1. the BAUHAUS:
a short history

2. Walter Gropius, Director: Founded 1919
In 1919 Walter Gropius was asked to direct the Wiemar combined Schools of fine arts and arts and crafts. He renamed it “Das Staatliches Bauhaus.”
The program at the Bauhaus was based in the arts and crafts idea of “Gesamtkunstwerk.”
Originally the ideal of the Bauhaus was the medieval crafts guilds that surrounded the building of the great cathedrals of Europe—each craft received equal attention and respect and all worked together for the common good.”
Although it began with an emphasis on expressionism, for multiple reasons, within a few years it shifted toward the practical and industrial methods. The utopian craft-workshop ideals were combined with an interest in exploring new materials and new methods of manufacture.
Joost Schmidt Bauhaus Poster
1923
Bauhaus

3. The complete building is the final aim of the visual arts.
“The artist is an exalted craftsman. In rare
moments ....work may blossom into art.
But proficiency in his craft is essential
to every artist. Therein lies a source
of creative imagination. . .
Let us create a guild of craftsmen without
class distinction. “
Lyonel Feininger titlepage for
Bauhaus manifesto shows a cathedral
Original Bauhaus Manifesto
Bauhaus

4. Teachers :
Johnneses Itten. Started foundation program,
Color
Moholy-Nagy Foundations,
Materials, Photography
Wassily Kandinsky Analytical drawing and Color
Oscar Schlemmer Life Drawing
Joost Schmidt Calligraphy , typography,
theory of form
Herbert Bayer Typography and Graphics
Josef Albers Painting and color theory
Bauhaus

5. the MAJOR FIGURES:
johannes itten
Bauhaus

6. started by Johannes Itten
Preliminary Course:
Preliminary Course.
started by Johannes Itten
Itten was the original director of the foundation program -
Introduced student to new language of vision
through direct experience and experiment
with proportion, scale, rhythm, light, shade.
Diagram of the course of study at the Bauhaus
Bauhaus

7. Itten developed a “general contrast theory”
Preliminary Course:
Itten developed a “general contrast theory”
as the foundation for creative expression.
It was conceived as a period of direct investigation during which students
explored the possibilities of new forms and
new materials, rather than copy existing forms,
contrast problem in preliminary
course taught by Joost Schmidt
Bauhaus

8. Preliminary Course:
A wide variety of materials were examined and combined in a search for new expressive form.
Itten emphasized learning through direct sensory exploration as way to develop creative sensibilities.
Josef Albers begins his experiment and teachings on the Interaction of Color
Paul Klee
Bauhaus

9. Preliminary Course: Bauhaus
Paintings by Wassily Kandinsky and Joseph Albers, both instructors in the preliminary program.
Also a basic contrast study (student project)
Bauhaus

10. Preliminary Course:
Mysticism: Itten emphasized the rebirth of the individual,combining studies with eastern forms of meditation and fasting.
Like Malevich and Mondrian, Itten
studied Eastern philosophy, particularly Lao-Tse and writings of Tibetan monks.
(This is on conflict with Gropius’ ideals of scientific objectivism and Peter Behren’s new objectivity)
Bauhaus

11. Preliminary Course:
Under pressure from Walter Gropius, Itten stepped down from the foundation program in 1923, to be replaced by Lazlo Moholy-Nagy. Gropius’ ideal was more a unity of art and technology and he tried to put program on a more objective and scientific basis.
Lazlo Moholy-Nagy appointed to direct
the Preliminary course 1923 (replaced Itten)
The “model for preliminary investigation became more “technological research.
. . .geared to the inner forces and practical possiblities of the material and led to a more impersonal creativity” —Joseph Albers
Emphasis on economy “Minimum effort ... maximum effect”
Bauhaus

12. the MAJOR FIGURES: laszlo moholy-nagy
Note from a student:
“none of us who had suggested Moholy liked his constructivism. This “Russian” trend created outside of the Bauhaus—with its exact, technical forms—was disgusting to us who were devoted to the extremes of German expressionism. But since constructivism was the newest of the new, it was, so we figured, the cleverest move to overcome our aversion
Moholy came as the “champion of youth” in contrast to the “old faculty members” Kandinsky, Feininger and Klee,
Bauhaus

