Bauhaus

*Winner of the Peter C. Rollins Prize for Best Book of the Year from the Northeast Popular Culture Association*
An investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures.

The Bauhaus (1919–1933) is one of the twentieth century's most influential art schools, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories.

The Bauhaus is most often associated with a handful of famous artists, architects, and designers―notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities in design; the “queer hauntology” of certain Bauhaus works; and the school's communist period (1928–1932), when Bauhäusler put their skills into the service of the revolution―even as Nazism emerged and entered the Bauhaus itself.

With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew.

This is the first refereed article that presents the life and work of JP Hully, a British modernist that worked with Gane furniture manufacturers in Bristol. His design life and tenure at Gane overlapped with that of Marcel Breuer. Both historical and historiographal, this article probes the remaining historical shards of JP Hully’s work, career and life, while making wider historiographical statements about the gaps, absences and silences of history.

Das Meisterhausensemble in Dessau avancierte
in den 1920er-Jahren zum Inbegriff der Künstlerkolonie:
Hier lebten die Bauhausmeister Tür an Tür.
Mit dem Bauhaus Residenz-Programm ermöglicht
die Stiftung Bauhaus Dessau jungen, internationalen
Künstlern seit 2016, wieder in den Meisterhäusern
zu wohnen und zu arbeiten.

Herausgegeben für die Stiftung Bauhaus Dessau
von Claudia Perren und Alexia Pooth

Mit Arbeiten von: Mervyn Groot, Alexandar Hadjiev, Gabi Schillig, Rudy Decelière, Jiyoung Yoon, Markus Hoffmann, Špela Mastnak, Paul Beckett, Clemens Krauss, Wagehe Raufi, Marit Wolters, Jakob Gautel, Andrea Canepa, Amor Muñoz, Sebastian Stumpf, Anael Berkovitz, Martyna Marciniak, Minha Lee, Monica López De Victoria, Andrea Grützner

The courageous fight in the never-ending struggle for new ideas, the undiscouraged search for unity and multiplicity, together with the fearless pursuit of cooperation are some of the many different idiosyncratic qualities of the Bauhaus, which Ludwig Mies van der Rohe foregrounded as a eulogy to Walter Gropius in the last text he published in Berlin (1969). An educational way of thinking, not exempt of controversies, that Gropius instilled and that characterized the school, during a large part of its brief and intense existence in Weimar, Dessau and Berlin (1919-1933). A crucible of ideas extended and transmitted beyond borders, which has reached in multitude of different expressions to our days.

At the origin, the well-known formative travels that Gropius made throughout Spain (1907-1908), attracted by the tradition and the ceramic crafts of the workshop schools , traced one of those first vectors that he would later conclude with his famous lecture Funktionelle Baukunst, given in Spanish in Madrid, Bilbao, San Sebastian (1930) and Barcelona (1932). Also legendary, is the year Mies spent working between Germany and Spain (1928-1929), a few months before becoming the third director of the Bauhaus. During that shining moment, as Mies himself would recall, the architect developed with Lilly Reich the largest exhibition project of his career, while building the German representative Pavilion that catapulted him to fame. No less significant is the choice of Hannes Meyer, its second director, to include Barcelona among the different pan-European exhibition destinations to celebrate the 10th anniversary of the Bauhaus (1919-1929), thereby presenting the works of art, industrial products and architectural projects developed at the school to a vast audience. Along with its three directors, Spain, during the 1920s and early 1930s, was witness to the integration between the applied and the high arts, as well as of the scalar transition that the Bauhaus had carried out, from object design to city planning.

In addition to these pioneers, various masters went to Spain for different motivations, and captured the peculiarities of a built environment they would later reflect on their work: Vassily Kandinsky and Paul Klee spent over a month on holiday in the Côte Basque (1929), the same summer in which Josef and Anni Albers visited Barcelona and San Sebastian. Marcel Breuer spent a sabbatical period of more than four months between Madrid, Andalusia and Barcelona (1931-1932), while Lucia Moholy considered settling down in the latter city during the same time. Furthermore, many of the Bauhaus graduates spent extended periods in Spain, such as Ernst Neufert, Paul Linder and Kürt Löwengard, who even collaborated with Josep Puig i Cadafalch (1921-1922), or the less familiar Werner Drewes, Margarete Schall and Erika Zschimmer. Years later, some Bauhaus alumni arrived to Spain as Republican combatants of the Civil War, such as Georg Adams-Telscher and Ernst Scholz.

