Refo rm b i l d ung s p ro j ekt „ Bauhaus“ verband g an z ve r s c h ie d e n e M e n s c h e nb i l d er und Wel t a ns cha uung en: das Werkstattp rin zip, d e n n e u e n M e n s c h e n u nd d i e unter s chi ed l i chen pä d a g o g i schen Konzep te d e r B a u h a u s d ire kto re n u n d M e i s ter. Die K r ise der Ku nst – d a s Ba uha us such t na c h An two r te n . D a s B a uha us verei nte e in vi el s ei ti ges , a be r w id e r s pr ü c h lic h e s S pe kt r u m vo n K uns t ko nz ep t i o nen und Po s i tionen. Vom Gesa mt k u n s t we r k , d e n M alk la s s e n üb er d i e B a uha us m a l er und Med i enkünstl er b i s hi n z u d e n Pe r f o rme rn , s in d d ie ve r s chi ed enen H a l t ung en a l s a va ntg a rdi sti sche Ab sage a n d e n bü rg e r lic h e n K u n s t be g r i ff z u ver s tehen.

Wohn mo delle _ Leben s mo dell e .

I nter na t io n a l i s m u s u n d M i grati o n .

J.R N . U S . D Wohnmodelle – L e bensmod el l e. Das Wo h n e n s tel l te ei n her a us r a g end es T hem a der ges tal teri s chen Tä t ig ke it d e s Ba u h a u s e s d ar. D i e Wo hnko nz ep te b ei nha l ten neuar t i ge Grundri ss g e s t a lt u n g e n u n d re ic h te n vo n Mi ni m a l g r und r i s s en, z ur Li nd er ung der Wohnungs not vo n A r be ite rn , bis h in zu g e h o b enen Ans p r üchen d es „m o d ernen Großstadtmenschen “. Zwischen den Fronten – d a s B a uh a us a l s pol i ti s c h e s P roj e kt. E i ne z ent r a l e Z i el se tzung des Bauhau s e s , s o w ie d e r par a lle le n m o d ernen B eweg ung en, w a r es m i t der ges tal teri s chen u n d k ü n s t le r is c h e n Tät ig ke i t a uch g es el l s cha f t l i chen Wa nd el z u be wi rken. Di e ver s c h ie d e n e n ve r t re te n e n We lt a ns cha uung en führ ten z u K r i t i k vo n Links sowi e von Re c h t s . Nic h t zu le t zt t r u g e n im m er w i ed er d a s ko nfro nt a t i ve K l i m a u n d di e p ol i ti s chen Ve r h ä lt n is s e d azu be i, d as s d a s B a uha us z u ei ner m i g r i erend en In s ti tuti on wurde.

Zwisc h en den Fro n ten .

79 Inter nat ionalism us und Mi g r a t i on – D i e Ava n tg a rd e w i rd z u r Tra d i ti o n . D a s Z i el der Verei ni gung vo n Ha n d we r k , K u n s t u n d Te chni k z u ei ner E i nhei t führ te z u ei ner internati onal en A u s r ic h t u n g d e s B a u h a u s e s . E s ver s a m m el te s i ch ei ne Ava ntg a rd e internati onal er K ü n s t le r, d ie v ie lf ält ig e Übe r ze ug ung en, L ehr ko nz ep te und I d eo l o gi en ver traten. De r in te rn a t io n ale F o k u s u n d s ei ne Pro g r a m m a t i k w a ren l et z tend lich Grund für da s Ve r bo t d u rc h d ie NS DA P u n d d i e Mi g r a t i o n d es B a uha us es ni cht n ur i n di e U SA. Da s B a u h a u s pr ä g te d ie M o d erne i n j eg l i chen R i cht ung en, s ei es Kuns t, Des i gn, Arc h ite kt u r o d e r Pä d a g o g ik . Da s B a uha us er b e und s ei ne I d een ha b en bis heute Ei nfl uss . Nac h d e r M ig r a t io n d e r B a uha us b eweg ung ver b rei tete s i e d urch Na chfol gei ns ti tutio n e n in d e n US A u n d s päte r a uch i n D eut s chl a nd , a b er a uch d urch di e Emi grati on der Ba u h ä u s le r in d ie g an ze We l t , s ei ne a va ntg a rd i s t i s che H a l t ung .

F ü n f E n t w u r f s p r i n zi pi e n.

J.R N . U S . D L e C o r b us i er. Wohnp hilosop hie und Z e i tg ei st . L e C o r bu s ie r s a h d i e Aufg a b e d es Archi tekten i m Er stel l en von zwe c k mä ßig e n , f u n kt io n ale n u n d w i r t s cha f t l i chen E nt w ür fen. E r s chuf m i t Stahl b eton un d F e r t ig te ile n e in e vö llig n e u e , vo rm a l s ni cht m ö g l i che Archi tekt ur. Die von Le Corb us ie r be g r ü n d e te A rc h ite kt u r lehre ni m m t s i ch für d i e G ebä ud eg estal tung di e rei ne F u n kt io n alit ä t d e r M a s c h in e a l s Vo r b i l d . D urch s t a nd a rd i s i er te S e ri enp rodukti on wo llte e r e in h o h e s M aß an E ffekt i v i t ä t er rei chen. F ünf Ent wur f sp r inz i pi e n. L e C o r bu s ie r f o rmu li er te fünf Punkte a l s z ent r a l e Mer km al e der ‚ neuen A rc h ite kt u r ‘ . M it h ilf e d ie s e r E n tw ur fs p r i nz i p i en s chuf er no ch ni e d a gewesene Grundris s e u n d R ä u me . „ F ünf Punkte ei ner n e u e n A rc h ite kt u r “, d ie d ie A rchi tekt ur revo l ut i o ni er ten: Le s Pi l oti s, Le Toi t- Te r r a s s e , L e P la n L ibre , L a F e n êt re en Lo ng ueur et La Fa ça d e L i b re.

Wo h n ph ilo so ph ie u n d Zeitgeis t.

Der M o du lo r.

81 Der Modulor – der m enschl i che Ma ß st a b. In d en 4 0 er Ja hren d es l et z ten Ja hr hunder ts entwi ckel te n L e C o r bu s ie r u n d s e in e M it a r b ei ter d en Mo d ul o r. E i n Ma ß s y s tem , das si ch ganz dem me n s c h lic h e n M aßs t a b u n d d er N a t ur ver s chr i eb en ha t te. Der Modul or s teht , d u rc h mat h e ma t is c h e u n d g eo m et r i s che Ab l ei t ung en, i n d i rekter Bezi ehung zum Go ld e n e n S c h n it t .

Q u e l l e : Au f ga b e n s t e l l u n g B a c helorthesis SS2012 P ro f . S c h l a g & P ro f . S c h w a r t i ng

E .K K . S Sem a na d e Ar te Mo de r n a . 11.0 2 . – 1 8 .0 2 .1 9 2 2 i n Sã o Pa ul o. Die S e man a d e Ar te Mo d erna , f and 1922, zur 10 0- jä h r ig e n Un abh ä n g ig ke it B r a s i l i ens , i m St a d tth eater São Paul o s t at t . Z ie l d ie s e r K u n s t au s s tel l ung w a r es , neue kü nstl eri sche Ri cht u n g e n zu ze ig e n . Die Kuns twoche be f a s s te s ic h mit L ite r a t u r, M us i k , Ma l erei und Bildhauerei . Ini ti a to r d ie s e r k ü n s t le r is c h e n u n d k ul t urel l en Aus s tel lu ng war der Mal e r E milia n o Di C a va lc an t i. In ei ner Zei t vol l er Tu r bu le n ze n u n d d e s Umbr uchs s a hen d i e b r asiliani schen Intel e kt u e lle n e in e M ö g lic h ke it s ic h a l ter ä s t het i s cher Wer te, vor al l em in d e r L ite r at u r, zu e n t le d ig e n und s o neue ko ntr äre Sti l e zu s chaf f e n . Ke rngrup p e der Au s s te llu n g w are n n e be n d e m Ma l er E m i l i a no D i C aval canti , di e Sch r if t s te lle r Os w ald u n d M ar io de And r a d e und d i e

83 Dic h te r M e n o t t i d e l P ic c ia u n d G ui l herm e d e Al m ei d a . I n d e r K u n s t w a r d ie M a le r in Ani t a Ma l fa t t i m i t i hrer Aus s tel l ung zu m br a s ilia n is c h e n M o d e rn i s m us 1 9 1 7 b erei t s Vo r rei ter i n. I hre We r ke zu K u bis mu s , E x pre s s io ni s m us und F ut ur i s m us w a ren i n d er d a ma lig e n br a s ilia n is c h e n G e sel l s cha f t j ed o ch hö chs t um s t r i t ten. De r F o k u s d e r K u n s t a u s te llu ng l a g a uf d er E r k und ung i nno va t i ver I d e e n u n d d e r S c h af f u n g e in e r ä s t het i s chen Per fekt i o n. D i e b r a s i l ia n is c h e n K ü n s t le r w a re n a u f der S uche na ch ei ner neuen I d ent i t ä t u n d n e u e n We g e n d e r f re ie n Mei nung s ä uß er ung . Z i el w a r d i e k ult u re lle Un a bh ä n g ig ke it B r a s iliens . M e r k ma le d e s n e u e n g e s t a lte r i s chen Aus d r uck s w a ren d i e E i nb ez i e h u n g d e r in d ig e n e n K u lt u r Br a s i l i ens , d i e „Ar te p o l ul a r e a fr i ca no“, e in s pie le r is c h e r E x pe r ime n t ali s m us , d i e frei e F o rm s o w i e ei ne s t a r-

