The Impact of Multiculturalism on Bauhaus Pedagogy
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The document discusses the impact of multiculturalism on the Bauhaus pedagogy. It describes how the Bauhaus welcomed students from different disciplines and backgrounds, offered specialized workshops, and encouraged faculty autonomy. This multifaceted environment expanded discourse and led to a multidirectional focus on both technical craft education and progressive art education, producing technically competent artist-craftsmen.
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The Impact of Multiculturalism on Bauhaus Pedagogy
- 1. THE IMPACT OF MULTICULTURALISM ON BAUH AUS PEDAGOGY A D N A N L O T I A © 2 012
- 2. PROMOTING DIVERSITY “Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.” – Walter Gropius, Bauhaus Manifesto
- 3. PROMOTING DIVERSITY “Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.” – Walter Gropius, Bauhaus Manifesto IDEOLOGY Welcomed students from different disciplines Offered studies in specialized workshops Hired both workshop directors and masters of form Encouraged faculty autonomy and independence
- 4. PROMOTING DIVERSITY “Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.” – Walter Gropius, Bauhaus Manifesto IDEOLOGY Welcomed students from different disciplines Offered studies in specialized workshops Hired both workshop directors and masters of form Encouraged faculty autonomy and independence PRACTICALITY Merged Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art Retained faculty based on their availability and interest Embraced egalitarian ideals because funded by new German republic
- 5. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917
- 6. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917 Russian state art and technical school Vkhutemas, founded in 1920
- 7. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917 Russian state art and technical school Vkhutemas, founded in 1920 English designer William Morris, who argued that art should meet society’s needs
- 8. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917 Russian state art and technical school Vkhutemas, founded in 1920 English designer William Morris, who argued that art should meet society’s needs Swiss educator Johann Heinrich Pestalozzi, who advocated learning through practice
- 9. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917 Russian state art and technical school Vkhutemas, founded in 1920 English designer William Morris, who argued that art should meet society’s needs Swiss educator Johann Heinrich Pestalozzi, who advocated learning through practice Italian educator Maria Montessori, who pioneered student-based education
- 10. THE ‘INTERNATIONAL’ STYLE EUROPEAN INFLUENCES Dutch artistic movement De Stijl, also known as neoplasticism, founded in 1917 Russian state art and technical school Vkhutemas, founded in 1920 English designer William Morris, who argued that art should meet society’s needs Swiss educator Johann Heinrich Pestalozzi, who advocated learning through practice Italian educator Maria Montessori, who pioneered student-based education Austrian artist / educator Franz Cizek, who championed spontaneous artmaking
- 11. DIVERGENT PERSPECTIVES SECTARIAN EXPRESSIONISM 1919–1923 Johannes Itten’s preliminary course promoted meditative, intuitive design Channeled teachings of Mazdazan, which was derived from Eastern spirituality Encouraged students to adopt unusual lifestyle
- 12. DIVERGENT PERSPECTIVES SECTARIAN EXPRESSIONISM 1919–1923 Johannes Itten’s preliminary course promoted meditative, intuitive design Channeled teachings of Mazdazan, which was derived from Eastern spirituality Encouraged students to adopt unusual lifestyle OBJECTIVE RATIONALITY 1923–1925 Laszlo Moholy-Nagy’s preliminary course focused on industrial craftsmanship Embraced new technology and the virtues of internationalism Encouraged students to investigate form and function
- 13. DIVERGENT PERSPECTIVES SECTARIAN EXPRESSIONISM 1919–1923 Johannes Itten’s preliminary course promoted meditative, intuitive design Channeled teachings of Mazdazan, which was derived from Eastern spirituality Encouraged students to adopt unusual lifestyle OBJECTIVE RATIONALITY 1923–1925 Laszlo Moholy-Nagy’s preliminary course focused on industrial craftsmanship Embraced new technology and the virtues of internationalism Encouraged students to investigate form and function EXPERIENTIAL MATERIALITY 1925–1930 Josef Albers’ preliminary course emphasized individual discovery Built upon idea that materials and processes had to be experienced first-hand Encouraged students to experiment with varied materials
- 14. CONSEQUENCES OF MULTICULTURALISM MULTIFACETED SOCIETY Educational environment comprised of diverse disciplines Broad range of social activities including theater, music and exhibition Formal and informal discourse expanded and enriched
- 15. CONSEQUENCES OF MULTICULTURALISM MULTIFACETED SOCIETY Educational environment comprised of diverse disciplines Broad range of social activities including theater, music and exhibition Formal and informal discourse expanded and enriched MULTIDIRECTIONAL FOCUS Career building technical craft education Progressive and innovative art and design education Technically competent artists and avant-garde craftsmen
- 16. CONSEQUENCES OF MULTICULTURALISM MULTIFACETED SOCIETY Educational environment comprised of diverse disciplines Broad range of social activities including theater, music and exhibition Formal and informal discourse expanded and enriched MULTIDIRECTIONAL FOCUS Career building technical craft education Progressive and innovative art and design education Technically competent artists and avant-garde craftsmen INTERCONNECTED EDUCATION Need to seek relationships and commonalities between disciplines Joint projects that combined expertise in every area Holistic, nonspecific educational policies