Research view · Bauhaus
The record
Every claim on the Bauhaus page, with the kind of claim it is, its strength, the area it belongs to and the sources attached to it. Kind, strength and area are separate fields and are never merged. Untiered means the research supports the rule but sets no tier for it.
Back to Bauhaus · The record as data · Brief.md
Coverage
- Research
- Partly sourced. 26 sources attached.
- Claims
- 132
- Documented
- 51 (Source attached: 25; Source not yet verified: 24; No source attached: 2)
- Our reading
- 66
- Web translation
- 15
- Sources
- 29 on the record; 26 attached to a claim
- Open questions
- 41 open · 10 resolved
- Evidence images on the page
- 5
- Visuals made by Aesthetary
- 8
Areas
Claims
| ID | Claim | Kind of claim | Strength | Area | Sources |
|---|---|---|---|---|---|
| h-founding | The Bauhaus was founded in Weimar in 1919 by Walter Gropius. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-aim | Its founding objective was to reimagine the material world through a unity of the arts. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-curriculum | Students began with foundational study before entering specialised workshops. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-workshops | Documented workshops include metalworking, cabinetmaking, weaving, pottery, typography and wall painting. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-foundation-teachers | Paul Klee, Wassily Kandinsky and Josef Albers took part in foundational teaching. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-disciplines-other | The school also practised architecture, photography, theatre, painting, product and graphic design. | Our reading | — | — | — |
| h-1923-production | By 1923 Gropius increasingly emphasised designing for mass production. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-klee-variety | Klee's Bauhaus-period work was widely varied, including humour, grotesque fantasy and personal investigations of colour and form. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 Klee, Bauhaus-period work (reference to Met text) |
| h-weimar-character | The Weimar period could be expressive, experimental and stranger than today's clean geometric stereotype. | Our reading | — | — | — |
| h-periods | Weimar 1919–1925, Dessau 1925–1932, Berlin 1932–1933. | Our reading | — | — | — |
| h-dessau-move | The school moved to Dessau in 1925. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-dessau-building | The Dessau building, designed by Gropius, embodied modern construction: steel framing, glass curtain walls, asymmetry and functional spatial organisation. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 Bauhaus building, Dessau (catalogue reference) |
| h-dessau-emphasis | In Dessau, typography, photography, advertising, furniture and industrial production became increasingly important. | Our reading | — | — | — |
| h-dessau-reception | Much of what people now recognise as 'Bauhaus' becomes particularly visible in the Dessau period; this describes later reception, not a house style. | Our reading | — | — | — |
| h-directors | Directors in sequence: Walter Gropius, Hannes Meyer, Ludwig Mies van der Rohe. | Our reading | — | — | — |
| h-berlin | Under Mies van der Rohe, architecture became increasingly central; political pressure forced a reduced Berlin operation. | Our reading | — | — | — |
| h-closure | The Bauhaus closed in 1933 under Nazi pressure. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 |
| h-dispersal | Its members subsequently carried its ideas internationally. | Documented · Source not yet verified | — | — | The Bauhaus, 1919–1933 After 1933 |
| h-workshop-changes | How individual workshops changed between periods. | Our reading | — | — | — |
| s-moma-cliches | MoMA's graphic design department identified primary colours, Bayer-inspired typefaces and circles, squares and triangles as Bauhaus clichés when designing its Bauhaus retrospective. | Documented · Source not yet verified | — | — | Bauhaus: The Graphic Design Department Goes Back to School |
| s-rby-ties | Red, yellow and blue have legitimate relationships to parts of Bauhaus teaching and works; one strand among several. | Our reading | — | — | — |
| s-shapes | Circles, squares, triangles, lines and planes appear throughout Bauhaus-related teaching and work. | Our reading | — | — | — |
| s-compression-thesis | The contemporary 'Bauhaus look' is a compression of real fragments; each is historically real and none is sufficient to define the school. | Our reading | — | — | — |
