Bauhaus
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UNESCO World Heritage Site | |
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Location | Germany |
Criteria | Cultural: ii, iv, vi |
Reference | 729 |
Inscription | 1996 (20th Session) |
Area | 8.1614 ha (20.167 acres) |
Buffer zone | 59.26 ha (146.4 acres) |
The Staatliches Bauhaus (German:
The Bauhaus was founded by architect Walter Gropius in Weimar. It was grounded in the idea of creating a Gesamtkunstwerk ("comprehensive artwork") in which all the arts would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, modernist architecture, and architectural education.[3] The Bauhaus movement had a profound influence on subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.[4] Staff at the Bauhaus included prominent artists such as Paul Klee, Wassily Kandinsky, Gunta Stölzl, and László Moholy-Nagy at various points.
The school existed in three German cities—
The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school and would not allow any supporters of Hannes Meyer to attend it.
Terms and Concepts
Several specific features are identified in the Bauhaus forms and shapes: simple geometric shapes like rectangles and spheres, without elaborate decorations. Buildings, furniture, and fonts often feature rounded corners, sometimes rounded walls, or curved chrome pipes. Some buildings are characterized by rectangular features, for example protruding balconies with flat, chunky railings facing the street, and long banks of windows. Some outlines can be defined as a tool for creating an ideal form, which is the basis of the architectural concept.[2]
Bauhaus and German modernism
After Germany's defeat in
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).
German architectural modernism was known as
The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation and towards rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.
Bauhaus and Vkhutemas
The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner.[9] Both schools were state-sponsored initiatives to merge traditional craft with modern technology, with a basic course in aesthetic principles, courses in color theory, industrial design, and architecture.[9] Vkhutemas was a larger school than the Bauhaus,[10] but it was less publicised outside the Soviet Union and consequently, is less familiar in the West.[11]
With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.[12] The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there.
History of the Bauhaus
Weimar
The school was founded by Walter Gropius in
From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or "preliminary course" that was the introduction to the ideas of the Bauhaus.[16] Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Der Blaue Reiter group in Munich, as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1923. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favoured by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907, when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.[18]
Gropius was not necessarily against
Weimar was in the German state of
Dessau
The Bauhaus moved to
Meyer became director when Gropius resigned in February 1928,[1] and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer favoured measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs. This approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.
But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. Even though Meyer shifted the orientation of the school further to the left than it had been under Gropius, he didn't want the school to become a tool of left-wing party politics. He prevented the formation of a student communist cell, and in the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Dessau mayor Fritz Hesse fired him in the summer of 1930.[26] The Dessau city council attempted to convince Gropius to return as head of the school, but Gropius instead suggested Ludwig Mies van der Rohe. Mies was appointed in 1930 and immediately interviewed each student, dismissing those that he deemed uncommitted. He halted the school's manufacture of goods so that the school could focus on teaching, and appointed no new faculty other than his close confidant Lilly Reich. By 1931, the Nazi Party was becoming more influential in German politics. When it gained control of the Dessau city council, it moved to close the school.[27]
Berlin
In late 1932, Mies rented a derelict factory in Berlin (Birkbusch Street 49) to use as the new Bauhaus with his own money. The students and faculty rehabilitated the building, painting the interior white. The school operated for ten months without further interference from the Nazi Party. In 1933, the Gestapo closed down the Berlin school. Mies protested the decision, eventually speaking to the head of the Gestapo, who agreed to allow the school to re-open. However, shortly after receiving a letter permitting the opening of the Bauhaus, Mies and the other faculty agreed to voluntarily shut down the school. [when?][27]
Although neither the Nazi Party nor Adolf Hitler had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labelled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, when Meyer was fired in 1930, a number of communist students loyal to him moved to the Soviet Union.
