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Journal articles on the topic 'Bauhaus'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Szabó, Zsófia. "Átélni, megismerni, tudni." Artcadia 1, no. 1 (July 28, 2022): 3–14. http://dx.doi.org/10.57021/artcadia.3290.

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A 2018/2019-es tanévben a 100 esztendős Bauhaus módszereinek nyomába eredtünk a kaposvári művészeti intézetben: kutattuk, tanulmányoztuk, majd teszteltük a Bauhaus pedagógiájának, művészeti szemléletének és stílusának jelenkori érvényességét, lehetőségeit. Az átélés – megismerés – tudás egységét a Bauhaus legendás tanára, Johannes Itten a játék, ünnep és munka mottójával kapcsolta össze. Ez a tanulmány az elmélettől a gyakorlatig vezető utat mutatja be: mi így dolgoztunk, játszottunk és ünnepeltük együtt a Bauhaust Kaposváron.

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Torretta, Nicholas B., Mariana Pestana, Frederico Duarte, Cristiano Predroso-Roussado, Luisa Metelo Seixas, Valentina Nisi, and Nuno Jardim Nunes. "Navigating Problematic Bauhaus Inheritances: Critiques, Implications, and Questions from the Bauhaus of the Seas NEB Lighthouse." Design Issues 40, no. 3 (2024): 105–17. http://dx.doi.org/10.1162/desi_a_00770.

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Abstract In 2020, Europe announced the New European Bauhaus (NEB). While the initiative intends to achieve EU sustainability goals, framing it under the name of the Bauhaus brings various challenges and issues to the fore. In this article, we analyze the critiques of the original Bauhaus and the NEB to understand the challenges that the NEB lighthouse project Bauhaus of the Seas Sails (BoSS) inherits by adhering to the Bauhaus vision and name. We unveil the problematic dynamics of Eurocentric modernity's myths of universalism and better living through technology and on the Bauhaus's and NEB's position in global power structures. Instead of assuming a tabula rasa approach and replicating problematic structures unknowingly, we bring these three aspects to BoSS to find questions as orientation points to help steer away from problematic aspects inherited by reanimating the Bauhaus name and its legacy.

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3

Zepf, Uwe. "Bauhaus und Genossenschaftswesen." Zeitschrift für das gesamte Genossenschaftswesen 73, no. 1 (March 1, 2023): 74–85. http://dx.doi.org/10.1515/zfgg-2023-0004.

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Zusammenfassung Ausgehend von dem Gemeinschaftsgedanken der Bauschaffenden beim Bauhaus und dem Gemeinschaftsansatz von Wohnungsbaugenossenschaften beim Bauen und Wohnen geht diese Abhandlung den Beziehungen und Wechselwirkungen zwischen Beiden nach. Dabei werden die genossenschaftlichen Aktivitäten und Erfahrungen des zweiten Bauhausdirektors Hannes Meyer bei der Planung und Errichtung des Freidorfes Muttenz dargelegt und bis zu einem Manifest des Bauhauses verfolgt. Mit diesem Rüstzeug werden dann die wechselseitigen Auswirkungen von Bauhaus und Genossenschaftswesen beispielhaft erläutert. Dies erfolgt einerseits anhand der Handwerkergenossenschaftlichen Gildenhall, die von ehemaligen Bauhäuslern mitgetragen wurde und andererseits anhand der Wohnungsbaugenossenschaft Trachau-Nord eG, deren Wohnungsbestand aus den zwanziger und dreißiger Jahren des 20. Jahrhunderts, der architektonischen Haltung des Bauhauses folgend, errichtet wurde.

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4

Łarionow, Dominika. "Bauhaus – portret wielokrotny z polskimi epizodami." TECHNE. Seria Nowa, no. 3 (December 22, 2020): 115–38. http://dx.doi.org/10.18778/2084-851x.07.07.

