Podcasts about Walter Gropius

From poolside at Modernism Week 2025, we'll talk with Colin Flavin, Halsey Smith, and Tim Techler on the architecture of Walter Gropius in Massachusetts and William Krisel in Palm Springs. Back in the studio, San Diego's top Modernist realtor and ardent preservationist Keith York has a new book on Craig Ellwood -- and Alexandra Bregman hunts for a Philip Johnson house. UPDATE: A previous version of this episode gave the incorrect location for Tim Techler's practice. He is based in Newton MA. 

Send us a textThe conversation with Raimana Jones from Atelier Jones Design delves deep into the heart of what makes good design truly exceptional—craftsmanship. Drawing inspiration from architectural legends like Alvar Aalto and Walter Gropius, we explore how the most revered designers extended their vision beyond buildings to encompass furniture, lighting, and complete environments.Raimana shares his journey through fabrication and making, revealing the powerful feedback loop between crafting with your hands and designing with your mind. We unpack how this tactile understanding shapes thoughtful design decisions that simply can't emerge from digital processes alone. The discussion turns to a concerning trend—the gradual disappearance of workshop culture from design education, as hands-on making gives way to digital tools and 3D printing.What truly elevates this conversation is our exploration of material understanding as the essence of craftsmanship. Just as Tadao Ando mastered concrete through deep connection with the material, Romana's elegant steel kitchens showcase how intimate knowledge transforms ordinary materials into extraordinary designs. While budget realities often dictate the level of craft possible in projects, we discover inventive approaches to maintaining craftsmanship even with constraints.Whether you're a practicing designer, architecture enthusiast, or someone who appreciates the beauty of well-crafted spaces, this episode offers a compelling reminder of why material engagement matters. As James Dyson wisely noted, "The visceral experience of making things by hand is a wise teacher." Join us for an inspiring discussion about rediscovering play, embracing failure, and cultivating a deeper connection with the materials that shape our world.Key Episode Links:- https://www.atelierjonesdesign.co.nz/pages/about-usChapters:0:00 - Introduction to Craft in Design5:00 - Exploring Cross-Media Design Processes11:15 - Workshop Culture and Material Play20:25 - The Design Process: Sketching to Making27:00 - Understanding Materials Deeply33:48 - Budget Constraints and Craft Quality41:47 - Craftsmanship in Architecture48:30Please Like and Subscribe it really helps :) Follow us on @designpriciplespod on Instagram and if you wish to contact us hit our DMs or our personal pages. We love to hear from you it really encourages us to keep going and the ideas and feedback we get from the listeners is awesome!

Descubre la Escuela Bauhaus: El Movimiento que Redefinió el Diseño y la Arquitectura" La Bauhaus es una de las instituciones más influyentes de la historia del diseño moderno, y en este vídeo te llevamos a un recorrido fascinante sobre su origen, su impacto global y cómo sus principios revolucionaron el arte, la arquitectura, la moda y mucho más. ¿Qué hizo tan especial a la Bauhaus? ¿Cómo transformó el concepto de funcionalidad y estética en el siglo XX? Hablaremos sobre los grandes maestros de la Bauhaus como Walter Gropius, Ludwig Mies van der Rohe y Marcel Breuer, y cómo sus innovaciones siguen influyendo en el diseño contemporáneo. ¡No te pierdas este análisis profundo sobre una de las escuelas de arte y diseño más importantes de todos los tiempos!

Man kann den Einfluss des Bauhauses, der Kunstschule, die Walter Gropius 1919 in Weimar begründet hatte, auf Architektur, Design und diverse Avantgarden gar nicht unterschätzen. Dass die innovative Institution, die die Grenzen zwischen Handwerk und „hoher“ Kunst einriss und neue Formen des kollaborativen Studiums und der Lehre erprobte, von großer Wichtigkeit war, war schon so manchem Zeitgenossen bewusst. Die neue Landesregierung in Thüringen, angeführt von der DVP, jedenfalls wusste das Bauhaus nicht zu schätzen und bemühte sich darum, es abzuwickeln, unter anderem, indem die Mittel um 50 Prozent gestrichen wurden. Und auch als private Finanziers die Lücke schließen wollten, torpedierte sie diese Bemühungen. Sofort bewarben sich andere Städte, um das Bauhaus aufzunehmen, unter anderem Köln mit dem damaligen Oberbürgermeister Konrad Adenauer. Den Zuschlag sollte dann 1925 bekanntlich Dessau bekommen. In den Zeitungen finden wir Ende des Jahres 1924 wenige Erwähnungen dieses Prozesses, lediglich im Hamburger Echo vom 29.12. einen Zwischenbericht zu den Verhandlungen zwischen Bauhaus und Thüringen. Frank Riede liest für uns den Bericht über radikale Kürzungen bei etablierten Kulturinstitutionen.

Alban Berg ist in finanziellen Nöten. Da kommt ein Auftrag um die Ecke: Der amerikanische Geiger Louis Krasner bittet ihn um ein Konzert und Berg macht sich an die Arbeit. Die Oper Lulu ist noch immer nicht ganz fertig, die wertvollen Tantiemen für seine 1. Oper Wozzeck schmelzen weg (wegen der Ächtung des Stücks durch die Nationalsozialisten). Dann stirbt Manon Gropius, die achtzehnjährige Tochter von Alma Mahler und Walter Gropius. Das Violinkonzert soll ihr Requiem werden. Und wird gleichzeitig auch Bergs eigenes Requiem. Er stirbt im selben Jahr 1935 an einem entzündeten Insektenstich, ohne das Konzert je gehört zu haben. Das Werk wird schnell zum Klassiker der Moderne, es ist zwölftönig und doch tonal, es hat klare Strukturen und ist doch biografisch aufgeladen. Die Geigerin Chouchane Siranossian und der Musikwissenschaftler Hans Hofmann diskutieren einige neuere Aufnahmen.

In episode 12 of (Pop) Cultural Marxism, Ajay and Isi tackle Francis Ford Coppola's Megalopolis (2024). Kicking off with a review of a few recent pop-cultural engagements—including an assemblage of classic vampire films (Coppola's Bram Stoker's Dracula (1992), among them), Mubi's restoration of The Fall (2006), Elden Ring: Shadow of the Erdtree, and a pair of streaming series about professional wrestling—the conversation turns to Coppola's reactionary would-be summa about an architect attempting to construct a techno-futuristic utopia on a plot of land in “New Rome,” an alternate-world New York City as played against Roman and early American history. Along the way, Ajay and Isi discuss Neri Oxman's faux-ecological contributions to the film's central animating macguffin, the mysterious “megalon;” the film's antipathy for the marginalized masses; its protagonist as synthesis of Caesar, Robert Moses, Walter Gropius, and The Fountainhead's Howard Roark; accidentally timely narratives of the “good guy” billionaire pitted against the “bad-guy” billionaire; and the ecofascist inclination to marry the romanticization of nature with authoritarian techno-optimism. Among the topics at hand are Coppola's disturbing, “secretly autobiographical” efforts to reaffirm himself as auteur, his baffling postmodern pastiche, the classic right-wing themes of patriarchy as a sign of order and non-normative sexual expression as a sign of decline and decadence, the film's shocking ugliness, and how Megalopolis's strange incorporation of current events betrays “a baby boomer [having read] a bunch of airport history books.”

durée : 00:08:05 - Le Disque classique du jour du jeudi 26 septembre 2024 - Les musiciens du quatuor Gropius suivent l'exemple de Walter Gropius et ont, comme lui, leur centre de création à Berlin et Weimar.

durée : 00:08:05 - Le Disque classique du jour du jeudi 26 septembre 2024 - Les musiciens du quatuor Gropius suivent l'exemple de Walter Gropius et ont, comme lui, leur centre de création à Berlin et Weimar.

