Bauhaus Online | Magazin en-US Mutual inspiration: Cooperation projects <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/mutual-inspiration-cooperation-projects"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="210" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The Pestalozzi-Fröbel-Haus and the Walter-Gropius-Schule in Berlin are longstanding cooperation partners of the Bauhaus-Archiv in the field of education. The opportunities and potentials of a cooperation such as this are plain to see: It is not only children and young people who reap the benefits in that they can, over a longer period of time using diverse methods, learn more about the themes of the Bauhaus; for the museum and the cooperating institutions alike, working together also yields insights that flow back into daily pedagogical work.</p><p>Both cooperations focus on an awareness of the structures, qualities and deficits of the built and designed environment and on having an influence on this through design. To this end, the educational work in the museum adopts an interdisciplinary approach: Different artists such as dancers or musicians bring their skills to the multi-day workshops in order to, for example, lead young people to reproduce architectonic forms with their own bodies. This type of alliance between space and dance was already put into practice on the Bauhaus stage; here, it contributes to a greater understanding of the built environment.</p><p>In the workshops, children and young people address fundamental themes such as line, plane, form, colour, materiality and light. The inclusive orientation of both institutions relies on a situational approach, which takes up and further develops the youngsters’ interests and themes. The film shows extracts from one morning from a series of workshops lasting several days with the cooperation partner Pestalozzi-Fröbel-Haus.</p><p>For further information about the cooperation projects of the Bauhaus-Archiv, visit <a href=""></a></p><p>Cooperation partners (selection): Jugend im Museum e.V., Jugendkulturzentrum PUMPE, Pestalozzi-Fröbel-Haus, Walter-Gropius-Schule</p><p>Sponsors (selection): German Federation for ArtsEducationandCultural Learning(BKJ),Federal Ministry of Education and Research (BMBF)</p> </div> </div> </div> Berlin Mon, 30 Nov 2015 21:40:16 +0000 Cornelia Vossen 9120 at Two Utopias – The Bauhaus and Black Mountain College <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p><a href="/atlas/ort/black-mountain-college-museum-arts-center_1444" title="Black Mountain College Museum &amp; Arts Center">Black Mountain College</a> was a very small, highly experimental liberal arts college which opened in <a href="/atlas/jahre/1933" title="1933">1933</a> and closed in 1957. Located in the mountains of western North Carolina, Black Mountain was never as well known as the Bauhaus had been in its heyday, but since its closure Black Mountain College has come to be regarded as one of the most unique and influential American arts schools of the 20th Century. This is largely due to the later fame of the college's students – including Ray Johnson, Ruth Asawa, Kenneth Noland, and Robert Rauschenberg – and permanent and visiting faculty like Josef and Anni Albers, R. Buckminster Fuller, Willem De Kooning, M. C. Richards, Charles Olson, John Cage, and Merce Cunningham.</p><p>Like the Bauhaus, Black Mountain College emerged in a period of uncertainty and instability. It was founded by a group of disgruntled former faculty members of another progressive liberal arts college, Rollins College. Newly unemployed, they envisioned a school where both students and teachers could teach, learn, and experiment freely without fear of administrative censure. As with many decisions made at the College, the decision to found Black Mountain was a result of equal parts optimism and desperation: with the Great Depression three years old, job prospects were so scarce that founding a new college at least guaranteed a meal and somewhere to live. Indeed, in the College’s first year, only one faculty member –<a href="/atlas/personen/josef-albers" title="Josef Albers"> Josef Albers</a> – received a salary, while the rest of the faculty worked for room and board alone. Inspired by John Dewey and Thomas Jefferson, the founders of Black Mountain College envisioned an institution that would prepare students for life in an idealized America, an “education for democracy” carried out democratically, with major decisions decided by group vote. To ensure academic and pedagogic freedom, the faculty of Black Mountain owned and operated the college without intervention from a non-teaching administration and without a board of trustees – a more or less unique occurrence in the history of higher education.</p><p>Central to the Black Mountain founders’ vision for a synthetic “education for democracy” was the importance of creative education through first-hand engagement with the arts. John Andrew Rice, the most vocal figure in the college's first five years, succinctly described the College’s experiential approach to creative work this way: “to read a play is good, to see a play is better, but to act in a play however awkwardly is to realize a subtle relationship between sound and movement.”<a href="#sdendnote1sym">i</a> Involvement was prized over skill, and process over product. Allan Sly, a music teacher at the College in the 1930s, recalled that when the College performed the final movement of Hindemith’s Plönermusiktag (a series of simple pieces for ensembles of mostly amateur musicians), so many people were involved in the performing of the piece that “there was no one in the College left to listen.”<a href="#sdendnote2sym">ii</a></p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/two-utopias-the-bauhaus-and-black-mountain-college" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Josef Albers teaching at Black Mountain College, ca. 1940 Digital reversal of 6x6 cm negative housed at The Josef and Anni Albers Foundation" class="imagecache imagecache-article_full" width="411" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/two-utopias-the-bauhaus-and-black-mountain-college"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In mid-August 1933, before Black Mountain College had opened, John Andrew Rice and fellow faculty member Theodore Dreier met with Edward M. M. Warburg and Philip Johnson in Warburg's office at the Museum of Modern Art. The college needed an art teacher who could both encourage its experimental atmosphere and integrate instruction in art into a generalized and interdisciplinary academic environment. Rice and Dreier conceived education in the arts not as a transference of technique, but instead as a kind of container of creative thought. Johnson suggested the college hire <a href="/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a> (and, by extension, <a href="/atlas/personen/anni-albers-fleischmann" title="Anni Albers (-Fleischmann)">Anni Albers</a>), whom he had recently met with in Berlin. "He showed us pictures of things Albers' students had done, including a picture of a sculpture made just out of wire, and studies of folded paper," Dreier recalled. "The minute Rice saw this, he looked up and said 'This is the kind of thing we want.'"<a href="#sdendnote3sym">iii</a> Hiring negotiations took place via letter and telegram, and the Albers arrived at Black Mountain College at the end of November, 1933. Their arrival and subsequent fifteen-year association with the college would irrevocably link the Bauhaus and Black Mountain.<a></a></p><p><a href="/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a> quickly adapted his teaching to his new environment. At the Bauhaus, he had taught material and composition studies in the <a href="/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Vorkurs Josef Albers">Vorkurs</a> and also, during the directorship of <a href="/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Mies van der Rohe</a>, representational Drawing.