Bauhaus and Talk:Room-temperature superconductor: Difference between pages
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{{for|information about British rock band|Bauhaus (band)}} |
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I can't really see this page blossoming into anything more substantial anytime soon... - [[User:Furrykef|Furrykef]] 04:34, 29 Sep 2004 (UTC) |
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[[Image:BauhausType.jpg|thumb|Typography by [[Herbert Bayer]] above the entrance to the workshop block of the Bauhaus, Dessau, 2005.]] |
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'''{{Audio|Bauhaus.ogg|Bauhaus}}''' "House of Building" or "Building School") is the common term for the '''{{Audio|Staaatliches_Bauhaus.ogg|Staatliches Bauhaus}}''', a school in [[Germany]] that combined crafts and the fine arts, and for the approach to design that it publicized and taught. It operated from 1919 to 1933. The Bauhaus school was founded by [[Walter Gropius]] in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department for the first several years of its existence. Bauhaus style became one of the most influential currents in [[Modern architecture|Modernist architecture]] and modern design.<ref name="archdic">{{cite book |
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| title = A Dictionary of Architecture and Landscape Architecture |
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}}</ref> The Bauhaus had a profound influence upon subsequent developments in [[art]], [[architecture]], [[graphic design]], [[interior design]], [[industrial design]] and [[typography]]. |
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: I agree: This article may be short, but it's about as comprehensive as it needs to be. I'm removing the stub tag. [[User:Oysteinp|O. Prytz]] 21:52, 20 December 2005 (UTC) |
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The school existed in three German cities ([[Weimar]] from 1919 to 1925, [[Dessau]] from 1925 to 1932 and [[Berlin]] from 1932 to 1933), under three different architect-directors: [[Walter Gropius]] from 1919 to 1927, [[Hannes Meyer]] from 1927 to 1930 and [[Ludwig Mies van der Rohe]] from 1930 to 1933, when the school was closed by the [[Nazi Germany|Nazi]] regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. When the school moved from Weimar to Dessau, for instance, although it had been an important revenue source, the pottery shop was discontinued. When Mies took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. |
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== if someone with the proper expertise could be directed to this page... == |
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===Bauhaus and German modernism=== |
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i am aware of at least one company which has a working prototype of a Room-Temperature Superconductor, however, strangely enough, they have not been able to get much funding. This does not mean such a thing does not exist and will not soon. Most people just don't care about this sort of thing. It doesn't really help much when everyone in the field says "It's not possible and won't be anytime soon." I suppose wikipedia doesn't have a decent article on this because most of those guys are out there desperately trying to find venture capital funds and doing research, and don't have time to waste writing Wikipedia articles. I know, i asked one of them. |
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{{details|New Objectivity (architecture)}} |
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Oh, and no, i can't tell you who or how, because the technology has not yet been patented (to avoid the patent expiring before they get a chance to do anything with it). but still... |
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The foundation of Bauhaus occurred at a time of political and cultural upheaval in Germany. Defeat in [[World War I]], the fall of the [[Hohenzollern dynasty|German monarchy]] and the abolition of censorship under the new, liberal [[Weimar Republic]] allowed an upsurge of radical experimentation in all the arts, previously suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the [[Russian Revolution (1917)|Russian Revolution]], such as [[Constructivism (art)|constructivism]]. Such influences can be overstated: [[Gropius]] himself did not share these radical views, and said that Bauhaus was entirely unpolitical.<ref>Richard J Evans, ''The Coming of the Third Reich'', 416</ref> Just as important was the influence of the 19th century English designer [[William Morris]], who had argued that art should meet the needs of society and that there should be no distinction between form and function.<ref>Funk and Wagnall's New Encyclopaedia, Vol 5, 348</ref>. Thus the Bauhaus style, also known as the [[International Style]], was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. |
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: [[WP:NOR|No Original Research]]; Wikipedia articles need to be based on things that have been published elsewhere, preferably in a reliable publication. In addition, people with trade secrets probably should not write them into Wikipedia articles, as that will compromise their secret status. Finally, the claim that people just don't care is somewhat contradicted by the [[High-temperature superconductivity]] article, which notes over 100,000 published papers on the subject. --[[User:Sabik|Sabik]] ([[User talk:Sabik|talk]]) 14:52, 30 April 2008 (UTC) |
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The most important influence on Bauhaus was however [[modernism]], a cultural movement whose origins lay as far back as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with [[Gropius]] and the Bauhaus - the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit - were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization [[Deutscher Werkbund]] was formed in 1907 by [[Hermann Muthesius]] to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1870 members (by 1914). |
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== 150K == |
