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Devito, Simona. "Kandinskij fra VChUTEMAS e Bauhaus." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18885/.
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Questo elaborato tratta il tema dell’esperienza artistica di Vasilij Vasil’evič Kandinskij all’interno del VChUTEMAS a Mosca e in seguito in Germania presso il Bauhaus. La tesina si divide in due parti: nella prima viene descritto il VChUTEMAS, l’istituto con cui Kandinskij collabora a Mosca e successivamente viene delineata l’esperienza di Kandinskij al VChUTEMAS. Nella seconda parte viene affrontata la descrizione del movimento Bauhaus e la collaborazione di Kandinskij con quest’ultimo.
Uno degli obiettivi di quest’elaborato consta nel cercare analogie tra VChUTEMAS e Bauhaus, per questo il mio lavoro affronta su due binari paralleli l’evoluzione delle due scuole e la collaborazione di Kandinskij con esse e dopo, brevemente, anche gli elementi in comune tra VChUTEMAS e Bauhaus.
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Wielandt, Thomas. "Integration der Merkmallokalisierung in Bauhaus." [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11482142.
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Grawe, Gabriele Diana. "Call for action : die Mitglieder des Bauhauses in Nordamerika /." Weimar : VDG, 2002. http://catalogue.bnf.fr/ark:/12148/cb38955443n.
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Bauer, Corinna Isabel [Verfasser]. "Bauhaus- und Tessenow-Schülerinnen / Corinna Isabel Bauer." Kassel : Universitätsbibliothek Kassel, 2010. http://d-nb.info/1007785551/34.
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Muller, Peter Max. "The Bauhaus and Weimar : rereading Goethe's Faust." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864944.
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The addition to the College of Architecture and Design Weimar, the former Bauhaus Weimar, consolidates the two existing buildings designed by Henry van de Velde into a new complex with 40,000 sf of existing building and 100, 000 sf of new structure. The new facility contains a 300 seat auditorium, library, lecture and seminar rooms, administrative offices, cafeteria, photo lab and gallery as well as extended studios and offices.Contrary to the brief of the competition which only requires an addition for the Department of Architecture, the position taken here, proposes an interweaving of the Art and Architecture Departments. The Bauhaus interweaves these two schools in the same way as the definition of art and architecture have come to include each other. The additional structure integrates therefore the idea that the building is used both by architecture and art students.Since the project is for a College of Architecture and Art, I believe the new College of Art and Architecture must confront the challenges of current thinking; the search for a new integration of concept and form it must move over the deconstructive approach by achieving a complexity not as a contradiction but as an acceptance of the duality of existence.This interelationship is represented in the famous play "Faust". Written by Johann Wolfgang von Goethe who spent almost 60 years (and most of them in Weimar) working on this piece, the play raises diverse and contradictory questions: 1. of knowledge, 2. of identity and 3. of morality in terms that reflect the 'doubleness' of all beings in nature. Faust becomes important when we recognize the memory of such themes in Weimar.The pieces, and hence, the structure of the play are not composed as a narrative but as an dialogue of different stories. The development of the design parallels the play in which the play becomes the concept and the concept becomes the play; several events - each centered on one major event- provide the scenes for the building.Department of Architecture
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Robinson, Victoria Ann. "Gunta Stölzl : a profile of the Bauhaus." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1173056894.
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Robinson, Victoria Ann. "Gunta Stölzl : a profile of the Bauhaus /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173056894.
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Rowland, Anna Vivien. "The Bauhaus workshops : teaching, production and business management." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/250935.
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Pezolet, Nicola. ""Le Bauhaus imaginiste contre un Bauhaus imaginaire" : la polémique autour de la question du fonctionnalisme entre Asger Jorn et Max Bill." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25181/25181.pdf.
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Waugh, Erin L. ""Designing with Light": Carlotta Corpron and the New Bauhaus." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500515/.
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A major figure to emerge in the history of American photography is Carlotta Corpron (1901-1987), who taught art at Texas Woman's University in Denton, Texas from 1935-1968. The rediscovery of her abstract images created during the 1940s reflects the growing recognition of the experimental photography at the New Bauhaus in Chicago from 1937-1946. Corpron's abstract photographs were stimulated by her interaction with Lazlo Moholy-Nagy and Gyorgy Kepes. Corpron was an innovator in the development of abstract photography in the United States. This thesis connects her work to that of Moholy-Nagy and Gyorgy Kepes as well as other major figures in American photography of the twentieth century.
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Dolzan, Jorge Elias. "Revoluções da linguagem estética: a escola Bauhaus (1919-1933)." reponame:Repositório Institucional da UNISUL, 2008. http://www.riuni.unisul.br/handle/12345/4561.
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This work want to show that the history of design, understood here as language, was marked by revolutions. The origin of design occurs during the Industrial Revolution, meantime was in the epoch between the two heavy wars of the 20th century, that the Bahuaus School was define this area, allowing their understanding and action. Influenced by the Circle of Viena, Scholl of Frankfurt and Praga, this institution has define the design and aesthetics modern language. The objective of this work is to analyze the Bauhaus contributions for the “revolution” aesthetics of design and, consequently, of the modern aesthetic language. In addition to the acknowledgement of historical moment, this dissertation present the analysis of two chairs (one in Art Noveau and the other of the Bauhaus) and project of contemporary interior’s design, allowing understand that what has been developed in that school still remains symbol of modernity, aesthetic language inexistent before their timeSubmitted by Rogele Pinheiro (rogele.pinheiro@unisul.br) on 2018-01-17T16:42:51Z No. of bitstreams: 1 97556_Jorge.pdf: 6896541 bytes, checksum: 99b6337e6d5657a45297bdd878484bb0 (MD5)
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Este trabalho pretende mostrar que a história do design, entendido aqui como linguagem, foi marcada por revoluções. A gênese do design ocorre durante a Revolução Industrial, entretanto foi no período entre as duas Grandes Guerras do Século XX, que a Escola Bauhaus definiu esta área, possibilitando sua compreensão e ação profissional. Influenciada pelo Círculo de Viena, Escola de Frankfurt e de Praga, esta instituição definiu o design e a linguagem estética moderna. O objetivo deste trabalho é o de analisar a contribuição da Bauhaus para a “revolução” da estética do design e, consequentemente, da linguagem estética moderna. Além da validação do momento histórico, esta dissertação apresenta a análise de duas cadeiras (um da Art Noveau e a outra da Bauhaus) e de projeto de design de interiores contemporâneos, possibilitando perceber que o que foi desenvolvido nessa Escola ainda continua sendo símbolo de modernidade, linguagem estética inexistente antes de sua época.
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Birkenbach, Katja. "Unternehmergeist in neuen Formen : form follows function: was Architektur die Wirtschaft lehrt." Marburg Tectum-Verl, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=018686322&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Birkenbach, Katja. "Unternehmergeist in neuen Formen form follows function: was Architektur die Wirtschaft lehrt." Marburg Tectum-Verl, 2008. http://d-nb.info/995566836/04.
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Gerosa, Alice. "La pédagogie de la vision : usages de la photographie dans la recherche artistique entre 1917 et 1933." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H031.
