| Papers [1-13] of 13 | Search results on "BAUHAUS MOVEMENT": |
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Walter Gropius and the Bauhaus Movement, 2007.
This paper studies Walter Gropius and looks at the role and significance of the Bauhaus Movement.
2,071 words (approx. 8.3 pages), 4 sources, APA, £ 39.95
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Abstract
In this article, the writer presents a brief biography of Walter Gropius's early life, including education and influences. The writer discusses the role played by the Bauhaus Movement in the Imperial Germany of the 19th and 20th centuries in addition to describing the contribution made by the Bauhaus style of Architecture in the United States. The writer concludes that Walter Gropius was without doubt one of the most important architects of the previous century. The writer maintains that his significance lies in having realized the necessity of combining the previously separate fields of art and craft early in his career and in bringing the art of designing closer to the realities of the industrial age.
Outline:
Walter Gropius's Life
Early Influences and Work
The First World War and Marriage
Weimer and Dessau
Exile, Harvard and Death
The Role of the Bauhaus Movement in 19th and 20th Century Germany
Background
Influence of the Bauhaus Movement in Germany
Bauhaus Style Contribution in the United States
Conclusion
From the Paper
"Even before of the end of World War I, Walter Gropius was invited to become the director of the School of Arts and Craft and the Academy of Fine Arts in Weimer. Walter accepted the position and took over as the director of the institutions in 1919 after the end of the War. It was a time of artistic confusion and architects and designers, as well as painters and sculptors who were mostly individual romantics seemed to be drifting directionless with their art. Amidst such confusion, Gropius knew exactly what to do: he was convinced that no distinction could be made between fine arts and practical crafts and immediately proceeded to unify the two schools, re-naming it the Staatliches Bauhaus Weimar. The move proved to be a pivotal moment in Gropius's life and modern architecture as it signaled the start of the Bauhaus movement. It was at Bauhaus, Weimer that Gropius introduced his new approach to design education that emphasized the principal of uniting art and technology that revolutionized modern design."
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IKEA vs. Bauhaus, 2005.
An argument against the idea that IKEA bases its products on the Bauhaus movement.
1,575 words (approx. 6.3 pages), 7 sources, £ 37.95
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Abstract
This paper explains the view of IKEA's inheritance of the Bauhaus movement in functional, minimalist design that is affordable by the masses. It explains that IKEA, however much it refers in advertising and promotion to the Bauhaus and Bauhaus ideals, is rather opposite, due to their sparse, attractive design, appealing to a fairly prosperous consumer market, their corporate agenda and the non-functionality of items in terms of limited durability, assembly design difficulties and cheap finishes.
From the Paper
"IKEA vs. the Reform Ideals of the Bauhaus. Introduction The design purchased, now globally, from IKEA stores is popularly said to approximate Bauhaus furniture and philosophy of the early 20th century. This paper explores the degree to which this is so, finding an important difference in the overall concept of the Bauhaus and a pioneering design concept put into practical use, and the corporate agenda of IKEA, as it delivers sparsely designed, usually functional products whose clean lines appeal to many kinds of consumers. In the 21st century's hyper-consumerism that both drives and results from Globalization, the involvement of art and design in ordinary, strategic business activities is not new. (Darso & Dawids:2002)"
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Bauhaus, 2004.
This paper discusses the design movement called Bauhaus, which was initiated by German architect Walter Gropius in Wiemar, Germany, in 1919.
940 words (approx. 3.8 pages), 7 sources, MLA, £ 20.95
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Abstract
This paper explains that Walter Gropius applied classical architectural techniques to design theory, believing that there is no essential difference between the artist and the craftsman. Thereby, he introduced a completely new set of design principles called Bauhaus to art and crafts. The author points out that, though the Bauhaus movement was inspired by Cubism and Minimalism in design, it was still a unique, revolutionary movement. Some of the key features of this movement included less emphasis on detail and more on economic use of space. The paper relates that Bauhaus popularized functional design, a technique that focused specifically on the major functions of everything, including buildings, textiles, tables, and lamps to make them more easily accessible and usable. Color illustrations.
From the Paper
"Bauhaus artists included such prominent names as Mies van der Rohe, Paul Klee, Wassily Kandinsky and Oskar Schlemmer, who are responsible for bringing dramatic changes in the field of art and design. It is commonly believed that every change in design after the Bauhaus movement is inspired by the principles and techniques of this style. It can be rightly called the mother of all design movements in 20th century because till this day, we can see the impact of Bauhaus in the field of arts, architecture and crafts."
