vom bauhaus – English Translation – Keybot Dictionary

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Show textShow cached sourceOpen source URL	Architektonische Entdeckungsreise, vom Bauhaus-Stil (Hotel Monte Verità), über den Jugendstil (Villa Semiramis) bis zu den Licht-Luft-Hütten (Casa Selma, Casa dei Russi, Casa Anatta)
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Show textShow cached sourceOpen source URL	- Geometric sind vom Bauhaus-Design beeinflußt
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Show textShow cached sourceOpen source URL	Interaktive Familienführung »Dein Bild vom Bauhaus«
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  said.it  

Show textShow cached sourceOpen source URL	Beeinflusst vom Bauhaus wurden auch Schulmöbel in Stahlrohr-Konstruktion gefertigt. Im Vergleich zur Schulbank war das Gewicht damit deutlich verringert. Das machte die Möbel im Einsatz flexibler.
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  marriott.colognebesthotels.com  

Show textShow cached sourceOpen source URL	– Das Problem der Plattenbauten ist dann weniger das serielle Herstellen, sondern die mangelhafte Ausführung. Das unterscheidet sich dann ganz grundlegend vom Bauhaus. Das Bauhaus hat immer Wert auf glückliche, materialgerechte Handhabung gelegt.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine judithsiegmund.de as primary domain	– The problem with the prefabricated buildings is less the serial production than the defective execution. This is fundamentally different from that of the Bauhaus. The Bauhaus always placed high value upon the appropriate handling of materials.

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Show textShow cached sourceOpen source URL	Das legendäre Museum Zifferblatt. Das im Jahr 1947 von dem vom Bauhaus-Stil beeinflussten Künstler Nathan George Horwitt geschaffene Ziffernblatt weist nur einen einzigen Punkt bei 12.00 Uhr auf, der die Sonne im Zenith symbolisiert.
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Show textShow cached sourceOpen source URL	Vorkurs "Vom Bauhaus zum Silicon Valley": Wie Wissen gestalten? Welches Wissen braucht Gestaltung? Welche Arten von Wissen generiert Gestaltung? Was ist heute ein produktiver sozialer Ort des Lernens?
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine ksb-cms-edit-live.mcon.net as primary domain	The Federal Cultural Foundation launched the Bauhaus Today Fund to emphasise the contemporary relevance of the ideas and methods advanced by the historical school of architecture, art and design. We invite institutions in all artistic areas to explore the significance of the Bauhaus today.

  www.iai.spk-berlin.de  

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13:30 Transfer zum Ethnologischen Museum Dahlem, Lansstraße 8, 14195 Berlin 14:00 Gruppenführung durch Grete Stern- und Kágaba-Ausstellung Besuch der Fotoausstellungen „Grete Stern - Vom Bauhaus zum Gran Chaco. Fotoreportagen im Norden Argentiniens (1958-1964)“ und „Fotografie als Dokument. Die Kágaba der Sierra Nevada de Santa Marta, Kolumbien“

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Fourth Network Conference of Thyssen-Humboldt Short-Term Fellows from Latin America Berlin, January 20-21, 2011 13:30 Transfer to the Ethnological Museum Dahlem, Lansstraße 8, 14195 Berlin 14:00 Guided tour through the exhibitions “Grete Stern” and “Kágaba” Visit of the photo exhibitions “Grete Stern - From the Bauhaus to the Gran Chaco. Documentary photography in the north of Argentina (1958-1964)” and “Photography as Document. The Kágaba of the Sierra Nevada de Santa Marta, Colombia”

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Für die um 1970 Geborenen ist die Moderne nur noch als wieder und wieder recycelte Erfahrung erlebbar, versteinert im sozialen Wohnungsbau, vermarktet als Wagenfeld-Teekanne oder in Plattencoverdesigns von Kraftwerk oder New Order. "Es gab ja immer diese Wellen, in denen die Formensprache des russischen Konstruktivismus adaptiert wurde, zunächst vom Bauhaus und später dann in den sechziger und achtziger Jahren", sagt Amm.

