Учебное пособие 121
.pdfRead the text and speak on the Arts and Crafts and related movements.
ARTS AND CRAFTS AND RELATED MOVEMENTS
The Arts and Crafts Movement, which began in England around 1860 and continued into the first decade of the 20th century, shared many of the ideas of art nouveau. The movement’s earliest proponents reacted against cheap manufactured goods, which had flooded shops and filled houses in the second half of the 19th century. The Arts and Crafts ideal they offered was a spiritual, craft-based alternative, intended to alleviate industrial production’s degrading effects on the souls of laborers and on the goods they produced. It emphasized local traditions and materials, and was inspired by vernacular design—that is, characteristic local building styles that generally were not created by architects.
English designer William Morris, who led the Arts and Crafts movement, sought to restore integrity to both architecture and the decorative arts. The Red House (1859) in Kent, designed for Morris and his family by English architect Philip Webb, demonstrates the architectural principles at the heart of the English movement. The unpretentious brick façades were free of ornament, the ground plan was informal and asymmetrical, and the materials were drawn from the area and assembled with local building techniques.
Spurred by the experience of furnishing his home, Morris set up a studio with several associates, including Webb and English artists Dante Gabriel Rosetti and Edward Burne-Jones. They designed everything—from wallpaper to stained glass, books, and teapots—according to the highest standards of craftsmanship. The idea of the house as a total work of art, with all of the interior objects designed by the architect, emerged from this studio and remained standard practice throughout the Arts and Crafts movement.
In Scotland, Mackintosh designed the Glasgow School of Art in two phases, which reveal a dramatic shift from his early art nouveau phase to the Arts and Crafts aesthetic. The building’s asymmetrical front (1897-1899) featured a range of styles and curving art nouveau ironwork. The rear of the building (1906-1909) presented something quite different: to light the artists’ studios within, Mackintosh opened up the façade with tall windows set into an austere masonry grid. Spare, simple, functional, and breathtakingly different, this elevation predicted many of the qualities that came to be associated with modern architecture after World War I (1914-1918). Inside, the library, with its soaring interior space, dark wood, and exquisitely crafted furniture and lighting fixtures, revealed Mackintosh's fascination with Japanese architecture and design.
Mackintosh's influence spread across the European continent to Vienna, Austria, where architects Joseph Maria Olbrich and Josef Hoffman and painter Gustav Klimt formed a group known as the Vienna Secession after they had seceded from the tradition-bound Viennese Academy of Fine Arts. Olbrich designed a headquarters and exhibition space for the group, a white block topped with a dome of gilded, wrought-iron leaves. Hoffman eventually became the leading architect of the Secession movement and with painter and designer Koloman Moser
21
founded the Wiener Werkstätte (Vienna Workshop) in 1903. This artists’ cooperative was dedicated to the production of furniture and other household objects.
Viennese architect Otto Wagner, an early proponent of art nouveau styles, designed one of the most important early modernist buildings in Vienna, the Postal Savings Bank (1904-1906). Its sleekly engineered interior featured a ceiling of glass panes framed in aluminum and luminous ceramic tile wall surfaces.
A Japanese Secession movement that arose in 1920 demonstrates the global reach of architectural ideas in the 20th century. This fledgling organization, composed of architects Mamoru Yamada, Sutemi Honiguchi, Mayumi Takizada, and Kikuji Ishimoto, signaled the first appearance of the modern movement in Japan, where modernization inevitably was connected with westernization. The group was also influenced by Frank Lloyd Wright, who built the Imperial Hotel (1915-1922) in Tokyo.
The Deutscher Werkbund (German Work Union), founded in 1907 by Hermann Muthesius,Peter Behrens, and Fritz Schumacher, differed from the other Arts and Crafts movements by allying artists and architects with industrialists. The Werkbund's ambition was to bring the talents of artists to bear on industrial products. The most fruitful alliance was that of Peter Behrens with the German electricity company, Allgemeine Elektricitäts-Gesellschaft (AEG). As AEG’s architect and chief designer, Behrens produced lightbulbs, radiators, stationery, lamps, and fans, in addition to factory buildings and a large housing complex for company workers near Berlin. The Werkbund also worked to transform the education of craftspeople so a body of skilled artisans would be available to carry out its designs.
