32:
557:
186:
565:
including the systems principles of Tomás
Maldonado, the school shifted its ideology to a more methodological and structured field of study, but one that also strongly embraced aesthetics as a primary factor. This resulted in an academic program with a common basic course and an introduction to consolidated theoretical disciplines. The new design teaching approach became known as the "Ulm Model" which significantly influenced worldwide design education, especially
314:
398:
124:
476:
44:
20:
491:. The development of new methods of mass production during the Second World War implored the designer to stop focusing primarily on the artistic point of view of the profession. Therefore, HfG teaching put increased emphasis on science and technology considerations, more in keeping with the times, and on industrial production processes that determine the final product quality and affect the product aesthetic form.
358:
468:
283:
608:
and production processes, methods of analysis and synthesis, choice and founded projective alternatives, the emphasis on scientific and technical disciplines, the consideration of ergonomics, the integration of aesthetics, the understanding of semiotics and a close academic relationship with industry. In concept, the "Ulm Model" represented early foundation principles of the
607:
Until the founding of the Ulm HfG in 1953, there was no systematic approach of design education. HfG pioneered the integration of science and art, thereby creating a teaching of design based on a structured problem-solving approach: reflections on the problems of use by people, knowledge of materials
539:
The curriculum included the development and implementation of visual reports, news systems and transmission media. Emphasis included the field of planning and analysis of modern means of communication, with a clear focus on the illustrative arts. Maldonado also introduced the study of semiotics. This
309:
considerations were no longer the primary conceptual basis of design. The professional designer would be an "integrator" with responsibility for integrating a large number of specialties in addition to aesthetics, mostly the diverse requirements of materials, manufacturing and context of product use,
388:
With the cessation of grants, the School
Foundation was in debt. In 1968 some teachers were dismissed because of the difficult financial situation and the number of classes was reduced. In November, the Regional Parliament voted to withdraw all funding, therefore, the school was closed amid protests
349:
were in favor of a design methodology based primarily on analytical studies, including business analysis. This approach caused internal conflicts as Otl Aicher, Hans
Gugelot, Walter Zeischegg, and Tomás Maldonado resisted such an overly analytical emphasis and claimed instead that the design process
290:
In 1956 Max Bill resigned as rector, due to changes in the body of academic development and differences in the approach to design school teaching. Tomás
Maldonado took his place as rector. Bill continued to teach but finally left the school in 1957. Max Bill favored a teaching approach that followed
170:
and a group of young intellectuals considered creating a teaching and research institution to foster the humanistic education ideal and link creative activity to everyday life. They would seek this goal in context of the cultural reconstruction of German society morally destroyed by Nazism and World
269:
The teaching was based on a curriculum covering four years. The first academic year was devoted to the basic course and then students chose a specialty from
Product Design, Visual Communication, Industrialized Building, Information (which lasted until 1962) and Filmmaking, which until 1961 belonged
114:
The history of HfG evolved through innovation and change, in line with their own self-image of the school as an experimental institution. This resulted in numerous changes in the content, organization of classes and continuing internal conflicts that influenced the final decision of closing the HfG
297:
model, in which the artist-designer saw their primary role in product development as form-giving. A key objective of the
Bauhaus was also to ensure the form-giving artist-designer considered the technology of materials and mass production methods. However, many teachers at HfG, especially those of
273:
In 1953 the new building was started, designed by Max Bill, and the inauguration took place on
October 2, 1955. The HfG building complex was one of the first in Germany built as reinforced concrete structures with spacious workshops, dormitories and a cafeteria. The interiors and furnishings were
564:
In the early years of operation, and with the direction of Max Bill, the teaching of the school was guided by the principles of the
Bauhaus, where the designer had a profile of being much more artistic than analytic. Based on the discrepancies between Bill's approach and that of other teachers,
337:
In the fall of 1958 a major exhibition was held in the HfG five years after its opening. The HfG was presented to the general public for the first time, showing both the results of work from student workshops and the work of teachers. That same year also came the first issue of the HfG magazine
310:
as well as considerations of usability, identity and marketing. Under the leadership of
Maldonado, the school dropped the "artist" focus of Max Bill and proposed a new philosophy of education as an "operational science", a systems-thinking approach which embodied both art and science.
