From Wikipedia, the free encyclopedia

Bauhaus (help·info) is the common term for the Staatliches Bauhaus (help·info), a school in Germany that combined crafts and the fine arts, and for the approach to design that it publicized and taught. It operated from 1919 to 1933. The Bauhaus school was founded by Walter Gropius. The name Bauhaus stems from the German words for "to build" and "house." Ironically, despite its name and the fact its founder was an architect, the Bauhaus did not have an architecture department for the first several years of its existence. Bauhaus style became one of the most influential currents in Modernist architecture and modern design.^[1]

The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design and typography.

The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932, Berlin from 1932 to 1933), under three different architect-directors (Walter Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930, Ludwig Mies van der Rohe from 1930 to 1933). The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. When the school moved from Weimar to Dessau, for instance, although it had been an important revenue source, the pottery shop was discontinued. When Mies took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.

László Moholy-Nagy revived the school for a single year in Chicago as the New Bauhaus.

Contents 1 Political context 2 Bauhaus and German modernism 3 History of the Bauhaus 3.1 Weimar 3.2 Dessau 3.3 Berlin 4 Architectural output 5 Impact 6 Gallery 7 See also 8 External links 9 References

The foundation of Bauhaus occurred at a time of crisis and turmoil in Europe as a whole and particularly in Germany. Its establishment resulted from a confluence of a diverse set of political, social, educational and artistic development in the first two decades of the twentieth century.

The conservative modernisation of the German Empire during the 1870s had maintained power in the hands of the aristocracy. It also necessitated militarism and imperialism to maintain stability. By 1912 the rise of the leftist SPD had galvanized political positions with notions of international solidarity and socialism set against imperialist nationalism. World War I ensued from 1914–18.

In 1917 in the midst of the carnage of the First World War, workers and soldier Soviets seized power in Russia. Inspired by the Russian workers and soldier Soviets, similar German communist factions—most notably The Spartacist League—were formed, who sought a similar revolution for Germany. The war provoked the German Revolution, with the SPD securing the abdication of the Kaiser and the formation of a revolutionary government. On 1 January 1919, the Spartacist League attempted to take control of Berlin, an action that was brutally suppressed by the combined forces of the SPD, the remnants of the German Army, and paramilitary groups (Freikorps).

Elections were held on the January 19, and the Weimar Republic was established. Communist revolution was still a tangible prospect for many; indeed, a Soviet republic was declared in Munich, before its suppression by the paramilitary Freikorps and regular army. Sporadic fighting continued to flare up around the country.

For more details on this topic, see New Objectivity (architecture).

The design innovations commonly associated with Gropius and the Bauhaus -- the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit -- were already partly developed in Germany before the Bauhaus was founded.

The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1870 members (by 1914).

Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meier worked for him in this period.

The Bauhaus was founded in 1919, the same year as the Weimar Constitution, and at a time when the German Zeitgeist turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building.

Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a 'minimal dwelling' written into the Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.

The entire movement of German architectural modernism was known as Neues Bauen.

Bauhaus and its Sites in Weimar and Dessau*
UNESCO World Heritage Site
State Party	Germany
Type	Cultural
Criteria	ii, iv, vi
Reference	729
Region†	Europe and North America
Inscription History
Inscription	1996  (20th Session)
* Name as inscribed on World Heritage List. † Region as classified by UNESCO.

The school was founded by Walter Gropius in conservative Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the Arts & Crafts school founded by William Ernest, Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde.^[2] When van de Velde was forced to resign in 1915 because of his status as an alien, he suggested Walter Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over the ideological and socio-economic reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Walter Gropius was made the director of a new institution integrating the two called the Bauhaus.^[3] In the pamphlet for an April 1919 exhibition entitled 'Exhibition of Unknown Architects', Gropius proclaimed his goal "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks along with Gropius comprised the faculty of the Weimar Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky ^[4]

From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the the ideas of the Bauhaus.^[5] Itten was heavily influenced in respect to pedagogy by the ideas of Franz Cižek and Friedrich Wilhelm August Froebel an in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favored by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Johannes Itten was replaced by László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Walter Gropius which was analogous in some ways to the the applied arts side of the debate. Although this shift was and important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-econimic movement that had been going on at least since 1907 when Henry van de Velde argued for a craft basis for design while Hermann Muthesius began implementing industrial prototypes.^[6]

Walter Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, with out the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the Völk, instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."^[7] Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called "Bauhaus" and a series of books called "Bauhausbücher". Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school’s philosophy basically stated that the artist should be trained to work with the industry.

Thuringian Parliamentary support for the school came from the Social Democratic party. 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's funding in half. they had already been looking for alternative sources of funding. Together with the Council of Masters he announced the closure of the Bauhaus from the end of March 1925.

After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus University Weimar.

Walter Gropius' design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the kitchy Völkisch Sommerfeld House that was the product of a post-war reactionary nostalgia.^[8] The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer. Gropius would come to regret this decision.

The charismatic Meyer rose to director when Gropius resigned in February 1928, and Meyer brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.

But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other longtime instructors. As a vocal Communist, he encouraged the formation of a Communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school, and to the personal safety of anyone involved. Meyer was also compromised by a sexual scandal involving one of his students, and Gropius fired him in 1930.

Although neither the Nazi Party nor Hitler himself had a cohesive architectural 'policy' in the 1930s, Nazi writers like Wilhelm Frick and Alfred Rosenberg had labelled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for Communists, Russian, and social liberals. Indeed, second director Hannes Meyer was an avowed Communist, and he and a number of loyal students moved to the Soviet Union in 1930.

