Medieval Mythos and Modern Histories of the Bauhaus

Bauhaus Culture, 2006

Uluslararası Akademik Birikim Dergisi, 2004

Along with the industrial revolution, in a period when new searches influenced the fields of art and thought, because of technological developments in the early twentieth century and the whole devastations left behind by World War 1, the Bauhaus school, which was established in Weimar city of Germany in 1919, has been a determining factor in every field of art until the present day. The effects of a new perspective which keeps creative ideas in the center of the functionality and combines functionality with aesthetics in mass-produced products devoid of aesthetic concern, support the design through the combination of art and craft, and raises awareness and imposes a responsibility to the artists against to the society survived until today. Through the course of basic design education in the Bauhaus State School founded by Walter Gropius, students manifest their unique styles by improving their skills such as imagination and curiosity and thus make it possible to create practical solutions to problems. Although the first reflections of the Bauhaus school emerged with the establishment of Village Institutions, the structure that trains designers originally started at the Tatbiki School of Fine Arts in 1957. The continuance of the Bauhaus school, and the adoption of Bauhaus principles with the beginning of “Basic Design Education’’ in all fields of art education with instructors from Germany and under the leadership of Turk - German and reflected in the collective structure and design culture of today's contemporary art education. In this study, the effects of the Bauhaus education approach, which was effective in the modernization process of the Young Turkish Republic and is considered a reference model today, on Turkish educational institutions have been tried to be revealed by the literature review method.

Journal of Architectural Education, 2009

2017

The article presents the Bauhaus school as an idea that was not intended to start an independent movement, but to be one of the styles of modern art education. The school founded by Voltaire Gropius was based on the foundation of arts and crafts education which developed in the era of the Art Nouveau. The author shows the evolution of the Bauhaus, which existed barely fourteen years, but its myth spread to the entire 20th and now the 21st century. The article also touches on the difficult political context in which Bauhaus’ was launched and developed. Every contemporary designer must know this German school and should be able to define his/her work in relation to its achievements, but at the same time s/he must remember that the gas chambers of the Nazi concentration camps were also built by the Bauhaus architects. It is a difficult legacy and a difficult avant-garde.

Proceedings of the 21st International Congress of Aesthetics - ISBN 978-86-7924-224-2, 2019

In this proposal, the Bauhaus school's style is seen as representative of architecture and design in the context of contemporary global society. Bauhaus has influenced generations of artists, architects, and designers-in Germany, North and South America, and beyond-including, for example and with particular significance, the architecture and design of Brazil. The legendary Brazilian architect Oscar Niemeyer, who had German roots, designed for the Berlin Hansaviertel, the Brazilian capital, and other architectural projects. His architecture and design fulfilled the central demands of the Bauhaus school: a design should be functional and create a sense of community. Contemporary architecture and design in this style therefore offers new achievements and knowledge based on the current politics of sustainable development and social and economic integration, alongside the essential Bauhaus heritage of function and community. This proposal covers the new possibilities of the Bauhaus worldview: the creation of new forms for depicting human ideals, through a focus on aesthetics and technology, combined with Niemeyer's impact on architecture and design, still vibrant at the beginning of this century in Brazil. New styles and forms have arisen as offshoots from Bauhaus, conveying the values of each culture through the construction of a collective "picture" world. The Bauhaus of today expresses the culture industry, dialectically considering innovation and applied art as a path from the modern design of the industrial revolution to "eco-design". In this sense, Bauhaus is still significant in its role linking together art, technology, and industry. Innovation as a dynamic determination of the moment, present in all epochs, is understood as a potent force for maintaining tradition. In addition to a chronological record of the influence of Bauhaus, the significant projects of Niemeyer are discussed. Finally, this proposal presents two perspectives on the "schism" between architecture and technology. The first concerns the human ability to create models in architectural practice for adoption as a configuration of the space. The second concerns the evolution of technologies leading to the imagined becoming reality through time, as described by Hegel in his Aesthetics (see Hegel 1823). Thus, consideration is given to concepts relating to technological developments, such as the myth of progress and the role of the human in facilitating better interaction between tradition and innovation, subject to the influence of continuous productivity in various sectors. New representations in the accepted Bauhaus style are integrated with social critiques of humanity's resilience. These forms support an environment coexistent with technology, preserving tradition while searching for innovation and the determination of positive power, moving toward a new design and architectural conception.

Bauhaus and Greece The Idea of Synthesis in Art and Architecture, 2019

In the legacy of architectural education we inherited from the Bauhaus, the idea of creativity through the use of formal experimentations giving priority to visual approaches is central. The paper is going to argue that the Bauhaus legacy has played a crucial role in producing new architectural forms in the recent history of design studio teaching. Bauhaus main educational approaches were carried over and implemented in American Universities in the 40ies by Gropius, Moholy Nagy and Albers. Yet, only within the Texas School of Architecture pedagogies of the ‘50ies does the Bauhaus legacy flourish and become part of the architectural studio teaching. By leaving the Texas architectural school, the main advocates of a formal transformational teaching approach disseminate it to other schools in the US and Europe. This can be clearly traced in several schools of architecture in the Anglo-Saxon world (i.e. the A.A., Cooper Union and the Bartlett), at the ETH in Europe as well as relevant publications in the 80ies. With the introduction of new technologies and the appearance of the paperless studio in the 90ies formal transformational rules evolve within a digital world.

Studies in Art Education, 2005

The Journal of the Asian Conference of Design History and Theory, 2017

In 1950, the Swiss designer Max Bill was invited to assist Inge Scholl in planning a new school of design in Ulm similar to the Bauhaus because of Bill’s experience at the Bauhaus and the modernist works he had developed from the 1930s to the 1940s in Switzerland. When the Ulm School of Design provisionally began its design courses in 1953, Max Bill became its first rector. When the new school building was officially opened on 2 October 1955, the school was expected to be a successor to the Bauhaus school. However, in 1957, a conflict over educational principles became unavoidable; younger teachers, even Otl Aicher, the co-founder of the school, complained that Bill placed too much weight on art in the design education. In 1957, Bill left the school. New leaders such as Tomás Maldonado opposed certain Bauhaus concepts because they tended to believe more in the te- nets of traditional art training. Therefore, in accordance with the complex requirements of the industrial society, younger lecturers encouraged a design education based on the latest scientific knowledge. A similar reorientation was also seen in the Bauhaus. Hannes Meyer, the second rector, had attempted to exclude purpose-free art training so as to develop practical instruction using scientific approaches. This paper examines the historical significance of the functionalist reformation that took place in both schools with a focus on the fundamental problems with free art training as part of design education.

Procedia - Social and Behavioral Sciences, 2012

It is thought that people don't interrogate their environment in these age. In this rapid life, interrogate is seen a waste of time. As a result of this an insensitive generation continues their entity who settles with finished, rapid, inflexible information and doesn't overrate their own thouhts, their environments'. Even if people don't want to continue their life according to these standarts, the order drifts them to this. But one of the way of for to internalize or understand something literally is to interrogate them. Interrogate something requires rethinking. Also rethinking is to evaulate something with making transition between the environment of it has been before and the environment of now it has. These transitions provide to see different directions of both environments and each time new different approach can be exposed. It can be effective and provide to internalize and understa nd the problems with approaching the problems according into this context. The problem of arhitectural education become different situations with process. Education is in a complexity about how it should be, it doesn't decide a literally strategy. In this context it is aimed that rethinking basic design course which is came into being with education strategy of Bauhaus and interrogating the education problem with making transitions between the way of thinking Bauhaus's environment and today. When these transitions are made, question process which is started with "what is architecture" will be discussed with some concepts.