• 미술이론과 현장
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• 제9호
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• pp.59-91
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• 2010

The Bauhaus educational method gave the strong influences on Modern Japanese art and design education. In the 1920s and 1930s, Japan allied with Germany and Italy politically and tried to receive German system to be modernized. The reception of the Bauhaus and Moholy-Nagy's photographic theory was one of those activities at that time. Japanese intellectual class went to the Bauhaus and studied there; Ishimoto Kikuchi, Nakata Sadanosuke, Mijutani Takehiko, Yamawaki Iwao and Yamawaki Michiko(Yamawaki Iwao's wife). Especially, Yamawaki Iwao studied about the architecture at the Bauhaus, but his interest moved toward the photography and the photomontage based on Moholy-Nagy's theory. He studied at the photography workshop of the Bauhaus presented by Peterhans irregularly. Even though Yamawaki Iwao was an architect, he wanted to be admitted as an expert for the photomontage that he particularly studied at the Bauahus as a Bauhaus member. He had presented many articles about the photomontage at the photography magazines in Japan in order to introduce it to Japan since he returned in 1933. Thus, Yamawaki Iwao is the important person when we look back the Modern Japanese design and art history. In Japan, the art and design systems are managed by the Bauhaus educational system until now, and it has become a kind of cultural legacy in Modern Japan; The university of Tama and The university of Tsukuba are the representative educational systems which are based on the Bauhaus legacy. However, Yamawaki Iwao had been concealed as a photographer in Japanese design and photography history until the retrospective discuss named by 'Bauhaus syashin(Bauhaus Photographies)' at the photography magazine, Deja-vu in 1995 and the retrospective exhibition titled as 'Bauhaus syashin(bauahustofografie)' in 1997. This study rethinks of Yamawaki Iwao's historical position while looking at the term as 'Bauhaus Syashin(Bauhaus Photographies)' used in Japan. It is very important to bear in mind Moholy-Nagy's wide variety of approaches to photography at the Bauhaus, but it is impossible to name it 'Bauhaus style'. 'Bauhaus style' is the international style in architecture, but that was never a Bauhaus style in photography. Eugene J. Prakapas indicated that the vague term of 'Bauhaus Photographies' in his article in 1985 as well. This study considers the historical background for the mistake of the term of 'Bauhaus Syashin(Bauhaus Photographies)' in Modern Japanese history, while looking at Yamawaki Iwao's photomontage faintly entering on the historical stage again to discuss the reception of the photomontage from him. In particular, Some of Yamawaki Iwao's photomontage presented as the wall photography in Japan during the Second World War, that was related to the propaganda of Japanese government. It had not been known well in the modern Japanese art and design history because it was related to a declaration of the Second World War by Japan. However, the historical position of his photomontage is very important for Japanese history when we rethink of the reception of the Bauhaus and Moholy-Nagys' photographic theory to build up the Japanese modern history. In the result, this study wants to discuss that the mistake of the term of 'Bauhaus syashin(Bauhaus Photographies)' in Japan is related to the interpretation for the the historical position for Yamawaki Iwao's photomontage in the reception of Bauhaus and Moholy-Nagy's photography in Japan.

• 한국가구학회지
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• 제16권2호
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• pp.67-76
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• 2005

Bauhaus, founded in Weimar, Germany in 1919, represented Modernism which is proven in the field of art as well as architecture. Furthermore, in design field, Bauhaus is the essential historical event whose influence continues in contemporary design. Bauhaus furniture is simple and austere and has linear shapes which are suitable for mass production. Bauhaus developed functional furniture design such as knock-down and pre-fabricated furniture. In terms of finishes, Bauhaus furniture epitomizes the influence of De Stijl which used either achromatic colors and three primary colors or natural finishes of wood. Bauhaus contributed to furniture design field as below. 1. Success in mass-produced furniture through standardization and pre-fabrication 2. Pioneered on industrialization through collaboration between academia and industry 3. played essential role developing modem furniture by using not only metal but also such diverse materials as plywood, glass, and leather

• 디자인학연구
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• 제16권3호
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• pp.361-370
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• 2003

