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A history of design teaching from the mid-1950s to the mid-1990s told through essays, interviews, remembrances, and primary materials. With contributions by more than forty of the most influential voices in art, architecture, and design, After the Bauhaus, Before the Internet traces a history of design teaching from the mid-1950s to the mid-1990s through essays, interviews, and primary materials. Geoff Kaplan has gathered a multigenerational group of theorists and practitioners to explore how the evolution of graphic design pedagogy can be placed within a conceptual and historical context. At a time when all choices and behaviors are putatively curated, and when “design thinking” is recruited to solve problems from climate change to social media optimization, the volume’s contributors examine how design’s self-understandings as a discipline have changed and how such changes affect the ways in which graphic design is being historicized and theorized today.
Fiona MacCarthy challenges the image of Walter Gropius as a doctrinaire architectural rationalist, bringing out the vision and courage that carried him through a politically hostile age. Approaching the Bauhaus founder from all angles, she offers a poignant personal story, one that reexamines the urges that drove Euro-American modernism as a whole.
"In this book Jill Pearlman argues that Gropius did not effect changes alone and, further, that the Harvard Graduate School of Design was not merely an offshoot of the Bauhaus. - She offers a crucial missing piece to the story - and to the history of modern architecture - by focusing on Joseph Hudnut, the school's dean and founder."--BOOK JACKET.
An analytical and practical adaptation of the Bauhaus books showing amazing possibilities for graphic designers today.
One hundred years after the Bauhaus School's founding in 1919, this volume tells its story by interweaving the multiple historiographies of the Bauhaus with the global histories of modernist architecture.
Essays, photo-essays, interviews, manifestos, diagrams, and a play explore the varied legacies, influences, and futures of the Bauhaus. What would keep the Bauhaus up at night if it were practicing today? A century after its founding by Walter Gropius in Weimar, Germany, as an “experimental laboratory of the future,” who are the pioneering experimentalists who reinscribe or resist Bauhaus traditions? This book explores the varied legacies, influences, and futures of the Bauhaus. Many of the animating issues of the Bauhaus—its integration of research, teaching, and practice; its experimentation with materials; its democratization of design; its open-minded, heterogeneous approach to ideas, theories, methods, and styles—remain relevant. The contributors to Bauhaus Futures address these but go further, considering issues that design has largely ignored for the last hundred years: gender, race, ethnicity, class, sexuality, and disability. Their contributions take the form of essays, photo-essays, interviews, manifestos, diagrams, and even a play. They discuss, among other things, the Bauhaus curriculum and its contemporary offshoots; Bauhaus legacies at the MIT Media Lab, Black Mountain College, and elsewhere; the conflict between the Bauhaus ideal of humanist universalism and current approaches to design concerned with race and justice; designed objects, from the iconic to the precarious; textile and weaving work by women in the Bauhaus and the present day; and design and technology. Contributors Alice Arnold, Jeffrey Bardzell, Shaowen Bardzell, Karen Kornblum Berntsen, Marshall Brown, Stuart Candy, Jessica Charlesworth, Elizabeth J. Chin, Taeyoon Choi, B. Coleman, Carl DiSalvo, Michael J. Golec, Kate Hennessy, Matthew Hockenberry, Joi Ito, Denisa Kera, N. Adriana Knouf, Silvia Lindtner, Shannon Mattern, Ramia Mazé, V. Mitch McEwen, Oliver Neumann, Paul Pangaro, Tim Parsons, Nassim Parvin, Joanne Pouzenc, Luiza Prado de O. Martin, Daniela K. Rosner, Natalie Saltiel, Trudi Lynn Smith, Carol Strohecker, Alex Taylor, Martin Thaler, Fred Turner, Andre Uhl, Jeff Watson, Robert Wiesenberger
A fresh look at the influential pedagogy and practice pioneered by the Bauhaus Founded by architect Walter Gropius (1883-1969) in 1919, the Bauhaus was the 20th century's most influential school of art, architecture, and design. After the school was shuttered under pressure from the Nazis in 1933, many Bauhaus artists brought their innovative practices and teaching methods to the United States. Gropius himself accepted a position at Harvard, where he would help establish a collection of Bauhaus material that has since grown to more than 30,000 objects--the largest such collection outside Germany. Harvard in turn became an unofficial center for the Bauhaus in America. Written by established and emerging voices in the field, the scholarship presented here expands on the special link between the two institutions, while highlighting understudied aspects of the Bauhaus, such as weaving, photography, and art made by women. Accompanied by beautiful illustrations--some of never-before-published objects--this book yields fascinating insights for Bauhaus devotees and design aficionados. Distributed for the Harvard Art Museums
After critiquing—and infuriating—the art world with The Painted Word, award-winning author Tom Wolfe shared his less than favorable thoughts about modern architecture in From Bauhaus to Our Haus. In this examination of the strange saga of twentieth century architecture, Wolfe takes such European architects as Ludwig Mies van der Rohe, Le Corbusier, and Bauhaus art school founder Walter Gropius to task for their glass and steel box designed buildings that have influenced—and infected—America’s cities.
"Within the space of only 14 years, the Bauhaus permanently altered the course of modern design and Walter Gropius's pedagogical approach revolutionised art schools. Interest in the Bauhaus and Gropius's methods is as lively today as ever*in conscious and unconscious borrowings from his work, or in direct criticism of his ideas. This publication is the only comprehensive account of the main pedagogical concepts behind the work of the Bauhaus. Analytical essays illuminate the various approaches of individual staff members in the Bauhaus, which included Gropius, Hannes Meyer, Mies van der Rohe, Itten, Moholy-Nagy, Albers, Kandinsky, Klee, Schlemmer and Joost Schmidt. Additional chapters investigate the pre-history of the Bauhaus plus its predecessors in matters of art-training, outlining the development of the institution from 1919 to 1933 and the reception of Bauhaus methods in the Weimar Republic, in the 'Third Reich', in both Germanys after the Second World War, and the USA*drawing on otherwise widely-dispersed writings on the Bauhaus as well as on a wide variety of other archive materials."