Even before the Nazis came to power, political pressure on Bauhaus had increased. The Nazi movement, from nearly the start, denounced the Bauhaus for its "degenerate art", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish, influences of "cosmopolitan modernism".[1] Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was pressured to close in April 1933. Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the "New Bauhaus" of Chicago:[28] Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute (now Illinois Institute of Technology) in Chicago and to seek building commissions.[a] The simple engineering-oriented functionalism of stripped-down modernism, however, did lead to some Bauhaus influences living on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahns (highways) in 1935, many of the bridges and service stations were "bold examples of modernism", and among those submitting designs was Mies van der Rohe.[29]
Architectural output
The paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building,
In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution. He intended to place emphasis on Gropius' objective analysis of the properties determining an object's use value, known as Wesensforschung. Gropius believed that it was possible to design exemplary products of universal validity that should be standardized.[31]
The Bauhaus movement was not focused on developing worker housing. Only two projects, the apartment building project in Dessau and the Törten row housing fall into the worker housing category. It was the Bauhaus contemporaries
Impact
The Bauhaus had a major impact on art and architecture trends in Western Europe, Canada, the United States and
In 1928, the Hungarian painter Alexander Bortnyik founded a school of design in Budapest called Műhely,[33] which means "the studio".[34] Located on the seventh floor of a house on Nagymezo Street,[34] it was meant to be the Hungarian equivalent to the Bauhaus.[35] The literature sometimes refers to it—in an oversimplified manner—as "the Budapest Bauhaus".[36] Bortnyik was a great admirer of László Moholy-Nagy and had met Walter Gropius in Weimar between 1923 and 1925.[37] Moholy-Nagy himself taught at the Műhely. Victor Vasarely, a pioneer of op art, studied at this school before establishing in Paris in 1930.[38]
Walter Gropius,
In the late 1930s,
The influence of the Bauhaus on design education was significant. One of the main objectives of the Bauhaus was to unify art, craft, and technology, and this approach was incorporated into the curriculum of the Bauhaus. The structure of the Bauhaus Vorkurs (preliminary course) reflected a pragmatic approach to integrating theory and application. In their first year, students learnt the basic elements and principles of design and colour theory, and experimented with a range of materials and processes.[40][41] This approach to design education became a common feature of architectural and design school in many countries. For example, the Shillito Design School in Sydney stands as a unique link between Australia and the Bauhaus. The colour and design syllabus of the Shillito Design School was firmly underpinned by the theories and ideologies of the Bauhaus. Its first year foundational course mimicked the Vorkurs and focused on the elements and principles of design plus colour theory and application. The founder of the school, Phyllis Shillito, which opened in 1962 and closed in 1980, firmly believed that "A student who has mastered the basic principles of design, can design anything from a dress to a kitchen stove".[42] In Britain, largely under the influence of painter and teacher William Johnstone, Basic Design, a Bauhaus-influenced art foundation course, was introduced at Camberwell School of Art and the Central School of Art and Design, whence it spread to all art schools in the country, becoming universal by the early 1960s.
One of the most important contributions of the Bauhaus is in the field of modern furniture design. The characteristic Cantilever chair and Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over patent rights to the cantilever chair design. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, leading to the patent dispute.) The most profitable product of the Bauhaus was its wallpaper.
The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s.[43] In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.
Later evaluation of the Bauhaus design credo was critical of its flawed recognition of the human element, an acknowledgment of "the dated, unattractive aspects of the Bauhaus as a projection of utopia marked by mechanistic views of human nature…Home hygiene without home atmosphere."[44]
Subsequent examples which have continued the philosophy of the Bauhaus include Black Mountain College, Hochschule für Gestaltung in Ulm and Domaine de Boisbuchet.[45]
The White City
Centenary year, 2019
As the centenary of the founding of Bauhaus, several events, festivals, and exhibitions were held around the world in 2019.[47] The international opening festival at the Berlin Academy of the Arts from 16 to 24 January concentrated on "the presentation and production of pieces by contemporary artists, in which the aesthetic issues and experimental configurations of the Bauhaus artists continue to be inspiringly contagious".[48][49] Original Bauhaus, The Centenary Exhibition at the Berlinische Galerie (6 September 2019 to 27 January 2020) presented 1,000 original artefacts from the Bauhaus-Archive's collection and recounted the history behind the objects.[50] The Bauhaus Museum Dessau also opened in September of 2019,[51] operated by the Bauhaus Dessau Foundation and funded by the State of Saxony-Anhalt and the German Federal government.[52] It is set to be the permanent home of the second largest Bauhaus collection at 49,000 objects,[51][53] while paying homage to it's strong influence in the city when Bauhaus arrived in 1925.[54]
The New European Bauhaus
In September 2020, President of the European Commission Ursula Von der Leyen introduced the New European Bauhaus (NEB) initiative during her State of the Union address. The NEB is a creative and interdisciplinary movement that connects the European Green Deal to everyday life. It is a platform for experimentation aiming to unite citizens, experts, businesses and institutions in imagining and designing a sustainable, aesthetic and inclusive future.
