The study of the Bauhaus is threefold in purpose. The first purpose is to study the Bauhaus, located both in Germany and in the United States, and to identify its principles, curriculum, and methods of instruction used in improving design. The second purpose is to identify and present the contributions of this school to design, the third purpose is to suggest ways and means for improvement of design in college industrial arts programs.

I am interested in how the ideas of the Bauhaus shaped not only today’s world of art education, but also the outlook of the German nation during the early 20th century and today. It appears that art is not as prevalent as it once was, whereas fields like science and engineering have become popular. However, the ingenuity of the Bauhaus has lasted into this century and continues to have an impact on our American education system, as well as our ideas about art. As part of my thesis, I am comparing the classes I have taken at East Tennessee State University with those courses taught at the Bauhaus. Many of my art pieces are exploration of materials and my subjective artistic outlook. For example these subjects included weaving, metalsmithing, printmaking, and ceramics. I am placing most emphasis on the significance of the famous Bauhaus Preliminary Course, the Vorkurs, and how our education was closely linked to that of 1920s Germany.

This thesis focuses on the career of Philip Weiss in the furniture industry in Winnipeg, Manitoba, from 1950-1975, as the exemplar of a larger paradigm of émigré or foreigner culture, with a strong affinity to alienation, intellectualism, and Modernism. The thesis contends that the Jewish émigré was attracted to Modernist principles because of its abstract structure, rejection of tradition, and avant-garde framework. Jewish individuals became prominent in the arts associated with Modernism, such as design, architecture, photography, and painting. Modernism enabled artists to express themselves without adopting conventional subjects, forms, attitudes, and techniques, and made it well-suited for the émigrés’ position in the twentieth century. Modernism, with its attachment to intellectualism and exploration of new technologies and materials, was a natural fit for Weiss. Weiss arrived in Canada as a Holocaust survivor and immigrant, and began to reshape the narrative of his life through the furnishing of his identity. He became a furniture designer and manufacturer, and acquired status and respect in his community. Modernism played a significant role in his personal and business life, and initiated a lifelong connection with its tenets of progress, innovation, and creativity.

This thesis focuses on the career of Philip Weiss in the furniture industry in Winnipeg, Manitoba, from 1950-1975, as the exemplar of a larger paradigm of émigré or foreigner culture, with a strong affinity to alienation, intellectualism, and Modernism. The thesis contends that the Jewish émigré was attracted to Modernist principles because of its abstract structure, rejection of tradition, and avant-garde framework. Jewish individuals became prominent in the arts associated with Modernism, such as design, architecture, photography, and painting. Modernism enabled artists to express themselves without adopting conventional subjects, forms, attitudes, and techniques, and made it well-suited for the émigrés’ position in the twentieth century. Modernism, with its attachment to intellectualism and exploration of new technologies and materials, was a natural fit for Weiss. Weiss arrived in Canada as a Holocaust survivor and immigrant, and began to reshape the narrative of his life through the furnishing of his identity. He became a furniture designer and manufacturer, and acquired status and respect in his community. Modernism played a significant role in his personal and business life, and initiated a lifelong connection with its tenets of progress, innovation, and creativity.

Thesis (B.A.Hons. 1973) from the Dept. of German, University of Adelaide.

Univ., Diss.--Baltimore.

The main content of this thesis is the design of furniture for the resting nook inspired by designs from school of applied arts Bauhaus. The theoretical part is divided into two parts. The first part deals with surface finishes, bending technology and operations associated with bending. The second half of the theoretical part deals with the development of furniture from bent tubes. The practical part is focused on the design of specific types of furniture for the resting nook. The entire design process is documented from the original sketches through visualization to prototyping. The work also includes the development of design documentation for eventual mass production. An important part of the thesis is also final discussion.

Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Humanities, 1964. / MIT Archives copy bound with: The relevance of some recent experiments on perception in infants to the philosophical concept of space as an innate idea / Thomas Henry Daniel. 1964. / Field of Humanities and Engineering (Course XXI-A). Includes International architecture. 2nd altered ed. Munich, ALbert Langen Verlag, 1925 (No.1 of the Bauhausbücher) Text by Walter Gropius. Translated by K.H. Kaiser (p.31-34) / B.S.

