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Programs and manifestoes on 20th-century architecture edited by Ulrich Conrads and translated by Michael Bullock Summary. Frank Lloyd Wright: Organic Architecture     Wright wrote an introduction in his publication in Berlin about the architectural idea of a free spatial flow between the various dwellingareas, and the organic development of a building on a L-,X-, or Tshaped ground plan. In Organic Architecture, is not consider the building as one thing, its furnishings and its setting an
  Programs and manifestoes on 20th-century architecture edited byUlrich Conrads and translated by Michael Bullock Summary.Frank loyd !right #rganic $rchitecture ã Wright wrote an introduction in his publication in Berlin about thearchitectural idea of a free spatial ow between the various dwelling-areas, and the organic development of a building on a L-,X-, or T-shaped ground plan. ã In rganic !rchitecture, is not consider the building as one thing, itsfurnishings and its setting and environment, all are to be studiousl provided for in the nature of the structure. ã  The tall modern !merican opportunit in !rchitecture consist in ahuman dwelling-place as a wor# of art, e$pressive and beautiful,related to modern life and %t to live in, lending itself more freel ,%tting in colour, pattern and nature the utilities. ã Wright propose the higher ideal of unit as more intimate wor#ing outthe e$pression of one&s life in one&s environment. %&e Sti'l( Manifesto ) ã ! group of radical artists too# the name &'e (ti)l& under leadership of  Theo van 'oesburg had a goal* the organic combination of architecture,sculpture and painting in a lucid, elemental, unsentimental construction. ã  Their constructive doctrine was aimed at a new aesthetic. The %rst wordwas &purit * a &white& world was to replace the &brown& one. ã  There is an old and a new consciousness of the age. The old directedtowards the individual, the new towards the universal. ã  The war and its content* Individual predominance in ever %eld ã  The new art contained* a relationship of e+ualit between the universaland the individual. ã  The founders of the new culture eliminated the obstacles to develop inthe wa of pure artistic e$pression, the logical conclusion of ever artistic concept. $dolf oos #rnament and crime ã !dolf Loos and his remar# of Louis (ullivan* &It could onl bene%t us if fora time we were to abandon ornament and concentrate entirel on theerection of building that were %nel shaped and charming in theirsobriet &. ã !dolf developed his radical aesthetic purism, which made him a ealousfoe of !rt ouveau and the erman Wer#bund.IT/(0 1ampus 1hihuahua2essica 3aola !guirre 4illado - !567859:;  ã <The evolution of culture is s non mous with the removal of ornamentfrom utilitarian ob)ects< ã <We prefer a consumer who has a set of furniture that becomesintolerable to him after ten ears, and who is conse+uentl forced torefurnish ever ten ears, to one who onl bu s an ob)ect when the oldone is worn out< ã If all ob)ects would last aestheticall as long as the do ph sicall , theconsumer could pa a price for them that would enable the wor#er toearn more mone and wor# shorter hours. =or an ob)ect I am sure I canuse to its full e$tent I will willingl pa four times as much as for onethat is inferior in form or material. ã  The ornamented ob)ects are tolerable onl when the are of the mostmiserable +ualit . ã  The modern man who holds ornament sacred as a sign of the artisticsuperabundance of past ages will immediatel recognie the tortured,strained, and morbid +ualit of modern ornaments. ropius>Taut>Behne* ew ideas on architecture.IT/(0 1ampus 1hihuahua2essica 3aola !guirre 4illado - !567859:;
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