Dictionary:
Bau·haus (bou'hous')  |
Of, relating to, or characteristic of a 20th-century school of design, the aesthetic of which was influenced by and derived from techniques and materials employed especially in industrial fabrication and manufacture.
[German, an architecture school founded by Walter Gropius : Bau, construction, architecture (from Middle High German bū, building , from Old High German , from būan, to dwell, settle) + Haus, house (from Middle High German hūs , from Old High German).]
| Britannica Concise Encyclopedia: Bauhaus |
For more information on Bauhaus, visit Britannica.com.
| Modern Design Dictionary: Bauhaus |
There is little doubt that this German school of design was the most influential of the 20th century. Many of the leading figures of Modernism including Walter Gropius, Herbert Bayer, Marcel Breuer, László Moholy-Nagy, Wilhelm Wagenfeld, Anni and Josef Albers, Marianne Brandt, and Gunta Stölzl were closely identified with it, either as members of staff or students, and many of its avant-garde ideas were disseminated through the publication of fourteen Bauhausbücher (Bauhaus Books) between 1925 and 1930. A Bauhaus journal also appeared periodically between 1926 and 1931. As well as attracting many foreign visitors during its life in Germany (in Weimar 1919-25, Dessau 1925-32, and Berlin 1932-3), the emigration of many of its leading teachers to Britain, the United States, and elsewhere following the rise to power of the National Socialists further boosted its reputation as a progressive centre for art, architecture, and design education. The commitment of the Bauhaus to notions of a socially democratic vision of a well-designed environment, the idea of an International Style, and its position to the left of the political spectrum proved problematic in the sensitive economic climate of the 1920s and 1930s. Nikolaus Pevsner's Pioneers of the Modern Movement: From William Morris to Walter Gropius of 1936 (reformulated in 1949 as Pioneers of Modern Design in conjunction with the Museum of Modern Art, New York) did much to validate the historical importance of the Bauhaus. He presented it—via the principles of the design reformers of the Arts and Crafts Movement—as the culmination of the avant-garde's rejection of Victorian historical encyclopaedism. Pevsner's ‘Pioneers’ favoured an aesthetic that symbolically embraced the realities of the new century through exploration of new materials, modern mass-production technologies, and abstract form, ideas that were at the heart of the Bauhaus outlook from the early 1920s onwards. The achievements of the school were recognized by the Museum of Modern Art in New York in 1938 when it mounted an exhibition devoted to the Bauhaus from 1919 to 1928. However, this proved attractive to many historians and ideologues in the aftermath of the Second World War. They were further aided in their task by the establishment of the Bauhaus Archive in Darmstadt in 1960 (moving to Berlin in 1971), the formation of a Bauhaus Archive in Dessau and the mounting of a number of dedicated exhibitions and publications.
The Bauhaus was founded in 1919 under the directorship of Walter Gropius, bringing together two Weimar art and architecture schools under the title of Staatliches Bauhaus Weimar. The Founding Manifesto of 1919 revealed the institution's ideological links with the crafts and the idea of the unification of all the arts. In the initial years there was something of an Expressionist outlook, perhaps reflecting the mistrust of many of the avant-garde in large-scale industry, which was felt to be partly responsible for Germany's participation in the First World War. At this stage Johannes Itten was a key figure, running the six-month foundation course (Vorkurs) that was centred on the exploration of materials and form. This was followed by simultaneous studies with an artist (Formlehre) and craftsman (Werklehre) and culminated in the study of architecture and building. An early major project which brought together all of these elements was the building of the wooden Sommerfeld House designed by Walter Gropius and Hannes Meyer. Some historians have seen this as an Expressionist enterprise, although others have interpreted its timber construction and decorative detailing inspired by folk art as a natural response to the shortage of building materials and access to modern equipment. However, in the early 1920s there was a very distinct shift of direction with the arrival of the Constructivist artist Wassily Kandinsky in 1922 and László Moholy-Nagy in 1923. The modernizing impact of De Stijl and Russian Constructivism was also significant at this stage. A Bauhaus Exhibition was mounted in 1923 as a means of demonstrating the economic relevance of the School to the funding authorities. The adoption of a new Bauhaus slogan—‘Art and Technology in a New Unity’—was reflected in the Modernist aesthetic of Gropius' office. Able to be viewed by the public, the furniture, designed by Gropius himself, was geometric in form and compatible with modern mass-production technologies. Also reflecting contemporary commitment to the exploration of abstract form were the wall hanging by Else Mögelin and rug by Gertrud Arndt, students in the Weaving Workshop. A key exhibit in 1923 was the Haus am Horn, designed by Georg Muche and Adolf Meyer, with interiors, furniture, fittings, and equipment produced by the Bauhaus Workshops as prototypes for industrial production. In the same year a business manager was appointed as part of a strategy to secure income through partnerships with industry rather than local government. However, the Bauhaus generally proved unable to meet delivery deadlines, provide well-designed stands at trade fairs, or price goods at competitive prices. There were other problematic aspects of Bauhaus outlook, particularly in the ways in which Gropius sought to limit the number of female students to the institution through the introduction of a more rigorous entry policy. The position of women was further undermined by attempts to restrict them to the ‘female’ crafts of weaving, bookbinding, and pottery rather than those fields more closely allied with architecture, the stated goal of the institution. Figures such as the lighting and metalware designer Marianne Brandt were notable exceptions to the general rule. Perhaps ironically in this context, the Weaving Workshop at Dessau under Gunta Stölzl was a leading centre for industrial training and equipped women graduates for work in industry.
