Editor’s note: Originally published by Society of Architectural Historians/Southern California Chapter; used by permission.

 

The exhibition “Bauhaus Beginnings” lives up to its name, as the Getty Research Institute (GRI) compilation of objects and documents traces the influential school, starting with its initial pedagogical principles. The selection of more than 250 color studies, drawings, photographs, projections, notebooks, letters, textiles, and other ephemera – largely from GRI’s own collection, which started in the early 1980s – is so impressive that, after a preview tour, German President Frank-Walter Steinmeier wondered, “How can there be so much great Bauhaus material outside of Germany?” See for yourself; the exhibition runs through October 13th.

 

Arranged in three galleries, the compact show explores three tenets of the Bauhaus: spirituality and expression, light and color, and ideas into practice. To enlarge its exposure, GRI has launched a companion on-line exhibition, “Bauhaus: Building the New Artist.” Also separated into three parts reflecting the Bauhaus curriculum – form and color, matters and materials, body and spirit – each section includes an interactive exercise.

 

GRI Head of Architectural Collections Maristella Casciato curated the materials with an eye toward showing process, community, and inclusiveness. The diversity of masters and students on display stretches way beyond the text-book famous stars of the movement to include many women and lesser-known artists. “This is about building the modern man and woman, in addition to building buildings,” notes Casciato.

 

Thus, storied examples of Bauhaus work that can be seen almost anywhere in myriad global 100-year anniversary commemorations are purposely not shown. “The show is about the dialogue and pedagogical innovations, not the cult of personality,” stresses architect Tim Durfee, who consulted on the exhibition design.

 

Literally manifesting this philosophical flatness is the display mechanism of simply laying two-dimensional objects within the informality of tables, rather than placing rarified specimens on pedestals. “Not everything is a masterpiece,” notes Durfee about what are essentially lesson plans and homework assignments. And that is what makes this depiction so unusual and exciting. We get insight into the thought processes that continue to affect our design lives today.

 

 

Julie D. Taylor, Hon. AIA, is West Coast correspondent for ArchNewsNow.com. She is principal of Taylor & Company, a public relations firm championing the profession of architecture, and was 2014-2016 Public Director on the AIA National Board.

 

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