The number of Bauhäusler that felt attracted to Spain and that accessed both its tradition and its avant-garde is notable, and for reasons as varied as the craftsmanship, the landscape, the monuments, the great masters of painting, the network of foreign trade with Latin America, or even the possibilities of development afforded during the Second Republic. Some Spanish architects such as Enrique Colás and Luis Lacasa had the opportunity to visit the Bauhaus (1922), as well as to collaborate with their maximum representatives, as is the case of Joan Baptista Subirana, who worked with Gropius in Berlin (1930-1931). Spain's participation in the 1937 Paris Exposition was key to consolidating the relationship between José Luis Sert, Breuer and Gropius that had started in the CIRPAC of Barcelona (1932). This meeting set up a full stop in the evolution of the history of the avant-gardes to start a new one outside European territory.

Conferences and exhibitions, together with new educational and cultural projects paved the way as a living estate of a tradition looking for the engagement of common settings. From Francoist Spain, its immaterial heritage seemed to be the best mainstay for artists and architects to be able to discern new horizons to start again. The replacement of Gropius with Sert as Chairman of Architecture at the Harvard Graduate School of Design in 1953, or the well-known letter Oriol Bohigas sent to Mies in 1956 proposing the German Pavilion's reconstruction, reveal the continuity of the Bauhaus learnings inside and outside Spain, while opening new paths for its re-assessment.

"The Bauhaus school—founded in Weimar, Germany in 1919 by the architect Walter Gropius, relocated to its own campus in Dessau in 1925, and shuttered in Berlin in 1933, the year Hitler became Chancellor of the Third Reich—is both one of the great failed utopic visions and one of the most enduring successes of the twentieth century. Its lasting influence in architecture and design can be seen everywhere from the IKEA catalogue to Google’s logo. Yet the school remained in operation precisely as long as that brief breath of optimism between the two world wars, when artists dared to imagine a post-war ideal of rationally applying new technologies not towards the obliteration of society, but rather its betterment.

Gropius emphasizes in the first Bauhaus manifesto an underlying aim 'to bring together all creative effort into one whole, to reunify all the disciplines of practical art […] as inseparable components of a new architecture.' A Doll for Throwing, the most recent collection of poems by Mary Jo Bang (her eighth in total, and fourth with Graywolf Press) opens with a poem—'A Model of a Machine'—that captures elegantly Gropius’s Bauhaus ideal."

The first female architecture student to study under Walter Gropius at the Harvard School of Design in the Post World War II era, Daphne Bugbee Jones was an accomplished architect who brought the principles of the Bauhaus and Modernist architecture to the state of Montana in America's Inland Northwest. Along with her husband, noted environmental philosopher Henry Bugbee, Bugbee Jones merged her commitment to Modernist design, social activism, and the preservation of wilderness in the urban interphase zone around the city of Missoula.

The researcher provides the keys of the work Without Title (1941) by Vasily Kandinsky, belonging to the permanent collection of the Museo Universidad de Navarra (MUN). The lecture takes place beside the work, in the exhibition room.

La investigadora ofrece las claves de la obra Sin título (1941) de Vasily Kandinsky, perteneciente a la colección del Museo Universidad de Navarra. La conferencia tiene lugar en la sala expositiva de la pieza.

相較於法國，德國的地區歷史因為特殊的歷史背景，特別是政治力量的牽扯，由各區獨自發展王國的神聖羅馬帝國，到1871年德國統一後，期間歷經納粹時期，東西德分裂，因此其歷史的發展並不延續，連帶著德國的建築教育也因政治角力呈現銜接上的斷層。

這並不代表德國的歷史沒有發展主軸，在看似不連續的德國建築教育傳承中，因Schinkel而聞名的柏林營造學校 (Bauakademie)以及革命性的包浩斯(Bauhaus)學校，對建築教育有著深遠的影響，但彼此之間的傳承與影響，甚至其他城市的建築學校很少被提及。本文主要接續十七世紀末柏林營造學校與二十世紀初成立的Bauhaus兩個學校成立的時間點，再整理幾個代表性的建築學校成立的分支，以時間軸銜接起看似不連續的德國建築教育發展，更全面了解德國地區的建築教育發展。