106:
The HfG building was designed by Max Bill and remains intact today as a historically important and functional building under the auspices of
Foundation Ulm. The HfG was the most progressive educational institution of design in the 1950s and 1960s and a pioneer in the study of
547:
The HfG worked primarily in the area of persuasive communication in areas such as vehicular and pedestrian traffic sign systems, plans for technical equipment, visual translation of scientific content to be readily understood and unity of company communications materials.
321:
Max Bill's departure also heralded a new phase: the creation of "development groups" that were created specifically to create links with industry. Many of the resulting designs went into production immediately. Among the most successful was audio equipment for the company
384:
repeatedly discussed whether the school deserved subsidies. The problems were becoming more frequent. After the unsuccessful Parliament demand that HfG join the Ulm School of Engineering, Federal subsidies were abolished and the financial situation became untenable.
365:
The consequence of this debate was a great exhibition of work that had been created in the classes of HfG and showcased the successful balancing of art and science. The show was initially in Ulm and Stuttgart in 1963, later in the Neue Sammlung, Munich, and in the
102:
were integrated with aesthetics and technology. During HfG operations from 1953–1968, progressive approaches to the design process were implemented within the departments of Product Design, Visual Communication, Industrialized Building, Information and Filmmaking.
98:. The HfG quickly gained international recognition by emphasizing the holistic, multidisciplinary context of design beyond the Bauhaus approach of integrating art, craft and technology. The subjects of sociology, psychology, politics, economics, philosophy and
193:
HfG began operating the new college in 1953 with Max Bill, a former student at the Bauhaus, as rector. On 3 August of that year, operations were begun in rooms at the Ulm ‘Volkshochschule’ (institution for adult education) with a faculty consisting of
585:, who was a newly hired Braun designer, collaborated with HfG on developing the forward-looking Braun product design approach. With this partnership the "Braun style" was developed, and according to Tomás Maldonado, "the style differed from
444:
Students of all programs shared the same basic design course, which lasted a year. This course was mandatory before proceeding to one of the five specialization programs offered by the institution. The course content was:
435:
The last year of study was intended for thesis. The plan was subject to investigations that were made in regard to new approaches to design and which were then implemented in each department of the specialties.
599:. Because of this, the Braun-HfG collaboration was a formidable test bench for the design of "honest" form and coherent identity as an alternative to the random "styling" of individual objects.
182:, the Foundation also received financial support from the German Federal Financial Directorship and from the European Aid to Europe as well as private contributions and industry funding.
372:
Amsterdam. In addition to the fundamental debate over curriculum, changes were made in the constitution and the reintroduction of a single rector to replace the Board of Governors.
143:
The origins of HfG go back to an initiative by the brother-and-sister Scholl Foundation. The Scholl Foundation was created in 1950 by Inge Scholl in memory of their siblings
581:, began a phase of cooperation. Braun needed to stand out from the competition and asked Otl Aicher, Hans Gugelot, and students to work on new designs for the company.
1277:
115:
in 1968. Although the school ceased operation after fifteen years, the ′Ulm Model′ continues to have a major influence on international design education.
1326:
286:
Bench designed by Max Bill and Hans Gugelot. This versatile functional design furniture was used for multiple purposes in the workshops of the HfG Ulm.
1103:
pp. 55–72 in Karl-Achim Czember (Ed.). HfG, Ulm; Die Abteilung Produktgestaltung; 39 Rückblicke. Dortmund, Germany: Verlag Dorothea Rohn, 2008.
298:
theoretical courses, sought to emphasize analytic methods encompassing sociological, economic, psychological and physiological considerations.
334:. These industrial commissions brought a wealth of experience in teaching and decisive influence to the school and enhanced its reputation.
1331:
947:
Jean-Pierre Protzen, David J. Harris, D.J. (2010): The Universe of Design: Horst Rittel's Theories of Design and Planning. Routledge,
532:
At first the department was called Visual Design, but it quickly became clear their goal was to solve design problems in the area of
540:
department worked closely with the Department of Information. Although HfG distanced itself from an affiliation with the mass media
136:
The postwar years, between 1945 and 1952 in West Germany were characterized by heavy restructuring and financing plans, such as the
350:
had to be more than strictly a 'method of analysis'. It must be a balancing of both art and science, such as with the study of
560:
Schematic teaching of HFG Ulm. The school design was characterized by formulating a scheme based education in art and science.
1189:
1174:
1160:
1146:
1133:
1063:
1049:
1035:
1321:
1204:
952:
619:
and the surrounding green spaces are well maintained, used by various organizations and considered important heritage.
