New Moderns - Deutsche Werkbund, Bauhaus, Expressionism

Bauhaus in Germany
with a goal to
achieve better
quality of design in
objects for everyday
use.
The Bauhaus was a
German design
school that was
active from 1919 to
1934.

Bauhaus school
• The name "Bauhaus" derives from the word
"bauen" meaning to build, including the idea
of creating in a spiritual sense, and "haus"
meaning the house or building itself.
• The primary driver behind the Bauhaus
School was Walter Gropius, the founder of
the school and the primary influence for the
distinct style that the Bauhaus produced.

The Bauhaus art school existed in three different cities:
1. (Weimar from 1919 to 1925,
2. Dessau from 1925 to 1932, and
3. Berlin from 1932 to 1933), under three different
architect-directors (Walter Gropius from 1919 to
1928, Hannes Meyer from 1928 to 1930, and Ludwig
Mies van der Rohe from 1930 to 1933).
Bauhaus buildings are usually cubic, favour right angles,
(although some feature rounded corners and balconies);
they have smooth facades and an open floor plan.
This style of architecture came about because of new
engineering developments that allowed the walls to be
built around steel or iron frames.

Influences and historical background:
•The main influences behind the Bauhaus were
modernism, the English Arts and Crafts movement, and
Constructivism. Gropius reconciled these disparate
influences at the Bauhaus, where the reigning principles
were unity of form and function, the idea that design is
in service of the community, and a belief in the
perfection and efficiency of geometry.
•The Bauhaus should generate designs for mass-
production, designs that were simple, rational, and
accessible to all people.
•The Bauhaus philosophy encouraged everyone to
collaborate. In a radical move, women were allowed to
enroll, almost exclusively placed in the weaving
workshop.

Characteristics of Bauhaus Architecture
• Bauhaus architecture is a style of architecture for
those that favours minimalism as well as function or
style.
• This style of architecture also holds true to the old
saying that ‘less is more.’
• Intensive and advanced use of concrete, steel and
glass.
•Buildings constructed from the Bauhaus design are
always cubic in shape.
• They feature four flat sides as well as flat roof tops.
• The colours of the typical Bauhaus building are
generally black, white, grey or sometimes beige -
however an owner can change the colour if desired.

Characteristics of Bauhaus Architecture
•The motivations behind the creation of the Bauhaus lay in
the 19th century, in anxieties about the soullessness of
manufacturing and its products, and in fears about art's loss
of purpose in society. The Bauhaus aimed to unite arts,
architecture and crafts once again, creating design for
everyday life.
•"The ultimate aim of all artistic activity is building! ...
Architects, sculptors, painters, we must all get back to craft!
... The artist is a heightened manifestation of the craftsman.
... Let us form ... a new guild of craftsmen without the class
divisions that set out to raise an arrogant barrier between
craftsmen and artists! ... Let us together create the new
building of the future which will be all in one: architecture and
sculpture and painting.“ Walter Gropius

The school was
famous for its
focus on the
combination of
both the world
of fine art and
the world of
crafts.

It was founded by Walter
Gropius in 1919.
Its core objective was a radical
concept: to reimagine the
material world to reflect the unity
of all the arts. Gropius explained
this vision for a union of art and
design in the Proclamation of
the Bauhaus (1919), which
described a utopian craft guild
combining architecture,
sculpture, and painting into a
single creative expression.

•The Bauhaus combined elements
of both fine arts and design
education.
•The curriculum commenced with a
preliminary course that immersed
the students, who came from a
diverse range of social and
educational backgrounds, in the
study of materials, color theory,
and formal relationships in
preparation for more specialized
studies.
•This preliminary course was often
taught by visual artists,
including Paul Klee, Vasily
Kandinsky, and Josef Albers,
Laszlo Moholy-Nagy
Ghost Chamber with the Tall
Door, 1925, Paul Klee

•Following their immersion in Bauhaus theory, students
entered specialized workshops, which included metalworking,
cabinetmaking, weaving, pottery, typography, and wall
painting. It was at this time that the school adopted the slogan
"Art into Industry."

It moved to Dessau in 1925
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, classroom, and administrative space for
maximum efficiency and spatial logic.

The Bauhaus
started in Weimar,
Germany

In 1932, the
Bauhaus moved to
Berlin where it was
shut down a year
later by the Nazi
party

The Bauhaus’s
ideals were that
the artist must
recognize his
social
responsibility to
the community
and likewise, the
community must
accept and
support the artist.

