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HARDCOVER Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Oversized.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Available again in a boxed hardcover edition, the definitive work on Bauhaus.Bauhaus has established itself with designers and architects as a standard work and the most comprehensive collection of documents and visual material ever published on this famous school of design. Now this definitive work on Bauhaus is available again in a boxed hardcover edition.Documents in Bauhaus are taken from a wide array of sources―public manifestos, private letters, internal memoranda, jotted-down conversations, minutes of board and faculty meetings, sketches and schemata, excerpts from speeches and books, newspaper and magazine articles, Nazi polemics, official German government documents, court proceedings, budgets, and curricula. The illustrations include architectural plans and realizations, craft and industrial model designs (furniture, ceramics, metalwork, textiles, stained glass, typography, wallpaper), sculpture, paintings, drawings, etchings, woodcuts, posters, programs, advertising brochures, stage settings, and formal portraits of such Bauhaus masters as Walter Gropius, Lyonel Feininger, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Josef Albers, Hebert Bayer, Marcel Breuer, and Ludwig Mies van der Rohe.

Available again in a boxed hardcover edition, the definitive work on Bauhaus.Bauhaus has established itself with designers and architects as a standard work and the most comprehensive collection of documents and visual material ever published on this famous school of design. Now this definitive work on Bauhaus is available again in a boxed hardcover edition.Documents in Bauhaus are taken from a wide array of sources―public manifestos, private letters, internal memoranda, jotted-down conversations, minutes of board and faculty meetings, sketches and schemata, excerpts from speeches and books, newspaper and magazine articles, Nazi polemics, official German government documents, court proceedings, budgets, and curricula. The illustrations include architectural plans and realizations, craft and industrial model designs (furniture, ceramics, metalwork, textiles, stained glass, typography, wallpaper), sculpture, paintings, drawings, etchings, woodcuts, posters, programs, advertising brochures, stage settings, and formal portraits of such Bauhaus masters as Walter Gropius, Lyonel Feininger, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Josef Albers, Hebert Bayer, Marcel Breuer, and Ludwig Mies van der Rohe.

Available again in a boxed hardcover edition, the definitive work on Bauhaus.Bauhaus has established itself with designers and architects as a standard work and the most comprehensive collection of documents and visual material ever published on this famous school of design. Now this definitive work on Bauhaus is available again in a boxed hardcover edition.Documents in Bauhaus are taken from a wide array of sources―public manifestos, private letters, internal memoranda, jotted-down conversations, minutes of board and faculty meetings, sketches and schemata, excerpts from speeches and books, newspaper and magazine articles, Nazi polemics, official German government documents, court proceedings, budgets, and curricula. The illustrations include architectural plans and realizations, craft and industrial model designs (furniture, ceramics, metalwork, textiles, stained glass, typography, wallpaper), sculpture, paintings, drawings, etchings, woodcuts, posters, programs, advertising brochures, stage settings, and formal portraits of such Bauhaus masters as Walter Gropius, Lyonel Feininger, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Josef Albers, Hebert Bayer, Marcel Breuer, and Ludwig Mies van der Rohe.

4° (30,5 x 24,5 cm). 312 S., mit 322 Abbildungen (überwiegend farbig), Abbildung- und Dokumentenverzeichnis, Biographien und Personenregister. Blauer Original-Ganzleinenband mit farbig illustriertem Schutzumschlag. Jahresausstellung des Arbeitskreises selbständiger Kultur-Institute, AsKI, 1998. Erschienen zur Ausstellung: Das Bauhaus webt - Die Textilwerkstatt am Bauhaus, Bauhaus-Archiv Berlin, 16. September 1998 bis 31. Januar 1999; Stiftung Bauhaus Dessau, 20. März 1999 bis 25. April 1999; Nederlands Textielmuseum Tilburg, 22. Mai 1999 bis 5. September 1999; Kunstsammlungen zu Weimar, 26. September 1999 bis 5. Dezember 1999. - Einwandfreies Exemplar. - Versandkosten außerhalb Deutschlands aufgrund des hohen Gewichts auf Anfrage. Sprache: Deutsch.

