Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture (original) (raw)
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The Shillito Design School was a landmark institution that represented an Australian link to the Bauhaus, arguably the most influential design school of the 20th century. With a curriculum devised by its founder, Phyllis Shillito, the Shillito Design School was the only institution of its kind offering a comprehensive design and colour course in Sydney. To mark the 50th anniversary of the founding of the School, the origins and comprehensive nature of the School's curriculum are examined in detail. Referencing original sources including the recollections of former students, evidence is provided to support the hypothesis that Shillito's approach to pedagogy and curriculum was strongly influenced by the Bauhaus as well as the colour theories of Johannes Itten and Josef Albers. Key ideas and theories, many of which were adapted from the Bauhaus as well as Itten and Albers, were embedded within the praxis-based pedagogy and curriculum of the Shillito Design School. As with the Bauhaus, the School aimed to provide students with comprehensive training in design and colour theory that was underpinned by the notion that a student who has mastered the principles of design can apply this knowledge to any project no matter the size or complexity.
The Politics of Change, Craft and the Bauhaus Reborn: New Relationships in Design Education
2009 DEFSA Conference Proceedings, 2009
"South African education systems straddle the developed/developing world schism, an old-school-style Eurocentric view has long tussled with an Africanist dialectic. Educators struggle with access and upliftment issues whilst implementing outcomes-based learning programmes and simultaneously maintaining academic standards. At Nelson Mandela Metropolitan University (NMMU), conscious of the need to build future capacity, innovation in teaching and learning is paramount and the issues identified above are constantly under debate. Experimentation is an ongoing aspect of teaching methodology. This innovation is especially necessary in teaching the design disciplines. The secondary school system makes little or no provision for the visual arts and even less for design. Students enter university with essentially no contextual reference point for design. So begins the complex process of creating literate, informed, socially conscious designers. This paper will contextualise the situation facing design education in South Africa by citing examples where attempts are underway to bridge the gaps between the disciplines of Fashion Design, Graphic Design, Textile Design and Photography; by arguing the case for Trans-disciplinary Design as a possible solution to building design capacity in South Africa; and lastly to emphasise the importance, in a developing economy of the artisanal, the notion of crafting, and the sense of pride and achievement that results from mastery of hand skills as the keystone to the creative process – the place where design and art meet. It attempts to present and clarify the context faced by many design educators in South Africa and highlights some of the innovative practice educators have to apply to encourage learning, grow African content and broaden design sensibility. "
Migrations: Migration processes and artistic practices in a time of war: From the 20th century to the present (migrações: processos migratórios e práticas artísticas em tempo de guerra: do século xx à actualidade), 2017
A signicant number of central European and German refugees and émigrés sought refuge from war and fascism in Australia during the inter-war and post-World War Two years.While many historical accounts of Antipodean modernism stress its distance from French avant-garde sources, this generation of refugees and émigrés brought local practitioners into direct contact with aspects of the modernist endeavour. In particular, these refugees and émigrés introduced an approach to modernism that was cross-disciplinary and derived its inspiration from a systematic approach to arts education. This conception tended to highlight the common elements between art, design and architecture. While there have been numerous, individual studies of this generation, this paper foreshadows a much larger research project that aims to link these individual histories into one coherent study. In this paper we offer an indicative sample of a select number of case studies in order to highlight some of these commonalities, such as a commitment to reform education, a systemic interdisciplinary approach to modernist art education and, finally, colour-light explorations in art, design and architecture that arise as a consequence of these educational philosophies.
The Bauhaus Legacy in Architectural Pedagogies
Bauhaus and Greece The Idea of Synthesis in Art and Architecture, 2019
In the legacy of architectural education we inherited from the Bauhaus, the idea of creativity through the use of formal experimentations giving priority to visual approaches is central. The paper is going to argue that the Bauhaus legacy has played a crucial role in producing new architectural forms in the recent history of design studio teaching. Bauhaus main educational approaches were carried over and implemented in American Universities in the 40ies by Gropius, Moholy Nagy and Albers. Yet, only within the Texas School of Architecture pedagogies of the ‘50ies does the Bauhaus legacy flourish and become part of the architectural studio teaching. By leaving the Texas architectural school, the main advocates of a formal transformational teaching approach disseminate it to other schools in the US and Europe. This can be clearly traced in several schools of architecture in the Anglo-Saxon world (i.e. the A.A., Cooper Union and the Bartlett), at the ETH in Europe as well as relevant publications in the 80ies. With the introduction of new technologies and the appearance of the paperless studio in the 90ies formal transformational rules evolve within a digital world.