449:
Visual experiments: two- and three-dimensional studies based on the perceptions and teachings of symmetry and topology.
959:
Die Abteilung an der hfg Bauen (Hochschule für Gestaltung) Ulm. Eine Reflexion zur Entwicklung, und Lehre Programmatik
569:, as the HfG reputation spread and many HfG graduates established Ulm-influenced education programs around the globe.
380:'Family' squabbles over the direction of the curriculum, led to a press attack in 1963 against HfG. The Parliament of
1218:
1118:
1024:
1009:
994:
979:
878:
409:) that was intended to offset the deficit in primary and secondary education in terms of creative project activity.
1316:
965:
840:
361:
Cup as part of stackable tableware for hotels designed by Hans Nick Roericht for thesis work during 1958 and 1959.
890:
Maldonado, Tomás. "New developments in the training industry in product design", in: "ulm", 2 October 1958, p. 31
774:
223:
962:
226:
and Walter Zeischegg. Distinguished visiting lecturers were invited from a variety of disciplines and included:
1017:
hfg ulm. der blick hinter den Vordergrund. die politische Geschichte der Hochschule für Gestaltung (1953–1968).
941:
828:
808:
909:
487:
The product design department was the one who had more achievements and that radically changed the vision of
495:
Instruction in manufacturing: product design, operational organization, processes, procedures, calculations.
1087:
Essay "The product design is not art" ulm models - models post-ulm ulm 1953-1968 Hochschule für Gestaltung
1080:
934:
Ulmer Modelle, Modelle Nach Ulm: Hochschule Für Gestaltung Ulm 1953-1968 = Ulm School of Design 1953-1968
899:"Styling", Maldonado, Thomas. Industrial design review. Barcelona, Ediciones Gustavo Gili. 1977, page 77.
1246:
341:
The formal education process continued to evolve during the 1960s. Teachers such as the mathematician
1213:
in "Architecture and the Paradox of Dissidence", ed. Ines Weizman. London: Routledge (2013): 89-102.
1254:
243:
111:. It is viewed as one of the world's significant design schools, equal in influence to the Bauhaus.
732:
293:
1096:
Chapter 9, "Roots in the Ulm School of Design?" Boca Raton, FL: CRC Press Taylor&Fancis. 2006.
31:
744:
207:
338:"ulm", which was published in German and English, and lasted until the school closed in 1968.
628:
235:
536:, so that in the 1956/56 academic year the name changed to Visual Communication Department.
1169:. Published by the International Design Forum IFG Ulm, Bilingual English/German, Ulm 2012,
511:
421:
401:
Vehicle designed by Klaus Krippendorff for the final graduation project of Product Design.
8:
498:
Technologies: Ferrous metals, nonferrous metals, wood, plastics and forming technologies.
987:
Die Hochschule für Gestaltung Ulm - Anfänger eines unnachgiebigen Projekte der Moderne.
381:
251:
726:
405:
The curriculum lasted 4 years. The first year was devoted to the basic design course (
219:
1214:
1200:
1185:
1170:
1156:
1142:
1129:
1114:
1113:. Schriftenreihe ulm club off e.v. 2008.220 S. Dortmund: Dorothea Rohn Verlag, 2008.
1059:
1045:
1031:
1020:
1005:
990:
975:
948:
937:
874:
824:
804:
720:
649:
609:
566:
488:
413:
227:
702:
1030:
Rodrigo Otávio da Silva Paiva: A Escola de Ulm (1953-1968). Appris, Curitiba 2023,
780:
756:
592:
368:
259:
203:
99:
47:
1230:
714:
644:
578:
323:
63:
51:
966:
http://club-off-ulm.de/Curdes_Die_Abteilung_Bauen_an_der_HFG-Ulm_2001_e-book.pdf
556:
1199:
in "Raddar 1: Function Design Annual Review", T&p Publishing, Mudac. 2019.
708:
504:
Mathematical analysis of operations: Group theory, statistics, standardization.
263:
231:
199:
179:
172:
36:
1269:
255:
185:
175:
of the American High Command for Germany in the post-war governing structure.
1310:
1292:
1279:
1104:
738:
274:
designed for flexible use and outdoor terraces were often used for lectures.
247:
239:
144:
137:
1153:
die abteilung film – institut für filmgestaltung an der hfg ulm, 1960 – 1968
458:
Methodology: introduction to logic, mathematics, combinatorics and topology.