E .K K . S G r up o d e Ar te Pa u Bra si l . ke Schattenwi rkung . S c h at te n a ls C h a r a kte r is t ikum fi nd et s i ch a uch als Sti l mi ttel i n den arc h ite kto n is c h e n G e s t a lt u n g s s p r a che d er b r asiliani schen Mode rn , d u rc h d ie B r is e S o le il. Pau Bras íl. Di e i m A n s c h lu s s a n d ie S e man a d e Ar te Mo d erna entstandene Künstl er be we g u n g , Pa u Br a s íl ( be n annt na ch ei nem ei nh e imi s chen Trop e n g e h ö lz) w a r e be n f alls e in Z us a m m ens chl us s a us S c hri f ts tel l ern, M ale rn u n d M u s ike rn . S ie s t re b te ei n F us i o n vo n f r anzösi scher Avan tg ard e , d e u t s c h e m E x pre s s io n i s m us und d er E xo tik der Hei mat zu e in e m n e u e n re g io n a le n h ybr i d en Aus d r uck s fo rm an . Tei l di es es ne u e n Bild u n g s pro ze s s e n w a re n Rei s en na ch Pa r i s u n d eb ens o i ns Lan d e s in n e re B r a s ilie n s . A uch i n der Archite kt u r w ar d ie S e ma n a d e A r te Mo d erna , d eren

85 S u c h e n a c h d e m E ig e n e n , d e m „es p i r i to b r a s i l ei ro“, Ant r i eb für ei n Umd e n ke n . Vo r re ite r d e r br a s i l i a ni s chen Mo d erne w a r E m i g r a nt G re g o r i Wa rc h avc h ik mit s e in er C a s a Mo d erni s t a i n S a o Pa ul o . D a s M E S , M in is te r io d e E d u c a ç ao e S a úd e, i n R i o d e Ja nei ro k a nn eb enf alls a ls we ite s Re s u lt a t d ie ser K uns t wo che und d er S uche na ch e in e r br a s ilia n is c h e n Id e n t it ät g es ehen werd en. S ei ne neue Archi te kt u r s pr ac h e n immt d a be i B ez ug a uf d i e k l i m a t i s chen, veg et a t i ven u n d g e o g r a f is c h e n Ko n d it io n e n d es L a nd es ; Ü p p i g kei t , G rö ß e und We ite . We ite re w ic h t ig e E in f lus s fa kto ren für d i e G es t a l t ung w a ren d ie Tr ad it io n u n d d ie ‚ K u lt u r d er Mi s chung ‘ . D a r a us res ul t i er te ei ne s in g u lä re G e s t alt h af t ig ke it , d i e G ro ß m a ß s t ä b l i chkei t und Pl a s t i z i t ä t , s o w ie e in e n d lo s w ir ke n d er R a um fl us s .

Tr an s fSioerb en ma ti o n. stu de n ti sc h e In terpretationen.

Di e Studi erenden h abe n a u s d e m A u f s at z „Tr a ns pa renz “ vo n 1 9 5 5 vo n Col i n Rowe un d Ro be r t S lu t zk y je we ils e ine Text s tel l e, ei n B i l d oder ei n Thema a u s g e w ä h lt u n d d ie s e s in Raum .m o d e l l e t r a ns fo rm i er t. Zi el war es , ei ne pe r s ö n lic h e A n n ä h e r u n g a n den B eg r i ff Tr a ns parenz zu formul i ere n u n d d ie s e in e in h e u t ig e s R a um ver s t ä nd ni s z u ü b er s etzen und t r a n s f o rmie re n .

A BC d e r Tr a nspre nz : A _ ad d it io n _ a u f za e h lu n g _ a u s s t u e lpu n g B _ be zu e g e : au f g e bro c h e n . s e it lich. _ be zu g s pu n kte s c h a f f e n _ be zu g s s y s te me _ blic ke le ite n _ bild e be n e n D _ d u rc h d r in g u n g _ d r u c h s to s s e n F_fuegung G _ g r a d d e r r au md e f in it io n M_ me h rd e u t ig ke it P_ po s it io n s c h af f e n Q _ q u e r ve r bin d u n g R _ re ih u n g S _ s c h ic h te n _ s c h n it t U _ u e be rg ae n g e : abr u pt . g e f u e h r t . a l l m ä hl i ch. _ u e be r la g e r u n g _ u e be r la ppu n g V_ ve r f le c h t u n g _ ve r s c h ie bu n g Z _ ze r te ilu n g

Wo r t. b i l d . An n a E u c h n e r. In der Archi tektur w ird zw is c h e n d e r w ir k lic h e n Tr a ns pa renz und der Trans parenz i m ü be r t r a g e n e n S in n e u n te r s c hi ed en. Während di e wi rklic h e Tr a n s pare n z e in e d e m M a ter i a l i nnewo hnende Ei genschaf t i s t , w ird d ie Tr an s pare n z im ü b er t r a g enen S i nne du rch di e Organis at io n u n d Ve r k n ü pf u n g d e r R a um el em ente erre i cht. Um ei ne sol che Org a n is at io n zu e n t w ic ke ln , g ib t es ver s chi ed ene Werkzeuge, derer ma n s ic h be d ie n e n k a n n . In m ei nem Mo d el l s i nd die Wor te al s „Baus te in e “ zu ve r s te h e n , a u s d e n en d i e Tr a ns pa renz „ gebaut“ wi rd, i nd e m d ie ‚ Ba u s te in e ‘ „ zwe i o d e r m ehreren B ez ug s systemen [gl ei chze it ig ] zu g e o rd n e t we rd e n kö n nen.“

„Transparenz entsteht immer dort, wo es im Raume Stellen gibt, die zwei oder mehreren Bezugssysteme zugeordnet werden können - wobei die Zuordnung unbestimmt und die Wahl einer jeweiligen Zuordnunsmöglichkeit frei bleibt.“ „Transparenz, Kommentar“, Bernhard Hoesli

S ao pau lo , 1 9 2 4 , Passagem de n ivel, 1 9 6 5 , tar si l a d o amaral

89 Di e Wo r te , d ie d ie ‚Tr a n s pare n z i m üb er t r a g enem S i nne‘ b es chrei b en, h abe ic h in e in ze ln e S ilbe n ‚z er l eg t ‘ . Tr ä g erm ed i um s i nd ha ndels ü blic h e L E G O™ - Ste in e . Die e i nz el nen Punkte a m d er O b er s ei te d e r L E G O™ - Ste in e e n t s pre c h e n hi er b ei j e ei nem Buc h s t a be n . F o lg lic h e n t s pre c h e n Stei ne m i t 4 Punkten a u c h S ilbe n mit 4 Bu c h s t abe n. S o r t i er t werd en di e S ilbe n n ic h t n ac h Wo r te n , s o nd ern na ch S i l b enl äng e . A u f be w a h r t we rd e n d ie s e „Wo r t . B a us tei ne“ i n ei ne m S e t zk a s te n , d e r d a mit zu ei ner ‚To o l b ox d er Kreat iv it ä t ‘ w ird .

A .E M i t Hi l fe di es es We r k ze u g k as te n s h at man d ie Mö g l i chkei t , d urch ständi ge Ü b erl age r u n g e n , Ne u ko mbin a t io n e n u nd K rea t i o nen, z uvor unb ekannte Wo r te , Te x te u n d In h alte zu „ba uen“. D urch d i e D rei di mensi onal i t ä t d e r L E G O™ - Ste in e t r it t d a s Wo r t a us d er z wei d imens i onal en Tex te be n e u n d e in L e s e n im d rei d i m ens i o na l en Raum wi rd mögl i ch .

R i e fe l . b i l d . E l i sa be th Ka i se r. In mei nem Model l ü be r s e t ze ic h d ie lite r ar is c h e Tr a ns pa renz na ch James J oyce. Di e lite r ar is c h e Tr an s pare n z, A g g l ut i na t i o n g ena nnt , be s agt, das s durc h d as Z u s a mme n f ü g e n vo n ve r s chi ed enen Wo r tte i l en ei n neu ent s t a n d e n e s Wo r t a u f e in e n t ie f eren S i nn ver wei s en kann. Di es e ti efere B e d e u t u n g k an n d u rc h d ie Tei l e a l l ei ne ni cht tr ansp ori er t werd e n . Die v ie le n S c h ic h te n me ines Mo d el l s s tel l en die ei nzel nen Wor t te ile d ar. J e d e S c h ic h t t r ä g t ei ne E i nker b ung , die i m Zusammen h a n g g e le s e n , e in Qu ad r a t i m I nneren d es g esc hi chteten Quada r s bild e t . Du rc h d as Dre h e n d es Mo d el l s w i rd das ei ngeschni tte n e Qu ad r a t au s d e n ve r s c h ied enen B l i ck w i nkel n oder „Les eri chtung e n “ u n te r s c h ie d lic h w a h rn e h m ba r und ver ä nd er t se i ne Gestal t und B e d e u t u n g . E r s t d u rc h d ie „Ag g l ut i na t i o n“ d er S c hi chten wi rd da s Qu ad r a t als F o rm le s ba r.

„They transpose insignificant singularities into meaningful complexities... The transparent qualities of the superimpositions often suggest transparency of context as well, revealing unnoticed structural qualities in the object. And again, in commenting on what he calls „the manifold word agglutinations“ of James Joyce, on the Joycean ‚pun‘, Moholy finds that these are „the approach to the practical task of building up a completeness by an ingenious transparency of relationships.“

„So erscheint in [der Villa Garches] überall der Widerspruch räumlicher Dimensinoenn, die Kepes als Eigenart der Transparenz anerkennt. Es gibt eine ununterbrochene Dialektik zwischen Tatsache und Andeutung. [...] Die fünf Raumschichten, die in jeder vertikalen Dimension das Volumen des Gebäudes gliedern, und die vier Schichten, die es horizontal schneiden, beanspruchen alle von Zeit zu Zeit die aufmerksamkeit; und diese Rasterung des Raumes resultiert in ununterbrochener Veränderung der Interpretation.“ S.41

G r undl age de s Entwu r fes G ol de ne r Sc h n itt. S pi e l aus Wände n, Ebe ne n & Räu men .