This episode of bauhaus faces is about a photographer that most Bauhaus fans today know: Lucia Moholy. She was the photographer who delivered the photos of the Bauhaus in Dessau and its masters' houses that made the art school so iconic. But it wasn't until the 1990s that art historians became alert to her when her photos and negatives made their way into the Bauhaus-Archive in Berlin. Until then they had taken a long reroute from Germany via the US, while Lucia Moholy had thought they were lost, when in fact Bauhaus founder and first director Walter Gropius had taken them with him, denied their possession for decades and made use of them to promote the Bauhaus as the ultimate epitome of the avantgarde without ever mentioning their creator: Lucia Moholy. But her life and work were so much more! When she was in danger of being arrested by the Nazis, Lucia left Germany and emigrated to London. Here, she worked as a portrait photographer and – as director – set up the microfilm archive ASLIB. She never succeeded in emigrating to the US like so many other Bauhauslers although she had an offer from her ex-husband László Moholy-Nagy to come and teach photography at the New Bauhaus in Chicago. Most of her adult life, Lucia Moholy struggled to make ends meet and gain recognition for her achievements. When she – once more – emigrated to Switzerland in 1959 (she would live and die in Zollikon near Zurich) Lucia started writing about her collaborative work with László Moholy-Nagy and her own share in it.For this episode the US art historian Robin Schuldenfrei helped to tell the story of Lucia Moholy. She has been researching Moholy for many years now.__________________________________SHOW NOTES⁠www.bauhausfaces.com⁠ | ⁠@bauhausfaces⁠EXHIBITION „Lucia Moholy: Exposures“ at Kunsthalle Praha from 30th May until 28th October 2024 https://www.kunsthallepraha.org/en/events/lucia-moholy-exposures AND at Fotostiftung Winterthur in Spring 2025 https://fotostiftung.ch/en/BOOKS BY LUCIA MOHOLY „A Hundred Years of Photography“ (Lucia Moholy, 1939) https://www.amazon.de/Photography-1839-1939-Fotografie-Bauhäusler-Bauhaus-Archiv/dp/3922613586„Marginalien zu Moholy-Nagy/Moholy-Nagy, Marginal Notes“ (Lucia Moholy, 1972)ABOUT LUCIA MOHOLY Lucia Moholy Bauhaus Fotografin (Rolf Sachsse, 1995) „‚What I Could Lose‘: The Fate of Lucia“ (Meghan Forbes) Moholyhttps://quod.lib.umich.edu/cgi/t/text/text-idx?cc=mqr;c=mqr;c=mqrarchive;idno=act2080.0055.102;view=text;rgn=main;xc=1;g=mqrgLucia Moholy. Im Schatten des Bauhaus (Jochen Stöckmann, 2022) https://www.weltkunst.de/ausstellungen/2022/09/lucia-moholy-fotografie-bauhaus?pagination=1&fullviewABOUT LUCIA MOHOLY'S BOOKS AND NEGATIVES„Multiple Frames for Lucia Moholy“ (Sabine Hartmann) https://youtu.be/aB5ioylqVuM?si=1ggYQUgMXe6FWHic„Images in Exile: Lucia Moholy's Bauhaus Negatives and the Construction of the Bauhaus Legacy“ (Robin Schuldenfrei) https://courtauld.ac.uk/wp-content/uploads/2015/02/Schuldenfrei_2013_Images_in_Exile_Lucia_Moholys_Bauhaus.pdf„A Hundred Years of Photography 1839–1939“ (Burcu Dogramaci) https://archive.metromod.net/viewer.p/69/1470/object/5140-11251867PHOTOS BY LUCIA MOHOLY IN ARCHIVESBauhaus photos Bauhaus-Archiv Berlin https://open-archive.bauhaus.de/eMP/eMuseumPlus?service=direct/1/ResultDetailView/result.inline.moduleBottomContextFunctionBar1.bottomNavigator.back&sp=13&sp=Sartist&sp=SfilterDefinition&sp=0&sp=1&sp=1&sp=SdetailView&sp=93&sp=Sdetail&sp=0&sp=T&sp=0&sp=SdetailList&sp=6&sp=0Harvard Art Museums https://harvardartmuseums.org/collectionsNational Portrait Gallery https://www.npg.org.uk/collections/search/person/mp07323/lucia-moholyFotostiftung Winterthur, Switzerland https://fotostiftung.ch.zetcom.net/de/artists/artist/1395/MoMA, New York https://www.moma.org/artists/6922COVER PHOTO: László Moholy-Nagy, Portrait of Lucia Moholy, 1927, Bauhaus-Archiv Berlin

Príbeh školy Bauhaus je dobre známy, rovnako ikonická budova v Dessau, ktorú celý svet dôverne pozná z fotografií. No svet dlho netušil, že autorkou týchto fotografií je Lucia Moholy, ktorá dala Bauhausu vizuálnu identitu. Kapitoly života Lucie Moholy sú sledom dramatických udalostí a veľkých mien, pričom to jej zostávala v anonymite. Bola to práve Lucia Moholy, ktorá fotografovala tak priestory budov, ako aj život v nich a diela, ktoré tam vznikali. Archív, ktorý musela pri úteku z nacistického Nemecka zanechať v Berlíne obsahoval takmer 600 sklenených negatívov, ktoré Moholy považovala za navždy stratené, až kým po vojne neuvidela v katalógoch výstav a rôznych publikáciách pre ňu dobre známe fotografie Bauhausu, ale bez udania autorstva. Napokon zistila, že ich z Berlína odviezol so sebou do USA zakladateľ Bauhausu, architekt Walter Gropius a využíval ich k propagácii školy bez akejkoľvek zmienky o Lucii Moholy. Dlho jej ich odmietal vrátiť, no napokon sa Lucii Moholy podarilo získať aspoň časť svojho vzácneho archívu. To je len časť príbehu fotografky Lucie Moholy, viac si vypočujte v cykle Fenomény, Mariana Jaremková sa o Lucii Moholy rozpráva s hlavnou kurátorkou pražskej Kunsthalle Christelle Havranek.

Host: Duo Dickinson Wednesday September 21, 2024, 12 Noon WPKN 89.5FM www.wpkn.org There's a long history of young architects who design their parents' home, or their own home—something, anything, to make their bones as a designer outside the grinding path of apprenticeship and licensing. Robert Venturi did a house for his mother, Vanna. Frank Gehry renovated a house for his family before anyone hired him. Even Alvar Aalto and Walter Gropius honed their design skills on residences for themselves. Forty years ago, we awoke in our own home: its subsequent recognition and huge resonance over these decades was completely unexpected, but fulfilled a 29 year old architect's hopes, but more became a family home that evolved overe 4 construction reinventions. Directly connecting home design to home use is daunting, empowering and just a bit terrifying: many architects never finish the homes they start, many have great hopes for validation go unfulfilled: On Home Page this week we have three other architects who built homes for themselves or family, sometimes multiple times. Mark Simon FAIA is a partner in Centerbrook Architects. Louis Mackall is a craftsman and architect who created Breakfast Woodworks with Ken Field, and built his own home. Jennifer Lee of Obra Architects created a home for her mother in her words “…in the grand tradition of building houses for their parents.”

Host, Amber Asay, explores the male designers who have either championed or dismissed the contributions of women in the design world. From Le Corbusier's undermining of female collaborators to Paul Rand's advocacy for Lella Vignelli, we dive into the varying dynamics of support—or lack thereof—among iconic male figures in design. Tune in to hear who lifted women up and who left them in the shadows._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay  ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

In today's episode, we spotlight a remarkable woman who played a crucial role behind the scenes and in the spotlight of the Bauhaus: Ise Gropius. Born Ilse Frank, Ise Gropius was much more than the wife of the architect and Bauhaus founder Walter Gropius. She was a journalist, a writer, and an editor whose influence extended deep into the heart of the Bauhaus. Her intellectual rigor and editorial skills were instrumental in documenting and promoting the innovative ideas that emerged from this groundbreaking movement. You will hear the distinguished architect, urban planner, and author Jana Revedin who became renowned for her biographical novel "Alle hier nennen mich Frau Bauhaus" (Everyone Here Calls Me Mrs. Bauhaus) that was published in 2018 and – based on Ice Gropius's Bauhaus diary – explores her life and influence.  Join us as we delve into the life of Ise Gropius, exploring her contributions to the Bauhaus. Whether you're a longtime admirer of the Bauhaus or newly curious about its key figures, this episode offers an engaging and enlightening journey into the world of Ise Gropius, a true Bauhaus face. www.bauhausfaces.com | @bauhausfaces Jana Revedin www.revedin.com | Ise Gropius bauhauskooperation.de, gropius.house | "Jeder hier nennt mich Frau Bauhaus" www.deutschlandfunkkultur.de

Bauhaus is one of the most influential art and design movements of these days. Walter Gropius, Ludwig Mies van der Rohe, and Marcel Breuer are all prominent and common names – but what about Marianne Brandt, Lilly Reich, Gunta Stölzl, and many more? These women are mostly remembered as wives and assistants but not for their significant contributions to the Bauhaus movement. This episode by Lenja Charlotte Burmeister (@lenjacharlotte) will dive into the role of women at the Bauhaus school, especially highlighting their significant influence and position at the school and outlining the most important principles, beliefs, and history of the Bauhaus school.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/maastricht-diplomat/message

#DTalk #Buchtipp #DNEWS24 #LeonieSchöler #BeklauteFrauen #LuciaMoholy #Bauhaus Leonie Schöler beschreibt die Geschichte von Frauen, die sich ein- und unterordneten. Sie beschreibt ein System, in dem dem Mann in der Darstellung wie selbstverständlich die herrschende Rolle zugeschrieben wird. Besonders beeindruckt hat Leonie Schöler das Schicksal von Lucia Moholy. Die Bauhaus-Fotografin schuf in den zwanziger Jahren des 20. Jahrhunderts ein Werk, das das Bild späterer Generationen vom Bauhaus wesentlich prägte. Doch sie erhielt dafür nicht die ihr zustehende Anerkennung. Denn aufgrund ihrer Emigration in den dreißiger Jahren des 20. Jahrhunderts gelangten ihre Negative in den Besitz von Walter Gropius, der sie nutzte, um den Mythos Bauhaus zu bilden, ohne Lucia Moholy auch nur zu nennen.

