Name: バウハウスのデザインはどこにでもありますが、そのルーツは政治的なものです。 (Bauhaus design is everywhere, but its roots are political)
Uploaded: 2021-01-14T11:22:48.000Z
Duration: 7 min 1 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

With hundreds and hundreds of fonts at our fingertips today,

but there was a time when  choosing a particular typeface

This was especially true in a short lived German school that, a century ago,

shaped everything we now think of as modern design.

This building was briefly home to one of the 20th  century's most influential centers for design.

The ideas born in these classrooms  have spread across the world,

influencing everything from the design  of home furniture to buildings to cities.

The story of the Bauhaus is a lesson in how easily the political can be co-opted by the commercial.

But even on its hundredth anniversary, Bauhaus still has more to teach us,

because it was never just about the curvy forms  and cool colors.

Its creators wanted to show how  design can serve people.

The school wanted really to push in the way  they educated the students

that design and art is meaningful for societies.

That, you know, with the things you make, you might bring also the capacity to transform a society.

More specifically, they wanted to transform German society after World War I left the country in ruins.

Nationalist groups aligned to form  what would become the Nazi Party.

Their right-wing ideology called for a return to traditional German values.

Fraktur: the true German font, based on gothic script

that had become synonymous with the German national identity for 800 years.

Fraktur became a recognizable part of Nazi branding,  at least for a while.

On the opposite end of the political spectrum, avant-garde artists and designers saw the chaos

as a chance to rethink their role completely.

Fresh from the horrors of the war,  they wanted to turn over a new leaf,

They came home being surrounded by millions of handicapped and wounded people.

And by the experience that every knowledge that they had before war started is now devalued.

So these artists came together and had the conviction  that, "We have to start from scratch."

With a utopian vision, the architect Walter Gropius created a new school in Weimar called the Bauhaus.

Here, students were encouraged to experiment across disciplines:

Painting, carpentry, weaving,  printmaking, dance, lettering.

They created a radical new kind of typography.

The Nazis believed that the Bauhaus' rejection of tradition was fundamentally un-German.

They hated their modern products, including the new typography.

The Bauhaus' play with typography is not simply innocent wordplay.

The Germans are probably the only users of the Roman alphabet who had given typescript a nationalist sense.

To refuse it and redesign the alphabet  completely in the opposite direction

is to free it of these national associations.

The Nazis closed the Dessau school for its degenerate art in 1932,

then shut their Berlin outpost a year later.

Bauhausers fled Germany and spread  their ideas around the world.

This was brought from Dessau to Berlin and then ultimately was shipped over here.

Founder Walter Gropius ended up in Massachusetts at Harvard University.

As chair of the architecture department, he brought the legacy of Bauhaus to mythic status.

He was kind of reforming architectural education, but really his role was almost as a cultural ambassador,

promoting international modernist architecture in the United States but also the legacy of the Bauhaus.

The Bauhaus dogma took hold in schools across the world.

Students and scholars loved it,  but something else started to happen.

As democracy and capitalism went global following World War II,

As corporations began to sell across borders, the advertising in the new typography was as effective

in Switzerland as it was in California as it was in South Africa.

The new typographers of the 20s were aiming to make their graphic design international

to lead to a kind of universal socialism, the irony being that what became international

A hundred years later, you can spot the Bauhaus influence in advertisements everywhere.

And thanks to many Bauhaus exhibitions and books and now the internet,

designs from the school itself keep finding new life, including their experiments in lettering.

They've had half a million downloads so far.

They come from anywhere, so suddenly somebody takes us into a different environment.

Erik Spiekermann is a Berlin-based designer who's worked with students to revive

They produced fonts based on century-old drawings that are now licensed by Adobe.

We are encouraging people to take liberties, I say,

"Look, these weren't typefaces, they were sketches,  they were very crude at times."

More often than not, I get a lot of joy out of people using my typefaces in a way I would have never done.

For Spiekermann and many others,  this is the genius of the Bauhaus.

It's meant to be interpreted and reinterpreted. And that's because Bauhaus was not born as a style.

When the public began to talk about Bauhaus style, people at the Bauhaus were extremely upset,

because they like to think that what they were creating was almost the necessity of modernity

and was not at all anything so frivolous as style, which for them meant fashion.

On the school's hundredth anniversary, Bauhaus champions are trying to exhume its true legacy.

but the philosophy that good design can be a source of renewal and hope.

字幕リスト動画再生

バウハウスのデザインはどこにでもありますが、そのルーツは政治的なものです。 (Bauhaus design is everywhere, but its roots are political)

arbitrary

completely

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