Looking for ten influential designers from the German Bauhaus design school and their countries and representative works

Detailed introduction: As a design system, Bauhaus was popular all over the world. In the field of modern industrial design, its ideas and aesthetic taste can be said to have influenced an entire generation. Although the rise of postmodernism has been an impact and progress on the design thinking of Bauhaus, some of Bauhaus's thoughts and concepts still have an enlightening effect on modern industrial design and technical aesthetics, especially on development It is helpful to choose the direction of industrial design in China. Its principles and concepts have an impact on all industrial design. Frank Pick (Frank Pick) believes: "...an overriding scientific principle and concept must be formulated to guide the design of daily necessities, just like those principles in architecture that guide the design of houses." The Bauhaus has experienced three Development stage: The first stage (1919-1925), Weimar period. Walter Gropius served as the principal, proposing the lofty ideal of "a new unity of art and technology" and shouldering the sacred mission of training designers and architects in the 20th century. He recruited talents widely, hired artists and craftsmen to teach, and formed a new education system that combined art education and handicraft production; the second stage (1925-1932), the Dessau period. The Bauhaus was rebuilt in Dessau, Germany, and carried out curriculum reforms, implemented a teaching method that integrated design and production teaching, and achieved excellent results. Gropius resigned as principal of the Bauhaus in 1928 and was succeeded by HANNS MEYER, chairman of the Department of Architecture. This architect, who was a communist, expanded the artistic radicalism of the Bauhaus into political radicalism, thus causing the Bauhaus to face increasing political pressure. Finally, Meyer himself had to resign in 1930 and was succeeded by MIES VAN DE ROHE. Mies, who took over, faced the pressure from the Nazi forces and tried his best to maintain the operation of the school. Finally, after the Nazi party occupied Dessau in October 1932, he was forced to close the Bauhaus; the third stage (1932-1933), Berlin period. Mies van der Rohe moved the school to an abandoned office building in Berlin in an attempt to regroup. Since the Bauhaus spirit was not tolerated by the German Nazis, Mies was finally helpless in the face of the Nazi government that had just come to power. In August of that year it was announced that the Bauhaus would be permanently closed. In November 1933, the Bauhaus was closed and had to end its 14-year development process. Although the Bauhaus has become history, its two major characteristics cannot be forgotten: first, it is determined to reform art education and wants to create a new type of social group; second, it does not hesitate to make huge sacrifices for this ideal. Walter Gropius, the founder and principal of the Bauhaus, personally formulated the "Bauhaus Manifesto" and the "Weimar Bauhaus Syllabus", clarifying the school's goals: first, to save all those independent , self-admiring art categories, train future craftsmen, painters and sculptors, let them join forces to create, all their skills will be combined in the creation process of new works; secondly, we must improve the status of craftsmanship so that it can On an equal footing with "art". Bauhaus claimed that "there is no essential difference between artists and craftsmen" and "artists are senior craftsmen... Therefore, let us create a new craftsmen's guild and cancel the hierarchical differences between craftsmen and artists. Never use it to build a barrier of arrogance again." Third, Bauhaus must be closely integrated with social production and market economy, and its products and designs should be sold directly to the public and the industrial world. The Bauhaus stated that they would "establish lasting ties with leading craftsmen and industry throughout the country." In accordance with the "Manifesto" and "Outline", the Bauhaus established its own art and design education system - the Bauhaus system. The main characteristics of this system are: 1. Emphasis on free creation in design and opposition to imitation and adherence to stereotypes; 2. Combination of handicrafts with machine production; 3. Emphasis on exchange and integration between various arts; 4. Students have both hands-on skills Ability and theoretical literacy; 5. Link school education with social production. From the above introduction, it can be seen that at every step of the development of Bauhaus, there is a representative figure of new thinking who can keep up with the times and meet the requirements of the times. This figure is the helmsman of the Bauhaus ship sailing into the distance. It is not difficult to imagine that if there were no political reasons, the Bauhaus would still be living in our time. Gropius, the founder of Bauhaus, put forward the slogan of "new unity of art and technology" in response to the situation of "opposition between technology and art" in large-scale industrial production since the Industrial Revolution. This theory gradually became the Bauhaus The core of Sri Lanka’s educational thought. The design schools before the Bauhaus focused on teaching artistic skills. For example, the design school, the predecessor of the Royal College of Art, has three courses: form, color and decoration. Most of the students trained are artists and a very small number are artistic. designer.

