History Bauhaus creo

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The ultimate of all creative activity is the building

!

SHREYA BHAYA (DIV: C)AISHWARYA KADU (DIV: C)SHALAKA SONTAKKE (DIV: C)ANUSHRYA PHERWANI (DIV: C)

BAUHAUS

BY:

CREONICE BARBOSA (DIV: D)MOHINI GAIKWAD (DIV: D)SANJANA KALANTRI (DIV: D)


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We would like to express our special thanks ofgratitude to our teacher Mr. Mahesh Bangad sir as

well as our principal Mr. Anurag Kashyap sir who gaveus the golden opportunity to do this wonderful projecton the topic BAUHAUS, which also helped us in doing alot of Research and we came to know about so many

new things. We are really thankful to them.

Secondly we would also like to thank our friends andclassmates who helped us a lot in finishing this projectwithin the limited time.

We are making this project not only for marks but toalso increase my knowledge .


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INDEX

INTRODUCTION

BAUHAUS-HISTORICAL CONTENT

BAUHAUS-CULTURAL INFLUENCE

ARCHITECTURAL OUTPUT

HISTORICAL CONTEXTIMPACT

BAUHAUS CHRONOLOGY

BAUHAUS IN WEIMAR

BAUHAUS- THE END

BAUHAUS- CONCLUSION


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THE OPENING CHAPTERThe Bauhaus has become the opening chapter to the narrative oftwentieth century design. It is most widely known, discussed , published ,

imitated , collected , exhibition , and catheter aspect of modern graphic,industrial and architectural design.The name Bauhaus stems from the German words for to build and house . Ironically , despite its name and the fact its founder was anarchitect , the Bauhaus did not have an architecture department for the firstseveral years of its existence.

POLITICAL CONTEXTThe foundation of Bauhaus occurred at a time of crisis and turmoil inEurope as a whole and particularly in Germany. Its establishment resultedfrom a confluence of a diverse set of political, social, educational and

artistic development in the first two decades of the twentieth century.The conservative modernization of the German empire during the 1870shad maintained power in the hands of the aristocracy. Its is alsonecessitated militarism and imperialism to maintain stability . By 1912 therise of the leftist SPD had galvanized political positions with the notions ofinternational solidarity and socialism set against imperialist nationalism.

World war I ensured from 1914-18. 4


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Staatliches Bauhaus, known simply asBauhaus, was a school in Germany thatcombined crafts and the fine arts, andwas famous for the approach to designthat it publicized and taught.

It operated from 1919 to 1933.

It was founded with the idea of creatinga 'total' work of art in which all arts,including architecture would eventuallybe brought together.

The Bauhaus style became one of themost influential currents in Modernistarchitecture and modern design.

INTRODUCTION


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Ludwig Mies van der Rohe from 1930 until 1933,when the school was closed by its own leadership under pressure

from the Nazi regime.

The changes of venue and leadership resulted in a constantshifting of focus, technique, instructors, and politics

For instance: the pottery shop was discontinued when the schoolmoved from Weimar to Dessau, even though it had been animportant revenue source;


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THE BAUHAUS HAD TO FACE WAR AND THE GERMAN

REVOLUTION LEADING TO

WEIMAR REPULIC

BNCA/SCA/14-15/TYC B-ARCH 8


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WEIMAR REPUBLIC AND BAUHAUS



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Bauhaus in Weimar (1919-25)


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BAUHAUS BUILDING


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HISTORICAL CONTEXT

The German Bauhaus schoolof art is one that has

undergaone a lifelongevolution of change.

The school has had three major architect directors beginningwith Walter Gropius (19191928), Hannes Meyer (1928-1930),and Ludwig Mies van der Rohe (19301933). With more thanone director throughout its duration, the school has undergonemajor changes in the areas of focus and technique.


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CULTURAL INFLUENCE

The Bauhaus School created aculture that varied from the earliermethods of education in industrialart.

