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A superbly designed account of the first building based on Bauhaus principles Adolf Meyer (1881-1929) was Walter Gropius' right-hand man, his planner and close confidant. As early as 1910, they jointly created the Fagus Factory, one of the most important modernist buildings. The experimental single-family home, "Haus am Horn," was built for the first Bauhaus exhibition, in the summer of 1923 in Weimar. The house was designed by Georg Muche and the architectural department at the Bauhaus. Adolf Meyer and Walter March were responsible for construction management. The book describing the project was compiled in the summer of 1924 and became the third volume of the Bauhausbücher. Following an essay by Walter Gropius that supplies information on the "Housing Industry," Georg Muche presents the design of the model building. Adolf Meyer then describes its technical execution, giving details on the companies involved. A Bauhaus Experimental House is published in an exacting English edition for the first time.
A superbly designed account of the first building based on Bauhaus principles Adolf Meyer (1881-1929) was Walter Gropius' right-hand man, his planner and close confidant. As early as 1910, they jointly created the Fagus Factory, one of the most important modernist buildings. The experimental single-family home, "Haus am Horn," was built for the first Bauhaus exhibition, in the summer of 1923 in Weimar. The house was designed by Georg Muche and the architectural department at the Bauhaus. Adolf Meyer and Walter March were responsible for construction management. The book describing the project was compiled in the summer of 1924 and became the third volume of the Bauhausbücher. Following an essay by Walter Gropius that supplies information on the "Housing Industry," Georg Muche presents the design of the model building. Adolf Meyer then describes its technical execution, giving details on the companies involved. A Bauhaus Experimental House is published in an exacting English edition for the first time.
Seventy years after its foundation in Weimar, the Bauhaus has become a concept, indeed a catchprase all over the world. The respect which it commands is associated above all with the design it pioneered, one which we know describe as 'Bauhaus style'. This volume traces the history of Bauhaus.
In 1924, while serving as director of the Bauhaus, Walter Gropius built his first private house in the architectural style he was developing at the school: the Auerbach House. Built for Felix Auerbach, a physics professor in Jena, a university town near Weimar, the house was an early instantiation of the nascent Bauhaus Style and an important milestone for the early years of the school.
One hundred years after the founding of Bauhaus, it s time to revisit bauhaus journal as significant written testimony of this iconic movement of modern art. In this journal, published periodically from 1926 to 1931, the most important voices of the movement are heard: masters of the Bauhaus, among others, Josef Albers, Walter Gropius, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, and Oskar Schlemmer, as well as Herbert Bayer, Marcel Breuer, Ludwig Mies van der Rohe, Gerrit Rietveld and many more. They address the developments in and around the Bauhaus, the methods and focal points of their own teaching, and current projects of students and masters. At the time primarily addressed to the members of the circle of friends of the bauhaus, the journal published by Gropius and Moholy-Nagy makes tangible the authentic voice of this mouthpiece of the avant-garde. The facsimile reprint is intended to give new impetus to international discussion and research on the Bauhaus, its theories and designs. The exact replica of all individual issues are accompanied by a commentary booklet including an overview of the content, an English translation of all texts, and a scholarly essay which places the journal in its historical context. Includes 14 issues with seperate commentary in transparent slipcase.
Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition. From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.
Walter Gropius outlines the guiding principles of Bauhaus living, from household utensils to textiles and ceramics The Bauhaus sought to unite life, craftsmanship and art under one coherent ethos and aesthetic. In New Works from Bauhaus Workshops--the seventh of the Bauhaus' publications--the institute's founder, Walter Gropius (1888-1969), provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles and ceramics, among other subjects.
The Bauhaus, the school of art and design founded in Germany in 1919 and shut down by the Nazis in 1933, brought together artists, architects and designers in an extraordinary conversation about modern art. Bauhaus 1919-1933, published to accompany a major multimedia exhibition at MoMA, is the first comprehensive treatment of the subject by MoMA since 1938 and offers a new generational perspective on the 20th century's most influential experiment in artistic education. It brings together works in a broad range of mediums, including industrial design, furniture, architecture, graphics, photography, textiles, ceramics, theatre and costume design, and painting and sculpture - many of which have rarely if ever been seen outside of Germany. Featuring about 400 colour plates and a rich range of documentary images, this publication includes two overarching images by the exhibition's curators, Leah Dickerman and Barry Bergdoll, concise interpretive essays on key objects by over twenty leading scholars, and an illustrated, narrative chronology.
Modular construction has the potential to improve housing quality, speed up delivery and reduce building costs – so why isn’t everyone doing it? This practical handbook combines real-world advice on designing modular housing with a compelling argument for off-site construction as a means for architects taking a greater role and achieving more influence in their housing projects. Focusing on the benefits as well as the challenges of modular construction, this book illustrates that off-site construction need not act as a design constraint and can in fact provide an opportunity for greater design impact. Richly illustrated with recent case studies and featuring over 100 photographs of exemplar projects, The Modular Housing Handbook provides inspiration as well as timely, practical advice.
Features surviving Bauhaus architecture across Europe documented by informative commentary, site plans & Hans Engels photographs.