<a href="#sdendnote4sym">iv</a> These two courses were transformed at Black Mountain into Basic Design (also called "Werklehre") and Drawing classes, to which Albers also added classes in Color and Painting. As in the Bauhaus-Vorkurs, students in Basic Design classes at Black Mountain experimented with both the structural and visual characteristics of materials, but they did so to less strictly compositional and structural ends than Albers’ Bauhaus students had. At Black Mountain, where most of his students would not go on to concentrate on studio art or become professional artists or designers, Albers shifted his pedagogical focus from the development of his students' technique to the sharpening of their perception, charging what were essentially formal exercises with the kind of humanist ethics championed by the College. Albers’ teaching at Black Mountain was as much about the self – how our sensory perception of the world is both fallible and highly individual – as it was about art and creation. “I have not taught painting because it cannot be taught,” Albers would frequently say in his later life, “I have taught seeing.” The lessons students learned in Albers’ classes – lessons about craft and discipline, about subjective perception, and about how to concentrate and observe with greater fineness – were viewed by the faculty of Black Mountain College to be widely applicable to other subject areas.</p><p>Although the Albers were not the first Bauhäusler to move to the United States – Werner Drewes had immigrated in 1930, for instance – they were the first major Bauhaus members to receive permanent teaching appointments, making Black Mountain College the first port of entry for Bauhaus pedagogy in America. The presence of the Albers at Black Mountain College naturally drew other former Bauhaus members. In 1936 Xanti Schawinsky arrived at Black Mountain, where he taught painting and stage studies and ran the printing press until his departure in 1938. In 1940, on Albers' suggestion, the College tried to hire former Bauhäusler <a href="/atlas/personen/ludwig-hirschfeld-mack" title="Ludwig Hirschfeld-Mack">Ludwig Hirschfeld-Mack</a>, but were unable to prevent his deportation from England to Australia.<a href="#sdendnote5sym">v</a> During the College’s 1945 Summer Session, <a href="/atlas/personen/lyonel-feininger" title="Lyonel Feininger">Lyonel Feininger </a>was a guest teacher in Painting. Exhibitions of prints and other works by Bauhäusler were also fairly frequent at Black Mountain College, particularly before 1940, and artists shown included <a href="/atlas/personen/herbert-bayer" title="Herbert Bayer">Herbert Bayer</a>, <a href="/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>, and <a href="/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>.<a href="#sdendnote6sym">vi</a></p><p>After his immigration to the United States in 1937, <a href="/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a> became a regular visitor to the College, delivering lectures on architecture and the philosophies of modernism. He maintained a close connection with the College until the Albers' departure in 1949, and his daughter, Ati Gropius was a Student at Black Mountain from 1943 until 1946. In 1939, Gropius and <a href="/atlas/personen/marcel-breuer" title="Marcel Breuer">Marcel Breuer</a>, who had a joint practice at the time, designed a sleek new campus complex for the College, a sort of laboratory for the liberal arts. The model of the campus was shown at the Museum of Modern Art in New York City, but when the structure proved too complex and costly to build, the College hired A. Lawrence Kocher to design simpler buildings.<a href="#sdendnote7sym">vii</a> The onset of the Second World War effectively ended any possibility for the construction of a comprehensive college physical plant. The connection between Gropius and the College remained, however, and in the 1940s the College and Gropius' Department of Architecture at Harvard University developed an exchange program of sorts, with Black Mountain College students like Don Page, Alex Reed, and Claude Stoller receiving master's degrees from the Harvard Graduate School of Design, and some of Gropius' graduate students, including Charles Forberg, Peter Oberlander, and Harry Seidler attending summer sessions at Black Mountain College to study with Albers and work in the campus building program.</p><p>After Josef and Anni Albers left Black Mountain College in 1949, the college’s connection with the American community of former Bauhäusler was effectively severed. But in 1952, probably on the recommendation of the pianist David Tudor, the composer Stefan Wolpe was hired to teach music at the college. Wolpe was the last faculty member with a Bauhaus connection to teach at Black Mountain College. In 1920 Wolpe spent several months in Weimar attending <a href="/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>’s <a href="/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Vorkurs Johannes Itten">Vorkurs</a> and forming friendships with Bauhäusler <a href="/atlas/personen/friedl-dicker-brandeis" title="Friedl Dicker (-Brandeis)">Friedl Dicker </a>and Max Bronstein, two members of Itten’s close circle of followers. Although Wolpe was never officially enrolled at the Bauhaus, he found it to be an extremely generative environment and continued to periodically visit the school throughout the early-1920s.<a href="#sdendnote8sym">viii</a></p><p>Both the Bauhaus and Black Mountain College shared an idealistic belief in the power of progressive education to liberate students from the failures of tradition and empower them to create a better world. But the ideal Black Mountain student was very different from the ideal Bauhäusler. The Bauhaus – particularly in its incarnations in Dessau and Berlin – was a professional school with the decided purpose of furthering the ideals of Modernism through the creative collaboration of artists (or designers) with industry. At Black Mountain, many students took their creative work extremely seriously, but the College – particularly before 1945 – encouraged and celebrated amateurism to an extent that would never have been tolerated at the Bauhaus. The schools thus put their utopian beliefs in the hands of very different individuals: the professional and the amateur, or, put another way, the specialist and the generalist.</p><p><a href="#sdendnote1anc">i</a> John Andrew Rice, “Fundamentalism and the Higher Learning”, Harper’s CLXXXIV, May 1937, p. 588; quoted in: Katherine Chaddock Reynolds, "Visions and Vanities: John Andrew Rice of Black Mountain College", Baton Rouge 1998, p. 102.</p><p><a href="#sdendnote2anc">ii</a> Allan Sly, “Excerpts from Taped Reminiscences of Black Mountain” in: Mervin Lane (ed.), "Black Mountain College: Sprouted Seeds", Knoxville 1990, p. 61.</p><p><a href="#sdendnote3anc">iii</a> Ted Dreier, interview with Katherine Reynolds, April 5 1993; quoted in Brenda Danilowitz, "Teaching Design" in: Brenda Danilowitz and Frederick A. Horowitz, "Josef Albers: To Open Eyes", London / New York 2006, p. 31.</p><p><a href="#sdendnote4anc">iv</a> Hans M. Wingler, "The Bauhaus", Wolfgang Jabs and Basil Gilbert, trans., Cambridge, MA 1986, p. 547.</p><p><a href="#sdendnote5anc">v</a> Letter from Ted Dreier to Josef Albers, August 28, 1940. Letter in the Archives of the Josef and Anni Albers Foundation, Bethany CT.</p><p><a href="#sdendnote6anc">vi</a> Although the College owned several prints and the “Small Worlds” portfolio by Kandinsky, the college owned no works by Paul Klee, and instead exhibitions of his works were made possible by Theodore Dreier’s aunt, Katherine S. Dreier, a painter, arts patron, and co-founder of the Société Anonyme. See letter from Barbara Dreier to Katherine Conger Loines, January 11, 1934, North Carolina State Archives, Western Region, Asheville, NC.</p><p><a href="#sdendnote7anc">vii</a> See Mary Emma Harris, "Walter Gropius and Marcel Breuer: Designs for a Lake Eden Campus" on the Black Mountain College Project website: <a href=""></a> (Accessed 09/15/2015).</p><p><a href="#sdendnote8anc">viii</a> Brigid Cohen, "Stefan Wolpe and the Avant-Garde Diaspora", Cambridge, UK / New York 2012, p. 84.