Its culture is founded in theidealistic basis of the school:

1. An artist must be consciousof his social responsibility to thecommunity.

2. On the other hand, thecommunity has to accept theartist and support him


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Governmentbuildings

schools offices

Building

types

Architects orient buildings so that

they receive the most sun exposureto take advantage of natural light.Structures sit on flat plains of grass.The most important constructionmaterials include steel, glass, andreinforced concrete, sometimes a

brick masonry applied on the faceof the concrete.Exteriors are plain, simple, andunornamented.Windows were fixed in grid patterns.

Bauhaus school

Bauhaus school

Harvard graduate centre


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The basic structure of the Bauhausconsists of a clear and carefully thought

out system of connecting wings, whichcorrespond to the internal operating

system of the school. Gropius extensive facilities for the

Bauhaus at Dessau combine teaching,student and faculty members housing,an auditorium, and office spaces.

SYMBOLS & MOTIFS There is no vocabulary for motifs

because buildings are generallyunadorned.

Some works include unique architecturaldetails that are a part of the building.

DECORATIVE ARTS

After 1923,the metals workshopproduced many ash trays, tea and

coffee services, kettles, dresser sets, andpitchers in brass, bronze, and silver.

Gropius directors house

Harvard graduate centre dormitories

Harvard centre exterior view


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BAUHAUS POST MODERNISM WALTER GROPIUS :

Walter Groupius was born in berlin in

1883. the son of an architect, he studiedat the technical universities in Munichand berlin.m

Groupius is best known through theinfluence of the German design schoolcalled the Bauhaus , established under

Gropiuss direction at Weimar in 1919.

After the closing of the Bauhaus in 1932,Gropiuss influence continued through

his work in England .

Under Gropiuss direction, Harvard

became the first American design schoolto accept the ideas of the modernmovement.

Gropius created innovative designs thatborrowed materials and methods of

construction from modern technology. Exibitionism

City of tel aviv

Chair designed by Gropius

Gropius house


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MAJOR WORKS

1919 to 1925.

Gropius house, at Lincoln, 1937.

Harvard Graduate center, atCambridge.

GROPIUS HOUSE: Modest inscale, revolutionary in impact.

Combined the traditional

elements of New Englandarchitecturewood, brick, andfieldstonewith innovativematerials rarely used indomestic settings at that time

glass block, acoustical plaster,and chrome banisters, alongwith the latest technology.

Masters house by Gropius

Upstairs deck

Eaves protecting from south harsh light


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To interweave arts and technology is not the only princi- pleof Bauhaus. The meaning of the word Bauhaus is clear

evidence. In Germany, bau refers to building and hausmeans house, symbolising that art and technology should becomposed together in design field. In 1923, the director WalterGropius introduced reconciliation between creative artistsand the industrial world, which changed the focus of designtheories from aesthetics to practicality.

ABSTRACT

The Bauhaus, one of the most prestigious colleges of finearts, was founded in 1919 by the architect Walter Gropius.

Although it is closed in the last century, its influence is stillmanifested in design industries now and will continue tospread its principles to designers and artists. Even, it has aprofound influence upon subsequent developments in art,architecture, graphic design, interior design, fashion

design and design education.


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When the industrialrevolution began,traditional skilled craftsmenwere gradually replaced by

machines while reducingcost through mass-production erodedaesthetic standards. Thus,William Morris thought itdishonest for machine-made goods to pretend to

be hand-made, while JohnRuskin went further in hisbelief that the machineitself was a source of eviland social ills. Due to thefact that design wasseparated from

manufacturing, itenhanced theindependence of design.

Some of the Bauhaus buildings


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Up until now, Bauhaus ideal has al-ways been a controversial focus thatplays a crucial role in the field ofdesign. Not only emphasizing functionbut also reflecting the human-oriented idea could be the greatest

progress on modern design andmanufacturing. Even more,harmonizing the relationship betweennature and human is the ultimate goalfor all the designers to create their

artworks. This essay will analyseBauhauss influence on moderndesign and manufacturing in terms oftechnology, architecture and designeducation.


