Staatliches Bauhaus in Weimar 1919–1923
State Bauhaus in Weimar 1919–1923
Facsimile edition with complete English translation
Edited by and initiated by Lars Müller in collaboration with Bauhaus-Archiv / Museum für Gestaltung, Berlin
With an essay by Astrid Bähr
The catalogue Staatliches Bauhaus in Weimar 1919–1923 was published in 1923 to accompany this first public showcase. This catalogue of its transdisciplinary oeuvre put the Bauhaus idea on paper for the first time and gave an idea of its potential. Featuring numerous projects, it also describes the theoretical doctrines of Paul Klee, Wassily Kandinsky, and Gertrud Grunow, thus conveying the teaching methods applied in the various workshops. Gropius’s preface explains the structure of the state-run Bauhaus and introduces its unique reform program, which called for and taught the unity of technology and art. Illustrations from the various workshops show projects by students whose connection with the Bauhaus is still largely unexplored today.
With the original layout by László Moholy-Nagy and a cover designed by Herbert Bayer, the book represents an important testimony to the legendary avant-garde movement, shedding light on the work and aspirations of the Bauhaus from its earliest days.
The commentary accompanying this facsimile edition places this momentous publication, rare and long out of print, in a historical context, documenting the Bauhaus from the initial idea to the standing it would attain as a preeminent school of art and design.
The German facsimile is accompanied by the first full English translation of the catalogue, making it accessible to an international audience.
2019, Edited by and initiated by Lars Müller in collaboration with Bauhaus-Archiv / Museum für Gestaltung, Berlin
226 pp., 167 ills., hardcover
The Progressive Heritage of the Bauhaus
When the Bauhaus left Dessau in 1932, no Bauhaus collection remained. Today, the collection of the Bauhaus Dessau Foundation comprises more than 50,000 objects and documents on the history of the Bauhaus and its reception. The beginnings of the collection date back to the 1970s. The publication goes back to the early years of "collecting the Bauhaus" and traces the history of Bauhaus reception in the GDR.
"I am not an art historian but an architect: the future is more important to me than the past and I am more inclined to investigate what is to come than to research what had already occured.” Thus begins Oud’s “confession” in volume 10 of the Bauhausbücher series.