bauhaus
imaginista
Photo Essay

Abraham & Thakore

NID Fashion

Abraham & Thakore was launched by David Abraham and Rakesh Thakore, textile design graduates from the National Institute of Design in Ahmedabad. They were soon joined by Kevin Nigli, an early graduate of the Fashion Design department of National Institute of Fashion Technology.

Like most designer start-ups, A&T started as a very small design studio. We began by designing and manufacturing modest batches of textile and fashion items, manufactured mostly on handlooms and tiny printing and embroidery sheds in India’s still pervasive small-scale industrial sector. And indeed, 25 years on, our supply chain is still reliant on and supportive of many of these small enterprises.

We started our business by designing small collections of loungewear and scarves, made out of fabrics we personally designed, woven firms in the towns of Mangalagiri and Pochampally, in the southeastern coastal state Andhra Pradesh. Here we found the handloom sector to be the perfect match for our modest business requirements. The small production runs the handloom sector allowed meant we could weave just 10 to 12 pieces of a unique design without running into problems. We realized that the handloom and craft industry of India, with its small decentralized workshops, was in many ways the ideal research and development laboratory, as well as being an efficient production center for every design professional dependent on small batch production. We strongly endorse the rapid turnover and economies of scale found in the Indian craft sector. As a tiny design company marketing largely handmade products, this incredible infrastructure gave A&T an extraordinary flexibility and a unique advantage, where our innovations and flexibility in design and our ability to handle low product multiples, were perfectly matched to the requirements of the specialist high-end retailer willing to pay higher prices for product exclusivity.

The design vocabulary of Abraham & Thakore is strongly shaped by the craft and textile traditions of the country. Starting with our NID education, which placed a tremendous emphasis on the study and understanding of the Indian textile tradition, the language of the brand developed in conjunction with the vocabulary of the traditional handloom resources, providing us not with not only our raw material and production base but design inspiration in many cases as well. As we developed new collections we looked at varying textile resources, from the Jamdani weavers of West Bengal to weavers from Maheshwar, block printers from Barmer and bandhini craftspeople from Bhuj. Simultaneously, as we increased our engagement with different textile traditions, craftspeople and weavers, our design vocabulary also became more diverse through the search to find ways to create contemporary expressions while using the traditional language of Indian craft in simple and direct ways. Our minimalistic design ethos also requires that we constantly seek out ways to evolve a design language that, while being reductive, does not lose the essential qualities of the traditional craft vocabulary we reference.

The following images are from various Abraham & Thakore fashion collections designed over the years. With each collection we try to develop a fashion language that addresses the particularity of India’s unique clothing sensibility. Coming from a tradition of unstitched clothing, we work with the sari in particular, searching for ways to contemporize the sari form and make a modern fashion statement. In every collection we combine both elements of tailoring and stitched construction with unstitched, draped garments, creating clothing that while relevant to contemporary living also engages with the traditions of Indian clothing. They are illustrative of the role traditional Indian textile has played in the development of our design concepts and how we are inspired by its vocabulary—the particular techniques germane to each craft tradition. We also borrow ideas and concepts from other sources when appropriate, and we also interpret different traditional dress languages by tweaking the vocabulary, by playing with proportions, and changing the context of specific elements. These images are organized roughly according to the different traditional Indian textile “groups”—by which I mean the clusters of different craft techniques and traditions that developed in different regions throughout India, with practitioners gathering in various villages, towns and cities—we focus on in our different collections. These are all living traditions and the fabrics are developed from the many different craft and textile centers spread across India.

Mangalagiri

Images 1–4
© Abraham & Thakore.

This is the name given to a cotton fabric handwoven by the handloom weavers in and around the village of Mangalagiri in the Guntur district of Andhra Pradesh. This fabric is woven in different thread counts, producing different structures in tabby weave, using a simple two shaft structure (tabby is also known as “plain weave,” the simplest construction of cloth: by using threads of different thicknesses, the weaver introduces variations in surface textures). Images one, two, three and four show designs developed on the handlooms of the region. The fabric designs have simple contrast woven borders, referring to local desi gn conventions followed in sari and dhoti borders, used as graphic design elements in the garments. The silhouettes are designed both for men and women in a mix of Indian and Western shapes.

