The year 2019 marks the centennial anniversary of the Bauhaus' founding. Founded by Walter Gropius in 1919, the school sought to reimagine material reality. Considered by many to be the most visionary school of early 20th-century art and design, the Bauhaus would spark a global movement in a period of world history otherwise marred by war and economic devastation.
In 1933, The Nazi Party took over Germany and eventually closed the Bauhaus school. Many of the Bauhaus’ leading visionaries emigrated to the United States – bringing the movement with them. László Moholy-Nagy brought the Bauhaus to Chicago, starting a new chapter in the Bauhaus’ history by establishing a school – The New Bauhaus.
One of the most influential 20th-century architecture schools, the Bauhaus experienced its glory days in the city of Dessau between 1925 and 1932. Under the direction of Walter Gropius, Hannes Meyer, and Ludwig Mies van der Rohe, the emblematic educational complex was a place for work and housing for some of the most renowned personalities of architecture, design, and art of the last century.
Although the school in Dessau operated for a limited time with few people having the opportunity to experience the prolific environment, it left a deep impact on the architectural production that followed. The buildings that are part of the complex - both in Dessau and Weimar - were added to the UNESCO World Heritage List in 1996 and are now open for visitation.
The Hungarian artist László Moholy-Nagy was one of the most influential thinkers, designers and art educators of the first half of the twentieth century. His experimentation with light, space and form generated international attention. Among those impressed by Moholy-Nagy's work was Walter Gropius, German architect and founder of the Bauhaus School, who made Moholy-Nagy one of the youngest instructors in the history of the Bauhaus. In his time at the Bauhaus, Moholy-Nagy utilized multi-disciplinary art practices to revolutionize abstract artistic media.
Since its foundation in 1919 in Weimar, “Bauhaus” is not just the name of Walter Gropius' legendary school of building – it also stands for unprecedented ideas as well as for having the courage to create the future while considering present global and social issues. The initial purpose was to create a school of building which would achieve a total work of art through its interdisciplinary ways.
On the occasion of the 100th anniversary of the foundation of Bauhaus, Universal Design will be hosting the architecture competition “The Small House of Universal Design Award” in 2019. Seizing the concept of Germany's “Schrebergärten”, translating
Berlin-based photographer Jean Molitor has been traveling around the world since 2009, tracking the legacy of the Bauhaus. A century after the founding of the school, several generations of architects have confronted or been reared on the innovations of Bauhaus architecture. Trailblazers, allies and heirs to modernism are united by an architectural language generally described as "Bauhaus."
In his Bau1haus project, Molitor focuses on the aesthetics of Bauhaus-influenced architecture across the globe; his pictures make it possible to perceive the continuity of the school's legacy and its architectural language across cultures in a clear fashion.
The idea of a total work of art - Gesamtkunstwerk - guided several schools and movements in the 19th century, including the Bauhaus, which brought the term into the modern era. With the school's unstructured architecture and avant-garde furniture design came new ways of designing clothing, graphics and painting, etc. In the Bauhaus different fields influenced each other, diluting the border between art and industry as they evolved together. When the school was closed 1933 many projects were left unfinished.
In order to revive some of the work begun at the Bauhaus, Adobe launched the Hidden Treasures project to revive five fonts inspired by the original designs of five of the school's masters: Joost Schmidt, Xanti Schawinsky, Reinhold Rossig, Carl Marx and Alfred Arndt.
Penda has released images of its proposed high-rise residential tower in Tel Aviv, featuring brickarches and cascading terraces influenced by the city’s Bauhaus era and the materiality of its Old Town. The 380-foot-high (116-meter-high) scheme will house a range of one to four bedroom apartments, as well as double-height penthouses.
Throughout history, architects have used sketches and paintings to display to their clients the potential outcomes of the projects rattling around their minds. Since Brunelleschi’s adoption of drawn perspective in 1415, architectural visualizations have painted hyper-realistic imaginings of an ideal, where the walls are always clean, the light always shines in the most perfect way, and the inhabitants are always happy.
With technological advances in 3D modeling and digital rendering, this ability to sell an idea through a snapshot of the perfect architectural experience has become almost unrestricted. Many have criticized the dangers of unrealistic renderings that exceed reality and how they can create the illusion of a perfect project when, in fact, it is far from being resolved. However, this is only the natural next step in a history of fantastical representations, where the render becomes a piece of art itself.
