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(I've Had) The Time of My Life
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"(I've Had) The Time of My Life"
Single by Bill Medley and Jennifer Warnes
from the album Dirty Dancing
B-side
"Love Is Strange"
by Mickey & Sylvia
Released
September 1987
Format
7" single
12" maxi
cassette
CD single
Recorded
1987
Length
4:47 (LP and single version)
6:46 (extended version)
Label
RCA Records
Songwriter(s)
John DeNicola
Donald Markowitz
Franke Previte
Producer(s)
Michael Lloyd
Music video
"(I've Had) The Time Of My Life" on YouTube
Alternative cover
7" - U.S.
"(I've Had) The Time of My Life" is a 1987 song composed by Franke Previte, John DeNicola, and Donald Markowitz.[1] It was recorded by Bill Medley and Jennifer Warnes, and used as the theme song for the 1987 film Dirty Dancing.[1] The song has won a number of awards, including an Academy Award for "Best Original Song", a Golden Globe Award for "Best Original Song", and a Grammy Award for Best Pop Performance by a Duo or Group with Vocals.
Contents
[hide]
1 History
2 Music video
3 Chart performance
4 Awards
5 Cover versions and samples
6 Formats and track listings
7 Charts
7.1 Weekly charts
7.2 Year-end charts
7.3 Certifications
8 See also
9 References
History[edit]
Singer-songwriter Previte was the lead singer of the band Franke and the Knockouts. He had success with the song "Sweetheart" in 1981, but by 1986 was without a recording contract. In late 1986 or early 1987, producer and head of Millennium Records, Jimmy Ienner, asked Previte about writing some music for "a little movie called Dirty Dancing". Previte initially turned the request down because he was still trying to get a record deal,[2] but Ienner was persistent, and got Previte to write several songs for the film, including "Hungry Eyes", later recorded by singer Eric Carmen, which also became a top 10 hit.
Previte wrote the lyrics, and the music was written by John DeNicola and Don Markowitz. After getting further approval, Previte created a demo of the song, performing on it himself, along with singer Rachele Cappelli. The demo showcased how the harmonies were to be used, employing a "cold open", or a slow build-up of the song to its finale. This demo wasn't used in the final cut of the film − the more polished version with Warnes and Medley was. However, because the Warnes/Medley track was not ready by the time the finale was filmed (it was shot first, due to the tight budget), Previte and Capelli's much lighter and more youthful version was used as a backing track, so that the actors, Patrick Swayze and Jennifer Grey, and the dancers, could have something to dance to (Swayze had later remarked it was his favorite version, even including all the subsequent remakes). The demo version finally appeared on the 1998 CD reissue of Previte's 1981 album Franke and the Knockouts, but is only listed as "Bonus Track".
The song was initially intended for Donna Summer and Joe Esposito, but they turned it down.[citation needed] Bill Medley was approached by Jimmy Ienner repeatedly over two months to do the recording, but he also turned it down because his daughter McKenna was due to be born, and he had promised his wife he would be there.[3] After the birth of his daughter, Medley was approached again, because Jennifer Warnes had indicated she would record the song if she could do the duet with Medley.[4] Medley then agreed to record the track. With the release of the film it became a worldwide hit, and is one of the most frequently played songs on radio.
A song by Lionel Richie was initially planned to be used as the finale of Dirty Dancing,[3] but choreographer Kenny Ortega and his assistant Miranda Garrison (who also played Vivian in the film) selected "The Time of My Life" instead.
Music video[edit]
A music video was produced for this song in October 1987. The video features several couples dancing like in the movie, and it also featured clips from it.
Chart performance[edit]
In the United States, the single topped the Billboard Hot 100 chart in November 1987 for one week and also reached number one on the Adult Contemporary for four weeks.[5] In the United Kingdom the song had two chart outings: in November 1987, after the film's initial release, the song peaked at No. 6;[1] in January 1991, after the film was shown on mainstream television, the song reached No. 8.[6]
Awards[edit]
Academy Award for Best Original Song, 1987[1]
Grammy Award for Best Pop Performance by a Duo or Group with Vocals, 1988
Golden Globe Award for Best Original Song, 1988
ASCAP "Most Performed Songs from Motion Pictures" and "ASCAP Songwriter Of The Year" for its writer.[7]
In 2004 AFI's 100 Years...100 Songs survey placed it #86 among the top tunes in American cinema.
Cover versions and samples[edit]
In 2003, the top 11 contestants of the first season of Canadian Idol performed it as a group number during the season finale.
The song was covered in 2004 by Carmen & Piero and their version features on Best of Mundart and Duets.[8]
Taylor Hicks and Katharine McPhee performed a version as their final duet during the fifth-season finale of American Idol in 2006.
The song was covered in 2006 by British glamour model Katie Price and her then-husband, pop singer Peter Andre. The track is included on their 2006 album of duets A Whole New World.
In 2007, the song was performed by British girl group Girls Aloud on their concert The Greatest Hits Tour (Girls Aloud)
The 2007 compilation Over The Rainbow featured a cover of the song by Jermaine Jackson and R&B/dance music singer Jocelyn Brown.
Barry Manilow covered the song on his 2008 album of cover songs, The Greatest Songs of the Eighties.
The song appeared on the Fox series Glee in the second-season episode "Special Education". It was sung by Quinn (Dianna Agron) & Sam (Chord Overstreet) as the opening ballad at Sectionals. It is also featured on the soundtrack Glee: The Music, Volume 4.
Sam Milby and Toni Gonzaga covered this song on their 2009 album Love Duets.[9]
In 2009, Namibian singer Nianell and South African singer Dozi included a version on their duet covers album It Takes Two.[10]
In 2010, The Black Eyed Peas sampled the chorus in their song, "The Time (Dirty Bit)" (from the album The Beginning), with the line "Yes, I swear it's the truth" changed to "And I swear this is true".
The song's original recording is a regular staple at live shows of the Norwegian electro rock band, Datarock, and is frequently performed as a sing-along by band and audience.
In 2011, Kris Lawrence and Kyla record their version for the show Time of My Life as the show's theme song.
The song has also been used as a commercial jingle for Sandals Resorts.
German jazz-metal band Panzerballett covered this song in their 2012 album Tank Goodness.
