Bauhaus ideal.pptVIP

It is already evident that inventions no longer are, as they had been in earlier times, means for warding off want and for helping consumption; instead, want and consumption are the means to market the inventions. The order of things has been reversed. …The abundance of means is the first serious danger with which art has to struggle. Where will the depreciation of material that results from its treatment by machines, from substitutes lead? –Gottfried Semper, 1852;;1890: resignation of Bismark rise of the demand for improved design in craft and industry;1907: Muthesius, Naumann, and Schmidt founded the Deutsche Werkbund;Behrens. AEG Turbine Factory. Berlin, 1908-09.;Schinkel. Altes Museum. Berlin, 1824-30.;Gropius and Meyer. Werkbund Pavilion. View from front showing glass stairs. Cologne, 1914. ;1. Feiniger. Zukunftskathedrale Woodcut for the Bauhaus Proclamation. 1919. 2. Van de Velde. Grand Ducal School of Arts and Crafts (Bauhaus). Weimar, Germany. 1904-1911.;The ultimate, if distant, aim of the Bauhaus is the unified work of art – the great structure – in which there is no distinction between monumental and decorative art. –Gropius The Bauhaus was founded with the visions of erecting the cathedral of socialism and the workshops were established in the manner of the cathedral building lodges. The artist was no longer “above” the craftsman, but both were equals. ;1. Fritz Mackensen. Der S?ugling (Moor Madonna). 1892. 2. Itten. Horizontal-Vertical. 1915. 3. Klee. Twittering Machine. 1922.;Theo van Doesburg. Counter-Composition XIII. 1925–26.;Frank Lloyd Wright. Ward Willitts House. Highland Park, IL, 1902. As published by Wasmuth in 1910.;George Vantongerloo. Construction of Volume Relations. 1921.;Frank Lloyd Wright. Ward Willits House. Highland Park, IL, 1902.;J.J.P. Oud. Café de Unie. Rotterdam. 1924.;Gropius. Bauhaus. Dessau. 1925-26.;The form of the Bauhaus also reflects Van Doesburg’s influence on the pedagogy. ;The classrooms/ administration