From a design standpoint, some things are just cooler than other things – and these things don't need to be justified to anyone because people either understand it or they don't … but that doesn't mean there isn't an interesting and amazing story behind these objects that might contribute to their coolness in a meaningful way. Today Andrew and I each selected three items and we are going to share with you some amazing stories …  Welcome to EP 144: Objects of Design [Note: If you are reading this via email, click here to access the on-site audio player]   [hoops name="top1"] Today we are going to share with you something we feel is meaningful to us and why, maybe, it should be meaningful to you. Rather than making this a list of things we like – and by extension – things we think you should like as well, we are going to dig a bit deeper and talk about the story behind each item we discuss today. In a sense, it's that story that should make today's podcast interesting … just that fact that WE think it's interesting probably isn't good enough, so we are stepping up our game. The rules are simple – Andrew and I were each tasked with identifying a handful of items that we think are worthy of being labeled “Objects of Design” and we are going to present them in an alternating fashion. We are going to be keeping score because, at the end, I want my list to be better than Andrew's list. Villa Savoye by Le Corbusier (image credit here) CC by SA 3.0 Deed Villa Savoye jump to I am starting my list today with a building – one that architects, fans of architecture, and French people should all be familiar with … Villa Savoye, a modernist villa designed by Charles-Edouart Jeanneret-Gris, better known as “Le Corbusier” and his cousin Pierre Jeanneret located just outside Paris, France in the town of Poissey. It was built out of reinforced concrete between 1928 and 1931. The villa was designed for Pierre and Eugenie Savoye as a country home but the reality is that they barely lived there, but I'll get to that in a moment. I visited this building in the Fall of 1990 after having become quite familiar with the work as a result architectural history classes and quite honestly, even though it was not the popular still of architecture at the time, I really enjoyed Le Corbusier's work, not so much some of his ideas on Urban planning. But to really get to the interesting part of this particular project, we have to go back to 1927 when the League of Nations rejected the modern building that Le Corbusier and his cousin Pierre Jeanneret proposed for its headquarters. To say Le Corbusier was disappointed would be an understatement and this moment became a jumping off point that led to Le Corbusier forming the International Congresses of Modern Architecture in 1928. Another Swiss from Zurich, Siegfried Giedion, who was trained as an Engineer, attended the Bauhaus School where he met Walter Gropius and formed his initial interest and opinions on the modern architecture movement, was the Secretary of the International Congress of Modern Architecture and he, along with Le Corbusier wrote the Working Programme of the congress and formulated the text of the declaration. This program would eventually be distilled into the 5 principals  of architecture that I will mention in a Just from that standpoint, Gideon plays an important role into what Villa Savoye is at its essence but he actually continued to play a role in the building as well as its salvage from destruction. So it's now September 1928 and Le Corbusier has taken on the commission of Villa Savoye. It is called that, maybe obviously because it was the summer house for Pierre and Eugénie Savoye. The Savoye's developed a brief that called for the programming of the villa, but according to apparently Le Corbusier was given free reign aesthetically and he used this project to articulate some ideas that he had been working on and what would eventually be articulated in the book “Vers une A...

From a design standpoint, some things are just cooler than other things – and these things don't need to be justified to anyone because people either understand it or they don't … but that doesn't mean there isn't an interesting and amazing story behind these objects that might contribute to their coolness in a meaningful way. Today Andrew and I each selected three items and we are going to share with you some amazing stories …  Welcome to EP 144: Objects of Design [Note: If you are reading this via email, click here to access the on-site audio player]   Today we are going to share with you something we feel is meaningful to us and why, maybe, it should be meaningful to you. Rather than making this a list of things we like – and by extension – things we think you should like as well, we are going to dig a bit deeper and talk about the story behind each item we discuss today. In a sense, it's that story that should make today's podcast interesting … just that fact that WE think it's interesting probably isn't good enough, so we are stepping up our game. The rules are simple – Andrew and I were each tasked with identifying a handful of items that we think are worthy of being labeled “Objects of Design” and we are going to present them in an alternating fashion. We are going to be keeping score because, at the end, I want my list to be better than Andrew's list. Villa Savoye by Le Corbusier (image credit here) CC by SA 3.0 Deed Villa Savoye jump to I am starting my list today with a building – one that architects, fans of architecture, and French people should all be familiar with … Villa Savoye, a modernist villa designed by Charles-Edouart Jeanneret-Gris, better known as “Le Corbusier” and his cousin Pierre Jeanneret located just outside Paris, France in the town of Poissey. It was built out of reinforced concrete between 1928 and 1931. The villa was designed for Pierre and Eugenie Savoye as a country home but the reality is that they barely lived there, but I'll get to that in a moment. I visited this building in the Fall of 1990 after having become quite familiar with the work as a result architectural history classes and quite honestly, even though it was not the popular still of architecture at the time, I really enjoyed Le Corbusier's work, not so much some of his ideas on Urban planning. But to really get to the interesting part of this particular project, we have to go back to 1927 when the League of Nations rejected the modern building that Le Corbusier and his cousin Pierre Jeanneret proposed for its headquarters. To say Le Corbusier was disappointed would be an understatement and this moment became a jumping off point that led to Le Corbusier forming the International Congresses of Modern Architecture in 1928. Another Swiss from Zurich, Siegfried Giedion, who was trained as an Engineer, attended the Bauhaus School where he met Walter Gropius and formed his initial interest and opinions on the modern architecture movement, was the Secretary of the International Congress of Modern Architecture and he, along with Le Corbusier wrote the Working Programme of the congress and formulated the text of the declaration. This program would eventually be distilled into the 5 principals  of architecture that I will mention in a Just from that standpoint, Gideon plays an important role into what Villa Savoye is at its essence but he actually continued to play a role in the building as well as its salvage from destruction. So it's now September 1928 and Le Corbusier has taken on the commission of Villa Savoye. It is called that, maybe obviously because it was the summer house for Pierre and Eugénie Savoye. The Savoye's developed a brief that called for the programming of the villa, but according to apparently Le Corbusier was given free reign aesthetically and he used this project to articulate some ideas that he had been working on and what would eventually be articulated in the book “Vers une Architecture”  - whi...

Sarah “Sally” Pillsbury and Jean B. Fletcher were both architects who married architects. The two women and their husbands were founding members of The Architects Collaborative (TAC), a visionary, idealistic architecture firm founded just after WWII. The two women, who had 13 children between them, lived with their families and several other founding partners in Six Moon Hill, a residential community in Lexington, Massachusetts, designed by the group. TAC was a world class firm of eight architects, including famed architect Walter Gropius, working collectively as a team, stressing anonymity of design. The group won design awards and competitions, and was hired by the National Institute of Architects to design their new headquarters.They also designed the Harvard Graduate Center, many civic and educational buildings, and the University of Baghdad. Soon after the founding of the firm in 1947, Sarah and Jean wrote an article for House & Garden titled “Architecture, Family Style” which – as their biographer Michael Kubo writes – constituted something of a manifesto for the changing needs of the postwar housewife. Produced by Brandi Howell for Beverly Willis Architecture Foundation's podcast New Angle: Voice with host Cynthia Krakauer. Editorial advising from Alexandra Lange.  Production assistants Virginia Eskridge and Aislinn McNamara. Special thanks to Sara Harkness and Joseph Fletcher, Michael Kubo and Amanda Kolson Hurley.  Current Six Moon Hill residents Linda Pagani and Barbara Katzenberg kindly opened their homes and shared their stories.  Long time TAC  partners Perry Neubauer and Gail Flynn were generous with their time as were Andrea Leers and Jane Weinzapfel.  The archival oral history of Sally Harkness comes from her interview with Wendy Cox. Funding for New Angle: Voice comes from National Endowment for the Humanities, the National Endowment for the Arts, and the Graham Foundation. The Kitchen Sisters Present is produced by The Kitchen Sisters (Nikki Silva & Davia Nelson) with Brandi Howell and Nathan Dalton. Supported by the National Endowment for the Arts and contributors to the non profit Kitchen Sisters Productions. The Kitchen Sisters Present is part of Radiotopia from PRX, a curated network of podcasts created by independent producers.

