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Steel tubes are a new material used in furniture during the 1920s. A detail picked up from the bicycle industry. Steel tubes cannot be bent at a 90 degree angle, instead they need a gentle radius is curves. In this chair the sitter is completely suspended.

Marcel Breuer/Germany

Wassily Chair

1929

Dessau Bauhaus

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Showcase with an understated form. The legs extend beyond the plinth creating a shadow. Dessau Bauhaus Marcel Breuer Germany 1925

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2D print consisting of a printed paper with text, than photographed with 3D shapes. The shapes and their shadows create a graphic in themselves. Dessau Bauhaus Herbert Bayer Germany 1928

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Cover of Printmaking magazine. Dessau Bauhaus Joost Schmidt Germany 1926

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Color rendering of Dessau Bauhaus. Hinnerk Scheper 1925

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Bauhaus school moves from Weimar to Dessau. Along with a new location, Bauhaus moves away from hand-made to complete industry design. The new campus is designed with different form vocabulary for each building, with a main focus of geometric primitives. Dessau Bauhaus Walter Gropius 1925

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Mauricio Lasansky

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Universal typeface designed by Herbert Bayer. The fist picture was used as a reference of what line components made up the typeface. Each letter is limited to only a few line choices. Only lower case letters were used to not reference any form of hierarchy. This typeface is also known as the Bauhaus typeface. Weimar Bauhaus Herbert Bayer Germany Universal Typeface 1925

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Weimar Bauhaus Joost Schmidt Germany Typewriter Ribbon Box 1925

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A concept for a kiosk for newspapers (I don’t believe it was ever created). Reductive use of colors, just primary colors. The designer used college newspaper pieces on the side for aesthetic purposes but to also create a literally connection with the purpose of the design (to sell newspaper). Even a newspaper cut-out of a person was used for scale. Weimar Bauhaus Herbert Bayer Germany Kiosk for newspapers 1924

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Weimar Bauhaus Lazio Maholy-Nagy Germany Handbill 1923

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Handbill designed by Joost Schmidt. All three words are different typefaces. The big donut-shaped form becomes a trademark for Schmidt. Weimar Bauhaus Joost Schmidt Germany Handbill 1924

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Table lamp designed by Wilhelm Wagenfeld. Glass dome top is not sliced in the center, creating a moorish arch. Weimar Bauhaus Wilhelm Wagenfeld Germany Table Lamp 1924

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A teapot designed by Marianne Brandt. An example of geometric purity but is completely hand-made. The body sits on a cross foot. Slightly soften curves are applied anywhere human contact occurs (the handle and top for lid). Weimar Bauhaus Marianna Brandt Germany Teapot 1924

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Chess set designed by Josef Hartwig. Each chess piece does not look like a knight or king, instead geometric forms to represent how the piece moves. For example, a pawn moves in a criss-cross motion there its piece is shaped into a “X”. The king can move anywhere there for it’s a square. This is an example of schematic design. Weimar Bauhaus Josef Hartwig Chess set Germany 1924

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A fruit bowl made with a reductive form with industrial material. Made of aluminum. Complete abandonment of “hand-made”, a 100% industrial form. Weimar Bauhaus Josef Albers Germany Fruit Bowl 1923

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Isometric drawing (common in interior design) of a women’s bedroom. Simple geometric forms were in trend during the distill movement. The legs of the bed intersects with the frame of the bed. The dresser is built-in to the interior. Built-in storage is a new concept at this time. The picture below is a costume vanity for the bedroom. The left side table top slides to open storage space. The two mirrors have lines purely made in space just to connect pieces. The drawers on the right side are made of different colored wood. The different colors crest a horizontal pattern to look mechanical, but the fact that it’s made of wood (instead of metal) gives it a humanizing feel. Weimar Bauhaus Isometric bedroom drawing & dressing table. Marcel Breuer Germany 1923