(α) (β)

(γ)

M us i k . r a um. Ja n n i s Re n n e r. Die Ü b er setzung d e s r äu mlic h e n Tr a n s pare n zver s t ä nd ni s s es und se i ner gebauten Be is pie le in e in a bs t r akte s Ko nz ep t m o d el l b esc hrei b en den Beg in n me in e r A r be it . A ls G r u n d la g e d i ente d i e Vi l l a Stei n. A uf bauend auf de n S c h ic h te n d e r V illa e n t s t a nd en ver s chi ed ens te ‚r äuml i ch mathema t is c h e Vo rg a be n u n d Re g e ln ‘ z ur Ü b er s et z ung i n e in Model l . Al l e se lbs t a u f g e s te llte n Vo rg a be n und Reg el n b er uhen au f dem Gol denen S c h n it t . A u s d e n Wa n d - , A bs t a nd s - und Ü b er l a gerungsverhäl tni s s e n e n t s te h t e in S pie l au s E b enen und Tr a ns pa re nzen. © Transparenz, Row e und Slutzky, S.41

Ü ber setzu n gs regeln M o dell. [ 1 ] Es g ibt d re i ve r s c hie d e n e Ele m e n te : zwe i ve r t ik ale Ebe n e n ; je we ils par alle l, o r t ho g o n al zu e in an d e r ( α , β) ; ho r izo n t ale ( γ ) [ 2 ] Alle Ebe n e n s in d in s ic h im m e r im Go l d e ne n S c hni t t . [ 3 ] Die Abs t än d e A u n d B s in d im m e r g le ic h u n d zu e in an d e r im Ve rhält n is d e s Go ld e n e n Sc hn it te s . [ 4 ] Die Übe r s c hn e id u n g x d e r ( α) - Ebe n e n is t im Go ld e n e n Sc hn it t zu d e r Übe rs c hn e id u n g y d e r ( β) - Ebe n e n . [ 5 ] I n An le hn u n g an d ie Rau m s c hic hte n d e r Villa Ste in , e n s te he n f ü n f Ebe n e n d e s Typ ( α ) , vie r d e s Typ ( β) u n d d re i Ebe n e n ( γ) . [ 6 ] Die L än g e n d e r Ebe n e n f o lg e n e be n f alls

dem

Pro po r t io n s ve r hält-

n is s e s 8/ 5 d e s Go ld e n e n Sc hn it te s u n d s e in e n re ale n n at ü r lic he n Vie lf ac he n , 4|6|8|10|12|14 . [ 7 ] Das Mo d e ll lö s t s ic h in s e in e m Ras te r vo n d e n Vo rg abe n d e r Villa Ste in . Es be s te ht e in e vö llig e Gle ic hbe re c ht ig u n g , ve rg le ic hbar zu r Do d e ka p ho ni e i n d e r Musi k, d e r u n te r s c hie d lic he n Ebe n e n u n d e n t s te he n d e n Räu m e . D. h. e in e Ebe n e n län g e d ar f e r s t w ie d e r ho lt we rd e n , we n n alle an d e re n Pro po r t io n s ve r hält n is s e be re it s ve r we n d e t w u rd e n . [ 8 ] Die Ebe n e n ( γ) t re te n als f re ie Ele m e n te au f. S ie we rd e n ähn lic h w ie d ie „B l ue - N o te “ im Jazz e in g e s e t zt . Sie ve r bin d e n d ie re s t lic he n Ebe n e n d e s Typs ( α ) u n d ( β) u n d s c haf f e n s o e r s t e in e n d re id im e n s io n ale n Rau m .

Schr i t t 1 .

95 r h y t h mi sche Tr a nspa re nz . D urch Wei terent w i ck l ung und Ver fei n e r u n g d ie s e r ‚ S pie lre g e ln ‘ e n t w i ckel te s i ch i n wei teren Mo d el l en, d e r G e d a n ke d e r r h y t h mis ie re nd en Tr a ns pa renz . D i e W i ed er ho l ung g le ic h e r E le me n te s c h af f t d u rc h s t r i ktes B efo l g en d er Reg el n i m m er w ie d e r n e u e S it u at io n e n . Die Ab w a nd l ung d er Mo d el l e a us S chr i t t 1 f ü h r te zu r E n t w ic k lu n g e in e s Mo d ul s . Du rc h A n e in a n d e r re ih u n g u n end l i ch v i el er Mo d ul e ent s t a nd ei ne ‚ u n e n d lic h e Tr an s pare n z‘ . De r d a d urch ent s t a nd ene R hy t hm us führte zu m n ä c h s te n Übe r s e t zu n g ss chr i t t i n d i e Mus i k . Die s e Übe r s e t zu n g vo m Te x t i ns Mo d el l und wei ter i n d i e Mus i k s c h a f f t e in e n e u e I n te r pre t a t io n d es Tr a ns pa renz - B eg r i ffes .

„[...] während Malerei die dritte Dimension nur andeuten kann, kann Architektur sie nicht unterdrücken. Weil Architektur dreidimensionale Wirklichkeit und nicht Nachahmung der drei Dimensionenn ist, kann in ihr eigentliche Transparenz zur physischen Tatsache werden.“ S.33

Schritt 2.

Sc h r itt 3 .

J. R Der Gol dene Schnit t is t in d e r M u s ik t ie f ve r a nker t . Tr a ns pa renz kann ni cht nur Ma te r ia l u n d R a u m s e in , s o n d e rn eb enfa l l s K l a ng . Durch di e ver schi e d e n e n Übe r s e t zu n g s s c h r it te des E s s a y s ent s t a nd e in Mus i ks tück , da s a u f d e r Id e e d e r Do d e k a ph o ni e ba s i er t und frei von j egl i cher H armo n ie is t . E s we is t , e in e n k la ren Anfa ng a uf, i s t je doch unendl i ch we ite r f ü h r bar ( S c h r it t 2) . Durch ei n p ermane n te s We c h s e ls pie l vo n ve r s chi ed enen Ü b er s etzu ngs s chri tten vo n M o d e ll zu M u s ik u n d vo n Mus i k z u Mo d el l ensteht ei n ‚ rhy thmi s c h e Tr a n s pare n z‘ . Das entwi ckel te Mo d e ll bas ie r t au f d re i ve r s c hi ed enen Mo d ul en: M o dul 1 ergi b t s i ch au s d e m Tr a n s f o rmat io n s pro z es s vo n S c h r i t t 1 . A uf bauend aufei na n d e r e n s te h t d u rc h Var ia t io n d a s M o d u l 2 und © Transparenz, Row e und Slutzky, S.33

Über setzu n gs regeln M u s ik .

Schritt 4.

[1 ] Das Mo d e ll w ird im m e r vo n lin k s n ac h re c ht s g e le s e n . [2 ] Du rc h d as Pro po r t io n s ve r hält n is d e s Go l d e ne n S c hni t te s erg ibt s ic h im n u m e r is c he n F re q ue nz ve r hä l t ni s 8/ 5 d e r Mu s ik d e r To n g #‘ . Die s e r w ird als An f an g s to n d e f in ie r t . [3 ] Die Mu s ik w ird n ic ht abs o lu t , s o n d e r n re lat iv abg e le itet. Die we ite re n Tö n e we rd e n in Abhän g ig ke it zu m Vo r to n übe r I n te r valle e r m it te lt . [4 ] Es w ird in zwe i No te n s ys te m e ü be r s e t zt . ( α) - Ebe n e n e rgeb e n d ie Me l o d i e , ( β) - Ebe n e n d ie n e n als Ba sso Co nt i nuo , als B e g le it u n g . [5 ] Es we rd e n Pro po r t io n s ve r hält n is s e d e r Ebe n e n ( α ) o d e r (β) e r m it te lt , d ie d an n als F re q ue nz ve r hä l t ni sse d ie n e n u n d dad u rc h I nte r va l l e e rg e be n . I n B e zu g zu m An f an g s to n g #‘ erg e be n s ic h d ad u rc h w ie d e r u m d ie e in ze ln e n To nhö he n s o woh l d e r Me l o d i e als au c h d e s Ba sso Co nt i nuo . [6 ] Die To ni nte r va l l e s in d , abhän g ig vo n d e r Üb e r l a g e r ungen d e r Eb e ne n zu e in an d e r, e n t we d e r au f s te ig e n d o d e r abfalle n d . [7 ] Die I n te r valle d e r Me l o d i e we rd e n ü be r d as Ve r hältnis vo n Ebe n e n län g e zu Abs t an d d e r ( α ) - Ebe n e n zu e in an der e r m it te lt . Die I n te r valle d e s Ba sso Co nt i nuo hin g e gen be zie he n s ic h au f d as Ve r hält n is d e r Ebe n e n län g e n der au f e in an d e r f o lg e n d e r ( β) - Ebe n e n u n te re in an d e r. [8 ] Au f g r u n d d e r r äu m lic he n Au s d e hn u n g d e s Mo d e lls we rden ( α ) - Ebe n e n als

- No te n u n d ( β) - Ebe n e n als

- No te n

aus g e bild e t . Die Übe r s c hn e id u n g d e r Ebe n e n län g e n d e r auf e in an d e r f o lg e n d e n ( β) - Ebe n e n ( 3 , 7 c m u n d 1 , 2 c m ) füh r t d ahe r zu e in e r To n ü be r lag e r u n g vo n e in e r ode r e in e r

- No te d e r be id e n

- No te

- No te n .

[9 ] Die Ebe n e n ( γ) f u n g ie re n in d e r m u s is c he n Tr an s lat io n als „B l ue - N o te s“ . Du rc h d ie F re ihe it d e r ( γ ) - Ebe n e n in ihre r Pos it io n ie r u n g , als Ve r b i nd ung se b e ne im Mo d e ll, we rd e n s ie au f g le ic he We is e in d e r Mu s ik ve r we n d e t . [1 0 ] H abe n zwe i Ebe n e n , ( α) o d e r ( β) , e in e o d e r m e hre re geme in s am e ( γ ) - Ebe n e n , e n t s te ht in d e r ak u s t is c he n Übe retzu s etz u n g , zw is c he n d e n be id e n Tö n e n , e in e o d e r m e hre re „Bl ue - N o te s“, als Vo r to n je we ils als 12 / 6

4/6

6/6

8/6

10/6

2/1

3/2

1/1

4/3

5/3

gr 6

8/10

10/6

6/12

5/4

5/3

1/2

gr3

gr6

Ü b e r se t z u n g i n te r va l l e S chr i tt 1.

