T H E B AU H AU S

WALTER GROPIUS, THE

FOUNDER AND THE FIRST
The History of Bauhaus DIRECTOR OF BAUHAUS
SCHOOL IN WEIMAR,
GERMANY

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, for whom the Bauhaus would offer adequate education.

BAUHAUS IN BAUHAUS IN BAUHAUS IN

PHASE 3 BERLIN, PHASE 2 DESSAU, PHASE 1 WEIMAR,
GERMANY GERMANY GERMANY
The Bauhaus Curriculum & Concept
Bauhaus school attempted to integrate the artist and
the craftsman, to bridge the gap between art and
industry. Architecture was the supreme art form.
Students at the Bauhaus took a six-month preliminary
course that involved painting and elementary experiments
with form, before graduating to three years of workshop
training by two masters: one artist, one craftsman. They
studied architecture in theory and in practice,
working on the actual construction of
buildings. The creative scope of the curriculum attracted
an extraordinary galaxy of teaching staff.
B AUHAU S SC HOOL IN

The basic pattern constitution in

Bauhaus study:

MENAG ERIE BY HA RIS

THIEM ANN

CHESS SE T BY JOSEF
HARTWIG

PHOTO OF A DEPARTMENT
STORE BY EDUARD LUDWIG
BASIC COURSES IN BAUHAUS
SCHOOL
 A RT & GR A P H I C D E S I G N
Design for the Multimedia Trade Fair
Stand of a Toothpaste Producer by
Herbert Bayer

Contrast study with diverse

material by Moses Mirkin
1@/2:3j>3B3@93:3@j(%&"'

exhibited facing Mies’s tower. In Literature

imensions of the famous “Chicago Behne 1922–23.
tral fixed panel for light and a Behrendt 1923.
s for air—Gropius’s tower seemed Berg 1922.
primarily as a problem of a unified Berlin 1988b.
Berg, that other great master of Marx/Weber 2003.
ern technology—notably in his vast Mies van der Rohe 1922.
e of the few commentators to have Neumann 1992.
out Mies’s entry to the Friedrich- Neumann 1995.
elt in May of 1922: “In this design, New York 2001.
greatest simplicity under the watch-
pond to the diverse and changing
e was to serve as a department store,
ified—all the more so since the exte-
netrate to greater depths. The design
n interesting and fruitful attempt to
s prominent place in the 1923 exhibi-
rs running in the Grosse Berliner
In 1928, he would shun the sugges-
arrived in Dessau to direct the third
re had entered new dialogues.

YEAR OF EXECUTION: 1922

MATERIAL: wood, colored,
rope weave on a frame

of The Encounter by Johannes Itten FORMAT: 91.7 x 91.7 x 98 cm

LOANED BY: Klassik Stiftung
Weimar, N 24/36

em-
PHOTO: Hartwig Klappert, 2008

ts
Prof. Dr. Barry Bergdoll, an art
Cradle
historian, is a professor at Colum-
bia University and Chief Curator
for Architecture and Design at the
Peter Keler Cradle by Peter Keler
hat
Museum of Modern Art, New York.
1%;G&!9

me
The Bauhaus was the first model of the
mere
modern art school. The Bauhaus
ake
curriculum combined theoretic
au-
education and practical training in the
educational workshops. It drew
eed, it 87
inspiration from the ideals of the
revolutionary art movements and
orm design experiments of the early 20th
e page, century.
pecta-
d hardly
Komposition by Wassily Kandinsky
Co.,
ered by
 ARC HITE C TUR E I N B AU H AU S
THE BAUHAUS STYLE WAS MARKED BY THE ABSENCE
OF ORNAMENTATION AND BY HARMONY BETWEEN THE
FUNCTION OF A BUILDING AND ITS DESIGN.

DESIGN INNOVATIONS-THE RADICALLY SIMPLIFIED

FORMS, THE RATIONALITY AND FUNCTIONALITY, AND
THE IDEA THAT MASS-PRODUCTION-WERE ALREADY
DEVELOPED IN GERMANY BEFORE THE BAUHAUS WAS
FOUNDED.

1. FUNCTIONALISM

GERMANY, POST-WWI - DUE TO A HOUSING CRISIS

ARCHITECTS WANTED TO BUILD AS MANY COST-
EFFECTIVE HOUSES AS POSSIBLE AS A RESPONSE.

2. MINIMUM-DWELLING

IN TERMS OF MINIMUM FLOORSPACE, DENSITY, FRESH

AIR, ACCESS TO GREEN SPACE, ACCESS TO TRANSIT
AND OTHER RESIDENTIAL ISSUES.
 IN TE RIOR & I ND U S T RY D E S I G N
A Bauhaus styled living room in
Barcelona designed by Jeff Wall

Wardrobe on Rollers for Bachelor

by Josef Pohl

Table Lamp design by Wilhelm

Wagenfeld

Bauhaus Pottery for Industrial

Product Development by Hubert Walter Gropius, director’s office
Kittel

Bauhaus promoted the idea that artful objects

should be partnered with technology to
create livable solutions to living spaces.

WALTER GROPIUS WAS Simply put, Bauhaus design offers practical,

GREATLY AFFECTED BY
THE HORRORS OF WWI durable, inexpensive, yet aesthetically pleasing
AND WANTED TO CREATE designs. To most, Bauhaus may mean a
A SCHOOL WHERE
modernistic approach to architecture,
INDUSTRIAL METHODS
WERE USED NOT USED but the concepts of Bauhaus can be use to
FOR DESTRUCTIVE WARS provide easy solutions for making your home fully
BUT FOR THE
functional while retaining the unique aspects of
BETTERMENT OF SOCIAL
CONDITIONS. you.
 Photography & Typography
At first, practical fields of type
application were restricted to
small, miscellaneous printed
matters. With the appointment
of Moholy-Nagy in 1923, came
the ideas of "New
Typography" to the Bauhaus.
He considered typography to be EXAMPL E O F B AUH AUS
TYPOG RAPHY
primarily a communications
medium, and was concerned
with the "clarity of the
message in its most
GILL SANS SERIES CREATED
emphatic form".
BY ERIC GILL, A STUDENT
FROM BAUHAUS SCHOOL

S EL F PO RTRAIT BY
HERBERT B AYER

A photomontage titled “Hands Act”

L EAF L ET DESIG N BY
L A S Z L O M O H O LY- N AG Y

A CURRENT C O SMETIC
S HO P US ING B AUHAUS
Laszlo Moholy-Nagy, Chairs at Margate 1935 TYPOG RAPHY
Laszlo Moholy-Nagy, Ch
airs at Margate 1935