The Centenar in Thuringia
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Francia. Band 42
Francia. Forschungen zur westeuropäischen Geschichte Herausgegeben vom Deutschen Historischen Institut Paris (Institut historique allemand) Band 42 (2015) Rezensionsexemplare/Livres recus pour recension DOI 10.11588/fr.2015.0.44728 Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. Im Jahr 2014 eingegangene Rezensionsexemplare Livres reçus pour recension en 2014 Die Rezensionen werden online veröffentlicht. Les comptes rendus seront publiés en ligne. www.francia-online.net www.recensio.net Mittelalter/Moyen Âge – Amélia Aguiar Andrade, Adelaide Millán da Costa (Hg.), La ville médiévale en débat, Lissabon (Instituto de Estudos Medievais) 2013, 255 S. (Estudos, 8), ISBN 978-989-97066-9-9, EUR 25,00. – Antonella Ambrosio, Sébastien Barret, Georg Vogeler (Hg.), Digital diplomatics. The computer as a tool for the diplomatist?, Köln, Weimar, Wien (Böhlau) 2014, 347 S., 59 s/w, 21 farb. Abb. (Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde. Beiheft, 14), ISBN 978-3-412-22280-2, EUR 44,90. – Cristina Andenna, Gordon Blennemann, Klaus Herbers, Gert Melville (Hg.), Die Ord- nung der Kommunikation und die Kommunikation der Ordnungen. Band 2. Zentralität: Papsttum und Orden im Europa des 12. und 13. Jahrhunderts, Stuttgart (Franz Steiner Verlag) 2013, 331 S. -
County Executive George Latimer
The june 2020 vol. 16 - issue 6 Shoreline Publishing Westchester’s Community Newspapers thebronxvillebulletin.com 914-738-7869 • shorelinepub.com COMPLIMENTARY ISSUE! Bulletin SeniorBronxville Car Parade Honors Graduates Senior Sabrina Mellinghoff Named National Merit Scholarship Winner Bronxville High School senior Sabrina Mellinghoff has been named a winner in this year’s 2020 Nation- The Bronxville Class of 2020 was recently celebrated by al Merit Scholarship Program com- way of a car parade through Bronxville. Teachers, family and petition. She is among an elite group friends were on hand to cheer them on. The parade traveled of students nationwide to receive a by NYPresbyterian Lawrence Hospital allowing students to $2,500 scholarship. wave signs of thanks to hospital staff. Congratulations to all Mellinghoff entered the academ- the students, parents and teachers!! ic competition as a junior, along with approximately 1.6 million students nationwide, by taking the Preliminary SAT/National Merit Scholarship Qual- ifying Test that served as an initial screen of entrants. Students with the Sabrina Mellinghoff highest scores were chosen to advance to the semifinals before the pool was further narrowed down. Mellinghoff was selected as one of 7,500 winners from a group of more than 15,000 distinguished finalists. According to its website, the National Merit Scholarship Program honors students who show exceptional academic abil- ity and potential for success in rigorous college studies. 5 Orchard Place, Bronxville Village Kathleen Collins Licensed Associate RE Broker | 914.715.6052 [email protected] Bronxville Brokerage | 2 Park Place | 914.620.8682 | juliabfee.com Each Office is Independently Owned and Operated. -
ISSUE 207 from Idea to Not All Chairs Best of the Finished Car Are Created Best Equal DESIGNING WAYS for People in the World of Design