Vocabulary
to alleviate - облегчать; смягчать alliance – союз; альянс
artisan –мастеровой, ремесленник assembled - смонтированный; собранный breathtakingly – изумительно, поразительно exquisitely – изыскано, изящно
fledgling – начинающий
to flood - хлынуть потоком; нахлынуть gilded – позолоченный
grid – решетка, сетка
pane – оконное стекло, окно proponent – сторонник
to secede – отделяться, откалываться, отходить, выходить stained glass – цветное стекло, витраж
teapot – чайник (для заварки)
unpretentious – скромный, простой, без претензий vernacular - народный; национальный; местный
22
I. Answer the following questions:
1.What is the main direction of the Arts and Crafts Movement?
2.Who led the Arts and Crafts movement?
3.What did the architects of the Arts and Crafts movement design?
4.What famous architects and designers of that period do you know?
II. Circle a), b) or c) to complete the following sentences:
1.The Arts and Crafts Movement shared many of the ideas of … . a) Art nouveau;
b) Art Deco; c) Bauhaus.
2.The cheap manufactured goods flooded shops and filled houses in the second
half of the … . a) 18th century; b) 19th century; c) 20th century.
3.Arts and Crafts movement emphasized … traditions and materials.
a)American;
b)Russian;
c)local.
4.English designer William Morris sought to restore integrity to both architecture and the … .
a) decorative arts; b) sculptor;
c) design.
5.In Scotland … designed the Glasgow School of Art.
a)Le Corbusier;
b)Otto Wagner;
c)Mackintosh.
6. … eventually became the leading architect of the Secession movement.
a)Hoffman;
b)Werkbund;
c)Mackintosh.
III. Match the beginnings of the sentences to their ends, using the information from the text:
1. The movement’s earliest |
a) a range of styles and curving art nou- |
proponents reacted against |
veau ironwork. |
23
2. The idea of the house as |
b) by allying artists and architects with |
a total work of art, |
industrialists. |
with all of the interior |
|
objects designed by the architect |
|
3. The asymmetrical front |
c) one of the most important early mod- |
of Glasgow School |
ernist buildings in Vienna, the Postal |
of Art featured |
Savings Bank. |
4. Mackintosh's influence |
d) cheap manufactured goods, which |
spread |
had flooded shops and filled houses. |
5. Viennese architect Otto Wagner, |
e) across the European continent to Vi- |
an early proponent of |
enna, Austria. |
art nouveau styles, designed |
|
6. The German Work Union, |
f) remained standard practice through- |
founded in 1907 |
out the Arts and Crafts movement. |
by Hermann Muthesius, |
|
Peter Behrens, |
|
and Fritz Schumacher, |
|
differed from the other |
|
Arts and Crafts movements |
|
IV. Make sentences using passive voice then ask question as shown in the example:
The Glasgow School of Art / design / Mackintosh.
The Glasgow School of Art was designed by Mackintosh.
What was designed by Mackintosh?
1.Local traditions and materials / emphasize / the Arts and Crafts movement.
2.The Arts and Crafts movement / lead / William Morris.
3.A studio with several associates, including Webb and English artists Dante Gabriel Rosetti and Edward Burne-Jones / set up / Morris.
4.The Secession movement / dedicate / the production of furniture and other household objects.
5.The Imperial Hotel (1915-1922) in Tokyo / build / Frank Lloyd Wright.
6.Lightbulbs, radiators, stationery, lamps, and fans, in addition to factory buildings / produce / Behrens for the German electricity company.
V. 1. a) Study these example situations:
I am consulting many experts such as structural engineers, service engineers, and other specialists.
Detractors of the International style claim that its stark, uncompromisingly rectangular geometry is dehumanising.
24
The talented architects are creating revolutionary structures.
Use the Present continuous for something that is happening at or around the time of speaking.
Am/is/are - ing is the present continuous:
I |
am |
(=I’m) |
consulting |
he/she/it |
is |
(=he’s etc.) |
dehumanizing |
we/you/they |
are |
(=we’re etc.) |
creating |
b) Put the verb into the correct form using present continuous:
1.Up to 120 architects, engineers and design consultants … (work) to meet a March 1 deadline for schematic design.
2.While an awareness of the plight of endangered Modern buildings … (grow), the threats continue.
3.A federal agency … (join) major landlords in fighting tough new building safety standards.
4.Porto-Novo, the capital of Benin in West Africa, … (search) for its lost identity as development presents conflicts between historic preservation and a quest for modernism.
5.The style of the Arts and Crafts Movement … (undergo) a contemporary revival.
6.Hector Guimard marries the American paintress Adeline Oppenheim and they … (go) to live in Hotel Guimard.
7.Architects … (inject) renewed grandeur to the Grand Hotel, reinstating its unrivalled reign over the international luxury hospitality industry.