Sport and physical activity were an essential part of the original Bauhaus approach. Hannes Meyer, the second director of Bauhaus Dessau, ensured that one day a week was solely devoted to sport and gymnastics. 1 In 1930, Meyer employed two physical education teachers. The Bauhaus school even applied for public funds to enhance its playing field. The inclusion of sport and physical activity in the Bauhaus curriculum had various purposes. First, as Meyer put it, sport combatted a “one-sided emphasis on brainwork.”[55] In addition, Bauhaus instructors believed that students could better express themselves if they actively experienced the space, rhythms and movements of the body. The Bauhaus approach also considered physical activity an important contributor to wellbeing and community spirit. Sport and physical activity were essential to the interdisciplinary Bauhaus movement that developed revolutionary ideas and continues to shape our environments today.
Bauhaus staff and students
People who were educated, or who taught or worked in other capacities, at the Bauhaus.
Gallery
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A stage in the Festsaal, Dessau
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Ceiling with light fixtures for stage in the Festsaal, Dessau
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Dormitory balconies in the residence, Dessau
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Mechanically opened windows, Dessau
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The Mensa (cafeteria), Dessau
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Gropius' Expressionist Monument to the March Dead (1921–1922)
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A Bauhaus style building in Chemnitz
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The Molitor Grapholux lamp, by Christian Dell (1922–1925)
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Heinrich Neuy's children's chair
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Clock designed by Erich Dieckmann (1931)
See also
- Art Deco architecture
- Bauhaus Archive
- Bauhaus Center Tel Aviv
- Bauhaus Dessau Foundation
- Bauhaus Museum, Tel Aviv
- Bauhaus Museum, Weimar
- Bauhaus World Heritage Site
- Constructivist architecture
- Expressionist architecture
- Form follows function
- Haus am Horn
- IIT Institute of Design
- International style (architecture)
- Lucia Moholy
- Max-Liebling House, Tel Aviv
- Modern architecture
- Neues Sehen (New Vision)
- New Objectivity (architecture)
- Swiss Style (design)
- Ulm School of Design
- Vkhutemas
- Women of the Bauhaus
Explanatory footnotes
- a The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's Architects of Fortune.
- Google honored Bauhaus for its 100th anniversary on 12 April 2019 with a Google Doodle.[56]
Citations
- ^ ISBN 0-19-953294-X, pp. 64–66
- ^ a b Vasileva E. (2016) Ideal and utilitarian in the international style system: subject and object in the design concept of the 20th century // International Journal of Cultural Research, 4 (25), 72–80.
- ISBN 978-0-14-051323-3.
- ^ "Bauhaus Movement". Rethinking the world Art and Technology – A new Unity.
- ISBN 978-0-7148-3542-6.
- )
- ^ Evans, Richard J. The Coming of the Third Reich, p. 416
- ^ Funk and Wagnall's New Encyclopaedia, Vol 5, p. 348
- ^ a b (in Russian) Great Soviet Encyclopedia; Bolshaya Sovetskaya Entsiklopediya, Вхутемас
- ISBN 0-300-07762-9, p. 244
- ISBN 978-0-86840-753-1. Retrieved 15 May 2011.
- ISBN 0-674-58749-9; p. 215
- ISBN 978-3-658-28940-9.
- ISBN 1-58115-310-4.
- ISBN 978-0-19-860678-9.
- ^ ISBN 978-0-500-20257-9.
- ISBN 978-1-85029-415-3.
He invented the name 'Bauhaus' not only because it specifically referred to Bauen ('building', 'construction')—but also because of its similarity to the word Bauhütte, the medieval guild of builders and stonemasons out of which Freemasonry sprang. The Bauhaus was to be a kind of modern Bauhütte, therefore, in which craftsmen would work on common projects together, the greatest of which would be buildings in which the arts and crafts would be combined.
- ^ ISBN 978-0-500-28534-3.
- ISBN 978-0-13-586694-8.
- ^ "The Bauhaus, 1919–1933". The MET. The Metropolitan Museum of Art. Retrieved 14 June 2016.
