#hermann behrens

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[mysterious-secret-garden]

Hermann Behrens - Female nude with death as a vanitas allegory, 1901.

[dakhmagnasu]

Female nude with Death as a vanitas allegory, 1901 Hermann Behrens

[grupo2generoytecnologia]

INICIOS

La compañía Beiersdorf fue fundada en 1882 por el farmacéutico Paul Beiersdorf en Hamburgo. A partir de 1890, el empresario y farmacéutico Oscar Troplowitz compra la compañía y comienza a realizar una serie de procesos transformadores en la empresa, ampliándola y estableciendo sus primeras conexiones con contactos y mercados internacionales.  Para Beiesdorf no era importante la publicidad sino el voz a voz y la venta derivada de estas teniendo en cuenta la calidad de sus productos. Es por este motivo que Troplowitz decide establecer como objetivo la venta por publicidad.  Entre finales del siglo XIX y principios del XX, Troplowitz organizó a las principales cabezas de la empresa: Hermann Hansen, comerciante de confianza, Thaddaus Smielowski, farmacéutico que había trabajado con Beiesdorf, Paul Blessin, Christoph Behrens y el farmacéutico Maz Ohm, quien sería el manager de producción. Con este equipo, comenzaron a desarrollar ideas de publicidad visualmente atrayente.  Esta estrategia de producción y mercadeo se enfocó en la creciente población en las ciudades alemanas. Para este entonces había un gran número de personas migrando de zonas rurales a zonas urbanas por lo que la población en Hamburgo aumentó desde 300.000 personas en 1871 a 570.000 en 1890 y para 1913 alcanzó alrededor de 6 millones de personas. Reckendrees, Alfred, 2018,. p.20).

 

Lo anterior indicó, para Troplowitz, la oportunidad de contratar más trabajadores y sobre todo de aumentar sus ingresos debido a la emergente clase media y alta que aparecía en Hamburgo. Este sería el público objetivo de los productos de Beiersdorf.

Es en esta época, alrededor de 1911, se creó la crema Nivea (que proviene  de las palabras en latin “nix” o “nivis” que significa “nieve”). Esta crema, además, se diferenciaba de otras por tener siempre la misma fragancia característica, es decir, “no existían otras cremas para la piel que se pudieran encontrar en todas las farmacias o droguerías y que tuvieran siempre la misma fragancia” (Ibid.). Inicialmente se vendió a lo que eran precios elevados para la época y comprados por una “clientela de lujo”” (Reckendrees, A., 2018, p.21)

[mysteriousartcentury]

Hermann Behrens (1865-1909), Vanity, 1901, oil on canvas, 180 x 107 cm. In a private collection

[fleurdulys]

Vanitas: Allegory of Death - Hermann Behrens

1901

[justineportraits]

Hermann Behrens     Female Nude with Death as Vanitas Allegory (1901)

[nestorleont]

Deutscher Werkbund

Traducido al español, como “Asociación Laboral Alemana” o “Federación alemana de trabajo”, fue una institución cultural mixta, sufragada por el estado alemán, que resultó de la asociación de doce artistas y arquitectos, entre los que destacaban Hermann Muthesius como fundador, además de Peter Behrens y Henry van de Velde, entro otros; junto con doce fábricas de Múnich en Alemania. Creada con la…

[modernism-in-metroland]

High and Over, Amersham, Buckinghamshire

1929-31

Amyas Connell

One of the most famous modernist houses in Metro-Land, and indeed the country, High and Over was a forerunner for the new style houses built through the 1930s. Other houses have a claim to be the first modernist dwellings in Britain, such as Peter Behrens New Ways in Northampton (1925) or the Silver End Houses in Essex (1926), but High and Over was the house that brought modernist domestic design to the public's attention. 

