Relevant bibliographies by topics / Walter Gropius

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Walter Gropius'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Walter Gropius"

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Reidel, James. "Walter Gropius: Letters to an Angel, 1927––35." Journal of the Society of Architectural Historians 69, no. 1 (March 1, 2010): 88–107. http://dx.doi.org/10.1525/jsah.2010.69.1.88.

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A previously unpublished selection of letters by Walter Gropius to his daughter, Manon, reveals a personal side of the architect and Bauhaus founder. In Walter Gropius: Letters to an Angel, 1927––35, James Reidel chronicles a decisive period in Gropius's life, from his last months at the Bauhaus until his move to England. At the center of the letters is the architect's quest for a closer relationship with his daughter, whom he rarely saw following his 1920 divorce from her mother, Alma Mahler-Werfel. However, the correspondence also offers rare insights into Gropius's political, social, and religious views, and it highlights those professional activities that he deemed worthy of his daughter's attention——housing, C.I.A.M., theater, and automobile design. Gropius's last letter was written shortly before Manon died from the complications of polio.
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Naegele, Daniel. "Misreading walter gropius." History of Photography 19, no. 2 (June 1995): 175–77. http://dx.doi.org/10.1080/03087298.1995.10442417.

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Pearlman, Jill. "Joseph Hudnut's Other Modernism at the "Harvard Bauhaus"." Journal of the Society of Architectural Historians 56, no. 4 (December 1, 1997): 452–77. http://dx.doi.org/10.2307/991314.

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Historians and critics have maintained that Walter Gropius dominated the Harvard Graduate School of Design between 1937 and 1952 and shaped it into the "Harvard Bauhaus." My essay instead argues that the GSD was far more complex and rich than this assessment would suggest. Joseph Hudnut, who founded the school in 1936 and served as its dean until 1953, played an equally significant role at the GSD as he pursued an alternative to Gropius's modernism there. While Gropius demanded that the GSD follow the Bauhaus approach, Hudnut-influenced especially by John Dewey and by the German city planner Werner Hegemann-was trying to root modern architecture and the Harvard school in the larger humanistic traditions of architecture and civic design. By the mid-1940s, Hudnut and Gropius began battling for control of the GSD. At issue was the fact that Gropius wanted to rebuild the Bauhaus at Harvard while Hudnut absolutely did not want the school to be remade in this mold. In particular, Gropius was determined to establish a preliminary course at the GSD identical to the famous Bauhaus basic course. On the defensive, Hudnut fought Gropius at every turn.
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Tostões, Ana. "For an Architect’s Training towards Responsibility." For an Architect’s Training, no. 49 (2013): 2–3. http://dx.doi.org/10.52200/49.a.a360tyw7.

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The variety of discussions on architects’ mission, on architectural discipline and the recall on some key figures explain the argument of this Journal entitled For an Architect’s Training. The title quotes Walter Gropius’ “Blueprint for an architect’s training” spread through the French magazine L’Architecture d’Aujourd’hui in February 1950 (number 28), dedicated to “Walter Gropius, the spread of an idea” and realized by Paul Rudolph under the direction of Gropius himself who developed his ideas on design education between art and technique, creation, research and applied science.
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Kramer, Eric F. "The Walter Gropius House Landscape." Journal of Architectural Education 57, no. 3 (February 2004): 39–47. http://dx.doi.org/10.1162/104648804772745247.

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Brown, William J. "Walter Gropius and grain elevators." History of Photography 17, no. 3 (September 1993): 304–8. http://dx.doi.org/10.1080/03087298.1993.10442310.

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Felipe Loureiro. "The Revolutionary Mind of Walter Gropius:." Utopian Studies 25, no. 1 (2014): 174. http://dx.doi.org/10.5325/utopianstudies.25.1.0174.

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Benyamin, Jasmine. "Walter Gropius and Operative History: an Architectural Palimpsest." Education and Reuse, no. 61 (2019): 18–23. http://dx.doi.org/10.52200/61.a.yy72uckw.

