BAUHAUS

The ultimate of all creative activity is the building

!
BY:
CREONICE BARBOSA (DIV: D)
MOHINI GAIKWAD (DIV: D)
SANJANA KALANTRI (DIV: D)

SHREYA BHAYA (DIV: C)

AISHWARYA KADU (DIV: C)
SHALAKA SONTAKKE (DIV: C)
ANUSHRYA PHERWANI (DIV: C)

We would like to express our special thanks of

gratitude to our teacher Mr. Mahesh Bangad sir as
well as our principal Mr. Anurag Kashyap sir who gave
us the golden opportunity to do this wonderful project
on the topic BAUHAUS, which also helped us in doing a
lot of Research and we came to know about so many
new things. We are really thankful to them.
Secondly we would also like to thank our friends and
classmates who helped us a lot in finishing this project
within the limited time.
We are making this project not only for marks but to
also increase my knowledge .

INDEX
INTRODUCTION
BAUHAUS-HISTORICAL CONTENT
BAUHAUS-CULTURAL INFLUENCE
ARCHITECTURAL OUTPUT

HISTORICAL CONTEXT
IMPACT
BAUHAUS CHRONOLOGY

BAUHAUS IN WEIMAR
BAUHAUS- THE END
BAUHAUS- CONCLUSION

THE OPENING CHAPTER

The Bauhaus has become the opening chapter to the narrative of
twentieth century design. It is most widely known, discussed , published ,
imitated , collected , exhibition , and catheter aspect of modern graphic,
industrial and architectural design.
The name Bauhaus stems from the German words for to build and
house . Ironically , despite its name and the fact its founder was an
architect , the Bauhaus did not have an architecture department for the first
several years of its existence.

POLITICAL CONTEXT
The foundation of Bauhaus occurred at a time of crisis and turmoil in
Europe as a whole and particularly in Germany. Its establishment resulted
from a confluence of a diverse set of political, social, educational and
artistic development in the first two decades of the twentieth century.
The conservative modernization of the German empire during the 1870s
had maintained power in the hands of the aristocracy. Its is also
necessitated militarism and imperialism to maintain stability . By 1912 the
rise of the leftist SPD had galvanized political positions with the notions of
international solidarity and socialism set against imperialist nationalism.
World war I ensured from 1914-18.
4

INTRODUCTION
Staatliches Bauhaus, known simply as
Bauhaus, was a school in Germany that
combined crafts and the fine arts, and
was famous for the approach to design
that it publicized and taught.
It operated from 1919 to 1933.
It was founded with the idea of creating
a 'total' work of art in which all arts,
including architecture would eventually
be brought together.
The Bauhaus style became one of the
most influential currents in Modernist
architecture and modern design.

The Bauhaus had a profound

influence upon subsequent
developments in art, architecture,
graphic design, interior design, industrial
design, and typography.

The school existed in three German

cities
Weimar from 1919 to 1925,

Dessau from 1925 to 1932 and

Berlin from 1932 to 1933,

under three different architect-directors:

Walter Gropius from 1919 to 1928,

Hannes Meyer from 1928 to 1930 and

Ludwig Mies van der Rohe from 1930

until 1933,

Ludwig Mies van der Rohe from 1930 until 1933,

when the school was closed by its own leadership under pressure
from the Nazi regime.

The changes of venue and leadership resulted in a constant

shifting of focus, technique, instructors, and politics

For instance: the pottery shop was discontinued when the school
moved from Weimar to Dessau, even though it had been an
important revenue source;

THE BAUHAUS HAD TO FACE WAR AND THE GERMAN

REVOLUTION LEADING TO
WEIMAR REPULIC

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WEIMAR REPUBLIC AND BAUHAUS

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Bauhaus in Weimar (1919-25)

BAUHAUS BUILDING

HISTORICAL CONTEXT
The German Bauhaus school
of art is one that has
undergaone a lifelong
evolution of change.
The school has had three major architect directors beginning
with Walter Gropius (1919 1928), Hannes Meyer (1928-1930),
and Ludwig Mies van der Rohe (1930 1933). With more than
one director throughout its duration, the school has undergone
major changes in the areas of focus and technique.