2. a) Study these example situations:
For five years Alphonse Mucha was drawing illustrations for popular magazines. Around 1900 architects around the world were developing new architectural solutions to integrate traditional precedents with new technological possibilities.
We use the Past continuous to say that somebody was in the middle of doing something at certain time. The action or situation had already started before this time but had not finished.
Was/were - ing is the past continuous:
|
I /he/she/it |
was |
drawing |
|
b) Put |
we/you/they |
were |
developing |
|
the verb into the correct form using past continuous: |
||||
1. The mass produced merchandise resulting from assembly line production … (distress) to artisans who continued to value individually, hand crafted, quality items.
25
2.Only relatively few craftsman … (make) exquisitely made and decorated pieces that could only be afforded by the very wealthy.
3.Gustav Stickley … (try) to serve a burgeoning market of middle class consumers who wanted affordable, decent looking furniture. He … (produce) sturdy, serviceable furniture which was sold in vast quantities, and still survives.
4.Architects and designers … (draw) the female figure to develop a distinctive graphic design style.
5.Ruskin was appointed Slade Professor of Fine Art at Oxford University in 1869, and it was here that he met Hardwicke Rawnsley who … (study) at Balliol College.
3. a) Study these example situations:
Many consultant experts will be working to the architect’s design.
The Future continuous refers to an unfinished action or event that will be in progress at a time later than now.
Will be -ing is future continuous: |
|
||
|
|
|
|
|
I |
will be |
consulting |
|
he/she/it |
working |
|
|
we/you/they |
|
creating |
b) Put the verb into the correct form using future continuous:
1.I … (to use) the cumulative knowledge of centuries.
2.The sub-contracted specialists … (to improve) the urban systems.
3.Town planners … (to organize) land and buildings for group living.
4.The architect’s erudition … (to expand).
VI. Read the text again and ask your group-mate to tell you about architectural products of the Arts and Crafts Movement.
UNIT 5
Expressionism and Rationalism.
Grammar: The Perfect Active Tenses.
26
Read the text and speak on the characteristics of Expressionism and Ration-
alism.
EXPRESSIONISM AND RATIONALISM
Two tendencies emerged in Germany after World War I (1914-1918): Expressionism and Rationalism. Expressionism drew inspiration from such expressive individualists as Gaudí and was connected with a broader movement in German art, literature, and drama. After the war’s horrible slaughter, which massproduced weapons had made possible, some German architects grew less enchanted with the machine and sought a design ideal that would express emotion and the essence of life. These architects included Bruno Taut, Hans Poelzig, and Erich Mendelsohn. Mendelsohn's Einstein Tower (1920-1924, Potsdam, Germany) housed a domed observatory atop a rounded, free-form tower. Its surging sculptural forms and varied volumes demonstrated the newly expressive possibilities of concrete, which in this case hid a conventional brick structure underneath.
The second movement, Rationalism, garnered many more supporters than expressionism. The Neue Sachlichkeit (new objectivity), as the rationalist movement was called in Germany, grew out of a desire among painters for an art that directly addressed pressing social and political problems. Architects, in turn, sought to design buildings that might improve the lives of those within them. They called for designs of great clarity that paid strict attention to function and made use of modern materials and technologies. The Van Nelle Factory (1927-1929) in Rotterdam by Dutch architects Johannes Brinckmann, Leendert van der Vlugt, and Mart Stam, represented an early realization of a rationalist building conceived as a set of floating planes and interpenetrating volumes. A glass curtain wall along its length both enclosed and revealed the building’s reinforced concrete structure. At the same time, it allowed for maximum penetration of light for the workers within.
Vocabulary
to enchant - очаровывать, приводить в восторг garner – собирать, запасать
slaughter – убийство
reinforced concrete – железобетон
I. Answer the following questions:
1.What two tendencies emerged in Germany after World War I?
2.What are the main features of Expressionism and Rationalism?
3.What famous architects and designers of Expressionism and Rationalism can you name?
II. Complete the sentences using a word from the list:
27
expressionism, rationalism, expressionist, rationally
1)… is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form. … is exhibited in many art forms, including painting, literature, theatre, film, architecture and music. The term often implies emotional angst. In a general sense, painters such as Matthias Grünewald and El Greco can be called … , though in practice, the term is applied mainly to 20th century works.
2)The intellectual principles of … are based on architectural theory. Vitruvius had already established in his work ‘De Architectura’ that architecture is a science that can be comprehended … . This formulation was taken up and further developed in the architectural treatises of the Renaissance. Progressive art theory of the 18thcentury opposed the Baroque beauty of illusionism with the classic beauty of truth and reason.
