Bauhaus Archive Berlin Museum of Design
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Editors: Dan Byrne & Sarah Murphy.
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Fo r m a ti on o f t he B auhaus
A r ts & Cr af ts
Developments in Design History 1850 to 1930
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Contents Intro Chapter 1
Pg 8-9 Pg 12-19
Bauhaus
Chapter 2
Pg 20-25
Peter Behrens
Chapter 3
Pg 26-29
Arts & Crafts
Chapter 4
Pg 30-34
Peter Behrens postBauhaus
Chapter 5
Pg 35-37
Art Nouveaou
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Timeline Bauhaus founded
Apr 1, 1919
School relocated to Dessau
Mar 31, 1925
Bauhaus Weimar closes
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Sep 1, 1925
Bauhaus Berlin begins
Oct 1, 1932
Bauhaus Dessau shut down
Dec 1, 1932
Jul 20, 1933
Dissolution of Bauhaus
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CH Bauhaus: 10
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Bauh Origins
Bauhaus was an influential art and design movement that began in 1919 in Weimar, Germany. Teachers and students were encouraged to pursue their crafts together in design studios and workshops. The Bauhaus movement championed a geometric, abstract style featuring little sentiment or emotion and no historical nods, and its aesthetic continues to influence architects, designers and artists.
Bauhaus 1919
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uhau “ Design is not about decorating functional forms – it is about creating forms that accord with the character of the object and that show new technologies to advantage.” Peter Behrens
The school moved to Dessau in 1925 and then to Berlin in 1932, after which Bauhaus under constant harassment by the Nazis finally closed. A Prominent figure in the Bauhaus movement was Peter Behrens He later moved on to combine the Bauhaus design philosophy with a more Arts and Crafts flavour to create a functional design with a pleasing aesthetic.
The Weimar school founded by architect Walter Gropius in 1919 was inspired by Expressionist art and the work of architect Frank Lloyd Wright and designer William Morris. Its creators believed in bringing artists and craftspeople together for a utopian purpose. Under the leadership of Gropius The Bauhaus style of architecture featured rigid angles of glass.
Bauhaus 1925
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The Bauhaus This iconic building, with its spare rectangular shape, glass-curtain walls, and distinctive vertical logo extending up one side, encapsulates the spirit of Bauhaus architecture, and predicts many of the developments that would emerge out of it in the years to come. The Staatliches Bauhaus school of design, architecture and applied arts, also known by just 'Bauhaus' was founded
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in 1919 in the city of Weimar by a German architect called Walter Gropius. Gropius founded this school by combining the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into one school. Bauhaus means “house of building,” a name taken from the similar German word Hausbau, menaing “building of a house.”
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Weimar School
The Staatliches Bauhaus school of design, architecture, and applied arts, referred to as just 'Bauhaus' was founded in 1919 in the city of Weimar by a German architect called Walter Gropius. Gropius founded this school by combining the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into one school. Bauhaus means “house of building,” a name taken from the similar German word
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Hausbau, menaing “building of a house.” In 1925, the Bauhaus moved from Weimar to Dessau, where Gropius designed a new building to house the school. This building contained many features that later became hallmarks of modernist architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel plan, throughout which Gropius distributed studio, class room, and
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administrative space for maximum efficiency and spatial logic. The cabinetmaking workshop was one of the most popular at the Bauhaus. Under the direction of Marcel Breuer from 1924 to 1928, this studio reconceived the very essence of furniture, often seeking to dematerialize conventional forms such as chairs to their minimal existence. Breuer theorized that eventually chairs would become
obsolete, replaced by supportive columns or air. Inspired by the extruded steel tubes of his bicycle, he experimented with metal furniture, ultimately creating lightweight, massproducible metal chairs. The textile workshop, especially under the direction of designer and weaver Gunta Stölzl, created abstract textiles suitable for use in Bauhaus environments.