CULTURAL INFLUENCE
The Bauhaus School created a
culture that varied from the earlier
methods of education in industrial
art.
Its culture is founded in the
idealistic basis of the school:
1. An artist must be conscious
of his social responsibility to the
community.
2. On the other hand, the
community has to accept the
artist and support him

Building
types

schools

Government
buildings

offices

Architects orient buildings so that

they receive the most sun exposure
to take advantage of natural light.
Structures sit on flat plains of grass.
The most important construction
materials include steel, glass, and
reinforced concrete, sometimes a
brick masonry applied on the face
of the concrete.
Exteriors are plain, simple, and
unornamented.
Windows were fixed in grid patterns.

Bauhaus school

Harvard graduate centre

Bauhaus school

 The basic structure of the Bauhaus

consists of a clear and carefully thought
out system of connecting wings, which
correspond to the internal operating
system of the school.
Gropius extensive facilities for the
Bauhaus at Dessau combine teaching,
student and faculty members housing,
an auditorium, and office spaces.

Gropius directors house

SYMBOLS & MOTIFS

There is no vocabulary for motifs
because buildings are generally
unadorned.
Some works include unique architectural
details that are a part of the building.

Harvard graduate centre dormitories

DECORATIVE ARTS
After 1923,the metals workshop
produced many ash trays, tea and
coffee services, kettles, dresser sets, and
pitchers in brass, bronze, and silver.

Harvard centre exterior view

FURNITURE
Unornamented and radically different,
Bauhaus furnishings suit Bauhaus
concepts of the modern home.
Designs stress simplicity, functionality,
excellent construction, and hygienic
industrial materials.
Furniture is lightweight and space
saving.
Standardization of form and
interchangeable parts are key design
considerations.
Furnishings are movable to support
flexible arrangements.

Designed chair

Designed chair by Mies

Some of the plans and views showing form of the buildings state house building

BAUHAUS POST MODERNISM

WALTER GROPIUS :
Walter Groupius was born in berlin in
1883. the son of an architect, he studied
at the technical universities in Munich
and berlin.m
Groupius is best known through the
influence of the German design school
called the Bauhaus , established under
Gropiuss direction at Weimar in 1919.
After the closing of the Bauhaus in 1932,
Gropiuss influence continued through
his work in England .
Under Gropiuss direction, Harvard
became the first American design school
to accept the ideas of the modern
movement.
Gropius created innovative designs that
borrowed materials and methods of
construction from modern technology.

Gropius house

City of tel aviv

Chair designed by Gropius

Exibitionism

MAJOR WORKS
1919 to 1925.
Gropius house, at Lincoln, 1937.
Harvard Graduate center, at
Cambridge.
GROPIUS HOUSE: Modest in
scale, revolutionary in impact.
Combined the traditional
elements of New England
architecture wood, brick, and
fieldstone with innovative
materials rarely used in
domestic settings at that time
glass block, acoustical plaster,
and chrome banisters, along
with the latest technology.

Masters
house
by Gropius
Eaves protecting
from
south
harsh light

Upstairs deck

 To interweave arts and technology is not the only princi- ple

of Bauhaus. The meaning of the word Bauhaus is clear
evidence. In Germany, bau refers to building and haus
means house, symbolising that art and technology should be
composed together in design field. In 1923, the director Walter
Gropius introduced reconciliation be- tween creative artists
and the industrial world, which changed the focus of design
theories from aesthet- ics to practicality.

ABSTRACT
The Bauhaus, one of the most prestigious colleges of fine
arts, was founded in 1919 by the architect Walter Gropius.
Although it is closed in the last century, its influence is still
manifested in design industries now and will continue to
spread its principles to designers and artists. Even, it has a
profound influence upon subsequent developments in art,
architecture, graphic design, interior design, fashion
design and design education.

