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+++ BAUHAUS +||:|||||:-

Discussion in 'Channel Zero' started by imported_Tesseract, Jun 20, 2002.

  1. http://www.bauhaus.de/english/bauhaus1919/architektur/architektur_bilder/architektur_dessau_gross.jpg'>
    [color=none][b]+Bauhaus, Dessau 1919[/b][/color]
    [color=none]+[/color][color=silver][b]The Bauhaus masters on the roof of the Bauhaus building in Dessau. From the left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herber Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Vassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl and Oskar Schlemmer.[/b][/color]
    [SIZE=2][b]++ MANIFESTO ++[/b][/SIZE]

    <span style='color:NONE'>[b]The ultimate aim of all creative activity is a building![/b] The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as "salon art", it has lost.

    The old art schools were unable to produce this unity; and how, indeed, should they have done so, since art cannot be taught? Schools must return to the workshop. The world of the pattern-designer and applied artist, consisting only of drawing and painting must become once again a world in which things are built. If the young person who rejoices in creative activity now begins his career as in the older days by learning a craft, then the unproductive "artist" will no longer be condemned to inadequate artistry, for his skills will be preserved for the crafts in which he can achieve great things.

    Architects, painters, sculptors, we must all return to crafts! For there is no such thing as "professional art". There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.

    Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.


    [b]++ ARCHITECTURE ++[/b]



    [color=none][b]* All courses in architecture must be based on scientific facts.[/b] Major priority is given to the functionality of a building in the most practical sense. Any elaboration of a design must therefore be preceded by research on the usage, from which the building program should be developed with scientific precision;

    * The optimization of all necessary requirements has priority over artistic considerations;

    * All courses in architecture must be based on activities from architectural practice.[/color]


    [b]++ ART ++[/b]

  2. beardo

    beardo Guest

  3. ..When i saw that Klee i automaticly thought of you Beard...this is some serious shit...Smart and Brown will enjoy for sure to!
  4. ++ <span style='color:silver'> The "Light-Space modulator" by László Moholy-Nagy</span> ++


    [color=none]+[/color]<span style='color:silver'>[b]"The model consists in a cubic box [...] with a circular opening (stage) at the front.[/b] Surrounding the opening, on the back side of the board, I have mounted a number of yellow, green, blue, red, and white electrical bulbs [...]. Inside the box, parallel to the front, there is a second board, also with a circular opening, around which a further set of light bulbs is mounted. Single bulbs light up at different places according to a pre-set plan. They illuminate a continuously moving mechanism, made partly of transparent, partly of cut-out materials, in order to create linear shadows on the back wall of the closed box. (When the presentation takes place in a dark room, the back wall of the box can be removed and the color and shadow projection behind the box projected on a suitable screen of open dimensions.)" </span>

    [b]++ Cabinet-making workshop ++[/b]


    [color=none]No workshop has marked the public image of the Bauhaus as much as the cabinet-making workshop. At first it was directed by Johannes Itten, then in 1921, Walter Gropius became master of form and had part of the furnishings for his buildings realized there.[/color]

    [color=none][b]++ Metal workshop ++[/b][/color]


    The production of some of the types, such as the Kandem lamps by Marianne Brandt and Hin Bredendieck, was continued for many years after the closure of the Bauhaus.

    + [color=silver][b]+ Workshop for typography and commercial art +[/b][/color] +


    [color=none] Joost Schmidt was his successor at the Bauhaus. He introduced a systematic course for the design of lettering and advertising graphics and expanded it to the practice of exhibition design. Examples of the applicability of experimental forms of presentation in architecture, sculpture, photography, and typography were presented in Bauhaus traveling exhibitions and at conventions in and outside Germany. The stands were designed by the advertising workshop.[/color]
  5. --zeSto--

    --zeSto-- Guest

    well just because someone needs to dumb it down a bit...


    see the chair on the right?
    We 're-constructed' one of those. The Leather was torn, then stapled back together,
    The metal was bent to the point of fatique,
    and then the whole thing was set alight and thrown off a roof.

    It all started because someone put the chair outside and the elements got to it.
    (then we did!!)
  6. ++ Wall painting workshop ++


    [color=none][b]The early interior decoration schemes for villas carried out by the workshop are difficult to classify. The choice of colors and the finish of the design neither correspond with later works, nor do they reflect our general knowledge of color style in the twenties. Despite this sometimes unusual color selection, as in the villas of Gropius and Meyer, the primacy of architecture remains untouched.[/b]

    Vassily Kandinsky's appointment as master of form focused the interest of the workshop on large-scale mural paintings, independent in composition from the actual wall. Kandinsky's room at the jury-free Art Exhibition in Berlin in 1922 and Oskar Schlemmer's murals in Weimar are seminal pieces within this development.

    The late Weimar years and the early Dessau period led to a return to architecture-related decoration. Some designs try to structure rooms with color accents, to create defined areas within one room with the support of color. Walls, floors, and ceilings are dealt with as a single color unit.

    Hinnerk Scheper, head of the workshop since 1925, developed a contrasting concept of decoration at the service of architecture. He avoided choosing bright colors and instead used light pastel tones, strengthened by a wide palette of grays. Color differentiation was such that structural architectural elements remained untouched.

    His classes were strongly oriented towards craftsmanship. He demanded that a sophisticated color tone scale for oil painting be devised, and laid great importance on the command of different techniques of color shading such as spraying and screening. He considered a founded knowledge of the different components of colors to be just as indispensable as professional know-how in various kinds of rough-casting materials.

    Despite this focus on craftsman design, the Bauhaus wallpaper was developed in 1929 as an industrial product. Made for apartments in contemporary housing estates, the patterns were held small and subdued in tone. The wallpaper was so well-adapted to its specific function that it became the most successful Bauhaus product.[/color]
  7. Illmatic.

    I'm kinda tired of the Bauhaus, however... driven to the ground over and over in our history of ID class. They are, however, responsible for a LOT of the stuff you see around you, the first universal "design firm", so to say.

    I had a replica of that Gropius chrome-and-leather chair in my room. Bitches loved it. Beer,

    El Mamerro
  8. --zeSto--

    --zeSto-- Guest

    didn't we hint on... 'Industrial Design' doesn't mean "without style" ??

    yes... point taken
  9. Yeah...getting tired stops when you try to imagine your self as a student there....all i could ever dream of.

    And bitches love bauhaus for sure.
  10. Kr430n5_666

    Kr430n5_666 Banned

    Joined: Oct 6, 2004 Messages: 19,229 Likes Received: 30
  11. TEARZ

    TEARZ Guest

    um, yeah, completely radical. josef albers "interaction of color" was one of the coolest books that i have ever read. paul klee was the first artist that really interested me... dorky 10 year old asking my moms to buy me a paul klee book (that's still on my shelf).
  12. BROWNer

    BROWNer Guest

    so wicked.
    thanks for posting this hombre.
    thanks to tearz for puttin'
    me on to klee too.
    i'm gonna go & try to find that
    albers book today...
  13. Back on top where this belongs!
  14. TEARZ

    TEARZ Guest

    yeah, browner that's a cool book to check out. try and find the one that has like 80 or 100 different plates in it. there's also a condensed and cheap version too with only 8 or so plates but still contains the essays which are rad. but you really have to see all the plates, even if it's just at the library. and i'm very glad you're getting into klee.
    tesser, great stuff hermano. way too good of a thread to only have 14 replies, but you know i feel your pain on that one.