지금 까지 우리들은 현대 디자인과 조형 교육의 기원이라고 할 수 있는 바우하우스에 대하여 단지 조직적인 차원과 의미론적인 차원에서 이해하고자 하였다. 중요한 사실은 현재 우리에게 바우하우스의 교육내용 보다는 어떠한 교육자적인 입장에서 바우하우스를 운영하였는지에 대하여 알아볼 필요가 있는 것이다. 지금으로 부터 80년 전의 바우 하우스의 교육내용을 살펴보면 마치 오늘날 현대 디자인 교육과 같은 유사한 양상으로 보이고 있다 물론 디자인의 출발은 사용자라고 할 수있다. 하지만 그 사용자에게 필요한 제품이 무엇이며, 그 제품은 어떠한 경로를 거처 완성되어야 하는지에 대하여 바우하우스는 잘 보여주고 있다. 또한 바우하우스는 디자이너로서 사물을 대하는 관점, 문제의 해결을 위한 방법론적 해결 그리고 사회에 대하여 디자인이 어떻게 접근해야 하는지에 대하여 우리게 잘 알려주고 있다. 하지만 이러한 바우하우스의 디자인 원칙이나 디자인 방법론적인 해결은 특정인에 의하여 수립된 것이 아니라, 과목을 담당하였던 각각의 마이스터들이나 교수진에 의하여 실현되었다. 이와 같은 관점에서 그 사람들의 특성과 디자인에 관한 개인적인 진술을 살펴보는 것이 바우하우스를 이해하는 올바른 순서가 되는 것이다. 특히 바우하우스는 내부적인 갈등과 외부적인 도전으로 많은 변화를 시도하였으며, 디자인의 사회학적인 기능에 대하여 많은 고심을 하였다. 필자는 바우하우스 사람들의 진술에 근거하여 바우하우스에 대한 올바른 이해를 돕고자 하였다.

• 디자인학연구
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• 제18권4호
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• pp.237-246
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• 2005

본 논문은 프뢰벨에게 뿌리를 두고 있는 아동교육의 맥락과 바우하우스 교육의 연관성 속에서 바우하우스의 이중적인 꿈을 조망하려 하는 데 그 목적이 있다. 바우하우스는 특히 기초과정과 같은 '혁신적인' 교육의 틀을 통해 전통적인 교육과의 단절을 선언하면서, 학생들에게 지금까지 가져온 모든 지식을 버리고 마치 어린이와 같은 '깨끗한' 상태로 돌아 갈 것을 요구했다. 요컨대, 바우하우스는 프뢰벨처럼 어떤 비본질적인 것도 남아 있지 않은 '순수한' 상태로서의 기초적인 기하학적 형태를 통해 세계의 본질를 이해하고 한 것이다. 그러나, 마치 어떤 비본질적인 것도 남겨두지 않겠다는, 이들의 '순수함'에 대한 집착은 차라리 일종의 강박증에 가까운 것이었다. 어린이미술이 '천진난만함'이라는 신화 뒤에 숨기고 있는 가학적 이거나 독재적인 요소는 모더니즘에도 그대로 겹쳐진다. 더욱이, 그들이 기대고 있었던 실험적인 교육으로서의 아동 교육은 부르주아 계층의 성장에서 양분을 얻어 태어나고 성장한 것이니 만큼, 처음부터 바우하우스의 민주적인 이상에 부합할 수 없었다. 바우하우스가 아카데미의 문제를 정확히 짚고 새로운 교육의 장을 열 수 있었던 것은 아동교육과의 연계로 인해 가능한 것이었지만, 역설적이게도 바우하우스는 아동교육이 기반하고 있는 부르주아 계층의 이상과는 전혀 다른 꿈으로 나아가고 있었던 것이다.

• 한국실내디자인학회논문집
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• 제41호
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• pp.29-35
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• 2003

The purpose of this study is to analyze the architectural manifesto and design works characteristics of Walter Gropius. He was the director of Weimar Bauhaus that one of the advanced artificial movements in the early modern period. The almost of the early modern movements was related to the radical ideology and the manifesto. Especially Bauhaus originated from manifesto of artists teaching group with architect Walter Gropius. Therefore, the category of the study pitch upon Bauhaus architectural manifesto - Bauhaus Manifesto and Programme(1919) - and the representative works of Walter Gropius - Fagus Factory(1911-14), Dessau Bauhaus Building(1925-26), Siedlung Berlin-Siemensstadt(1929-30) and Harvard Graduate Center(1949). The conclusions of the study as per the above mentioned pill pose are the dynamic integration by non-symmetry in cubic form (formal characteristics) and organic continuity by reciprocality in transparent space (spatial characteristics).