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Bauhaus był jedyną szkołą artystyczną wywodzącą się z szerokiego dorobku awangardy pierwszej połowy dwudziestego wieku, która zyskała status samodzielnego ruchu artystycznego. Przywołany w tekście Deyan Sudijc, historyk dizajnu zwraca uwagę, że zarówno w drugiej połowie dwudziestego wieku, aż po czasy współczesne każda kolejna nowa grupa artystów-reformatorów odkrywa na nowo Bauhaus. Tym samym działająca ledwie trzynaście lat niemiecka szkoła, stworzyła coś więcej niż styl, bowiem pokazała na czym polega wręcz filozofia kreacji obiektów, które są i artystyczne, i użyteczne. Artykuł próbuje opisać fenomen szkoły, poprzez przywołanie polskich krytyków, którzy jak Tadeusz Peiper odwiedzali Waltera Gropiusa i opisywali zarówno dyrektora, jak i proponowany system kształcenia. Autorka szczególnie skupia się też na omówieniu teatralnego dorobku Bauhausu w kontekście postaci Oskara Schlemmera. Niemiecki twórca Baletu triadycznego, po opuszczeniu nowatorskiej uczelni przyjechał do Breslau czyli dzisiejszego Wrocławia by wykładać w miejscowej szkole i realizować w teatrze nowatorskie od strony scenograficznej widowiska. Jest to ciekawy i nieco zapomniany epizod w jego twórczości. Historia Bauhausu nie jest tylko opowieścią o awangardowej szkole, autorka dotyka również nieco wstydliwego aspektu spuścizny. Uczelnia założona przez Gropiusa niestety nie przetrwała dyktatury nazistowskiej w Niemczech. Została rozwiązana praktycznie na początku rządów Hitlera. Jednakże propaganda faszystowska, w niektórych sferach swojego funkcjonowania posługiwała się stylistyką Bauhausu. Zatem szkoła, która stała się oddzielnym nurtem awangardy była też w sposób trudny uwikłana w historię polityczną dwudziestego wieku, co jest i paradoksem i przestrogą dla historyków oceniających prace artystów przeważnie pod kątem ich estetycznych walorów.

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5

Nisbet, Peter, Frank Whitford, and Christina Lodder. "Bauhaus." Design Issues 2, no. 1 (1985): 78. http://dx.doi.org/10.2307/1511531.

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6

Lewis, Beth Irwin, Eva Forgacs, and John Batki. "The Bauhaus Idea and Bauhaus Politics." American Historical Review 101, no. 3 (June 1996): 864. http://dx.doi.org/10.2307/2169505.

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7

Jaskot, Paul B., Eva Forgacs, and John Batki. "The Bauhaus Idea and Bauhaus Politics." Design Issues 14, no. 2 (1998): 93. http://dx.doi.org/10.2307/1511854.

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8

Bienert, Michael, and Norbert Eisold. "Unbekanntes Bauhaus." Literaturblatt für Baden-Württemberg, no. 4 (July 9, 2024): 21. http://dx.doi.org/10.53458/litbw.vi4.12906.

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9

Gropius, Walter. "Bauhaus-manifestet." Agora 36, no. 02 (September 3, 2019): 219–23. http://dx.doi.org/10.18261/issn1500-1571-2019-02-13.

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10

Sommer, Anne-Louise. "Bauhaus-Arkitekturen." K&K - Kultur og Klasse 16, no. 61 (April 5, 1988): 42–54. http://dx.doi.org/10.7146/kok.v16i61.20627.

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11

Neely, Kent, Oskar Schlemmer, and Debrra McCall. "Bauhaus Dances." Theatre Journal 39, no. 3 (October 1987): 384. http://dx.doi.org/10.2307/3208157.

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12

Harrington, Kevin. "Bauhaus Symposium." Design Issues 5, no. 1 (1988): 45. http://dx.doi.org/10.2307/1511560.

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13

Faue, Elizabeth, and Sigrid Wortmann Weltge. "Bauhaus-Wives." Women's Review of Books 11, no. 5 (February 1994): 23. http://dx.doi.org/10.2307/4021707.

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14

Basu, Priyanka. "Bauhaus Imaginista." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 27, no. 1 (March 1, 2020): 126–33. http://dx.doi.org/10.1086/711199.

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15

Čapková, Helena, and Benjamin Tallis. "Bauhaus Imaginista." New Perspectives 27, no. 1 (February 2019): 159–77. http://dx.doi.org/10.1177/2336825x1902700116.

