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Bauhaus 1 Bauhaus
Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. -
Open Etoth Dissertation Corrected.Pdf
The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. -
Decision Taken in Closed Architectural Competition for the Bauhaus- Archiv / Museum Für Gestaltung, Berlin Berlin, 23 October 2015
Press release Decision taken in closed architectural competition for the Bauhaus- Archiv / Museum für Gestaltung, Berlin Berlin, 23 October 2015. The winner of the closed competition for the ‘Bauhaus-Archiv / Museum for Gestaltung, Berlin’, announced in June 2015 by the Senate Administration for Urban Develop- ment and the Environment, has been decided following a two-day meeting of the jury on 21 and 22 October 2015. The jury has awarded the first prize to the design submitted by Berlin architect Volker Staab and has recommended that the design should be implemented. Senate Director of Urban Development Regula Lüscher: ‘Volker Staab has given us a design that will cause a sensation. It has an attractively modest quality and it will complete the landscape ensemble of the Villa von der Heydt and the Walter Gropius building. An open, flexible museum setting will be created that upholds the experimentational quality of the Bauhaus idea. It will attract people to meet up there, exchange views and rediscover the many different aspects of the Bauhaus idea. A lantern shining in the night will be created, a glittering gem on the new square with a view opening onto the Landwehrkanal. The lower-lying courtyard will form the heart of the complex, enabling the existing building to enter into dialogue with the new one.’ The Minister of State for Culture, Monika Grütters, comments on the result: ‘I am delighted that Volker Staab, who already has an established reputation in the field of museum architecture – in Bayreuth and Münster, for example – has now presented a convincing design for Berlin as well. -
Inhaltsverzeichnis 1 Einführung
Inhaltsverzeichnis 1 Einführung........................................................................................... 9 2 Anfänge.................................................................................................19 2.1 Herkunft, Jugend, Ausbildung...........................................................................19 2.2 Einstieg in den Beruf.........................................................................................22 3 Anfänge im Umfeld des Bauhauses Weimar und Dessau.................25 3.1 Im Bauatelier bei Walter Gropius und Adolf Meyer, 1919-20...................... 25 3.2 Unterricht bei Johannes Itten.......................................................................... 29 3.2.1 Spanienreise mit Paul Linder und Kurt Löwengard, Herbst 1920-21 - Begegnung mit Antoni Gaudi........................................................................32 3.3 Bekanntschaft mit Comelis van Eesteren, Jena 1922 .....................................40 4 Anfänge der Normungsbestrebungen................................................45 4.1 Maßtoleranzen und Präzision............................................................................45 4.2 Vorfertigung, Serienbau, Typisierung - Die Architekturausstellung des Bau büros Gropius 1922 und die Internationale Bauhausausstellung................. 1923 48 4.3 Carl Benscheidt sen. - „Der Mensch als Maß aller Dinge".........................59 4.4 Aufenthalt in Alfeld 1923-24 - Bekanntschaft mit Carl Benscheidt sen. und Karl Benscheidt jun. - Serienproduktion -
The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education
Engineering, 2013, 5, 323-328 http://dx.doi.org/10.4236/eng.2013.54044 Published Online April 2013 (http://www.scirp.org/journal/eng) The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education Wenwen Chen1*, Zhuozuo He2 1Shanghai University of Engineering Science, Shanghai, China 2Zhongyuan University of Technology, Zhengzhou, China Email: *[email protected] Received October 11, 2012; revised February 24, 2013; accepted March 2, 2013 Copyright © 2013 Wenwen Chen, Zhuozuo He. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. ABSTRACT The Bauhaus, one of the most prestigious colleges of fine arts, was founded in 1919 by the architect Walter Gropius. Although it is closed in the last century, its influence is still manifested in design industries now and will continue to spread its principles to designers and artists. Even, it has a profound influence upon subsequent developments in art, architecture, graphic design, interior design, fashion design and design education. Up until now, Bauhaus ideal has al- ways been a controversial focus that plays a crucial role in the field of design. Not only emphasizing function but also reflecting the human-oriented idea could be the greatest progress on modern design and manufacturing. Even more, harmonizing the relationship between nature and human is the ultimate goal for all the designers to create their artworks. This essay will analyze Bauhaus’s influence on modern design and manufacturing in terms of technology, architecture and design education. -
Frankfurt Rhine-Ruhr Metropole Berlin 2012
Frankfurt Rhine-Ruhr Metropole Berlin 2012 SATURDAY ICAM 16 CONFERENCE IS HOSTED BY: SEPTEMBER 1, 2012 Deutsches Architekturmuseum (DAm) Schaumainkai 43, 60596 Frankfurt Tel: +49 (0)69 212 36 706; Fax: +49 (0)69 212 36 386 www.dam-online.de Peter Cachola Schmal, Director [email protected]; mobile: +49 (0)170 85 95 840 Wolfgang Voigt, Deputy Director [email protected]; mobile: +49 (0)162 61 65 677 Inge Wolf, Head of Archive [email protected] Peter Körner [email protected]; mobile: +49 (0)177 78 88 869 MUseUM FÜR ArchitektUR Und INGenieUrkUnst NRW (m:Ai) Leithestraße 33, 45886 Gelsenkirchen Tel: +49 (0)209 92 57 80; Fax: +49 (0)209 31 98 111 www.mai-nrw.de Dr. ursula kleefisch-Jobst, Director [email protected]; mobile: +49 (0)177 58 60 210 Peter Köddermann, Project Managment [email protected]; mobile: +49 (0)177 58 60 211 Akademie Der künste (AdK) Pariser Platz 4, 10117 Berlin Tel: +49 (0)30 20 05 70; Fax: +49 (0)30 20 05 71 702 www.adk.de Dr. eva-maria Barkhofen, Head of Architectural Archive [email protected]; mobile: +49 (0)176 46 686 386 OFFICIAL TRAVEL AGENCY: AGentUR ZeitsprUNG Kokerei Zollverein, Tor 3, Arendahlswiese, 45141 Essen Tel: +49 (0)201 28 95 80; Fax: +49 (0)201 28 95 818 www.zeitsprung-agentur.de Contact person: Anne Brosk [email protected]; mobile: +49 (0)179 51 64 504 2 SATURDAY SEPTEMBER 1, 2012 PRE-CONFERENCE TOUR DAM 13.00 – 17.00 REGISTRATION / MARKET PLACE 14.00 DEPARTURE BY BUS FROM THE DAM 14.20 – 15.30 FARBWERKE HOECHST ADMINISTRATION BUILDING by Peter Behrens, 1920 – 1924 With bridge and tower, the former administration building of the Hoechst AG is a master piece of expressionist architecture. -
Press Information 100 Years of Bauhaus at ITB Anniversary Events
Press Information 100 years of bauhaus at ITB Anniversary events in Germany NOTE that many of these projects are still in the development stage Bauhaus Association 2019 1 Press Release 100 years of Bauhaus in Berlin Berlin, 6 March 2019 The year 2019 is dedicated to Bauhaus. Throughout Germany, numerous players are inviting visitors to the big anniversary under the auspices of the Bauhaus Association. Berlin is also celebrating the Bauhaus centenary with a large number of events. visitBerlin is taking the Bauhaus anniversary as an opportunity to present the Grand Tour of Berlin Modernism at this year's ITB (international travel trade show) in a special area (hall 12, stand 101). Totalling some 50 sites dotted around the city, visitors are invited to experience the entire panorama of Berlin's architectural modernity across all 12 districts. Fascinating information about the history of Bauhaus and the most important architects of the era have been brought together here. The diversity of the buildings presented ranges from the past to the present: from the six large housing estates from the 1920s to the Jewish Museum of 2001. The Grand Tour of Berlin Modernism can be found on the official website visitBerlin.de. 12 stories about Berlin Modernism can also be experienced on site with the ABOUT BERLIN app. In cooperation with the Bauhaus Archive and the Royal Porcelain Factory, Berlin (KPM), visitBerlin will also present legendary design objects by Bauhaus designers at its exhibition stand. On display, among other things, will be bowls by Marianne Brandt, the famous lamp by Wilhelm Wagenfeld and an exclusive preview of the new b100 Service Edition by KPM. -
More Variations on a Theme in Dessau? Germany’S Fourth Post-War Competition for a Bauhaus Museum 德国包豪斯德绍博物馆新馆国际竞赛 包豪斯德绍博物馆变奏曲 德国战后第四次包豪斯博物馆设计竞赛