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The entire movement of German architectural modernism was known as [[New Objectivity (architecture)|Neues Bauen]]. Beginning in June 1907, [[Peter Behrens]]' pioneering [[industrial design]] work for the German electrical company [[AEG]] successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meier worked for him in this period. |
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From www.superconductors.org: |
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The Bauhaus was founded at a time when the German [[Zeitgeist|zeitgeist]] ("spirit of the times") had turned from emotional [[Expressionism]] to the matter-of-fact [[New Objectivity]]. An entire group of working architects, including [[Erich Mendelsohn]], [[Bruno Taut]] and [[Hans Poelzig]], turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new [[Weimar Constitution]]. [[Ernst May]], Bruno Taut, and [[Martin Wagner]], among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the [[Weissenhof Estate]], films, and sometimes fierce public debate. |
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InSnBa4Tm4Cu6O18+ (As a 1234/1212 intergrowth.)............~150K |
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==History of the Bauhaus== |
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Not sure if that is a serious claim or not, but may supersede the 138K for (Hg0.8Tl0.2)Ba2Ca2Cu3O8.33. |
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{{Infobox World Heritage Site |
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| WHS = Bauhaus and its Sites in Weimar and Dessau |
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| Image = [[Image:Bauhaus-Dessau Atelier.jpg|150px|Bauhaus Dessau Workshop]] |
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| State Party = {{GER}} |
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| Type = Cultural |
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| Criteria = ii, iv, vi |
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| ID = 729 |
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| Region = [[List of World Heritage Sites in Europe|Europe and North America]] |
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| Year = 1996 |
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}} |
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Regards! |
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===Weimar=== |
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== 153K == |
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Founded in a material physics for engineers (William Jr Callister) : |
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the HgBa2Ca2Cu2O8 has a 153K critical temperature. <small>—Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/216.239.88.62|216.239.88.62]] ([[User talk:216.239.88.62|talk]]) 01:03, 17 December 2007 (UTC)</small><!-- Template:UnsignedIP --> <!--Autosigned by SineBot--> |
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== Silane as superconductor == |
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The school was founded by Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the [[William Ernest, Grand Duke of Saxe-Weimar-Eisenach|Grand Duke of Saxe-Weimar-Eisenach]] in 1906 and directed by Belgian [[Art Nouveau]] architect [[Henry van de Velde]].<ref>{{cite book |
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Yes, the title of the referenced EEtimes article says "Silicon compound superconducts at room temperature", but the Science article seems to indicate that the measured temperatures where Silane becomes superconducting are between 5 and 20 K for pressures between 50 and 200 GPa. Upon close reading of the EEtimes article, maybe it isn't even claimed that a room-temperature superconductor has been constructed, just that silane still is a candidate for one. Should the section on silane be removed? The original Science article states: |
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}}</ref> When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, [[Hermann Obrist]] and [[August Endell]] as possible successors. In 1919, after delays caused by the destruction of [[World War I]] and a lengthy debate over the ideological and socio-economic reconciliation of [[fine art|the fine arts]] and [[Applied art|the applied arts]] (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.<ref>{{cite book |
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| title =Modern Architecture: a critical history |
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| quote = }}</ref> In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter [[Johannes Itten]], German-American painter [[Lyonel Feininger]], and German sculptor [[Gerhard Marcks]], along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer [[Oskar Schlemmer]] and Swiss painter [[Paul Klee]], joined in 1922 by Russian painter [[Wassily Kandinsky]]. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter [[Theo van Doesburg]] to Weimar to promote [[De Stijl]] ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect [[El Lissitzky]] <ref>{{cite book |
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:Electrical resistance measurements (Fig. 2A) showed that the sample resistance at room temperature dropped sharply, indicating the transformation to a metal (19). On cooling, a typical metallic behavior of the resistance was observed and eventually becoming superconducting (SC) at Tc ≈ 7 K (Fig. 2B). <ref>{{cite journal |
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From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the ''Vorkurs'' or 'preliminary course' that was the introduction to the ideas of the Bauhaus.<ref>{{cite book |
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| quote = }}</ref> Itten was heavily influenced in his teaching by the ideas of [[Franz Cižek]] and [[Friedrich Wilhelm August Froebel]] an in respect to [[aesthetics]] by the work of the [[Der Blaue Reiter|Blaue Reiter]] group in [[Munich]] as well as the work of Austrian Expressionist [[Oskar Kokoschka]]. The influence of [[Expressionism|German Expressionism]] favored by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer [[László Moholy-Nagy]], who rewrote the ''Vorkurs'' with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-econimic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while [[Hermann Muthesius]] had begun implementing industrial prototypes.<ref>{{cite book |
