In 1919 the architect Walter Gropius founded The Bauhaus in the city of Weimar. Its core objective was to reimagine the material world by combining all the arts. Gropius explained this vision in the Proclamation of the Bauhaus (1919), combining architecture, sculpture, and painting into a single creative expression. Gropius created a craft-based curriculum that would make the students capable of creating useful and beautiful objects suitable for this lifestyle.
The Bauhaus is known for its development of the sans serif typography, simpliﬁed forms, rationality, functionality and the idea that mass production should harmonize with individual style of living.
Josef Albers – Nesting Tables
While serving as the artistic director of the furniture workshop at Bauhaus from 1926 to 1927, the painter and the modernist pioneer Josef Albers designed this set of accent tables to study modern design. Designed in minimalist style and crafted of solid oak and lacquered acrylic glass, the set is an example of the application of Bauhaus colour principles taught in the preliminary course. He is best known for his geometric paintings and his passion for colour. Albers applied the same precision and logic to his furniture and gave each of his nesting tables a distinctive colour. Exquisite in their simplicity, these tables work independently and interdependently.
Bauhaus Inspired Interior In Vilnius
Architecture studio AIAI architects introduce interior project that was influenced by Bauhaus 100 anniversary and artist Piet Mondrian. The cozy 36-seat restaurant “LOLA” is situated on the edge of Vilniu’s old town and is always overcrowded with new visitors during weekend brunches.
The main space is shaped with sharp lines, painted with primary colors and black lines. Architects have used the main elements of the famous De Stijl artworks and connected them with raw materials: concrete, wood, and metal. “The Bauhaus anniversary was a perfect impact on this project. Inspired by aesthetics, forms and details we’ve created a colorful dedication for this movement”- said, architects.
De Stijl – the Style
This movement, based in the Netherlands, focused on abstract, geometric forms and primary colors. Contrary to the decorative excesses of Art Deco, the reduced quality of De Stijl art was meant to be a universal visual language appropriate to the modern era. Led by the painters Theo van Doesburg and Piet Mondrian, De Stijl artists applied their style to a range of media and arts. The goal was to make the ideal fusion of form and function, thereby making De Stijl in effect the ultimate style. . De Stijl’s influence was perhaps felt most noticeably in the realm of architecture, helping give rise to the International Style of the 1920s and 1930s.
Putting on de Stijl
The Swiss Movement
Swiss Design was a movement in the 1950s in two Swiss art schools, the kunstgewerbeschule in Zurich, led by Josef Müller-Brockmann, and the Allgemeine Gewerbeschule in Basel, led by Armin Hofmann. Both of these were understuddies with Ernst Keller in Zurich before World War II.
Their style was guided by the idea that design should be as invisible as possible, that form should follow function.
«In practice, what distinguished Swiss Design was the use of asymmetric layouts with text aligned flush-left, ragged-right; sans serif typefaces like Akzidenz Grotesk and, later, Helvetica (originally called Neue Haas Grotesk); the use of photographs instead of illustration; and, most importantly, the deployment of a mathematically determined grid to determine the placement of design elements—a method that remains extremely important to this day in web design. «