From Our House to Bauhaus: Crafting the Creative Curriculum
Tom Wolfe, in his book From Bauhaus to Our House, had it backwards: The Bauhaus, rather than being alien to the United States as Wolfe suggests, was originally home grown. The Bauhaus, established by architect Walter Gropius to promote a powerful fusion of art, technology, and craft, has renewed relevance now, when people are looking at ways in which education can stimulate creativity and innovation through learning that is more “hands on.” The Bauhaus (German for “build house”) was a “makerspace” par excellence. Far more often, architects shape the spaces in which learning occurs rather than the learning curriculum itself. Yet architects, since they straddle the fields of art and technology, have unique insight into the kinds of creative curricula now sought for STEM, and even more especially STEAM education. An overview of the Bauhaus highlights this.
After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy
Journal of Design History, 2022
the conference "After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy" addressed the period from 1933, when Germany's fascist regime closed the final Bauhaus location in Berlin, to the end of the twentieth century, when networked computers facilitated ubiquitous global communication and interaction. Though the school was short-lived, the propagation of Bauhaus ideassuch as modernist forms, integration of arts and crafts, and notions of the role of design in social progresswas enabled by the immigration of some of its faculty to the United States. Additionally, as Silvia Fern andez pointed out in "Design in Latin America: Migrations and Drifts", Bauhaus influences persisted though numerous projects in South America. Bauhaus DNA also showed up at design schools in Ulm, Germany, and Basel, Switzerland, as other presenters mentioned. To address this legacy, the conference was divided into three themes: "From Practice to Discipline" (graphic
Bauhaus Pedagogy in Exile: Ludwig Hirschfeld-Mack and Art Education
1999
The educational side of art education seems to be experiencing a revival with respect to the socio-political, environmental, and economic problems and disasters of a multinational and multicultural society today. A concept such as education through art seems to be worth reassessment. In that context, this paper considers Ludwig Hirschfeld-Mack (1893-1985), an art educator who was a member of the Bauhaus and a protagonist of its ideas on changing society via art and design, and who, as a refugee from Nazi Germany in Australia during the 1940s and 50s, contributed to changes in art education. The paper discusses the New Education Fellowship conferences of the late 1930s. Hirschfeld-Mack's conference paper, "Creative Activity and the Study of Materials," was especially important from the perspective of the pedagogical principles developed at the Bauhaus. In the strict sense, the term "Bauhaus" pedagogy stands for a number of theoretical and methodical approaches taught by "master painters" like Klee, Kandinsky, and Moholy-Nagy within the framework of their design theories. This paper discusses Hirschfeld-Mack's application of these principles in Australia and provides background on his own education in Germany. It finds that, although criticized in the context of secondary art education in the 1960s and 70s because of its dogmatic use of elementary forms and general "rules" of design, Bauhaus pedagogy at the end of the 1980s was reassessed regarding its potential addressed through elementary material studies and its holistic approach to design. Contains 31 notes. (BT) Reproductions supplied by EDRS are the best that can be made from the original document.
http://victoria.lconz.ac.nz/vwebv/holdingsInfo?bibId=1507630
This study investigates the roots of interdisciplinary architectural and design education and methodology in Europe and the United States during the first half of the twentieth century. In particular this thesis is concerned with the establishment of the principles of a universal visual language within this context. Walter Gropius' (1883-1969) efforts to propagate a universal understanding of architecture, art and design at the Bauhaus is a central focus of this study along with the use of a universal visual language to facilitate such an ideal. This thesis argues that the instigation of the Bauhaus preliminary course, the Vorkurs, developed by Johannes Itten (1888–1967) and matured by Bauhaüslers Lázsló Moholy-Nagy (1895-1946) and Josef Albers (1888-1976) offered vitality, integrity, creativity and longevity to Bauhaus pedagogy and posits that the beliefs and practices of the Vorkurs contributed significantly to the translation of European modern design education in the United States. Although Bauhaus pedagogical translations were refuted by some and misunderstood by others in the wholly different economic context of the United States, this study proposes that the translations of the Vorkurs methodology, by the émigré Bauhaüslers, Moholy-Nagy at the New Bauhaus in Chicago, Albers at Black Mountain College and Yale and Gropius at Harvard contributed to the codification of modern twentieth-century design education, and as such continues to offer relevance in current architectural and design pedagogical environments.