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To me, that seems to indicate that it is not a room-temperature superconductor, but a room-temperature metal. |
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Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, with out the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring [[Regional characteristics of Romanesque architecture#Romanesque architecture, regional characteristics|Romanesque cathedrals]] and the craft-driven aesthetic of the "[[Völkisch movement]]," instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."<ref>{{cite book |
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<small>—Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:RickardHolmberg|RickardHolmberg]] ([[User talk:RickardHolmberg|talk]] • [[Special:Contributions/RickardHolmberg|contribs]]) 07:28, 20 March 2008 (UTC)</small><!-- Template:Unsigned --> <!--Autosigned by SineBot--> |
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| quote = }}</ref> Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called ''Bauhaus'' and a series of books called "Bauhausbücher". |
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Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school’s philosophy stated that the artist should be trained to work with the industry. |
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:I read the article; at 96GPa it has a Tc of 17.5K and 17K at 110GPa, and these are both sides of an upwards trend, indicating that the superconducting transition temperature may be higher in the intermediate region, however the authors give NO indication that this temperature could even approach record temperatures of 130+ K let alone room temperature. Its a remarkable experiment, but is not room temperature by more than an order of magnitude. [Signed Andrew Princep, casual reader and physics grad student, Curtin University of Technology, Australia] |
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Weimar was in the German state of [[Thuringia]], and the Bauhaus school received state support from the [[Social Democratic Party of Germany|Social Democrat]]-controlled Thuringian state government. In February 1924, the Social Democrats lost control of the state parliament to the [[German National People's Party|Nationalists]]. The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. They had already been looking for alternative sources of funding. Together with the Council of Masters Gropius announced the closure of the Bauhaus from the end of March 1925. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus University Weimar. |
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== Old joke == |
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A team of scientists at the University Of Alaska recently discovered a room-temperature superconductor. [[Special:Contributions/86.21.227.237|86.21.227.237]] ([[User talk:86.21.227.237|talk]]) 22:37, 15 August 2008 (UTC) |
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Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the [[Fagus Factory]] than the stripped down [[Neoclassical architecture#Regional trends|Neo-classical]] of the Werkbund pavilion or the ''[[Völkisch movement|Völkisch]]'' Sommerfeld House.<ref>{{cite book |
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| quote = }}</ref> The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect [[Mart Stam]] to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer. Gropius would come to regret this decision. Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in [[Bernau]]. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929. |
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But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of [[Herbert Bayer]], [[Marcel Breuer]], and other longtime instructors. As a vocal [[Communist Party of Germany|Communist]], he encouraged the formation of a Communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Meyer was also compromised by a sexual scandal involving one of his students, and Gropius fired him in 1930. |
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===Berlin=== |
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Although neither the [[National Socialist German Workers Party|Nazi Party]] nor Hitler himself had a cohesive architectural policy before they came to power in 1933, Nazi writers like [[Wilhelm Frick]] and [[Alfred Rosenberg]] had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for Communists and social liberals. Indeed, a number of Communist students loyal to Meyer moved to the [[Soviet Union]] when he was fired in 1930. |
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Even before the Nazis came to power, political pressure on Bauhaus had increased. But the Nazi regime was determined to crack down on what it saw as the foreign, probably [[Jew|Jewish]] influences of "cosmopolitan modernism." Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was closed in April 1933. Mies van der Rohe was expelled from Germany. (The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's ''Architects of Fortune''.) Curiously, however, some Bauhaus influences lived on in Nazi Germany. When Hitler's chief engineer, [[Fritz Todt]], began opening the new [[autobahn]] (highways) in 1935, many of the bridges and service stations were "bold examples of modernism" - among those submitting designs was Mies van der Rohe.<ref>Richard J Evans, ''The Third Reich in Power'', 325</ref> |
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==Architectural output== |
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[[Image:Bauhaus_Chemnitz_hb.JPG|right|thumb|200px|Bauhaus building in [[Chemnitz]]]] |
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The paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school did not offer classes in architecture until 1927. The single most profitable tangible product of the Bauhaus was its wallpaper. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in [[Jena]], and the competition design for the [[Chicago Tribune Tower]], which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to unbuilt projects, interior finishes, and craft work like cabinets, chairs and pottery. |
