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BUILDINGHAUS the machine for living

retrospective edition

BUILDINGHAUS the machine for living

a one-month collaborative project presented by MoMa, Ikea, and Monocle

table of contents



the bauhaus


furniture couch coffee table chair end table ottoman bookshelf desk desk chair

7 9 11 13 15 17 19 21 23

theo van doesburg


accessories coat rack teacup mug trash can teapot chess set pen

27 29 31 33 35 37 39 41

l谩szl贸 moholy-nagy


electronics clock phone television laptop desk lamp

45 47 49 51 53 55

herbert bayer


style jacket shoes glasses artwork rug typeface

59 61 63 65 67 69 71

jan tschichold


outdoor doghouse car bicycle mailbox

75 77 79 81 83

josef albers








BUILDINGHAUS the machine for living

BUILDINGHAUS is a collaborative project presented and sponsored by MoMA, Ikea, and Monocle that presents affordable, well-designed home decor straight to your inbox every day for 30 days. Each item is carefully curated to reflect the principles of design established by the Bauhaus. The Bauhaus is the symbol of modern design. Eliminating unnecessary decoration, advocating clean lines, and promoting functionality above all, the principles of design established at the Bauhaus remain applicable today. This retrospective magazine demonstrates how to apply these principles to the design of your own home. Drawing on iconic Bauhaus designs, this magazine presents 30 historical objects paired with their contemporary counterparts, highlighting the continuity and timelessness of Bauhaus design. Each object in a home should work together as a beautiful, functional unit. This magazine serves as an informative and inspirational guide to building a design-centric home, one object at a time.

“Have nothing in your houses that you do not know to be useful or believe to be beautiful.� William Morris


“A house is a machine for living in.� Le Corbusier

MoMA 2



the bauhaus 1919-1931

The Bauhaus was a school whose approach to design and the combination of fine art and the arts and crafts proved to be a major influence on the development of graphic design as well as much of 20th century modern art. Founded by Walter Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then was forced to close its doors under pressure from the Nazi political party in 1933. The school favored simplified forms, rationality, functionality and the idea that mass production could live in harmony with the artistic spirit of individuality. Along with Walter Gropius and many other artists and teachers, both L谩szl贸 Moholy-Nagy and Herbert Bayer made significant contributions to the development of graphic design. Among its many contributions to the development of design, the Bauhaus taught typography as part of its curriculum and was instrumental in the development of sans-serif typography, which they favored for its simplified geometric forms and as an alternative to the heavily ornate German standard of blackletter typography.




BUILDINGHAUS the machine for living


BARCELONA COUCH ludwig mies van der rohe ca. 1924

Ludwig Mies van der Rohe’s iconic Barcelona Collection is one of the most recognized series of the last century. Embodying the modern movement, the Barcelona Couch is a tribute to the marriage of design and craftsmanship. It is a distinctive piece that represents his belief in pared down, quality, modern design.



get the look The Karlstad Sofa uses the same buttoning leather technique as the Barcelona Couch. Designed to follow the repetitive geometric design that is derived from its form, this sofa is a direct echo of Mies van der Rohe’s adherence to minimalistic and quality design.


LACCIO TABLE marcel breuer ca. 1924

In the 1920s, Marcel Breuer experimented with tubular steel, creating some of the most influential furniture to come from the Bauhaus. Spurred by his own design of a low table to accompany the Wassily Chair, the simple and clever multipurpose Laccio nesting tables exhibit his rationalist aesthetic and accomplished technique.


FRAME COFFEE TABLE crate & barrel $499

get the look This coffee table is a contemporary fusion of warm walnut wood and cool stainless steel. This table uses a neutral color scheme and combines the minimalist thought and the geometric design that is reminiscent of the Bauhaus school.


LC2 PETIT CONFORT ARMCHAIR le corbusier ca. 1928

The Le Corbusier group referred to their LC2 chair as a “cushion basket,� which they designed to be a modernist response to the traditional club chair. It reverses the standard structures of sofas and chairs by having frames that are externalized. With thick and resilient pillows resting within the steel frames, the idea was to offer all the comfort of a padded surface while applying the elegant minimalism and industrial rationale of the Bauhaus.



get the look Although it lacks the tubular metal often seen in the Bauhaus, the Karlstad Chair is still a good example of a Bauhaus-inspired chair. It has the same geometric forms as most furniture did, which it uses to create a clean, functional form.