Sarah Pillsbury, or Sally as she was better known by her peers, and Jean Bodman were both architects who married architects.  As an architect who also married an architect, my perspective may be more inside baseball on the professional side, but utter awe and fascination on the family end. I'm Cynthia Phifer Kracauer, architect, Executive Director of the Beverly Willis Architecture Foundation, mother of only two, and your host.   Welcome to our last episode of New Angle Voice 2023.  It's hard to look at the early days of TAC—the Architects Collaborative—for a time a world-class firm founded by two husband/wife couples and a handful of their classmates … with Walter Gropius thrown in to give them the gravitas that concealed their youth—without a bit of nostalgia.  Nostalgia for the naïve progressive ideology, nostalgia for that post World War 2 hope that the world could be remade through architecture—after all, Europe was rubble—and utter amazement that the firm fared as well as long as it did.  TAC was admired by women of my generation who saw two women partners with 13 children between them, garnering design awards, winning competitions, and acting on a world stage with far flung offices and impressive civic and institutional work.  For goodness sakes the National American Institute of Architects hired them for their new headquarters!  What could be more iconic.   Soon after the founding of the firm in 1947, Sarah and Jean wrote an article for House & Garden titled “Architecture, Family Style” which – as their biographer Michael Kubo writes – constituted something of a manifesto for the changing needs of the postwar housewife. But as we all know, sometimes youthful dreams don't pan out. In this episode, we revisit the utopian fantasy that the Architects Collaborative built and take a look inside.  “Architecture, Family Style – The Lives and Work of Sarah Harkness and Jean Fletcher".   Special thanks in this episode to Sara Harkness and Joseph Fletcher, Michael Kubo and Amanda Kolson Hurley.  Current Six Moon Hill residents Linda Pagani and Barbara Katzenberg kindly opened their homes and shared their stories.  Long time TAC  partners Perry Neubauer and Gail Flynn were generous with their time as were Andrea Leers and Jane Weinzapfel.  The archival oral history of Sally Harkness comes from her interview with Wendy Cox.   This podcast is produced by Brandi Howell, with editorial advising from Alexandra Lange.   Thanks also to production assistants Virginia Eskridge and Aislinn McNamara. New Angle Voice is brought to you by the Beverly Willis Architecture Foundation.  Funding for this podcast comes from the National Endowment for the Humanities, the National Endowment for the Arts, and the Graham Foundation.  

Het werk van Koen Taselaar bestaat naar eigen zeggen uit het stapelen van motieven. Soms letterlijk, in het geval van een silhouet-sculptuur van een slak bovenop een olifant, als onderdeel van een groep totempaal-achtige beelden. Maar ook figuurlijk, binnen zijn vaak psychedelische wandtapijten, vormen verschillende motieven het totaalbeeld. Neem het acht-en-een-halve-meter lange werk over de geschiedenis van Bauhaus: letterlijke verwijzingen naar het gedachtengoed worden vermengd met avatar-achtige poppetjes, met de cactussen die oprichter Walter Gropius verzamelde, met dansende letters en sterren, en met langs de rand een kader van abstracte vormen en kleuren. De stapeling gaat door tot er een werk is ontstaan dat verrast, nét iets te vol is en ook een tikkeltje lelijkheid heeft.

Het werk van Koen Taselaar bestaat naar eigen zeggen uit het stapelen van motieven. Soms letterlijk, in het geval van een silhouet-sculptuur van een slak bovenop een olifant, als onderdeel van een groep totempaal-achtige beelden. Maar ook figuurlijk, binnen zijn vaak psychedelische wandtapijten, vormen verschillende motieven het totaalbeeld. Neem het acht-en-een-halve-meter lange werk over de geschiedenis van Bauhaus: letterlijke verwijzingen naar het gedachtengoed worden vermengd met avatar-achtige poppetjes, met de cactussen die oprichter Walter Gropius verzamelde, met dansende letters en sterren, en met langs de rand een kader van abstracte vormen en kleuren. De stapeling gaat door tot er een werk is ontstaan dat verrast, nét iets te vol is en ook een tikkeltje lelijkheid heeft.

Le Bauhaus, un nom que l'on entend parfois pour parler du design d'un meuble, d'un objet de décoration. Mais tout le monde ne connait pas l'histoire de l'école dont a découlé tout un mouvement artistique. Pour retracer l'histoire du Bauhaus, il faut revenir à l'après-guerre en Allemagne, du côté de Weimar. Un architecte de l'époque, Walter Gropius, a une idée en tête : celui de réunir l'art et l'artisanat, mais d'une manière plus moderne. Ce projet se traduit sous la forme d'une école qui deviendra rapidement une référence en la matière. Comment expliquer ce succès ? Et quelle est l'influence du Bauhaus aujourd'hui ?  Ecoutez la suite de cet épisode de "Maintenant Vous Savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Jonathan Aupart. A écouter aussi : Pourquoi les gens ne sourient-ils (presque) jamais sur les peintures ? Comment Disney a-t-il contribué à l'effort de guerre en 1939-1945 ? Pourquoi le studio d'animation Ghibli porte-t-il un nom italien ? Retrouvez tous les épisodes de "Maintenant vous savez - Culture". Suivez Bababam sur Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a preview. For full episode and more subscribe here 3 hr 7 m dive into one of the 20th centuries most radical, transformative yet commercial art movements: Coffee Shop Modernism. Maligned by critics, yet beloved by the public - what did the architects of 'Googie' understand that we do not? Also the art of NASA space colonies (current MoMa exhibit), Bob's Big Boy, Monsanto/MIT/and Disney's House of The Future (1957), Armet and Davis, Swedenborgian New Church, the Theme Building at LAX + Philip Taylor Kramer's Unsolved Mystery, Richard Hamilton: Collage and Technology, Cars, The History of McDonalds, Art, Architecture, and the environmental crisis of the 60's / 70's, The intersection of technology, family, freedom, and America, the history and funding of high-brow art and architecture: who was paying these people?, Panns Fried Chicken, Walter Gropius, "Those were the days of struggling for something exciting and neon was rather new. We had neon everywhere,"...everyone has already achieved their 15 minutes of fame, the zeitgeist of places, R. Buckminster Fuller, how criticism got cucked, and more. Video documentary and part two (McDonalds History) coming this month. Music by Barrett / Alex T., ending song by Mickey Newbury...skip introduction: start at 18 m

Mies van der Rohe, Walter Gropius, die Stadt Dessau, Kandinsky, Blauer Reiter: Wir alle hatten schon irgendwann und irgendwie mit der Bauhaus-Bewegung zu tun. Der Musikwissenschaftler Kai Hinrich Müller zeigt zum 100-jährigen Jubiläum der Bauhaus-Woche erste Ergebnisse seiner Forschungen zur systematischen Rekonstruktion des Musiklebens an den historischen Bauhaus-Stationen in Weimar, Dessau und Berlin.

Ihr Name ist mit großen Kreativen ihrer Zeit verbunden: Gustav Mahler, Oskar Kokoschka, Walter Gropius, Franz Werfel. Alma Mahler-Werfel verstand sich als Frau, die Männer zu Großem inspirierte. Ihr Antisemitismus spielte dabei eine wichtige Rolle.

