2. "Innovation.« "Form following function."
Michael Thonet was born on October 2, He trained as an apprentice cabinet maker in his home town. After his apprenticeship, he began almost immediately to experiment with bentwood and veneers in furniture. In 1842, Thonet was invited to Vienna by the Chancellor of Austria to do some of the furniture for the Palais Liechtenstein. His work was still very experimental at this point but displayed an innovative spirit which attracted the Chancellor. Despite being invited to become the official furniture designer to the throne of Austria, Thonet chose to remain independent as he aimed a larger audience.

3. Thonet set up his own company in the furniture trade with his five sons and apprentices in By 1856, he had perfected his technique and prepared for mass production through opening his own factory in Vienna.
Thonet soon had to open another factory. This time the factory was placed in Koritschan, in the modern day Czech Republic. This factory was situated close to a large beechwood forest, as well as a supply of cheap labour. Moreover, Thonet had streamlined his process even more by this time, reducing production costs all the way through his process. The beechwood forest eliminated the need for costly wood importation. Although Michael Thonet died in 1871, his designs and production process lived on however, with his sons. By 1913, Gebrüder Thonet employed 6,400 workers and produced 1.8 million pieces of furniture a year.

4. Production techniques
Thonet's process of production dictated his furniture design. Other designers and producers of his time were using flat wood, with many joints, often ornately hiding the joints through carving and veneers.
Thonet used a metal strap was secured on one side and both ends of a solid piece of wood. Then both the metal frame and wood were bent as one piece, in a single operation. The metal strap would stretch marginally, thereby forcing all the fibers of the wood to compress and not crack. This solution further streamlined the process, reduced costs, production time, and opened a new market, all in one move. Not only did Thonet innovate in his bentwood, but also his assembly process. Through the use of bentwoods, Thonet eliminated many of the joints in traditional furniture. This gave greater strength to the piece using less material, as well as reducing the amount of fasteners needed. Furthermore, Thonet's furniture jigs created pieces so accurately time and time again, that his pieces were interchangeable with each other.

5. Rocking Chair No. 1
Bentwood technique: The wood is heated with water vapour and then bent into the desired shape. Michael Thonet developed the technique of bending solid beechwood in 1856.

6. Coffee House Chair No. 14

7. 40 million copies were sold between 1859 and 1939.
Coffee House Chair No. 14
40 million copies were sold between 1859 and 1939.

8. Thonet led the way in mass produced furniture through creative design
Thonet led the way in mass produced furniture through creative design. This innovation and open mindedness to the process of building furniture has made Thonet one of the true great influences of design. Moreover, his impact across popular culture, the arts, and the business world can be seen in various works of others.
Pierre-Auguste Renoir . By the Seashore, 1883

10. form follows function
It is the pervading law of all things organic and inorganic, Of all things physical and metaphysical, Of all things human and all things super-human, Of all true manifestations of the head, Of the heart, of the soul, That the life is recognizable in its expression, That form ever follows function. This is the law

11. Louis Sullivan, form ever follows function
"form follows function"credo, which placed the demands of practical use above aesthetics, which architects call "ornament," were superfluous in modern buildings. But Sullivan himself neither thought nor designed along such dogmatic lines during the peak of his career. Indeed, while his buildings could be spare and crisp in their principal masses, he often punctuated their plain surfaces with eruptions of lush Art Nouveau and something .
Louis Sullivan. Wainwright Building, 1890

13. Adolf Loos, ornament is a crime
Adolf Loos gained greater notoriety for his writings than for his buildings. Loos wanted an intelligently established building method supported by reason. He believed that everything that could not be justified on rational grounds was superfluous and should be eliminated. Loos recommended pure forms for economy and effectiveness. He rarely considered how this "effectiveness" could correspond to rational human needs.
Loos argued against decoration by pointing to economic and historical reasons for its development, and by describing the suppression of decoration as necessary to the regulation of passion.

14. Ludwig Mies van der Rohe, Less is more
He selectively adopted theoretical ideas as the aesthetic of Russian Constructivism with their ideology of "efficient" sculptural constructions using modern industrial materials.
Mies found appeal in the use of simple rectilinear and planar forms, clean lines, pure use of color, and the extension of space.
After 1933, Nazi political pressure soon forced Mies to close Bauhaus and finally migrate to the Unites States.