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This essay evaluates the legacy of the pedagogical model set by Walter Gropius and other founders of the Bauhaus on subsequent curricula for schools of architecture. More specifically, it uses Walter Gropius’ views on history as a backdrop for a closer reading of operative history. While at the Bauhaus, Walter Gropius did not initially mandate the teaching of history. Later, as Dean of Harvard’s Graduate School of Design, he re-structured the history sequence as electives, thereby undermining its hitherto central role in what he viewed as a traditional approach to pedagogy that was overly analytical and intellectual. Rather, he encouraged his students to “make history” for themselves. What are the manifestations of operative history in architecture schools today, and how have they gone beyond references to 20th century Modernism? It is undeniable that there is a concerted effort among contemporary historians to complicate the history of the movement. Nonetheless, the impulse to self edit persists, such that imagery of like minded practitioners converge and sometime eclipse other architectural production.
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Fernández García, Ana María. "Loos, Gropius y Le Corbusier: teorías del mueble moderno." Res Mobilis 10, no. 12 (February 15, 2021): 154–55. http://dx.doi.org/10.17811/rm.10.12.2021.154-155.

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Krause, Robin. "Das Arbeitsamt von Walter Gropius in Dessau." Zeitschrift für Kunstgeschichte 63, no. 2 (2000): 242. http://dx.doi.org/10.2307/1594940.

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Dissertations / Theses on the topic "Walter Gropius"

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Rocha, Rodrigo Marcondes. "Walter Gropius no Brasil: revisitando críticas." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/322.

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Made available in DSpace on 2016-03-15T19:22:04Z (GMT). No. of bitstreams: 1 Rodrigo Marcondes Rocha1.pdf: 8501462 bytes, checksum: ed5ba05f6c5d0d1512b79237c9a8d232 (MD5) Previous issue date: 2013-02-22
The theme of the present master s dissertation stems from the interest in the character and in the work of the German architect Walter Gropius (1883-1969) and it focuses on his coming to Brazil in January of 1954, when he participated in the Exposição Internacional de Arquitetura (event which was part of the II Bienal Internacional de Artes de São Paulo which coincided with the celebrations of the IV Centennial of the city s foundation), he got São Paulo s architecture award, in his first and unique edition he delivered an inaugural speech in the IV Congresso Brasileiro de Arquitetos and visited Rio de Janeiro and Petrópolis. In order to do so, archives of Fundação Bienal and publications and period periodicals were consulted, besides the relevant bibliography. Additional and fundamental information about the IV Congresso Brasileiro de Arquitetos were also recovered directly from the archives kept by the Paulista section of Instituto de Arquitetos do Brasil (IAB-SP). Hence, some valuable information were also recovered about the presence of Gropius in Brazil, aiming at complementing the barely spread content about this constant happening in the existing historiography, discussing frictions and proximities within the period in which Walter Gropius was in Brazil.
O tema desta dissertação de mestrado nasce do interesse pela obra e pela figura do arquiteto alemão Walter Gropius (1883-1969) e enfoca sua passagem pelo Brasil em janeiro de 1954, quando participou como destaque da Exposição Internacional de Arquitetura (evento integrante da II Bienal Internacional de Artes de São Paulo, que por sua vez coincidia com as comemorações do IV Centenário da fundação da cidade), recebeu o Prêmio São Paulo de Arquitetura, em sua primeira e única edição, proferiu a conferência inaugural do IV Congresso Brasileiro de Arquitetos, e ainda visitou o Rio de Janeiro e Petrópolis. Para tanto, consultamos os arquivos da Fundação Bienal e publicações e periódicos de época, além da bibliografia relevante. Informações adicionais e fundamentais sobre o IV Congresso Brasileiro de Arquitetos também foram recuperadas diretamente dos arquivos mantidos pela seção paulista do Instituto de Arquitetos do Brasil (IAB-SP). Assim foram recuperadas informações valiosas sobre a presença de Gropius no Brasil, com a finalidade de complementar o escasso conteúdo sobre este episódio constante da historiografia existente, discutindo atritos e aproximações gerados no período em que Walter Gropius esteve no Brasil.
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Souza, Rodrigo Mendes de. "O olho e a mão: Walter Gropius." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16102014-164444/.

