Special Topics: History and Modernity

Abstract

Classical modernism has often presented itself as devoid of history. This course, through the study of exemplary cases, explores the continuities with Antiquity, the Middle Ages, the Renaissance, revolutionary architecture, or the work of Karl Friedrich Schinkel. In also examines the relevance of historical models for the present and one's own design practice.

Objective

In addition to gaining knowledge about a pivotal period in architectural history and theory, this course aims to develop the ability to analyze and understand historical concepts and buildings within their broader intellectual and historical contexts. Furthermore, it encourages students to reflect on these historical subjects in relation to contemporary issues and their own design practice.

Content

Classical modernism portrayed itself as having no history. “Et Vignole - enfin - est foutu! Merci! Victoire!” (Le Corbusier) In fact, however, the historical dependencies and references around 1910 and during the establishment of classical modernism in the interwar period are rich and omnipresent. Using outstanding examples, the course examines the continuities of modernism with Antiquity, the Middle Ages, the Renaissance, the so-called revolutionary architecture or the period “around 1800” and finally also asks about the significance of historical models for the present and one's own design pactice. Expected topics: Overcoming historicism and Art Nouveau through Antiquity (Otto Wagner, Adolf Loos, Peter Behrens). Romanesque and “Rundbogenstil”. Gothic and construction. Gothic and expression. “From Ledoux to Le Corbusier” (Emil Kaufmann). Le Corbusier and the Acropolis. The model of Schinkel, Renaissance humanism and modern questions of proportion. Column and support.

Resources