The period between the end of World War I and Hitler's ascension to power witnessed an unprecedented cultural explosion that embraced the whole of Europe but was, above all, centered in Germany. Germany housed architect Walter Gropius and the Bauhaus movement; playwrights Bertolt Brecht and Erwin Piscator; artists Hans Richter, George Grosz, John Heartfield, and Hannah Hoch; composers Paul Hindemith, Arnold Schonberg, and Kurt Weill; and dozens of others. In Art and Politics in the Weimar Period, John Willett provides a brilliant explanation of the aesthetic and political currents which made Germany the focal point of a new, down-to-earth, socially committed cultural movement that drew a significant measure of inspiration from revolutionary Russia, left-wing social thought, American technology, and the devastating experience of war.

Functional beauty: the seminal modernist movement   Founded in Weimar in 1919, the Bauhaus school developed a revolutionary approach that fused fine art with craftsmanship and engineering in everything from architecture to furniture, typography, and even theater. Originally headed by Walter Gropius, the Bauhaus counted among its members artists and architects such as Paul Klee, Lyonel Feininger, Wassily Kandinsky, László Moholy-Nagy, and Marcel Breuer. In 1930, Ludwig Mies van der Rohe took over as the leader, but soon after, in 1933, the Nazi government shut down the school. During its fourteen years of existence, Bauhaus managed to change the faces of art, architecture, and industrial design forever and is still hugely influential today.   About the Series: Each book in TASCHEN’s Basic Architecture Series features: an introduction to the life and work of the architect the major works in chronological order information about the clients, architectural preconditions as well as construction problems and resolutions a list of all the selected works and a map indicating the locations of the best and most famous buildings approximately 120 illustrations (photographs, sketches, drafts and plans)

A comprehensive travel guide dedicated to Germany’s Bauhaus architecture, this book takes an in-depth look at over 100 locations that can still be visited today. Established in 1919 in Weimar, the Bauhaus college for design influenced one of the world’s most important Modernist movements. Divided into three geographic sections that follow the locations of the school―Weimar (1919–25), Dessau (1925–33), and Berlin (1933)―this unique travel guide leads readers through the most important Bauhaus structures in Germany. Each section features important sites that are given historical background. These entries are illustrated with historic and contemporary photography, and are accompanied by up-to-date tourist information. Throughout the book short essays highlight significant events and figures of the Bauhaus movement. This guidebook is an indispensible reference for anyone traveling to Germany’s greatest extant Bauhaus structures.

Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing.The Bauhaus school was founded in Weimar in 1919 by the German architect Walter Gropius, moved to Dessau in 1925 and to Berlin in 1932, and was dissolved in 1933 by Ludwig Mies van der Rohe under political duress. Although it existed for a mere fourteen years and boasted fewer than 1,300 students, its influence is felt throughout the world in numerous buildings, artworks, objects, concepts, and curricula.After the Bauhaus's closing in 1933, many of its protagonists moved to the United States, where their acceptance had to be cultivated. The key to understanding the American reception of the Bauhaus is to be found not in the émigré success stories or the famous 1938 Bauhaus exhibition at the Museum of Modern Art, but in the course of America's early contact with the Bauhaus. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the patterns of fame-making that became typical of the post-World War II art world. The transfer of artistic, intellectual, and pedagogical concepts from one cultural context to another is a process of transformation and integration. In presenting a case study of this process, the book also provides fresh insights into the German-American cultural history of the period from 1919 to 1936.

The Bauhaus Arts and Crafts Institute was founded in Weimar by Walter Gropius in 1919. Avant-garde artists from every part of Europe joined, including Paul Klee and Wassily Kandinsky. On the occasion of its ninetieth anniversary, fifty extraordinary works produced by the Bauhaus come back to life in the ninety-six pages of this unmissable "little" monograph.