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INTERIORS


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EXTERIORS


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ARCHITECTURAL OUTPUT

The paradox of the early Bauhaus

was that, although its manifestoproclaimed that the ultimate aim ofall creative activity was building, theschool did not offer classes inarchitecture until 1927.

The built output of Bauhausarchitecture in these years is theoutput of Gropius: the Sommerfeldhouse in Berlin, the Otte house inBerlin, etc.


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Apart from contributions to the 1923 HausamHorn, studentarchitectural work amounted to un-built projects, interior finishes,and craft work like cabinets, chairs and pottery.


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In the next two years under Meyer, the architectural focus shifted awayfrom aesthetics and towards functionality.There were major commissions: one from the city of Dessau for five tightlydesigned"Laubenganghuser" (apartment buildings with balcony access), which

are still in use today, and another for the headquarters of the FederalSchool of the German Trade Unions (ADGB) in Bernau bei Berlin.Meyer's approach was to research users' needs and scientificallydevelop the design solution.

The Engel House in the White City of TelAviv:architect: Ze'ev Rechter, 1933; aresidentialbuilding that has become one of thesymbols of Modernist architecture and

the first building inTel Aviv to be built on pilotis

Dormitory balconies in the residenceresidence

BNCA/SCA/14-15/TYC B-ARCH


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One of the main objectives of the Bauhaus was to unify art,craft, and technology. The machine was considered a positive

element, and therefore industrial and product design wereimportant components.

Vorkurs ("initial" or "preliminary course") was taught; this is themodern day "Basic Design" course that has become one of the

key foundational courses offered in architectural and designschools across the globe.

There was no teaching of history in the school becauseeverything was supposed to be designed and created according

to first principles rather than by following precedent.


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HISTORICAL CONTEXT Originally, the school was founded by Walter Gropius in the city of

Weimar in 1919.

His intention was to form a school that was a combination of morethan one kind of art form.

The school began as an institution that provided its students thearts of architecture, crafts, and academy arts.

In Gropius view, architecture was to be functional, cheap, andsuited to the requirements of mass production.It was in this way that products could be both aesthetically pleasingand affordable.

Gropius argued that a new period of history had begun with theend of the war. He wanted to create a new architectural style toreflect this new era.

This ideal lasted until 1925 when the school moved to Dessau, a citythat was more industrial and progressive.


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The school's philosophy stated that the artist should betrained to work with the industry.

Weimar was in the German state of Thuringia, and theBauhaus school received state support from the SocialDemocrat-controlled Thuringian state government. From1923 the school in Weimar came under political pressurefrom right-wing circles, until on December 26, 1924 it issued a

press release accusing the government and setting theclosure of the school for the end of March 1925.

In February 1924, the Social Democrats lost control of the

state parliament to the Nationalists. The Ministry of Education

placed the staff on six-month contracts and cut the school'sfunding in half.


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Meyer became director when Gropius resigned in February 1928,and brought the Bauhaus its two most significant buildingcommissions, both of which still exist:

five apartment buildings in the city of Dessau, and

the headquarters of the Federal School of the German TradeUnions (ADGB) in Bernau.


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Meyer favored measurements and calculations in hispresentations to clients, along with the use of off-the-shelfarchitectural components to reduce costs, and thisapproach proved attractive to potential clients. The schoolturned its first profit under his leadership in 1929.

But Meyer also generated a great deal of conflict. As aradical functionalist, he had no patience with the aesthetic

program, and forced the resignations of Herbert Bayer,Marcel Breuer, and other long-time instructors.

As a vocal Communist, he encouraged the formation of acommunist student organization. In the increasingly

dangerous political atmosphere, this became a threat to theexistence of the Dessau school. Gropius fired him in thesummer of 1930.


