Design history 1930s

Contents:

• VKHUTEMAS. USSR
• New architecture. Germany, Scandinavia, USSR, Switzerland

At the Bauhaus, in addition to Eton, famous artists who were called masters taught. Among them were Lyonel Feininger, Georg Muche, Paul Klee, Oskar Schlemmer, Wassily Kandinsky, and László Moholy-Nagy. These outstanding figures made a significant contribution to the development of modern art and design, creating a unique educational atmosphere that influenced numerous movements in art and architecture. Their works and ideas continued to inspire subsequent generations of artists and designers around the world.

The Bauhaus received funding from the state of the Weimar Republic, but not all politicians approved of the pedagogical experiments initiated by Gropius. As a result, the Bauhaus had many opponents, which led to problems with financial support.

Many Weimar residents were skeptical of the local school. In response, in 1923, the government organized an exhibition at which the workshops presented the results of their work. The exhibition included furniture, tableware, textiles, sculpture, and frescoes. One of the significant exhibits was the experimental house "Haus am Horn", created by Bauhaus teacher Georg Muche. This project became a symbol of the school's innovative approach to design and architecture, demonstrating new ideas and concepts that influenced the development of contemporary art and design.

The exhibition aroused great interest among the press, critics, artists, and other creative professionals. However, local authorities did not appreciate the works, which led to the closure of the Bauhaus in Weimar in 1924. This event became a significant moment in the history of art and design, demonstrating the contradictions between innovation and conservative societal views. The closure of the Bauhaus influenced the further development of art schools and movements, emphasizing the importance of artistic freedom and support of cultural initiatives.

Thanks to the success of the past exhibition, the school received invitations to various cities. Gropius responded to the offer of the mayor of Dessau, where the famous aircraft company Junkers was located. This cooperation opened up new opportunities for the development of the school and strengthening its position in the world of architecture and design.

This proposal had a clear advantage, since the municipality financed the construction of a new educational institution and residential quarters for the craftsmen. Local authorities provided Gropius's architectural firm with the opportunity to implement innovative ideas, which was especially relevant in the context of the need to build several hundred houses for workers in the south of Dessau. This cooperation contributed not only to the development of infrastructure, but also to the improvement of the quality of life in the region.

These projects were implemented by the director, teachers, and students. Currently, these buildings are monuments of modernism and are under the protection of UNESCO. At the time of their construction, they were perceived as futuristic and even exotic.

In the new city, the Bauhaus projects provoked a mixed reaction. Gropius grew tired of the constant criticism and decided to leave the school in 1927. That same year, the Swiss architect Hannes Meyer began teaching at the Bauhaus, becoming the first instructor in the architecture program. Gropius recognized Meyer's significant potential and offered him the position of director, which Meyer accepted.

Meyer significantly changed the educational system at the Bauhaus. Now, all students were officially involved in major projects the school received. Workshops were required to participate in these initiatives. Under the leadership of the new director, the Bauhaus completed a number of large-scale projects, such as the trade union school building in Bernau and apartment buildings with galleries in the suburb of Dessau. These projects became an important part of the educational process and contributed to the integration of theory and practice in student learning.

The Bauhaus began licensing its designs and introducing them into mass production, which marked an important stage in the history of design. One of the most successful examples of this initiative was the school's collaboration with the wallpaper company Rasch. Wallpaper designed in natural tones and with a small abstract pattern was ideal for any interior. These wallpapers have retained their popularity in modern times, offering a stylish and versatile option for decorating rooms.

Mayer held socialist views, which contributed to an increase in the number of students joining the communist ranks. Although the director did not actively promote membership in the party, he did not hinder this process. At that time, right-wing forces were gaining strength in the country, and the left-wing radicalization of the Bauhaus was a concern for the authorities. In 1930, Mayer was removed from his post, and funding for the Bauhaus was significantly reduced. This event became a turning point for the educational institution, influencing its future fate and development.

The third and final director was the eminent architect Ludwig Mies van der Rohe, who significantly changed the curriculum. The focus was now on architecture, and instruction began to follow the principles laid down by Mies himself. Faced with funding cuts, he also increased tuition, which caused discontent among some students. Many of them criticized Mies's political neutrality and his desire to compromise with the authorities, which created tension within the educational institution.

The political conflicts that engulfed Germany at the turn of the 1920s and 1930s prevented Mies van der Rohe's vision of turning the Bauhaus into a cutting-edge school of architecture from being fully realized. In 1932, the school was moved from Dessau to Berlin, but with the rise to power of the National Socialists in 1933, the Bauhaus was also closed in the capital. This situation had a significant impact on the development of architecture and design in Germany, becoming an important milestone in the history of modernism.

