Walter Gropius – författare

Point and Line to Plane 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.

Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition.From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.

Originally published in 1956, this book provides a non-technical analysis of contemporary building by on the of the world’s greatest architects. Published a few years after the end of WW2, it was an inspiring and constructive picture of what kind of living could lie ahead for Western industrial society. This book, the result of many year in the forefront of architectural experiment and achievement by the author, outlines in practical terms the road to improved existence through science, mass production in building and renewed emphasis on the individual.

Originally published in 1956, this book provides a non-technical analysis of contemporary building by on the of the world’s greatest architects. Published a few years after the end of WW2, it was an inspiring and constructive picture of what kind of living could lie ahead for Western industrial society. This book, the result of many year in the forefront of architectural experiment and achievement by the author, outlines in practical terms the road to improved existence through science, mass production in building and renewed emphasis on the individual.

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.

Active at the Bauhaus between 1920 and 1931, teaching in the bookbinding, stained glass and mural-painting workshops, Paul Klee (1879–1940) brought his expressive blend of color and line to the school—and, with the second volume in the Bauhausbücher series, beyond its walls. In his legendary Pedagogical Sketchbook, Paul Klee takes a theoretical approach to drawing using geometric shapes and lines. Evincing a desire to reunite artistic design and craft, and written in a tone that oscillates between the seeming objectivity of the diagram, the rhetoric of science and mathematics, and an abstract, quasi-mystical intuition, Klee’s text expresses key aspects of the Bauhaus’ pedagogy and guiding philosophies. And while Klee’s method is deeply personal, in the context of the fundamentally multivocal Bauhaus, his individual approach to abstract form is typical in its idiosyncrasy. In this book, he presents his own theory about the relationships between line, shape, surface, and color in the visual space. This English edition of Klee's book appears in original design and with separate commentary.

Moholy-Nagy’s efforts to have photography and filmmaking recognized as means of artistic design on the same level as painting are propounded and explained at length. The use of artistic instruments is thus radically reformed. The Hungarian artist makes the case for a functional transformation within the visual arts and for the further development of photographic design options.Alongside theoretical and technical approaches as well as detailed forays into the broad field of the medium of photography, Moholy-Nagy uses an extensive appendix of illustrations to provide a thorough survey of the numerous possibilities that photographic and cinematic work had in store as early as 1925.This English edition appears in original design and with separate commentary.

The Bauhaus sought to unite life, craftsmanship, and art under one roof. In this volume, Walter Gropius provides a comprehensive overview of the Bauhaus workshops. He explains the basic principles guiding the teaching, describes contemporary developments in architecture, and illuminates the Bauhaus point of view on household utensils, which was geared toward finding the most suitable form for the respective object. Here, Gropius presents the Bauhaus workshops in Weimar devoted to furniture, metals, textiles, and ceramics, among other subjects.

Dutch architect and designer J. J. P. Oud participated in the Bauhaus Week and the International Architecture Exhibition. His writing, beginning with a personal confession, is a summary of theoretical and practical findings in the field of architecture, specifically using the example of Dutch architecture. He thus looks to the future and reflects on the potential of architecture without forgetting to reveal his relationship with the past.

Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925 (New Design, Bauhausbücher 5). Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless had a close connection to the ideas of the school in terms of content. This volume 11 laid the foundation for the Russian avant-garde artist’s late work: to wrest the mask of life from the true face of art.

Although he was never an official member of the Bauhaus, Albert Gleizes dedicated his influential essay on Cubism to the art school. In 1928, László Moholy-Nagy and Walter Gropius included this essay as volume 13 of the Bauhausbücher series. In addition to his own works, Gleizes shows works by Georges Braque, Robert Delaunay, Fernand Léger and Pablo Picasso as reference examples, and places the Bauhaus and its series in an international context that impressively captures the interaction of the numerous art movements of the time.

Published in 1929, From Material to Architecture contains the main features of László Moholy-Nagy’s teaching program at the Bauhaus. With its focus on the preliminary course and its training of finer sensory perception, this last title of the 14-volume series explains how students “develop towards practice from day to day.” The educational principle behind it, Jedermann ist begabt (everyone is talented), was central to teaching at the Bauhaus.