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BERLIN Although neither the Nazi Party nor Hitler himself had a cohesive

architectural policy before they came to power in 1933, Naziwriters had already labeled the Bauhaus "un-German" and

criticized its modernist styles, deliberately generating publiccontroversy over issues like flat roofs.

Increasingly through the early 1930s, they characterized theBauhaus as a front for communists and social liberals.

Indeed, a number of communist students loyal to Meyer movedto the Soviet Union when he was fired in 1930.

Even before the Nazis came to power, political pressure on

Bauhaus had increased. The Nazi movement, from nearly thestart, denounced the Bauhaus for its "degenerate art", and theNazi regime was determined to crack down on what it saw asthe foreign, probably Jewish influences of "cosmopolitanmodernism.

IMPACT:


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IMPACT:

The Bauhaus had a major impact on art and

architecture trends in Western Europe, theUnited States, Canada and Israel. Tel Aviv, in 2004 was named to the list of

world heritage sites by the UN due to itsabundance of Bauhaus architecture; it hadsome 4,000 Bauhaus buildings erected from

1933 on. Gropius and Breuer went to teach at the

Harvard Graduate School of Design andworked together before their professionalsplit.

Their collaboration produced The AluminumCity Terrace in New Kensington, Pennsylvaniaand the Alan I W Frank House in Pittsburgh,among other projects.The Harvard School was enormously influential in America in

the late 1920s and early 1930s, producing such students asPhilip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph,among many others.


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BAUHAUS CHRONOLOGY:

1919: Walter Gropius founds the Bauhaus

in Weimar.

1925: For political reasons the Bauhausmoves to Dessau. In June the first in aseries of Bauhaus books is published.Authors: Gropius, Moholy-Nagy, Klee,

Kandinsky und Mondrian.

1926: The Bauhaus in Dessau bears thenew name College for Constructionand Design. On December 4, the new

Bauhaus building, designed by Gropius,is dedicated.

1927: In April a Department ofArchitecture opens; the architect

Hannes Meyer is named departmentchair.

1928: Walter Gropius steps down as director in April in order to work


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1928: Walter Gropius steps down as director in April in order to workas an architect in Berlin. At his suggestion, Hannes Meyer becomesthe new director. The Bauhaus has 166 students in this year.

1929: Under the photographer Walter Peterhans a Department ofPhotography is set up.

1930: Accused of communist leanings, the director Hannes Meyer isfired by the city of Dessau. With the help of Gropius, the architectLudwig Mies van der Rohe becomes the new director in April.

1932: Again for political reasons the Bauhaus has to move to Berlin.

1933: The Bauhaus is shut down by the Nazis on April 11. 32 studentsare arrested and later released.

1937: Following the immigration of many Bauhaus artists, the NewBauhaus (today's Institute of Design) is founded in Chicago.

1960: The Bauhaus-Archiv is established in Darmstadt.


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1964: Walter Gropius designs a museum building for the BauhausArchive in Darmstadt, but the project is never completed there.

1971: The Bauhaus Archive moves to West Berlin.

1976: Under the East German government the Scientific-CulturalCenter Bauhaus Dessau is set up and begins to assemble acollection on the history of the Bauhaus.

1979: After three years of construction, the new museum building forthe Bauhaus Archive opens in West Berlin.

1986: In Dessau the Bauhaus Dessau Center for Design opens in theformer Bauhaus building.

1995: In Weimar a Bauhaus Museum opens on the Theaterplatz(Theater Square).

1997: The museum building in Berlin is placed under landmark

protection.


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In the late 1930s, Mies van der Rohe re-settled in Chicago,enjoyed the sponsorship of the influential Philip Johnson, andbecame one of the pre-eminent architects in the world.

Moholy-Nagy also went to Chicago and founded the NewBauhaus school under the sponsorship of industrialist andphilanthropist Walter Paepcke. This school became theInstitute of Design.

Printmaker and painter Werner Drewes was also largelyresponsible for bringing the Bauhaus aesthetic to America.