The pedagogy and values ​​of the Bauhaus have had a significant impact on the modern world. The concepts developed at the Bauhaus are reflected in products offered by companies such as IKEA. This company offers high-quality and affordable products that embody the ideas of functionality and aesthetics inherent in the Bauhaus. Thus, the legacy of this design school continues to shape our everyday experiences, making them more convenient and stylish.

VKHUTEMAS. USSR

In 1918, the People's Commissariat of Education of the RSFSR initiated a reform of art education in the country. The first objects of change were the Moscow Academy of Painting, Sculpture and Architecture, as well as the Stroganov Vocational School. These educational institutions were transformed into the first two Free State Art Workshops (FSAW). The reform was aimed at modernizing and streamlining the educational process in the field of art, which contributed to the development of creative potential and the training of qualified specialists in the fields of painting, sculpture and architecture.

In these workshops, students had the opportunity to choose a teacher based on his or her teaching methods. However, after two years of operation, it became apparent that students were distributed unevenly among the workshops: some were overcrowded, while others remained virtually empty. Furthermore, not all teachers possessed the necessary skills to effectively impart knowledge and the secrets of their craft to their students. This created the need to streamline the student placement process and improve the teachers' qualifications.

In 1920, a reform of art education was carried out in Russia. As a result of this reform, a new higher education institution was created—the Higher Artistic and Technical Workshops, or VKHUTEMAS for short. This educational organization continued the traditions of the Moscow School of Painting, Sculpture, and Architecture (MUZhVZ) and the Stroganov School. VKHUTEMAS marked a significant milestone in the development of art education, offering new approaches and teaching methods that contributed to the development of contemporary art in the country.

VKHUTEMAS accepted students with varying levels of preparation, including those with reading and writing difficulties. This opened up opportunities for creative individuals, regardless of their educational background, and fostered the development of artistic thinking and professional skills. Thus, VKHUTEMAS became a place where everyone could find their calling and realize their creative potential.

VKHUTEMAS faculties were divided into artistic and industrial directions. The artistic faculties included painting, architecture, and sculpture. The industrial faculties included printing, textile, ceramics, metalwork, and woodworking. Despite the diversity of majors, most students continued to choose the painting and architecture departments, reflecting a strong interest in traditional arts and architectural design. Avant-garde artists such as Alexander Rodchenko, Lyubov Popova, and Vladimir Tatlin, who worked at VKHUTEMAS, sought to transform society through art. They believed that industrial art could become a tool for changing life in the country. Their goal was to introduce new artistic concepts into mass production, thereby merging aesthetics and functionality in everyday life. Representatives of new artistic movements sought to attract students to the industrial departments by developing innovative pedagogical approaches. They rejected outdated methods such as teaching still life and drawing from life. Beginning in 1922, all departments at VKHUTEMAS began studying the fundamentals of abstract design in the main department. This course taught four key disciplines: graphics, color, volume, and space. This training program resembled the introductory course at the Bauhaus, although, unlike in Germany, it lasted two years. This approach contributed to the development of new design skills and creative thinking in students, which became the basis for the further development of Russian art and design.

The first years of this system's implementation yielded impressive results. VKHUTEMAS students presented the world with unique architecture, functional furniture and tableware, as well as high-quality textiles, sculpture, and painting. Notable projects include Georgy Krutikov's "Flying City," Alexander Galaktionov's transformable table, Alexey Sotnikov's children's sippy cup, and Lyudmila Mayakovskaya's textiles. These works reflect an innovative approach and creative vision that continue to inspire designers and architects.

With the country's rapid development in the late 1920s, the USSR needed to train not only sophisticated artists but also practical engineers. Individualism in art faded into the background, giving way to mass industrialization. This era required society to develop new specialists capable of ensuring technical progress and modernizing production. Engineers became key figures in the process of economic transformation, which contributed to the acceleration of industrialization and the creation of a powerful industrial base.

The rate of training specialists at VKHUTEMAS was deemed insufficient, which led to its reform in 1927 into the Higher Art and Technical Institute (VKHUTEIN). The curriculum was changed: the basic course was shortened to one year instead of two. In 1930, VKHUTEIN was also disbanded. Some departments were integrated into specialized universities, while others were abolished.

VKHUTEMAS became a breeding ground for talent, producing many outstanding specialists. Notable among them were Abram Damsky, who designed lighting fixtures for the Moscow metro, as well as architects Ivan Leonidov, who designed the Lenin Institute of Library Science, and Georgy Krutikov, creator of the "Flying City" concept. Their works left a significant mark on the history of architecture and design. However, Stalin's Socialist Realism negatively impacted the lives of many VKHUTEMAS graduates. Accused of formalism, they often remained in the shadows, imprisoned within strict ideological norms and forced to work in conditions that deprived them of creative freedom for many years.

New Architecture. Germany, Scandinavia, USSR, Switzerland

In the 1920s, the construction of residential buildings in the modernist style began in various countries. When developing projects, architects strove for rational planning and deliberately avoided unnecessary decorative elements. This movement became a symbol of a new era in architecture, focusing on functionality and simplicity of form. Modernist buildings were distinguished by clean lines and practical solutions, reflecting changes in society and new demands on living space.