When the industrial

revolution began,
traditional skilled craftsmen
were gradually replaced by
machines while reducing
cost through massproduction eroded
aesthetic standards. Thus,
William Morris thought it
dishonest for machinemade goods to pretend to
be hand-made, while John
Ruskin went further in his
belief that the machine
itself was a source of evil
and social ills. Due to the
fact that design was
separated from
manufacturing, it
enhanced the
independence of design.
Some of the Bauhaus buildings

 Up until now, Bauhaus ideal has always been a controversial focus that
plays a crucial role in the field of
design. Not only emphasizing function
but also reflecting the humanoriented idea could be the greatest
progress on modern design and
manufacturing. Even more,
harmonizing the relationship between
nature and human is the ultimate goal
for all the designers to create their
artworks. This essay will analyse
Bauhauss influence on modern
design and manufacturing in terms of
technology, architecture and design
education.

INTERIORS

EXTERIORS

ARCHITECTURAL OUTPUT
The paradox of the early Bauhaus
was that, although its manifesto
proclaimed that the ultimate aim of
all creative activity was building, the
school did not offer classes in
architecture until 1927.

The built output of Bauhaus

architecture in these years is the
output of Gropius: the Sommerfeld
house in Berlin, the Otte house in
Berlin, etc.

Apart from contributions to the 1923 HausamHorn, student

architectural work amounted to un-built projects, interior finishes,
and craft work like cabinets, chairs and pottery.

In the next two years under Meyer, the architectural focus shifted away
from aesthetics and towards functionality.
There were major commissions: one from the city of Dessau for five tightly
designed
"Laubenganghuser" (apartment buildings with balcony access), which
are still in use today, and another for the headquarters of the Federal
School of the German Trade Unions (ADGB) in Bernau bei Berlin.
Meyer's approach was to research users' needs and scientifically
develop the design solution.

Dormitory balconies in the residence

The Engel House in the White City of Tel

Aviv:
architect: Ze'ev Rechter, 1933; a
residential
building that has become one of the
symbols of Modernist architecture and
the first building in
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Tel Aviv to be built on pilotis

residence

One of the main objectives of the Bauhaus was to unify art,

craft, and technology. The machine was considered a positive
element, and therefore industrial and product design were
important components.
Vorkurs ("initial" or "preliminary course") was taught; this is the
modern day "Basic Design" course that has become one of the
key foundational courses offered in architectural and design
schools across the globe.
There was no teaching of history in the school because
everything was supposed to be designed and created according
to first principles rather than by following precedent.

HISTORICAL CONTEXT
Originally, the school was founded by Walter Gropius in the city of
Weimar in 1919.
His intention was to form a school that was a combination of more
than one kind of art form.
The school began as an institution that provided its students the
arts of architecture, crafts, and academy arts.
In Gropius view, architecture was to be functional, cheap, and
suited to the requirements of mass production.
It was in this way that products could be both aesthetically pleasing
and affordable.
Gropius argued that a new period of history had begun with the
end of the war. He wanted to create a new architectural style to
reflect this new era.
This ideal lasted until 1925 when the school moved to Dessau, a city
that was more industrial and progressive.

CULTURAL INFLUENCE
The foundational principle of the Bauhaus school was based
on socialistic ideals.
These ideals were drawn from the political philosophy of Karl
Marx, The Communist Manifesto along with the rising anticapitalistic sentiment growing not only in Germany but also
in Britain and United States.
Walter Gropius was an architect, and the Bauhaus schools
main contributions were to contemporary architecture. This
selected artistic manifestation was to correct what Gropius
believed was a lacking contemporary artistic expression.
Capitalism necessity had dominated architectural design,
and Gropius believed that there could be artistic expression
in architecture.

WEIMAR:
The school was founded by Walter
Gropius in Weimar in 1919 as a
merger of the Grand Ducal School
of Arts and Crafts and the Weimar
Academy of Fine Art.
When van de Velde, the earlier
director of the weimar academy,
was forced to resign in 1915, he
suggested Gropius as possible
successor.

In 1919, Gropius was made the

director of a new institution
integrating the two called the
Bauhaus.

