Author(s): Banu Hatice GÜRCÜM, Ayçin ÖNEŞ

Bauhaus, which was found in 1991 in Weimar by Walter Gropius, moved to Dessau and Berlin because of political reasons and closed in 1933 in Berlin by the Nazis, was a design school in Germany. It differed amongst the design schools of its era depending upon its principles of uniting arts and crafts and the solutions it seeked for the technical weaving problems. In the twenties it became the head quarter for the modern design in Germany with many world famous artists joining the school as educative members. It not only seeked the purification in the transforming complex art forms into simple and neat geometrical forms, but also searched for the humanitarian purification in fitness of human body,vigour of clothing and independence of mind and the social purification in disengagement of the community’s history and social norms. With a radical attitude, it acted as a reformist in transforming aesthetics into a programmed social reform movement. Weaving workshop was one of the most successful workshops of the Bauhaus school in all the fourteen years. Bauhaus has a very decent place in transforming textile from crafts into an industrial design and fiber art. The biggest credit has to be given to Gunta Stölzl who had entered her carier in one of the most neglected workshops of Bauhaus and trabsformed this workshop into one of the brands of Bauhaus industrial manufacture cults. With various names we come across as Adelgunda Stölz, Gunta Stolzl or Gunta Staedler, Stölzl has been the pioneer, teacher and mentor to 20th century weaving artists with an aim to answer the developing technology and industrialization of the weaving technology. She enabled all the weaving students for the examination of the art and technology relationship and put the foundations of modern textile design by encouraging her students in the use of innovative technologies together with traditional crafts with novice materials and transferring the Bauhaus gist into their textiles.


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