| s-not-one-style | Bauhaus was not one fixed visual style. | Our reading | — | — | — |
| t-clarity | Bauhaus typography stressed visual clarity; promotional materials used sans-serif type and photography as important graphic elements. | Documented · Source not yet verified | Strong · our ranking | Typography | The Bauhaus, 1919–1933 |
| t-new-typography | Moholy-Nagy's page design and essay 'The New Typography' in the 1923 exhibition catalogue are an early definitive statement of Bauhaus typography: asymmetric layout, sans-serif type, geometric organisation. | Documented · Source attached | Strong · our ranking | Typography | The Bauhaus's First Book Moholy-Nagy, 1923 catalogue (catalogue reference) |
| t-bayer-role | Herbert Bayer was a Bauhaus student, teacher and advocate who later taught advertising, design and typography there. | Documented · Source not yet verified | — | — | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 |
| t-universal | Bayer's 1925 Universal lettering built an alphabet from geometric logic and eliminated separate capitals. | Documented · Source attached | Common · our ranking | Typography | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 The Bauhaus's First Book Bayer, Universal lettering, 1925 |
| t-universal-metal | Universal was never produced in metal during its original period. | Documented · Source not yet verified | — | — | The Bauhaus's First Book |
| t-poelzig | Bayer's 1926 Poelzig lecture poster uses sans-serif type, an underlying grid and asymmetric composition for rational organisation; it uses capital letters. | Documented · Source attached | Strong · our ranking | Layout | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 Bayer, Poelzig lecture poster, 1926 |
| t-futura | 'Bauhaus used Futura' is a persistent simplification. | Our reading | Unreliable · our ranking | Typography | — |
| t-all-lowercase | All-lowercase as a Bauhaus rule. | Our reading | Unreliable · our ranking | Typography | — |
| t-sans-everywhere | Sans serif everywhere as a Bauhaus rule. | Our reading | Unreliable · our ranking | Typography | — |
| t-commercial-faces | Later commercial geometric typefaces often package a retrospective visual stereotype; a typeface named Bauhaus is not the Bauhaus font. | Our reading | — | — | — |
| t-typeface | A specific Bauhaus typeface. | Our reading | — | Typography | — |
| c-no-palette | There is no canonical Bauhaus palette; hue is free. | Our reading | — | Color | — |
| c-teacher-systems | Klee, Kandinsky, Albers, the textile and wall-painting workshops and stage design each worked with colour differently. | Our reading | — | — | — |
| g-klee-pedagogy | Klee's pedagogical work investigated relationships between line, shape, surface, colour and visual space. | Documented · Source not yet verified | — | — | Paul Klee's pedagogical work |
| g-investigation | Geometry in Bauhaus teaching and work was often a means of investigation. | Our reading | — | — | — |
| g-structural | Use geometry structurally, not decoratively by default. | Web translation | — | — | — |
| l-scale | Large differences of scale rank information. | Our reading | — | Layout | — |
| l-strict-grids | Strict grids everywhere. | Our reading | Unreliable · our ranking | Layout | — |
| p-new-vision | Moholy-Nagy promoted what became associated with New Vision photography: viewpoint, light, photograms and the camera's technical possibilities. | Our reading | Strong · our ranking | Imagery | — |
| p-moma-environment | Bayer worked in an environment shaped by Moholy-Nagy's advocacy of New Vision photography. | Documented · Source not yet verified | — | — | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 |
| p-photomontage | Photomontage. | Our reading | Common · our ranking | Imagery | — |
| m-breuer-stolzl | Material experiment ranged from Breuer's tubular-steel furniture to Gunta Stölzl's textile workshop, which tested cellophane, fibreglass and metal. | Documented · Source not yet verified | Strong · our ranking | Form | The Bauhaus, 1919–1933 |
| m-start-with-material | Start with what the thing is made of. | Our reading | — | — | — |
| m-web-materials | The web's materials are type, image, viewport, interaction, time, data and code. | Web translation | — | — | — |
| f-functional-concern | The school became increasingly concerned with functional design, modern production and clear visual communication. | Our reading | — | — | — |
