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What Makes a Craftsman Bungalow? History, Color and Furniture Choices – Modern Bungalow

What Makes a Craftsman Bungalow? History, Color and Furniture Choices – Modern Bungalow Skip to content

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Whether you call it a bungalow, a Craftsman, or a Craftsman bungalow, these simple but artistic homes have captured our attention and guarantee to be bitten (if not already) by a virile little bug that will bring you to great lengths to do your home justice.

But should you call a bungalow a Craftsman and vice versa? Craftsman is actually considered an architectural or interior style whereas a bungalow is a form of house. Many bungalows exhibit a Craftsman style. While it is certainly a popular pairing to have Craftsman bungalows, it’s not always the case. Spanish Colonial Revival, Modern and Tudor bungalows are a few additional variations of the popular home.

Regardless of what yours looks like, America’s love affair with the bungalow started in the early 1900s when the working class was finally able to afford a home with respectable architectural stylings - something that had previously been available only to the wealthy. It wasn’t just pleasing to look at. The construction was sound and the plumbing excellent which, if you think about it, for the early 1900s was a big deal!

In many ways bungalows helped people, regardless of income, fulfill the American dream.

History of the Bungalow

As Charles E. White, a renowned architect in the Prairie School contemporaneous with Frank Lloyd Wright, said in his 1923 Bungalow Book:

[T]he little bungalow attracts all eyes even the eyes of those who, with ample means to carry out their most cherished wishes, are yet attracted toward the sweet simplicity of the bungalow types, its freedom from pretense, and the artistic manner in which it fits the landscape.

He goes on:

Who can forgo the charm of the low, broad roof line, the little front entrance with its quaint door opening so close to the ground, the low outlines of the little building which seems to nestle too snugly in its setting and offers so little competition with Nature as it rests modestly against the sky line, instead of rearing itself aggressively above the horizon.

Before 1906, the bungalow was considered a seasonal dwelling, and flourished in areas where vacationers flocked. In 1906, Gustav Stickley wondered if perhaps the bungalow was actually the perfect dwelling for year-round living. The bungalow’s peak popularity from 1907-1925 coincided with the peak of the Arts and Crafts movement, which was a backlash to the Industrial Revolution and its treatment of people as workers and produced works as commodities. The movement rejoiced in craftsmanship and the visibility of the hand of the worker in the finished work, as well as harmony with nature.

It is ironic then, that it was modern means of production like the assembly line that allowed this style of home to flourish across the country. Home builders early in the 20th century published catalogs of homes, and aspiring homeowners could order them as entire kits and have them built inexpensively on their own plots of land. Gustav Stickley sold Craftsman bungalow kits through his magazine for around $1,000, and other mills and builders jumped in the game. Even Sears sold bungalow home kits!

Common bungalow characteristics:

Stylistically, these modest homes were based on grander, earlier designs by custom builders and architects such as Charles and Henry Greene in California and offered details that identified them as bungalows such as:

There were many variations on the theme, with dormers and gables galore, and anything from modest 800 square foot cottages, to grander 2-story homes, but all shared the Craftsman design touches and simple layout that defined this very American home.

And you may have noticed that Hollywood shares a great deal of love for the bungalow. Think Back to the Future and its famous shots of the Gamble House, LA Confidential and Netflix’s Bird Box. And these are only a few examples out of hundreds (or maybe more!). The sheer amount of these picturesque homes in Southern California make filming on location easy, but there’s even more to the obsession. Check out our post on Craftsman Style at the Movies if you want to read more.

Color Schemes for the Craftsman Bungalow

With a good number of architectural assets both inside and out, the colors you choose for your bungalow should be ones that grab attention with natural or brighter shades of complementary earth tones.

Because there are so many options for you to choose from given the Craftsman color palette popularity, it can feel daunting to decide what will work best for your home. We’ve written an Ultimate Guide to Craftsman Color Palettes that can be referenced at any time. Below you will find a usable summary to get you started.

Exterior Color

If the words earthy and fall come to mind, you’re on the right track. Earthy browns, muted greens and cool blues are often used on the Craftsman bungalow exterior. It doesn’t mean you can’t use additional colors, but typically you will see variations of the above-mentioned three.