- No te .

[1 1] De r Vo r to n w ird als H a l b to nsc hr i t t vo r d e r zwe ite n Note , zw is c he n d e n be id e n Tö n e n g e s e t zt . Es e n t s te ht je wei ls e in c hro ma t i sc he r Vo r to n . En t s pre c he n d d e m I n te rvall ko m m t d e r c hro m at is c he Vo r to n e n t we d e r vo n o be n ode r u n te n .

d u rc h Dre h u n g Mo du l 3. M it Mo du l 1 a ls A u s g an g s pu n kt d es Mo d el l s l a s s en s i ch nun M o d u l 2 u n d 3 u n e n d lic h of t an e in and er rei hen. D urch d i e W i ed er ho l ung d e r M o d u le is t e in e R h y t h mis i er ung er kennba r, b ei d er d i e ei nz el n e n M o d u le k la r able s ba r ble i b en. A u s d e m s o „ g e s a mpe lte n “ M o d el l l ä s s t s i ch i n S c hr i t t 2 üb er d efi n ie r te ‚ r hy th misc h mat h e mati sc h e Vo rg a b e n u n d Re g e l n ‘ d i e Mus i k able ite n .

„Transparenz kann [...] eine der Organisation innewohnende Eigenschaft sein.“ S.23

Schritt 5.

J. R

S chr i tt 6. U n en dlic h e Weiter fü h r u n g.

A - Wä nd e B - Wä nd e C- E b enen

Ü ber setzu n g M u s ik Sc h r itt 5 .

99 kl i ng end e Tr a nspa renz . M it H i l fe d es G o l d enen S chni t tes w urd e e in A n f a n g s to n f ü r d a s M u s ik s t ück d efi ni er t . J ed er wei tere To n ents te h t in Re lat io n zu s e in e m Vo rg ä ng er. D urch d en j ewei l i g en B ez ug zu m Vo r to n u n d d e r je we ils neuen Aus g a ng s l a g e d es fo l g end en M o d u ls im M o d e ll, t r it t d ie im Mo d el l s i cht ba re W i ed er ho l ung i n d e r M e lo d ie n ic h t me h r au f u nd i s t nur no ch i m „B a s s o C o nt i nuo‘ “z u h ö re n . Die Übe r s e t zu n g d e s r ä u mlic hen Tr a ns pa renz ver s t ä nd ni s s es i n Mus ik is t a ls o n ic h t abs o lu t , s o nd ern rel a t i v. D. h. d a s s i ch d i e m ehrs t immig e K lan g abf o lg e s te t ig w a nd el t und s i ch ni em a l s w i ed er ho l t .

100

C ub . i s m us . Ke r sti n Si e b e r. F ü r den Entwur f die n te o be n s te h e n d e A u s s a g e a us d em E s s a y d er Tr a ns parenz al s Gr u n d lag e . Vom 2 D- z u 3 D-Ra um . A u f ba u e n d a u f d ie s e r T hes e, ha b e i ch i m e r sten Model l mein Ve r s t ä n d n is d e r Tr an s pare nz d a rg es tel l t . E i n M o del l , das i n ei n e r zwe id ime n s io n a le n E be n e funkt i o ni er t , a b er n och ni cht di e a rc h ite kto n is c h e Übe r s e t zu n g i n d i e D rei d i m ensional i tät dar stel lt . In d e n f o lg e n d e n S c h r it te n w urd e m i r b ew us s t , dass di e Ü b er setz u n g d e s Te x te s in R au m e in g ena ues Reg el wer k be dar f, um ei ne räu mlic h e Tie f e in a lle n E be n e n z u g ener i eren. Da Raum ni cht i n e in e r e in - o d e r zwe id ime n si o na l en S chi cht ung f u nkti oni er t, wurde d ie be n ö t ig te Dre id ime n s iona l i t ä t i m Mo d el l , du rch di e H i l fs kons t r u kt io n e in e s Qu a d e r s g e s c ha ffen.

„Die Bildebene als negativer Raum und die auf ihr platzierten Objekte als positiver Raum sind mit der gleichen Fähigkeit zu stimulieren ausgestattet.“ S.41

101 g eschl ossen of f en. I m F o lg e m o d el l w a r es Z i el , d i e i m p l i z i er te G e s c h lo s s e n h e it d e r f e s tg e le g te n K uba t ur d es W ür fel s a ufz ub rechen u n d d o c h d e n G e d a n ke n d e r Ges chl o s s enhei t a l s W i r k ung b ei z ub eh alte n . Dar a u s re s u lt ie r te d e r A n s a t z, d i e g es chl o s s enen Auß enfl ä chen a l s B a s is f ü r e in ze ln e , s ic h n a c h i nnen ent w i ckel nd e und a ufl ö s end e E be n e n , zu ve r we n d e n . Die s e fi nd en s i ch i n a l l en E b enen d es Q uad e r s a n d e r id e n t is c h e n Po s it i o n i n Rel a t i o n z u d en Auß enfl ä chen w ie d e r. Die s e r S c h r it t f ü h r t je do ch no ch z u ei ner k l a ren d urchg ä ng ig e n L in ie u n d implizie r te d a m i t d i e N o t wend i g kei t wei terer Re g e ln . Tra n s p a re n z , R o w e u n d S l u t z k y

102 K .S P rop or t ionen. In d e r We ite re n t w ic k lu n g s e t z te i ch d i e i nneren Eb enen ni cht nur in ih re m S e ite n ve r h ä lt n is , s o nd ern a uch i n i hren zw i schenräuml i che n B e zie h u n g e n u n te re in an d e r, i n d a s ha rm o ni sc he 5/3 Verhäl tnis d e s G o ld e n S c h n it te s .

103 a uf g el öste E i nhei t . Das A bs c h l us s m o d el l i s t i n z wei E l em ente a ufg e lö s t , d ie in ih re r id e n t is c h en Mo d ul a r i t ä t , z u ei ner d er k l a ren F o rm d e s Qu ad e r s zu s amme n g es et z t werd en kö nnen. Das e in ze ln e M o d u l is t als r äum l i che Ü b er s et z ung d es Z us a m m en s pie ls vo n „ po s it ive m“ u n d „ n e g a t i vem “ R a um z u s ehen. Die A u ße n f lä c h e n d e s Qu a d e r s üb er s et z en d i e „B i l d eb ene a l s neg a t ive n R a u m“. Die n a c h in n e n ent w i ckel ten E b enen w i r ken a l s p l a tzie r te Obje kte u n d s o mit a ls „p o s i t i ver “ R a um . D i e b ei d en s y m me t r is c h e n M o d u le be in h a lte n d i e g l ei che Anz a hl vo n E b enen und ze ic h n e n s ic h d u rc h d ie V ie lf a l t d er m ö g l i chen Ano rd nung a us . D i e s e Dive r s it ä t e r ze u g t e in e mu l t i p l e L es ba r kei t d er S chi chten i nnerh alb e in e s d e f in ie r te n B e zu g s s y s tem s : ei ne r ä um l i che Tr a ns pa renz .

104

Wa nd e l . r a u m . Kl a ra Sc h rö de r. Unter Ver wendung d e s o big e n Z it ate s h a be n C o l i n Ro we und Ro be r t Sl utzky i n i h re m E s s ay „Tr a n s pare n c y“ vo n 1 9 5 5 a uf z wei unte r schi edl i che De f in it io n e n vo n Tr a n s pare n z in d er Ma l erei hi n gewi esen und s i e in Z u s amme n h an g mit d e r m a ter i el l en und d er r äuml i chen Transpa re n z in d e r A rc h ite kt u r g e s te l l t . M it mei nem Mode ll h abe ic h ve r s u c h t d ie s e ver s chi ed enen Ar ten von Trans parenzen in e in e m Obje kt zu ve re in e n . D er G r und g ed a nke dab ei i st, auch i m ü be r t r ag e n e n S in n e e in e r ä um l i che S chi cht ung au s transparenten E be n e n zu s c h a f f e n , d ie d u rc h i hre Ü b er l a g er ung n e ue Räume gene r ie r t .

„Wenn man zwei oder mehrere Figuren sieht, die einander überschneiden, und jede den gemeinsamen Teil für sich selbst beansprucht, steht man vor einem Widerspruch der räumlichen Dimensionen. Um diesen Widerspruch aufzulösen, muß man die Anwesenheit einer neuen optischen Qualität annehmen. Die Figuren werden mit Durchsichtigkeit ausgestattet, das heißt, sie sind in der Lage, sich gegenseitig zu durchdringen, ohne sich optisch zu vernichten. [...] Transparenz bedeutet eine gleichzeitige Wahrnehmung von verschiedenen räumlichen Lagen. Der Raum dehnt sich nicht nur aus, sondern fluktuiert in kontinuierlicher Aktivität.“

105 Das M o d e ll be r u h t a u f e in e m d rei d i m ens i o na l en G r und r a s ter vo n 2- 3- 4- 5 E in h e ite n a u f g e bau t u nd b i l d et i n s ei ner G es a m t hei t s o m i t e in e n Wü r f e l. J e d e E be n e h a t i hre g a nz ei g ene Ano rd nung d er R a ste re le me n te im d re id ime n s io n a l en R a um g efüg e. I n n e r h a lb d e r Ko n s t r u kt io n e n t s teht j e ei n 5 er, ei n 4 er, ei n 3 er, und e in 2e r Wü r f e l. S o s in d alle s e c hs S ei ten g l ei chwer t i g . D i e Ma ter i a l i t ä t d e r Ko n s t r u kt io n be s te h t in Anl ehnung a n d i e t r a d i t i o nel l en j a pan is c h e n S h o ji Wän d e au s Ho lz und Pa p i er. D i e Tr a ns l uz enz d er Pa pie r f läc h e n f ü h r t zu e in e r A d d i t i o n d er S cha t ten und s o m i t z u ei ner r ä u mlic h e n Tie f e d u rc h Du nkel hei t . D i e unter s chi ed l i che L i chtd u rc h lä s s ig ke it f ü h r t n a c h a u ß en hi n b i s z ur vö l l i g Ver s chm el z ung d e s Obje kte s mit d e r Umg e bu ng .

