The document provides information on three influential art and architectural movements: the Werkbund, De Stijl, and the Bauhaus. It describes the origins and goals of each movement. The Werkbund sought to modernize German industry and design. De Stijl was a Dutch movement that embraced simplicity and used only basic geometric shapes and primary colors. The Bauhaus art school aimed to unify art, craft, and technology through functional yet artistic design. Examples of key buildings from each movement are also summarized.

1. History
of Architecture II
WERKBUND
DE STIJL
BAUHAUS
Group 2

2. The Dutchers Werkbund

3.  This style was born out of a desire for greater efficiency in the crafts
industry, better design for industry, and a more modern approach to
architecture.
 Founded in 1907, in Munich by Hermann Mathieus.
 The transformation of Germany from an agricultural society into an
industrial one and from a country with limited national resource and
military goals to a world power leads the formation of werkbund.
 The Werkbund was a strong supporter of the modernist concepts
"Neues Wohnen" (New Living) and "Neues Bauen" (New Architecture)

4.  Beginning in the mid-1890s and continuing until the
outbreak of world war I, urban officials functioning under
the tight control of the imperial government and learning,
belatedly, the lessons of England and France, organized
special exhibitions to promote and glorify German
production.
 Though the architectural quality of these exhibitions varied,
they were a bold showcase for innovations.

5. Characteristics
 Square structures
 There surface incised with simple geometrical
forms
 Domed garden pavilion
 Rigorously symmetrical

6. Famous buildings
AEG Turbine Hall
 (Allgemeine Elektricitäts-Gesellschaft’)
 Architect: Peter Behrens
 year:1908-09
 Location: Berlin, Germany
 The hall was designed by embracing the technologies and modernity of that
time.
 This culminated in heavy masonry that was structurally unnecessary and
massive corners and bands that had no load bearing function.
 obtained a glass wall that represents the victory of the art over the banality of
a life in an increasing industrialized society. The plan was the conclusion of the
determined concentration of an industrial characteristic anthology

7. Glass Pavilion
• ARCHITECT : BRUNO TAUT ’S
• YEAR:1914
• LOCATION : COLOGNE, GERMANY
• WAS ONE OF THE SHOWCASE PIECES OF THE EVENT
• OTTOMAN STYLE IN THE PROFILE OF THE DOME
• SLENDER REINFORCED CONCRETE COLUMNS.
• AN ELLIPTICAL DOME, REMINISCENT OF THE POINTED ARCH,
CROWNED THE BUILDING
• THE CENTER HUNG A LARGE, GRAPE-LIKE LAMP WITH COLORED
BULBS.
• STAIRS
• A WATERFALL AND
• A ROOM WITH A KALEIDOSCOPE PROJECTOR, AND DESPITE THE
BUILDING LOOKING A LITTLE LIKE MULTICOLORED GLASS HOUSE,
IT WAS AN IMPRESSIVE ARTISTIC ACHIEVEMENT.

8. DE STIJL

9. • DE STIJL IS AN ART MOVEMENT FOUNDED IN THE CITY OF LEIDEN IN THE NETHERLANDS (FROM 1917
TO 1931)
• THIS DUTCH ARTISTIC MOVEMENT IS BASED ON A JOURNAL/MAGAZINE PUBLISHED BY THEO VAN
DOESBERG ; DE STIJL MEANS “THE STYLE”.
• HE MAGAZINE DE STIJL BEEN A DIALECTIC TOOL OF GROUP OF COMMERCIAL PAINTERS (PIET
MONDRIAN), ARTISTS, ARCHITECTS WHO EMBRACED THE IDEALS OF RHYTHM, ECONOMY OF
EXPRESSIVE MEANS, RIGOROUS CONSTRUCTION.
• ALSO KNOWN AS NEOPLASTICISM
• VALUED ABSTRACTION AND SIMPLICITY
• CLEAN LINES, RIGHT ANGLES, AND PRIMARY COLORS CHARACTERIZED THIS AESTHETIC AND ART
MOVEMENT EXPRESSED VIA ARCHITECTURE AND PAINTINGS.
• DUTCH ARTIST AND CRITIC THEO VAN DOESBURG CHRONICLED THE ETHOS AND CREATIONS OF
THIS ART MOVEMENT IN HIS CRITICAL JOURNAL, ALSO KNOWN AS DE STIJL.

