Bauhaus History of Design Essay Example for Free

Bauhaus History of Design Essay The Bauhaus was the first model of the modern art school. The Bauhaus curriculum combined theoretic education and practical training in the educational workshops. It drew inspiration from the ideals of the revolutionary art movements and design experiments of the early 20th century. A woodcut (shown right) depicted the idealized vision of Walter Gropius, a cathedral of design. Bauhaus 1919-33 The Bauhaus began with an utopian definition: The building of the future was to combine all the arts in ideal unity. In order to reach this goal, the founder, Walter Gropius, saw the necessity to develop new teaching methods and was convinced that the base for any art was to be found in handcraft: the school will gradually turn into a workshop. artists and craftsmen directed classes and production together at the Bauhaus in Weimar. This was intended to remove any distinction between fine arts and applied arts. Of course, the educational and social claim to a new configuration of life and its environment could not always be achieved. And the Bauhaus was not alone with this goal, but the name became a near synonym for this trend. The Bauhaus occupies a place of its own in the history of 20th century culture, architecture, design, art and new media. One of the first schools of design, it brought together a number of the most outstanding contemporary architects and artists and was not only an innovative training centre but also a place of production and a focus of international debate. At a time when industrial society was in the grip of a crisis, the Bauhaus stood almost alone in asking how the modernisation process could be mastered by means of design. Founded in Weimar in 1919, the Bauhaus rallied masters and students who sought to reverse the split between art and production by returning to the crafts as the foundation of all artistic activity and developing exemplary designs for objects and spaces that were to form part of a more human future society. Following intense internal debate, in 1923 the Bauhaus turned its ttention to industry under its founder and first director Walter Gropius (1883–1969). The major exhibition which opened in 1923, reflecting the revised principle of art and technology as a new unity, showcased the full spectrum of Bauhaus work and prototypes. The Haus Am Horn provided a glimpse of a residential building of the future. In 1924 funding for the Bauhaus was cut so drastically at the instigation of conservative forces that it had to seek a new home. The Bauhaus moved to Dessau at a time of rising economic fortunes, becoming the municipally funded School of Design. Almost all masters moved with it. Former students became junior masters in charge of the workshops. Famous works of art and architecture and influential designs were produced in Dessau in the years from 1926 to 1932. Walter Gropius resigned as director on 1st April 1928 under the pressure of constant struggles for the Bauhaus survival, He was succeeded by the Swiss architect Hannes Meyer (1889–1954) whose work sought to shape a harmonious society. Cost-cutting industrial mass production was to make products affordable for the masses. Despite his successes, Hannes Meyer’s Marxist convictions became a problem for the city council amidst the political turbulence of Germany in 1929, and the following year he was removed from his post. Under Ludwig Mies van der Rohe (1886–1969) the Bauhaus developed from 1930 into a technical school of architecture with subsidiary art and workshop departments. After the Nazis became the biggest party in Dessau at the elections, the Bauhaus was forced to move in September 1932. It moved to Berlin but only lasted for a short time longer. The Bauhaus dissolved itself under pressure from the Nazis in 1933. Architecture The building is the ultimate goal of all fine art,† the Bauhaus manifesto proclaimed back in 1919. Architecture training at the Bauhaus in Weimar was initially the prerogative of Walter Gropius private architectural practice and for a short time courses were run by his partner Adolf Meyer and in association with the Baugewerkschule (building trades school) in Weimar. The Bauhaus workshops were involved in these efforts through Gropius’s office. This collaboration produced the Haus Am Horn in 1923. Some new methods based on specific types and standardisation were employed not only to produce new architecture but to anticipate a new lifestyle through this architecture. In 1927 Walter Gropius offered Hannes Meyer a position in charge of architecture classes. That year Hannes Meyer began to put together a curriculum which included all relevant subjects such as planning, design, draftsmanship, construction, town planning. Architecture for Walter Gropius and Hannes Meyer alike mainly denoted the design of life’s processes. Hannes Meyer went far beyond Gropius’s study of essentials†, which focused too much on the object for his taste, turning his teaching programme into one where the concrete conditions in society and the factors determining architecture and its use formed the starting point for all planning and design. The habits of the future residents of an estate or a house were studied in scientific detail. From 1930 to 1933 Ludwig Mies van der Rohe carried on with much of what had been started under his predecessors. At the same time Mies van der Rohe streamlined the curriculum to produce something like a system of courses which left almost no room for utopian experiments. The majority of the new student intake at the Bauhaus had already completed a course of studies, and the Bauhaus became a postgraduate school. Mies van der Rohe’s teaching focused on the design of specific buildings whose appearance owed nothing to Gropius’s study of essentials† or to the collective satisfaction of â€Å"the people’s needs†, but which were to be the spatial implementation of intellectual decisions† (Mies van der Rohe) in an aesthetically consummate fashion.