| f-not-erased | Production-oriented design did not erase artistic experimentation. | Our reading | — | — | — |
| f-unreliable | 'Function over form', 'form follows function', 'no ornament anywhere' and 'function = plainness' are unreliable descriptions of Bauhaus. | Our reading | Unreliable · our ranking | — | — |
| f-why-here | Ask why an element is here; communication, use, production, experiment, expression, play, material investigation and spatial organisation are valid answers; 'it looks Bauhaus' is not. | Web translation | — | — | — |
| b-swiss-difference | Bauhaus was a multidisciplinary school; Swiss is a later graphic-design system with greater stylistic consistency. | Our reading | — | — | — |
| b-swiss-lineage | Bauhaus and broader modernist experiments contributed to the environment Swiss developed from; lineage and influence, not equivalence. | Our reading | — | — | — |
| b-swiss-dates | Swiss Style: 1947, peak 1950–1970. | Our reading | — | — | — |
| b-swiss-stereotype-parallel | Swiss has its own withdrawn stereotype (red/black/white; Helvetica required). | Our reading | — | — | — |
| b-de-stijl | Bauhaus and De Stijl were separate movements with separate histories and theories; a Mondrian-style red/yellow/blue rectangular composition is not by itself evidence of Bauhaus. | Our reading | — | — | — |
| b-art-deco | Overlapping period, often divergent philosophies; more complex than ornament versus no ornament. | Our reading | — | — | — |
| b-minimalism | Bauhaus influenced later modernist reduction but is not synonymous with minimalism. | Our reading | — | — | — |
| arch-curriculum | The page is arranged after a Bauhaus curriculum diagram (outer course, workshops, building at the centre); mapping Aesthetary's Build to the centre is Aesthetary's. | Web translation | — | — | — |
| arch-diagram | Walter Gropius’s curriculum diagram, published in the Weimar statutes of July 1922, puts the Preliminary Course on the outermost ring and building at the centre; the school offered no formal courses in architecture until 1927. | Documented · Source attached | — | — | Bauhaus: Building the New Artist — Principles and Curriculum |
| cx-method | Question, remove what only imitates, rebuild: questioning does not converge on one look. | Web translation | — | — | — |
| cx-less-more | Less Bauhaus-y. More Bauhaus. | Our reading | — | — | — |
| close-challenge | Don't copy the shapes; copy the questioning. | Web translation | — | — | — |
| close-not-formula | The Bauhaus was not a formula; its designers reconsidered how art, materials, technology, production and everyday life could work together. | Our reading | — | — | — |
| a11y-principle | Preserve experimentation visually; preserve meaning semantically. | Web translation | — | — | — |
| tier-no-necessary | No visual feature is necessary to every Bauhaus artefact. | Our reading | — | — | — |
| tier-same-device | “Common” and “Unreliable” can describe the same device: primary colours are common in some practices and unreliable as a rule for the whole school. | Our reading | Common Primary colours · our ranking Unreliable Red + yellow + blue · our ranking | — | — |
| layout-1 | Asymmetric organisation | Documented · Source attached | Strong · our ranking | Layout | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 The Bauhaus's First Book |
| layout-2 | Underlying grid, in graphic work | Documented · Source attached | Strong · our ranking | Layout | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 |
| layout-3 | Large differences of scale | Our reading | — | Layout | — |
| layout-4 | Strict grids everywhere | Our reading | Unreliable · our ranking | Layout | — |
| typography-1 | Clarity; type communicates first | Documented · Source not yet verified | Strong · our ranking | Typography | The Bauhaus, 1919–1933 |
| typography-2 | Sans serif in graphic work | Documented · Source attached | Strong · our ranking | Typography | The Bauhaus, 1919–1933 The Bauhaus's First Book Herbert Bayer, poster for a Hans Poelzig lecture, 1926 |
| typography-3 | Asymmetric setting | Documented · Source attached | Strong · our ranking | Typography | The Bauhaus's First Book |
| typography-4 | Lowercase (Bayer's proposal) | Documented · Source attached | Common · our ranking | Typography | Herbert Bayer, poster for a Hans Poelzig lecture, 1926 |
| typography-5 | Futura; all lowercase; sans everywhere | Our reading | Unreliable · our ranking | Typography | — |