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With his references to modernism, Amm is postulating anything but a nostalgic looking back. It is particularly Amm's early works that demonstrate an ambivalent attitude shared by many artists of his generation: "Modernism is more than a formal language or a vocabulary; it was also about ideas of a multi-cultural society, about enlightenment." Yet a reverence for the avant-garde of the past stands side-by-side with the knowledge that this myth is moth-eaten. In light of the historical, ecological, and social catastrophes of the past half-century, the modernist dream of enlightenment and progress seems played out. For those born around 1970, modernism is understood as an experience that has been repeatedly recycled, made concrete in social housing projects, and marketed as a Wagenfeld teapot or record cover designs by Kraftwerk and New Order. "There have always been these waves in which the formal language of Russian Constructivism was adapted-first by the Bauhaus and later in the sixties and eighties," says Amm. "I've concentrated on all these peaks, which also occurred in the applied arts. These were points of reference for me, and it just goes to show how strongly the eighties influenced me. I played in a punk band at the age of 15. That was when flyers and posters followed the watercolor phase. Later, I studied graphic design at the Hochschule für Gestaltung in Offenbach. After not going to a single lecture in three years, I finally had to admit that it didn't interest me, and I moved to Hamburg to study art instead."

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Für die um 1970 Geborenen ist die Moderne nur noch als wieder und wieder recycelte Erfahrung erlebbar, versteinert im sozialen Wohnungsbau, vermarktet als Wagenfeld-Teekanne oder in Plattencoverdesigns von Kraftwerk oder New Order. "Es gab ja immer diese Wellen, in denen die Formensprache des russischen Konstruktivismus adaptiert wurde, zunächst vom Bauhaus und später dann in den sechziger und achtziger Jahren", sagt Amm.

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With his references to modernism, Amm is postulating anything but a nostalgic looking back. It is particularly Amm's early works that demonstrate an ambivalent attitude shared by many artists of his generation: "Modernism is more than a formal language or a vocabulary; it was also about ideas of a multi-cultural society, about enlightenment." Yet a reverence for the avant-garde of the past stands side-by-side with the knowledge that this myth is moth-eaten. In light of the historical, ecological, and social catastrophes of the past half-century, the modernist dream of enlightenment and progress seems played out. For those born around 1970, modernism is understood as an experience that has been repeatedly recycled, made concrete in social housing projects, and marketed as a Wagenfeld teapot or record cover designs by Kraftwerk and New Order. "There have always been these waves in which the formal language of Russian Constructivism was adapted-first by the Bauhaus and later in the sixties and eighties," says Amm. "I've concentrated on all these peaks, which also occurred in the applied arts. These were points of reference for me, and it just goes to show how strongly the eighties influenced me. I played in a punk band at the age of 15. That was when flyers and posters followed the watercolor phase. Later, I studied graphic design at the Hochschule für Gestaltung in Offenbach. After not going to a single lecture in three years, I finally had to admit that it didn't interest me, and I moved to Hamburg to study art instead."

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Teils vom Bauhaus und den Surrealisten inspiriert – etwa zur gleichen Zeit widmeten sich auch Künstler am Black Mountain College in North Carolina ähnlichen Experimenten –, schuf Jikken Kōbō Performances als komplexe, vielschichtige Installationen, bei denen die Künstler an der gesamten Inszenierung beteiligt waren.

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Jikken Kōbō (Experimental Workshop), founded in Tokyo in 1951, was a multimedia arts collective whose members included composers, visual artists, set and lighting designers, engineers, and musicians. By combining various art forms, their goal, in the words of their founder Shūzō Takiguchi (1903–1979), was to achieve “an organic combination that could not be realized within the conventions of a gallery exhibition, and to create a new style of art with social relevance, closely related to everyday life." Partly inspired by the Bauhaus and the Surrealists – and contemporary to the creative experiments at Black Mountain College in North Carolina – Jikken Kōbō created performances as complex, multi-layered installations, with the artists participating in the creation of the entire mise-en-scène. Jikken Kōbō also pioneered experiments with new media, entering into creative partnerships with Sony, for example, and creating collaborative works that combined technologies, such as cassette recorders and slide projectors, with traditional Japanese forms. Although they predate other groups, such as Gutai, the work of Jikken Kōbō is only recently being celebrated outside of Japan, thanks to their inclusion in important exhibitions at the Museum of Modern Art, New York (2012), and Tate Modern, London (2013).