The house was commissioned by Professor Bernard Ashmole, who was at the time the director of the British School at Rome, later of the British Museum. Ashmole and his wife Dorothy moved back to Britain in 1928 and wanted a home in the countryside within commutable distance of London. Ashmole had met architect Amyas Connell at the school in Rome and asked him to design a house to be situated on 12 acres of land on a hilly site outside Amersham, a stop on the Metropolitan Railway. 

Amyas Connell was born in Eltham, New Zealand in 1901, and after training with an architect in Wellington before travelling to Rome to attend the Rome School. Connell cut short his stay in Rome to design High and Over, with the planning application submitted in May 1929. The application was approved with the council saying they were doing so “with the greatest reluctance”. The council did not like the start modernist design but couldn't find a legal reason to turn it down (this was obviously before “in keeping” became a valid reason). 

Connell had originally planned for the building to be entirely constructed of concrete. However the expertise of buildings firms in Britain at this time was somewhat limited when it came to using concrete for smaller domestic projects. Instead the house was constructed by Messers Watson of Ascot, using a concrete frame with brick and block infill, with a bright white rendered finish. 

Despite its stark geometry and white walls, Connel’s design for High and Over took many cues from historical styles of architecture. The Y shaped plan of the house, with its three wings allowed the Asmoles an almost 360 degree view over the countryside, as well as providing maximum sunlight into the house. Similar plans designed to catch sunlight throughout the day had been used by Arts & Crafts architects like E.S. Prior and Hermann Muthesius. The three wings of the house connect to a hexagonal centre, a design that had also been previously used by Arts & Crafts designers. 

Inside the house, the crisp white of the exterior was replaced with a more colourful, art deco-style palette. A fountain was the centrepiece of the house, with further decoration in coloured glass, steel and chrome strips. The concrete construction was hidden by suspended ceilings and a pale grey finish to the walls. You can see the original interior of the house in a short film by Pathe “The House of a Dream” https://www.youtube.com/watch?v=9oz6d6Y5P94

The house was part of a larger plan incorporating landscaped gardens with a swimming pool, a gardeners lodge, an electrical transformer and a water tower. The house was given centre stage in the gardens with a winding path leading up the sloping gardens, with various viewing points along the way to admire the countryside in one direction, or High and Over in the other. This integrated landscape and view has now been altered, with parts of the estate sold off over the years for the mid 60s housing estate which now surrounds the house. Also around the house are the four “Sun Houses” designed by Basil Ward, Connell’s partner from 1930 (they would be joined by Colin Lucas in 1934. 

The house was listed in 1971, and is currently Grade II*. The house was subdivided into two homes, with the marvellous central hallway divided in two. Happily, the two halves have been reunited with the ground floor restored to its original floor plan and colour scheme. It may be over 90 years old but it still stands today as “The House of a Dream”. 

[compneuropapers]

Interesting Papers for Week 13, 2021

Rapid trial-and-error learning with simulation supports flexible tool use and physical reasoning. Allen, K. R., Smith, K. A., & Tenenbaum, J. B. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(47), 29302–29310.

Differential attentional control mechanisms by two distinct noradrenergic coeruleo-frontal cortical pathways. Bari, A., Xu, S., Pignatelli, M., Takeuchi, D., Feng, J., Li, Y., & Tonegawa, S. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(46), 29080–29089.

Gamma activity accelerates during prefrontal development. Bitzenhofer, S. H., Pöpplau, J. A., & Hanganu-Opatz, I. (2020). eLife, 9, e56795.

The thermodynamics of thinking: connections between neural activity, energy metabolism and blood flow. Buxton, R. B. (2021). Philosophical Transactions of the Royal Society B: Biological Sciences, 376(1815), 20190624.

Adversarial vulnerabilities of human decision-making. Dezfouli, A., Nock, R., & Dayan, P. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(46), 29221–29228.

The Hippocampus and Dorsolateral Striatum Integrate Distinct Types of Memories through Time and Space, Respectively. Ferbinteanu, J. (2020). Journal of Neuroscience, 40(47), 9055–9065.

