The Bauhaus's contribution to the world and its meaning for us

Contents:

• The Vasily Chair
• New Typography
• Furniture That Is Easy to Assemble and Stores Compactly
• The Established Ideal: Functionality in Minimalism
• The Woman Designer
• Modern Architectural Solutions for the Needs of the Working Class
• Great Masters of 20th-Century Architecture: Gropius, Breuer, and Mies van der Rohe
• Design Education

In 2023, the design world celebrates a significant milestone: the centenary of the Bauhaus’s move to Dessau. This anniversary is more than just a milestone; it is an opportunity to look back on a period that radically changed the history of modern design.

In Dessau, the school found its true identity, as well as its unique style and sound. It was here that Gropius erected a building that symbolized a new approach to thinking, and it was here that the fundamental principles that continue to underpin design education were developed.

What is the role of the Bauhaus in history? The answer to this question cannot be simple or brief, since during its fourteen years of existence, this school influenced many aspects of our lives. It touched everything from the design of furniture and tableware to the appearance of cities and the interfaces of mobile devices. The Bauhaus didn’t just propose a new style; He presented us with a unique perspective on the world, encouraging us to seek simplicity, functionality, and the beauty that comes from sincerity in things.

In this article, we will take a fascinating journey through the main aspects of the Bauhaus that contributed to its transformation into a true legend.

The Wassily Chair

The legend of the most iconic Bauhaus artifact begins with a bicycle. In 1925, the young designer Marcel Breuer was riding around Dessau on his new bicycle with a shiny steel frame when he suddenly realized: if this object can withstand weight and movement, why not make a chair out of it?

Thus, the experimental B3 chair was born - an elegant and lightweight structure made of curved tubes and durable fabric upholstery. Initially, Breuer used canvas for the seat and backrest, which was affordable and simple, in keeping with the concept of a new functional aesthetic. Later, in the 1930s, the fabric was gradually replaced by leather, giving the chair a more mature and substantial appearance, while retaining its lightness.

The chair only received its current name, "Wassily," many years later. In the 1960s, it became known that one of its first owners was Wassily Kandinsky, a Bauhaus teacher and Breuer's colleague. This fact became the basis for a legend, and the new name helped cement the chair in the annals of design.

Currently, several companies, such as Knoll, Tekta, and Thonet, manufacture it. Each of them has its own approach to the choice of materials and finishes, but they all invariably adhere to the original design concept.

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Bauhaus is an important movement in architecture and design that originated in Germany at the beginning of the 20th century. In Russia, this movement also generated interest, which was manifested in various projects and ideas that sought to adapt Bauhaus principles to local conditions.

In the 1920s, Russian architects began actively experimenting with new forms and functions of buildings, inspired by Bauhaus concepts. One of the prominent representatives of this movement was the architect Moisei Ginzburg, who sought to combine functionalism with socialist ideas in his works.

Also worth mentioning are such projects as the "House on the Moika" and the "Commune House" in Moscow, which reflect the spirit of experimentation of that time. Although the Bauhaus had no official representation in Russia, its ideas had a significant influence on the development of Soviet architecture, leaving a noticeable mark on history.

Modern architects and designers, continuing the Bauhaus tradition, explore the possibilities it offers, adapting them to the current challenges of our time. Thus, the Bauhaus legacy lives and develops in Russia, inspiring new generations of creators.

New Typography

In Dessau, the fundamental language of visual communication was laid, which is now perceived as something familiar. It includes the use of sans-serif fonts, minimalist typography, strict grid structures, and an emphasis on clarity and practicality of text.

The main proponents of these concepts at the Bauhaus were László Moholy-Nagy and Herbert Bayer. Moholy-Nagy, an artist and innovator, argued that graphics are not decorative elements, but a means of conveying information. Bayer took his thinking even further, creating a font called "Universal," which lacked capital letters. His argument was extremely simple: if there is only one sound, then why do we need two different symbols?

However, the "new typography" was not limited to posters and billboards. The educational institution arose to create a series called "Bauhaus Books," which was intended to become a kind of intellectual manifesto for the school itself. Initially, 30 books were planned for publication, but between 1925 and 1930, only 14 were published. Among the authors of this series are such names as Walter Gropius, Paul Klee, Wassily Kandinsky, Kazimir Malevich, and Moholy-Nagy.

During our school years, we were actively involved in book design. We created strict covers using bright red and black accents, developed unusual compositions, and introduced new approaches to layout. These works were truly revolutionary in appearance and immediately set standards that later became the foundation of modern book design.

Furniture that is easy to assemble and compactly stored

At Bauhaus, furniture lost its status as an exquisite element of the interior and became a practical object of use. A striking example of this approach is the Ti 244 chair created by Josef Albers. This design was developed in the late 1920s in the Bauhaus's carpentry workshop, known as the Tischlerei. Its construction is simple: four curved plywood legs are connected by two steel rails.

