Bauhaus school

But there was a general set of educational and design principals to which all these persons adhered and the Bauhaus practitioners clearly saw their work as the outcome from the software program of its aesthetic. As the Bauhaus founder Walter Gropius put it in his 1923 pamphlet On the Theory and Organization with the Bauhaus, "the dominant spirit of our epoch is already recognizable though its form isn't yet clearly defined" (20). Yet Gropius himself did not hold from the concept of the specific Bauhaus type and argued that "the school sought to develop an attitude to the creative quantity instead of a single that would cause stylistic uniformity which he felt led to academic stagnation" (Duncan 177). The Bauhaus aesthetic simply held that all art reflects its age and that from the twentieth century the dominance on the machine (i.e., of industrial production) meant that all the arts -- which needs to be of equal status--had to reflect these conditions. This new aesthetic was, accordingly, expansive in nature. And between the simple aims from the movement were to end the isolation of the numerous arts and crafts in favor of collaborative model of each facet of people's made and manufactured environment as well as to raise the status with the crafts "to that traditionally enjoyed by the 'fine arts'" (Duncan 165). The "form" that would be taken by "the dominant spirit of [the] epoch" would arise inside the software program of principles of education, design, and manufacture inherent inside B

 

Findeli, Alain. "Bauhaus Education and After." Structurist 31/32 (1991): 32-43.

Since it was the twentieth century designers in each medium would have to accommodate themselves to the terms of industrial production. Indeed Gropius' conception with the school derived during the observation that market needed artists and that there were far as well few adequately trained artists to meet the need. The "form" with the age had not yet emerged due to the fact "merchants and technicians lacked the insight to realize that appearance, efficiency and expense could possibly be simultaneously controlled only by planning and generating the industrial object of the careful consideration of the artist responsible for its design" (Gropius 22). Gropius rejected the thought of art and beauty as luxuries and held that designers had to become trained inside a manner that allowed them to combine aesthetic inspiration with function as well as the mastery of modern materials. Accordingly the general pedagogical plan from the school for "all gifted individuals" was to consist of "a thorough practical, manual training in workshops actively engaged in production, coupled with sound theoretical instruction inside the laws of design" (Gropius 22). The designer working in any medium had to both know the medium thoroughly and understand the creation of beauty as an intrinsic component of his or her function. This goal of improving the produced environment had, of course, a social aspect to it as well. As Findeli sums up the aim of the Bauhaus educational procedure it was intended "not only to train competent professionals, but also to make certain that they would be enlightened ample to build an active contribution to their society and culture" (34).

The difference can also be seen in a comparison of works including Josef Hartwig's 1923 chess set, which was one of the biggest commercial successes of the Bauhaus, and also a 1930-34 tea set produced by Wilhelm Wagenfeld. The chess set consists of abstract pieces whose shapes designate the moves.

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