History and impact of the Bauhaus, presented with 407 objects from the collection of the Bauhaus ... more History and impact of the Bauhaus, presented with 407 objects from the collection of the Bauhaus Dessau Foundation. With Texts by: Peter Berhard, Torsten Blume, Claudia Perren, Lutz Schöbe, Josip Spehar, Wolfgang Thöner, Josip Spehar, Sylvia Ziegner et al. And Works by: Anni Albers, Josef Albers, Alfred Arndt, Herbert Bayer, Max Bill, Marianne Brandt, Marcel Breuer, Franz Ehrlich, Friedrich Engemann, Lyonel Feininger, Carl Fieger, Walter Gropius, Ludwig Hirschfeld-Mack, Johannes Itten, Wassily Kandinsky, Peter Keler, Paul Klee, Benita Koch-Otte, Otto Lindig, Gerhard Marcks, Hannes Meyer, Ludwig Mies van der Rohe, Lucia Moholy, László Moholy-Nagy, Walter Peterhans, Grete Reichardt, Hajo Rose, Reinhold Rossig, Hinnerk Scheper, Oskar Schlemmer, Joost Schmidt, Lotte Stam-Beese, Gunta Stölzl, Otto Umbehr, Wilhelm Wagenfeld
Cell phones, automatic teller machines and the Internet have incontrovertibly become part of our ... more Cell phones, automatic teller machines and the Internet have incontrovertibly become part of our daily lives, indistinguishable from other components of our habitual everyday activity. Life does not seem to have been fundamentally changed by these hi-tech, information-giving tools of convenience--or has it? Have we, unawares, become accustomed to a new way of living? And how can designers make creative use of these new digital possibilities? This publication of the Fourth International Bauhaus Kolleg--a year-long thematic graduate session run by the Bauhaus Dessau Foundation--offers strategies for employing digital media to integrate the unpredictable and the unplanned into urban existence. "Dot.City" asks and answers many questions: can the use of information and communication technology counteract the continuous processes of devaluation, the loss of urban identity, the lack of multifunctional networks? Can the activation and implementation of new social techniques of kno...
While theater isn't as widely associated with the Bauhaus as some other genres, the theater w... more While theater isn't as widely associated with the Bauhaus as some other genres, the theater workshop at the Bauhaus was a catalyst in Weimar and Dessau performing arts. Eventually, its ideas were adopted internationally, including the use of color and light as meaningful elements of a dramatic production, new relationships between figure and space, and a move away from the fourth-wall stage. Today, the robust theater component of the Bauhaus Dessau Foundation's work includes house productions, guest appearances, productions and workshops, and successful revivals of the great Bauhaus festivals. The Theater at the Bauhaus continues to work within the exciting, conflicting spectrum of architecture and city, body and space, performing arts and design, and this book presents its key issues and concepts, along with a chronological survey of important periods and events. An accompanying DVD shows excerpts from works developed for the Theater at the Bauhaus in Dessau since 2000.
Peter Bogner, Gerd Zillner, Friedrich Kiesler Foundation (Ed.): Frederick Kiesler: Face to Face with the Avant-Garde, 2019
As early as 1923 when Kiesler had proclaimed a “crisis of theater” in
his first piece on theater,... more As early as 1923 when Kiesler had proclaimed a “crisis of theater” in his first piece on theater, calling for a new “stage totality” and the col- lective fashioning of “the whole stage form,” this had the ring of the tasks that Gropius had formulated for the stage department installed at the Bauhaus in 1921: “We are exploring the various problems of space, the body, movement, form, light, color and sound. We represent the movement of the organic and the mechanical body, the sound of language, music and noise, and build the stage space and the stage fig- ures.”24 Kiesler’s desire for a renewal of the stage “from the ground plan” and Gropius’s demand for a “cleansing and renewal of the modern stage” and its rebuilding “based on the primal foundations of its his- tory” also bear an affinity in terms of content. We see another similarity when Gropius longed for a “common, all-uniting focal point” for the stage that “had lost the deepest relations to the world of human emo- tion”25 and Kiesler felt that the theater “should be a dynamic factor of the times” and “grow out of the soil of time.”
Schularchitektur im interdisziplinären Diskurs, 2009
Wenn im Folgenden vom Dessauer Bauhausgebäude die Rede ist, dann wird dieses nicht nur als heraus... more Wenn im Folgenden vom Dessauer Bauhausgebäude die Rede ist, dann wird dieses nicht nur als herausragendes Zeugnis der architektonischen Moderne behandelt, sondern vielmehr als Manifestation eines umfassenden architektonischen Erziehungskonzeptes ...
