week 9: technology and progress
DESCRIPTION
This week we explore the relationship between notions of progress and the integration of technology into design education. Case study, the Bauhaus.TRANSCRIPT
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technology +/= progress
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The personal and social consequences of any medium—that is, of any extension of ourselves—result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.
Marshall McLuhan, “The Medium is the Message” Understanding Media (1964)
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DLF: Digital Migration
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DLF: Digital Migration
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The Bauhaus Weimar: 1919-1923
Lyonel Feininger, woodcut for Bauhaus manifesto, 1919
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Walter Gropius, Fagus Shoe Factory c.1911-1913
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Deutscher Werkbund Cologne, 1914
individual vs. universal
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Hermann Muthesius Aims of the Werkbund, “thesis” 1914
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Henry van de Velde Aims of the Werkbund, “anti-thesis” 1914
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The Bauhaus Weimar: 1919-1923
Lyonel Feininger, woodcut for Bauhaus manifesto, 1919
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Walter Gropius Programme of the Staatliches Bauhaus Weimar, 1919
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Johannes Itten the Bauhaus vorkurs
(foundation course)
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Walter Gropius’ office
woodworking workshop
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Sommerfeld House,1921-22 collective Bauhaus project—a new unity of art and life
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art and technology “a new unity” 1923
László Moholy-Nagy
Before the machine, everyone is equal. . . There is no tradition in technology, no consciousness of class or standing. Everybody can be the machine’s slave or master.
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Joost Schmidt Bauhaus exhibition
Weimar 1923
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Haus-am-Horn
living room + kitchen Bauhaus exhibition, 1923
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Vladimir Tatlin “Monument to the Third International”
1919
Soviet Constructivism
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art and technology “a new unity” 1923, Bauhaus products
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Student Workshop Building, Bauhaus, Dessau, Germany, 1926
Bauhaus Institute for Design, Dessau, 1926
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Marianne Brandt, self-portrait, metal workshop, Dessau, c.1926
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photograms, László Moholy-Nagy, 1922-43
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Marianne Brandt, ashtray, metal workshop, Dessau, c.1926
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Marcel Breuer, Model B3 for Thonet, Dessau, 1925-26
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Marcel Breuer, B32 for Thonet, Dessau, 1928
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Herbert Bayer, universal alphabet, 1926
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There is a strong parallel between the prominent role of such “empty” white space in these layouts and the sparsely-furnished interior of the Haus-am-Horn and other experimental housing projects being planned during the same years. In these projects white walls dominated and space “materialized” in relation to standard rectangular tables, chairs, and shelves. In this way mechanized mass production, involving standardization and uniformity, was, at least symbolically, linked to a universal and egalitarian socialist vision for the society of the future.
David Raizman, “The Bauhaus” History of Modern Design
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