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Bauhaus Design - authentic by Tecnolumen

Bauhaus design was the main focus of TECNOLUMEN® from the very beginning. The first item produced by TECNOLUMEN ® was the Wilhelm Wagenfeld table lamp, also known as "the Bauhaus lamp".

Other design objects from the Bauhaus metal workshop (Metall-Werkstatt ) were added.

The Bauhaus designers derived form from intended use, material characteristics, and method of production. According to this design concept the Bauhaus metal workshop was oriented towards practice and manual work. The directors - one of the first Johannes Itten, later on László Moholy-Nagy - encouraged design of objects of utility.

TECNOLUMEN ® Bauhaus products include some of the most remarkable designs by Wilhelm Wagenfeld, Marianne Brandt, Hans Przyrembel, Mart Stam, Gyula Pap and some anonymous designers.

Bauhaus design metal workshop: Marianne Brandt, Christian Dell, Laszló Moholy-Nagy, Hans Przyrembel, Wilhelm Wagenfeld and others.
Bauhaus design metal workshop:
Marianne Brandt, Christian Dell, László Moholy-Nagy, Hans Przyrembel,
Wilhelm Wagenfeld and others.

TECNOLUMEN ® has also integrated design objects of Bauhaus related conceptions - even if they were not designed at the Bauhaus: e.g. designs by Eduard-Wilfried Buquet.

TECNOLUMEN ® design objects of other eras always speak that clear and distinctive idiom that was formulated first in Bauhaus design, such founding one of the most influential concepts in classical modern design.

Chronology of the Bauhaus and of Bauhaus design

The following short summary shall give a survey of the most important data regarding the Bauhaus, the Hochschule für Gestaltung, at which during the Weimar Republic in Germany the leading artists of their time had gathered. Here came into being works and products in the fields of painting, sculpture, architecture, typography, photography, textile creation, and design. These products define Bauhaus design, and nowadays they undisputedly belong among the „classics" of modernity. The school's importance and artistical success traces back not only to its excellent teachers, but also to the workshop-type of teaching as well as the fertile interplay of its various disciplines.

1919
The „Staatliches Bauhaus in Weimar" is created from the grand-ducal Hochschule für Bildende Kunst and the Kunstgewerbeschule. Its initiator and first head is Walter Gropius. Participants at the very first Meisterratssitzung (Council Meeting of Masters) are, among others, Lyonel Feininger, Johannes Itten, and Gerhard Marcks. In April the programmatic Bauhaus Manifesto is heing published.

1922
Oskar Schlemmer drafts the Bauhaus signet, with which the School wants to present itself externally.

1923
Johannes Itten leaves the Bauhaus. The Hungarian artist László Moholy-Nagy is appointed. In its very first exhibition and week of events the Bauhaus introduces itself to the public.

1924
Following the change of government in favour of the right-wing parties in Thuringia all Bauhaus Masters are being given notice to quit their work.

1925
The council of the city of Dessau agrees to put a new homestead at the Bauhaus's disposal and lets Gropius work out the design for a new school-building and new Master-houses.

1926
The Bauhaus at Dessau is being acknowledged as a Hochschule für Gestaltung; the buildings are completed.

1928
Gropius retires as head; he is succeeded by the Swiss architect Hannes Meyer. Herbert Bayer, Marcel Breuer, and László Moholy-Nagy are leaving the Bauhaus.

1930
Out of political reasons Meyer is being dismissed. He is succeeded by Ludwig Mies van der Rohe.

1932
The recently elected national socialist citycouncil of Dessau closes the Bauhaus, the work of which will be continued in a private school frame in Berlin.

1933
Police actions of the Gestapo against the School, Masters, and students. The last Council Meeting of Masters agrees on the definite dissolution of the Institute.

Bauhaus at Dessau
Bauhaus at Dessau (building by Walter Gropius)

The Bauhaus tries "to derive the design of an object from his natural functions and conditions."
Walter Gropius, 1925