To what extend did Bauhaus influenced the 20th Century? Bauhaus typography

 A reaction against the class system and aristocracy  Architects were looking for a leading force behind the expectations to develop a “Brave New Word”  A new way to integrate art, aesthetic & industry as a means of replacing the old approach in education & design. New direction: ART TO INDUSTRY! 1. Context: the aftermath of World War I Sinnde Photo Bauhaus Exhibition Barbican Center 2012

 Walter Gropiu’s philosophy ”form follows function” transformed advertising, typography, architecture, people living’s spaces and public’s esthetic expectations in fundamental way  Information first, artistic flair after. Use your design to reinforce your message never the other way around Form follows Function Utility come first II. Legacy principles:  Mission: to provide affordable artistic utilitarian design for every class of person - proved to be a success Muuz lamp Norman Copenhagen

 The school was founded on collaboration. It achieved an openness and collaborative style few groups had.  Gropius's vision towards a union of art and design - Proclamation of Bauhaus”(1919) - describes a utopian craft guild combining architecture, sculpture and painting into a single creative expression II. Legacy principles: Share & Collaborate Towards design enlightment  Work with each other, share ideas, don’t live in fear of losing credit. Sometimes getting better and learning is more important Albers Stacking Stables

 Their crisp geometric style and in some cases primary colors are reflected in design everywhere. The purpose: to honor functionality with beauty and simplicity, to please the eye and capture the mind.  Kandinsky strove for a visual style beyond cultural differences. He believed certain colors complement each other and communicate specific ideas or emotions. II. Legacy principles: Color & Shape There’s always a connection between  Bauhaus design still feels incredibly fresh and current. Displaying the “perfection of geometry” is still highly sophisticated

 For Bauhaus, words were a graphic element. Therefore they became a part of the architecture.  Like a chair in a room – functioning on their own as words, as artistic tools within the space. II. Legacy principles: Clean Typography Matters  Be as imaginative with your typography as you are with every other tool in your toolbox, but make sure it never detracts from your visual message Poster for Senator Obama in Berlin 2008

Young people come to Bauhaus!  Teaching techniques and social principles aimed to foster : Creativity / Happiness/ Friendship III. Birthplace of a revolution:  Design education was seen as a means to create reaction against, rather than to follow.  Its spirit and ideas, the greatest legacy, were to influence many generations of architects designers and artists. The Metal Party group photo – Oscar Schemler Traadic Costumes 1926 T lux Feininger – Sport at Bauhaus 1927 Bauhaus seal

 Gropius decided that they should generate design for mass production that were simple, rational and accessible to everyone.  Their furniture - A new way of living - became a signature of their work more than architecture. IV. Gropius ‘s input:  The school’s philosophy: the artist should be trained to work with industry. Artists created prototypes for industrial production, as they saw the machine as a potential force for good both aesthetically and socially. Katz Bau Bookshelf M Breurer’s Wassily B3 club chair with woman seated wearing Schemler Mask Red/Blue armchair 424 G. Rietveld 1918

 He stressed on the social function of architecture and design. Favoured the public good rather than private luxury  The architectural focus shifted away from aesthetic to functionality IV. H. Meyer ‘s input:  His mission was to focus on the “ needs of the people, not on the needs of luxury ” Sinnde Photo Bauhaus Exhibition Barbican Center 2012 Marcel Breuer Armchair 1922 Haus am Horn Kitchen (1923)

IV. Mies van der Rohe ‘s input:  Author of Less is more philosophy - the perfect summary for modernism  Added an increased emphasis on architecture & building at Bauhaus school; moved it to Berlin in 1930;  He designed The German Pavilion at the Barcelona Universal Exhibition  Lily Reich controlled the interior design department  Became the most influential modernist architect of the 20 th century and an inspiration for Ayn Rand‘s book ‘The Fountainhead’ Sinnde Photo Bauhaus Exhibition Barbican Center 2012 Mies Van der Rohe Barcelona chair and otoman

The Bauhaus Building designed by Gropius in Dessau in an industrial aesthetic with concrete and steel and a curtain of glass is a component of what we now recognize as modern architecture ! The Bauhaus paradox: it didn’t have an architecture department until 1927 V. Architecture: Other Bauhaus hallmarks of modernist architecture: steel-frame construction an asymmetrical pinwheel plan maximum efficiency spatial logic Bauhaus Manifesto Quote Germany circa stamp showing Bauhaus architecture steel building

treated as “Silver Princess” by a awestruck USA when they moved there en masse Successive leadership Emblematic building Unshakable place at the heart of Modernism from three of the leading designers of the time that embodied the philosophy of it’s founder in an unmistakable image International student body & supporters 01 Celebrated faculty staff VI. UNMATCHED IMPACT : Bauhaus had what no other art school had : the dominant movement of the 20 th century Sinnde Photo Bauhaus Exhibition Barbican Center 2012

 The course of visual culture of the 20th century would have looked totally different  Between them, they touched everything from photography and theatre to painting and architecture  The middle classes lived in tasteful simplicity ever after What would have happend if a bomb would have denotated under this group photographed on the roof of the Dessau Bauhaus’ building in 1926? VII. Conclusion: Bauhaus is everywhere! L-R: Josef Albers, Hi. Scheper, Georg Muche, L. Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, V. Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer Typography with facial outline of its seal

List of cited works: 1. B is for Bauhaus, Deyan Sujic, Penguin Books, London, Young people come to Bauhaus – article inspired from Barbican Center: Bauhaus Art is Life exhibition, 2013, 3. Six Lessons from the Bauhaus: Masters of the Persuasive Graphic: by Anni Murray 4. Quick History: The Bauhaus & Its Influence: 5. "The Bauhaus, 1919–1933". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – Griffith Winton, Alexandra,. (August 2007) 6.