Amygdala-Cortical Control of Striatal Plasticity Drives the Acquisition of Goal-Directed Action. Fisher, S. D., Ferguson, L. A., Bertran-Gonzalez, J., & Balleine, B. W. (2020). Current Biology, 30(22), 4541-4546.e5.

Regulation of Olfactory Associative Memory by the Circadian Clock Output Signal Pigment-Dispersing Factor (PDF). Flyer-Adams, J. G., Rivera-Rodriguez, E. J., Yu, J., Mardovin, J. D., Reed, M. L., & Griffith, L. C. (2020). Journal of Neuroscience, 40(47), 9066–9077.

Predictions from masked motion with and without obstacles. Goldstein, A., Rivlin, I., Goldstein, A., Pertzov, Y., & Hassin, R. R. (2020). PLOS ONE, 15(11), e0239839.

Variational Free Energy and Economics Optimizing With Biases and Bounded Rationality. Henriksen, M. (2020). Frontiers in Psychology, 11, 2822.

The Dorsal Striatum Energizes Motor Routines. Jurado-Parras, M.-T., Safaie, M., Sarno, S., Louis, J., Karoutchi, C., Berret, B., & Robbe, D. (2020). Current Biology, 30(22), 4362-4372.e6.

The amygdala instructs insular feedback for affective learning. Kargl, D., Kaczanowska, J., Ulonska, S., Groessl, F., Piszczek, L., Lazovic, J., … Haubensak, W. (2020). eLife, 9, e60336.

Dendritic Voltage Recordings Explain Paradoxical Synaptic Plasticity: A Modeling Study. Meissner-Bernard, C., Tsai, M. C., Logiaco, L., & Gerstner, W. (2020). Frontiers in Synaptic Neuroscience, 12, 49.

Bayesian inference for biophysical neuron models enables stimulus optimization for retinal neuroprosthetics. Oesterle, J., Behrens, C., Schröder, C., Hermann, T., Euler, T., Franke, K., … Berens, P. (2020). eLife, 9, e54997.

Natural ITD statistics predict human auditory spatial perception. Pavão, R., Sussman, E. S., Fischer, B. J., & Peña, J. L. (2020). eLife, 9, e51927.

Neural control of rapid binocular eye movements: Saccade-vergence burst neurons. Quinet, J., Schultz, K., May, P. J., & Gamlin, P. D. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(46), 29123–29132.

Echolocating bats accumulate information from acoustic snapshots to predict auditory object motion. Salles, A., Diebold, C. A., & Moss, C. F. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(46), 29229–29238.

Semantic knowledge influences visual working memory in adults and children. Starr, A., Srinivasan, M., & Bunge, S. A. (2020). PLOS ONE, 15(11), e0241110.

Rational thoughts in neural codes. Wu, Z., Kwon, M., Daptardar, S., Schrater, P., & Pitkow, X. (2020). Proceedings of the National Academy of Sciences of the United States of America, 117(47), 29311–29320.

GLSNN: A Multi-Layer Spiking Neural Network Based on Global Feedback Alignment and Local STDP Plasticity. Zhao, D., Zeng, Y., Zhang, T., Shi, M., & Zhao, F. (2020). Frontiers in Computational Neuroscience, 14, 101.

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[myperipheralvisions]

Fritz Der Wolkenfahrer (Fritz The Cloud Driver), Karl Behrens and Franz Kiesewetter, Hermann Schaffstein Verlag, Cologne, no date (1948 or 1950?)

