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The Bauhaus!

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It's best known for
its striking modernist architecture,

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attention-grabbing typography and
stylish form-meets-function design.

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But beneath all this was
a pioneering art school

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that revolutionised
the way we teach art -

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placing collaboration,
experimentation with materials

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and the flouting of art convention
at centre stage.

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The Bauhaus was founded in 1919
by architect Walter Gropius.

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But today, we're bringing
its guiding principles

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to a new generation.

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In a unique experiment,

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we'll be bringing the radical ideas
of the Bauhaus to life here

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at Central Saint Martins in London

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in...a Bauhaus takeover!

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Over the course of a week,
six Central Saint Martins graduates

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across fine art, fashion,
graphic design and architecture

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will be taken back to basics
to discover if the school's

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ground-breaking approach to training
artists still holds its power

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100 years on.

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It feels like I'm at
a crazy boot camp!

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I don't know what's coming next.

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Each day, the students
will be challenged to create

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a new work of art,
design or performance

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sticking strictly to rules inspired
by the artists who taught

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at the Bauhaus,

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from Oskar Schlemmer,
the cutting-edge costume designer,

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to Wassily Kandinsky, one of
the early pioneers of abstract art.

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The Bauhaus tore up the old rules of
art and design

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and placed radical new ones
in their place.

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Yes!

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Setting the rules for our students
will be key figures from

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today's worlds of art and design.

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Leaping and wild stamping of feet
are absolutely essential.

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Now, in my experience,

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art school students don't
like sticking to the rules,

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so it'll be interesting to see
how they cope with that!

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Let the Bauhaus begin!

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Welcome to our Bauhaus experiment.

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Each day, you're going to be
challenged to create something new.

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And in each case, you must stick
to the strict Bauhaus rules.

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There are no tests, no grades
and no winners,

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but all the classes are compulsory.

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Oh! And you'll be staging
a Bauhaus party on Saturday,

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so you might want to invite
some people along to that.

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Now, what does the Bauhaus
conjure up for you?

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Very minimal design.

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I know there were some
really great typographers involved.

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I really don't know anything,
so I'm kind of excited.
Well, you're going to find out.

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OK, get some nice warm clothes
on, because

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your Bauhaus experience begins
on the roof!

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Swiss painter and teacher
Johannes Itten was invited

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by Walter Gropius to lead
a preliminary course

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for the new students,
the very first of its kind.

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He was shaven-headed,
strictly vegetarian

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and people approached him
only in whispers.

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Itten believed that,
to become successful artists,

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students must gain a greater
sense of self-awareness...

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Thank you.

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..and artist Ian Whittlesea
has studied the mysterious set

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of exercises that were designed
to achieve this.

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Welcome.

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I'm here to help you discover your
own true talents and temperament.

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The key to all of the exercises
are the breath.

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And simply breathe slowly in...

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MUSIC: Aerodynamik
by Kraftwerk

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..and slowly out.

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Retain the breath...

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..and bend slowly forwards.

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Following the horrors
of the First World War,

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the Bauhaus sought to create
a new humanity,

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and Itten's exercises brought
together body, mind and spirit.

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I think it's like what they do
in Japanese industry.

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And it works there.
It gets everyone kind of together.

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Breath in, three circles.

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It makes you realise that
the day's about to begin.

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And out.

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The three circles.

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Take your fist and touch the ground.

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That's actually not a bad dance.

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And down.

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If you practice this regularly,
you should be able to generate light

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from within your own body.

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As you breathe in, raise your arms,
keep your wrists loose

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and hands dangling.

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What's supposed to happen now
is they create light

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and it comes out of their body.

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And it's said that if you enter
a dark room,

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you will see a glow on the end
of your fingers.

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So, now, we should be
prepared for work.

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Your body should be full of energy,

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your mind should be fresh

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and your spirit should be lifted.

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It made me feel like
I'm very grounded

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and aware of my surroundings.

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It was bizarrely meditative.

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I became really aware of my body.

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Like, I noticed my hands were, like,
slightly different sizes.

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They are different sizes!
It's really freaking me out!

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LAUGHTER

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Johannes Itten was part of a
spiritual cult called Mazdaznan,

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which was deeply influential
amongst students.

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About half of the first group
of Bauhaus students converted

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with Itten to Mazdaznan.

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So they followed a special diet
and they shaved their heads.

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What Itten ultimately believed
was that art was a way

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towards humanity evolving to
a total state of spirituality.

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Erm...

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Go for it, Itten!

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Even the Bauhaus Canteen was subject
to Itten's Mazdaznan takeover.

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So, whether they liked or not,
students were forced to eat

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a rather potent garlic mush.

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Everybody had to eat garlic mush.

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People always said that
you could smell them coming.

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It smells great, though! It does!
THEY LAUGH

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I don't think I could
have this every single day.

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Compared to what I ate as a student,
this isn't too bad.

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You really like it!

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Give me the recipe!
THEY LAUGH

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The Bauhaus was a commune
in those early years.

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All of the students would have been
eating the same thing.

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I'd no idea that the Bauhaus
was so spiritual and mystical.

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It's almost like you're
going to an art school -

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and then you get there and you
find out it's a monastery. Yeah.

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Eventually, he came to see himself
more as a religious figure

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than an artist.

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And the original Mazdaznan thought
somehow became translated

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into eugenics and race evolution.

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And they had their own workshop
in Switzerland, called Aryana.

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So there's a sinister side
to it all as well?

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How do you feel about it?

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It's totally not what I expected.
I didn't know...

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No, nothing at all! ..this sort of
darker side to things.

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I don't know how I quite feel
about the whole thing at the moment.

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Itten's abhorrent views on race were
not widely shared at the Bauhaus.

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He was brought to the school
not as a spiritual leader,

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but as a radical teacher.

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Itten believed artists
should learn their craft

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not by copying old masters, but
by starting from the beginning again

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and rediscovering the most basic
of materials.

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Your task for today is to create
an artwork that expresses

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contrast of materials.

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So you should think of
rough and smooth,

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light and dark, blunt and sharp.

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All of your materials need to
come from on the ground,

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or from in the bins.

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I've had a quick look in there.

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There's a lot of rough and smooth,
there's sharp, blunt.

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The whole lot's in there.

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Are you going after the chair?
Yeah. Ah, fuck!

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Oh, my God, garlic!

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There's no better place to find
materials than the bin!

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This is the saddest party ever!
I know! They're rock-hard.

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I've been in this very skip
quite a few times.

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So you've done all
this rummaging around?

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It started off at the Bauhaus
and then ended up

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in every art school
as the first thing you ever do.

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This is a tap

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and a pool of some kind of
white mulch that's come out of it...

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It's kind of like a condom
filled with something.

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OK, that's it. Ladies and gentlemen,
boys and girls, load up.

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We'll ship it all out and
get it up into the studio,

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and make some fine art.

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Itten's reinvention of art education
didn't end at the rubbish tip.

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I've got here a blindfold
for each of you.

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And I'd like you to put
the blindfold on each other

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and feel some of your materials.

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Itten believed that artists must
engage all of their senses

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to understand the true nature
of materials.

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It's light, but I'm feeling
the sides, which I wouldn't
have normally done.

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It's still got some sort of life
in there. I can smell what's in...

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HE SNIFFS
..the inside.

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Itten wrote, "The students had to
explore this series of textures

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"with their fingertips.

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"In a short time,
their sense of touch improved

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"to an astonishing degree."