106 K l .S Diese räuml i che so w ie ma te r ie lle Tr an s pare n z s cha ff t ei nen fl i eß en den Ü b ergang zwis c h e n L ic h t u n d S c h at te n , z w i s chen I nnen und A ußen. Der Spaz iergang . I c h h a be f ü r d e n e n t s t an d e n K ub us ver s chi ed en e n räuml i che Si t u a t io n e n g e s u c h t , d ie w ie d e r ver s chi ed enen As sozi ati onen erl aube n . Der Spazi ergang d u rc h Ko n s t an z d ie n te mir als Ver s uchs r a um , um die Wandel barkei t d e s E n t w u r f e s zu u n te r s u c h e n und d urch r ä umlic he Ü b erl agerun g d ie s e n n ic h t n u r zu in te g r i eren, s o nd ern a uch den Stadtraum zu t r an s f o rmie re n . A us dem Kub us wu rd e e in e Blu me n vas e , e in e St r a ß enl a terne, ei n

S p a z i e rg a n g K onstanz

107 B a ll, e in Obje kt d e r B e g ie rd e d urch d i e I m p er i a , ei n C o nt a i ner, ei n Pa v illo n , o d e r a u c h e in e S it zg el eg enhei t .

108

Bi l d . r a um . N i l ü fe r U m u l . R äuml i che Trans pa re n z be d e u te t d ie g le ic h ze it ige Wa hrnehm ba r kei t ve r schi edener räumlic h e r L a g e n . S ie is t e in e G a nz hei t a us i nei na n dergrei fenden Tei le n . Die M e t h o d e zu r G e n e r ie r ung d i es er G a nz hei t ist di e Auf tei l ung u n d Re ko n f ig u r at io n d e r e in zel nen E b enen. M ei n Konzep t für d ie Tr a n s lat io n vo n Tr a n s parenz s i eht ei ne Verr äuml i chung des Bild e s vo n P ie t M o n d r ian in ei nen d rei d i m ens i o n al en Körp er vor. Das Bi l d von Mond r ian , au s d e r De St ijl- Be we g u ng , z ei g t d i e cha r a kte ri s ti sche Vi el falt a n Re c h te c ke n , d ie s ic h in i hren Fa r b en untersc hei den - Schwar z, We iß, Ro t , B la u u n d G e lb. In der drei di mens io n ale n Übe r s e t zu n g we rd e n d i es e unter s chi ed lic h farb i gen Rec h te c ke in Tie f e vo n R au m u m g ew a nd el t . D a b ei

Piet Mondrian

109

110 N.U dient das Farb sp ekt u rm d e r re in e n , vo m M e n s c hen w a hrnehm ba ren, S p ektral farb en al s Ord n u n g s pr in zip u n d Re c o d ier ung s to o l . Die Wel l enl ängen d e r Fa r be n we rd e n in Z e n t im eter um g erechnet . Diese Angab en p o s it io n ie re n d ie f a r big e n E be n ne i n d er T i efe d es vorgegeb en Ras te r d e s Or ig in albild e s . De r e n t s t a nd ene „B i l d . R a um “ kann wi ederum ge d re h t we rd e n u n d e r la u bt je d e s m a l neue r ä um l ic h e Zusammenhäng e u n d L e s bar ke ite n h e r zu s tel l en. Es entsteht ei n dif f e re n zie r te s S pie l au s L ic h t , S cha t ten, Fa r b e, S c hi chtung und Ra u mt ie f e n . Da d u rc h w ird d e r z wei d i m ens i o na l en Bildraum von Pi et M o n d r ian in e in d re id ime ns i o na l es ko m p l exes R aumgefüge trans f o rmie r t .

111

„Simultanietät, Durchdringung, Überlagerung, Ambivalenz.“ S.22

112

R a um. b i l d . Sa n dra D u ra n . Was pass i er t, wenn e in k u bis t is c h e s G e mäld e a uf ei nz el ne E b enen ze rl egt und gl ei c h ze it ig d ie B e g re n zu n g d e r Fl ä chen a l s r a um d ef ini erende El ement in te r pre t ie r t we rd e n ? Das b ed eutet , d a s s B i l d kanten zu Raumkan te n we rd e n . We n n n u n in e in em wei teren S chr i t t das Bi l d i n ver s c h ie d e n e E be n e n au f g e lö s t w i rd , b eg i nnen d i es e Kanten tats ächl i ch a u c h in d e r Ve r t ik a le n R a u mschi chten z u b i l d en. Durch di ese Aufl ö s u n g d e s B ild in e in e mu lt iple S chi cht ung w a nd el t sich der Bi l draum zu e in e m R au mbild , d a s me h r fa ch l es ba r, d a s i m S inne von Rowe u n S lu t zk y t r an s pare n t is t .

1_Transparenz, Rowe und Slutzky, S. 22

Pablo Picasso, Am broise-Vollard, 1910

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Bibli og r a f i e . 114

Li te r a tur. Colin Rowe und Robert Slutzky: Transparency: Literal and Phenomenal. Written, 1955-6. First published in Perspecta, 1963. Rowe, Colin und Slutzky, Robert: Transparenz. Mit einem Kommentar von Bernhard Hoesli und einer Einführung von Werner Oechslin. 4., erw. Aufl. - Basel: Boston; Berlin: Birkhäuser, 1997 ISBN 3-7643-5614-6 Spiro, Annette: Paulo Mendes da Rocha: Bauten und Werke. Niggli Verlag, 2002. ISBN-10: 3721204131 Andreoli, Elisabeth und Forty, Adrian: Brazil‘s Modern Architecture Berlin: Phaidon, 2005. ISBN 978-0-7148-4292-9 Hess, Alan: Casa Modernista: A History of the Brazil Modern House. Rizzoli Universe Int. Pub, 2010. ISBN-13: 978-0847831753 Gautschi, Myriam: Lesebuch Brasilien aus.gewählt. HTWG Konstanz, 2012, Konstanz Baunetzwoche #229: Baunetzwoche. Mit Special über Lina Bo Bardi. BauNetz Media GmbH, Ausgabe #229, 2011. Bauwelt 19.07: Bauwelt 19.07. Thema Hans Broos. Bauverlag BV GmbH, Berlin, Ausgabe 19, 2007

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S.16 - 65: Rowe, Colin und Slutzky, Robert: Transparenz. Mit einem Kommentar von Bernhard Hoesli und einer Einführung von Werner Oechslin. 4., erw. Aufl. - Basel: Boston; Berlin: Birkhäuser, 1997 ISBN 3-7643-5614-6 S.16: Anita Malfatti,A Ventania,1917 http://uploads0.wikipaintings.org/images/anita-malfatti/a-ventania-1917.jpg 29.6.2013, 15:57 Uhr S.17: Lina Bo Bardi,Glashaus,Regal http://static.plataformaarquitectura.cl/wp-content/uploads/ 2011/10/1318620186-casa-de-vidrio--lina-bo-bardi-0027.jpg 29.6.2013 16:14 Uhr S.17, 40: Lina Bo Bardi,Glashaus ,Sitzgruppe © Nelson Kon S.19: Burle Marx, Barra de Guaratiba, 1949 http://landarchs.com/wp-content/uploads/2012/08/51.png 08.07.13, 15.33 Uhr

S.20: Lasar Segall „Favela“ 1954-1955 © Museu Lasar Segall Reprodução fotográfica Vera Albuquerque http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_ obras&acao=mais&inicio=49&cont_acao=7&cd_verbete=2419 18.06.13, 11.25 Uhr S.21,23, 27, 29, 31-32: Lina Bo Bardi_Teatro Oficina, Oscar Niemeyer_Itamaraty Palace, CCSP Cultural Centre, Lina Bo Bardi_SESC Pompeia, Burle Marx_FIESP Avenida Paulista, Sidonio Porto_Safra Bank, Lina Bo Bardi_MASP, © Jannis Renner S.22: Samson Flexor, Geomètrico II, 1952 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=9&cont_acao=2&cd_verbete=4012 14.06.13, 19.33 Uhr S.23, 25,34, 38, 40, 64: Mendes da Rocha_Brazilian Pavillion for EXPO in Osaka 1970, Mendes da Rocha_House Butanta, Spiro, Annette: Paulo Mendes da Rocha: Bauten und Werke. Niggli Verlag, 2002. ISBN-10: 3721204131 S.23, 32, 36, 56: Le Corbusier_Ministry of Health 1934, Rino Levi_Sedes Sapientiae Institute 1940-42, Lina Bo Bardi_House De Vidro 1977-86, Lucio Costa_Pilot Masterplan of Brasilia 1960 Andreoli, Elisabeth und Forty, Adrian: Brazil‘s Modern Architecture Berlin: Phaidon, 2005. ISBN 978-0-7148-4292-9 S.24: Samson Flexor, Puríssimo ao Quadrado, 1954, © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=9&cont_acao=2&cd_verbete=4012 14.06.13, 19.36 Uhr S.24: Cicero Dias, Cronométrico, 1947, © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=17&cont_acao=3&cd_verbete=4007 15.06.13, 10.38 Uhr S.24: Cicero Dias, Interpretation, 1990, http://www.itaucultural.org.br/bcodeimagens/imagens_publico/000528031019.jpg 31.10.13, 18.10 Uhr

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S.25:

S.26: Samson Flexor, Geomètrico, 1956 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=17&cont_acao=3&cd_verbete=4012 14.06.13, 19.45 Uhr S.26: Luiz Sacilotto,Compocição, 1950 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/011262001019.jpg 31.10.13, 20.05 Uhr S.28: Burle Marx, Carex, 1967 http://3.bp.blogspot.com/-wEvTW6imrks/USxSqdMHRdI/AAAAAAAAXi0/A4xsESVN-GU/s1600/ burle%2Bmarx%2B1967%2Bcarex.jpg 16.6.2013, 23:25 Uhr S.28: Burle Marx, Lago de Carioca, São Paulo http://1.bp.blogspot.com/-lcdJY9HLA3o/TtDtEJepqxI/AAAAAAAAIjc/FcGfmQnYYJg/s1600/b-bm-12.jpg 16.6.13, 23:18 Uhr