The Bauhaus
school strived to
produce a new
approach to
architecture that
incorporated
artistic design,
craftsmanship,
and modern
machine
technology.

The major goals of the
school were to
encourage craftsman
and artists to
collaborate, to elevate
the status of crafts,
and to maintain
relations with industry
and craft leaders in
order to eventually
become independent
of government control.

Furniture was created according to
the theory of “form follows
function.”
The goal was to create lightweight,
adaptable, multi-purpose furniture
in clean, hard materials for
maximum economic sustainability.
Tubular steel, metal, glass and
wood were chief materials used for
design.
It was within the walls of the
Bauhaus where “combination
furniture” or unit furniture was
invented. The goal was to create
multi-purpose, space saving
furniture that matched – and could
mix and match.
"MR" armchair, 1927
Ludwig Mies van der
Rohe

Marcel Breuer's
famous Wassily
chair

Marcel Breuer
(American, born
Hungary, 1902–1981)
Oak, wool upholstery
Inspired by the extruded
steel tubes of his
bicycle, he
experimented with metal
furniture, ultimately
creating lightweight,
mass-producible metal
chairs.

Popular home furnishing store Ikea shows
significant Bauhaus influence in many of its
designs
Ikea Bauhaus

The textile
workshop, especially
under the direction
of designer and
weaver Gunta Stölzl
(1897–1983),
created abstract
textiles suitable for
use in Bauhaus
environments.

Stölzl encouraged
experimentation with
unorthodox materials,
including cellophane,
fiberglass, and metal.
Fabrics from the weaving
workshop were commercially
successful, providing vital
and much needed funds to
the Bauhaus.
The studio's textiles, along
with architectural wall
painting, adorned the
interiors of Bauhaus
buildings

Bauhaus artists
were active in the
graphic arts.

The typography
workshop, while not
initially a priority of the
Bauhaus, became
increasingly important
under figures like
Moholy-Nagy and the
graphic designer
Herbert Bayer.

Metalworking was another popular workshop at the Bauhaus
and, along with the cabinetmaking studio, was the most
successful in developing design prototypes for mass
production.
In this studio, designers such as Marianne Brandt, Wilhelm
Wagenfeld , and Christian Dell (1893–1974) created beautiful,
modern items such as lighting fixtures and tableware.
Tea infuser and
strainer, 1924
Marianne Brandt ,
Silver and ebony

Kubus stacking containers, ca. 1938
Wilhelm Wagenfeld , Glass

PRINCIPLES
• Mass production over individual
craftsmanship.
• Synthesis of fine & applied arts.
• New & modern sense of beauty through
rational design.
• A forward-thinking over an academically
qualified faculty, including purely creative
artists as spiritual counterpoints to the
practical technicians.
• Thorough experience with materials.
• Student offered no refuge in the past, should
be equipped for modern world in various
aspects: artistic, technical, social, economic,
spiritual. He must function in society not
as a decorator but as a vital
participant.

Itten
THREE TASKS OF FIRST
YEAR COURSE:
1 Free unique creativity of student.
2 Make choice of career easier.
3 Convey design fundamentals.
COURSE METHODOLOGY:
1 Experiments with actual materials.
2 Analyses of old masters.
3 Color and form theory.
FIRST YEAR: PRELIMINARY COURSE
Johannes

Itten FIRST YEAR: PRELIMINARY COURSE
Johannes
Horizontal/Vertikal, 1915 Vogelthema,
1918

Albers
Month 1: GLASS.
Month 2: PAPER
Month 3: TWO
MATERIAL
COMBINATION.
Month 4: STUDENT
CHOICE.
PRELIMINARY COURSE 1922-33
Josef
“Discover” specific qualities of
materials. Produce no waste.
Grid Mounted,
glass assemblage
1922

Albers 1888-1976
Josef
Homage to a Square,
1971
Bundled,
1925

Moholy-Nagy
PRELIMINARY COURSE 1923-1928
László
1: Combine elements to
corresponded to preconceived idea.
Response manifested on “tactile
charts.”
Grid Mounted,
glass assemblage
1922
3: 3D studies to sharpen sense of
volume: simple elements and
materials used to construct objects
in both visual and real balance.
2: Distinguish composition (balance
between parts) from construction.