10. • DUTCH ARTIST AND CRITIC THEO VAN DOESBURG ENCOUNTERED MONDRIAN’S WORK
AND SAW IN IT THE POTENTIAL TO JUMP-START A NEW ART MOVEMENT FOR A NEW
WORLD POST-WORLD WAR I.
• THE TWO CONNECTED AT AN ART EXHIBITION IN AMSTERDAM, THEN FORMED THE DE
STIJL ART GROUP, JOURNAL, AND CIRCLE OF PEERS.
• MONDRIAN LAID THE GROUNDWORK FOR THE MOVEMENT IN HIS ESSAY “NEO-
PLASTICISM IN PICTORIAL ART.”
• PRACTICED PURITY IN COLOR AND SIMPLICITY IN FORM.
• THROUGH NEOPLASTICISM, MONDRIAN ARGUED THAT ART IS NOT MEANT TO REPRESENT
EVERYDAY SCENES OR OBJECTS (AS IN REALISM OR STILL LIFE) BUT IS INSTEAD A VEHICLE
TO HIGHLIGHT ABSOLUTES.
• DE STIJL INSPIRED THE BAUHAUS STYLE AND THE ARCHITECTURE OF LUDWIG MIES VAN
DER ROHE, FEATURING STRAIGHT LINES AND SIMPLE COLORS.
• ARCHITECTS WORKING IN THE INTERNATIONAL STYLE WERE ALSO INFLUENCED BY DE
STIJL. THE MOVEMENT ALSO INSPIRED TYPOGRAPHY AND DECORATIVE ARTS, INCLUDING
FURNITURE DESIGN.

11. Characteristics of De Stijl Art
. STRAIGHT LINES
. PRIMARY COLORS
. THICK STROKES
. GEOMETRIC FORMS

12. Famous De Stijl works
RED AND BLUE CHAIR
. ARCHITECT: GERRIT RIETVELD
. YEAR: 1917
. A SQUARE SEAT AND RECTANGULAR
BACK, LEGS, AND HANDLES
THAT REFLECT THE GEOMETRIC FORMS.
. RED AND BLUE CHAIR IS PERMANENTLY
HOUSED AT THE MUSEUM OF MODERN ART
(MOMA) IN NEW YORK

13. Maison Particulière (Private House)
• COLLABORATION BETWEEN DUTCH ARTIST
• THEO VAN DOESBURG AND ARCHITECT CORNELIS VAN
EESTEREN
• MADE FOR AN EXHIBITION FEATURING THE DE STIJL
GROUP
• AT GALERIE DE L’EFFORT MODERNE.

14. Rietveld Schröder House
. ARCHITECT:GERRIT RIETVELD
. YEAR : 1924
.PLACE UTRECHT, HOLLAND
.VOLUMES SEEM TO BE COMPOSED OF PLAINS
SOME HANGING FREE FROM THE FACADES
.THE PRINCIPAL COLORS WERE WITE AND GRAY,
WITH RED,YELLOW,AND BLUE SERVING AS ACCENTS
.GROUND FLOOR WAS RELATIVELY CONVENTIONAL BUT
THE UPPER FLOOR HAD NUMEROUS MOVABLE WALLS THAT ALLOWED FOR SPACES TO BE
OPENED OR CLOSED AS DESIRED.

15. Composition with Yellow, Blue and Red
. BY PIET MONDRIAN (1937–1942)
. EXAMPLIFIES THE MOVEMENT’S PRIMARY COLORS
AND GEOMETRIC SHAPES.
. THE SEMINAL PIECE IS PART OF THE TATE
MODERN’S COLLECTION IN LONDON.

