Log in

Relevant bibliographies by topics / Walter Gropius / Journal articles

To see the other types of publications on this topic, follow the link: Walter Gropius.

Journal articles on the topic 'Walter Gropius'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Walter Gropius.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

A previously unpublished selection of letters by Walter Gropius to his daughter, Manon, reveals a personal side of the architect and Bauhaus founder.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.

APA, Harvard, Vancouver, ISO, and other styles

2

Naegele, Daniel. "Misreading walter gropius." History of Photography 19, no. 2 (June 1995): 175–77. http://dx.doi.org/10.1080/03087298.1995.10442417.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Neumann, Dietrich. "How did the Bauhaus get its name?" Education and Reuse, no. 61 (2019): 88–89. http://dx.doi.org/10.52200/61.a.s67c17xi.

Full text

Abstract:

Historians have always assumed that Walter Gropius (1883-1969) invented the name Das Bauhaus (somewhat inadequately translated as ‘house for building’) for the school he founded in Weimar in 1919. Often, critics have noted the brilliance of this “unique creation”, as it announced the radical change from the “Grand Ducal Saxon School of Arts and Crafts” to a new institution that was going to be more accessible, grounded and humble. It promised both a new beginning and a connection to builders’ guilds of the medieval past. However, when Walter Gropius founded his school in April 1919, a Das Bauhaus G.m.b.H. had already existed in Berlin for four years. Founder and owner was the prominent architect and developer Albert Gessner (1868-1953).

APA, Harvard, Vancouver, ISO, and other styles

12

Drėmaitė, Marija, and Robertas Motuzas. "Vladas Švipas – Walter Gropius: laiškai, 1948–1953 m." Lietuvos istorijos studijos 43 (August 8, 2019): 122–47. http://dx.doi.org/10.15388/lis.2019.43.7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Barnett, Jonathan. "An Unpublished Interview with Walter Gropius, December 1960." Journal of the Society of Architectural Historians 77, no. 4 (December 1, 2018): 406–9. http://dx.doi.org/10.1525/jsah.2018.77.4.406.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Neumann, Dietrich. "Wie kam das Bauhaus zu seinem Namen?" Architectura 48, no. 1-2 (January 1, 2018): 2–8. http://dx.doi.org/10.1515/atc-2018-1002.

Full text

Abstract:

Abstract It has always been assumed that the name Bauhaus was invented in 1919 by Walter Gropius, the institution’s founder and first director. However, the name had been in use since 1915 by the conservative Berlin architect Albert Gessner for his practice. Gessner had become famous for large, ingeniously designed apartment house complexes. Gropius and Gessner knew each other from the German Werkbund and Gropius probably saw the name in this context and adopted it. Gessner’s private practice had little success at the time, he closed his Bauhaus in 1920 and the competing use of the name in Weimar probably did little damage. But Gessner was fiercely opposed to the modern movement in architecture and enthusiastically joined the Nazi party in 1932, which ultimately determined its demise.

APA, Harvard, Vancouver, ISO, and other styles

15

Hildebrand, Grant. "Review: The Dream of the Factory-Made House: Walter Gropius and Konrad Wachsmann by Gilbert Herbert, Walter Gropius, Konrad Wachsmann." Journal of the Society of Architectural Historians 46, no. 4 (December 1, 1987): 433–34. http://dx.doi.org/10.2307/990293.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Seelow, Atli. "The Construction Kit and the Assembly Line—Walter Gropius’ Concepts for Rationalizing Architecture." Arts 7, no. 4 (November 29, 2018): 95. http://dx.doi.org/10.3390/arts7040095.

Full text

Abstract:

With the breakthrough of modernism, various efforts were undertaken to rationalize architecture and building processes using industrial principles. Few architects explored these as intensively as Walter Gropius, the founder of the Bauhaus. Before World War One, and increasingly in the interwar years, Gropius and a number of colleagues undertook various experiments that manifested in a series of projects, essays, model houses and Siedlungen. These were aimed at conceptually different goals, i.e., they followed two different categories of industrial logic: First, a flexible construction kit and, second, an assembly line serial production. This article traces the genesis of these two concepts and analyses their characteristics using these early manifestations. Compared to existing literature, this article takes into account hitherto neglected primary sources, as well as technological and construction history aspects, allowing for a distinction based not only on theoretical, but also technological and structural characteristics. This article shows that Gropius succeeds in formulating and exploring the two principles, in theory and practice, as well as drawing conclusions by the end of the 1920s. With them, he contributed significantly to the rationalization of architecture, and his principles have been picked up and developed further by numerous architects since then.