- ^ "Bauhaus". Encyclopædia Britannica. Retrieved 14 June 2016.
- ^ Ackermann et al., Bauhaus (Cologne: Könemann, 1999), 406.
- ^ Michael Baumgartner and Josef Helfenstein At the Bauhaus in Weimar, 1921–1924 Archived 29 September 2009 at the Wayback Machine, at Zentrum Paul Klee
- ISBN 9783822821053.
- ISBN 978-0-13-586694-8.
- ISBN 978-0-226-22086-4. Retrieved 15 May 2011.
- ^ ISBN 978-0-8478-0563-1.
- ^ Jardi, Enric (1991). Paul Klee. Rizzoli Intl Pubns, p. 22
- ^ , Richard J Evans, The Third Reich in Power, 325
- ^ Gropius, Walter (April 1919). "Manifesto of the Staatliches Bauhaus". BauhausManifesto.com.
- ^ James-Chakraborty, Kathleen (2022). Bauhaus Effects in Art, Architecture, and Design. Routledge. p. 82.
- ^ "Bauhaus and its Sites in Weimar, Dessau and Bernau". UNESCO World Heritage Centre. United Nations Educational, Scientific, and Cultural Organization. Retrieved 2 July 2022.
- ^ Edward Lucie-Smith, Late Modern: The Visual Arts Since 1945, London: Thames & Hudson, 1976, p. 164.
- ^ a b Gaston Diehl, Vasarely, New York: Crown, 1972, p. 12
- ^ Jean Luc Daval, History of Abstract Painting, Paris: Hazan, 1989, p. 199.
- ^ See: William Chapin Seitz, Marla Price, Art in the Age of Aquarius, Smithsonian Inst Press, 1992, p. 92; Edward Lucie-Smith, Late Modern: The Visual Arts Since 1945, London: Thames & Hudson, 1976, p. 164; Jean Louis Ferrier, Yann Le Pichon, Art of our century: the story of western art, 1900 to the present 1990, London : Longman, p. 521.
- ^ Guitemie Maldonaldo, "Une réception différée et relayée. L'Atelier d'art abstrait et le "modèle-Bauhaus", 1950–1953", in: Martin Schieder, Isabelle Ewig, In die Freiheit geworfen: Positionen zur deutsch-französischen Kunstgeschichte nach 1945, Oldenbourg Verlag, 22 Nov 2006, p. 100.
- ^ Jean Louis Ferrier, Yann Le Pichon, Art of Our Century: The Story of Western Art, 1900 to the Present, 1990, London: Longman, p. 521.
- ^ Ulm, Ulmer Museum/HfG-Archiv. "HfG-Archiv Ulm – The HfG Ulm". www.hfg-archiv.ulm.de. Archived from the original on 4 October 2008. Retrieved 19 August 2008.
- ^ Bayer, H., Gropius, W., & Gropius, I. (Eds.). (1975). Bauhaus 1919–1928. London: Secker& Warburg.
- ^ Itten, J. (1963). Design and Form: The Basic Course at the Bauhaus and Later (Revised edition, 1975). New York: John Wiley & Sons.
- ^ O'Connor, Z. (2013). "The Shillito Design School: Australia's link with the Bauhaus". The International Journal of Design in Society, 6(3), 149–159.
- ^ "Bauhaus Dessau".
- ^ Schjeldahl, Peter, "Bauhaus Rules," The New Yorker, 16 November 2009
- ^ "Interview with Mathias Schwartz-Clauss, Boisbuchet´s director and program curator". Domaine de Boisbuchet. 13 June 2019. Retrieved 17 December 2019.
- ^ "UNESCO, Decision Text, World Heritage Centre, retrieved 14 September 2009".
- ^ Weber, Micholas Fox, The Bauhaus at 100: science by design, Nature, 6 August 2019 (with pdf link)
- ^ "100 years Bauhaus: the opening festival". Archived from the original on 26 July 2020.
- ^ "Bauhaus in pictures: The architects exiled by Nazis". BBC News. 16 January 2019. Archived from the original on 16 January 2019. Retrieved 17 January 2019.
- ^ "Original Bauhaus, The Centenary Exhibition". Berlinische Galerie. 6 September 2019. Archived from the original on 3 September 2019. Retrieved 16 September 2019.