This song was covered by the Strictly Come Dancing band and singers, led by David Arch, in 2012, as the backing for gymnast Louis Smith and professional dancer Flavia Cacace's salsa in week 3 and the first part of the final.
In the Major Crimes episode "There's No Place Like Home", a suspect's alibi was that he was doing the song karaoke. The Major Crimes squad watched his performance for a minute but quickly shut it off when the suspect started dancing. At the end of the episode, the credits were played over a scene of the man singing and dancing to the song with a partner rather than the regular black screen.
In 2014, the song was recorded by Kerry Ellis and Joe McElderry for Ellis' self-titled album.[11]
In 2015, on the 21th season of U.S reality/competition show Dancing with the Stars wildlife expert Bindi Irwin and her dance partner Derek Hough danced the rumba to it on week 6 and got the highest score of the night.
In 2016, Jodie Sweetin and Macy Gray covered the song in the third episode of Fuller House "Funner House" while Candace Cameron Bure and Andrea Barber danced to "(I've Had) The Time of My Life" in the same episode.
In 2016, The Netherlands LuckyTV released a video that lip-synched the second Clinton-Trump presidential debate to the song so that it looked like Donald Trump and Hillary Clinton were singing a duet.[12] The video later went viral on YouTube, with approximately 777,000 views in the first day.[13]
British rock band The Darkness play the song after their gigs are finished.
In 2017, during the credits of the Bob's Burgers episode "Thelma & Louise Except Thelma is Linda", Teddy (Larry Murphy) and Bob (H. Jon Benjamin) sing it.
Formats and track listings[edit]
7" single
"(I've Had) The Time of My Life" (4:47)
"Love Is Strange" by Mickey & Sylvia (2:52)
12" maxi and CD single
"(I've Had) The Time of My Life" (4:47)
"In the Still of the Night" by The Five Satins (2:59)
"Love Is Strange" by Mickey & Sylvia (2:53)
"Overload" by Zappacosta (3:39)
Cassette
"(I've Had) The Time of My Life" (4:47)
"In the Still of the Night" by The Five Satins (2:59)
"Love Is Strange" by Mickey & Sylvia (2:53)
"Overload" by Zappacosta (3:39)
Charts[edit]
Weekly charts[edit]
Chart (1987–1988)
Peak
position
Australia (ARIA)[14] 1
Austria (Ö3 Austria Top 40)[15] 3
Belgium (Ultratop 50 Flanders)[16] 1
Canada Top Singles (RPM)[17] 1
Germany (Official German Charts)[18] 5
Ireland (IRMA)[19] 5
Netherlands (Dutch Top 40)[20] 1
Spain (AFYVE)[21] 5
Sweden (Sverigetopplistan)[22] 12
Switzerland (Schweizer Hitparade)[23] 5
UK Singles (Official Charts Company)[24] 6
US Billboard Hot 100[25] 1
US Adult Contemporary (Billboard)[26] 1
Chart (1990)
Peak
position
UK Singles (Official Charts Company)[27] 8
Chart (1991)
Peak
position
Ireland (IRMA)[19] 17
Chart (1992)
Peak
position
France (SNEP)[28] 5
Chart (1993)
Peak
position
France (SNEP)[28] 48
Chart (2017)
Peak
position
Poland (Polish Airplay Top 100)[29] 40
Year-end charts[edit]
Chart (1988)
Position
Australian Singles Chart[30] 1
Austrian Singles Chart[31] 28
Belgian (Flanders) Singles Chart[32] 1
Dutch Top 40[33] 1
Certifications[edit]
Country
Certification
Date
Sales certified
Australia[34] Gold 1987 50,000
Canada[35] Gold January 12, 1988 50,000
Netherlands[36] Platinum 1988 60,000
U.S.[37] Gold February 24, 1989 500,000
See also[edit]
The Time (Dirty Bit)
List of Hot 100 number-one singles of 1987 (U.S.)
List of number-one adult contemporary singles of 1987 (U.S.)
List of number-one singles in Australia during the 1980s
List of Dutch Top 40 number-one singles of 1988
References[edit]
^ Jump up to: a b c d Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 136. ISBN 1-904994-10-5.
Jump up ^ Robert Dye (October 10, 2014). "The Times In His Life: A Q&A With Franke Previte". American Songwriter.
^ Jump up to: a b "(I've Had) The Time of My Life by Bill Medley and Jennifer Warnes". Song Facts.
Jump up ^ Bill Medley (April 24, 2014). The Time of My Life: A Righteous Brother's Memoir. Da Capo Press. pp. 138–139. ISBN 978-0306823169.
Jump up ^ Whitburn, Joel (2002). Top Adult Contemporary: 1961-2001. Record Research. p. 167.
Jump up ^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 359. ISBN 1-904994-10-5.
Jump up ^ "John DeNicola Bio". Archived from the original on 2016-01-14.
Jump up ^ Best of Mundart and Duets, track listings and charts Lescharts.com (Retrieved July 25, 2008)
Jump up ^ Sam Milby and Toni Gonzaga--I've had the time of my life Cover https://www.youtube.com/watch?v=XRABcfKRnLQ
Jump up ^ "Retrieved 7 January 2014". Kalahari.com. 2011-09-20. Retrieved 2014-03-20.
Jump up ^ "Kerry Ellis by Kerry Ellis on Apple Music". iTunes. Retrieved 29 June 2017.
Jump up ^ Spata, Christopher (October 10, 2016). "Watch Donald Trump and Hillary Clinton Sing 'Time of My Life' During the Presidential Debate". Complex. Retrieved October 12, 2016.
Jump up ^ Ernst, Douglas (October 11, 2016). "Donald Trump, Hillary Clinton ‘(I’ve Had) The Time of My Life’ debate video goes viral". The Washington Times. Retrieved October 12, 2016.
Jump up ^ "Australian-charts.com – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life". ARIA Top 50 Singles.
Jump up ^ "Austriancharts.at – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life" (in Dutch). Ultratop 50.
Jump up ^ Canada, Library and Archives (17 July 2013). "Image : RPM Weekly". bac-lac.gc.ca. Retrieved 29 June 2017.
Jump up ^ "Offiziellecharts.de – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life". GfK Entertainment Charts.