| typography-6 | A specific typeface | Our reading | — | Typography | — |
| color-1 | No canonical palette; hue is free | Our reading | — | Color | Bauhaus: The Graphic Design Department Goes Back to School |
| color-2 | Primary red, yellow, blue | Our reading | Common · our ranking | Color | — |
| color-3 | Red + yellow + blue as the rule | Our reading | Unreliable · our ranking | Color | — |
| imagery-1 | Photography integrated with type | Documented · Source not yet verified | Strong · our ranking | Imagery | The Bauhaus, 1919–1933 |
| imagery-2 | Experimental photography: viewpoint, light, photograms | Our reading | Strong · our ranking | Imagery | — |
| imagery-3 | Photomontage | Our reading | Common · our ranking | Imagery | — |
| surface-1 | No ornament anywhere | Our reading | Unreliable · our ranking | Surface | — |
| motion-1 | The stage: body, space, geometry, costume, movement, light | Our reading | — | Motion | — |
| motif-1 | Circles, squares, triangles; abstract geometry | Our reading | Common · our ranking | Motif | — |
| motif-2 | Circles + triangles + squares as a signature | Our reading | Unreliable · our ranking | Motif | — |
| technique-1 | Craft workshops as the basis of teaching | Documented · Source not yet verified | — | Technique | The Bauhaus, 1919–1933 |
| technique-2 | Design for mass production, from 1923 | Documented · Source not yet verified | Strong · our ranking | Technique | The Bauhaus, 1919–1933 |
| technique-3 | Design appropriate to production technology | Our reading | — | Technique | — |
| form-1 | Steel frame, glass curtain wall, functional spatial organisation | Documented · Source not yet verified | Strong · our ranking | Form | The Bauhaus, 1919–1933 |
| form-2 | Industrial materials; tubular steel | Documented · Source not yet verified | Strong Industrial materials · our ranking Common Tubular steel, a particular practice (Breuer) · our ranking | Form | The Bauhaus, 1919–1933 |
| form-3 | Flat roofs; white architecture; minimalism as rules | Our reading | Unreliable · our ranking | Form | — |
| unreliable-1 | Red + yellow + blue | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-2 | Futura | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-3 | All lowercase | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-4 | Circles + triangles + squares | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-5 | White architecture | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-6 | No ornament anywhere | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-7 | Strict grids everywhere | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-8 | Sans serif everywhere | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-9 | Minimalism | Our reading | Unreliable · our ranking | — Recognition test | — |
| unreliable-10 | Form follows function | Our reading | Unreliable · our ranking | — Recognition test | — |
| meta-name-status | name status: A historical school; the name is its own | No source attached | — | — History | No source attached |
| meta-places | places: Weimar → Dessau → Berlin | No source attached | — | — History | No source attached |
| layout-translation | Asymmetric web grid around a visible axis; no column count, module or measure claimed as Bauhaus. | Web translation | — | Layout | — |
| typography-translation | Rank by weight, position and scale; keep text live and legible. Any grotesque may stand in; none is 'the Bauhaus font'. | Web translation | — | Typography | — |
| color-translation | Use colour for a stated job. Contrast ≥ 4.5:1 is modern practice, not Bauhaus. | Web translation | — | Color | — |
| imagery-translation | Image and type composed on shared edges and axes; crop as a decision. | Web translation | — | Imagery | — |
| interface-translation | Components derived from principles: button, navigation, content module, form, image module. | Web translation | — | Interface | — |
| motion-translation | Movement reveals structure along axes, between states that make sense at rest. No timing exported. | Web translation | — | Motion | — |
| motif-translation | Use geometry structurally, not decoratively by default. | Web translation | — | Motif | — |
| technique-translation | Design for how the web is made: live text, responsive layout, code. | Web translation | — | Technique | — |
| interface-reason | Bauhaus predates interactive media. | Our reading | — | Interface Context | — |
