The Bauhaus

The Bauhaus was a German school of design from 1919 to 1933. It was a movement that was strongly influenced by the outcomes of World War One and rejected the ideals of the past and embraced the age of the machine. By focusing on the materials and the eradication of superfluous decoration, the Bauhaus established a new ideal, which was, form following function. Through their manipulation of established and new products this enabled them to emphasise the very �materiality’ of the items they produced. They simplified design, rejoiced in the quintessential embodiment of the elements and deliberately did not attempt to hide any constructional components. No longer was there a standard response to these elements, as the importance of the material itself emerged. Although relatively short lived, this movement had a major impact on world architecture and design, which is still evident today.

The Bauhaus movement’s most obvious influence was on architecture. Its impact can be seen in both major and domestic projects. The school broke away from the previous �elaboration [and] incremental development of past models’ and heralded the notion that �modern life had been so thoroughly transformed by technology and social change’ as to warrant a radically different approach (Lewis 2001, p. 40). Their teachings embraced the importance of the �manual experience of materials’ (The Bauhaus, People, Places, Products and Philosophy 1996) and students were encouraged to work with industrial products such as mass produced steel and glass to envelop and reflect the idea of �purpose.’ It was their strong rejection of the past and tradition that enabled them to move away from the expected.

The Bauhaus developed this concept further as they �stripped away the decoration, and left clean lines of function’ (The Bauhaus, People, Places 1996). This concept continued to evolve until ultimately the form of an object was created in accordance with its purpose. An example of this approach is the Bauhaus building, Dessau, Germany 1925/26, which has been described as one of the most influential buildings of the Twentieth century (Droste 1993). It features a curtain wall attached to a skeletal frame with different sections created for different and specific uses (Droste 1993). Decoration and ornamentation were considered unnecessary, as the function of the building became paramount. This building with its unique structural iron grid encased in glass does not attempt to disguise the support mechanisms that provide its strength. In fact, these features are accentuated, not intentionally, but the lack of their concealment does highlight their purpose and function within the structure. Additionally the unique and extensive use of glass assisted in revealing its internal machinations. Architecture to this point had rarely been so communicative.

It was this new approach to architecture and material use that led to the expansion of the International Style. With the closure of the school in 1933 many of its teachers migrated to America and France. This dispersed movement of intellectual property contributed to the Bauhaus ideals, patterns and standards being spread around the world (Wullschlager 2002). Their use of modern materials, the rejection of tradition and the concept that items were produced in relation to their function and purpose, heralded an innovative approach to architecture. America, in particular, absorbed these ideas and concepts (Kentgens-Craig 1999). They appealed to America, as she wanted a built architecture that demonstrated its post war culture, civilization and power (Kentgens-Craig 1999). These foundations supported the evolution of the �International Style’ of architecture and the modern era was born.

There were two influential ex Bauhaus directors that became foremost proponents of this new style, Ludwig Mies van der Rohe and Walter Gropius. Both, still deeply entranced by the Bauhaus philosophies, independently took up key roles within the architectural fraternity in America. Their students became some of the most influential architects of their time, responsible for building some of the biggest and most prestigious structures from 1930 to 1980 (Bjone 2002). The Bauhaus ideal was enhanced to include functional space, open frames, and minimalism. The utilisation of mass-produced products such as steel, concrete and glass, enabled the buildings that they designed to be freed from the restraints of masonry (Hopwood 1971). This degree of freedom had not been experienced before. This concept was discussed further in an interview with Mr. Glenn Smith, a Bauhaus enthusiast, on Sunday 25 May 2003 at Gino’s CafÐ"©, South Terrace, Fremantle. Mr. Smith stated that through the use of these materials architects developed a style that is synonymous with the 20th Century. He went on to say that Van der Rohe’s adage of вЂ?less is more’ became the basis of many post Second World War major constructions ranging from public buildings, banks, libraries through to corporate head quarters as these were buildings that had previously relied heavily on вЂ?traditional’ motifs and designs to convey their importance. Mr. Smith developed this idea by stating that so diverse and influential was this style examples are evident throughout the entire world. For instance, Council House and Dumas House both situated in Perth, Australia are two local examples of this International Style. The city of Tel Aviv also provides further evidence of the widespread use and appeal of this built architectural language (Inter ART Israel вЂ" Bauhaus in Tel Aviv n.d.).

Apart from corporate constructions the Bauhaus style also greatly influenced domestic architecture. Again the simplicity of manner was considered to be a powerful lever in enticing the American architects away from their architectural inheritances (Kentgens-Craig 1999). America, like the rest of the developed world, also had another compelling requirement. Urbanisation was increasing and there was a real need for cheaper housing (Kentgens-Craig 1999). Concerned with pre-fabrication, industrial products and open plan, houses embracing the Bauhaus ideals and concepts were constructed during the post World War Two period. These houses were cheaper to build because of their dependence on readily available, mass-produced materials. Furthermore, this style has remained as relevant as when it was first introduced. The R 128 house, which was recently constructed in Europe, also incorporates these aspects. The integral components of �function, structure and design’