MODERNISM
Modernism
Bauhaus
Editors: Juan Carlos Weightman Anchondo Gaxiola Leal José Francisco
Graphics: Duarte Pantoja Eduardo Segura Aguirre Ernesto Alonso Reyes Peiro Noé Miguel Alexander
Culiacán, Sinaloa March of 2014
Bauhaus End-Product 1920’ to 30’s
Secondly students were educated in 1919 the Bauhaus wanted to educate, architects, painters and sculptures of all levels according to their capabilities.” He goes on to describe that the goal was to create competent craftsmen or independent creative artists that were
practical research into problems of house construction and furnishing. Students were also to explore development of standard prototypes for industry and the crafts.
integrated in the community. The goal was an artist-craftsmen who was able to build buildings harmoniously.
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The Basic curse
Johannes Itten
The Bauhaus approach rested in a Basic course. It was made up of exercises as a preparation for follow-up design courses. This course was called "Vorkurs" in Germany, Historically, the Basic Course approach constituted the first course in which the sole purpose was to develop and facilitate the creative faculty in the student. Gropius called Itten to teach in the Bauhaus in Weimar in 1919, and here the approach became the "backbone of the Bauhaus system" It is important to note that the course evolved over the 14 years, but Itten is responsible for laying the foundation
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The goal of the Basic Course was to liberate the creative forces of the students. Their own experiences and their observations were to result in authentic work. Students were asked to choose a material to work in, like metal or wood. They were to engage in creative composition. The ultimate goal was to learn a craft in the workshops of the Bauhaus in order to prepare for industry.
According to Itten, the undirected manipulation of materials should result in the student's ability to produce structures, forms, patterns and relationships will give him a "sense of accomplishment," and this, in turn, will "show him the power that rests within himself" The Bauhaus design activities were thought of with three basic aspects. First, was the material: the “stuff� to-be transformed. Second, was the "forming" method. Thirdly, the decisionmaking process, called the design, which directs the forming of the material to be converted into a meaningful product.
In addition, the Bauhaus approach assumes "that everyone is talented" but it also realizes that such native ability may be inhibited Moholoy-Nagy "The greatest hindrance to creative work is fear", therefore, the course's "chief function is to liberate the individual by breaking down conventional patterns of thought"
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The Basic curse:
Content The Basic Course was a wealth of information to the student. It first introduced them to design and form and it spoke to them about light. According to Itten, the most expressive means to create drama in anything is the use and understanding of light. Engineering or architectural design uses these practices to create complex lighting design. This course content is foundational not only to technology education but essential to our understanding of the world. Itten made the best attempt to provide the content and exercises necessary for lifelong success
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Bauhaus in America Of the many figures at the Bauhaus, Gropius, Mies van der Rohe, Moholy-Nagy and Albers were some of the “big names� that were regarded highly in America It is important to realize that the Bauhaus was not recreated in its former glory. The founding members did not want to repeat the process of founding a school. In addition, America as a nation, and the world, had progressed past the need for what the Bauhaus represented at the time it existed. The first trend is, “that students should realize how inexhaustible the means of creation if they make use of the innumerable products of our age and to encourage young people to find their own solutions to these problems.
It is also interesting to consider that at the time the Bauhaus ended the Ohio state committee on coordination and development of 1934, in their Ohio Prospectus, which was considered a prototype of the growth of industrial arts, consisted of units in planning in communication, metals, textiles, transportation, woods, graphic arts, ceramics, personnel, foods, leather craft, and jewelry for industrial arts courses. At least one conclusion can be draw from this and that the Bauhaus and the industrial arts have some distinct commonalities.
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For Technology Education
Theachers
Technology educators must be interested in the integration of art and creativity. From a historical point of view the separation of crafts, technology, design and art is a recent phenomenon. The Bauhaus provided a foundation of how to study and evaluate design, and this is where one first explores design as a human activity. The more one investigates and evaluates this movement they will find the roots of what every technology educator must be willing to integrate. It has become increasingly more important in today’s society to educate the whole student. The most significant social, cultural and industrial movements have always combined art, design, technology and crafts. Technology education leaders need to look forward towards this multidisciplinary education style if we are to succeed in a global economy.
Professor Pelle Ehn (1998) from the School of Arts and Communication at MalmĂś University in Sweden introduced the concept of the digital Bauhaus. Ehn envisioned a new unit of art and technology in the service of the people. In a digital world art education should educate designers to be reflective and to work collectively
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UNIVERSIDAD AUTONOMA DE SINALOA FACULTAD DE ARQUITECTURA COMPRENSIÓN DE DOCUMENTOS DE ARQUITECTURA EN INGLES ARQ. CLAUDIA AISPURO GRUPO :1 SEMESTRE: IV MARZO, 2014