THE GLOBAL FAVOURITE IN WINDOW DECORATION B-Range in Snow White April 2018 April designingways AUDI CHAIRS DESIGN ISSUE 207 From idea to Not all chairs Best of the finished car are created Best equal DESIGNING WAYS for people in the world of design TAYLOR ROLLER BLIND COLLECTION GOOD GLARE & EASY FLAME AUTOMATED SUITABLE FOR ANTIMICROBIAL UV CONTROL HEAT REDUCTION TO CLEAN RETARDANT OR MANUAL MOIST CONDITIONS Issue No. 207 Issue No. Contact us on 0861-1-TAYLOR (829567) www.taylorblinds.co.za April 2018 for an obligation-free quote and expert advice. @TaylorShutters RSA R35.95 BLINDS & SHUTTERS Est.1959 (incl. VAT) dw • April 2018 i A Stylish Addition enerations of experience and distinctive British design are the foundation of the Romo Gbrand. Renowned for its assorted library of classic and contemporary fabrics and wallcoverings, Romo offers a diverse style and timeless elegance enriched with a sophisticated colour palette. Through an exclusive collaboration with renowned rug manufacturer Louis de Poortere, Romo has designed a striking collection of textural flat weave and luxurious hand tufted rugs featuring timeless Romo designs. Using alluring soft chenilles and sumptuous wool yarns, Romo’s finest designs have been expertly reinterpreted as exquisite floorcoverings. FLAT WEAVE RUGS oven with soft chenille, Villa Nova’s range of flat weave rugs incorporate subtle variations of colour and interesting Wtextures. Using intricate woven details, these stunning rugs perfectly capture the essence of the original Villa Nova fabric. ii April 2018 • dw dw • April 2018 1 UPHOLSTERY LEATHER SYNTHETIC FABRICS CUSTOM FURNITURE Combining artistry and craftsmanship Kohler’s Artist Editions Taylor’s blind product range comprises systems, fabrics and basin collection adds personality to any bathroom. -
"Pictures Made of Wool": the Gender of Labor at the Bauhaus Weaving Workshop (1919-23)
Tai Smith - "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) Back to Issue 4 "Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23) by T'ai Smith © 2002 In 1926, one year after the Bauhaus had moved to Dessau, the weaving workshop master Gunta Stölzl dismissed the earlier, Weimar period textiles, such as Hedwig Jungnik’s wall hanging from 1922 [Fig. 1], as mere “pictures made of wool.”1 In this description she differentiated the early weavings, from the later, “progressivist” textiles of the Dessau workshop, which functioned industrially and architecturally: to soundproof space or to reflect light. The weavings of the Weimar years, by contrast, were autonomous, ornamental pieces, exhibited in the fashion of paintings. Stölzl saw this earlier work as a failure because it had no progressive aim. The wall hangings of the Weimar workshop were experimental—concerned with the pictorial elements of form and color—yet at that they were still inadequate, without the larger, transcendental goals of painting, as in the Bauhaus painter Wassily Kandinsky’s Red Spot II from 1921. Stölzl assessed the earlier, “aesthetic” period of weaving as unsuccessful, because its specific strengths were neither developed nor theorized. Weaving in the early Bauhaus lacked its own discursive parameters, just as it lacked a disciplinary history. Evaluated against the “true” picture, painting, weaving appeared a weaker, ineffectual medium. Stölzl’s remark references a fundamental problem that goes unquestioned in the literature concerning the Weimar Bauhaus weaving workshop and the feminized status of the medium. -
Bauhaus · Moderne · Design 2018 / 2019