  art.db.com  

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Jener erinnerte sich: „In Stuttgart sah ich meine erste abstrakte Ausstellung von dem Franzosen Laurent. Er erzählte mir vom Bauhaus. Die Idee, dass Künstler aus unterschiedlichen Bereichen zusammenarbeiten, gefiel mir sehr.

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“I am delighted at the progress you are making. I find that you are also making great strides in the use of abstract forms,” wrote Wassily Kandinsky in 1933 to Werner Drewes, whose acquaintance he had made during the latter’s studies at the Bauhaus. Drewes recalls: “In Stuttgart I saw my first exhibition of Abstract Art – works by the Frenchman Laurent. He told me about the Bauhaus. I was very struck by the idea of artists from different disciplines working together, for I was thinking along similar lines: it is not enough to master just one art form; one should master a number of complementary art forms. I applied for a place at the Bauhaus. After Walter Gropius had scrutinised my work, I was accepted.” In 1930 Drewes emigrated to the United States, where he first worked at Columbia University in New York and later, until 1945, at Brooklyn College. There he created this “composition” which, despite its abstract style, is reminiscent of a moonlit lake with boats bobbing on the water. “In each work,” wrote Drewes, “my art is motivated by the urge to create and make visible personal thoughts or moods such as joy, love, despair or the search for unknown worlds. Art is a world with its own laws, no matter whether that art is realistic or abstract. Our task is to create new universes within these laws and to fill them with the experiences of our life. When they convincingly reflect the wisdom and violence of the soul, a work of art is born.”

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Für die um 1970 Geborenen ist die Moderne nur noch als wieder und wieder recycelte Erfahrung erlebbar, versteinert im sozialen Wohnungsbau, vermarktet als Wagenfeld-Teekanne oder in Plattencoverdesigns von Kraftwerk oder New Order. "Es gab ja immer diese Wellen, in denen die Formensprache des russischen Konstruktivismus adaptiert wurde, zunächst vom Bauhaus und später dann in den sechziger und achtziger Jahren", sagt Amm.

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With his references to modernism, Amm is postulating anything but a nostalgic looking back. It is particularly Amm's early works that demonstrate an ambivalent attitude shared by many artists of his generation: "Modernism is more than a formal language or a vocabulary; it was also about ideas of a multi-cultural society, about enlightenment." Yet a reverence for the avant-garde of the past stands side-by-side with the knowledge that this myth is moth-eaten. In light of the historical, ecological, and social catastrophes of the past half-century, the modernist dream of enlightenment and progress seems played out. For those born around 1970, modernism is understood as an experience that has been repeatedly recycled, made concrete in social housing projects, and marketed as a Wagenfeld teapot or record cover designs by Kraftwerk and New Order. "There have always been these waves in which the formal language of Russian Constructivism was adapted-first by the Bauhaus and later in the sixties and eighties," says Amm. "I've concentrated on all these peaks, which also occurred in the applied arts. These were points of reference for me, and it just goes to show how strongly the eighties influenced me. I played in a punk band at the age of 15. That was when flyers and posters followed the watercolor phase. Later, I studied graphic design at the Hochschule für Gestaltung in Offenbach. After not going to a single lecture in three years, I finally had to admit that it didn't interest me, and I moved to Hamburg to study art instead."

  agroconf.org  

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Die über dem verklinkerten Sockel ansetzenden, viertelkreisförmig abgerundeten Balustraden der Loggien und Balkone erinnern an die Architektursprache der vom Bauhaus inspirierten „Weißen Stadt“ in Tel Aviv.

