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In early twentieth-century Germany a population explosion in its big cities created a housing crisis. Awidespread and heavily medialized debate prompted a search for solutions and triggered a rhetoric of the last dwelling. From large communal estates to subsistence-level dwellings, a new type of housing was propagated in newspapers, magazines, exhibitions, films, guidebooks, and advertisements. Siegfried Kracauer, architect, journalist, and author, also became engaged in this debate, willfully reinterpreting New Objectivity's aesthetics of things (Dingästhetik) both in architectural critiques for the Frankfurter Zeitung and in his novel Ginster. This article analyzes Kracauer's critical contribution to the modernist housing debate in theWeimar Republic. [ABSTRACT FROM AUTHOR]

The purpose of the article is to theoretical summarize the significant influence of the Bauhaus higher school of Architecture and Design (1919–2019), the cultural symbol of Germany on the formation and development of art-project activities of the 20th – beginning of the 21st cent. The methodology consists in the interdisciplinary approach to forming the design objects, using system-structural, socio-cultural, axiological, art-historical and comparative methods. Scientific Novelty. The culture-aesthetic fundamentals of functional style in the subject-spatial and visual-informational areas are comprehensively considered: the furniture, utensils, textiles, sign forms, industrial and advertising graphics, photographics, poster, packaging, book design, web-design also. Based on the stylistic analysis of empirical materials from different countries, it is proved that the style of the Bauhaus school has artistic and functional values, and its works have received the status of world artistic heritage. Conclusions. In the conditions of contemporary stylistic chaos, the transformation of Postmodernism into Post-postmodernism and production glut, Functionalism are becoming increasingly popular in the varieties of Design and Advertising. The study made it possible to conclude that along with the postmodern and post-postmodern tendencies, the fundamental foundations and principles of Bauhaus compositional formation continue to live. At the beginning of the XXI century. in terms of style chaos, functionalism, constructivism, minimalism, sometimes combining with elements of other styles, forming modern polystyles, are quite popular in the varieties of design and advertising. Analyzing the components of the art and design culture, paying special attention to its aesthetic problems, we emphasize, firstly, Bauhaus has significantly influenced the design and advertising in the context of visual communications, and secondly, the formation of design objects is determined by the target groups based on target groups certain functions and aesthetic ideals. The processes of globalization and deglobalization have led to contradictory situations in the cultural and artistic environment, characterized not only by diffuse enrichment, eclecticism, kitsch, pseudonationalization, but also by the return to the "world of pure forms" of the Bauhaus - flatness, geometry, search of color graphs. [ABSTRACT FROM AUTHOR]

Functional approaches to translation and Skopostheorie, on which many of them are based, have been around for more than thirty years now. Perhaps, therefore, it is time to take stock, trying to trace the development and spread of functionalist ideas and drawing some cautious conclusions as to where the future may lie. As a representative of the "second generation" and drawing on recent publications in journals and monographs on Translation Studies, I provide an overview of where young translation scholars who claim to take a "functionalist" viewpoint find themselves, what they are investigating, and which topics they consider worthy of research. Offering this insider view, I do not pretend, however, to present an objective picture of the functionalist approach nor to exhaustively cover the whole field of functionalism in translation and adjacent fields. [ABSTRACT FROM AUTHOR]

Industrial designers who inherited the Bauhaus legacy experienced a dramatic reversal of fortunes in the socialist German Democratic Republic. The height of the Stalinist era in the Soviet Bloc, 1950-1953, meant a near complete shutdown of modernist and functionalist design and architecture. However, modernist designers found a niche later as the East German economy needed so mass-produce goods without sacrificing quality and with a particular modern appeal, in order so keep up with the shifting and competitive context of the Cold War and to satisfy the postwar generation of East German consumers. Eventually, heirs of Bauhäusler Mart Stam, such as Martin Kelm, found their way into positions of considerable power in the economic planning bureaucracy. The strange confluence of modernist designers and post-Stalinist socialism leads to one of the central questions of the article: is modern design - at least partially-inherently well-suited for the socialist command economy? [ABSTRACT FROM AUTHOR]