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Os estatutos, programas, disciplinas e exercícios dos alunos do curso preliminar da Bauhaus Vorkurs sob diretoria de W. Gropius são analisados neste trabalho a partir das teorias da Puravisualidade Sichtbarkeit e da Objetividade Sachlichkeit. Autores como K. Fiedler, A. Riegl, H. Wölfflin, entre outros, estabelecem as divisas da primeira corrente estética. A segunda, expressa por G. Semper, é usualmente associada à Bauhaus devido à sua abordagem da função. O objetivo é mostrar que, para uma compreensão mais ampla da pedagogia da Bauhaus, são necessários outros modos de análise, que não excluam os preceitos funcionalistas e sim os complementem. Desta forma, conceitos como função, técnica, plasmação, clarificação formal e visualidade são empregados para compreender tanto a prática quanto a teoria pedagógica da Bauhaus. No recorte desta pesquisa, Gropius, fundador e diretor da escola, é considerado por sua interlocução com os três docentes que ministraram o curso preliminar sob sua direção Johannes Itten, Josef Albers e Lazslo Moholy-­-Nagy. Estes diálogos não ocorrem necessariamente sob os mesmos tópicos e por isso são necessários para o entendimento integral do curso. Itten, introdutor do curso, estabelece como tema a definição dos elementos objetivos da atividade artística e seu domínio. Em um segundo momento, Albers e Moholy-­-Nagy reafirmam as conquistas de Itten, a quem substituem em um segundo momento, porém com um aprofundamento das questões vinculadas à indústria, caras à concepção de Gropius sobre o papel a ser desempenhado pela Bauhaus
The statutes, programs, disciplines and students\'work from the preliminary course at the Bauhaus Vorkurs on board of W. Gropius are analyzed taking Sichtbarkeit and Sachlichkeit as the background. Authors such as K. Fiedler, A. Riegl, H. Wölfflin, but not only establish the limits of the first. The second, denoted by G. Semper, is usually associated with the Bauhaus because of its function approach. The aim is to show that other methods of analysis, which does not exclude the functionalist precepts but complemente them, to a broader understanding of the pedagogy of the Bauhaus, are needed. Thus concepts such as function, technique, formation, form clarification and visibility are employed to understand both the practical, pedagogical theory as the Bauhaus. The unit school in clipping of this research is attributed to Gropius founder and director, lying dialogue in the three teachers who taught the preliminar course under his direction Johannes Itten, Josef Albers and Laszlo Moholy Nagy. These dialogues do not necessarily occur in the same topics and so are required for full understanding of the course. As its introducer, Itten establishes the theme definition of the objective elements of artistic activity and its domain. In a second step, Albers and Moholy Nagy reaffirm the achievements of Itten, who replaces the direction of travel, but with a deepening of the issues related to the industry faces the design of Gropius on the role to be played by Bauhaus.
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Müller, Ulrich Gropius Walter. "Raum, Bewegung und Zeit im Werk von Walter Gropius und Ludwig Mies van der Rohe /." Berlin : Akad.-Verl, 2004. http://www.gbv.de/dms/bs/toc/379095920.pdf.

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Thieme, Karsten Verfasser], and Dorothée [Akademischer Betreuer] [Sack. "Kupferhäuser in Berlin und Brandenburg und der Einfluss von Walter Gropius auf ihre Entwicklung. Typen – Bauweisen – Instandsetzungsmassnahmen – Denkmalpflegerische Einordnung / Karsten Thieme. Betreuer: Dorothée Sack." Berlin : Universitätsbibliothek der Technischen Universität Berlin, 2012. http://d-nb.info/1029192774/34.

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Vallye, Anna. "Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius, Gyorgy Kepes." Thesis, 2011. https://doi.org/10.7916/D883401H.