NESTING TABLES josef albers ca. 1925

Joesph Albers created this piece for the Berlin apartment of psychoanalysts Fritz and Anna Moellenhoff. This set of four solid oak tables with glossy cover tops reflects Albers’ eye as an artist. These tables tie together artistry and industrialization.


KLUBBO ikea $89.99

get the look These two nesting tables simplify even further what Josef Albers did in his own nesting tables. They exemplify the geometry and simplicity of Bauhaus design. The tables use streamlined forms and solid blacks and grays to iterate function and beauty. It gives these tables quality and a feeling of efficiency in their use.


BARCEOLNA OTTOMAN ludwig mies van der rohe ca. 1958

Whether placed in front of a Barcelona Chair or standing alone, the Barcelona Stool exudes a simple elegance that epitomizes Mies van der Rohe’s most famous maxim - “less is more”. Its form follows its function, creating an elegant, minimal footrest.


X-BENCH target $79.99

get the look This ottoman draws its strength from Van der Rohe’s Barcelona stool. It echoes the x-shaped leg design, but leaves out the square pattern formed by the leather attachment technique, opting for a smooth, clean seat instead.


BOOKSHELF walter gropius ca. 1924

This wooden director’s cabinet designed to hold periodicals would look just as good in anyone’s home today as it did in the beginning of the 20th century. It epitomizes the Bauhaus’ use of geometry in furniture.


BESTĂ… ikea $180

get the look This modern counterpart to Walter Gropius’s bookshelf can be either wall or floor mounted. It has the axial geometry that the Bauhaus particularly favored. Using a moderate wood grain and neutral color, this bookshelf brings more orderly life to an everyday object.


S 285 DESK marcel breuer ca. 1935

This sleek, tubular steel desk is a successful example of the Bauhaus’ formal design unit. The tabletop and storage elements made of varnished or stained wood and steel design. The supporting frame consists of a single line, and the wooden elements almost seem to float in it. This piece of furniture represents a shift in design termed “The New Objectivity.”


S116 MODERN OFFICE DESK j&m $549.99

get the look This office desk is simple and elegant without any unnecessary decoration. It provides plenty of space to work, keeping its bulkiness to a minimum while having some storage space. Crafted from dark oak and chrome, it stays true to the minimal geometric design ideals of the 1920’s.


MR CHAIR ludwig meis van der rohe ca. 1927

The material choice of this chair was inspired by fellow Bauhaus master Marcel Breuer, while the forms are thought to be modern derivatives of 19th century iron rocking chairs. Designer Marcel Breuer is widely credited with pioneering the exploration of the material, Mart Stam was the first designer to conceive of a chair without back legs, and Ludwig Mies van der Rohe is remembered as the one who made the chair beautiful.


TOBIAS CHAIR ikea $79.00

get the look A contemporary derivative of Ludwig Mies van der Rohe’s MR Chair, this chair utilizes clean lines and curving forms. It has the element of the tubular steel as its base, which was a new technology in the 1920s and 30s. Made of materials that are easily created, the chair is a statement to the mass production ideals of both the Bauhaus and the present day.


theo van doesburg 1883-1931

Highly influenced by Wassily Kandinsky, van Doesburg shifted his style of painting from one that emphasized less of a direct reflection of everyday life and one that placed more importance on a conceptual style that favored a simplistic geometric style. A Dutch artist, van Doesburg led the artistic movement “De Stijl� into popularity and also influenced graphic designers for many years to come with his theories, which conveyed the idea that there was a collective experience of reality that could be tapped as a medium of communication. Van Doesburg moved to Weimar, Germany in hopes of impressing the director of the Bauhaus, Walter Gropius. Gropius did not directly oppose his ideas, but did not accept him onto the faculty of the Bauhaus. In reaction to this, van Doesburg positioned his studio directly next to the Bauhaus and attracted many students with his ideas, most of which were developed out of the ideas of Russian Constructivism, Dadaism, and De Stijl. It was during these times that van Doesburg formed a tight bond with the artist Piet Mondrian. In 1923, van Doesburg moved to Paris so that he could communicate directly with Mondrian. However, the two were very much polar opposites in character, and it resulted in the dissolution of their friendship. It has been speculated that the breakdown came as a result of a disagreement about the directions of lines in their paintings. Van Doesburg moved to Switzerland in 1931 due to his declining health, and it was there that he died, on March 7th.



