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German-American dialogues and the Mo...

Samson, Miles David.

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German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933./
作者:	Samson, Miles David.
面頁冊數:	688 p.
附註:	Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0278.
Contained By:	Dissertation Abstracts International50-02A.
標題:	Architecture. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8909009

German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933.
Samson, Miles David.

German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933. - 688 p.

Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0278.

Thesis (Ph.D.)--Harvard University, 1988.

Between the discovery of Frank Lloyd Wright by German architects in 1910 and the "Intellectual Migration" from Europe after 1933, connections between the German and American architectural scenes were through common themes in cultural criticism. In post-World War I Germany, the design theories of the Modern Movement were limited by distinctions between Kultur, a national ethos in which thought and material existence were integrated in spiritually fulfilling ways, and Zivilisation, a social system in which actions were based on mere expediency and thus a source of alienation. Belief that industrialism led to Zivilisation hampered architects who wanted to use modern engineering in a new, socially useful style. Advocates of social modernization, however, described America as a country where Zivilisation had produced a rich, stable society. Debate on the merits of American institutions--"Amerikanismus"--gradually colored architects' ideas of culture and modernity. From critiques of the American skyscraper as a source of urban anomie, modernists like Erich Mendelsohn deduced that American culturelessness could also be a source of personal and aesthetic liberation. Such arguments allowed designers at the Bauhaus and housing architects to experiment with such American phenomena as Scientific Management and advertising, in order to create a style based on anonymous technical processes.Subjects--Topical Terms:

523581
Architecture.

German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933.
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245 1 0 $a German-American dialogues and the Modern Movement before the 'Design Migration,' 1910-1933.
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500 $a Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0278.
502 $a Thesis (Ph.D.)--Harvard University, 1988.
520 $a Between the discovery of Frank Lloyd Wright by German architects in 1910 and the "Intellectual Migration" from Europe after 1933, connections between the German and American architectural scenes were through common themes in cultural criticism. In post-World War I Germany, the design theories of the Modern Movement were limited by distinctions between Kultur, a national ethos in which thought and material existence were integrated in spiritually fulfilling ways, and Zivilisation, a social system in which actions were based on mere expediency and thus a source of alienation. Belief that industrialism led to Zivilisation hampered architects who wanted to use modern engineering in a new, socially useful style. Advocates of social modernization, however, described America as a country where Zivilisation had produced a rich, stable society. Debate on the merits of American institutions--"Amerikanismus"--gradually colored architects' ideas of culture and modernity. From critiques of the American skyscraper as a source of urban anomie, modernists like Erich Mendelsohn deduced that American culturelessness could also be a source of personal and aesthetic liberation. Such arguments allowed designers at the Bauhaus and housing architects to experiment with such American phenomena as Scientific Management and advertising, in order to create a style based on anonymous technical processes.
520 $a In the early 1930s American critics realized that the Germans' stylistic fusion of art and industrialism could also help give culture a more secure place in industrial America. The writer Lewis Mumford linked individual creativity to machine processes by seeking a cultural synthesis through architecture. Optimistic about the world of flux described by Dewey and Whitehead, he welcomed the industrial-process-centered methods of the Modern Movement. The art historians at the Museum of Modern Art equated the aesthetic excitement of avant-garde design with their own desire to overthrow the architectural Establishment. Hostile to social issues, they welcomed the stylistic results of Amerikanismus but ignored the critical stance behind them. These incompatible responses to the Modern Movement, the holistic and the aesthetic, together made the more unified German design approach viable in America.
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