An architect is a person who plans and reviews the construction of buildings. To practice architecture means to provide services in connection with the design of buildings and the space within the site surrounding the buildings that have human occupancy or use as their principal purpose. Etymologically, architect derives from the Latin architectus, which derives from the Greek, i.e. chief builder. Professionally, an architect's decisions affect public safety, thus an architect must undergo specialized training consisting of advanced education and a practicum for practical experience to earn a license to practice architecture. Practical and academic requirements for becoming an architect vary by jurisdiction. Throughout ancient and medieval history, most of the architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder; until modern times, there was no clear distinction between engineer. In Europe, the titles architect and engineer were geographical variations that referred to the same person used interchangeably.
It is suggested that various developments in technology and mathematics allowed the development of the professional'gentleman' architect, separate from the hands-on craftsman. Paper was not used in Europe for drawing until the 15th century but became available after 1500. Pencils were used more for drawing by 1600; the availability of both allowed pre-construction drawings to be made by professionals. Concurrently, the introduction of linear perspective and innovations such as the use of different projections to describe a three-dimensional building in two dimensions, together with an increased understanding of dimensional accuracy, helped building designers communicate their ideas. However, the development was gradual; until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only those qualified with an appropriate license, certification or registration with a relevant body may practice architecture.
Such licensure requires a university degree, successful completion of exams, as well as a training period. Representation of oneself as an architect through the use of terms and titles is restricted to licensed individuals by law, although in general, derivatives such as architectural designer are not protected. To practice architecture implies the ability to practice independently of supervision; the term building design professional, by contrast, is a much broader term that includes professionals who practice independently under an alternate profession, such as engineering professionals, or those who assist in the practice architecture under the supervision of a licensed architect such as intern architects. In many places, non-licensed individuals may perform design services outside the professional restrictions, such design houses and other smaller structures. In the architectural profession and environmental knowledge and construction management, an understanding of business are as important as design.
However, the design is the driving force throughout the project and beyond. An architect accepts a commission from a client; the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings and the spaces among them. The architect participates in developing the requirements. Throughout the project, the architect co-ordinates a design team. Structural and electrical engineers and other specialists, are hired by the client or the architect, who must ensure that the work is co-ordinated to construct the design; the architect, once hired by a client, is responsible for creating a design concept that both meets the requirements of that client and provides a facility suitable to the required use. The architect must meet with, question, the client in order to ascertain all the requirements of the planned project; the full brief is not clear at the beginning: entailing a degree of risk in the design undertaking. The architect may make early proposals to the client, which may rework the terms of the brief.
The "program" is essential to producing a project. This is a guide for the architect in creating the design concept. Design proposal are expected to be both imaginative and pragmatic. Depending on the place, finance and available crafts and technology in which the design takes place, the precise extent and nature of these expectations will vary. F oresight is a prerequisite as designing buildings is a complex and demanding undertaking. Any design concept must at a early stage in its generation take into account a great number of issues and variables which include qualities of space, the end-use and life-cycle of these proposed spaces, connections and aspects between spaces including how they are put together as well as the impact of proposals on the immediate and wider locality. Selection of appropriate materials and technology must be considered and reviewed at an early stage in the design to ensure there are no setbacks which may occur later; the site and its environs, as well as the culture and history of the place, will influence the design.
The design must countenance increasing concerns with environmental sustainability. The architect may introduce, to greater or lesser degrees, aspects of mathematics and a
The Ernst-Neufert-Haus is a massive, brown clinker-clad residential building in Darmstadt, designed by Ernst Neufert. It was built in 1955 as the "Ledigenwohnheim" and was part of the'Meisterbau' programme to give Darmstadt, which had lost much of its historical substance in World War II to bombing, a new architectural emphasis. While the attempt to guide the newly burgeoning city into a stylistic direction failed, the small rooms of Neufert's building were redesigned to more typical apartments, the building is considered a prime example of his style, is now heritage protected. A restaurant occupies part of the lower floor, reached via a large freestanding staircase on the western side
Paul Klee was a Swiss-born artist. His individual style was influenced by movements in art that included Expressionism and Surrealism. Klee was a natural draftsman who experimented with and deeply explored color theory, writing about it extensively, he and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, his musicality. First of all, the art of living. Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee and Swiss singer Ida Marie Klee, née Frick, his sister Mathilde was born on 28 January 1876 in Walzenhausen. Their father came from Tann and studied singing, piano and violin at the Stuttgart Conservatory, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a music teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his music skills as his parents encouraged and inspired him throughout his life.