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Built on the site of a former petrol station on Sandweg in the district of Bornheim in Frankfurt, this residential block contains 31 apartments and a row of shops at ground-floor level, plus a pair of semi-detached houses in the inner courtyard. In scale and proportions the block takes its cue from the surrounding development, but adds a more contemporary touch along its street face. Above the clinker-clad ground floor, the quarter-circle curves of the balustrades on the loggias and balconies have parallels with the architectural language of the Bauhaus-inspired “White City” in Tel Aviv. The private gardens along Wingertstrasse are enclosed behind a clinker wall and, closely planted behind it, a hedge. Varied in plan, all the one- to four-roomed apartments in this development have at least one outside space, be it in the form of a garden, loggia, balcony or terrace. The top floor is set back from the plane of the façade. In the courtyard, the pair of semi-detached houses with patio stand on the spot where the garage workshop used to be.

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So entwickelte sie ihre ku¨nstlerische Sprache in der Kombination von Bild und Text. Sie verwendet dabei ausschließlich die vom Bauhaus entwickelte Schrift Futura . Durch den Einsatz großflächiger, plakativer Schriftzüge werden Buchstaben zu Bildern, werden Sprache und Sinn auch räumlich wahrgenommen.

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“I work with pictures and words because they have the ability to determine who we are and who we aren’t,” says the American conceptual artist Barbara Kruger , who made a name for herself internationally in the 1980s. Frequently conceived for public space, her works are comments on the individual and society, on war and culture, but also on advertising and commercialism. After studying, Kruger first worked as an editorial graphic designer and later as a picture editor for Condé Nast Publications. This was where she developed her individual idiom as an artist in the combination of images and texts.

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Das Weben ist Thema der Moderne - vom Bauhaus bis hin zu Künstlern wie Picasso, Gauguin oder Matisse, die sich in Paris Teppiche weben ließen. Zugleich erscheint es wie ein Sinnbild für eine sehr zeitgemäße Form von Kreativität.

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Weaving is a modern technique, from the Bauhaus to the carpets that artists such as Pablo Picasso, Paul Gauguin, and Henri Matisse designed in Paris. At the same time, it is a symbol of a very contemporary form of creativity. This includes the fusion of different practices, for example visual and applied arts with music, as well as the search for new literary or visual narrative modes in which various influences and perspectives are woven together. And not least of all, the Internet is like a gigantic meshwork of servers, cables, and data that enables the whole world to engage in exchange.

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Für die um 1970 Geborenen ist die Moderne nur noch als wieder und wieder recycelte Erfahrung erlebbar, versteinert im sozialen Wohnungsbau, vermarktet als Wagenfeld-Teekanne oder in Plattencoverdesigns von Kraftwerk oder New Order. "Es gab ja immer diese Wellen, in denen die Formensprache des russischen Konstruktivismus adaptiert wurde, zunächst vom Bauhaus und später dann in den sechziger und achtziger Jahren", sagt Amm.

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With his references to modernism, Amm is postulating anything but a nostalgic looking back. It is particularly Amm's early works that demonstrate an ambivalent attitude shared by many artists of his generation: "Modernism is more than a formal language or a vocabulary; it was also about ideas of a multi-cultural society, about enlightenment." Yet a reverence for the avant-garde of the past stands side-by-side with the knowledge that this myth is moth-eaten. In light of the historical, ecological, and social catastrophes of the past half-century, the modernist dream of enlightenment and progress seems played out. For those born around 1970, modernism is understood as an experience that has been repeatedly recycled, made concrete in social housing projects, and marketed as a Wagenfeld teapot or record cover designs by Kraftwerk and New Order. "There have always been these waves in which the formal language of Russian Constructivism was adapted-first by the Bauhaus and later in the sixties and eighties," says Amm. "I've concentrated on all these peaks, which also occurred in the applied arts. These were points of reference for me, and it just goes to show how strongly the eighties influenced me. I played in a punk band at the age of 15. That was when flyers and posters followed the watercolor phase. Later, I studied graphic design at the Hochschule für Gestaltung in Offenbach. After not going to a single lecture in three years, I finally had to admit that it didn't interest me, and I moved to Hamburg to study art instead."