For political reasons the Bauhaus was forced to move from Weimar to Dessau in 1925-6, where it occupied striking new Modernist buildings, with interiors, furniture, and fittings reflecting a symbolic commitment to functionalism, the exploration of new materials and abstract form, and compatibility with contemporary production technology. These ideas could also be seen in advertising and typographic work by Herbert Bayer, tubular steel furniture by Marcel Breuer, metalware by Moholy-Nagy, and the Vorkurs by Josef Albers. Although Gropius and Moholy-Nagy left the Bauhaus in 1928 notions of designing for industry were applied with greater success in the later 1920s. Commercial links were established with Körning & Mathiesen in Leipzig (lighting), Rasch Brothers in Hanover (wallpaper), and Polytextil-Gesellschaft in Berlin (textiles). Hannes Meyer succeeded Gropius as director in 1928, giving way to Mies Van Der Rohe in 1930. Just as the Bauhaus had been forced to move from Weimar in 1925 the school had to move from Dessau to Berlin in 1932 following difficulties with the National Socialist City Council. Its life was limited and the Bauhaus was closed in 1933.
| Architecture: Bauhaus |
A school of design established in Weimar, Germany, by Walter Gropius in 1919. The term became virtually synonymous with modern teaching methods in architecture and the applied arts, and with a functional aesthetic for the industrial age; often characterized by emphasis on functional design, the use of a repetitive interval between members of the framework of a building, and the maintenance of purely geometric forms. Often, major building components such as bays, doors, and windows are placed to coincide with this repetitive interval, although the building itself may be asymmetrical.
| German Literature Companion: Bauhaus |
Bauhaus, a ‘comprehensive’ art school, which was founded in Weimar in 1919 with official support (Staatliches Bauhaus) under the direction of W. Gropius (1883-1969). It stressed the interdependence of the plastic arts under the primacy of architecture, and the importance of craftsmanship. Gropius recruited a number of notable teachers, among them L. Feininger, W. Kandinsky, and P. Klee. In 1925 the Bauhaus moved to Dessau as the Hochschule für Gestaltung, though the familiar name remained in use. It was closed in 1932, reopened in Berlin in 1933, but was almost immediately closed for good by the National Socialists.
In 1937 the ‘New Bauhaus’ was opened in Chicago under the direction of L. Moholy-Nagy (1895-1946), one of the artist-teachers from Dessau.
| Columbia Encyclopedia: Bauhaus |
In 1925 the Bauhaus moved to the more friendly atmosphere of Dessau, where Gropius designed special buildings to house the various departments. Gropius resigned in 1928, and the leadership was continued by the architect Hannes Meyer, who in turn was replaced in 1930 by Ludwig Mies van der Rohe. In the summer of 1932 opposition to the school had increased to such an extent that the city of Dessau withdrew its support. The school was then moved to Berlin, where the faculty endeavored to carry on their ideas, but in 1933 the Nazi government closed the school entirely. The Bauhaus ideas, enveloping design in architecture, furniture, weaving, and typography, among others, had by this time found wide acclaim in many parts of the world and especially in the United States. Gropius himself went to the United States and taught at Harvard, exercising considerable influence. The Chicago Institute of Design, founded by Moholy-Nagy, most completely carried on the teaching plan of the Bauhaus.