APA, Harvard, Vancouver, ISO, and other styles

17

Murphy, Kevin D. "The Vernacular Moment." Journal of the Society of Architectural Historians 70, no. 3 (September 1, 2011): 308–29. http://dx.doi.org/10.1525/jsah.2011.70.3.308.

Full text

Abstract:

Kevin D. Murphy reexamines the introduction of European modern architecture in New England during the late 1920s and 1930s. Emphasizing the importance of regional vernacular forms to the reformulation and popularization of modernism, The Vernacular Moment: Eleanor Raymond, Walter Gropius, and New England Modernism between the Wars also highlights Raymond's pioneering role in this process. A decade before Gropius associated modernism with New England's vernacular building tradition in the choice of materials for his own house in Lincoln, Massachusetts (1938), the design of the Cambridge School of Architecture (1928), to which Raymond contributed, had brought together modernism with both industrial and domestic vernacular idioms. Closely analyzing the architecture and written statements of Gropius and Raymond, the article explores how the architects grounded their modernism in tradition and created well-publicized buildings that served their pedagogic purposes.

APA, Harvard, Vancouver, ISO, and other styles

18

Martínez Alcaide, Jorge. "Walter Gropius. La vida del fundador de la Bauhaus." Laocoonte. Revista de Estética y Teoría de las Artes, no. 6 (December 16, 2019): 293. http://dx.doi.org/10.7203/laocoonte.0.6.16246.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Serra Soriano, Bartolomé, Alfonso Díaz Segura, and Ricardo Merí de la Maza. "Las aportaciones de Gropius y Wachsmann a la industria de las casas de madera." VLC arquitectura. Research Journal 8, no. 1 (April 30, 2021): 31. http://dx.doi.org/10.4995/vlc.2021.11842.

Full text

Abstract:

<div><p>Walter Gropius and Konrad Wachsmann made a significant contribution to the housing prefabrication industry. After the Second World War, they set principles that have served as a basis for continuous revisions in the interests of optimising the industry. The Packaged Houses are a research that shows a continuous review of the processes and constructive systems of prefabricated houses. This article tries to study (following a chronological criterion and focused on the context of this type of construction) the experience of Gropius and Wachsmann and their contributions as a basis for other investigations that, even today, continue their course.</p></div>

APA, Harvard, Vancouver, ISO, and other styles

20

Mowl, T. "Pioneers of Modern Design: From William Morris to Walter Gropius." Journal of Design History 19, no. 3 (January 1, 2006): 268–70. http://dx.doi.org/10.1093/jdh/epl015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Gross, Micha. "Walter Gropius: Visionary Founder of the Bauhaus by Fiona MacCarthy." Common Knowledge 26, no. 3 (August 1, 2020): 434–35. http://dx.doi.org/10.1215/0961754x-8521559.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Jun, Nam-Il. "Issues in German Modern Housing Design Reflected on Walter Gropius' Works." Journal of the Korean housing association 27, no. 3 (June 25, 2016): 11–22. http://dx.doi.org/10.6107/jkha.2016.27.3.011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Sheppard, Richard. "Book Review: Fiona MacCarthy: Walter Gropius: Visionary Founder of the Bauhaus." Journal of European Studies 51, no. 2 (May 31, 2021): 167–70. http://dx.doi.org/10.1177/00472441211013111k.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Heredia, Juan Manuel. "México y el CIAM Apuntes para la historia de la arquitectura moderna en México." Bitácora arquitectura, no. 26 (September 21, 2016): 25. http://dx.doi.org/10.22201/fa.14058901p.2014.26.57137.

Full text

Abstract:

Este ensayo analiza una serie de cartas1 entre el arquitecto alemán exiliado en México, Max Cetto, e importantes figuras de la arquitectura del siglo xx, entre las que destacan Sigfried Giedion, Walter Gropius y José Luis Sert. Estos documentos ofrecen un polé- mico panorama de la arquitectura mexicana de mediados del siglo pasado, e iluminan la malograda y hasta ahora poco explorada relación entre México y el ciam (Congrès Internacional d’Architecture Moderne)

APA, Harvard, Vancouver, ISO, and other styles

25

Moniz, Gonçalo Canto. "“Training the Architect”: Modern Architectural Education Experiences." For an Architect’s Training, no. 49 (2013): 10–15. http://dx.doi.org/10.52200/49.a.dzz54xnf.