At Bauhaus exhibitions in 1929 and 1930, the Ti 244 was displayed with a panel showing the chair disassembled. This allowed visitors to see how easily it could be packed and transported. The concept was that furniture should not be massive; it should be mobile, like a showpiece that could be disassembled and moved. At the time, such an idea seemed truly revolutionary.

Albers conceived of the furniture as more than just a luxurious and elite object—his goal was to create a "people's chair" that was affordable and functional. Unfortunately, the Ti 244 model did not achieve commercial success: its production process turned out to be complex, and mass production was impractical. As a result, only a few copies produced before 1933 have survived to this day.

Although this chair never became a mass product, the principles underlying its concept — such as lightness, the ability to disassemble, and rational use of space — had a significant influence on the development of furniture design.

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The established ideal: functionality in minimalism

The principle of "form subordinates function" became a kind of manifesto for the Bauhaus. An aesthetic based on simple geometric shapes, minimalism without unnecessary embellishment, and an emphasis on the practicality and purpose of objects set new standards in design. Although this approach was perceived as revolutionary in the 1920s, it laid the foundations for what is now known as modern design.

This concept is particularly striking in the context of Braun. In post-war Germany, designer Dieter Rams adopted many Bauhaus ideas and distilled them into his "ten commandments of good design." Braun products, such as tape recorders, radios and razors, were not decorative elements, but were made as functional devices that best suited their purpose.

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Several decades after Braun, this tradition was reinterpreted in the concepts of the high-tech company Apple. Jonathan Ive, who served as chief design officer during the Steve Jobs era, admitted that Braun products served as a source of inspiration for him. If you compare, for example, a Braun calculator from the 80s with an iPhone, the differences between them will be very insignificant.

The transition from Bauhaus to today's devices is seamless: from the use of steel tubes and strictly geometric fonts, we came to aluminum cases and touch screens.

Female designer

The Bauhaus was a landmark in the history of modernism, but it also played a vital role in allowing women to establish themselves as designers despite the oppressive influence of the patriarchal society of the 1920s. Initially, the school administration tried to direct female students to so-called "women's" workshops, among which the weaving workshop was particularly prominent. It was in this space that revolutionary ideas emerged that had a significant impact on textiles and design more broadly.

Gunta Stölzl, who headed the weaving workshop, transformed it from a "women's corner" into a veritable laboratory of innovative textile art. Her geometric fabrics and rugs with expressive rhythms became not only stylish interior elements but also had a significant impact on the fashion industry and industrial production.

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The Rebellious Nature of Gunta Stölzl

Anni Albers collaborated with Stölzl, and her experiments in textiles elevated weaving to the level of art and architecture. She combined threads with metal, sought innovative materials and textures. Later, after emigrating to the United States with her husband, Josef Albers, Anni established herself as one of the most significant textile artists of the 20th century and became the first woman to have a solo exhibition at New York's Museum of Modern Art.

Marianne Brandt, who first apprenticed and then became a mentor in the metalworking workshop, created iconic metalwork, from lamps and light fixtures to teapots and ashtrays.

The story of women at the Bauhaus not only tells the story of how they asserted themselves in a male-dominated world, but also shows how their work became the foundation for important design movements.

Modern architectural solutions for the needs of the working class

At the Bauhaus, architecture was perceived not as a subject of high art, but as a means for changing society. With industrialization and a housing shortage, there was a need to create affordable, functional, and comfortable homes that could provide workers with decent living conditions.

In the late 1920s, Hannes Meyer, who became the school's second director, initiated the Törten housing project. He developed a plan for a multi-story building in which apartments were accessed through open, external gallery passages. This concept contributed to space conservation, simplified communications, and provided all residents with sufficient light and fresh air.

The architect himself described the project as "housing for a minimum standard of living." Despite their austerity, these buildings provided workers with what had previously been unavailable: individual apartments equipped with kitchens, bathrooms, and access to green courtyards.

Meyer's comments proved remarkably resilient. The open-air gallery concept subsequently became widespread throughout Europe, from social housing complexes in post-war Germany to mass housing construction in France, Great Britain, and the Eastern Bloc, including even the Khrushchev-era buildings of the Soviet Union.

Great masters of 20th-century architecture: Gropius, Breuer, and Mies van der

The Bauhaus was not only an educational institution but also a starting point for many who shaped the architectural language of the 20th century.

Walter Gropius, the founder of the Bauhaus, perceived architecture as a unification of art, technology, and social aspects. In the 1920s, he designed buildings with glass facades and open floor plans, striving to achieve "transparency" and accessibility of space for all. Later, after emigrating to the United States, Gropius designed the campus of the Harvard Graduate School of Design and began teaching there, helping to spread Bauhaus ideas in the educational environment.