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Slow down your breathing and think
back to when we were on the roof.

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And maybe, in that way, we'll get
to a deeper understanding

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of what it is.

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Does that make any difference?

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Not really.
THEY LAUGH

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Right, right.

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Now, think about how the contrast
between materials

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reveals the essence of them.

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You have an hour-and-a-half.

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Now, you can begin.

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Right!

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Time to take my senses
on a tour of the room.

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I have some essences to discover.

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HE GROANS

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It's that thing there.
It's horrible!

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Oh, will you squeeze it?

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HE GROANS
I used to...

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When I was a kid, I used to
have nightmares like that.

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It was like rough and smooth,
I used to dream in... Yeah.

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..in awful nightmares.
And it's right there.

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That's weird, that, innit?
Sort of some sort of way.

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Cos you're touching something firm,
and it's jelly-like.

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Yeah, exactly! But I kind of
like this just by itself.

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But do you know what?
I can't stop touching that. No!

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It's kind of fun, isn't it?
Yeah, it really is!

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What's the overall purpose, then,
of today's exercise?

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I think, at heart,
it's to allow the students

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to discover a sense of play
with things.

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This activity allows them to engage
with a huge number of materials

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really quickly,

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to discover which materials
they have an inclination towards.

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I'm looking at how the different
objects and materials

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can work together,
to balance each other out

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and form a sculpture
just by themselves.

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Is that just balanced on there?
Mm-hm. Yeah. Very fragile.

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I didn't want to use any tools.

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So, I'm kind of finding out
about these grooves and things

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that you wouldn't normally pay
attention to.

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The glass on top of the pumice...
Yeah.

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So what I'm looking at
is how to identify the contrast

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in materials, but through sound.

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It's a new kind of piano, is it?

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You're absolutely right!
So you can trigger... May I?

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Yeah, go for it, go for it!

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PIECES CHIME

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That's great! It's...
HE LAUGHS

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It's very impressive.
Thank you very much.

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It doesn't sound that great.

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But you've got the touch,
you've got the horror of...of that.

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You've got everything going there.

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And what have we got here?

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Got a bit of a beast.

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I'm trying to completely destroy
the shape of the original chair.

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What my idea is, is that you'd
touch this and try to break this,

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whether you use your face,
your elbows, your hands... You what?

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Face? But rubber's quite soft
and it protects things,

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so I was kind of thinking,
"Well, what if it does the opposite?
What if it kind of hurts you?" Yeah.

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So you'd kind of like
bash it with your face,

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pop it with your mouth,

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kind of roll around in it...

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..while blindfolded.

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As the Bauhaus students
carried out these exercises,

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Itten was struck by their response.

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"They were overcome by
a creative fever," he said,

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"and rediscovered
their entire environment."

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It resulted in fantastic creations
which were, at the time,

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entirely novel.

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OK, everyone, time's up.

244
00:12:35,400 --> 00:12:37,600
We'll quickly look at
them all together,

245
00:12:37,600 --> 00:12:42,000
and then each of you can talk a bit
about how it was to make it.

246
00:12:42,000 --> 00:12:45,360
I wanted to have these clouds
that you kind of want to go to

247
00:12:45,360 --> 00:12:48,240
but then play with the desire
of getting to the clouds,

248
00:12:48,240 --> 00:12:50,280
and so I put the broken glass
on there.

249
00:12:50,280 --> 00:12:52,960
This is probably the one
that looks most like

250
00:12:52,960 --> 00:12:54,680
what they made at the Bauhaus.

251
00:12:54,680 --> 00:12:58,000
And I've not cut, chopped or changed
any of the objects.

252
00:12:58,000 --> 00:12:59,920
They're all exactly
how I found them.

253
00:12:59,920 --> 00:13:02,560
Itten would say that
it naturally balances,

254
00:13:02,560 --> 00:13:04,240
because you've found the...

255
00:13:04,240 --> 00:13:07,240
Yeah. ..the innate tension
within the materials.

256
00:13:07,240 --> 00:13:09,000
Do you want to see a demonstration?
Go on.

257
00:13:11,080 --> 00:13:12,840
THEY LAUGH

258
00:13:14,680 --> 00:13:16,880
One of the things I like
most about it is that

259
00:13:16,880 --> 00:13:19,840
there's so little evident work.
Yeah.

260
00:13:19,840 --> 00:13:22,960
That's something that
we can all take from this.

261
00:13:22,960 --> 00:13:26,280
My piece was totally overworked -
and slightly over-the-top -

262
00:13:26,280 --> 00:13:27,440
but I quite like that.

263
00:13:27,440 --> 00:13:31,280
Itten was interested in allowing
people to reveal themselves.

264
00:13:31,280 --> 00:13:34,400
As long as it represents
you and your thought now,

265
00:13:34,400 --> 00:13:36,520
then it is successful.

266
00:13:36,520 --> 00:13:38,920
I will be very honest -
at the beginning, I kind of thought,

267
00:13:38,920 --> 00:13:41,360
"I don't get how any of this
is helping. I don't find it..."

268
00:13:41,360 --> 00:13:43,680
But now, sitting here,
I'm going, "Oh, I see it now!"

269
00:13:43,680 --> 00:13:47,320
I've been, like, re-learning and
re-examining what I'm doing.

270
00:13:47,320 --> 00:13:50,080
Everybody who's ever
been to art school

271
00:13:50,080 --> 00:13:52,440
begins by doing a foundation course.

272
00:13:52,440 --> 00:13:55,960
All of those foundation courses
are still based largely

273
00:13:55,960 --> 00:13:59,080
on the structure that
Itten brought to them.

274
00:13:59,080 --> 00:14:03,040
What appears to be a very extreme
form of mysticism

275
00:14:03,040 --> 00:14:07,680
is still bound up with how
we teach our artists today.

276
00:14:07,680 --> 00:14:10,560
When Itten departed
after four years at the school,

277
00:14:10,560 --> 00:14:14,840
many of his more extreme
Mazdaznan practises left with him.

278
00:14:14,840 --> 00:14:20,760
But vegetarianism, daily exercise
and experimentation with materials

279
00:14:20,760 --> 00:14:24,400
remained at the centre of life
at the school.

280
00:14:24,400 --> 00:14:27,800
And the Bauhaus remained
a deeply spiritual place -

281
00:14:27,800 --> 00:14:31,960
in part through the influence of
Russian painter Wassily Kandinsky.

282
00:14:33,280 --> 00:14:37,280
Kandinsky had painted one
of the first abstract artworks,

283
00:14:37,280 --> 00:14:42,440
and he believed in a spiritual
connection between shape and colour.

284
00:14:42,440 --> 00:14:47,360
Artist David Batchelor has returned
to the theme of colour and geometry

285
00:14:47,360 --> 00:14:49,520
frequently in his own work,

286
00:14:49,520 --> 00:14:53,280
which you might have seen
illuminating London's Southbank.

287
00:14:53,280 --> 00:14:56,880
Ladies and gentlemen, please welcome
the artist, David Batchelor!

288
00:14:56,880 --> 00:14:58,960
APPLAUSE

289
00:14:58,960 --> 00:15:02,640
We're going to start with something
really simple, which is a survey,

290
00:15:02,640 --> 00:15:05,160
a little test I'm going to
get you all to do.