Areas needing color:

The options for colors in these three areas range from choosing different colors for each area (such as a green for the body and shades of browns and reds for the trim and accent) to choosing one color for the whole house in various shades.

Interior Color

How you color the interior of a Craftsman bungalow is just as important if you want that same attention-grabbing look achieved on the exterior of the home. The color palettes are similar, there’s just more to think about in how they are used.

Start with a rug, a fireplace tile, stained glass, wood built-ins, or a beautiful piece of Craftsman pottery. It’s amazing how just this one thing can give you the context for your entire color palette.

Other considerations:

Furnishing a Craftsman Bungalow

You might think there’s a contrast between the historic style of your home and the way we live today and wonder how to decorate your bungalow. Not to worry, we have more in common with the homebuyers of 100 years ago than we think!

Gustav Stickley’s The Craftsman magazine was the voice of the Arts and Crafts movement in America. This movement was a backlash to the industrialization of manufacturing, which favored volume over quality, removed the human touch in our home goods, and distanced us from nature. The movement also stood in contrast to the heavy ornamentation of the Victorian era and favored simplicity and quality materials over intricate designs and layers of decoration.

So how does one decorate and furnish a bungalow for modern life, while keeping true to its style? Just keep in mind the three founding principles behind your home:

1. Harmony with nature

2. Craftsmanship

3. Bungalow style

Modern Bungalow’s huge selection of Craftsman style Amish built furniture is sure to blend seamlessly into your beloved bungalow. And because we know there’s a lot to choose from, don’t hesitate to reach out and let one of our experts in the shop or one of our design partners help you in making decisions and customizations to your liking!

Be sure to check out Modern Bungalow's complete guide to historical homes which encompasses the Craftsman bungalow as well as a number of other popular styles in the American West.

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Decor Ideas for Craftsman-Style Homes

It’s hard not to love the Craftsman style, isn’t it?! There’s something warm and inviting about a Craftsman home that celebrates simple forms and a true appreciation for the building materials. These structures, which began appearing shortly after the turn of the 20th century, boasted a signature set of features, from tapered columns and linear window detailing to front porches and exposed rafters under the eaves.

Today we take a peek inside the Craftsman home to explore the many options for decorating these fabulous spaces. While some of today’s featured homes are new (and built in the Craftsman style), others are beautifully restored Craftsman houses that thoughtfully reflect the history of the original structure. And when it comes to the decor, you’ll see a range of styles, from traditional accents to bright, modern updates. How would you decorate a Craftsman-style home? Don’t forget to leave a comment at the end of the post…

Craftsman-Style Living Spaces

We begin with a view of a Craftsman home from Dorothy Howard Architect. Note the window detailing, as well as the exposed rafters. We’re also loving the use of sage green and burgundy on the facade…

Charming Craftsman home

How would you begin decorating the interior of a space like this? And what do these homes look like inside anyway?… There’s no one right answer for either question, but let’s take a peek in one Craftsman-style home… Note the use of wooden detailing, which creates a warm glow in the space. Some Craftsman homes use glass (and stained glass) as a decorative accent, as shown below. [from Melaragno Residential Design]

Wooden detailing in the interior of a Craftsman home

Then there’s the lighting, which often mirrors the linear motifs of the home’s exterior. Below we see pendant and sconce lighting that casts a golden glow… [from Houzz]

Warm lighting in a Craftsman-style entryway and family room

While the interiors of many Craftsman homes focus on warm, earthy colors, others opt for a light and bright approach. In the next featured image, we see a balance of wooden accents and vivid hues in shades of white and blue. [from Annette English & Associates]

Contemporary Craftsman-style living room

It’s always fun when a historical home goes modern! Which is why we’re loving the slate gray walls, white trim and “retr0 meets contemporary” look of the space below, featured on Apartment Therapy:

Modern Craftsman living room

Speaking of gray, this next contemporary Craftsman-style living room includes modern pendant lighting, white wooden accents and contemporary art. The resulting look comfy and trimmed yet sophisticated and modern. [from Olson Architects]

Modern furnishings in a Craftsman interior

Craftsman-Style Kitchens and Dining Rooms

We now turn our attention from living spaces to kitchens and dining rooms. But before we head inside, let’s take another look at a fabulous Craftsman exterior. This home from Moore Architects showcases a gorgeous front porch featuring thick tapered columns and white railing. [image by Hoachlander Davis Photography]

Porter Street Bungalow in Washington, D.C.