This study aimed to identify the effectiveness of reciprocal teaching in developing the meta-scientific reading skills and academic achievement with a sample of gifted pupils with varied academic achievement levels enrolled in a science course at the primary educational cycle. The sample of the study consisted of 80 students randomly selected from the pupils of the fifth primary level. These students were stratified in accordance with the variables of age, sex and the level of under achievement in the science course). The sample was randomly divided into two groups: the first is experimental and the second is control. The two groups were taught in accordance to the reciprocal teaching methods. Fourteen lessons were taught during seven weeks in the second semester of the academic year 1434/1435 AH. In order to measure the effectiveness of the reciprocal teaching methods, The scale of meta-scientific reading of Al-Farmawi and Redwan (2014) was applied before and after the experiment. Furthermore, an achievement test prepared by the researcher was applied on the students of both groups. The study results showed that there were statistically significant differences at (0.01) between the mean scores of the experimental and the control groups. The differences were in favor of the experimental group and in the rest of female pupils who studied with reciprocal teaching.

Book about the artistic work of Anni Albers

Ce texte est la propriété de Frédéric Vincent,  il ne peut être diffusé ou reproduit, même partiellement sans son autorisation écrite. Toute reproduction même partiel de ce texte sera passible de poursuite judiciaire.

This text is the property of Frédéric Vincent, it may not be distributed or reproduced, even partially, without his written permission. Any reproduction, even partial, of this text will be subject to legal proceedings.

This paper focuses on the analysis of Ludwig Mies van der Rohe’s curriculum at the Department of Architecture of the Armour Institute of Technology, which would be renamed Illinois Institute of Technology (IIT), and László Moholy-Nagy’s curriculum at the New Bauhaus in Chicago. Special attention is paid to the teaching of the “Visual Training” course at the Armour Institute of Technology, which had some affinities with the “Preliminary Course” (Vorkurs) of the Bauhaus and was taught by Walter Peterhans, a Bauhäusler invited by Mies to join the Armour Institute of Technology, and served “to train the eye and sense of design and to foster aesthetic appreciation in the world of proportions, forms, colors, textures and spaces”. Mies prioritized “Visual training” over freehand drawing. For him, visual training was “indispensable as a means of recording an idea”, and drawing was to be understood as “a means of fostering insight and stimulating ideas”. Mies’s “Program for Architectural Education” was founded on his belief that students should be confronted, during their very first year, with the awareness that technique and ideas are interlinked. For this reason, he encouraged students to use drawings as a means of seeing. The overarching curriculum moved from “Means” to “Purposes” to “Planning and Creating”. Among the most discussed features of Bauhaus pedagogy is the Preliminary Course, the so-called Vorkurs. The way László Moholy-Nagy, director of the New Bauhaus founded in 1937, incorporated certain aspects of the Vorkurs in his curriculum, and especially in the Preliminary Course, at the New Bauhaus maintained the binary relationship between technology and aesthetics characterising Bauhaus pedagogy: that between Werkmeister and Formmeister. However, Moholy-Nagy replaced this binary relationship by a more complex tripartite system organised around art, science and technology. Moholy-Nagy believed that a new individuality was a prerequisite condition for a new society and his pedagogy was based on an ensemble of concepts drawn from Goethe’s understanding of epistemology and John Dewey’s pragmatism. One of the main objectives of this paper is to show that Moholy-Nagy’s pedagogical and epistemological vision was based on an effort to reconcile humanistic anti-materialism, and a perception of experience as a set of situations linked to Dewey’s conception of education.

İKEA ve Kelebek gibi dekorasyon devleri tarafından farklı renkler, farklı isimlerle tasarlanan ve birer sanat eserine dönüşen sandalyelerin ilham kaynaklarını öğrenmek istemez misiniz? Cevabınız evet ise biz de tek bir cevap ve tek bir isim vereceğiz: Marcel Breuer.

