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Swiss architect Hannes Meyer (1889–1954) was the second director of the Bauhaus (then at its Dessau location) from 1928 to 1930. Though he held the post but briefly, Meyer made substantial changes to the school’s educational program and teaching approach, notably by prioritizing concrete social issues in the design process.Building on recent research, this book offers an in-depth assessment of Meyer’s major contributions to the Bauhaus curriculum, investigating the intellectual background to his approach through contributions from 31 authors, including former teachers and students at the school.With over 250 illustrations, the book also examines the impact of Meyer’s work beyond the Bauhaus, specifically at the Ulm School of Design (founded by one of Meyer’s former students, Max Bill) and in Mexico, where Meyer worked for the government’s Instituto del Urbanismo y Planificación from 1939 to 1941.

Swiss architect Hannes Meyer (1889–1954) was the second director of the Bauhaus (then at its Dessau location) from 1928 to 1930. Though he held the post but briefly, Meyer made substantial changes to the school’s educational program and teaching approach, notably by prioritizing concrete social issues in the design process.Building on recent research, this book offers an in-depth assessment of Meyer’s major contributions to the Bauhaus curriculum, investigating the intellectual background to his approach through contributions from 31 authors, including former teachers and students at the school.With over 250 illustrations, the book also examines the impact of Meyer’s work beyond the Bauhaus, specifically at the Ulm School of Design (founded by one of Meyer’s former students, Max Bill) and in Mexico, where Meyer worked for the government’s Instituto del Urbanismo y Planificación from 1939 to 1941.

A stunning collection of tattoo-inspired oriental themed artwork from Argentinian publisher Arte Tattoo Books. Large pages showcase each piece beautifully in this gorgeous volume.* Includes bilingual English/Spanish textArtists in this volume include: Adam Kitamoto; Augustá­n Cavalieri; Alan Sarmiento; Alejandro Baby; Alejandro Ferná¡ndez; Andrea Pallocchini; Bonel; Bunshin Horitoshi; Cacau Horihana; Camilo Tuero; Cori; Christian Arae; David "Dave" Ramá­rez; Daniel Novais; Deneka; Dong Dong; Ezequiel "Chino" Fontenla; Frankie B. Yoshiaki; Freddy Ampuero; Gabriel Gram; Garba Michele; Gonzalo Goicochea; Herná¡n Coretta; Horiei Shinnsu; Horihui; Horijin; Horikyo; Horimomo; Hugo HAB; Hugo Nadal; Jarno Kandahar; Kabra; Kenji; Leo Barada; Levi Junior; Lucas Strani "LKS"; Lupo Horiokami; Marco Rossetini; Monta Morino; Pablo Barada; Renato Fornaro; UEO; Wally Fonseca; Yang Zhuo, etc.!

Drawing on both the work of modern theorists like Georg Lukács, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer, and more recent poststructuralist thought, K. Michael Hays creates an entirely new method of reading architectural production. Drawing both on the work of modern theorists like Georg Lukács, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer and on more recent poststructuralist thought, K. Michael Hays creates an entirely new method of reading architectural production. Challenging much of the traditional wisdom about modernism and the avant-garde, Hays argues that a rigorously articulated "posthumanist" position was actually developed in the modernist architecture of Hannes Meyer and Ludwig Hilberseimer. He reinterprets their buildings, projects, and writings as constructions of this new category of subjectivity.

Drawing on both the work of modern theorists like Georg Lukács, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer, and more recent poststructuralist thought, K. Michael Hays creates an entirely new method of reading architectural production. Drawing both on the work of modern theorists like Georg Lukács, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer and on more recent poststructuralist thought, K. Michael Hays creates an entirely new method of reading architectural production. Challenging much of the traditional wisdom about modernism and the avant-garde, Hays argues that a rigorously articulated "posthumanist" position was actually developed in the modernist architecture of Hannes Meyer and Ludwig Hilberseimer. He reinterprets their buildings, projects, and writings as constructions of this new category of subjectivity.

