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Seagram Building, First Floor Interior
I.andmarks Preservation Commission october 3, 1989; Designation List 221 IP-1665 SEAGRAM BUIIDING, FIRST FLOOR INTERIOR consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; 375 Park Avenue, Manhattan. Designed by Ludwig Mies van der Rohe with Philip Johnson; Kahn & Jacobs, associate architects. Built 1956-58. Landmark Site: Borough of Manhattan Tax Map Block 1307, Lot 1. On May 17, 1988, the landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Seagram Building, first floor interior, consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; and the proposed designation of the related I.and.mark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Twenty witnesses, including a representative of the building's owner, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters in favor of designation. DFSCRIPI'ION AND ANALYSIS Summary The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Iudwig Mies van der Rohe. Constructed on Park Avenue at a time when it was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage. -
Sculptural Cubism in Product Design: Using Design History As a Creative Tool
INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 3 & 4 SEPTEMBER 2015, LOUGHBOROUGH UNIVERSITY, DESIGN SCHOOL, LOUGHBOROUGH, UK SCULPTURAL CUBISM IN PRODUCT DESIGN: USING DESIGN HISTORY AS A CREATIVE TOOL Augustine FRIMPONG ACHEAMPONG and Arild BERG Oslo and Akershus University College of Applied Sciences ABSTRACT In Jan Michl's "Taking down the Bauhaus Wall: Towards living design history as a tool for better design", he explains how the history of design can become a tool for future design practices. He emphasizes how the aesthetics of the past still exist in the present. Although there have been a great deal of studies on the history of design, not much emphasis has been placed on Cubism, which is a very important part of design history. Many designs of the past, such as in the field of architecture and jewellery design, took their inspiration from sculptural cubism. The research question is therefore "How has sculptural Cubism influenced contemporary student product-design practices?" One research method used was the literature review, which was chosen to investigate what has been done in the past. Other methods used were interviews and focus groups, which were chosen to investigate what some contemporary design students knew about cubism. The researcher will also look to solicit knowledge from people outside the design community regarding designers and the work they do, as well as the general impression they have concerning design history and cubism. The concept of Cubism has been used in branding and as a marketing tool and in communication. Keywords: Design history, contemporary design practice, sculptural cubism, aesthetics. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
EU Prize for Contemporary Architecture / Mies Van Der Rohe Award: a Tribute to Bauhaus
AT A GLANCE EU Prize for Contemporary Architecture / Mies van der Rohe Award: A tribute to Bauhaus The EU Prize for Contemporary Architecture (also known as the EU Mies Award) was launched in recognition of the importance and quality of European architecture. Named after German architect Ludwig Mies van der Rohe, a figure emblematic of the Bauhaus movement, it aims to promote functionality, simplicity, sustainability and social vision in urban construction. Background Mies van der Rohe was the last director of the Bauhaus school. The official lifespan of the Bauhaus movement in Germany was only fourteen years. It was founded in 1919 as an educational project devoted to all art forms. By 1933, when the Nazi authorities closed the school, it had changed location and director three times. Artists who left continued the work begun in Germany wherever they settled. Recognition by Unesco The Bauhaus movement has