achieve international fame.. Kandinsky..... by greg ciro tornincasa Bauhaus wallpaper is put on the market and becomes the most successful commercial product of the school... Reich. The school counts 14 students.......... 17 by greg ciro tornincasa Gropius proclaims a new program dominated by the importance of industry and science for design........ the municipal council of Dessau........... On April 11.. Under political and financial pressure.... BAUHAUS CONCEPTS ... the Bauhaus building undergoes a police search and is placed under seal..... Gropius coins his new concept in the slogan “Art and technology .. 27 by wang phan BIBLIOGRAPHY . It is the first project involving the aspired unity of arts in architecture. 2 by sandra bradley Gropius restructures his ideas as to the aims of the Bauhaus... The elections for the municipal council of Dessau take place... the final dissolution of the Bauhaus is decided upon at a staff conference. FEELING BAUHAUS ... HAUS TABLE OF CONTENTS by kimberlee osmun 21 22 23 24 25 Gropius and Adolf Meyer build the Haus Sommerfeld in Berlin in an expressionist style. decides to take over the Bauhaus as a municipal school...... 6 by wang phan & kimberlee osmun Preparations start for the “Bauhaus Exhibition”.......... LOVE TRIANGLES .... Mies van der Rohe decides to continue the school as a private institute in Berlin...... and Breuer also quit the school.. The first point of their election campaign concerns cutting financial support to the Bauhaus and the demolition of its buildings...000 guests attend the opening of the new school building in Dessau designed by Gropius and equipped by the Bauhaus workshops......... and Peterhans are still on the teaching staff.. THE ARTISTS ...as well as the school building the houses for the Bauhaus masters and the housing project in Dessau . In March....... The Bauhaus experiences first public hostility... A bill was passed to close the Bauhaus school.. on the initiative of the Lord Mayor Fritz Hesse.... 13 by sandra bradley The “Circle of Friends of the Bauhaus” is founded in order to offer moral and practical support for the school.. 1933 1 .... but flare up in the context of artistic issues....... The major focus is directed towards reflecting on industrial methods of production and their consequences for design.... Moholy-Nagy... Albers... 23 kimberlee osmun 26 27 28 29 30 31 32 On December 4... at the start of the summer semester..a new unity” and thereby recognizes industry as a decisive power of the BRADLEY MANIFESTO . The spectacular new buildings .. 31 by greg ciro tornincasa Gropius resigns from the Bauhaus in April to go to Berlin to work as an architect... the first purely artistic courses to be available... A department for architecture is set up under the guidance of Hannes Meyer........ planned as a first comprehensive public account of the schoolʼs activities...... over 1. CHRONOLOGY .TABLE OF CONTENTS COVER by wang phan BAU INSIDE CHRONOLOGY 1919 20 The Bauhaus.. On July 20..... Klee and Kandinsky give courses in free painting.. the masters decide to close the school in April of 1925.... Hilberseimer......... founded in Weimar 1919 by Walter Gropius....... Ludwig Hilberseimer is appointed to the building department.. The most prominent Bauhaus teachers emigrated over to the United States and through parts of Europe. 1 by greg ciro tornincasa HISTORY ........... 32 students are temporarily arrested. The attacks are ideological. BACK COVER A department for photography is created under Peterhans... Bayer.