S.29: Burle Marx, Barra de Guaratiba, Rio de Janeiro quelle: http://www.mraggett.co.uk/rbm/Sitio/content/bin/images/large/Sitio_5227.jpg 16.6.13, 23:14 Uhr S.29: Burle Marx, Parque Roberto Burle Marx, São Paulo quelle: http:http://www.sptrans.com.br/blogtour/wp-content/uploads/2011/07/ Espelho_Burle_Marx_Lucilene_Oliveira.jpg 16.6.13, 23.12 Uhr S.30: Eduardo Almeida, Library Brasiliana FAU USP, São Paulo, 2012 © Escola de Cidade São Paulo S.30: Flexor, A Coroa de Espinhos, 1950 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/000884016013.jpg 31.10.13, 18.45 Uhr S.31, 61: Hans Broos, House Broos, 1971 Bauwelt 19.07. Thema Hans Broos. Bauverlag BV GmbH, Berlin, Ausgabe 19, 2007 S.33: Oscar Niemeyer, Biennale Pavilion © Julian Meyer © Fabio Doi © Yulia Maksimova S.33: Luiz Sacilotto, Vibracoes Verticais, 1952 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/013302045719.jpg 31.10.13, 19.10 Uhr S.34, 55, 60: Oscar Niemeyer_Itamaraty Palace, Oscar Niemeyer_National Congress, Oscar Niemeyer_University of Brasilia, Vilanova Artigas_FAU USP © Kerstin Sieber S.35: Samson Flexor, Arlequinade , 1957 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=17&cont_acao=3&cd_verbete=4012 14.06.13, 19.46 Uhr S.35: Dias Cicero, Póésie , déc. 1960 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=25&cont_acao=4&cd_verbete=4007 15.06.13, 10.47 Uhr S. 37: Livio Abramo, Rio, 1960 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/011369001019.jpg 31.10.13, 20.05 Uhr S.38: Lina Bo Bardi, House de Vidro © Nelson Kon S.38, 40: Lina Bo Bardi, House de Vidro © Guilherme de Macedo http://www.projetoblog.com.br/wp-content/uploads/2012/08/linabobardi_casavidro1.png 13.07.13, 11.50 Uhr S.38, 40: Paulo Mendes da Rocha_House Butanta © Annette Spiro S.38: Paulo Mendes da Rocha_House Butanta © Daniel Bosshard S.39: Geraldo de Barros, Concreto, 1958 © fotográfica autoria desconhecida http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=1&cont_acao=1&cd_verbete=3981 15.06.13, 14.22 Uhr S.39: Hélio Oiticica, Grupo Frente, 1954 © Romulo Fialdini http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_fra&cd_ verbete=4038&cd_idioma=28558 15.06.13, 14.02 Uhr S.39: Carvão Aluísio, Composição, 1953 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/005734002013.jpg 31.10.13, 19.50 Uhr S.41: Samson Flexor, Formas Superpostas, 1951 © Rômulo Fialdini http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=9&cont_acao=2&cd_verbete=4012 14.06.13, 19.35 Uhr S.41, 56: Geraldo de Barros, Fotoforma, 1949 © Geraldo de Barros http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_fra&cd_ verbete=3981&cd_idioma=28558 15.06.13, 14.21 Uhr S.44: João Vilanova Artigas, FAU USP http://claudiaraurell.files.wordpress.com/2010/11/fau-usp.jpg 16.6.13, 22:51 Uhr

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S.45: Hélio Oiticica, Magic Square http://canal180.pt/wp-content/uploads/2012/09/helio-oiticica-magic-square-no-5-de-luxe-1978-photo-carol-reis.jpg 02.07.13 08:13 Uhr Hélio Oiticica, Nucleo NC, 1960 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ ing&acao=mais&inicio=25&cont_acao=4&cd_verbete=3949 16.6.13, 22:32 Uhr S.46: Lina Bo Bardi, MASP, 1957 © Baunetzwoche #229 Baunetzwoche. Mit Special über Lina Bo Bardi. BauNetz Media GmbH, Ausgabe #229, 2011. http://www.baunetz.de/dl/1071527/Baunetzwoche_229_2011.pdf 17.6.13, 14:10 Uhr S.47: Hélio Oiticica, Grupo Frente, 1956 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ ing&acao=mais&inicio=1&cont_acao=1&cd_verbete=3949 16.6.2013, 22:03 Uhr S.48: Rino Levi, Edificio Higienópolis, 1936 © Acervo Digital Rino Levi http://www.vitruvius.com.br/revistas/read/arquitextos/06.061/452 23.06.13, 18.14 Uhr S.49: Geraldo de Barros, Sem Título, 1983 – 1985 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_ obras&acao=mais&inicio=9&cont_acao=2&cd_verbete=878 04.07.13, 19.19 Uhr S.49: Cordeiro Waldemar, Idéia Visível, 1957 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/002556004019.jpg 31.10.13, 19.40 Uhr S.50: Gregori Warchavchik, House Modernista, 1929-1930 © Fashion Bubbles http://www.fashionbubbles.com/arte-e-cultura/exposicao-casa-modernista-completa-80-anos/ 18.06.13, 14.36 Uhr S.50: Gregori Warchavchik, House Modernista, 1929-1930 http://www.educadores.diaadia.pr.gov.br/modules/mylinks/singlelink.php?cid=12&lid=17017 18.06.13, 14.39 Uhr S.51: Tarsila do Amaral, São Paulo, 1924 © Acervo da Pinacoteca do Estado de São Paulo Reprodução fotográfica Romulo Fialdini http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_ obras&acao=mais&inicio=9&cont_acao=2&cd_verbete=3386 18.06.13, 13.40 Uhr S.51: Tarsila do Amaral, Passagem de Nível II, 1965 © Coleção Particular, Reprodução fotográfica Romulo Fialdini http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_ obras&acao=mais&inicio=57&cont_acao=8&cd_verbete=3386 18.06.13, 14.02 Uhr S.52: Gregori Warchavchik, House Mariana, 1927 © Casa Modernista: A History of the Brazil Modern House Hess, Alan: Casa Modernista: A History of the Brazil Modern House. Rizzoli Universe Int. Pub, 2010. ISBN-13: 978-0847831753

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S.53:Carvão Aluísio, Sem Titulo,1958 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/000636076019.jpg 31.10.13, 21.10 Uhr S.53: Carvão Aluísio, Ritmo Centrípeto Centrifugal, 1958 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/005532001013.jpg 31.10.13, 21.20 Uhr S.53: Luiz Sacilotto, Concreção, 1952 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/009275001019.jpg 31.10.13, 20.40 Uhr S.54: Oscar Niemeyer, Museum of Contemporary Art, 1950 http://volcania.files.wordpress.com/2010/11/31.jpg 08.07.13, 15.17 Uhr S.55: Oscar Niemeyer, Auditorium Ibirapuera Park , 1950 http://www.mimoa.eu/images/6114_l.jpg 08.07.13, 15.03 Uhr

S.55: Livio Abramo, Sem Titulo, 1947 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/011404001019.jpg 31.10.13, 18.30 Uhr S.56: Monumental Axis of Brasilía © Alyssa Rau S.56: Maria Leontina, Composição, ca. 1953 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=1&cont_acao=1&cd_verbete=4022 15.06.13, 10.10 Uhr

S.56: Maria Leontina, Os Jogos e os Enigmas , 1955 – 1956 © Encyclopédie Itaú Cultural Arts Visuels http://www.itaucultural.org.br/aplicexternas/enciclopedia_ic/index.cfm?fuseaction=artistas_obras_ fra&acao=mais&inicio=1&cont_acao=1&cd_verbete=4022 15.06.13, 10.16 Uhr S:58: Roberto Burle Marx, Toalha http://cdn.casavogue.globo.com.s3.amazonaws.com/wp-content/uploads/2012/02/toalha_burle_marx_05.jpg 31.10.13, 20.15 Uhr S.59: Lucio Costa, Pilot Plan, Place Of The Three Powers http://mdc.arq.br/2009/02/04/a-praca-do-maquis/ 18.07.13, 21.54 Uhr S.61: Roberto Burle Marx, Sem Titulo http://autoreselivros.files.wordpress.com/2013/08/784c1-burle_marx.jpg?w=427&h=317 31.10.13, 19.10 Uhr S.62: Oscar Niemeyer, Ministry of Justice, 1962 © Rubens Craveiro www.panoramio.com/photo/27769140 13.07.13, 14.48 Uhr S.62: Burle Marx, Otvaio Mendes, Marquise Ibirapuera, 1954 http://karlacunha.com.br/wp-content/uploads/2009/10/marquise_ibirapuera-1.jpg 13.07.13, 14.52 Uhr S.63: Hélio Oiticica, Grande Núcleo, 1960 http://www.pinturasemtela.com.br/wp-content/uploads/2011/11/grande-nucleo-helio-oiticica.jpg 13.07.13, 14.54 Uhr S.64: Lina Bo Bardi, MASP, 1940-42 http://masp.art.br/masp2010/imagens/img_masp2.jpg 11.06.13, 12.33 Uhr S.64: Oscar Niemeyer, St. Francis, Pampulha, 1940-42 http://jsj25.files.wordpress.com/2011/10/niemeyer0011.jpg?w=580 http://adbr001cdn 30.04.13, 18.37 Uhr S.64: Vilanova Artigas, FAU USP, 1961-68 www.archdaily.net/wp-content/uploads/2011/12/1322858005_croquis.jpg 30.04.13, 19.03 Uhr S.64: Paulo Mendes da Rocha, House Butanta, 1960 http://4.bp.blogspot.com/-cpic2hInymo/UFF08FRxJII/AAAAAAAAAUo/Ej639wZxsu4/s400/butanta+1966.jpg 30.04.13, 14.29 S.65: Santusa Andrade, Sem Titulo, 1941 http://www.arteeeventos.com.br/paginas_leilao/pictures/101_5.jpg 31.10.13 18.30 Uhr Franz Weissmann, Sem Titulo, 1958 http://www.itaucultural.org.br/bcodeimagens/imagens_publico/009846001019.jpg 31.10.13, 20.20 Uhr

