Aesthetic and Social Values of Bauhaus

Art Style | Art & Culture International Magazine

Bauhaus Special Edition

Abstract

This essay intends to analyze the Bauhaus school, whose existence extends formally from 1919–1933 in Germany. In its origins, all events indicated that it would be revolutionary and innovative. Today, however, Bauhaus as an educational institution in the arts field shares opinions regarding the work done during its existence. In this case, it would not be possible to reach a unanimous consent, precisely in its history, brief but significant, complex, polysemic, and full of meandering as a legacy. And in that sense, the school collaborated significantly to the history of design and architecture, including projects that would come later, especially in their participants' dedication to accomplishing novelty in the face of social demands. However, some scholars criticized the members of this school. These scholars understood that there had been a kind of commodification of their own projects—that is, they had surrendered to the seduction of capital and accepted that their creations were for production on an industrial scale, a cultural industry. However, regardless of the intentions of each member of the Bauhaus individually, this school had its meaning in its time. Thus, in one way or another, it was a reference for contemporary artists, designers, and architects who have known the worth of these examples, whether good or bad, left by the members of the school that appeared 100 years ago and left its mark in history. That is a central discussion in this essay. As the discussion is almost always in divergence and argumentation, the best ideas and analyses flow through the pipeline for debate.