rectangles. and sculptors must once again come to know and comprehend the composite character of a building. 3) Eventually gain independence from government support by selling designs to industry. was a leader of the Werkbund movement. rules. Many of them were adopted by the factories for production..E S S E N C E P O T 19 2 4 NEXT 3 . Marcel Breuer. others to fascism. Photography was taken more seriously as an art form. the community has to accept the artist and support him. artists. There were several types of workshops available: metal. weaving. teapots. Every student had to complete a compulsory preliminary course. There is no essential difference between the artist and the craftsman. “Architecture House”.rag right typography Copy rotated 90 degrees Only structurally essential components used Elementary forms and the use of black plus one bright hue Color tints emphasize key words Open composition on an implied grid system of sizes for type.BAU INSIDE HISTORY ROOTS OF BAUHAUS: Bauhaus can be traced to the the Deutsches Werkbund movement in Germany which sought to elevate the production of everyday objects from utilitarian to art. THE BAUHAUS BUILDING SEEN FROM THE SOUTH WEST B A C K C O V E R O F A B R O C H U R E F O R T H E C I T Y O F D E S S A U I N 19 3 1 B Y JOOST SCHMIDT BAUHAUS CHARACTERISTICS IN GRAPHIC DESIGN: Geometric. we must all return to crafts! For there is no such thing as “professional art”. after which he or she had to enter a workshop of his or her choice. and fine art. or lived in a house partly or entirely constructed from prefabricated elements. 2) Elevate the status of crafts. Its program was based on the newest knowledge in pedagogy. bars. art proper and architecture. furniture design. Today they exist in complacent isolation. It will combine architecture. painters. used an adjustable reading lamp.” . The basic idea of the Bauhaus teaching concept was the unity of artistic and practical tuition. some others. in 1919. and painting in a single form. all seemed to turn against the bourgeois ideals of capitalism.” BAUHAUS. chairs. From Bau = Building (Bauen=to Build) + Haus = house. glass painting. An artist must be conscious of his social responsibility to the community. BAUHAUS SCHOOL: The origins of Bauhaus were far from the earlier methods of education in industrial art. Wassilly Kandinsky. Fulfilling his “needs” became the Mission of the intellectuals and planners of the new order. both as an entity and in terms of its various parts. on the other hand. The “worker” became the new Hero. A R I A N N E B R A N D T S M A L L T E A . The Bauhaus faculty came from all over Europe.... and the rest of Europe. furniture. If youʼve ever sat on a chair with a tubular steel frame...San Serif Introduction of flush left . and rules to unify or separate elements versus being used for decoration Horizontals and verticals were dominant Extreme contrast in type size and weight to achieve various degrees of emphasis Type and pictures sized to the same column width Typography without capitals . the economy collapsed and it seemed evident that a new order of thinking would be necessary in order to bring Germany. factory owners and art patrons together in 1097 to provide impetus and financial support to experimental design. The idealistic basis of Bauhaus was a socially orientated program. to the same level enjoyed by fine arts. For example. typography. triangles. cabinet making. functional and modern Order. Laszlo Moholy-Nagy. and they were also eagerly copied. it has lost. pottery. WALTER GROPIUS BAUHAUS MANIFESTO WOODCUT C O V E R L Y O N E L F E I N I N G E R 1919 POLITICAL CLIMATE: Germany was defeated in WWI. painting. J O O S T S C H M I D T P O S T E R F O R T H E 19 2 3 B A U HAUS EXHIBITION IN WEIMAR BAUHAUS GOALS: 1) Encourge the individual artisan and craftmans to work cooperatively and combine their skills. etc. Paul Klee. This new school resulted in the merger the Weimer Art Academy and the Weimer Arts and Crafts which. “Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire. and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Germany. “Architects. etc. conceive. and included Josef Albers. and fine arts were indispensable to great architecture. Werkbund gathered architects. Then their work will be filled with that true architectonic spirit which. as “salon art”. architecture. And he rekindled the Werkbund intentions and philosophy when he was invited to head a new school in Weimer. It failed. HAUS 2 GROPIUSʼ MANIFESTO: Here is the excerpt from the manifesto: w“The ultimate aim of all creative activity is a building! The decoration of buildings was once the noblest function of fine arts. The artist is an exalted craftsman. While some looked to Marxism. wood sculpture. asymmetry Rectangular grid structure Circles. textile. and Hannes Meyer. thousands of experiments with textiles were performed. Walter Gropius. Architects. and pictorial images brought unity to the designs BAUHAUS EMBRACED: The industrial age and the workshops were the birthplaces of new industrial designs. you have benefited from a revolution in design largely brought about by the Bauhaus. three-dimensional work. Lyonel Feiniger. and create the new building of the future together. back to stability. painters. [ ger. scultping.. lit. squares. wall painting. a German architect. Johannes Itten. lamps. sculptors. sculpture.” . became the Bauhaus school. Innovation ran rampant through the Bauhaus resulting in a multitude of advances affecting the most basic aspects of life.