Twentieth-century … derived less from a special, unified theoretical work than from a common belief that the most varied problems posed by the real world could be resolved by reason. In that respect it represented a reaction to historicism and a contrast to Art Nouveau and … .
III. a) Study these example situations:
The time has ruined many architectural masterpieces.
Zumthor’s carefully crafted projects have won world acclaim.
The Present perfect simple is have/has + past participle:
I/we/they/you |
have (=I’ve etc.) |
consulted |
he/she/it |
has (=he’s etc.) |
ruined |
|
|
won |
When we use present perfect there is always a connection with now. The action in the past has a result now.
b) Read the article and put the verbs in brackets in right form, present simple, present perfect. Translate it:
Certainly prolific, Sir Norman Foster … (to create) clean, shiny buildings across the globe. From the groundbreaking and expensive Hong Kong and Shanghai Bank to the immensely popular Reichstag dome in Berlin to the, um, suggestive Swiss Re Building in London, his work … (to be) just about everywhere. In London alone he … (to work) on well over forty major projects (most of them realized), including the recent Great Court at the British Museum, the one time wobbly Millennium Bridge, the terribly fun, new London City Hall and the complete reimagining of Wembley Stadium.
28
IV. a) Study these example situations:
This style had followed the rational trend till the 1980.
Past perfect simple is used for describing secluded events that have occurred before something else followed.
The past perfect simple is had + past participle:
I/we/they/you |
had (=he’d etc.) |
consulted |
he/she/it |
ruined |
|
|
|
won |
They will have produced detailed architectural solutions by the next week.
We use the Future perfect to say that something will already be complete.
The future perfect is will have + past participle:
I/we/they/you |
will have |
consulted |
he/she/it |
ruined |
|
|
|
won |
b) Put the verb into the correct form using perfect tenses. Write sentences in question and negative form as shown in the example:
They …. (to produce) detailed architectural solutions by the previous month. They had produced detailed architectural solutions by the previous month. They had not produced detailed architectural solutions by the previous month. Had they produced detailed architectural solutions by the previous month?
1.The town planning commission … (to carry out) extensive research programs.
2.I …… (to complete) these models by tomorrow.
3.The experimental design groups … (to adopt) the new ideas by the late 1970s.
4.Many specialists … (to restore) these notable facades by the next year.
V. Ask your friend to describe the works of the architects of expressionist and rationalist movements.
29
Bibliography
1.Crouch, Christopher. Modernism in Art Design and Architecture / Christopher C. // New York : St. Martins Press. - 2000.
2.http://encarta.msn.com/encyclopedia
3.http://en.wikipedia
4.Mark Jarzombek. Joseph August Lux : Werkbund Promoter, Historian of a Lost Modernity / Mark Jarzombek // Journal of the Society of Architectural Historians - 63/1/ - June, 2004. – P. 202-219.
5.Безручко, Е.Н. Английский для архитекторов: пособие по англ.языку для студ. арх. и строит. спец. вузов / Е.Н. Безручко. – М.: ИКЦ «МарТ», Ростов н/д : Издательский центр «МарТ», 2004. – 192 с.
6.Беляев, Н.Н. Вступая в мир зодчества: пособие по англ. языку / Н.Н. Беляев. - М. : Выс-
шая школа, 1991. – 125 с.
|
Оглавление |
|
Unit 1 |
Modern architecture…………………………………………………. |
3 |
Unit 2 |
Characteristics of Modern architecture……………………………… |
9 |
Unit 3 Art Nouveau and related movements……………………………….. |
16 |
|
Unit 4 |
Arts and Crafts and related movements……………………………... |
21 |
Unit 5 |
Expressionism and Rationalism……………………………………... |
27 |
|
Bibliography………………………………………………………… |
30 |
Modern Architecture
Методическая разработка
для студентов 2-го курса, обучающихся по направлению 270300 «Архитектура».
Составитель: канд. филол. наук, ст. препод. Пантелеева Олеся Олеговна
Подписано в печать 07. 07. 2009. Формат 60×84 1/16. Уч.-изд. л. 1,8.
Усл.-печ. л. 1,7. Бумага писчая. Тираж 100 экз. Заказ №_____.
_______________________________________________________________________________________________________
Отпечатано: отдел оперативной полиграфии Воронежского государственного архитектурно-строительного университета 394006 Воронеж, ул. 20-летия Октября, 84
30