SPACED-OUT…

DESIGNS FOR THE FUTURE UNABLE TO FIT IN OUR UNREAL(IZED) ARCHITECTURE EXHIBIT

Often in the course of sifting through materials for inclusion in our library exhibits, we come across an item or two perfectly in fitting with our theme, but which, nonetheless, have to be left out given the constraints of limited space in our display cases. Such was the case in setting up our most recent exhibit, Unreal(ized) Architecture. The Wolfsonian-FIU library has some impressive holdings of the work of numerous architects from the early to mid-twentieth century whose projects, even though they were never actually constructed, had an enormous impact on future designers and architects.

The library holds a number of rare works showcasing the designs of Antonio Sant'Elia (Italian, 1888-1916). Sant’Elia became a disciple and leading light in the Futurist movement in pre-World War One Italy. Drawing inspiration from Viennese architects such as Adolf Loos and Otto Wagner and the skyscrapers just beginning to appear in American cities, Sant’Elia envisioned a futuristic urban environment in a series of drawings rendered between 1912 and 1914. His Città Nuova designs imagined an industrial city where huge skyscraper buildings with setbacks and terraces were connected by bridges and walkways. When the First World War broke out, Sant'Elia enlisted in the Italian army and died fighting the Austrians sometime during the Battles of the Isonzo in 1915. As a result of his premature death, most of his futuristic architectural designs remained unrealized, but many were widely published during the second Futurist wave of the interwar period and exercised considerable influence on generations of urban planners and architects.

The library also holds important examples of the Constructivist artwork and architectural ideas of famed Russian designer, El Lissitzky (Russian, 1890-1941). In the years between 1923 and 1925, Lissitzky came up with designs for a series of identical structures which he proposed be constructed at the intersections of a boulevard ringing central Moscow and the Kremlin. To save precious ground space, these enormous L-shaped three-story buildings were to be raised 50 meters off the ground by three pylons to be connected to tram stations and an underground subway. Lissitzky’s horizontal skyscrapers, (referred to as Wolkenbügel, or “Iron clouds” in the literature of the time), were never built, but the designs were printed in ASNOVA, the influential journal for the Association of New Architects in the Soviet Union, and in several important German publications and periodicals.

Other Constructivist-minded architects expressed their revolutionary ideas in other publications, including Arkhitektura: raboty Arkhitekturnog o fakul’teta Vkhutemasa, 1920-1927, for which Lissitzky supplied the dust jacket cover artwork. The Vkhutemas architectural school in Moscow encouraged its students to experiment with and embrace the principles of Constructivism in projects designed to completely rethink the principles of construction. Such radical ideas, however, soon earned the scorn and derision of Joseph Stalin, and projects designed and built after his rise to power took a decidedly more conservative (neo-Classical) and Socialist Realist bent.

We also left some important American industrial designers and urban planners out of the exhibition for want of space. The library holds a number of books and ephemeral items highlighting the ideas of Norman Bel Geddes (American, 1893-1958), including his Magic Motorways (1940). Even before that publication went into print, however, Americans were introduced to his ideas at the popular Futurama exhibit he designed for General Motors for the 1939-1940 New York World’s Fair. Bel Geddes’ created a gigantic indoor panorama of a city of the future, which visitors to the pavilion could look down upon while riding along in chairs on a conveyor belt. Although his vision of a futuristic metropolis failed to materialize exactly along the lines that he envisioned, his designs for superhighways, cloverleaf entrance and exit ramps, and many other features did have a profound influence on the design of American highways linking cities to the suburbs.

OUT WITH THE OLD, IN WITH THE NEW…

LAST CHANCE TO SEE BERNARR MACFADDEN AND THE AMERICAN PHYSICAL CULTURE MOVEMENT LIBRARY DISPLAY BEFORE IT IS REPLACED WITH UNREAL(IZED) ARCHITECTURE EXHIBIT

Earlier this week, I completed a draft for the descriptive and interpretative label text for a new library display to be installed in the third floor foyer next week. That means that this weekend will be the last opportunity that museum patrons will have to take a look at body-builder, publishing magnate, and champion of the Physical Culture movement in America, Bernarr Macfadden. Virtually all of the materials on display were donated to the museum library by Robert J. Young, an ardent disciple of Macfadden and the crusade for better living through a regimen of exercise, abstention from tobacco and alcohol, and a healthy diet. Having assembled a large personal library on the subject, Mr. Young donated the materials to the museum to ensure that they would not be lost to future generations of students and scholars.

As the American Institute of Architects will be holding their convention in Miami this June, we thought that our new display ought to show off some of the architectural gems in the library collection. During a brainstorming session, our rare books cataloguer came up with a brilliant suggestion for a unifying theme for the exhibit. Dr. Harsanyi proposed that we focus on some of the illustrious architects and theorists represented in our collection whose designs for edifices and city plans had not been realized at the time. Visitors coming to the museum this summer will be treated to some rare designs by Leopold Bauer, Mackay Hugh Baillie Scott, and Charles Rennie Macintosh and his wife Margaret Macdonald for an early twentieth-century competition to build a House for an Art-lover. Portfolio plates of a Frank Lloyd Wright multiplex housing development and plans for a utopian industrial city by Tony Garnier will also be on display.

As anyone who knows anything about the Wolfsonian might expect, our exhibit on architecture will also touch on the propagandistic element inherent in such project proposals for designs for monuments, buildings, and cityscapes to be built for the totalitarian regimes in the Soviet Union, Fascist Italy, and Nazi Germany. Come in next week and experience the imaginary architectural landscapes envisioned by architects such as Vladimir Tatlin, Boris Mihailovich Iofan Mario Palanti, and Hermann Geisler. As a teaser, here are some other works by these architects that give you a sense of what to expect.