768:
696:
678:
666:
417:
346:
342:
270:
to the Visual Communications department since 1962 and became independent.
211:
195:
480:
94:, the latter being first rector of the school and a former student at the
762:
582:
541:
425:
163:
148:
83:
844:
313:
171:
War II. The project was funded through the influx of a million marks by
1081:
http://club-off-ulm.de/Curdes_HFG_Ulm-21_Rueckblicke_2006_%20e-book.pdf
672:
533:
215:
167:
152:
87:
750:
684:
455:
Presentation: constructive drawing, writing, language, freehand, etc.
351:
327:
306:
108:
475:
397:
123:
690:
616:
587:
189:
Clock designed by Max Bill for Junghans during his time at the HfG.
91:
24:
1140:
die grundlehre von 1953 bis 1960. 16 rückblicke und 6 kurzporträts
43:
654:
331:
291:
the continuation of the "heroic" Bauhaus tradition, based on the
95:
79:
19:
1241:
1235:
631:
held an exhibition about the Ulm School of Design. It was named
467:
357:
301:
Among them was Tomás Maldonado, who saw the design process as a
1126:
rückblicke: die abteilung visuelle kommunikation an der hfg ulm
302:
282:
127:
Poster designed by Margarete Kögler in the class of Otl Aicher.
71:
1259:
1079:. Schriftenreihe ulm club off e.V., Ulm 2006. S. 145, e-book:
305:
embodying both scientific-based and intuitive-based thinking.
412:
The second and third years were for elective specialization:
156:
1211:
Radical Remoteness: The HfG Ulm as Institution of Dissidence
1197:
Paper Constructions: Ethics & Aesthetics at the HfG Ulm
429:
597:
unity in the product and its coherence with other products
1264:
1180:
David Oswald, Christiane Wachsmann, Petra Kellner (Hg.):
471:
Project Scooter-Van of the second year of Product Design.
131:
75:
1111:
hfg ulm, Die Abteilung Produktgestaltung, 39 Rückblicke
1077:
HFG Ulm: 21 Rückblick. Bauen - Gemeinschaft - Doktrinen
961:
off ulm Schriftenreihe Club eV Ulm 2000. 60 S. (Bezug:
821:
The Ulm School of Design: A View Behind the Foreground
527:
345:, sociologist Hanno Kesting, and industrial designer
1182:
Rückblicke. Die Abteilung Information an der hfg ulm
452:
Workshops: wood, metal, plastics, photography, etc..
210:(Bauhaus graduate). Later HfG faculty would include
1308:
155:", executed in 1943 by the National Socialists (
1094:The Semantic Turn; A New Foundation for Design.
615:The Ulm School of Design buildings designed by
462:
1042:421 Plakate der Hochschule für Gestaltung Ulm.
841:"Introduction to the History of the HFG Ulm"
326:, corporate identity for the German airline
50:for the continuous study of the workshop of
1124:Barbara Stempel, Susanne Eppinger Curdes -
572:
1327:Academic staff of the Ulm School of Design
1105:http://repository.upenn.edu/asc_papers/138
660:
627:Between September 2011 and April 2012 the
520:Mechanics: Kinematic, dynamic and static.
517:Theories of Perception, especially social
1070:Das Designlexikon Directmedia Publishing
1044:klemm + oelschläger, Ulm/ Münster 2010,
936:Ostfildern, 2003. Paperback. 208 Pages,
865:
863:
861:
555:
474:
466:
396:
356:
317:Corporate Identity Design for Lufthansa.
312:
281:
184:
122:
42:
30:
18:
1309:
869:Gay, Achilles and Samar, Lidia (2004),
577:Midway through the 1950s, the HfG and
132:Background and early political history
1019:Stuttgart / London 2002. 464 Seiten,
858:
277:
1138:Gerda Müller-Krauspe hfg-ulm, 2011:
801:Ulm Design: The Morality of Objects
551:
16:Former design school in Ulm, Germany
595:, while the style of Braun sought
178:Through contacts with Max Bill and
151:, members of the resistance group "
13:
1332:Alumni of the Ulm School of Design
528:Department of Visual Communication
14:
1343:
1265:Kapitzki,professor at the HFG Ulm
1224:
375:
330:and elevated trains for Railroad
266:, Ralph Ellison, and Mia Seeger.