spatial.BAU INSIDE HISTORY BAUHAUS DEMISE: Bauhaus in general was not embraced by the public. kinetics and painting. L A S Z L O M O H O L Y .N A G Y. U N T I T L E D C O N S T R U C T I O N 19 2 2 T E M P E R A & C O L L A G E O N P A N E L HAUS 4 INFLUENCES OF BAUHAUS: Constructivism is a term used to define a type of totally abstract (non-representational) relief construction. Americaʼs International Style became a symbolism of Capitalism. De Stijl established the strictly horizontal/vertical format that became known as Neo Plasticism. architectonic and experimental in the use of industrial material. RUSSIA 1910-1921: During the early part of this period the Russian avant-garde embraced Cubism and Futurism and moved toward a non-objective art (art without subject) exemplified by Kasmir Malevichʼs development of Suprematism. Mondrian developed his distinctive style of nonrepresentational grid painting independently from the Russians. industry. Y E L L O W A N D B L U E 19 2 0 O I L O N C A N V A S THE NEW BAUHAUS: In the wake of Nazi power. Gropius was made head of the swaus in 1930. Floor plans are open and furniture is functional.N A G Y. C O M P O S I T I O N W I T H R E D . Many emigrated to the United States. While Bauhaus architecture had been concerned with the social aspects of design.1931: Theo van Doesburg and Piet Mondrian formed the Dutch De Stijl group in 1917. C O M P O S T I O N 2 2 19 2 0 . nor government. The term International Style was applied to the American form of Bauhaus architecture.2 2 HOME 5 . L A S Z L O M O H O L Y . gray. and cosmopolitan “nonGerman” viewpoints . Bolsheviks. In 1913-14 Vladimir Tatlin made and exhibited several relief constructions using industrial materials inspired by the Furturist Umberto Boccioniʼs vision of ʻplastic configurations in spaceʼ and the 3D collages seen in Picassoʼs Paris studio. was installed as dean of architecture at the Armour Institute in Chicago. T H E O V A N D O E S B U R G . The Suprematists deliberately given up objective representation of their surroundings in order to reach the summit of the true “unmasked” art and from this vantage point to view life through the prism of pure artistic feeling. The work is ordered and often minimal. The name came from the book The International Style by historian and critic HenryRussell Hitchcock and architect Philip Johnson. And by April 1933. former Bauhaus students and teachers fled Germany. One significant outcome of the new Bauhaus in the United States is the International Style architecture. The principles of constructivism theory are derived from three main movements that evolved in the early part of the 20th century: Suprematism in Russia. smooth façades and cubic shapes. Tatlin used the term Constructivism to describe these works. beige or black. The Nazis saw Bauhaus as haven for Jews. sculpture. DE STILJ 1917. and forced the Bauhaus school to close. Colors are white. Bauhaus was no more in Germany. the Nazis gained control of city parliament. De Stijl (Neo Plasticism) in Holland and the Bauhaus in Germany. P H O T O G R A M 19 2 2 Bauhaus buildings have flat roofs. geometric. In 1932. P I E T M O D R I A N .