</p><p></p><p><strong>Suggested further reading on Black Mountain College:</strong></p><p>Eugen Blume, Matilda Felix, Gabriele Knapstein, and Catherine Nichols (eds.), "Black Mountain: An Interdisciplinary Experiment, 1933-1957", Leipzig 2015; Helen Molesworth, "Leap Before You Look: Black Mountain College, 1933-1957", Boston, New Haven 2015; Mary Emma Harris, "The Arts at Black Mountain College", Cambridge 1987; Martin Duberman, "Black Mountain College: An Experiment in Community", New York 1972.</p> </div> </div> </div> Architecture History Painting Photography Research Fri, 27 Nov 2015 12:21:37 +0000 Michael Beggs 9116 at Leap Before You Look <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>A small, experimental liberal arts college founded in <a href="/en/atlas/jahre/1933" title="1933">1933</a>, <a href="/en/atlas/ort/black-mountain-college-museum-arts-center_1444" title="Black Mountain College Museum &amp; Arts Center">Black Mountain College</a> (BMC) has exerted enormous influence on the postwar cultural life of the United States. Influenced by the utopian ideals of the progressive education movement, it placed the arts at the center of liberal arts education and believed that in doing so it could better educate citizens for participation in a democratic society. It was a dynamic crossroads for refugees from Europe and an emerging generation of American artists. Profoundly interdisciplinary, it offered equal attention to painting, weaving, sculpture, pottery, poetry, music, and dance.</p><p>The teachers and students at BMC came to North Carolina’s Blue Ridge Mountains from around the<br /> United States and the world. Some stayed for years, others mere weeks. Their education was unlike anything else in the United States. They experimented with new ways of teaching and learning; they encouraged discussion and free inquiry; they felt that form in art had meaning; they were committed to the rigor of the studio and the laboratory; they practiced living and working together as a community; they shared the ideas and values of different cultures; they had faith in learning through experience and doing; they trusted in the new while remaining committed to ideas from the past; and they valued the idiosyncratic nature of the individual. But most of all, they believed in art, in its ability to expand one’s internal horizons, and in art as a way of living and being in the world. This utopian experiment came to an end in 1957, but not before it created the conditions for some of the 20th century’s most fertile ideas and most influential individual artists to emerge. </p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/leap-before-you-look"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="270" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>"Leap Before You Look: Black Mountain College 1933–1957" focuses on how, despite its brief existence, BMC became a seminal meeting place for many of the artists, musicians, poets, and thinkers who would become the principal practitioners in their fields of the postwar period. Figures such as <a href="/en/atlas/personen/anni-albers-fleischmann" title="Anni Albers (-Fleischmann)">Anni</a> and <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>, John Cage, Merce Cunningham, Robert Rauschenberg, Elaine and Willem de Kooning, Buckminster Fuller, Ruth Asawa, Robert Motherwell, Gwendolyn and Jacob Knight Lawrence, Charles Olson, and Robert Creeley, among many others, taught and studied at BMC. Teaching at the college combined the craft principles of Germany’s revolutionary Bauhaus school with interdisciplinary inquiry, discussion, and experimentation, forming the template for American art schools. While physically rooted in the rural South, BMC formed an unlikely cosmopolitan meeting place for American, European, Asian, and Latin American art, ideas, and individuals. The exhibition argues that BMC was as an important historical precedent for thinking about relationships between art, democracy, and globalism. It examines the college’s critical role in shaping many major concepts, movements, and forms in postwar art and education, including assemblage, modern dance and music, and the American studio craft movement – influence that can still be seen and felt today. </p><p>The exhibition features individual works by more than ninety artists, student work, archival materials, a soundscape, as well as a piano and a dance floor for performances, and it will be accompanied by robust performance and educational programs. It will premiere at the <a href="–1957">ICA/Boston</a> and be on view October 10, 2015 – January 24, 2016.</p> </div> </div> </div> Architecture Bauhaus Faces Design Painting Photography Thu, 26 Nov 2015 20:13:48 +0000 Anja Guttenberger 9114 at Bauhaus Face: Irena Blühová <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Irena Blühová was born on 2 March 1904 in Považská Bystrica (Slovakia). From 1914 to 1918 young Irena attended the Höhere Töchterschule (secondary school for girls) and the Gymnasium (grammar school) in Trenčín. Aged 14 she started work in a notary’s office as an assistant secretary; four years later she becomes a bank clerk (1922-1929). Blühová begins to be politically active in this period. From 1922 to 1926, alongside her regular job in the bank, she studies at the Realgymnasium (grammar school with a focus on languages/sciences) in Bratislava. She also turns her hand to photography, taking her first tourist photos and starting the series “Kysuca – Kysuca”, “Kinder und Kinderarbeit” (Children and child labour), “Kretinismus und seine Ursachen” (Cretinism and its causes) and “Auf dem Markt” (In the market): Social studies, which would mark the start of her artistic approach to photography. In 1927 she produces three more photo series, focusing on the “Jahrmärkte im Waagtal” (Fairs in Waagtal), “Wegekreuze hinterm Dorf” (Wayside crosses behind the village) and “Korbflechter” (Basket weavers); the series “Saisonarbeiter” (Seasonal workers) and “Auch so lässt's sich leben” (Another side of life) follow a year later. In 1929, her series “Fischer” (Fishermen) and “Italien” (Italy) are published in periodicals.</p><p>In <a href="/en/atlas/jahre/1931" title="1931">1931</a> Irena Blühová decides to study at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-dessau" title="Bauhaus Dessau">Bauhaus in Dessau</a>, inspired by an article in the Frankfurter Zeitung (May 1927) in which Ilja Ehrenburg discusses the Bauhaus and its specialisation in architecture, typography, photography and advertising. After attending <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>’s <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a> Blühová studies under <a href="/en/atlas/personen/joost-schmidt" title="Joost Schmidt">Joost Schmidt</a> in the <a href="/en/atlas/das-bauhaus/werkstaetten/druck-reklame-werkstatt" title="Printing and Advertising Workshop">printing and advertising workshop</a> and in <a href="/en/atlas/personen/walter-peterhans" title="Walter Peterhans">Walter Peterhans</a>’s <a href="/en/atlas/das-bauhaus/lehre/fotografie" title="Photography">photography</a> class. Blühová leaves the Bauhaus in <a href="/en/atlas/jahre/1932" title="1932">1932</a>.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-irena-bluehova" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Judit Kárász, Portrait of Irena Blühová, Bauhaus Dessau, 1932, Reproduction 1960s Bauhaus-Archiv Berlin" class="imagecache imagecache-article_full" width="332" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-irena-bluehova"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>From <a href="/en/atlas/jahre/1933" title="1933">1933</a> to 1941 Blühová runs the bookshop Blüh in Bratislava and founds the group Sociofoto. In 1933 in association with architect Fridrich Weinwurm and actor Andrej Bagar, she starts up the agitprop theatre group Dielňa-Werkstatt-Mühely. In 1934, Blühová organises an exhibition for the group Sociofoto in Pálffy Palace in Bratislava. In 1935, John Heartfield uses one of her images for the design of a book cover for “Brachland”, the German edition of a novel by Peter Jilemnický. The former Bauhausler now photographs the lives and work of Alpine herdswomen for the series “Leben und Arbeit der Sennerinnen” and tobacco growers for “Tabakzüchterinnen”. In 1938, when the avant-garde Kunstgewerbeschule (school of arts and crafts) in Bratislava sets up a film department headed by Karol Plicka, Blühová enrols to study there (1938-1939).