In 1880, his family moved to Bern, where they in 1897, after a number of changes of residence, moved into their own house in the Kirchenfeld district. From 1886 to 1890, Klee visited primary school and received, at the age of 7, violin classes at the Municipal Music School, he was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. In his early years, following his parents’ wishes, Klee focused on becoming a musician, he stated, "I didn't find the idea of going in for music creatively attractive in view of the decline in the history of musical achievement." As a musician, he played and felt bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles. At sixteen, Klee’s landscape drawings show considerable skill. Around 1897, Klee started his diary, which he kept until 1918, which has provided scholars with valuable insight into his life and thinking.
During his school years, he avidly drew in his school books, in particular drawing caricatures, demonstrating skill with line and volume. He passed his final exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, "After all, it’s rather difficult to achieve the exact minimum, it involves risks." On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, a writer on art theory and aesthetics. With his parents' reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck, he seemed to lack any natural color sense. He recalled, "During the third winter I realized that I would never learn to paint." During these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists' models. He had an illegitimate son in 1900. After receiving his Fine Arts degree, Klee went to Italy from October 1901 to May 1902 with friend Hermann Haller.
They stayed in Rome and Naples, studied the master painters of past centuries. He exclaimed, "the Vatican have spoken to me. Humanism wants to suffocate me." He responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in this field of color." For Klee, color represented the optimism and nobility in art, a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires. Returning to Bern, he lived with his parents for several years, took occasional art classes. By 1905, he was developing some experimental techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven works including his Portrait of My Father. In the years 1903–05 he completed a cycle of eleven zinc-plate etchings called Inventions, his first exhibited works, in which he illustrated several grotesque characters, he commented, "though I'm satisfied with my etchings I can't go on like this. I’m not a specialist." Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.
Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following year. They lived in a suburb of Munich, while she gave piano lessons and occasional performances, he kept house and tended to his art work, his attempt to be a magazine illustrator failed. Klee's art work progressed for the next five years from having to divide his time with domestic matters, as he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which travelled to three Swiss cities. In January 1911 Alfred Kubin encouraged him to illustrate Voltaire's Candide, his resultant drawings were published in a 1920 version of the book edited by Kurt Wolff. Around this time, Kl
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
The Staatliches Bauhaus known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, was famous for the approach to design that it publicized and taught. The Bauhaus was founded by Walter Gropius in Weimar; the German term Bauhaus—literally "building house"—was understood as meaning "School of Building", but in spite of its name and the fact that its founder was an architect, the Bauhaus did not have an architecture department. Nonetheless, it was founded upon the idea of creating a Gesamtkunstwerk in which all the arts, including architecture, would be brought together; the Bauhaus style became one of the most influential currents in modern design, Modernist architecture and art and architectural education. The Bauhaus movement had a profound influence upon subsequent developments in art, graphic design, interior design, industrial design, typography; the school existed in three German cities—Weimar, from 1919 to 1925. Although the school was closed, the staff continued to spread its idealistic precepts as they left Germany and emigrated all over the world.
The changes of venue and leadership resulted in a constant shifting of focus, technique and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau though it had been an important revenue source. After Germany's defeat in World War I and the establishment of the Weimar Republic, a renewed liberal spirit allowed an upsurge of radical experimentation in all the arts, suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism; such influences can be overstated: Gropius did not share these radical views, said that Bauhaus was apolitical. Just as important was the influence of the 19th-century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function. Thus, the Bauhaus style known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, which had made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, the idea that mass production was reconcilable with the individual artistic spirit—were partly developed in Germany before the Bauhaus was founded; the German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, whether or not a single proper form could exist, were argued out among its 1,870 members.
The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG integrated art and mass production on a large scale, he designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, both Walter Gropius and Adolf Meyer worked for him in this period; the Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, turned toward rational, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school.
They responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin; the acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate and sometimes fierce public debate. The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent and scope; the two schools were
The Weimar Republic is an unofficial historical designation for the German state from 1918 to 1933. The name derives from the city of Weimar; the official name of the republic remained Deutsches Reich unchanged from 1871, because of the German tradition of substates. Although translated as "German Empire", the word Reich here better translates as "realm", in that the term does not have monarchical connotations in itself; the Reich was changed from a constitutional monarchy into a republic. In English, the country was known as Germany. Germany became a de facto republic on 9 November 1918 when Kaiser Wilhelm II abdicated the German and Prussian thrones with no agreement made on a succession by his son Crown Prince Wilhelm, became a de jure republic in February 1919 when the position of President of Germany was created. A national assembly was convened in Weimar, where a new constitution for Germany was written and adopted on 11 August 1919. In its fourteen years, the Weimar Republic faced numerous problems, including hyperinflation, political extremism as well as contentious relationships with the victors of the First World War.
Resentment in Germany towards the Treaty of Versailles was strong on the political right where there was great anger towards those who had signed the Treaty and submitted to fulfill the terms of it. The Weimar Republic fulfilled most of the requirements of the Treaty of Versailles although it never met its disarmament requirements and paid only a small portion of the war reparations. Under the Locarno Treaties, Germany accepted the western borders of the country by abandoning irredentist claims on France and Belgium, but continued to dispute the eastern borders and sought to persuade German-speaking Austria to join Germany as one of Germany's states. From 1930 onwards President Hindenburg used emergency powers to back Chancellors Heinrich Brüning, Franz von Papen and General Kurt von Schleicher; the Great Depression, exacerbated by Brüning's policy of deflation, led to a surge in unemployment. In 1933, Hindenburg appointed Adolf Hitler as Chancellor with the Nazi Party being part of a coalition government.
The Nazis held two out of the remaining ten cabinet seats. Von Papen as Vice Chancellor was intended to be the "éminence grise" who would keep Hitler under control, using his close personal connection to Hindenburg. Within months, the Reichstag Fire Decree and the Enabling Act of 1933 had brought about a state of emergency: it wiped out constitutional governance and civil liberties. Hitler's seizure of power was permissive of government by decree without legislative participation; these events brought the republic to an end – as democracy collapsed, the founding of a single-party state began the dictatorship of the Nazi era. The Weimar Republic is so called because the assembly that adopted its constitution met at Weimar, from 6 February 1919 to 11 August 1919, but this name only became mainstream after 1933. Between 1919 and 1933 there was no single name for the new state that gained widespread acceptance, why the old name Deutsches Reich remained though hardly anyone used it during the Weimar period.
To the right of the spectrum the politically engaged rejected the new democratic model and cringed to see the honour of the traditional word Reich associated with it. The Catholic Centre party, Zentrum favoured the term Deutscher Volksstaat while on the moderate left the Chancellor's SPD preferred Deutsche Republik. By 1925, Deutsche Republik was used by most Germans, but for the anti-democratic right the word Republik was, along with the relocation of the seat of power to Weimar, a painful reminder of a government structure, imposed by foreign statesmen, along with the expulsion of Kaiser Wilhelm in the wake of massive national humiliation; the first recorded mention of the term Republik von Weimar came during a speech delivered by Adolf Hitler at a National Socialist German Worker's Party rally in Munich on 24 February 1929—it was a few weeks that the term Weimarer Republik was first used in a newspaper article. Only during the 1930s did the term become mainstream, both within and outside Germany.
According to historian Richard J. Evans: The continued use of the term'German Empire', Deutsches Reich, by the Weimar Republic....conjured up an image among educated Germans that resonated far beyond the institutional structures Bismarck created: the successor to the Roman Empire. After the introduction of the republic, the flag and coat of arms of Germany were altered to reflect the political changes; the Weimar Republic without the symbols of the former Monarchy. This left the black eagle with one head, facing to the right, with open wings but closed feathers, with a red beak and claws and white highlighting. By reason of a decision of the Reich's Government I hereby announce, that the Imperial coat of arms on a gold-yellow shield shows the one headed black eagle, the head turned to the right, the wings open but with closed feathering, beak and claws in red color. If the Reich's Eagle is shown without a frame, the same charg