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In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one by the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the headquarters of the Federal School of the [[German Confederation of Trade Unions|German Trade Unions]] (ADGB) in [[Bernau bei Berlin]]. Meyer's approach was to research users' needs and scientifically develop the design solution. |
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Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither Mies nor his Bauhaus students saw any projects built during the 1930s. |
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The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, [[Dresden]] and [[Frankfurt]] respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. In Taut's case, the housing may still be seen in south-west Berlin, is still occupied, and can be reached by going easily from the U-Bahn stop [[Onkel Toms Hütte (Berlin U-Bahn)|Onkel Toms Hütte]]. |
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==Impact== |
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[[Image:84 Rothschild Boulevard Engel House by David Shankbone.jpg|thumb|The Engel House in the [[White City of Tel Aviv]]. Architect: [[Zeev Rechter]], 1933. A residential building that has become one of the symbols of Modernist architecture. The first building in Tel Aviv to be built on [[pilotis]].]] |
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The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States and Israel (particularly in [[White City, Tel Aviv]]) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, has been named to the list of [[world heritage]] sites by the UN due to its abundance of Bauhaus architecture [http://news.bbc.co.uk/2/hi/middle_east/3777385.stm][http://whc.unesco.org/en/list/1096]; it had some 4000 Bauhaus buildings erected from 1933 on. |
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Gropius, Breuer, and Moholy-Nagy re-assembled in England during the mid 1910s to live and work in the [[Isokon]] project before the war caught up to them. Both Gropius and Breuer went to teach at the [[Harvard Graduate School of Design]] and worked together before their professional split. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as [[Philip Johnson]], [[I.M. Pei]], [[Lawrence Halprin]] and [[Paul Rudolph (architect)|Paul Rudolph]], among many others. |
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In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential [[Philip Johnson]], and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the [[New Bauhaus]] school under the sponsorship of industrialist and philanthropist [[Walter Paepcke]]. Printmaker and painter [[Werner Drewes]] was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both [[Columbia University]] and [[Washington University in St. Louis]]. [[Herbert Bayer]], sponsored by Paepcke, moved to [[Aspen, Colorado]] in support of Paepcke's Aspen projects at the [[Aspen Institute]]. |
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One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. ''Vorkurs'' ("initial" or "preliminary course") was taught; this is the modern day "Basic Design" course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent. |
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One of the most important contributions of the Bauhaus is in the field of [[modern furniture]] design. The ubiquitous [[Cantilever chair]] by Dutch designer [[Mart Stam]], using the tensile properties of steel, and the [[Wassily Chair]] designed by [[Marcel Breuer]] are two examples. |
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The physical plant at Dessau survived [[World War II]] and was operated as a design school with some architectural facilities by the [[East Germany|German Democratic Republic]]. This included live stage productions in the Bauhaus theater under the name of ''Bauhausbühne'' ("Bauhaus Stage"). After [[German reunification]], a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s [http://www.bauhaus-dessau.de/en/]. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution. |
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American art schools have also rediscovered the Bauhaus school. The [[Master Craftsman Program]] at [[Florida State University]] bases its artistic philosophy on Bauhaus theory and practice. |
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Many outstanding artists of their time were lecturers at Bauhaus: |
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{| style="background-color: transparent; width: {{{width|100%}}}" |
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| width="{{{width|}}}" align="{{{align|left}}}" valign="{{{valign|top}}}" | |
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* [[Anni Albers]] |
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* [[Josef Albers]] |
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* [[Herbert Bayer]] |
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* [[Max Bill]] |
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* [[Marianne Brandt]] |
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* [[Marcel Breuer]] |
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* [[Avgust Černigoj]] |
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* [[Werner Drewes]] |
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* [[Lyonel Feininger]] |
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* [[Naum Gabo]] |
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* [[Walter Gropius]] |
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* [[Ludwig Hilberseimer]] |
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* [[Johannes Itten]] |
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* [[Wassily Kandinsky]] |
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| width="{{{width|}}}" align="{{{align|left}}}" valign="{{{valign|top}}}" | |
