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Bauhaus: Bauhaus Style
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Perhaps the most known developers of the Bauhaus school include Wassily Kandinsky, Paul Klee, and Mies van der Rohe. Lesser-known names but perhaps equally influential include: Lyonel Feininger, Walter Gropius and Marcel Breuer. The influence of school is still alive; many modern buildings, offices and pieces of furniture draw heavily on the style put forth by Bauhaus.
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Some of the key elements of Bauhaus architecture had to be adapted to the local environment, primarily because of the climate. One of the key elements of the International Style in Europe was a large window. However, in a hot climate – large windows that let great amounts of light shine into the rooms – do not make sense. Locally, glass was used sparingly and long, narrow, horizontal windows are visible on many of the Bauhaus buildings in Tel Aviv. On some buildings, you can ... see long narrow balconies, which in many cases have now been enclosed. This was an adaptation of the long narrow windows.
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In 1925 the Bauhaus was moved into a group of starkly rectangular glass and concrete buildings in Dessau that were especially designed for it by Gropius. In Dessau the Bauhaus style became more strictly functional with greater emphasis on showing the beauty and suitability of basic, unadorned materials. Other outstanding architects and artists who were on the staff of the Bauhaus included the Swiss painter Paul Klee, the Russian painter Wassily Kandinsky, the Hungarian painter and designer László Moholy-Nagy (who founded the Chicago Institute of Design on the principles of the Bauhaus), the American painter Lyonel Feininger, and the German painter Oskar Schlemmer.
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The Bauhaus designers were fascinated by metal. Although metal has been employed for the frames of chairs since antiquity, it was surprising that the avant-garde metal furniture were greeted with consternation. The furniture looked so differently from the traditional style, that the masses could not relate to them.
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Developments in areas from Expressionism towards functionalism and from handicraft towards design for machine production, can be traced in the changing graphic design produced at the Bauhaus. Rules became the typical stereotype of what was popularly identified as 'Bauhaus style typography and design'. San-serif types and strong horizontal and vertical rules were typical of Bauhaus style design, but were part of a much more radical reform which examined the elements of graphic design and the role each played in the transmitting of information. At the Bauhaus, a basic education in the mechanics of visual communication began with the study of letterforms and typographic layout. The Bauhaus set forth elementary principles of typographic communication, which were the begginings a style termed "The New Typography", that started with:
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To advertise these attractions, Cubano graphistos combined elements of Art Nouveau, Art Deco, Bauhaus modernism, and Vegas-style kitsch in a distinctly Cuban sensibility. Cuba Style, the first book of its kind, reproduces a treasure trove of graphics from popular magazines, packaging, posters, and indigenous products such as liquor and cigars. It is a visual history of Cuba in its golden age as well as a wellspring of capitalist extravagance, seen here through the rare graphics of its extraordinary and now lost popular culture.
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Bauhaus Style