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Using the American careers of Walter Gropius and Gyorgy Kepes as case studies, this dissertation addresses the intersection of art and architecture with the reciprocal politics of knowledge production and state formation in the mid-twentieth century United States. Inasmuch as the careers of Gropius and Kepes--wartime émigrés from Germany and Hungary, respectively--retrace the narrative of importation and assimilation linking interwar European modernism and its post-World War Two American legacies, this project also implicates that larger narrative and its constructions. Avant-garde practices in the Weimar Republic orbit advanced a model of design as a practice of knowledge, ideation or "expertise," which found fertile ground in the new political conditions of postwar America. The intersection of design practices with practices of knowledge production reconfigured design from material craftsmanship or artistic invention to a fluid set of competences and techniques oriented towards establishing new cultural, political, and economic agency for the designer. The constitution of this agency and its limits is the central historical and conceptual problem of this dissertation. From their strategic positions on architectural faculties at Harvard University and the Massachusetts Institute of Technology (MIT), and in their multiple roles as administrators, educators, writers, and designers, Gropius and Kepes both responded to and shaped several emergent discourses on knowledge that traversed the academy, the federal government, the design professions, and the wider political and intellectual life of the nation: the discourse of economic "stimulus" that posited the intersection of knowledge and legislative practices and their combined agency in the social body; the discourse of planning that charted the intervention of the "managed economy" regime across the nation's urban fabric; the discourse of the creative mind that posited knowledge as a key economic and political resource; and finally, the discourse of instrumentality that defined the political agency of knowledge-production within the postwar research university. Among the events leading Gropius and Kepes to confront those discourses, as chronicled in this dissertation, were the wartime administrative reorganization of the Harvard Graduate School of Design, the establishment of the Carpenter Center for the Visual Arts at Harvard and the Center for Advanced Visual Studies at MIT, and postwar curricular reform at MIT at large. In each of those instances, art and architecture emulated the disciplinary practices of knowledge production: research, education, methodology, collaboration. But more importantly, the disciplines of design adopted and elaborated in their own terms the ends of those organized knowledge practices in the promotion of unpredictability and innovation, necessitating in turn the curbing of controls and the circumscription of agency. The pursuit of this mode of practice, characterized by internal delimitation, situated design within an emergent political regime dedicated to the maintenance of socio-economic freedoms, articulated in the United States within a newly consolidated and organized federal government institution, and accompanied by new legislative and ideological articulations of national identity.
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Desjardins, Marilyne. "L’espace comme matériau : l’architecture moderne et le complexe du Bauhaus à Dessau." Thèse, 2016. http://hdl.handle.net/1866/15866.

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives.
L’espace urbain et l’espace architectural font partie de notre quotidien. Nous vivons cette spatialité sans nécessairement la prendre en considération, elle appartient à nos habitudes de déplacement. Dès le milieu du 18e siècle, la ville et l’architecture seront témoins de nombreuses transformations novatrices. L’espace moderne développera un nouveau langage, qui nous est aujourd’hui familier. Cette analyse s’intéresse donc à la transformation subie par l’architecture et plus largement par la ville, et aux répercussions que l’arrivée de nouveaux matériaux ainsi que de nouvelles technologies aura sur le bâti. C’est dans cette optique que le mémoire s’intéresse au complexe architectural du Bauhaus de Dessau. Située au nord de l’Allemagne, la petite ville de Dessau aura été la plateforme de grands changements architecturaux. Également, nous nous intéressons aux interactions entre les différents acteurs occidentaux (philosophes, artistes et architectes) oeuvrant à la même époque afin de réfléchir ces influences sur le développement des recherches architecturales de Walter Gropius et plus précisément, celui de son ensemble de Dessau.
The urban space and architectural space are part of our everyday life. We live this spatiality without necessarily taking it into consideration, it belongs to our habits of movement. From the mid-18th century, the city and the architecture will witness many innovative transformations. The modern space will develop a new language that is now familiar to us. This analysis therefore focuses on the transformation undergone by the architecture, and more broadly, by the city, and on the impacts that the arrival of new materials and new technologies will have on the structure. It is in this perspective that the study takes an interest in the architectural complex of the Bauhaus Dessau. Located in northern Germany, the small town of Dessau has been the platform of major architectural changes. Also, we will focus on different interactions between the various western actors (philosophers, artists and architects) working in the same period, in order to consider the possible influences on the development of the architectural researches of Walter Gropius, and specifically, of his complex in Dessau.
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Lérias, Inês Carrilho. "Aspetos da perceção visual aplicados ao design de produto." Master's thesis, 2020. http://hdl.handle.net/10451/44191.