Bauhaus · Moderne · Design 2018 / 2019 Editorial 1919 wurde in Thüringen mit dem Staatlichen Bauhaus zu Weimar nicht nur eine später weltberühmte Architektur- und Kunstschule begründet: Das Bauhaus war Ausdruck und Vorreiter einer international ausstrahlen- den Bewegung der Moderne. Es gilt heute als der wirkungsvollste deut- sche Kulturexport des 20. Jahrhunderts. Das Bauhaus steht für große gestalterische wie gesellschaftsreformerische Ideen. Es hat Architektur, Kunst und Design maßgeblich beeinflusst und wirkt auch noch heute nach. Mit dem Bauhaus verbinden sich Form- und Farbexperimente, Architekturikonen und Alltagsdesign, rauschende Feste und minimalisti- sche Bauten. Wo die Ursprünge dieser modernen Bewegung liegen, wie sie sich for- mierte, wie sie inspirierte und polarisierte – all das ist heute in und von Weimar aus eindrucksvoll wie in kaum einer anderen Region erfahrbar. Revolution. Neuanfang. Aufbruch in eine neue Zeit. In Deutschlands erster Demokratie, ebenfalls 1919 in Weimar begründet. Voller Hoffnung, mit unbedingtem Gestaltungs- und Veränderungswillen. Mut zum Experi- ment und Lebensfreude. Aber auch: Streit und Widerspruch. Ablehnung. Vertreibung. In Weimar und den umgebenden Städten Jena, Erfurt, Gera sowie dem Weimarer Umland erzählen eine Vielzahl von architektonischen Zeugnis- sen, künstlerischen Werken, historischen Schauplätzen, aktuellen Aus- stellungen und Veranstaltungen von der wechselvollen Geschichte des Bauhauses und der Moderne. Wer in Thüringen auf Reisen geht, trifft nicht nur auf die Überlieferungen der internationalen Kunstavantgarde von damals, sondern auch auf inspirierende Gestalter von heute und morgen. Nicht nur im Jahr 2019 – zum Jubiläum »100 jahre bauhaus« – bietet Thü- ringen ein reichhaltiges Kultur- und Besucherprogramm. Wir laden Sie ein, in Weimar die Wiege des Bauhauses und darüber hinaus eine ganze Region im Zeichen der Moderne zu entdecken. -
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 -
Bauhaus Döneminde Mobilya Ve Tekstil Atölyeleri Arasındaki
SDÜ ART-E Güzel Sanatlar Fakültesi Sanat Dergisi Haziran’21 Cilt:14 Sayı:27 ISSN 1308-2698 BAUHAUS DÖNEMİNDE MOBİLYA VE TEKSTİL ATÖLYELERİ ARASINDAKİ DİSİPLİNLERARASI İŞ BİRLİĞİ: MARCEL BREUER ÖRNEKLEMİ INTERDISCIPLINARY COLLABOTARION AMONG FURNITURE AND TEXTILE WORKSHOPS IN THE BAUHAUS PERIOD: THE EXAMPLE OF MARCEL BREUER Şebnem Ertaş Beşir*, Şeyma Dereci** Öz Modernleşme sürecinin öncü akımlarından olan Bauhaus; çeşitli disiplinleri kapsayan ve sanatçı, zanaatçı ile endüstrinin etkileşim halinde olması gerektiğini vurgulayan bir felsefe benimsemesiyle özünde iş birliği kavramını barındırmaktadır. Dönem içerisinde akımın bir simgesi haline gelen Bauhaus Okulu’nda iş birliği, çeşitli atölyeler ve tasarımcıları arasında disiplinlerarası etkileşimlerle devam etmiştir. Dönemin önemli atölyelerinden mobilya atölyesinin kurduğu en belirgin iş birliği ise tekstil atölyesi ile olmuştur. Çalışma kapsamında; Bauhaus dönemi mobilya ve tekstil atölyeleri arasında kurulan iş birliğine bağlı olarak gözlemlenen malzeme ve tekniklerin değişim ve gelişimlerinin, Marcel Breuer tasarımları açısından ortaya konması amaçlanmıştır. Bu bağlamda, Bauhaus dönemleri içerisinde tasarımcının mobilyaları incelenmiş; mobilyalar ve tekstil atölyesiyle kurulan iş birliği ortaya konmuştur. Sonuçta ise, Weimar ve Dessau dönemi mobilya tasarımlarının malzemeleri, strüktür ve tekstil başlıklarında değerlendirilmiş; iş birliği kurulan tekstil atölyesi tasarımcısı bilgisi ile birlikte tablolaştırılmış ve bazı çıkarımlar yapılmıştır. Çalışma; Bauhaus’un felsefesinde yatan iş birliği olgusunun, mobilya ve tekstil atölyeleri arasındaki disiplinlerarası etkileşim ile Breuer ilişkisini ortaya koyması adına önemlidir. Anahtar Kelimeler: Bauhaus, Marcel Breuer, Mobilya, Tekstil, İş Birliği, Disiplinlerarası. Abstract Bauhaus, which is one of the leading movements of the modernization process, includes the concept of cooperation at its core, adopting a philosophy that covers various disciplines and emphasizes the need for the interaction among artists, proficient and industry. -
Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c. -
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. -
365 Tage Bauhaus Jubiläumskalender 2019 Abb
365 Tage Bauhaus Jubiläumskalender 2019 Abb. 1 „So viel Bauhaus ↘ bauhaus100.de/programm auf einem Fleck und alles brauchbare Leute.“ Oskar Schlemmer Der Anspruch der Bauhäusler, Kunst wie Lebenswelt zu reformieren, hat nicht nur Architekturen und Wohnräume, sondern auch Menschen in ihrem Denken und Handeln nach- haltig verändert. Ihre Idee von einer interdiszi- plinären Zusammenarbeit aller Künste geht weit über die historische Existenz des Bauhauses von 1919 bis 1933 hinaus und gibt bis heute wichtige Impulse. Unter dem Motto „Die Welt neu den- ken“ lädt Sie der Bauhaus Verbund 2019 zum 100. Gründungsjubiläum dazu ein, das Bauhaus und die Moderne neu zu entdecken. Von neuen Museen an den historischen Bauhausorten Berlin, Dessau und Weimar über Ausstellungen in ganz Deutschland bis hin zu Tanz und Performance: Feiern Sie mit! Abb. 2 Das große ↘ bauhaus100.de/programm Bauhaus- Jubiläum Kurz gefragt, schnell geantwortet Wo findet das Fest der Moderne statt? Das Jubiläum des Bauhauses Drei neue Museen in Weimar, Dessau und Berlin. 100 herausragende Orte des Bau- hauses und der Moderne, die man anhand der Grand Tour der Moderne bereisen kann. Zahl- Wie wollen wir leben? reiche Ausstellungen und Veranstaltungen: Das Das Anliegen des Bauhauses Fest der Moderne findet in ganz Deutschland Weiße Flachdachbauten und Stahl- statt, aber auch an vielen Orten weltweit: von rohrmöbel zählen heute zum Inbegriff dessen, Hamburg bis Stuttgart, von Tel Aviv bis São was wir mit dem Begriff „Bauhaus“ verbinden. Paulo. Dabei war die 1919 gegründete Hochschule für Wie wollen wir feiern? Gestaltung viel mehr als puristische Architektur Das Bauhaus als Gesamtkunstwerk und reduziertes Design – sie war Ideenschule Jenseits der Grenzen zwischen Tanz und Experimentierfeld zugleich. -
Sleep Like a Bauhaus Master
P R E S S E M I T T E I L U N G 1. November 2013 Sleep Like a Bauhaus Master The studio building of the Dessau Bauhaus now offers you the opportunity to stay in rooms that were once lived in by Josef Albers, Alfred Arndt, or Franz Ehrlich - and the interior of Marianne Brandt's studio has been reconstructed as well. Visitors to the Bauhaus studio building in Dessau can now stay overnight in rooms that were occupied by Anni and Josef Albers, Gertrud and Alfred Arndt, or Franz Ehrlich in the 1920s. Recent research has made it possible to say exactly who resided in which apartment during the period between 1926 and 1932. These rooms have now been given a personal touch in the form of furni- ture and works of art by the respective members of the Bauhaus. The Preller- haus, as the studio building is called, can once again be experienced in its historical, programmatic function as a collective residence. Why not soak up the heady atmosphere of the 1920s and the wild excitement of life as it went on here at the Bauhaus? The Albers Room: The painter, sculptor and art theoretician Josef Albers (1888-1976) probably oc- cupied room 204 from September 1926 until he moved into a master's house in 1928. The Bauhaus master distinguished himself as a furniture designer, creating remarkable single items of furniture and furniture groups in the 1920s. Among them are an oak wood rack for periodicals and sheet music from 1923, a tea table of oak and white-painted glass from 1927 and a nesting table from 1926. -
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.