</p><p>During the war, from 1941 to 1945 Blühová is active in the illegal antifascist movement. From 1945 to 1948 she co-founds and directs the publishing house Pravda; at the same time she starts work on the photo series “Persönlichkeiten” (Personalities). In 1948 Irena Blühová becomes mother to a daughter, Zuzana. From 1949 to 1951 she leads the cooperative society Volkstümliches Kunstgewerbe. In 1951 Blühová finds employment in the state institute of education. In 1955 she co-founds the Slovak educational library and is its director until 1965. From 1954 to 1957, alongside her work, she studies at a teacher training college. In 1959 she co-publishes the young people’s book “Prvé kroky” (with Krista Bendová). In 1964 Blühová is honoured by the state for excellence in her profession. In 1966 she publishes the book “O jedno prosím” with Elena Čepčeková. In June 1968 Blühová contributes to the international conference Výtvarné avantgardy a dnešok in Smolenice, which is dedicated to the Bauhaus and the Bratislava school of arts and crafts. In 1971 the book “O jedno prosím” is finally published in German in Berlin under the title “Keine Nachricht für Katka” (No news for Katka). Blühová takes part in the 3rd and 4th International Bauhaus Colloquium in Weimar in 1983 and 1986. In 1989 she is awarded the Josef Sudek Medal to commemorate the 150th anniversary of the discovery of photography.</p><p>Irena Blühová dies on 30 November 1991 in Bratislava.</p><p></p><p>References:</p><p>Galerie am Sachsenplatz, „bauhaus 6“, part 1: „Irena Blühová und Albert Hennig, engagierte Fotografie vom Bauhaus bis heute: tschechoslowakische Fotografen 1900 – 1940“, Leipzig 1983; Irena Blühová, „Bauhaus: Wie es ein Student erlebte“, in: ars, No. 2, 1969; Ketterer Kunst Hamburg, „'Die Fotografie zur Waffe zu schmieden' Blühová. - Sammlung von rund 48 Orig.-Schwarzweiß“, <a href=""></a> (last download: 13.11.2015); Julia Secklehner, „Capturing the Ordinary? Irena Blühová and photographic modernism in Slovakia 1926-1936“, The Courtauld Institute of Art, London, <a href="">ühová_and_Photographic_Modernism_in_Slovakia-.pdf</a> (last download: 13.11.2015); Dušan Škvarna, Václav Macek und Iva Mojžišová, „Irena Blühová“ (Ireny Blühovej), Bratislava 1991.</p> </div> </div> </div> Bauhaus Faces Dessau Photography Wed, 25 Nov 2015 12:54:54 +0000 Anja Guttenberger 9110 at Experiments with materials <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>In the <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a> at the Bauhaus, students experimented freely with colour, form and material in order to become familiar with and grasp the basic principles of design. The Bauhaus-Archiv’s workshops adopt this approach. They combine discussion of specific objects and themes in the museum with practical work. How exactly does the linear structure of a tubular steel chair by Marcel Breuer work? This is easiest to understand not only by looking at the chair, but also by drawing it and attempting to make a copy of it – with the aid of wire and textile adhesive tape. Thus, old and young workshop visitors get into the spirit of the design process – and eventually develop their own, new ideas.</p><p>In this way, the workshops convey the basics of material properties, composition and colour theory. “Taking lines for a walk”, “The world of light and shadow” or “Balancing objects” are just a few of the workshop themes.</p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/experiments-with-materials"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="210" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In the framework of the holiday programmes, visitors can learn about these themes in greater depth. Here over a number of days, the workshop participants form a small community and, at the end, present the fruits of their labour to their parents in an exhibition. Another venue for practical work is provided by the cooperation partner JugendKulturZentrum PUMPE, where children, for instance, make their own photograms based on the work of the Bauhaus master <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">Lászlò Moholy-Nagy</a>. The Bauhaus-Archiv’s team was so impressed with the results that the photograms are now on show in rotation in the corridor of the museum.</p><p>The workshops and holiday programmes are offered in cooperation with Jugend im Museum e.V. To find out about the specific themes and dates, visit <a href=""></a> and <a href=""></a>.</p> </div> </div> </div> Berlin Event Video Thu, 12 Nov 2015 14:48:19 +0000 Cornelia Vossen 9098 at A Bauhaus Workshop for Berlin <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The field of communication has become increasingly important at the Bauhaus-Archiv in Berlin in recent years. This now finds its visible expression in the pavilion bauhaus re use, which for the first time gives the Bauhaus-Archiv its own space for museum education. The Bauhaus Workshop intensifies the museum experience through practical work. Each workshop begins with a theoretical discussion; the museum’s collection thereby offers a good starting point for many visitors in that it shows everyday objects with a condensed design vocabulary. This is followed by practical work in the Bauhaus workshop: Here, children and adults are able to gain immediate insight into the forms of objects and the relationship between form and function. “It’s not easy to bring the two together”, says a visitor to the workshop, who is working with her young son on a lamp. “I have found that the simpler the form, the more carefully I have to consider how to integrate the function in an elegant way. Neither should be allowed to dominate. But in the end, if our lamp can be hung and gives out a good light, then that’s great.”</p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/a-bauhaus-workshop-for-berlin"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="210" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In this way, young and old visitors to the workshop can investigate the main principles of design – and, in doing so, sharpen their awareness of design in the world around them. “People who understand that everything around us is designed develop an appreciation of it and, ideally, assume responsibility for the world around them and help shape it. To convey the methods involved is one of our main educational goals”, explains the head of museum education at the Bauhaus-Archiv, Bärbel Mees. The film introduces both Mrs Mees and the Bauhaus Workshop.</p><p>The Bauhaus Workshop offers open and reservation-only programmes in cooperation with Jugend im Museum e.V. For more information, visit <a href=""></a>.</p> </div> </div> </div> Berlin Event Video Tue, 27 Oct 2015 20:48:35 +0000 Cornelia Vossen 9091 at bauhaus re use: New opportunities for the Bauhaus-Archiv <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p> The go-ahead has been given for the extension building urgently required for the Bauhaus-Archiv in Berlin, marking the centenary of the foundation of the Bauhaus in 2019. Until construction begins, the temporary pavilion bauhaus re use will offer new opportunities for the museum by providing space for events and museum education programmes.</p><p>bauhaus re use – as the name already indicates, recycling is key to this experimental structure. It was built reusing 100 metres of facade elements –reconstructions of the original facade elements, dating from 1976 ­ that were removed during the energy-efficiency renovation of the Bauhaus building in Dessau in 2011: With their reuse, the pavilion not only addresses the architectural legacy of the Bauhaus in concrete, material terms, but also invites intellectual debate. Accordingly, the events taking place at this special venue will address topics such as the legacy of modernism, the conservation of resources, recycling, or sustainability in architecture and design.</p><p>With the pavilion, for the first time the Bauhaus-Archiv will also have a place to convey design themes through practice: The Bauhaus Workshop held here regularly offers workshops for groups or families. True to the spirit of the erstwhile Bauhaus, the theoretical investigation of the museum’s themes can be explored in greater depth through one’s own actions.