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16

Trimingham, Melissa. "Bauhaus 100." Theatre and Performance Design 5, no. 1-2 (April 3, 2019): 2–5. http://dx.doi.org/10.1080/23322551.2019.1606392.

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17

García-García, Alejandro. "Pedagogías. Bauhaus." Arte, Individuo y Sociedad 35, no. 1 (January 13, 2023): 337. http://dx.doi.org/10.5209/aris.83506.

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18

Mendes, Anabela. "Dossiê Bauhaus." Dramaturgias, no. 20 (September 26, 2022): 10–361. http://dx.doi.org/10.26512/dramaturgias20.45205.

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As almejadas celebrações dos 100 anos da criação da Bauhaus despertaram um furor quase a nível planetário para devolver às actuais gerações de estudiosos e amantes desta Escola de Artes e Ofícios mais luz sobre o que ainda pode ser intrigante e que vive nas sombras de um passado que nos continua a fascinar e a guiar.

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19

Pier, Arthur S. "BAUHAUS: Walter Gropius and the Influence of the Bauhaus." Sculpture Review 48, no. 2 (June 1999): 12–17. http://dx.doi.org/10.1002/j.2632-3494.1999.tb00019.x.

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20

KAVURAN, Tamer, and Bayram Dede. "The roles of art educationalists to realize the aims of the art education: Bauhaus case." Global Journal of Arts Education 6, no. 4 (June 12, 2017): 126–32. http://dx.doi.org/10.18844/gjae.v6i4.1836.

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AbstractTo achieve the objective of art education, (i.e. the training of art educationalists) workshops, technical equipment, and curriculum all play an important role. It is impossible to ascertain the objectives of art education if the instructor has insufficient knowledge. The reason why the Bauhaus school of design became globally recognized was due to its superior instructors. Among the instructors of the school, there were Johannes Itten, Josef Albers, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Laszlo Moholy-Nagy, Oscar Schlemmer. They applied their revolutionary methods to the Bauhaus school. Due to these methods the Bauhaus model of teaching has been copied by other art schools; even after the Bauhaus school closed. In this study, the impact of the Bauhaus school and its instructor is examined. The individual contributions of its instructors to art education, as well as how they exemplify the model art educator are also explored in detail. Keywords: art, design, Bauhaus, knowledge, instructor.

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21

Markgraf, Monika. "Einblicke in die Dessauer Bauhausbauten als materielles Erbe." Architectura 48, no. 1-2 (January 1, 2018): 134–53. http://dx.doi.org/10.1515/atc-2018-1008.

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Abstract In Dessau, the Bauhaus experienced an extremely productive phase in 1925 –1932. In this period a number of buildings were constructed in the city, which are summarised under the name Bauhaus Buildings. The materiality of these buildings, from which important impulses for the development of architecture in the 20th century emanated, is just as important for a comprehensive understanding of the buildings as it is for their long-term preservation. The Bauhaus Dessau Foundation has had a building research archive since 1998, in which building materials and components of the Bauhaus buildings are preserved. Using selected materials such as concrete, Torfoleum or stonewood screed as examples, aspects of researching and preserving these buildings are discussed using the Bauhaus building, the Masters’ Houses and the Dessau-Törten housing estate as examples.

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22

Liu, Anran. "The Bauhaus Concept and Its Influence on Contemporary Architectural Design in China." Studies in Social Science Research 4, no. 4 (September 26, 2023): p1. http://dx.doi.org/10.22158/sssr.v4n4p1.

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This study employs the iconic modernist architectural landmark, the Dessau Bauhaus school building, as a case study. By scrutinizing the distinctive creative attributes of this architectural masterpiece, the study delves into the design tenets of Bauhaus ideology. Additionally, it conducts an analysis of the resonance between Bauhaus principles and the landscape of modern design in China. Building upon this foundation, the study embarks on a dialectical exploration, leveraging representative instances of contemporary Chinese architectural design, to meticulously examine the impact of Bauhaus on modern Chinese design, with a specific focus on the domain of architectural design.

