- De still -
After World War I there was a turning away from old forms and philosophies among architects and designers, just as there was among artists and writers. Many of the same abstract ideas came into play, as did ideas that incorporated the "machine" aesthetics of the new industrial age. In fact, one of the important trends of the 20th century would be the increasing parallels between - even merging of - art and design, which had been separated since the end of the renaissance.
The philosophy was based on functionalism, with a severe and doctrinaire insistence on the rectilinearity of the planes, which seem to slide across one another like sliding panels. All surface decoration except color was to be eliminated, and only pure primary hues, plus black and white were to be allowed.
The philosophy was based on functionalism, with a severe and doctrinaire insistence on the rectilinearity of the planes, which seem to slide across one another like sliding panels. All surface decoration except color was to be eliminated, and only pure primary hues, plus black and white were to be allowed.
De Still Style
- Bau Haus -
The Bau Haus school was established in 1919 in Dessau, Germany by a group of architects, engineers, and artists led by Walter Gropius. The ideals of this group were social and political as well as aesthetic. They sought solutions for the problems faced by the working classes in the depression years of Post World War I Germany. Their concerns included urban planning, housing, and the development of high-quality, utilitarian mass production of consumer goods.
A unique feature of their program was the melding of handicraft and industrial production methods. Crafts were thought to be the necessary first step in the training of engineers, architects and industrial designers. In this they differed from the theoreticians of the Arts and Crafts movement, who resisted the use of industrial methods and materials; yet the Bauhaus designers shared the Arts and Crafts veneration of the hand crafts. All engineering and design students took craft courses as well as painting, drawing, and theoretical studies in design and color.
The Design style of the Bau Haus group owed a great deal to the de Stijl group, some of whom joined the school as teachers. The ideal of form following function was also emphasized, emphasizing the honest and direct use of materials as the most "functional" way to design. The result was spare, rectilinear forms-- in architecture, for example, the structural components of steel, glass, concrete, and other industrial materials were to be used directly and honestly, without imitative form
A unique feature of their program was the melding of handicraft and industrial production methods. Crafts were thought to be the necessary first step in the training of engineers, architects and industrial designers. In this they differed from the theoreticians of the Arts and Crafts movement, who resisted the use of industrial methods and materials; yet the Bauhaus designers shared the Arts and Crafts veneration of the hand crafts. All engineering and design students took craft courses as well as painting, drawing, and theoretical studies in design and color.
The Design style of the Bau Haus group owed a great deal to the de Stijl group, some of whom joined the school as teachers. The ideal of form following function was also emphasized, emphasizing the honest and direct use of materials as the most "functional" way to design. The result was spare, rectilinear forms-- in architecture, for example, the structural components of steel, glass, concrete, and other industrial materials were to be used directly and honestly, without imitative form
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