The Bauhaus school was founded in Weimar in 1919 by the German architect Walter Gropius, moved to Dessau in 1925 and to Berlin in 1932, and was dissolved in 1933 by Ludwig Mies van der Rohe under political duress. Although it existed for a mere fourteen years and boasted fewer than 1,300 students, its influence is felt throughout the world in numerous buildings, artworks, objects, concepts, and curricula. After the Bauhaus's closing in 1933, many of its protagonists moved to the United States, where their acceptance had to be cultivated. The key to understanding the American reception of the Bauhaus is to be found not in the émigré success stories or the famous 1938 Bauhaus exhibition at the Museum of Modern Art, but in the course of America's early contact with the Bauhaus. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the patterns of fame-making that became typical of the post-World War II art world. The transfer of artistic, intellectual, and pedagogical concepts from one cultural context to another is a process of transformation and integration. In presenting a case study of this process, the book also provides fresh insights into the German-American cultural history of the period from 1919 to 1936.

Colorfully illustrated boards with light green and white lettering; 120 pp.; richly illustrated, chiefly in color. Text in German. Catalog created on the occasion of an exhibition held at the Kunstsammlungen zu Weimar, Bauhaus-Museum, March 23rd through June 9th, 2002. Good+ (Small red private ownership stamp on ffep; boards are in great condition, but lightly scuffed; interior is clean, but a bit wavy; binding is solid.)

Rear cover notes: "Design and Form is the most complete document of one of the land marks of modern education in art - the famous Basic Course at the Bauhaus in Weimar, Germany. Itten was the teacher who organized it at the invitation of Walter Gropius. Fist published in 1963 when Itten was still alive, the book has been revised and updated by Itten's widow, Anneliese Itten, and includes new material from the basic course at the Bauhaus, as well as visual examples and descriptions of the refinements made by Itten in later courses in Berlin (1926-1932), Krefeld (1932-1938), and Zurich (1938-1960). The basic course at the Bauhaus was designed as a trial period to judge students with varying educational backgrounds, to determine their creative talent, to help them in their choice of a career, and to teach them elementary design as a basis for future careers in the arts. Each of the over 200 illustrations reproduced here is described in detail to help the reader understand the purpose of art teaching. The students' original works include studies of nature, pure forms and abstractions, three-dimensional work, and projects in the applied arts. In addition the book includes exciting material on the evaluation of modern art education. The book has universal appeal for a basic course as a means for individual creative growth and it can be used today by students and art teachers as a foundation for their own basic course. Johannes Itten (1888-1967) concerned himself with the problems of design and color all his life. His color theory, which has been published in The Art of Color and in The Elements of Color (Student Edition), is a convincing synthesis of the knowledge of the great painter and the experience of the progressive educator, the two elements that informed Itten's personality and his work."

One of the most important schools for architecture, design, and art in the 20th century, the Weimar Bauhaus included in its distinguished membership Moholy-Nagy. This book, a valuable introduction to the Bauhaus movement, is generously illustrated with examples of students' experiments and typical contemporary achievements. The text also contains an autobiographical sketch.

Rear cover notes: "Design and Form is the most complete document of one of the land marks of modern education in art - the famous Basic Course at the Bauhaus in Weimar, Germany. Itten was the teacher who organized it at the invitation of Walter Gropius. Fist published in 1963 when Itten was still alive, the book has been revised and updated by Itten's widow, Anneliese Itten, and includes new material from the basic course at the Bauhaus, as well as visual examples and descriptions of the refinements made by Itten in later courses in Berlin (1926-1932), Krefeld (1932-1938), and Zurich (1938-1960). The basic course at the Bauhaus was designed as a trial period to judge students with varying educational backgrounds, to determine their creative talent, to help them in their choice of a career, and to teach them elementary design as a basis for future careers in the arts. Each of the over 200 illustrations reproduced here is described in detail to help the reader understand the purpose of art teaching. The students' original works include studies of nature, pure forms and abstractions, three-dimensional work, and projects in the applied arts. In addition the book includes exciting material on the evaluation of modern art education. The book has universal appeal for a basic course as a means for individual creative growth and it can be used today by students and art teachers as a foundation for their own basic course. Johannes Itten (1888-1967) concerned himself with the problems of design and color all his life. His color theory, which has been published in The Art of Color and in The Elements of Color (Student Edition), is a convincing synthesis of the knowledge of the great painter and the experience of the progressive educator, the two elements that informed Itten's personality and his work."