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23

Zhang, JiaWei, and Azwady Mustapha. "THINKING ON CHINESE CONTEMPORARY DESIGN EDUCATION--TAKING BAUHAUS AND ULM DESIGN EDUCATION AS EXAMPLES." International Journal of Education, Psychology and Counseling 8, no. 51 (September 27, 2023): 409–20. http://dx.doi.org/10.35631/ijepc.851029.

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Designers require not just theoretical knowledge, but the practical skill to apply it. Consequently, the Bauhaus "twin-track approach" has been implemented in design education in China. Positive results have been obtained from the combination of theoretical education and practical experience. Design research in China primarily centred on the Bauhaus modular design in the 1980s. However, the advancement of society has posed various challenges to the Bauhaus and Ulm School of Design theories. Therefore, this paper analyses the design education concepts and modes utilised by Bauhaus and Ulm, to reflect on current design education in China and its obstacles.

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24

KATOH, Michio. "the Dessau Bauhaus." Journal of Graphic Science of Japan 39, no. 1 (2005): 25–26. http://dx.doi.org/10.5989/jsgs.39.25.

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25

GÜRCÜM-, Banu Hatice. "BAUHAUS DOKUMA ATÖLYESİ." Journal of Academic Social Science Studies Number: 77, Number: 77 (2019): 187–203. http://dx.doi.org/10.29228/jasss.39899.

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26

Frischkorn, Moritz, and Thomas Pearce. "Untraining the Bauhaus." Performance Research 25, no. 8 (November 16, 2020): 18–21. http://dx.doi.org/10.1080/13528165.2020.1930774.

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27

Ricout, Stéphane. "L’esprit du Bauhaus." Ligeia N° 153-156, no. 1 (2017): 36. http://dx.doi.org/10.3917/lige.153.0036.

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28

Birringer, Johannes. "Bauhaus, Constructivism, Performance." PAJ: A Journal of Performance and Art 35, no. 2 (May 2013): 39–52. http://dx.doi.org/10.1162/pajj_a_00145.

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Birringer, Johannes. "Queering the Bauhaus." PAJ: A Journal of Performance and Art 42, no. 2 (May 2020): 133–38. http://dx.doi.org/10.1162/pajj_r_00530.

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30

Volkmann, Christina, and Christian de Cock. "Consuming the Bauhaus." Consumption Markets & Culture 9, no. 2 (June 2006): 129–36. http://dx.doi.org/10.1080/10253860600633689.

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31

Pearlman, Jill. "Bauhaus in America." Journal of Architectural Education 51, no. 3 (February 1998): 204. http://dx.doi.org/10.1080/10464883.1998.10734775.

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32

Barnstone, Deborah Ascher. "Not the Bauhaus." Journal of Architectural Education 62, no. 1 (September 2008): 46–55. http://dx.doi.org/10.1111/j.1531-314x.2008.00215.x.

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33

György, Alföldi. "A Bauhaus ma!" Építés - Építészettudomány 48, no. 1-2 (March 2020): 1–6. http://dx.doi.org/10.1556/096.2020.001.

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Bauhaus. Egy rövid idejű, de óriási hatású művészeti kísérlet arra, hogy képző- és iparművészek, építészek hogyan tudnak a társadalom megújításában felelősen részt venni. A műhelyekben kifejlesztett alkotói módszerekből a viharos 20. század során a társadalmi szál kikopott és művészeti stílussá egyszerűsödött. Bár a kezdetek óta viták kereszttüzében áll, de mind a mai napig erős hatással van a művészetekre, a környezetalakításra. Korunk felelőssége a még meglévő épületek védelme és az alkotó módszer komplexitásának megismerése és értékelése.

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34

Secklehner, Julia. "Beyond the Bauhaus." Art East Central, no. 2 (2022): 169–74. http://dx.doi.org/10.5817/aec2022-2-10.

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35

Kaplan, Andy. "Designing Bauhaus Education." Schools 19, no. 2 (September 1, 2022): 408–19. http://dx.doi.org/10.1086/722019.