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The Bauhaus School of Architecture: A Critical Study, 2002.
This essay examines the Bauhaus school of architecture which originated in Germany in the 1920 and remains the most influential architectural movement.
1,290 words (approx. 5.2 pages), 4 sources, MLA, £ 26.95
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Abstract
This paper looks at the Bauhaus architectural movement and its relationship to the massive technological advances of the early twentieth century. It examines the philosophical beliefs of the Bauhaus founders and evaluates their finest achievement, the Dessau Bauhaus, which was completed in 1925. It explains how the Dessau Bauhaus achieved its celebrated status in the world of architecture.
From the Paper
"In the late the 19th and early twentieth century technological advances swept across the world with an undreamed of speed. The pace at which technology reinvented culture seemed almost preternatural, and amounted to the greatest alteration in man?s view of the universe since Isaac Newton (Hughes 15). The study of the modern age (1880-present) and how artistic developments viewed cultural change would not be complete without a look at architecture?s role. The work of an architect will by its nature influence society more than a painting and sculpture; its size and usefulness to poeple make that a certainty. Buildings surround us, we move through them, and they are part of our everyday life."
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Bauhaus and Furniture Design, 2006.
An examination of the influence of Marcel Breuer upon modern furniture design.
2,048 words (approx. 8.2 pages), 10 sources, MLA, £ 39.95
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Abstract
This paper examines the furniture designs of one of the Bauhaus' most famous designers, Marcel Breuer (in the context of the Bauhaus and the modern movement). The paper argues that Breuer's furniture designs reflect the overall Bauhaus interest in the application of industrial mass production to the creation of domestic spaces defined by quality design. The writer explains that although the Bauhaus was to only exist for a few short years before its closing by Germany's Nazi government in 1933, its ethos can be seen to be reflected in much of Breuer's innovations in furniture design. The writer also notes that Marcel Breuer's furniture design would prove so enduring and popular that it came to be characteristic of the modern movement. The writer concludes that in situating Breuer within the context of the Bauhaus, we can see how his modernist vision evolved from an emphasis upon aesthetic principles to a focus upon the primacy of industrial design that may be inexpensively reproduced through mass production techniques. An annotated bibliography is appended.
Outline:
Introduction
The Bauhaus Vision
Marcel Breuer and Modern Furniture Design
Conclusion
From the Paper
"The Bauhaus School that came into being in Germany in the wake of the First World War represented arguably the single most influential school in the history of modern design. Headed by figures such as Walter Gropius and Mies van der Rohe, and defined by a socially egalitarian ethos that envisioned industrial production as the key to presenting quality designed products for the general public, the Bauhaus was to play a critical role in the shaping of how the twentieth century perceived modern design."
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The Bauhaus Revolution, 2002.
Examines the origins of the Bauhaus Revolution, the personalities involved and the vision of the revolution.
1,775 words (approx. 7.1 pages), 4 sources, £ 40.95
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Abstract
This paper will argue that were it not for the revolutionary spirit fostered by the war, the revolution in design that the Bauhaus represented would never have come to fruition.
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Walter Gropius And The Bauhaus, 2002.
Discusses the history and aims of this movement.
2,250 words (approx. 9.0 pages), 8 sources, £ 48.95
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Abstract
Discusses the history and aims of this movement. The Bauhaus and work of architect Gropius as a response to German industrialization and commerical standardization. Ideology of this New Architecture. Need for artists or architects to recognize their obligation to the community. The German Craft Association. Life, work and influence of Gropius.
From the Paper
"Walter Gropius and the Bauhaus
In the first decade of the twentieth century, the Deutscher Werkbund or "German Craft Association" was formed with the expressed aim of improving the aesthetic quality of manufactured goods and industrial architecture while producing both less expensively (Adams, p. 477). The creation of this Association was very much a response to two complementary pressures. On the one hand, Germany was undergoing a period of rapid industrial development in which the factory and the machine were replacing the cottage and the craftsman's hands as the locus and source of production. On the other hand, a sense that many of the machine-made products and machine-serving buildings and other structures were of less aesthetic quality (and greater cost) than was desirable was also emerging."