Herbert Bayer, sponsored by Paepcke, moved to Aspen,Colorado in support of Paepcke's Aspen projects at the

Aspen Institute.


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In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher,founded the Ulm School of Design in Ulm, Germany, a designschool in the tradition of the Bauhaus.

The school is notable for its inclusion of semiotics as a field ofstudy. The school closed in 1968, but the Ulm Model conceptcontinues to influence international design education.

One of the main objectives of the Bauhaus was to unify art,

craft, and technology.

The machine was considered a positive element, and thereforeindustrial and product design were important components.

Vorkurs ("preliminary course") was taught; this is the modern day

"Basic Design" course that has become one of the keyfoundational courses offered in architectural and design schoolsacross

There was no teaching of history in the school becauseeverything was supposed to be designed and createdaccording to first principles rather than by following precedent.


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B h i W i


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Bauhaus in Weimar

By:

KandiskyGropiusKlee

Mies Van derRoheIttenStoelzFeiningerBreuerAlbersMucheSchlemer


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BASIC COURSE


B h k h t


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Bauhaus workshop concept



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Despite its diversity, the production of the bauhaus is united by an awarenessof its departure from history, of its ambition towards a point of origin.

With the assimilation of its form and methods into modern design training,the bauhaus itself became a point of origin. While Kandinsky, klee, and ittenarticulated a visual language through the concept of a childhood of art, theBauhaus has become the childhood of design.

BAUHAUS DESIGN COURSE

Geometric form, gridded space, and a rationalist use of typography have

been foregrounded as the prime lessons of the bauhaus legacy.

The linguistic potential of bauhaus theory-evident in frequent analogiesbetween writing and drawing-was ignored: the project of a visual languagewas taken up in isolation from, rather than in tandem with, verbal language.Graphic designs synthesis of words and images makes it an important site for

reopening early modernisms attempt to make form discursive: to re-open it tothe social and cultural dimension of visual language.


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BAUHAUS

CURRICULUMMAPS



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The Bauhausdeclared equalitybetween the sexes.Where German

women had oncereceived arteducation at homewith tutors, at theBauhaus they werefree to join courses

WOMEN IN THE

BAUHAUS



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BAUHAUS ARCHITECTS

ANDTHEIR PRODUCTS

L d i Mi d R h


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Ludwig Mies van der Rohe

Ludwig Mies van der Rohe(March27, 1886August 17, 1969) was aGerman-American architect .

He is commonly referred to andwas addressed as Mies, hissurname.

Along with Le Corbusier and FrankLloyd Wright, he is widely regardedas one of the pioneering mastersof modern architecture.

Mies, like many of his post- Worldwar I contemporaries, sought to

establish a new architectural stylethat could represent modern timesjust as Classical and Gothic did fortheir own eras.


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He created an influentialtwentieth-century architecturalstyle, stated with extreme clarityand simplicity. His mature buildingsmade use of modern materialssuch as industrial steel and Plateglass to define interior spaces.

He strove toward an architecture

with a minimal framework ofstructural order balanced againstthe implied freedom of free-flowing open space.

He called his buildings "skin andbones" architecture.

Mies van der Rohe's cantilever-based chair


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He sought a rational approach that would guide the creativeprocess of architectural design, but he was always concernedwith expressing the spirit of the modern era.

He is often associated with his quotation of the aphorisms,Less is more" and God is in the details".

He is often associated with his quotation of the aphorisms,Less is more" and God is in the details".

L d i Mi d R h B ildi


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Ludwig Mies van der Rohe Buildings

Crown Hall

Barcelona Pavilion

Seagram Building

d d h ld


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Ludwig Mies van der Rohe Buildings

Villa Tugendhat

One CharlesCenter

Farnsworth House

M l B


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Marcel BreuerMarcel Lajos Breuer(22 May 19021 July 1981), was a Hungarian -born modernist , architect andfurniture designer of Jewishdescent.