- ^ a b Baker, Sam. "Bauhaus' 100th Anniversary Opens Museum Doors". Forbes. Retrieved 21 April 2024.
- ^ "Foundation - Institution - Stiftung Bauhaus Dessau" (in German). Retrieved 21 April 2024.
- ^ "Bauhaus Museum Dessau". Apollo Magazine. 2 August 2019. Retrieved 21 April 2024.
- ^ "Chronology - Institution - Stiftung Bauhaus Dessau" (in German). Retrieved 21 April 2024.
- ^ "Physical Education at The Bauhaus 1919 33 | PDF". Scribd. Retrieved 16 February 2022.
- ^ "100th Anniversary of Bauhaus Doodle". Google Doodles. 12 April 2019.
General and cited references
- Oskar Schlemmer (1972). Tut Schlemmer (ed.). The Letters and Diaries of Oskar Schlemmer. Translated by Krishna Winston. Wesleyan University Press. ISBN 0-8195-4047-1.
- Stefan Boness (2012). Tel Aviv – The White City. Berlin: Jovis. ISBN 978-3-939633-75-4.
- Magdalena Droste, Peter Gossel, ed. (2005). Bauhaus. Taschen America LLC. ISBN 3-8228-3649-4.
- Marty Bax (1991). Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum. Amsterdam: Architectura & Natura. ISBN 90-71570-04-5.
- Anja Baumhoff (2001). The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919–1931. Frankfurt, New York: Peter Lang. ISBN 3-631-37945-5.
- Boris Friedewald (2009). Bauhaus. Munich, London, New York: Prestel. ISBN 978-3-7913-4200-9.
- Catherine Weill-Rochant (2008). Rita H. Gans (ed.). Bauhaus: Architektur in Tel Aviv (in French and German). Zurich: Kiriat Yearim.
- Catherine Weill-Rochant (April 2009). The Tel-Aviv School : a constrained rationalism. DOCOMOMO journal (Documentation and conservation of buildings, sites and neighbourhoods of the modern movement).
- Peder Anker (2010). From Bauhaus to Ecohouse: A History of Ecological Design. LSU Press. ISBN 978-0-8071-3551-8.
- Kirsten Baumann (2007). Bauhaus Dessau: Architecture Design Concept. Berlin: JOVIS Verlag. ISBN 978-3-939633-11-2.
- Monika Markgraf, ed. (2007). Archaeology of Modernism: Renovation Bauhaus Dessau. Berlin: JOVIS Verlag. ISBN 978-3-936314-83-0.
- Torsten Blume / Burghard Duhm (Eds.) (2008). Bauhaus.Theatre.Dessau: Change of Scene. Berlin: JOVIS Verlag. ISBN 978-3-936314-81-6.
- Eric Cimino (2003). Student Life at the Bauhaus, 1919–1933 (M.A.). Boston: UMass-Boston.
- Olaf Thormann: Bauhaus Saxony. arnoldsche Art Publishers 2019, ISBN 978-3-89790-553-5.
Further reading
- Edwards, M. Jean (September 2019). "Lessons of the Bauhaus". Journal of Interior Design. 44 (3): 135–140. S2CID 201241249.
External links
- Bauhaus Everywhere — Google Arts & Culture
- Bauhaus at Curlie
- "Germany celebrates the Bauhaus Centenary". Bauhaus Kooperation. Archived from the original on 20 June 2020. Retrieved 28 March 2019.
- "100 years of Bauhaus". Bauhaus Kooperation. Archived from the original on 27 October 2021. Retrieved 12 April 2019.
- "Glossary definition for Bauhaus}". Tate art. Retrieved 12 April 2019.
- Gropius, Walter. "Manifesto of the Staatliches Bauhaus". Design Museum of Chicago. Retrieved 12 April 2019.
- "Fostinum: Photographs and art from the Bauhaus". The Fostinum. Retrieved 12 April 2019.
- "Finding Aid for archive of Bauhaus student work, 1919–1933". J. Paul Getty Trust. hdl:10020/cifa850514. Retrieved 12 April 2019.
- "Finding Aid for archive of Bauhaus typography collection, 1919–1937". J. Paul Getty Trust. hdl:10020/cifa850513. Retrieved 12 April 2019.
- Collection: Artists of the Bauhaus from the University of Michigan Museum of Art