Editing Weimar culture (section)

===Design===
The design field during the Weimar Republic witnessed some radical departures from styles that had come before it. [[Bauhaus]]-style designs are distinctive, and synonymous with modern design. Designers from these movements turned their energy towards a variety of objects, from furniture, to typography, to buildings. [[Dada]]'s goal of critically rethinking design was similar to [[Bauhaus]], but whereas the earlier Dada movement was an aesthetic approach, the [[Bauhaus]] was literally a school, an institution that combined a former school of industrial design with a school of arts and crafts. The founders intended to fuse the arts and crafts with the practical demands of industrial design, to create works reflecting the [[New Objectivity]] aesthetic in Weimar Germany. [[Walter Gropius]], a founder of the Bauhaus school, stated: "we want an architecture adapted to our world of machines, radios and fast cars."<ref>{{cite book|last=Curtis|first=William|title="Walter Gropius, German Expressionism, and the Bauhaus". Modern Architecture Since 1900 (2nd Ed. ed.).|year=1987|publisher=Prentice-Hall|isbn=978-0-13-586694-8|pages=309–316}}</ref> Berlin and other parts of Germany still have many surviving landmarks of the architectural style at the Bauhaus. The mass housing projects of [[Ernst May]] and [[Bruno Taut]] are evidence of markedly creative designs being incorporated as a major feature of new planned communities. [[Erich Mendelsohn]] and [[Hans Poelzig]] are other prominent Bauhaus architects, while [[Mies van der Rohe]] is noted for his architecture and his industrial and household furnishing designs.

Painter [[Paul Klee]] was a faculty member of Bauhaus. His lectures on modern art (now known as the [[Paul Klee Notebooks]]) at the Bauhaus have been compared for importance to Leonardo's ''[[Treatise on Painting]]'' and Newton's ''[[Principia Mathematica]]'', constituting the Principia Aesthetica of a new era of art;<ref>[[Guilo Carlo Argan]] "Preface", Paul Klee, The Thinking Eye, (ed. Jürg Spiller), Lund Humphries, London, 1961, p.13.</ref><ref>[[Herbert Read]] (1959) ''[https://www.questia.com/PM.qst?a=o&d=786516 A coincise history of modern painting]'', London, p.186</ref>

[[Bruno Taut]] and [[Adolf Behne]] founded the [[Arbeitsrat für Kunst]] (Workers' Council for Art) in 1919. Their aim was to assert pressure for political change on the Weimar Republic government, that would benefit the management of architecture and arts management, similar to Germany's large councils for workers and soldiers. This Berlin organization had around 50 members.<ref>{{cite book|last=Dempsey|first=Amy|title=Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art|year=2010|publisher=Thames & Hudson|isbn=978-0-500-28844-3|pages=126}}</ref>

Still another influential affiliation of architects was the group [[Der Ring]] (The Ring) established by ten architects in Berlin in 1923-24, including: [[Otto Bartning]], [[Peter Behrens]], [[Hugo Häring]], [[Erich Mendelsohn]], [[Mies van der Rohe]], [[Bruno Taut]] and [[Max Taut]]. The group promoted the progress of modernism in architecture.

<gallery>
File:Wolfsonian-FIU Museum - IMG 8232.JPG|Armchair, model MR-20, 1927, by designer [[Mies van der Rohe]], manufactured by Bamberg Metallwerkstatten, Berlin
File:Theo van Doesburg Bilanz des Bauhauses.jpg|[[Bauhaus]]-style [[typography]], [[Theo van Doesburg]] (1923)
File:Borsig AG Hochhaus Berlin-Tegel.jpg|A highrise of the German Borsig company, made in the spirit of brick expressionism by [[Eugen Schmohl]] (1922–1924). It still stands in the [[Tegel]] district of [[Berlin]].
</gallery>