</p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-re-use-new-opportunities-for-the-bauhaus-archiv"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="210" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Find out more about the Bauhaus workshop and the architecture of the pavilion here.</p><p>bauhaus re use is a cooperation between zukunftsgeraeusche GbR and the Bauhaus-Archiv / Museum für Gestaltung in Berlin. It is sponsored by the IKEA Foundation and numerous other partners. For information about the programme of events and the museum education programme, visit<a href=""></a>.</p> </div> </div> </div> Architecture Berlin Video Tue, 27 Oct 2015 20:43:31 +0000 Cornelia Vossen 9090 at Education for all: Accessible guided tours <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>“Inclusive education” is also an important theme at the Bauhaus-Archiv in Berlin. Accordingly, its educational provisions are designed for everyone and ensure equal participation for persons with disabilities, for instance the visually impaired. The accessible guided tours are designed to be logical, multi-sensory and interactive. Reproductions of selected objects in the collection, a tactile floor plan of the museum and other materials bring the content to life and convey the cornerstones of design principles at the Bauhaus.</p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/education-for-all-accessible-guided-tours"><img src="" alt="" title="" class="imagecache imagecache-article_teaser_video" width="375" height="210" /></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Bettina Güldner is one of the freelance museum guides at the Bauhaus-Archiv offering accessible guided tours. She has made much of the equipment for her guided tours herself: A tactile chart reconstructs the composition of a work by <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Kandinsky</a>; another allows visitors to feel and sense different materials and their properties. A further interactive option features thin, white metal rods on a contrasting black background, which allow participants to recreate compositions.</p><p>On occasion, Bettina Güldner also takes her participants away from two-dimensionality towards an experience of space. In the film, she explains how this works. It doesn’t take much: One table, one stool, two buckets, one ladder, a blanket and a contrasting red rope are enough to enter into the heart of a still life from Kandinsky’s preliminary course and to trace its geometric structure.</p><p>The accessible guided tours in the Bauhaus-Archiv are free of charge. Reservations must be made in advance. To find out more, visit <a href=""></a>.</p> </div> </div> </div> Berlin Event Video Tue, 27 Oct 2015 20:38:02 +0000 Cornelia Vossen 9089 at Bauhaus Face: Franz Singer <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Franz Singer was born on 8 February 1896 in Vienna. Singer’s talent for drawing was recognised early and fostered at the Kunstgewerbeschule (school of arts and crafts) in Vienna, which he attended at the tender age of nine. Here he followed a drawing course for children taught by Alfred Roller (1905-1906); from 1914 to 1915, he then studied in Vienna under the painter Felix Albrecht Harta. Two years of military service followed, during which he began to study philosophy (1916 to 1919). From 1916 to 1919 the young artist exhibited at the Kunstschau in Vienna. From 1917, parallel to his studies in philosophy, he was taught by <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a> at the Kunstgewerbeschule. Here, he also became acquainted with his companion and work partner of many years, <a href="/en/atlas/personen/friedl-dicker-brandeis" title="Friedl Dicker (-Brandeis)">Friedl Dicker</a>.</p><p>When Johannes Itten was appointed at the newly founded <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a> in <a href="/en/atlas/jahre/1919" title="1919">1919</a>, Singer and Dicker went with him without further ado. Despite his personal relationship with Dicker, in <a href="/en/atlas/jahre/1921" title="1921">1921</a> Singer married the singer Emmy Heim, whom he had probably met during a Christmas concert at the Bauhaus in 1920, in which she performed. Singer studied at the Bauhaus until <a href="/en/atlas/jahre/1923" title="1923">1923</a>, but from 1920 the Bauhausler was already working together with Friedl Dicker as a set designer for the Schauspielhaus in Dresden and in Berlin. In 1923 Singer and Dicker set up the Werkstätten Bildender Kunst (workshop of visual arts) in Berlin. Up to <a href="/en/atlas/jahre/1926" title="1926">1926</a> they worked together, developing interior designs, arts and crafts objects and set designs. Having both returned to Vienna, in <a href="/en/atlas/jahre/1925" title="1925">1925</a> they opened the architecture office Atelier Singer-Dicker at 9, Wasserburggasse 2, Vienna. This collaboration lasted until <a href="/en/atlas/jahre/1931" title="1931">1931</a>, while the former Bauhauslers designed and realised numerous interiors for flats, furniture, textiles and a number of buildings. Atelier Singer-Dicker’s services were also engaged several times on behalf of Vienna’s social programme, for instance to fit and furnish preschools and to collaborate on the project “Jugend am Werk”, which aimed to reintegrate young people in society. Artistically and intellectually, Singer and Dicker found themselves part of a circle of artists that had formed around Hans Moller, Adolf Loos and Max Ermers. As early as 1927, Singer was a prizewinner at the Juryfreie Kunstschau Berlin; in 1929 he received another award at the exhibition Moderne Inneneinrichtungen in Vienna. In 1930 following a series of personal conflicts, Friedl Dicker ended her collaboration with Singer and he initially continued to run Atelier Singer-Dicker on his own.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-franz-singer" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Lotte Meitner-Graf, Portrait of Franz Singer, ca. 1934-1940 Bauhaus-Archiv Berlin" class="imagecache imagecache-article_full" width="435" height="360" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-franz-singer"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>From 1931 to 1938 Singer was active as a freelance architect in Vienna. After his architecture office was forcibly dissolved following the Austrian Annexation of 1938, Singer remained in England where he had already worked since 1934, among other things as a consultant for the company John Lewis and as a freelance architect (in cooperation with Hans Biehl, later with Hedy Schwarz-Abraham). In England, he was temporarily interned. From 1938 to 1954 Singer worked as a freelance architect for the company Nursery Furniture Blackboard &amp; Toy Cupboard in London. After the Second World War, Singer resumed the work as a toy designer and designer of children’s furniture, which he had begun in collaboration with Friedl Dicker in Vienna.</p><p>In the early 1950s Singer returned briefly to Salzburg and then to Berlin. Franz Singer died on 5 October 1954 in Berlin.</p><p></p><p>References:</p><p>C. Blauensteiner, “Das moderne Wohnprinzip, zur Ausstellung Franz Singer-Friedl Dicker”, in: Bauforum 22, Vienna 1989, 11f; Wilhelm Holzbauer (ed.), “Franz Singer – Friedl Dicker”, Vienna 1989; Elena Makarova, “Friedl Dicker-Brandeis”, Vienna/Munich 1999; Peter Wilberg-Vignau (ed.), “Friedl Dicker, Franz Singer” Darmstadt 1970; Ursula Prokop, “Franz Singer”, Architektenlexikon. Wien 1770-1945, Architekturzentrum Wien, (last downloaded on 8 October 2015).