The Bauhaus

“There is no essential difference between the artist and the craftsman” – Walter Gropius

 

1   T h e   B e g i n n i n g   o f    B a u h a u s

Post WW1, people were anxious about art losing its meaning in society due to the changes brought about by the industrial revolution. This resulted in the start of the Bauhaus school in  1919, Germany, Weimar. The school was founded by Walter Gropius and his intentions was to bridge the gap between art and industrial design (“Walter Gropius | German-American architect”, 2018). Gropius envisioned the Bauhaus to encompass all art forms, reuniting fine and applied arts (“Bauhaus Movement, Artists and Major Works”, 2018).

2   K e y   C h a r a c t e r i s t i c s

Bauhaus prioritise the functionality of a design over its elaborateness (Wilk, 2008). Therefore, the designs were usually composed of linear and geometric forms, while the colours were kept to a bare minimal. Bauhaus also favours asymmetrical forms as opposite to regular and symmetrical ones. Additionally, the form of products and architectures were closely related to its function rather than aesthetic purposes. Materials such as steel and concrete were used frequently in buildings as they were deemed as durable and practical.

3   K e y   I n f l u e n c e s

There were various art movements that influenced the Bauhaus. They include Modernism (1880), Aesthetic Movement (1870), Art Nouveau (1890), Deutsche Werkbund (1907), Wiener Werkstatte (1903), De Stijl (1917) and Constructivism (1913). Products made in the style of these art movements share similar characteristics as those made in the Bauhaus. Their designs were simplified and stylised for mass production.  

4   I m p o r t a n t   F i g u r e s

Besides Walter Gropius, there were other significant figures in the history of the Bauhaus school. From 1919 to 1922, the school was shaped by the avant-garde ideas of Johannes Itten, who directed the foundation course (Vorkurs). He taught the student materials, drawing techniques and forms, before they progressed into their specialisation in the Bauhaus workshops. Itten had background in Expressionism, therefore his ideas placed more importance on craft and its medievalism (“Bauhaus Movement, Artists and Major Works”, 2018).

Itten’s mysticism was at odds with Gropius’ vision of the school and therefore he was later replaced by László Moholy-Nagy in 1923. László Moholy-Nagy repurposed the foundation course and introduced Bauhaus of its more industrial focus. He committed the school to the new material technology and mass production, reducing the importance of craft specialization and traditional workshop training (Wilk, 2008). He also emphasised greatly on industrially functionalist designs that uses technologically produced modern materials such as steel tubing, glass and plywood (Wilk, 2008).

5   C l o s u r e   o f   T h e   B a u h a u s

Due to lack of funding after the new government was elected in 1924. The Bauhaus school in Weimar was forced to relocate to Dessau. In 1928, Gropius left the school to resume his career as an architect. Hannes Meyer took on the role as the new director and the school continue to rise in strength (Cook, 2018).

Meanwhile, the Nazis were growing more powerful in Germany. In the 1931, the Bauhaus school was forced to move again to Berlin as the Nazis got elected. The Nazis were not fond of the Bauhaus because its teachings were the complete opposite of National Socialism (Cook, 2018). Despite all efforts, the school did not escape the hands of the Nazis and was forced to close down in 1933.

6   B a u h a u s   S i g n i f i c a n c e   i n   P r o d u c t   D e s i g n

The Bauhaus produced an incredible array of products that were distinguished by their functional and good design (Cook, 2018). Not only were they practical, they were a sight to behold with their simple and elegant forms. Bauhaus was a new age of design and resulted in many designs that could be mass-produced and be available to general. Most importantly, the use of enduring materials such as wood, metal and glass allowed Bauhaus designs to look sleek and lightweight while retaining its functionality (“Timeless Examples of Bauhaus Design Still Relevant and Popular”, 2016)

Marianne Brandt, 1924, Ashtray with Cigarette Holder.

The ashtray uses a combination of geometric shapes to create a minimal look. It has an asymmetrical lid and a crossbar embedded in its body for stability (“Design Classics : Bauhaus100”, 2018).

Wilhelm Wagenfeld, 1924, Bauhaus Lamp.

The famous Bauhaus Lamp is an all purpose lamp constructed of precisely cut glass and metal. It is composed of simple geometrical shapes and a balanced proportion (“Design Classics : Bauhaus100”, 2018).

Gerhard Marcks, 1925,  Sintrax, 3/4-Liter Coffee Maker.

This coffee maker looks like a laboratory equipment. It displays the versatility of Bauhaus designs. Its simple lines, shapes and colour convey practicality. The transparent glass allows the process of coffee making to be displayed (“Design Classics : Bauhaus100”, 2018).

Marcel Breuer, 1926, Club Chair B 3, 2nd Version.

This chair was created by the head of Dessau furniture workshop, Marcel Breuer. It uses tubular steel as it was strong and lightweight, and lent itself to mass-production. The canvas seat, back, and arms seem to float in space Additionally, the chair is lightweight, easily moved and easily mass produced. (“Marcel Breuer. Club chair (model B3). 1927–1928 | MoMA”, 2018).

7   C o n c l u s i o n

Bauhaus has impacted modern design in many great ways and even till this day we can still observe them in our everyday life. Some might argue that the Bauhaus was too stripped down to a point that it lacked of cultural identity and humanistic elements. But I think that its functionalist design was what withstand time.

R e f e r e n c e s

Bauhaus Movement, Artists and Major Works. (2018). Retrieved from https://www.theartstory.org/movement-bauhaus.htm

Cook, W. (2018). The endless influence of the Bauhaus. Retrieved from http://www.bbc.com/culture/story/20171109-the-endless-influence-of-the-bauhaus

Design Classics : Bauhaus100. (2018). Retrieved from https://www.bauhaus100.de/en/past/works/design-classics/index.html

Marcel Breuer. Club chair (model B3). 1927–1928 | MoMA. (2018). Retrieved from https://www.moma.org/collection/works/2851

Timeless Examples of Bauhaus Design Still Relevant and Popular. (2016). Retrieved from https://www.widewalls.ch/bauhaus-design/

Walter Gropius | German-American architect. (2018). Retrieved from https://www.britannica.com/biography/Walter-Gropius

Wilk, C. (2008). Modernism. London: V & A Pub.

 

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