Full text

Abstract:

In 1937, Walter Gropius wrote “Training the Architect” for his presentation as Chairman of the Department of Architecture of Harvard University. It reinvented his experience in the Bauhaus, between 1919 and 1928, and became the pedagogical program for the new Modern paradigm of an architectural education. At that moment, the Beaux–Arts system was being revaluated and the American schools of architecture intended to approach the university through a scientific and technological curriculum.

APA, Harvard, Vancouver, ISO, and other styles

26

Domínguez-Rendón, Raúl. "Relaciones AUFBAU-BAUHAUS. Filosofía y arquitectura en la modernidad europea del periodo entreguerras 1919-1938." TecnoLógicas, no. 15 (December 15, 2005): 69. http://dx.doi.org/10.22430/22565337.530.

Full text

Abstract:

En este artículo se abordan las relaciones de mutua influencia entre las ideas formuladas por los principales filósofos del Círculo de Viena y por los arquitectos más destacados del movimiento Bauhaus. Este debate filosófico y el encuentro de las utopías sociales y espirituales de los movimientos encabezados respectivamente por Rudolf Carnap y Walter Gropius, se ubican en el periodo de la modernidad europea comprendido entre el final de la Primera y el comienzo de la Segunda Guerra Mundial.

APA, Harvard, Vancouver, ISO, and other styles

27

Heredia, Juan Manuel. "México y el CIAM. Apuntes para la historia de la arquitectura moderna en México." Bitácora arquitectura, no. 27 (June 9, 2016): 84. http://dx.doi.org/10.22201/fa.14058901p.2014.27.56083.

Full text

Abstract:

<p>Este ensayo analiza una serie de cartas1 entre el arquitecto alemán exiliado en México, Max Cetto, e importantes figuras de la arquitectura del siglo xx, entre las que destacan Sigfried Giedion, Walter Gropius y Josep Lluís Sert. Estos documentos ofrecen un polémico panorama de la arquitectura mexicana de mediados del siglo pasado e iluminan la malograda y hasta ahora poco explorada relación entre<br />México y el ciam (Congrès Internacional d’Architecture Moderne). </p>

APA, Harvard, Vancouver, ISO, and other styles

28

Horrigan, Brian, and Gilbert Herbert. "The Dream of the Factory-Made House: Walter Gropius and Konrad Wachsmann." Technology and Culture 27, no. 3 (July 1986): 643. http://dx.doi.org/10.2307/3105414.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Franciscono, Marcel. "Review: Walter Gropius: Der Mensch und sein Werk by Reginald R. Isaacs." Journal of the Society of Architectural Historians 46, no. 4 (December 1, 1987): 432–33. http://dx.doi.org/10.2307/990292.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Epstein-Pliouchtch, Marina. "Le Corbusier and Walter Gropius: contacts prior to the Second World War." Journal of Architecture 9, no. 1 (March 2004): 5–22. http://dx.doi.org/10.1080/1360236042000197871.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

O'Hear, Anthony. "Art and Technology: An Old Tension." Royal Institute of Philosophy Supplement 38 (March 1995): 143–58. http://dx.doi.org/10.1017/s1358246100007335.

Full text

Abstract:

This is not the first time the title ‘Art and Technology’ has been used, but to distinguish what I have to say from Walter Gropius's Bauhaus exhibition of 1923, I am subtitling my paper ‘an old tension’, where the architect spoke of ‘a new unity’. In a way, Gropius has been proved right; the structures of the future avoiding all romantic embellishment and whimsy, the cathedrals of socialism, the corporate planning of comprehensive Utopian designs have all gone up and some come down. We have a mass media culture also largely made possible by technology. Corporatist architecture, whether statist ‘social housing’ or freemarket inspired, films, videos, modern recording and musical techniques are all due to technological advances made mostly this century. Only in a very puritanical sense could what has happened be thought of as inevitably bringing with it enslavement. All kinds of possibilities are now open to artists and architects, which would have been imaginable a few decades ago. No one is forced to use these possibilities in any specific way.

APA, Harvard, Vancouver, ISO, and other styles

32

Jonsson, Stefan. "Total teater. Samhällsutopier på scen under Weimarrepubliken." K&K - Kultur og Klasse 40, no. 114 (December 20, 2012): 77–92. http://dx.doi.org/10.7146/kok.v40i114.15704.