Bibliography
See W. Gropius, The New Architecture and the Bauhaus (rev. ed. 1955); H. M. Wingler, The Bauhaus, ed. by J. Stein (1969); M. Franciscono, Walter Gropius and the Creation of the Bauhaus (1971); E. S. Hochman, Bauhaus: Crucible of Modernism (1997).
| Fine Arts Dictionary: Bauhaus |
A German school of applied arts of the early twentieth century. Its aim was to bring people working in architecture, modern technology, and the decorative arts together to learn from one another. The school developed a style that was spare, functional, and geometric. Bauhaus designs for buildings, chairs, teapots, and many other objects are highly prized today, but when the school was active, it was generally unpopular. The Bauhaus was closed by the Nazis, but its members, including Walter Gropius, spread its teachings throughout the world.
| Wikipedia: Bauhaus |
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This article includes a list of references or external links, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations where appropriate. (April 2009) |
Bauhaus (help·info) ("House of Building" or "Building School") is the common term for the Staatliches Bauhaus (help·info), 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.
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.[1] 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 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by the Nazi regime.
The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
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Defeat in World War I, the fall of the German monarchy and the abolition of censorship under the new, liberal Weimar Republic allowed an upsurge of radical experimentation in all the arts, previously suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius himself did not share these radical views, and said that Bauhaus was entirely apolitical.[2] Just as important was the influence of the 19th century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function.[3] Thus the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.
However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as far back as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).
The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meier worked for him in this period.
The Bauhaus was founded at a time when the German zeitgeist ("spirit of the times") had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.
Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner.[4] Both schools were state-sponsored initiatives to merge the craft tradition with modern technology, with a Basic Course in aesthetic principles, courses in color theory, industrial design, and architecture.[4] Vkhutemas was a larger school than the Bauhaus,[5] but it was less publicised outside the Soviet Union and consequently, is less familiar to the West.[6]
With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.[7] The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects.
| Bauhaus and its Sites in Weimar and Dessau* | |
|---|---|
| UNESCO World Heritage Site | |
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| State Party |  Germany |
| Type | Cultural |
| Criteria | ii, iv, vi |
| Reference | 729 |
| Region** | Europe and North America |
| Inscription history | |
| Inscription | 1996 (20th Session) |
| * Name as inscribed on World Heritage List. ** Region as classified by UNESCO. |
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The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde.[8] When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should and socio-economic reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.[9] In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons.[10] The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky [11]
From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the ideas of the Bauhaus.[9] Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-econimic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.[12]
Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, with out the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement," instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."[13] Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school’s philosophy stated that the artist should be trained to work with the industry.
Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. In February 1924, the Social Democrats lost control of the state parliament to the Nationalists. The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. They had already been looking for alternative sources of funding. Together with the Council of Masters, Gropius announced the closure of the Bauhaus from the end of March 1925. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus University Weimar.
Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House.[14] The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer.
Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.
But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. As a vocal Communist, he encouraged the formation of a communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Gropius fired him in the summer of 1930. [15]
Although neither the Nazi Party nor Hitler himself had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in 1930.
Even before the Nazis came to power, political pressure on Bauhaus had increased. But the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism." Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was closed in April 1933. Mies van der Rohe was expelled from Germany. (The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's Architects of Fortune.) Curiously, however, some Bauhaus influences lived on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahn (highways) in 1935, many of the bridges and service stations were "bold examples of modernism" - among those submitting designs was Mies van der Rohe.[16]
The paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school did not offer classes in architecture until 1927. The single most profitable tangible product of the Bauhaus was its wallpaper.
During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.
In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution.
Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither van der Rohe nor his Bauhaus students saw any projects built during the 1930s.
The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. In Taut's case, the housing he built in south-west Berlin during the 1920s, is still occupied, and can be reached by going easily from the U-Bahn stop Onkel Toms Hütte.
The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel (particularly in White City, Tel Aviv) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, has been named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture in 2004[17][18]; it had some 4000 Bauhaus buildings erected from 1933 on.
Walter Gropius, Marcel Breuer, and László Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others.
In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design (German: Hochschule für Gestaltung - HfG Ulm) in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the ′Ulm Model′ concept continues to influence international design education.[19]
One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. Vorkurs ("initial" or "preliminary course") was taught; this is the modern day "Basic Design" course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent.
One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair by Dutch designer Mart Stam, using the tensile properties of steel, and the Wassily Chair designed by Marcel Breuer are two examples.
The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s[20]. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.
American art schools have also rediscovered the Bauhaus school. The Master Craftsman Program at Florida State University bases its artistic philosophy on Bauhaus theory and practice.
Bauhaus was not a formal group, but rather a school. Its three architect-directors Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe, are most closely associated with Bauhaus.
Furthermore a large number of outstanding artists of their time were lecturers at Bauhaus:
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