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HOUSE OF BUILDING


GROPIUS’ FIRST PROCLAMATION OF THE BAUHAUS

1919 -1933

.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. .There in lies a source of creative imagination. Let us create a new guild of craftsmen, without the class distinctions. .let us conceive and create the new building of the future.


• Mass production over individual craftsmanship.

PRINCIPLES

• 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.


FIRST YEAR: PRELIMINARY COURSE

Johannes

Itten

THREE TASKS OF FIRST YEAR COURSE: 1 Free unique creativity of student. 2 Make choice of career easier. 3 Convey design fundamentals.

COURSE METHODOLOGY: 1 Experiments with actual

materials. 2 Analyses of old masters. 3 Color and form theory.


Johannes

Itten

FIRST YEAR: PRELIMINARY COURSE

Horizontal/Vertikal, 1915

Vogelthema, 1918


Josef

PRELIMINARY COURSE 1922-33

Albers

“Discover” specific qualities of materials. Produce no waste.

Month 1: GLASS. Month 2: PAPER Month 3: TWO MATERIAL COMBINATION. Month 4: STUDENT

CHOICE.

Grid Mounted, glass assemblage 1922


Josef

Albers

1888-1976

Bundled, 1925

Homage to a Square, 1971


PRELIMINARY COURSE 1923-1928

László

Moholy-Nagy

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


L谩szl贸

Moholy-Nagy 1895-1946 Eifersucht (Jealousy), 1927

AXL II, 1924

Leuk 5, 1946 Dual Form with Chromium Rods, 1946


MASTERS

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


textile design&

w/ Marcel Breuer African Chair, 1921

weaving

• woman-run • weaving technique coupled well with Bauhaus aesthetic • contrasting material, thick / thin, glossy / matte

Gunta Stölzl

Kitty Fischer-van der Mijll-Dekker woollen blanket design, gouache 1932


FINE ART MASTERS: Lyonel Feininger Kathedrale Woodcut, 1919

18711956 Street in Arceuil 1915

Gables I, Lueneberg, 1925


graphic design&

typography HERBERT BAYER

Kiosk for exhibition stand 1924 Joost Schmidt Weimar Bauhaus Poster 1923

• ALL CAPS or all lower case

Universal Type 1926

• sans serif • grid structures & geometric forms • bold & primary colors

Bauhaus Journal Cover 1928


FINE ART MASTERS: Vassily Kandinski

1866-1944

Impression III 1911

Untitled 1922

Swinging 1925


metalwork

& photography

Marianne Brandt

Self portrait with jewelry for metal party 1929


Marianne

cont.

Weimar Metal Workshop, 1923 Bildergalerie Teapot, 1930

Bildergalerie Ruppel-Trio desk set, 1930

Ashtrays‌

Lidded Bowl, 1930

Touch desk lamp 1930


FINE ART MASTERS: Paul Klee Highway and Byways 1929

18791940 Senecio 1922

Zitronin 1932


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 Architecture Since 1922.

Style:

“International Style� now used to refer to American incarnation of Bauhaus architecture.


the BAUHAUS 1919-1925: WEIMAR 1926-1932: DESSAU 1932-1933: BERLIN school PRINCIPLES

• unity of fine and applied arts • preliminary immersion in design & craftsmanship • subsequent focus in master-led workshops • embrace potential of industrial mass production

• Founded by Walter Gropius. • Became “International Style” in U.S.

MART STAM first cantalievered chair, prototype from steel tubes Wilhelm Wagenfeld Bauhaus Lamp

GUNTA STÖLZL weaving

László Maholy-Nagy preliminary course painter, photographer, graphic design PAUL KLEE painter

HERBERT BAYER graphic design, typography

Marianne Brandt photographer, metalwork

Vassily Kandinsky, painter abstract expressionist

JOHANNES ITTEN preliminary course painter

JOSEF ALBERS preliminary course painter


bauhaus research