BUILDINGHAUS the machine for living


FOUR SEASONS BARSTOOL ludwig mies van der rohe ca. 1958

As a leading Modernist architect and furniture designer, Ludwig Mies van der Rohe elevated industrial materials to an art form. The elegant Four Seasons barstool, conceived in 1958 for the Four Seasons Restaurant in New York City designed by Philip Johnson was never mass produced. The classic barstool reflect’s Mies’s signature spareness and features a lean profile, clean lines, and meticulous craftsmanship.


COAT RACK coen de vries $428

get the look Made from the signature metal tubing found in Bauhaus designs, this coat rack relies on the geometric forms created by the bent steel to make its functional form. It’s appealing curves and accent colors add visual interest without being overdesigned.


WAGENFELD TEACUP wilhelm wagenfeld ca. 1931

As a prototype of modern glass design, this teacup is part of the design classics of modern history. The handmade parts are marked by their characteristic forms and premium glass craftsmanship. Wilhelm Wagenfeld, a Bauhaus student, was one of the most important German industrial designers of the 20th century.


GĂ„LL ikea $2.99

get the look This minimalistic Ikea teacup draws from Wilhelm Wagenfeld’s design of his teacup and saucer. By narrowing the form and making it slightly taller, this modern cup is more geometric while still remaining simple.


CRADLE peter keler ca. 1922

Keler’s design uses pure geometry and color to create a functional object. It is made from a blue circle and yellow triangle, and it also has a red rectangular plane on the outside with a black cylinder as the weighted base. The cradle’s primary color palette and simple geometric shapes are iconic of Bauhaus design.


VUE MUG myer $5.95

get the look Both affordable and well-designed , this coffee mug utilizes geometry in a subtle way. Its form is a tapered cylinder, echoing the shape and orientation of the triangle seen in the cradle. It also has a circular handle, and its red color makes it a bold accent piece.


ASHTRAY MB 23 E marianne brandt ca. 1924

This sleek and cylindrical astray is made of polished stainless steel and, through its utilitarian and functional style, accurately reflects Bauhaus aesthetics. The top has a cigarette tray and a tilt mechanism, and ash and cigarette filters are easily put into the bin below it.


SĂ„VERN TRASHCAN ikea $24.99

get the look This sophisticated trashcan highlights the simple beauty of a common household object. Completing any room to be a total work of art, the design of this sleek trashcan remains true to its function, which is a trademark of Bauhaus design.


TEAPOT marianne brandt ca. 1924

This simple Bauhaus tea infuser has a built-in strainer, non-drip spout, and a heat resistant handle made of ebony, embracing the school’s principles of combining function and aesthetic.


SLUKA ikea $19.99

get the look In this contemporary derivative of Marianne Brandt’s design, the Sluka teapot is made of stainless steel with heat-resistant handles and a vacuum-sealed lid. It embodies the mantra that function dictates form, as well as the idea of a home being a total work of art.


BAUHAUS CHESS SET josef hartwig ca. 1923

Sculptor Josef Hartwig became well known for his architectural chess set. This game of chess with clean lines is typical of timeless Bauhaus style. The chessmen have reduced forms which, in contrast to commonly used figures, are symbols based purely on function. The set’s 32 pieces are shaped like cubes, cylinders, and balls – minimalist forms which represent the way they move on the board.


MINIMALIST CHESS SET lanier graham $65.00

get the look This stark and minimalistic chess set reduces the chess pieces to the most basic forms they could take to still be identifiable. Each piece is a rectangular prism with defining cuts to differentiate between all the pieces, further simplifying Hartwig’s original design.


CANTILEVER ARMCHAIR ludwig mies van der rohe ca. 1927

Made of stainless steel tubes and wicker, Mies van der Rohe’s armchair uses geometric aspects of Bauhaus design in addition the overall functionality, which dictates its form. It is simple, functional, and in keeping with a neutral color scheme.