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Downfall
POLI 18
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Gropius
Meyer Res
Gropius stepped down as director of the Bauhaus in 1928, succeeded by the architect Hannes Meyer (1889–1954). Meyer maintained the emphasis on mass-producible design and eliminated parts of the curriculum he felt were overly formalist in nature. Addi-
Under pressur creasingly righ nicipal govern er resigned as the Bauhaus in was replaced b Ludwig Mies v (1980.351). Mi reconfigured t ulum, with an
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signs
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e from an inht-wing munment, Meydirector of n 1930. He by architect an der Rohe ies once again the curricincreased
During the turbulent and often dangerous years of Wo r l d Wa r I I , m a n y o f t h e key figures of the Bauhaus emigrated to the United States, where their work and their teaching philosophies influenced generations of young architects and designers. Breuer and
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CH Peter Behrens: 20
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“Design is not about decorating functional forms, it is about creating forms that accord with the character of the object and that show new technologies to advantage.” Peter Behrens
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Born Apr 14,1868 Died Feb 27, 1940 Grandfather of Modern Graphic Design
An Architect noted for his influential role in the development of modern architecture in Germany. In addition, he was a pioneer in the field of industrial design. After attending the fine arts school at Hamburg, Behrens went to Munich in 1897 during the time of the renaissance of arts and crafts in Germany. In 1900 the Grand Duke of Hessen called him to his newly founded artists’ colony at Darmstadt. There, Behrens built his own house (1901) with all its furnishings. In 1903 he became director of the arts and crafts school in Düsseldorf. The most important event in Behrens’ career occurred in 1907. Emil Rathenau, general director of the AEG (Allgemeine Elektricitäts Gesellschaft—one of the largest manufacturing concerns in the world), appointed him as artistic adviser for all AEG products. Rathenau was a farsighted industrialist who recognized the industry’s need for the refining hand of an artist. Up to that time Behrens had been a mediocre painter, producing woodcuts, book covers, ceramics, interiors, fabrics, and carpets, but he began to concentrate intensely on creative work in the industrial sphere. His contributions included the hexagonal trademark of the AEG, its catalogs, and its office stationery, products such as electric fans and street lamps, and retail shops and factories. Between 1909 and 1912 he built the AEG factory complex. His turbine assembly works with its glass curtain wall was the most influential building in Germany at that time. During that period Walter Gropius, Ludwig Mies van der Rohe, and Le Corbusier worked in his office.
Peter Behrens image https://www.azquotes.com
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P et er Behre ns
Peter Behrens
Pro Bauhaus Early Years
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CH Arts & Crafts: 26
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18 61 William Morris
The Arts and Crafts Movement
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One of the big influencers of the Arts & Crafts Movement who inspired was William Morris. Him and a couple other artists founded decorative arts firm, Morris, Marshall, Faulkner & Co. in 1861, where t h e y c r a t e d w a l l p a p e r, t e x t i l e s , f u r n i t u r e and stained glass. Over the years, they got many important interior design commissions for places like, St. James's Palace and the Green Dining Room at the now Victoria & Albert Museum. Morris was adamant that he had to master ever y technique that was made in an items production before he let it be made and wanted to be involved in ever y stop of production. In 1877 he opened a store on Oxford Street, with trained staff. Thanks to his work, the movement travelled to Europe and the USA. An influential piece is the Strawberr y Thief by William Morris (1883) The pattern was intended to be used for curtains or hung on walls, as a medieval style of decoration The pattern was based on the thrushes that would steal strawberries from the kitchen in his countr y home at K e l m s c o t t M a n n e r. F i n a l l y, G r o p i u s i n 1 9 1 0 , a l o n g w i t h A d o l f M e y e r, c r e a t e d o n e o f t h e m o s t i m p o r t a n t modernist buildings of their time, The F a g u s F a c t o r y, a s h o e l a s t f a c t o r y. E v e n though they only designed the façade, the glass curtain walls of this building showed Gropius's concern with providing good conditions for the working class.