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La thèse propose d'examiner le rôle de la photographie dans la compréhension de l'œuvre d'art en tant qu'expérience de la perception : cet idéal, poussé dans! 'entre-deux-guerres par un élan internationaliste, repose sur la prétendue universalité du modèle psychophysiologique que les arts modernes empruntent aux sciences. Au cours des années vingt, les pédagogies artistiques se définissent alors comme une tentative de rationaliser la gamme des moyens/effets à utiliser dans la construction des travaux. Les photographies des volumes réalisés en cours se révèlent des dispositifs pour prolonger ces enjeux: s'il est impossible d'établir si elles sont de la documentation ou des manifestations en soi d'une intention formelle exercée à travers la photographie, c'est qu'il faut précisément résister à toute tentative de réduction. La thèse propose de considérer cette indistinction inhérente à la compréhension de la photographie au sein de la recherche artistique. La première partie, à travers l'analyse de l'école du Bauhaus, retrace le substrat et la mise en œuvre de la méthode psychophysiologique; c'est sur l'institutionnalisation de celle-ci, que s'attache la deuxième partie à travers l'analyse des écoles Vhutemas et de ! 'institut de Léningrad dirigé par Malevitch. Dès 1925 les élèves manipulent de plus en plus des petits appareils et la dimension poïétique de l'œuvre sur la quelle insiste toute la pédagogie est déplacée dans la prise ou dans les agencements scénographiques et éditoriaux. Si la photographie continue d'être comprise par les artistes comme un procédé de mise en jeu de la perception, au début des années trente les discours la réduisant à un outil de transparence connaissent une large diffusionThe thesis proposes to examine the role of photography in the understanding of the work of art as an experience of perception : driven in the interwar period by an intemationalist impulse, this ideal stand on the supposed universality of psychophysiological mode! that modem arts borrow from science. During the twenties, artistic pedagogy is then defined as an attempt to rationalize the range of means / effects to use in constructing the work. The photographs of the volumes achieved in classes turn out to be a device for extending these issues: as far as it is impossible to establish if they arc a documentation or a demonstration in itsclf of a formai intention through photography, we must resist any attempt to reduction. The thesis proposes to consider this Jack of distinction as inherent to the understanding of photography in artistic rescarch. The first part, through the analysis of the Bauhaus school, retraces the substratc and the implementation of psycho-physiological method; the second part deal with its institutionalization through the analysis of Vhutemas schools and the Institute of Leningrad led by Malevich. ln 1925 the students manipulate more and more small camera and the poetic dimension of the work, so important to ail the artistic pedagogy, is moved in the shooting or in the display and editorial layout. If photography continues to be understood by artists as a way of bringing perception into play, in the early thirtics, its reduction as an objective tool became more commun
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Chanel, Blouin. "West Coast Bauhaus : a case study of the Oberlander Residence II." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62764.
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This thesis will consider the joining of West Coast Modernism and Bauhaus-inspired architectural
elements in the design of architect Peter Oberlander and landscape architect Cornelia Hahn
Oberlander’s second residence in Vancouver, the Ravine House, located on the University of
British Columbia Endowments Lands. It will posit that this style hybridization results from the
Oberlanders’ particular situation as forced exiles from Central Europe as well as voluntary
immigrants to Vancouver. This analysis will interrogate the dichotomy between exile and
immigrant architecture that is presented in the literature of West Coast architecture
The methodology will consist of an analysis of the architecture produced by the German-speaking
immigrant and exile communities in Los Angeles from the 1920s to the 1950s, a
precursor of the West Coast modernism in Vancouver. It will consider the seminal writings of
Reyner Banham and Erhard Bahr in Los Angeles: The Architecture of Four Ecologies and Weimar
on the Pacific: German Exile Culture in Los Angeles and the Crisis of Modernism, with particular
attention on their approaches for reading the experiences of exile and immigration in the
architectural features of buildings. This approach will be applied to a case study of the Ravine
House through a biographical sketch of the Oberlander’s migration as well as a formal analysis of
West Coast Modernism and the Indigenous architectures it drew upon as well as the Bauhaus
features of the residence.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Ruedi, Katerina. "Bauhaus dream-house : architectural education in the age of image reproduction." Thesis, University College London (University of London), 1998. http://discovery.ucl.ac.uk/1317853/.
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An internalised reproduction, circulation and consumption of images dominates contemporary architectural education and denies its function as an ideological practice within media culture. The dissertation examines the broader historical and cultural context of image production in architectural education. It focuses on the Bauhaus, the first school adopting mass-media to construct an international identity. The dissertation draws from semiological, economic, psychoanalytic and sociological sources to explain the role of image reproduction in economic practices and gender identities at the Bauhaus. It combines Jean Baudrillard's theory of simulation, Walter Benjamin's theory of the dreaming collective, Marxian interpretations of Fordist and post-Fordist economic theory, Louis Althusser's theory of ideology, Magali Sarfatti Larson's analyses of professionalism, Pierre Bourdieu's work on cultural capital, and finally Kaja Silverman's interpretation of Freudian and Lacanian theories of masculine formation through fantasy. In the dissertation's historical analysis, Baudrillard's theory of simulation explains architectural education as sign production, from the medieval Guild, through the seventeenth century Académie Royale d'Architecture, to the nineteenth century École Polytechnique and then the Bauhaus at the threshold of media culture in the twentieth century. The theoretical framework is then used to examine Bauhaus activity through the 1938 catalogue of the school's exhibition at the Museum of Modem Art in New York. This framework constructs a new critical history of the Bauhaus. It links the reproduction of images at the school to utopian fantasy, economic production, ideological reproduction and patriarchal relations. It reveals the Bauhaus as an ideological apparatus deploying images as simulacra, political symbols, post-Fordist products and icons of gender to construct a new belief system and briefly enacting, through its industrial and social practices, important changes to economic and gender relations. This unfinished project establishes the importance of the Bauhaus to contemporary education and direction for further research and practice.
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Findeli, Alain. "Du bauhaus a chicago : les annees d'enseignement de laszlo moholy-nagy." Paris 8, 1989. http://www.theses.fr/1990PA080433.
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Laszlo moholy-nagy (1895-1946) a enseigne le design au cours de deux periodes dans une carriere partagee entre deux continents: l'europe et l'amerique. Le premier tome de la these, qui se rapporte a la periode europeenne (1923-1928), depasse le cadre de l'enseignement de moholy-nagy proprement dit pour se concentrer sur cinq aspects determinants du bauhaus sous la direction de walter gropius: ses rapports avec la technique et la production industrielle, ses rapports avec la politique, ses objectifs pedagogiques, son programme artistique, ses fondements philosophiques et esoteriques. L'oeuvre de moholy-nagy est ensuite examinee a la lumiere d'une notion-cle qui la traverse tout entiere: la transparence. Le deuxieme tome expose l'histoire du bauhaus americain, fonde a chicago et dirige par moholy-nagy jusqu'a sa mort (1937-1946). Pour cette institution, appelee successivement new bauhaus (1937-38), school of design (1939-44) puis institute of design (1944-aujourd'hui), il reprit l'enseignement original du bauhaus apres l'avoir modifie pour l'adapter au contexte nord-americain. Appuyee sur des documents d'archives et les temoignages des premiers professeurs et etudiants, la these presente le programme detaille des ateliers ainsi que de nombreux travaux d'etudiants, abondamment illustres. La conclusion propose un diagnostic de cette experience ainsi qu'une evaluation critique de la pertinence des principes pedagogiques du bauhaus pour l'enseignement actuel du designThe teaching career of laszlo moholy-nagy (1895-1946) spans over two periods and two continents: europe and america. The first part of the dissertation is devoted to the european period (1923-1928) but goes beyond the mere teachings of moholynagy; its purpose is to discuss five fundamental points peculiar to the bauhaus under the directorship of walter gropius: its connexion with industrial production and techniques, its relationships with politics, its pedagogical goals, its artistic program, its philosophical and esoterical foundations. Finally, the work of moholy-nagy is summarized in the light of one of its major structuring concept: transparency. The second part of the dissertation deals with the history of the american bauhaus in chicago. After having transformed the original educational program of the bauhaus to adapt it to the american context, moholy-nagy applied it to the institution which he founded and directed until his death (1937-1946), under the successive names of the new bauhaus (1937-38), the school of design (1939-44) and the institute of design (1944-now). The text is illustrated by numerous examples of student projects and original documents found in various archives. A critical evaluation of this pedagogical experiment is presented in the conclusion together with a discussion of the relevance of bauhaus principles for future design education
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Bretschneider, Miette. "The Bauhaus: Understanding its History and Relevance to Art Education Today." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/53.