</p> </div> </div> </div> Architecture Bauhaus Faces Design Weimar Tue, 27 Oct 2015 20:28:18 +0000 Anja Guttenberger 9088 at Elke Wolf’s woven works – homage to the Bauhaus <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Textile weaving was an important discipline at the <a href="/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar </a>and in Dessau. The latter had its own weaving workshop, which took a markedly modern approach to working with materials and produced high-end wall hangings and rugs, functional textile for chairs and curtains, wall coverings and samples for industrial mass production. The textile artist Elke Wolf (born 1944, now living in Plauen, Saxony) has now donated a group of fifteen large-scale woven works to the <a href="">Bauhaus Dessau Foundation</a>. Each is a unique work dating from the years from 1981 to 1985 and, as a group, they exemplify how the Bauhaus was perceived in the GDR era. Wolf’s work will be shown for the first time in the new Bauhaus Museum, which is scheduled to open in 2019.</p> </div> </div> </div> Bauhaus 2019 Design Dessau Tue, 27 Oct 2015 19:51:41 +0000 Redaktion 9086 at Architect found for new Bauhaus museum in Berlin <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>‘After many years of effort we have finally reached our goal: on the occasion of the centenary of the founding of the Bauhaus, the Bauhaus-Archiv will be receiving the extension it needs. With Volker Staab, we will be gaining one of the most experienced architects in the field of museum building. His intelligent design will offer us a wealth of opportunities, both in museum terms and also in terms of communicative options, to extend our work into the urban space and into society. The whole Bauhaus-Archiv team is looking forward to working with him in the future.’ said Annemarie Jaeggi, director of the <a href="">Bauhaus-Archiv / Museum für Gestaltung, Berlin</a>.</p><p>The Bauhaus-Archiv / Museum für Gestaltung in Berlin holds the world’s most extensive collection of materials on the history of the Bauhaus. The current building, designed by Walter Gropius and opened in 1979, has now become too small and is no longer able to do justice to today’s increased demands on a museum that also serves as an archive. Visitor numbers have doubled during the last 10 years and reached 115,000 in 2014.</p><p>In the future, the functions of the Bauhaus-Archiv / Museum für Gestaltung in Berlin will be spread across two buildings. The existing building is intended to house the archive, while the extension building, with a gross floor area of around 6700 square meters, will be used for the Museum für Gestaltung.</p><p>The existing listed building is to be carefully renovated while preserving its architectural quality, its striking appearance and its historic substance, and it will be made more energy-efficient. The func- tional adjustments will be planned with full consideration for the building’s high architectural value. </p><p>The jury said about the winning design that a "delicate, almost frail five-storey glass tower in the centre of a platform and a one-storey block along Von-der-Heydt-Strasse are the only perceptible elements of the extension of the Bauhaus- Archiv. All of the exhibition areas will be arranged at a level below the completely newly designed open areas, arranged as a plateau with an inset courtyard. The ‘promenade architecturale’, which starts at the bridge ramp, will keep its effect as a free- standing compositional element within the extended ensemble and will also enter into dialogue with the new entrance tower. (...) The declared goal of the design – to enhance the existing buildings and at the same time create a perceptible, symbolic entrance to the lowered exhibition areas – is successfully achieved through this clear and well-conceived intervention. (...) The aim of creating a unique new ensemble for the Bauhaus Archive in Berlin that can be experi- enced and used as a complete and coherent figure is convincingly implemented in this design."</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/architect-found-for-new-bauhaus-museum-in-berlin" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="First Prize in the competition Bauhaus-Archiv: Staab Architekten GmbH, Berlin, perspective" class="imagecache imagecache-article_full" width="435" height="315" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/architect-found-for-new-bauhaus-museum-in-berlin"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>A total of 50 architectural offices were invited to take part in the competition. Fifteen of the partici- pants were set, and a further 35 were drawn by lots in a prior EU-wide competition procedure. Forty-one offices submitted designs. </p><p>The competition jury, made up of well-known specialists and chaired by the architect Hilde Léon, Berlin, decided as follows: Staab Architekten GmbH, Berlin (1st Prize), Bruno Fioretti Marquez Architekten, Berlin (2nd Prize), ARGE sinning architekten, stinner architekten GmbH, Darmstadt (3rd Prize), dasch zürn architekten, Stuttgart (4th Prize), EM2N Architekten, Zürich (5th Prize) as well as these architects that were worth to mention: F29 Architekten GmbH (Dresden), AFF architekten (Berlin), Konermann Siegmund Architekten (Hamburg) and PPAG architects ztgmbh (Vienna).</p><p>For further information, please visit <a href="">Bauhaus-Archiv / Museum für Gestaltung, Berlin</a>.</p> </div> </div> </div> Architecture Bauhaus 2019 Berlin Sat, 24 Oct 2015 18:20:41 +0000 Anja Guttenberger 9084 at <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>“I am particularly pleased that our touring exhibition '' will now be able to make a stop in Max Liebling House in the heart of Tel Aviv’s White City, a UNESCO World Heritage site. Pleased, because the building designed by Dov Karmi in 1935/36 will be developed in the years ahead as a German-Israeli heritage preservation project and as a central venue for the modern architecture in Tel Aviv”, states Anne-Marie Jaeggi, Director of the <a href="">Bauhaus-Archiv / Museum für Gestaltung in Berlin</a>. With a selection of 100 Bauhaus photographs from the photo collection of the Bauhaus-Archiv, which comprises over 70,000 prints, the exhibition "", shown from 12 to 31 October 2015, sheds light on the contentual and stylistic diversity of Bauhaus photography: From portrait photos and images of architecture and products to ambitious amateur photographs of daily life at the Bauhaus and perfectly arranged and retouched still lives from <a href="/atlas/personen/walter-peterhans" title="Walter Peterhans">Walter Peterhans</a>’s photography class. A special interest in the medium of photography and its capacity to capture life advanced by technological inventions was already present among a number of students and teachers when the Bauhaus was founded in 1919. "" therefore presents a series of Bauhaus photographs of major importance by among others <a href="/atlas/personen/lucia-moholy" title="Lucia Moholy">Lucia Moholy</a>, <a href="/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a> and <a href="/atlas/personen/theodore-lux-feininger" title="Theodore Lux Feininger">T. Lux Feininger</a>. The works alternate between photos that capture a particular moment in time, historic documents and free art photography. Photography first became a fixed part of teaching at the Bauhaus in <a href="/atlas/jahre/1929" title="1929">1929</a> with the introduction of Walter Peterhans’s photography class, which was affiliated to the printing andadvertising workshop.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhausphoto" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Herbert Bayer, Self-portrait, 1932 Bauhaus-Archiv Berlin " class="imagecache imagecache-article_full" width="326" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhausphoto"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Divided into four subject areas, the photo exhibition sheds light on the Bauhaus’s artistic diversity and swiftly reveals that there was no such thing as a homogeneous Bauhaus style: Individuality prevailed over uniformity.