Ideology of Bauhaus and functionality state in industrial design

xSUMMARYThe Bauhaus began with an utopian definition : "The building of the future" was tocombine all the arts in ideal unity. This required a new type of artist beyond academicspecialisation, for whom the Bauhaus would offer adequate education. In order toreach this goal, the founder, Walter Gropius, saw the necessity to develop newteaching methods and was convinced that the base for any art was to be found inhandcraft: "the school will gradually turn into a workshop". Indeed, artists andcraftsmen directed classes and production together at the Bauhaus in Weimar. Thiswas intended to remove any distinction between fine arts and applied arts.The reality of technical civilisation, however, led to requirements that could notonly be fulfilled by a revalorisation of handcraft. In 1923, the Bauhaus reacted with achanged program, which was to mark its future image under the motto: "art andtechnology - a new unity". Industrial potentials were to be applied to satisfactorydesign standards, regarding both functional and aesthetic aspects. The Bauhausworkshops produced prototypes for mass production: from a single lamp to acomplete dwelling.Of course, the educational and social claim to a new configuration of life and itsenvironment could not always be achieved. And the Bauhaus was not alone with thisgoal, but the name became a near synonym for this trend.The history of the Bauhaus is by no means linear. The changes in directorshipand amongst the teachers, artistic influence from far and wide, in combination withthe political situation in which the Bauhaus experiment was staged, led to permanenttransformation. The numerous consequences of this experiment still today flow intocontemporary life.The New Bauhaus, founded in 1937 in Chicago, was the immediate successor tothe Bauhaus dissolved in 1933 under National Socialist pressure. Bauhaus ideologyhad a strong impact throughout America, but it was only at the New Bauhaus that thecomplete curriculum as developed under Walter Gropius in Weimar and Dessau wasadopted and further developed.This study,assessing the functionality of industrial design and Bauhaus, wasformed by five parts:xiIn the first part occurance environment of Bauhaus, foundations which andpeople who influenced the ideology were included to research when analysing thehistorical development of Bauhaus. In addition, manifests of the school werestudied.In the second part different educational systems, basic principles and teachingcontents of Bauhaus were examined. Studying methods of the masters for arts andcrafts unity were included.In the third part industrial product, functionality, standardization of the form termswere explained, when assesing contribution of Bauhaus to industrial design.In the fourth part, the characteristics of approach which are based on simple, light,functional and aesthetic, as we call `Bauhaus Style? was analised under the headlinesof color, form and materials.In the fifth part, when we are evaluating the progress of Bauhaus and itsuniversality of its products we tried to assess the inherit systematic of its idea in 21.century with present examples of lighting, households and furniture designs.The point that we reach with these findings is, Bauhaus the establisher of design,is preliminary in this field and is an example for afterwards.