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36

Bienert, Michael, and Fred Forbat. "Beinahe Bauhaus-Meister." Literaturblatt für Baden-Württemberg, no. 4 (June 10, 2024): 21. http://dx.doi.org/10.53458/litbw.vi4.12016.

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37

Maruyama, Tsuyoshi. "Typeface of The BAUHAUS." Journal of Graphic Science of Japan 32, no. 3 (1998): 19–26. http://dx.doi.org/10.5989/jsgs.32.3_19.

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38

García-Ramos, Francisco José, and Isidro Jiménez Gómez. "Junge Menschen, kommt ans Bauhaus! [¡Jóvenes, venid a la Bauhaus!]." Pensar la Publicidad. Revista Internacional de Investigaciones Publicitarias 13 (July 8, 2019): 11–13. http://dx.doi.org/10.5209/pepu.65016.

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39

Höpfner, Hans Paul. "Thomas Schleper (Hg.): Staatsaffäre Bauhaus. Beiträge zur internationalen Bauhaus-Rezeption." Das Historisch-Politische Buch (HPB) 69, no. 3–4 (July 1, 2021): 258. http://dx.doi.org/10.3790/hpb.69.3-4.258.

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Höpfner, Hans Paul. "Thomas Schleper (Hg.): Staatsaffäre Bauhaus. Beiträge zur internationalen Bauhaus-Rezeption." Das Historisch-Politische Buch (HPB) 69, no. 3–4 (July 1, 2021): 512. http://dx.doi.org/10.3790/hpb.69.3-4.512.

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41

Bravo, Rafael Ángel. "Vigencia de la Bauhaus en la formación académica de los diseñadores gráficos." CALLE14: revista de investigación en el campo del arte 10, no. 17 (March 4, 2016): 84. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a06.

