ART HISTORY 358EUROPEAN ARCHITECTURE: THE MODERN MOVEMENTS, 1900-1933Narciso G. Menocal203 Elvehjem [email protected](608) 263-2373Office Hours: Mon. & Wed., 5'30-6'30 PMIn this course we shall not investigate the praxis of the modern movements of architecture (such athing would be impossible) but of the individual architects who have been singled out as the most prominent by an ongoing scholarship now some three quarters of a century old.In the ancient Greek language, the word praxis referred to activity engaged in by free men. To us,it is something that goes beyond practices, actions, or behavior. Today it is seen as a combination of reflection and action. Praxis, then, defines the historicity of the human person–that is, the placeof each person in history. History, seen this way, becomes the combined result of individual historicities, each depending on individual praxis. Historical literature, in turn, is the result of the praxis of historians.In the method we shall follow, the “reflection and action that realizes pragmatically the historicity of human persons” become, respectively, the iconology and iconography individually created by each architect. But created is here a relative term. Praxis usually results from transmuted co-optations of thoughts and works of others which the poeisis of the architect synthesizes and transforms into a metaphorical self-portrait.While our aim will be to discover through analysis these metaphorical self-portraits to the extent that we can in each case, the methodological constraints of a course such as this force us into a contradiction; we have to consider the subject matter collectively, arranged within “movements and trends,” if you will.So, following the traditional manner, I have divided the subject matter into three phases: beginning, middle, and end, each comprising several subjects. As historical contrasts, the art and architecture of the Stalinist Soviet Union and of Nazi Germany have been included. However, at all times we shall endeavor to consider the individual minds of the architects covered as our main subject of study.The semester grade will be the average of two examinations, one at mid-term and the other at the end of the semester. The second examination will not be cumulative and each will be worth 50 percent of the final grade.Students who would prefer to write a semester-long paper of about 20 pages may do so provided I accept them into this option after having read an example of their critical writing they havesubmitted to me. The subject of the paper is chosen by the student but requires my approval. Once a subject has been approved, the student will present a short paragraph indicating the title ofthe paper and explaining the thesis the student will develop. A minimal bibliography of ten titles or so will be included as well. The second step will comprise of an elaborate précis and an extended annotated bibliography. A thematic outline of the paper will come next (about eight pages or so), and the final copy of the paper will be presented at the end of the semester.Graduate art students may submit a work of art based on what they have learned in the course. As in the case of students submitting a paper, the entry of a graduate art student will done in stages.Fourth-credit students will write reviews on three books on topics covered in the course. The books will be chosen in consultation with the instructor. Each review will address the subject matter critically and objectively and will be from four to five pages in length. Submission due dates to be discussed at the first fourth-credit meeting.Text book: William J. R. Curtis, Modern Architecture since 1900; any edition.ART HISTORY 358: SECTION ONE1-A. TRENDS IN GERMAN ARCHITECTURE, 1900-1914A. Peter Behrens (1868-1940): The early yearsThe Kiss, color woodcut, 1896-1897Lamp, 1902Ein Dokument Deutscher Kunst, Die Austellung der Künstler Kolonie, poster, Darmstadt, 1901Poster for Kunstlerkolonie exhibition: Ein Dokument Deutscher Kunst, lithograph, 1901Behrens House, Kunstlerkolonie, Darmstadt, 1900-1901Oldenburg: Northwest German Art Exhibition Building, 1905Crematorium, Delstern, 1906-1907.AEG Pavilion, Shipbuilding Exposition, Berlin, 1908.B. English Residential Trends in the Second Half of the Nineteenth Century.English Influences in German Suburbs.The Red House, Phillip Webb and William Morris, Bexleyheath, Kent, 1859Leyswood, Sussex, Richard Norman Shaw, 1870Bedford Park, Richard Norman Shaw, 1881The Orchard, C. F. A. Voysey, Chorley Woods, Herts., 1900Ferdinand Springer House, Alfred Messel, Zehlendorf (West Berlin), 1901-1902Comparison: Loch House, C. F. A. Voysey, Oxshott, ca. 1898, with Peter Behrens, Obenauer House, Saarbrucken, 1905C. Ludwig Mies van der Rohe (1886-1969). The Early Years: 1910-1914Riehl house, Neubabelsberg, 1907Kröller-Müller house, project, The Hague, 1912Bismarck Monument, project, Bingen on the Rhine, 1914ComparisonsJacob Prandtauer, Melk Abbey, Begun 1702.Bruno Schmitz and Franz Mezner, Monument to the Battle of the Nations, Leipzig, 1913Karl Friedrich Schinkel, Schloss Charlottenhof, Potsdam, 1826-28Karl Friedrich Schinkel, Military Prison, Berlin, 1817-1818Karl Friedrich Schinkel, Neue Wache, Berlin, 1816-1817Karl Friedrich Schinkel, Schloss Charlottenhof, Potsdam, 1826-1828D. Hermann Muthesius (1861-1927); the Deutscher Werkbund (1906-1914)Villa at Winklerstraße No.11, Grunewald (Western Berlin), 1906Cramer house, Pacelliallee 18, Zehlendorf (Berlin suburb), 1912-13Interior design projects, date unknownRadio Transmitter Station, Nauen, 1906Tuteur Haus office building, Berlin, 1912-1913. (Compared with Alfred Messel’s Wertheim Department Store, Berlin, ca. 1906)E. Peter Behrens, 1907-1913AEG advertisements and goods, 1906; 1907; 1908-1913.AEG is the Allgemeine Elektrizitäts Gesellschaft (General–or Universal–Electric Company)Street lamps for AEGBerlin: AEG Turbine Factory, 1908-1909Berlin-Dahlem, Theodor Wiegand house, 1911-1912Berlin: AEG Small Motors Factory, 1910-1913St. Petersburg: German Embassy, 1911-1912F. Walter Gropius (1883-1969): The early yearsAlfeld: Fagus Shoelast Factory, 1911-1912Diesel locomotive for German Railways, 1913Sleeping car for German Railways, 1914Mitropa dining railway car, ca. 1914G. The Deutscher Werkbund Cologne exhibition, 1914Posters, Peter Behrens and Richard RiemerschmidtAustrian Pavilion, Josef Hoffmann (compared with Palais Stoclet, Brussels,