 In 1919 Swiss painter Johannes Itten, German-American

painter Lyonel Feininger, and German sculptor Gerhard
Marcks, along with Gropius, comprised the faculty of the
Bauhaus.
A tumultuous year at the Bauhaus, 1922 also saw the move of
Dutch painter Theo van Doesburg to Weimar to promote De
Stijl.
From 1919 to 1922 the school was shaped by the
pedagogical and aesthetic ideas of Johannes Itten, who
taught the preliminary course' that was the introduction to
the ideas of the Bauhaus.
The influence of German Expressionism favoured by Itten was
analogous in some ways to the fine arts side of the ongoing
debate.

 Itten was replaced by the Hungarian designer Lszl MoholyNagy, who rewrote the Vorkurs with a leaning towards the
New Objectivity favored by Gropius, which was analogous in
some ways to the applied arts side of the debate.
Although this shift was an important one, it did not represent
a radical break from the past so much as a small step in a
broader, more gradual socio-economic movement that had
been going on at least since 1907.
Since the Weimar Republic lacked the quantity of raw
materials available to the United States and Great Britain, it
had to rely on the proficiency of a skilled labor force and an
ability to export innovative and high quality goods.
Therefore designers were needed and so was a new type of
art education.

 The school's philosophy stated that the artist should be

trained to work with the industry.

Weimar was in the German state of Thuringia, and the

Bauhaus school received state support from the Social
Democrat-controlled Thuringian state government. From
1923 the school in Weimar came under political pressure
from right-wing circles, until on December 26, 1924 it issued a
press release accusing the government and setting the
closure of the school for the end of March 1925.

In February 1924, the Social Democrats lost control of the

state parliament to the Nationalists. The Ministry of Education
placed the staff on six-month contracts and cut the school's
funding in half.

DESSAU:
Gropius's design for the
Dessau facilities was a return
to the futuristic Gropius of
1914.
The Dessau years saw a
remarkable change in
direction for the school.
Gropius had approached
the Dutch architect Mart
Stam to run the newlyfounded architecture
program, and when Stam
declined the position,
Gropius turned to Stam's
friend and colleague in the
ABC group, Hannes Meyer.

 Meyer became director when Gropius resigned in February 1928,

and brought the Bauhaus its two most significant building
commissions, both of which still exist:
five apartment buildings in the city of Dessau, and
the headquarters of the Federal School of the German Trade
Unions (ADGB) in Bernau.

 Meyer favored measurements and calculations in his

presentations to clients, along with the use of off-the-shelf
architectural components to reduce costs, and this
approach proved attractive to potential clients. The school
turned its first profit under his leadership in 1929.
But Meyer also generated a great deal of conflict. As a
radical functionalist, he had no patience with the aesthetic
program, and forced the resignations of Herbert Bayer,
Marcel Breuer, and other long-time instructors.
As a vocal Communist, he encouraged the formation of a
communist student organization. In the increasingly
dangerous political atmosphere, this became a threat to the
existence of the Dessau school. Gropius fired him in the
summer of 1930.

BERLIN

Although neither the Nazi Party nor Hitler himself had a cohesive
architectural policy before they came to power in 1933, Nazi
writers had already labeled the Bauhaus "un-German" and
criticized its modernist styles, deliberately generating public
controversy over issues like flat roofs.
Increasingly through the early 1930s, they characterized the
Bauhaus as a front for communists and social liberals.
Indeed, a number of communist students loyal to Meyer moved
to the Soviet Union when he was fired in 1930.
Even before the Nazis came to power, political pressure on
Bauhaus had increased. The Nazi movement, from nearly the
start, denounced the Bauhaus for its "degenerate art", and the
Nazi regime was determined to crack down on what it saw as
the foreign, probably Jewish influences of "cosmopolitan
modernism.