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Arts & Crafts & Bauhaus Movements, 1996.
Compares 19th Cent. British & 1920s German art schools. Looks at the origins, critiques of society & modernization, leadership, love of beauty & utility.
1,350 words (approx. 5.4 pages), 5 sources, £ 28.95
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From the Paper
"The Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."
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Bauhaus School of Architecture, 2001.
Discusses its modernist style of design and pedogogical approach.
1,350 words (approx. 5.4 pages), 3 sources, £ 28.95
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From the Paper
"The achievement of the Bauhaus school of architecture and design consisted of its novel pedagogical approach and its distinctive modernist style of design. While both of these aspects of the Bauhaus movement originated in its innovative aesthetic and were intrinsically linked while the movement flourished, the style was to be replaced by different design ideas that sometimes derived from aesthetics similar to that of the Bauhaus and, very often, from training based on Bauhaus methods. There was no necessary connection between Bauhaus style, which might have developed in various directions, and Bauhaus educational principles, which eventually supported the teaching of many kinds of design. These achievements were, therefore, of different kinds. On the one hand, the style developed by the teachers and students was enormously influential..."
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Moser and Glaser Compared, 2005.
Compares and contrasts two posters by artists Koloman Moser and Milton Glaser.
1,533 words (approx. 6.1 pages), 3 sources, MLA, £ 30.95
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Abstract
Koloman Moser became one of the founding fathers of the Viennese Movement and one of the most remarkable artistic figures of the turn of the century. This paper examines his 1904 poster, poster "Religious Calendar", which was created in 1903, at the height of the Art Nouveau and Bauhaus movements. The paper then examines a poster by Milton Glaser, who is considered the most outstanding graphic designer of the last half of the 20th century. The poster depicts singer, Bob Dylan.
The paper compares and contrasts the two works of art and shows how each artist used a distinct approach.
From the Paper
"Dylan, especially because of the vivid and bright coloration of the hair, is a much more optimistic creation than the Religious Calendar. As previously pointed out, there is an air of intriguing mystery surrounding Moser's poster which doesn't exist in Glaser's case, where the artist was even keen on noting on the character to whom it was referring to, in case there was any confusion. While in Moser's case, the interpretation of the character could range anywhere from a witch to the black widow, Glaser points out simply that this is DYLAN."
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The Design of the "Total Work of Art", 2002.
A look at Art Nouveau, the Bauhaus, and the integration of art and industry in the creation of public and private space.
4,400 words (approx. 17.6 pages), 6 sources, £ 98.95
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Abstract
This paper examines the changes in Western art perceptions of design and aesthetics in the early 20th century by analysing the influence of the design that produced the Bauhaus aesthetic. This essay argues that a political agenda gave direction to this change, one that was enabled by changes in industrial production technologies. In this paper, several artifacts and interiors of this period are discussed, and the author here demonstrates how the objective of the Bauhaus aesthetic was to liberate the mass public through the transformative power of well-designed, affordable living space.
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Schools of Design, 2002.
An overview of the history and philosophies of two schools of design in the post-WWI era - Bauhaus and Art Deco,
1,650 words (approx. 6.6 pages), 6 sources, £ 37.95
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Abstract
This paper will be a discussion of the two very important schools of design which were started after World War I. They are: The Bauhaus school which was a German perspective on design and Art Deco. Both of these designs or ways of thinking and doing design were very important and very influential in this 20th century.
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German Architecture, 1992.
A brief examination ofsome 19th century developments in German architecture focusing on the early 20th century rise of the Bauhaus school under Gropius and later Van der Rahe.
1,125 words (approx. 4.5 pages), 3 sources, £ 23.95
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From the Paper
"Germany - Architecture
Architecture in the nineteenth century was not stylistically unified. There was a nostalgia for the past which resulted in a revival of a number of styles, another link with the Renaissance period. Karl Freidrich Schinkel was the most important early Romantic architect. There was a Gothic revival in this era that was seen by critic John Ruskin as opposed to the evils of capitalism and as symbolic of the freedom allowed to medieval artisans (Lucie-Smith 375). After 1830 European design and fashion had imitated historical styles in an archaeological, patriotic, and bourgeois manner. In Germany, new ideas derived from engineering, and a revolutionary industrial aesthetic were introduced around 1900. Yet these ideas were only hesitantly accepted. Jugendstil was the German version of Art Nouveau..."
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