By Michael Siebenbrodt
The Bauhaus move is among the most vital and consequential cultural emergence of the 20 th century. Walter Gropius based this institute of layout in 1919 in Weimar and it was once potent in Weimar, Dessau and Berlin. a number of the professors, Walter Gropius (1919-1928), Hannes Meyer (1928-1930), and Ludwig Mies van der Rohe (1930-1933), have been additionally well known architects in their time. The works of the Bauhaus artists, Lyonel Feininger, Wassily Kandinsky, Paul Klee, Gerhard Marcks, Oskar Schlemmer and László Moholy-Nagy in addition to these of the scholars and younger college contributors, Josef Albers, Herbert Bayer, Marcel Breuer, Gunta Stölzl and Joost Schmidt, have been unanimously trendy and aroused the curiosity of museums internationally. Their teachings in layout are nonetheless saw in todays structure and layout colleges and in addition more often than not artwork periods. the goods of the Bauhaus, akin to Marcel Breuers famous metal pipe furnishings, turned reasonably cheap vintage layout criteria. The Bauhaus constructions have made architectural historical past and at the moment are UNESCO international historical past websites. The authors make clear the evolution and connection of the Bauhaus with different pursuits, and render it simply understandable to the reader.
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Extra resources for Bauhaus : 1919-1933, Weimar-Dessau-Berlin
Shortly thereafter the only Junior Master, Gunta Stölzl (1897-1983), also left. Mies van der Rohe did not strive for new experimental education methods at the Bauhaus. The social reference which may have applied to the designs of Gropius and Meyer did not play an important role for Mies van der Rohe. In spite of this, he continued many things begun by his predecessors. This included the adoption of the changes to the workshop structure initiated by Meyer. The experimental approach of Mies van der Rohe lay in the quality of new architectural designs themselves.
In this part of his class Schlemmer also presented his view of the world, which largely followed the philosophy of the Romanticist Ricarda Huch (1873-1913) and was characterised by a striving for an integral whole. Thus, he saw man as a creature of nature in the unity of body, soul and spirit embedded in a scientific, psychological and ideological system. Friedrich Engemann, Canon of Human Proportions drawing after Albrecht Dürer’s Four Books on Measurement, study from the course with Oskar Schlemmer, 1927 Walter Köppe, Composition I, study from the course with Oskar Schlemmer, 1928 58 With his classes on Man, Schlemmer wanted to convey something like an “ideology” to the Bauhaus students, which should ideally enable them to react appropriately to contemporary trends and the demands of the day.
How had this happened? Gropius proclaimed his design principle of nature research on the basis of the unification of art and technology in 1925. This nature analysis was, however, not carried out according to empirically scientific criteria in the Bauhaus under Gropius, as was discovered by Gropius researcher Winfried Nerdinger. The nature of an object, according to Nerdinger, was sought for in its purpose. By equating purpose and nature, the purposeful form was aestheticised without further questioning, and that initially meant geometric forms.