bauhaus style

1. BY-
SAJIDA SHAHNUM
3-C

2.  SIMPLICITY , FUNCTIONALISM , ANONYMOUS AND ITS EMPHASIS
ON THE HARDCRAFT ETHIC.
The name Bauhaus stems from the German words for "to build"
and "house."
DEFINITION

3. Bauhaus is a school in Germany that
combined crafts and the fine arts.
It operated from 1919 to 1933,
it publicized and taught for the approach to
design
The Bauhaus school was founded by Walter
Gropius
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
INTRODUCTION :

4. PLAN OF BAUHAUS SCHOOLPLAN OF BAUHAUS SCHOOL
3-D VIEW OF BAUHAUS SCHOOL3-D VIEW OF BAUHAUS SCHOOL

5. The school existed in three German cities under three different architect-
directors (Walter Gropius from 1919 to 1927, Hannes Meyer from 1928 to
1930, Ludwig Mies van der Rohe from 1930 to 1933).
1. Weimar from 1919 to 1925 2. Dessau from 1925 to 1932
3. Berlin from 1932 to 1933

6. most student should face the fact that their future should be involved primarily
with industry and mass production rather than with individual craftsmanship
teachers in schools of design should be men who are in advance of their
profession rather than safely and academically in the rearguard
the schools of design should, as the Bauhaus did, bring together the various
arts of painting, architechture, theatre, photography, weaving, typography, etc.,
into a modern synthesis which disregards conventional distinctions between the
"fine" and "applied" arts
a school of design should have on its faculty the purely creative and
interested artist such as the easel painter as a spiritual counterpoint to the
practical technician in order that they may work and teach side by side for the
benefit of the student
PHILOSOPHY OF BAUHAUS :

7. manual experience of materials is essential to the student of design-
experience at first confined to free experiment and then extended to the
practical workshop
the study of rational design in terms of techniques and materials should
be only the first step in the development of a new and modern sense of
beauty
because we live in the 20th century, the student architect or designer
should be offered no refuge in the past but should be equipped for the
modern world in its various aspects, artistic, technical, social, economic,
spiritual, so that he may function in society not as a decorator but as a vital
participant.

8. In 1920 two important artistic events help to change the Bauhaus.
1.One was as international conference of the awant-grad that the idea on purity of form
and honesty of construction to establish a new constructivist international.
2. The other was the major exhibition of Soviet design arranged interest not only in
constructivism but also the social aims which informed it.

9. LUDWIG MIES VAN DER ROHE,LUDWIG MIES VAN DER ROHE,
along with Walter Gropius and Le
Corbusier, is widely regarded as one of
the pioneering masters of modern
architecture.
WALTER ADOLPH GEORGWALTER ADOLPH GEORG
GROPIUSGROPIUS
WAS A GERMAN ARCHITECT AND
FOUNDER OF BAUHAUS. ALONG WITH
LUDWIG MIES VAN DER ROHE AND.
major architects of bauhaus movement :

10. Between 1919 and 1933 the German school art and design called the Bauhaus was
producing designs which were truly made for mass production but it was thirty years
later that industry caught up with this thinking and was able to manufacture the
designs for products such as furniture and lighting cheaply enough and in large
quantities .
Many of the designs we now regard as design classics originate from the bauhaus
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.
The Bauhaus had a profound influence upon subsequent developments in art,
architecture, graphic design, interior design, industrial design and typography.
OBJECTIVES OF BAUHAUS :

11. Functional Techniques:
1.Simplicity
2.Symmetry
3.Angularity
4.Abstraction
5.Consistency
6.Unity
7.Organization
8. Economy
9. Subtlety
10.Continuity
11.Regularity
12.Sharpness
13.Monochromaticity

12. INTERIOR :
staircaise in
Paul Klee's
house in
Dessau.
Random bit of ceiling that makes quite
clear the sympathy between the
Bauhaus and other avante-gardes of the
early 20th century,

13. Drawings by Herbert Bayer in the stairway of
the main building of the Bauhaus Weimar.
Made for the first Bauhaus Exhibition in
1923.

14. Bauhaus Door Knob
Arguably the most famous piece
designed by Walter Gropius, the
Bauhaus doorknobs geometric
forms and industrial flourishes, such
as exposed screws, set the tone for
what the Bauhaus aesthetic was
about
Bauhaus Lamp
Probably the most iconic
piece of lighting to come out
of the Bauhaus, William
Wagenfeld's lamp,
constructed of precisely cut
glass and metal, is among
the first objects to emerge
under the Bauhaus'
technology-focused regime.
PRODUCT DESIGNING:

15. Bauhaus Tea Infuser
Designed in 1924 by Marianne Brandt, the
Bauhaus tea infuser has a built-in strainer,
non-drip spout, and heat-resistant handle
made of ebony, embracing the school's
principals of combining functionality and
aesthetic.
Barcelona Chair
Designed in 1929 by future Bauhaus head
Ludwig Mies van der Rohe and partner Lily
Reich, the gentle, swooping lines
Barcelona chair served as a precursor of
what was to come with the mid-century
modern furniture movement

16. GROPIUS CHAIR
MARCEL BEUER CHAIR
Bauhaus Wasilly Chair
Of all the chairs to come out of the Bauhaus,
this is the one that commonly comes to mind.
Designed my Marcel Breuer, the Wasilly chair
is a mix of steel and leather, using no more
material than is absolutely needed, while
providing maximum comfort. It's a design you'll
still find in homes today.

17. Marcel Breuer chair, one of the very
first tubular steel chairs, designed in
1925.

18. Bauhaus Chess Set
Designed in 1922 by Josef
Hartwig, the best part about the
chess pieces is that the design
of each also indicates the type of
movement it is capable of
Bauhaus Nesting Tables
Nothing quite says "smart" like
five separate tables that fit into
the footprint of one. And the
use of colors with each table is
something that would be
revisited by Ray and Charles
Eames decades later

19. Marianne
brandt
desklamp
MIES VAN DER ROHE
CANTILEVERED CHAIR

20. PETER BEHRENS
1910 CLOCK NEUM SLUTZKY TEAPOT
Bauhaus Cradle
The Bauhaus Cradle emerged in the early
days of the German design school, but the
simplicity of this magazine holder, both with
regard to the form and colors used, doesn't
undermine the inherent playfulness of the
design.

21. HE SOUGHT PERFECTION IN THE RELATIONSHIP
OF FORMS AND SYMMETRY IN ITS DETAILING,
WALTER TEAGUE RADIO LEICA CAMERA

22. GROPIUS DIRECTORS HOUSE
GROPIUS’ ARCHITECTURAL DESIGNS EXPRESSED
HIS THEME OF A UNITY BETWEEN WORK AND
BUILDING.
BAUHAUS WOODEN TOYS
BAUHAUS MONDERIA
ARCHITECTURE