[arlathhan]

Hermann Behrens, Weiblicher Akt mit Tod als Vanitasallegorie

[kletskaebanaia]

Hermann Behrens

[architectnews]

Le Corbusier’s early drawings. 1902-1916

Le Corbusier’s early drawings. 1902-1916, Architect, Modern Building, Photo, Houses, Projects, Studio, Pictures, Designs

Le Corbusier’s early drawings. 1902-1916

21 Sep 2020

Le Corbusier’s early drawings. 1902-1916 News

Curated by Danièle Pauly

September 19, 2020 – January 24, 2021 Teatro dell’architettura Mendrisio

Exhibition promoted by Fondazione Teatro dell’architettura With the collaboration of the Accademia di architettura – Università della Svizzera italiana

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

From Saturday September 19, 2020 to Sunday January 24, 2021, the Teatro dell’architettura Mendrisio presents the exhibition “Le Corbusier‘s early drawings. 1902-1916″ promoted by the Fondazione Teatro dell’architettura, in partnership with the Accademia di architettura of the Università della Svizzera Italiana in Mendrisio.

Unité d’Habitation, Marseille, Southern France, celebrated work by Corb: photo from Colin Bisset

This extensive review features more than eighty previously-unpublished original drawings from public and private Swiss collections, and includes numerous reproductions of drawings from the Fondation Le Corbusier in Paris. It is being held to mark publication of the first volume of the Catalogue raisonné des dessins de Le Corbusier, edited by Danièle Pauly, published by AAM-Bruxelles in coedition with the Fondation Le Corbusier and thanks to the Mendrisio’s Fondazione Teatro dell’architettura contribution.

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

THE EXHIBITION

Curated by Danièle Pauly, this exhibition is devoted to drawings a young Le Corbusier executed between 1902 and 1916: from the year he started attending the School of Applied Arts in La Chaux-de-Fonds, his hometown, to the year before his definitive move to France and the establishment of the architectural studio in Paris.

Almost all of the drawings on display belong to private and public Swiss collections and are largely unpublished: the public will thus have for the first time the opportunity to learn about an exceptional body of rare documents. The exhibition is rounded off by a series of reproductions of original drawings and travel notebooks that Le Corbusier made during the same period.

The Teatro dell’architettura therefore welcomes the story of what determined the birth of a vocation that the young Charles-Edouard Jeanneret, the future architect Le Corbusier (1887-1965), initially thought to be that of a painter. The decisive moment in his education came when he went to study at the School of Art and Applied Arts. There, he attended watchmaking and architecture departments between 1902 and 1907, influenced by charismatic master Charles L’Eplattenier, a painter who subscribed to the ideas of John Ruskin and the Arts and Crafts movement.

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

Other factors that strongly impacted Le Corbusier’s advancement were his experience at Auguste Perret’s atelier in Paris between 1908 and 1909, his frequent visits to museums, encounters with avant-garde European architects at the start of the 20th century, and finally, encouraged by his mentor William Ritter, his study trips between 1907 and 1911 that culminated in a long journey to the East, an experience that deeply influenced his projects in later years..

The works selected for this exhibition show the importance Le Corbusier attributed to drawing from his early days. For the architect, drawings was a way of approaching reality, an instrument for observation. This is clearly evident in the studies of nature he made from 1902 to 1905, during his early years at school. For young Charles-Edouard Jeanneret, drawing was a tool for analysis and research, as we may see from the studies he drew at Parisian museums, and from his early architectural drawings when he was at La Chaux-de-Fonds, between 1905 and 1907.

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

For Le Corbusier, sketches and drawings were also a tool to serve memory, as we may see from his many sketches in notebooks made during his travels; they were also a means of lyrical expression, for example the watercolours and gouaches of landscapes and female nudes that he painted after his return to Switzerland in 1912.

The exhibition is divided into different sections, starting with Le Corbusier’s school years characterized by meticulous pencil drawings of naturalistic subjects, small watercolors of landscapes, decorative studies and projects of handicraft objects with Art Noveau motifs, and then moving on to his period of travel and stays in European capitals: a trip to Italy in 1907 dedicated to studying the Middle Ages and paintings by the “primitive” Italian school, a return to Paris in 1908-1909 where he gained professional experience at the Perret brothers’ atelier, as well as studies of Notre-Dame and from the city’s many museums. He followed this with a trip to Germany in 1910, when he stayed at Peter Behrens’ Berlin atelier, and then went on a long tour of German cities, before his great initiatory journey to the East in 1911.