The New Frankfurt project, launched in 1925, became an important milestone in the history of urban development in Germany. After the First World War, the country experienced an acute housing shortage, which forced the government to take action and begin large-scale construction. Architect Ernst May developed innovative methods that streamlined complex construction processes and organized them on an assembly line. As a result, the "New Frankfurt" project produced approximately 12,000 homes, distinguished by thoughtful infrastructure and rational planning. This project became a model for a modern approach to housing construction and urban planning.

The hallmark of "New Frankfurt" is the scientifically designed kitchen by architect Margarete Schütte-Lihotzky. She conducted research analyzing the sequence of human actions in the kitchen, resulting in a design that utilizes every square centimeter of space as efficiently as possible. This kitchen became known as the "Frankfurt" kitchen and is a model of functionality and ergonomics in kitchen design.

The Weissenhof settlement in Stuttgart, built in 1927, is a significant architectural project of international modernism. The organizer of this unique complex was the Deutsche Werkbund, and the renowned architect Mies van der Rohe served as its curator. All the buildings in Weissenhof were erected in a record time of just 21 weeks. The village originally contained 21 buildings, each designed by the renowned modernist architect. However, during World War II, the village was bombed, and only 11 of the original houses remain standing. Weissenhof continues to attract the attention of architects and historians as a symbol of a progressive approach to design and urban planning.

In Between 1928 and 1930, a large-scale project—Siemensstadt—was realized in Berlin. This modernist development, despite the lack of approval from Siemens plant management, became a shining example of thoughtful architecture and urban planning. As a result, the neighborhood received a well-developed infrastructure and a unique architectural appearance, which ultimately had a positive impact on the plant's image and attracted new employees. Siemensstadt became a symbol of progress and innovation in the architecture of the 1920s, demonstrating how bold ideas could be realized despite initial resistance. Several prominent architects participated in the design of the Weissenhof development in Stuttgart. The main architect of this unique complex was Hans Scharoun, who designed original buildings with unusually shaped balconies, which gives them a special character.

During this period, Scandinavia becomes important A region for the development of fresh design ideas. The spotlight is on the vibrant and independent figure of Swedish architect Gunnar Asplund. His work has had a significant influence on architectural trends and design in the region, highlighting the unique Scandinavian approach to functionality and aesthetics. Asplund has become a symbol of a new vision of architecture that combines simplicity of form and harmony with nature.

Asplund drew inspiration from neoclassicism, creating a unique northern version. He promoted the Doric simplicity, restraint, and laconicism of form that were popular in Denmark at the time. Asplund's architectural compositions were monumental, yet included refined details and original color schemes, emphasizing his individual style and approach to architecture.

One of Asplund's students and followers, the Finn Alvar Aalto, influenced by his teacher, developed a unique style based on refined simplicity. Aalto shifted the emphasis toward functionalism, actively using natural materials in his projects. He emphasized harmony with the Finnish nature, avoiding technological and industrial approaches. This allowed him to create architecture that blends seamlessly with the natural landscape and reflects Finland's cultural heritage.

The architectural projects of the Soviet constructivists occupy an important place in the history of architecture. A striking example is the Narkomfin (People's Commissariat of Finance) building in Moscow, built in 1930. This building was conceived as a residence for the Commissariat's employees. The project was commissioned from the Constructivist architect Moisei Ginzburg by Finance Minister Nikolai Milyutin. The Narkomfin Building became a symbol of a new approach to architecture and the urban environment, reflecting ideas of functionalism and social responsibility.

The Narkomfin Building was a project comprising several buildings, which were planned to house residential areas, as well as public spaces such as a cafeteria, a gym, a laundry, and a kindergarten. However, not all the buildings were built, and not all the planned functions were implemented, which limited the original concept.

After the Great Patriotic War, Moscow experienced an acute housing shortage, which led to residents being rehoused in apartments. Additionally, some of the buildings, previously supported by pillars, were built over, changing their original appearance for many decades. Nevertheless, this project became a symbol of 20th-century modernism and had a significant influence on future generations of architects.

Several years ago, the building underwent a scientific restoration, which allowed not only to restore its original appearance but also to preserve its residential function. This work emphasized the importance of combining historical value and modern comfort, making the house a unique example of successful renovation of architectural heritage.

The ideas that emerged in design and architecture in the 1920s were criticized, but they continued to be used throughout the following decades and remain relevant today. These concepts had a significant influence on modern art and architecture, forming the foundations of many modern movements. The influence of styles and solutions developed during this time is visible in various aspects of design, from urban planning to interiors. Thus, the legacy of architectural ideas from the 1920s continues to define aesthetic and functional approaches in modern design.

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