291
00:15:05,160 --> 00:15:08,080
The test involves
taking three shapes -

292
00:15:08,080 --> 00:15:11,320
a triangle, a circle and a square -
and three colours -

293
00:15:11,320 --> 00:15:13,080
red, yellow and blue -

294
00:15:13,080 --> 00:15:16,880
and giving each shape
one of those colours.

295
00:15:16,880 --> 00:15:21,960
But not arbitrarily - you've got to
feel the relationship, OK?

296
00:15:21,960 --> 00:15:23,080
Let's go and do it.

297
00:15:23,080 --> 00:15:27,400
# I'm just mad about Saffron

298
00:15:27,400 --> 00:15:30,360
# Saffron's mad about me... #

299
00:15:30,360 --> 00:15:32,640
OK, ladies and gentlemen,
you may turn over your papers.

300
00:15:32,640 --> 00:15:35,920
# I'm just mad about Saffron... #

301
00:15:37,160 --> 00:15:38,560
Very neat.

302
00:15:40,080 --> 00:15:42,120
But is it right?

303
00:15:42,120 --> 00:15:46,600
In 1923, Wassily Kandinsky
circulated this questionnaire

304
00:15:46,600 --> 00:15:49,560
within the Bauhaus and beyond.

305
00:15:49,560 --> 00:15:53,440
He hoped the results would establish
a universal correspondence

306
00:15:53,440 --> 00:15:55,520
between form and colour.

307
00:15:55,520 --> 00:15:57,960
# They call me mellow yellow

308
00:15:57,960 --> 00:16:00,360
# Quite rightly... #

309
00:16:00,360 --> 00:16:01,600
The triangle...

310
00:16:03,560 --> 00:16:05,360
Ah, dammit!

311
00:16:05,360 --> 00:16:06,640
..is yellow.

312
00:16:06,640 --> 00:16:07,800
The circle...

313
00:16:09,680 --> 00:16:11,920
..is blue. And -

314
00:16:11,920 --> 00:16:13,320
I hope I've got this right -

315
00:16:13,320 --> 00:16:15,240
the square is red.

316
00:16:17,280 --> 00:16:22,200
Kandinsky felt that there was an
intrinsic, deep, interior reason

317
00:16:22,200 --> 00:16:26,080
why these shapes and these colours
HAD to belong together.

318
00:16:26,080 --> 00:16:28,440
And if you were a real artist,

319
00:16:28,440 --> 00:16:34,480
you could intuitively grasp
those essential relationships.

320
00:16:34,480 --> 00:16:37,280
So we now have to find out
whether you are real artists!

321
00:16:37,280 --> 00:16:39,080
First one...

322
00:16:39,080 --> 00:16:41,120
Close, but no cigar.

323
00:16:41,120 --> 00:16:42,480
Second one.

324
00:16:42,480 --> 00:16:44,360
Oh... Oh, this one works!

325
00:16:44,360 --> 00:16:46,760
Actually, it is, yeah!
Whose is this?

326
00:16:46,760 --> 00:16:48,000
Me!

327
00:16:48,000 --> 00:16:51,520
No, this corresponds precisely
to Kandinsky's formula.

328
00:16:51,520 --> 00:16:54,880
I just knew that I wanted to put
yellow with the triangle,

329
00:16:54,880 --> 00:16:57,440
cos I always feel like yellow's
quite an unsettling colour.

330
00:16:57,440 --> 00:16:59,360
You said here,
"Yellow's a warning sign."

331
00:16:59,360 --> 00:17:01,120
Yeah. And the warning sign...
Do you drive?

332
00:17:01,120 --> 00:17:04,160
No, I can't drive. Good.
THEY LAUGH

333
00:17:04,160 --> 00:17:07,760
There was only one other person
who got it right, and that...

334
00:17:07,760 --> 00:17:10,040
..is me.
THEY LAUGH

335
00:17:10,040 --> 00:17:15,200
So, the task we're going to set you
today involves making something,

336
00:17:15,200 --> 00:17:19,280
anything, that employs
the three primary colours

337
00:17:19,280 --> 00:17:20,920
and these three basic shapes.

338
00:17:20,920 --> 00:17:24,240
Kandinsky believed that if you get
these relationships right,

339
00:17:24,240 --> 00:17:26,640
the whole work will have
an inner harmony.

340
00:17:26,640 --> 00:17:31,640
I want you to make your work with
this feeling of harmony about it.

341
00:17:33,280 --> 00:17:35,800
While art students of the past
had been taught to paint

342
00:17:35,800 --> 00:17:40,440
landscapes and portraits, Kandinsky
encouraged his students to explore

343
00:17:40,440 --> 00:17:45,400
the creative forces of colours
and shapes.

344
00:17:45,400 --> 00:17:48,720
Blue had a depth,
which was emphasised in a circle

345
00:17:48,720 --> 00:17:52,760
and even evoked the taste
of fresh figs.

346
00:17:52,760 --> 00:17:55,640
I want all the colours and
the shapes to harmonise together

347
00:17:55,640 --> 00:17:58,520
and kind of evolve,
in and out of each other.

348
00:17:58,520 --> 00:18:02,440
Kandinsky fundamentally believed
that certain colours

349
00:18:02,440 --> 00:18:06,480
and certain forms and certain
musical tones and certain moods

350
00:18:06,480 --> 00:18:09,840
all had these almost magical
correspondences to each other.

351
00:18:09,840 --> 00:18:13,760
Itten was kind of quasi-religious,

352
00:18:13,760 --> 00:18:16,800
and so was Kandinsky, and it seems
to be like a recurring thing

353
00:18:16,800 --> 00:18:18,520
in the Bauhaus.

354
00:18:18,520 --> 00:18:23,240
It all sounds pretty wacky today,
but immediately after World War I

355
00:18:23,240 --> 00:18:26,680
you've got a world which appears
to be falling apart.

356
00:18:26,680 --> 00:18:30,880
And they're trying to stick it
back together again - in a new way.

357
00:18:30,880 --> 00:18:34,600
The artist becomes this figure
who can somehow lead to the world

358
00:18:34,600 --> 00:18:36,080
on their spiritual quest.

359
00:18:36,080 --> 00:18:40,360
So, come up and join me here
in my heavens.

360
00:18:40,360 --> 00:18:42,160
Are you guys going to
keep within these...?

361
00:18:42,160 --> 00:18:44,160
The colours that he told us,
what the rules were?

362
00:18:44,160 --> 00:18:47,680
I'm not going to stick to what
was set. You're not sticking
to those colours, yeah?

363
00:18:47,680 --> 00:18:49,840
No, I mean, there's a reason
why all mine were wrong,

364
00:18:49,840 --> 00:18:51,520
cos I don't agree with it, so...

365
00:18:51,520 --> 00:18:53,600
I'm doing what I did
in the questionnaire,

366
00:18:53,600 --> 00:18:55,440
not what Kandinsky did,

367
00:18:55,440 --> 00:18:58,160
because I trust myself
more than Kandinsky -

368
00:18:58,160 --> 00:19:01,000
which is probably a rookie error.

369
00:19:01,000 --> 00:19:02,880
I'm not sure if I agree
with the colours.

370
00:19:02,880 --> 00:19:03,920
You rebel!

371
00:19:04,960 --> 00:19:07,680
But I'm quite enjoying the rigidity.

372
00:19:07,680 --> 00:19:09,160
Well, David, what do you think?

373
00:19:09,160 --> 00:19:12,440
A lot of them have disregarded
all of Kandinsky's rules.

374
00:19:12,440 --> 00:19:14,320
Well, frankly, I'm delighted.

