Marcel Lajos Breuer ( BROY -? r ; May 21, 1902 - 1 July 1981), was a modernist architect, architect, and designer born in Hungary. Breuer expanded the sculptured vocabulary he had developed at a carpentry shop in Bauhaus into a personal architecture that made him one of the world's most popular architects at the height of 20th century design.
Video Marcel Breuer
Kehidupan, pekerjaan, dan penemuan
Known to his friends and colleagues as LajkÃÆ'³ ( "English respelling pronunciation"> LY -koh ; small middle name), Breuer left the village page at the age of 18 to seek artistic training and was one of the first and youngest students at Bauhaus - the radical arts and crafts school founded by Walter Gropius in Weimar right after the first World War. He was recognized by Gropius as a significant talent and quickly placed in the head of the carpentry shop. (Gropius must remain a lifelong mentor for a man 19 years younger.)
After school moved from Weimar to Dessau in 1925, Breuer returned from a short stopover in Paris to join older faculty members like Josef Albers, Wassily Kandinsky, and Paul Klee as a Master, eventually teaching in the newly established architectural department.
First known for his discoveries of tubular furniture lined with bicycles, Breuer lived out of his design costs sometime in the late 1920s and early 1930s when the architectural commissions he sought were few and far between. He was known by giants like Le Corbusier and Mies van der Rohe, whose architectural vocabulary he later adapted as part of himself, but hardly considered the same as those who became his seniors for 15 and 16 years. Despite the widespread popular belief that one of Breuer's most famous tubular steel chairs, the Wassily Chair is designed for Wassily Kandinsky, it is not; Kandinsky admired the design of Breuer's finished chairs, and only then Breuer made additional copies for Kandinsky's use at his home. When the chair was re-released in the 1960s, it was set "Wassily" by the Italian manufacturer, who had learned that Kandinsky had been the recipient of one of the earliest early prototype units.
Gropius who commissioned Breuer's interior in 1927 Weissenhofsiedlung and took him to his first homework for Harnischmacher in Wiesbaden in 1932. Sigfried Giedion expanded their furniture collaboration at Wohnbedarf in Zurich to include a great furniture showroom and Dolderthal apartment outside the city.
In 1936, at the suggestion of Gropius, Breuer moved to London. Breuer's departure since then Nazi Germany has led some experts to silence him with a group of Jewish architects and artists who fled the country at that time. Although Breuer's parents were Jewish, it was only in 1981 that Christopher Wilk, who prepared his Interface book for MoMA, found his formal rejection of the Jewish faith in the presence of the chief Rabbi of Frankfurt in the Breuer archives in Syracuse. Breuer has declared himself as non-religious to marry his Bauhaus lover, Marta Erps (1902-1977).
While in London, Breuer was employed by Jack Pritchard at Isokon's company; one of the earliest supporters of modern design in England. Breuer designed the Long Chair and experimented with bent and molded plywood. Between 1935 and 1937 he worked in practice with Britain's Modernist F. R. S. Yorke with whom he designed a number of homes.
In 1937, Gropius accepted the appointment as chairman of the Harvard Design Graduate School and once again Breuer attended his mentor to join faculty at Cambridge, Massachusetts. The two men formed a partnership that greatly influenced the formation of the American way of designing a modern home - propagated by a large collection of wartime students including Paul Rudolph, Eliot Noyes, I. M. Pei, Ulrich Franzen, John Johansen, and Philip Johnson. One of the most complete examples of Breuer's furniture and interior designs during this period was Frank House in Pittsburgh, designed with Gropius as Gesamtkunstwerk.
Breuer broke with the figure of his father, Walter Gropius, in 1941 because of a very small problem but the main reason was to extricate himself from a better known name that dominated their practice. Breuer had married their secretary, Constance Crocker Leighton, and after a few years at Cambridge, moved to New York City in 1946 (with Harry Seidler as its main draftsman) to build a practice centered there for the rest of his life..
The Geller House I of 1945 was one of the first to use Breuer's concept of a 'binuclear' house, with separate wings for the bedroom and for the living room/dining room/kitchen, separated by the entrance, and with a distinctive 'butterfly' 'The roof (two opposite roof surfaces tilted to the center, centrally dried) is part of the popular modernist style vocabulary. Breuer built two homes for himself in New Canaan, Connecticut: one from 1947 to 1948, and another from 1951 to 1952. A demonstration house set up in the MoMA park in 1949 caused confusion of interest in the work of architects, and the award was written by Peter Blake. When the show is over, "Home in the Park" is dismantled and breaks through the Hudson River to regroup at the Rockefeller property in Pocantico Hills near Sleepy Hollow. Two of its most important institutional buildings were UNESCO Headquarters in Paris completed in 1955 and the Monastic Main Plan and Church at the Saint John Convent in Minnesota in 1954 (again, in part, on the recommendation of Gropius, a "competitor" for the work, which telling the monks that they needed a younger man who could finish the job.) This commission was a turning point in Breuer's career: moving to a larger project after years of residential commissions and the beginning of Breuer's implementation as a concrete as its primary media.
