In 1919, at a time in which Germany was still in upheaval over its defeat in the First World War (and compounded by the loss of its monarchy), the Academy of Fine Arts and School of Applied Arts in Weimar, Germany, were combined to form the first Bauhaus. Its stated goal was to erase the separation that had developed between artists and craftsmen, combining the talents of both occupations in order to achieve a unified architectonic feeling which they believed had been lost in the divide. Students of the Bauhaus were to abandon the framework of design standards that had been developed by traditional European schools and experiment with natural materials, abstract forms, and their own intuitions. Although the school’s output was initially Expressionist in nature, by 1922 it had evolved into something more in line with the rising International Style.
All interested artists are invited to submit their concept ideas for the Genius Loci Weimar Festival between the opening date of 27 January 2016 up to the deadline of 23 March 2016. Submitted concepts will be displayed ina public exhibition in Weimar in spring 2016. The best projects will chosen, among other means, with the help of an audience vote. The three winning projects will then be completed with the help of prize money totalling €45,000 before being shown in the context of an evening tour of Weimar, itself part of a wider festival to take place from 12 to 14 August 2016.
Bauhaus, the school of design established by Walter Gropius in Weimar in 1919, has arguably been the most influential of any institution in shaping the trajectory of modern architecture. Out of this single school came an entire movement that would have lasting effects on architectural pedagogy and the design of everything from buildings to road signs. Born out of a larger cultural movement following Germany’s defeat in World War I which left the country ripe for regrowth without the previous constraints imposed by censorship, the core of Bauhaus philosophy were the principles of craftsmanship and mass production, which allowed for the movement’s rapid proliferation and a production model that would later inform contemporary design companies such as Ikea. Check out the infographic from Aram below to learn more about the movement, tracking the school from its origins in Weimar, via its canonical Gropius-designed home in Dessau, to its continuing legacy today.
UPDATE: In honor of the 81st anniversary of the day the Bauhaus closed in 1933, we’re re-publishing this popular infographic, which was originally published April 16th, 2012.
From the “starchitect” to “architecture for the 99%,” we are witnessing a shift of focus in the field of architecture. However, it’s in the education system where these ideas really take root and grow. This sea change inspired us to explore past movements, influenced by economic shifts, war and the introduction of new technologies, and take a closer look at the bauhaus movement.
Often associated with being anti-industrial, the Arts and Crafts Movement had dominated the field before the start of the Bauhaus in 1919. The Bauhaus’ focus was to merge design with industry, providing well designed products for the many.
The Bauhaus not only impacted design and architecture on an international level, but also revolutionized the way design schools conceptualize education as a means of imparting an integrated design approach where form follows function.
The Klassik Stiftung Weimar will present the exhibition “Passion, Function and Beauty. Henry van de Velde and his Contribution to European Modernism” on March 24, 2013 at 11:00am. The press conference will be held at the Neues Museum Weimar in commemoration of the 150th anniversary of the Belgian architect and designer Henry van de Velde.
The design proposal for the New Bauhaus Museum by Pedro Monteiro, Rodrigo Cruz, and Sérgio Silva establishes a volumetric relation with the Gauforum in regard to its location. The first thing you see is a tower of light. It leads the way. As you walk along the narrow line of Oskar Schlemmer’s logo, you are entering Bauhaus. As it gains depth, the two-dimensional design of the logo becomes a geometrical stone sculpture. Its occupation defines its architecture. More images and architects’ description after the break.
Rotterdam-based practice BUBE has shared with us their third-place winning proposal in the Classic Siftung Weimar international competition for the New Bauhaus Museum. Three translucent cubes are clustered together in an effort to maximize open space and reorganize the site with a focus of intensifying the interactions between park and museum visitors. BUBE’s proposal is one of the final four designs still competing. The jury is expected to announce the winning design this summer. More images and architects’ description after the break.