13. PAINTING, PHOTOGRAPHY Moholy-Nagy Bauhaus
In photography, Moholy-Nagy explored new points of view, light modulators, photograms, and photomontage
Bauhaus

14. PAINTING, PHOTOGRAPHY
Gropius Houses in Dessau
In photography, he explored new points of view, light modulators, photograms, and photomontage

15. PAINTING, PHOTOGRAPHY
Gropius Houses in Dessau
In photography, he explored new points of view, light modulators, photograms, and photomontage
Published Book: PAINTING, PHOTOGRAPHY AND FILM : 1925
“A manifesto of a futurist approach to a new art of light, a clean break with the past, a purist truth to the materials of the medium, providing a hope for new revelations about materials, creativity and environment”
(The Bauhaus did not accept his ideas of photography as an independent medium - this he carries with him to the NEW BAUHAUS where he started the first fine art photography program)
THE NEW VISION
VISION IN MOTION , 1947
(Published in Chicago

16. bauhaus: Moholy-Nagy Bauhaus
Book design using strong rectilinear grid elements - Title: “Painting photography and Film” (Other books by Moholy-Nagy include “The New Vision” and “Vision in Motion”)
Bauhaus

17. The technique of photomontage is used for many purposes in the 1920s— employed by Dadaist, Surrrealists, Constructivists and to make social comment
Raoul Hausmann
Hannah Hoch
Gustav Clutis
John Heartfield
Bauhaus

18. Question
What were the reasons for the shift from the emphasis on Expressionism and art as a spiritual and personal process
Functionalism, with an emphasis on machine aesthetics, new materials, economic integration, and mass production?

19. bauhaus: the Dessau years 1925-1932
Political conservatives in Weimar forced the
Bauhaus to move to Dessau in 1925
Gropius designed the new building which opened in 1926, as a model for new industrial architecture.
They formed the Bauhaus Corporation to
handle business connections in product design, furniture, display design and graphics
Bauhaus

20. Gropius also designed functionalist-style houses for the faculty in Dessau
PAINTING, PHOTOGRAPHY AND FILM : 1925
A manifesto of futurist approach to a new art of light - a clean break with the past
A purist truth to the materials of the medium, providing a hope for new revelations about materials, creativity and environment.
(The bauhaus did not accept his ideas of photography as an independent medium - this he carries with him to the NEW BAUHAUS)
Bauhaus

21. Theo Van Doesburg lectured at the Bauhaus
and held meetings with students and faculty, promoting the ideals of the Dutch De Stijl movement.
This cover design was done by Moholy-Nagy showing the extent of de Stijl influence.
cover design for i10 magazine 1927
Bauhaus

22. bauhaus- influences : El Lissitsky
Collaboration between El Lissitsky and
Joost Schmidt on a book called
Photo-Eye
Bauhaus

23. Joost Schmidt Bauhaus Exhibition design, 1930
exhibit for industrial assoc. of canned goods manufactures
1930
integrated work of typography, sculpture and cabinet workshops using spatial grid
Bauhaus

24. Bauhaus: Dessau 1925-1932; Product design
Maria Brandt : tea pot 1924
from Bauhaus metal workshop.
(example of geometric machined forms applied to functional object)
(Notice the difference between the economy of design in the Bauhaus design and the more ornate and complicated produce designs by Peter Behrens in his tea kettle and heater for AEG, 1907, shown here.)
Bauhaus

25. the MAJOR FIGURES:
herbert bayer
Bauhaus

26. Announcement for Schlemmer’s workshop
Herbert Bayer’s design and typography Cover for Bauhaus Magazine
1928
composed in front of camera
integrating type and photo
Announcement for Schlemmer’s workshop
Bauhaus

27. herbert bayer: kandinsky exhibition poster, 1926
example of principles of the new typography—particularly asymmetrical balance

