Tahiti https://tahiti.journal.fi/ <p><em>Tahiti – Taidehistoria tieteenä </em>on Taidehistorian seuran julkaisema tieteellinen aikakausjulkaisu, joka ilmestyy 2–4 kertaa vuodessa. Lehteä julkaisee Taidehistorian Seura – Föreningen för Konsthistoria. <em>Tahiti</em> toimii avoimena tieteellisenä taidehistorian alan julkaisufoorumina.</p> fi-FI <p>Tahitissa julkaistavien tekstien tulee olla ennalta julkaisemattomia, mutta kirjoittajilla on oikeus julkaista tekstinsä uudelleen. Kirjoittaja on vastuussa myös tekstinsä yhteydessä julkaistuista kuvista ja niiden tekijänoikeudellisesta käytöstä ellei toisin erikseen olla sovittu. Julkaistu teksti on&nbsp;julkisen lisenssin CC Nimeä–JaaSamoin 4.0 Kansainvälinen (<a href="https://creativecommons.org/licenses/by-sa/4.0/deed.fi">CC BY-SA 4.0</a>) alainen. Kuvien poikkeavat tekijänoikeudelliset tiedot löytyvät lehden&nbsp;sisäisistä kuvateksteistä. Julkaistujen artikkeleiden metadatan käyttölisenssi on CC0 1.0 Yleismaailmallinen (<a href="https://creativecommons.org/publicdomain/zero/1.0/deed.fi">CC0 1.0</a>). &nbsp;</p> tahitipaatoimittajat@gmail.com (Nina Kokkinen & Riikka Niemelä) tahitipaatoimittajat@gmail.com (Nina Kokkinen & Riikka Niemelä) la, 30 loka 2021 13:32:56 +0300 OJS http://blogs.law.harvard.edu/tech/rss 60 Conspicuously Quotidian https://tahiti.journal.fi/article/view/111940 <p>The international style of Bauhaus was intended as a promotion of a new lifestyle and way of thinking. This promotional character of modernism, however, was an issue of critique and debate among the Danish modernist designers and architects over decades. They tried to define Danish modern design as product of a national tradition of modest, user-centred objects. As the Bauhaus directors also fought against the reduction of their project to a ‘Bauhaus Style’ or a commercial fad, this was perhaps a fight on words. Beyond the ideal of modest, no nonsense object convincing users through their mute form only, promotion did, of course, had to be part of Danish modernism as well. The design had to be conspicuous in its simplicity through some kinds of presentation to sell to a broader public. Especially in the writings of the Danish architect and cultural criticist, Poul Henningsen, we find a constant negotiation of the two sides of this issue, as he made rather advanced explanations and advertisements for his famous lamp system, the PH-lamp.</p> Anders V. Munch Copyright (c) 2021 Anders V. Munch https://tahiti.journal.fi/article/view/111940 la, 30 loka 2021 00:00:00 +0300 On the Paradigmatic Influence of the Bauhaus in the Nordic Countries https://tahiti.journal.fi/article/view/111925 <p>Presented here is a brief review of the route for and delayed time factor of Bauhaus influences, in particular via architectural journals, into the Nordic countries, as well as some examples of contemporary influence of the Bauhaus Dessau building’s plan form from 1926 in the public building type, the city hall. A question being raised is what types of assimilation can be noted, and not least, where and why they occur. By the 1950s, is it a consolidation of impulses and/or a changed paradigm for compositional analysis that we see?</p> <p>It turns out that there are clear examples of such influence notably in Finland both in competition projects from the 1930s and in the odd completed building, such as the town hall in the municipality of Valkeakoski, 1950-56. Here one also sees examples of architectonic solutions originating in the Deutscher Werkbund, founded in 1907, and subsequently in the <em>Neue Sachlichkeit</em>/New Objectivity ideology developed in 1923-33. The Deutscher Werkbund in its turn was influenced by innovative designer Peter Behrens and his AEG Turbine Factory in Berlin from 1909, as well as in architecture more directly influenced by the Bauhaus architect and leader Walter Gropius and Bauhaus ideas and practice. One such solution affecting building plans was, in particular, the side corridor system which is used in the Bauhaus bridge element. An architectonic device was the exposed staircase behind a large glass window which was to become ubiquitous. Meanwhile the glass curtain wall of course becomes a well-known feature, but as used mostly in other large-size building types. For this aspect of assimilation a major example of technologization characterized by self-serving aesthetics, in Rødovre city hall, 1954-56, in Denmark, will be discussed.