“The construction of this extraordinary work of architecture will support IU’s growth in one of IU’s newest schools,” said IU president Michael A. McRobbie in a statement, “and will serve as an enduring symbol of the legacy of generosity of Sidney and Lois Eskenazi, and an enduring symbol of the very founding of architectural modernism.” Established in 2016, the Eskenazi School of Art, Architecture + Design combines 14 areas of study in IU’s art, architecture, design, and merchandising programs. The new building is slated for completion in June 2021.
Here's another view. 👀 pic.twitter.com/uVXzDg3opH— Indiana University Bloomington (@IUBloomington) August 9, 2019
Posts tagged with "Modernism":
Was it an ironic coincidence or part of the modern movement’s DNA that the heroic architectural avant-garde of the 1920s and 1930s was accompanied, promoted, and memorialized by historians even as protagonists like Walter Gropius vaunted breaking the shackles of history? Despite protests to the contrary, the key 19th-century concept of historicism—the idea of the spirit of the age as form-giver—was inherited by a generation of historians and polemicists. Gropius found the first of his genealogically inclined historian champions in the German art historian Nikolaus Pevsner, who published Pioneers of the Modern Movement: From William Morris to Walter Gropius in English in 1936 with the Museum of Modern Art.
By then, Le Corbusier had already found his James Boswell in art historian Sigfried Giedion, a fellow Swiss. Giedion collaged Le Corbusier’s work in the form of both images and paraphrased slogans into his first historical manifesto in 1928 with Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton. The book took the tradition of Wöfflinian art history into a millenarian manifesto mode with its use of startling transhistorical photographic juxtapositions.
For decades, Giedion would serve as secretary and scribe of CIAM, the Congrès Internationaux d’Architecture Moderne, founded the same year that Bauen in Frankreich was published—even as he continued to lecture, publish, and compose novel illustrated volumes in which he inscribed the present in an ever lengthening historical trajectory that ultimately took him back to the prehistoric. It has always been held, however, that his most lasting and influential work, Space, Time, and Architecture, published in 1941, derived as the concrete result of the first of his many trips to the United States to give public lectures at Harvard between 1938 and 1939, the very years the Bauhaus masters were settling into teaching positions in Cambridge and Chicago. Like Pevsner’s Pioneers, Giedion’s book, which was also originally published in English, has remained continuously in print for over 75 years, exerting an enormous influence even as it has transitioned from being read as a source for the history of modern architecture to being analyzed over and over again as an artifact of the modern movement in the historiographic turn in architectural history of the last 20 years. But Reto Geiser’s book demands that we take a longer look at the historian himself.
Giedion has indeed now found his own historians. In 1989, soon after his papers were organized and opened to researchers in Zurich, a first intellectual biography—simply titled Sigfried Giedion—was published by the collection’s then-curator, Sokratis Georgiadis. Now Reto Geiser’s Giedion in America is both an homage to a fellow Swiss historian’s mastery of integrating images and text and a subtle reflection on the important role that America—as a place, idea, and culture—played in the formation of one of the most influential intellectual projects in 20th-century architectural history.
Geiser organizes his analysis less in a strict chronological fashion than as a series of four extended essays on different interpretations on the theme of Geidion as a figure “in between” countries and cultures. In the process, he weaves together cultural influences that go far beyond any previous analyses of Giedion’s involvement with American intellectual life, while also underscoring a number of paradoxes and ironies of his career. The first of these is language, since Giedion’s less than perfect command of spoken English contributed to the innovations of his visual layouts, first in slide lectures and then in the meticulous care with which he worked on the mock-ups of his page layouts—many of which are illustrated in Geiser’s book—in collaboration with book designers like Herbert Bayer and Jaqueline Tyrwhitt, the handmaiden to the readability of his text.
No less does it set the stage for the chapter “In Between Approaches,” which analyzes Giedion’s engagement with the published works of established figures of American thought such as philosopher Alfred North Whitehead and cultural historian Lewis Mumford. Indeed, the dialogue between Mumford and Giedion in establishing the American contribution to the development of modern architecture is the subject of some of the most consequential passages in a book that zigzags between a rich orchestration of information about this “art historian’s central role in a global network of modern architects” and astute analysis of his evolution as a historical thinker. This is one of the chief contributions of Geiser’s study.
On the Swiss side, the most interesting revelations concern Giedion’s frustration with failing to ever find a position in the academic establishment in Zurich, despite the prestige he held at Harvard. This plagued Giedion throughout his career.
Geiser is the first biographer of Giedion to give full attention to the genesis and impact of his fascination with the art and architectural expressions of prehistoric and pre-Hellenic cultures, from the cave paintings discovered at Lascaux in 1940 to Sumerian ziggurats and Egyptian pyramids. These fascinations were first honed and presented for the general audience attending his 1957 Mellon Lectures at the National Gallery in Washington, D.C., and then expanded into The Eternal Present: The Beginnings of Art, a two-volume work. But Giedion scarcely lost himself in the dawn of time—even if his ever-patient art historian wife Carola Giedion-Welcker claimed that it took him for a time away from “all architectural problems.”
One of the most fascinating relationships that Geiser takes up is Giedion’s relationship to Marshall McLuhan, an earlier admirer of the historian, who understood from the outset the relationship of the medium of the book (or the slide lecture) to a message about the historical dimension of even the present moment. Appropriately enough, Giedion’s relationship to McLuhan, to György Kepes and the early years of the MIT Media Lab, and the creation of the Carpenter Center for the Visual Arts at Harvard—for which Le Corbusier would supply his only building on American soil—come together in Geiser’s final chapter, “In Between Disciplines.” Not only does this expand our understanding of Giedion’s role into the postwar period, but equally of Giedion as a historian protagonist as important to the evolution of media studies as he was to modern architecture and its history. Despite the numerous chronological backtrackings and the repetition of salient quotes that mar the text, Geiser has shed light on facets of Giedion’s long trajectory that recast a figure whose books were perhaps too long ago moved to an upper shelf with other college texts.
Barry Bergdoll is a professor of art history at Columbia University and recipient of the 2019 Cattedra Borromini professorship at the Accademia di Architettura in Mendrisio, Switzerland.