119

Vorträge. S.68-71: Die Moderne in Europa. Walter Gropius, Fagus-Werk Schuhleistenfabrik, 1910-14 © Mike Reiss http://commons.wikimedia.org/wiki/File:Fagus_Gropius_Hauptgebaeude_200705_wiki_front.jpg 08.07.13, 22.14 Uhr Joseph Paxton, Kristallpalast, 1851 © Dipl. Ing. Bernd Nebel http://www.bernd-nebel.de/bruecken/6_technik/eisen/bilder/eisen_5.jpg 08.07.13, 22.18 Uhr Auguste Perret, Rue Franklin, 1903 © James A Gwinner http://www.greatbuildings.com/cgi-bin/gbi.cgi/Rue_Franklin_Apartments.html/ cid_1089832454_RueFranklinApts_Exterior.html 08.07.13, 22.38 Uhr Charles Atwood, Reliance Buliding, 1890-1895 http://www.american-architecture.info/USA/CHICAGO/CHIC-LS/CHIC-LS-018.htm 08.07.13, 22.42 Uhr

Margarete Steiff GmBH, 1900 © Zacharias L. http://commons.wikimedia.org/wiki/File:Giengen_Fabrikhalle_Steiff.jpg 08.07.13, 22.47 Uhr Peter Behrens, AEG Turbinenhalle, 1909 © Gary L. Catchen http://www.engr.psu.edu/deutschlandsarchitektur/berlin/bauten/aeg-turb.html 08.07.13, 22.50 Uhr Gerrit Rietveld, Haus Schröder, 1924 © Husky http://commons.wikimedia.org/wiki/File:Rietveld_Schröderhuis_HayKranen-20.JPG 08.07.13, 22.54 Uhr Piet Mondrian, Tableau I, mit Schwarz, Rot, Gelb, Blau und Hellblau, 1921 ©2006 Mondrian / Holtzman Trust http://www.museenkoeln.de/museum-ludwig/?s=722 08.07.13, 22.57 Uhr Le Corbusier, Nature morte du Pavillon de l‘Esprit Nouveau, 1924 © FLC/ADAGP http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=6559&sysLanguage=frfr&itemPos=54&itemSort=fr-fr_sort_string1%20&itemCount=81&sysParentName=&sysParentId=69 08.07.13, 22.00 Uhr Villa Savoye, Le Corbusier, 1928 © Jannis Renner S.72-75: Der Kubismus. Foto 1, Cafe la Rotonde, Paris http://upload.wikimedia.org/wikipedia/commons/c/c4/ Pablo-Picasso-Moise-Kisling-Paquerette-Cafe-la-Rotonde-paris-1916.jpg 04.07.13, 12.51 Uhr Foto 2, Cafe la Rotonde, Paris http://upload.wikimedia.org/wikipedia/commons/thumb/2/23/Leopold-zborowski-and-group-of-friend-cafe-la-rotonde-paris-1924.jpg/1024px-Leopold-zborowski-and-group-of-friend-cafe-la-rotonde-paris-1924.jpg 04.07.13, 12.52 Uhr Foto 3, Cafe la Rotonde, Paris http://upload.wikimedia.org/wikipedia/commons/6/6b/Amedeo-modigliani-pablo-picassocafe-la-rotonde-montparnasse-paris-1916.jpg 04.07.13, 12.53 Uhr Pablo Picasso, Les Demoiselles d´Avignon http://artmeandyou.files.wordpress.com/2011/05/picasa-das.jpg 04.07.13, 12.55 Uhr Paul Cézanne, Badende http://www.google.de/imgres?um=1&rlz=1C1AFAB_enDE471DE471&hl=de&biw=1128&bih=778&tbs=isz:l&tbm=i sch&tbnid=7BAt4rzlSQY1EM:&imgrefurl=https://commons.wikimedia.org/wiki/File:Paul_ C%25C3%25A9zanne_048.jpg&docid=CnTFavY5Jsoe7M&imgurl=https://upload.wikimedia.org/wikipedia/commons/9/91/Paul_C%2525C3%2525A9zanne_048.jpg&w=3139&h=2181&ei=s1TVUZbnC6aR4AS1poCYCg&zoom= 1&iact=rc&dur=511&page=1&tbnh=136&tbnw=178&start=0&ndsp=24&ved=1t:429,r:16,s:0,i:129&tx=42&ty=70 04.07.13, 12.58 Uhr George Braque, Akt http://simonak.eu/images/obrazky_ostatni_strany/g_u/1_3.jpg 04.07.13, 12.59 Uhr Picasso, Ambroise Vollard http://www.acsu.buffalo.edu/~jconte/Images/Picasso_Vollard.jpg 04.07.13, 13.01 Uhr George Braque, Geige und Krug http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910originalgro.jpg 04.07.13, 13.03 Uhr George Braque, Geige und Krug, Auflösung http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910komposition.jpg 04.07.13, 13.05 Uhr

120

George Braque, Geige und Krug, Offene Form http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910linienumzeichnung.jpg 04.07.13, 13.07 Uhr George Braque, Geige und Krug, Licht http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910helligkeit.jpg 04.07.13, 13.08 Uhr George Braque, Geige und Krug, Gegenständlichkeit http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910gegenstaende.jpg 04.07.13, 13.10 Uhr George Braque, Geige und Krug, Farbe http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910farbe.jpg 04.07.13, 13.10 Uhr George Braque, Geige und Krug, Perspektive http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910detailwandecke.jpg 04.07.13, 13.11 Uhr George Braque, Geige und Krug, Simultanität http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910detailvioline.jpg 04.07.13, 13.12 Uhr

George Braque, Geige und Krug, Facette http://unterricht.kunstbrowser.de/images/braquegeigeundkrug1910detailkrug.jpg 04.07.13, 13.13 Uhr Juan Gris, Bildnis Picasso http://www.google.de/imgres?sa=X&rlz=1C1AFAB_enDE471DE471&biw=1128&bih=764&tbs=isz:l&tbm=isch&tb nid=PJPnIOICpeWdVM:&imgrefurl=http://commons.wikimedia.org/wiki/File:JuanGris.Portrait_of_Picasso.jpg&doc id=hxIn10nLDMDkzM&imgurl=http://upload.wikimedia.org/wikipedia/commons/8/81/JuanGris.Portrait_of_Picasso. jpg&w=817&h=1056&ei=9ljVUf_6IsjX4ASa14HYDg&zoom=1&iact=hc&vpx=4&vpy=226&dur=1012&hovh=255 &hovw=197&tx=65&ty=133&page=1&tbnh=148&tbnw=109&start=0&ndsp=34&ved=1t:429,r:0,s:0,i:81 04.07.13, 13.15 Uhr Fernand Léger, Akte im Wald http://www.live2times.com/imgupload/event/10702/060810113438/normal/ mort-de-l-artiste-fernand-legerf-leger-nu-dans-la-foret-.jpg 04.07.13, 13.16 Uhr Juan Gris, Gitarre auf einem Tisch http://unterricht.kunstbrowser.de/images/grisgitarregro.jpg 04.07.13, 13.17 Uhr Juan Gris, der Kaffesack http://images.reproarte.com/files/images/G/gris_juan/0186-0030_el_saco_de_cafe.jpg 04.07.13, 13.19 Uhr Juan Gris, Gitarre auf einem Tisch, Umzeichnung http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarreflaechenkonturen.jpg 11.07.13, 12.08 Uhr Juan Gris, Gitarre auf einem Tisch, Farbgebung http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarrefarbe.jpg 11.07.13, 12.09 Uhr Juan Gris, Gitarre auf einem Tisch, Farbflächen http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarreflarbflaechen.jpg 11.07.13, 12.10 Uhr Juan Gris, Gitarre auf einem Tisch, Liniengefüge http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarrelinien.jpg 11.07.13, 12.11 Uhr Juan Gris, Gitarre auf einem Tisch, Parallelen http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarreparallelen.jpg 11.07.13, 12.12 Uhr Juan Gris, Gitarre auf einem Tisch, Schnittpunkte http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarreschnittpunkte.jpg 11.07.13, 12.13 Uhr Juan Gris, Gitarre auf eienem Tisch, Gerüst http://unterricht.kunstbrowser.de/images/analysehauptmenuegrisgitarreverlaengerungen.jpg 11.07.13, 12.13 Uhr S.76-79: Das Bauhaus. Bauhaus, Logo http://www.thefactoryhair.com/bauhaus/ 23.05.13, 17.14 Uhr Walter Gropius, Bauhaus, Dessau, 1926 http://images.cdn.baunetz.de/img/55449299_f33b8ffeb5.jpeg 19.07.13, 13.06 Uhr Wiener Werkstätten, Logo http://www.bossbooks.com/ww.html 23.05.13, 17.01 Uhr Deutscher Werkbund, Logo http://tipografos.net/posters/dwb-logo.jpg 17.07.13, 19.59 Uhr De Stijl, Logo http://www.behance.net/gallery/Vanguardia-De-Stijl/2129612 17.07.13, 19.50 Uhr Russischer Konstruktivismus, Logo http://www.arcadja.com/auctions/en/konstruktivist_russischer/artist/335540/ 23.05.13, 17.12 Uhr Karikatur von Karl Arnold zur Werkbund Diskussion http://www.dbnl.org/tekst/veld006gesc01_01/veld006gesc01ill105.gif 14.04.13, 09.49 Uhr Bauhaus Werkstätten http://zuhause3.dstatic.de/img/photos/full/0/1/in-der-bauhaus-werkstatt-werden-anversuchswaenden-verputz-und-mal-sowie-verschiedene-spritztechn.jpg 18.07.13, 11.34 Uhr Bauhaus, Mechanisches Ballett http://www.tumblr.com/tagged/triadic%20ballet?language=fr_FR 17.07.13, 19.19 Uhr Bauhaus, Leben http://bauhaus-online.de/projekt/bauhaus-art-as-life 23.05.13, 14.36 Uhr

