The Changing Ideals of ‘Individual Creativity & Traits in Bauhaus’ Preliminary Course

Abstract

The Bauhaus school, founded in the early 20th century by Walter Gropius, became a leading institution for art, design, and architectural education. Gropius' vision emphasized abolishing the distinctions between different branches of art & design, and between artists & craftsmen. This holistic approach was encapsulated also in the school's curriculum, which sought to integrate arts, crafts, and industry. Central to Bauhaus education was the Preliminary Course (Vorkurs), which was compulsory for all students regardless of their discipline. This course laid the foundation for further education and was known for its inclusivity and the influence of several unconventional and innovative masters, including Johannes Itten, László Moholy-Nagy, and Josef Albers. Each of these instructors brought distinct teaching methods and philosophies, contributing to the dynamic and evolving nature of the course. Vorkurs underwent significant changes throughout Bauhaus's 14-year history, reflecting the varying pedagogical approaches of its masters and the political and social changes of the era. As a result, the course cannot be seen as a static entity but rather as a series of diverse and sometimes inconsistent pedagogical experiments. This article examines the transformations and inconsistencies of Vorkurs by comparing the approaches of Itten, Moholy-Nagy, and Albers. It argues that the course should not be understood as a single, cohesive course but rather as a reflection of the diverse and evolving educational philosophies of its instructors. By focusing on these differences, the article aims to discuss the changing definitions and ideals of individual creativity and traits, which are still major topics of discussion within contemporary design education.