bauhaus design movement

1. HOUSE OF BUILDING

2. 1919 -1933
GROPIUS’ FIRST PROCLAMATION OF THE BAUHAUS
The complete building is the final aim of
the visual arts…. Art is not a
"profession." There is no essential
difference between the artist and the
craftsman…in moments beyond the
control of his will, the grace of heaven
may cause his work to blossom into art.
But proficiency in his craft is essential to
every artist. Therein lies a source of
creative imagination. Let us create a new
guild of craftsmen, without the class
distinctions which raise an arrogant
barrier…Together let us conceive and
create the new building of the future,
which will embrace architecture and
sculpture and painting in one unity and
which will rise one day toward heaven
from the hand of a million workers like
the crystal symbol of a new faith.

3. PRINCIPLES
• Mass production over individual craftsmanship.
• Synthesis of fine & applied arts.
• New & modern sense of beauty through
rational design.
• A forward-thinking over an academically
qualified faculty, including purely creative
artists as spiritual counterpoints to the practical
technicians.
• Thorough experience with materials.
• Student offered no refuge in the past, should
be equipped for modern world in various
aspects: artistic, technical, social, economic,
spiritual. He must function in society not
as a decorator but as a vital participant.

4. Itten
THREE TASKS OF FIRST
YEAR COURSE:
2 Free unique creativity of student.
3 Make choice of career easier.
4 Convey design fundamentals.
COURSE METHODOLOGY:
1 Experiments with actual materials.
8 Analyses of old masters.
9 Color and form theory.
FIRST YEAR: PRELIMINARY COURSE
Johannes

5. Itten FIRST YEAR: PRELIMINARY COURSE
Johannes
Horizontal/Vertikal, 1915 Vogelthema,
1918

6. Albers
Month 1: GLASS.
Month 2: PAPER
Month 3: TWO
MATERIAL
COMBINATION.
Month 4: STUDENT
CHOICE.
PRELIMINARY COURSE 1922-33
Josef
“Discover” specific qualities of
materials. Produce no waste.
Grid Mounted,
glass assemblage
1922

7. Albers 1888-1976
Josef
Homage to a Square,
1971
Bundled,
1925

8. Moholy-Nagy
PRELIMINARY COURSE 1923-1928
László
1: Combine elements to
corresponded to preconceived idea.
Response manifested on “tactile
charts.”
Grid Mounted,
glass assemblage
1922
3: 3D studies to sharpen sense of
volume: simple elements and
materials used to construct objects in
both visual and real balance.
2: Distinguish composition (balance
between parts) from construction.

9. Moholy-Nagy 1895-1946
László
Dual Form with Chromium Rods,
1946
Eifersucht (Jealousy), 1927
AXL II, 1924
Leuk 5, 1946

10. From left:
Josef Albers, Hinnerk Scheper,
Georg Muche, Laszlo Moholy-Nagy,
Herbert Bayer, Joost Schmidt,
Walter Gropius, Marcel Breuer,
Vassily Kandinsky, Paul Klee,
Lyonel Feininger, Gunta Stozl and
Oskar Schlemmer.
MASTERS

11. &
textile
design
• woman-run
• weaving
technique
coupled well
with Bauhaus
aesthetic
• contrasting
material, thick /
thin, glossy /
matte
Gunta
Stölzl
weaving
w/ Marcel Breuer
African Chair, 1921
Kitty Fischer-van der
Mijll-Dekker
woollen blanket design,
gouache
1932

12. Kathedrale
Woodcut, 1919
Street in Arceuil 1915
Gables I, Lueneberg, 1925
1871-
1956
FINE ART MASTERS: Lyonel Feininger

13. &
Joost Schmidt
Weimar Bauhaus Poster
1923
Universal Type
1926
Bauhaus Journal Cover
1928
graphic
design
typography
Kiosk for exhibition stand
1924
• ALL CAPS or all
lower case
• sans serif
• grid structures &
geometric forms
• bold & primary
colors
HERBERT
BAYER

14. FINE ART MASTERS: Vassily Kandinski
Impression III
1911
Untitled 1922
1866-1944
Swinging
1925

15. &
metalwork
photography
Self
portrait
with
jewelry for
metal
party
1929
Marianne
Brandt

16. cont.
Marianne
Bildergalerie Teapot, 1930
Bildergalerie Ruppel-Trio desk set, 1930
Touch desk lamp
1930
Weimar Metal Workshop, 1923
Lidded Bowl, 1930
Ashtrays…

17. Highway and Byways
1929
Senecio 1922
Zitronin
1932
1879-
1940
FINE ART MASTERS: Paul Klee

18. AFTERMATH
The Bauhaus dissolved itself under
Nazi pressure in 1933.
Gropius, Mies van der Rohe, and
other Bauhaus masters migrated to
the United States.
1932 MOMA had an exhibition of
contemporary architecture.
The accompanying Hitchcock and
Johnson catalogue was entitled The
International Style: Architecture
Since 1922.
“International Style” now used to
refer to American incarnation of
Bauhaus architecture.

19. the
BAUHAUS
school
1919-1925: WEIMAR 1926-1932: DESSAU 1932-1933: BERLIN
PRINCIPLES
• unity of fine and applied
arts
• preliminary immersion in
design & craftsmanship
• subsequent focus in
master-led workshops
• embrace potential of
industrial mass
production
JOHANNES ITTEN
preliminary course
painter
JOSEF ALBERS
preliminary course
painter
László Maholy-Nagy
preliminary course
painter, photographer,
graphic design
Vassily Kandinsky, painter
abstract expressionist
Marianne Brandt
photographer,
metalwork
GUNTA STÖLZL
weaving
PAUL KLEE
painter
HERBERT BAYER
graphic design,
typography
Wilhelm Wagenfeld
Bauhaus Lamp
MART STAM
first cantalievered
chair, prototype
from steel tubes
• Founded by
Walter Gropius.
• Became
“International
Style” in U.S.