^ Jump up to: a b Irish Single Chart Irishcharts.ie (Retrieved April 7, 2008)
Jump up ^ "Nederlandse Top 40 – Bill Medley & Jennifer Warnes search results" (in Dutch) Dutch Top 40.
Jump up ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Swedishcharts.com – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life". Singles Top 100.
Jump up ^ "Swisscharts.com – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life". Swiss Singles Chart.
Jump up ^ "Bill Medley: Artist Chart History". Official Charts Company. Retrieved May 13, 2017.
Jump up ^ "Bill Medley – Chart history" Billboard Hot 100 for Bill Medley. Retrieved May 13, 2017.
Jump up ^ "Bill Medley – Chart history" Billboard Adult Contemporary for Bill Medley. Retrieved May 13, 2017.
Jump up ^ "(I've Had) The Time of My Life" (1990 issue), UK Singles Chart. Chartstats.com. Retrieved April 7, 2008.
^ Jump up to: a b "Lescharts.com – Bill Medley & Jennifer Warnes – (I've Had) The Time of My Life" (in French). Les classement single.
Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 100. Retrieved May 15, 2017.
Jump up ^ 1988 Australian Singles Chart. aria.com. Retrieved July 25, 2008.
Jump up ^ 1988 Austrian Singles Chart Austriancharts.at. Retrieved July 25, 2008.
Jump up ^ "1988 Belgian Flanders Singles Chart" (in Dutch). ultratop.be. Retrieved 7 March 2014.
Jump up ^ "Single top 100 over 1988" (PDF) (in Dutch). Top40. Retrieved 22 September 2010.
Jump up ^ [1]. cria.ca. Retrieved April 21, 2012.
Jump up ^ Canada certifications Archived 2009-04-12 at the Wayback Machine.. cria.ca. Retrieved July 25, 2008.
Jump up ^ Dutch certifications. nvpi.nl. Retrieved December 9, 2008.
Jump up ^ U.S. certifications Archived 2015-09-24 at the Wayback Machine.. riaa.com. Retrieved July 25, 2008.
[show]
v
t
e
Bill Medley
Albums
Damn Near Righteous
Singles
"Statue of a Fool"
"Don't Know Much"
"I Still Do"
"(I've Had) The Time of My Life"
Portal:R&B and Soul Music
[show]
v
t
e
Jennifer Warnes
Studio albums
Jennifer
Jennifer Warnes
Shot Through the Heart
Famous Blue Raincoat
The Hunter
The Well
Singles
"Easy to Be Hard"
"Right Time of the Night"
"Don't Make Me Over"
"It Goes Like It Goes"
"Up Where We Belong"
"All the Right Moves"
"First We Take Manhattan"
"(I've Had) The Time of My Life"
Compilations
Best of Jennifer Warnes
Love Lifts Us Up: A Collection 1968-83
[show]
v
t
e
Academy Award for Best Original Song
1934–1940
"The Continental"
Music: Con Conrad
Lyrics: Herb Magidson (1934)
"Lullaby of Broadway"
Music: Harry Warren
Lyrics: Al Dubin (1935)
"The Way You Look Tonight"
Music: Jerome Kern
Lyrics: Dorothy Fields (1936)
"Sweet Leilani"
Music and lyrics: Harry Owens (1937)
"Thanks for the Memory"
Music: Ralph Rainger
Lyrics: Leo Robin (1938)
"Over the Rainbow"
Music: Harold Arlen
Lyrics: E. Y. Harburg (1939)
"When You Wish upon a Star"
Music: Leigh Harline
Lyrics: Ned Washington (1940)
1941–1950
"The Last Time I Saw Paris"
Music: Jerome Kern
Lyrics: Oscar Hammerstein II (1941)
"White Christmas"
Music and Lyrics: Irving Berlin (1942)
"You'll Never Know"
Music: Harry Warren
Lyrics: Mack Gordon (1943)
"Swinging on a Star"
Music: Jimmy Van Heusen
Lyrics: Johnny Burke (1944)
"It Might as Well Be Spring"
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II (1945)
"On the Atchison, Topeka and the Santa Fe"
Music: Harry Warren
Lyrics: Johnny Mercer (1946)
"Zip-a-Dee-Doo-Dah"
Music: Allie Wrubel
Lyrics: Ray Gilbert (1947)
"Buttons and Bows"
Music: Jay Livingston
Lyrics: Ray Evans (1948)
"Baby, It's Cold Outside"
Music and Lyrics: Frank Loesser (1949)
"Mona Lisa"
Music and Lyrics: Ray Evans and Jay Livingston (1950)
1951–1960
"In the Cool, Cool, Cool of the Evening"
Music: Hoagy Carmichael
Lyrics: Johnny Mercer (1951)
"High Noon (Do Not Forsake Me, Oh My Darlin')"
Music: Dimitri Tiomkin
Lyrics: Ned Washington (1952)
"Secret Love"
Music: Sammy Fain
Lyrics: Paul Francis Webster (1953)
"Three Coins in the Fountain"
Music: Jule Styne
Lyrics: Sammy Cahn (1954)
"Love Is a Many Splendored Thing"
Music: Sammy Fain
Lyrics: Paul Francis Webster (1955)
"Que Sera, Sera (Whatever Will Be, Will Be)"
Music and lyrics: Jay Livingston and Ray Evans (1956)
"All the Way"
Music: Jimmy Van Heusen
Lyrics: Sammy Cahn (1957)
"Gigi"
Music: Frederick Loewe
Lyrics: Alan Jay Lerner (1958)
"High Hopes"
Music: Jimmy Van Heusen
Lyrics: Sammy Cahn (1959)
"Never on Sunday"
Music and lyrics: Manos Hatzidakis (1960)
1961–1970
"Moon River"
Music: Henry Mancini
Lyrics: Johnny Mercer (1961)
"Days of Wine and Roses"
Music: Henry Mancini
Lyrics: Johnny Mercer (1962)
"Call Me Irresponsible"
Music: Jimmy Van Heusen
Lyrics: Sammy Cahn (1963)
"Chim Chim Cher-ee"
Music and lyrics: Richard M. Sherman and Robert B. Sherman (1964)
"The Shadow of Your Smile"
Music: Johnny Mandel
Lyrics: Paul Francis Webster (1965)
"Born Free"
Music: John Barry
Lyrics: Don Black (1966)
"Talk to the Animals"
Music and lyrics: Leslie Bricusse (1967)
"The Windmills of Your Mind"
Music: Michel Legrand
Lyrics: Alan and Marilyn Bergman (1968)
"Raindrops Keep Fallin' on My Head"
Music: Burt Bacharach
Lyrics: Hal David (1969)
"For All We Know"
Music: Fred Karlin
Lyrics: Robb Royer and Jimmy Griffin (1970)
1971–1980
"Theme from Shaft"
Music and lyrics: Isaac Hayes (1971)
"The Morning After"
Music and lyrics: Al Kasha and Joel Hirschhorn (1972)
"The Way We Were"
Music: Marvin Hamlisch
Lyrics: Alan and Marilyn Bergman (1973)
"We May Never Love Like This Again"
Music and lyrics: Al Kasha and Joel Hirschhorn (1974)
"I'm Easy"
Music and lyrics: Keith Carradine (1975)
"Evergreen (Love Theme from A Star Is Born)"
Music: Barbra Streisand
Lyrics: Paul Williams (1976)
"You Light Up My Life"
