Hannes Meyer, Two Co-op “Construction” Photographs. (1926)
Despite Meyer’s increasing skepticism about the revolutionary potential of architecture and design in his later years, his unique and highly politicized approach remains intensely relevant in the development of socially produced and appropriated forms of spatial production.
Ludwig Wittgenstein, Wittgenstein House Doors (Transition Between Salon and Sitting Rom/Bedroom), (1926-1928)
In Wittgenstein’s Architecture transitions are just as significant as those in music or choreography. How materials, colors, surfaces, and spaces are delineated, come together, relate to each other, and merge. With the doors, Wittgenstein masters an intricate game of varying the interconception of spaces. Metal closes off, while translucence alludes to something beyond. Transparent glass is inviting. Transitions, in their material nature are like metaphors of movement. The most unusual transition in the Wittgenstein House is the pair of double doors between salon and sitting/bedroom. By nature of their materiality they are a rare connection between open (glass) and closed (metal). When in use this pair of double doors offers numerous variants for Margarethe Stonborough’s private living area between invitingly open and reclusively closed. When the metal leaves are closed, the salon is visually integrated into the more intimate area. A single closed metal leaf signifies something else again. An open single glass leaf is like an open approach whereas when both doors are open, salon and sitting room/bedroom merge, creating one space bound together by two identical window-doors in either space.
Oskar Schlemmer / ROSSE BRUCKEN REVUE. Postcard. 1926
Unknown photographer. Student model for an exercise in “Constructing a Cubical Form Based on Combination of Mass and Space”, Vkhutemas, Moscow, Soviet Union, 1920-1926. Gelatin silver print. Canadian Centre for Architecture, Montréal; Gift of Howard Schickler and David Lafaille. via
Catalogue of the Stedelijk Museum, 1926. Amsterdam
Schlichter, Rudolf (1890-1955) - 1926 Hausvogteiplatz (water color)
Torso by André Masson, 1926. Charcoal drawing on paper.
Diagram for “Gesture Dance” (1926), Oskar Schlemmer.
Jean Lurçat (French, 1892-1966), Le marchand de tapis [The carpet seller], 1926. Gouache on paper, 50 x 34 cm.