Bauhaus was a merger between Weimar Art Academy and Weimar Arts and Crafts. the conscious. He introduced the bauhaus design concepts and pushed for standardization and prefabrication. 19 2 3 O I L O N C A N V A S . HAUS 6 WA LT ER GROPIUSʻ HOUSE SEEN FROM T HE SOU T H W ES T THE BAUHAUS BUILDING SEEN FROM THE SOUTH WEST WASSILY KANDINSKY was born in Moscow in 1866. photography. 4 3 1/4 X 4 7 1/ 8 I N C H E S . Kandinsky learned to play piano and cello at an early age. his reputation actually began to build while working with Adolf Meyer constructing buildings. the art critics. and the transcendence of representation by increasingly abstract imagery. J U N E 19 13 . They designed 2 buildings that made him famous throughout Europe. 70 X 49 C M . and often caused controversy among the public. S M A L L P L E A S U R E S . industrial design. O I L C A N V A S . began studying architecture at the age of 20. At age thirty. The bauhaus had great master teaching various mediums from painting. deliberate planning of the composition. Gropius left Germany in 1934 due to Nazi opposition. O C T O B E R 19 2 9. his work was exhibited throughout Europe from 1903 onwards. Just as symphonies define milestones in the career of a composer. Kandinsky is considered to be the founder of abstract art. he transformed building into a science of precise mathematical calculations. He also spent his time writing about spirituality. He later joined the architecture department of Harvard University. sketching and anatomy in Munich. 1 0 5 X 9 8 C M U P W A R D ( E M P O R ) . NEXT 7 . Kandinskyʼs compositions represented the culmination of his artistic vision at a given moment in his career. His paintings are greatly influenced by music.BAU INSIDE THE ARTISTS WALTER GROPIUS Born in Berlin in 1883. Gropius created innovative designs that borrowed materials and methods of construction from modern technology. While at the University in Moscow. They share several characteristics that express this monumentality: the impressively large format. architecture and other forms of design. the Fagus Works in Alfeld and factory buildings for the Cologne Werkbund exhibition. O N W H I T E I I . O I L O N C A RDBOA RD. Kandinsky viewed his compositions as major statements of his artistic ideas. Using technology as a basis. Though Gropius is known for his bauhaus involvement. Kandinsky studied law and economics. and his contemporaries. a multi-disciplinary design school that pushed innovation. Kandinsky left Moscow and went to study life-drawing. He is mostly known for creating the bauhaus.

In order to successfully communicate meaning to a public he believed that art must parallel contemporary reality. and he achieved this by using geometric abstraction. 6 X 3 9. 5 4 . 5 X 2 4 . the use of which would promote a more unified social environment. 3 7 X 2 9 1/ 8 " 19 3 7 .3 8 C O L O R P R I N T .9 X 26. 19 2 4 . and materials. He did this by giving his students wire netting. 19. which would later be evident in his photographic artwork. JOSEF ALBERS Through his teachings of design and the behavior of materials Josef Albers helped students develop an understanding of “the static and dynamic properties of materials .BAU INSIDE THE ARTISTS LÁSZLÓ MOHOLY-NAGYʼS Nagy taught the theoretical aspects of art and communication arts he believed intuition in the creative process was indispensable and it was necessary to combine conscious analysis with the powers of dynamic intuition. A I I . He was concerned that future generations understand his often stringent working methods.”. O I L O N C A N V A S . 5 NEXT 9 . In figure A II and AXL II we see how he has created a three dimensional space using almost translucent shapes that overlap each other. colors. And if it is true. 4 5 5 / 8 X 5 3 5 / 8 " HAUS 8 A X L I I . razor blades. 19 2 7.” FRONTAL. 5 P A P E R . and other unusual materials to create constructions of art. and opacity. 5 X 19. phonograph needles. Through his view that art could be harnessed for collective social reform he strove to define an objective science of essential forms. In his own work he began to investigate color theory and composition through mathematical proportions as a way to achieve balance and unity in his art.” Through “accidental” effects such as ripples and bubbles inherent in the medium of stained glass he created sophisticated designs that explored the balance. A S S E M B L Y ( V I V E X ) P RO CE SS 3 4. cvFormulae alone could never be the sole basis for creation. SANDBL ASTED FL ASHED GL ASS W I T H F I R E D B L A C K G L A S S E N A M E L . 13 3 / 16 X 18 3 / 8 ". O I L O N C A N V A S . .5 C M . His artwork often heavily documented as to the proportions and mathematical schemes are evident in his later works such as Homage to the Square. His first painting on clear plastic created a profound interest in the effects of light. . matchboxes. and only the quality of spirit gives the arts an important place in … life. GL A SS A SSE MBL AGE MOUN T ED ON A BR A SS SHEE T. 19 2 7. He did not profess metaphysical concerns. through direct experience. itʼs ethical and aesthetic. 4 C M S P I X ( 19 6 7 ) S C R E E N P R I N T 2 4 . Albers believed that “Art is spirit. however he also believed “Any form [of art] is acceptable if it is true.