Ikat

Images 5–7
© Abraham & Thakore.

Ikat refers to the process of yarn resist dyeing and weaving practiced in many textile production centers around India. A & T primarily works with the weavers in Puttapaka in the Golconda district of Telengana state.

In every collection our firm has released over the years, A&T has developed many innovative designs using this technique. We have mostly developed simple geometric forms in order to exploit and draw attention to the blurred right angle geometry of ikat, in which the resist dyed warp and weft yarns intertwine. Though the traditional language of pattern in Indian ikat is diverse, we have focused on the simpler geometric motifs to create designs that strongly express the precision of this exceptionally complex technique.

Image 8
© Abraham & Thakore.

Images five, six and seven show examples of our double ikat silk saris, woven in an enlarged houndstooth pattern in black, ivory and chartreuse. This particular sari design was developed for a collection where we inquired into the conventions of menswear clothing and menswear fabrics. Some of these conventions were viewed as a source of inspiration for womenswear garments designed for the Indian market. In this particular case, we looked at classic woven patterns for men’s suiting fabrics from the Western tradition such as houndstooth, Prince of Wales check, and so on, deriving a pattern language reinterpreted using traditional Indian textile techniques. The ensemble consists of a sari, a classic menswear-inspired shirt, and a belt. This ensemble is now part of the permanent archives of the Victoria and Albert Museum, displayed in The Fabric of India exhibition in 2015. It is now travelling through the United States.

Image eight shows the double ikat silk sari in black, ivory and red. Rather than patterning, this textile design uses the yarn resist technique to create solid geometric blocks of color. The fuzzy edges of each color block draw attention to the ikat technique. The sari is worn with a long sleeved choli made of industrial grade nylon, with sleeves in undyed khadi cotton.

The four designs shown in images nine, ten, eleven and twelve use double ikat to explore simple geometric forms in a variety of fabrics used in garments and accessories. Number five is handwoven silk, numbers six, seven and eight are handwoven cotton.

The four designs shown in images beneath use double ikat to explore simple geometric forms in a variety of fabrics used in garments and accessories. Number five is handwoven silk, numbers six, seven and eight are handwoven cotton.

Images 9–12
© Abraham & Thakore.

Brocade

Images 13–15
© Abraham & Thakore.

Images thirteen, fourteen and fifteen depict complex jacquard-like fabrics of silk and gold wire woven in Benares in Uttar Pradesh using the jhala system, an indigenous version of the jacquard mechanism. This sari with a non-repeat leopard skin pattern was woven in Benares on a tussar ground. The leopard skin motifs were brocaded in black silk and gold zari, then ornamented with mother of pearl sequins. The construction graph for the brocaded patterns for the five-and-a-half meter sari extended across the full length of the sari, as it was a non-repeat design. Handloom weaving allows us to produce small multiples of a particular design, enabling us to change the design after weaving, say, four pieces, and then produce something new. Our intention with this collection was to explore the creative possibilities of non-repeat designs. For a brand like ours, which is aimed at the upper segment of the market, our ability to producing exclusive, limited edition products gives our labels a unique and intrinsically Indian kind of cachet.

Images 16–17
© Abraham & Thakore.

The large scale check patterning developed for this collection (Images sixteen and seventeen) was also woven in brocade in Benares, and is based on the patterns made by the warp and weft threads as they overlap in different weave structures, such as twills and tabby.

The brocades in images eighteen and nineteen display the complex patterning possible on the brocade loom. Also woven in Benares, the layout of the fabric consists of small checks, in each of which a different pattern is woven. The fashion collection explored the conventions of wrap and tie clothing which forms the basis of many Indian garments.

Images 18–19
© Abraham & Thakore.

Block Print

Images 20–21
© Abraham & Thakore.

Textiles are hand printed with hand carved wooden blocks. This technique is practiced in many textile manufacturing centers all over India. A&T works primarily with block printers based in and around Delhi and Jaipur.

