• The Journal of Art Theory & Practice
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• no.9
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• Journal of the Korea Furniture Society
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• v.16 no.2 s.30
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• pp.67-76
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• 2005

Bauhaus, founded in Weimar, Germany in 1919, represented Modernism which is proven in the field of art as well as architecture. Furthermore, in design field, Bauhaus is the essential historical event whose influence continues in contemporary design. Bauhaus furniture is simple and austere and has linear shapes which are suitable for mass production. Bauhaus developed functional furniture design such as knock-down and pre-fabricated furniture. In terms of finishes, Bauhaus furniture epitomizes the influence of De Stijl which used either achromatic colors and three primary colors or natural finishes of wood. Bauhaus contributed to furniture design field as below. 1. Success in mass-produced furniture through standardization and pre-fabrication 2. Pioneered on industrialization through collaboration between academia and industry 3. played essential role developing modem furniture by using not only metal but also such diverse materials as plywood, glass, and leather

• Archives of design research
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• v.16 no.3
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• pp.361-370
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• 2003

We have understood Bauhaus being the origin of Modern Design and Formative Education to systematic semantic aspects to date. the facts that matter to us need to be understood on Bauhaus's education philosophy and the way of administration than Bauhaus's education contents. Bauhaus as designer has been informed to us how a design should be approached to viewpoints handling Objects, Methodology fixing up problems and Social viewpoints. But Bauhaus's design principle or Methodological solution is not setup by specific person but actualized by Masters and professors in charge of curricula. From these standpoints, inquiring into their characters and individual statements for design could be said to upright order. Especially Bauhaus has trio out lots of changes through inner discord and external challenge, taken great pains for the social function of design. So I would like to help right understanding on Bauhaus based on Bauhaus's statements.

• Archives of design research
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• v.18 no.4 s.62
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• pp.237-246
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• 2005

This study was intended to enlighten two-faced desires of the Bauhaus, revealing that it is closely related with the child education rooted in Frobel. The Bauhaus declared to disconnect with the traditional education standing for Academies and asked students to go bad to such 'innocence' as children had. The faculty of Bauhaus tried to understand of the essence of the world through primary geometrical forms as 'purity' without any inessential things as $Fr{\ddot{o}}bel$ did. Their attempts not to admit any nonessential things, however, and dinging to purity was rather a sort of neurosis. The modernism is not different from the child art hiding sadistic and dictatorial elements behind the myth of 'innocence'. Considering the child education was born and grown with nutrition from the bourgeois development, it was not compatible with democratic ideals of the Bauhaus. While the new types of schools for children provided an excellent preparation for the Bauhaus to initiate a new design education, people of the Bauhaus were going toward a different direction from aspiration of the bourgeois, strong supporters of the new schools.

• Korean Institute of Interior Design Journal
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• no.41
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• pp.29-35
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• 2003

The purpose of this study is to analyze the architectural manifesto and design works characteristics of Walter Gropius. He was the director of Weimar Bauhaus that one of the advanced artificial movements in the early modern period. The almost of the early modern movements was related to the radical ideology and the manifesto. Especially Bauhaus originated from manifesto of artists teaching group with architect Walter Gropius. Therefore, the category of the study pitch upon Bauhaus architectural manifesto - Bauhaus Manifesto and Programme(1919) - and the representative works of Walter Gropius - Fagus Factory(1911-14), Dessau Bauhaus Building(1925-26), Siedlung Berlin-Siemensstadt(1929-30) and Harvard Graduate Center(1949). The conclusions of the study as per the above mentioned pill pose are the dynamic integration by non-symmetry in cubic form (formal characteristics) and organic continuity by reciprocality in transparent space (spatial characteristics).

• Journal of architectural history
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• v.7 no.3 s.16
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• pp.121-135
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• 1998

This paper aims at understanding the Characterics of Architectural Education Methodology in Hannes Meyer's Bauhaus. Through the analysis of his Bauhaus curriculums, writings and works, especially Co-op designs and buildings, this paper investgates the problems caused by functionality, diagramic organization of modern life and sociality, and grasps the meaning of his works. Meyer realized the possibility of Bauhaus education system resulting from mechanical and technological progress, and pursuited the architecture for the proletarian masses. According to analysis, functionality and critical sociality were adopted to criticize bourgeosie humanistic architecture, it reveals Hannes Meyer's architectural Avant-garde strategy.

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.10a
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• pp.220-221
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• 2005

• Archives of design research
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• v.20
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• pp.99-109
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• 1997

The Bauhaus movement can be said to be the by-product of forming work pursued through the method of constituents even under endless discord between the so-called modern ages and anti-modern ages rather than to say that it was progressed consistently on the assumption of a design. Accordingly, all instruments of Bauhaus education which contributed to form the source of the modern ages realized educational value related to the actual problem at the point of time when the student evercomes all internal and production can be managed most effectively under one system was originated inevitably. The most exential point of the work of Bauhaus workshop is the fact that all products show homogeneity as time passes, which is appeared as the result of the spirit of consciously developed community based on cooperation between various characters and personalities. Also, the homogeneity does not exist in formative detailed aspect appeared externally but in the basis of effort having produced things simply and faithfully, and on the other hand, in accordance with essential rule. Therefore, the original form of Bauhaus products can be said not to be fashionable but the crystal of work process at the workshop through much thought and contemplation in view of endowed form following art, technology and economy.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• Korean Institute of Interior Design Journal
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• no.30
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• pp.59-67
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• 2002

Marcel Breuer is considered one of the most important furniture designers of the 20th century. He studied at the Bauhaus in Weimar from 1920 to 1924 and in 1925 became master of the furniture studio at the Bauhaus in Dessau. Virtually from the outset, he was one of the most prolific and inventive designers at the bauhaus and fulfilled its claim to create designs for serial production. Gropius, the Bauhaus founder, had a profound influence on his furniture designs. In 1925, Breuer created the tubular-steel armchair, which revolutionized design and technique in the field, marking the advent of a new era. The furniture that was developed, by him and by others, from this design - technically cool, but light, elegant and clear - became the very symbol of modernism. Despite the success of his tubular-steel furniture, Breuer went on to explore the use of other new materials, such as aluminium and plywood. He made use of these new materials, which were associated with new technologies, to create new forms, as it were, some which proved to be foreunners of later developments in furniture design. Breuer had a profound influence on the evolution of modern design through his furniture designs, which received worldwide recognition and acclaim. His work unified functionality and beauty in a way that was to become a valid expression of its time and simultaneously far ahead of it.