Music and lyrics: Joseph Brooks (1977)
"Last Dance"
Music and lyrics: Paul Jabara (1978)
"It Goes Like It Goes"
Music: David Shire
Lyrics: Norman Gimbel (1979)
"Fame"
Music: Michael Gore
Lyrics: Dean Pitchford (1980)
1981–1990
"Arthur's Theme (Best That You Can Do)"
Music and lyrics: Burt Bacharach, Carole Bayer Sager, Christopher Cross and Peter Allen (1981)
"Up Where We Belong"
Music: Jack Nitzsche and Buffy Sainte-Marie
Lyrics: Will Jennings (1982)
"Flashdance... What a Feeling"
Music: Giorgio Moroder
Lyrics: Keith Forsey and Irene Cara (1983)
"I Just Called to Say I Love You"
Music and lyrics: Stevie Wonder (1984)
"Say You, Say Me"
Music and lyrics: Lionel Richie (1985)
"Take My Breath Away"
Music: Giorgio Moroder
Lyrics: Tom Whitlock (1986)
"(I've Had) The Time of My Life"
Music: Franke Previte, John DeNicola and Donald Markowitz
Lyrics: Franke Previte (1987)
"Let the River Run"
Music and lyrics: Carly Simon (1988)
"Under the Sea"
Music: Alan Menken
Lyrics: Howard Ashman (1989)
"Sooner or Later (I Always Get My Man)"
Music and Lyrics: Stephen Sondheim (1990)
1991–2000
"Beauty and the Beast"
Music: Alan Menken
Lyrics: Howard Ashman (1991)
"A Whole New World"
Music: Alan Menken
Lyrics: Tim Rice (1992)
"Streets of Philadelphia"
Music and lyrics: Bruce Springsteen (1993)
"Can You Feel the Love Tonight"
Music: Elton John
Lyrics: Tim Rice (1994)
"Colors of the Wind"
Music: Alan Menken
Lyrics: Stephen Schwartz (1995)
"You Must Love Me"
Music: Andrew Lloyd Webber
Lyrics: Tim Rice (1996)
"My Heart Will Go On"
Music: James Horner
Lyrics: Will Jennings (1997)
"When You Believe"
Music and lyrics: Stephen Schwartz (1998)
"You'll Be in My Heart"
Music and lyrics: Phil Collins (1999)
"Things Have Changed"
Music and lyrics: Bob Dylan (2000)
2001–2010
"If I Didn't Have You"
Music and lyrics: Randy Newman (2001)
"Lose Yourself"
Music: Eminem, Jeff Bass and Luis Resto
Lyrics: Eminem (2002)
"Into the West"
Music and lyrics: Fran Walsh, Howard Shore and Annie Lennox (2003)
"Al otro lado del río"
Music and lyrics: Jorge Drexler (2004)
"It's Hard out Here for a Pimp"
Music and lyrics: Juicy J, Frayser Boy and DJ Paul (2005)
"I Need to Wake Up"
Music and lyrics: Melissa Etheridge (2006)
"Falling Slowly"
Music and lyrics: Glen Hansard and Markéta Irglová (2007)
"Jai Ho"
Music: A. R. Rahman
Lyrics: Gulzar (2008)
"The Weary Kind"
Music and lyrics: Ryan Bingham and T Bone Burnett (2009)
"We Belong Together"
Music and lyrics: Randy Newman (2010)
2011–present
"Man or Muppet"
Music and lyrics: Bret McKenzie (2011)
"Skyfall"
Music and lyrics: Adele Adkins and Paul Epworth (2012)
"Let It Go"
Music and lyrics: Kristen Anderson-Lopez and Robert Lopez (2013)
"Glory"
Music and lyrics: John Stephens and Lonnie Lynn (2014)
"Writing's on the Wall"
Music and lyrics: James Napier and Sam Smith (2015)
"City of Stars"
Music: Justin Hurwitz
Lyrics: Benj Pasek and Justin Paul (2016)
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Categories:
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Bauhaus
From Wikipedia, the free encyclopedia
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For other uses, see Bauhaus (disambiguation).
The three Bauhaus schools
Bauhaus building in Weimar
Bauhaus building in Dessau
Memorial plate Bauhaus Berlin
Bauhaus and its Sites in Weimar, Dessau and Bernau
UNESCO World Heritage site
ADGB Trade Union School in Bernau
Location
Germany
Criteria
Cultural: ii, iv, vi
Reference
729
Inscription
1996 (20th Session)
Extensions
2017
Area
8.1614 ha
Buffer zone
59.26 ha
Weimar
Dessau
Bernau
1921/2, Walter Gropius' Expressionist Monument to the March Dead
Typography by Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005
Staatliches Bauhaus (German: [ˈʃtaːtlɪçəs ˈbaʊˌhaʊs] ( listen)), commonly known simply as Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught.[1]
The Bauhaus was founded by Walter Gropius in Weimar. The German term Bauhaus—literally "building house"—was understood as meaning "School of Building", but in spite of its name and the fact that its founder was an architect, the Bauhaus did not have an architecture department during its first years of existence. Nonetheless, it was founded with the idea of creating a "total" work of art (Gesamtkunstwerk) in which all arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design and architectural education.[2] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.[3]
The school existed in three German cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933, under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Although the school was closed, the staff continued to spread its idealistic precepts as they left Germany and emigrated all over the world.[4]
The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
Contents
1 Bauhaus and German modernism
1.1 Bauhaus and Vkhutemas
2 History of the Bauhaus
2.1 Weimar
2.2 Dessau
2.3 Berlin
3 Architectural output
4 Impact
4.1 The White City
5 Bauhaus staff and students
6 See also
7 Footnotes
8 References
9 Bibliography
10 External links
Bauhaus and German modernism[edit]
The Bauhaus Museum, Tel Aviv
Further information: New Objectivity (architecture)
Germany's defeat in World War I, the fall of the German monarchy and the abolition of censorship under the new, liberal Weimar Republic allowed an upsurge of radical experimentation in all the arts, which had been suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius did not share these radical views, and said that Bauhaus was entirely apolitical.[5] Just as important was the influence of the 19th century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function.[6] Thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).