This study assesses that there are similarities between Bauhaus movement and computational design. The similarities are discussed under the titles of hands-on activities, interdisciplinary studies and relation with technology for both Bauhaus and computational design. Digital technology is changing rapidly, and to catch the developing technology up the education system must be updated. Bauhaus can be a pathfinder for computational design education. Within this context, three educational organizations, KTU CODE FAB, IAAC and ICD, which were experienced personally, are examined. As a result of the study, it is reduced that; the innovative spirit of Bauhaus, which focuses on doing and hands-on activities, is also important for the computational design education. The well-trained architects that accustomed to the new technology can be graduated with the integration with industry, similarly to the Bauhaus system.

Pour la philosophie des sciences, un paradigme
est la matrice disciplinaire adoptée
par une communauté scientifique. Il constitue
et délimite le champ, la logique et la pratique
à suivre de l’étude même : il identifie
l’objet d’étude de la recherche scientifique, les
problèmes auxquels on ne peut déroger et la
meilleure technique pour les affronter. Dans
son application, un paradigme est la conjonction
d’expériences, étayées par des maquettes,
qui peuvent être étudiées ou répétées. Le paradigme
prédominant est souvent une façon particulière
de voir la réalité : davantage et autre
chose qu’une méthode scientifique générale.....

Dieser Beitrag zeigt auf, dass sich Sound Design gegenwärtig
nicht mehr nur auf die Produktion von Filmmusik oder Popmusik beschränkt, sondern dass die klangliche Gestaltung von Alltagsgegenständen seit längerem in den Fokus von Produktdesignern gerückt ist. Dies wird am Beispiel des Klangdesigns
von Elektro-Autos deutlich, durch das zugleich die urbanen Soundscapes der Zukunft mit geprägt werden. Unter Rückgriff auf die Idee von gemeinschaftlichem Arbeiten und Gestalten des Bauhaus-Gründers Walter Gropius plädiere ich für kooperative Gestaltungsprozesse und eine produktive Durchdringung von industriellen Produktionsmechanismen
und künstlerischer Individualität.

U Zagrebu je, od 1926. do 1942., djelovala Skola za arhitekturu pri Umjetnickoj akademiji, kroz koju je proslo oko sedamdeset, a diplomiralo osamnaest studenata, medu kojima su neki od najzanimljivijih autora hrvatske arhitekture 20. stoljeca (Mladen Kauzlaric, Stjepan Planic, Lavoslav Horvat, Zvonimir Pozgaj, Drago Galic, Neven Segvic i drugi). Izuzetan po svojoj osobnosti i oblikovnoj kulturi, skolu je vodio arhitekt Drago Ibler, koji je u nas preuzeo Gropiusovu ulogu odgajati sredinu i drustveno angazirane arhitekte. Model skole bio je nov i eksperimentalan, a selekcija studenata stroga. Nastava je bila radionicka, a profesor i studenti radili su na aktualnim arhitektonskim zadacima i ucili iz otvorenih debata, cime je bilo omoguceno smanjenje broja kolegija. Ovo je ujedno prva skola u nas koja prekida s tradicijom i uvodi modernu arhitekturu izravno u svoj program. Poticani su bili kreativnost, individualni pristup oblikovanju i socijalna osjetljivost. Drago Ibler, "kao motor skole", stvorio je katedru koja se veze uz pojavu radikalne moderne arhitekture u nasoj sredini. Usporedno djelovanje "Iblerove skole" i Odjela za arhitekturu Tehnickog fakulteta doprinijelo je izuzetnoj zivosti zagrebacke i hrvatske arhitektonske scene. Fenomen Iblerove arhitektonske skole poslije rata, bitan je s aspekta kontinuiteta modernizma u nasoj sredini.