After his visit to Tunisia he was so overwhelmed by color that he wrote: ”Color has taken possession of me. Influenced by Francisco de Goya his earlier works combine satirical. watercolors and drawings. I know that it has hold of me forever. no longer do I have to chase after it.” Klee later believed that through a wide range of media using inventive techniques complex symbols and signs he could communicate and create visible messages.” This new love for color is evident in his piece Red and White Dome. I am a painter. 6 X 13 . a built up composition of colored squares that have a distinctive radiance. 7 C M H E A D O F M A N ( G O I N G S E N I L E . Color and I are one. Klee also gives further dimensions of meaning to his work by giving them peculiar and evocative titles. X 2 8 " H I G H W A Y A N D B Y W A Y S 19 2 9 HOME 11 . He did this through line and color creating several mosaics and producing other effects. 19 2 2 ) 2 2 I N . HAUS 10 R E D A N D W H I T E D O M E S 19 1 4 W A T E R C O L O R AND BODY COLOR ON JAPANESE VELLUM M O U N T E D O N C A R D B O A R D 1 4 .BAU INSIDE THE ARTISTS PAUL KLEE Being born into a family of musicians Kleeʼs work was often gently and humorous with allusions of dreams music and poetry in small scale delicate paintings. grotesque and surreal elements in etchings as well as pen and ink. it makes visible. “Art does not reproduce the visible. That is the significance of this blessed moment.

SANDRA BRADLEY 13 .

HOME .

GREG CIRO TORNINCASA 17 .

These were all typical elements of the Bauhaus style which played a major role in the visual communication of information.Click in the movie box below to view BAUHAUS CONCEPTS pop-up BAU CONCEPTS From the Bauhaus School came the use of strong horizontal and vertical rules along with bold primary colors. Geometric shapes unified or separated elements rather than being used as decoration. HAUS HOME .

KIMBERLEE OSMUN 23 .

After studying the Bauhaus movement. Immediately it reminded me of a picture I took of my friend Heather many years ago. detached cold yet inviting. She felt that it was more of an everyday object something rational. yet extremely interesting and fascinating. Even though it was in black and white she saw blue. but not. “Struck From The List”. The third piece was a table by Albers. this reminded her of cubism. Her mood was hard. creative. it was industrious.Feeling BAUHAUS ask the simple question what do you feel when you see a piece of artwork or architecture from this period. and carefree. The first picture I showed her was “Albers Bowl”. not just because she is my friend. Next I showed her a black and white photo of “Albers Glass”. looking forward. interesting. or even a Catholic Church. I decided to explore this issue by interviewing my friend Sarah Arthur. Perhaps this is due to the idea that Bauhaus art often serves more of a function rather than just being a piece of art. red and a little green. This figure looked nurturing pragmatic caring attached bored. She said it reminded her of the 70’s and it looked like an ashtray. She thought it was clean artistic. she could imagine a workshop with tools. but because she had taken classes in architecture appreciation and was quite familiar with the Bauhaus movement. I think it goes a little deeper and is maybe often unrecognized. Gropius Masters looked like a Miami Nightclub because of the railings. which served as a church from time to time. As I interviewed her I realized this question was more challenging than I had imagined. It made her think of infinity it just kept going. balanced. unemotional. Please enjoy the images and interview bellow! After looking at all of these objects and architecture I finally decided to show her a painting by Klee. It was contrasted divided not a lot of windows but open. sunny. She thought the composition looked like a poised feminine lady with a hair bun. and she implied that it had no mood or feeling. It made her feel like making something. It does not offer gratification. in black and white. flat walls and glass. FEELINGBAUHAUS HOME . The Bauhaus building reminded her of a shoebox or a train station. I felt it was unlike most other movements. Her mood was artsy intellectual. I remembered that while in France she was moved by the Pantheon. concentrated. one must think about how it makes them feel. work by Frank Loyd Wright. focused. by Picasso.

WANG PHAN 27 .

