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Gropius strove to create a unified style that brought together the three elements of art, design and industry. These individuals combined the know-how of traditional craftspeople with contemporary machine processes to create modernist pieces across all of the art forms. Gropius wanted the function of material art and design creations to reflect the underlying nature of the object.
In order, then, to design it to function correctly — a container, a chair, or a house — one must first of all study its nature: for it must serve its purpose perfectly, that is, it must fulfil its function usefully, be durable, economical, and 'beautiful. In this way the nature of the material should not be modified in any way.
For example, supportive materials such as steel should be exposed rather than hidden within the form of the furniture or building. Gropius conceived of the curriculum in terms of a wheel diagram. The outer ring represented the vorkus a course designed by Johannes Itten. The course was intended to run for six-months and teach practical formal analysis, in particular contrasting properties of forms, colors and materials.
The two middle rings of the wheel represented two three-year courses formlehre and werklehre. Formlehre focused on problems related to form where werklehre was a practical workshop that taught technical craft skills. The center of the wheel and the curriculum were courses specialized in building construction. The overall pedagogical approach was to nurture individual creative potential and minimize or eliminate competition. Gropius was influenced by the Arts and Crafts movement of the late 19 th and early 20 th century.
As the Arts and Crafts movement had done, Gropius aimed to unite artists and craftspeople, furthermore he wanted arts and crafts people to embrace technological developments. Gropius believed that building should be at the center of the teaching of all arts, an idea that was influenced by his own training as an architect. Designed by Gropius the Bauhaus had a feeling of simplicity, clean lines and openness. The workshops, studios, offices, living spaces and classrooms were all contained within an asymmetrical structure.
There is a glass curtain wall suspended in front of the load-bearing framework which defines the exterior of the workshop wing. This structure reveals the constructive elements of the wall.
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