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Walter Gropius, Haus am Horn http://upload.wikimedia.org/wikipedia/commons/8/8c/Haus_am_Horn,_Weimar_%28Westansicht%29.jpg 16.04.13, 07.56 Uhr Walter Gropius, Haus Kandinsky, 1926 http://www.meisterhaeuser.de/bilder/0211_Kand_Kl_von_SW.jpg 16.04.13 07.53 Uhr S.8, Matz, Reinhard und Schwarting, Andreas © Musche Dessau, um 1929 Das Verschwinden der Revolution in der Renovierung. Gebr. Mann Verlag, Berlin, 2011 ISBN 978-3-7861-2646-1 Bauhaus Collage http://classconnection.s3.amazonaws.com/894/flashcards/763894/jpg/iwao_yamawki-student-the_end_of_the_dessau_bauhaus-_collage-19321317188538401.jpg 18.07.13, 11.46 Uhr

Bauhaus, Stuhl http://bauhaus-online.de/atlas/werke/bauhaus-szene 17.07.2013, 19.10 Uhr Bauhaus Collage http://dadasurr.blogspot.de/2010/02/george-grosz-john-heartfield.html 17.07.2013, 19.23 Uhr Bauhaus Möbel http://www.wurstakademie.com/vorlesung-9-wurst-und-bauhaus/ 17.07.13, 19.45 Uhr Moholy-Nagy, Bauhaus Puppets http://www.geh.org/fm/amico99/m198121630010.jpg 18.07.13, 11.56 Uhr

Bauhaus Mechanisches Ballett http://rosswolfe.wordpress.com/tag/costumes/ 17.07.13, 19.40 Uhr Bauhaus Fotocollage http://blog.smow.com/category/exhibitions-and-shows/hajo-rose-bauhaus-foto-typo/ 17.07.13, 19.01 Uhr Bauhaus Poster http://remedycreative.com/wp-content/uploads/2012/05/BauhausPoster.jpg 18.07.13, 12.00 Uhr

S.80-81: Le Corbusier. Le Corbusier, Fünf Punkte zu einer neuen Architektur http://www.sbi.dk/sbi_images/old_images/figur1.jpg 17.04.13, 17.41 Uhr Le Corbusier, Unité d‘Habitation, Marseille http://media.archinform.net/m/00003700.jpg 12.07.13, 16.41 Uhr Le Corbusier, Musterhaus in der Weissenhofsiedlung http://www.uni-kl.de/FB-ARUBI/Baugeschichte/Vorlagen%20und%20Abbildungen/ Le%20Corbusier,%20Weissenhofsiedlung,%20Stuttgart_k.jpg 12.07.13 16.53 Uhr Modulor Skizze http://thefunambulist.net/2012/04/29/architectural-theories-a-subversive-approach-to-the-ideal-normatized-body/ 17.07.13, 19.55 Uhr Modulor Tabelle http://blogs.unlp.edu.ar/matear/files/2013/05/modulor.jpg 18.07.13, 12.05 Uhr

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S.82-85: Semana de Arte Moderna. 1922 São Paulo. Oswald de Andrade, Portrait http://ihaa.com.br/biografia-de-oswald-de-andrade/ 16.07.13, 08.45 Uhr Mario de Andrade, Portrait http://milinviernos.files.wordpress.com/2012/03/mario-de-andrade-de-chapeu.jpg 16.07.13, 08.53 Uhr Mario de Andrade, Portrait II http://unionhispanoamericana.ning.com/forum/topics/el-valioso-tiempo-de-los 16.07.13 09.06 Uhr Menotti del Piccia, Portrait http://marigphil.blogspot.ch/2012/04/menotti-del-picchia.html 16.07.13, 08.56 Uhr

Guilherme de Almeida, Portrait http://ditirambospoesia.files.wordpress.com/2012/11/guilherme-de-almeida-foto-reproduc3a7c3a3o.jpg 16.07.13 09.04 Uhr Emiliano di Cavalcanti, Portrait http://www.pinturasemtela.com.br/wp-content/uploads/2011/10/emiliano-di-cavalcantipintor-e-caricaturista-brasileiro.jpg 16.07.13, 09.05 Uhr Anita Malfatti, Portrait http://www.infoescola.com/wp-content/uploads/2007/12/anita-malfatti.jpg 16.07.13, 09.26 Uhr Tarsilia do Amaral, Portrait http://www.pinturabrasileira.com/images/artistas/Tarsila.jpg 16.07.13, 09.30 Uhr Manifesto Anthropofago http://www.desarte.org/wp-content/uploads/640x590xmanifesto_antropofago_ facsi-640x590.jpg.pagespeed.ic.AHi-6o2aVB.jpg 16.07.13, 08.48 Uhr Tarsilia do Amaral, Mamoeiro http://2.bp.blogspot.com/_NqFBfeKDVsQ/SnnAaSctmuI/AAAAAAAAC8g/-DYHpja7IXE/s400/Tarsila+do+Amaral_Mamoeiro.jpg 16.07.13, 09.00 Uhr Trasilia do Amaral, Abaporu http://4.bp.blogspot.com/_NqFBfeKDVsQ/Snm-plFqCJI/AAAAAAAAC7w/Fxlh2VWnPkI/s400/Tarsila+do+Amaral_Abaporu.jpg 16.07.13, 09.00 Uhr Anita Malfatti, A Boba (The Fool), 1917 http://www.pulsamerica.co.uk/parentesis/wp-content/uploads/ 2012/09/AnitaMalfatti2.jpg 16.07.13, 09.28 Uhr Anita Malfatti, Do Farol http://2.bp.blogspot.com/_Opu_wMHqFsA/TSJpoT1FjwI/AAAAAAAABpk/QfiqaNJ7shg/s400/ ANITA+MALFATTI%252C+O+FAROL.jpg 16.07.13, 09.43 Uhr Semana de Arte Moderna, Poster http://www.arquitetonico.ufsc.br/wp-content/uploads/semana-de-arte-moderna-de-1922.jpg 16.07.13, 09.08 Uhr Historical Capture Largo E Rua De São Bento, São Paulo, 1920 http://spantiga.folha.com.br/images/sao_paulo-01.jpg 16.07.13, 09.11 Uhr Brazil, Waterfalls Of Iguaçu http://www.fantastic-gaytravel.de/thumbs/680x380/ id/152412/Bilder/Brasilien/680/Brasilien_680.jpg 16.07.13, 09.13 Uhr Coffee Beans http://www.kaffeekontor-bonn.com/WebRoot/Store19/Shops/62820713/4CE5/6EDF/ AF1F/FE08/21E2/C0A8/29BB/92C9/Kaffee15.jpg 16.07.13, 09.14 Uhr Dance Of The Indigens http://rotefahne.eu/ass/2012/06/presspict20120622151711.jpg 16.07.13, 09.20 Uhr João Villanova Artigas, Portrait http://www.g-arquitetura.com.br/images/artigas4.jpg 16.07.13, 09.35 Uhr Affonso Reidy, Portrait http://4.bp.blogspot.com/-cYoOHLrt7J8/Trytus9vBOI/ AAAAAAAALzM/0CV6uraYpNs/s1600/reidy-mam.jpg 16.07.13, 09.34 Uhr Oscar Niemeyer, Portrait http://www.abc.net.au/news/image/4412414-16x9-940x529.jpg 16.07.13, 09.35 Uhr Lina Bo Bardi, Portrait http://www.bobwolfenson.com.br/v2/midia/portraits/1_25.jpeg 16.07.13, 09.38 Uhr Roberto Burle Marx, Portrait http://www.vulgare.net/wp-content/uploads/burlemarx2.jpg 16.07.13, 09.39 Uhr Le Corbusier, Portrait http://en.wikiarquitectura.com/images/4/45/Le_Corbusier.jpg 16.07.13, 09.40 Uhr Rino Levi, Portrait http://1.bp.blogspot.com/-y1osmytnMow/TdqwC69EaDI/AAAAAAAAAw8/t8yqTQm9Vc8/s1600/Rino+Levi2.jpg 16.07.13, 09.41 Uhr

123

Transformation.

sämtliche Rechte falls hier nicht anders vermerkt bei den jeweiligen Autoren. S.108-111: Bild.raum. Nilüfer Umul. Piet Mondrian, PM ‘21,1921 http://adrianasassoon.wordpress.com/tag/bauhaus-mondrian/ 13.07.13, 19.16 Uhr S.112-113: Raum.bild. Sandra Duran. Pablo Picasso, Ambroise-Vollard, 1910 http://www.arthistoryarchive.com/arthistory/cubism/images/ PabloPicasso-Ambroise-Vollard-1915.jpg 30.04.13, 15.01 Uhr

Imp re ss um . 124

HT WG Ko n s t an z, Un ive r s it y of Ap p l i ed S ci ences , Fa k u lt ät f ü r A rc h ite kt u r u n d G es t a l t ung , Fa c h be re ic h A rc h ite kt u r, B r a u n e g g e r s t r. 55 , D- 8462 Ko n s t a nz , G erm a ny HE R AUS G E BE R : KONTA K T: R E DA K TION:

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125 Die I n h a lte d e s B u c h e s w urd en s o rg fä l t i g na ch p er s ö nl i chem E rme s s e n zu s a mme n g e s te llt . F ür d en I nha l t k a nn j ed o ch kei ne Haf t u n g u n d ke in e G e w ä h r ü be rno m m en werd en. Al l e Rechte, s o wo hl d e r f o to me c h an is c h e n a ls auch d er a us z ug s wei s en W i ed erg a b e, s in d vo r be h alte n . B ild ma te r ia l und Rechte, s o wei t ni cht a nd er s ve rme r kt , HT WG Ko n s t a n z.