Moholy-Nagy 1895-1946
László
Dual Form with Chromium Rods,
1946
Eifersucht (Jealousy), 1927
AXL II, 1924
Leuk 5, 1946

From left:
Josef Albers, Hinnerk Scheper,
Georg Muche, Laszlo Moholy-Nagy,
Herbert Bayer, Joost Schmidt,
Walter Gropius, Marcel Breuer,
Vassily Kandinsky, Paul Klee, Lyonel
Feininger, Gunta Stozl and Oskar
Schlemmer.
MASTERS

&
textile
design
• woman-run
• weaving
technique
coupled well
with Bauhaus
aesthetic
• contrasting
material, thick /
thin, glossy /
matte
Gunta
Stölzl
weaving
w/ Marcel Breuer
African Chair, 1921
Kitty Fischer-van der Mijll-
Dekker
woollen blanket design,
gouache
1932

Kathedrale
Woodcut, 1919
Street in Arceuil 1915
Gables I, Lueneberg,
1925
1871-
1956
FINE ART MASTERS: Lyonel Feininger

&
Joost Schmidt
Weimar Bauhaus Poster
1923
Universal Type
1926
Bauhaus Journal Cover
1928
graphic
design
typography
Kiosk for exhibition stand
1924
• ALL CAPS or all
lower case
• sans serif
• grid structures &
geometric forms
• bold & primary
colors
HERBERT
BAYER

FINE ART MASTERS: Vassily Kandinski
Impression III
1911
Untitled 1922
1866-1944
Swinging
1925

&
metalwork
photography
Self
portrait
with
jewelry for
metal
party
1929
Marianne
Brandt

cont.
Marianne
Bildergalerie Teapot, 1930
Bildergalerie Ruppel-Trio desk set, 1930
Touch desk lamp
1930
Weimar Metal Workshop, 1923
Lidded Bowl, 1930
Ashtrays…

Highway and Byways
1929
Senecio 1922
Zitronin
1932
1879-
1940
FINE ART MASTERS: Paul Klee

Born : May 18, 1883
Berlin , Germany
 He has been recognized as one of
the great modernist architects of twentieth
century.
 According to Gropius, the spirit of modern times was
crystallized not in glass and iron construction like glass ,
places or bridges.
 Which possessed no architectural qualities for him
absolutely determined by function with no link to
historical architecture.

 Walter Gropius studied architecture between
1903 and 1907 at the Technical Universities in
Munich and Berlin.
 He joined the office of Peter Behrens in 1908. He
accepted a position at the German General
Electric Company (AEG) and would be
responsible for assisting in all aesthetic
considerations of the company including its
products, advertising and buildings.
 It was while he was working under at AEG that he
would be introduced to Ludwig Mies van der
Rohe, Dietrich Marcks and Le Corbousier.

In 1910 Gropius left the firm of Behrens and together with
fellow employee Adolf Meyer established a practice in Berlin
for three years.
Together they share credit for one of the seminal modernist
buildings created during this period:
1. the Faguswerk in Alfeld-an- der- Leine, Germany, a
shoe last factory.

 The Fagus Factory , a shoe last
factory in Alfeld on the Leine in
Germany, is an important
example of early modern
architecture.
 The Fagus main building can
be seen as an inversion of the
Turbine factory.
 Both have corners free of
supports, and glass surfaces
between piers that cover the
whole height of the building.

Simplicity of all elements that have same significance:
1. Load-bearing construction
2. Non-bearing elements and curtain wall (glass façade)
3. Glass corners – lightness
• Functional, technical language of forms. Functionality is
getting aesthetic dimensions.
The first one is the use of floor-to-ceiling glass windows on steel
frames that go around the corners of the buildings without a
visible (most of the time without any) structural support.
The other unifying element is the use of brick.The first one is the
use of floor-to-ceiling glass windows on steel frames that go
around the corners of the buildings without a visible (most of
the time without any) structural support. The other unifying
element is the use of brick.

 The Turbine factory the
corners are covered by heavy
elements that slant inside.
The glass surfaces also slant
inside and are recessed in
relation to the piers.
 The load-bearing elements are
attenuated and the building
has an image of stability and
monumentality.
 In Fagus exactly the opposite
happens; the corners are left
open and the piers are
recessed leaving the glass
surface to the front

The interiors of the building, which contained mainly
offices, were finished in the mid 20s. The other two
big buildings on the site are the production hall and
the warehouse. Both were constructed in 1911 and
expanded in 1913. The interior of the building
reflects a functional, open floor plan.