One of the most important schools for architecture, design, and art in the 20th century, the Weimar Bauhaus included in its distinguished membership Moholy-Nagy. This book, a valuable introduction to the Bauhaus movement, is generously illustrated with examples of students' experiments and typical contemporary achievements. The text also contains an autobiographical sketch.

Modern master Marcel Breuer, born in Hungary in 1902, studied at the Bauhaus in Weimar and later taught at the Bauhaus in Dessau; his earliest projects were two legendary chair designs and residential work in Germany. In 1937 he was invited by Walter Gropius to the Harvard Graduate School of Design, where he taught for nine years, and in 1946 he moved to New York City and opened an office on Eighty-eighth Street. In 1953 young architect Bob Gatje joined the firm -- by this time, Breuer had built an exceptional series of private houses in New England and was deeply involved in the design of the Paris headquarters of UNESCO. This fascinating memoir recounts daily life in Breuer's office and also offers comprehensive, firsthand discussions of many of the firm's most important projects: it is a study not only of an architect but of an architecture practice. Drawing on his own recollections, as well as extensive interviews with other architects, friends, and clients of Breuer, Gatje re-creates more than two decades in the Breuer office. His narrative includes many of the firm's most important projects: several buildings, including the sculptural "bell banner," at Saint John's Abbey in Collegeville, Minnesota; major buildings for IBM in La Gaude, France, and Boca Raton, Florida; the master plan and three buildings for the Hall of Fame campus of New York University; the Whitney Museum of American Art in New York; numerous private residences; and the master plan and all the buildings at Flaine, an enormous ski resort high in the French Alps. Illustrated with the author's own striking drawings of many of the projects, as well as with beautiful archival images and personal snapshots, Gatje draws a vivid and affecting picture of a unique architecture office, and of one of the great architects of the modern era.

“The whole world a Bauhaus?” This richly illustrated book, published to accompany a worldwide exhibition series, takes that quotation from former Bauhaus student and subsequent university teacher Fritz Kuhr as a starting point for reflections not only on the Bauhaus as a school in Weimar, Dessau, and Berlin but also on the parallel Modernist movements in non-European regions. The book explores in unprecedented depth the Bauhaus and its multifaceted forms of expression, which extended far beyond the constructivist language of the 1920s.   Featuring case studies from Buenos Aires, Mexico City, Santiago de Chile, Moscow, the United States, and elsewhere, The Whole World a Bauhaus shows that the Bauhaus was a much more broad-based undertaking than we commonly think: avant-gardes in many regions of the world examined the Bauhaus from their own point of view and integrated it into their discourses, thereby turning the Bauhaus into a global engine for new developments in society, culture, and politics.

Eberhard Zeidler's innovative ideas have had worldwide influence, particularly on the building of hospitals, shopping, cultural and exhibition centres and multi-purpose buildings. This monograph analyzes the architect's life work, starting with his period as a student at the newly opened Bauhaus in Weimar (1946) and his work as an assistant to Egon Eiermann in Karlsruhe. In 1951 Zeidler went to Canada. He has been responsible for over 2,000 buildings since then, and they are presented in later chapters. The book contains over 720 plans, drawings and photographs, some of them full page and double page spreads. It also covers his most recent designs: the media park in Cologne, major projects in London, Moscow and Toronto, the West Palm Beach opera house and a multifunctional theatre in North York. Zeidler's entire output is intepreted chronologically and placed in the context of contemporary architectural development. It concludes with an essay on the philosophy of architecture by the ar