I see her fading into the distance. ungrounded. The city is busy. She gives me a shy half smile before she responds. She walks off the steel platform looking at me with a shy half smile thatʼs making me run around in circles. As I get onto the bus. uncomplicated. like a moving painting beautifully framed by the busʼ window trimmings. but I donʼt know what else to ask her. All I know is. Iʼm happy being innocently infatuated. The light blinks. I wonder how the city looks like from above. her voice sings like music against the background ambience of the buses and the city noise. My eyes naturally wander.I see her on Thursdays at three oʼclock. Thatʼs the time when lives intersect. I find myself standing still in the middle of the sidewalk. like accidental grid patterns. undecorated. “Excuse me. Waiting in the bus line. through soft spoken words my ideas are emphasized. Iʼm telling you.a sense of freedom. The bus stops. but for now. I cover my face realizing that this girl has gotten to me. Plastic chairs and metal bars. Bright blue buses juxtaposed against tall white buildings. should I scream. The girl with no name. Next Thursday. The beauty is in her eyes. I naturally sit myself parallel to her. I ran out of things to ask her. The red blinking light . I canʼt help but to smile. I look through the back window as the bus takes off. like sitting alone on an empty page looking for a line to follow. . I canʼt help but to stare. This is how she makes me feel. The bus comes to a stop accompanied by thin screeches and heavy rumbles. Time passes. I will see her again. I feel weightless. To get her attention. HOME . or should I whisper? The whisper seems to be effective. Everything on the bus is lined up and well-organized. Simple. do you know how I can get to the beach?” I really donʼt care for the beach. I ran out of things to say. The girl is like a circle in a room full of squares. After receiving directions to the beach.itʼs like looking at myself in the mirror. she looks cute. but Iʼm too busy staring at her to listen. She is telling me the directions.

html> Flores.” 23 October 2003 <http://www.” 23 October 2003 <http://people.” 22 October 2003 <http://web.edu/art/websyllabi/ar350ass4/cgass4c.de> interview resources Arthur. “Bauhaus.com.ua/library/weekly/aa022101a. D-10785 Berlin Gordeeva. G. 2002 Published by the Bauhaus-Archiv fur Gestaltung Klingelhoferstr.bauhaus.suite101. 1919.history resources Bauhaus.” 20 October 2003 <http://www. Sarah. 14.germanculture.cfm/antiques_and_collectibles/23593> “Bauhaus-Archiv. 22 October 2003.edu/~art/faculty/kennedy/bauhaus/bauhaus.ucsc.edu/~gflores/bauhaus/history. Weimar. bauhaus archiv magdalena droste 1919-1933.html> “The Bauhaus Graphic Communications New Function.utk. Barbara “The Bauhaus School.snc. Tatyana “The Beginning and The Goals of Bauhaus.htm> “From the Bauhaus to the 21st Century.” 23 October 2003 <http://www.html> Nicholson Bell.” 23 October 2003 <http://www.com/article. image resources 4 above: Bauhaus Archiv Magdalena Droste 4 below: Bauhaus Archiv Magdalena Droste 5 above: Bauhaus Archiv Magdalena Droste 5 middle: Bauhaus Archiv Magdalena Droste 5 below: Bauhaus Archiv Magdalena Droste 6 above: Bauhaus Jeannine Fiedler & Peter Feierabend 6 below: Bauhaus Jeannine Fiedler & Peter Feierabend 7 above: DeStijl Visions of Utopia 7 below: DeStijl Visions of Utopia 8 above: Bauhaus Archiv Magdalena Droste 8 below: Bauhaus Archiv Magdalena Droste 9 above left: Bauhaus Archiv Magdalena Droste 9 above right: Bauhaus Archiv Magdalena Droste 9 below left: Guggenheim Collection 9 below middle: Guggenheim Collection 9 below right: Guggenheim Collection 10 above: Bauhaus Archiv Magdalena Droste 10 below: Bauhaus Archiv Magdalena Droste 11 above left: Bauhaus Archiv Magdalena Droste 11 above middle: Bauhaus Archiv Magdalena Droste 11 above right: Bauhaus Archiv Magdalena Droste 11 below left: Bauhaus Archiv Magdalena Droste 11 below middle: Bauhaus Archiv Magdalena Droste 11 below right: Bauhaus Archiv Magdalena Droste 12: Bauhaus Archiv Magdalena Droste 13 left: Guggenheim Collection 13 middle: Guggenheim Collection 13 right: Guggenheim Collection sandra bradley kimberlee osmun greg ciro tornincasa wang phan HOME 31 . Personal Interview.

BAU INSIDE HAUS HOME .