I am almost halfway through my second pregnancy, attending an academic convention in Chicago. To fi l l a free afternoon, I hitch a ride to the Museum of Contemporary Art. On the upper level of the museum I come across a wondrous place fi lled with dancing colored shapes. I have entered the world of Alexander Calder. It is a world of metal and wire and paint, crafted so as to set these materials alight upon the wind. It is a mobile world; a ballet of forms that moves me. This is what I want to talk about! His bits and scraps suggest so much yet reveal nothing but their form(s) in motion. I, in my own body of expanding hips and shifting balance, am swept into the dance that spirals and undulates above my head. I am lost then found in the cho-reography of their trajectories. My center of gravity plays tricks on my sense of equilibrium as my body prepares for the coming density. I no longer stand ready to extend along a diagonal path of motion. Rather, I take the stance of the solid and sturdy triangle, stable upon my base. I am grounded, centered in this moment that fl ows around me. Do I mean the pregnancy or the mobiles? My reverie takes me within the shape of motion of the large mobile that fl oats above me. I follow the pendulous orbits of the red and orange lollipop fl owers that contest their tenuous suspension upon swaying metal reeds. Playful black crescents fl it nervously below. At the point of counterbalance, a pantograph traces the yellow center at the heart of a red disc. A ballast wave of blue spins counter rotation upon the taut line that holds the polar weights with a tensive equilibrium. The ebb and fl ow of the composite movement is my balance wheel. It regulates the motion of my rapture as I gaze upward on the hypnotic reel. My reverie becomes like a tightrope walker that extends from my grounded dreams of dancing to the ballet of fl oating form above me. This is a mobile for a mother, providing visions of weightless fl ight. A l exander Calder's Polychrome and Horizontal Bluebird offered me the impetus for this study. In short, it suggested how the tradition of formal aesthetics is grounded (or takes fl ight) in the creative application of the artist, which in turn prompts the inventive interplay of the viewer. It is this interrelationship between tradition and invention, an aesthetic system and its application, and the crafted work and the viewer that interests me. Further, just as Calder experimented with visual shapes in space, so too I experiment with my given medium. Namely, I

Escrito, dirigido e narrado por Frank Whitford, 'Bauhaus-A Face do Século XX', é um documentário de 1994, que conta a trajetória da Bauhaus, a escola alemã que mudou a Arquitetura do século XX. Como tantos aspectos da vida na Alemanha na primeira metade do século XX, a Bauhaus foi afetada pela situação política no país. Após vivenciar a Primeira Guerra Mundial, Walter Gropius-arquiteto nascido em Berlim-, idealizou uma escola de arte e design que mudaria o mundo, onde a máquina seria dominada em benefício do homem. Com o fim da guerra, Gropius colocou pela primeira vez suas ideias em prática em 1919, em Weimar, o centro político da nova Alemanha. Junto com a República, assim surgiu, financiada pelo governo, a Bauhaus ("casa da construção"), escola que buscava uma maneira de se relacionar com a vida em um nível estético, onde a pintura, escultura, tecelagem, arquitetura, o desenho, etc., foram unificados. O retorno ao artesanato sugerido por Gropius estreitou os laços entre máquina e criador, fazendo do artista e artesão um só indivíduo. Vanguardista também no modelo de ensino, a Bauhaus enfatizava o aluno como indivíduo, destacando suas emoções, sentidos e seu intelecto, "inventando" o estudante de arte moderna, que, em sua maioria, eram politicamente radicais. O filme relata também a participação das mulheres no movimento da Bauhaus, que eram separadas para trabalhos mais leves e simples, como oficinas de cerâmica, encadernação e tecido. O que não impediu o destaque da estudante Marianne Brandt na oficina de metal, criando notáveis e funcionais utensílios para casa em cobre e outros materiais. Após o crescimento do partido nazista, a Bauhaus perde o apoio do governo em Weimer, e muda-se para Dessau, onde Moholy-Nagy assume o curso básico. A primeira fase da Bauhaus com Gropius foi bastante expressionista, e, com Nagy, o formalismo construtivista ganhou ênfase, preparando os alunos a pensar mais como engenheiros do que artistas e substituindo o artesanal pela produção industrial. Em 1930 a Escola Alemã fecha em Dessau, novamente pelos nazistas, e muda-se para Berlim. Uma fábrica deprimente torna-se a nova sede da Bauhaus, dirigida na época por Mies van der Rohe, um racionalista radical que enfatizava a produção arquitetônica e proibiu toda e qualquer atividade política. 3 anos após a mudança para Berlim, os nazistas tomam controle total da Alemanha e fecham pela última vez as portas da Bauhaus, que começou com o nascimento da República e terminou com o seu fim, com seus professores e estudantes espalhados ao redor do mundo. O documentário mostra como Gropius foi capaz de reunir um docente impressionante de nomes importantes nas áreas de arte, design e arquitetura, incluindo Paul Klee, Wassily Kandinsky, e Mies van der Rohe. A face do século XX foi forjada no mundo antigo, na Bauhaus, o ponto de convergência de muitas ideias de vanguardas daquela época. E, ainda hoje, não se transformou em retaguarda, mas tornou-se um clássico da história da arte e produção artística, influenciando indivíduos pelo mundo inteiro até os dias atuais.

