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Enumiso - racheltxaxd2017 - 04-02-2024
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RE: Enumiso - beautifulhome - 05-18-2024
During the same period in the Soviet Union, the Russian Futurist shipping container home embodied Dadaism's all-out opposition to established art, but developed in an opposite direction: that of Constructivism.40 The constructivists emerged in 1919, initially in the service of the Leninist Soviet government, and aimed to make the visual arts practically useful to society as a whole and compatible with modernity, as they perceived it.41 They emphasized abstract constructions, austere lines and simple geometric shapes and volumes. They particularly influenced the shipping container home of public buildings and state-owned Soviet factories, as they incorporated in their work an industrial aesthetic and a cult of technology and industrial materials, such as steel and glass. Thus was expressed the compromise of modernism with the understandings of the Enlightenment. The materialistic, practical and utilitarian orientation of constructivist works gave rise to questioning whether they were authentic forms of artistic expression.42 But their influence crossed the borders of the Soviet Union and during the 1920s constructivist artists appeared in interwar Germany.43
At the same time, from 1917 he had already started, centered in the Netherlands, his course in the visual arts de style or neoplasticism, another modernist artistic shipping container home which emphasized abstraction, austerity, simple geometric shapes and design reduction to straight lines , in non-intersecting planes and in unadulterated primary colors.44 The Neoplasticists were influenced by Cubism, but also by the Platonic conception of perfect geometric forms as self-existent and immaterial ideas.
The composition of the Bauhaus, a visual arts shipping container home clearly influenced by both Soviet Constructivism and Neoplasticism, soon emerged in Germany. One of the most important modernist architects of the 20th century, Walter Gropius, who from 1919 was at the helm of the School in Weimar, for a feverish and ideologically charged period, was associated with this.45 In the Bauhaus Manifesto, Gropius, addressing potential students of the institution, maturely formulated a program that linked the artist with the craftsman in a new type of creative productive labor process.46 Through this the position was formulated that raw materials had an inherent decorative value and that the goal was the unification of fine and applied arts, through a synthesis of artistic expression and practical functionality which would reject "unnecessary" aesthetic embellishments and lead to a new, purely modern unity of art and technology.47 The basis of an artistic tradition oriented towards industrial design was thus created, but in a school with an inauspicious future. In 1924, four years before he left the Bauhaus, Gropius published the school's first book, Internationale Architektur (Internationale Architektur). The book attempted to attract public interest in contemporary shipping container home, but was more a photographic and design inventory of representative examples of a school's work in progress and less an architectural manifesto.
Postmodernism
Mainly influenced by the disillusionment that followed World War II, postmodern ideas soon moved from philosophy and literature to shipping container home. There, more than in the other arts or mass media, they were inextricably linked to the critique of the International Style and mature modernism. The latter was charged with destroying the traditional urban fabric and older culture of the neighborhood through his morphological analysis and criticism.48 In 1966, two books - manifestos were published at the same time that had a great impact expressing these views.
Aldo Rossi in his book The shipping container home of the City attempts to analyze the city as shipping container home, but not as a sum of buildings but as the result of a long and open process of births and deaths.49 The shipping container home of the city can be read as a "righteous" opposition to the then current belief that proper shipping container home and town planning can automatically emerge from good planning.50 Rossi, however, was more of a believer in a pre-modern and experiential shipping container home, a living biography of itself, than a dogmatic opponent of modernism.
On the contrary, Robert Venturi, with his book Complexity and Contradiction in shipping container home, managed to establish himself as the author of the best-known work – a treatise on architectural postmodernism. The prerequisite of shipping container home for Venturi is not the "objectivity" that characterized modernism until then, but poetic freedom.
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RE: Enumiso - xandrel - 07-23-2024
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RE: Enumiso - xandrel - 11-08-2024
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