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* [[Paul Klee]] |
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* [[Gerhard Marcks]] |
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* [[László Moholy-Nagy]] |
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* [[Piet Mondrian]] |
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* [[Georg Muche]] |
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* [[Ludwig Mies van der Rohe]] |
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* [[Hinnerk Scheper]] |
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* [[Oskar Schlemmer]] |
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* [[Josef Hartwig]] |
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* [[Joost Schmidt]] |
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* [[Lothar Schreyer]] |
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* [[Naum Slutzky]] |
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* [[Wolfgang Tumpel]] |
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* [[Gunta Stölzl]] |
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* [[Otto Lindig]] |
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|} |
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==Gallery== |
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<gallery> |
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Image:Bauhaus-Dessau Festsaal.jpg|A Stage |
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Image:Bauhaus-Dessau Festsaal Bühnenbeleuchtung.jpg|Ceiling with light fixtures for stage |
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Image:Bauhaus-Dessau Wohnheim Balkone.jpg|The Studio wing |
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Image:Bauhaus-Dessau Fensterfront.JPG|Mechanically opened windows |
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Image:Mensa_Bauhaus_Dessau.PNG|The Mensa (Dining room) |
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</gallery> |
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==See also== |
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*[[Bauhaus Archive]] |
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*[[New Objectivity (architecture)]] |
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*[[International style (architecture)]] |
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*[[Bauhaus in Budapest]] |
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*[[New Bauhaus]] |
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==External links== |
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{{commons|Bauhaus}} |
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*http://www.mastersofmodernism.com/?page=Modernism |
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*[http://www.bauhaus.de/ Bauhaus-Archiv in Berlin] |
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*[http://www.bauhaus-dessau.de/ Foundation bauhaus dessau] |
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*[http://www.dia-architecture.de/ master of Architecture -MArch- master DIA/dessau] |
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*[http://www.cosmopolis.ch/travel/berlin/hotel_brandenburger_hof.htm Review of Hotel Brandenburger Hof Berlin with Bauhaus design furniture] |
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*[http://www.freeonlineresearchpapers.com/bauhaus-germany Summary of the Bauhaus] |
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*[http://www.southbearpress.org Marguerite Wildenhain and the Bauhaus] A detailed account of ceramics at the Weimar Bauhaus. |
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*[http://www.germanculture.com.ua/library/weekly/aa022101a.htm Bauhaus School] |
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*[http://www.cliofilm.com Bauhaus in America.] A documentary describing the impact on Bauhaus on American architecture. |
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*[http://www.budapestinfo.hu/en/things_to_see/architectural_variety_es_thematical_sightseeing_tours/architectural_variety/walk_in_bauhaus_budapest/ Bauhaus in Budapest] |
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*[http://www.telaviv4fun.com/bauhaus.html Bauhaus in Tel Aviv] |
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* [http://www.emotionp.com/bauhaus Student Short Film on late Bauhaus (2006)] |
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* [http://www.wsws.org/articles/1999/nov1999/bau-n23.shtml Memories of one of the few English-speaking Bauhaus students] |
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==References== |
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<div class="references-small"><references/> |
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</div> |
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* Oskar Schlemmer. Tut Schlemmer, Editor. ''The Letters and Diaries of Oskar Schlemmer''. Translated by Krishna Winston. Wesleyan University Press, 1972. ISBN 0819540471 |
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* Magdalena Droste, Peter Gossel, Editors. ''Bauhaus'', Taschen America LLC, 2005. ISBN 3822836494 |
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* Marty Bax. ''Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum''. Amsterdam, Architectura & Natura 1991. ISBN 9071570045 |
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* Anja Baumhoff, ''The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919-1931.'' Peter Lang, Frankfurt, New York 2001. |
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ISBN 3-631-37945-5 |
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{{Westernart}} |
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Revision as of 19:58, 11 October 2008
.jpg){kind=small} | Physics Start‑class Mid‑importance | |||||||||
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I can't really see this page blossoming into anything more substantial anytime soon... - Furrykef 04:34, 29 Sep 2004 (UTC)
- I agree: This article may be short, but it's about as comprehensive as it needs to be. I'm removing the stub tag. O. Prytz 21:52, 20 December 2005 (UTC)
if someone with the proper expertise could be directed to this page...