Full text

Abstract:

TOTAL TEATER - STAGING UTOPIA IN THE WEIMAR REPUBLIC | Highlighting a crucial topic in the utopian aesthetics developed in the European interwar period, this article discusses the radical ideas of placing society on stage, and of turning theatre into a medium for the self-representation of society. Illustrations and examples are drawn mainly from Erwin Piscator, and his collaboration with Walter Gropius in a project that they conceived of as “the Total Theatre” (Das Totaltheater). As the essay argues, these ideas of a new stage craft and performance were perhaps the most daring interventions among the wild and unruly democratic experiments of the Weimar Republic, and they usefully illustrate what Walter Benjamin had in mind as he, in the same period, cryptically endorsed the aesthetico-political idea of an artwork that is “being absorbed by the masses”.

APA, Harvard, Vancouver, ISO, and other styles

33

Dunbar, Brian H. "The Significance of the Educational Philosophies of Walter Gropius for Interior Design Curricula." Journal of Interior Design 15, no. 1 (May 1989): 5–12. http://dx.doi.org/10.1111/j.1939-1668.1989.tb00130.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Sinico, Michele. "Scientific Phenomenology in Design Pedagogy: The Legacy of Walter Gropius and Gestalt Psychology." International Journal of Art & Design Education 40, no. 1 (February 2021): 99–107. http://dx.doi.org/10.1111/jade.12337.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Rivera S., Hugo. "Diez signos emblemáticos a propósito de los noventa años de la Bauhaus." Revista de Arquitectura 15, no. 20 (January 1, 2009): 15. http://dx.doi.org/10.5354/0719-5427.2009.27960.

Full text

Abstract:

El 12 de abril de 2009 se cumplieron noventa años desde que Walter Gropius fuera designado director de las escuelas de arte y la de oficios, existentes en Weimar, y que según la propuesta del arquitecto, fueron fundidas en la Sttatliche Bauhaus. La celebración internacional de este hecho tuvo en Berlín la exposición: Bauhaus, un modelo conceptual, considerada la más completa realizada hasta hoy y que luego fue trasladada a Nueva York. El aniversario motiva una reflexión que trata de insinuar una mirada a la paradigmática escuela de la modernidad, señalando sólo diez ejemplos, considerándolos como íconos emblemáticos de su producción, representándola.

APA, Harvard, Vancouver, ISO, and other styles

36

Englund, Magnus. "Isokon Furniture — Modernist Dreams in Plywood." Louis I. Kahn – The Permanence, no. 58 (2018): 82–85. http://dx.doi.org/10.52200/58.a.ky5uaj0p.

Full text

Abstract:

The Isokon Furniture Company was never commercially successful, yet its legacy has stubbornly refused to die and disappear. Even today, this radical collection of plywood furniture is manufactured and used. The main reason is of course the names associated with it: Jack Pritchard, Wells Coates, Marcel Breuer, Walter Gropius, László Moholy-Nagy and – more recently – Edward Barber & Jay Osgerby. The genius little Isokon Penguin Donkey, first designed by the Austrian émigré architect Egon Riss in 1939 and marketed by publisher Allen Lane’s then new imprint Penguin Books, is particularly popular with younger generations of design students.

APA, Harvard, Vancouver, ISO, and other styles

37

De Souza, Rodrigo Mendes. "Bauhaus e a puravisualidade." Revista Limiar 6, no. 12 (November 26, 2019): 156–95. http://dx.doi.org/10.34024/limiar.2019.v6.9586.

Full text

Abstract:

O presente artigo percorre a extensão que a teoria da puravisualidade (Sichtbarkeit) adquire nos programas e na prática pedagógica da Bauhaus, como também as tensões e as distensões desta teoria com a objetividade (Sachlichkeit), representada pela produção do arquiteto e teórico Gottfried Semper. Para tanto, as referências são os textos de Konrad Fiedler, Adolf von Hildebrand, Alois Riegl, expoentes desta primeira corrente estética de matriz neokantiana. Assim, estas obras são contrastadas com os escritos do fundador da Bauhaus, Walter Gropius, e a produção dos alunos da escola durante o curso preliminar – Vorkurs –, fundado por Johannes Itten e, depois, legado a Laszlo Moholy-Nagy e Josef Albers.