| motion-reason | For the web. Stage work is a historical discipline, not a web motion system. | Our reading | — | Motion Context | — |
| kcc:motif-1 | A specific colour–form pairing is documented as Kandinsky's hypothesis: yellow triangle, red square, blue circle. He tested it with a 1923 questionnaire in the Weimar wall-painting workshop. | Documented · Source attached | — | Motif Context | Kandinsky’s Bauhaus Questionnaire (article abstract) Bauhaus: The Importance of Shapes Wassily Kandinsky’s 1923 Questionnaire to determine the synthetic relations between color and form (2021.169) |
| kcc:motif-3 | Geometric shapes and lines were teaching material, as in Klee's Pedagogical Sketchbook. | Documented · Source attached | — | Motif Context | Bauhausbücher 2 – Paul Klee: Pedagogical Sketchbook |
| kcc:w2-surface-1 | In the preliminary course, Itten's teaching centred on individual sensitivity to material, texture, colour and natural form, and students did experiments with colour, form and material. | Documented · Source attached | — | Surface Context | Learning with Itten (Bauhaus: Building the New Artist) Preliminary Course, Workshops and Bauhaus Diploma: What Made Training at the Bauhaus So Special? |
| kcc:w2-surface-2 | The Bauhaus-Archiv says the preliminary-course lessons it describes centred on the study of different materials and their properties; the Getty says Albers's matter exercises focused on surface structure, facture and texture. | Documented · Source attached | — | Surface | Preliminary Course, Workshops and Bauhaus Diploma: What Made Training at the Bauhaus So Special? Learning with Albers (Bauhaus: Building the New Artist) |
| kcc:w2-surface-3 | Albers's exercises included making one material imitate another's surface, e.g. paper made to look like velvet. | Documented · Source attached | — | Surface Context | Learning with Albers (Bauhaus: Building the New Artist) |
| kcc:w2-hierarchy-1 | Moholy-Nagy's 1923 programme put clarity and legibility of the message first, above any prior aesthetic. | Documented · Source attached | — | Hierarchy | The New Typography (László Moholy-Nagy, 1923; reprinted text) |
| kcc:w2-hierarchy-2 | The same text makes the form of the printed page follow its content, and admits all typefaces, type sizes, geometric forms and colours as means. | Documented · Source attached | — | Hierarchy | The New Typography (László Moholy-Nagy, 1923; reprinted text) |
| kcc:w2-hierarchy-3 | Change of size and its effect was a set exercise in Joost Schmidt's advertising class around 1930. | Documented · Source attached | — | Hierarchy Context | Printing and advertising workshop |
| kcc:definition | The Bauhaus was primarily a school where design was taught; its course explored theories of colour and form, composition, materiality, life drawing and visual analysis. It later moved into a former telephone factory in Berlin and was forced to close in 1933 under Nazi pressure. Reading a single visual language out of this multivocal school is Aesthetary's reading. | Documented · Source attached | — | — Definition | The Bauhaus, 1919–1933 (Heilbrunn Timeline of Art History) Ein Ausblick auf die neue Präsentation unserer Sammlung Principles and Curriculum (Bauhaus: Building the New Artist) Our history (Part 1): How the memory of the Bauhaus was rescued from oblivion The Bauhaus in Exile: What Happened After its Closure in 1933 Bauhausbücher 2 – Paul Klee: Pedagogical Sketchbook |
| kcc:medium | Native medium: architecture, print_poster, print, textile, wood, ceramic, interior. | Documented · Source attached | — | — Context | The Bauhaus, 1919–1933 (Heilbrunn Timeline of Art History) Principles and Curriculum (Bauhaus: Building the New Artist) |
| kcc:answers-rd-meta-met | URL https://www.metmuseum.org/essays/the-bauhaus-1919-1933 (formerly /toah/hd/bauh/hd_bauh.htm); author Alexandra Griffith Winton; August 2007, last revised October 2016. | Documented · Source attached | — | — Context | The Bauhaus, 1919–1933 (Heilbrunn Timeline of Art History; Wayback snapshot 2026-06-10, live page returns 429 to scripted fetch) |
| kcc:answers-rd-meta-moma-gd | URL http://www.moma.org/explore/inside_out/2009/11/06/bauhaus-the-graphic-design-department-goes-back-to-school, posted 6 November 2009, 10:15 a.m., by August Heffner, Design Manager, Graphic Design (confirmed via the Wayback copy). | Documented · Source attached | — | — Context | Bauhaus: The Graphic Design Department Goes Back to School (Inside/Out blog; Wayback snapshot 2009-11-09, live page 403) |