Bauhaus building in Chemnitz
The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period.
The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.
Bauhaus and Vkhutemas[edit]
Main article: Vkhutemas
The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner.[7] Both schools were state-sponsored initiatives to merge the craft tradition with modern technology, with a basic course in aesthetic principles, courses in color theory, industrial design, and architecture.[7] Vkhutemas was a larger school than the Bauhaus,[8] but it was less publicised outside the Soviet Union and consequently, is less familiar in the West.[9]
With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.[10] The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there.
History of the Bauhaus[edit]
Weimar[edit]
The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde.[11] When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should head the institution and the socio-economic meanings of a reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.[12] In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons.[13] The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer who headed the theater workshop, and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky.[14]
The main building of the Bauhaus-University Weimar (built 1904–1911, designed by Henry van de Velde to house the sculptors’ studio at the Grand Ducal Saxon Art School. Designated as a UNESCO World Heritage Site in 1996).
Foyer of the Bauhaus-University Weimar with Jugendstil staircase
From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or "preliminary course" that was the introduction to the ideas of the Bauhaus.[12] Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.[14]
Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."[15] Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic merit. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the Weimar Republic lacked the quantity of raw materials available to the United States and Great Britain, it had to rely on the proficiency of a skilled labor force and an ability to export innovative and high quality goods. Therefore, designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry.[16][17]
Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. The school in Weimar experienced political pressure from conservative circles in Thuringian politics, increasingly so after 1923 as political tension rose. One condition placed on the Bauhaus in this new political environment was the exhibition of work undertaken at the school. This condition was met in 1923 with the Bauhaus' exhibition of the experimental Haus am Horn.[18] The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. On 26 December 1924 the Bauhaus issued a press release and setting the closure of the school for the end of March 1925.[19][20] At this point they had already been looking for alternative sources of funding. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus-University Weimar.
Dessau[edit]
Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House.[21] During the Dessau years, there was a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer.
Meyer became director when Gropius resigned in February 1928,[1] and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs. This approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.
But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. Even though Meyer shifted the orientation of the school further to the left than it had been under Gropius, he didn't want the school to become a tool of left-wing party politics. He prevented the formation of a student communist cell, and in the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Dessau mayor Fritz Hesse fired him in the summer of 1930.[22] The Dessau city council attempted to convince Gropius to return as head of the school, but Gropius instead suggested Ludwig Mies van der Rohe. Mies was appointed in 1930, and immediately interviewed each student, dismissing those that he deemed uncommitted. Mies halted the school's manufacture of goods so that the school could focus on teaching. Mies appointed no new faculty other than his close confidant Lilly Reich. By 1931, the National Socialist German Workers' Party (Nazi Party) was becoming more influential in German politics. When they gained control of the Dessau City Council they moved to close the school.[23]
Berlin[edit]
In late 1932, Mies rented a derelict factory in Berlin (Birkbusch Street 49) to use as the new Bauhaus with his own money. The students and faculty rehabilitated the building, painting the interior white. The school operated for ten months without further interference from the Nazi Party. In 1933, the Gestapo closed down the Berlin school. Mies protested the decision, eventually speaking to the head of the Gestapo, who agreed to allow the school to re-open. However, shortly after receiving a letter permitting the opening of the Bauhaus, Mies and the other faculty agreed to voluntarily shut down the school[when?].[23]
Although neither the Nazi Party nor Adolf Hitler had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in 1930.
Even before the Nazis came to power, political pressure on Bauhaus had increased. The Nazi movement, from nearly the start, denounced the Bauhaus for its "degenerate art", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism".[1] Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was pressured to close in April 1933. Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the "New Bauhaus" of Chicago:[24] Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute (now Illinois Institute of Technology) in Chicago and to seek building commissions.[a] The simple engineering-oriented functionalism of stripped-down modernism, however, did lead to some Bauhaus influences living on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahn (highways) in 1935, many of the bridges and service stations were "bold examples of modernism"—among those submitting designs was Mies van der Rohe.[25]
Architectural output[edit]
The paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building,[26] the school did not offer classes in architecture until 1927. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.
In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution.
Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither van der Rohe nor his Bauhaus students saw any projects built during the 1930s.
The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. The housing Taut built in south-west Berlin during the 1920s, close to the U-Bahn stop Onkel Toms Hütte, is still occupied.
A stage in the Festsaal, Dessau
Ceiling with light fixtures for stage in the Festsaal, Dessau
Dormitory balconies in the residence, Dessau
Mechanically opened windows, Dessau
The Mensa (Cafeteria), Dessau
Impact[edit]
Typewriter Olivetti Studio 42 designed by the Bauhaus-alumnus Alexander Schawinsky in 1936
The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel in the decades following its demise, as many of the artists involved fled, or were exiled by, the Nazi regime. Tel Aviv in 2004 was named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture;[27][28] it had some 4,000 Bauhaus buildings erected from 1933 onwards.