IMPACT:
The Bauhaus had a major impact on art and
architecture trends in Western Europe, the
United States, Canada and Israel.
Tel Aviv, in 2004 was named to the list of
world heritage sites by the UN due to its
abundance of Bauhaus architecture; it had
some 4,000 Bauhaus buildings erected from
1933 on.
Gropius and Breuer went to teach at the
Harvard Graduate School of Design and
worked together before their professional
split.
Their collaboration produced The Aluminum
City Terrace in New Kensington, Pennsylvania
and the Alan I W Frank House in Pittsburgh,
The
Harvard
was enormously influential in America in
among
otherSchool
projects.
the late 1920s and early 1930s, producing such students as
Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph,
among many others.

BAUHAUS CHRONOLOGY:
1919: Walter Gropius founds the Bauhaus
in Weimar.

1925: For political reasons the Bauhaus

moves to Dessau. In June the first in a
series of Bauhaus books is published.
Authors: Gropius, Moholy-Nagy, Klee,
Kandinsky und Mondrian.
1926: The Bauhaus in Dessau bears the
new name College for Construction
and Design. On December 4, the new
Bauhaus building, designed by Gropius,
is dedicated.
1927: In April a Department of
Architecture opens; the architect
Hannes Meyer is named department
chair.

1928: Walter Gropius steps down as director in April in order to work

as an architect in Berlin. At his suggestion, Hannes Meyer becomes
the new director. The Bauhaus has 166 students in this year.
1929: Under the photographer Walter Peterhans a Department of
Photography is set up.
1930: Accused of communist leanings, the director Hannes Meyer is
fired by the city of Dessau. With the help of Gropius, the architect
Ludwig Mies van der Rohe becomes the new director in April.
1932: Again for political reasons the Bauhaus has to move to Berlin.
1933: The Bauhaus is shut down by the Nazis on April 11. 32 students
are arrested and later released.
1937: Following the immigration of many Bauhaus artists, the New
Bauhaus (today's Institute of Design) is founded in Chicago.
1960: The Bauhaus-Archiv is established in Darmstadt.

1964: Walter Gropius designs a museum building for the Bauhaus

Archive in Darmstadt, but the project is never completed there.
1971: The Bauhaus Archive moves to West Berlin.
1976: Under the East German government the Scientific-Cultural
Center Bauhaus Dessau is set up and begins to assemble a
collection on the history of the Bauhaus.
1979: After three years of construction, the new museum building for
the Bauhaus Archive opens in West Berlin.
1986: In Dessau the Bauhaus Dessau Center for Design opens in the
former Bauhaus building.

1995: In Weimar a Bauhaus Museum opens on the Theaterplatz

(Theater Square).
1997: The museum building in Berlin is placed under landmark
protection.

 In the late 1930s, Mies van der Rohe re-settled in Chicago,

enjoyed the sponsorship of the influential Philip Johnson, and
became one of the pre-eminent architects in the world.
Moholy-Nagy also went to Chicago and founded the New
Bauhaus school under the sponsorship of industrialist and
philanthropist Walter Paepcke. This school became the
Institute of Design.
Printmaker and painter Werner Drewes was also largely
responsible for bringing the Bauhaus aesthetic to America.
Herbert Bayer, sponsored by Paepcke, moved to Aspen,
Colorado in support of Paepcke's Aspen projects at the
Aspen Institute.

 In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher,
founded the Ulm School of Design in Ulm, Germany, a design
school in the tradition of the Bauhaus.
The school is notable for its inclusion of semiotics as a field of
study. The school closed in 1968, but the Ulm Model concept
continues to influence international design education.
One of the main objectives of the Bauhaus was to unify art,
craft, and technology.

The machine was considered a positive element, and therefore

industrial and product design were important components.
Vorkurs ("preliminary course") was taught; this is the modern day
"Basic Design" course that has become one of the key
foundational courses offered in architectural and design schools
across
There was no teaching of history in the school because
everything was supposed to be designed and created
according to first principles rather than by following precedent.

The Bauhaus manifesto

not only contained an
emotive declaration of
principle- The ultimate
goal of all creative activity
is the building! but also
discussed Bauhaus goals, its
teaching programme and
admission requirements.
The Bauhaus school
encouraged its students to
be independent in thought
and spirit, and to enrich
their whole life through
creative experiment.