Both the silk chiffon saris in images twenty and twenty-one were developed for a collection that explored both menswear silhouettes and menswear fabrics from derived from Indian womenswear. In one case the block print design refers to the Prince of Wales suiting check, with the same design block printed on the sari and well as the coordinating shirt. In the other, the block print design was derived from a menswear herringbone tweed.

Images 22–24
© Abraham & Thakore.

Images twenty-two, twenty-three and twenty-four all show block printed stripes. The design layout explores the small repeat size of a wooden block, emphasizing the irregularity of hand block printing, which is dependent on the manual exertion of pressure required by the block printer to create each impression.

In images twenty-five or twenty-six, a contemporary color block fashion collection, blocks without engraving were used to print solid blocks of color, engineered per garment shape. This is possible with the ease in maneuverability of these small wooden hand blocks.

Images 25–26
© Abraham & Thakore.

Kantha

Images 27–29
© Abraham & Thakore.

The following images are from a collection that explored sustainable practices in fashion. We looked at the traditional Indian textile craft of Kantha. This technique of layering done in West Bengal uses hand-quilted fabrics to create stronger fabrics with warmth and stability. Traditionally done using old discarded saris, the kantha quilting technique recycles these discards into new fabrics, with old saris (or fabrics) layered and hand stitched together with a simple running stitch thereby creating sturdy quilted textiles used for blankets and shawls.

The garments in images in twenty-seven, twenty-eight, twenty-nine and thirty, display Kantha-style layered and quilted fabric. We also use the technique to create color blocking and pattern through the layering technique. We have used both hand stitching, as well as the sewing machine, to quilt the fabrics together. In images thirty-one and thirty-two, alongside the kantha technique we explored the recycling of hospital waste—discarded X-rays—die-cut to create sequins or paillettes for further ornamentation.

Images 29–30
© Abraham & Thakore.

An important focus of the design process in our work is to investigate the materiality of our products. For every fashion collection we create, while developing our designs we always take as a starting point the techniques and languages of the different textile craft techniques we are exploring. Textile traditions are deeply rooted in India and we see our design interventions as suggesting possible alternative directions within a larger tradition. The nature of the contemporary fashion market in India allows us to search for an alternative relevance to traditional textile techniques.

By adding new designs to a traditional craft, the craftsperson reaches a wider market. New designs can also extend the design vocabulary in a particular tradition and help certain craft techniques maintain continuity whilst innovating.

●Author(s)
●Latest Articles
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The National Institute of Design (NID) came into existence at the intersection of postcolonial aspirations to design a new nation and the new citizen and Cold War cultural diplomacy. It was located in Ahmedabad, a medieval western Indian city on the banks of the river Sabarmati, famous for its textile mills and as the place where Gandhi began his anti-British campaigns. Initially it was housed, perhaps quite appropriately, in a museum building designed by Le Corbusier where discussions began on the appropriate educational philosophy and pedagogy: Who would produce new lotas for the new nation? Who would teach them and how? → more

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Jawaja Project — A Case study

The NID was involved in a joint venture with the Indian Institute of Management, Ahmedabad in the adoption for development of a group of villages in Rajasthan. Could local self-reliance emerge from a process of mutual learning between communities and other groups of people? The film shows how leather work and weaving emerged as the opportunity and basis for sustained group effort. → more

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Bauhaus and the Origin of Design Education in India

This article is an example of “writing by being,” because the author had the privilege of being part of the pilot “batch” of Indian design teachers. These students, many from an engineering background, were to be India’s future design educators, and their first exposure to design education took place at the newly-founded National Institute of Design, India’s first design institute, established in 1961 and inspired to a large measure by Bauhaus ideology. → more

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Contemporary Reflections on NID History — Teaching through the Design Archive

I often stage chance encounters for students with archival materials at the NID: a rare photograph of the building in construction, an odd handwritten scribble on a drawing by M.P. Ranjan, a stunning collection of sound recordings by David Tudor and John Cage. The amazement and wonder created by this staging becomes the starting point for the pedagogical value of archives. → more