In 1928, the Hungarian painter Alexander Bortnyik founded a school of design in Budapest called Miihely (also "Muhely"[29] or "Mugely"[30]), which means "the studio".[31] Located on the seventh floor of a house on Nagymezo Street,[31] it was meant to be the Hungarian equivalent to the Bauhaus.[32] The literature sometimes refers to it—in an oversimplified manner—as "the Budapest Bauhaus".[33] Bortnyik was a great admirer of László Moholy-Nagy and had met Walter Gropius in Weimar between 1923 and 1925.[34] Moholy-Nagy himself taught at the Miihely. Victor Vasarely, a pioneer of Op Art, studied at this school before establishing in Paris in 1930.[35]
Walter Gropius, Marcel Breuer, and Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. Their collaboration produced The Aluminum City Terrace in New Kensington, Pennsylvania and the Alan I W Frank House in Pittsburgh, among other projects. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I. M. Pei, Lawrence Halprin and Paul Rudolph, among many others.
In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design (German: Hochschule für Gestaltung—HfG Ulm) in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the "Ulm Model" concept continues to influence international design education.[36]
The influence of the Bauhaus on design education was significant. One of the main objectives of the Bauhaus was to unify art, craft, and technology, and this approach was incorporated into the curriculum of the Bauhaus. The structure of the Bauhaus Vorkurs (preliminary course) reflected a pragmatic approach to integrating theory and application. In their first year, students learnt the basic elements and principles of design and colour theory, and experimented with a range of materials and processes.[37][38] This approach to design education became a common feature of architectural and design school in many countries. For example, the Shillito Design School in Sydney stands as a unique link between Australia and the Bauhaus. The colour and design syllabus of the Shillito Design School was firmly underpinned by the theories and ideologies of the Bauhaus. Its first year foundational course mimicked the Vorkurs and focused on the elements and principles of design plus colour theory and application. The founder of the school, Phyllis Shillito, which opened in 1962 and closed in 1980, firmly believed that "A student who has mastered the basic principles of design, can design anything from a dress to a kitchen stove".[39]
One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair and the Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over the rights to the cantilever chair patent. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, thus leading to the patent dispute.) The single most profitable tangible product of the Bauhaus was its wallpaper.
The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s.[40] In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.
Later evaluation of the Bauhaus design credo was critical of its flawed recognition of the human element, an acknowledgment of "… the dated, unattractive aspects of the Bauhaus as a projection of utopia marked by mechanistic views of human nature…Home hygiene without home atmosphere."[41]
The White City[edit]
The White City of Tel Aviv (Hebrew: העיר הלבנה, Ha-Ir HaLevana) refers to a collection of over 4,000 Bauhaus or International style buildings built in Tel Aviv from the 1930s by German Jewish architects who emigrated to the British Mandate of Palestine after the rise of the Nazis. Tel Aviv has the largest number of buildings in this style of any city in the world. In 2003, the United Nations Educational, Scientific and Cultural Organization (UNESCO) proclaimed Tel Aviv's White City a World Cultural Heritage site, as "an outstanding example of new town planning and architecture in the early 20th century."[42]
Established in 2000, Bauhaus Center Tel Aviv is an organization dedicated to the ongoing documentation of the architectural heritage.[43] In 2003, it hosted an exhibition on preservation of the architecture that showcased 25 buildings.[44] To further the architectural culture in the city, a small Bauhaus Museum opened in Tel Aviv in 2008, designed by Israeli architect Ron Arad.[45][46]
Bauhaus staff and students[edit]
People who were educated, or who taught or worked in other capacities, at the Bauhaus.
Further information: Category:Bauhaus teachers
Further information: Category:Bauhaus alumni
Further information: Women of the Bauhaus
See also[edit]
Design portal
Art Deco architecture
Bauhaus Archive
Bauhaus Center Tel Aviv
Bauhaus Dessau Foundation
Bauhaus Museum, Tel Aviv
Bauhaus Museum, Weimar
Constructivist architecture
Expressionist architecture
Form follows function
Haus am Horn
IIT Institute of Design
International style (architecture)
Max-Liebling House, Tel Aviv
Modern architecture
Neues Sehen (New Vision)
New Objectivity (architecture)
Ulm School of Design
Footnotes[edit]
a The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's Architects of Fortune.
References[edit]
^ Jump up to: a b c Oxford Dictionary of Art and Artists (Oxford: Oxford University Press, 4th edn., 2009), ISBN 0-19-953294-X, pp. 64-66
Jump up ^ Pevsner, Nikolaus, ed. (1999). A Dictionary of Architecture and Landscape Architecture (Paperback). Fleming, John; Honour, Hugh (5th ed.). London: Penguin Books. p. 880. ISBN 0-14-051323-X.
Jump up ^ "Bauhaus Movemen". Rethinking the world Art and Technology – A new Unity.
Jump up ^ ...], [contributors Rachel Barnes (2001). The 20th-Century art book (Reprinted. ed.). London: Phaidon Press. ISBN 0714835420.
Jump up ^ Evans, Richard J. The Coming of the Third Reich, p. 416
Jump up ^ Funk and Wagnall's New Encyclopaedia, Vol 5, p. 348
^ Jump up to: a b (in Russian) Great Soviet Encyclopedia; Bolshaya Sovetskaya Entsiklopediya, Вхутемас
Jump up ^ Wood, Paul (1999) The Challenge of the Avant-Garde. New Haven: Yale University Press ISBN 0-300-07762-9, p. 244
Jump up ^ Tony Fry (October 1999). A New Design Philosophy: An Introduction to Defuturing. UNSW Press. p. 161. ISBN 978-0-86840-753-1. Retrieved 15 May 2011.
Jump up ^ Colton, Timothy J. (1995) Moscow: Governing the Socialist Metropolis. Cambridge MA: Harvard University Press ISBN 0-674-58749-9; p. 215
Jump up ^ Pevsner, Nikolaus, ed. (1999). A Dictionary of Architecture and Landscape Architecture (Paperback). Fleming, John; Honour, Hugh (5th ed.). Penguin Books. p. 44. ISBN 0-19-860678-8.
^ Jump up to: a b Frampton, Kenneth (1992). "The Bauhaus: Evolution of an Idea 1919–32". Modern Architecture: A Critical History (3rd ed. rev. ed.). New York, NY: Thames and Hudson, Inc. p. 124. ISBN 0-500-20257-5.
Jump up ^ Whitford, Frank, ed. (1992). The Bauhaus: Masters & Students by Themselves. London: Conran Octopus. p. 32. ISBN 1-85029-415-1. He invented the name 'Bauhaus ' not only because it specifically referred to bauen ('building', 'construction')—but also because of its similarity to the word Bauhütte, the medieval guild of builders and stonemasons out of which Freemasonry sprang. The Bauhaus was to be a kind of modern Bauhütte, therefore, in which craftsmen would work on common projects together, the greatest of which would be buildings in which the arts and crafts would be combined.