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Visual perception and product design; an intrinsic relationship where the human component is the connecting link. The need to understand and define the mechanisms and processes that determine the existence of perception and its visual component as individual characteristics, leads to the need to relate these factors to inseparable issues of human activity and interaction, where design is an integral part. Once it is up to the designer the ensurance that each person sees his or her needs bridged by tools designed for this purpose (whether it is within the field of objects, or services), the need for visual factors and man's interactive ideas to be well known and understood, is the way to find that “optimal solution”. Transposing the perceptive aspect into the context of this work: within the question of the relationship with the object and its evolution, we must focus on the period between the industrial revolution and the present, through the point of view of design. Given the task of identifying needs and finding their solutions, it is about understanding, on the one hand, how methodologically and procedurally the designer facet of the designer has evolved in the pedagogical and practical fields, and on the other, the impact it has had at the social level and vice versa. For this, the understanding of the main perceptive theories studied over the last century is a crucial reference to understand this evolution. Once this path is identified, it becomes necessary to establish the “state of art” about these issues. Given its indispensability for a designer, it is crucial to keep this knowledge updated so that it can be managed during design activity, once its role is based on the knowledge and understanding of the human component about his surrounding environment.
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Cuthbert, Nancy Marie. "George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art." Thesis, 2012. http://hdl.handle.net/1828/4142.

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Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.
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Books on the topic "Walter Gropius"

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Christian, Schädlich, and Hochschule für Architektur und Bauwesen Weimar (Germany). Section Architektur., eds. Walter Gropius. Berlin: Ernst, 1986.

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Giedion, S. Walter Gropius. New York: Dover Publications, 1992.

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Giedion, S. Walter Gropius. New York: Dover, 1992.

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Sharp, Dennis. Bauhaus, Dessau: Walter Gropius. London: Phaidon Press, 1993.

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1883-1969, Gropius Walter, ed. Bauhaus, Dessau: Walter Gropius. London: Phaidon Press, 1993.

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Nerdinger, Winfried. Walter Gropius: Opera completa. Milano: Electa, 1988.

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1883-1969, Gropius Walter, ed. Bauhaus, Dessau: Walter Gropius. London: Phaidon Press, 2002.

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Walter Gropius: Das Jenaer Theater. Köln: König, 2006.

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Walter Gropius: Grundzüge seines Denkens. Hildesheim: Olms, 1986.

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S, Fischer Martin, ed. Haus Auerbach von Walter Gropius mit Adolf Meyer =: Haus Auerbach of Walter Gropius with Adolf Meyer. Tübingen: Wasmuth, 2003.

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Book chapters on the topic "Walter Gropius"

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Barnstone, Deborah Ascher. "Walter Gropius." In The Break with the Past, 67–79. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315656830-5.

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Barnstone, Deborah Ascher. "Walter Gropius." In The Break with the Past, 80–88. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315656830-6.

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Barnstone, Deborah Ascher. "Walter Gropius." In The Break with the Past, 89–107. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315656830-7.

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"Haus Gropius." In Walter Gropius, 84–85. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617375-028.

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"Haus Gropius." In Walter Gropius, 128–31. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617375-047.

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"Gropius House." In Walter Gropius, 84–85. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617436-028.

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"Gropius House." In Walter Gropius, 128–31. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617436-047.

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"Haus Howlett." In Walter Gropius, 152. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617375-058.

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"Monument to the March Dead." In Walter Gropius, 44–45. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617436-013.

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"Sommerfeld House." In Walter Gropius, 46–47. Birkhäuser, 2019. http://dx.doi.org/10.1515/9783035617436-014.