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National Institute of Design

The industrial design and visual communication projects executed by faculty members of the Industrial Design Centre (IDC), Mumbai, and the National Institute of Design (NID), Ahmedabad, reveal their strong emphasis on securing a good “standard of living” through design for the Indian masses, and projecting the image of a modernizing forward-looking nation.  → more

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On Behalf of Progressive Design — Two Modern Campuses in Transcultural Dialogue

“The Indian state has only existed for 13 years. And world history would be unthinkable without its unorthodox influence. India has delivered more new content in the last decade than any other country.” HfG Ulm founder Otl Aicher’s report on his trip to India in 1960 and the slides he took during his journey across the country are impressive observations of a country in upheaval. From today’s perspective, this material reads like an overture to the future collaboration between two design schools: the HfG Ulm and the NID in Ahmedabad.   → more

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Moving Away to the Other End of the World — Reflections on the Letters Between Tibor Weiner and Hannes Meyer from the DAM Archive

This article examines the correspondence between a teacher (Hannes Meyer) and his former student (Tibor Weiner), who met at the Bauhaus in Dessau, going on to live for a period in the Soviet Union. Each migrated to Latin America shortly before the outbreak of World War Two, and returned to Europe in the late 1940s. The surviving letters between Meyer and Weiner, preserved in the DAM Archive in Frankfurt am Main, are not only a testimony of comradeship but also a window into some key moments in the first half of the twentieth century. → more

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Biology and Educational Models in the Pacific Southern Cone

The Chilean encounter with second-order cybernetics in the early 1970s was an essential part of the modernization project the state had been promoting since the 1920s, a project which also encompasses the 1945 reform of the architecture school. But if one reviews the history of this project with greater care, one can identify the reform of the new art school of 1928, which was the product of a social movement that began after the First World War, and that was able to implement in the main school of art of the country, a “first year of trial” similar to the methodology of the Bauhaus preliminary course, influenced by the trends of the “Active” or “New” school of the time. → more

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Diagonal. Pointé. Carré — Goodbye Bauhaus? Otti Berger’s Designs for Wohnbedarf AG Zurich

Gunta Stölzl. Anni Albers. These are the most prominent names today when one thinks of actors in the Bauhaus textile workshop. Both had been involved in the textile workshop since Weimar times, shaping it through their understanding of textiles and their teaching. Otti Berger did not join the workshop until Dessau. Stölzl and Albers succeeded in leaving Germany in 1931–32. And they succeeded in continuing to work as textile designers and artists. Berger succeeded in doing this, too, but accompanied by an ongoing struggle for recognition and fair remuneration. → more

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Tropical Architecture / Building Skin

Like the modernist architecture that preceded it, tropical architecture was co-defined with modern bodies and the bodies of the tropics: initially those of colonizers but soon colonized bodies as well. The technologies of tropical architecture, based on a modernist rationalism adapted to tropical climatic conditions, were, in turn, offered as a developmental asset to colonized subjects, especially young people. → more

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Beyond Cement and Iron — Contextualizing Israeli Architecture in Africa

My focus on construction and planning is not incidental. These fields played a crucial role in space-shaping processes during the first decades of the Israeli state, as well as in the construction of the territorial identity of its new citizens. Simultaneously, during the 1960s, the modernist construction projects undertaken in African countries post-independence were also evidence of a desire amongst newly independent African nations for postcolonial national unity. → more

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Bauhaus Modernism and the Nigerian Connection — The Socio-Political Context of Arieh Sharon and the University Of Ife Design

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Nation Building through Campus Architecture — Israeli Architects Arieh Sharon and Eldar Sharon’s Obafemi Awolowo University (OAU) Campus in Ile-Ife, Nigeria, 1962–1976

The campus of Obafemi Awolowo University (OAU), Ile-Ife, Nigeria, the first phase of which was built between 1962 and 1972, is a fascinating example of modernist architecture in Africa. As a case study of Africa’s assimilation of the modern style, its design is intriguing also due to the fact that it was built by Israeli architect Arieh Sharon (1900–1984), aided by his son, Eldar Sharon (1933–1994). → more

