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)"

Tags:ikea, bauhaus, critique

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."

Tags:architect, arts, buildings, modernistic

Abstract
The paper discusses the goals of the Bauhaus school and its controversial approach to education. The paper describes how the Nazi party was against the Bauhaus all throughout the 1920s and eventually made the school close, but, the Nazi party could not erase the important work that the Bauhaus artists had done. The paper asserts that the Bauhaus movement has been one of the most influential factors on the world of design and architecture.

From the Paper
"The Bauhaus movement began at a controversial new school of arts and crafts established in the German city Weimar in 1902 and designed by a Belgian artist named Henry van de Velde. The Bauhaus is one of the first colleges of design in the world. There was already in existence another art school that had been founded in 1860 - also very controversial. In 1919, the architect Walter Gropius, a demobilized World War I officer, combined the two schools - Weimar Academy of Arts and the Weimar School of Arts and Crafts - into the Staatliches Bauhaus. This movement - a movement of new political and social ideas - would soon spread around the world. Weimar was an appropriate place for the school since on November 9th of 1918 it was the location for the writing of the new constitution of the new Republic that had just been proclaimed by the Social Democrats."

Tags:design, architecture, Nazis

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 people make that a certainty. Buildings surround us, we move through them, and they are part of our everyday life."

Tags:architecture, art, Bauhuas, dessau, modern, technology, twentieth, century

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."

Tags:textiles, functional, buildings, crafts, minimalism

Abstract
In this article, the writer discusses that 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. The writer looks at the views industrial production and discusses the role that the Bauhaus would play in the 20th century view of design.

From the Paper
"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."

Tags:design, furniture

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.

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."

Tags:industrial, design, modern, interior, design, modernism

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."

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..."