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Conference papers on the topic "Walter Gropius"

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GOES MONTEIRO BOSSOLAN, HELENA, and FRANCISCO BORGES FILHO. "Walter Gropius: projetos de habitação." In XXIV Congresso de Iniciação Científica da UNICAMP - 2016. Campinas - SP, Brazil: Galoa, 2016. http://dx.doi.org/10.19146/pibic-2016-50729.

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XUE, Ju. "Walter Gropius: The Fagus Factory." In 2016 International Conference on Architectural Engineering and Civil Engineering. Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/aece-16.2017.23.

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Doyle, Shelby Elizabeth. "Bringing Bauhaus Back: Digital Architecture + Contemporary Craft." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.12.

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“The Bauhaus believes the machine to be our modern medium of design and seeks to come to terms with it.”—Walter Gropius, The Theory and Organization of the Bauhaus German architect Walter Gropius founded the Bauhaus in 1919 and after fourteen prolific years, it closed. Despite its short tenure, the ramifications of the Bauhaus are still present in architectural education and practice. Its core objective was a radical, and still unrealized, concept: the unity of art and technology. The introduction of contemporary digital tools, techniques, and materials make this unity possible in new and profound ways thereby extending the Bauhaus project into the present day as a meaningful model for architectural education and digital craft.
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MUNCH, Anders V. "Total design of participation: Ideas of collective creativity by Tim Brown, László Moholy-Nagy and Walter Gropius." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-04_001.

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Lucius, Christophera, Imam Santosa, and Setiawan Sabana. "Study of the Bauhaus Ideas “bauen” in Periods of Walter Gropius, Hannes Meyer, and Mies van der Rohe." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338644.

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García Vázquez, Milagros. "La pedagogía de la Bauhaus como modelo para la expresión plural en las comunidades artísticas actuales." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10317.

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Abstract:
En 1933, un gobierno totalitario cerraba las puertas de una de las comunidades artísticas más significativas para la Historia del Arte del siglo XX y del actual, tanto desde el punto de vista de la creación, como de la pedagogía de las artes: la Bauhaus. Aquella clausura no supuso, sin embargo, su fin. En 1937 tomaría su testigo la New Bauhaus, abierta en Chicago por László Moholy-Nagy, uno de los profesores más influyentes en la plantilla de aquella institución creada por Walter Gropius en 1919. Su nombre ha variado desde entonces, «Chicago School of Design» (1939), «Institute of Design» (1944), hasta llegar a integrarse en el «Illinois Institute of Technology», existente en la actualidad. El paréntesis entre dos guerras mundiales había sido ocasión para el encuentro de artistas, especialistas en diversos ámbitos de la creación y de diferentes orígenes culturales, con un objetivo común, formar a otros creadores para «desear, proyectar y crear todos juntos la nueva estructura del futuro», como decía Gropius en el manifiesto original. Su pretendido final, impuesto por un régimen político, encontró su punto y aparte en un estado democrático al otro lado del Atlántico, dando pie no solo a una iniciativa mantenida a nivel académico en el Instituto de Illinois, sino inspirando a otra, fuera de las estructuras estatales, que puede servir a su vez como ejemplo de aplicación creativa del presente disenso en las culturas democráticas. Precisamente en Chicago surgiría, en 1990, un proyecto de la mano de la Fundación MacArthur, para potenciar la diversidad artística y cultural y orientarla hacia una meta, reconocer y promover procesos creativos y nuevas ideas como cauces esenciales en la mejora de la vida. Se dotaría económicamente a una serie de instituciones artísticas, colonias, comunidades o residencias de artistas, para celebrar un encuentro llamado «Special Initiative on Artists». De aquella reunión que tuvo lugar en 1991, surgió la creación de un consorcio internacional de comunidades artísticas, hoy conocida como «Alliance of Artists Communities», donde la formación y la puesta en común de trabajos y nuevos proyectos son los ejes fundamentales. Quizá pueda ser este un ejemplo de salto creativo por encima de las barreras de las políticas del consenso, si fracasan, o del desacuerdo, si tienen lugar.
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