HOUSE OF BUILDING

1919 -1933

GROPIUS’ FIRST PROCLAMATION OF THE BAUHAUSThe 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…in moments beyond the control of his will, the grace of heaven may cause his work to blossom into art. But proficiency in his craft is essential to every artist. Therein lies a source of creative imagination. Let us create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier…Together let us conceive and create the new building of the future, which will embrace architecture and sculpture and painting in one unity and which will rise one day toward heaven from the hand of a million workers like the crystal symbol of a new faith.

PRINCIPLES

• Mass production over individual craftsmanship.

• 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.

IttenTHREE 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.

FIRST YEAR: PRELIMINARY COURSE

Johannes

Itten FIRST YEAR: PRELIMINARY COURSEJohannes

Horizontal/Vertikal, 1915

Vogelthema,

1918

Albers

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

Month 4: STUDENT CHOICE.

PRELIMINARY COURSE 1922-33Josef

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

Grid Mounted,glass assemblage

1922

Albers 1888-1976 Josef

Homage to a Square,1971

Bundled,1925

Moholy-Nagy PRELIMINARY COURSE 1923-1928László

1: Combine elements to corresponded to preconceived idea. Response manifested on “tactile charts.”

Grid Mounted,glass assemblage

1922

3: 3D studies to sharpen sense of volume: simple elements and materials used to construct objects in both visual and real balance.

2: Distinguish composition (balance between parts) from construction.

Moholy-Nagy 1895-1946 László

Dual Form with Chromium Rods, 1946

Eifersucht (Jealousy), 1927

AXL II, 1924

Leuk 5, 1946

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

MASTERS

&textile design

• woman-run

• weaving technique

coupled well with Bauhaus

aesthetic

• contrasting material, thick /

thin, glossy / matte

Gunta Stölzl

weaving

w/ Marcel BreuerAfrican Chair, 1921

Kitty Fischer-van der Mijll-Dekkerwoollen blanket design, gouache1932

Kathedrale Woodcut, 1919

Street in Arceuil 1915

Gables I, Lueneberg, 1925

1871-1956

FINE ART MASTERS: Lyonel Feininger

&

Joost SchmidtWeimar Bauhaus Poster

1923

Universal Type1926

Bauhaus Journal Cover1928

graphic design

typography

Kiosk for exhibition stand1924

• ALL CAPS or all lower case

• sans serif

• grid structures & geometric forms

• bold & primary colors

HERBERT BAYER

FINE ART MASTERS: Vassily Kandinski

Impression III 1911

Untitled 1922

1866-1944

Swinging

1925

&metalworkphotography

Self portrait with jewelry for metal party1929

Marianne Brandt

cont.Marianne

Bildergalerie Teapot, 1930

Bildergalerie Ruppel-Trio desk set, 1930Touch desk lamp 1930

Weimar Metal Workshop, 1923

Lidded Bowl, 1930

Ashtrays…

Highway and Byways 1929

Senecio 1922

Zitronin 1932

1879-1940

FINE ART MASTERS: Paul Klee

AFTERMATHThe 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 Style: Architecture Since 1922.

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

the BAUHAUS school

1919-1925: WEIMAR 1926-1932: DESSAU 1932-1933: BERLIN

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

JOHANNES ITTENpreliminary course painter

JOSEF ALBERSpreliminary course painter

László Maholy-Nagypreliminary course painter, photographer, graphic design

Vassily Kandinsky, painter abstract expressionist

Marianne Brandtphotographer, metalwork

GUNTA STÖLZLweaving

PAUL KLEEpainter

HERBERT BAYERgraphic design, typography

Wilhelm WagenfeldBauhaus Lamp

MART STAMfirst cantalievered chair, prototype from steel tubes

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