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Colonial Architecture in Ile-Ife

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Nigerian Campus Design — A Juxtaposition of Traditional and Contemporary Architecture

The early to mid-twentieth century saw the International Style and modernism rapidly influence major Nigerian cities and towns, first as a result of colonialism and then independence. Discussing the architecture of two first-generation Nigerian Universities, the University of Ibadan and Obafemi Awolowo University, this article builds upon the established discourse concerning how architects assimilated the International Style into the tropical climate and sociocultural context of Nigeria. → more

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A Hot Topic — Tropical Architecture and Its Aftermath

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The New Culture School for Arts and Design — Launched in 1995

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●Exhibition Film Stills
Scenes from the Most Beautiful Campus in Africa — A Film about the Ife Campus

Zvi Efrat, 2019, Film stills from the Exhibition video projection, 25 min, color, sound,

English, Courtesy of the artist. → more

●Artist Work
Sketch One: Lotte and Hermina — Script-Reading and Screening by Wendelien van Oldenborgh

The script that the artist Wendelin van Oldenborgh created for bauhaus imaginista: Moving Away. The Internationalist Architect as a public moment is an insight into the development of her larger film project which will premiere as a contribution to the bauhaus imaginista exhibition at Haus der Kulturen der Welt, March 2019. It features archive material around the personas Lotte Beese and Hannes Meyer, Hermine Huiswoud and Langston Hughes. → more

●Artists Work
Bauhaus in Russia — Haunted Houses

The following material was produced during the photographic workshop Bauhaus in Russia: Haunted houses, which took place in the framework of the exhibition bauhaus imaginista. Moving Away: The Internationalist Architect at the museum of contemporary art “Garage” in Moscow. Through an open-call we invited participants from several Russian cities to take part in the visual research on both the visible and invisible legacies of the “bauhauslers”. → more

●Interview
Praised, Sentenced, Forgotten, Rediscovered — 62 Members of the Bauhaus in the Land of the Soviets

In my interview with Astrid Volpert, she reviews her decades of research on Bauhäusler who emigrated to the SU and makes it clear that there were far more than seven of them heading east. Persons traveling from the Bauhaus to Russia were from eleven countries. They belonged to various denominations—there were Protestants and Catholics, Jews and atheists. Of the 15 women and 47 men, only 21 of them were members of communist parties. → more

●Article
After the Ball — Hannes Meyer Presenting the Bauhaus in Moscow

Hannes Meyer arrived in the USSR just a couple of months after being dismissed from his position as Bauhaus director in October 1930. These months were filled with attempts by Meyer and his supporters to protest this decision through all possible means: media campaigns, open letters, student demonstration and court trials. After arriving in Moscow, Meyer carried on the fight against his unfair dismissal. → more

●Article
Meyer’s Russia, or the Land that Never Was

It is quite hard to know where to start with Hannes Meyer in Moscow. It’s hard because, while there is plenty of documentation on him and his team in the Bauhaus Brigade—as well as other Western designers and architects (of these, Ernst May is at least as significant as Meyer, as is the Dutch designer Mart Stam, and each went on to produce more substantial work than Meyer after their respective Russian episodes)—the legacy of his work there presents certain difficulties in evaluating. → more

●Article
From Recognition to Rejection — Hannes Meyer and the Reception of the Bauhaus in the Soviet Union

The history of the Stalinist critique of the Bauhaus and Hannes Meyer has two chapters. The first chapter spans the time from 1929 to the Architects’ Congress in the Soviet Union in 1937; the second consists in the condemnation of the Bauhaus in the GDR that took place on the trip by East German architects to Moscow in spring of 1950. This text tells the story of the first chapter. → more

●Translation
The Moscow Bauhaus Exhibition Catalogue (1931)

When Hannes Meyer had emigrated to the Soviet Union in 1930, one of the first things he did was organizing an exhibition about "his" Bauhaus. As early as in February 1931 Meyer had the exhibition “Bauhaus Dessau. Period of Hannes Meyer’s directorship. 1928-1930” already ready to receive the Moscow public. It was shown at the renown State Museum of New Western Art. This is the first English translation of the exhibition catalogue. → more