APA, Harvard, Vancouver, ISO, and other styles

38

Leatherbarrow, David. "The Beginning of the Beginning: Kahn and Architectural Education in Philadelphia." For an Architect’s Training, no. 49 (2013): 58–63. http://dx.doi.org/10.52200/49.a.4qo5psv5.

Full text

Abstract:

Paul Philippe Cret was one of Penn’s greatest teachers and one of the city’s greatest architects. Louis I. Kahn, the University’s most well–known teacher, was one of Cret’s students. Holmes Perkins, educated at Harvard under Walter Gropius, reshaped the School and changed its orientation. The key task of the three architects was to articulate a new understanding of what is specific to the discipline, recreating its professional and intellectual center and orientation. This would not require the replacement or elimination of what had been developed in the preceding years; instead the task was to augment it with a more focused sense of what architecture itself is all about.

APA, Harvard, Vancouver, ISO, and other styles

39

Muñoz Cervera Aguilar, Kundalini. "Entre Itten y Gropius: algunas contradicciones culturales de la Bauhaus." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 4 (August 11, 2021): 123–38. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2021.4.1321.

Full text

Abstract:

Una de las contradicciones más llamativas al interior de lo que se conoce como la escuela Bauhaus se dio entre el futurismo tecnicista-humanista de Walter Gropius y el ocultismo orientalista de otros miembros, como Johannes Itten. Aunque ambos buscaban armonizar la existencia del ser humano con el entorno que habita, las teorías en las que ambas tendencias basaban sus prácticas llegaban a ser irreconciliables. Era inconcebible que el ideal artístico de Itten estuviera al servicio de la humanidad en su conjunto cuando defendía nociones protoracistas sobre la capacidad exclusiva de un grupo étnico para alcanzar dicha armonía. Muchas de estas ideas quedaron incluso plasmadas en su obra de arte y no sólo en escritos y discursos publicados. El propio interés de Itten por la cultura y el arte oriental convivió incómodamente con estas tendencias, dejando un legado ambivalente y problemático, el cual ha sido recientemente señalado por algunos estudiosos del movimiento. Aquí analizaremos algunas aristas de esta contradicción y sus implicaciones desde el punto de vista de la comparatística. Resulta necesario plantearnos cómo se deben ver estas inconsistencias si queremos evitar caer en una postura trivial y poco crítica de un movimiento cultural tan relevante como lo fue la escuela Bauhaus.

APA, Harvard, Vancouver, ISO, and other styles

40

Fernández-Serrano, Martino Peña, and José Calvo López. "Projecting Stars, Triangles and Concrete." Architectura 47, no. 1-2 (July 24, 2019): 92–114. http://dx.doi.org/10.1515/atc-2017-0006.

Full text

Abstract:

AbstractSometimes scientific-technical objects can be given an extended meaning as cultural icons and be received in art and architecture. To this end, the object must be detached from its original context and viewed from different, new perspectives.In 1922 Walter Bauersfeld constructed one of the first geodesic domes for testing projection devices in Jena. Walter Gropius and Lázló Moholy-Nagy were among the first to visit the Jena Planetarium; Moholy-Nagy received the dome in his book ›Von Material zu Architektur‹. Richard Buckminster Fuller further developed Bauersfeld’s concept from the 1940s and patented the construction principle of a geodesic dome under the name ›Building Construction‹ in 1954. His patent bears resemblances to the Bauersfeld Planetarium in Jena, which can be demonstrated by manuscripts by Bauersfeld from the Zeiss Archive in Jena. Fuller, on the other hand, also used the geodesic dome to explain his theory as Synergetic. The article traces the transformation of the technical object conceived by Bauersfeld via Moholy-Nagy and Fuller into a cultural icon of the 20th century.

APA, Harvard, Vancouver, ISO, and other styles

41

Maulen De Los Reyes, David. "Tradiciones, traducciones y transferencias: intercambios directos y reinterpretaciones de la HfG Bauhaus en Chile." Revista de Arquitectura 19, no. 28 (August 12, 2015): 31. http://dx.doi.org/10.5354/0719-5427.2013.37081.