375
00:19:14,320 --> 00:19:16,600
What are they going to
get out of today?

376
00:19:16,600 --> 00:19:20,200
If you can radically limit,
you know, the shape and the form

377
00:19:20,200 --> 00:19:21,960
and colour that you can work with,

378
00:19:21,960 --> 00:19:25,200
it gives you something
to push against.

379
00:19:25,200 --> 00:19:27,440
Kandinsky believed that
students should start

380
00:19:27,440 --> 00:19:33,720
from the simplest forms
and work up from there.

381
00:19:33,720 --> 00:19:36,440
It's a bit weird for me cos I never
work with, like, straight lines

382
00:19:36,440 --> 00:19:38,440
and these primary colours.

383
00:19:38,440 --> 00:19:41,080
You could take the circle
or the triangle...

384
00:19:41,080 --> 00:19:45,080
..and then destroy them.
Mm! You could slice them up.

385
00:19:45,080 --> 00:19:47,400
It feels like I'm back at
primary school or something.

386
00:19:47,400 --> 00:19:49,440
And I haven't discovered mixing yet.

387
00:19:49,440 --> 00:19:51,200
What I'm going to make is
a lantern.

388
00:19:51,200 --> 00:19:53,600
And the lantern's going to
be called My Bau-House.

389
00:19:53,600 --> 00:19:56,120
Are you going to paint it?
Yeah, I'll paint it.

390
00:19:56,120 --> 00:19:59,640
And then the clay will hopefully
air-dry with the paint on it.

391
00:19:59,640 --> 00:20:02,440
Takes a while for it
to air-dry, you know.

392
00:20:02,440 --> 00:20:04,480
Fingers crossed!

393
00:20:04,480 --> 00:20:10,040
So, I was thinking of making a kind
of garment all cut out of triangles.

394
00:20:10,040 --> 00:20:12,920
Yeah. So that's an iron-on foil.

395
00:20:12,920 --> 00:20:14,720
Do you know how it works?

396
00:20:14,720 --> 00:20:18,480
LAUGHS: No.
It just happens... Not a clue!

397
00:20:18,480 --> 00:20:22,080
There's some ambitious designs here,
but the clock is ticking.

398
00:20:22,080 --> 00:20:24,360
Will they crack under pressure?

399
00:20:24,360 --> 00:20:26,720
Collapse under the weight
of expectation?

400
00:20:26,720 --> 00:20:29,320
Fall at the final hurdle?

401
00:20:29,320 --> 00:20:31,240
I've not actually used this before.

402
00:20:33,560 --> 00:20:35,520
OK, nothing happened!
SHE LAUGHS

403
00:20:35,520 --> 00:20:37,760
I really don't like working
with primary colours,

404
00:20:37,760 --> 00:20:40,040
so that's why I'm a bit stressed
at this task!

405
00:20:40,040 --> 00:20:43,360
So, the good news is,
the walls are done. Ay!

406
00:20:43,360 --> 00:20:46,480
The bad news is, it's not drying
as quick as I thought it would.

407
00:20:46,480 --> 00:20:48,000
Ah! Yeah!

408
00:20:48,000 --> 00:20:49,520
Oh. No.

409
00:20:49,520 --> 00:20:51,400
I'm making a full alphabet.

410
00:20:51,400 --> 00:20:54,200
I've got to M - and I've got
less than an hour left.

411
00:20:54,200 --> 00:20:56,800
We usually put a fixer on it.

412
00:20:56,800 --> 00:21:00,400
OK, I think I got the wrong idea
of what this foil actually does!

413
00:21:00,400 --> 00:21:02,480
SHE LAUGHS

414
00:21:05,080 --> 00:21:08,360
Students, you have
45 minutes left...

415
00:21:09,640 --> 00:21:11,760
WHISPERS: Shit!
..so make good use of it.

416
00:21:13,320 --> 00:21:16,360
My foiling didn't work.
I've had to Spray Mount them all.

417
00:21:16,360 --> 00:21:18,960
I'm trying to think of household
items that I can deconstruct

418
00:21:18,960 --> 00:21:20,760
in a simple way.

419
00:21:20,760 --> 00:21:22,120
What is this? A seesaw?

420
00:21:22,120 --> 00:21:23,880
It's a shoe. Is it?

421
00:21:23,880 --> 00:21:26,280
It's a shoe, yeah!

422
00:21:26,280 --> 00:21:28,760
Oh, don't ask about that one.
THEY LAUGH

423
00:21:28,760 --> 00:21:31,600
Is that the saucy one? Yeah.

424
00:21:31,600 --> 00:21:32,880
"Sex aid"?

425
00:21:35,080 --> 00:21:39,840
I mean, if that's a sex aid, then
surely the teapot could be as well.

426
00:21:39,840 --> 00:21:41,360
Depends on what you're into.

427
00:21:41,360 --> 00:21:45,000
Well...I'd probably go
for the teapot.

428
00:21:45,000 --> 00:21:47,840
I can see that it's the alphabet.
Mm-hm.

429
00:21:47,840 --> 00:21:50,480
But I'm not entirely sure
if I'll finish... Is that A?

430
00:21:50,480 --> 00:21:52,760
..all 26 by the end of this time.

431
00:21:52,760 --> 00:21:55,960
Can you...? Can it be
a shortened alphabet? No.

432
00:21:55,960 --> 00:22:00,640
At the 1923 Bauhaus exhibition,
Kandinsky's correspondence theory

433
00:22:00,640 --> 00:22:02,560
could be seen everywhere -

434
00:22:02,560 --> 00:22:06,960
from a mural design
to a child's cradle.

435
00:22:06,960 --> 00:22:09,480
All right, people. Time's up.

436
00:22:09,480 --> 00:22:13,280
Finish your artworks and
bring them over here for display.

437
00:22:17,120 --> 00:22:18,720
It's still... It's still wet.

438
00:22:18,720 --> 00:22:20,160
I can't pick it up.

439
00:22:20,160 --> 00:22:21,360
You're going to have to!

440
00:22:21,360 --> 00:22:24,080
Otherwise, you're disqualified -
from life!

441
00:22:26,880 --> 00:22:30,800
I think you've been extraordinarily
resourceful with very limited range

442
00:22:30,800 --> 00:22:33,400
of stuff to work with,
and I think that's the point.

443
00:22:33,400 --> 00:22:35,240
This was my kind of failure.

444
00:22:35,240 --> 00:22:38,400
And I became really interested
in the kind of off-cuts,

445
00:22:38,400 --> 00:22:41,720
so this is now a
do-it-yourself Kandinsky.

446
00:22:41,720 --> 00:22:45,160
Even though it sounds quite strict -
what the Bauhaus was up to

447
00:22:45,160 --> 00:22:47,600
with these rules - I think there
actually was plenty of room

448
00:22:47,600 --> 00:22:49,280
for improvisation.

449
00:22:49,280 --> 00:22:51,640
And I think, often, with art,
the bits that are left over

450
00:22:51,640 --> 00:22:54,880
have a sort of life and a charm
to them that the art doesn't have.

451
00:22:54,880 --> 00:22:56,200
Who did these small bits of felt?

452
00:22:56,200 --> 00:22:57,520
Those would be me.

453
00:22:57,520 --> 00:22:58,960
I quite like the way you got the...

454
00:22:58,960 --> 00:23:02,280
The sewn line provides
a different kind of linear element.