influenced architecture all over the world. Unesco has recognised the value of its ideas of sober design, functionalism and social reform as embodied in the original buildings, putting some of the movement's achievements on the World Heritage List. The original buildings located in Weimar (the Former Art School, the Applied Art School and the Haus Am Horn) and Dessau (the Bauhaus Building and the group of seven Masters' Houses) have featured on the list since 1996. Other buildings were added in 2017. The list also comprises the White City of Tel-Aviv. German-Jewish architects fleeing Nazism designed many of its buildings, applying the principles of modernist urban design initiated by Bauhaus. -
Jahrgang 2008 Eberswalde, 05.09.2008 Nr. 7/2008
Jahrgang 2008 Eberswalde, 05.09.2008 Nr. 7/2008 Inhaltsverzeichnis: Amtlicher Teil: Öffentliche Bekanntmachungen: Bekanntmachungen des Landkreises Barnim Seite 2 Wahlbekanntmachung der zugelassenen Wahlvorschläge gemäß § 38 des Brandenburgischen Kommunalwahlgesetzes und § 40 Abs. 1 der Brandenburgischen Kommunalwahlverordnung für die Wahl des Kreistages Barnim am 28. September 2008 Seite 2 Wahlkreis I Seite 5 Wahlkreis II Seite 8 Wahlkreis III Seite 11 Wahlkreis IV Seite 13 Wahlkreis V Seite 16 Wahlkreis VI Seite 18 Wahlkreis VII Seite 21 Wahlkreis VIII Seite 25 Wahlkreis IX Seite 27 Öffentliche Bekanntmachung gemäß § 35 Abs. 4 der Brandenburgischen Kommunalwahlverordnung (BbgKWahlV) Seite 28 Öffentliche Bekanntmachung gemäß § 66 Abs. 3 der Brandenburgischen Kommunalwahlverordnung (BbgKWahlV) Impressum Bezugsmöglichkeiten: Amtsblatt für den Landkreis Barnim Das Amtsblatt für den Landkreis Barnim ist Herausgeber: unter der Internetadresse Landkreis Barnim Der Landrat www.barnim.de Anschrift: Am Markt 1 16225 Eberswalde in den Seiten der Kreisverwaltung nachlesbar. Das Amtsblatt für den Landkreis Barnim Telefon: 03334/214 1 701 erscheint mindestens 6mal pro Jahr und kann Fax: 03334/214 2 703 unter der neben stehenden Anschrift bezogen Mail: [email protected] werden. Bei Postbezug wird ein Unkostenbeitrag in Höhe der geltenden Druck: Druckerei R. Blankenburg Posttarife in Rechnung gestellt. Börnicker Straße 13 Das Amtsblatt wird in der Kreisverwaltung 16321 Bernau bei Berlin sowie in den Verwaltungen der Ämter und Gemeinden ausgelegt. Seite 2 Amtsblatt für den Landkreis Barnim Nr. 7/2008 Amtlicher Teil Öffentliche Bekanntmachungen Wahlbekanntmachung der zugelassenen Wahlvorschläge gemäß § 38 des Brandenburgischen Kommunalwahlgesetzes und § 40 Abs. 1 der Brandenburgischen Kommunalwahlverordnung für die Wahl des Kreistages Barnim am 28. September 2008 Für die Wahl des Kreistages Barnim am 28. -
The De Stijl Movement in the Netherlands and Related Aspects of Dutch Architecture 1917-1930
25 March 2002 Art History W36456 The De Stijl Movement in the Netherlands and related aspects of Dutch architecture 1917-1930. Walter Gropius, Design for Director’s Office in Weimar Bauhaus, 1923 Walter Gropius, Bauhaus Building, Dessau 1925-26 [Cubism and Architecture: Raymond Duchamp-Villon, Maison Cubiste exhibited at the Salon d’Automne, Paris 1912 Czech Cubism centered around the work of Josef Gocar and Josef Chocol in Prague, notably Gocar’s House of the Black Virgin, Prague and Apt. Building at Prague both of 1913] H.P. (Hendrik Petrus) Berlage Beurs (Stock Exchange), Amsterdam 1897-1903 Diamond Workers Union Building, Amsterdam 1899-1900 J.M. van der Mey, Michel de Klerk and P.L. Kramer’s work on the Sheepvaarthuis, Amsterdam 1911-16. Amsterdam School and in particular the project of social housing at Amsterdam South as well as other isolated housing estates in the expansion of the city. Michel de Klerk (Eigenhaard Development 1914-18; and Piet Kramer (De Dageraad c. 1920) chief proponents of a brick architecture sometimes called Expressionist Robert van t’Hoff, Villa ‘Huis ten Bosch at Huis ter Heide, 1915-16 De Stijl group formed in 1917: Piet Mondrian, Theo van Doesburg, Gerritt Rietveld and others (Van der Leck, Huzar, Oud, Jan Wils, Van t’Hoff) De Stijl (magazine) published 1917-31 and edited by Theo van Doesburg Piet Mondrian’s development of “Neo-Plasticism” in Painting Van Doesburg’s Sixteen Points to a Plastic Architecture Projects for exhibition at the Léonce Rosenberg Gallery, Paris 1923 (Villa à Plan transformable in collaboration with Cor van Eestern Gerritt Rietveld Red/Blue Chair c. -