●Article
Communistic Functionalist — The Anglophone Reception of Hannes Meyer

Philip Johnson described Hannes Meyer as a “communistic functionalist” whose most notable achievement was to have preceded Ludwig Mies van der Rohe as director of the Bauhaus. The position he assigned to Meyer was reinforced in the Bauhaus Exhibition of 1938 at MoMA. The particular view of the Bauhaus presented at MoMA in 1938 corresponds to the place of Meyer in the historiography of modern architecture in the 1930s, ‘40s, and ‘50s. The view that Meyer’s work allegedly lacked aesthetic interest, rendering it irrelevant to an Anglophone audience. → more

●Artist Work
To Philipp Tolziner

For the exhibition bauhaus imaginista: Moving Away. The Internationalist Architect at Garage Contemporary Museum of Art, the contemporary artist Alice Creischer has been invited to respond to the personal archive of Bauhaus architect Philipp Tolziner. She produced reading of material relating to the architect’s socialist backgrounds and his work in the Soviet Union.  → more

●Exhibition Slide Show
From the Philipp Tolziner Archive, 1928–67 — Selection of Personal Dokuments

In his personal archive the architect Philipp Tolziner collected and preserved his works from his time at the Bauhaus, as well as information on the migratory existence of Bauhaus teacher Hannes Meyer and the seven students who worked as a group in the Soviet Union. → more

●Article
The Extension Buildings of the ADGB Trade Union School in Bernau — Documents of the Formalism Debate in the GDR

The former ADGB Trade Union School is regarded today as an icon of modern architecture. Designed at the Bauhaus under the direction of Hannes Meyer and Hans Wittwer together with the students of architecture, the building ensemble still stands as a paragon of collective work, reform pedagogical ideas and analytic architecture. Less attention has been paid to the extensions to the school, planned 1949–51 by Georg Waterstradt. These buildings stand as a valuable testimony to the vigor of GDR architecture. The “formalism debate” led to a rejection of Bauhaus architecture, and thus, the set of political-architectural principles exemplified by the Trade Union School. → more

●Article
The “School in the Woods” as a Socio-pedagogical Ideal — Functional Analyses and Photographs by Peterhans

The building theory classes at the Bauhaus focused on imparting a functional understanding of architecture. Building had become a science. As a result, the ADGB Trade Union School was designed logically from the inside out. Walter Peterhans’ photographs of the school images illustrate both the architect’s intentions for the building and the environmental studies conducted by Bauhaus students. → more

●Article
The “Hungarian Bauhaus” — Sándor Bortnyik’s Bauhaus-Inspired Budapest School Műhely 1928–1938

One of the many Hungarians associated with the Bauhaus, painter and graphic designer Sándor Bortnyik (1893-1976) opened his art and design school, Műhely, in Budapest in 1928 to bring the Bauhaus’s sprit and some of its teaching methods into Hungary. Even if Bortnyik’s school did not have the scope of the Bauhaus, it was an efficient experiment in an independent form of institutionalized education in the field of modern graphic design and typography. → more

●Article
Richard Paulick and the Remaking of a Greater Shanghai 1933–1949

The article focusses on Richard Paulick’s sixteen-year exile in Shanghai. It is an examination of the interaction between a Bauhaus socialist and a Far East port city in its rush to modernize at the midpoint of the twentieth century. → more

●Article
The Spread of the Bauhaus in China

As early as the end of the 19th century up to the beginning of the 20th century, which is to say before the founding of the Bauhaus and after China’s forced opening through war to the outside world, China had already been witness to various experiments in modernization. Such experiments contributed to the laying down of a foundational mindset necessary for the acceptance of the Bauhaus in China’s traditional culture. → more