With an image of a Craftsman home fresh in our minds, we now explore the realm of culinary and dining spaces. Is there a way to decorate these interiors while honoring the look of a Craftsman exterior? Of course! Once again, we see wooden accents, this time in the form of doors, drawers, cabinetry and a kitchen island. Modern touches combine with traditional statements to create a warm, inviting space. [from The Kitchen Source]

Craftsman-style kitchen

Next we see an award-winning historical kitchen from W. B. Builders, complete with the warm glow of wooden detailing…

Wooden detailing in a historical kitchen

Sometimes the Craftsman kitchen can take on a more modern, bistro look, as shown below. A tile backsplash, white walls and dark countertops contribute to the style, while a wooden island and traditional bar stools remind us of the home’s Craftsman roots. [from Sandoraz]

Modern Craftsman kitchen

Next we head into the dining room–a beautifully maintained space filled with Craftsman delights, from the lighting that hangs overhead to the gold, green and brown color combo. Vases of flowers grace many a Craftsman interior. Did you catch the Art Nouveau piece in the lower right corner of the image? There even appears to be a foliage-themed mural on the ceiling–gorgeous! [photo by Alan Karchmer for Gardner Mohr Architects LLC ]

Craftsman decor with a tropical touch

We now take things in a more modern direction with a light gray dining space, complete with white trim. Anyone noticing a theme here? More traditional Craftsman homes seem to revel in earth-toned colors, while the modern spaces often introduce bright hues and cool tones. [from Denoxa]

Bright Craftsman-style dining room

Speaking of modern, check out the contemporary pendant light below… Wallpaper and a collection of sleek vases make this space a true standout. A blend of warm and cool tones creates balance. [from Sarah Greenman]

Modern Craftsman-style dining room

Remember that gray and white living room above? Check out the dining room of the same renovated space, featured on Apartment Therapy. This 1912 restored Craftsman home is filled with contemporary and vintage treasures, and the dining room is no exception…

Contemporary Craftsman dining room

Craftsman-Style Bedrooms

We end with a series of Craftsman-style bedrooms that bring serene style home. But first we have a look at one more Craftsman house, which is covered in the gray and white combo we’ve featured repeatedly today!… [from Supple Homes, Inc. ]

Craftsman-style San Francisco home

Sometimes clean and simple is the way to go. Wooden furnishings take center stage in the room below, as does a gorgeous shade of beige that appears on both wall and comforter. [from Tour Factory]

Craftsman-style bedroom

You don’t have to live in a Craftsman home to get a touch of modern Craftsman style in your bedroom, thanks to Contemporary Cable Furniture from Vermont Woods Studios, shown in the next featured image. We’re especially drawn to the Arts and Crafts look of the bed:

Contemporary furniture for a Craftsman-style beroom

We now progress to a brighter space, complete with wooden beam and door accents. Yet refreshing whites and blues add an air of crisp sophistication, don’t you think? [from Annette English & Associates]

Craftsman charm in an updated bedroom

In one more shot from the above-mention renovated 1912 Craftsman-style home, we see the power of gray and white, as well as contemporary flourishes. Note the modern artwork, as well as the acrylic lamp on the beside table… [from Apartment Therapy]

Modern bedroom in a Craftsman home

Our last featured image is a reminder of the power of modern flourishes in a Craftsman space. Since many of these homes feature linear details on windows and doors, don’t hesitate to throw contemporary touches into the mix. Even your front porch can introduce a blend of traditional and modern styles, as shown with the gray planters below. Welcome your guests in style, and give them a sneak preview of what will greet them when they enter your space. [from Cottage Home]

Modern planters on a Craftsman porch

Now we want to hear from you! If you purchased a Craftsman home, would you go back to its roots and furnish it with period pieces, or would you give it a fresh, modern twist? Share your thoughts by leaving a comment below…

Kate Simmons is a freelance writer and design blogger with a love of all things decor. She spent her childhood writing stories and working on interior design-themed DIY projects. Kate’s published writing reflects her special interest in how design has changed through the decades. Her blog Mirror80 ( http://mirror80.com/) explores the fashion and [...]

