In one of my graphic design classes, we studied Bauhaus design. I was fascinated by Walter Gropius' designs and decided to do a report on him (if you can ever visit his house in MA, you will be awed to see his theories put into practice!). When I found and read this book in my college library I knew I had to buy it. It was out of print when I ordered it, but worth the wait. This book is a must read for all architecture/art history/graphic design students.

Just knowing that everything in this book came directly from Gropius hand is fascinating. It's a look into an aspect of design/architecture that biographies and history books just can't give you.

I've found great substance with your book, "The New Architecture and the Bauhaus". It was brilliant and very informative. I was fascinated by the analysis of 20th Century Modern architecture and the history of its development. I recommend this book highly for anyone interested in modern design, or the courage of the indomitable human spirit. Gropius fought against mediocrity, mindless repetition and the numbing Status Quo. This book deserves to be read.

name and location of 6 most important projects thier art and architectural influence

. . .in E. Michael Jones' frontal assult on modernism!

In "Degenerate Moderns", Jones reveals how much of modern society was brought about by persons whose personal lives (and beliefs) could best be described as deviant. In "Dionysos Rising", he addresses certain trends in music which somewhat less success. In this volume, he takes on Walter Gropius and the Balhaus School of Design. The style is quite different from the previous two books and reads almost like a novel. In the book we learn how Gropius' own beliefs about sex, family, and religion (and his, shall we say, deviancies in these areas of life) influenced his architectural work.

A devastating critique of the International school of architecture in general, and Walter Gropius' work in particular.

I was fascinated by this incredibly revealing book.
E. Michael Jones is the author of other works
that "search and destroy" (in a manner of speaking)
the corrupt social and political views of many purveyors
of modern art forms, showing how they not only
result in (further!) lowered standards of moral
conduct, but also reflect the apostasy and debauchery
that are so often a staple in the lives of the men
who produce it. Here he takes on Walter Gropius
and his Bauhaus architectural movement of the
early 20th century. I love the way Jones has
structured it, to read swiftly, almost like a novel,
by how he continues to shift back and forth
between the time of Gropius' activity, and then
the modern day exigencies surrounding the hapless
victims (from Chicago to Poland) who have to actually
DWELL in these monstrosities
that were once considered so fashionable and chic.
Jones has cut right to the heart of the issue, by
revealing clearly how the static and cold style

of the buildings these avant garde architects promoted,
reflects perfectly the debased sexual morass
that Gropius and many of his colleagues
(Mies van der Rohe) found themselves
swallowed up in. I went to an arts academy when I was
younger, and had to read about the Bauhaus
and Gropius' work. I knew it was horrible
at the time, but couldn't articulate my views.
Now I can, thanks to Mr. Jones' book.
It should be read by everyone with the guts to
look modernism in its blackened eye and see it for
the moral bankruptcy it represents.

Complete in criteria for the men of those times, embarked in the ambitious project of modernity, yet for these times incomplete, which is absolutely comprehensible. The "problem of man in space" as so called by Oskar Schlemmer, protrudes on us an intense intrigue on what the new form of theater should be, should it be the translation of a piece of literature onto space ?, or should it be the craft of developing space itself into an entity of meaning. He leaves us without an answer, but suggests a better question.

The Bride of the Wind, while scrupulously researched, fails to bring its subject to life. Alma Mahler must have been possessed of much charisma and fire to attract the geniuses that she did, but Keegan's dry account of Alma's self-absorption and reputed beauty left me wondering what she had missed, since the portrait does not accord with the events of the subject's life. (The movie of the same title, by the way, has the same flaw, though it at least paints an atmospheric picture of turn-of-the-century Viennese society, which the book also fails to do.) The book also bogs down with information about Austrian history and classical music that is far too inside-baseball to be interesting to a general reader.

The Bride of the Wind by Susanne Keegan is the perfect biography for anyone wanting to avoid a stale representation of the illustrious Austro-German arts community in late nineteeth-century and early twentieth century. Written by a woman about a woman, this account contains insights and even some facts that a male biographer would have left out, yet these are the very facts which bring out the qualities of an historical figure which can affect his or her resurrection to the modern world.
Most interesting for anyone intrigued in the enigmatic character of Gustav Mahler are the accounts of Alma's 12 years with him. Keegan sheds light on a side of Mahler most biographers gloss over for fear of blurring the importance of his music. However, one might find that after reading about Mahler from Alma's point of view (and with the help of Keegan's many intuitive insights), that one can dig deeper into the emotional maze that is his music than ever before.
Susanne Keegan has made an accurate and insightful chronicle of a life that affected so many men of importance around her, a life which hitherto has, before this book, been left largely to mere speculation. She has done for Alma what Henri de la Grange has done for Mahler.
Look for the movie based on this book which will hopefully be coming out soon.

This is certainly the most boring book on architecture that has ever been written! The sentences are the size of a paragraph and at the end you've forgotten what the beginning was about. A lot of attention goes to the contemporaries of Gropius, like Bruno Taut and Adolf Behne, and the constant comparisions of the ideas of these three men are very confusing and tireing to read. Even if you are a great admirer of Gropius and the Bauhaus, you will throw away this book screaming after reading just one chapter.