Bauhaus

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Bau·haus

 (bou′hous′)
adj.
Of or relating to an early 20th-century modernist school of architecture and design noted for its use of rectilinear forms, plain unadorned surfaces, and techniques and materials associated with industrial production.

[German, an architecture school founded by Walter Gropius : Bau, construction, architecture (from Middle High German , building, from Old High German, from būan, to dwell, settle; see bheuə- in Indo-European roots) + Haus, house (from Middle High German hūs, from Old High German).]

Bauhaus

(ˈbaʊˌhaʊs)
n
(Architecture)
a. a German school of architecture and applied arts founded in 1919 by Walter Gropius on experimental principles of functionalism and truth to materials. After being closed by the Nazis in 1933, its ideas were widely disseminated by its students and staff, including Kandinsky, Klee, Feininger, Moholy-Nagy, and Mies van der Rohe
b. (as modifier): Bauhaus wallpaper.
[C20: German, literally: building house]

Bau•haus

(ˈbaʊˌhaʊs)

n.
1. a German school of design in existence from 1919 to 1933, established by Walter Gropius.
adj.
2. of or pertaining to the styles developed at the Bauhaus, marked by an emphasis on functional design.
[< German, =Bau- build, building + Haus house]

Bauhaus

A German school of architecture and design 1919–33. Founded by the architect Walter Gropius, it epitomized the marriage of modern design, mass production, industrial design, and a Teutonic romantic approach to abstract art. Alfred Arndt (b. 1898) led the furniture workshop.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Bauhaus - a German style of architecture begun by Walter Gropius in 1918Bauhaus - a German style of architecture begun by Walter Gropius in 1918
architectural style, style of architecture, type of architecture - architecture as a kind of art form
References in periodicals archive ?
El segundo, rehabilitado por Rem Koolhass/OMA, declarado Patrimonio de la Humanidad en 2001, destaca por obras como el pozo 12 de estilo Bahaus.
La idea de la repeticion tan cara a las neovanguardias segun Foster (2001), encuentra en los balleneros un lugar de privilegio como recuerda Juan Ca lzadilla, pero se trata de una repeticion acentuada, hiperrecargada de los gestos mas radicales de sus predecesores: "Las proposiciones estan inspiradas o calcadas de modelos europeos, impuestos para reclamar un sello de contemporaneidad, el artista repite uno a uno gestos, palabras, poses ya cumplidas, traslada un esquema en boga que procede de la estetica mas radical de los anos veinte y treinta, de Mondrian, de la Bahaus, de los constructivistas y neoplasticistas" (2008: XIV).