The Bauhaus and Architecture

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Del curso dictado por California Institute of the Arts

Ideas from the History of Graphic Design

976 calificaciones

California Institute of the Arts

Ideas from the History of Graphic Design

976 calificaciones

Curso 4 de 5 en SpecializationGraphic Design

This condensed survey course focuses on four key periods or themes from the history of design. Together we’ll trace the emergence of design as a recognized practice, why things look the way they do, and how designers approached specific design problems in their work. Each week, a short quiz will test your knowledge of concepts, and a short reflective assignment will give you the opportunity to analyze the questions designers ask themselves today. This is an essential course for emerging designers entering the field, or for students interested in learning more about visual culture and analysis. No previous experience is required.

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The Bauhaus

This week, we'll look at how the work and teachings of The Bauhaus (1919-1933), and how design emerged as a recognized practice.

Founding the Bauhaus5:41

The Foundation Year6:59

The Bauhaus and Architecture4:19

Conoce a los instructores

Louise Sandhaus
Faculty, Program in Graphic Design
School of Art
Lorraine Wild
Faculty, Program in Graphic Design
School of Art

Not everybody loved the Bauhaus, at least in it's early years.

This is actually a post card sent by Theo van Doesburg,

who was a Dutch architect and all around artistic trouble maker

who thought that the Bauhaus was in a way too open ended and created and

not really delivering on it's dream to integrate art and

design as fully as it should.

In fact, I think it was things like Oskar Schlemmer's dance performances

that perhaps made van Doesburg think that there were too many fun and games.

Although this famous picture of a group of Dadaists and Constructivists visiting

the Bauhaus in 1922, looks like they were able to have fun at the Bauhaus also,

and have some kind of influence over the direction of the school.

That influence was to, again,

underline the fact that architecture was meant to be the focus of the school.

And there were many interesting projects that came out of that work, and

which effect graphic design in terms of

the way that design was thought of even across all these different practices.

Like this project by Gropius of something called a Construction Kit,

which clearly shows this kind of modular and rationalized way of thinking about

abstract composition with the idea of it ending in an architectural form.

These kinds of very straight forward and

simplified uses of both modularity and

a sort of simple abstract way of composing spaces can be seen

in a lot of the early design from the Bauhaus during this time.

And even in things that are heavily crafted like this wooden chair by Breuer

or this applique project by a student.

Or this rug by Johannes Itten which makes this gorgeous pattern out of

a simple design of straight forward lines either running parallel or

crisscross to create a pattern out of primary colors and grey.

This picture of Gropius's office, I believe this is a recreation of his office

shows a variety of different designs by student and faculty meant to come

together and show this integration of the idea of great formal creativity.

And this issue of the more experimental work and the Utopian directed work at

the Bauhaus versus the things that could actually be realized practically,

was a constant tension during the short life of the school.

The simple form of this poster by Herbert Bayer,

who first was a Bauhaus student and then a faculty,

shows how radical the push was to simplify form and

to address this issue of connecting design aspects of

the Bauhaus to other modern design going on in Europe,

especially Germany and Russia and places where the constructive style had

sort of set an agenda of simplified form. The Bauhaus going to take set,

I think, and gives it even greater visual power.

This is a picture of the Bauhaus building in construction in Dessau.

And the thing that's so interesting about this building is that you might think,

at first, you were looking at a factory.

And again, that desire to essentially train artists of

the 20th Century in spaces that were industrial,

spoke to this desire to make that connection.

And it's kind of interesting in a way that the taste I think of,

even contemporary artists,

of working in spaces that maybe were factory lofts, and things like that,

to have a beautiful industrial space [LAUGH] that you have your studio in.

And it connects back to the way the Bauhaus conceived of the appropriate

place of art production in the 20th century.

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