In the 1930s Bristol furniture manufacturer Crofton Gane was a passionate promoter of modernist design. He built up a wide range of contacts and became a close friend of Bauhaus furniture designer and architect Marcel Breuer. He commissioned a variety of work from him including the Gane Pavilion for the Royal Agricultural Show in Bristol in 1936 regarded by Breuer as one of his most seminal buildings...

Re-enactment is a material response to the pervasive invisibility of Lilly Reich’s work. It arises with a clear motivation: to reveal the architecture designed by Lilly Reich for the German sections of the 1929 International Exposition inside eight Noucentista Palaces, an area that is fifty times greater in magnitude than the Pavilion itself.

Re-enactment occupies the heart of the Pavilion with the reconstruction of two of the display cases Lilly Reich originally designed for the Palaces. The intervention transforms a vertical element of light – the milky-colored double-glazed screen– into a lengthy horizontal display case and adds a vertical display case to a visitor’s path toward the inner reflecting pool. This reconstruction was possible thanks to the blueprints that Lilly Reich saved, moving them to Mühlhausen (Thuringia) during World War II, the originals of which are nowadays a part of the Lilly Reich Collection in the Mies van der Rohe Archive at the Museum of Modern Art in New York.

By presenting documents from another dozen of archives and private collections from Barcelona, Berlin, Dessau, Frankfurt am Main, Madrid, and Weimar, the horizontal display case provides an unprecedented tour through the Palaces. A letter from 1944, in which Lilly Reich regretted having lost “the big photos of Barcelona” after a bombing in Berlin, forges now a continuity with the photos –some of them unknown– exhibited in this intervention. All of them show how her display cases accomplished the scalar transition from the great variety of German products to the very diverse spatial structures of the Palaces. By means of two short films, the vertical display case highlights the immaterial heritage of the work made in Barcelona and reveals the Pavilion as an anteroom to more than 16.000 m2 of industrial exhibitions.

In March 1923 Karel Teige received a letter from Bauhaus director Walter Gropius regarding the International Architecture Exhibition, a section of the first Bauhaus Exhibition in Weimar. Gropius wanted there to be strong Czech representation, and Teige aided him in this aim. With Teige’s assistance, Czechoslovakia would be the nation with the third largest number of architects represented, behind only Germany and Holland. The following study shows that it is in this moment that an important, dialogic relationship between the Bauhaus and members of the Czech avant-garde began. Although it is often assumed that such a relationship developed only with the second Bauhaus director Hannes Meyer, contact was already rich and productive under Gropius. And Teige and Gropius would continue to correspond and collaborate past the end of the latter’s tenure as Bauhaus director in 1928. When Meyer came to replace Gropius in leading the Bauhaus, his Marxist politics and interest in Constructivism were more in line with Teige’s own aesthetic and political proclivities, and relations between the school and the Czech avant-garde further flourished. Teige would lecture at the Bauhaus in early 1930, directly following a visit of Meyer to Prague, and that February, a special issue of ReD—an avant-garde Czech magazine edited by Teige—was dedicated to the Bauhaus. The following article posits that productive relations of mutual exchange forged under the first Bauhaus director paved the way for later increased activity under the second, and thus describes the transfer of influence at the Bauhaus from Gropius to Meyer not as a beginning of the relationship of the Bauhaus and the Czech avant-garde but rather as a continuation, and strengthening of previous relations.