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I am interested in how the ideas of the Bauhaus shaped not only today’s world of art education, but also the outlook of the German nation during the early 20th century and today. It appears that art is not as prevalent as it once was, whereas fields like science and engineering have become popular. However, the ingenuity of the Bauhaus has lasted into this century and continues to have an impact on our American education system, as well as our ideas about art. As part of my thesis, I am comparing the classes I have taken at East Tennessee State University with those courses taught at the Bauhaus. Many of my art pieces are exploration of materials and my subjective artistic outlook. For example these subjects included weaving, metalsmithing, printmaking, and ceramics. I am placing most emphasis on the significance of the famous Bauhaus Preliminary Course, the Vorkurs, and how our education was closely linked to that of 1920s Germany.
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Bonnevier, Niklas. "De Paard - Visions of Playtopia." Thesis, Växjö University, Växjö University, School of Technology and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5220.
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Playsam in Kalmar AB are world famous for their design of the toys they sell. Together with their CEO Carl Zedig the goal was to find a new product for the company. The process has far from been linear, I started off in one direction, got rejected, turned another way and we finally decided to create a rocking horse in a De Stijl style. At the same time taking consideration of the demands from Playsam and myself.Playsam’s products are archetypes of ordinary objects around us such as the car or the aeroplane. The company mainly produces its toys in wood and the stylized shape together with the blank painted surface has become a hallmark for them.De Stijl, the Dutch art movement containing artists, designers and architects such as Piet Mondrian, Theo van Doesburg and Gerrit Rietveld. Given inspiration for the rocking horse was Rietveld’s chair Red-Blue.I, Niklas Bonnevier, have a technical background and I am shaped by that. I rather draw with a ruler than by free hand, I often think mathematically instead of in free shapes. In my projects I often work with humour and playfulness, but with great seriousity as a base.The challenge in the project was to take in consideration the factors that would affect the shape and make decisions of what was the most essential to reach the goal. Compromises had to be done since all factors could not get the space they demanded. To renounce the thoughts of Rietveld in the making of the chair Red-Blue hurt in the designer soul but the main thing is that the product works for what it is meant to. Playsam also have to be allowed to say theirs if the result is supposed to be a commercial product in their range of products.
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Samit, Cid Begonya. "La Bauhaus a les escoles d'art i disseny de Barcelona (1959-1968)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/382624.
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La Bauhaus (1919-1933) neix amb la idea d'integrar dos tipus d'ensenyament, l'acadèmic i el d'arts i oficis, i es crea a partir de la unificació de les escoles d'arts i oficis i de belles arts de Weimar. La Bauhaus ha deixat un llegat pedagògic i didàctic molt influent, com ha estat extensament documentat en altres escoles d'art i disseny europees i nord-americanes, com les d'Ulm, Basilea i el Black Mountain College.
La Bauhaus a les escoles d'art i disseny de Barcelona [1959-1968] estudia aquesta influència a Barcelona a partir de la següent pregunta: com s'introdueixen les idees pedagògiques i didàctiques de la Bauhaus a les escoles d'art i disseny de Barcelona en el període 1959-1968? Per contestar la pregunta, dividirem la recerca en dos «nuclis».
El primer «nucli» centra l'estudi en les idees pedagògiques i didàctiques de la Bauhaus durant el període de 1919 a 1933 a partir de l'anàlisi documental de plans d'estudis i esquemes. Ressaltem la influència de factors culturals, polítics i econòmics en els seus mètodes didàctics. Delimitarem les característiques singulars de la pedagogia i la pràctica didàctica de la Bauhaus a partir de l'estudi de la documentació i l'exemple didàctic de tres dels seus docents més importants: Itten (1888-1967), Moholy-Nagy (1895-1946) i Albers (1888-1976).
El segon «nucli» estudia les escoles d'art i disseny de Barcelona durant el període 1959-1968, durant el qual es transforma el panorama formatiu de la ciutat i comença la professionalització del disseny. Estudiarem la introducció de la Bauhaus a Barcelona mitjançant dues vies d'estudi. Primer analitzarem la rellevància de la Bauhaus a l'esfera pública. Durem a terme una anàlisi d'articles de premsa dels dos mitjans de comunicació barcelonins de més influència: La Vanguardia i Destino, que ens permetrà conèixer i valorar la imatge de la Bauhaus.
La segona via centrarà la recerca en les tres escoles d’art i disseny més importants de Barcelona: Massana (1929), Elisava (1961) i Eina (1967). L’anàlisi dels plans d’estudis i esquemes organitzatius, imatges de treballs d’estudiants, fulletons publicitaris, etc., ens permetrà aprofundir en els estudis artístics d’aquest moment. Dedicarem les conclusions a emparentar les propostes de les escoles barcelonines amb les idees pedagògiques i didàctiques de la Bauhaus.The Bauhaus (1919-1933) was created to integrate two different types of education: academic and arts and crafts, after the unification of Weimar's arts and crafts and fine arts Institutions. The Bauhaus pedagogical heritage has been extremely influential, and this influence has been thoroughly researched in the case of other European and North-American Institutions, such as Ulm, Basel and the Black Mountain College. La Bauhaus a les escoles d'art i disseny de Barcelona [1959-1968] researches this influence in Barcelona following our ground question: how were the Bauhaus pedagogical ideas introduced in the arts and design Academic Institutions located in Barcelona during the 1959-1968 period? To answer this question we have divided our research in two «nuclei». The first «nucleus» focuses on the 1919-1933 period Bauhaus pedagogical ideas, and the analysis of this period's documentation and curriculum developments against the background of the cultural, political and economic context's influence on Bauhaus' pedagogical methods. The Bauhaus model specificities are highlighted here mainly after the methods and documentation produced by three of its key teachers: Itten (1888-1967), Moholy-Nagy (1895-1946) and Albers (1888-1976) The second «nucleus» studies Barcelona's art and design Academic Institutions during the 1959-1968 period, in which the academic context of the city is transformed and the design degrees are professionalized. We'll conduct our research of the introduction of the Bauhaus in Barcelona by means of two different approaches. We'll first analyze the relevance of the Bauhaus in the public sphere. In order to determine and understand its importance, we’ll conduct an analysis of press clippings from the period published in the two most influential local media outlets: La Vanguardia and Destino. After this, we’ll focus our research in the three key art and design schools in Barcelona: Massana (1929), Elisava (1961) and Eina (1967). Our research of their curricula and documentation will enable us to present a comprehensive analysis of this period formal studies’ structure. We’ll link the Bauhaus’ pedagogical ideas and Barcelona Academic Institutions proposals in our Conclusions.
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Dursthoff, Wiebke [Verfasser]. "Kibbutz und Bauhaus : Arieh Sharon und die Moderne in Palästina / Wiebke Dursthoff." Hannover : Technische Informationsbibliothek und Universitätsbibliothek Hannover (TIB), 2010. http://d-nb.info/103669352X/34.