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RESUMEN Desde su formación en Alemania en 1919 la Bauhaus ha permitido que la profesión del diseño alcance nuevas alturas, estableciendo bases para su enseñanza académica, poniendo el arte al servicio de la industria, integrando diferentes disciplinas –desde la escultura hasta la psicología–para brindar al diseño un carácter en el cual la verdadera herramienta de trabajo es la mente humana y su percepción de la imagen. La formación del ser por encima del hacer, planteada por la Bauhaus desde sus comienzos y evidenciada en el trabajo de Johannes Itten, es un planteamiento a tener en cuenta, pues si bien la competencia técnica es fundamental para el desempeño laboral, la creatividad y la integralidad le otorgan al individuo la posibilidad de ofrecer soluciones satisfactorias frente a los problemas y las necesidades de su comunidad.PALABRAS CLAVES Bauhaus, creatividad, diseño gráfico, formación académica, Gestalt.IACHACHI KAIARREKUNA BAUHAUS SUGLLAPI Kai rurai kuna Alemania 1919 Kaiarreusorra iapa ministidú Tukugsamuska runakuna ima iachaska iukankuna Aidachinga sugkunata paikunapas iachaikungakuname Imasan rurare Imapas allila iugsengapa. Munarra Kaiarrespacha iukankuna allilla kawanga, kai run Jahannes Itten Muname kanse iapa ministidu imatrabaju rurangapapas Jiru kaskata allichingapa tukui allilla kidangame pipas Mana iakirispa kangachu.IMA SUTI RIMAI SIMI: Bauhaus- rurai- allilla rurai- iachachiskata- kawachi-Gestalt.CURRENCY OF THE BAUHAUS IN THE ACADEMIC TRAINING OF GRAPHIC DESIGNERS ABSTRACT Since its foundation in Germany in 1919, the Bauhaus has allowed the profession of design to reach new heights, establishing the bases for its academic teaching, putting art at the service of industry, integrating different disciplines –from sculpture to psychology– to provide design with a character in which the true work tool is the human mind and its perception of the image. Placing the education in being above the education in doing, a principle enacted by the Bauhaus since its inception and evidenced in the work of Johannes Itten, is an approach not to dismiss, because although technical competence is critical to job performance, only creativity and comprehensiveness give each individual the opportunity to offer satisfactory solutions to the problems and needs of her community.KEYWORDS Bauhaus, creativity, graphic design, professional education, Gestalt. t Rafael Ángel, 2015. Piezas gráficas elaboradas por Paula Andrea Gil, Esperanza Lara, Alexander Paredes, Cristian Buendía y Óscar Anacona, estudiantes del Programa de Producción Gráfica, dentro del curso de Historia del Diseño Gráfico, con el Profesor Rafael Ángel. Corporación Universitaria Autónoma de Nariño, 2013.VALIDITÉ DU BAUHAUS DANS LA FORMATION ACADÉMIQUE DES GRAPHISTES RÉSUMÉ Depuis sa création en 1919, le Bauhaus en Allemagne a permis à la profession du graphisme d’atteindre des hauteurs nouvelles, en établissant les bases pour son enseignement universitaire, en mettant l’art au service de l’industrie, et en intégrant des différentes disciplines –de la sculpture à la psychologie– pour fournir au graphisme un caractère où le véritable outil de travail est l’esprit humain et sa perception de l’image. La formation de l’être avant de celle du faire, soulevée par le Bauhaus depuis sa création et mise en évidence dans le travail de Johannes Itten, est une approche à considérer, parce que même si la compétence technique est essentielle à la performance au travail, la créativité et l’intégralité donnent aux individus la possibilité d’offrir des solutions satisfaisantes aux problèmes et aux besoins de leur communauté.MOTS CLÉS Bauhaus, créativité, graphisme, design graphique, formation universitaire, Gestalt.VIGÊNCIA DA BAUHAUS NA FORMAÇÃO ACADÊMICA DOS DESENHADORES GRÁFICOS RESUMO Desde sua formação na Alemanha em 1919 a Bauhaus há permitido que a profissão do desenho alcance novas alturas, estabelecendo bases para seu ensino acadêmico, pondo a arte ao serviço da indústria, integrando diferentes disciplinas – desde a escultura até a psicologia – para oferecer ao desenho um caráter no qual a verdadeira ferramenta de trabalho é a mente humana e sua percepção da imagem. A formação do ser por encima do fazer, planejada pela Bauhaus desses seus começos e evidência no trabalho de Johannes Itten, é um planejamento para ter uma conta, pois se bem a competência técnica é fundamental para o desempenho laboral, a criatividade e a integralidade lhe outorga, ao indivíduo a possibilidade de oferecer soluções satisfatórias diante aos problemas e as necessidades de sua comunidade.PALAVRAS CHAVES Bauhaus, criatividade, desenho-gráfico, formação acadêmica, Gestalt.

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42

Bergdoll, Barry. "Memento mori or eternal Modernism? The Bauhaus at MoMA, 1938." Education and Reuse, no. 61 (2019): 8–17. http://dx.doi.org/10.52200/61.a.xgbb50il.

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On the occasion of the exhibition which I co-curated at New York’s Museum of Modern Art (MoMA) with Leah Dickerman in 2009 for the 90th anniversary of the founding of the Bauhaus (and the 80th anniversary of the founding of the museum), I delved into the museum’s archives to shed light on the political context as well as the complex logistics of the museum’s earlier Bauhaus exhibition staged in 1938. The museum’s 1938 book that accompanied that important episode in the early reception of the Bauhaus in America remained the standard work on the school and its art philosophy in the English speaking world until the publication of the English translation of Hans Maria Wingler’s monumental Bauhaus in 1969. This essay, addressing the exhibition staged in New York and the misconceptions about the Bauhaus it set in motion for many years, is based on a lecture I gave at the exhibition symposium; a version of that text was published for the first time in a book of essays published in honor of one of my professors at the University of Cambridge, Jean Michel Massing, in 2016. This is a slightly modified version for the 100th anniversary of the Bauhaus, a decade later.

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Szalay, Miklós. "Milyen bauhaust gondolunk?" Artcadia 1, no. 1 (July 28, 2022): 15–25. http://dx.doi.org/10.57021/artcadia.3291.