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

Review of three books:
Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics, by Elizabeth Otto
Bauhaus Women: A Global Perspective, by Elizabeth Otto and Patrick Rössler
Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism's Legendary Art School, edited by Elizabeth Otto and Patrick Rössler

The spirit of a place
Architecture is the central focus of the social and the political structure of urban space. It plays a leading role in the analysis of the many forces which sustain the built area, from architects and financiers to politicians, municipal promoters and property owners, but first and foremost it lays the underlying foundation of our perception of our everyday landscape.

A summary of how the Bauhaus institution began to gather a popular following in Australia in the 1930s with the appearance of Walter Gropius’s The New Architecture and the Bauhaus (1935). The illustrated book resulted inlectures and lecturers, news articles in the popular press, book reviews and lectures from Bauhaus partisans. Prior to his 1935 publication, a search of the literature suggests the modest engagement with the Bauhaus ethos was restricted to the architectural and design press. It is not clear how the Bauhaus came to the attention of the trade press in the late 1920s. After 1954, Gropius attended the RAIA Convention, Sydney and his profile grew to celebrity proportions.

To achieve Sense of Presence (SOP), 1920's Bauhaus scenography is presented as inspiration for a design language for immersion in virtual environments (VE). The discipline's tradition of immersion, raumempfindung, is the construction of space to facilitate a tangible experience. It is mapped into five categories for VR: movement, externals, tone, time, and topology. This language informed the design of Ares, a room-scale VR experience. A user study assessed the approach and results indicated that the Bauhaus methodology benefits immersion to support SOP.

La mostra dedicata a Lucia Schulz Moholy racconta, attraverso un centinaio di immagini, i diversi generi con cui la fotografa di origine ceca si è impegnata durante tutta la vita. Tra foto di architettura, ritratto, still life e reportage, tema centrale su cui l'esposizione porta l'attenzione è il suo lavoro non ancora adeguatamente riconosciuto rispetto al contributo fattivo nell'ambito della ricerca dell'avanguardia fotografica tedesca relativa alla corrente della Neue Sachlichkeit (Nuova Oggettività), di cui invece la Moholy è stata una sensibile interprete. Tanto è vero che, a fronte della notorietà di molte sue foto pertinenti in primo luogo la vicenda della Bauhaus, il suo nome non è altrettanto conosciuto o ricordato (se non in rapporto al marito László MoholyNagy). Lucia, in realtà, scopriamo essere stata innanzitutto una 'raffinata intellettuale'. Laureata in filosofia e storia dell'arte, ha vissuto un'intensa vita privata e professionale su diversi fronti, come fotografa, come insegnante e scrittrice. La mostra, che per la prima volta in territorio svizzero ne illustra l'attività di fotografa in modo esaustivo, ne mette in rilievo il contributo determinante anche in relazione all'operato del marito, per il quale di sovente la Moholy ha scattato foto divenute celebri e scritto testi che sono stati poi attribuiti esclusivamente a MoholyNagy.

W zachodniej humanistyce ostatnich lat mamy do czynienia z rozpowszechnieniem się
rozmaitych „fabulacji spekulatywnych” (Haraway) na temat czasów w których żyjemy,
zwłaszcza w kontekście trwającej katastrofy ekologicznej. Chodzi tu o powoływane przez
badaczy nowe epoki w dziejach Ziemi, takie jak kapitalocen (Moore) termocen (Bonneuil i
Fressoz) czy plantacjocen (Tsing), które pozwalają zrozumieć, to co dzieje się z naszą
planetą. Proliferacja różnego typu „–cenów” zbiegła się w czasie z obchodami stulecia
powstania Bauhausu, prowokując do pytań o to, na ile tradycja tej szkoły pozwala zrozumieć
współczesne hybrydy natury, kultury i technologii powstające w obszarze sztuk
performatywnych. W niniejszym wystąpieniu pokażę w jaki sposób tradycja Bauhausu
pozwala zrozumieć zjawiska zachodzące w zamglonym antropocenie. Chodzi tu o powołaną
przeze mnie do istnienia epokę, w której mamy do czynienia tyleż z kryzysem ekologicznym,
co poważnym kryzysem epistemologicznym. Zamglony antropocen jest więc spekulacją na
temat tego, jak mógłby wyglądać świat, w którym osłabieniu uległa dominacja wzroku jako
narzędzia orientacji, czyli tego zmysłu, który – jak chcieli Nowocześni – gwarantuje
uzyskanie najpewniejszej wiedzy o świecie. Zestawiając prace Anni Albers ze współczesnymi
instalacjami pokażę, co o interesującej mnie epoce może powiedzieć tradycja Bauhausu.