The final section of the exhibition showcases his return to La Chaux-de-Fonds (1912-1916), a period when Le Corbusier taught, embarked on his work as an architect, adn devoted himself to painting ad drawing a series of landscapes, portraits, family scenes, female nudes and still lifes, foreshadowing the main subjects of the second stage of his output, in which works of purist inspiration continued to prevail.

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

LE CORBUSIER 1902-1916

Le Corbusier, the pseudonym adopted by Charles-Edouard Jeanneret-Gris (1887-1965), was one of the greates architects and urban planners in human history, as well as a painter and sculptor. The son of Georges-Eduard Jeanneret-Gris, an engraver and watch enameller, and Maria Carlotta Amelia Jeanneret-Perret, a musician, he trained at the School of Applied Art in La Chaux-de-Fonds, as an engraver of watch cases.

During his training, he attended drawing and decoration courses, along with an advanced course in interior decoration. Initially keen on pursuing a career as a painter, on the advice of Charles L’Eplattenier, young Jeanneret embarked on a course in architecture that would open the path to his profession.

In 1907, on concluding his studies, he began a journey in Europe. He travelled to Italy, to discover ancient architecture: to Austria, to discover the works of the Wiener Wekstätte and meet the Viennese Secession milieu; to France, where he worked as a draughtsman at the Perret brothers’ atelier in Paris, and to Germany, where he met personalities such as William Ritter, Theodor Fischer, Heinrich Tessenow, Hermann Muthesius and Bruno Paul, working for a spell at Peter Behrens’ practice in Berlin.

Villa Savoie, France: photo © Isabelle Lomholt

In 1911, with Augusto Klipstein, then a student of art history, he embarked on a long trip to the East, stopping in Prague, Vienna, Budapest, Belgrade, Bucharest, Tarnovo, Gabrovo, Kasanlik, Istanbul, Mount Atos and Athens On his way back to Switzerland, Le Corbusier once again stopped over in Italy, this time to visit Naples, Pmpeii, Rome, Florence, the Certosa di Galluzzo and Pisa. During his Eastern Journey he made hundreds of drawings and sketches, filling entire notebooks with them as well as making annotations.

Later, in 1912, Le Corbusier settled in La Chaux-de-Fonds, where he began teaching Decorative Composition and Architectural Composition in the New Section of the School of Art, and began practicing as an architect at the Ateliers d’Art Réunis. That same year, he won a commission to build a house for his parents at Pouillerel.

Between 1915 and 1916, he stayed in the Landeron, where William Ritter settled, and made several trips to Paris where he designed his Dom-Ino model prefabricated reinforced concrete houses with Max Du Bois. He later met Tony Garnier in Lyon and a few months later, in January 1917, he settled in Paris and opened his first architecture practice..

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

DANIÈLE PAULY

Danièle Pauly is an art historian who obtained her doctorate at the Université des Sciences Humaines de Strasbourg. She is an honorary professor in the Ecole nationale supérieure d’Architecture at Paris-val-de-Seine. Over the years, he research has focused on the work of Le Corbusier, theatre set design and Mexican architecture.

After her early publications, including Ronchamp, lecture d’une architecture (Pu de Strasbourg, 1980), curating exhibitions such as Le Corbusier et la Méditerranée (Centre de la Vieille Charité, Marseille, 1987) and the artistic works section of L’aventure Le Corbusier (Centre Pompidou, Paris, 1987), in recent years Danièle Pauly has devoted herself to researching the Swiss architect’s graphic works through exhibitions Le Corbusier, le dessin comme outil (Nancy, 2006-2007), Le Corbusier. Le jeu du dessin (Antibes-Münster, 2015-2016) and Le Corbusier.

