Bøger udgivet af Bauhaus-Universität

»¿¿¿ bauhaus« (selam bauhaus) means »hello bauhaus« in Amharic, one of the most important languages in Ethiopia. Visually, one could also interpret the Amharic letters as "Why Bauhaus" to question the overuse of this label during the Bauhaus Centennial in 2019. So, why Bauhaus?100 years ago, the teaching of architecture and urban design at the Bauhaus responded to rapid changes in society and their impact on the built environment. The ambitions and methods of the historical Bauhaus can still inspire us in the present day: Today, facing global climate change and human migration, these themes are more pressing than ever. Through the Emerging City Lab Addis Ababa (ECL-AA), the Bauhaus-Universität Weimar and the Ethiopian Institute of Architecture, Building Construction and City Development (EiABC) at Addis Ababa University established a joint lab. Combining innovation and social responsibility through experiments with building materials, practices and planning technologies beyond cultural, social, and disciplinary boundaries, this publication shows educational and research projects that emerged from the collaboration. In 2019 they were presented in the exhibition »¿¿¿ bauhaus (selam bauhaus) - hello bauhaus« on the occasion of the centenary of the Bauhaus and the 65th anniversary of the EiABC.

Die Publikation dokumentiert Skulpturen und Zeichnungen des Bildhauers Stefan Dornbusch innerhalb des Zeitraumes von 2018-2023. Der Künstler erstellt mit erworbenen oder gefundenen Objekten, Gegenständen und Fotos sowie eigenen Schnappschüssen ein stetig wachsendes Archiv zu unterschiedlichsten Formen und Räumen. Die Dinge dieser umfangreichen Sammlung dienen als Referenzobjekte - Formanlässe - für die bildnerische Arbeit. Dabei lassen sich die Arbeiten thematisch in zwei Werkgruppen teilen: In der ersten Gruppe findet eine intensive Auseinandersetzung mit Architektur, mit Darstellungsformen von geometrischen Grundkörpern und Architekturperspektive statt. Innerhalb der zweiten Werkgruppe beschäftigt sich der Bildhauer mit Schleifen- und Wolkenformen, also mit ephemeren, gestaltlosen Formen, die als Gegenpol zu den formal strengen vorgenannten Architekturkörpern stehen. Die in dieser Publikation abgebildeten Zeichnungen zeigen Vorüberlegungen und Skizzen zu den Skulpturen sowie autonome Grafiken, die parallel zu den bildhauerischen Arbeiten entstanden sind. Der Text des Kunsthistorikers Gerald Schröder setzt Dornbuschs Arbeiten in den kunstgeschichtlichen Kontext und verortet sie im zeitgenössischen Diskurs.

The Anthology presents the writings from 1956 to 1967 by Charles Fabri (1899-1968), a Hungarian-born art critic. The study of Fabri's viewpoints from the mid-20th century draws attention to the East-West modernism paradigm. It lays a foundation for further exploration and research of a 'dialogue' between India and central Europe from the 1950s to the 1960s. In his critical and well-informed articles, Fabri explored the ongoing transformations in art and architecture and the intense modernization of India that came with it. This journey showcases a fascinating trajectory from a background in archaeology - to critiquing dance, theatre, architecture, and other arts.The book also comprises of selected articles by Ratna Fabri (Interior Designer and Charles Fabri's wife) and Obtituaries of both Charles & Ratna from Design (1957-1988) journal.

Those who ask how social entities relate to the past, enter a field defined by competing interpretations and contested practices of a collectively shared heritage. Dissent and conflict among heritage communities represent productive moments in the negotiation of these varying constructs of the past, identities, and heritage. At the same time, they lead to omissions, the overwriting and amendment of existing constructs. A closer look at all that is suppressed, excluded or rejected opens up new perspectives: It reveals how social groups are formed through public disputes upon the material foundations of heritage constructs.Taking the concept of censorship, the volume engages with the exclusionary and inclusionary mechanisms that underlie the construction of heritage and thus social identities. Censorship is understood here as a discursive strategy in public debates. In current debates, allegations of censorship surface primarily in cases where the handling of a certain heritage constructs is subjected to critical evaluation, or on the contrary, needs to be protected from criticism or even destruction. The authors trace the connection between heritage and identity and show that identity constructs are not only manifested within heritage but are actively negotiated through it.