</p><p><strong>The Bauhaus lives on</strong></p><p>The energetic aura that surrounded the Bauhaus lives on in a way that we can experience today in countless photographs that document elaborately staged parties, daily life together and, last but not least, work in the Bauhaus workshops. The master of this realm was T. Lux Feininger, the youngest son of the Bauhaus master<a href="/atlas/personen/lyonel-feininger" title="Lyonel Feininger"> Lyonel Feininger</a>. At just 18 years of age he was able to make his living selling his dynamic Bauhaus photos to the renowned Berlin-based photo agency DEPHOT. Alongside many unknown photographers, numerous women such as <a href="/atlas/personen/etel-fodor-mittag" title="Etel Fodor-Mittag">Etel Fodor-Mittag</a>, <a href="/atlas/personen/irene-bayer-hecht" title="Irene Bayer (-Hecht)">Irene Bayer</a>, <a href="/atlas/personen/ivana-tomljenovic-meller" title="Ivana Tomljenović-Meller">Ivana Meller-Tomljenović</a>, <a href="/atlas/personen/marianne-brandt" title="Marianne Brandt">Marianne Brandt</a>, <a href="/atlas/personen/ise-gropius-frank" title="Ise Gropius (-Frank)">Ise Gropius</a> and <a href="/atlas/personen/lotte-beese-stam" title="Lotte Beese (-Stam)">Lotte Beese</a> also left behind photographic records of life at the Bauhaus that go far beyond the everyday snapshots taken with the newly available Leica. It is thanks to all of these that we are now able to gain insight into what life was like at the Bauhaus and how, for many, the Bauhaus itself became an adventure.</p><p><strong>Architecture and products</strong></p><p>The notion of ideal architecture for the modern man was central to the Bauhaus, which wanted to design houses, flats and articles of daily use to suit his real-life circumstances. Taking material and function as a point of departure, the workshops, which saw themselves as “laboratories”, designed practical, useful objects. To document the Bauhaus product palette and architecture and for advertising purposes, <a href="/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, the founder and first director the Bauhaus, employed the trained photographer <a href="/atlas/personen/lucia-moholy" title="Lucia Moholy">Lucia Moholy</a> and – as interest in the Bauhaus grew – the Bauhaus student <a href="/atlas/personen/erich-consemueller" title="Erich Consemüller">Erich Consemüller</a>. With the foundation of the photography class in 1929, the head of the workshop, Berlin-born photographer Walter Peterhans, more or less single-handedly assumed the responsibility for these tasks. Moholy, Consemüller and Peterhans’s photos of buildings and objects defined the public perception of the Bauhaus from the start. The photographs became a fixed feature of Bauhaus sales catalogues, the journal “bauhaus” and other Bauhaus publications. Today, these photographs still have a significant influence on the public image of the Bauhaus in newspapers, exhibitions and books.</p><p><strong>Bauhaus portraits</strong></p><p>The Bauhaus was founded almost a hundred years ago; the portrait photographs of the many photographers at the Bauhaus – most of them self-taught – combine formal stylistic means with subtle statementsabout the relationship between model and photographer or the photographic eras. This makes them all the more interesting for future generations. The portraits of the Bauhauslers show young, confident individuals, women and men, who have different clothes and haircuts and present themselves differently from their parents and grandparents. In the portraits, the photographers combine photographic experiments with modern stylistic idioms. Like other contemporary avant-garde photographers, many of the Bauhauslers found the portrait offered scope for self-questioning and self-affirmation. They visualised the modern “new” man, who had broken away from old conventions and who set his own standards. Their portraits are vivid documents of the age.</p><p><strong>Peterhans’s photo class</strong></p><p>Even before the photo class led by the Berlin-born photographer <a href="/atlas/personen/walter-peterhans" title="Walter Peterhans">Walter Peterhans</a> was established, there was an active interest in the medium of photography at the Bauhaus. Peterhans demanded no less than technical perfection from his students. Mathematical calculations, studies of exposure times and specifically arranged scenes were fixed features of the photography class. The surviving works of the photography class students demonstrate, like the works of the master himself, a striking quality and aesthetic. <a href="/atlas/personen/grete-stern" title="Grete Stern">Grete Stern</a>,<a href="/atlas/personen/elsa-thiemann-franke" title="Elsa Thiemann (-Franke)"> Elsa Thiemann</a>, <a href="/atlas/personen/hans-joachim-rose" title="Hans-Joachim Rose">Hajo Rose</a>, <a href="/atlas/personen/kurt-kranz" title="Kurt Kranz">Kurt Kranz</a>, Lony Neumann, <a href="/atlas/personen/werner-david-feist" title="Werner David Feist">Werner David Feist,</a> Eugen Batz, Albert Henning, Erich Comeriner and Naftali Avnon (Rubinstein) are among the outstanding photographers known by name who emerged from Peterhans’s class and who made their living in part from photography. A few of them kept hold of their scrupulously recorded notes and test photos and bequeathed them to the Bauhaus-Archiv.</p><p><strong>A bilingual 144-page exhibition catalogue in English and Hebrew, which includes all 100 photographs, has been published for the exhibition. “”, a German-English edition of the catalogue, is also available now in the <a href="">Bauhaus Shop</a> of the Bauhaus-Archiv / Museum für Gestaltung, Berlin for € 8,90.</strong></p><p>For further information visit <a href="">Bauhaus-Archiv Berlin</a>.</p> </div> </div> </div> Architecture Berlin Design Exhibition Photography Tue, 20 Oct 2015 14:10:43 +0000 Anja Guttenberger 9079 at New endowment for the Bauhaus Dessau <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The <a href="">Bauhaus Dessau Foundation</a> delights  in the addition of new works to its collection from the Grewenig Archive in Bensheim – a generous endowment comprising 24 paintings and 37 graphic works by the painter and graphic designer Leo Grewenig (1898-1991).</p><p>Grewenig progressed from the Kunstakademie in Kassel to the <a href="/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a>, where he passed the master’s examinationin wall painting in <a href="/atlas/jahre/1925" title="1925">1925</a>. At the Bauhaus he first attended the preliminary course under <a href="/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a> and <a href="/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>, then studied under <a href="/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> and <a href="/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>. He subsequently moved to Berlin. There in <a href="/atlas/jahre/1931" title="1931">1931</a> at the Kunstschule Berlin Schöneberg, he passed the state examination as an art teacher. Then came the National Socialist years in which Grewenig, like almost all of the Bauhauslers, was prohibited from exhibiting his work. In the postwar period Grewenig taught art in Saarland; in 1957 he relocated to Bensheim in Hessen, where he died in 1991.</p><p></p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/new-endowment-for-the-bauhaus-dessau" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Leo Grewenig Showcase Exhibition at Bauhaus Dessau Photo: Tassilo C. Speler Bauhaus Dessau Foundation" class="imagecache imagecache-article_full" width="435" height="285" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/new-endowment-for-the-bauhaus-dessau"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The collection comprises examples of his late work, which reflect Grewenig’s beginnings at the Bauhaus as well as the art-historical developments of the 20th century. The exhibited works are characterised by detailed, delicate compositions with subtle gradations of colour that enhance the individual impact of the works.</p><p>For further information about the exhibition visit <a href="">Bauhaus Dessau Foundation</a>.</p> </div> </div> </div> Bauhaus Faces Dessau Exhibition Tue, 20 Oct 2015 13:52:41 +0000 Anja Guttenberger 9078 at Bauhaus Face: Isaak Butkow <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Isaak Butkow was born on 12 April 1909 in Wilno in Poland, now Vilnius, the capital of Lithuania, which was at the time occupied by Russia. He came from a lower middle-class Jewish family, attended a grammar school with a focus on the humanities and, for one year, a drawing school for the plastic arts in Wilno.