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Engels, Kristina Johanna [Verfasser]. "Writing Bauhaus History? Barr, Gropius und das transatlantische Museum / Kristina Johanna Engels." Bonn : Universitäts- und Landesbibliothek Bonn, 2019. http://d-nb.info/1185486321/34.
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Engels, Kristina [Verfasser]. "Writing Bauhaus History? Barr, Gropius und das transatlantische Museum / Kristina Johanna Engels." Bonn : Universitäts- und Landesbibliothek Bonn, 2019. http://d-nb.info/1185486321/34.
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Fernandes, Luciane Bonace Lopes. "Pelos olhos da criança: concepções do universo concentracionário nos desenhos de Terezín." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-09032016-145907/.
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A presente tese tem como objetivo geral investigar, a partir de uma perspectiva sócio-histórica, 367 trabalhos artísticos produzidos por 26 crianças, nascidas entre 1926 e 1938, que estiveram confinadas no campo de concentração nazista de Terezín, na República Checa, durante a Segunda Guerra Mundial, visando levantar outras informações sobre o universo concentracionário, perdidas, esquecidas ou não tocadas pelos sobreviventes. Objetiva também investigar como contextos violentos foram assimilados por essas crianças e quais estratégias simbólicas e narrativas elas desenvolveram para tematizá-los por meio da arte. Busca estabelecer diálogo entre sua produção e as concepções estéticas e pedagógicas promovidas pela Arte Moderna, pelo Movimento Escola Nova, tendências em voga no período de pré-ocupação nazista, e por Friedl Dicker-Brandeis, professora que orientou os trabalhos no campo. Os procedimentos metodológicos adotados na realização da pesquisa foram seleção e leitura de fontes escritas e análise de fontes de outras naturezas, como entrevistas, filmes e documentários. Partimos da hipótese de que esses desenhos possuem teor e valor testemunhal, sendo um outro testemunho do Holocausto, um registro poético pautado na percepção da criança sobre os eventos e em sua forma muito particular de expressá-los. Partimos também do princípio de que esses trabalhos artísticos expressam as imagens de seus pensamentos, seus medos, lembranças, sonhos e esperanças. A análise se pautou na bibliografia de autores que se dedicaram a compreender como e por que a criança desenha, e que desenvolveram suas teorias no contexto da Arte Moderna, do Movimento Escola Nova e da contemporaneidade. A análise do corpus da pesquisa indicou a presença exígua de trabalhos com temas ligados a eventos insistentemente citados pelos sobreviventes ou registrados em seus diários. Por outro lado, indicou a existência de um grupo considerável de trabalhos pautados em memórias anteriores à guerra e de outros dois grupos que têm como tema o campo de Terezín. O primeiro apresenta formas mais simbólicas e subjetivas para figurar a experiência concentracionária, que perpassam lugares, pessoas, cenas observadas e diferentes modos de representação do campo. O segundo grupo apresenta um viés mais objetivo, representacional, ligado à transmissão da experiência assimilada prioritariamente pelo sentido da visão. Notamos também que representações do campo de Terezín não aparecem nos desenhos das crianças nascidas entre 1933 e 1938. Os resultados, de modo geral, ampliam nossa compreensão sobre os eventos e demonstram a contribuição da arte infantil para a construção de outras narrativas sobre o universo concentracionário.This thesis has as main objective to investigate, from a socio-historical perspective, 367 artworks produced by 26 children, born between 1926 and 1938, which were confined at Terezín, a Nazi concentration camp, in the Czech Republic, during the Second World War, aiming to raise other information about the concentrationary universe, lost, forgotten or not touched by the survivors. It also aims to investigate how violent contexts were assimilated by these children and what symbolic and narrative strategies they have developed to thematize it through art. Seeks to establish dialogue between its production and the aesthetic and pedagogical concepts promoted by Modern Art, the New School Movement, trends in vogue in the Nazi pre-occupation period, and by Friedl Dicker- Brandeis, teacher who had supervised the artistic work in camp. The methodological procedures used in conducting the research were selection and reading of written sources and analyzing sources of other types, such as interviews, movies and documentaries. Our hypothesis is that these drawings have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child\'s perception of the events and in his very particular way of expressing them. Also we assume that these artworks express the images of their thoughts, their fears, memories, hopes and dreams. The analysis was guided on the literature of authors who have dedicated themselves to understand how and why the child draws, and that developed theirs theories in the context of Modern Art, the New School Movement and the contemporary. The analysis of the research corpus indicated the meager presence of works with themes related to events repeatedly cited by survivors or recorded in their daily books. On the other hand, indicated the existence of a considerable group of work guided by memories of earlier the war and other two groups which have as subject the Terezín camp. The first presents more symbolic and subjective forms to figure the concentrationary experience that underlie places, people, observed scenes and different modes of representation of the field. The latter group presents a more objective bias, representational, connected to transmission of the experiment assimilated by the sense of sight. We also note that representations of Terezín camp does not appear in the drawings of children born between 1933 and 1938. The results, in general, expand our understanding of the events and demonstrate the contribution of child art for building other narratives about the concentrationary universe.
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Heitmann, Claudia. "Die Bauhaus-Rezeption in der Bundesrepublik Deutschland 1949 bis 1968 Etappen und Institutionen /." [S.l.] : [s.n.], 2003. http://deposit.ddb.de/cgi-bin/dokserv?idn=968457347.
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Sechrist, Mark Allen. "The Bauhaus for children : a new city center for West Palm Beach, Florida." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897515.
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The project is located in West Plam Beach, Florida. The Design Process Involved with the urban Plan included these structures: an aquarium, outdoor theater, re-designed library, urban park, landscape plan for the Exploratorium, and the designing of the Exploratorium. A model was completed to show the Exploratrium and its relationship to the urban plan. The design for The Bauhaus For Children is the result of doing research on art/ architectural education and the role of the architect. I feel, the architect needs to play the role of an educator.The majority of society have little teaching in the field of art or architecture. This means the architect, responsible to everyone for what he does, should motivate society to learn. This project is located on a site with civic concerns The site was used as the ferry boat landing and now houses the Public Library. With the new design and functions for the site, it fullfills the need for being civic. My design was created from a series of diagramatic models and images. This series of diagrams dealt wth the reading of the city in order to create a design language. I feel, the project has addressed the civic concern through the marriage of science and art. Architecture is more understandable to the public when it tries to blend the language of its setting with that of the image. My project is a result of this marriage. The Bauhaus For Children evolved into a Center within the City Center that educates society about art, architecture, and science.Department of Architecture
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Anderson, Ross John. "From the Bauhütte to the Bauhaus : the progressive immanentisation of an architectural paradigm." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608240.
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Baumhoff, Anja. "The gendered world of the Bauhaus : the politics of power at the Weimar Republic's Premier Art Institute ; 1919 - 1932 /." Frankfurt am Main [u.a.] : P. Lang, 2001. http://www.gbv.de/dms/bs/toc/332837319.pdf.
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Kotsopoulos, Sotirios D. 1966. "Point, line, plane : basic elements of formal composition in Bauhaus and shape computation theories." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67743.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (p. 59-61).