Bauhaus attaches great importance to the cultivation of students' comprehensive ability and design quality. In order to adapt to the requirements of modern society for designers, they established a modern design education system with a "new unification of art and technology" and created a basic course with three major components: Modern design education courses such as process technology courses, professional design courses, theoretical courses and construction-related engineering courses have cultivated a large number of modern designers with both artistic accomplishment and applied technical knowledge. Practical technical training, flexible composition ability, and connection with industrial production, the close combination of the three gave the Bauhaus a new "art + technology" design style, whose main characteristics are: focusing on meeting practical requirements ; Give full play to new materials, new technologies, new processes and aesthetic properties; the shape is simple and the composition is flexible and diverse. The artistic direction and style of Bauhaus made it one of the strongholds of the most radical art school in Europe in the 20th century. Gropius had a very important way of thinking: in essence, art and crafts are not two completely different activities, but two different classifications of the same object. Artists pay more attention to art theory and are more receptive to new ideas. They can educate students better than old-style craftsmen. This type of artist can emphasize and explain the common elements of all artistic activities to students, allowing students to understand the basis of aesthetics. They can use their own experience to help students create new design languages. Based on this, Gropius hired painters John Eaton, LYONEL FEININGER, sculptors GREHARD MARCKS, MUCHE, Schlemmer ( SCHLEMMER, KLEE, SCHREYER, KANDINSKY and MOHOLY-NAGY, they came to Wei one after another between 1919 and 1924. Ma, these people are highly original and great at self-expression. All of them were interested in studying the theory of fundamental problems. In addition to these artists, Gropius also hired many masters of workshops, all of whom were skilled in their respective craft categories. Artists inspire students to think and develop their creativity, and workshop masters teach students manual skills and technical knowledge. The new thinking of the Bauhaus is also reflected in the Bauhaus manifesto: "Architects, sculptors and painters, we should all turn to applied art... Art is not a specialized profession. There is no fundamental difference between artists and craftsmen. No difference. The artist is just a master of craftsmanship. In the precious moment when inspiration occurs and transcends personal will, God's gift turns his work into a flower of art. However, the mastery of craftsmanship is for every artist. Indispensable. The source of true creative imagination is based on this foundation... Let us build a new organization of designers in which there will be absolutely no arrogance that can create barriers between craftsmen and artists. At the same time, let us create a new future palace that combines architecture, sculpture and painting into a trinity, and use the hands of millions of art workers to erect it high in the sky and become a new belief. A distinctive symbol. "During the Nazi rule, the Bauhaus suffered an inevitable fate of closure, but its educational ideas did not stop. Gropius, a Bauhaus educator who escaped Nazi oppression and sought new development, came to England. After staying there for three years, he went to the United States in 1937 to serve as the chairman of the Department of Architecture at Harvard University. Mies van der Rohe went to the United States in 1937 and taught at the Illinois Institute of Technology, where Silber Seymour and Peter Hans also taught. In 1937, Bauhaus teacher Moholy-Nagy planned to establish "THE NEW BAUHAUS" in Chicago to continue to promote the Bauhaus spirit of the German period. Later it was renamed "SCHOOL OF DESIGN IN CHICAGO" (SCHOOL OF DESIGN IN CHICAGO). Later, it merged with the Illinois Institute of Technology to become the most famous design school in the United States (INSTITUTE OF DESIGN). The Chicago School of Design is considered the forefront of Bauhaus design and educational ideas in the United States. dolcn.com In 1953, the Ulm Art Academy in Germany, known as the post-war Bauhaus, was established in the small city of Ulm where the physicist Einstein was born. Max Beer, an important figure in graphic design (MAX BILL) served as the first principal. With the efforts of him and his teachers, the college gradually became the center of German functionalism, neo-rationalism and constructivist design philosophy. Although the college has been closed for many years, the education system, educational ideas and design concepts it formed are still in use today. It is a core component of German design theory, teaching and design philosophy. Ulm is committed to the study of design rationalism and almost entirely adopts the Bauhaus schooling model. Its greatest contribution is to completely transform modern design—including industrial product design, architectural design, interior design, graphic design, etc.—from the previously specious The swing position between art and technology has been resolutely and completely moved to the basis of science and technology, and designers must be trained from the direction of science and technology. The purpose of Bauhaus is to cultivate a group of builders of future society.