History and impact of the Bauhaus, presented with 407 objects from the collection of the Bauhaus ... more History and impact of the Bauhaus, presented with 407 objects from the collection of the Bauhaus Dessau Foundation. With Texts by: Peter Berhard, Torsten Blume, Claudia Perren, Lutz Schöbe, Josip Spehar, Wolfgang Thöner, Josip Spehar, Sylvia Ziegner et al. And Works by: Anni Albers, Josef Albers, Alfred Arndt, Herbert Bayer, Max Bill, Marianne Brandt, Marcel Breuer, Franz Ehrlich, Friedrich Engemann, Lyonel Feininger, Carl Fieger, Walter Gropius, Ludwig Hirschfeld-Mack, Johannes Itten, Wassily Kandinsky, Peter Keler, Paul Klee, Benita Koch-Otte, Otto Lindig, Gerhard Marcks, Hannes Meyer, Ludwig Mies van der Rohe, Lucia Moholy, László Moholy-Nagy, Walter Peterhans, Grete Reichardt, Hajo Rose, Reinhold Rossig, Hinnerk Scheper, Oskar Schlemmer, Joost Schmidt, Lotte Stam-Beese, Gunta Stölzl, Otto Umbehr, Wilhelm Wagenfeld
Cell phones, automatic teller machines and the Internet have incontrovertibly become part of our ... more Cell phones, automatic teller machines and the Internet have incontrovertibly become part of our daily lives, indistinguishable from other components of our habitual everyday activity. Life does not seem to have been fundamentally changed by these hi-tech, information-giving tools of convenience--or has it? Have we, unawares, become accustomed to a new way of living? And how can designers make creative use of these new digital possibilities? This publication of the Fourth International Bauhaus Kolleg--a year-long thematic graduate session run by the Bauhaus Dessau Foundation--offers strategies for employing digital media to integrate the unpredictable and the unplanned into urban existence. "Dot.City" asks and answers many questions: can the use of information and communication technology counteract the continuous processes of devaluation, the loss of urban identity, the lack of multifunctional networks? Can the activation and implementation of new social techniques of kno...
While theater isn't as widely associated with the Bauhaus as some other genres, the theater w... more While theater isn't as widely associated with the Bauhaus as some other genres, the theater workshop at the Bauhaus was a catalyst in Weimar and Dessau performing arts. Eventually, its ideas were adopted internationally, including the use of color and light as meaningful elements of a dramatic production, new relationships between figure and space, and a move away from the fourth-wall stage. Today, the robust theater component of the Bauhaus Dessau Foundation's work includes house productions, guest appearances, productions and workshops, and successful revivals of the great Bauhaus festivals. The Theater at the Bauhaus continues to work within the exciting, conflicting spectrum of architecture and city, body and space, performing arts and design, and this book presents its key issues and concepts, along with a chronological survey of important periods and events. An accompanying DVD shows excerpts from works developed for the Theater at the Bauhaus in Dessau since 2000.
Peter Bogner, Gerd Zillner, Friedrich Kiesler Foundation (Ed.): Frederick Kiesler: Face to Face with the Avant-Garde, 2019
As early as 1923 when Kiesler had proclaimed a “crisis of theater” in
his first piece on theater,... more As early as 1923 when Kiesler had proclaimed a “crisis of theater” in his first piece on theater, calling for a new “stage totality” and the col- lective fashioning of “the whole stage form,” this had the ring of the tasks that Gropius had formulated for the stage department installed at the Bauhaus in 1921: “We are exploring the various problems of space, the body, movement, form, light, color and sound. We represent the movement of the organic and the mechanical body, the sound of language, music and noise, and build the stage space and the stage fig- ures.”24 Kiesler’s desire for a renewal of the stage “from the ground plan” and Gropius’s demand for a “cleansing and renewal of the modern stage” and its rebuilding “based on the primal foundations of its his- tory” also bear an affinity in terms of content. We see another similarity when Gropius longed for a “common, all-uniting focal point” for the stage that “had lost the deepest relations to the world of human emo- tion”25 and Kiesler felt that the theater “should be a dynamic factor of the times” and “grow out of the soil of time.”
Schularchitektur im interdisziplinären Diskurs, 2009
Wenn im Folgenden vom Dessauer Bauhausgebäude die Rede ist, dann wird dieses nicht nur als heraus... more Wenn im Folgenden vom Dessauer Bauhausgebäude die Rede ist, dann wird dieses nicht nur als herausragendes Zeugnis der architektonischen Moderne behandelt, sondern vielmehr als Manifestation eines umfassenden architektonischen Erziehungskonzeptes ...
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Papers by Torsten Blume
his first piece on theater, calling for a new “stage totality” and the col- lective fashioning of “the whole stage form,” this had the ring of
the tasks that Gropius had formulated for the stage department installed at the Bauhaus in 1921: “We are exploring the various problems of
space, the body, movement, form, light, color and sound. We represent the movement of the organic and the mechanical body, the sound of language, music and noise, and build the stage space and the stage fig- ures.”24 Kiesler’s desire for a renewal of the stage “from the ground
plan” and Gropius’s demand for a “cleansing and renewal of the modern stage” and its rebuilding “based on the primal foundations of its his- tory” also bear an affinity in terms of content. We see another similarity when Gropius longed for a “common, all-uniting focal point” for the stage that “had lost the deepest relations to the world of human emo- tion”25 and Kiesler felt that the theater “should be a dynamic factor of the times” and “grow out of the soil of time.”
his first piece on theater, calling for a new “stage totality” and the col- lective fashioning of “the whole stage form,” this had the ring of
the tasks that Gropius had formulated for the stage department installed at the Bauhaus in 1921: “We are exploring the various problems of
space, the body, movement, form, light, color and sound. We represent the movement of the organic and the mechanical body, the sound of language, music and noise, and build the stage space and the stage fig- ures.”24 Kiesler’s desire for a renewal of the stage “from the ground
plan” and Gropius’s demand for a “cleansing and renewal of the modern stage” and its rebuilding “based on the primal foundations of its his- tory” also bear an affinity in terms of content. We see another similarity when Gropius longed for a “common, all-uniting focal point” for the stage that “had lost the deepest relations to the world of human emo- tion”25 and Kiesler felt that the theater “should be a dynamic factor of the times” and “grow out of the soil of time.”