intro’d to this ideology et al from Fred Tuner‘s democratic surround..
Staatliches Bauhaus (help·info), commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus (help·info), literally “house of construction”, stood for “School of Building”.
The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a “total” work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography.
The school existed in three German cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933, under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The Nazi government claimed that it was a centre of communist intellectualism. Though the school was closed, the staff continued to spread its idealistic precepts as they left Germany and emigrated all over the world.
as we may live – july 2015
In September 1923 Georg Muche, a then 28 year old member of the Bauhaus movement, gathered his colleagues in Weimar to answer a simple question:
What would housing look like if we started from a blank slate?
They envisioned something truly revolutionary: people, who up until then were either cramped in urban tenements or rural farmers, would get their own house on the outskirts of cities (as usual, the prototype was pretty bad).
nobody questioned the notion of home as radically as the Bauhaus team did in the early 1920s.
It’s time to do it again. And this time it’s driven by our quest for belonging, location independence and technology.
Die Alone, or Live Long and Prosper Communally
this isn’t just a question of convenience. It’s an existential one. Because the only proven correlating factor leading to a longer life isn’t butter vs olive oil. It’s how social we organize our lives.
The physical locations are a vibrant backdrop. It’s the people your’re with that become your home.
or.. simply.. if we started from square one, ie: global do over.. cutting out all the irrelevants.. everything went into enlivening a city/community..
paul klees personal notebooks on teaching bauhaus
CityLab (@CityLab) tweeted at 4:46 AM – 19 Mar 2019 :
Walter Gropius, the leader of the Bauhaus school, aimed to introduce soul into the age of the machine. The Nazis aimed to introduce the machine into the soul. https://t.co/me1Ifitj95 (http://twitter.com/CityLab/status/1107956471575257089?s=17)
“Together let us call for, devise, and create the construction of the future, comprising everything in one form: architecture, sculpture and painting,” Walter Gropius declared in the Bauhaus Manifesto of 1919.
The future Gropius had dreamed of seemed to have bitterly failed when the school had been closed by the Nazis in 1932, and turned into a bombed-out husk by 1945.
There are many Bauhaus tales though, and they show not a simple Bauhaus-versus-the-Nazis dichotomy but rather how, to varying degrees of bravery and caprice, individuals try to survive in the face of tyranny.
the Bauhaus appeared to be the breeding ground of radicals.
Gropius was typically a moderating influence, preferring to achieve his socially conscious progressivism through design rather than politics; creating housing for workers and safe, clean workplaces filled with light and air (like the Fagus Factory) rather than agitating for them. Indeed, artists would be workers and vice versa. “Let us create a new guild of craftsmen, without the class distinctions that raise an arrogant barrier between craftsman and artist,”he encouraged. In the Crystal Chain series of letters, Gropius went under the pseudonym Maß, meaning “balance,” a quality he pursued and which would be challenged as the Weimar Republic drifted into darkness. Gropius’s aim was to introduce soul into the age of the machine. The Nazis’ was to introduce the machine into the soul.
Newspapers and right-wing political parties cynically tapped into the opposition and fueled it, intensifying its anti-Semitism and emphasizing that the school was a cosmopolitan threat to supposed national purity. Eventually, they were hounded out of the city altogether.
It seems remarkable that the hugely influential design school was only open for 14 years, and yet it is equally remarkable that it lasted that long.
Ultimately, the Bauhaus survived because it left the building..t
The Bauhäuslers were scattered all around the world in exile. Germany’s loss was as numerous as other countries’ gain as teachers and students took the design ethic with them, to places like Tel Aviv, Chicago, Detroit, Tokyo, and Amsterdam—through architecture, art, and industrial design.
“Artists are fundamentally unpolitical and must be so, for their kingdom is not of this world,” Oskar Schlemmer declared. It was an approach that his boss Walter Gropius followed, too. In this both were mistaken, and much too utopian, for *the real world is inescapable. . t.. Gropius was political, however, not in rhetoric or ideology, but in method and practice.
? what real world?
This is not to say the “escape from politics” utopianism of Gropius is not an attractive prospect. The director noted that 90 percent of his time was wasted on dealing with intrigues and administration while only 10 percent went into creative work for the Bauhaus. It is worth wondering what was lost, considering what that 10 percent achieved,
The spirit of the Bauhaus lives on, not just in style and ethos, but in the idea of designing a better future; not just useful and beautiful, but better for all. This task is as open and unaccomplished as ever..t.. If the spirit of the Bauhaus is really still alive, its work has yet to be finished.
has to be everyone..