081-150.qxp_Layout2015 Competitions Annual 1 16-6-28 Final_Layout 4:22 1Page 16-6-29 126 2:18 Page 126 More Variations on a Theme in Dessau? Germany’s Fourth Post-War Competition for a Bauhaus Museum 德国包豪斯德绍博物馆新馆国际竞赛 包豪斯德绍博物馆变奏曲 德国战后第四次包豪斯博物馆设计竞赛 ermany is not about to let the world arts which will replace the existing Bauhaus community forget about the unique role Museum in Weimar, is to be completed by G played by the Bauhaus movement in the 2018. First Place evolution of modern art and architecture. There After the Bauhaus moved from Weimar to (Shared) is already a Bauhaus Archive in Berlin, moved Dessau, where the Bauhaus resided until the there from Darmstadt in 1971, and the building 1930s when the Nazis came to power and Young & Ayata it now resides in was completed in 1979. It is where the main building by Walter Gropius has with hardly recognizable from Walter Gropius origi- achieved iconic status, a recent international Misako Murata nal 1964 intended design, except for the shed competition for its own Bauhaus Museum took New York, NY roofs. place. Although one may assume a lot of over- Since the Berlin Archive can only accommo- lap between these three museums as to ABOVE date 35% of the institution’s holdings, a com- exhibits, the plan for the new museum in View to entrance petition was staged there in 2005 to expand the Dessau could be deemed somewhat of a logical OPPOSITE PAGE site’s capacity. The invited architects for that move, as the present school is still located Aerial view of model competition were Diener & Diener (Basel), there, setting the tone for the ‘international Nageli Architekten (Berlin), SANAA (Tokyo), style’ we now are so familiar with. -
Original Bauhaus
original bauhaus the centenary exhibition The Bauhaus existed for only 14 years in Germany, but for 100 years 6 sep 2019 – 27 jan 2020 its ideas have flourished and its products have been relaunched, at the berlinische galerie imitated and further developed. Marking the centenary of the press conference 4 Sep, 11 am Bauhaus, the Bauhaus-Archiv / Museum für Gestaltung presents opening 5 Sep, 7 pm the exhibition original bauhaus at the Berlinische Galerie featuring more than 1,000 famous, familiar and forgotten Bauhaus originals and recounting the history behind the objects. original bauhaus showcases works of art and design from the holdings of the Bauhaus-Archiv, exceptional loans from international collections and artistic positions which take a new look at the Bauhaus legacy. On the basis of 14 key objects, the exhibition presents 14 case histories: How did the woman sitting on the tubular steel chair become the most famous anonymous figure of the Bauhaus? Does the Haus Am Horn in Weimar have a secret twin? Why have Marianne Brandt’s tea infusers which were created as prototypes for industrial production always remained one-of-a-kind pieces? original bauhaus sheds light on how unique works and series, remakes and originals are inseparably linked in the history of the Bauhaus. The fact is that Bauhaus artists did not see art and technology as opposed to one another. Instead, they used technical innovations to create exceptional works of art, and they took serial production into account from the moment they began drafting their designs. Today we look back at almost 100 years of responses to the Bauhaus, compared to only 14 years of Bauhaus production. -
'Lebensgestaltungslehre': Formatting Life Beyond the Built
BJHS Themes (2020), 5, 167–185 doi:10.1017/bjt.2020.13 RESEARCH ARTICLE Ernst Neufert’s ‘Lebensgestaltungslehre’: formatting life beyond the built Anna-Maria Meister* Professor of Architecture Theory and Science, Department of Architecture, Technical University of Darmstadt *Email: [email protected] Abstract In 1936, the Bauhaus-trained architect Ernst Neufert published the first edition of his seminal book Bau-Entwurfslehre. One of the most successful architecture books to date, the encyclopedic volume offered dimensioned floor plans for architectural tasks ranging from bunkers to dog kennels to Zeppelins. Two years later, Neufert started working as ‘norm expert’ for Reichsminister Albert Speer, with whom he published another manual in 1943, Bauordnungslehre. Meant to provide a total system of measures for architecture at large, the volume subjected building blocks, bricks and human bodies to Neufert’s all-encompassing octametric system. This article contrasts these two books against Neufert’s unpublished treatise –‘Lebensgestaltungslehre’. Never a bound volume, the latter was sketched out in diary entries between 1936 and 1942 on folded DIN A4 sheets (themselves normed) and organized in a card index. Reading them across their medial states, this article investi- gates the material, methodological and ideological character of Neufert’s Lehren. This is not the story of ahandbook; rather, this is a story of constructing Lehre one sheet at a time. Neufert’s attempt to format German society in the 1930s and 1940s through inherently -