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Bauhaus: Design That Changed History - Westwing Interior & Design

100 years ago, the Bauhaus changed the way we think about design, and today we live side by side with its legacy without even knowing it. We tell you everything you need to know about this style, and even more

We talked with architectural historian, art history candidate and author of books on the history of design Nikolai Vasiliev about the formation of the Bauhaus school, its main representatives and the philosophy of style.

Bauhaus has two meanings. Firstly, it is customary to call a certain style of design, furniture, graphics and architecture. Secondly, it is an architectural and design school that has existed in Germany since 1919 to 1933. She created this style. In fact, the influence that this institution had on 20th century design and architecture was so powerful that it spread all over the world.

School Philosophy

Do you remember the slogan of the German chocolate Ritter Sport: “Quadratisch, praktisch, gut”? It has much in common with the principles of the Bauhaus: practicality, economy, functionality.

The philosophy of the school did not appear out of nowhere - it was the result of historical events at the beginning of the 20th century. The First World War ended, the inhabitants of Germany needed housing. And the Bauhaus school was supposed to help the country as much as possible with the construction of everything necessary, as well as create a new style - economical, functional and at the same time original. nine0005

“The Bauhaus was meant to demonstrate a new way of life through the interior”

That is why we are used to talking about the Bauhaus as a strict, even simplified design. There was no place for pretentiousness here - basic colors and simple lines ruled here.

Teachers laid the foundation for the future principles of the school. For example, asceticism came to the Bauhaus from Buddhism. This was largely facilitated by one of the supporters of the school, color theory teacher Johannes Itten. He was a Buddhist and a vegetarian, and also practiced meditation. During his work, the key idea of ​​the Bauhaus aesthetics was formed - self-restraint. The base color rule also appeared: a combination of red, yellow, white, blue and black. nine0005

Followers of the Bauhaus

German architect Walter Gropius stood at the origins of this school. In 1919, he headed the Bauhaus - the Higher School of Construction and Artistic Design. She was in Weimar. Gropius argued that art and craft always go hand in hand. This principle formed the basis of the philosophy of the Bauhaus. In the early years, students had two mentors at the same time: artisans taught them the profession, and artists instilled good taste.

The Swiss architect Hannes Meyer became the second director of the Bauhaus. He belonged to the New Architecture movement 1920s, but by conviction he was a Marxist. His approach was strictly functionalist - he later called it "The New Building Theory". Hannes Meyer believed that the main thing in architecture is not aesthetics, but organization. He emphasized the importance of social housing and the need to help all people, regardless of their background.

Ludwig Mies van der Rohe, the third principal, sought to depoliticize the school. In 1930, the Bauhaus moved to Berlin, but this did not save it from being closed by the Nazis in 1933. nine0005

Many students and teachers of the Bauhaus have become famous all over the world for their work and also entered the history of the school. The most famous graduate was the architect and designer Marcel Breuer, who later became one of the teachers. In the 1920s, he was mainly engaged in furniture design, and later became interested in architecture. According to his designs, houses were built in Germany and Switzerland. Subsequently, he emigrated to the United States, where most of his buildings are located.

One of the main artists of the Russian avant-garde, Wassily Kandinsky, also taught at the Bauhaus. Having started his career as a landscape painter, he was perhaps the first among avant-garde artists to paint abstractions. As part of the Blue Rider movement at 19In 22, Kandinsky came to the Bauhaus to head a painting and fresco workshop. The artist described the results of his work at school in the book "Point and Line on the Plane" in 1926.

The Bauhaus was closed for political reasons in 1933. Some representatives of the school remained and began to cooperate with the Nazis, but most of them left Germany. Someone went to the USA, someone to Japan and the USSR, some even ended up in Palestine. They continued to develop the Bauhaus style locally.

Bauhaus and the USSR

Many representatives of the Bauhaus placed great hopes on the USSR. They began to come to our country even under the second director Hannes Maier. By the way, the architect himself also collaborated with the Soviet Union and participated in the construction of facilities in Siberia. There was a catastrophic shortage of architects in the USSR, and therefore specialists from other countries were attracted. Many stayed here to live. True, preparations for the Second World War soon began, and some of them were repressed. The fate of many German architects is still unknown. nine0005

In Moscow in the 1930s, Hinnerk Scheper worked, who was a professor of architectural coloring at the Bauhaus. He developed colors for painting buildings. His works are known in the commune house on Khavskaya Street and in the house of Narkomfin. Scheper was engaged not only in the design of facades, but also in the interior design of apartments.