LAMY2000 FOUNTAIN PEN lamy $199

get the look This fountain pen is a simple, functional tool. It allows for a quality writing experience in the Bauhaus style. The pen is designed with a monochromatic color scheme and soft curves, and it has clean lines that make it aesthetically pleasing.


l谩szl贸 moholy-nagy 1895-1946

Known for his versatility and the fundamentals of design which he taught his students, Laszlo replaced Johannes Itten as director of the Bauhaus in 1923. He experimented in many different fields including photography, typography, sculpture, painting, industrial design and printmaking. His experimentation across multiple mediums led to graphic design work characterized by bold typography in combination with striking photography. After he resigned from his position at the Bauhaus in 1928 he spent time working in Berlin as a film and stage designer. In 1937 he moved to Chicago and formed the New Bauhaus, which is now the Illinois Institute of Technology. The school shared the same philosophy as the original Bauhaus and caught on quickly. He chronicled his efforts to establish the curriculum of the school in his book Vision in Motion.




BUILDINGHAUS the machine for living


ELECTRIC CLOCK gilbert rhode ca. 1933

This clock is made from a single diagonal chrome bar without the use of a traditional heavy casement, and the fragile glass face becomes the main body of the clock. The face of the clock replaces traditional numerals with identical lines, decipherable solely by their relative location on the timepiece.


VATTNA ikea $14.99

get the look Drawing on the simplicity of form that Rhodes used, the Vattna wall clock utilizes small triangular divots to indicate hour markings. It presides on the notion that form follows function with no color or any form of written language on its surface. Pristine lines and curves make this piece visually striking despite its simplicity.


NEW FRANKFURT fuld & co. ca. 1928

The New Frankfurt is a significant example of classical modernism meets functionalism. Sophisticated conveniences merge together with relatively low cost with an emphasis on standardization and aesthetic preparation. This telephone provides evidence of the design status quo of the Bauhaus Dessau.


IPHONE apple $199

get the look The iPhone is the definitive example of good design meets accessible design. Its simple, functional, geometric aesthetic puts the Bauhaus principles in the hands of every the everyday person. This embodies the company’s adherence to the idea of industrialization for the good of the public.


RED BLUE CHAIR gerrit thomas rietveld ca. 1920

This chair employs strict geometry through its use of rectangular planes to create a utilitarian structure. Its function presides over its form, and it has the clean, straight lines favored by the Bauhaus and De Stijl.


CLASS RAZOR 24” vizio $179.99

get the look This sleek and clean television draws heavily on the simplicity of Bauhaus principles. It denies any need for ornamentation, relying solely on functional necessities. It is a true example of ‘form follows function’, just like Rietveld’s Red Blue Chair.


OLIVETTI TYPEWRITER alexander schawinsky ca. 1936

The Olivetti typewriter is an icon of modern industrial design. This particular model was designed by Alexander Schawinsky, a graduate of the Bauhaus. Schawinsky’s design favors simplicity and elegance, while remaining true to the Bauhaus standard of quality design.


MACBOOK PRO apple $1200.00

get the look Sleek and slim, the Macbook Pro is a definite descendant of Bauhaus rational. It is simple, clean, and brings beauty to something as mundane as a button on a keyboard. It utilizes geometry through the rounded rectangles on nearly every feature on the laptop, even down to the jacks for external plug ins.


BAUHAUS TABLE LAMP wilhelm wagenfeld ca. 1924

The Bauhaus Table Lamp embodies the idea that form follows function. The lamp has simple geometric shapes—a circular base, cylindrical shaft, and spherical shade—achieving both maximum simplicity and, in terms of time and materials, greatest economy. Appropriately named “the Bauhaus lamp”, Wagenfeld’s lamp is a masterpiece illustrating both Bauhaus philosophy and design.


BRASA LAMP ikea $79.99

get the look This sleek minimalistic lamp is monochromatic and free of any ornamentation. The spherical lampshade, cylindrical support, and circular base demonstrate the simple geometry favored by the Bauhaus. The design of this lamp is clearly dictated by its function.


herbert bayer 1900-1985

Bayer was both a student and a teacher at the Bauhaus and worked in a wide range of fields including painting, sculpture, typography, advertising, and architecture. In his early years as a student he studied painting with Kandinsky, but in just a short while he was teaching one of the Bauhaus’ first classes on typography. The amount of work that he created before he was 28 was more notable than most designers entire careers of work. He spent time teaching at the Bauhaus, working as an Art Director for the Container Corporation, and as an architect in both Germany and America. In between his time at the Bauhaus and his career in America he spent time as the Art Director of Vogue magazine’s Berlin office. His contributions to the fields of graphic design, typography and advertising were many. One that should be noted was his design for a typeface that consisted of entirely lowercase letters. The German blackletter types were overly ornate for his taste and their use of capital letter for every proper noun was annoying. Logically, Bayer developed a sans-serif alphabet of lowercase letters titled “Universal”. In 1946 Bayer moved to Aspen, Colorado where he spent much of his time designing local architecture and posters for the local community. In 1959 he designed another sans-serif typeface. Again it was all in lower case, but he called it “fonetik alfabet” and it contained special characters for the endings -ed, -ion, -ory and -ing. He is one of the most recognized designers to come from the Bauhaus institution, and his theories of design are still taught in many schools today.




