Walter Gropius

Adolf Meyer was Walter Gropius?s right-hand man, his planner and close confidant. As early as 1910, they jointly created the Fagus Factory, one of the most important modernist buildings. The experimental single-family home ?Haus am Horn? was built for the first Bauhaus exhibition, in the summer of 1923 in Weimar. The house was planned by Georg Muche (design) and the architectural department at the Bauhaus. Adolf Meyer and Walter March were responsible for construction management.00The book about the project was compiled in the summer of 1924 and became the third volume of the Bauhausbücher. Following an essay by Walter Gropius that supplies information on the ?Housing Industry,? Georg Muche presents the design of the model building. Adolf Meyer then describes its technical execution, giving details on the companies involved.

In what he called his 'illustrated guide to modern architecture,' which starts off the 'Bauhausbücher' series, Gropius gives an overview of the international architecture of the mid-1920s. A preface by the author explores, briefly but in detail, the guiding principles that unite the avant-garde in all countries. This statement is followed by an extensive illustrated section showing examples of architecture from around the world. According to Gropius, these illustrations bear witness to the 'development of a consistent worldview' that disposes of the prior role of the architect and expresses itself in a new language of shapes. This first English edition of Volume 1 of the 'Bauhausbücher' allows the reader to broaden his or her view of German architectural history by placing the achievements of the Bauhaus in an international context and by documenting and capturing its philosophy of reform in an illustrative way. It appears in original design and with separate commentary.

Theo van Doesburg was a jack of all trades: painter, writer, architect, typographer, and art theorist. In this volume of the Bauhausbücher, he attempts to make elementary concepts in the visual arts generally comprehensible. He was addressing the "modern artist" of his day, who had to deal with both shifting social paradigms and a changing understanding of art and art theory. Van Doesburg describes theory as a necessary consequence of creative practice. Artists, he says, "do not write about art but from within art."

In his third and last contribution within the Bauhausbücher series, the founder and long-standing director of the Bauhaus, Walter Gropius, gives a comprehensive overview of the Bauhaus in Dessau. In addition to a brief outline of the origins and development of the school, Gropius presents the architectural design of the new Bauhaus building and the associated Masters' Houses with the help of photographic documentary evidence and planning sketches. In the book, he traces the technical planning development with extreme precision and provides an insight into the design practice of the Bauhaus..

Bauhaus und documenta sind zwei global erfolgreiche kulturelle Marken, die für ein weltoffenes, innovatives und modernes Deutschland stehen. Entstanden sind beide vor dem Hintergrund von Zivilisationsbrüchen, und beide stehen exemplarisch für die Idee der emanzipativen Kraft von Kunst und Kultur. Die Parallelbetrachtung zeigt ihre Gemeinsamkeiten und Unterschiede, die sich teils komplementär gegenüberstehen:0Hier Massenartikel und alltäglicher Umgang, dort die Begegnung mit einmaligen Kunstwerken; hier die Idee eines Universalismus, dort die Differenzerfahrung; hier die Gestaltung von Konsumgütern, dort die Kritik am kapitalistischen Konsum. Die Publikation behandelt in kritischen Essays sowie ausgewähltem Originalmaterial grundlegende, aber oft übersehene Dimensionen der beiden Kulturmarken, über deren Profil gegenwärtig wieder kontrovers debattiert wird. 00Exhibition: Neue Galerie Kassel, Germany (24.05. - 08.09.2019).

An "ID Book - Institute of Design."

Point and Line to Plane', volume 9 of the Bauhausbücher series, can be seen as a continuation of Wassily Kandinsky's seminal treatise On the Spiritual in Art. Kandinsky's thesis is that different constellations of point, line and surface have different emotional effects on the viewer. Starting from the point (which represents the most concentrated and minimal graphic form), he understands all painterly forms as being a play of forces and counterforces: of contrasts.0Kandinsky's essay can be read as an aesthetic analysis of form and its effect on the viewer. Based on the various effects of linear elements on our mood, Kandinsky attempts to develop an order of form types. Here, he offers an approach to a theory of the effects of form, which makes volume 9 one of the most important writings on art theory of the 20th century and it can still be understood as contemporary today.