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GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 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, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 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, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 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. MEGGS • 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, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933 The Bauhaus • The House of Construction • The School of Building • The State Home for Building © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 7 / 70 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, 2020 The Bauhaus Masters on the Dessau Roof, 1926 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 8 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 9 / 70 Weimar Dessau Berlin 1919–1925 1925–1932 1932–1933 1919 1920 1921 1922 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 Hannes Ludwig Mies Walter Gropius Meyer van der Rohe © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 10 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 11 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 12 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 13 / 70 1919–1933 The Bauhaus Workshops © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 14 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 15 / 70 1919–1930 Sculpture At the Bauhaus in Weimar the main activity of the workshops for stone and wood sculpture was to perform tasks for other workshops. In Dessau the two were merged into a single sculpture workshop. Masters and Teachers • Johannes Itten • Oskar Schlemmer • Josef Hartwig © Kevin Woodland, 2020 Workshop for Stone Sculpture, photo: unknown, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 16 / 70 1919–1933 Joinery Some of the items of furniture made in the joinery workshop at the Bauhaus now rank as design classics, contributing significantly to the prestige the Bauhaus still enjoys around the world. Masters and Teachers • Johannes Itten, 1919–1922 • Walter Gropius, 1922–1925 • Marcel Breuer, 1925–1928 © Kevin Woodland, 2020 Bauhaus student in the joinery of the Bauhaus, photo: Edmund Collein, 1928–1929 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 17 / 70 1919–1933 Metal From 1923 the former gold, silver and copper forge in Weimar evolved into a design laboratory. It was here that Marianne Brandt and Wilhelm Wagenfeld created the Bauhaus lamp WA24 and the tea infuser. Masters and Teachers • Johannes Itten • László Moholy-Nagy • Alfred Arndt • Marianne Brandt © Kevin Woodland, 2020 Metal Workshop at the Bauhaus in Weimar, summer 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 18 / 70 1919–1925 Ceramics The Bauhaus pottery workshop started out in Dornburg on the River Saale. In 1923 a technology leap replaced the potter’s wheel with ceramic casting and prototypes were made for serial production. Masters and Teachers • Gerhard Marcks • Max Krehan • Otto Lindig © Kevin Woodland, 2020 View into Max Krehan’s ceramics workshop in Dornburg, photo: unknown, around 1923. GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 19 / 70 1919–1925 Stained Glass Josef Albers designed his well-known windows for Haus Sommerfeld and the Grassi Museum in Leipzig in the stained glass workshop. It closed in 1925 due to a lack of orders. Masters and Teachers • Johannes Itten • Paul Klee • Josef Albers © Kevin Woodland, 2020 Glass and Mural Painting Workshop at the Bauhaus in Weimar, around 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 20 / 70 1919–1925 Graphic Printshop The graphic printshop at the State Bauhaus in Weimar produced major portfolios of graphic works by Bauhaus masters. The portfolios were bound in the bookbinding workshop. Masters and Teachers • Walther Klemm, 1919–1921 • Lyonel Feininger, 1921–1925 © Kevin Woodland, 2020 View into Otto Dorfner’s graphic printing workshop, photo: unknown, around 1920 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 21 / 70 1921–1929 Stagecraft The stagecraft workshop was headed first by Lothar Schreyer and from 1923 by Oskar Schlemmer. Schlemmer introduced his students to modern dance and had a lasting impact on stage activities at the Bauhaus. Masters & Teachers • Lothar Schreyer, 1921–1923 • Oskar Schlemmer, 1923–1929 © Kevin Woodland, 2020 Bauhaus Stage, Bauhaus Dessau, photo: Erich Consemüller, 1927 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 22 / 70 1929–1933 Photography Versatile interdisciplinary experimentation with the medium of photography began early at the Bauhaus, but only in 1929 was a photography class established, led by photographer Walter Peterhans. Masters and Teachers • László Moholy-Nagy • Walter Peterhans © Kevin Woodland, 2020 Self-portrait with Bauhaus, photo: Hajo Rose, 1930 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 23 / 70 1925–1933 Printing and Advertising Workshop The workshop for printing and advertising was set up at the Bauhaus in Dessau in 1925. In the early years it was headed by Herbert Bayer, and later by Joost Schmidt and Walter Peterhans. Masters and Teachers • Herbert Bayer • Joost Schmidt • Ludwig Mies van der Rohe © Kevin Woodland, 2020 Grete Reinhardt, you need the bauhaus, 1928 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 24 / 70 1920–1933 Wall painting Students in the wall painting workshop designed and implemented many murals, reliefs and colour schemes. The most successful product from the workshop was the Bauhaus wallpaper produced from 1930. Masters and Teachers • Johannes Itten • Oskar Schlemmer • Wassily Kandinsky • Hinnerk Scheper • Alfred Arndt © Kevin Woodland, 2020 Alfred Arndt, Colour plan for the exterior design of the master semidetached houses in Dessau, 1926 GRAPHIC DESIGN HISTORY / THE BAUHAUS / The Bauhaus Workshops 25 / 70 1919–1933 Weaving The weaving workshop was one of the most successful and productive workshops at the Bauhaus, experimenting with both traditional craft techniques and industrial methods. Masters and Teachers • Johannes Itten • Georg Muche • Gunta Stölzl • Lilly Reich • Anni Albers • Otti Berger © Kevin Woodland, 2020 Unknown, Weaving Workshop at the Weimar State Bauhaus, around 1923 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 26 / 70 1899–1925 Origins 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, 2020 Peter Behrens, Poster for the Deutscher Werkbund Exhibition, Cologne, Germany, 1914 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Origins 27 / 70 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, 2020 Deutscher Werkbund Posters; Bruno Taut, Glass Pavillian, 1914 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Origins 28 / 70 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, 2020 Bruno Taut, Glass Pavillian, 1914 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Origins 29 / 70 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, 2020 Bruno Taut, Glass Pavillian, 1914 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Origins 30 / 70 1899–1914 Arbeitsrat für Kunst • Workers’ Council for Art • Founded in 1918 by Bruno Taut, architect • Championed
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  • TL a Magazine By

    TL a Magazine By

    A magazine by 3 TL Floor lamp BULO XL/BLON 16 P The new times give rise to a funda- up with fresh thoughts and new Well-conceived, clever and always mental question: How can I feel safe ideas. Pleasing tactile effects resul- functional: Oliver Niewiadomski and at ease? In future, we'll be ting from an excellent choice of translates a mathematical concept demanding a lot more of our homes. materials help to keep you grounded into incisive design language, as This refers to far more than just cosy in a digitised world. Old favourites here with the floor lamp BULO XL trends such as cocooning or hygge. give people something reliable and which sits neatly on its base to work It’s more a case of needing our own unchanging to hold on to. perfectly in any specific setting. intimate space of peace and quiet TECNOLUMEN has always combined where we can withdraw from the these essential factors, producing world and recharge our batteries in classic lamps “made in Germany” a feel-good atmosphere. This is using the best craftsmanship traditi- particularly challenging for those who ons and working together with small setting up a home office environ- companies who give outstanding ment in their own four walls, with a quality the same priority that we do. special need for feel-good spaces Let’s make the best of it! in between. The whole interior design industry is tackling the issues invol- ved and their various manifestations to cover all bases, taking an inspiring people-focused approach. Your Carsten Hotzan Good light is an essential factor to Executive Director of give rooms their desired effect.
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010

    Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010

    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.