455
00:23:02,280 --> 00:23:06,560
These actually look very much like
little Bauhaus experiments. Yes!

456
00:23:06,560 --> 00:23:10,240
What have you got - six, 12,
15 different designs?

457
00:23:10,240 --> 00:23:13,360
What, for example, is this one?

458
00:23:13,360 --> 00:23:14,640
It's a sofa.

459
00:23:14,640 --> 00:23:16,200
Obviously.

460
00:23:16,200 --> 00:23:18,400
This one? That is a teapot.

461
00:23:18,400 --> 00:23:21,120
This one's interesting. What's that?

462
00:23:21,120 --> 00:23:23,320
Oh, God, you're making me say it!

463
00:23:23,320 --> 00:23:26,600
You said they're all going to be
sort of household, domestic things?

464
00:23:26,600 --> 00:23:28,080
Yeah, they are! They are.

465
00:23:28,080 --> 00:23:30,720
So where would you find that? Erm...

466
00:23:30,720 --> 00:23:33,360
In a couple's bedroom. Uh-huh. Yeah.

467
00:23:33,360 --> 00:23:35,240
What's it...? Is it a butt-plug?

468
00:23:35,240 --> 00:23:37,040
THEY LAUGH

469
00:23:37,040 --> 00:23:38,840
It's a butt-plug!

470
00:23:39,920 --> 00:23:44,440
After completing a successful work,
Bauhaus students would sometimes

471
00:23:44,440 --> 00:23:47,560
mark the occasion with
a candlelit celebration.

472
00:23:47,560 --> 00:23:50,160
I think it would be interesting
to still spend more time on this

473
00:23:50,160 --> 00:23:54,040
and think about harmonising and
balancing these colours and forms.

474
00:23:54,040 --> 00:23:56,400
I think it made a difference
yesterday, starting with

475
00:23:56,400 --> 00:23:59,120
the breathing exercises,
and it was very calming.

476
00:23:59,120 --> 00:24:01,120
And then, today,
we started with a test.

477
00:24:01,120 --> 00:24:03,440
It's like, "Do you think you know
about colour? You don't."

478
00:24:03,440 --> 00:24:04,960
THEY LAUGH

479
00:24:04,960 --> 00:24:07,000
I really liked today,
just having the rules -

480
00:24:07,000 --> 00:24:09,240
and either make them or break them.

481
00:24:09,240 --> 00:24:12,160
I got on with it much better
than I did yesterday.

482
00:24:12,160 --> 00:24:15,880
Kandinsky transformed students'
understanding of what it meant

483
00:24:15,880 --> 00:24:17,040
to be an artist.

484
00:24:17,040 --> 00:24:19,280
But the school's founder,
Walter Gropius,

485
00:24:19,280 --> 00:24:22,200
had radical ideas of his own.

486
00:24:22,200 --> 00:24:25,280
An architect by trade,
he encouraged students

487
00:24:25,280 --> 00:24:29,400
to direct their artistic gaze
to the practical world around them -

488
00:24:29,400 --> 00:24:32,040
rethinking the modern home
in keeping with

489
00:24:32,040 --> 00:24:34,040
the spirit of the times.

490
00:24:35,160 --> 00:24:38,240
The Bauhaus forged relationships
with leaders of industry

491
00:24:38,240 --> 00:24:43,000
across the country,
and today will be no different.

492
00:24:43,000 --> 00:24:45,640
Ladies and gentlemen,
today, please welcome

493
00:24:45,640 --> 00:24:49,120
Kate Butler, the head of
product design at Habitat!

494
00:24:49,120 --> 00:24:51,040
APPLAUSE

495
00:24:52,280 --> 00:24:56,440
This chair that you can see
is one of the most iconic designs

496
00:24:56,440 --> 00:24:57,840
of the Bauhaus.

497
00:24:57,840 --> 00:25:01,840
Marcel Breuer took the inspiration
from the handles of a bicycle.

498
00:25:01,840 --> 00:25:06,240
He just stripped it right back
to its purest, simplest form.

499
00:25:06,240 --> 00:25:09,880
It sort of floats in these
geometric, simple shapes.

500
00:25:09,880 --> 00:25:13,200
It does look like it could
have been made yesterday.

501
00:25:13,200 --> 00:25:15,640
I can see Dominic sitting in that.

502
00:25:16,680 --> 00:25:19,320
You're looking good in that.
It's actually really comfortable.

503
00:25:19,320 --> 00:25:21,520
It's almost a little bit
intimidating, the chair,

504
00:25:21,520 --> 00:25:23,000
because it's kind of perfect.

505
00:25:23,000 --> 00:25:26,080
I can't... I don't see how
I could improve it in any way.

506
00:25:26,080 --> 00:25:31,240
Breuer's Wassily Chair was revered
for its continuous line design.

507
00:25:31,240 --> 00:25:34,640
And his tubular steel furniture
completely reimagined

508
00:25:34,640 --> 00:25:36,680
the modern home.

509
00:25:36,680 --> 00:25:39,480
For today's task, you are
going to create

510
00:25:39,480 --> 00:25:41,760
a functional item for the home.

511
00:25:41,760 --> 00:25:43,840
Form must follow function,

512
00:25:43,840 --> 00:25:48,160
and you will only be able to use
basic techniques to create it.

513
00:25:48,160 --> 00:25:49,760
I can't do simplicity.

514
00:25:49,760 --> 00:25:52,640
I always just go overboard.
THEY LAUGH

515
00:25:52,640 --> 00:25:54,680
You're going to be working
in the metal workshop,

516
00:25:54,680 --> 00:25:56,440
and you're going to be
paired up for this.

517
00:25:56,440 --> 00:25:58,360
So, use each other.

518
00:25:58,360 --> 00:26:02,560
There was a view at the Bauhaus
that women couldn't think in 3-D,

519
00:26:02,560 --> 00:26:04,280
so...

520
00:26:04,280 --> 00:26:07,000
..see what you make of that!

521
00:26:07,000 --> 00:26:09,080
Can you...? Can you think in 3-D?

522
00:26:09,080 --> 00:26:11,000
Well, we've got to prove that wrong.

523
00:26:11,000 --> 00:26:14,200
Let's go and prove them wrong!

524
00:26:14,200 --> 00:26:17,520
After their first year, everyone
entered specialist workshops.

525
00:26:17,520 --> 00:26:20,240
But student Marianne Brandt wrote,

526
00:26:20,240 --> 00:26:22,880
"The general opinion was that
the metal workshop

527
00:26:22,880 --> 00:26:24,720
"was no place for a woman."

528
00:26:26,560 --> 00:26:30,600
We're going to start with
sketching your ideas on paper.

529
00:26:30,600 --> 00:26:32,120
You have one hour.

530
00:26:34,080 --> 00:26:36,200
Which ones are our favourite?

531
00:26:36,200 --> 00:26:38,720
Yeah, T-bone cafetiere
I really like.

532
00:26:38,720 --> 00:26:41,360
The function is to mainly
just make a nice cup of coffee.

533
00:26:41,360 --> 00:26:44,240
In my head, it would normally
be like function follows form,

534
00:26:44,240 --> 00:26:47,120
because I don't normally make things
that have a function.

535
00:26:47,120 --> 00:26:48,920
In a departure from the past,

536
00:26:48,920 --> 00:26:53,440
the Bauhaus gave equal weight
to craft as it did fine art.