David Quigley Learning to Live: Preliminary Notes for a Program Of
David Quigley In an essay published in 2009, Boris could play in a broader social context influenced the founding director John Groys makes the claim that “today art beyond the narrow realm of the art Andrew Rice, as well as the professors Learning to Live: education has no definite goal, no world. Josef Albers, Merce Cunningham, Robert Preliminary Notes method, no particular content that can Motherwell, John Cage, and the poets be taught, no tradition that can be Performing Pragmatism: Robert Creeley and Charles Olson. for a Program of Art transmitted to a new generation—which Art as Experience Unlike other trajectories of the critique Education for the is to say, it has too many.”69 While one On the first pages of Dewey’s Art as of the art object, the Deweyian tradition might agree with this diagnosis, one Experience from 1934, we read: did not deny the special status of art in 21st Century. immediately wonders how we should itself but rather resituated it within a Après John Dewey assess it. Are we to merely tacitly “By one of the ironic perversities that continuum of human experience. Dewey, acknowledge this situation or does this often attend the course of affairs, the as a thinker of egalitarianism and critique imply a call for change? Is this existence of the works of art upon which democracy, created a theory of art lack (or paradoxical overabundance) of the formation of an aesthetic theory based on the fundamental continuity goals, methods or content inherent to depends has become an obstruction of experience and practice, making the very essence of art education, or is to theory about them. -
Gemarkungen Der Amtsgerichte Strausberg, Bad Freienwalde (Oder), Bernau Bei Berlin Und Eberswalde
Amtsgericht Strausberg: Altlandsberg Grunow Rehfelde Bollersdorf Hennickendorf Rüdersdorf Bruchmühle Hermersdorf-Obersdorf Strausberg Buchholz Herzfelde Trebnitz Buckow/Märkische Schweiz Hohenstein Vogelsdorf Dahlwitz-Hoppegarten Hönow Waldsieversdorf Eggersdorf bei Müncheberg Hoppegarten bei Müncheberg Wegendorf Eggersdorf bei Strausberg Ihlow Werder Fredersdorf Jahnsfelde Wesendahl Garzau Klosterdorf Zinndorf Garzin Lichtenow Gielsdorf Müncheberg Münchehofe Neuenhagen bei Berlin Petershagen Amtsgericht Bad Freienwalde (Oder): Altbarnim Groß Neuendorf Neureetz Altfriedland Gusow Neurüdnitz Altglietzen Güstebieser Loose Neutrebbin Altranft Haselberg Ortwig Altreetz Hathenow Platkow Alttrebbin Heckelberg Prötzel Alt Tucheband Hohensaaten Quappendorf Altwriezen/Beauregard Hohenwutzen Rathsdorf-Neugaul Bad Freienwalde Kienitz Rathstock Batzlow Kiehnwerder Reichenberg Beiersdorf Klein Neuendorf Reichenow Bleyen Kruge/ Gersdorf Ringenwalde Bliesdorf Kunersdorf/Metzdorf Schiffmühle Bralitz Küstrin- Kietz Schulzendorf Brunow Letschin Sietzing Buschdorf Leuenberg Sophienthal Dannenberg Lüdersdorf/Biesdorf Steinbeck Eichwerder Mädewitz Steintoch Falkenberg Manschnow Sternebeck/Harnekop Frankenfelde Möglin Wölsickendorf/Wollenberg Freudenberg Neubarnim Wriezen Friedrichsaue Neuenhagen Wulkow b. Trebnitz Genschmar Neuhardenberg Wuschewier Gieshof Zelliner Loose Neuküstrinchen Wustrow Golzow Neulewin Zäckericker Loose Gorgast Neulietzegöricke Zechin Amtsgericht Bernau bei Berlin : Ahrensfelde Lanke Schwanebeck Basdorf Lindenberg Seefeld Bernau Lobetal -
Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: Arthistoricum.Net 2021, P