If we look at the result of cooperation between the followers of the Bauhaus and the Soviet authorities, the scale of the work is impressive. They built dozens if not hundreds of buildings in the USSR. For example, this is a large part of the Uralmash social city, workers' settlements in Perm, Kemerovo and Novosibirsk. However, such a volume of work was observed only in architecture. nine0005

Iconic items

The Bauhaus has inspired many generations of architects. Here are the TOP 5 real works of art in design that remain relevant today.

Self-balancing chair without rear legs made from gas pipes by architect Mart Stam. The first prototype of the product with a flat seat had a clear cubist contour, and thanks to the transparent legs, the impression was made that the seated person was “hanging” in the air. The design perfectly embodied the Bauhaus aesthetic, which strove for clean lines. Such chairs can now be found in many offices and cafes. nine0005

The second most important chair was Vasily, named after Wassily Kandinsky. Its author, Marcel Breuer, was a friend of the Russian artist. Inspired by the tubular steel bicycle frame, he used similar bent tubes for his chair.

Few people know, but transparent glass sets also came to us from the Bauhaus style. Their creator, Wilhelm Wagenfeld, liked to work anonymously and did not aspire to fame. Other designers liked transparent dishes so much that they began to repeat it in their own way. Now many cafes use glass teapots so that visitors can watch the process of brewing a drink through transparent walls. nine0005

Max Bill wall clock. They had a fairly simple graphic form and did not have numbers. As a result of cooperation with the watch company Junghans, the world saw a collection of wrist and wall clocks named after the author. They enjoyed success in the 1960s, but after some time they were still discontinued. But their journey did not stop, and today many designers are inspired by Max Bill watches.

Walter Gropius doorknob. Unlike the pens of the last century, this model resembled a right angle and consisted of only two parts: a cylindrical grip and a square rod. Entered mass production at 1923, and has survived to this day almost unchanged. It was considered the most commercially successful product in the Bauhaus style.

The impact of the Bauhaus on world design

After the Bauhaus school was officially closed, its masters went all over the world. Some representatives remained in Germany and formed the Ulm School. It was headed by Max Bill, who decided to keep Gropius' idea of ​​the synthesis of art and technology. A few years later, under the influence of other teachers, the ideas of the school began to change, and Max Bill left the school to later become one of its opponents. nine0005

Migrant students and teachers developed the ideas of the Bauhaus in countries from America to England. For example, in Italy, the principles of this style formed the basis of rationalism. In America, thanks to the relocation of most of the Bauhaus masters, an international style appeared. The Swiss school has taken a lot in regards to typography and communication design.

Bauhaus traditions have been preserved in modern interiors: Scandinavian design, loft style, and the famous strict Brown style. nine0005

Opponents of the Bauhaus

The philosophy of the Bauhaus responded to the needs of the time when it was born, but in the 1960s it seemed no longer so relevant. The followers of the German school were at an impasse, since everything had already been invented. At this moment, there was a need to create something radically new - this is how postmodernists appeared, who wanted to break the foundations and overthrow the strict Bauhaus. As a result of the Cultural Revolution, the simplicity and austerity of the Bauhaus, which has remained virtually unchanged in 40 years, lost out to the more daring and bold style of postmodernism. nine0005

Postmodernism turned to decorativeness and colorfulness, kitsch and chic, individuality and figurative semantics of elements, to irony and citation of historical styles. Architects and artists of postmodernism used motifs not only from past styles, but also from surrealism and computer graphics. Postmodernism turned away from monochrome and rational forms. He created a new concept of design as consumer-oriented design and gave impetus to the search for a bright, meaningful style with a new meaning and environmental morality. nine0005

Bauhaus in the XX I century

The Bauhaus surrounds us all the time. His motives can be found in the most ordinary things. Our streamlined kitchenware, chairs, folding tables, "modern" lamps, white walls and open living space are all rooted in Bauhaus philosophy.

The Bauhaus is on the doorstep!