An dem 1919 in Weimar gegründeten Bauhaus schieden sich von Anfang an die Geister. Von nationalistischen Kreisen aufs Ärgste bekämpft, erhöhte die von der USPD tolerierte thüringische Landesregierung aus SPD und DDP 1922 die Zuwendungen für seine längst international beachtete Staatliche Kunstschule, verband dies allerdings mit der Auflage, dass das Bauhaus seine Ergebnisse in einer großen Leistungsschau einer breiteren Öffentlichkeit zu präsentieren habe. Die Bauhausaustellung, die daraufhin im Sommer 1923 veranstaltet wurde, bedeutete für die Arbeit von Walter Gropius und seiner Mitstreiter*innen tatsächlich einen enormen Popularisierungsschub – obwohl der wirtschaftliche Erfolg der Schau wegen der galoppierenden Inflation bescheiden ausfiel. Neben der Präsentationen der verschiedenen Werkstätten des Bauhauses und zahlreichen Vorträgen sowie künstlerischen Darbietungen auch im Bereich der darstellenden Künste war es vor allem das in nur vier Monaten realisierte Musterhaus Am Horn, was die Feuilletonisten der Republik nach Weimar lockte. Das Fazit von Grete Fischer im Berliner Börsen-Courier vom 26. August 1923 fiel indes, wie auch das vieler Kolleg*innen, durchwachsen aus. Frank Riede verrät, wieso.

What would happen if you threw the letters of the alphabet in a hat, drew out two at random, then asked people with those initials on a podcast?  Today we find out, and just like Sesame Street, today's show is brought to you by the letters W and G.  We could have chosen from musician Woody Guthrie, grandpa on the Waltons Will Geer (George: loved that guy), one of the brothers Grimm, Wilhelm, and of course architect Walter Gropius.  They were, ahem, not available, so today we've got two wonderful living and breathing WG guests: first, architect, professor, and modernist master W. G. Clark and legendary design editor Wendy Goodman. 

Über die Bedeutung der Vertreibung von Geistesgrößen wie Hannah Arendt, Th. W. Adorno, Max Delbrück, Walter Gropius und vieler mehr aus dem nationalsozialistischen DeutschlandHannah Arendt, Theodor W. Adorno, Walter Gropius, Hans Jonas, Max Delbrück, Curt Stern und viele andere Größen aus Physik, Jura, Geschichtswissenschaften, Theologie, Chemie, Pädagogik und mehr: Die Machtübernahme der Nationalsozialisten war für viele Wissenschaftler:innen verbunden mit Berufsverbot, Bedrohung und Verfolgung. Viele sahen sich gezwungen, Deutschland zu verlassen und zu versuchen, im Exil eine neue Existenz aufzubauen. In Interviews aus den Jahren 1959 und 1960 sprechen 35 Exilant:innen in den USA über die Gründe ihrer Vertreibung und den Neuanfang, über Fluchtwege und Helfer, über neue Hoffnung und Scheitern. Mit: Theodor W. Adorno, Hannah Arendt, Fritz Bamberger, Walter Berendsohn, Albrecht Bethe, Arnold Brecht, Richard Courant, Max Delbrück, Friedrich Dessauer, Tilly Edinger, Friedrich Wilhelm Förster, Walter Friedländer, Kurt Goldstein, Sabine Gova, Walter Gropius, Emil Gumbel, Hajo Holborn, Werner Jaeger, Hans Jonas, Hans Kelsen, Adolf Leschnitzer, Fritz Lipmann, Leo Löwenthal, Karl Landauer, Adolf Leschnitzer, Anna Maenchen, Kurt Pinthus, Hans Rothe, Hans Rothfels Rosenstock-Huessy , Martin Schwarzschild, Else Staudinger, Hans Staudinger, Curt Stern, Paul Tillich und Ernst Toch Annette Vogt studierte Mathematik und Physik an der Universität Leipzig, ist Diplom-Mathematikerin und promovierte Mathematikhistorikerin. Von 1994 bis 2018 war sie research scholar am Max-Planck-Institut für Wissenschaftsgeschichte in Berlin, seitdem research scholar emeriti. Seit 1997 hält sie Lehrveranstaltungen an der Humboldt-Universität zu Berlin, an der Wirtschaftswissenschaftlichen Fakultät der HU Berlin seit 2014 als Honorar-Professorin. Sie ist Mitglied der International Academy for History of Science (2016 Full Member). Sie publizierte mehrere Bücher, über 200 Artikel und ist Mitautorin der Wanderausstellung zu Leben und Werk Emil J. Gumbels (1891-1966), die u. a. in München und Heidelberg gezeigt wurde. Hans Sarkowicz studierte Germanistik und Geschichte in Frankfurt/Main. Seit 1979 arbeitet er beim Hessischen Rundfunk. Er leitete das hr2-Ressort Literatur und Hörspiel und ist Autor von zeitgeschichtlichen und kulturhistorischen Publikationen, unter anderem zur Kunst und Literatur im Nationalsozialismus.

Heike Hanada, Künstlerin und Architektin des 2019 eröffneten Bauhaus Museums in Weimar, begibt sich in einen fiktiven Dialog mit Walter Gropius, dem Gründer des Bauhauses.