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A bauhaus-eszme reneszánsz elődei: szabályos testek, utópiák és az abszolút emberi arányok. A bauhaus társadalmi, technológiai feltételei és mellette különös párhuzamok: dodekafónia, futurizmus, anarchizmus, tanácsköztársaság. Figyelem! Az egyik totalitárius eszme stílusa – az orosz konstruktivizmus – veszélyes és tilos a másik totalitárius eszmére, a nácizmusra! Gondolatkísérlet: a funkció érintése. Bauhaus ma: méregdrága Barcelona-szék és olcsó IKEA. Végső számvetés: lehet, hogy a Bauhausnál húzhatjuk meg a vonalat, amikortól világosan elválaszthatjuk a designt és „a művészetet”.

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Tostões, Ana. "100 years back, 100 years forward." Education and Reuse, no. 61 (2019): 2–3. http://dx.doi.org/10.52200/61.a.5d5sbh9l.

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The Bauhaus had a pioneering influence on design worldwide which still endures today; through education, experimentation and materialization, a revolution took place in architecture, urbanism and design for mass production. In 1918, during the immediate post-war period, Walter Gropius (1883-1969) achieved a fusion between the Kunstgewerbeschule and the Hochschule fur Bildende Kunst in Weimar, with the creation of an interdisciplinary school of design and crafts. In April 1919, he was elected director of the school which was by then called the Staatliches Bauhaus. He also published the Bauhaus Manifesto, which remains as a pioneering moment in history, with irreversible consequences at a global scale. The Bauhaus as a school, as a method of experimentation, education, and research, embodies the idea of science applied in service of the society. At the Bauhaus, utopia was combined with pragmatism, agitation and propaganda with public service, poetry with utility, Neue Sachlichkeit with creation and freedom. Its premises continue to be relevant today with the great issues of sustainability and democracy needing to be addressed through art and technology.

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Maulsby, Lucy M. "Bauhaus Modern and Bauhaus Culture: From Weimar to the Cold War." Journal of Architectural Education 63, no. 1 (October 2009): 145–47. http://dx.doi.org/10.1111/j.1531-314x.2009.01040.x.

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Harrod, William Owen. "The Vereinigte Staatsschulen für freie und angewandte Kunst and the Mainstem of German Modernism." Architectural History 52 (2009): 233–69. http://dx.doi.org/10.1017/s0066622x00004202.

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In 1936, Nikolaus Pevsner asserted at the Royal Society of Arts in London that the Weimar Republic had produced two great modern schools of art: Walter Gropius’ Bauhaus and Bruno Paul’s Vereinigte Staatsschulen für freie und angewandte Kunst (Unified State Schools for Fine and Applied Art) in Berlin. Pevsner was outspoken in commending the ‘atmosphere of youth, conquest, thrill’ that pervaded the Bauhaus in emulation of the passionate and revolutionary spirit of its founder. But he was troubled by the shortcomings of its programme. By contrast, Pevsner praised the Vereinigte Staatsschulen for restoring the essential ‘balance between painting and sculpture on the one hand, and handicraft and design on the other’ (Fig. 1). Unlike the Bauhaus, Pevsner concluded, the Vereinigte Staatsschulen ‘represented a success in almost every respect’. Yet, despite its importance to the dissemination of the Modern Movement, the Vereinigte Staatsschulen has been largely forgotten in the English-speaking world, while the Bauhaus has been long been regarded as the epitome of twentieth-century modernism, and, particularly in popular culture, even of the very concept of modernity. Nevertheless the interwoven stories of the Vereinigte Staatsschulen and the Bauhaus, and of their directors, serve to illuminate the complexity of the unwritten history of the Modern Movement.The Vereinigte Staatsschulen and the Bauhaus were, as Pevsner noted, parallel developments. Both emerged from the artistic reform movements that characterized the final years of the German Empire, and which found their culmination in the Deutscher Werkbund. The faculty of Vereinigte Staatsschulen sustained the unbroken history of its progenitor institutions, reflecting a broad and inclusive Modern Movement that echoed the often-contentious composition of the Werkbund itself. The Bauhaus faculty sought, ultimately unsuccessfully, to effect a clear and decisive break from a similar historical context. Notwithstanding its brilliant achievements, the Bauhaus ultimately represents but a single, exclusive branch of the history of the Modern Movement. The Vereinigte Staatsschulen reflects the broader currents that engendered twentieth-century modernism.

