The New Bauhaus, founded in 1937 in Chicago, was the immediate successor to the Bauhaus dissolved in 1933 under Nazi pressure. Bauhaus ideology had a strong impact throughout America, but it was only at the New Bauhaus that the complete curriculum as developed under Walter Gropius in Weimar and Dessau was adopted and further developed.

The former Bauhaus master László Moholy-Nagy was founding director of the New Bauhaus. He then headed the consecutive School of Design from 1938 until his death in 1946 (entitled Institute of Design from 1944 onwards) aiming at liberating the creative potential of his students through disciplined experimentation with materials, techniques, and forms. This corresponded to the preliminary course at the "old Bauhaus", the practice of which was continued, as was a strict affiliation with the workshops during the entire training course. The focus on natural and human sciences was increased, and photography grew to play a more prominent role at the school in Chicago than it had done in Germany. The New Bauhaus therefore offered a "preliminary course" which later ran under the name of "foundation course". In "basic design", the students became familiarized with a wide variety of materials (wood, veneer, plastics, textiles, metal, glass, plaster etc.) in order to master their structure, their surface qualities, and their range of application. Training in mechanical techniques was more sophisticated than it had been in Germany.

Emerging from the basic course, various workshops were installed, such as "light, photography, film, publicity", "textile, weaving, fashion", "wood, metal, plastics", "color, painting, decorating" and "architecture". The most important achievement at the Chicago Bauhaus was probably in photography, under the guidance of teachers such as György Kepes, Nathan Lerner, Arthur Siegel or Harry Callahan.

Whereas, in addition to Moholy-Nagy, Hin Bredendieck and Marli Ehrmann, it was initially other emigrants from the Bauhaus that came to teach in Chicago, the staff was slowly supplemented by Americans. The method and aim of the school were likewise adapted to American requirements. Moholy-Nagy's successor at the head of the Institute of Design, Serge Chermayeff, however, remained still quite true to the original Bauhaus, aiming at the education of the widely oriented universal thinker and designer. This changed step by step in the 1950s and through the merge with the Illinois Institute of Technology. The most radical alteration in the structure of the curriculum occurred after 1955 with the appointment of industry designer Jay Doblin, who placed a much stronger emphasis on economic applicability. The Institute of Design is even now still part of the Illinois Institute of Technology in Chicago, and rates as a respected and professionally oriented school of design.

The methods which came from the German Bauhaus and which were then transferred to Chicago and further developed there have been adopted in manifold modified form by other American schools. The Bauhaus is mainly responsible for the gradual reduction of the until then unchallenged predominance of the Beaux-Arts tradition in the United States.

other more or less direct Bauhaus successors were the HfG Ulm and the "Staatliche Bauhochschule Weimar"

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