</p><p>In the winter semester of <a href="/en/atlas/jahre/1928" title="1928">1928</a> Butkow enrolled as student number 304 at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-dessau" title="Bauhaus Dessau">Bauhaus Dessau</a>. There, he lived in lodgings together with <a href="/en/atlas/personen/moses-bahelfer" title="Moses Bahelfer">Moses Bahelfer</a>, likewise a native of Wilno; both were penniless and their hosts provided most of their meals. Having completed the obligatory <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a>, in <a href="/en/atlas/jahre/1929" title="1929">1929</a> he attended the <a href="/en/atlas/das-bauhaus/werkstaetten/tischlerei" title="Carpentry">carpentry workshop</a> for two semesters. In the summer semester of <a href="/en/atlas/jahre/1930" title="1930">1930</a> Butkow began to study architecture and was given leave to take on practical work in construction. In the winter semester of 1930 and the next two semesters of <a href="/en/atlas/jahre/1931" title="1931">1931</a> he continued his training in the building workshop. Throughout his studies Butkow received from a third to full tuition fee exemptions worth from 10 to 40 Reichsmark. The students could apply for the exemptions awarded by the masters’ council as long as they could prove their need and were dedicated students. </p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-isaak-butkow" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Etel Fodor-Mittag, Portrait of Isaak Butkow, 1929 Bauhaus-Archiv Berlin" class="imagecache imagecache-article_full" width="323" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-isaak-butkow"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In 1931 Hugo Junkers commissioned the Bauhaus under <a href="/en/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Mies van der Rohe</a> and <a href="/en/atlas/personen/ludwig-hilberseimer" title="Ludwig Hilberseimer">Ludwig Hilberseimer</a> to plan a large residential housing estate in Dessau. Specific project planning tasks for individual complexes were handed over to talented students in the architecture section of the building department; Butkow assumed responsibility for the development of plans for the theatre and the cinema. Unfortunately the architectural detail drawings got lost. Butkows draft of the theatre based on a steel-construction by Junkers, was intended to be covered with bright bricks. For reasons of protection against fire, the row seats for theatre and film palace should have been upholstered steel pipe armchairs. He even created a colour-coded guidance system for the entrance hall, cloakroom, auditorium, catering area and even the emergency exits. </p><p>The police expelled Butkow, a member of the Communist Party of Germany (KPD) since 1929 and, according to the Bauhausler Max Gebhardt, a core member of the communist faction at the Bauhaus, from Dessau on 4 April 1932. Having turned up at the Bauhaus again briefly on 28 April 1932, he was denounced by a student and was immediately sentenced to six weeks imprisonment.</p><p>Butkow subsequently moved to Berlin, where he was unable to find work and waited for an entry permit to the Soviet Union. As apolitical émigré, Butkow was active there in a students’ collective for urban development and planning and worked as an architect for the management of the Moscow-Volga Canal in the USSR. He lived with his Russian wife and his son in Pererva, a district of Moscow. On 27 September 1937 he was accused of spying for Germany, arrested and sentenced to death. He was executed by firing squad on 2 October 1938. The place of burial is the Butowo firing range located in a southern district of Moscow, a site of mass murder operated by the NKWD (People’s Commisariat for Internal Affairs) of the Soviet Union. Isaak Butkow was vindicated on 26 September 1957.</p><p></p><p>References</p><p>Ute Ulla Plener, Natalia Mussienko (eds.), "Verurteilt zur Höchststrafe – Tod durch Erschießen", Berlin 1985; Archive collection Bauhaus Dessau Foundation; Peter Hahn (ed.), Christian Wolsdorff, "Bauhaus Berlin", Berlin 1985; Helmut Erfurth "Junkers, das Bauhaus und die Moderne", Anhalt Edition Dessau, 2010; Hugo Junkers, "Leben und Unternehmen", <a href="ür-junkers-eine-„großsiedlung“-dessau">ür-junkers-eine-„großsiedlung“-dessau</a> (02.10.2015).</p><p></p> </div> </div> </div> Architecture Bauhaus Faces Dessau Mon, 05 Oct 2015 20:26:42 +0000 Burckhard Kieselbach 9064 at #itsalldesign <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The mission of the "Staatliches Bauhaus", founded by <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a> in Weimar in <a href="/en/atlas/jahre/1919" title="1919">1919</a>, was to educate a new type of designer. Students at the Bauhaus were to acquire artisanal and artistic foundations as well as knowledge of the human psyche, the process of perception, ergonomics and technology – a profile that continues to define the occupation of the designer to this day. Yet the concept of design at the Bauhaus also gave designers a comprehensive creative mandate: they were not to merely fabricate objects of daily use, but should take an active role in the transformation of society. With this approach, the Bauhaus sketched out an all-encompassing understanding of design, one that today finds itself embraced with new vigour. With such keywords as social design, open design or "design thinking", we now see renewed discussions of how designers can place their work in a larger context and help shape society. Viewed from this present-day perspective, the exhibition regards the Bauhaus as a complex, multi-dimensional "laboratory of modernism" with close links to current design tendencies. </p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/itsalldesign" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Josef Albers, Park, ca. 1923/24 The Josef and Anni Albers Foundation" class="imagecache imagecache-article_full" width="359" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/itsalldesign"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The current perspective on the Bauhaus is achieved by confronting historical exhibits from the Bauhaus era with works by contemporary designers throughout the exhibition. These include digitally produced furniture by Minale Maeda and Front, Van Bo Le-Mentzel’s "Hartz IV furniture" as well as manifestos by such designers as Hella Jongerius and Opendesk, interviews with creative figures like Lord Norman Foster, Enzo Mari, Sauerbruch Hutton and Boss Womenswear Artistic Director Jason Wu, as well as homages to the Bauhaus by Mike Meiré, Studio Miro, Dokter and Misses and other designers. These contemporary contributions highlight the broad spectrum of influence that the Bauhaus continues to exert – from automotive design at Mercedes-Benz to the furniture series Pipe (2009) by Konstantin Grcic for Muji and Thonet, which was inspired by Marcel Breuer. Among these current works featured in the show, a special role is played by four projects commissioned especially for the exhibition from the Leipzig-based artist Adrian Sauer, the concept artist Olaf Nicolai as well as Joseph Grima and Philipp Oswalt, who are both architects and authors. </p><p>The juxtaposition of historical and current exhibits yields a new, more differentiated picture of design at the Bauhaus. It does away with the cliché that so-called Bauhaus design was primarily minimalistic, cool and geometric, showing the great interest of Bauhaus designers in social interconnections, experiments and processes. With its open concept of design, the Bauhaus has played a decisive role in the omnipresence of design today. The exhibition reveals surprising parallels between many current debates in design and those that played a central role at the Bauhaus – such as the discussions about the possibilities of new production methods and materials, as well as the role of the designer in society or the advantages of interdisciplinary collaboration. This is also reflected in the exhibition’s subtitle, which invites visitors and readers to share their own views on this topic. </p><p>More informationen about the exhibition at <a href="">Vitra Design Museum</a>. </p> </div> </div> </div> Architecture Design Exhibition Painting Photography Mon, 28 Sep 2015 19:49:27 +0000 Anja Guttenberger 9060 at