</p> Gerd Bloxham Zettersten Copyright (c) 2021 Gerd Bloxham Zettersten https://tahiti.journal.fi/article/view/111925 la, 30 loka 2021 00:00:00 +0300 The Influence of German Siedlungen and Bauhaus on Helsinki’s Prewar Housing Companies https://tahiti.journal.fi/article/view/111926 <p>The greatest achievement of the Bauhaus movement in terms of volume was the new approach to affordable housing, even though the movement itself contributed little in the way of building. Many of the Bauhaus teachers and students were involved during the 1920s and 1930s in new large-scale housing projects in Frankfurt, Berlin, and elsewhere in Germany, as originally required by the new Weimar constitution of 1919, which attempted to tackle the housing crisis via laws and new financing models. These new <em>Siedlungen</em> (subsidized housing estates) were made possible with earlier models of <em>Baugenossenschaften</em>and <em>Bauaktiengesellschafte</em>n, which acted as the main contractors and owners of the property and were partially subsidized by the city or the state. This form of cooperative building was naturally in line with Walter Gropius' manifest of 1919 and based also on cooperation between different parties.</p> <p>City of Helsinki did not have the resources to subsidize any kind of private building, though the housing crisis was certainly dire. However, the Finnish <em>Asunto-osakeyhtiölaki</em> (Liability Housing Companies Act, 1926) was partially developed for this purpose, to help build and maintain jointly owned real-estate properties. In short, a <em>housing company</em> is a normal joint-stock company that enables the stockowner to own a flat. This new system enabled both the stockowner and the company to borrow money, which in turn enabled the capital-poor lending banks to borrow from abroad. The law proved to be a success.</p> <p>The founders of these companies varied. The majority were normal developers who built to sell. Those in the minority included the state, cities, Finnish co-ops, and various <em>ad hoc</em> groups (usually according to profession, family, and so forth), such as railroad workers, bankers, professors, or officers. They hired their own supervisors, builders, and other experts, and, as can be expected, oversaw the work of the architect as well. In all cases, the city of Helsinki provided the master plan and sold or rented the land.</p> <p>This article sheds light on the influence of the Bauhaus movement and German architecture on housing in Helsinki using period’s professional press as data. The consensus has been that German influence came through Sweden. This paper is an inquiry into the role of direct German influence on Helsinki’s housing companies.</p> Juhana Heikonen Copyright (c) 2021 Juhana Heikonen https://tahiti.journal.fi/article/view/111926 la, 30 loka 2021 00:00:00 +0300 From Immaterial to Material https://tahiti.journal.fi/article/view/111927 <p>One hundred years after the foundation, the Bauhaus is well known as the epitome of modern design with countless books, articles and reviews illustrating a vivid discourse on how the Bauhaus influenced the design development since then. Greater parts of this discourse are dedicated to a rather material approach by pointing out the contradictions of Bauhaus design: the promise of creating prototypes for serial production on the one side and the actual products which are often handmade original art works, rather crafted in exquisite materials than designed for the masses.