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THE BAUHAUS / Overview I / Lv GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / OVerVIew I / LV The Bauhaus 1 Art and Technology, A New Unity 1 2 Origins 11 3 Weimar 30 4 Dessau 42 5 Berlin 53 © Kevin Woodland, 2019 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / OVerVIew II / LV © Kevin Woodland, 2019 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 1 / 55 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2019 Joost Schmidt, Exhibition Poster, 1923 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 2 / 55 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. – MEGGS © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 3 / 55 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 4 / 55 1919–1933 The Bauhaus • The House of Construction • The School of Building • The State Home for Building © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 5 / 55 JOSEF LÁSZLÓ WALTER PAUL OSKAR ALBERS MOHOLY- NAGY GROPIUS KLEE SCHLEMMER GEORG JOOST MARCEL LYONEL MUCHE SCHMIDT BREUER FEININGER HINNERK HERBERT WASSILY GUNTA SCHEPER BAYER KANDINSKY STÖLZL © Kevin Woodland, 2019 The Bauhaus Masters on the Dessau Roof, 1926 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 6 / 55 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 7 / 55 1919 1920 1921 1922 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 Weimar Dessau Berlin 1919–1925 1925–1932 1932–1933 Hannes Ludwig Mies Walter Gropius Meyer van der Rohe © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 8 / 55 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 9 / 55 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 10 / 55 © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 11 / 55 Origins 1899–1925 Prior to its industrial philosophy, the fundamental structure for the Bauhaus was modeled after the Deutcher Werkbund, an Arts & Crafts workshop in Weimar, Germany. © Kevin Woodland, 2019 Peter Behrens, Poster for the Deutscher Werkbund Exhibition, Cologne, Germany, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 12 / 55 1899–1914 The Deutscher Werkbund • German association of artists, architects, designers and industrialists • Arts & Crafts guild • Series of workshops • Joined craft and industry • Incluced Eliel Saarinen, Mies van der Rohe, among others © Kevin Woodland, 2019 Deutscher Werkbund Posters; Bruno Taut, Glass Pavillian, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 13 / 55 1899–1914 The Deutscher Werkbund • Exhibition of 1914 • Cologne, Germany • Featured works by Henri van de Velde, Peter Behrens, and Walter Gropius • Scheduled to last from May–October • Closed in August in response to outbreak of WWI • Influenced the The Weimar Arts and Crafts School © Kevin Woodland, 2019 Bruno Taut, Glass Pavillian, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 14 / 55 1899–1914 The Deutscher Werkbund • Exhibition of 1914 • Cologne, Germany • Featured works by Henri van de Velde, Peter Behrens, and Walter Gropius • Scheduled to last from May–October • Closed in August in response to outbreak of WWI • Influenced the The Weimar Arts and Crafts School © Kevin Woodland, 2019 Bruno Taut, Glass Pavillian, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 15 / 55 1899–1914 Arbeitsrat für Kunst • Workers’ Council for Art • Founded in 1918 by Bruno Taut, architect • Championed the German Exrpressionist style © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 16 / 55 © Kevin Woodland, 2019 Max Pechstein and Heinz Fuchs, 1919 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 17 / 55 1910–1914 The Weimar Arts and Crafts School • Originally called the Weimar Saxon- Grand Ducal Art School • The building existed since 1860 in varying capacities • In 1904 occupied a building designed by Henry van de Velde • Reorganized in 1910 to join three other schools into one © Kevin Woodland, 2019 Henry van de Velde, Weimar Saxon-Grand Ducal Art School, built 1904–1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 18 / 55 1910–1914 The Weimar Arts and Crafts School • Modelled after the earlier Deutsche Werkbund • Stained glass, wood, and metal workshops • Medieval Bauhütte: master, journeyman, and apprentice © Kevin Woodland, 2019 Henry van de Velde, Weimar Saxon-Grand Ducal Art School, built 1904–1911 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 19 / 55 1910–1914 The Weimar Arts and Crafts School • Arts & Crafts origins • Unity of artists and craftsmen to build for the future • Expressionist leanings at turn of century • Utopian desire to create a new spiritual society © Kevin Woodland, 2019 Henry van de Velde, Weimar Saxon-Grand Ducal Art School, built 1904–1911 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 20 / 55 1910–1914 The Weimar Arts and Crafts School • Henry van de Velde, Director • Belgian Art Nouveau architect • Designed the building at the turn of the century • Built in two separate efforts: 1904 & 1911 © Kevin Woodland, 2019 Henry van de Velde, Grand Ducal Art School, staircase, built 1904 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 21 / 55 © Kevin Woodland, 2019 Henry van de Velde, (left) Tropon Poster, 1898, (right) Ruth Book Cover, 1899 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 22 / 55 1914 The Weimar Arts and Crafts School • Henry van de Velde, Director • Forced to resign in light of WWI • Returns to Belgium, 1914 • Closed duration of WWI • Van de Velde recommneds Walter Gropius, Hermann Obrist, and August Endell as successors • Four year delay by WWI © Kevin Woodland, 2019 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 23 / 55 1883–1969 Walter Gropius • Grand Ducal School of Arts and Crafts merges with neighboring Weimar Academy of Fine Arts • Walter Gropius, architect, is appointed as next Director to succeed van de Velde in 1918 © Kevin Woodland, 2019 (left) Henry van der Velde, (right) Walter Gropius GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 24 / 55 1883–1969 Walter Gropius • 3 year assistantship with Peter Behrens, 1907–1910 • Together they used modern materials like glass and steel in new ways • Gropius introduces to modernism to factory design © Kevin Woodland, 2019 Studio of Peter Behrens: Mies van der Rohe, Adolf Meyer, Hertwig, Weyrather, Krämer, Walter Gropius, 1908 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 25 / 55 © Kevin Woodland, 2019 Typicial factories of the late 1800’s GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 26 / 55 For the first time a complete facade is conceived in glass. The supporting piers are reduced to narrow mullions of brick. 1883–1969 —NIKOLAUS PEVSNER, PIONEERS OF MODERN DESIGN Walter Gropius • Factory design • Fagus factory in Berlin, 1911 © Kevin Woodland, 2019 Walter Gropius and Adolf Meyer, the Fagus Factory, 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 27 / 55 ... The corners are left without any support, yielding an unprecedented sense of openness and continuity between inside and out. ... —NIKOLAUS PEVSNER, PIONEERS OF MODERN DESIGN © Kevin Woodland, 2019 Walter Gropius and Adolf Meyer, the Fagus Factory, 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 28 / 55 ... Another exceedingly important quality of Gropius’s building is that, thanks to the large expanses of clear glass, the usual hard separation of exterior and interior is annihilated. —NIKOLAUS PEVSNER, PIONEERS OF MODERN DESIGN © Kevin Woodland, 2019 (right): Walter Gropius and Adolf Meyer, Fagus Factory (interior), 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 29 / 55 The role of the walls becomes restricted to that of mere screens stretched between the upright columns of the framework to keep out rain, cold and noise. –WALTER GROPIUS © Kevin Woodland, 2019 (right): Walter Gropius and Adolf Meyer, Fagus Factory (interior), 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 30 / 55 1919–1925 Weimar Gropius begins to shape the philosophy of the school. Expressionist origins slowly progress towards a more open, rational, and modern point of view. © Kevin Woodland, 2019 The life at the Weimar Bauhaus, circa 1922 © Bauhaus-Archive Berlin GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The WEImar LocatIon 31 / 55 1919 Das Staatliche Bauhaus Gropius’ goal is
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