CONSTRUCTION SYSTEM
 The main building was erected on top of a structurally stable
basement with flat caps. Nonreinforced (or compressed)
concrete, mixed with pebble dashing was used for the
basement walls, an unfortunate blend unable to support
great individual loads.
 The ceilings were underpinned with a formwork shell and
finished in rough-cast plaster on the services installation
side. The floors were composed of planks on loose sleepers
– that is, sleepers that were not fixed between the floor joists.
 Along the side of the building, 3-millimetre-thick steel plates
sealed the wedge between window frame and piers.

 All buildings have a base of about 40 cm of black brick
and the rest is built of yellow bricks.
 In order to enhance this feeling of lightness, Gropius and
Meyer used a series of optical refinements like greater
horizontal than vertical elements on the windows, longer
windows on the corners and taller windows on the last
floor.

The basic structure of the
Bauhaus consists of a clear
and carefully thought-out
system of connecting wings,
which correspond to the
internal operating system of
the school.
The technical construction of
the building is demonstrated
by the latest technological
development of the time: a
skeleton of reinforced concrete
with brickwork, mushroom-
shaped ceilings on the lower
level, and roofs covered with
asphalt tile

• "It consists of three connected wings or bridges.
• School and workshop are connected through a two-story
bridge, which spans the approach road from Dessau.
The administration was located on the lower level of the
bridge, and on the upper level was the private office of
the two architects, Walter Gropius and Adolf Meyer.
• The dormitories and the school building are connected
through a wing where the assembly hall and the dining
room are located, with a stage between.
ORGANIZATION

Stairs in Weimar
and Dessau. detail

http://andberlin.com/2014/03/02/sunday-documentary-bauhaus-the-face-of-
the-20th-century/
Bauhaus: The Face of
the 20th Century

https://www.youtube.com/watch?v=Yq8AnYL5-
30&list=PL6445F1A076E706C0&index=3
Bauhaus documentary

1st World War brought
the end of long 19th
century, with Arts and
crafts movement and
William Morris in UK,
and “Deutsche
Werkbund – Unity of
artists: Hermann
Muthesion, Peter
Behrens, Teodor
Fischer. Strong
individuals, industrial
production and craft-
oriented.

Peter Behrens
 Born: 1868
Birthplace: Hamburg, Germany
 Peter Behrens was a German
architect and painter.
 He was trained as a painter
from 1886 to 1889 at the
Karlsruhe school of art.

 At the beginning of the century, he brought forth
outstanding works in painting, architecture,
graphic design and industrial design, which
exerted a paramount influence in all these
various fields.
 In 1899 Behrens accepted the invitation of the
Grand-duke Ernst-Ludwig of Hesse to be the
second member of his recently-inaugurated
Darmstadt Artists' Colony.
 Behrens built his own house and fully conceived
everything inside the house (furniture, towels,
paintings, pottery, etc.)

ROLE IN INDUSTRIAL DESIGN
 He was one of the leaders of architectural
reform at the turn of the century and was a
major designer of factories and office buildings
in brick, steel and glass.
 IN 1907 HE CAME WITH TEN PEOPLE AND 12
COPANIES TO FORM GERMAN WERKBUND:
1. Strong functionality
2. Imposing monumentality
3. Cubic volumes
4. Pared-down language of forms
5. Artistic expression

 In 1907, Allgemeine Elektricitäts-Gessellschaft
(AEG) hired Behrens as a consultant. For them,
he re-formed the company's image and create a
corporate identity, a first for the time - designing
its trademark, stationery and catalogues, and key
products of the company.
The great architect Walter
Gropius later wrote, "It
was Behrens who first
introduced me to logical
and systematical
coordination in the
handling of architectural
problems."

THE MOST SIGNIFICANT PROJECTS
1. A. E. G. High Tension Factory 1909-10
2. AEG ASSEMBLY SHOP. 1912
3. GERMAN EMBASSY IN ST. PETERSBURG, 1911-12
4. HEADQUARTER OF THE HOECHST DYEWORK
COMPANY
5. WEISSENHOFSIEDLUNG APARTMENT BUILDING

HEADQUARTER
OF THE HOECHST
DYEWORK COMPANY

CONSTRUCTION DETAILS
 Glass and iron took over a workshop of an
industrial plant, with an enormous span (28.16
yd.; 25.6 m). Behrens achieved a plastic effect
and a dynamic form of construction of the
trusses. Very monumental appearance.
 which were pulled towards the outside, as well
as through the tapering iron trusses and the
glass areas which were drawn towards the
inside.