| kcc:answers-rd-meta-ba | 'After 1933' was http://www.bauhaus.de/en/das_bauhaus/81_nach_1933/ (archived). The Klee passage is on the archived Bauhaus-Archiv page for Bauhausbücher 2, /en/bauhaus-archiv/2129_publikationen/5300_bauhausbuecher_2/. | Documented · Source attached | — | — Context | After 1933 - Bauhaus-Archiv (former bauhaus.de page; Wayback snapshot 2016-04-04) Bauhaus Books 2 - Publications - Bauhaus-Archiv (former bauhaus.de page; Wayback snapshot 2019-08-22) |
| kcc:answers-rd-src-bayer-role | MoMA's artist text for Bayer states he was one of the Bauhaus's most influential students, teachers and proponents, and taught advertising, design and typography; re-cite t-bayer-role to it. | Documented · Source attached | — | — Context | Herbert Bayer | Object:Photo | MoMA (artist text; Wayback snapshot 2015-05-09, live page 403) |
| kcc:answers-rd-src-moma-environment | The same MoMA artist text says that in Bayer's teaching years the school was fertile ground for the New Vision photography Moholy-Nagy promoted; re-cite p-moma-environment to it. | Documented · Source attached | — | — Context | Herbert Bayer | Object:Photo | MoMA (artist text; Wayback snapshot 2015-05-09, live page 403) |
| kcc:answers-rd-src-universal-metal | MoMA's 2009 graphic-design post states Bayer's design was never turned into a metal typeface, so students redrew the letters; re-cite t-universal-metal to it (the source says 'never', with no period limit). | Documented · Source attached | — | — Context | Bauhaus: The Graphic Design Department Goes Back to School (Inside/Out blog; Wayback snapshot 2009-11-09, live page 403) |
Open questions
| Question | Status | What would settle it |
|---|---|---|
| Director transition years (Gropius → Meyer → Mies). | Open | — |
| Which workshops existed, changed or closed in each period. | Open | — |
| A direct source for “increasingly concerned with functional design, modern production and clear visual communication”. | Open | — |
| Which works and which teaching tie red, yellow and blue to the Bauhaus. | Open | — |
| Whether a specific colour–form pairing is documented. Do not name a candidate on the page until it is sourced. | Open | — |
| When and how the combined shorthand formed. | Open | — |
| Sources for each teacher’s and workshop’s colour practice. | Open | — |
| Confirm the capitals directly from the licensed image of the Poelzig poster. | Open | The licensed image itself. (MoMA’s collection text already states “the exclusive use of uppercase letters”; the item stays open until the image is in hand.) |
| Examples of non-sans Bauhaus printed matter. | Open | — |
| A direct source for New Vision practice (photograms, viewpoint). | Open | — |
| Named photographic works, including a specific Moholy-Nagy photogram and its holding institution. | Open | — |
| A source and a specific work for Schlemmer and the stage. | Open | — |
| Specific print and photographic processes. | Open | — |
| Painting — a specific Klee work (Met). | Open | — |
| Weaving — a specific Stölzl textile (Met). | Open | — |
| Cabinetmaking — a specific Breuer tubular-steel object (Met). | Open | — |
| Metal workshop — an artefact. | Open | — |
| Pottery workshop — an artefact. | Open | — |
| Wall-painting workshop — an artefact. | Open | — |
| Photograph of the Dessau building, with photographer credit. | Open | — |
| Licence for the Poelzig poster image. | Open | A reproduction licence: MoMA’s record lists © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn (MoMA object 108.1968). |
| Licence for the Universal image. | Open | A reproduction licence for the Letterform Archive object (Bayer, original lettering for Universal Type, 1925). |
| Layout principles in non-graphic media. | Open | — |
| Anything at all about surface: finish, texture, elevation. | Open | — |
| A direct source for the Bauhaus → Swiss lineage. | Open | — |
| Aesthetary has no De Stijl record; the boundary stays one-sided. | Open | — |
| rd-layout-media | Open | — |
| rd-non-sans | Open | — |
| rd-poelzig-capitals | Open | — |
| rd-rby-artefacts | Open | — |
| rd-colour-sources | Open | — |
| rd-photo-works | Open | — |
| rd-photo-source | Open | — |
| rd-surface | Open | — |
| rd-schlemmer | Open | — |
| rd-shape-colour-pairing | Open | — |
| rd-processes | Open | — |
| [filed on influences bauhaus] [form_module] A1: this language is native to substrate "built_space". Author a form module (substrate + transfer_note), or set depth_policy influence_only. | Open | — |
