The Bauhaus & the Grand Budapest Hotel

The Bauhaus & The Grand Budapest Hotel by patrick gosnell modernism spring 2014 850 words orn in the years of the Weimar Republic, the Bauhaus synthesized craft and form into a new type of design education. In the process, the school had to overcome many Bobstacles, including shifting ideologies, public critique, and political turmoil. However, the Bauhaus succeeded in becoming a highly

influential design institution, instilling in all who attended a sense of Gesamtkunstwerk, meaning a “total work of art binding different forms of creative endeavor together” (Dickerman 27).

Since 1996, Wes Anderson has directed a slew of impeccable films, all of which balance quick-witted slapstick with corresponding pathos. The maturation of Anderson’s unmistakable style has labeled him one of

the newest cinematic auteurs (fig. 1). His most recent film, The Grand Budapest Hotel (TGBH), recounts the tale of M. Gustave, the punctilious concierge of the titular establishment, and his protégé, Zero Mustafa. Fig. 1 — Director Wes Anderson has directed films such as Rushmore, The film swiftly fuses all of Anderson’s telltale traits (deadpan dialogue, The Royal Tenenbaums, Fantastic Mr. Fox, and Moonrise Kingdom. (Image courtesy of washingtonpost.com) eccentric characters, mannered camera movements) with acuity and

swagger—his own Gesamtkunstwerk. Wes Anderson connoisseurs acknowledge the director’s penchant for literary and historical references, though an immediate comparison of his directorial oeuvre to the Bauhaus may seem a bit tenuous. To be certain, there are some perceptible similarities in visual style between the two.

1 Fig. 2 — Wes Anderson films are known for their distinctive centered framing, shown here in the montage video, “Wes Anderson // Centered” by Vimeo user, Kogonada. (Images courtesy of vimeo.com) 2 The Bauhaus’ distinct use of a grid is one of its most definable characteristics, matched in all of his films by Anderson’s frequent use of perfectly centered framing (fig. 2). Anderson also commonly uses tracking shots that move parallel to the main action of a scene (fig. 3). This lateral motion is reminiscent of the work of De Stijl artist Theo van Doesburg, who favored a strong use of horizontal and vertical lines (fig. 4). Although van Doesburg was not a Bauhaus faculty member, he lived in Weimar and exerted a palpable influence on its students (Siebenbrodt 17). These correlations could lead to the assertion that Anderson takes Fig. 3 — Scenes from the montage video, “Wes Anderson // From his cues on balance and motion from the Bauhaus school. However, Above” by Kogonada, highlighting Anderson’s extensive use of flat tracking shots, which ascribe to the same grid logic found in much of other more superficial traits lead to the breakdown of this hypothesis. the work created at the Bauhaus. (Images courtesy of vimeo.com)

Two of the strongest graphic devices to develop from the Bauhaus Fig. 4 — “Composition” (1923) by Theo van Doesburg were the focus on the primary colors—red, blue, and yellow—and the (Image courtesy of dominant use of sans-serif typefaces. Paul Renner, who did not teach wikipaintings.org) at the Bauhaus but was nevertheless influenced by its ideals, created a geometric typeface called Futura (fig. 5). This typeface was prominently featured in all of Anderson’s early films (fig. 6), but has been eschewed for a broader typographic range, which now includes hand lettering by

Jessica Hische for Moonrise Kingdom (Booth) and Archer for TGBH (fig. 7). And though both are known for their distinctive use of color, Anderson has adopted a vibrant palette of lush pastels (fig. 8), whereas

3 Fig. 6

Fig. 5

Fig. 5 — Futura typeface, designed by Paul Renner, 1927 (Image courtesy of wikipedia.com); Fig. 6 — Wes Anderson used Futura almost exclusively in his first six films. (Image courtesy of alexannmayberry.blogspot.com); Fig. 7 — Anderson has broken the typographic pattern for his last two films, using Archer, designed by H&FJ, for the promotional materials for The Grand Budapest Hotel (Image courtesy of slate.com) Fig. 7

4 the Bauhaus stuck to primaries and grayscale (fig. 9). Indeed, to focus solely on the veneer of the Bauhaus and Anderson’s films would produce a false positive in their association. A deeper critique is necessary, of the relationships, aspirations, and demise found in TGBH and the Bauhaus, to uncover the true linkage of the modernist avant-garde and the idiosyncratic auteur.