537
00:26:53,440 --> 00:26:56,840
Students were encouraged to create
everyday objects that would serve

538
00:26:56,840 --> 00:27:00,000
the needs of the modern individual.

539
00:27:00,000 --> 00:27:03,800
When I'm sat at the table, at home,
eating my dinner with my family,

540
00:27:03,800 --> 00:27:06,840
I always feel bad for my dog.
He's, like, left out on the floor.

541
00:27:06,840 --> 00:27:09,920
So we thought we could build,
like, a dog highchair.

542
00:27:09,920 --> 00:27:12,320
But then... So your dog's
eating with you at the table? Yeah!

543
00:27:12,320 --> 00:27:13,640
So he's kind of on our level.

544
00:27:13,640 --> 00:27:15,560
Do the rest of the family
agree with this?

545
00:27:15,560 --> 00:27:16,880
I doubt it.

546
00:27:16,880 --> 00:27:19,160
It could have, like,
a detachable cage,

547
00:27:19,160 --> 00:27:22,360
depending on how much
you trust your dog.

548
00:27:22,360 --> 00:27:24,880
We're thinking about the needs
of millennials today.

549
00:27:24,880 --> 00:27:28,080
So what is it?
It's a portable birdbath...

550
00:27:28,080 --> 00:27:30,000
Slash feeder, slash perch.

551
00:27:30,000 --> 00:27:34,320
You can put this on your bird sill
so you can encourage nature to come.

552
00:27:34,320 --> 00:27:37,840
Yeah, we... But what if you get,
like, a kind of brutal pigeon

553
00:27:37,840 --> 00:27:41,040
that's going to land down?
It's going to kick it over, innit?

554
00:27:41,040 --> 00:27:42,480
Yeah, it might do. Maybe...

555
00:27:42,480 --> 00:27:46,840
Maybe you get some hooks
and hook it over your bird sill.

556
00:27:46,840 --> 00:27:49,600
Right, everyone. Time is up.

557
00:27:49,600 --> 00:27:51,440
Let's start with the function.

558
00:27:51,440 --> 00:27:54,360
So we wanted to look at
millennial urbanites

559
00:27:54,360 --> 00:27:57,760
who are moving from flat to flat
all the time... Yeah.

560
00:27:57,760 --> 00:28:02,000
You know, your traditional birdbath
is this massive stone kind of thing,

561
00:28:02,000 --> 00:28:04,440
and you need a garden.
The idea is a good one.

562
00:28:04,440 --> 00:28:07,160
You know, adapt to what
modern life is like.

563
00:28:07,160 --> 00:28:09,360
It's just that you don't
want it to get fussy.

564
00:28:09,360 --> 00:28:12,160
We've created a highchair for dogs.

565
00:28:13,440 --> 00:28:17,800
It's got two frames, which would
kind of create the height,

566
00:28:17,800 --> 00:28:22,480
and then we've got one sheet of
metal, which will include the ladder

567
00:28:22,480 --> 00:28:26,880
and the seat and the eating plate.

568
00:28:26,880 --> 00:28:28,800
The ladder? Yeah!

569
00:28:28,800 --> 00:28:32,840
So, practically speaking, how is
the dog going to get up the ladder?

570
00:28:32,840 --> 00:28:34,160
Climb up!

571
00:28:34,160 --> 00:28:35,600
We have got a cafetiere.

572
00:28:35,600 --> 00:28:37,440
You have no plunger mechanism...
Yeah.

573
00:28:37,440 --> 00:28:39,000
..so it wouldn't actually work.

574
00:28:39,000 --> 00:28:41,520
We just haven't figured out,
in terms of actually working...

575
00:28:41,520 --> 00:28:43,040
Actually making it work. Yeah.

576
00:28:44,360 --> 00:28:46,880
Luckily, Ricky's on hand.

577
00:28:46,880 --> 00:28:50,720
Alongside their artist teachers,
Bauhaus students were trained

578
00:28:50,720 --> 00:28:53,600
in manual skills by
specialist technicians

579
00:28:53,600 --> 00:28:55,520
known as masters of craft.

580
00:28:56,680 --> 00:28:59,400
It's actually quite difficult
to make a cutting like this.

581
00:28:59,400 --> 00:29:01,160
You'll get a weak point there. Yeah.

582
00:29:01,160 --> 00:29:03,480
Might need to think
about an external handle.

583
00:29:03,480 --> 00:29:06,240
We haven't got that long,
so chop chop!

584
00:29:06,240 --> 00:29:10,040
In the early days of the Bauhaus,
Gropius complained that the students

585
00:29:10,040 --> 00:29:11,920
were lacking a sense of craft.

586
00:29:11,920 --> 00:29:14,960
He said, "Apprentices? Journeymen?

587
00:29:14,960 --> 00:29:18,400
"At present, these terms
are a joke!"

588
00:29:18,400 --> 00:29:21,880
That's actually...terrible.

589
00:29:21,880 --> 00:29:23,440
THEY LAUGH

590
00:29:23,440 --> 00:29:25,880
I think... Just really bad!

591
00:29:25,880 --> 00:29:27,440
We're a bit behind.

592
00:29:27,440 --> 00:29:30,360
We've had to re-measure everything.

593
00:29:30,360 --> 00:29:32,320
Being in the all-female team...

594
00:29:32,320 --> 00:29:35,680
We've got a lot of responsibility
on our shoulders.

595
00:29:35,680 --> 00:29:38,480
Walter Gropius wrote,
"Whether a container,

596
00:29:38,480 --> 00:29:44,000
"a chair or a house, it must perform
its function in a practical way

597
00:29:44,000 --> 00:29:48,840
"and be durable, inexpensive
and beautiful."

598
00:29:48,840 --> 00:29:51,920
Do you think our students
are on to anything in there?

599
00:29:51,920 --> 00:29:53,360
There was stuff to work out.

600
00:29:53,360 --> 00:29:56,040
The cafetiere, I don't think
that they've reconciled

601
00:29:56,040 --> 00:29:57,440
what it actually is -

602
00:29:57,440 --> 00:30:00,200
what does the mechanism look like?
How's it going to pour?

603
00:30:00,200 --> 00:30:03,080
The function might be compromised.

604
00:30:03,080 --> 00:30:06,520
But through failing
and struggling and adapting,

605
00:30:06,520 --> 00:30:08,840
it, hopefully, will have improved.

606
00:30:11,640 --> 00:30:13,360
How's it going over here, then?
Huh? Huh?

607
00:30:13,360 --> 00:30:14,680
It's going well.

608
00:30:14,680 --> 00:30:17,840
When that's full of coffee,
it's going to be pretty weighty.

609
00:30:17,840 --> 00:30:19,920
That's true. Could you say
this is a model,

610
00:30:19,920 --> 00:30:21,400
but twice the size, just so...

611
00:30:21,400 --> 00:30:24,520
LAUGHS: Yeah. We've scaled it up.
Yeah, we've scaled it up.

612
00:30:24,520 --> 00:30:28,400
Collaboration was one of the
founding principles of the Bauhaus,

613
00:30:28,400 --> 00:30:32,480
but will today's pairings prove
fruitful, or will the students

614
00:30:32,480 --> 00:30:35,160
be left with no bananas?

615
00:30:35,160 --> 00:30:36,800
Nice cut!
SHE LAUGHS

616
00:30:36,800 --> 00:30:38,840
Oh, it went down the back!

617
00:30:38,840 --> 00:30:41,400
It's kind of quite...
Skewed a bit there. ..curved.