One of the masters of Modernism,Breuer extended the sculpturalvocabulary he had developed inthe carpentry shop at the Bauhausinto a personal architecture thatmade him one of the worlds mostpopular architects at the peak of

20th-Century design.


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First recognized for his inventionof bicycle-handlebar-inspiredtubular steel furniture, Breuer lived

off his design fees at a time in thelate 1920s and early 1930s whenthe architectural commissions hewas looking for were few and far-between.

He was known to such giants asLe Corbusier and Mies van derRohe, whose architecturalvocabulary he was later to adaptas part of his own, but hardlyconsidered an equal by men who

were his senior by 15 and 16years.

M l B F i


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Marcel Breuer Furnitures

Marcel Breuer Buildings


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Unesco Paris

Robert C. WeaverFederal Building



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Murray d Lincoln Campus Center

Josephine M.Hagerty House

Herbert Bayer


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Herbert Bayer

Herbert Bayer(April 5, 1900September 30, 1985) was an Austrianand American graphic designer ,painter, photographer, sculptor, artdirector, environmental and interiordesigner, and architect .

Widely recognized as the last livingmember of theBauhaus and wasinstrumental in the development ofthe Atlantic Richfield Company'scorporate art collection until his death

in 1985.

Born in 1900 Bayer apprenticed under the


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Born in 1900, Bayer apprenticed under theartist Georg Schmidthammer in Linz.

Leaving the workshop to study atthe Darmstadt Artists' Colony , he became

interested in Walter GropiussBauhausmanifesto.

After Bayer had studied for four years atthe Bauhaus[1]under such teachersas Wassily Kandinsky , Paul Kleeand LszlMoholy-Nagy, Gropius appointed Bayerdirector of printing and advertising.

In the spirit of reductive minimalism, Bayerdeveloped a crisp visual style and adopteduse of all-lowercase, sans serif typefaces formost Bauhaus publications. Bayer is one of

several typographers of the periodincluding Kurt Schwitters and JanTschichold who experimented with thecreation of a simplified more phonetic-basedalphabet.
http://en.wikipedia.org/wiki/Herbert_Bayerhttp://en.wikipedia.org/wiki/Herbert_Bayer


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B UH US

DOOR KNOB

Arguably the most famous

piece designed by Walter

Gropius, the Bauhausdoorknobs geometric forms

and industrial flourishes, such

as exposed screws, set the

tone for what the Bauhaus

aesthetic was about.

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BAUHAUS PRODUCTS


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BAUHAUS CHESS

SET

This game of chess with clean lines istypical of timeless Bauhaus style.

The Josef Hartwig designed Bauhaus

Chess Set is one of the most perfectchess sets ever created. The BauhausChess Set is one of the mosthistorically significant objects from theBauhaus.

The beautiful chess pieces haveclean modernist shapes in the typicalconstrained minimalist manner.Bauhaus.

BAUHAUS


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BAUHAUS

CHESS SET

The shape of each charactercorresponds to its movement:The queen, which can travelanywhere, is a sphere. The

King, which moves on the axes,is a cube.

Cubes, cylinders and ballslead you move by move to

checkmate.

The Bauhaus Chess Set ismade with hardwood maple.


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This utilises the primarycolours of yellow, red

and blue and thetriangle, square andcircle forms thatKandinsky assigned toeach of theserespectively.

The cradle waspresented at the 1923exhibition the Haus amHorn.


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Believed to

be the first bent tubular steel chairdesign, the Wassily Chair distills thetraditional club chair .

a series of strong, spare lines, executed

with dynamic material counterpoint. Thegleaming.

chrome-finished tubular steel frame-inspired by the graceful, curvinghandlebars of the Adler.

bicycle-is seamless in its assemblage.Thick cowhide leather slings create thedesign's seating.

Surfaces which maintain their crisp.tautness for decades.


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BAUHUAS NESTING TABLES

Nothing quite says "smart"like five separate tables thatfit into the footprint of one.

While at Bauhaus, JOSEFALBERS came up with this

bold and colourful design fora set of nesting tables.