The Paths to Creation (Seoul, 2016-2017), along with publication of Le Corbusier. Albums d’Afrique du Nord in 2013, of Ce labeur secret, Le Corbusier et le dessin in 2015 and in 2018 Le Corbusier. Drawing as Process, published by Yale University Press.

She is the author of the Catalogue raisonné des dessins de Le Corbusier, of which Volume I was published at the end of 2019.

“Le Corbusier’s early drawings. 1902-1916” | © Enrico Cano Teatro dell’architettura Mendrisio, interno, Università della Svizzera italiana | Architect: Mario Botta

THE CATALOGUE ON DISPLAY “Catalogue raisonné des dessins de Le Corbusier” Volume I, 1902-1916 edited by Danièle Pauly

Between October 1902 and May 1965, Le Corbusier made several thousand drawings and sketches. About 5000 of these are housed at the Fondation Le Corbusier, the rest are in public and private collections. Starting in 2019, working in partnership with the Fondation Le Corbusier AAM Editions (Paris-Brussels) began an ambitious project to publish a four- volume catalogue raisonné of the architect’s drawings.

The first volume, which is on sale at the exhibition after publication in December 2019, is dedicated to Le Corbusier’s education and travel (1902-1916), until he definitively moved to Paris in early 1917.

AAM Editions Bruxelles / Fondation Le Corbusier supported by: Centre National du Livre, Parigi Fondazione Teatro dell’architettura, Mendrisio

32 x 24 cm, 304 pages, cartonboard, 968 ill., b/w and colour, french language edition Price at exhibition 50 CHF/Euro

Chapel of Notre Dame du Haut in Ronchamp, France: photograph from Colin Bisset

LIVING LE CORBUSIER

The Accademia of architettura of the Università della Svizzera Italiana, in partnership with MDFF-Milano Design Film Festival, is promoting the “Living Le Corbusier” programme, a selection of films made between 1966 and 2018 by French, Italian, Swiss architect, which can be viewed from 19 September 2020 to 24 January 2021 in the Gallery on the second floor of the Teatro dell’architettura Mendrisio.

THE TEATRO DELL’ARCHITETTURA A MENDRISIO

The Teatro dell’architettura Mendrisio, built on the Campus of the Academy of Architecture – Università della Svizzera Italiana, was designed by arch. Mario Botta, promoted and realized thanks to the joint work of the Università della Svizzera italiana and the Fondazione Teatro dell’architettura, in order to offer a privileged dialogue space for the cultural debate on architecture, the city, the landscape.

Alongside the teaching and research activities carried out within the Academy of Architecture, this initiative aims to strengthen the educational offer with exhibitions, seminars and different activities to give visibility to the new transdisciplinary interests that increasingly intervene in the design process and redefine the social role of architecture.

The Teatro dell’architettura also serves as a platform for exchange with other institutions for which contemporary culture is the field of interest.

MUSEI D’ARTE DEL MENDRISIOTTO

In 2020 the Teatro dell’architettura Mendrisio, together with the Vincenzo Vela Museum in Ligornetto, the Pinacoteca Giovanni Züst in Rancate, the m.a.x. museum in Chiasso and the Museo d’arte Mendrisio, have activated the Network Musei d’Arte del Mendrisiotto (MAM) with the aim of strengthening visibility, promoting knowledge and enhancing the presence of the institutions themselves, underlining the diversity, richness and complementarity of their cultural offerings (painting, sculpture, architecture, design, graphics and photography) both at regional and national level and internationally.

In order to encourage the public to move around the territory and visit the museums of Mendrisiotto, on the occasion of the promotion of the network and starting from September 2020.

INFORMATION “Le Corbusier’s early drawings. 1902-1916” September 19, 2020 – January 24, 2021 Curated by Danièle Pauly

Exhibition promoted by the Fondazione Teatro dell’architettura, in partnership with the Accademia di architettura – Università della Svizzera italiana.

