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By Jorge Francisco Liernur (auth.), Denise Bratton, Caroline Dionne (eds.)
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It needed a body of men of wide general culture as thoroughly versed in the practical and mechanical sides of design as in its theoretical and formal laws. Although most parts of these prototypes had naturally to be made by hand, their makers were bound to be intimately acquainted with factory methods of production and assembly, which differ radically from the practices of handicraft. . In the future the field of the handicrafts will be found to lie mainly in the preparatory stages of evolving experimental new type-forms for mass production.
His predecessor, van de Velde, had also "stressed above all else the workshop system" in the Arts and Crafts School. "1 The program was not universally accepted, especially by those students intent upon creating objets d'art. Because many of the students had been taken over from the old Weimar Academy of Art there was, from the beginning, a large number of would-be artists at the school. 2 This dedication to art for art's sake on the part of many of the students was destined to persist at the Bauhaus.
One must also grant that he sized up the situation accurately when he said that things could not continue along the old track. Gropius had an almost hieratic sense of his mission to reform art and, along with art, the world. He knew he couldn't do this with halfhearted converts to the great cause or with disciples who lacked the gifts to further it. So he set high standards for admission. A major purpose of the student exhibition was to enable him and the other masters to size up the students and decide which ones were to be permitted to continue at the Bauhaus.
The Architecture of RICHTER & DAHL ROCHA by Jorge Francisco Liernur (auth.), Denise Bratton, Caroline Dionne (eds.)