The set of side and endtables are constructed with a

solid wood frame, andpainted glass tops. The topsare lacquered in a retropallete of: pale green,

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BAUHAUS LAMP

The Bauhaus Table Lamp embodies theessential idea that form follows function, asespoused by the influential Bauhaus school.

Originally designed by Wilhelm Wagenfeld,

the lamp has simple geometric shapesacircular base, cylindrical shaft, and sphericalshadeachieving "both maximum simplicityand, in terms of time and materials, greatesteconomy.

" Crafted of clear and opaline glass andnickel-plated metal, this lamp's balancedproportions adhere strictly to the Bauhausdesign, which is featured in the Museums

collection. 75

Bauhaus- The End


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Bauhaus The EndIn 1928 Gropius resigns from the Bauhaus in April to go to Berlin towork as an Architect.

Moholy-nagy, Bayer and Brever also quit the school.

At the suggestion of Gropius , Hannes Meyer is appointed director,Meyer advocates a more scientific approach in the work and the

classes , he considers creativity to be an objective process, whichderives from rationally tangible perception.

In 1930 student political involvement increases; accused for hiscommunist tendencies , the director, Hannes Meyer, is dismissed bythe city of Dessau, following a recommendation by Gropius.

The architect Ludwig Mies Van der Rohe is appointed Director inApril, he assumes his post in autumn.


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Bauhaus- The End

In April 1931, Klee leaves the Bauhaus for an appointment to theAcademy in Dusseldorf, Gunta Stolzl quits in October.

In November 1931, the elections for the municipal council of Dessautake place, the NSDAP is the strongest party, the first point of their

election campaign concerns cutting financial support to the Bauhausand the Demolition if its buildings.

Mies Van der Rohe decides to continue the school as a privateinstitute in Berlin.

This in enabled by the income from royalties.

On April 11 1933 , at the start of the summer semester, the Bauhausbuilding undergoes a police search and is placed under seal , 32students are temporarily arrested.

Bauhaus- The End


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Bauhaus The EndThe future of the school, which is in disastrous financial situation, isuncertain.

On July 20, the final dissolution of the Bauhaus is decided upon atstaff conference.

A letter from the secret state, dated July 21 concerning the re-opening of the school states several conditions, Kandinsky and

Hilberseimer are requested to relinquish their position to staff standing on the soil of national socialist ideology and the newcurriculum should satisfy the claim of new state to its inner structure.

The most prominent Bauhaus teachers emigrate over the course ofthe building years, amongst them Josef Albers ( 1934/ USA), VassilyKandisky (1933/France),Paul Kee (1933/Switzerland), Walter Gropius (1934/ Great Britain,1937/USA), Laszlo Moholy-Nagy (1934/Netherlands, 1935/USA),

Marcel Brever Bayer(1938/USA) Walter Peterhans (1938/USA)

h l


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Bauhaus- ConclusionThe Bauhaus began with an utopian definition : The building of the Future

was to combine all the Arts in ideal unity.This required a new type of artist beyond academic specialisation withholistic vision, for whom the Bauhaus would offer adequate education.In order to develop new teaching goal, the founder Gropius, saw thenecessity to develop new teaching methods and was convinced that thebase for any art was to be found in handcraft, the school will graduallu turn

in a workshop .

Indeed, artists and craftsman directed classes and production together atthe Bauhaus in Weimar, this was intended t remove any distinction betweenfine arts and applied arts.

h l


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Bauhaus- Conclusion

Of coursem the educational and social claim to a new configurationof life and its enviroment could not always be achieved, and theBauhaus was not alone with this goal, but the name became a nearsynonym for this trend.The history of the Bauhaus it by no means linear. The changes indirectorship and amongn=st the teachers, artistic influence from far

and wide, in combination with the political situation in wis=ch theBauhaus experiment was stagged, led to permanent transformation.The numerous consequences of this experiment still today flow intocontemporary life.


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