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 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
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
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
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 Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."

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
This paper discusses how WWI greatly affected the direction of art in the United States and Europe. It looks at how, through isolating and merging different regions, artistic movements were both born and terminated as a result of warring, allied forces, and personal trauma. The paper examines how Futurism, Fauvism, Cubism, Vorticism, and German Expressionism were active when WWI began and examines the development of both European and American Modernism with such styles as Harlem Renaissance and other Postwar movements in Europe such as De Stijl, Bauhaus, Constructivism, Purism, New Objectivism, Dada, and Surrealism. The paper also contains images and pictures.

From the Paper
"The shift of the art world capital from Paris to New York City had begun towards the end of WWI. Although many European artists fought in the war first-hand, "No American modernist painter saw the carnage of WWI first-hand, nor did any American artist record feeling in its aftermath. " America became aware of its dependence on Europe after WWI and gained a new sense of independence through forging the Allied victory. In postwar America, subject matter was rooted a newfound nationalism and self-identification as a country. Pride in technology and innovation added to a new nationalist spirit, led to the American movements of Regionalism and Precisionism. Regionalism included distinctly American scenes such as Grant Wood's American Gothic (image 4). The Precisionists possessed a faith in American industry and stability after America proved itself in war. The movement included Charles Sheeler (image 5) and Charles Demuth (image 6). Their works emphasize a new alienation and isolation in being uniquely American. "

Tags:futurism, fauvism, cubism, expressionsim, modernism, dada, surrealism

Abstract
This paper explains that his 1922 painting "Twittering Machine" is characteristic of Paul Klee's painting style that reflects two art movements of the earlier part of the twentieth century. Next, the author describes this whimsical painting that integrates elements from nature, such as birds and fish, with elements of a mechanized lifestyle, such as coils and wires, to project an overall theme of communication as incessant chatter . The paper relates that, from the Der Blaue Reiter and Wassily Kandinsky, Klee developed his use of abstraction and playful colors and, from the Bauhaus movement, he gained his strong interest in the interface between technology, nature and humanity and how to communication these ideas in a symbolic manner.

From the Paper
"Paul Klee was born in Switzerland in 1879 but spent most of his life in Germany. Living in Munich exposed Klee to the Blue Rider (Der Blaue Reiter) group as well as to its founders such as Wassily Kandinsky. Kandinsky would become a friend and major influence on Klee. The Blue Rider group pioneered advancements in abstract art and was based in Munich from 1911 until 1914. Klee traveled to Northern Africa, where he encountered colors and lighting such as he had never seen before."

Tags:bauhaus, blue rider, chatter triangles color