Bauhaus in Weimar
By:

Kandisky
Gropius
Klee
Mies Van der
Rohe
Itten
Stoelz
Feininger
Breuer
Albers
Muche
Schlemer

BAUHAUS
CURRICULUM
1923
This diagram
shows the
prerequisite to
specialized
study. The
position of the
building at the
centre
parallels
Walter
Gropiuss
founding
manifesto

BASIC COURSE

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47

Bauhaus workshop concept

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48

BAUHAUS DESIGN COURSE

Thinking about design in a theoretically self conscious way is one
of the major contributions of the bauhaus , and yet the schoolss
focus on vision as an autonomous realm of expression helped
engender the hospitility towards verbal languages which is
common to post WWIII design education.
In 1923 kandinsky a universal correspondence between the three
elementary shapes and the three primary colors.

The dynamic triangle is inherently yellow, the static square is

intrinsically red, and the serene circle is naturally blue. Today,
this equation, has lost its claim to universally and works instead
as a floating sign capable of assuming numerous meanings.

BAUHAUS DESIGN COURSE

Despite its diversity, the production of the bauhaus is united by an awareness
of its departure from history, of its ambition towards a point of origin.
With the assimilation of its form and methods into modern design training,
the bauhaus itself became a point of origin. While Kandinsky, klee, and itten
articulated a visual language through the concept of a childhood of art, the
Bauhaus has become the childhood of design.
Geometric form, gridded space, and a rationalist use of typography have
been foregrounded as the prime lessons of the bauhaus legacy.
The linguistic potential of bauhaus theory-evident in frequent analogies
between writing and drawing-was ignored: the project of a visual language
was taken up in isolation from, rather than in tandem with, verbal language.
Graphic designs synthesis of words and images makes it an important site for
reopening early modernisms attempt to make form discursive: to re-open it to
the social and cultural dimension of visual language.

BAUHAUS
CURRICULUM
MAPS

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51

WOMEN IN THE
BAUHAUS
The Bauhaus
declared equality
between the sexes.
Where German
women had once
received art
education at home
with tutors, at the
Bauhaus they were
free to join courses

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52

BAUHAUS ARCHITECTS
AND
THEIR PRODUCTS

Ludwig Mies van der Rohe

Ludwig Mies van der Rohe (March
27, 1886 August 17, 1969) was a
German-American architect .
He is commonly referred to and
was addressed as Mies, his
surname.
Along with Le Corbusier and Frank
Lloyd Wright, he is widely regarded
as one of the pioneering masters
of modern architecture.
Mies, like many of his post- World
war I contemporaries, sought to
establish a new architectural style
that could represent modern times
just as Classical and Gothic did for
their own eras.

He created an influential
twentieth-century architectural
style, stated with extreme clarity
and simplicity. His mature buildings
made use of modern materials
such as industrial steel and Plate
glass to define interior spaces.
He strove toward an architecture
with a minimal framework of
structural order balanced against
the implied freedom of freeflowing open space.

He called his buildings "skin and

bones" architecture.

Mies van der Rohe's cantilever-based chair

He sought a rational approach that would guide the creative

process of architectural design, but he was always concerned
with expressing the spirit of the modern era.
He is often associated with his quotation of the aphorisms,
Less is more" and God is in the details".

He is often associated with his quotation of the aphorisms,

Less is more" and God is in the details".

Ludwig Mies van der Rohe Buildings

Crown Hall

Seagram Building

Barcelona Pavilion

Ludwig Mies van der Rohe Buildings

Villa Tugendhat

One Charles Center

Farnsworth House

Marcel Breuer
Marcel Lajos Breuer (22 May 1902
1 July 1981), was a Hungarian born modernist , architect and
furniture designer of Jewish
descent.
One of the masters of Modernism,
Breuer extended the sculptural
vocabulary he had developed in
the carpentry shop at the Bauhaus
into a personal architecture that
made him one of the worlds most
popular architects at the peak of
20th-Century design.