THE INTERNAL SPAN OF THE BUILDING IS
ACHIEVED BY THE USE OF TRUSSES .

Expressionism
•was a modernist movement, initially in poetry and
painting, originating in Germany at the beginning of the
20th century.
• Its typical trait is to present the world solely from a
subjective perspective, distorting it radically for emotional
effect in order to evoke moods or ideas.
•expressionist artists sought to express meaning or
emotional experience rather than physical reality.
expressionism was developed as an avant-garde style
before the First World War.
•It remained popular during the Weimar Republic,
particularly in Berlin. The style extended to a wide range
of the arts, including painting, literature, theatre, dance,
film, architecture and music.

Expressionist architects
Adolf Behne
Hermann Finsterlin
Antoni Gaudí
Walter Gropius
Hugo Häring
Fritz Höger
Michel de Klerk
Piet Kramer
Carl Krayl
Erich Mendelsohn
Hans Poelzig
Hans Scharoun
Rudolf Steiner
Bruno Taut

Hans Poelzig - 1919 Grosses Schauspielhaus, in Berlin

HANS SCHAROUN
Berlin Philharmonic concert hall and
the Schminke House in Löbau, Saxony.
He was an important exponent of organic and
expressionist architecture.

HANS SCHAROUN
Berlin Philharmonic concert hall

HANS SCHAROUN
He was an important exponent of organic and
expressionist architecture.

HANS SCHAROUN

A living area opens
directly off the staircase
hall accessed via large
sliding glass doors
where a pair of 1940s
armchairs and two
matching sofas have
been arranged around
a low coffee table
HANS SCHAROUN

In a design decades
ahead of its time the
ceiling of the winter
garden consists of a
grid of circular orange
concave apertures
containing a series of
down lights
HANS SCHAROUN

The curved lines of the
staircase soften the
uncompromising
modernist design of the
architecture
HANS SCHAROUN

A poignant reminder of
the history of the
house, a child's
wooden railway set and
a few books in the built-
in bookshelf in the now
empty open-plan living
area next to the
entrance hall
HANS SCHAROUN

HANS SCHAROUN
https://www.youtube.com/watch?v=nVhS5PUAcM0

•The style was
characterised by an
early-modernist
adoption of novel
materials, formal
innovation, and very
unusual massing,
sometimes inspired by
natural biomorphic
forms, sometimes by
the new technical
possibilities offered by
the mass production of
brick, steel and
especially glass.

Distortion of form for an emotional effect.
Subordination of realism to symbolic or stylistic
expression of inner experience.
An underlying effort at achieving the new, original, and
visionary.
Representations of concepts more important than
pragmatic finished products.
Themes of natural romantic phenomena, such as caves,
mountains, lightning, crystal and rock formations. As such
it is more mineral and elemental than florid and organic
which characterised its close contemporary art nouveau.
Utilises creative potential of artisan craftsmanship.
Tendency more towards the gothic than the classical.
Expressionist architecture also tends more towards the
romanesque and the rococo than the classical.
Conception of architecture as a work of art.

Example of expressionist use of monolithic materials
was by Erich Mendelsohn at the Einstein Tower.
Not to be missed was a pun on the towers namesake,
Einstein, and an attempt to make the building out of one
stone, Ein stein. Though not cast in one pour of concrete
(due to technical difficulties, brick and stucco were used
partially) the effect of the building is an expression of the
fluidity of concrete before it is cast.
‘Architecture of Steel and Concrete' was the title of an
1919 exhibition of Mendelsohn's sketches at Paul
Cassirer's gallery in Berlin.
Brick was used in a similar fashion to express the
inherent nature of the material.

The Einstein
Tower is an
astrophysical
observatory in
the Albert
Einstein Science
Park in Potsdam,
Germany built by
Erich
Mendelsohn.

New Moderns - Deutsche Werkbund, Bauhaus, Expressionism

New Moderns - Deutsche Werkbund, Bauhaus, Expressionism

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