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CH Peter Behrens Post Bauhaus: 30
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Peter Behre ns p o s t B auh aus
The Beggining of Modern Graphic Design
AntiBauhaus The Grandfather of Industrial Graphic Design
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Peter Behrens was the first person to design logos, advertising material and publications with a consistent unified design, He once said, “Design is not about decorating functional forms – it is about creating forms that accord with the character of the object and that show new technologies to advantage.” He was the father of industrial design, he created the company AEG whole identity using his initial product design mindset to create factories tailored to fit AEG and its workers needs beginning a trend to create a corporate identity.
His later buildings demonstrated his belief that a building complex must have a heavy massiveness. Deutscher Werkbund was a German artists organization an organization of architect's artists designer's craftsmen political economists and industrialists that wanted educational and industrial reform. its Alternate titles were German Association of Craftsmen, German Labour League. They proposed that form be determined only by function and that ornamentation be eliminated. Soon after the Werkbund was founded, it divided into two factions. One, championed by Muthesius, advocated the greatest possible use of mechanical mass production and standardized design. The other faction, headed by van de Velde, maintained the value of individual artistic expression.
Peter Behrens Fan (model GB1) c. 1908
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Art Nouveau
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Art Nouveau sought out to modernize design. Artist gained inspiration from both organic designs such as plants and geometric forms using mostly natural colors like muted browns, yellow and blues. The style aimed to abolish traditional forms of liberal arts, such as paintings and sculptures. The style viewed a revival in the 1960s due to the psychadelic movement. An influential piece is the Strawberr y Thief by William Morris (1883) The pattern was intended to be used for curtains or hung on walls, as a medieval style of decoration The pattern was based on the thrushes that would steal strawberries from the kitchen in his c o u n t r y h o m e a t K e l m s c o t t M a n n e r. The academic system, which dominated art education from the 17th to the 19th c e n t u r y, u n d e r p i n n e d t h e w i d e s p r e a d belief that media such as painting and sculpture were superior to crafts such as furniture design and ironwork. Many Art Nouveau practitioners felt that earlier design had been excessively ornamental, and in wishing to avoid what they perceived as frivolous decoration, they evolved a belief that the function of an object should dictate its form. In practice this was a somewhat flexible ethos, yet it would be an important part of the style's legacy to later modernist movements, most famously the Bauhaus.
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"Don't think that even an engineer, when he buys a motor, takes it to bits to scrutinize it. Even he as a specialist buys from the external appearance. A motor ought to look like a birthday present." Peter Behrens
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Bibliog Art Nouveau, William Morris, Peter Behrens, The Bauhaus www.theartstory.org Web
Peter Behrens
www.britannica.com Apr 10, 2022 Web
The Bauhaus
https://www.metmuseum.org August 2007 Web
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graphy Images
Dessau The Bauhaus https://www.bigstockphoto.com/image-313191175/ stock-photo-bauhaus-in-dessau-in-black-and-white Peter Behrens https://www.azquotes.com/author/45170-Peter_Behrens Fan https://www.moma.org/collection/works/1603 Art Nouveau Border https://www.pinclipart.com/downpngs/miJhx_free-download-clip-art-border-clipart-frames-border/
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Published in 2022 Edited by Dan Byrne & Sarah Murphy Institute of Art, Design & Technology Kill Avnue, Dun Laoghaire, Co, Dublin, Ireland Phone +353 1 239 4000 Email: info@iadt.ie www.iadt.ie Copyright © 2022 All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including but not limitted to photocopying, recording or other electronic / mechanical method ithout prior written permission of the publisher Text and cover design by Ivan Dimitrov
Bauhaus Archive Berlin Museum of Design
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Design is not about decorating functional forms, it is about creating forms that accord with the character of the object and that show new technologies to advantage. Peter Behrens
Bauhaus Archive Berlin 46 Museum of Design