Do not be afraid to open the door for him and let him into your interior

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Bauhaus. The history of the most daring educational institution of the 20th century

The Bauhaus is the most influential school of applied art, design and architecture of the 20th century. For fourteen years of its existence, it has made an artistic revolution, has become the place where artists and artisans from different countries tried to rethink the world. Representatives of the Bauhaus became the founders of the principle of practical utility and rationality of forms, laid down a new approach to learning, working with urban landscapes, furniture and household items. nine0005

In this article we will tell about the main stages of its formation and about how and by whom the principles of the most daring educational institution of the 20th century were laid. You will also learn about the leisure activities and famous parties of the Bauhaus students and some of the works created by its masters and students.

Bauhaus in Weimar 1919-1925

The first building of the Bauhaus University in Weimar, built in 1904

On April 25, 1919, the Bauhaus, the Higher School of Construction and Artistic Design, was opened in Weimar. Its director was Walter Gropius. While still at the front of the First World War, being already a famous architect, Walter dreamed of an educational institution that would change the meaning of design and the world in general. Such an opportunity presented itself to him as director of the largest design school of the 20th century. nine0005

Gropius believed that every artist should know the craft and there is no difference between an artist and a craftsman. These and other principles he laid down in the declaration of 1919. "Architects, sculptors, painters, we must all turn to crafts." The revolutionary spirit of the manifesto corresponded to the spirit of the post-war period. The manifesto was accompanied by an engraving by Lyonel Feininger "Cathedral".

This woodcut by Lyonel Feininger was included by Walter Gropius in the founding manifesto and program of the Bauhaus at 1919

“Architects, sculptors and painters, we must return to the craft again! There is no more "art as a profession". There is no fundamental difference between an artist and a craftsman. An artist is only the highest level of a craftsman. By the grace of God, in rare moments of enlightenment or under the onslaught of will, unprecedented art can flourish, but the laws of mastery are obligatory for every artist. Here is the source of true form creation.

Student selection and training approach

Gropius decided that Bauhaus students should have two tutors for each subject. Masters and artisans taught professions, artists instilled aesthetic inspiration and a sense of taste. The first teachers were Johannes Itten, Lyonel Feininger and Gerhard Marx. Later they were joined by Wassily Kandinsky, Paul Klee, Laszlo Moholy-Nagy. Many of the first students subsequently remained at the Bauhaus as masters.

Bauhaus students were between seventeen and forty-five years old. Given the difficult war period, Gropius convinced the Weimar Ministry of Education to abolish tuition fees and assign financial aid to those students whose work was commercially successful. nine0005

Both men and women could enter the Bauhaus. In the early years, girls were distributed mainly to weaving and textile workshops. Gropius believed that metal work and architecture did not suit the female mindset. Interestingly, one of the most famous students of the Weimar Bauhaus, Marianne Brandt, worked in the metal workshop and in 1928 became its leader.

Wassily Kandinsky, 1922–1933, Lecturer / 1923–1933, Deputy Director Johannes Itten, 1919–1923 — deputy director Laszlo Moholy-Nagy, 1923–1928 — teacher Gerhard Marx, 1919-1924 - teacher

Gropius himself came up with the curriculum at the Bauhaus. Most of it was associated with manual work. He was sure that manual and machine labor did not differ in essence, but differed only in the possible scale of production. Only a person who knows the craft and works with materials is able to operate machines with high quality and professionalism. He wanted students not to draw on paper, but to work with materials and create real objects. nine0005

Bauhaus curriculum in Weimar

The first Bauhaus curriculum consisted of three courses: preparatory, practical and building. At the preparatory stage, students studied the basics of form and work with materials. On a practical level, they were engaged in crafts, creating products for mass consumption, studying in detail the problems of form and color. In each workshop, they were taught to work with a certain material: stone, wood, metal, clay, glass, textiles, color. At the construction course, apprentices were already working on construction sites. nine0005 Gropius diagram

This approach to learning gave Bauhaus students the opportunity to feel the joy of creating new objects. The students had to understand that their future lay in industry and mass production.

