Biografia Semper
Páginas: 7 (1676 palabras)
Publicado: 22 de septiembre de 2014
Gottfried Semper (1803-1879): arquitecto e historiador de la arquitectura, desarrolló ideas sobre tecnología, historia del arte y arquitectura. Estudió matemática en la Universidad de Göttingen en Alemania, realizó un curso de arquitectura en la Academia de Munich dictado por Friedrich von Gärtner (1792-1847) y luego trabajó como ingeniero hidráulico en París bajo Franz Christian Gau(1790-1854). Por la recomendación de Gau, Semper fue asignado profesor de arquitectura en la Academia de Dresden en 1834. Allí, instituyó un programa de historia de la arquitectura y se le solicitó una reforma de la escuela de arquitectura. Para ella recomendó la integración de la teoría y la práctica en el trabajo, reemplazando la estructura del curso con un taller más experimental.
Dentro de losestudios de Semper se encuentra el de la policromía en edificios de la antigüedad. Tras un estudio de los edificios de la antigua Grecia, Semper declaró que la policromía para la arquitectura era estéticamente importante y la norma de la mayoría de los edificios antiguos. Estas ideas fueron publicadas en 1834 como Vorläufige Bemerkungen. Otra de sus obras más reconocidas fue Der Stil, publicada en 1860,en la que teoriza sobre el progreso de la arquitectura basado en la emulación de las ciencias naturales. Una de las hipótesis fundamentales de Semper en esta obra es que “la forma está determinada por los materiales”. A su vez, sostiene que las condiciones sociales, económicas y climñaticas son esenciales para el estilo, conducido por la libre voluntad de seres humanos creativos.Biografía Mallgrave
The earlier selections from the Semper essay on polychromy represented the architect at the very beginning of his career.
In 1834, in part due to his essay on polychromy, he was appointed as profesor of architecture at the Dresden Academy of Fine Arts.
Shortly thereafter he lunched a very successful architectural career, beginning with his much applauded design for theDresden Royal Theatre.
Of necessity, after having suffered a political exile from Germany, he turned to theory.
In 1851 he published the first sinopsis of his ideas, which he entitled The Four Elements of Architecture. Much of the text deals with his earlier ideas on polychromy and constitutes his response to the earlier criticisms of the art historian Franz Kugler. But in the fifth chapter of thebook Semper lays out two parts of his later theory, which views the history of architecture as a process of symbolic and formal development.
The first is the notion that architecture derives its essential forms from four primordial or original motives found in the technical arts of ceramic, roofing (carpentry), mounding (terracing and masonry), and weaving (walling).
The second notion is hisso-called Beikleidung or “dressing” thesis. This archeological and spatial theme suggests that the textile motive for the wall underwent an intricate process of formal development, as the conceptual rudiments of weaving evolved into textile wall hangings and later into solid wall dressings (paneling and paint) that emulated in style their original textile origin.
This line of reasoning wouldbecome the start of a very elaborate theory that Semper would ultimately devise and publish in his two entitled Style.
wrote a critique in 1951 about the Great London Exhibition. Semper´s essay differed form most others in that he attributed the failings of the event not so much to poor taste or the problema of historicism, but rather to the changed technical conditions- new materials andtechniques- of the industrial age. These conditions, in his view, had fundamentally altered the ground of art and were in fact in the process of destroying art in the traditional sense. This process of dessintegration was not necessarily a good or bad thing, it was simply an inevitability that would eventually créate a new, nonhistorical art. Semper here also presents a new definition of style- not...
Dentro de losestudios de Semper se encuentra el de la policromía en edificios de la antigüedad. Tras un estudio de los edificios de la antigua Grecia, Semper declaró que la policromía para la arquitectura era estéticamente importante y la norma de la mayoría de los edificios antiguos. Estas ideas fueron publicadas en 1834 como Vorläufige Bemerkungen. Otra de sus obras más reconocidas fue Der Stil, publicada en 1860,en la que teoriza sobre el progreso de la arquitectura basado en la emulación de las ciencias naturales. Una de las hipótesis fundamentales de Semper en esta obra es que “la forma está determinada por los materiales”. A su vez, sostiene que las condiciones sociales, económicas y climñaticas son esenciales para el estilo, conducido por la libre voluntad de seres humanos creativos.Biografía Mallgrave
The earlier selections from the Semper essay on polychromy represented the architect at the very beginning of his career.
In 1834, in part due to his essay on polychromy, he was appointed as profesor of architecture at the Dresden Academy of Fine Arts.
Shortly thereafter he lunched a very successful architectural career, beginning with his much applauded design for theDresden Royal Theatre.
Of necessity, after having suffered a political exile from Germany, he turned to theory.
In 1851 he published the first sinopsis of his ideas, which he entitled The Four Elements of Architecture. Much of the text deals with his earlier ideas on polychromy and constitutes his response to the earlier criticisms of the art historian Franz Kugler. But in the fifth chapter of thebook Semper lays out two parts of his later theory, which views the history of architecture as a process of symbolic and formal development.
The first is the notion that architecture derives its essential forms from four primordial or original motives found in the technical arts of ceramic, roofing (carpentry), mounding (terracing and masonry), and weaving (walling).
The second notion is hisso-called Beikleidung or “dressing” thesis. This archeological and spatial theme suggests that the textile motive for the wall underwent an intricate process of formal development, as the conceptual rudiments of weaving evolved into textile wall hangings and later into solid wall dressings (paneling and paint) that emulated in style their original textile origin.
This line of reasoning wouldbecome the start of a very elaborate theory that Semper would ultimately devise and publish in his two entitled Style.
wrote a critique in 1951 about the Great London Exhibition. Semper´s essay differed form most others in that he attributed the failings of the event not so much to poor taste or the problema of historicism, but rather to the changed technical conditions- new materials andtechniques- of the industrial age. These conditions, in his view, had fundamentally altered the ground of art and were in fact in the process of destroying art in the traditional sense. This process of dessintegration was not necessarily a good or bad thing, it was simply an inevitability that would eventually créate a new, nonhistorical art. Semper here also presents a new definition of style- not...
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