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

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Bauhaus End-Product

1920’ to 30’s

1919 the Bauhaus wanted to educa-

te, architects, painters and sculptu-

res of all levels according to their ca-

pabilities.” He goes on to describe

that the goal was to create compe-

tent craftsmen or independent

creative artists that were

integrated in the community. The

goal was an artist-craftsmen who

was able to build buildings har-

moniously.

Secondly students were educated in

practical research into problems of

house construction and furnishing.

Students were also to explore deve-

lopment of standard prototypes for

industry and the crafts.

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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 Ger-

many, Historically, the Basic Course ap-

proach constituted the first course in which

the sole purpose was to develop and facilita-

te the creative faculty in the student. Gropius

called Itten to teach in the Bauhaus in Wei-

mar 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

The goal of the Basic Course was to liberate the creative forces of the stu-dents. Their own experienc-es 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 Bau-haus in order to prepare for industry.

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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 ac-complishment," 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 materi-al: the “stuff” to-be transformed. Second, was the "forming" method. Thirdly, the decision-making process, called the design, which directs the forming of the material to be convert-ed into a meaningful product.

In addition, the Bauhaus approach assumes "that everyone is talent-ed" but it also realizes that such native ability may be inhibited Mo-holoy-Nagy "The greatest hin-drance to creative work is fear", therefore, the course's "chief func-tion is to liberate the individual by breaking down conventional pat-terns of thought"

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Content The Basic Course was a wealth of

information to the student. It first in-

troduced them to design and form

and it spoke to them about light. Ac-

cording to Itten, the most expressi-

ve means to create drama in

anything is the use and understan-

ding of light. Engineering or archi-

tectural 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 at-

tempt to provide the content and

exercises necessary for lifelong

success

The Basic curse:

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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 pro-

cess 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 pro-

blems.

It is also interesting to consider that at the time the Bauhaus ended the Ohio state committee on coordina-tion 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 communica-

tion, metals, textiles, transportation, woods, graphic arts, ceramics, per-

sonnel, foods, leather craft, and jewelry for industrial arts courses.

At least one conclusion can be draw from this and that the Bau-haus and the industrial arts have

some distinct commonalities.

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Technology educators must be interested in the integration of art and creativity. From a histori-cal point of view the sep-aration of crafts, technol-ogy, design and art is a recent phenomenon. The Bauhaus provided a foundation of how to study and evaluate de-sign, 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 technolo-gy educator must be willing to integrate. It has become increasingly more important in today’s society to educate the whole student. The most signifi-cant 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.

For Technology Education Theachers

Professor Pelle Ehn (1998) from the School of Arts and Communication at Malmö University in Sweden intro-duced the concept of the digital Bauhaus. Ehn envi-

sioned a new unit of art and technology in the service of the people. In a digital world art education should edu-cate designers to be reflective and to work collectively

UNIVERSIDAD AUTONOMA DE SINALOA

FACULTAD DE ARQUITECTURA

COMPRENSIÓN DE DOCUMENTOS DE ARQUITECTURA

EN INGLES

ARQ. CLAUDIA AISPURO

GRUPO :1

SEMESTRE: IV

MARZO, 2014