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This article deals with the history of the Bauhaus Colloquium held every three years at the Bauhaus University of Weimar. Specifically, it discusses the context of the first two Colloquia of 1976 and 1979. Today, The International Bauhaus Colloquium held at the Bauhaus University of Weimar is the most renowned conference on the theory and history of architecture in the German-speaking realm. In the past decades the Colloquium has gained a reputation as a place where hot topics are discussed, such as the place of architecture in a world of global and diffused power (2009) or the close relationship between architecture and media (2007). Freedom of expression and critical exchange seems a natural given in such a context. However, the origins of the Colloquium are to be found in quite a different setting. The first Colloquium was organised in 1976, during the years of the GDR regime in Eastern Germany. It was an outcome of the debate by the side of scholars, architects and the Socialist Unity Party, what to do with the Bauhaus heritage. In this way, the history of the Bauhaus colloquia reflects the larger history of GDR cultural politics. It also reflects the intellectual history of architectural modernism in Communist countries as a theme about which we have limited knowledge today. Finally, as the colloquia were meeting points for the European Left involved in architectural modernist studies, it also exemplifies the history of left wing scholars in confrontation with the Left on the other side of the Wall. ; Acest articol se referă la istoria Colocviului Bauhaus, ţinut din trei în trei ani la Universitatea Bauhaus din Weimar. Articolul discută contextul primelor două colocvii, din 1976 şi 1979. Astăzi, Colocviul Internaţional Bauhaus găzduit de Universitatea din Weimar este cea mai importantă conferinţă de teoria şi istoria arhitecturii din zona de limbă germană. În ultimele decade, Colocviul a câştigat reputaţia unui loc unde sunt discutate subiecte fierbinţi, cum ar fi poziţia arhitecturii într-o lume a puterii globalizate şi difuze (2009) sau legătura intimă dintre arhitectură şi media (2007). Libertatea de expresie şi schimburile critice par a fi un dat natural într-un astfel de context. Însă originile Colocviului pot fi găsite într-un decor foarte diferit. Primul Colocviu a fost organizat în 1976, în timpul regimului socialist în Germania de Est. Colocviul a fost rezultatul dezbaterii dintre savanţi, arhitecţi şi Partidul Unităţii Socialiste în privinţa moştenirii Bauhaus-ului. În acest fel, istoria colocviilor Bauhaus reflectă istoria mai largă a politicilor culturale ale RDG, precum şi istoria intelectuală a modernismului arhitectural în ţările comuniste, o temă asupra căreia avem cunoştinţe limitate în prezent. În final, cum colocviile au fost momente de întâlnire ale Stângii europene implicată în studii de arhitectură modernă, ele ilustrează de asemenea istoria confruntării savanţilor stângişti occidentali cu Stânga de dincolo de zid.

This essay focusses on the changing critical identity of the Dutch modern art-and architectural historian in the decades after the Second World War ranging from the 1950s to the early 1990s. By adopting the historisation of De Stijl as a case-study I will state that its post war historiography was not only defined by new insights concerning this avant-garde movement, but equally by a change in the subject position of the historian as a critical actor. In this article the changed relationship between the subject (the historian) and the object (the past) is analysed as the exchange of an engaged attitude for a more detached position in which the past increasingly became the focus of an exclusive cognitive concern. However, this did not mean its results remained unchallenged. In fact, the epistemic turn described in this article went in hand in hand with the rise of postmodernism in the humanities, leading to relativistic claims concerning historical knowledge. Also, an already critical history was further challenged by the arguments of feminist historians. In this way, a univocal history of art was fragmented into a plurality of historical practices. Although these practices were no longer overtly politically engaged they remained politically implicated as the result of the complex correspondences between past and present that remained a part of the histories of artistic modernism.

'Women in Architecture' sheds light on how women in all their different roles contribute to architecture, from the past to the present. Despite the essential and varied contributions of women, the narrative surrounding architecture remains deeply rooted in masculinity. Nonetheless, women have played crucial roles throughout architectural history. This publication sheds light on the reasons behind the absence of women in archives and publications, and how that exclusion continues to perpetuate the invisibility of women in architecture today. By bringing together these stories, the publication adds a crucial chapter to the history of architecture in the Netherlands and advocates for greater diversity in the current architectural discourse