16. The Bauhaus

17.  The Bauhaus (German for 'building house’)
 was a German art school operational from 1919 to 1933.
 Founded by architect Walter Gropius (1883-1969) in Weimar, six months
after the end of World War I in 1919.
 It attempted to unify the principles of mass production with individual
artistic vision and strove to combine aesthetics with everyday function.
 A new approach that emphasized the principle of uniting art and
technology.
 The Bauhaus promoted rational, functional design that embraced a form
follows function and less is more ethos.
 A core tenet of Bauhaus design is “truth to materials”.

18.  Bauhaus blurred the lines between disciplines and used arts and crafts
techniques to maintain aesthetic standards in an increasingly mass-
produced, industrialized world, while using materials and resources in an
intelligent and purposeful way.
 The Bauhaus style later became one of the most influential currents in
modern design, modernist architecture and art, design, and architectural
education.
 It developed into the International Style when Gropius and other
prominent members of the Bauhaus emigrated to the U.S. in the 1930s and
later influenced the development of modernism in the 1950s and '60s.

19. Short History
 The school existed in three German cities: -
Weimar, from 1919 to 1925;
 founded by Walter Gropius in Weimar on 1919.
 intention was for the Bauhaus to be a combined
architecture school,
 crafts school, and academy of the arts.
 functional, cheap and consistent with mass production.
 To this end, Gropius wanted to reunite art and craft to arrive
at high-end functional products with artistic merit.
 The Ministry of Education placed the staff on six-month contracts and cut the
school's funding in half due to political pressure from conservative circles in
Thuringian politics. The Bauhaus set the closure of the school for the end of
March 1925.

20. Dessau, from 1925 to 1932;
 During the Dessau years, there was a remarkable
change in direction for the school..
 Swiss architect Hannes Meyer became director of the
newly founded architecture program
when Gropius resigned in 1928.
 Meyer was a radical functionalist who favored measurements
and calculations over aesthetic program. And was also known for the
use of off-the-shelf architectural
components to reduce costs.
 In 1931, when the Nazi it gained control of the Dessau city council, it
moved to close the school due to political altercations.

21. Berlin, from 1932 to 1933
 Directed by Ludwig Mies van der Rohe Mies In late 1932, after rented a
derelict factory in Berlin to use as the new Bauhaus with his own money.
 Nazi writers labelled the Bauhaus "un-German" and criticized its modernist
styles, deliberately generating public controversy over issues like flat roofs.
 The Berlin Bauhaus was closed 1933 due to pressure the Nazi for being
considered as the foreign, probably Jewish, influences of "cosmopolitan
modernism".
 Emigrants did succeed, however, in spreading the concepts of the Bauhaus
to other countries, including the "New Bauhaus" of Chicago.

22. CHARACTERSTICS
 Eschewing ornamentation to focus on simple, rational, functional design
 A focus on simple geometric forms such as the triangle, square, and circle
 Asymmetry favored over symmetry
 Use of steel, glass, concrete, and other modern materials
 Flat roofs
 Glass curtain walls
 Smooth façades

23. Famous Buildings
Bauhaus Studio Building in Dessau, Germany
 The studio was build in 1926
 Consists of 28 studios in total, each measuring around 20 square meters.

24. Gropius House in Massachusetts
 Designed by Walter Gropius, he designed it for his family.
 Gropius combined traditional elements of New England architecture with innovative
materials including glass, chrome and the latest technology in fixtures.
 In true Bauhaus style, the house and its landscape represent maximum efficiency and
simple elegance.

25. White City of Tel Aviv, Israel
 There are over 4,000 apartment buildings in pearly white facades mostly used
as affordable
using blocks.
 Designed in the 1930s by German-Jewish architects fleeing the Nazis.
 No city in the world has a larger collection of Bauhaus buildings than Tel Aviv.
 It was designated the UNESCO World Cultural Heritage site in 2003.