618
00:30:46,120 --> 00:30:47,960
Yeah, put loads on.

619
00:30:47,960 --> 00:30:50,240
Trying to fashion some
sort of handle on it.

620
00:30:50,240 --> 00:30:54,160
Oh, it's the old handle problem!
Yes. It's the handle problem.

621
00:30:54,160 --> 00:30:57,560
Wow! That's all I've
got to say about this.

622
00:30:57,560 --> 00:30:59,320
We've got a dog now.

623
00:31:02,200 --> 00:31:03,360
It's looking good.

624
00:31:03,360 --> 00:31:05,160
We're trying to make the nest.

625
00:31:05,160 --> 00:31:06,760
Oh, look, it's working!

626
00:31:08,280 --> 00:31:10,320
OK, everyone, time's up.

627
00:31:10,320 --> 00:31:13,560
Put down your glue guns
and pop rivets.

628
00:31:13,560 --> 00:31:17,880
Kate's going to be here any second
now to judge your work

629
00:31:17,880 --> 00:31:19,480
in a designer-ish way.

630
00:31:19,480 --> 00:31:23,080
So, bring it all over.
Let's lay it out.

631
00:31:23,080 --> 00:31:27,240
The cafetiere, the bird feeder,

632
00:31:27,240 --> 00:31:31,760
the dog table...walking device.

633
00:31:31,760 --> 00:31:34,160
I don't know how easy
a dog could climb up this.

634
00:31:34,160 --> 00:31:36,120
It might be a bit slippery.

635
00:31:36,120 --> 00:31:39,360
But, actually, I can see
that continuous line spirit

636
00:31:39,360 --> 00:31:40,960
of the Wassily Chair.

637
00:31:40,960 --> 00:31:44,960
It has to be celebrated
cos it's a very original idea. Yeah.

638
00:31:44,960 --> 00:31:47,760
I think the proportions
are wrong... Yeah.

639
00:31:47,760 --> 00:31:52,760
..cos it is huge and it's sort of
mass catering-style cafetiere.

640
00:31:52,760 --> 00:31:56,600
Let's think of it as a coffee pot
bringing art and design

641
00:31:56,600 --> 00:31:59,080
to a building site.

642
00:31:59,080 --> 00:32:01,960
And a lot of builders,
they were very thirsty.

643
00:32:01,960 --> 00:32:06,280
Wow! There's also the bath...

644
00:32:06,280 --> 00:32:08,800
Oh, you've done the Breuer!
Inside. Yeah.

645
00:32:08,800 --> 00:32:11,520
And the storage place
for the birdfeed.

646
00:32:11,520 --> 00:32:13,400
And what about the base?

647
00:32:13,400 --> 00:32:16,520
Actually, we kind of wanted to
have that continuous line.

648
00:32:16,520 --> 00:32:20,440
It looks very neat and sharp,
and kind of quite pure. Yeah.

649
00:32:20,440 --> 00:32:23,480
So it seems it's the women
what won it.

650
00:32:23,480 --> 00:32:25,360
Female students may have
been discouraged

651
00:32:25,360 --> 00:32:29,320
from entering the metal workshop,
but Marianne Brandt rebelled -

652
00:32:29,320 --> 00:32:33,560
producing some of the Bauhaus's
most enduring designs.

653
00:32:33,560 --> 00:32:37,640
I was a bit nervous this morning
when Kate mentioned about

654
00:32:37,640 --> 00:32:39,480
the girls in the Bauhaus.

655
00:32:39,480 --> 00:32:43,320
And then when Kate liked it at the
end, I was just like, "Ah, yes!"

656
00:32:43,320 --> 00:32:46,880
I think it really helped me to see
how you can fuse, like,

657
00:32:46,880 --> 00:32:49,320
fine art with product design.

658
00:32:49,320 --> 00:32:51,680
Working with Lizzy today -
a fine artist -

659
00:32:51,680 --> 00:32:53,280
like, I've not done that before.

660
00:32:53,280 --> 00:32:55,120
So I think that was, like,
the most different,

661
00:32:55,120 --> 00:32:56,360
but, I think, the best part.

662
00:32:56,360 --> 00:32:59,360
I didn't do that much collaboration
with my foundation,

663
00:32:59,360 --> 00:33:02,560
so I think it's nice being able
to work with someone.

664
00:33:02,560 --> 00:33:05,280
I think it worked really well, and
I kind of wish we'd have had

665
00:33:05,280 --> 00:33:07,840
more opportunities
like that at university.

666
00:33:07,840 --> 00:33:10,400
Bauhaus is the cornerstone
of contemporary design.

667
00:33:10,400 --> 00:33:13,880
We use the principles every day.

668
00:33:13,880 --> 00:33:16,320
From lighting to wallpaper

669
00:33:16,320 --> 00:33:19,560
to chess sets, the work
produced by the Bauhaus

670
00:33:19,560 --> 00:33:23,680
was unrecognisable from that
of art academies before it.

671
00:33:23,680 --> 00:33:26,400
But sculptor Gerhard Marx warned,

672
00:33:26,400 --> 00:33:30,640
"Production must never be allowed
to become the goal in itself.

673
00:33:30,640 --> 00:33:34,320
"Otherwise, the Bauhaus will become
just another factory."

674
00:33:35,600 --> 00:33:40,040
The appointment of Hungarian artist
Laszlo Moholy-Nagy ensured that,

675
00:33:40,040 --> 00:33:44,920
far from a factory, the school
became a hive of experimentation.

676
00:33:44,920 --> 00:33:47,720
He encouraged students to
seek out fresh perspectives

677
00:33:47,720 --> 00:33:52,040
through new media, like photography.

678
00:33:52,040 --> 00:33:55,240
Please welcome
Constanza Isaza Martinez.

679
00:33:55,240 --> 00:33:57,160
Constanza is at the forefront

680
00:33:57,160 --> 00:33:59,920
of today's experimental
photography scene.

681
00:33:59,920 --> 00:34:02,800
For today's task, you must create
a photograph that explores

682
00:34:02,800 --> 00:34:05,000
the theme of light and shadow.

683
00:34:05,000 --> 00:34:07,240
The only catch is,
you can't use a camera.

684
00:34:09,080 --> 00:34:11,160
Yes! What?

685
00:34:11,160 --> 00:34:12,720
I have no idea what to expect.

686
00:34:12,720 --> 00:34:15,360
But I bet you take loads of
photographs on your phone.

687
00:34:15,360 --> 00:34:17,480
I know nothing about
the old techniques.

688
00:34:17,480 --> 00:34:21,040
All you've got is some chemicals
and a piece of paper. Yep.

689
00:34:21,040 --> 00:34:24,440
Moholy-Nagy breathed new life
into cameraless photography

690
00:34:24,440 --> 00:34:27,680
with what he dubbed the "photogram".

691
00:34:27,680 --> 00:34:31,360
It involved simply placing objects
on light-sensitive paper

692
00:34:31,360 --> 00:34:33,600
and exposing them to light.

693
00:34:33,600 --> 00:34:35,480
What we're going to be doing here
is the kind of

694
00:34:35,480 --> 00:34:38,560
planning and design phase.
What you see here, when it's black,

695
00:34:38,560 --> 00:34:40,760
it's going to be white
in your print.

696
00:34:40,760 --> 00:34:42,920
How's that?
THEY LAUGH

697
00:34:42,920 --> 00:34:45,960
Does it work?
You can even see eyelashes.