Drawing on both the work of modern theorists like Georg Lukács, Walter Benjamin, Theodor Adorno, and Siegfried Kracauer, and more recent poststructuralist thought, K. Michael Hays creates an entirely new method of reading architectural production. Challenging much of the traditional wisdom about modernism and the avant-garde, Hays argues that a rigorously articulated "posthumanist" position was actually developed in the modernist architecture of Hannes Meyer and Ludwig Hilberseimer. He reinterprets their buildings, projects, and writings as constructions of this new category of subjectivity. Posthumanism is an aesthetic and epistemological response to technological modernization. It embraces the anti-individualist consequences of technological progress and, in the case of Hannes Meyer, attempts to turn the perceptual effects of modernity to explicitly collectivist sociopolitical ends. But, as the case of Hilberseimer shows, posthumanism also harbors a contradiction - the ecstatic surrender of the subject to he very forces that assure its dissolution. Situating his analysis within the wider domain of artistic practices and the history of the subject - as well as in relation to architects such as Adolf Loos, Mies van der Rohe, Walter Gropius, and Le Corbusier - Hays raises questions of considerable relevance to contemporary arguments about the ideological underpinnings of urban and architectural projects long rejected as antihumanist. K. Michael Hays is Associate Professor of Architecture in the Graduate School of Design at Harvard University. He is the founder and editor of Assemblage: A Critical Journal of Architecture and Design Culture.

These five hundred photographs are a unique and exuberant record of Bauhaus activities and experiments during the 1920s and early 1930s. Significantly, most of the photographs were taken by artists-painters like Fritz Kuhr and Werner Siedhoff, designers Heinz Loew and Herbert Bayer, Bauhaus masters Hannes Meyer and Joosst Schmidt - who were not self-conscious photographers but who wanted to work with a new technological product. The results constitute the largest and most comprehensive photographic archive currently available on the Bauhaus, supplementing visual material already published in Hans Wingler's monumental Bauhaus and presenting the school's more human side. Some of these photographs have never been published, while others have not been published since the period in which they were made. Part I consists of over 100 "artistic" images, a listing of Bauhaus photography exhibits, an example of a Dessau Bauhaus lesson plan, including photography, and essays on various aspects of photography by Peterhans, Moholy, Vordemberge-Gildewart, Ernst Kallai, Fritz Kuhr, Willi Baumeister, Adolf Behne, Max Burchartz, Will Grohmann, and Ludwig Kassack. There is also a section on the use of photography with typography. Part II is a Bauhaus album - nearly 400 illustrations of applied photography documenting the Bauhaus buildings, classroom projects, or day-today activities of students and faculty. Egidio Marzona has assembled the world's foremost collection of works on paper documenting the revolutionary efforts of the Bauhaus. Marzona is also a well-known publisher of books on Russian Constructivism, Futurism, De Stijl, Dadaism, and a host of other movements and figures of the 20th-century avant-garde.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

Lissitzky's book is a classic in architectural and planning theory, as well as an important document in social and intellectual history. It contains an appendix of excerpted writings by his contemporaries—M. J. Ginzburg, P. Martell, Bruno Taut, Ernst May, M. Ilyin, Wilm Stein, Martin Wagner, Hannes Meyer, Hans Schmidt, and others—all of whom illuminate the architecture and planning of Europe and Russia during the 1920s. There are over 100 plates and drawings.

From its founding in 1919, the function and identity of the Bauhaus was mobilized by warring factions, as it passed through the guiding hands of its three directors (the apolitical Walter Gropius, the Communist Hannes Meyer and the progressive Mies van der Rohe). Even beyond the well-known controversies that arose between colleagues during the heroic Bauhaus years, the reception and legacy of the various Modernist icons associated with the Bauhaus led to dispute: Socialists, Communists, Nazis, Stalinists, Capitalists, Cold Warriors, student revolutionaries in the 1960s and later dissidents, all have created their own image of the Bauhaus. Bauhaus Conflicts 1919-2009 examines the critical reception of the legendary school, its teachers, students and pedagogical philosophy and the battles over its legacy that continue to this day.