Hello Interactors,I recently returned from an extended trip back east for a talk at Harvard University's Graduate School of Design (GSD). I also threw in quick visits to Boston and New York to visit my kids, and then stopped over in Kansas City to visit family on the way back to Seattle.I was invited to keynote a two-day symposium hosted by the Laboratory for Design Technologies on the role of technology in micro-mobility in urban environments. My friend and colleague, Allen Sayegh, has been tracking my work on Interplace and thought my perspective was worth sharing. I was joined by two other speakers:Carole Turley Voulgaris, Assistant Professor of Urban Planning at the GSD. Carole focuses on explaining what influences decisions on travel through cities. She considers how transportation planning institutions utilize travel decision making to inform their plans, policies, and infrastructure design.Bryan Boyer, cofounder of the architecture and strategic design studio Dash Marshall. Brian is also an Assistant Professor of Practice in Architecture and Director of the new Bachelor of Science in Urban Technology degree at Taubman College of Architecture and Urban Planning at the University of Michigan. He is a graduate of the GSD.The title of my talk was a riff on one of my first essays about my time at Microsoft: A Computer on Every Desk and a Car in Every Garage: How Bill Gates and Herbert Hoover Altered How We Interact with People and Place.It was the PC revolution that enabled virtual interaction with others around the world – all while seated behind a glass screen. Meanwhile, automobile proliferation further isolated others from their neighbors and immediate surroundings enabling a virtual interaction – all while seated behind a glass screen. Given these trends, what are the implications for land use, the built environment, and collective mental, physical, and societal health? How did we get here, and where do we want to go…today?As interactors, you're special individuals self-selected to be a part of an evolutionary journey. You're also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let's go…Thank you for reading Interplace. Please share!GSD, LDT, AND THE LCGSA“Technology is accelerating profound changes throughout society, affecting everything we do — how we live, work, produce, build, and think.”These are the words that frame Harvard University's Graduate School of Design's (GSD) Laboratory for Design Technologies. The GSD has a long-storied history. It was the first in the country to offer a landscape architecture class in 1893 and the first in the world to offer landscape architecture degree in 1900. The program was founded by Fredrick Law Olmsted, Jr., the son of the more famous Frederick Law Olmsted. That same year Harvard offered the country's first urban planning courses and by 1929 expanded to become the first urban planning degree in North America.In 1936 the official Harvard Graduate School of Design was launched housing schools of architecture, urban planning, and landscape architecture. A year later, the famous modern architect Walter Gropius became faculty chair in architecture and the GSD's reputation as a modernist powerhouse was established. In 1972 that reputation was solidified in the iconic concrete brutalist architecture of the GSD's new home, Gund Hall.But in the shadows of the looming starchitects climbing the stairs to the tiered terraces of sundrenched cubicles teaming with design students, was a computer lab. It was here technology minded design professors and students were incubating the foundations of software we repeatedly use everyday to find our way around the world – computer generated maps.In 1965, the Harvard Laboratory for Computer Graphics and Spatial Analysis (LCGSA) was formed by a Harvard trained architect, Howard Fisher. He was enamored by the work of a University of Washington urban planning professor, Edgar Horwood. The University of Washington geography department had already established itself as a center of excellence in quantitative geography and computer cartography as part of geography's quantitative revolution. Horwood's use of computer cartography spread to Harvard, the LCGSA, and throughout the GSD for years to come.Fisher's program attracted grant money that helped it grow to forty researchers. In the 1970s, the Harvard administration encouraged the commercialization and licensing of research across the university. The LCGSA continued to innovate licensing software and graduating entrepreneurs that fed the infancy of Geographical Information Systems (GIS) industry and discipline of Geographical Information Science (GIScience). In 1969, one GSD landscape architecture graduate went on to create what is now the world leader in GIS software, Environmental Systems Research Institute (ESRI).As more staff left for industry, funding also subsided. By the 1980s Harvard cooled on the commercialization of research, funding was curbed, and the GSD was encouraged by the administration to focus on pure research. The last director of LCGSA, which closed in 1991, was the late Dan Schodek.Dan continued to provide a place for technology minded designers and directed the Laboratory for Design Technologies. I was introduced to Dan by a Microsoft colleague and GSD student in 2007 and Dan invited me to spend a year at the GSD as a visiting fellow. I traveled back to Boston regularly to explore ideas for computer interaction design curricula inside the GSD. It was there and then I was introduced to Allen Sayegh.In the years since, Allen has turned his attention more toward my past – interaction with technologies – while I've turned my attention toward his past – interaction with the built environment. And it is precisely this kind of incongruent and serendipitous collaboration that keeps the GSD, and its technology lab, a fertile source of exploration and discovery. This symposium was no exception. With invited attendees from the University of Bergamo in Italy, who also study urban mobility, students and faculty spent a few days exploring the role technology plays in the built environment and the interaction of people and place.This topic is perhaps more pressing today than in human history, thanks to a worldwide pandemic and the PC revolution. In March the U.S. department of labor released their 2022 survey results on remote work. It reveals nearly seventy percent (67.2%) of information workers continue to choose to work remotely some or most of the time. This contrasts with more traditional industries that require a physical presence like those related to the built environment, including transportation (13.6%) and construction (10.5%).A gulf has formed between those able to chose to work in the ‘virtual' world and those required to work in a ‘physical' world. What does this split say about how we move and interact between and within the physical world and its occupants…or not? How will it impact how cities plan? To unravel how we got here, we should start with Bill Gates. His company, Microsoft, was the primary catalyst for enabling a new way of working and communicating on a tool many now take for granted – the PC.When I started at Microsoft in 1992, the graphical user interface was just taking off and computers stood alone, disconnected from each other. I worked on designing micro-interactions, on micro-computers, in micro-spatial environments. It was microcomputer software, Microsoft.Sharing information between computers required physically walking or mailing a floppy disk to another person. But that was short-lived. By the end of my first year, Windows for Workgroups released which connected computers through growing local area networks (LANs). The ‘sneaker network' was replaced by the ‘ether network'. But this ‘virtual' sharing of information was mostly contained within buildings and campuses. Still, Microsoft Windows enabled microcomputers to share information virtually at a microspatial scale through PCs that were growing in popularity.USER FRIENDLYAs popular as they were, computers were still relatively hard to use. I was hired as part of a growing team of usability engineers and user interface designers tasked with making them easier. Complex software made for complex behavior, observed scientist and Nobel Prize winner Herb Simon in his quote, “The apparent complexity of our behavior over time is largely a reflection of the complexity of the environment in which we find ourselves.”Through a bit of luck, ingenuity, and design iteration, progress on more learnable user interfaces was made. And by 1995, the advent of the ‘Start' button in Windows ‘95, a desktop icon labeled ‘The Internet', and software offered in many languages, Microsoft and the PC industry quickly grew globally. This growth coincided with, and was aided by, the widespread sociopolitical and economic expansion of globalism in the 1990s. Microsoft enabled and inspired people around the globe to consume, produce, and share information virtually at an historical scale. Micro-software at a macro-scale. This global reach prompted Microsoft's ad agency, Wieden+Kennedy, to invent the Microsoft tagline, “Where do you want to go today?”This worldwide virtual connectivity worked in both directions. While people were connecting and collecting, Microsoft was too. For those who elected to do so, we anonymously collected software usage data from far reaches of the world. A feat unimaginable just a few years prior. We could now see what features were being used, how often buttons were clicked, and statistically model how people were interacting with our software. We paired big-data quantitative analysis through remote telemetry with high-touch qualitative analysis from on-site usability labs.Addressing expanding markets and satisfying endless varieties of user goals, demanded more and more new features. By 1998, three years after Windows and Office 95, Microsoft software was perceived as slow and bloated with features. Recalling Herb Simon, the apparent complexity of user behavior was largely a reflection of the complexity of the software environment which we found ourselves creating. To better understand the issue, a colleague and I even sponsored a multi-day workshop at a conference that resulted in a paper paradoxically titled, “Too much of a good thing?” Customers and end-users would complain of too many features out of one side of their mouth and request three more out of the other.In the eyes of Microsoft and its shareholders, too much was a good thing. Between 1990 and 1997 the percent of U.S. households owning computers more than doubled across all demographics. Similar growth occurred throughout other parts of the world with necessary communication infrastructure and wealth. It took 25 years for Bill to achieve his domineering capitalistic dream of ‘a computer on every desk and in every home.' The PC had become a household appliance and Microsoft a household name. The world would never be the same again.Meanwhile, another successful vision of economic and product domination was already over 75 years old and was sweeping the country and parts of the world. In I928, future U.S. president Herbert Hoover, and the Republican party, ran on this campaign promise – ‘a chicken in every pot and a car in the garage.' That promise led to a flood of automobiles that reshaped our land, our behavior, and our society – including how we interact with people and place. The world would never be the same again.Transportation and how we use land are trapped in a perverse self-supporting spiraling circularity from the center outward.  As urban populations grow, housing creeps to the fringes of the city center. This spawn's transportation needs to further away places where more development welcomes new homes and businesses. These new developments require even more transportation which in-turn attracts more growth. More growth requires more transportation. It's a cycle that leads to sprawling urban metropolises and leap frog developments.America is known for its sprawling metropolitan areas, but Europe sprawls too. While 75% of Europeans live in dense urban areas, satellite imagery reveals many of their cities also creep and leap. Paris is currently the darling of championing a more walkable and bikeable “15-minute city”, but just beyond the urban core are the same car dependent suburbs you find in America. Sprawl exists around the world. Many factors play into the self-perpetuated circular calculus of sprawl, but it's broadly a function of income, population, agricultural land value, transportation costs, other socio−economic factors, and climatic and geographic realities.Attempts have been made over centuries to address sprawl with movements like ‘New Urbanism'. We have ‘new' urbanism circa 1950s to the 1980s, ‘new' urbanism of the 1990s to 2000s, and ‘new' urbanism of today. One could argue that even the walled cities of ancient Mesopotamian, Greek, Chinese, and American civilizations were also deemed ‘new' forms of urbanism. We humans seem to always be struggling with needing more space while wanting less sprawl. Bloat. Too much of a good thing?IMAGINING CITIESCity planners, managers, and policy makers have long rationalize planning schemes through quantitative reasoning. For example, in more modern times, beginning in 1826, Johann Heinrich von Thünen devised a model for urban planning in his book The Isolated State. With the city center as the middle of a bullseye, he articulated rings of land use for optimal agrarian economic development. The first ring was reserved for those items that may spoil the fastest or had the highest need, like dairy and market goods. Then came the forest for fuel, grains and crops, ranching, and finally ‘wilderness'…aka, optimal land for new urbanist sprawl.This model was improved upon by Walter Christaller and his Central Place Theory in 1933. I recently wrote about how his theory now has some empirical validity with the Universal Visitation Law of Human Mobility which states the frequency of visits to a location is inversely proportional to their distance.Top down, economic spatial reasoning remains the dominant method of urban planning to this day. And while it's served the economy well, it hasn't necessarily served humanity all that well. One notable critic of this style of planning was urban planner and author Kevin Lynch. Lynch was interested less in the top-down, God-like, cartesian, cartographic image of a city. He advocated for leveraging the mental maps people had of their surroundings. His popular book, Image of the City, included maps of the Boston area derived from the mental maps of area residents.Another popular and influential critic of traditional urban planning was urban activist and author, Jane Jacobs. She was a voice of the people – the occupants, users, and shapers of urban spaces. In her 1961 book, The Death and Life of Great American Cities, she wrote,“There is no logic that can be superimposed on the city; people make it, and it is to them, not buildings, that we must fit our plans.”She frequently spoke out against the patriarchal, top-down, carving up of cities like a monopoly board. And yet, here we are, still playing monopoly on a board carved with lines optimized for the flow of money, private wealth accumulation, and the moving and parking of cars. It's a game that results in players stuck in traffic, often in their car, waiting their turn, with this question in their mind – “Is this where I want to go today?”Sitting in that car, moving in physical space, motorists are increasingly digitally connected to a virtual world out there – just beyond the glass of their automobile. Many of them just came from sitting at a desk digitally connected to a virtual world out there – just beyond the glass of their computer.Embedded in our cities is the digital promise of the Internet of Things, Smart Cities, autonomous driving, and the pervasive, embedded, ubiquitous technology that has turned the automobile into a PC on wheels. And just as with software, a reciprocal relationship occurs. All those connected sensors embedded in the urban fabric, in our phones, and in automobiles make it possible to instrument and monitor how we interact with people and place.It's this very capability that enabled those scientists to turn Christaller's theory into power law through anonymized mobile phone data. But at what price? Both sitting at a PC and sitting in a car, humans are trapped in a physical bubble. The world is virtually available to them at an arms length distance to a mouse, keyboard, and computer screen or a steering wheel, dashboard, and windscreen. All while being inaccessible to the real world. Interactions are relayed through metal, plastic, glass, and silicon that virtually connect us to faraway people and places around the world on a PC, while physically separating us from our family, friends, neighbors, and neighborhoods in a car.It's also led to a digital divide. An estimated 90% of high-income earners in the world have accessed the internet in the last three months versus 20% of low-income earners. If wealth attracts, encourages, and perpetuates car and digital dependency that in-turn is shaping the form of our cities, what impact does this have on societies? It's impossible to predict, but this much we do know: The apparent complexity of our environment is largely a reflection of the environment we find ourselves in. That environment has grown in complexity, and so has our behavior. What emerges next depends, in part, on how each of us answer these questions: Where do I want to go today, how will I get there, what choice do I have, and who is most impacted? This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history. The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories. The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis. With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In our last two episodes we looked at how waves of political violence swept over post-World War I Europe.  But not all revolutions are political.  In this episode, we investigate revolutions in art, architecture, film and music - movements that dramatically altered the European cultural landscape.  Topics covered include: Josephine Baker (4:49), Dada (17:00), Surrealism and Dali (27:22), Marc Chagall (32:04), Writing and James Joyce (35:36), Architecture and Erich Mendelsohn (45:22),  Walter Gropius and Bauhaus (54:00), Film and the Cabinet of Dr. Caligari (100:16), Der Blaue Engel (108:33) and Jazz (112:17).note: website will be updated next week.