Below is a brief history of the interesting ways architects have chosen to depict their projects—from imagined time travel to the diagrammatic.
“Today, design has become a form of inquiry, power, and agency,” say Jan Boelen and Deniz Ova, curator and director of the 2018 Istanbul Design Biennial. “It has become vaster than the world itself, permeating all layers of everyday life.” Their curatorial statement for the 4thIstanbul Design Biennial, which opens later this year themed with the title “A School of Schools,” seeks to explore how design education, and education in general, can evolve and adapt in a new age of artificial intelligence.
The team is determined that the Biennial should not read as a two-year scheduled event, but should “reinvent itself and become a productive, process-orientated platform for education and design to research, experiment, and learn in.” The team is undoubtedly well equipped for the challenge.
https://www.archdaily.com/894670/jan-boelen-and-deniz-ova-curators-of-the-2018-istanbul-design-biennial-discuss-the-future-of-design-educationNiall Patrick Walsh
The Universal Connector: Building Systems after the Bauhaus Internationale Research Programme for Designers, Architects and Curators
Can standardisation lead to the greatest possible degree of flexibility? Konrad Wachsmann was convinced of this when he designed the General Panel System with Walter Gropius in the 1940s. The Bauhaus Lab 2018 engages in research into the universal connectors as base of a building system and as bundling of discourses. The Bauhaus Lab 2018 takes place from May 7th to August 9th in the US and Germany. The Lab participants will carry out research that will result in an exhibition. Young designers, architects and
Douglas Barnhard, the owner of the home decor company Sourgrassbuilt, designs and builds birdhouses. Built out of repurposed materials, his designs are inspired by mid-century modernism and pay homage to the likes of Frank Lloyd Wright, Joseph Eichler and the Bauhaus School in Germany yet mix with Barnhard's experience of the rich surf and skate scene in Santa Cruz.
Architectural Adventures, a travel program from the American Institute of Architects (AIA), is the premier travel provider for architecture, art, and photography enthusiasts, as well as intellectually curious travelers. The program offers a variety of small-group tours specializing in the exploration and appreciation of some of the world’s most remarkable architecture, all while enjoying a destination’s culture, food, and traditions.
Experience the legendary Bauhaus movement on the brink of its 100th anniversary on this ten-day tour with Architectural Adventures. The Bauhaus is arguably the world's most influential school of design, revolutionizing 20th-century design, art, and architecture the world over. Founded in Weimar, Germany by Walter Gropius in 1919, the Bauhaus' activities spanned 14 years, and was relocated to Dessau and later Berlin.
Living and working in the Schlemmer House in Dessau Apply now – Applications close on 6 September 2017
In the 1920’s the Masters’ Houses in Dessau became the epitome of an artist community of the twentieth century. This is where Walter Gropius, Oskar Schlemmer, Georg Muche, László Moholy-Nagy, Lyonel Feininger, Wassily Kandinsky and Paul Klee and their families lived next door to each other. Here they were joined by their friends and visitors. Artist collectives, artist couples and artist friendships developed here, with everyone working together in the open structure of the model homes located in a park. However, when the Bauhauslers left in 1933 the area became deserted and the work created as a result of the artistic effort was abandoned.
https://www.archdaily.com/876262/open-call-bauhaus-residence-2018AD Editorial Team
In 1919, at a time in which Germany was still in upheaval over its defeat in the First World War (and compounded by the loss of its monarchy), the Academy of Fine Arts and School of Applied Arts in Weimar, Germany, were combined to form the first Bauhaus. Its stated goal was to erase the separation that had developed between artists and craftsmen, combining the talents of both occupations in order to achieve a unified architectonic feeling which they believed had been lost in the divide. Students of the Bauhaus were to abandon the framework of design standards that had been developed by traditional European schools and experiment with natural materials, abstract forms, and their own intuitions. Although the school’s output was initially Expressionist in nature, by 1922 it had evolved into something more in line with the rising International Style.
Shown from the same central perspective, the photographs “create a new dimension by splitting space and time, staying within the visual limits of the project’s concept, while the perception of the architectural details evokes the idea of infinity.”
“I have always liked Art Deco and Bauhaus buildings,” said Alovits. “Whenever I step into one of these caracoles, I feel a certain pulling energy looking up from the bottom or down from the top. I wanted to collect and showcase all the different shapes and colors that these stairways feature.”