The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–

1969). Its core objective was a radical concept: to rethink the material world to mirror the solidarity
of a considerable number of expressions. Gropius clarified this vision for an association of
workmanship and plan in the Proclamation of the Bauhaus (1919), which depicted an idealistic art
society joining design, figure, and painting into a solitary inventive articulation. Gropius built up an
art-based educational program that would turn out craftsmen and planners fit for making helpful
and lovely articles proper to this new arrangement of living. The Bauhaus joined components of both
expressive arts and design education. The educational plan initiated with a fundamental course that
drenched the understudies, who originated from a differing scope of social and instructive
foundations, in the investigation of materials, shading hypothesis, and formal connections in
anticipation of increasingly specific examinations.

Following their drenching in Bauhaus hypothesis, students entered particular workshops, which
included metalworking, cabinetmaking, weaving, ceramics, typography, and wall painting. Despite
the fact that Gropius' underlying point was a unification of human expressions through specialty,
parts of this methodology demonstrated monetarily unreasonable. While keeping up the
accentuation on specialty, he repositioned the objectives of the Bauhaus in 1923, focusing on the
significance of structuring for large scale manufacturing. It was as of now that the school received
the motto "Art into Industry."

In 1925, the Bauhaus moved from Weimar to Dessau, where Gropius designed a new building to
house the school. This building contained many features that later became hallmarks of modernist
architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel
plan, throughout which Gropius distributed studio, classroom, and administrative space for
maximum efficiency and spatial logic. Gropius ventured down as director of the Bauhaus in 1928,
prevailing by the designer Hannes Meyer (1889–1954). Meyer kept up the accentuation on a mass-
producible plan and disposed of parts of the educational program he felt were excessively formalist
in nature. Furthermore, he focused on the social capacity of architecture and design, favouring
concern for the public good rather than a private luxury.

Under pressure from an increasingly right-wing municipal government, Meyer resigned as director of
the Bauhaus in 1930. He was replaced by architect Ludwig Mies van der Rohe. Mies once again
reconfigured the curriculum, with an increased emphasis on architecture. Lilly Reich, who
collaborated with Mies on a number of his private commissions, assumed control of the new interior
design department. Other departments included weaving, photography, the fine arts, and building.
The increasingly unstable political situation in Germany, combined with the perilous financial
condition of the Bauhaus, caused Mies to relocate the school to Berlin in 1930, where it operated on
a reduced scale. He ultimately shuttered the Bauhaus in 1933.