Curriculum Vitae W O L F G a N G T H Ö N E R Bereichsleiter Sammlung Stiftung Bauhaus Dessau Gropiusallee 38 06846 Dessau-Ro
Curriculum Vitae Wolfgang Thöner W o l f g a n g T h ö n e r Ausbildung Bereichsleiter Sammlung 1977 – 1981 Stiftung Bauhaus Dessau Studium der Kunsterziehung und Germanistik an der Humboldt-Universität Ber- Gropiusallee 38 lin (Diplom) 06846 Dessau-Roßlau +49-340-6508-250 bauhaus-dessau.de Akademische Tätigkeiten (AusWahl) seit 1987 Gelegentliche Gastvorträge und -vorlesungen, Referate auf Symposien, Kongressen und Workshops, u. a. an Universität Mailand (1996), Columbia UniversitY New York (2003), Universität Göttingen (2004), Universität Tokio (2005), TU BraunschWeig (2005 – 2009), Strelka Institute Moskau (2012), MARCHI Moskau (2012), Universität Karlsruhe (2013), Landeszentrale für politische Bildung Baden-Württemberg (u. a. 2013), Universität Magdeburg (u. a. 2013) Kuratorische Tätigkeiten (AusWahl) 2014 Kurator (mit Lutz Schöbe) der Ausstellung „Bauhaus. Die Kunst der Schüler. Werke aus der Sammlung der Stiftung Bauhaus Dessau“ (Bauhaus Dessau) 2011 Kurator der Ausstellung „Carl Marx. Zum 100. Geburtstag des Malers und Bauhausschülers“ (Meisterhäuser KandinskY-Klee, Dessau) 2009 Kurator (mit Michael Siebenbrodt, Klaus Weber, Lutz Schöbe u. a.) der Ausstellung „Modell Bauhaus (Martin-Gropius-Bau in Berlin, mit anderen, danach verändert im MoMA New York) 2008 Kurator (mit Lutz Schöbe) der Ausstellung „Franz ehrlich. Der moderate Funktionalist“ (Meisterhaus Schlemmer, Dessau) 2007 – 2008 Kurator (mit Torsten Blume u.a.) der Ausstellung „Bauhaus – Werkstatt der Moderne“, Bauhaus Dessau 2007 Kurator der Ausstellung „Roman Clemens. Schenkung der Stiftung Lis und Roman Clemens, Zürich“, Meisterhaus Schlemmer, Dessau 2006 Kurator (mit Walter Prigge und Monika Markgraf) der Ausstellung „Ikone der Moderne. 80 Jahre Bauhausgebäude Dessau“ (Bauhaus Dessau, danach Bernau) 2005 Kurator (neben Werner Möller u. anderen) der Ausstellung „Bauhaus-Objekte - Bauhaus-Dialoge, Meisterhaus Muche/Schlemmer 1 von 9 Curriculum Vitae 2004 Kurator (neben Torsten Blume u. -
Konferenz Bauhuas Sammel Pr
Bauhaus Dessau : Conference Collecting Bauhaus 2.+3.+4.+5.12. 20191 2 1 + Provenances: Case Studies + Contiguities: + + + The Museum as Context of Com mu ni- cation + + + Methods: Visibility of the Global For the centenary of the Bauhaus three have tried, by way of a synthesis of global new Bauhaus museums will open their perspectives, to move away from restrictive, doors to the public in Germany. The muse- nationally based ideas of identity. The Bau- ums in Weimar, Dessau and Berlin are haus Dessau Foundation too subscribes to connected to the transnational history of this new approach to historiography. Bauhaus exhibits that has grown over one hundred years of global acquisition and The conference Collecting Bauhaus collection. For the canonical representation brings together international experts from of modern art and design in the twentieth public and private institutions with Bauhaus century the Bauhaus is a constant. Pro- collections. The aim is to discuss the global- duced in the brief but enormously produc- ly dispersed objects and collection histories tive period between 1919 and 1933, the of the Bauhaus, revisit exhibition and com- work of the Bauhaus is inextricably linked munication strategies and consider how to its dramatic history in the twentieth cen- museumsinthetwenty-firstcenturymight tury, from closure to expulsion and exile. benefitfromtheseglobalinterconnections. The initial idea for the conference concept From its inception, the Bauhaus served as was developed by Regina Bittner. The con- an international platform for a wide-ranging ference focus on the provenance, relocation European and international avant-garde and changing ownership of Bauhaus ob- movement in architecture, art and design.