Essay On The Bauhaus

 

Essay: How did Bauhaus design challenge ideas from the world? Bauhaus design challenged ideas from the world through numerous structural qualities included in all forms of design from architecture. The principles of Bauhaus design were essentially born out of opposition to the old style of ornamentation and grandeur at the end of the First World War, when the very foundations and basic ideas about politics, economics and technologies were created and changed. Perhaps the most important example of how Bauhaus design challenged ideas from the world would have to be the actual setting in which the Bauhaus movement was fostered during the 1920’s. Walter Gropius’ Dessau Building (1926) challenged traditional building aesthetics- the building had a flat roof, was asymmetrical yet made from perfectly straight lines, and with small cantilever balconies lined up perfectly on one of the outer walls of the building - the simple and regular layout became a radically utilitarian facility born out of democratic ideals from the end of  the First World War and the dissolution of the German Empire. The building also employed new materials that had previously not been used or used to such an extent, challenging ideas about what buildings are supposed to be made from. In direct opposition to the tall and rough brick or wooden facades of other schools at the time, the Dessau building had smoothed concrete walls, reflecting the sharpness and regularity in the principles of  the Bauhaus movement. Also, glass was a material which was used in the Bauhaus building extensively- the building featured glass panes lined up perfectly on all the faces of the buildingsometimes with massive rectangular windows to light up larger spaces like corridors. In this way, not only did the Dessau building challenge what materials could be used in a building, but how- in this case, to provide light with maximum efficiency and for the greatest amount of  people- again a sort of utilitarian ideal that was in stark opposition to the old grand style of the Imperial Europe of the 19th century. However the challenging of ideas from the world was not only limited to the physical Bauhaus school- many products of students, teachers, artists and designers from the Bauhaus movement created products which also greatly challenged the world. Josef Hartwig’s Chess Set (1924) is a prime example- the pieces- instead of being the traditional horses, towers and bishop’s hats- instead are simple geometric shapes which reflected which way they are allowed to move. A challenge of old ideas- away from the ornamentation of the old style to a radical new style and aesthetic involving strict practicality and resourcefulness- can be seen here: Hartwig’s Chess Set blends practicality (i.e. the instructions literally being on the pieces) and the beautiful simplicity of the wood to make a product that is not only much more useful, but has an appealing geometric aesthetic to it. The economic conditions of post-war Europe- particularly Germany hit by hyperinflation and the Depression- also shaped this design, with the minimalist pieces reflective of a challenge of ideas about the economy: with a clear shift away from the excessively decorative and cost-ineffective past to a new, more resourceful modern society. The geometric shapes used in Hartwig’s Chess Set is typical of the Bauhaus movement- an idea of simplicity and reducing everything down to the basics, with sharp and precise lines and shapes. Bauhaus design often featured these characteristics- i.e. simple and geometric- as the idea of mass production was attached to them. The Bauhaus movement pushed to make things as simple as possible so that the products could be easily assembled from basic units for  manufacturing. This challenged the Art Nouveau movement- with its curves and natural form,

 

which had risen to popularity in the late 19th century. This was seen in the eyes of Bauhaus designers as impossible to produce quickly and to produce many of them to serve as many people as possible, and it is clear that Hartwig’s Chess Set is reflective of this goal of  mass-production and manufacturing. The Bauhaus movement also challenged ideas from the world through 2D design- namely through typography, layout and colour. Joost Schmidt’s poster (1923) for the Weimar Bauhaus exhibition in 1923 was unlike anything the world had ever seen. The poster challenged old ideas about composition, with the type bending around and under, placed in a non-linear fashion, all while the abstract shapes creating visual interest in the poster. In this way, Bauhaus design challenged the dominant definition of a poster. The typography used in Schmidt’s poster is another example of how this work and the Bauhaus movement in general challenged ideas in the world. The type that is used is plain and geometricsome of the words with thin lines for serifs. The simplicity of the fonts is largely utilitarian- there are no flourishes or long and curved serifs to distract the audience from receiving the message. In this way, the Bauhaus movement challenged the notion of what typography was for, essentially arguing that the form must be incorporated into the function, and not the other way around. Of course this was also born out of the ashes of the old German empire, when egalitarianism and democracy was still rife in the air.  Also, the use of abstract, geometric shapes challenged the conventions of posters at the time, as almost all of them had representations of figures as the subject matter. The way abstract art is incorporated into the design is illustrative of one of the aims of the Bauhaus movement- to combine art and design. Also, the way the shapes help direct the eye- from a circular path from the top, straight down and then acrossacross- is again reflective of the practicality that was central in Bauhaus design. This practicality also challenged the aims of most posters at the time, which had been decorative and colourful to draw audiences’ attentions, but the text and images were not laid out in such a fashion that they aided each other to convey the message and create appeal. Through all forms of design- architecture, 3D product and 2D print design- the Bauhaus movement challenged dominant ideas in the world- particularly in regards replacing the old style of ornamentation and decorative flourishes with a new style, focused on practicality, resourcefulness and greater use of materials at hand- all at a time of enormous social upheaval and a radical shift in the economic and political situation in Germany.

 

References:

Joost Schmidt, Weimar Bauhaus exhibition poster, 1923, lithograph, 26 1/4 x 18 5/8" (66.7 x 47.3 cm) Source:

 

Josef Hartwig (German, 1880–1955), Chess Set Manufacturer: Bauhaus, Weimar  Date:1924 Medium: Pear wood, natural and stained black Dimensions:Part (box): 2 1/8 x 4 7/8 x 4 7/8" (5.4 x 12.4 x 12.4 cm) Part (smallest): 7/8 x 7/8 x 7/8" (2.2 x 2.2 x 2.2 cm) Part (largest): 1 7/8 x 1 1/8 x 1 1/8" (4.8 x 2.9 x 2.9 cm) Source:

 

Source: (model) Walter Gropius, Bauhaus Dessau Building, 1926, reinforced concrete, rolled steel, plate glass, iron, plaster, wood, other materials in small quantities

Source: (interior  of reconstructed building)

 

Bibliography: In class: Video: “Genius of Design: Designs for Living”, BBC, 2010 Video: “Bauhaus: The Face of the 20th Century”, Phaidon, 1994

Other: Chris Snider (1996) “Bauhaus philosophy: Manifesto, legacy, influence” Retrieved on 1/11/13 from:  Architectuul (2013) “Bauhaus Dessau” Retrieved on 1/11/13 from:  Alexandra Griffith Winston (2013) “The Bauhaus, 1919-1933” Retrieved on 1/11/13 from:  Alex Cameron (2012) “Josef Hartwig’s 1922 chess set design advances a ‘Bauhaus reality’ check” Retrieved on 2/11/13 from: Vintage Ad Browser (2013) “Propaganda and Ad Posters of the 1920s” Retrieved on 2/11/13 from Graphic Design History (2011) “Typography Teachers at the Bauhaus: Experiments in Idealist Typefaces” Retrieved on 3/11/13 from: