Bringing together an international team of scholars, this book offers new perspectives on the impact that the Bauhaus and its teaching had on a wide range of artistic practices. Three of the fields in which the Bauhaus generated immediately transformative effects were housing, typography, and photography. Contributors go further to chart the surprising relation of the school to contemporary developments in hairstyling and shop window display in unprecedented detail. New scholarship has detailed the degree to which Bauhaus faculty and students set off around the world, but it has seldom paid attention to its impact in communist East Germany or in countries like Ireland where no Bauhäusler settled. This wide-ranging collection makes clear that a century after its founding, many new stories remain to be told about the influence of the twentieth century’s most innovative arts institution. The book will be of interest to scholars working in art history, design history, photography, and architectural history.

After critiquing—and infuriating—the art world with The Painted Word, award-winning author Tom Wolfe shared his less than favorable thoughts about modern architecture in From Bauhaus to Our Haus. In this examination of the strange saga of twentieth century architecture, Wolfe takes such European architects as Ludwig Mies van der Rohe, Le Corbusier, and Bauhaus art school founder Walter Gropius to task for their glass and steel box designed buildings that have influenced—and infected—America’s cities.

"After the Bauhaus's closing in 1933, many of its protagonists movd to the United States, where their acceptance had to be cultivated. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the paterns of fame-making that became typical of the post-World War II art world."--BOOK JACKET.

The most influential work of architectural criticism and history of the twentieth century, now available in a handsomely designed new edition.

In the mid-1930s, three giants of the international Modern movement, Bauhaus professors Walter Gropius, Marcel Breuer and László Moholy-Nagy, fled Nazi Germany and sought refuge in Hampstead in the most exciting new apartment block in Britain. The Lawn Road Flats, or Isokon building, was commissioned by the young visionary couple Jack and Molly Pritchard and designed by aspiring architect Wells Coates. Built in 1934 in response to the question 'How do we want to live now?' it was England's first modernist apartment building and was hugely influential in pioneering the concept of minimal living. During the mid-1930s and 1940s its flats, bar and dining club became an extraordinary creative nexus for international artists, writers and thinkers. Jack Pritchard employed Gropius, Breuer and Moholy-Nagy in his newly formed Isokon design company and the furniture, architecture and graphic art the three produced in pre-war England helped shape Modern Britain. This book tells the story of the Isokon, from its beginnings to the present day, and fully examines the work, artistic networks and legacy of the Bauhaus artists during their time in Britain. The tales are not just of design and architecture but war, sex, death, espionage and infamous dinner parties. Isokon resident Agatha Christie features in the book, as does Charlotte Perriand who Jack Pritchard commissioned for a pavilion design in 1930. The book is beautifully illustrated with largely unseen archive photography, and includes the work of photographer and Soviet spy Edith Tudor-Hart, as well as plans and sketches, menus, postcards and letters from the Pritchard family archive. In Spring 2018, the Isokon building and Breuer, Gropius and Moholy-Nagy were honoured with a Blue Plaque from English Heritage.