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THE BAUHAUS / Overview I / Lxxii GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / OVerVIew I / lXXII The Bauhaus 1 The Bauhaus 1 2 German workshops 5 3 The Weimar Location 23 4 The Dessau Location 44 5 New Faculty 53 6 The Epoch Closes 66 7 Conclusion 70 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / OVerVIew II / lXXII © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 1 / 72 The Bauhaus 1919–1933 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, 2015 JOOST SCHMIDT, EXHIBITION POSTER, 1923 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 2 / 72 The Bauhaus The name translated into The House of Construction or School of Building. • Weimar • Dessau • Berlin 1919–1925 1925–1932 1932–1933 1919 1920 1921 1922 1923 1924 1925 1926 1927 1928 1929 1930 1931 1932 1933 Weimar Dessau Berlin Walter Gropius Hannes Meyer Ludwig Mies van der Rohe © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 3 / 72 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, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The Bauhaus 4 / 72 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, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 5 / 72 German workshops 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, 2015 PETER BEHRENS, POSTER FOR THE DEUTSCHER WERKBUND EXHIBITION, COLOGNE, GERMANY, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 6 / 72 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, 2015 DEUTSCHER WERKBUND POSTERS; BRUNO TAUT, GLASS PAVILLIAN, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 7 / 72 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 theThe Weimar Arts and Crafts School © KEVIN WOODLAND, 2015 BRUNO TAUT, GLASS PAVILLIAN, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 8 / 72 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 theThe Weimar Arts and Crafts School © KEVIN WOODLAND, 2015 BRUNO TAUT, GLASS PAVILLIAN, 1914 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 9 / 72 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, 2015 HENRY VAN DE VELDE, WEIMAR SAXON-GRAND DUCAL ART SCHOOL, BUILT 1904–1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 10 / 72 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, 2015 HENRY VAN DE VELDE, WEIMAR SAXON-GRAND DUCAL ART SCHOOL, BUILT 1904–1911 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 11 / 72 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, 2015 HENRY VAN DE VELDE, WEIMAR SAXON-GRAND DUCAL ART SCHOOL, BUILT 1904–1911 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 12 / 72 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, 2015 HENRY VAN DE VELDE, GRAND DUCAL ART SCHOOL, STAIRCASE, BUILT 1904 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 13 / 72 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, (LEFT) TROPON POSTER, 1898, (RIGHT) RUTH BOOK COVER, 1899 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 14 / 72 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 15 / 72 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 16 / 72 1914 The Weimar Arts and Crafts School • Henry van de Velde, Director • Forced to resigns 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, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 17 / 72 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, 2015 (LEFT) HENRY VAN DER VELDE, (RIGHT) WALTER GROPIUS GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 18 / 72 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, 2015 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 19 / 72 © KEVIN WOODLAND, 2015 TYPICIAL FACTORIES OF THE LATE 1800’S GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 20 / 72 For the first time a complete facade is conceived in glass. The supporting piers are reduced to narrow mullions of brick. —NIKOLAUS PEVSNER, PIONEERS OF MODERN DESIGN 1883–1969 Walter Gropius • Factory design • Fagus factory in Berlin, 1911 © KEVIN WOODLAND, 2015 WALTER GROPIUS AND ADOLF MEYER, THE FAGUS FACTORY, 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 21 / 72 ... 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, 2015 WALTER GROPIUS AND ADOLF MEYER, THE FAGUS FACTORY, 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 22 / 72 ... 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, 2015 (RIGHT): WALTER GROPIUS AND ADOLF MEYER, FAGUS FACTORY (INTERIOR), 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / German workshops 23 / 72 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, 2015 (RIGHT): WALTER GROPIUS AND ADOLF MEYER, FAGUS FACTORY (INTERIOR), 1911 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS 24 / 72 The Weimar Location 1919–1925 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, 2015 THE LIFE AT THE WEIMAR BAUHAUS, CIRCA 1922 © BAUHAUS-ARCHIVE BERLIN GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The WEImar LocatIon 25 / 72 1919 Das Staatliche Bauhaus Gropius’ goal is “to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist.” • Gropius renames the school • House of Construction • Opens April 12, 1919 • Bauhaus seal is created • “Cathedral of Socialism” © KEVIN WOODLAND, 2015 JOHANNES AUERBACH, FIRST BAUHAUS SEAL, 1919 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS / The WEImar LocatIon 26 / 72 1919 Walter Gropius The first Bauhaus Manifesto is published in German newspapers to demonstrate the reorganization of the school: • Architecture School • Crafts School • Academy of Fine Arts The cathedral becomes a symbol of the total work art, as well as an icon of the medieval model of creation. • Three beams of light • Architecture, scultpure, painting © KEVIN WOODLAND, 2015 THE BAUHAUS MANIFESTO, 1919 GDT-101 / HISTORY OF GRAPHIC DESIGN / THE BAUHAUS /
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