206:(former Bauhaus instructors) and
35:Building Ulm HfG, photography by
1247:digital version of the journal '
910:"systems design. the ulm school"
871:The History of Industrial Design
1054:Rodrigo Otávio da Silva Paiva:
1040:Rodrigo Otávio da Silva Paiva:
985:Martin Krampen, Günter Hörmann:
926:
775:Friedrich Vordemberge-Gildewart
439:
224:Friedrich Vordemberge-Gildewart
1151:Peter Schubert, Monika Maus -
1068:Markus Stegmann und René Zey:
902:
893:
884:
833:
813:
793:
633:systems design. the ulm school
1:
1101:Designing In Ulm and off Ulm.
972:Hochschule für Gestaltung Ulm
787:
392:
68:Hochschule für Gestaltung Ulm
23:Building Ulm HfG designed by
1109:Karl-Achim Czemper (Hrsg.):
912:. DHub Disseny Hub Barcelona
523:Copyright and miscellaneous.
463:Department of Product Design
82:. It was founded in 1953 by
7:
1002:HfG Ulm, Bau Programm wird.
799:Lindinger, Herbert. (1991)
638:
622:
10:
1348:
1167:HfG IUP IFG. Ulm 1968-2008
974:.Berlin 1987. 228 Seiten,
873:, Córdoba: Ediciones TEC.
479:Design by Michael Conrad,
118:
1322:Design schools in Germany
989:Berlin 2003. 300 Seiten,
729:(1954–67) – rector; staff
693:(1953–57) – rector; staff
602:
733:Beate Mainka-Jellinghaus
573:Collaboration with Braun
501:Construction techniques.
1317:Universities in Germany
1075:Gerhard Curdes (Hrsg.):
823:, Edition Axel Menges.
687:(1954–58, 1966) – staff
661:Notable HfG instructors
418:Industrialized Building
1085:Dagmar Rinker (2003):
561:
484:
472:
402:
389:later that same year.
362:
318:
287:
244:Josef Müller-Brockmann
190:
128:
67:
55:
40:
28:
27:and completed in 1955.
629:Disseny Hub Barcelona
559:
512:Human-machine systems
478:
470:
400:
360:
316:
285:
236:Charles and Ray Eames
188:
126:
46:
34:
22:
1293:48.38056°N 9.95278°E
1209:Anna-Maria Meister:
1099:Klaus Krippendorff:
819:Spitz, René. (2002)
745:Helene Nonné-Schmidt
507:Scientific theories.
422:Visual Communication
208:Helene Nonné-Schmidt
60:Ulm School of Design
1289: /
1195:Anna-Maria Meister:
1092:Klaus Krippendorff:
1056:Max Bill no Brasil.
970:Herbert Lindinger:
432:being added later.
70:) was a college of
703:Dr. Käte Hamburger
562:
485:
473:
403:
382:Baden-Wuerttemberg
363:
319:
288:
278:Internal conflicts
252:Buckminster Fuller
191:
129:
84:Inge Aicher-Scholl
56:
41:
29:
1298:48.38056; 9.95278
1190:978-3-93948-695-4
1175:978-3-9802864-2-8
1161:978-3-939486-16-9
1147:978-3-939486-15-2
1134:978-3-939486-14-5
1064:978-3-943347-13-5
1050:978-3-86281-011-6
1036:978-65-250-4730-0
803:, The MIT Press.
777:(1954–62) – staff
771:(1958–63) – staff
765:(1963–68) – staff
759:(1953–59) – guest
753:(1958–60) – guest
741:(1961–66) – staff
735:(1967–68) – guest
721:Herbert Lindinger
717:(1962–68) – staff
711:(1954–55) – guest
705:(1956–58) – guest
699:(1955–59) – staff
681:(1960–62) – guest
675:(1954–66) – staff
669:(1953–55) – guest
650:Industrial design
610:design management
567:industrial design
552:Teaching approach
489:industrial design
228:Mies van der Rohe
1339:
1304:
1303:
1301:
1300:
1299:
1294:
1290:
1287:
1286:
1285:
1282:
1242:HfG Women in Ulm
1155:Rückblick 2012
1004:Stuttgart 2002.
1000:Marcela Quijano:
921:
920:
918:
917:
906:
900:
897:
891:
888:
882:
867:
856:
855:
853:
852:
843:. Archived from
837:
831:
817:
811:
797:
781:Konrad Wachsmann
757:Walter Peterhans
593:unity in variety
483:and Fritz Busch.