In French in this CDA S2#23 (Monday online), "My Uncle of America", a small chronicle of architecture, first part - English in CDA S2#24 (Wednesday online) : 3M tower of Cergy-Pontoise (95) in France, or the urgency of memory.En français dans ce CDA S2#23 (Lundi en ligne), "Mon Oncle d'Amérique", petite chronique d'architecture, volet 1 - En anglais dans le CDA S2#24 (Mercredi en ligne) : Tour 3M de Cergy-Pontoise, ou l'urgence de la mémoire.___Anne-Charlotte Depondt, fondatrice et chroniqueuse du podcast, historienne de l'architecture, partage ici sous la forme d'une chronique en deux volets, le récit de la carrière de Paul Depondt, son oncle architecte, ex-employeur, et sujet de sa thèse de doctorat soutenue en 2004 : "La construction métallique : Paul Depondt, architecte".Un témoignage inédit, ayant pour support cette thèse de doctorat d'Histoire de l'Art, mention Histoire de l'Architecture moderne et contemporaine, menée de 1996 à 2004 sous la direction de Gérard Monnier (1935-2017), historien de l'architecture vingtièmiste, professeur émérite de l'Université de Paris 1 Panthéon-Sorbonne.Nous retrouvons, dans ce premier volet, les principaux éléments qui ont forgés la carrière de l'architecte avec pour éléments forts, les années de guerre 1939-1945, des études menées à l'Institut de Technologie de l'Illinois de Chicago, alors et encore sous la direction du très grand Mies Van der Rohe, puis l'obtention d'un master à l'Université Harvard, dont le doyen de la section design n'est autre que le tout aussi fascinant Walter Gropius.Du profane à l'historien, des architectes en herbe à leurs maîtres, ce récit retiendra l'attention de tous les passionnés d'histoires et d'architecture.Podcast enregistré le 12 novembre 2020.Image teaser : photo d'Anne-Charlotte Depondt prise par Paul Depondt depuis un bateau sur le lac Michigan Chicago, en octobre 2002, lors d'un voyage d'études professionnel.___Si le podcast vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pour retrouver de belles images, toujours choisies avec soin, de manière à enrichir de manière importante votre regard sur le sujet.Belle semaine à tous ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Chi è Angelo Mangiarotti? La vita dell'architetto e designer milanese tra i tumulti della guerra, gli anni a Chicago e gli incontri con Walter Gropius, Le Corbusier, Frank Lloyd Wright e Ludwig Mies van der Rohe.

Since the 1950's, the US Government has hired Modernist architects like Edward Durell Stone, John Johansen, Walter Gropius, Marcel Breuer, Richard Neutra, and more recently Kieran Timberlake to design US Embassies all over the world.  Modernism most clearly expresses the idea of freedom and these buildings are a showcase for America.  But as Dr. Phil might say, “how's that working for us?” Joining us are Angel Dizon, who supervised $2B worth of construction projects for the US State Department and is now with the GSA - and returning podcast guest Mina Chow, architecture professor at USC and producer of the documentary Face of a Nation: What Happened to the World's Fair?  Later on, musical guest Oleta Adams. 

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Berlin, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential. The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6 With Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art Alan Powers History Leader at the London School of Architecture And Michael White Professor of the History of Art at the University of York Producer: Simon Tillotson

Melvyn Bragg and guests discuss the Bauhaus which began in 1919 in Weimar, Germany, as a school for arts and crafts combined, and went on to be famous around the world. Under its first director, Walter Gropius, the Bauhaus moved to Dessau and extended its range to architecture and became associated with a series of white, angular, flat-roofed buildings reproduced from Shanghai to Chicago, aimed for modern living. The school closed after only 14 years while at a third location, Bernau, under pressure from the Nazis, yet its students and teachers continued to spread its ethos in exile, making it even more influential. The image above is of the Bauhaus Building, Dessau, designed by Gropius and built in 1925-6 With Robin Schuldenfrei Tangen Reader in 20th Century Modernism at The Courtauld Institute of Art Alan Powers History Leader at the London School of Architecture And Michael White Professor of the History of Art at the University of York Producer: Simon Tillotson

Zur großen Faszination Weimars gehört es, dass die beschauliche thüringische Residenzstadt an der Ilm es vermochte, sich als international strahlkräftige Kulturmetropole immer wieder neu zu erfinden. Auf den Glanz der klassischen ‘goldenen‘ Goethe- und Schillerzeit folgten im späteren 19. Jahrhundert das sogenannte ‘Silberne Zeitalter‘ mit hier wirkenden Protagonisten wie Franz Liszt, Arnold Böcklin oder Franz Lenbach sowie im frühen 20. Jahrhundert das zunächst vor allem von Henry van der Velde geprägte ‘Neue Weimar‘, dessen Geschichte nach dem Ersten Weltkrieg ganz maßgeblich das federführend von Walter Gropius begründete und bis 1925 hier beheimatete Bauhaus fortschrieb. Der Autor Rudolf Kayser entdeckte in dieser ästhetischen Diversität, anders als manch konservativerer Zeitgenosse, keinen Widerspruch. Goethezeit und der Pioniergeist des aufstrebenden Bauhaus scheinen sich in seinem Artikel aus dem Berliner Tageblatt vom 26. November 1922 vielmehr äußerst fruchtbar miteinander zu verbinden. Es liest Frank Riede.

