Futura (typeface)
Paul Renner · 1927
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927.
Bauhaus
Fourteen years of a school that set the terms for the century.
- 11
- in design
- 10:21
- average
- 114 min
- in total
- 12
- across the network
All briefs
Gunta Stölzl
She didn’t weave tapestries — she wove a new discipline.
Marianne Brandt
Marianne Brandt didn’t just make lamps — she ran the workshop that paid the Bauhaus’ bills.
Anni Albers
Cellophane wasn’t just new—it was impractical. Her wall covering proved utility could emerge from constraint, not compromise.
Bauhaus
Walter Gropius · 1919
The Bauhaus was a German art school (1919–1933) founded by Walter Gropius in Weimar. It combined crafts and fine arts through an experimental, theory-led pedagogy centred on the Vorkurs. Its aim was to unify artistic vision with mass production, functionality, and industrial collaboration — producing functional, cheap, industrially viable objects like the F51 armchair (1920), Sommerfeld House (1920), and Gropius’s 1923 door handles. Its internal tensions — between expressionism and New Objectivity, craft and industry — were structural, not resolved. It established the principle that aesthetic quality must extend to every home via well-designed, industrially produced objects.
Johannes Itten
Itten didn’t teach colour—he taught how to see it, then how to unlearn what you thought you knew.
László Moholy-Nagy
Moholy-Nagy didn’t invent new vision—he built machines to break old habits of looking.
Muriel Cooper
She didn’t predict the digital future — she built its first grammar in Helvetica and code.
Russian avant-garde
It wasn’t a style—it was a distribution system for abstraction.
Virgil Abloh
Abloh didn’t design clothes — he designed permission slips for other people’s designs.
Wassily chair
Marcel Breuer · 1927
The Wassily chair is the first successful application of bent tubular steel as primary structure in furniture. Its material logic — steel for skeleton, Eisengarn for tensioned skin — replaced joinery with engineering. It was made possible by Mannesmann tubing, Reichardt’s textile work, and Thonet’s manufacturing capacity — not by theory alone. It is not about expression. It is about what happens when you treat furniture as a system of forces.