Max Bill, Architecture and ArtConnections between the Ulm School of Design and the Pavilion-Sculptures

  1. Álvarez-García, Paula
  2. López-Bahut, Emma
Journal:
EGA: revista de expresión gráfica arquitectónica

ISSN: 1133-6137 2254-6103

Year of publication: 2018

Issue Title: Conversando con... Emilio Tuñón (parte 2)

Volume: 23

Issue: 33

Pages: 178-189

Type: Article

DOI: 10.4995/EGA.2018.7970 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: EGA: revista de expresión gráfica arquitectónica

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Abstract

In this article we explore the links between the Pavilion-Sculptures (1968-97) and the Ulm School of Design (1953), both of which formed part of the work of the multitalented artist and architect Max Bill. Through a graphic analysis, we study aspects such as location, movement, or spatial composition in his work, discovering the existence of a connection in the way he planned projects in different disciplines, and the influence of architecture on his sculpture in these two cases. We detect an abstract and historicist presence in the work of this defender of “concrete art,” who, a priori, avoided symbols. Historicist concepts are also found in the work of this artist, heir to the modern principles of the Bauhaus, which he updated to create the Ulm School of Design.

Bibliographic References

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  • Moos, Stalisnaus von. 2004. “Max Bill: A la búsqueda de la cabaña primitiva”. In 2G: Revista Internacional de Arquitectura 29-30: 6-19.