Full text

Abstract:

La escuela superior de Diseño Bauhaus fundada en la ciudad de Weimar en 1919, y clausurada en Berlín en 1933, ha sido un referente fundamental para todo el desarrollo de las artes, el diseño y la arquitectura del siglo veinte. Sin embargo no constituye un cuerpo homogéneo, y como su propio fundador Walter Gropius insistió, uno de los objetivos era que cada estudiante fuera formulando su autonomía a partir del contraste de las diferentes tendencias que era posible observar en ella. Durante el siglo veinte en Sudamérica se intentó por diferentes caminos construir un modelo de modernidad alternativa, que modificara el modo de vida de acuerdo a ideas como las que defendió esta institución. A continuación se expone un esquema general de estos procesos para el caso chileno en la relación de las disciplinas proyectuales.

APA, Harvard, Vancouver, ISO, and other styles

42

FILIPPOV, Vasily D. "IRVING JOHN GILL: THE BIRTH OF AMERICAN MODERNISM." Urban construction and architecture 10, no. 4 (March 5, 2021): 119–35. http://dx.doi.org/10.17673/vestnik.2020.04.15.

Full text

Abstract:

The story of the life and the fi rst stages of the work of the American architect Irving John Gill, which led to the emergence of modernist architecture “on the very edge of America,” in Southern California, is presented. The author describes in detail the infl uences that the architect experienced in his work and which, in their totality, led him to the creation of the principles of new architecture and new style. The infl uence on their formation of the Chicago school is emphasized, in particular his work in the workshop with Adler and Sullivan, and the theoretical ideas of Louis Sullivan. The principles of Gill’s architecture are compared with the principles of the architecture of European modernism that appeared ten years later, as set forth by Walter Gropius.

APA, Harvard, Vancouver, ISO, and other styles

43

Poppelreuter, T. "Social Individualism: Walter Gropius and his Appropriation of Franz Muller-Lyer's Idea of a New Man." Journal of Design History 24, no. 1 (February 22, 2011): 37–58. http://dx.doi.org/10.1093/jdh/epq049.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Schuldenfrei, Robin. "Inventing American Modernism: Joseph Hudnut, Walter Gropius, and the Bauhaus Legacy at Harvard, by Jill Pearlman." Design and Culture 1, no. 3 (November 2009): 387–89. http://dx.doi.org/10.2752/174967809x12556973772690.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Müller, Luis. "Persistencia y cambios." A&P Continuidad 6, no. 11 (December 6, 2019): 26–35. http://dx.doi.org/10.35305/23626097v6i11.226.

Full text

Abstract:

A partir de la posguerra de la Segunda Guerra Mundial comenzaron a producirse importantes cambios en la organización y el modo de gestionar el trabajo en las oficinas de los arquitectos. Mientras aún continuaba la tradición de talleres centrados en la figura unipersonal de un arquitecto de prestigio, comenzó a abrirse paso una modalidad originada en el ambiente corporativo empresarial; es así como surgieron sociedades que apelaron a la constitución de equipos de trabajo, integrando incluso a otras disciplinas. En Argentina, el ejemplo más elocuente de la primera opción estaría representado por la figura de Amancio Williams. El episodio que lo vincula con Walter Gropius para realizar un proyecto en conjunto a fines de la década de 1960 pone en evidencia cómo se había modificado el campo profesional, que en Argentina ya había dado fuertes señales de transformación.

APA, Harvard, Vancouver, ISO, and other styles

46

Köth, Anke. "Verortung in der Zeit." Architectura 46, no. 2 (July 11, 2019): 176–89. http://dx.doi.org/10.1515/atc-2016-2003.

Full text

Abstract:

AbstractThe article discusses the question, if the past as a legitimation for collegiate architecture becomes obsolete after the change from historical styles to modern architecture in 20th century America. On the one hand, the example of Walter Gropius’ Harvard Graduate Center (1948) shows that traditions like the Harvard’s yard are still used on a very abstract level to fit a new building group into the university. On the other hand, the ambition of past decades to define future through architecture or a masterplan seems to be inappropriate after deep changes in society caused by the depression and by World War II later. As a consequence, Ludwig Mies van der Rohe tries to make changes possible for the new Campus of the Illinois Institute of Technology (after 1938): his grid allows to add new building parts easily, and to give them more or less a shape for changing functions.

APA, Harvard, Vancouver, ISO, and other styles

47

García Vázquez, Milagros. "Diseño y artes escénicas: el papel de Oskar Schlemmer en Das Triadische Ballett y la actualidad de la Bauhaus." Laocoonte. Revista de Estética y Teoría de las Artes, no. 6 (December 16, 2019): 231. http://dx.doi.org/10.7203/laocoonte.0.6.15316.