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Jiawei, Zhang, and AZWADY MUSTAPHA. "Bauhaus Feminine Power and its Influence on Modern Fashion Design." International Journal of Research and Innovation in Social Science VIII, IIIS (2024): 1263–70. http://dx.doi.org/10.47772/ijriss.2024.803085s.

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The Bauhaus movement, spanning over a century, left an indelible mark on design, particularly through the contributions of female designers. This study explores the influence of Bauhaus women, such as Gunta Stölzl, Anni Albers, and Lilly Reich, who focused on textiles, children’s goods, and household accessories. Their emphasis on simplicity, practicality, and emotional expression, characterized by vivid colors and geometric shapes, continues to inspire contemporary fashion labels like byFANG and ZI II CI IE. ByFANG seamlessly blends Anni Albers’s artistic features with geometric pleats, while ZI II CI IE celebrates the Bauhaus ethos with multifunctional items exalting female strength. This analysis draws on literature reviews, historical research, and biographical studies to underscore the enduring impact of these female designers on the Bauhaus movement and their ongoing influence on modern fashion.

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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.

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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.

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Kozlovski, Vladislav Dmitrievich, and Sofia Alekseevna Pushkareva. "Artistic design of the beginning of the XX century. Women of the Bauhaus." Культура и искусство, no. 6 (June 2022): 75–84. http://dx.doi.org/10.7256/2454-0625.2022.6.35754.

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The relevance of this article lies in the fact that design, as a phenomenon of project activity, is one of the leading areas of project culture of the XXI century, but despite this, in modern art and design activities, gender inequality in the implementation of creative projects can be observed. This contradicts the equality declared by the European society. A similar situation has existed since the very beginning of design as a special sphere of human activity. Consideration of this issue from the cultural, cultural and historical side will reveal the structural relationship between the stated principles and the reality of gender policy in the field of design. The purpose of this work is to highlight and systematize the main contribution of women artists, Bauhaus designers to the development of design in general. The object of the study is the gender policy of the Bauhaus school. The subject of the research is the artistic, craft and artistic — project activities of female students and teachers of the Bauhaus School. The authors consider the Bauhaus in the socio-cultural aspect of gender policy, identify the personalities of women, analyze and structure their contribution to the development of art.Having examined the Bauhaus school in the socio-cultural aspect of gender policy, the authors revealed that despite the declared gender equality, women were limited in their activities and rights. Based on the data obtained, the authors revealed the dependence of women's education in the Bauhaus, firstly, on the school course dictated by the leadership, and secondly, on the political and economic processes taking place at that time in the country and in the world as a whole. The authors highlighted the personalities of Bauhaus women, such as Gunta Stelzl, Annie Albers, Marianne Brandt, Gertrude Arndt, and also revealed their role in shaping design as a non-gender profession.

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Appelshoffer, Péter, Ferenc Ficzek, Judit Gimesi, Zsolt Gyenes, Péter Jónás, Sándor Áron Károly, Rita Mátis, et al. "Bauhaus-kurzusok a Rippl-Rónai Művészeti Intézetben." Artcadia 1, no. 1 (July 28, 2022): 26–47. http://dx.doi.org/10.57021/artcadia.3292.

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A 2018/2019-es tanév tavaszi szemeszterében a Rippl-Rónai Művészeti Intézet oktatói a százesztendős Bauhaus jegyében adták ki művészeti kurzusaik feladatait a hallgatóknak. Ez a kísérlet arra irányult, hogy a Bauhaus módszerei friss, kortárs megközelítésben keljenek új életre. Mint a Bauhaus stílusát megidéző parafrázisok, reflexiók, újraértelmezések - különböző műfajokban, technikai háttérrel és médiumban (festmények, grafikák, animációk, filmek, installációk, performanszok, printek stb.) készültek el a hallgatói alkotások. Ez a katalógusszerűen megszerkesztett szöveg a projektek illusztrált dokumentációja: az egyes kurzusok konkrét feladatairól, a munkafolyamatokról és tapasztalatokról szóló oktatói beszámolók.

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