Over the last 50 years, our world has turned digital at breakneck speed. There is a clear line of influence regarding digital esthetics and computational art that starts from the Bauhaus and extends to the computer-generated approach to art taken in the 1960s, as well as more contemporary works of computational processing. The computational approach in art, in particular, can be traced back to Paul Klee’s Bildnerische Gestaltungslehre. This is scarcely surprising, as geometry, abstraction and chance are important themes in all art of the twentieth century, not just for the Bauhaus artist or in generative art, which is a form of artistic creation that uses a computer, in which the artwork or end product is not necessarily at the center but instead the process of creation and the ideas underlying it.

The article outlines the results of a study of Dutch architects in Magnitogorsk, who worked on contracts between 1931 and 1936. The main stages of cooperation between the Netherlands and the Soviet Union in the development of the Magnitogorsk resettlement system and in the design of industrial housing with a link to production and a new socialist life have been defined.

Изложены результаты исследования деятельности нидерландских архитекторов в Магнитогорске, работавших по контрактам в период с 1931 по 1936 гг. Определены основные этапы сотрудничества Нидерландов и Советского Союза в развитии системы расселения Магнитогорска и в проектировании индустриального жилья с привязкой к производству и новому социалистическому быту.

Umgang der Stadt Dessau mit ihrem architektonischen Bauhaus-Erbe nach der nationalsozialistischen Machtübernahme 1933. Beschrieben wird das Schicksal des von Walter Gropius entworfenen Bauhaus-Gebäudes, der Umgang mit den Meisterhäusern, der Siedlung Dessau Törten, Arbeitsamt und der DEWOG-Siedlung in der Heidestraße von Richard Paulick.

Bauhaus, 1920-1935: art critics and interviews on bauhaus of Ernő/Ernst Kállai, hungarian „Bauhäusler” (he was editor or co-worker among others of the bauhaus – zeitschrift für gestaltung, Kunstnarr, Der Ararat, das Kunstblatt, Der Cicerone, Innen-Dekoration, Deutsche Kunst und Kunstmarkt, Sozialistische Monatshefte, Rote Fahne, Das neue Frankfurt, Die Weltbühne, i 10, Die Horen, Jahrbuch der jungen Kunst, etc.). With an afterword of the bilingual Kállai critical edition (vols 1-10.:2), on life and work of Kállai (in German language). / Ernst Kállai (1 8 9 0-1 9 5 4) beobachtete und kommentierte im Laufe seiner mehrere Jahrzehnte umfassenden Tatigkeit als Kritiker und Kunstvermittler mit unermüdlichem Interesse die Ereignisse der zeitgenössischen europaischen und ungarischen bildenden Künste, in seinen Kritiken und Analysen war er immer Kenner und Förderer dér am meisten fortgeschrittenen Bestrebungen. Wahrend seines fünfzehnjahrigen Aufenthaltes in Deutschland (1 9 2 0-1 9 3 5) nahm Kállai sehr aktiv in dér Kunstszene in Berlin bzw. in Dessau teil, kampfte für die Anerkennung der modernen Bestrebungen des Konstruktivismus, der osteuropaischen Avantgarde, der Bauhaus-Bewegung und der sog. Bioromantik. Er war Mitarbeiter bzw. Herausgeber mehrerer wichtiger Kunstzeitschriften (Der Ararat, Das Kunstblatt, Der Cicerone, Jahrbuch der jungen Kunst, Das neue Frankfurt, bauhaus, Die Weltbühne, i 10, Die Horen, Dér Kunstnarr usw.). Auch nach seiner Heimkehr nach Ungarn publizierte er noch zahlreiche Artikel in deutscher Sprache, besonders in der Pressburger Zeitschrift Fórum und der Budapester Tageszeitung Pester Lloyd. Sowohl seine ungarisch, als auch deutsch geschriebenen Artikel und Studien sind für die Geschichte der modernen europaischen und ungarischen Kunst Dokumente priméren Quellenwerts.