●Article
Modern Vernacular — Walter Gropius and Chinese Architecture

This essay explores the connection between Walter Gropius and I. M. Pei, as well as the influence of the one on the other. After completing his studies, I. M. Pei worked with Gropius on plans for a university in Shanghai, which he subsequently realized in Taiwan, than in association with Chang Chao-Kang and Chen Chi-Kuan. → more

●Article
Bauhausmoderne und Chinesische Tradition — Franz Ehrlichs Entwurf für ein Haus des Handels in Peking (1954–1956)

In den frühen 1950er-Jahren bestanden gute diplomatische, politische und ökonomische Beziehungen zwischen der Volksrepublik China und der Deutschen Demokratischen Republik. Beide, sich als sozialistisch verstehende Staaten, waren 1949 gegründet worden. In diesem Aufsatz geht es um die besondere Beziehung zur chinesischen Architektur, Kunst und Gestaltung, die Franz Ehrlich entwickelte. → more

●Correspondent Report, Hangzhou
Weaving through Hangzhou and Moving Away

As a correspondent for the bauhaus imaginista project, I was invited to share my impressions and thoughts of the exhibition in Hangzhou. The following text and gif collage is a personal encounter with Moving Away and an attempt to capture the affective dimension of the exhibition. → more

●Video
Architects’ Congress

The passenger ship Patris II transported the participants of the 4th International Congresses of Modern Architecture (CIAM) from Marseilles to Athens and back. Bauhaus teacher Moholy-Nagy, travelling as a “friend of the new building movement” produced this half-hour soundless film as a travel journal. → more

●Exhibition Slide Show
Bauhaus in China

In 2012, China Academy of Art (Hangzhou) set up the Bauhaus Institute in the context of establishing Bauhaus and European modern design collections. The Bauhaus Institute aims to explore the value of the Bauhaus heritage in the development of contemporary design through academic research, education & the popularization of design. → more

●Article
Selman Selmanagić at the Crossroads of Different Cultures — From Childhood Years in Bosnia to Bauhaus Education and Travels

Selman Selmanagić’s childhood years in Bosnia, on the eve of the First World War, as well as his education in Sarajevo, Ljubljana and at Bauhaus Dessau between the two world wars, together with his work in Palestine and Berlin, shaped his worldview and experience with different cultures and traditions. Throughout his career, he perpetually strove to find contemporary answers for the challenges of the time he was living in. → more

●Article
For the Faculty of Architecture at METU — Bauhaus was a Promise

“ARCH 101 Basic Design” is the title of the introductory course offered to the first-year students in the METU Faculty of Architecture (Middle East Technical University, Ankara). Since the establishment of the school, this course has been conducted with a very strong Bauhaus impact. → more

●Exhibition Slide Show
Bauhaus Exhibition Design

From the outset the Bauhaus created several national and international exhibitions to promote the school’s educational ideas, architecture and design ethos. These exhibitions had a significant impact on its reception. → more

●Article
From Social Democratic Experiment to Postwar Avant-Gardism — Asger Jorn and the International Movement for an Imaginist Bauhaus

The project bauhaus imaginista would be negligent if it did not address the artist group referenced by its title, the Mouvement Internationale pour un Bauhaus Imaginiste (International Movement for an Imaginist Bauhaus, or IMIB), founded in 1953 by Danish artist Asger Jorn together with a handful of French and Italian colleagues. Many of the theoretical and artistic positions advocated by the IMIB were developed dialectically in response both to the historical Bauhaus and the reconstitution of a Bauhaus-inspired pedagogical program at the Hochschule für Gestaltung (HfG) in Ulm. → more

●Translation
Letter from Asger Jorn to Max Bill — February 12, 1954

Asger Jorn read of Max Bill’s plans for the new Hochschule für Gestaltung in Ulm (HfG), a school modeled after the Bauhaus, in the British Architects’ Yearbook 1953, where Bill had placed a promotional article to attract prospective students and teachers. Excited by the possibility of participating in a new democratic pedagogical experiment and in pursuing his interest in fusing art and architecture, he wrote to Bill, inquiring about the role of art at Ulm and expressing his desire to secure a teaching position.

This is a translation of one of the letters Jorn send to Bill. → more

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