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Für die um 1970 Geborenen ist die Moderne nur noch als wieder und wieder recycelte Erfahrung erlebbar, versteinert im sozialen Wohnungsbau, vermarktet als Wagenfeld-Teekanne oder in Plattencoverdesigns von Kraftwerk oder New Order. "Es gab ja immer diese Wellen, in denen die Formensprache des russischen Konstruktivismus adaptiert wurde, zunächst vom Bauhaus und später dann in den sechziger und achtziger Jahren", sagt Amm.

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With his references to modernism, Amm is postulating anything but a nostalgic looking back. It is particularly Amm's early works that demonstrate an ambivalent attitude shared by many artists of his generation: "Modernism is more than a formal language or a vocabulary; it was also about ideas of a multi-cultural society, about enlightenment." Yet a reverence for the avant-garde of the past stands side-by-side with the knowledge that this myth is moth-eaten. In light of the historical, ecological, and social catastrophes of the past half-century, the modernist dream of enlightenment and progress seems played out. For those born around 1970, modernism is understood as an experience that has been repeatedly recycled, made concrete in social housing projects, and marketed as a Wagenfeld teapot or record cover designs by Kraftwerk and New Order. "There have always been these waves in which the formal language of Russian Constructivism was adapted-first by the Bauhaus and later in the sixties and eighties," says Amm. "I've concentrated on all these peaks, which also occurred in the applied arts. These were points of reference for me, and it just goes to show how strongly the eighties influenced me. I played in a punk band at the age of 15. That was when flyers and posters followed the watercolor phase. Later, I studied graphic design at the Hochschule für Gestaltung in Offenbach. After not going to a single lecture in three years, I finally had to admit that it didn't interest me, and I moved to Hamburg to study art instead."

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Das Symposium „Vorkurs: Vom Bauhaus zum Silicon Valley“ widmet sich der Frage nach der Gestaltung von Wissen. Das Bauhaus strebte nach einer Synthese, bei der technisches, naturwissenschaftliches, emotionales oder kreatives Wissen zusammengeführt werden sollten.

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The Bauhaus sought a synthesis of knowledge in which the various forms of knowledge – technical, scientific, emotional, creative – would be interconnected. This concept of knowledge was combined with a new pedagogy to emancipate the people, release their potential, and ultimately lead to the creation of a “new man.” Which spaces encourage creativity and innovation? Which sites of knowledge does society need today? Do advanced laboratories of computer, internet, and media companies represent the Bauhaus of the twenty-first century?

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Die Daimler Art Collection, die sich auf die abstrakten Avantgarden und reduzierten, konzeptueller Tendenzen vom Bauhaus bis in die aktuelle Gegenwartskunst konzentriert, wird dabei viele Neuerwerbungen der internationalen Gegenwartskunst erstmals in Berlin präsentieren können.

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The presentation of our Ampersand exhibition includes site-specific installations and video art as well as paintings, drawings and photography. About 60 works are shown. While the exhibition does feature selected predecessors, its main thrust is directed at current works from recent years by younger artists (most of whom are between 30 and 40 years old). Works by fourteen international artists from the Daimler Art Collection (including Robin Rhode from South Africa) are shown in a dialogue with sixteen South African artists.

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Als Kurhaus und Hotel lies er das heute noch bestehende Hotel und Kongresshaus errichten. Der ursprüngliche Auftrag für das Gebäude im vom Bauhaus geprägten rationalen, funktionalen Stil, geht an Mies van der Rohe, ausgeführt wird er durch Emil Fahrenkamp.

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The place rapidly developed into an exclusive place for curing civilization diseases, then widespread in the wealthy part of the society. Therapy was (naked) sunbathing, vegetarian food and outdoor gymnastic exercises, including dancing under instruction. Prominent visitors in the early days were the German wandering preacher Gustaf Nagel, the writer and later leader of the Munich Soviet Republic Erich Mühsam with his partner Johannes Nohl. The German Crown Prince Wilhelm von Preussen (the son of Emperor Wilhelm II) and the King of Belgium Leopold II can also be found among many others in the list of guests.