Typograghy:
These are specially the Bauhaus fonts. The movement literally be the same without these… they illustrate Bauhaus.
Weaving:
Founding of the Weaving Workshop
The first Christmas that the school was open, the students made toys and decorations out of paper, wood, and fabric scraps to sell at the Christmas market. It was a very successful venture, and from this experience textiles became one of the first Bauhaus workshops.
Gunta Stölzl and two other women students asked to start a class for women in which they made wall hangings, covers, and toys from donsted scraps of material. Stölzl then found a needle work teacher named Helen Börner.
For the early years of the workshop students were primarily self-taught. Gunta Stölzl and Benita Otte began to learn dying weaving on the machines by trial and error, by 1921, the weaving students were able to go for 2 month courses in the textile town of Krefeld to learn dyeing and weaving techniques.
The first Christmas that the school was open, the students made toys and decorations out of paper, wood, and fabric scraps to sell at the Christmas market. It was a very successful venture, and from this experience textiles became one of the first Bauhaus workshops.
Gunta Stölzl and two other women students asked to start a class for women in which they made wall hangings, covers, and toys from donsted scraps of material. Stölzl then found a needle work teacher named Helen Börner.
For the early years of the workshop students were primarily self-taught. Gunta Stölzl and Benita Otte began to learn dying weaving on the machines by trial and error, by 1921, the weaving students were able to go for 2 month courses in the textile town of Krefeld to learn dyeing and weaving techniques.
The early work was dominated by free expression and artistic improvisation. These artistic pieces reflect the struggle against the negative connotations of weaving being merely 'craft' or 'women's work'. The women of the weaving workshop were determined to demonstrate that there was no difference between fine arts and crafts.
Textiles were also viewed as a way to bring abstract art to the public. For the Bauhäusler, abstract qualities reflected a harmonious perception of modern life. The workshop style included strong blocks of color, geometric shapes, and expressive forms. Weavers paid close attention to detail, color, and texture.
Textiles were also viewed as a way to bring abstract art to the public. For the Bauhäusler, abstract qualities reflected a harmonious perception of modern life. The workshop style included strong blocks of color, geometric shapes, and expressive forms. Weavers paid close attention to detail, color, and texture.
Wassily chair
Revolutions in design are most often driven by advancements in material and technology. The famous Wassily Chair by Marcel Breuer is precisely one of these, the first ever chair to feature a bent-steel frame. While it was first created in 1926, it marked the beginning of a new era in modern furniture with a design that maintains a progressive look even today.
The Wassily Chair was first built by Marcel Breuer at the Bauhaus institution in Germany. Breuer found his inspiration for the chair in the bent form of a bicycle handlebar, available for the first time in steel due to a development in technology. The German steel manufacturer Mannesmann had developed a process to produce seamless steel tubing, the first to allow tubes to be bent without breaking at the seam. Breuer’s bicycle featured such tubing, which inspired the designer to use this material in furniture.
The Wassily Chair was originally known as the Model B3 Chair, but was later marketed as the Wassily Chair after a story about Breuer’s friend and colleague at Bauhaus, artist Wassily Kandinsky. After first producing the Model B3 Chair prototype, Kandinsky was so enthralled with the chair that Breuer decided to produce another for Wassily Kandinsky himself. This friendship, and the later popularity of Kandinsky led the producers of the Model B3 Chair to change its name to the now famous Wassily Chair.
After going out of production for a number of years, the Wassily Chair was produced again shortly after World War II. The original Model B3 Chair featured a fabric seat, back and arm rests, but the re-introduced version was also available in white, black or brown leather. This design remains today, where it is still in production by Knoll Furniture and knocked off by many other producers.
The Wassily Chair is a classic like none other. Its design remains progressive even in comparison to the design world’s latest furniture. Its build is complex in appearance but simple in construction, a contrast which has earned its place in museums throughout the world, and in thousands of modern-minded homes. The Wassily Chair is without a doubt one of history’s greatest pieces of modern furniture. Marcel Breuer may have passed in 1981, but his legendary piece of furniture will never lose its relevance to the world of modern design.
Furniture:
The furniture workshop at the Bauhaus school approached furniture design by first examining function. The Bauhaus school believed that furniture should be comfortable for sitting, and designers created simple forms to achieve this like elastic seat and chair backs, stuffed upholstery and angled seats. The final design consideration ensured that the spine remain free to avoid discomfort or unhealthy pressure.
One important contribution made by the Bauhaus school was the use of steel as frames and supports for different types of furniture, including tables, chairs, sofas and even lamps. The use of machine-made, mass-produced steel tubing created simple forms requiring little handcrafting or upholstery. Tubular steel greatly reduced production costs and thus the cost of the final product. It also contributed to the streamlined, modern look of furniture.
Jewellery:
Similar concepts and principles apply to the jewellery as well… stronge geometric line, bold shape and form.
The use of steel piping comes into play, and the mechanisms are not hidden.