^ Jump up to: a b Hal Foster, ed. (2004). "1923: The Bauhaus … holds its first public exhibition in Weimar, Germany". Art Since 1900: Volume 1—1900 to 1944. Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh. New York, NY: Thames & Hudson. pp. 185–189. ISBN 0-500-28534-9.
Jump up ^ Curtis, William (1987). "Walter Gropius, German Expressionism, and the Bauhaus". Modern Architecture Since 1900 (2nd ed.). Prentice-Hall. pp. 309–316. ISBN 0-13-586694-4.
Jump up ^ "The Bauhaus, 1919–1933". The MET. The Metropolitan Museum of Art. Retrieved 14 June 2016.
Jump up ^ "Bauhaus". Encyclopædia Britannica. Retrieved 14 June 2016.
Jump up ^ Ackermann et al., Bauhaus (Cologne: Könemann, 1999), 406.
Jump up ^ Michael Baumgartner and Josef Helfenstein At the Bauhaus in Weimar, 1921–1924 Archived 29 September 2009 at the Wayback Machine., at Zentrum Paul Klee
Jump up ^ Magdalena Droste (2002) [1990] Bauhaus, 1919–1933 p.113
Jump up ^ Curtis, William (2000). "Walter Gropius, German Expressionism, and the Bauhaus". Modern Architecture Since 1900 (2nd ed.). Prentice-Hall. p. 120. ISBN 0-13-586694-4.
Jump up ^ Richard A. Etlin (2002). Art, culture, and media under the Third Reich. University of Chicago Press. p. 291. ISBN 978-0-226-22086-4. Retrieved 15 May 2011.
^ Jump up to: a b David Spaeth (1985). Ludwig Mies van der Rohe. Rizzoli New York. pp. 87–93. ISBN 0-8478-0563-8.
Jump up ^ Jardi, Enric (1991) Paul Klee. Rizzoli Intl Pubns, p. 22
Jump up ^ Richard J Evans, The Third Reich in Power, 325
Jump up ^ Gropius, Walter (April 1919). "Manifesto of the Staatliches Bauhaus". BauhausManifesto.com.
Jump up ^ "Unesco celebrates Tel Aviv". BBC News. 8 June 2004. Retrieved 26 April 2010.
Jump up ^ Centre, UNESCO World Heritage. "White City of Tel-Aviv -- the Modern Movement". whc.unesco.org.
Jump up ^ Edward Lucie-Smith, Late Modern: The Visual Arts Since 1945, London: Thames & Hudson, 1976, p. 164.
Jump up ^ William Chapin Seitz, Marla Price, Art in the Age of Aquarius, Smithsonian Inst Press, 1992, p. 92.
^ Jump up to: a b Gaston Diehl, Vasarely, New York: Crown, 1972, p. 12
Jump up ^ Jean Luc Daval, History of Abstract Painting, Paris: Hazan, 1989, p. 199.
Jump up ^ See: William Chapin Seitz, Marla Price, Art in the Age of Aquarius, Smithsonian Inst Press, 1992, p. 92; Edward Lucie-Smith, Late Modern: The Visual Arts Since 1945, London: Thames & Hudson, 1976, p. 164; Jean Louis Ferrier, Yann Le Pichon, Art of our century: the story of western art, 1900 to the present 1990, London : Longman, p. 521.
Jump up ^ Guitemie Maldonaldo, "Une réception différée et relayée. L'Atelier d'art abstrait et le "modèle-Bauhaus", 1950–1953", in: Martin Schieder, Isabelle Ewig, In die Freiheit geworfen: Positionen zur deutsch-französischen Kunstgeschichte nach 1945, Oldenbourg Verlag, 22 Nov 2006, p. 100.
Jump up ^ Jean Louis Ferrier, Yann Le Pichon, Art of Our Century: The Story of Western Art, 1900 to the Present, 1990, London: Longman, p. 521.
Jump up ^ Ulm, Ulmer Museum/HfG-Archiv. "HfG-Archiv Ulm - The HfG Ulm". www.hfg-archiv.ulm.de.
Jump up ^ Bayer, H., Gropius, W., & Gropius, I. (Eds.). (1975). Bauhaus 1919–1928. London: Secker& Warburg.
Jump up ^ Itten, J. (1963). Design and Form: The Basic Course at the Bauhaus and Later (Revised edition, 1975). New York: John Wiley & Sons.
Jump up ^ O'Connor, Z. (2013). "The Shillito Design School: Australia's link with the Bauhaus". The International Journal of Design in Society, 6(3), 149–159.
Jump up ^ "Bauhaus Dessau".
Jump up ^ Schjeldahl, Peter, "Bauhaus Rules," The New Yorker, November 16, 2009
Jump up ^ UNESCO, Decision Text, World Heritage Centre, retrieved 14 September 2009
Jump up ^ "The Bauhaus Center", Haaretz, 18 May 2008
Jump up ^ Esther Zandberg, Exhibition on Preservation of Bauhaus in Tel Aviv Archived 5 June 2011 at the Wayback Machine., Haaretz, 15 October 2003
Jump up ^ Esther Hecht, "Bauhaus Museum Opens in Tel Aviv's White City", Architectural Record, 21 April 2008
Jump up ^ David Bachar, "Surroundings / Daniella Luxembourg's Bauhaus kiosk", Haaretz, 1 May 2008
Bibliography[edit]
Oskar Schlemmer. Tut Schlemmer, Editor. The Letters and Diaries of Oskar Schlemmer. Translated by Krishna Winston. Wesleyan University Press, 1972. ISBN 0-8195-4047-1
Stefan Boness, "Tel Aviv – The White City", Jovis, Berlin 2012, ISBN 978-3-939633-75-4
Magdalena Droste, Peter Gossel, Editors. Bauhaus, Taschen America LLC, 2005. ISBN 3-8228-3649-4
Marty Bax. Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum. Amsterdam, Architectura & Natura 1991. ISBN 90-71570-04-5
Anja Baumhoff, The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919–1931. Peter Lang, Frankfurt, New York 2001. ISBN 3-631-37945-5
Boris Friedewald, Bauhaus, Prestel, Munich, London, New York 2009. ISBN 978-3-7913-4200-9
Catherine Weill-Rochant, "Bauhaus": Architektur in Tel Aviv, Rita H. Gans. Ed., Kiriat Yearim, Zurich, 2008 (German and French)
'The Tel-Aviv School : a constrained rationalism' (Catherine Weill-Rochant)DOCOMOMO journal (Documentation and conservation of buildings, sites and neighbourhoods of the modern movement), April 2009.