Architecture is not representational. It does not stand for something else. However, the process of its formation is inclusively dependent upon a series of dynamic graphic calculations that result into a series of spatial descriptions. This process can be equated to a non-linear sequence of computations with points, lines, planes, and solids, on the plane and in physical space. This study examines the functional and perceptual properties of points, lines and planes. How do basic elements behave in formal composition, and how do computations of form affect basic elements? The context of the study is composite. Shape computation theory that involves algebras of basic elements and shape rules provides a flexible and expressive computational apparatus, while the systematic approach of the Bauhaus on nonrepresentational composition, and the theories of P. Klee and V. Kandinsky in particular, provide artistic insight at a perceptual and interpretational level.
by Sotirios D. Kotsopoulos.
S.M.
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Boaventura, Marcelo. "Diálogos e possibilidades entre o movimento Bauhaus, a etnomatemática e a educação matemática realística." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/10884.
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Previous issue date: 2011-10-20The objetive of this research is to establish between geometry and a school that dealt with practical issues of Architecture, Art and Design and hás a lot of geometry to the school of Arts and Architecture Bauhaus. Whereas the educational phenomena present in this movement for Art and Architecture establish connections with Realistic Mathematics Education (E.M.R.) and Ethnomathematics, did historical research since this school and the two theories argue that knowledge can emerge from the practical issues day-to-day. We conducted two interviews with two professors of mathematics that deals with the real context and discurs the possibility of mathematics as a bridge catalyst, to explain, measure and guess the phenomena that are in different areas and social contexts, especially Art, Architecture and Design. The theoretical and methodological foundations are in dialogue with the E.M.R., Ethnomathematics and the Bauhaus. The interview was based on these theories and historical processes of the Bauhaus. The interview was based on these theories and historical processes of the teaching and learning of geometry with the three-dimension constructions as instruments of the Art and Crafts. It is a qualitative research interview as having the tools to collect data in the coding an decoding theory and practice
O objetivo desta pesquisa é estabelecer relações entre a Geometria e uma escola que lidou com questões práticas da Arquitetura, da Arte e do Design e tem muito da Geometria à escola de Artes e Arquitetura Bauhaus. Considerando que os fenômenos educacionais presentes neste movimento de Arte e Arquitetura estabelecem conexões com a Educação Matemática Realística (E.M.R.) e a Etnomatematica, fizemos uma pesquisa histórica uma vez que esta escola e a duas teorias discutem, que os conhecimentos podem emergir a partir de questões praticas do dia-a-dia. Realizamos duas entrevistas com dois professores de Matemática que lidam com questões do contexto real e que discutem a possibilidade da Matemática ser uma ponte catalisadora, para explicar, mensurar e conjecturar os fenômenos que estão nas diferentes áreas e contextos sociais em especial a Arte, Arquitetura e o Design. Os fundamentos teóricos e metodológicos estão dialogando com a E.M.R. a Etnomatemática e a Bauhaus. A entrevista pautou-se nos processos históricos dessas teorias e do processo ensino e aprendizagem de Geometria tendo como instrumentos as construções tridimensionais da Arte e do Artesanato. Trata-se de uma pesquisa qualitativa tendo a entrevista como instrumentos para a coleta de dados na codificação e decodificação da teoria com a prática
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Reynaldo, Tony. "Bauhaus color pedagogy; exploring influences and relevance in today's U.S. visual communication design programs." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387359990.
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Heitmann, Claudia. "Die Bauhaus-Rezeption in der Bundesrepublik Deutschland von 1949 bis 1968 Etappen und Institutionen /." [S.l. : s.n.], 2001. http://opus.kobv.de/udk/volltexte/2003/1/.
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Barbetti, Enrico <1992>. "La didattica del e col disegno, tra il Bauhaus e il Black Mountain College." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13003.
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In questa tesi si cercherà di affrontare un problema teorico: è possibile un insegnamento artistico per una fascia di popolazione adulta e autonoma che non abbia scopi professionali o ludici? In altre parole si può fare una didattica dell’immagine per chi non voglia diventare un artista ma che non venga nemmeno concepita come hobby? Per affrontare tale questione si compirà un percorso storico attraverso alcune delle esperienze più interessanti del secolo scorso al fine di trarre dei punti di riferimento per una nuova idea di didattica artistica. Si esamineranno le teorie e le pratiche di artisti-insegnanti che lavorarono in due delle scuole più innovatrici del novecento: il Bauhaus e del Black Mountain College. Si analizzeranno e si confronteranno in particolare tre personalità: quella di Wassily Kandinsky e di Paul Klee, figure principali nell’insegnamento pittorico del Bauhaus; e quella di Josef Albers, insegnante del corso preliminare nella scuola tedesca e che assumerà un ruolo cardine nel progressista college americano. Tramite un confronto tra l’opera, artistica e pedagogica, delle personalità trattate si vedrà come le idee di arte, e del suo insegnamento, mutino nel tempo, fornendoci una nuova concezione di educazione artistica e di disegno, concepito come uno strumento attivo utile per l’educazione di tutti piuttosto che come formazione individuale di un genio.
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Luxemburger, Elaine. "The transition from the beaux arts tradition to the bauhaus influence in American architectural education." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23063.
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Backström, Emma, and Löfvenborg Viktoria Åberg. "Personal som sätter kunden i fokus : - En studie om hur Bauhaus ska bli "bäst på service"." Thesis, Uppsala universitet, Företagsekonomiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-155659.
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Bauhaus har arbetat fram en ny affärsplan för 2011-2012 där ett internt mål är att bli ”bäst på service”. Ett steg på vägen är ett nytt utbildningsprogram som syftar till att göra medarbetarna mer kundfokuserade. Denna studie syftar till att undersöka hur personalen respektive ledningen upplever att Bauhaus satsning på nya utbildningar har tillfört större kundfokus inom företaget samt hur den interna kommunikationen skapar förutsättningar för att satsningen ska lyckas. Teoretiskt utgår studien ifrån vad som skapar tjänstekvalité samt hur företag kan påverka tjänstekvalitén. Undersökningen har genomförts på Bauhaus i Uppsala genom kvalitativa intervjuer med chefer och medarbetare samt en kvantitativ enkätundersökning bland medarbetarna. Slutsatsen av studien är att utbildningen på Bauhaus har gett större kundfokus bland medarbetarna men att den har setts som en punktinsats. Uppföljning saknas och den interna kommunikationen brister. Utmaningen för Bauhaus ligger framförallt i att se till att deras interna kommunikation främjar en kundfokuserad organisation.
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Schmitt, Uta [Verfasser], and Michael [Akademischer Betreuer] Hesse. "Vom Bauhaus zur Bauakademie. Carl Fieger Architekt und Designer (1893-1960) / Uta Schmitt ; Betreuer: Michael Hesse." Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://d-nb.info/118054787X/34.
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Schmitt, Uta Karin [Verfasser], and Michael [Akademischer Betreuer] Hesse. "Vom Bauhaus zur Bauakademie. Carl Fieger Architekt und Designer (1893-1960) / Uta Schmitt ; Betreuer: Michael Hesse." Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:16-heidok-189796.
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Andrijevic, Veronika, and Malin Lilliecreutz. "Process development for BAUHAUS WEB´s warehouse managed by PostNord TPL at increased customer order management." Thesis, Linköpings universitet, Kommunikations- och transportsystem, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-173091.
