РефератыИностранный языкThThe Bauhaus Notes Essay Research Paper ArchitecturearchitectureWhen

The Bauhaus Notes Essay Research Paper ArchitecturearchitectureWhen

The Bauhaus Notes Essay, Research Paper


Architecturearchitecture


When Walter Gropius resigned as the head of the Bauhaus in 1930, Ludwig


Mies Van Der Rohe (1886-1969) became its director, moving it to Berlin


before political pressures forced it to close in 1933. In his architecture


and furniture he made a clear and elegant statement of the International


Style, so much so that his work had enormous influence on modern


architecture. Taking his motto “less is more” and calling his architecture


“skin and bones,” his aesthetic was already fully formed in the model for


a glass skyscraper office building he concieved in 1921.


Working with glass provided him with new freedom and many new


possiblities. In the glass model, three irreguarly shaped towers flow


outward from a central court. The perimeter walls are wholly transparent,


the regular horizontal patterning of the cantilevered floor panes and


their thin vertical supporting elements. The weblike delicacy of the lines


of the glass model, its radiance, and the illusion of movement created by


reflection and by light changes seen through it prefigure many of the


glass skyscrapers of major cities throughout the world.


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Architecture architecture


Georg Muche's Haus am Horn, the model house for the Bauhaus exibition in


1923, was the first house he had ever designed. It is an extraordinary


little Modernist Villa, classical in its own way. As the floor plan shows,


it was designed for a single family with young children and no servants.


The living room stands at the centre of the house, surrounded by all the


other, much smaller rooms and lit by clerestory windows above. The


surrounding rooms are linked in a logical way for middle-class households


(the man's and the woman's rooms both lead into the bathroom, the womans


room connects with the nursery and so on).


Muche became as fascinated by the idea of low cost, quick assembly


prefabricated buildings as Gropius and Meyer. In 1925 they designed a


house that could be assembled simply from steel panels.


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Architecturearchitecture


When Walter Gropius resigned as the head of the Bauhaus in 1930, Ludwig


Mies Van Der Rohe (1886-1969) became its director, moving it to Berlin


before political pressures forced it to close in 1933. In his architecture


and furniture he made a clear and elegant statement of the International


Style, so much so that his work had enormous influence on modern


architecture. Taking his motto "less is more" and calling his architecture


"skin and bones," his aesthetic was already fully formed in the model for


a glass skyscraper office building he concieved in 1921.


Working with glass provided him with new freedom and many new


possiblities. In the glass model, three irreguarly shaped towers flow


outward from a central court. The perimeter walls are wholly transparent,


the regular horizontal patterning of the cantilevered floor panes and


their thin vertical supporting elements. The weblike delicacy of the lines


of the glass model, its radiance, and the illusion of movement created by


reflection and by light changes seen through it prefigure many of the


glass skyscrapers of major cities throughout the world.


]previous[ ]next[


Architecturearchitecture


]g a l l e r y[ It was clear from Gropius's Manifesto that the ultimate


aim of the Bauhaus was architecture; the very name Bauhaus suggests it


most strongly. Each of the school's three directors, Gropius, Meyer and


Van Der Rohe, were above all an architect and, rightly or wrongly, the


Bauhaus has become strongly identified with the architectural approach


that has variously been called Modernism, The Modern Movement or the


International Style.


The debate surrounding Modernism or the new architecture was carried on in


terms heavy with moral conotations: truth, purity and honesty. Democracy


even entered into it with the attempt to suppress the predominance of one


face of the building in favor of buildings that would only be appreciated


by

walking around or through them.


The structure of the building had to be expressed clearly by its outward


appearance. In formal terms, the horizontal was emphasised rather than the


imposing verticals of 19th Century public buildings; flat planes were


interlocked at right angles and surfaces were rendered white to symbolize


purity and clarity. One of the most controversial elements in the german


context was the use of the flat roof; the pitched roof was seen in


conservative circles as inalienably Germanic.


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Bauhausbauhaus


The Bauhaus is not a style; it is a collection of attitudes. The Bauhaus


was founded in Weimar Germany in 1919 by the architect [Walter Gropius].


The Bauhaus Manifesto was to unite the teaching of fine art, applied art


and architecture in order to educate creative people capable of large


sacale collaborative projects or “total works of art”. The word Bauhaus is


derived from the “hausbau” meaning construction. Bauhaus implies not only


building and construction but also reconstruction. Above all, the Bauhaus


is identified with functionalism, which is now seen as the eradication of


ornament in favour of the austere beauty of the industrial Aesthetic.


The students of the Bauhaus took part in the designing of buildings and


fittings. They were encouraged to use their imagination and to experiment


boldly yet never to lose sight of the purpose which their designs should


serve. It was at this school that tubular steel chairs and similar


furnishings of our daily use were invented.


The theories for which the Bauhaus stood for are sometimes condensed in


the slogan of “functionalism” the belief that if something is only


designed to fit its purpose we can let beauty look after itself. There is


certainly much truth in this belief. But like all slogans it really rests


on an oversimplification. The best works of this style are beautiful not


only because they happen to fit the function for which they are built but


because they were designed by men of tact and taste who knew how to make


an object or building fit for its purpose and yet right for the eye.


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Bauhausfurniture


]g a l l e r y[ Bauhaus furniture design was based on the premise that it


was necessary to develop new and radically different forms for the pieces


of furniture that were to be accepted as the basis of the modern home.


Traditional furniture types -the heavy armchair, the mahogany armoire and


the bourgeois love of ornamentation were rejected.


The functionalist approach was enthusiastically embraced by the carpentry


workshop, as was Gropius's belief that peoples needs were largely


identical. It was therefore the workshops task to provide for those needs


in the most definitive and economic way.


Given the shortage of housing space in and the mid 1920s fashion for


health and hygiene, the goal was to create lightweight, adaptable,


multi-purpose furniture in clean, hard materials, soft upholstery was


thought to harbour dust and mites.


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Bauhausfurniture


Peter Bucking used wood for this lightweight collapsable armchair in


1928.


This chair epitomises the Bauhaus aesthetic lightweight, low cost


adaptable furniture for the workers housing for which it was premium. The


advantage of this chair was that it could be stored and not seen, avoiding


the whole aspect of clutter and maximising the use of household space.


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Bauhausfurniture


When Hannes Meyer became director in 1928, and Breuer was succeeded as


leader of the furniture workshop first by Josef Albers and then by Alfred


Arndt, the workshops priorities were realigned. The aim was now to create


low-cost multi-purpose, standard furniture. A number of ingenious folding


or adjustable work chairs were designed, often using tubular steel and


plywood in conjunction. Alfred Arndts chair 1929-30 which is sometimes


attributed to Breuer, folds completely flat so that it can fold up against


a wall.


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Bibliography


The Bauhaus School

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