Peder Anker (1 January 2010). From Bauhaus to Ecohouse: A History of Ecological Design. LSU Press. ISBN 978-0-8071-3551-8. Retrieved 15 May 2011.
Kirsten Baumann: "Bauhaus Dessau: Architecture Design Concept", JOVIS Verlag Berlin 2007, ISBN 978-3-939633-11-2
Monika Markgraf (Ed.): "Archaeology of Modernism: Renovation Bauhaus Dessau", JOVIS Verlag Berlin 2007, ISBN 978-3-936314-83-0
Torsten Blume / Burghard Duhm (Eds.): "Bauhaus.Theatre.Dessau: Change of Scene", JOVIS Verlag Berlin, ISBN 978-3-936314-81-6
Eric Cimino. Student Life at the Bauhaus, 1919-1933. M.A. Thesis, UMass-Boston, 2003.
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values: Kontorhaus District (page does not exist)

values: Augustusburg and Falkenlust Palaces, Brühl

values: Roman Monuments, Cathedral of St Peter and Church of Our Lady in Trier

values: Prehistoric pile dwellings around the Alps

values: Caves and Ice Age Art in the Swabian Jura

values: Primeval Beech Forests of the Carpathians and the Ancient Beech Forests of Germany

values: List of World Heritage Sites of the United Kingdom

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https://d-nb.info/gnd/4130303-9

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http://isni.org/isni/0000000121504871

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https://www.idref.fr/031932746

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https://viaf.org/viaf/123812096

values: Category:1933 disestablishments in Germany

values: Category:Modernist architecture in Germany

values: Category:School buildings completed in 1926

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https://af.wikipedia.org/wiki/Bauhaus
Bauhaus – Afrikaans
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https://als.wikipedia.org/wiki/Bauhaus
Bauhaus – Alemannisch
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https://az.wikipedia.org/wiki/Bauhauz
Bauhauz – Azerbaijani
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https://bar.wikipedia.org/wiki/Bauhaus
Bauhaus – Bavarian
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https://bs.wikipedia.org/wiki/Bauhaus
Bauhaus – Bosnian
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https://br.wikipedia.org/wiki/Bauhaus
Bauhaus – Breton
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https://ca.wikipedia.org/wiki/Bauhaus
Bauhaus – Catalan
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https://cy.wikipedia.org/wiki/Bauhaus
Bauhaus – Welsh
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https://de.wikipedia.org/wiki/Bauhaus
Bauhaus – German
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https://et.wikipedia.org/wiki/Bauhaus
Bauhaus – Estonian
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https://eo.wikipedia.org/wiki/Bauhaus
Bauhaus – Esperanto
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https://eu.wikipedia.org/wiki/Bauhaus
Bauhaus – Basque
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https://fo.wikipedia.org/wiki/Bauhaus
Bauhaus – Faroese
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https://fr.wikipedia.org/wiki/Bauhaus
Bauhaus – French
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https://fy.wikipedia.org/wiki/Bauhaus
Bauhaus – Western Frisian
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https://ga.wikipedia.org/wiki/Bauhaus
Bauhaus – Irish
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https://gd.wikipedia.org/wiki/Bauhaus
Bauhaus – Scottish Gaelic
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https://gl.wikipedia.org/wiki/Bauhaus
Bauhaus – Galician
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https://hr.wikipedia.org/wiki/Bauhaus
Bauhaus – Croatian
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https://id.wikipedia.org/wiki/Bauhaus
Bauhaus – Indonesian
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https://is.wikipedia.org/wiki/Bauhaus
Bauhaus – Icelandic
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https://it.wikipedia.org/wiki/Bauhaus
Bauhaus – Italian
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https://jv.wikipedia.org/wiki/Bauhaus
Bauhaus – Javanese
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https://sw.wikipedia.org/wiki/Bauhaus
Bauhaus – Swahili
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https://la.wikipedia.org/wiki/Bauhaus
Bauhaus – Latin
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https://lv.wikipedia.org/wiki/Bauhaus
Bauhaus – Latvian
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https://lt.wikipedia.org/wiki/Bauhaus
Bauhaus – Lithuanian
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https://li.wikipedia.org/wiki/Bauhaus
Bauhaus – Limburgish
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https://hu.wikipedia.org/wiki/Bauhaus
Bauhaus – Hungarian
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https://mg.wikipedia.org/wiki/Bauhaus
Bauhaus – Malagasy
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https://nl.wikipedia.org/wiki/Bauhaus
Bauhaus – Dutch
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https://no.wikipedia.org/wiki/Bauhaus
Bauhaus – Norwegian
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https://nn.wikipedia.org/wiki/Bauhaus
Bauhaus – Norwegian Nynorsk
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Bauhaus – Piedmontese
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https://pl.wikipedia.org/wiki/Bauhaus
Bauhaus – Polish
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https://pt.wikipedia.org/wiki/Bauhaus
Bauhaus – Portuguese
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https://ro.wikipedia.org/wiki/Bauhaus
Bauhaus – Romanian
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https://sc.wikipedia.org/wiki/Bauhaus
Bauhaus – Sardinian
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https://sco.wikipedia.org/wiki/Bauhaus
Bauhaus – Scots
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https://sh.wikipedia.org/wiki/Bauhaus
Bauhaus – Serbo-Croatian
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https://fi.wikipedia.org/wiki/Bauhaus
Bauhaus – Finnish
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https://sv.wikipedia.org/wiki/Bauhaus
Bauhaus – Swedish
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https://tl.wikipedia.org/wiki/Bauhaus
Bauhaus – Tagalog
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https://tr.wikipedia.org/wiki/Bauhaus
Bauhaus – Turkish
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Bauhaus – Vietnamese
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Bauhaus – Lingua Franca Nova
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