369:Stedelijk Museum
260:Konrad Wachsmann
204:Walter Peterhans
100:systems-thinking
1347:
1346:
1342:
1341:
1340:
1338:
1337:
1336:
1307:
1306:
1297:
1295:
1291:
1288:
1283:
1280:
1278:
1276:
1275:
1227:
957:Gerhard Curdes:
929:
924:
915:
913:
908:
907:
903:
898:
894:
889:
885:
868:
859:
850:
848:
839:
838:
834:
818:
814:
798:
794:
790:
727:Tomás Maldonado
715:Alexander Kluge
663:
641:
625:
605:
575:
554:
530:
465:
442:
395:
378:
294:Arts and Crafts
280:
220:Tomás Maldonado
134:
121:
52:Tomas Maldonado
17:
12:
11:
5:
1345:
1335:
1334:
1329:
1324:
1319:
1273:
1272:
1267:
1262:
1257:
1252:
1244:
1239:
1233:
1231:HfG-Archiv Ulm
1226:
1225:External links
1223:
1222:
1221:
1207:
1205:979-1095513032
1193:
1178:
1163:
1149:
1136:
1122:
1107:
1097:
1090:
1083:
1073:
1066:
1052:
1038:
1028:
1013:
998:
983:
968:
955:
953:978-0415779890
945:
932:Hatje Cantz ed
928:
925:
923:
922:
901:
892:
883:
857:
832:
812:
791:
789:
786:
785:
784:
783:(19??) – staff
778:
772:
766:
760:
754:
748:
747:(19??) – staff
742:
736:
730:
724:
718:
712:
709:Johannes Itten
706:
700:
694:
688:
682:
676:
670:
662:
659:
658:
657:
652:
647:
640:
637:
624:
621:
604:
601:
574:
571:
553:
550:
529:
526:
525:
524:
521:
518:
515:
508:
505:
502:
499:
496:
464:
461:
460:
459:
456:
453:
450:
441:
438:
414:Product Design
394:
391:
377:
376:Closure of HfG
374:
279:
276:
264:Norbert Wiener
232:Walter Gropius
200:Johannes Itten
180:Walter Gropius
133:
130:
120:
117:
37:Hans G. Conrad
15:
9:
6:
4:
3:
2:
1344:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1314:
1312:
1305:
1302:
1271:
1268:
1266:
1263:
1261:
1258:
1256:
1253:
1251:
1250:
1245:
1243:
1240:
1237:
1234:
1232:
1229:
1228:
1220:
1219:9780415714099
1216:
1212:
1208:
1206:
1202:
1198:
1194:
1191:
1187:
1183:
1179:
1176:
1172:
1168:
1164:
1162:
1158:
1154:
1150:
1148:
1144:
1141:
1137:
1135:
1131:
1127:
1123:
1120:
1119:3-939486-32-9
1116:
1112:
1108:
1106:
1102:
1098:
1095:
1091:
1088:
1084:
1082:
1078:
1074:
1072:, Berlin 2004
1071:
1067:
1065:
1061:
1057:
1053:
1051:
1047:
1043:
1039:
1037:
1033:
1029:
1026:
1025:3-932565-16-9
1022:
1018:
1014:
1011:
1010:3-7995-8018-2
1007:
1003:
999:
996:
995:3-433-01647-X
992:
988:
984:
981:
980:3-433-02272-0
977:
973:
969:
967:
963:
960:
956:
954:
950:
946:
943:
939:
935:
931:
930:
911:
905:
896:
887:
880:
879:987-21597-0-X
876:
872:
866:
864:
862:
847:on 2006-12-12
846:
842:
836:
830:
826:
822:
816:
810:
806:
802:
796:
792:
782:
779:
776:
773:
770:
767:
764:
761:
758:
755:
752:
749:
746:
743:
740:
739:Abraham Moles
737:
734:
731:
728:
725:
722:
719:
716:
713:
710:
707:
704:
701:
698:
695:
692:
689:
686:
683:
680:
677:
674:
671:
668:
665:
664:
656:
653:
651:
648:
646:
643:
642:
636:
634:
630:
620:
618:
613:
611:
600:
598:
594:
590:
589:
584:
580:
570:
568:
558:
549:
545:
543:
537:
535:
522:
519:
516:
513:
509:
506:
503:
500:
497:
494:
493:
492:
490:
482:
477:
469:
457:
454:
451:
448:
447:
446:
437:
433:
431:
427:
423:
419:
415:
410:
408:
399:
390:
386:
383:
373:
371:
370:
359:
355:
353:
348:
344:
339:
335:
333:
329:
325:
315:
311:
308:
304:
299:
296:
295:
284:
275:
271:
267:
265:
261:
257:
253:
249:
248:Reyner Banham
245:
241:
240:Herbert Bayer
237:
233:
229:
225:
221:
217:
213:
209:
205:
201:
197:
187:
183:
181:
176:
174:
169:
165:
160:
158:
154:
150:
146:
141:
139:
138:Marshall Plan
125:
116:
112:
110:
104:
101:
97:
93:
89:
85:
81:
77:
73:
69:
65:
61:
53:
49:
45:
38:
33:
26:
21:
1274:
1270:Hans Gugelot
1248:
1210:
1196:
1181:
1166:
1165:René Spitz:
1152:
1139:
1125:
1110:
1100:
1093:
1086:
1076:
1069:
1055:
1041:
1016:
1001:
986:
971:
958:
933:
927:Bibliography
914:. Retrieved
904:
895:
886:
870:
849:. Retrieved
845:the original
835:
820:
815:
800:
795:
769:Horst Rittel
697:Gui Bonsiepe
679:Bruce Archer
667:Josef Albers
632:
626:
614:
612:discipline.
606:
596:
586:
576:
563:
546:
538:
531:
510:Ergonomics:
486:
443:
440:Basic Course
434:
411:
406:
404:
387:
379:
367:
364:
347:Bruce Archer
343:Horst Rittel
340:
336:
320:
300:
292:
289:
272:
268:
212:Hans Gugelot
196:Josef Albers
192:
177:
161:
142:
135:
113:
105:
59:
57:
1296: /
1238:(in German)
1015:René Spitz:
881:. Page 137.
763:Edgar Reitz
591:who sought
583:Dieter Rams
542:advertising
426:Information
256:Hugo Häring
173:John McCloy
166:along with
164:Inge Scholl
149:Hans Scholl
1311:Categories
1281:48°22′50″N
964:) e-book:
942:3775791426
916:2024-07-07
851:2008-08-18
829:3932565177
809:0262121476
788:References
673:Otl Aicher
544:industry.
534:mass media
430:Filmmaking
393:Curriculum
216:Otl Aicher
168:Otl Aicher
153:White Rose
88:Otl Aicher
1284:9°57′10″E
751:Frei Otto
723:(1962–68)
685:Max Bense
481:Pio Manzù
352:semiotics
328:Lufthansa
307:Aesthetic
109:semiotics
74:based in
1260:Ulm Club
1184:, 2015.
691:Max Bill
639:See also
623:Exhibits
617:Max Bill
588:Olivetti
162:In 1946
92:Max Bill
25:Max Bill
1255:IFG Ulm
1236:HfG Ulm
1128:, 2010
655:Bauhaus
428:, with
407:Vorkurs
332:Hamburg
119:History
96:Bauhaus
80:Germany
1217:
1203:
1188:
1173:
1159:
1145:
1132:
1117:
1062:
1058:2011,
1048:
1034:
1023:
1008:
993:
978:
951:
940:
877:
827:
807:
603:Legacy
303:system
145:Sophie
72:design
64:German
645:Braun
579:Braun
324:Braun
157:Nazis
48:Model
1249:ulm'
1215:ISBN
1201:ISBN
1186:ISBN
1171:ISBN
1157:ISBN
1143:ISBN
1130:ISBN
1115:ISBN
1060:ISBN
1046:ISBN
1032:ISBN
1021:ISBN
1006:ISBN
991:ISBN
976:ISBN
949:ISBN
938:ISBN
875:ISBN
825:ISBN
805:ISBN
424:and
202:and
147:and
90:and
58:The
159:).
76:Ulm
1313::
860:^
635:.
420:,
416:,
354:.
262:,
258:,
254:,
250:,
246:,
242:,
238:,
234:,
230:,
222:,
218:,
214:,
198:,
140:.
86:,
78:,
66::
1192:.
1177:.
1121:.
1089:.
1027:.
1012:.
997:.
982:.
944:.
919:.
854:.
514:.
62:(
54:.
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