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PostNord TPL manages the warehouse for BAUHAUS WEB, which has expanded since the start in 2011. PostNord TPL face the challenge of handling articles with different characteristics from BAUHAUS WEB's wide product range. In consultation with BAUHAUS WEB, PostNord TPL believes that the number of customer orders will continue to increase. PostNord TPL now wants to prepare for the spring of 2021 by identifying process improvements and efficiency proposals for inventory management. To understand the processes and identify the challenges within, a process mapping was done for the departments Delivery and Dispatch. Based on a workshop held during the thesis work, a need to relocate the items in the warehouse based on picking frequency was identified for Dispatch and a need for a correction for division of labor within Delivery. Division of labor concerns the activity logging of deliveries performed by a group leader. The items picked at the warehouse are picked according to different picking lists based on customer orders that vary from day to day. By examining the design of a picking list, it was possible to investigate if an ABC-classification would make the picking process more efficient. For storage areas with one customer order per picking list, the analysis showed that an ABC-classification favored the inventory management. The number of warehouse employees required to handle the increase in customer order during spring of 2021 was calculated with resource plans for Delivery and Dispatch. For the departments Delivery and Dispatch two resource plans each were made. The resource plan for Delivery considering logging of deliveries showed a marginal difference in number of employees. For Dispatch the resource plan considering the picking time reduction from the ABC-classification gave the least number of employees. PostNord TPL should carry out an ABC-classification to make the inventory management more efficient which contributes to fewer employees and affects the storage and refill of goods. A future study that this work can be followed up with, is to investigate whether and how the ABC-classification changes during the entire low season and the transition between high and low season.
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Trimingham, Melissa Frances. "The practical application of principles underlying the work of Oskar Schlemmer at the Dessau Bauhaus 1926-1929." Thesis, University of Leeds, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404007.
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Tonial, Marcelo Sedrez Terres. "Paradigmas culturais e projetuais : do sistema acadêmico francês à Bauhaus e alguns dos seus reflexos na contemporaneidade." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/14976.
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A presente dissertação procura contextualizar a questão da problemática projetual, realizando uma revisão histórica e abordando alguns conceitos sobre a construção do conhecimento acerca do projeto arquitetônico. O trabalho reafirma que é possível aprender a projetar em arquitetura, com base na formação e no incremento do pensamento reflexivo e crítico, vinculado ao conhecimento da história da arquitetura e às mudanças paradigmáticas culturais que geraram distintas abordagens projetuais no século XX. O ponto de partida e motivação do trabalho foi a percepção de que ainda é freqüente o distanciamento entre a teoria da arquitetura e a prática projetual. Procurouse, então, relacionar a teoria das revoluções científicas de Thomas Kuhn com as práticas correntes no âmbito do projeto arquitetônico. Teorias da arquitetura e métodos projetuais vinculam-se a paradigmas culturais, ambos em transformação permanente. Um estudo histórico mostrou que a contemporaneidade experimentou o esgotamento dos paradigmas da École de Beaux-Arts e da Bauhaus, o que gerou uma crise nas doutrinas e práticas projetuais, embora essas tendências tenham deixado importantes legados. Historicamente, no século XX, além de essas escolas caracterizarem duas metodologias exemplares de projetar em arquitetura, esses paradigmas arquitetônicos mudaram e foram mudados pelas transformações culturais e tecnológicas, permanecendo subjacentes ao ensino contemporâneo de arquitetura. Assim, sugere-se que as práticas projetuais contemporâneas não deveriam romper totalmente com os paradigmas do passado. A idéia é que se pode recorrer à história, na análise de precedentes referenciais, para tirar proveito das melhores soluções encontradas para os distintos problemas de projeto. Buscar uma continuidade na história da arquitetura evitaria, na produção arquitetônica contemporânea, o vazio teórico deixado pelo movimento moderno.The present dissertation addresses the problem of the construction of knowledge concerning architectural design, proceeding with a historical review on the issue and looking at some important concepts involved. It reaffirms that it is possible to learn how to design in architecture on the basis of the formation and development of reflexive and critical thought, linked to the knowledge of architectural history and to the changes in cultural paradigms, which produced different design approaches in the 20th century. The perception that, very often, there is still a distance between theory of architecture and design practice was the point of departure and motivation of the present work. This work, thus, connects Thomas Kuhn’s theory of scientific revolutions with the current practices of architectural design. Theories of architecture and design methods are linked to cultural paradigms, both in constant transformation. A historical study showed that the contemporary world saw the exhaustion of the École de Beaux-Arts and Bauhaus paradigms, and that there has been a crisis in design doctrines and practices, even if those tendencies have left important legacies. Historically, in the 20th century, besides having characterized two exemplary design methodologies in architecture, these two architectural paradigms changed and were changed by the cultural and technological transformations, and they remain underlying contemporary architectural teaching. Thus, it is suggested that contemporary design practices should not break totally with the paradigms of the past. The idea is that it is possible to resort to history, through the analysis of precedents, in order to benefit from the best solutions which have been found for the different problems of design. Keeping continuity with history of architecture would avoid, in contemporary architectural production, the theoretical emptiness left by the modern movement.
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Keller, Tschirren Marianne [Verfasser], and Oskar [Akademischer Betreuer] Bätschmann. "Dreieck, Kreis, Kugel. Farbenordnungen im Unterricht von Paul Klee am Bauhaus / Marianne Keller Tschirren ; Betreuer: Oskar Bätschmann." Heidelberg : arthistoricum.net, 2012. http://d-nb.info/1208768530/34.
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Nyberg, Lina. "Det inre rummet : Att använda associerad synestesi som utgångspunkt för komposition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3471.
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Under 2018–20 har jag under min masterutbildning i komposition inkluderat mina egna erfarenheter av synestesi och associerad synestesi i komponerandet och här även försökt att beskriva mina metoder för detta. Jag har försökt överföra upplevelser av text, färg, form och rörelse till musik. Detta är delvis inspirerat av pedagogen Gertrud Grunows arbete på Bauhaus för 100 år sedan men även av mina tidigare arbeten med kollage, grafiska partitur och dans. De ensembler jag skrivit för har varit mycket varierade idiomatiskt och storleksmässigt. För mig som komponist, sångare och improvisatör, men också pedagog är de synestetiska (associativa eller konkreta) metoderna en för mig oändlig källa till inspiration och ett praktiskt sätt att närma sig det kreativa arbetet. Min roll som utövande improvisationsmusiker är också en del av det, då improvisationen aktiverar så många delar av sinnet. Visuell, auditiv, kinestetisk och taktil inlärning påverkar hur vi förnimmer världen. Om du förstår individens unika perception får du större medkänsla och dessutom ett mindre prestationsladdat förhållande till ditt eget skapande. Det bild- eller textmaterial jag skapar hjälper mej att minnas mina grundidéer. Syftet med att vandra mellan olika medium, idiom och förnimmelser är att hitta ett sätt att komma kreativiteten nära – i smyg.During the years 2018–20 I have included my own experiences of synesthesia and associated synesthesia in my composition processes, and in this essay I am describing the methods I have been using. I have tried to transform experiences of words, color, texture, form, and movement to music. This is, to some extent, inspired by the work of the pedagogue Gertrud Grunow at the Bauhaus art school in Germany 100 years ago, but also by my own earlier works with collages, graphic scores and dance. The ensembles I have been writing for have been varied idiomatically and in size. To me, as a composer, singer and improviser, but also as a pedagogue, synesthetic methods (both associative or concrete) are an endless source of inspiration and a practical way to approach the creative work. My role as a performing, improvising musician also takes a part of it since the improvisation activates so many different sections of the sensory system. Our different ways of learning, through the visual, audiative, kinesthetic and tactile, affect how we perceive the world. If you can learn to recognize different modes of individual perception, you will get a greater respect for your fellow humans, and also diminish the performance anxiety you might have in relation to the creativity. The texts and visual material I create in my processes help me to remember the original sources of inspiration. The purpose of wandering in between different media, idioms and sensations is to find practical ways to stealthily approach creativity.