BUILDINGHAUS the machine for living


REVERSIBLE DRAPERY MATERIAL gunta stรถlzl ca. 1925

Once a Bauhaus student herself, Gurta Stรถlzl became the master of the textiles workshop. This pattern elevates the Bauhaus style even beyond functional objects made of steel and plastic, and it transfers the design principles to fabric that could be turned into a wearable work of art.


HARDY AMIES BLAZER mr porter $1195

get the look The Hardy Amies jacket took to heart Stölzl’s use of rectangles by employing a grid-like geometric pattern. The jacket also uses a little color theory, adding in subtle stripes of cool blues and warm yellow-grays. It’s timeless quality and design are a testament to Bauhaus design rational.


MODEL NO. 185 steven arpad ca. 1930

Although the dual strap is a prominent feature of this design, the most progressive elements are the extremely low throat of the vamp and the boxed form of the quarters. In a single solid color, the shoe highlights its geometric elements that form it into a whole.



get the look Made from rich Benisa leather, this German shoe emphasizes the Bauhaus tradition of function over form. The shoe is completely free of ornamentation, and its smooth and solid neutral color and can complete an outfit to make a total work of art.


WALTER GROPIUS’S GLASSES walter gropius ca. 1925

History has proven that architects wear some of the most iconic glasses, and Bauhaus founder and master Walter Gropius is no exception. These stylish frames are simple, monochromatic, and functional. Even in his old age, this architect had timeless fashion sense.


COLTON GLASSES warby parker $95

get the look The Crosby glasses are sleek, simple, and bold. They demand attention without any need for decoration or flamboyant colors. Typical of the Bauhaus style, they focus on remaining as minimal as possible, only keeping the essentials.


UNTITLED wassily kandinsky ca. 1925

Kandinsky taught at the Bauhaus from 1922 until 1933. In this watercolor, he uses mainly primary colors, which the Bauhaus drew upon. He was greatly respected as the wall painting master at the Bauhaus, although some students found his ideas over-complex and dogmatic.


SAM PARR ameilia’s magazine $300

get the look Conglomerating many of the iconic pieces from Bauhaus students and professors, this artwork throws a fast amount of elements of the school together in one place. This piece features a famous photograph by Marcel Breuer, parts of some lamps from students, an outline of one of Marianne Brandt’s teakettles, and elements from the paintings of Kandinsky.


SMYRNA RUG anni albers ca. 1925

Handmade from Anatolian wool and mohair, this rug strictly relies on the clean geometric style favored by the Bauhaus. It employs the crisp, straight lines, and it also uses mainly neutral colors, except for the blocks of red and blue, which are typical of Bauhaus design.


BJĂ–RNLOKA ikea $249

get the look In keeping with the stark and minimal theme, this contemporary rug utilizes a calming linear design. Its neutral color scheme reinforces its simplicity, and the repeating lines give it a sense of rhythm.


ARCHITYPE BAYER TYPEFACE herbert bayer ca. 1925

In Bayer’s typeface design, not only were serifs unnecessary, he felt that there was no need for both majuscules and miniscules for each letter. Part of his rationale was to simplify typesetting and the typewriter keyboard layout so that it would be simpler and easier to mass produce. This particular typeface was never actually produced by Bayer.