They can not only recognize the trends and needs of the industrial era in the 20th century, but also make full use of their scientific and technological knowledge to create a new environment with a high degree of spiritual and material civilization. As Gropius said: "The first responsibility of a designer is his owner." And as Nagy said: "The purpose of design is people, not products." Therefore, it plays an important role in many aspects of art and design education. He has made indelible contributions in this regard: first, he broke the outdated and backward educational concept that separated "pure art" and "practical art", and then proposed a new educational ideal of "collective creation"; second, he completed the "Art" "The work of bridging the gap between" and "industry" has brought art and technology to a new unity; third, accepting machinery as a creative tool for artists and designers, and developing methods of mass production; fourth, recognizing The fact that "technical knowledge" can be taught, but "creative ability" can only inspire has established good norms for modern design education; fifth, it developed modern design style and pointed out the correct direction for modern design; sixth, Bauhaus firmly We are opposed to turning style into a rigid dogma, and only recognize that design must keep up with the changing times. The educational model of the Bauhaus is to independently integrate the study of two-dimensional and three-dimensional subjects, the study of materials, and the study of color in basic courses. And firmly based on science. Modern materials are used in the design, and industrial product design education with modernist characteristics is created for the purpose of mass production. The Bauhaus explored the functionality of graphic design and adopted a manual studio system. The educational ideas of Bauhaus also influenced China’s art and design education. The Department of Architecture of St. John's University, established in 1942, introduced the modern design education system of Bauhaus from the beginning, emphasizing practical, technical, economic and modern aesthetic ideas. It became the cradle of modernist architecture in China and pioneered the comprehensive implementation of modernist architecture in China. A pioneer in education. Its influence is not only reflected in the talent training of the Department of Architecture at St. John's University, but also in a series of architectural works, including the formulation of the Greater Shanghai Urban Plan. In 1951, St. John's University was dissolved and various departments were merged into relevant universities. Bauhaus's educational ideas and design theories were continued at Tongji University. Later, Bauhaus's educational ideas and design theories were criticized as Western capitalism, and Bauhaus's design and educational ideas were gradually diluted in China. Bauhaus teaching ideas and methods have injected new blood into American middle school art education. The influence of ideas brought by some teachers from the Bauhaus on art teaching curriculum plans was increasing. These influences include an interest in technical factors in art, a concern with design elements, an experimental attitude towards materials, and promote a growing concern with multiple ways of feeling about art, stimulating the integration of aesthetic attitudes with the environment. The concrete results were an increased use of photography and photographs, a wider use of materials, and the acceptance of architecture as a fixture in art teaching programmes. The influence on arts and crafts is reflected in Tian Zibing’s book “Introduction to Arts and Crafts”, in which Tian Zibing wrote: “The Bauhaus craft ideological system of the early 20th century... advocated the combination of art and industry. He believes that in an era when industry is very developed, scientific achievements should be used to create new functional beauty based on industrial technology. Although machine products are monotonous and boring, machines are just tools. We should resolve the contradiction between machine production and artistic expression. , so that design, production, and economy can be organically unified. Bauhaus's craft thinking attaches great importance to the application of modern materials, modern technology, and modern structures, and directly creates aesthetic value from modern industry. This has a great impact on the creation of arts and crafts and adapts to the development of the times. Combining the needs of life, the development of new fields of arts and crafts and the enlightenment of craft thinking are of great value. However, Bauhaus craft thinking emphasizes that craft beauty is the inevitable result of reflecting functions and using structures, and believes that tradition hinders the design of machine products. Therefore, function is considered to be beauty, and the role of national cultural tradition is ignored. "The emergence of Bauhaus is the inevitable result of the integration of modern industry and art. It is the history of modern architecture, industrial design, art history, and art design education. The most important milestone in history. The success of Bauhaus has provided us with many experiences worthy of learning and reference in education models, the most important of which is: follow social progress, constantly update concepts, and actively create new thinking. The State Bauhaus School, established in Weimar, Germany on April 1, 1919, pioneered modern design education. Its education system that placed equal emphasis on knowledge and technology and synchronized theory and practice still affects design education around the world. In our country, design education is still in its infancy, so it needs sound and practical theoretical guidance, otherwise it will be extremely incompatible with the rapidly developing economic and cultural situation. In order to create a more beautiful, comfortable and reasonable life and living environment for people, it is necessary to cultivate more design art talents. At the same time, it is also necessary to strengthen the design awareness of the whole people, improve their aesthetic ability, and end the "leaders who do not understand design decide the design plan". ", designers are just artists" is a historical tragedy. Therefore, it is imperative to increase the intensity of design education.

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