Research: Bauhaus Textiles #3


I revised a few basic facts about the Bauhaus movement through this video on a Graphic Design History course:


  • The Bauhaus was the beginning point of what we consider modern design today.
  • It changed how we design, what we consider aesthetically pleasing, and what the public expects from all design fields today.
  • In 1919, the world was fighting a war in many fronts, the economy faced its’ worst recession in decades. (Recession– a period of temporary economic decline during which trade and industrial activity are reduced)
  • There is little in our life that isn’t influenced by the philosophy of form following function. 
  • He sums up design as “Simplicity, truth in materials and quality”.
  • Bauhaus believed that design can make life better for others.
  • Designers must know why they design, what they believe in and why we need to follow certain processes.

Then, I researched further from this rare 1994 documentary:

Detailed notes were written in my personal journal as I watched it.

Further research after seeing this documentary: 

  • Constructivism: a style or movement in which assorted mechanical objects are combined into abstract mobile structural forms. The movement originated in Russia in the 1920s and has influenced many aspects of modern architecture and design.
  • Taken from ( The Nazis withdrew all the public funding and hated modern architecture. They reverted to imperial architecture inspired by Rome.
  • Once moving into Berlin, Gropius’ and Moholy-Nagy’s houses were destroyed.

Chapter 7- Dessau, a new direction 

  • The weaving workshop nearly closed down because of the extremely low budget, and the mayor of the city of Dessau pleaded Gropius to shut down one of the workshops, and he proposed the weaving department.
  • Gropius did not accept this, and fought to preserve the weaving workshop.
  • This workshop has massive potential compared to others, as confirmed by representatives of the Dessau Trade Union who travelled to Weimar to inspect the school in 1925
  • “They were unique… The weaving workshop seems better than others. Its products clearly demand recognition, which cannot be said of the carpentry workshop”.
  • By 1924, companies were interested in the products of the weaving workshop
  • Ruth Hollos is an excellent graduate of the weaving course
  • The studio space improved but the lack of materials held a lot of weavers back, like Anni Albers
  • But Stolzl led the workshop very well, she was the embodiment of Gropius’ vision.
  • The workshop moved into a phase of great productivity, and defined textile design for the future

Chapter 8- from craft to industry

  • The belief of the Dessau Weaving Workshop was to develop affordable, durable, contemporary textiles for a broad market.
  • The workshop had teamwork more than any other department of the Bauhaus
  • In the design process, the end product dictates the starting point
Image result for 1927 group photo weavers
Class photo of weavers in 1927




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