Teatro dell’architettura Mendrisio Via Turconi 25 – 6850 Mendrisio, Switzerland

Open days: sunday 04.10.2020, 10 am- 6 pm sunday 01.11.2020, 2 pm- 6 pm sunday 06.12.2020, 10 am -6 pm sunday 03.01.2021, 10 am – 6 pm sunday 24.01.2021, 10 am – 6 pm

Reserved required at info.tam@usi.ch

For accreditation/exhibition press kit: Servizio Comunicazione istituzionale USI E-mail: media.tam@usi.ch In Italy: ddl studio | T +39 02 8905.2365 Alessandra de Antonellis | E-mail: alessandra.deantonellis@ddlstudio.net | T +39 339 3637.388 Ilaria Bolognesi | E-mail: ilaria.bolognesi@ddlstudio.net | T +39 339 1287.840

Calendar and Opening Hours: “Le Corbusier’s Early Drawings. 1902-1916” Exhibition. September 19, 2020 – January 24, 2021

· tuesday / wednesday/ thursday / friday: 2-6 pm · saturday / sunday: 10 am – 6 pm · information on special openings and closures: https://ift.tt/35RFco0

Contact and info: Tel.: +41 58 666 5867 – E-mail: info.tam@usi.ch

Tickets for the “Le Corbusier’s Early Drawings. 1902-1916” Exhibition · Full price: CHF/Euro 10.- · Reduced: CHF/Euro 7.- (Students wirth card, FAI Italia, FAI Swiss, OTIA, AVS/AI, groups) · Free entrance: Students, USI-SUPSI collaboratorators and teachers, Friends of the Academy of Architecture, anyone under the age of 18, and all pupils at school in the Canton of Ticino. · Reduction of 2 CHF/Euro for MAM card holders

LIVING LE CORBUSIER September 19, 2020 – January 24, 2021 Curated by Silvia Robertazzi and Marco Della Torre Programme organized by the Accademia di architettura – USI, in partnership with Milano Design Film Festival

Teatro dell’architettura Mendrisio Via Turconi 25 6850 Mendrisio, Switzerland

Calendar and Opening Hours “Living Le Corbusier” programme September 19, 2020 – January 24, 2021

· tuesday / wednesday / thursday / friday: 2 – 6 pm · saturday / sunday: 10 am – 6 pm · information on special openings and closures: https://ift.tt/35RFco0 · Programme of screenings on the website https://ift.tt/2EiWQ8I · Free entrance

Contact and info Tel.: +41 58 666 5867 – E-mail: info.tam@usi.ch

Le Corbusier Buildings

Le Corbusier – highlights below:

Villa Le Lac, Corseaux, Switzerland by Jan Theuninck, acrylic on canvas, 70 x 100 cm, 2017 image courtesy of Jan Theuninck

Loving Le Corbusier A new novel ‘Loving Le Corbusier’, tells the story of Yvonne, the wife of architect Le Corbusier.

Book cover:

Yvonne, the architect’s wife: photograph © Fondation Le Corbusier

The architect’s grave – designed by himself – in the south of France: photo from author Colin Bisset

Cité de Refuge, 12 Rue Cantagrel, 75013 Paris, France photo by Rory Hyde Cité de Refuge Building in Paris

Corb Tapestry at Sydney Opera House, New South Wales, Australia photo from www.smh.com.au Sydney Opera House

Villa La Roche, Paris, France – added 12 Jun 2011 Date built: 1925 Design: with Pierre Jeanneret photograph © Karavan Villa La Roche

Villa Savoie, Poissy, north west of Paris, France Date built: 1929 Villa Savoie – key Modern French building

Villa Savoye : photos of this famous Le Corbusier house as a ruin.

Le Corbusier Show : The Interior of the Cabanon Le Corbusier Exhibition : RIBA, London

Unité d’Habitation, Berlin German Unité d’Habitation Berlin Le Corbusier building

American Le Corbusier building – UN Building New York

Location: 35 rue de Sèvres, Paris, France

Architecture Practice Information

Former architect studio based in Paris, France – world-famous Modernist architect

Corb had his architect studio at 35 rue de Sèvres from 1922 with his cousin Pierre Jeanneret.