</p> <p>Walter Gropius’s original idea for his school thereby was about educating and inspiring modern individuals, teaching them how to work with their hands as well as their minds, how to reflect on the surrounding world, unifying hand crafting skills and artistic personality in times of the Machine Age. In the very special case of the correlation between design work as material product and the process of creating a design idea with all its psychological and personal implications must be differentiated. Especially the early spiritual and philosophical Bauhaus had set the base for a strong community, welded together by idealism, artistic spirit of creativity and strong faith in the sociocultural power of form and design.</p> Adriana Kapsreiter Copyright (c) 2021 Adriana Kapsreiter https://tahiti.journal.fi/article/view/111927 la, 30 loka 2021 00:00:00 +0300 Focus on Bauhaus and Nordic Architecture and Design https://tahiti.journal.fi/article/view/111924 <p>Editorial</p> Juhana Lahti, Leena Svinhufvud Copyright (c) 2021 Juhana Lahti, Leena Svinhufvud https://tahiti.journal.fi/article/view/111924 la, 30 loka 2021 00:00:00 +0300 Antelias kirja Kaija ja Heikki Sirenin arkkitehtuurista https://tahiti.journal.fi/article/view/111933 <p>Kirja-arvio teoksesta&nbsp;Juhana Lahti &amp; Frans Autio, toim. <em>Kaikki ja ei mitään. Arkkitehdit Kaija + Heikki Siren </em>(Helsinki: Suomen arkkitehtuurimuseo, 2020).<span class="Apple-converted-space">&nbsp;</span></p> Riitta Nikula Copyright (c) 2021 Riitta Nikula https://tahiti.journal.fi/article/view/111933 la, 30 loka 2021 00:00:00 +0300 Suomen arkkitehtuurin historia täydentyy https://tahiti.journal.fi/article/view/111934 <p>Kirja-arvio teoksesta&nbsp;Netta Böök, Kari Immonen, toim. &amp; Aino Niskanen, arkkitehtuurin historian asiantuntijatoim. sekä Laura Berger, kuvatoim.: <em>Uno Ullberg. Viipurin arkkitehti </em>(Arkkitehtuurimuseo, 2020).</p> Susanna Aaltonen Copyright (c) 2021 Susanna Aaltonen https://tahiti.journal.fi/article/view/111934 la, 30 loka 2021 00:00:00 +0300 Bauhausin moninaiset kaudet https://tahiti.journal.fi/article/view/111935 <p>Kirja-arvio teoksesta<span class="Apple-converted-space">&nbsp;</span>Wulf Herzogenrath, <em>Das bauhaus gibt es nicht</em>&nbsp;(Berlin: Alexander Verlag, 2019).<span class="Apple-converted-space">&nbsp;</span></p> Essi Syrén Copyright (c) 2021 Essi Syrén https://tahiti.journal.fi/article/view/111935 la, 30 loka 2021 00:00:00 +0300 Bauhaus-skolan en modell för Konstfackskolan 1944 https://tahiti.journal.fi/article/view/111928 <p>1930-talet var en brytningstid mellan modernism och traditionalism. I Sverige avgick modernismen med segern. Det ledde även till en radikal förändring av form-, konsthantverks- och designutbildningen på Tekniska skolan, som efter andra världskriget döptes om till Konstfackskolan. Gregor Paulsson, Svenska Slöjdföreningens direktör och den som drivit igenom Stockholmsuställningen och funktionalismen 1930, är också den som tillsammans med en liten grupp personer skriver det nya utbildningsprogrammet för Konstfackskolan. Idéerna hämtade han till stor del från Weimarrepublikens Bauhausskola.&nbsp;</p> Kerstin Wickman Copyright (c) 2021 Kerstin Wickman https://tahiti.journal.fi/article/view/111928 la, 30 loka 2021 00:00:00 +0300 Bauhaus in the Archive https://tahiti.journal.fi/article/view/111930 <p>Notes from a series of public talks arranged at ArkDes on the occasion of the Bauhaus' 100th anniversary in 2019.</p> Christina Pech Copyright (c) 2021 Christina Pech https://tahiti.journal.fi/article/view/111930 la, 30 loka 2021 00:00:00 +0300 Bauhaus Suomessa? https://tahiti.journal.fi/article/view/111931 <p>Arvio näyttelystä<span class="Apple-converted-space">&nbsp;</span>Kultainen kissa – Le Chat Doré. Birger Carlstedt 1907–75. Amos Rex, Helsinki,<span class="Apple-converted-space">&nbsp;</span>11.10.2019–12.1.2020.<span class="Apple-converted-space">&nbsp;</span></p> Susanna Aaltonen Copyright (c) 2021 Susanna Aaltonen https://tahiti.journal.fi/article/view/111931 la, 30 loka 2021 00:00:00 +0300 How Nordic Designers Reacted to Bauhaus? https://tahiti.journal.fi/article/view/111932 <p>Exhibition review: “Nordic Design: The Response to the Bauhaus”. Bröhan-Museum, Berlin, 24 October 2019 – 1 March 2020.<span class="Apple-converted-space">&nbsp;</span></p> Petteri Kummala, Joona Rantasalo Copyright (c) 2021 Petteri Kummala, Joona Rantasalo https://tahiti.journal.fi/article/view/111932 la, 30 loka 2021 00:00:00 +0300