First recognized for his invention

of bicycle-handlebar-inspired
tubular steel furniture, Breuer lived
off his design fees at a time in the
late 1920s and early 1930s when
the architectural commissions he
was looking for were few and farbetween.
He was known to such giants as
Le Corbusier and Mies van der
Rohe, whose architectural
vocabulary he was later to adapt
as part of his own, but hardly
considered an equal by men who
were his senior by 15 and 16
years.

Marcel Breuer Furnitures

Marcel Breuer Buildings

Unesco Paris

Robert C. Weaver
Federal Building

Marcel Breuer Buildings

Josephine M.Hagerty House

Murray d Lincoln Campus Center

Herbert Bayer
Herbert Bayer (April 5, 1900
September 30, 1985) was an Austrian
and American graphic designer ,
painter, photographer, sculptor, art
director, environmental and interior
designer, and architect .

Widely recognized as the last living

member of theBauhaus and was
instrumental in the development of
the Atlantic Richfield Company's
corporate art collection until his death
in 1985.

Born in 1900, Bayer apprenticed under the

artist Georg Schmidthammer in Linz.
Leaving the workshop to study at
the Darmstadt Artists' Colony , he became
interested in Walter Gropiuss Bauhaus
manifesto.

After Bayer had studied for four years at

the Bauhaus[1] under such teachers
as Wassily Kandinsky , Paul Kleeand Lszl
Moholy-Nagy, Gropius appointed Bayer
director of printing and advertising.
In the spirit of reductive minimalism, Bayer
developed a crisp visual style and adopted
use of all-lowercase, sans serif typefaces for
most Bauhaus publications. Bayer is one of
several typographers of the period
including Kurt Schwitters and Jan
Tschichold who experimented with the
creation of a simplified more phonetic-based
alphabet.

Herbert Bayers Work

BAUHAUS
DOOR KNOB
Arguably the most famous
piece designed by Walter
Gropius, the Bauhaus
doorknobs geometric forms
and industrial flourishes, such
as exposed screws, set the
tone for what the Bauhaus
aesthetic was about.

67

BAUHAUS PRODUCTS

BAUHAUS CHESS
SET
This game of chess with clean lines is
typical of timeless Bauhaus style.
The Josef Hartwig designed Bauhaus
Chess Set is one of the most perfect
chess sets ever created. The Bauhaus
Chess Set is one of the most
historically significant objects from the
Bauhaus.
The beautiful chess pieces have
clean modernist shapes in the typical
constrained minimalist manner
.Bauhaus.

BAUHAUS
CHESS SET
The shape of each character
corresponds to its movement:
The queen, which can travel
anywhere, is a sphere. The
King, which moves on the axes,
is a cube.
Cubes, cylinders and balls
lead you move by move to
checkmate.

The Bauhaus Chess Set is

made with hardwood maple.

This utilises the primary

colours of yellow, red
and blue and the
triangle, square and
circle forms that
Kandinsky assigned to
each of these
respectively.
The cradle was
presented at the 1923
exhibition the Haus am
Horn.

BAUHAUS
WASILLY CHAIR
The Wassily Chair,
was designed by Marcel Breuer in 19251926 while he was the head of the
cabinet-making workshop at the Bauhaus,
in Dessau,Germany.
Kandinsky had admired the completed
design, and Breuer fabricated a duplicate
for Kandinsky's personal quarters.
The Wassily Chair is a
symbol of the industrial heroism and
engineering invention of the early
20th.century.

Believed to
be the first bent tubular steel chair
design, the Wassily Chair distills the
traditional club chair .
a series of strong, spare lines, executed
with dynamic material counterpoint. The
gleaming.
chrome-finished tubular steel frameinspired by the graceful, curving
handlebars of the Adler.
bicycle-is seamless in its assemblage.
Thick cowhide leather slings create the
design's seating.
Surfaces which maintain their crisp
.tautness for decades.

BAUHUAS NESTING TABLES

Nothing quite says "smart"
like five separate tables that
fit into the footprint of one.