Alfredo Accatino"La linea e l'ombra"Senza talento nel luogo simbolo del talento: il BauhausGiunti Editorehttps://www.giunti.it/Nella pura architettura dei Laboratori Bauhaus di Dessau, la scuola di design che provò a cambiare il mondo, Erich Kroll, un ragazzo dal passato doloroso, vive la maledizione di non avere talento nel luogo simbolo del talento. Anzi, si illude che la creatività lo possa condurre al successo e al riscatto personale, e perseguirà questo obiettivo ad ogni costo, con cinismo e ottusità, sino a rovinarsi la vita. Lo seguiremo così nella sua continua lotta per emergere, dall'apertura della scuola (1926), sino a quando Walter Gropius ne lascia la direzione (maggio 1928). Una sorta di “giro di vite” tra Maestri quasi mitologici (Kandinskij, Klee, Schlemmer) e studenti geniali, mentre sullo sfondo scorgiamo l'onda nera del nazismo e gli ultimi fuochi della Repubblica di Weimar e, infine, nell'epilogo, la guerra e le ferite di una Germania divisa. Tranne Erich tutti i personaggi sono realmente esistiti, come i ragazzi sognatori – i Bauhäusler – veri protagonisti della narrazione. Un percorso che ci permette di ricostruire fedelmente il clima nel campus, tra lezioni, scontri, amori, eccessi, in un periodo storico fondamentale per la cultura e l'arte contemporanea, che crediamo di conoscere, ma di cui in effetti sappiamo veramente poco. Un romanzo di formazione che punta a decostruire le regole base: più che migliorare, infatti, Erich peggiora, a livello umano ed emotivo in un percorso dove è difficile distinguere tra vittime e colpevoli.Alfredo Accatino È uno dei più noti e premiati creativi italiani, autore di grandi eventi in tutto il mondo, dalle Cerimonie Olimpiche e Paralimpiche di Torino 2006 a quelle di Expo Milano 2015, ma anche di show, progetti culturali, live experience. Scrittore, autore televisivo e polemista, ha al suo attivo una vasta e variegata produzione editoriale. Figlio del pittore e teorico dell'educazione artistica Enrico Accatino, con cui collaborò alla realizzazione di numerose pubblicazioni, è autore di un blog di successo, Il Museo Immaginario – Outsiders, e dell'omonima rubrica su “Art e Dossier”. Con il precedente volume, Outsiders, ha fatto conoscere per la prima volta in Italia autori e storie dimenticate, proponendo un approccio nuovo e originale alla storia dell'arte del Novecento.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

Larry Chan discusses the architectural renovations at 8 Story Street. The original building was completed in 1965 by Walter Gropius and TAC. 

durée : 00:28:59 - Les Nuits de France Culture - par : Philippe Garbit - Bauhaus : c'est du nom de la mythique école d'architecture de Walter Gropius - et de son esthétique épurée - que baptisèrent leur groupe quatre étudiants en art de Northampton en 1979. Bauhaus allait devenir l'un des groupes phares de cette scène "new wave" britannique qui succéda au mouvement punk.

Randall and Chris discuss the moment the "modern" world was born, with the first abstract painting in 1910. Another slide episode. Watch the video on Youtube or Facebook or download slides here: https://mega.nz/file/ExlWgJiC#1o5JkcH5qSFZ28Fu06JIxrsEibX5sSV_mK4t9QoJ-co Topics discussed include:  Salon des Refusés Impressionism Expressionism Lord of the Rings Star Wars Arnold Schoenberg influence of photography Fauvism The Blue Rider Cubism Composition V Nude Descending a Staircase, No. 2 A Princess of Mars, 1912 H. G. Wells Bauhaus https://en.wikipedia.org/wiki/From_Bauhaus_to_Our_House https://en.wikipedia.org/wiki/Movement_(New_Order_album) Timeline  1863 -- Salon des Refusés 1903 -- The Blue Rider painted 1905 -- Fauvism coined 1906 -- Post-Impressionist coined 1910 -- Cubism coined 1910 -- FIRST ABSTRACT PAINTING 1912 -- 'A Princess of Mars' released in All-Story magazine 1913 -- Armory Show 1914 -- WWI 1919 -- Bauhaus (building house) founded  by Walter Gropius 1929 -- Buck Rodgers comic strip published 1933 -- Famous Funnies, first modern comic book published 1937 -- 'The Hobbit' published recorded March 29, 2022 Visit us at https://chrisandrandall.com/

Mahler ist 50 Jahre alt und kurz vor seinem Tod führt ein falsch adressierter Liebesbrief zum Showdown in der lang verdrängten Ehekrise. Almas Liebesverhältnis mit dem späteren Bauhaus-Gründer Walter Gropius wird Mahler den Boden unter den Füßen wegreißen und ihn sogar Sigmund Freud aufsuchen lassen. Von Jörg Handstein. Mit Udo Wachtveitl (ERZÄHLER), René Dumont (GUSTAV MAHLER), Laura Maire (ALMA MAHLER). ZITATOR*INNEN: Krista Posch, Gert Heidenreich, Hans Jürgen Stockerl. TON UND TECHNIK: Fabian Zweck. REDAKTION UND REGIE: Bernhard Neuhoff. PRODUKTION: BR 2007 Michael Krogmann, Gerhard Wicho, Daniela Röder. REDAKTION UND REGIE: Bernhard Neuhoff. PRODUKTION: BR 2015

Twenty students at the Anhalt University of Applied Sciences developed ideas for crime stories to shed new light on the workers' estate designed by Walter Gropius in Törten between 1926 and 1928. Led by Professor Natascha Meuser, this unorthodox approach to teaching helped the students gain a deeper understanding of the world-famous row houses and became the genesis of ‘The Törten Project: Murder and Crime Mysteries from a Bauhaus Estate'. Natascha Meuser is an architect and publisher based in Berlin. She is a professor of design at the Anhalt University of Applied Sciences and leads DOM Publishers. Natascha has extensively authored books on design methodologies and drawing for architects, along with several publications on the history of architecture and zoology. More on Natascha's work: http://www.nataschameuser.com , https://dom-publishers.com

In this episode, the guys get back to their regularly scheduled programming. Nico takes us back to a time when typefaces were a symbol of nationalism, and Chad talks about why its a good idea not to run a scam related to the CIA. Credit: Central Intelligence Agency https://www.cia.gov/Typefaces aren't just related to art and advertising, they also have a long history with politics.  Think of Fraktur. Fraktur is a gothic font. It's also calligraphic meaning that rather than just being gothic it has a handwritten quality to it that makes it somehow both curvy and pointy at the same time. Fraktur arose in the 16th century and remained popular until the 18th century, at which point many European countries moved away from Fraktur in favor of the much easier to read Antiqua typeface (for example Times New Roman is technically Antiqua in style). Germany viewed Antiqua as a symbol of the classicist age and emerging cosmopolitanism in most of the European countries that had previously used Fraktur.  The Antiqua-Fraktur Dispute was such a big deal that two centuries later, it has its own Wikipedia page.  The Fraktur typefaces remained in use in Nazi Germany, and was represented as “true German script.” In fact, during World War II, German presses were “urged” to only use “German script,” meaning Fraktur. “Urged” because the Fraktur font was heavily associated with Nazi Germany. This association was partly, if not largely, because of the Bauhaus.  The Bauhaus is a German art school founded by German architect Walter Gropius after World War I in 1919. Bauhaus was founded on principles of how design could be used to serve people and transform society. The Bauhaus School led to the first concrete foundations of modern design. Additionally, its influence was not only limited to Germany. The revolutionary art movement not only helped create what is now known as modern design but shaped cityscapes and entire urban centers elsewhere in the world. The nationalist movement that soon developed into Nazi ideology in Germany considered Bauhaus to be a rejection of traditional German values.  On January 3, 1941, the Nazi Party ended this controversy by declaring Fraktur to be Judenlettern (Jewish letters) before prohibiting it and switching to Antiqua.  German historian Albert Kapr has speculated that the regime viewed the hard-to-look-at-let-alone-read Fraktur as inhibiting communication in the occupied territories during World War II.  War took precedence over having a “German” font. What's Up With The Art History Lesson?  Today, when we see illegible fonts in advertisements, it's considered a marketing fail.  Which is essentially what happened with Germany. By insisting on using Fraktur for - give or take -  four hundred years, as a metaphor you could say Germany turned themselves into a bad billboard.  Whether you're a company or a country, the lesson here is to embrace art, marketing, and the place where those two overlap.  On January 8th, 2021, the Central Intelligence Agency unveiled a new design for its website, CIA.gov. Not a big deal, right? Well… Apparently, it was.Or at least it was a big enough deal that the rebranding made news. Why? Same reason the Bauhaus did 100 years ago. Simply for breaking the status quo.  CIA.gov abandoned the formal signifiers of government authority: dense bureaucratic text, link directories, declarative headers, nothing too fancy CIA.gov is now set against a stark black background, offset by dots and lines that form topographical contours. There's pops of red, bold, white font, and a clear design theme. In other words, the CIA seems to have discovered graphic design and modern art. There are subtle hallmarks of modern web design, like the site's animated scroll. The crisp lines and muted color palette suggest a minimalist branding strategy. Like with all things political, artistic, or both, the website has received a lot of mixed reactions. Online,