Paris Architects : Parisian Architecture Studios

French Buildings

Modern Architecture

Modern Architects

Modern Houses

Paris Architecture

Architecture Studios

Buildings / photos for the Le Corbusier Paris Architecture – French Modernist Architect page welcome

Website: Fondation Le Corbusier, Paris

The post Le Corbusier’s early drawings. 1902-1916 appeared first on e-architect.

[vintagereveries]

Silver Anniversary of the St. Louis Municipal Opera - 1943 Season Program

This entry is part 1 of 13 in the series St. Louis Municipal Opera 1943

I came across this Silver Anniversary Program for the 1943 Season of the St. Louis Municipal Opera (now known as The Muny), in going through some of my boyfriend’s deceased dad’s mountains of papers. Ofcourse, I took it home and scanned all the pages immediately! It’s in near perfect condition and what a wonderful local St. Louis artifact from the midst of World War II. Be sure to read the A Brief History of the St. Louis Municipal Opera, as written in 1943.

One of the things that struck me when glancing through it, was the amount of advertisements for beer and for funeral homes, but during World War II lots of lives were being lost and everyone needed a bit of an escape! Hoffmeister Mortuary, 6464 Chippewa, had a full color full page ad on the inside of the front cover. I also went ahead and scanned the back cover, an advertisement for to buy more war bonds and carry your share for victory.

Below are the cover of the 1943 Municipal Opera Season Program, the back cover, inside the front cover, and the first page which is a listing of the Officers and Directors on the Municipal Theatre Association of St. Louis:

OFFICERS:

President JACOB M. LASHLY

First Vice-President A. M. KELLER

Second Vice-President ARTHUR SIEGEL

Third Vice-President – – JOHN B. STRAUCH

Treasurer M. E. HOLDERNESS

Assistant Treasurer WILLIAM N. Sitton.

Secretary MONA B. CRUTCHER DIRECTORS: ARTHUR B. BAER, PALMER B. BAUMES, WILLIAM DEE BECKER, LOUIS H. BEHRENS, ROBERT B. BROOKS, G. A. BUDER, GEORGE M. BURBACH, O. R. CALHOUN, JR,  VINCENT M. CARROLL, HENRY S. CAULFIELD, MARTIN J. COLLINS, J. RUSSEL COULTER, MONA B. CRUTCHER, NELSON CUNLIFF, THOMAS N. DYSART, OSCAR B. FISCHER, S. W. FORDYCE, W. L. HEMINGWAY, ADOLPH B. HILL, JR., M. E. HOLDERNESS, A. M. KELLER, ARTHUR A. KOCIAN, LOUIS A. LANGE, JACOB M. LASHLY, CARL S. LAWTON, J. W. McCAFEE, SIDNEY MAESTRE MORTON MAY FRANK M. MAYFIELD ARTHUR C. MF.YERS JOSEPH GILMAN MILLER JOHN J. NANGLE E. LANSING RAY E. LANSING RAY, jR. ELZEY ROBF.RTS CARL E. ROESSLER, W. T. ROSSELL,  OTTO E RUGG,  ARTHUR SIEGEL, WILLIAM N. SITTON, HERMANN SPOEHRER, JOHN B. STRAUCH, CHARLES M. TALBERT, RALF TOENSFELDT, R. W. UPSHAW, F. W. A. VESPER, MAHLON B. WALLACE, JR., W. B. WEISENBERGER, KELTON E. WHITE, PAUL J. WIELANDY, PARKER H. WOODS RICHARD H. BERGER, Productions Manager PAUL BEISMAN, Manager

(I used an Optical Character Recognition program for the above, please excuse any typos that I didn’t catch).

Silver Anniversary of the St. Louis Municipal Opera – 1943 Season Program was originally published on VintageReveries - Vintage Fashion and Ephemera Blog