"From Ash to Birch" Lina Nyberg, KMH Symphony Orchestra, conducted by Simon Bång
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Wingham, Ivana. "'Taking a line for a walk' : expanding architectural concepts of the line : preliminary course experiments at the Bauhaus." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1445958/.
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This thesis looks at expanded concepts of the line in architectural theory and interdisciplinary practice. Part I: Lines of Architecture consists of five theory-led chapters. In chapter one I explore how the line located is 'outside of architecture' (Ingraham), as a disciplinary boundary between art and architecture (Wigley), as a projection between concept, drawing and building (Evans), and positioned between the material and immaterial (Benjamin). These theories suggest that the line is a temporal and spatial condition, an exploration enriched by studies of the philosophical positions that consider lines in terms of 'becoming' (Grosz, Deleuze). While chapter one explores Paul Klee's theme, 'Taking a line for a walk', through theories which expand concepts of the line, chapters two to five examine in more detail the work of Paul Klee and another 1920's Bauhaus Preliminary Course teacher, Laszlo Moholy-Nagy. In chapter two, the line is examined as a tool for mediation in formation processes and a volatile agent that acquires a variety of properties, according to Klee's terms, 'active', 'middle', or 'passive'. Chapter three discusses Klee's exploration of the line's materiality through its active function, temporal rhythm and the third dimension. Chapter four is concerned with Moholy- Nagy's understanding of the line's immateriality in his view architecture is defined in terms of spatial relationships and here the line acquires virtual, anticipatory and ambiguous properties. In chapter five, Moholy-Nagy's generative drawing for theatre production and the line's role in his filmic projections take the line from the two-dimensional surface into a three-dimensional context analyzing the background of the line, as well as the line in a diagram and in film. If architecture is taken to be a form of spatial practice (Rendell) it is possible to consider it the location of interdisciplinary practice. Part II: Lines out of Architecture is constructed in parallel to Part I and comprises five projects, each of which demonstrate a practice-led approach to researching new ways of practicing the line in architecture. Taken together the chapters and the projects argue that the line plays a key role in interdisciplinary forms of practising space and that this occurs when a line is taken for a walk outside the architectural drawing. The theory-led and practice-led research work are in conversation with one another exploring the same themes through different research methods, in this way, the thesis performs a 'conversational walk'.
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Isbilen, Ezgi. "From Bauhaus To Ikea: Integration Of Mass Production, Standardization, Modularization And Claim Of Universality With Capitalist Mode Of Production." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614985/index.pdf.
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This thesis questions the relation between political program and architectural production via a close examination of the modern myth: democratization through design. This idea is rooted in the 19th century arts and crafts movement, which indirectly caused the foundation of a very influential design school, the Bauhaus, where the idea of democratization of design has been invented. Years later, the slogan reappeared and became more visible than ever. This time it was IKEA, a furniture company that also promotes the idea of &lsquodemocratization through design&rsquo
with references to Bauhaus announcing the democratic design utopia is back. The survey of the study is based on four main principles that are developed at Bauhaus and later reinvented by IKEA. These principles, namely, mass production, standardization, modularization, and claim of universality characterize the modernist project of instrumentalizing mass production for social benefits.
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Håkansson, Kristian. "Mellan rationalitet och irrationalitet : om ambivalens i idéerna bakom Le Corbusiers, Bauhaus och De Stijls modernistiska konst och arkitektur." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-857.
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Mitt syfte med denna uppsats har varit att enligt min frågeställning undersöka om i vad mån och på vilket sätt det går att se rationella respektive irrationella, i form av andliga, förhållningssätt till arkitektur- och konstskapande hos Le Corbusier, Bauhaus och De Stijl, och i så fall utifrån vilka bakomliggande idéer hos dessa, samt vilka eventuella likheter och/eller skillnader mellan Le Corbusier, Bauhaus och De Stijl det går att se gällande deras rationella respektive irrationella, i form av andliga, förhållningssätt till arkitektur- och konstskapande. Gällande definitionen av det irrationella i form av det andliga, har jag utgått ifrån fyra olika former av andlighet; känslomässig, transcendent, religiös samt ockult. Utifrån mitt syfte och min frågeställning har jag som undersökningsmaterial valt ut delar av ett antal, specifika litterära verk, såväl originalverk av de undersökta konstnärerna och arkitekterna själva, som verk, konstvetenskapliga, sociologiska och idéhistoriska litteraturverk, utgörandes den tidigare forskningen som jag har återfunnit inom området, om dessa av andra författare och forskare. Utifrån dessa litterära verk har jag analyserat och diskuterat Le Corbusiers, Bauhaus och De Stijls bakomliggande idéer kring och förhållningssätt till sin konst och arkitektur i och med perspektiv av rationalitet och irrationalitet i form av andlighet . Detta undersökningsmaterial har jag enligt metoden litteraturanalys och sammanställning av litteraturkällor vidare tolkat, analyserat, kritiskt granskat, refererat och till en helhet jämfört och sammanställt. Det analysresultat som jag med min undersökning har kommit fram till är att det hos såväl Le Corbusier som hos Bauhaus och De Stijl går att finna liknande enhetliga och genomgående perspektiv av rationalitet i form av maskinestetik, geometri och monokrom färgsättning; detta samtidigt som det hos alla tre, i form av en större diversifiering dem emellan jämfört med de rationella perspektiven, går att finna irrationella perspektiv i olika former av andlighet. Hos Le Corbusier har jag funnit perspektiv av religiös, ockult och känslomässig andlighet, hos Bauhaus perspektiv av känslomässig, ockult och transcendent andlighet, samt hos De Stijl perspektiv av transcendent och ockult andlighet.
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Poppelreuter, Tanja. "Das Neue Bauen für den Neuen Menschen : zur Wandlung und Wirkung des Menschenbildes in der Architektur der 1920er Jahre in Deutschland /." Hildesheim : Olms, 2007. http://www.gbv.de/dms/weimar/toc/55565494X_toc.pdf.
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Corsini, Michael, and Charlie Edman. "Hur påverkas idrottsvarumärken av sponsoravtal med spelbolag? : En komparativ studie mellan Linköping HC och Brynäs IF." Thesis, Södertörns högskola, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38523.