One of the first teachers of the preparatory course was the Swiss artist Johannes Itten, who was personally invited by Gropius to join the school. From Vienna, where Itten taught, sixteen students came with him, they became the first students of the Bauhaus. nine0005 Johannes Itten exercising with students on the roof of the school, 1931

Itten developed "forkurs" - a new method of art education, designed to help the artist find his way without suppressing his personality. People of different levels of training, knowledge of the craft and art history entered the Bauhaus. At the forecourse, at the insistence of Itten, they enrolled everyone who wanted to make art.

The forecourse lasted one semester: the students had to liberate themselves and free themselves from conventions; choose a profession and material with which it is interesting to work; study the laws of color and form. After the course, the students moved to the workshops they were interested in to study the craft directly. nine0005

“In order to develop a sense of the unity of forms, I gave type exercises, suggesting that they work on type and various forms using the principles of a square, triangle, or circle.”

To help students relax and concentrate, Itten began classes with meditation and breathing exercises. On the art literacy course, they, on the contrary, moved and danced chaotically in order to figure out how to depict the rhythm on paper.

Composition of forms of different contrast, Weimar 1920 An exercise in the contrast of forms and the contrast of light and dark, Weimar 1920 Exercise with circular shapes, Weimar 1920 White and black circles. F. Dicker, Weimar, 1919

After Itten's departure from the Bauhaus in 1923, the preparatory course was taken over by Laszlo Moholy-Nagy, and from 1928 by the artist and designer Josef Albers.

Exhibition of 1923 in Weimar

4 years after the founding of the Bauhaus, the government of Thuringia (which includes Weimar) began to take an active interest in the results of its work, the question arose about the appropriateness of such use of taxpayers' money. At 19On 23, an exhibition of works by Bauhaus students took place in Weimar.

Justus Schmidt Poster for the Bauhaus exhibition in Weimar, 1923

The main exhibit at the exhibition was the exemplary residential building Haus am Horn - an example of functional building, equipped with everything necessary for modern life. Such a house was accessible to an ordinary worker, was environmentally friendly and embodied the basic principles of the Bauhaus.

Residential building Haus am Horn Interior of the kitchen of the house

Theater course

One of the reasons for the formation of the theater course was the desire to unite students and teachers, to form friendly relations between them. It was assumed that the theater should not only use artistic techniques, but also the laws of mechanics, optics and other scientific knowledge. nine0005 Group photo of the dancers of the Triadic Ballet, 1927 Costume designed by the German artist Oskar Schlemmer for the Triadic Ballet, 1922

artist Oskar Schlimmer developed four types of suit-forms: "Rotating Architecture", "Puppet", "Technical Organism" and "Metaphysical Expressive Form".

The theater stage in Dessau was also designed by Schlemmer, who joined the Bauhaus at 1920 year. It was Schlemmer who drew the famous Bauhaus logo.

Course work

Each Bauhaus master had his own approach to teaching theory and conducting practical classes. Drawing, construction, singing, psychological practices or dancing - all this contributed to the disclosure of the personality, awareness and creativity of students. We have already talked about the most famous items invented within the walls of the Bauhaus. Below are lesser-known works and sketches created during the course. nine0005

Wassily Kandinsky joined the school in 1922, later became an assistant director and worked in this position until 1933. He was one of the most influential Bauhaus masters. His classes included color theory, analytical drawing, and the basics of artistic design. In Kandinsky's class, students explored the relationship of color to form through the analysis of individual elements such as line, point, and plane.

The German composer Gertrud Grunow taught "Theory of Harmonization" at the Bauhaus. She believed that the ability of the individual to express himself depends on the sense of color, sound and form. The development of sensitivity, logical exercises, and even separate psychological sessions were integral parts of the Grunov course. nine0005

Paul Klee's goal was to teach students the basics of color and form so that they could work with them on their own. He avoided complex discussions in his classes, striving for harmony and naturalness. Because of his wise and penetrating way of transferring knowledge in the Bauhaus, Klee received the nickname "magician" (magician, magician).