Damnatio Memoriae. The Case of Mart Stam Simone Hain Hain, Simone, Damnatio Memoriae. The Case of Mart Stam, in: Bärnreuther, Andrea (ed.), Taking a Stand? Debating the Bauhaus and Modernism, Heidelberg: arthistoricum.net 2021, p. 359-573, https://doi.org/10.11588/arthistoricum.843.c11919 361 Simone Hain [ B ] What do we understand by taking a stand regarding architecture and design, and particularly of the Bauhaus and Modernism? architectural historiography As early as 1932, 33-year-old Mart Stam was preoccupied with the of modernism idea that he might be counted as dead as far as architectural his- tory, or rather the «West», was concerned, because for over a year and a half he had failed to provide new material for art history. «We Are Not Working Here with the Intention of Influencing How Art Develops and Making New Material Available to Art History» On August 20th, 1932, he wrote to Sigfried Giedion, the most im- portant art historian for architects: «You will be amazed to receive another little letter from me after I have been dead for a year and a half. Yes, I am immersed in our Russian work, in one of the most [ B ] difficult tasks that will ever exist. I know that we won’t be able to build a lot of flawless buildings here, that we won’t be able to produce wonderful material compositions, that we won’t even be able to implement pure floor plans and apartment types, maybe not even flawless city plans. [...] we are not working here with the intention of influencing how art develops and making new mate- rial available to art history, but rather because we are witnessing societal projects of modernism a great cultural-historical development that is almost unprecedent- reshaping the world ed in its scope and extent [...].»1 Stam describes his activities in Russia ex negativo, knowing full well that in doing so he is violating the well-established rela- tionship between himself and Giedion and all the rules of the game in the industry. -
The Bauhaus 1 / 70
GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 -
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. -
E in M Ag Azin Vo N
Ein Magazin von T L 1 Liebe Leserinnen und Leser, im Jahr 2019 feiert Deutschland 100 Jahre Bauhaus und wir fast vier Jahrzehnte TEcnoLuMEn. 140 Jahre Tradition – eine Vergan - genheit voller Geschichten, die wir Ihnen erzählen wollen. Die Wagenfeld-Leuchte ist ohne Eine davon beginnt 1919 in Weimar. Zweifel eine dieser zeitlosen Walter Gropius gründete das Designikonen und seit fast 40 Jahren Staatliche Bauhaus, eine Schule, is t sie ganz sicher das bekannteste in der Kunst und Handwerk Werkstück unseres Hauses. auf einzigartige Weise zusammen - Das ist unsere Geschichte. geführt wurden. Interdisziplinär, Weshalb TEcnoLuMEn autorisierter weltoffen und experimentierfreudig. Hersteller dieser Leuchte ist, wer ob Architektur, Möbel, Foto- das Bremer unternehmen gegründet grafie, Silberwaren – Meister und hat, welche Designleuchten wir Studierende des Bauhaus schufen neben diesem und anderen Klassi - viele Klassiker. kern außerdem im Sortiment haben und welche Philosophie wir bei TEcnoLuMEn verfolgen, all das möchten wir Ihnen auf den folgen - den Seiten unseres Magazins erzählen. Weil Zukunft Vergangenes und Gegenwärtiges braucht. und das Heute ohne Geschichten nicht möglich ist. Wir freuen uns sehr, Ihnen die erste Ausgabe unseres TEcnoLuMEn Magazins TL1 vorstellen zu können 4 und wünschen Ihnen eine interes - Die Idee des Bauhaus sante und erkenntnisreiche Lektüre. 6 Die TEcnoLuMEn Geschichte carsten Hotzan 8 Interview mit Walter Schnepel Geschäftsführer 12 Alles Handarbeit 14 Designikone im Licht der Kunst 16 „Junge Designer“ r e n g e i l F m i h c a o J Die von Wilhelm Wagenfeld 1924 entworfene und im Staatlichen Bauhaus Weimar hergestellte Metallversion der „Bauhaus-Leuchte“. Herbert Bayer „Eine solche Resonanz kann man nicht Max Bill Laszlo Moholy-nagy mit organisation erreichen und nicht mit Propaganda.