KABEL TYPEFACE rudolph koch $29

get the look The Kabel font family is a geometric sans serif, designed in 1927 and christened Kabel as a testament to the newly built trans-Atlantic cable. Although it is not a new or contemporary design, Kabel is still widely used and is still a very modern face. Kabel’s inspiration from the Bauhaus is in large part to its distinct geometric characteristics that echo Bayer’s original architype typeface.


jan tschichold 1902-1974

Jan Tschichold claimed that he was one of the most powerful influences on 20th century typography. There are few who would attempt to deny that statement. The son of a sign painter and also trained in calligraphy, he began working with typography at a very early age. Born and raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Blackletter Typography and the Nazis seized much of his work before he was able to flee the country. When Tschichold wrote Die Neue Typographie, he set forth rules for the standardization of practices relating to modern type usage. He condemned all typefaces except for sans-serif types, advocated standardized sizes of paper and set forth guidelines for establishing a typographic hierarchy when using type in design. While the text still has many relative uses today, Tschichold eventually returned to a classicist theory in which centered designs and roman typefaces were favored for blocks of copy. He spent part of his career with Penguin Books, and while he was there he developed a standardized practice for creating the covers for all of the books produced by Penguin. He personally oversaw the development of more than 500 books between the years 1947-49. Every period of his career has left a lasting impression on how designers think about and use typography, and it will continue to affect them into the future.




BUILDINGHAUS the machine for living


DIRECTOR’S HOUSE, DESSAU walter gropius ca. 1926

The Bauhaus director’s house in Dessau was designed by architect Walter Gropius. As was the standard for Bauhaus design, this building utilizes clean lines, simple geometric shapes, and reduces ornament and decoration to an absolute minimum.


CUBIX DOG MANSION best friend’s home $5,500

get the look This doghouse is, at its core, a miniature, modern, architectural structure. Giving dogs a stylish and cozy resting area, its use of the power palette emphasizes its sharp edges and simplistic form. There are several windows on each wall, even wrapping around corners as was iconic of much Bauhaus architecture, which allows ample light in the structure.


ADLER walter gropius ca. 1926

The Adler is the first German-produced car distinguished by the design of its solid steel bodywork and hydraulic four-wheel braking system. The Standard 6 in all its variants and its little brother, the Adler Favorit, enjoyed immense popularity during the first half of the 1900s.


GLK350 SUV mercedes $37,000

get the look This Mercedes utilizes its streamline design to create geometric patterns. Its simplicity and smooth curves create an overall sophisticated design. This car represents quality, efficiency, and functionality.


WASSILY CHAIR marcel breuer ca. 1925

Marcel Breuer was a young apprentice at the Bauhaus when he began experimenting with tubular steel as a way of building a more transparent chair. Inspired by the frame of a bicycle and influenced by the constructivist theories of the De Stjil movement, he reduced the original design of the classic club chair to its elemental lines and planes.


FIXED GEAR BICYCLE state bicycle co. $399

get the look Embodying the spirit of Bauhaus, this bike brings crisp, clean, geometric lines to an otherwise normal mode of transportation. It shares the same angles and tubular steel frame as the Wassily Chair.


TOOLBOX wilhelm kienzle ca. 1935

This utility box designed by Wilhelm Kienzle was created in the Bauhaus spirit of form following function. This durable and quality storage container has both the German and French word for “toolbox” printed on the outside. He was inspired by the Bauhaus’ clear and clean lines that create intelligent solutions for intentional living.


MAILBOX neutrabox $199.99

get the look Using precise, particular rectilinear geometry, this mailbox simplifies all the traditional parts of the box, even the mail flag. It brings the simple and clean aesthetic to the outdoors, giving new interest to an everyday object.


josef albers 1888-1976

Albers was a student of the Bauhaus in Dessau, Germany and was a practicing artist in the fields of design, typography, photographer, painter, printmaker and poet. His most influential work was created in the field of abstract painting and it showed an influence of both the Bauhaus and the Constructivists with its simplified geometric shapes. Albers also proved to be very influential to many other graphic designers and artists as a teacher at the Black Mountain College in North Carolina from 1933-49 and at Yale University in Connecticut from 1950-58. His series Homage to the Square is an example of his disciplined approach to composition and color theory. Towards the end of his career he and his wife established the Joseph and Anni Albers foundation in an effort to continue sharing and promoting the theory that he had established during his career. His style and work represent a bridge between the European art of the Bauhaus and Constructivists and the new American Art that emerged in the 1950s and 60s. He was a teacher and an artist his entire career, until his death in 1976 at the age of 88.







janelle crocker

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chess set



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doghouse desk lamp laptop type comparison


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20’s decorative art:

charlotte and peter fiell

bauhaus: jeannine

fielder and peter


bauhaus source book:

anna rowland


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