Under political pressure the Bauhaus was closed on the orders of the Nazi regime on April 11 1933. The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's Architects of Fortune.

The paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school wouldn't offer classes in architecture until 1927. The single most profitable tangible product of the Bauhaus was its wallpaper.

During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to unbuilt projects, interior finishes, and craft work like cabinets, chairs and pottery.

In the next two years under the outspoken Swiss Communist architect Hannes Meyer, the architectural focus shifted away from aesthetics and towards functionality. But there were major commissions: one by the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution.

And then Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius' "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither Mies nor his Bauhaus students saw any projects built during the 1930s.

The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. In Taut's case, the housing may still be seen in SW Berlin, is still occupied, and can be reached by going easily from the Metro Stop Onkel Tom's Hutte.

The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States and Israel (particularly in White City, Tel Aviv) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, has been named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture [1][2].

Gropius, Breuer, and Moholy-Nagy re-assembled in England during the mid 1910s to live and work in the Isokon project before the war caught up to them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split in 1921. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others.

In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute.

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 were important components. Vorkurs ("initial" or "preliminary course") was taught; this is the modern day Basic Design course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent.

One of the most important contributions of the Bauhaus is in the field of modern furniture design. The world famous and ubiquitous Cantilever chair by Dutch designer Mart Stam, using the tensile properties of steel, and the Wassily Chair designed by Marcel Breuer are two examples.

The physical plant at Dessau survived the War and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s [3].

In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.

American art schools have also rediscovered the Bauhaus school. The Master Craftsman Program at Florida State University bases its artistic philosophy on Bauhaus theory and practice.

Many outstanding artists of their time were lecturers at Bauhaus:

Anni Albers Josef Albers Herbert Bayer Max Bill Marianne Brandt Marcel Breuer Avgust Černigoj Werner Drewes Lyonel Feininger Naum Gabo Walter Gropius Ludwig Hilberseimer Johannes Itten Wassily Kandinsky

Paul Klee Gerhard Marcks László Moholy-Nagy Piet Mondrian Georg Muche Ludwig Mies van der Rohe Hinnerk Scheper Oskar Schlemmer Joost Schmidt Lothar Schreyer Naum Slutzky Wolfgang Tumpel Gunta Stölzl

Stage	Ceiling with light fixtures for stage	Studio wing	Mechanically opened windows
Mensa (Dining room)

• Bauhaus Archive
• New Objectivity (architecture)
• International style (architecture)
• Bauhaus in Budapest
• New Bauhaus

• http://www.mastersofmodernism.com/?page=Modernism
• Bauhaus-Archiv in Berlin
• Foundation bauhaus dessau
• master of Architecture -MArch- master DIA/dessau
• Review of Hotel Brandenburger Hof Berlin with Bauhaus design furniture
• Summary of the Bauhaus
• Marguerite Wildenhain and the Bauhaus A detailed account of ceramics at the Weimar Bauhaus.
• Bauhaus School
• Bauhaus in America. A documentary describing the impact on Bauhaus on American architecture.
• Bauhaus in Budapest
• Bauhaus in Tel Aviv
• Student Short Film on late Bauhaus (2006)
• Memories of one of the few English-speaking Bauhaus students

• Oskar Schlemmer. Tut Schlemmer, Editor. The Letters and Diaries of Oskar Schlemmer. Translated by Krishna Winston. Wesleyan University Press, 1972. ISBN 0819540471
• Magdalena Droste, Peter Gossel, Editors. Bauhaus, Taschen America LLC, 2005. ISBN 3822836494
• Marty Bax. Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum. Amsterdam, Architectura & Natura 1991. ISBN 9071570045

v • d • e Western art movements

The Renaissance · Mannerism · The Baroque · The Rococo · Neo-Classicism · Romanticism · Realism · Pre-Raphaelite · Academic · Impressionism · Post-Impressionism 20th century Modernism · Cubism · Expressionism · Abstract expressionism · Abstract · Neue Künstlervereinigung München · Der Blaue Reiter · Die Brücke · Dada · Fauvism · Art Nouveau · Bauhaus · De Stijl · Art Deco · Pop art · Futurism · Suprematism · Surrealism · Color Field · Minimalism · Lyrical Abstraction · Post-Modernism · Conceptual art · Young British Artists

v • d • e World Heritage Sites in Germany

Aachen Cathedral · Abbey and Altenmünster of Lorsch · Castles of Augustusburg and Falkenlust at Brühl · Town of Bamberg · Bauhaus and its Sites in Weimar and Dessau · Museumsinsel (Museum Island), Berlin · Classical Weimar · Cologne Cathedral · Garden Kingdom of Dessau-Wörlitz · Dresden Elbe Valley · Mines of Rammelsberg and Historic Town of Goslar · Lübeck · Luther Memorials in Eisleben and Wittenberg · Maulbronn Monastery Complex · Messel Pit Fossil Site · Monastic Island of Reichenau · Muskauer Park (with Poland) · Collegiate Church, Castle, and Old Town of Quedlinburg · Palaces and Parks of Potsdam and Berlin · Pilgrimage Church of Wies · Old Town of Regensburg with Stadtamhof · Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier · St. Mary's Cathedral and St. Michael's Church at Hildesheim · Speyer Cathedral · Historic Centres of Stralsund and Wismar · Town Hall and Roland on the Marketplace of Bremen · Upper German Raetian Limes (with UK) · Upper Middle Rhine Valley · Völklingen Ironworks · Wartburg Castle · Würzburg Residence with the Count Gardens and Residence Square · Zollverein Coal Mine Industrial Complex in Essen

....