Non-stop dancing

The Bauhaus organized music and dance evenings, lectures and concerts. Not only students, teachers, other designers and architects, but also local residents could come to them. In this way, artists could communicate with ordinary people for whom they design their objects, and people who are not associated with art can learn a little more about design and architecture. nine0005 Four Bauhaus students in a circle: Robert Lenz, Hin Bredendik, Loni Neumann and Hermann Gothel

Dancing, festivals and masquerades, swimming in public waters (according to some reports - naked), boxing - all this was an integral part of the Bauhaus students and attracted a lot of attention. Dancing was popular in winter. Farkas Molnar, in his 1925 essay Life in the Bauhaus, wrote that winter is "the season to dance to be healthy." He also noted the special beauty of Bauhaus students. nine0005

“Kandinsky prefers to appear adorned like an antenna, Itten like an amorphous monster, Feininger like two regular triangles, Moholy-Nagy a line crossed by a cross, Gropius like Le Corbusier…”

The reason for the celebration was very easy to find . So, for example, on a windy day, the "Festival of Air Games" was organized - more than two hundred aircraft of various sizes, shapes and colors rose above the heads of students and masters. Special attention is paid to costume parties. Each costume they wore was unique, handcrafted specifically for a particular evening. nine0005

Bauhaus Dessau 1925-1931

School building from the entrance Bauhaus complex Dessau. Dormitory on the right

The new building in Dessau, designed by Gropius, included an area with workshops and classrooms, a stage and a dining room for students, an administrative sector, twenty-eight apartments, as well as laundries and bathrooms. The complex was built in just a year - by 1926.

There have been some changes in the schedule in Dessau. Now only one master taught one class (mandatory participation in the training of the artist and craftsman was no longer required). The Faculty of Architecture was significantly expanded, a typography and layout course was added. nine0005 Masters of the school on the roof of the building in 1926 in Dessau Paul Klee and Wassily Kandinsky at breakfast. Dessau, 1929

In 1925, Bauhaus teachers and followers abandoned the use of capital letters in their work, thus supporting the Universal font, developed by the Austrian graphic designer Herbert Bayer. The German society did not support the initiative - in German, nouns begin with capital letters.

Herbert Bayer created the typographic identity of the Bauhaus

Closing of the Bauhaus

Walter Gropius was director of the school for 9 years, in 1928 he was replaced by Hannes Meyer, who led the architecture course. Gropius himself chose his successor. Misunderstandings with the municipal authorities forced Meyer to leave the post after only 2 years. In 1930, Ludwig Mies van der Rohe took over the leadership.

Mies remained director until the final closure of the Bauhaus in 1933 in Berlin, where the school had moved a year earlier. The school building in Dessau was occupied by the National Socialist Party. nine0005

During the Nazi regime, many Jewish architects emigrated from Germany to Palestine. Over 4,000 buildings were built in Tel Aviv in the 1930s. These buildings, a UNESCO world cultural heritage, are called the "White City".

Why is the Bauhaus so important?

Below is the text that was placed on the cover of the book "Bauhaus 1919-1928" by the Austrian artist Herbert Bayer. The book was published in 1938 for the Bauhaus retrospective at the Museum of Modern Art in New York, when the principles of the Bauhaus already had a significant impact in the world of art and design. nine0005

  1. The Bauhaus boldly embraces machines as an artist's tool;
  2. Bauhaus solves the problem of good design for mass production;
  3. Bauhaus brings together more outstanding artists in its faculties than any other art school;
  4. Bauhaus bridges the gap between artists and industry;
  5. Bauhaus breaks the system that separates "fine" and "applied" art;
  6. The Bauhaus understands that technology can be taught, but creative ingenuity cannot be taught; nine0201
  7. Bauhaus building in Dessau - the main architectural structure of the 20s;
  8. Through trial and error, the Bauhaus came up with a new and modern kind of beauty;
  9. And finally, because the influence of the Bauhaus has spread throughout the world and is especially strong today in England and the United States.

The Bauhaus was the first such educational institution, its ideas and principles instantly spread among the creative community of the 20th century and remain relevant to this day. nine0005

Almost 100 years ago, students of the Bauhaus invented houses, objects and furniture, without which we cannot imagine our lives today. Accessibility, functionalism and aesthetics - these criteria are guided by many modern designers and architects. “Less is more” is a principle that we already understand almost intuitively.

We have prepared a selection of interesting materials for you if you want to learn more about the Bauhaus. Part 2, dedicated to Bauhaus director Walter Gropius:

Lecture by Artem Dezhurko at the Jewish Museum and Tolerance Center:

in English

— DW Documentary 2019.

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