The characters and relationships in TGBH form several parallels to Fig. 8 the inhabitants of the Bauhaus. For example, both Walter Gropius and M. Gustave, the fastidious caretakers of the buildings in their charge, believe wholeheartedly in the merit of their institutions (figs. 10 – 11). Even after his exit as director of the Bauhaus, Gropius continues to promote the ethics of the school around the world (Neumann 16). Fig. 9 Likewise, M. Gustave remotely directs the operations of his hotel from prison after being accused of murder. Classes at the Bauhaus operate under the master-apprentice model, a frequent motif in Anderson’s films.

In TGBH, M. Gustave takes Zero Mustafa under his wing and trains him to be a first-rate lobby boy. Zero’s education is rapid and hands-on, akin to the marriage of craft and form taught at the Bauhaus. Fig. 10 Fig. 11

Fig. 8 — (Image courtesy of wesandersonpalettes.tumblr.com); Fig. 9 — Antinational aspirations and a devastating conflict with fascism describe Poster of the Bauhaus Exhibition, 1923, by Herbert Bayer; the clipped trajectories of both the Bauhaus and TGBH. Bauhaus designs Fig. 10 — Walter Gropius, 1928 (Image courtesy Bauhaus-Archiv Berlin); Fig. 11 — Ralph Fiennes as M. Gustave in The Grand Budapest sought a universal approach, avoiding visual ties to particular countries Hotel. (Image courtesy of literaryvittles.wordpress.com)

5 (Dickerman 23). Examples include Herbert Bayer’s universal typeface and banknotes for the Thuringia region (figs. 12 – 13), both flaunting a notable lack of serifs. Anderson also seems keen on cutting ties to existing geographic locations, seeing them as distractions for his lavish tableaus. TGBH is set in the fictional country of Zubrowka during the onset of World War II. Finally, as the saddest correlation of all, both TGBH and the Bauhaus meet their demise at the hands of fascist forces (fig. 14). The Bauhaus eventually houses Nazi leaders (Forgács 197, Siebenbrodt 193), and the fanciful hotel is commandeered by Anderson’s Zig-Zags (fig. 15). Though the marauding events fail to destroy either Fig. 12 entity completely, neither retains the fervor with which they once operated. Fig. 12 — Universal typeface design There are many stylistic and substantive elements in Wes Anderson’s by Herbert Bayer, 1926 (Image courtesy of Bauhaus-Archiv Berlin); films that relate to the ideology of the Bauhaus. It helps that the Fig. 13 — Herbert Bayer also designed emergency currency for the Thuringian Bauhaus’ story is so cinematic—like a Greek tragedy full of good design. government with sans-serif type, Both the school and the director speak of a broken world, full of darkness as opposed to the more traditional German blackletter type. (Image and of dreamers looking for perfection in the details. At the end of courtesy of Bauhaus-Archiv Berlin) TGBH, Zero Mustafa sums up his mentor, M. Gustave (though he could just as easily be speaking of Walter Gropius): “He sustained the illusion with a marvelous grace.”

Fig. 13

6 Works Cited

Booth, Darren. “Moonrise Kingdom Titles and Credits: Jessica Hische.”

Typographic Design. DesignEnvy, 19 Apr. 2012. Web. 30 Mar. 2014.

Dickerman, Leah. “Bauhaus Fundaments.” Bauhaus 1919 – 1933: Fig. 14 Workshops for Modernity. New York: MoMA, 2009. 21 – 27. Print. Fig. 14 — After the closing of the Bauhaus in Dessau, the Nazi regime Forgács, Éva. The Bauhaus Idea and Bauhaus Politics. Trans. John Bátki. used the building as a minister training school, 1935 (Image courtesy Budapest: CEU Press, 1995. 196 – 199. Print. of Bauhaus-Archiv Berlin); Fig. 15 — In the film’s climax, The The Grand Budapest Hotel. Dir. Wes Anderson. Perf. Ralph Fiennes, Grand Budapest Hotel is overrun by hostile “Zig-Zag” forces. (Image Adrien Brody, Willem Dafoe, Jeff Goldblum, Tony Revolori and courtesy of hollywoodreporter.com) Edward Norton. Indian Paintbrush, 2014. Film. Fig. 15 Neumann, Eckhard, ed. Bauhaus and Bauhaus People. Trans. Eva Richter. New York: Reinhold, 1970. 15 – 17. Print.

Siebenbrodt, Michael and Lutz Schöbe. Bauhaus: 1919 – 1933 Weimar- Dessau-Berlin. New York: Parkstone Press, 2009. 17 – 97, 193. Print.

7