While at Bauhaus, JOSEF

ALBERS came up with this
bold and colourful design for
a set of nesting tables.
The set of side and end
tables are constructed with a
solid wood frame, and
painted glass tops. The tops
are lacquered in a retro
pallete of: pale green,

74

BAUHAUS LAMP
The Bauhaus Table Lamp embodies the
essential idea that form follows function, as
espoused by the influential Bauhaus school.
Originally designed by Wilhelm Wagenfeld,
the lamp has simple geometric shapesa
circular base, cylindrical shaft, and spherical
shadeachieving "both maximum simplicity
and, in terms of time and materials, greatest
economy.

" Crafted of clear and opaline glass and

nickel-plated metal, this lamp's balanced
proportions adhere strictly to the Bauhaus
design, which is featured in the Museums
collection.

75

Bauhaus- The End

In 1928 Gropius resigns from the Bauhaus in April to go to Berlin to
work as an Architect.
Moholy-nagy, Bayer and Brever also quit the school.
At the suggestion of Gropius , Hannes Meyer is appointed director,
Meyer advocates a more scientific approach in the work and the
classes , he considers creativity to be an objective process, which
derives from rationally tangible perception.
In 1930 student political involvement increases; accused for his
communist tendencies , the director, Hannes Meyer, is dismissed by
the city of Dessau, following a recommendation by Gropius.

The architect Ludwig Mies Van der Rohe is appointed Director in

April, he assumes his post in autumn.

Bauhaus- The End

In April 1931, Klee leaves the Bauhaus for an appointment to the
Academy in Dusseldorf, Gunta Stolzl quits in October.
In November 1931, the elections for the municipal council of Dessau
take place, the NSDAP is the strongest party, the first point of their
election campaign concerns cutting financial support to the Bauhaus
and the Demolition if its buildings.
Mies Van der Rohe decides to continue the school as a private
institute in Berlin.
This in enabled by the income from royalties.
On April 11 1933 , at the start of the summer semester, the Bauhaus
building undergoes a police search and is placed under seal , 32
students are temporarily arrested.

Bauhaus- The End

The future of the school, which is in disastrous financial situation, is

uncertain.
On July 20, the final dissolution of the Bauhaus is decided upon at
staff conference.
A letter from the secret state, dated July 21 concerning the reopening of the school states several conditions, Kandinsky and
Hilberseimer are requested to relinquish their position to staff
standing on the soil of national socialist ideology and the new
curriculum should satisfy the claim of new state to its inner structure
.

The most prominent Bauhaus teachers emigrate over the course of

the building years, amongst them Josef Albers ( 1934/ USA), Vassily
Kandisky (1933/France),
Paul Kee (1933/Switzerland), Walter Gropius (1934/ Great Britain,
1937/USA), Laszlo Moholy-Nagy (1934/Netherlands, 1935/USA),
Marcel Brever Bayer(1938/USA) Walter Peterhans (1938/USA)

Bauhaus- Conclusion
The Bauhaus began with an utopian definition : The building of the Future
was to combine all the Arts in ideal unity.
This required a new type of artist beyond academic specialisation with
holistic vision, for whom the Bauhaus would offer adequate education.
In order to develop new teaching goal, the founder Gropius, saw the
necessity to develop new teaching methods and was convinced that the
base for any art was to be found in handcraft, the school will graduallu turn
in a workshop .
Indeed, artists and craftsman directed classes and production together at
the Bauhaus in Weimar, this was intended t remove any distinction between
fine arts and applied arts.

Bauhaus- Conclusion
Of coursem the educational and social claim to a new configuration
of life and its enviroment could not always be achieved, and the
Bauhaus was not alone with this goal, but the name became a near
synonym for this trend.
The history of the Bauhaus it by no means linear. The changes in
directorship and amongn=st the teachers, artistic influence from far
and wide, in combination with the political situation in wis=ch the
Bauhaus experiment was stagged, led to permanent transformation.
The numerous consequences of this experiment still today flow into
contemporary life.

THANK YOU