Breuer designed the Washington central building, D.C. to the US Department of Housing and Urban Development completed in 1968. While the building received some initial praise, in recent decades it has received widespread criticism. Former Minister of Housing and Urban Development, Jack Kemp once described the building as a "10th floor basement". Another former Secretary, Shaun Donovan, has noted that "the building itself is one of the most reviled throughout Washington - and with good reason." Many critics argue that the design of Breuer is unoriginal, and essentially mimics the UNESCO Headquarters and IBM Research Center he designed several years earlier.
Throughout the nearly 30 years and nearly 100 buildings that followed, Breuer worked with a number of partners and co-workers with whom he publicly and unofficially shared design credits: Pier Luigi Nervi at UNESCO; Herbert Beckhard, Robert Gatje, Hamilton Smith and Tician Papachristou in New York, Mario Jossa and Harry Seidler in Paris. Their contribution to the work of his life has been largely credited correctly, despite critics and publicly acknowledging the "Breuer Building" when they see one.
Breuer's architectural vocabulary moves through at least four recognizable phases:
- White box and international style glass school that he adapted for his early homes in Europe and the United States: Harnischmacher's House, Gropius House, Frank's House, and his first house in Lincoln, Massachusetts.
- Punctured wooden walls that characterize the 1948 "Home in the Park" for MoMA and a relatively modest set of homes for the university's knowledgeable faculty families in the 50s. This includes the first of his home in New Canaan, Connecticut, with his balcony hanging on a cantilever.
- The modular pre-fabricated façade panel first incorporated its favorite IBM Laboratory in La Gaude, France and later used in many of its institutional buildings plus the entire town of Flaine. Some critics talk about repetitiveness but Breuer cites a professional friend: "I can not design a new system every Monday morning."
- The stone and concrete shaped he used for his unique and memorable commissions: his most famous project, the Whitney Museum of American Art, the Church of Muskegon and St John, the Atlanta Public Library, and his second home in New Canaan.
Breuer was awarded the Gold Medal from the American Institute of Architects at their 100th annual convention in 1968 in Portland, Oregon. In an ironic event, it coincided with a general criticism of one of America's favorite architects because of its willingness to design a multi-storey office building over Grand Central Station. The project was never built. The price is a lot of friends and supporters despite its defeat by the US Supreme Court setting the right of New York and other cities to protect their landmarks. During his lifetime, Breuer rarely acknowledged the influence of another architect's work on himself, but he certainly used a coarse concrete formed by the council of Le Corbusier and the noble self-esteem of the second Canaanite house seems to have descended directly from the Mies' Barcelona Pavilion. Shortly before his death, he told an interviewer that he considered his main contribution to be an adaptation of the old architect's work to the needs of modern society. He died in his apartment in Manhattan in 1981, leaving his wife Connie (died 2002), son of Tom, and daughter of Cesca. His colleagues maintain the office with his name and permission in Paris and New York for several years but, with their final retirement, each is now closed.
Maps Marcel Breuer
Breuer's chronology
From Archives of American Art, Smithsonian Institution :
- - Marcel Breuer Online Papers comprise major digital source documents, including biographical materials, correspondence, business and financial records, interviews, notes, writings, sketches, project files, exhibition files, photographs and printed materials
- - A Seeking Assistance to Marcel Breuer Papers , by archivist Jean Fitzgerald, contains excellent and extensive biographies and chronology based on major source collections in Archives of American Art, Washington, DC
- - Marcel Breuer: The Hundred Years Celebration is an online version of the 2002 exhibition.
- Marcel Breuer, Saint John's Convent and University
- Marcel Breuer, 1902-1981. Breuer Lecture Collection: Inventory (Harvard University)
- Marcel Breuer in Saint John's: Architects use Gothic inspiration to create the Modernist campus from the Chronicle of Higher Education
- Newspaper articles and archived images from the College of Saint Benedict/Saint John's Digital Image Library "Vivarium"
- The current work of former collaborators Breuer and colleagues Michele Michahelles and Mario Jossa
- Kniffin House , 1948
- http://www.irishtimes.com/life-and-style/marcel-breuer-the-last-modernist-gets-his-just-deserts-1.2842911
Source of the article : Wikipedia
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