• 건축역사연구
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• 제7권3호
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• pp.121-135
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• 1998

This paper aims at understanding the Characterics of Architectural Education Methodology in Hannes Meyer's Bauhaus. Through the analysis of his Bauhaus curriculums, writings and works, especially Co-op designs and buildings, this paper investgates the problems caused by functionality, diagramic organization of modern life and sociality, and grasps the meaning of his works. Meyer realized the possibility of Bauhaus education system resulting from mechanical and technological progress, and pursuited the architecture for the proletarian masses. According to analysis, functionality and critical sociality were adopted to criticize bourgeosie humanistic architecture, it reveals Hannes Meyer's architectural Avant-garde strategy.

• 한국디자인학회:학술대회논문집
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• 한국디자인학회 2005년도 추계 학술발표대회 논문집
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• pp.220-221
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• 2005

• 디자인학연구
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• 제20권
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• pp.99-109
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• 1997

바우하우스운동은 하나의 디자인 관이 전제되어 일관성 있게 진행되었다 기보다는 소위 근대와 반 근대의 끊임없는 갈등 속에서도 구성원들의 일관된 삶의 방식을 통하여 추구된 조형작업의 부산물이라 할 수 있다. 따라서 현대디자인의 근원을 형성하는데 기여했던 바우하우스 교육의 모든 기구는 학생이 모든 내적, 외적 곤란을 극복하는 시점에서의 실제문제와 관계 있는 교유 가치를 실현하는데 있었으며 교육과 생산이 하나의 시스템 속에서 가장 효율적으로 운영될 수 있는 최소단위로서의 작업공방이 필연적으로 생겨나게 된 것이다. 바우하우스 공방작업의 가장 본질적인 점은 시간이 지나면서 모든 제품이 균질성을 나타낸다고 하는 사실이며 이것은 각양각색의 인격과 개성의 협력을 바탕으로 삼아 의식적으로 발달한 공동체 정신의 결과로서 나타난 것이었다. 또한 이 균질성은 외견상에 나타난 양식 적인 세세한 면에 있는 것이 아니라 사물을 간결하고 충실하게, 한편으로는 본질적인 법칙에 응해서 만들어 낸 노력에 기초하고 있다. 따라서 바우하우스 제품의 원형은 유행적인 것이 아니라 예술, 기술, 경제에 따른 형태 부여라는 점에서 수많은 사고와 심사숙고를 거친 공방 작업과정의 결정체라고 볼 수 있다.

• 한국실내디자인학회논문집
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• 제22권3호
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• pp.135-144
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• 2013

This study is to focus on an innate creative 'spirituality' of Weimar Bauhaus' pedagogical thoughts and their backgrounds. In particular, this notes three elements of Universal mysticism, Orientalism in early Bauhaus including Expressionism, and Froebelian Education as the more practical among the romantic legacies as a source of modernism. Arguably, through these researches, just as the expressionists represent the crystallization of glass as the spirit, the important that should be noticed is explained as the fact that a panentheistic Idea of matter and spirit as a whole had been spreading to be recognized consciously or unconsciously; in other words, this awakening as dualistic monism might be one of the greatest peculiarities of modernity, and, as the fact that the universal thought and principle of 'panentheism' emphasizing a 'divine' artistic volition which is immanent in the individual is implanted first of all fundamentally by Froebelian educational influences.

• 한국실내디자인학회논문집
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• 제30호
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• pp.59-67
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• 2002

Marcel Breuer is considered one of the most important furniture designers of the 20th century. He studied at the Bauhaus in Weimar from 1920 to 1924 and in 1925 became master of the furniture studio at the Bauhaus in Dessau. Virtually from the outset, he was one of the most prolific and inventive designers at the bauhaus and fulfilled its claim to create designs for serial production. Gropius, the Bauhaus founder, had a profound influence on his furniture designs. In 1925, Breuer created the tubular-steel armchair, which revolutionized design and technique in the field, marking the advent of a new era. The furniture that was developed, by him and by others, from this design - technically cool, but light, elegant and clear - became the very symbol of modernism. Despite the success of his tubular-steel furniture, Breuer went on to explore the use of other new materials, such as aluminium and plywood. He made use of these new materials, which were associated with new technologies, to create new forms, as it were, some which proved to be foreunners of later developments in furniture design. Breuer had a profound influence on the evolution of modern design through his furniture designs, which received worldwide recognition and acclaim. His work unified functionality and beauty in a way that was to become a valid expression of its time and simultaneously far ahead of it.