16. Gertrude Stein,
«rose is a rose is a rose»

17. MODERNISM IS MODERNISM IS MODERNISM
A chair is a chair is a chair
A building is a building is a building
A kitchen is a kitchen is a kitchen
A woman is a woman is a woman
A man is a man is a man
A … is a … is a …..
Modernısm Is modernısm Is modernısm

19. Walter Gropius. Gropius, an architect, had been a leader of the Deutsches Werkbund, a group of artists, designers, industrialists and financial supporters who felt the industrial arts should be elevated to the same status as fine arts. By so equating these two forms of creative endeavors, the artisan would become as respected as the artist, and take greater pride in his work. At the same time, industry would benefit by fresh ideas and more cooperation between worker and factory owner. The movement no doubt had wonderful intentions, but failed to achieve its goals before the War intervened.

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

21. Weimar, 1919

22. Dessau, 1925

23. Dessau, 1925 1925 Construction begins in Dessau.
1928 Walter Gropius officially resigns as director; Hannes Meyer is appointed his successor.
1930 Hannes Meyer is dismissed; Ludwig Mies van der Rohe becomes the new director.
1932 The Bauhaus in Dessau is shut down. Mies van der Rohe continues running it as a private institution in Berlin.

24. Manifesto
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, architecture, theatre, photography, weaving, typography, etc., into a modern synthesis which disregards conventional distinctions between the "fine" and "applied" arts .
it is harder to design a first rate chair than to paint a second rate painting-and much more useful

25. Manifesto
a school of design should have on its faculty the purely creative and disinterested 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 .
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.

26. "The Bauhaus does not pretend to be a crafts school; contact with industry is consciously sought... the old craft workshops will develop into industrial laboratories: from their experimentation will evolve standards for industrial production...
The teaching of a craft is meant to prepare for designing for mass production. Starting with the simplest tools and least complicated jobs, he gradually acquires ability to master more intricate problem and to work with machinery, while at the same time he keeps in touch with the entire process of production from start to finish."
WALTER GROPIUS

27. Bauhaus curriculum
Gropius realized that to achieve this kind of happy cooperation between industry and art, the education of both fine and applied arts had to be reformed. The student had to tackle the problems of both artistic technique and machination, or production, of the final product. Gropius, as a Werkbund member, saw the simple utilitarian objects of daily life as opportunities to create beauty, provide employment, and provide improved design at the same time. The Bauhaus curriculum combined theoretic education and practical vocational training in its educational workshops.

28. Bauhaus _ study on forms

29. Bauhaus _ study on forms

30. Bauhaus courses and disciplines
Beginning with a required Preliminary Course, students learned the basics of fine art (color theory, composition, drawing). After completing this requirement, the student then chose the discipline he wished to pursue, in specialized workshops for architecture, textile design, furniture design, typography, etc. This pedagogical system was soon copied by art and design schools all over the world. Students studied the problems of manufacturing, the requirements for housing large populations inexpensively, or bringing beauty as well as function into the home through fabric, furniture or utensils.

31. Herbert Mayer

32. Marcel Breuer, Wassily Chair

33. Josef Albers

34. Simplicity
Symmetry
Angularity
Abstraction
Consistency
Unity
Organization
Economy
Subtlety
Continuity
Regularity
Sharpness
Monochromaticity

35. Bauhaus courses and disciplines
Bauhaus curriculum did not include architecture until the mid 1920’s. With its stated philosophy of Expressionism as its guide, the Bauhaus style of architecture would proceed from certain assumptions: (1) The new architecture was to be created for the workers, (2) The new architecture was to reject all things bourgeois; and (3) The new architecture would return to the original Classical principles of Western architecture. Buildings soon became theories constructed in the form of concrete, steel, wood, stucco, and glass

36. Bauhaus courses and disciplines

37. Bauhaus courses and disciplines

38. In 1937, in the wake of the Nazis' rise to power, many members of the Bauhaus migrated to the United States, where Gropius became head of the school of architecture at Harvard. Moholy-Nagy opened the New Bauhaus, which evolved into the Chicago Institute of Design, and Mies van der Rohe, who had become the head of the Bauhaus in 1930, was installed as dean of architecture at the Armour Institute in Chicago.
Soon American architects were learning the principles of the new International Style, a name taken from the book, International Architecture by Walter Gropius. The Beaux-Arts tradition, the American Romanesque Style, the Chicago School, and even the legacy of Frank Lloyd Wright were marginalized by the new style. An American corporation in the late 20th century is likely to call home a tall, sleek, glass edifice. The practical innovations developed by the Bauhaus have profoundly effected designs favored by industry as shown by the desks and chairs that fill offices, lobbies, and campuses across America. The effects of the Bauhaus stretches beyond our furniture and light fixtures, into the realms of architecture, social theory, and manufacturing processes.