Urban Legends :: Exploratory Essays Research Papers

Urban Legends      Ã‚  Ã‚  Ã‚   The subject of this report focuses on the phenomenon known as Urban Legend. Urban Legend, henceforth referred to as UL, is well known in the arena of folklore and other sorts of stories passed down through generations; however, it is relatively new to the world of literary composition as a legitimate genre to be analyzed and studied in texts by experts of literature. In fact, if it had to be labeled, UL would be considered a sub-genre of folklore by many of the experts. These stories are known as "modern oral folklore - typically a tall tale with a frisson of comeuppance of horror, related as having actually happened to a 'friend of a friend'" (Clute & Grant, 1997). UL is also considered to be very similar to myth and fantasy.    I originally became very interested in this phenomenon after seeing the film Urban Legend several years ago. My curiosity on the subject matter was rekindled when Stacey Burleson presented on "Legend" in our class. To be quite honest, I did not realize that UL was considered as being part of a genre of literature until Ms. Burleson's presentation. This newfound interest in the subject, as well as a desire to dig beyond the surface of the subject matter, is the reason I chose this topic. In doing this research, I realized that I have been participating in UL's every since I was a young boy. The simple fact that I never used the term "urban legend" is why I thought I was so unfamiliar with this subject area. During my childhood, my family and peers always referred to these legends as "campfire stories". It was not until college, when I saw the previously mentioned movie, that I associated the term with the countless stories I had heard and told to others.    According to Jan Harold Brunvand, considered by many to be the leading expert in the field of UL and fantasy folklore, UL's are "stories that are too good to be true. And are events that happen to a friend of a friend, or 'FOAF'."(Brunvand, 1999). Also, most of the time, the stories are told in such a believable manner because the storytellers themselves believe the story, or at least the probability that the actions in the stories could take place.

Team Leading

SHORT ANSWER QUESTIONS – M2. 04 DEVELOPING THE WORK TEAM Learner name Learner registration number UNDERSTAND THE NATURE OF TEAMS AND THE FEATURES OF TEAM ROLES AND RESPONSIBILITIES INCLUDING THE ADVANTAGES AND DISADVANTAGES 1. How does a team differ from a group? Give 3 examples of the differences. (3 marks) hell 2. Leading the team is an important team role. Briefly describe 2 other roles that members of a team might fill using a recognised model (2 marks) . Describe the 4 stages in team development (4 marks) R6434c v2 13. 01. 11 4. Briefly describe 2 advantages and 2 disadvantages for an organisation of using teams to organise people to produce goods and services. (4 marks) KNOW HOW TO IDENTIFY TRAINING NEEDS OF A GROUP OR TEAM AND HOW THOSE NEEDS MAY BE MET 5. Explain briefly why an organisation might want to carry out a ‘Training Needs Analysis’ of its employees (4 marks) R6434c v2 13. 01. 11 6.State 1 advantage and 1 disadvantage of each of the following ways of training your team: a. Going on a 1 day training course away from the workplace b. Having a trainer come in and train them in the workplace c. You coaching them individually in the workplace (6 marks) Total marks available for unit M2. 04 (23) Marks required to pass 12 + VLA decision Total Marks Total 50%+ overall Outcome (mark as applicable) PASS FAIL Section fail if applicable: Name of VLA: Assessment date: R6434c v2 13. 01. 11

Case Study The Ethical Dilemma Essay - 1617 Words

The purpose of this assignment is to review and analyse a business case which features an obvious ethical dilemma. The chosen business case for this assignment involves: Egg farms in Iowa America, bad practices highlighting the ‘ethical dilemma’, and a crooked entrepreneur named Austin Jack DeCoster, a man responsible for making unethical decisions. Austin Jack DeCoster first started operating his egg business in the late 1940’s at the age of 15 and built up his empire to become one of America’s top ten egg producers in the country (Endo, 2010), housing a â€Å"flock of more than 15 million chickens† (Friedman, 2010). Although there is a time line of crooked behaviour from Mr DeCoster reaching back as far as the 1950’s (Fassler, 2010), the specific dilemma mentioned in this assignment came to light in August 2010. The ethical dilemma recorded was that salmonella-tainted eggs had sickened an estimated 1900 people, which then led to the recall of 550 million eggs according to (Foley, 2011). These eggs were produced by Wright County Farms, owned and operated by Mr Austin Jack DeCoster. In May 2010 prior to the outbreak several states noticed an increase in the number of cases related to the bacterial illness, which resulted in a nationwide investigation into all major egg processing companies. 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