| When did the Bauhaus move to Berlin: 1930 or 1932? | Open | The Met essay says 1930; the Bauhaus-Archiv says October 1932. The Archiv is the specialist source and agrees with h-periods, but the conflict is recorded. |
| Density in Bauhaus work. | Open | No source found. |
| Image licences for the Poelzig poster and Universal lettering. | Open | Research only identified the rights holders (ARS/VG Bild-Kunst; reproduction via Art Resource/Scala for MoMA). Getting a licence is a permissions task, not a research finding. |
| Source, author, date and period of the concentric curriculum diagram the page structure borrows. If confirmed, it probably describes the early Weimar programme. | Resolved | — |
| The Met essay: URL, author, date. | Resolved | Answered: URL https://www.metmuseum.org/essays/the-bauhaus-1919-1933 (formerly /toah/hd/bauh/hd_bauh.htm); author Alexandra Griffith Winton; August 2007, last revised October 2016. |
| The MoMA graphic design article: URL, date. | Resolved | Answered: URL http://www.moma.org/explore/inside_out/2009/11/06/bauhaus-the-graphic-design-department-goes-back-to-school, posted 6 November 2009, 10:15 a.m., by August Heffner, Design Manager, Graphic Design (confirmed via the Wayback copy). |
| The MoMA Poelzig poster record: object number, URL. | Resolved | — |
| The Letterform Archive exhibition: URL, date. | Resolved | — |
| URLs for both Bauhaus-Archiv pages. | Resolved | Answered: 'After 1933' was http://www.bauhaus.de/en/das_bauhaus/81_nach_1933/ (archived). The Klee passage is on the archived Bauhaus-Archiv page for Bauhausbücher 2, /en/bauhaus-archiv/2129_publikationen/5300_bauhausbuecher_2/. |
| t-bayer-role cites the MoMA Poelzig record, and that page does not state it. MoMA’s artist page for Bayer does. | Resolved | Answered: MoMA's artist text for Bayer states he was one of the Bauhaus's most influential students, teachers and proponents, and taught advertising, design and typography; re-cite t-bayer-role to it. |
| p-moma-environment cites the MoMA Poelzig record, and that page does not state it. MoMA’s artist page for Bayer does. | Resolved | Answered: The same MoMA artist text says that in Bayer's teaching years the school was fertile ground for the New Vision photography Moholy-Nagy promoted; re-cite p-moma-environment to it. |
| t-universal-metal cites the Letterform Archive walkthrough, and that page does not state it. | Resolved | Answered: MoMA's 2009 graphic-design post states Bayer's design was never turned into a metal typeface, so students redrew the letters; re-cite t-universal-metal to it (the source says 'never', with no period limit). |
| What is the Bauhaus, in one defining sentence the sources support? | Resolved | definition from evidence (kcc:definition) |
Sources
Visuals
Every visual on the page is an image slot with an evidence class. Only historical evidence and sourced contemporary evidence may stand as evidence for a claim; everything Aesthetary made may illustrate a claim, never evidence it.
| Slot | Evidence class | May be evidence | Illustrates |
|---|---|---|---|
| v-poelzig | Historical evidence | Yes | — |
| v-universal | Historical evidence | Yes | — |
| v-catalogue-1923 | Historical evidence | Yes | — |
| v-dessau-building | Historical evidence | Yes | — |
| v-klee-ref | Historical evidence | Yes | — |
| v-hero-painting | No evidence class: artefact not named | Never | — |
| v-hero-weaving | No evidence class: artefact not named | Never | — |
| v-hero-cabinetmaking | No evidence class: artefact not named | Never | — |
| v-hero-metal | No evidence class: artefact not named | Never | — |
| v-hero-pottery | No evidence class: artefact not named | Never | — |
| v-hero-wall-painting | No evidence class: artefact not named | Never | — |
| v-hero-photography | No evidence class: artefact not named | Never | — |
| v-hero-theatre | No evidence class: artefact not named | Never | — |
| v-photogram | No evidence class: artefact not named | Never | — |
| v-curriculum-ring | Aesthetary diagram | Never | arch-curriculum, arch-diagram |
| v-triad | Aesthetary specimen | Never | — |
| v-posters-01-03 | Aesthetary specimen | Never | — |
| v-resolutions | Aesthetary translation | Never | cx-method |
| v-diagrams | Aesthetary diagram | Never | — |
| v-materials | Aesthetary specimen | Never | — |
| v-translations | Aesthetary translation | Never | — |
| v-art-direction | Decorative | Never | — |