i am aware of at least one company which has a working prototype of a Room-Temperature Superconductor, however, strangely enough, they have not been able to get much funding. This does not mean such a thing does not exist and will not soon. Most people just don't care about this sort of thing. It doesn't really help much when everyone in the field says "It's not possible and won't be anytime soon." I suppose wikipedia doesn't have a decent article on this because most of those guys are out there desperately trying to find venture capital funds and doing research, and don't have time to waste writing Wikipedia articles. I know, i asked one of them.
Oh, and no, i can't tell you who or how, because the technology has not yet been patented (to avoid the patent expiring before they get a chance to do anything with it). but still...
- No Original Research; Wikipedia articles need to be based on things that have been published elsewhere, preferably in a reliable publication. In addition, people with trade secrets probably should not write them into Wikipedia articles, as that will compromise their secret status. Finally, the claim that people just don't care is somewhat contradicted by the High-temperature superconductivity article, which notes over 100,000 published papers on the subject. --Sabik (talk) 14:52, 30 April 2008 (UTC)
150K
From www.superconductors.org:
InSnBa4Tm4Cu6O18+ (As a 1234/1212 intergrowth.)............~150K
Not sure if that is a serious claim or not, but may supersede the 138K for (Hg0.8Tl0.2)Ba2Ca2Cu3O8.33.
Regards!
153K
Founded in a material physics for engineers (William Jr Callister) : the HgBa2Ca2Cu2O8 has a 153K critical temperature. —Preceding unsigned comment added by 216.239.88.62 (talk) 01:03, 17 December 2007 (UTC)
Silane as superconductor
Yes, the title of the referenced EEtimes article says "Silicon compound superconducts at room temperature", but the Science article seems to indicate that the measured temperatures where Silane becomes superconducting are between 5 and 20 K for pressures between 50 and 200 GPa. Upon close reading of the EEtimes article, maybe it isn't even claimed that a room-temperature superconductor has been constructed, just that silane still is a candidate for one. Should the section on silane be removed? The original Science article states:
- Electrical resistance measurements (Fig. 2A) showed that the sample resistance at room temperature dropped sharply, indicating the transformation to a metal (19). On cooling, a typical metallic behavior of the resistance was observed and eventually becoming superconducting (SC) at Tc ≈ 7 K (Fig. 2B). [1]
To me, that seems to indicate that it is not a room-temperature superconductor, but a room-temperature metal. —Preceding unsigned comment added by RickardHolmberg (talk • contribs) 07:28, 20 March 2008 (UTC)
- I read the article; at 96GPa it has a Tc of 17.5K and 17K at 110GPa, and these are both sides of an upwards trend, indicating that the superconducting transition temperature may be higher in the intermediate region, however the authors give NO indication that this temperature could even approach record temperatures of 130+ K let alone room temperature. Its a remarkable experiment, but is not room temperature by more than an order of magnitude. [Signed Andrew Princep, casual reader and physics grad student, Curtin University of Technology, Australia]
Old joke
A team of scientists at the University Of Alaska recently discovered a room-temperature superconductor. 86.21.227.237 (talk) 22:37, 15 August 2008 (UTC)
- ^ M. I. Eremets, I. A. Trojan, S. A. Medvedev, J. S. Tse, Y. Yao (2008). "Superconductivity in Hydrogen Dominant Materials: Silane". Science. 319 (5869): 1506–1509.
{{cite journal}}: CS1 maint: multiple names: authors list (link)