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Today' s Sport organizations faces many challenges; they are to compete not just only on the pitch but also in many other fields. The commercialization of sports has contributed to that these sport organizations has evolved to be more like a regular company rather than just a non-profit sport team. With it comes the importance of brand and sponsorship. Today in 2019 it’s more common than ever that companies that offers gambling sponsor sport organizations. Public debate about the topic has concluded that gambling addiction is a growing public health problem in Sweden. This creates a dilemma for sport clubs and their directors, funding from sponsors is crucial for the success of the team but at the same time these sport clubs need to care about their brand. The purpose of this study is to examine how the attitudes of the supporters is affected by the sponsor agreements with gambling companies. The study also aims at seeking understanding in how sport organizations act according with Corporate Social Responsibility and the ideals of sports. To examine this topic five different theories has been used, in which four are brand theories and one is the Corporate Social Responsibility. The brand theories are as follows: Brand Equity, Brand Relationships, Word of Mouth and Brand Image Transfer. This study uses Triangulation as a method in form as semi-structured interviews and surveys. The result from this study implies that supporters indeed has negative attitudes towards gambling organizations, these negative attitudes affect sport brands in a negative way. Sponsorship deals from other organizations that the supporters have positive attitudes towards can help to decrease these negative impacts. The result also implies that most of the supporters doesn’t have an opinion about the club’s sponsorship deals.Dagens idrottsorganisationer ställs inför mängder med utmaningar, de behöver inte bara nå framgång på planen utan även inom många andra områden. Idrottens kommersialisering har bidragit till att föreningar drivs mer och mer som ett företag, där varumärke och sponsring är två centrala delar. Samtidigt har de sin grund i idrotten och dess normer samt ideal. Just nu, år 2019, är det vanligt förekommande att spelbolag sponsrar idrottsverksamheter. Detta är någonting som skapat en stor samhällsdebatt då många, inklusive folkhälsoinstitutet, menar att spelmissbruk är ett växande folkhälsoproblem i Sverige. Detta skapar ett stort dilemma för idrottsklubbarna, samtidigt som de behöver kapital för att bedriva verksamheten behöver de också värna om sitt varumärke. Studiens syfte är att söka förståelse för hur supportrarnas syn på idrottsvarumärkena påverkas av spelbolagens sponsring; samt hur idrottsorganisationerna förhåller sig till Corporate Social Responsibility och idrottens normer och värderingar. För att undersöka detta har de fyra varumärkesteorierna Brand Equity, Brand Relationships, Word of Mouth och Brand Image Transfer använts i denna studie. Corporate Social Responsibility har även använts som en kompletterande teori. I Studien används triangulering som forskningsmetod, där representanter från Brynäs IF och Linköping HC medverkat i semi-strukturerade intervjuer. Dessutom har 238 supportrar till Brynäs IF och 100 supportrar till Linköping HC svarat på studiens enkätundersökning. Resultatet i denna studie visar att det existerar negativa attityder gentemot spelbolag från klubbarnas supportrar, dessa negativa attityder har visat att det bidrar till en negativ påverkan på klubbarnas varumärken. Resultatet visar också att samma sponsoravtal kan ha varierande påverkan på olika klubbars varumärke. Sponsoravtal som supportrarna ställer sig positiva till kan dock hjälpa till att motverka dessa negativa effekter. Resultatet visar att de flesta av klubbarnas supportrar är neutralt inställda till klubbarnas sponsoravtal.
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La, Coe Jodi Lynn. "Constructing Vision: László Moholy-Nagy's Partiturskizze zu einer mechanischen Exzentrik, Experiments in Higher Spatial Dimensions." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/89334.
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In 1936, while an expatriate in London, László Moholy-Nagy signed the Manifeste dimensioniste, crafted by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions. In his artworks and writings, Moholy-Nagy was deeply invested in emerging technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear, what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, kinetic sculpture, and theater, he worked through traditional and avant garde notions of space and time as related to psychophysical experience. Moholy-Nagy held that higher dimensions could be experienced through a re-education of human senses and began to lay out his claim for the education of the senses in order to see the world differently as early as 1922 in "Produktion–Reproduktion" (De Stijl). In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, "[w]e may say that we see the world with entirely different eyes."
In this dissertation, I examine the influence of contemporary psychophysical, space-time theories on a stage/ performance design created by Moholy-Nagy, in particular, the two versions of his design for a synaesthetic theatrical performance entitled, Partiturskizze zu einer mechanischen Exzentrik (Score-Sketch for a Mechanical Eccentric): one a hybrid, mixed media drawing (c. 1923) and the other a revised version printed in Die Bühne im Bauhaus (The Stage of the Bauhaus, 1925). Following the structure of the hybrid drawing, each chapter is an interpretation of a single panel of the drawing, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I reveal the ambitious intention at the heart of the Exzentrik, to immerse the audience in a synaesthetic experience that expands their psychophysical consciousness using electromagnetic vibrations in the form of visible and invisible light and sound, as well as shocking and comedic forms and movements, and that, thereby, opens the audience to the construction of a new vision that endows them with the capacity to envision higher dimensions of space.Doctor of Philosophy
In 1936, while living in London, László Moholy-Nagy signed the Dimensionist Manifesto, written by Hungarian poet Charles Sirató, declaring his allegiance to the pursuit of creating artistic works in higher dimensions, such as three-dimensional paintings or four-dimensional space-time constructions. In his artworks and writings, Moholy-Nagy was deeply invested in the emerging and advancing technologies of the early twentieth century in the service of seeing the world differently, augmenting and training the sensory organs to visualize higher dimensions of space, essentially to see what does not appear to the naked eye, for instance x-ray images reveal what is apparently invisible. Through his work with light and movement, which took many forms, painting, photography, film, moving sculptures, and theater, he explored how a person experiences space and time both physically and intellectually and Moholy-Nagy began to lay out his claim for the education of the senses in order to see the world differently. In Malerei, Fotografie, Film (Painting, Photography, Film, 1925), Moholy-Nagy asserted that through the visual objectivity produced photographs, especially in oblique photographs, “[w]e may say that we see the world with entirely different eyes.” In this dissertation, I have examined the influence of contemporary space-time theories on two versions of Moholy-Nagy’s design for a theatrical performance called the Score-Sketch for a Mechanical Eccentric, one a hand-drawn and painted collage (c. 1923) and the other a revised version printed in The Stage of the Bauhaus (1925). Following the structure of the former, each chapter is an interpretation of a single panel of the drawing/collage, corresponding to the prelude and the five acts of the performance. This interpretation was made through a close reading of the drawing itself, examining the references made in the images and notations, comparing the two versions, and uncovering similar themes in his lectures, writings, and artistic works, and, in turn, pursuing references to physics, psychology, mathematics, and literature, whose profound influence was acknowledged by Moholy-Nagy in those texts. These influences include the writings of Albert Einstein, Hermann Minkowski, János Bolyai, Hermann von Helmholtz, Rudolf Carnap, Sigmund Freud, Wilhelm Wundt, E. T. A. Hoffmann, James Joyce, and many others. Through this analysis, I will reveal the ambitious intention at the heart of the performance, to immerse the audience in a multi-sensory experience that will expand their consciousness, thereby, to expand their sensory perception, using shocking and comedic displays to psychologically open the audience to the possibility of perceiving higher dimensions of space.
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Simões, Cibele Forjaz. "À luz da linguagem. A iluminação cênica: de instrumento da visibilidade à \"Scriptura do visível\"." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-18112013-155400/.
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Este projeto de pesquisa tem por objetivo estudar o desenvolvimento da linguagem da iluminação cênica em sua relação com os caminhos da encenação. O eixo central é a transformação da função da iluminação cênica de instrumento da visibilidade a elemento estrutural e estruturante da escrita cênica, constituindo-se como linguagem. Na primeira parte, através da pesquisa da luz no teatro expressionista alemão, pretende-se pontuar os trabalhos exemplares, de forma a descrever esse processo de transformação e suas variáveis, instituindo conceitos para uma análise específica da iluminação cênica. Na segunda parte, usamos desses conceitos para analisar outras poéticas da luz: o trabalho do encenador Erwin Piscator e o teatro da Bauhaus.This research aims to investigate the development of Lighting Design language in its relation to the course of theatrical production. The central axis is the function of scenic transformation from instrument of visibility to structural and structuring element of the scenic narrative, constituting itself as language. In the first part, through the research of lighting in German Expressionist theatre, it is intended to point out the representative works and to describe this transformation process and its variants establishing concepts for a specific analyses of theatrical lightning. In the second part, these concepts are used to analyze other lightning poetics: Erwin Piscator´s theatrical work and the Bauhaus´s theatre.
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Zheng, Yalan M. S. "The 798 Art Zone, the European Avant-Garde in China." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378197416.
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