The Bauhaus And Its Impact On Architecture

Architecture has proven to be an important part of society and culture in both art history, and human history. Art is created to reflect the values of the society that creates it, and architecture is no different. Each piece of architecture can be identified by certain characteristics that makes it a part of a specific culture. Both the Great Stupa at Sanchi, located in central India, and the Parthenon, located in Greece, are examples of architecture that share similar characteristics, however can be specified to their location and time period because of their differences. The Great Stupa at Sanchi and the Parthenon, although created for different purposes, proved to be important because of its functionality to society.

The first decades of the 20th century in modernism was characterised by enormous social and political changes with a radically changing lifestyle. Technology, manufacturing, science and art was the driving force. The Bauhaus movement was one of the most influential modern design movements of the 20th century reaching its peak between the two world wars. It was founded in 1919 in the city of Weimar in Germany by architect Walter Gropius. Although the Bauhaus was founded by an architect, it did not actually have architecture department during its early years. Instead, Gropius wanted to focus on a study of art that would eventually encompass many different aspects of design, and tying them all together. The word Bauhaus

The Bauhaus was established in Weimar in 1919, with the architect Walter Gropius as its founder and first director (Harrison and Wood 1993, p. 338). The school was founded on Gropius’s principle of the importance of combining and unifying all the artistic and technical realms; a separation, which had been to the detriment of existing art schooling (Girard 2003, p. 6-­‐7). Gropius wanted to combine art and technology or “culture and civilisation” (Droste 2012, p. 15). The Bauhaus consisted of workshops with two distinct instructors, a “craft master” who was a

About 1909 the implications of Cézanne's highly organized yet revolutionary spatial structures were expanded by Picasso and Braque, who invented an abstract art of still lives converted into shifting volumes and planes. Cubism, developed by the artists of the school of Paris, went through several stages and had an enormous influence on European and American painting and sculpture. In sculpture its notable exponents included Picasso, Duchamp-Villon, Lipchitz, González, and Archipenko, who began to realize the possibilities of convex and concave volumes. Cubism was absorbed in Italy by the exponents of futurism and in Germany by the Blaue Reiter group; both these movements were cut short by the advent of World War I. Fauvism and cubism were introduced by members of the Eight to a generally shocked American audience in

Question 1. Choose an architect or practice whose work is covered by or relevant to this course and discuss critically one or more of their design projects or drawings or urban proposals as precedent case-studies. Selectively situate this work in relation to their body of work, and against the practices and concerns of the period. Focus on the architectural qualities of a specific key aspect of the design of the projects. Selectively consider how they might relate to the historical situation, cultural values, theoretical concerns and design practices of the time. This may involve a selective analysis of compositional design practices, material fabrication production and the experiential reception of built outcomes of the projects.

Through the close examination of Speer as an individual within the Nazi state, it is important to distinguish his architectural career into two distinct sections; pre-GBI and GBI. Through analysing Speer’s actions through these respective lenses, historians are equipped to make an informed historical judgement on Speer and his specific roles within the confines of the Nazi political hierarchy. Speer, through his early architectural role in the party, from 1931 to 1937, was able to demonstrate his aptitude for architecture and design. It is important to note that during the years 1931 to 1933, Hitler was not as influential as he became during his appointed time as Reich chancellor, as such, Speer’s role within the party at this point remains

The Bauhaus movement began shortly after the world war 1 in 1919 to re imagine the materialistic good to reflect how we perceive art works. It was a movement initiated by a German architect named Walter Groupius.The Bauhaus movement embraced and emphasized on the simplicity and the basis of a design. (Griffith 2007) The idea behind the movement was to design and manufacture beautiful and practical products using simple and economical techniques. The ideology of the school was not only to reflect society but improve it by combining simplistic beauty with productivity. (Naylor 1968) The Bauhaus implied form follows function which is created by a cross platform of functional craftsmanship in every field whilst experimenting and using different materials.

Peter Behrens is one of the most influential German designers. At the beginning of the century, he brought forth amazing works in architecture, graphic design, and painting, which began to influence in all these various fields, opening uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture as well as modern industrial design. From the late 1800's he worked as a graphic artist in Munich, where he joined the Jugendstil movement. He produced woodcuts, colored illustrations, designs for book bindings and craft objects. Peter Behrens designed china, glass objects, and patterned linoleum flooring. This fused Graphic Design and Architecture.

This is demonstrated by the art curriculum in Bauhaus (1919-1933) that instructs the modernist ideals of art and design. In lecture eighteen, Professor Muzaffar suggested that the school focused on teaching the fundamental principles of art. Although genderlessness and universality appear only as two ideals of modernism, Bauhaus’s first director, Johannes Itten, shaved his head in attempt to demonstrate these two qualities. He held onto Expressionism and encouraged his students to create art with instincts. Later, there came a move towards abstraction, which was surely not an opposite from Expressionism. Professor Wassily Kandinsky did studies concerning the affinity of line, color and form, whereas Josef Adler published Interaction of Color. What is more, the buildings of Bauhaus themselves, showed a sense of solidity. For instance, the one in Dassau has a geometric outlock and a glass corner, allowing a permeability to nature and the exterior to interact with the

Heskett was consider Bauhaus have enormous educational significance; there art education impact the entire world. Bauhaus appears to have been less important than the members and followers believed to be. Their idea is powerful and their influence is greater than practical achievements. The Bauhaus product made great contribution to design of the future.

There is often some confusion when people start talking about the post-modernism and modernism in architecture in terms of  their philosophical terminology differences. Modern architecture is known for its minimalism (Linder, 2004); buildings were functional and economical rather than comfortable and beautifully decorated. The post-modernism architecture, however, is called a “neo-eclectic, significantly assuming the role of a regeneration of period styles for designing houses, and a never-ending variety of forms and characteristics, asymmetrical designs for commercial buildings” (Fullerton Heritage, 2008). An example of these two polar opposites, “Less is more” made by Mies van der Rohe in 1928 (Blake, 1976) and "Less is a bore" made by

The Bauhaus was set up in 1919 in Weimar by Walter Gropius (1883–1969). In 1925, the Bauhaus moved from Weimar to Dessau, where a new building is designed by Gropius. In this essay, I am going to discuss about the opinions made by many writers on Gropius’s mindset and intention in building the new Bauhaus. The architectural aspects and interior space planning of the Bauhaus have become the identifications of the modernist architecture as well as legend in the history of design and design education.

De Stijl, the Dutch modern art movement led by Theo van Doesburg, is not only a pioneering art movement but also a loose design team. On the one hand it gathers architecture Teachers, artists, painters, thinkers issued a journal; the other hand, there are many practical design work there. Style in 19 31 because Dossberg 's premature death and dissolution, but the style of the development of these principles in accordance with the principles of modern Western "fonts" have absolute impact, the other is more important is the Dusu Bo During his stay in Weimar from 1921 to 1923, he repeatedly communicated to the students and teachers of Bauhaus the principle of the creation of style, which indirectly influenced the modern design. The stylistic faction, the Dutch "style", also known as neoplasticism, was founded in Amsterdam in 1917 at the Dutch Art Movement. The style of the artists and architects in the narrow sense, the term style is used to refer to the work organization 1917 to 1931 restored into the essentials established in the style of the idea of the Netherlands. Proponents pure abstract and universal form and color; They simplify the visual composition in both portrait and landscape, using only black, white and primary colors (Jaffé, 1956).

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.

The Bauhaus was created by Walter Gropius in the city of Weimar. He was a German architect