Full text

Abstract:

Existe una obra estrechamente vinculada al universo de la Bauhaus, Das Triadische Ballett, ballet creado en gran parte por Oskar Schlemmer, cuyo diseño, desde el escenario, el vestuario, la coreografía, e incluso la música, comenzó sin embargo a nacer antes de la aparición de la institución fundada por Walter Gropius. Cuál fue su génesis, cuál fue el papel del diseño en el proceso creativo que le dio forma, hasta qué punto llegó la implicación de Schlemmer en esta obra y cómo ha pasado ha estar su nombre tan íntimamente unido a la Bauhaus, son algunos de los objetivos de este estudio. Asimismo, es esta puesta en escena una ocasión constante para ver actualizados los parámetros en los que se movería la escuela artística alemana, pues se trata de una obra de la que aún hoy, desde que la idea surgiera en 1912, pueden seguir viéndose representaciones.

APA, Harvard, Vancouver, ISO, and other styles

48

de la Rosa, Natalia. "El taller como escuela, el taller como fábrica. Diálogos entre la Bauhaus y el muralismo de Siqueiros." Economía Creativa, no. 12 (November 18, 2019): 8–43. http://dx.doi.org/10.46840/ec.2019.12.02.

Full text

Abstract:

Este texto retoma la formación y desarrollo de la Bauhaus, tanto en Weimar como en Dessau, con el objetivo de remarcar un tipo de enlace que el movimiento tuvo con el programa artístico de David Alfaro Siqueiros. El diálogo permite comprender con mayor profundidad las líneas de investigación y práctica de Siqueiros, centradas en las propuestas de taller-escuela y taller-fábrica que el artista puso en marcha a partir de la década de 1930. El muralista readaptó y reactivó en diversas ocasiones este modelo a lo largo de su práctica artística, debido a la importancia que dicha resolución tuvo para su apuesta político-estética. Asimismo, la investigación remite a los estatutos de Walter Gropius expresados en el manifesto de 1919 que aludieron a la unificación de las artes (pintura, escultura, arquitectura), ya que mantiene una conexión directa con el proyecto que Siqueiros definió en 1933, a través de la “integración plástica”.

APA, Harvard, Vancouver, ISO, and other styles

49

Noelle, Louise. "Clara Porset. A Modern Designer for Mexico." Designing Modern Life, no. 46 (2012): 54–59. http://dx.doi.org/10.52200/46.a.43ma5jke.

Full text

Abstract:

The idea of design came about, following various approaches, at the end of the 1920s in the last century. The design and production of furniture and household appliances, as part of the work of a specialist, is an experience that evolved from the Bauhaus and wanted “to serve in the development of present day housing, from the simplest household appliance to the finished dwelling”, as Walter Gropius explained in 1927 in the Principles of Bauhaus Production. Other architects like Hugo Haring, in 1927, talked about “objects that are on the one hand works of art, and on the other are intended for use”, while 24 architects headed by Le Corbusier founded the CIAM in 1928 and sated “the need for a new conception of architecture that satisfies the spiritual, intellectual and material demands of present day life”. This was the atmosphere laid out by the avant–garde movements in Europe when Clara Porset arrived in Paris to pursue her graduate studies in art and architecture.

APA, Harvard, Vancouver, ISO, and other styles

50

Ármannsson, Pétur H. "Concrete’s Furthest North. Early 20th Century Heritage of Modern Civil Engineering in Iceland." Bridges and Infrastructures, no. 45 (2011): 86–89. http://dx.doi.org/10.52200/45.a.etpc9u3y.

Full text

Abstract:

In 1935–36, the English writer and design critic Philip Morton Shand (1888-1960), proponent of Modernism, translator of Walter Gropius and founder of MARS group (Modern Architectural Research Group) published two articles in the magazine “The Concrete Way”. The first one was entitled “Concrete´s furthest north”, highlighting the advanced and wide–ranging use of concrete construction in Iceland. With the second article were photographs of newly built public buildings by architect Sigurdur Gudmundsson (1885-1958) as well as bridges designed in the 1920s and 1930s by the engineers of the Icelandic State Highways Department. Shand was impressed by the work of the “gifted and thoroughly modern minded architect such as any country might be proud of” as well as the work of “first rate–engineers” of this “geographically remote island which at that time had only 100,000 inhabitants and 2,000 motorcars. He also points at the photos "as evidence of the wonderful clearness of the air which is characteristic of Iceland´s brief Arctic summers."

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!