A presente tese tem como objetivo geral investigar, a partir de uma perspectiva sócio-histórica, 367 trabalhos artísticos produzidos por 26 crianças, nascidas entre 1926 e 1938, que estiveram confinadas no campo de concentração nazista de Terezín, na República Checa, durante a Segunda Guerra Mundial, visando levantar outras informações sobre o universo concentracionário, perdidas, esquecidas ou não tocadas pelos sobreviventes. Objetiva também investigar como contextos violentos foram assimilados por essas crianças e quais estratégias simbólicas e narrativas elas desenvolveram para tematizá-los por meio da arte. Busca estabelecer diálogo entre sua produção e as concepções estéticas e pedagógicas promovidas pela Arte Moderna, pelo Movimento Escola Nova, tendências em voga no período de pré-ocupação nazista, e por Friedl Dicker-Brandeis, professora que orientou os trabalhos no campo. Os procedimentos metodológicos adotados na realização da pesquisa foram seleção e leitura de fontes escritas e análise de fontes de outras naturezas, como entrevistas, filmes e documentários. Partimos da hipótese de que esses desenhos possuem teor e valor testemunhal, sendo um outro testemunho do Holocausto, um registro poético pautado na percepção da criança sobre os eventos e em sua forma muito particular de expressá-los. Partimos também do princípio de que esses trabalhos artísticos expressam as imagens de seus pensamentos, seus medos, lembranças, sonhos e esperanças. A análise se pautou na bibliografia de autores que se dedicaram a compreender como e por que a criança desenha, e que desenvolveram suas teorias no contexto da Arte Moderna, do Movimento Escola Nova e da contemporaneidade. A análise do corpus da pesquisa indicou a presença exígua de trabalhos com temas ligados a eventos insistentemente citados pelos sobreviventes ou registrados em seus diários. Por outro lado, indicou a existência de um grupo considerável de trabalhos pautados em memórias anteriores à guerra e de outros dois grupos que têm como tema o campo de Terezín. O primeiro apresenta formas mais simbólicas e subjetivas para figurar a experiência concentracionária, que perpassam lugares, pessoas, cenas observadas e diferentes modos de representação do campo. O segundo grupo apresenta um viés mais objetivo, representacional, ligado à transmissão da experiência assimilada prioritariamente pelo sentido da visão. Notamos também que representações do campo de Terezín não aparecem nos desenhos das crianças nascidas entre 1933 e 1938. Os resultados, de modo geral, ampliam nossa compreensão sobre os eventos e demonstram a contribuição da arte infantil para a construção de outras narrativas sobre o universo concentracionário. / This thesis has as main objective to investigate, from a socio-historical perspective, 367 artworks produced by 26 children, born between 1926 and 1938, which were confined at Terezín, a Nazi concentration camp, in the Czech Republic, during the Second World War, aiming to raise other information about the concentrationary universe, lost, forgotten or not touched by the survivors. It also aims to investigate how violent contexts were assimilated by these children and what symbolic and narrative strategies they have developed to thematize it through art. Seeks to establish dialogue between its production and the aesthetic and pedagogical concepts promoted by Modern Art, the New School Movement, trends in vogue in the Nazi pre-occupation period, and by Friedl Dicker- Brandeis, teacher who had supervised the artistic work in camp. The methodological procedures used in conducting the research were selection and reading of written sources and analyzing sources of other types, such as interviews, movies and documentaries. Our hypothesis is that these drawings have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child\'s perception of the events and in his very particular way of expressing them. Also we assume that these artworks express the images of their thoughts, their fears, memories, hopes and dreams. The analysis was guided on the literature of authors who have dedicated themselves to understand how and why the child draws, and that developed theirs theories in the context of Modern Art, the New School Movement and the contemporary. The analysis of the research corpus indicated the meager presence of works with themes related to events repeatedly cited by survivors or recorded in their daily books. On the other hand, indicated the existence of a considerable group of work guided by memories of earlier the war and other two groups which have as subject the Terezín camp. The first presents more symbolic and subjective forms to figure the concentrationary experience that underlie places, people, observed scenes and different modes of representation of the field. The latter group presents a more objective bias, representational, connected to transmission of the experiment assimilated by the sense of sight. We also note that representations of Terezín camp does not appear in the drawings of children born between 1933 and 1938. The results, in general, expand our understanding of the events and demonstrate the contribution of child art for building other narratives about the concentrationary universe.

Made available in DSpace on 2016-04-27T16:57:09Z (GMT). No. of bitstreams: 1 Marcelo Boaventura.pdf: 747797 bytes, checksum: 48d59791aadf3779843f6c584f47bff0 (MD5) Previous issue date: 2011-10-20 / The objetive of this research is to establish between geometry and a school that dealt with practical issues of Architecture, Art and Design and hás a lot of geometry to the school of Arts and Architecture Bauhaus. Whereas the educational phenomena present in this movement for Art and Architecture establish connections with Realistic Mathematics Education (E.M.R.) and Ethnomathematics, did historical research since this school and the two theories argue that knowledge can emerge from the practical issues day-to-day. We conducted two interviews with two professors of mathematics that deals with the real context and discurs the possibility of mathematics as a bridge catalyst, to explain, measure and guess the phenomena that are in different areas and social contexts, especially Art, Architecture and Design. The theoretical and methodological foundations are in dialogue with the E.M.R., Ethnomathematics and the Bauhaus. The interview was based on these theories and historical processes of the Bauhaus. The interview was based on these theories and historical processes of the teaching and learning of geometry with the three-dimension constructions as instruments of the Art and Crafts. It is a qualitative research interview as having the tools to collect data in the coding an decoding theory and practice / O objetivo desta pesquisa é estabelecer relações entre a Geometria e uma escola que lidou com questões práticas da Arquitetura, da Arte e do Design e tem muito da Geometria à escola de Artes e Arquitetura Bauhaus. Considerando que os fenômenos educacionais presentes neste movimento de Arte e Arquitetura estabelecem conexões com a Educação Matemática Realística (E.M.R.) e a Etnomatematica, fizemos uma pesquisa histórica uma vez que esta escola e a duas teorias discutem, que os conhecimentos podem emergir a partir de questões praticas do dia-a-dia. Realizamos duas entrevistas com dois professores de Matemática que lidam com questões do contexto real e que discutem a possibilidade da Matemática ser uma ponte catalisadora, para explicar, mensurar e conjecturar os fenômenos que estão nas diferentes áreas e contextos sociais em especial a Arte, Arquitetura e o Design. Os fundamentos teóricos e metodológicos estão dialogando com a E.M.R. a Etnomatemática e a Bauhaus. A entrevista pautou-se nos processos históricos dessas teorias e do processo ensino e aprendizagem de Geometria tendo como instrumentos as construções tridimensionais da Arte e do Artesanato. Trata-se de uma pesquisa qualitativa tendo a entrevista como instrumentos para a coleta de dados na codificação e decodificação da teoria com a prática