28. herbert bayer or Laszlo Moholy-Nagy: design for Bauhausbucher, 1926

29. Herbert Bayer: typographic innovations
Bayer's experiments with typography were an inspiration to generations of type designers including Paul Renner whose typeface futura is still extremely popular
He followed the dictum of eliminating all ornament and trying use only simple geometric shapes, and using the minimum number of geometric elements.
He believed in eliminating capital letters.
A total renunciation of the calligraphic roots of letterforms.
Principles of his type design included
•simplification in the interest of of legibility
•clean proportions
•elimination of serifs
•adaptation to mechanical setting
In 1933 he was employed by Berthold type foundry and designed a more classical "bayer type" which was based less dogmatically on the above principles.
universal alphabet, 1925, reducing letterforms to simple, geometric shapes
billboard, 1932
Bayer’s work is so influential because he went on to apply his principles for many years in large scale advertising, exhibit and architectural design, as well as in experimental photography and painting.
Bauhaus

30. Bauhaus furniture design: marcel breuer mies van der rohe

31. In the furniture workshop, Marcel Breuer developed the use of tubular steel for furniture.
The work of both Breuer and Mies van der Rohe exemplify the modernist aesthetic, combining elegantly form, function, and the intrinsic properties of the materials.
(below) The Wassily Chair, named for Wassily Kandinski.
Bauhaus

32. The Barcelona chair design was created by Mies van der Rohe - for the German Pavilion at a trade fair in Barcelona. He designed the entire pavilion, including the furniture.
This is in keeping with the idea of total design integration that began with the arts and crafts movement, was practiced by Frank Lloyd Wright and was a guiding principle of Walter Gropius.
Bauhaus

33. Many of the chair designs are still in production.
Mies van der Rohe put his stamp on Chicago, designing the Federal Building and Post Office, and the apartments on Lakeshore Drive.
Examples of modernism, they use no decoration, depend on balanced proportions and space to achieve an aesthetic effect. The unbroken straight lines are accentuated by I-beams attached to the outside which reflect the internal structure
Many of the chair designs are still in production.
Do you know who designed
Federal Plaza
In Chicago?
Meis van der Rohe; steel chair and chaise lounge; (above) Mies van der Rohe. The Brno chair, (left) created for a home he designed in Brno, Slovakia. (again, total design)

34. bauhaus: Dessau 1925-1932 Bauhaus Mies van der Rohe Brno chair,
Designed for a home in Brno, Slovakia.
Bauhaus

35. Final Years -
By 1928, Gropius, Moholy,
and Bayer have left.
Conservative government forces closure in Dessau in 1932
architect Ludwig Mies van der Rohe
assumed directorship and reopens
in Berlin but is forced to close for
last time in 1933.
Bauhaus

36. other Bauhaus Design Diaspora
Gropius and Breuer moved to USA and taught at Harvard, active architectural practice
Albers - taught at Black Mt. NC and later at Yale: published on his Interaction of Color color theory
Bayer moved to USA, worked in exhibition design and promotions for Knoll furniture
Moholy-Nagy started the New Bauhaus in Chicago (which became part of IIT. He promoted creative photography programs at masters level)
Tschichold moved to London and designs books for Pelican and promotes return to classical type
Max Huber returned to Milan
Max Bill returned to Switzerland - later designed program at Ulm, Germany after war
Mies van der Rohe, moved to Chicago, joined the faculty of the IIT, and practiced design.
Bayer:exhibit on early Bauhausat MOMA, NY markings on floor guide viewer
other
Bauhaus

37. Mies van der Rohe put his stamp on Chicago, designing the Federal Building and Post Office, and the campus of the Illinois Institute of Technology (shown below)
Examples of modernism, they use no decoration, depend on balanced proportions and space to achieve an aesthetic effect. The unbroken straight lines are accentuated by I-beams attached to the outside which reflect the internal structure.
Many of the chair designs are still in production.
Bauhaus

38. applied and explained the
the New Typography:
jan tschichold
applied and explained the
principles of the New Typography
1925

39. new typography: jan tschichold
A manual for printers and designers, published in 1928, explaining the principles of the New Typography
For Tschichold, the “declared aim of typographic design was the delivery of a message is the shortest, most efficient manner.”
(This is in keeping with the ideals of functionalism.)
Jan Tchichold in 1923 he attended an exhibit at the bauhaus and quickly picked up the theory of functionalism in typography and that of the Russian constructivist movement.
Published a book titled “die neue typography” in Goals of new typography was an anonymous and universal style that communicates instantly with clarity and economy.
The New Typography

40. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
Jan Tchichold in 1923 he attended an exhibit at the bauhaus and quickly picked up the theory of functionalism in typography and that of the Russian constructivist movement.
Published a book titled “die neue typography” in Goals of new typography was an anonymous and universal style that communicates instantly with clarity and economy.
Advertisment 1924
The New Typography

41. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
The New Typography

42. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
Jan Tchichold in 1923 he attended an exhibit at the bauhaus and quickly picked up the theory of functionalism in typography and that of the Russian constructivist movement.
Published a book titled “die neue typography” in Goals of new typography was an anonymous and universal style that communicates instantly with clarity and economy.
The New Typography

43. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
Jan Tchichold in 1923 he attended an exhibit at the bauhaus and quickly picked up the theory of functionalism in typography and that of the Russian constructivist movement.
Published a book titled “die neue typography” in Goals of new typography was an anonymous and universal style that communicates instantly with clarity and economy.
The New Typography

44. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
Cover for Elements of Typography 1925
The New Typography

45. new typography: jan tschichold
Principles of the new typography:
dynamic force should be present in each design
asymmetrical design (symmetrical design puts form over content)
contrasting elements
no embellishment; rejected decoration
Sans serif type in a range of weights and proportions allowed for an expressive abstract design
white space used as important element in determining structure and meaning
Designed based on underlying vertical and horizontal elements (a grid)
Rules, Bars, and boxes used for structure, balance and emphasis
The New Typography

46. Jan Tschichold The New Typography Advertisment 1924 and
Cover for Elements of Typography 1925
The New Typography

47. the new typography: Jan Tschichold
Interior pages for Elements of Typography 1925
the new typography: Jan Tschichold
The New Typography

48. Henryk Berlewi and Mechano-Factura; believed in the abolition of the third dimension in art, pure, flat shapes and geometry
The New Typography

49. Piet Zwart The New Typography
Influential typographer photographer and designer in the Netherlands stressed functional design
Based on the principles of deStijl but evolved a more expressive “field of tension” as he called it.
Made effective use of vigorous contrasts of weights, sizes and alignments
The New Typography

50. New sans serif fonts were created to meet the demands and restraints of the New Typography
Futura Paul Renner 1928
Univers Adrian Frutiger, 1954
Systematic variations of font, Univers provides dynamic contrast in color, weight and emphasis while keeping simple unity and harmony.
Helvetica Max Miedinger and Edouard Hoffman, 1961
(Above) Helvetica Edouard Hoffman and Max Miedinger
(Above) Adrian Frutiger
21 variations on the letter U
Univers font
The New Typography

51. Travel Posters by Herbert Matter Swiss, 1930s
The New Typography

52. The New Typography Contemporary designer Paula Scher
Borrows heavily from the visual vocabulary of Constructivism and the New Typography of the 1920s and 30s)
Poster by Paula Scher, 1985)
Poster by Herbert Matter, 1934
The New Typography

53. Projects from Bradley’s Art 205
Typographic Design class
Much of what is taught at design schools around the world as the fundamentals of typographic design draws heavily on the principles of the new typography and its further refinements and developments in Swiss modernism.
The New Typography

54. Why is the Bauhaus important?
1. accepted the machine as in instrument of the artist
2. addressed the problems of good design for mass production; and bridged gap between artist and industrial system
3. brought together on faculty and in student body a notably distinguished concentration of talent
4. Its architecture at Dessau was some of the most
influential of the century
6. developed and articulated principles of a modern aesthetic
7. Its influence on design teaching – particularly the foundation program - spread throughout the world.

55. After World War Two, Jan Tschichold rejected most of the principles of the new typography and in his work for Pelican Books, looked back to more classical typography. He felt that the new typography was too dogmatic and that serif type was more comfortable to read than sans serif. What do you think?
To do: Collect some samples of text material in both sans and serif type. Compare readability. Does the context or the content affect the appropriateness of one or the other?