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Walter Gropius, an outstanding architect and founder of the Bauhaus, left a significant legacy in the field of architecture and design. Here are five of his most famous projects:

1. **Bauhaus School in Dessau**. This educational center became a symbol of a new direction in architecture and design. Gropius created a building that frames the ideas of functionalism and constructivism, using glass and metal to form open spaces.

2. **Fagenstein House in Berlin**. This residential project demonstrates Gropius’s ideals of harmony between form and function, where every detail was carefully considered to create a comfortable and aesthetically pleasing space.

3. **Fagus Factory in Alfeld**. This industrial facility became a model for the integration of modern technology into architecture. The use of glass facades and open floor plans revolutionized the perception of industrial buildings.

4. **Garden City in Gera**. In this project, Gropius sought to create a harmonious blend of nature and architecture, offering residents comfortable living conditions and access to green spaces.

5. **German Pavilion at the 1929 Barcelona World's Fair**. Also known as the Barcelona Pavilion, this project has become an icon of modernism, characterized by the simplicity of its forms and the subtle play of materials such as marble and glass.

Each of these buildings reflects Gropius's unique approach to architecture, which continues to inspire modern architects.

Marcel Breuer, who began his career as a master cabinetmaker, became a world-class architect through his experiments with projects such as the Wassily. In the United States, he designed modernist residential buildings, cultural institutions, and university campuses. His concrete and glass buildings became emblematic of post-war modernism.

Ludwig Mies van der Rohe, the last director of the Bauhaus, made the principle of "less is more" the foundation of his architectural concept. In the United States, he designed the famous Seagram Building in New York, as well as skyscrapers in Chicago. His pavilion, created for the 1929 Barcelona World's Fair, remains one of the most striking examples of modernist architecture.

Each of the three architects, following their own path, turned modernism into a universal style. The use of glass, steel, wide spaces, and the "honesty" of construction became not just engineering methods, but a language that cities around the world continue to communicate.

Design Education

One of the most significant achievements of the Bauhaus was not the creation of a new piece of furniture or architectural structure, but the development of an educational system in the field of design. In the 1920s, Johannes Itten introduced the concept of a preparatory or introductory course, which began by asking students to leave behind all the knowledge they had acquired in academies and relearn their perception of form, color, and materials.

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Itten's color circle is an important tool in the field of color theory, Developed by artist and art theorist Johann Itten, the wheel demonstrates the relationship between primary, secondary, and tertiary colors, allowing for a better understanding of how colors interact with each other.

Using Itten's color wheel, you can easily find harmonious combinations of shades. For example, to create contrasting combinations, choose colors located opposite each other on the wheel, such as blue and orange. If you strive for calmer and more harmonious transitions, pay attention to adjacent colors that are next to each other on the wheel.

The color wheel also helps identify triads—three colors that form an equilateral triangle on the wheel. These triads can form the basis for creating balanced and saturated color schemes. Thus, using Itten's color wheel opens up wide possibilities for creating aesthetically pleasing and expressive color combinations in art, design, and fashion.

The lessons represented a unique combination of school education and spiritual growth. Students engaged in various exercises with elementary forms, explored contrasts, experimented with color, and tried their hand at working with materials such as wood, metal, and fabric. The primary goal was not simply mastering technique, but rather the pursuit of personal experience and "pure perception."

Wassily Kandinsky and Paul Klee later joined the program. Kandinsky delved into the study of color and formal patterns, considering them as psychological and spiritual aspects. Klee, in turn, developed the concept of "visual grammar," in which point, line, and plane were perceived as the fundamental components of the entire universe.

This system, representing a transition from simple concepts to more complex ones, and from abstract to concrete ideas, formed the foundation of modern design education. Nowadays, in art academies and architecture schools, students also begin their studies with similar tasks: studying color combinations and composition, researching the properties of materials, and creating basic models.

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• Bauhaus and VKHUTEMAS represent the most important stages in the development of design in 1920s and 1930s. Both of these educational institutions played a key role in the formation of new artistic and architectural movements, reflecting the spirit of the times and the desire for innovation.

  The Bauhaus, founded in Germany, sought to unite art and craft, resulting in the creation of functional yet aesthetically pleasing objects. The principles of this movement emphasized the simplicity of form and the use of modern materials. The Bauhaus philosophy had a significant influence on architecture, interior design, and graphics, laying the foundations for many modern movements.

  Conversely, VKHUTEMAS, founded in Soviet Russia, also sought to integrate various art forms. This institution developed within the context of socialist ideology, which in turn determined its unique style. VKHUTEMAS actively implemented constructivist ideas, introducing elements into design that corresponded to new social realities and challenges.

  Despite their geographical distance and different cultural contexts, both institutions shared many similarities in their approaches to teaching and practice. They emphasized experimentation, the interaction of various disciplines, and an emphasis on functionality. These ideas continued to live and develop, influencing subsequent generations of designers and architects around the world.

• Five timeless projects by Dieter Rams.
• Five initiatives by Marianne Brandt.