698
00:34:45,960 --> 00:34:52,080
I remember doing this in the '80s,
when photocopiers first appeared.

699
00:34:52,080 --> 00:34:53,520
With your face?

700
00:34:53,520 --> 00:34:56,320
No, with my arse.
LAUGHS: That's what I thought!

701
00:34:56,320 --> 00:34:59,560
What did Moholy-Nagy
bring to the photogram?

702
00:34:59,560 --> 00:35:02,040
Well, Moholy-Nagy was
really interested

703
00:35:02,040 --> 00:35:07,280
in the abstract possibilities of the
medium and in a new way of seeing,

704
00:35:07,280 --> 00:35:12,000
and just a way of using the medium
that really pushed the limits

705
00:35:12,000 --> 00:35:14,640
of what people had thought
photography was capable of.

706
00:35:14,640 --> 00:35:18,400
For Moholy-Nagy,
the preparation was key.

707
00:35:18,400 --> 00:35:23,360
He said, "The choice of object,
segment, light and shadow

708
00:35:23,360 --> 00:35:26,600
"are highly creative,
artistic decisions."

709
00:35:26,600 --> 00:35:29,040
Is that the salt? Yeah.

710
00:35:29,040 --> 00:35:31,800
I'll be honest, I'm a bit bored, cos
I just want to go up there and play.

711
00:35:31,800 --> 00:35:33,600
I don't like this sense of planning,

712
00:35:33,600 --> 00:35:35,880
which is a bit anti-Bauhaus,
in a way.

713
00:35:35,880 --> 00:35:38,280
I'm really looking forward
to being in the darkroom,

714
00:35:38,280 --> 00:35:41,280
cos, at the moment, I've just been
taking those photos on my phone.

715
00:35:41,280 --> 00:35:44,040
Yeah, I've never been in one,
so I don't even know.

716
00:35:44,040 --> 00:35:49,040
Remember that your paper is
not sensitive to red light,

717
00:35:49,040 --> 00:35:52,640
so a piece of this would be the same
as having a black sheet on top.

718
00:35:55,160 --> 00:35:58,320
At the Bauhaus, Moholy-Nagy worked
in makeshift dark rooms

719
00:35:58,320 --> 00:36:00,160
with his wife, Lucia.

720
00:36:01,360 --> 00:36:05,320
Today, the students will be assisted
in the dark room by Melanie King

721
00:36:05,320 --> 00:36:09,040
from the London Alternative
Photography Collective.

722
00:36:09,040 --> 00:36:11,320
What on Earth's happening here?

723
00:36:11,320 --> 00:36:14,560
So I want to look at the movement
of my hand.

724
00:36:14,560 --> 00:36:17,040
Ready? One, two, three.

725
00:36:17,040 --> 00:36:19,040
As Amar exposes his image,

726
00:36:19,040 --> 00:36:22,680
everything he blocks out to light
will be white.

727
00:36:22,680 --> 00:36:24,600
Well-timed! Great!

728
00:36:24,600 --> 00:36:26,160
My heart was beating.

729
00:36:26,160 --> 00:36:29,080
Now for the developing stage.

730
00:36:29,080 --> 00:36:30,640
What will emerge?

731
00:36:30,640 --> 00:36:33,080
Wow, look! Oh, wow!
Getting a long exposure.

732
00:36:33,080 --> 00:36:34,640
That's worked really well.

733
00:36:34,640 --> 00:36:36,360
You spent all of
last night practicing

734
00:36:36,360 --> 00:36:39,120
turning your hand over
in five seconds.

735
00:36:40,200 --> 00:36:42,480
OK. One, two, three.

736
00:36:46,720 --> 00:36:48,400
Oh, wow! Ooh!

737
00:36:48,400 --> 00:36:53,640
I'm going to be a bit...weird,
and chew the paper.

738
00:36:53,640 --> 00:36:56,080
Goodness! You forgot to put
the kitchen sink on.

739
00:37:00,720 --> 00:37:03,040
Wispy! Mm!

740
00:37:03,040 --> 00:37:05,560
It's like when you push your face
deep into a hedge.

741
00:37:07,840 --> 00:37:10,920
I'm going to make my own tribute
to Moholy-Nagy,

742
00:37:10,920 --> 00:37:14,360
who reinvented the self-portrait
with his photograms.

743
00:37:14,360 --> 00:37:17,000
But I've moved on since the 1980s.

744
00:37:17,000 --> 00:37:20,040
This time, I'm going to use my face!

745
00:37:21,080 --> 00:37:22,480
Wow!

746
00:37:22,480 --> 00:37:24,920
It does look a bit like smoke...

747
00:37:24,920 --> 00:37:26,800
..and balls, doesn't it?

748
00:37:26,800 --> 00:37:30,160
I think it looks like
a black cat in a wig. Yeah!

749
00:37:30,160 --> 00:37:32,760
OK, I'm going to leave you
to do your second one.

750
00:37:32,760 --> 00:37:34,600
I look forward to
seeing the results.

751
00:37:37,680 --> 00:37:40,920
They're going to be
the eyes, hopefully.

752
00:37:40,920 --> 00:37:43,480
Gloves as hair.

753
00:37:43,480 --> 00:37:46,200
Fabulous.

754
00:37:46,200 --> 00:37:50,480
Moholy-Nagy was trying to get
a very deep connection

755
00:37:50,480 --> 00:37:53,920
with his materials and a really deep
understanding of how they worked

756
00:37:53,920 --> 00:37:55,800
and how they reacted
to certain things.

757
00:37:55,800 --> 00:37:57,240
Oh, my God!

758
00:37:59,840 --> 00:38:02,520
Half of it white.
Yeah, why is half of it white?

759
00:38:02,520 --> 00:38:04,600
It might be the red cellophane.

760
00:38:04,600 --> 00:38:07,880
I just think that this is
very relevant, artistically,

761
00:38:07,880 --> 00:38:11,800
because people are really striving
for that hands-on way

762
00:38:11,800 --> 00:38:13,720
of making images.

763
00:38:13,720 --> 00:38:14,720
Ooh!

764
00:38:16,280 --> 00:38:18,200
Hello!

765
00:38:18,200 --> 00:38:21,360
Let's see if we can
guess who did which.

766
00:38:21,360 --> 00:38:23,600
Erm...Dominic?

767
00:38:23,600 --> 00:38:24,800
No!

768
00:38:24,800 --> 00:38:25,920
Amar.

769
00:38:25,920 --> 00:38:27,640
Nailed it, yeah. Yeah? Yeah.

770
00:38:27,640 --> 00:38:30,080
Cos it's that flash-style hand.

771
00:38:30,080 --> 00:38:31,720
That one. Who did that?

772
00:38:31,720 --> 00:38:32,760
Me!

773
00:38:32,760 --> 00:38:34,320
It went a bit wrong, though.

774
00:38:34,320 --> 00:38:37,200
So, yeah, what happened there?
Cos I had the cellophane,

775
00:38:37,200 --> 00:38:39,000
which I thought was clear.

776
00:38:39,000 --> 00:38:42,080
But it turned out it was orange, but
you can't see it in the darkroom,

777
00:38:42,080 --> 00:38:43,960
and it completely blocked the light.

778
00:38:43,960 --> 00:38:45,720
Is this supposed
to look like a face?

779
00:38:45,720 --> 00:38:48,520
Yeah! Yeah.
THEY LAUGH

780
00:38:48,520 --> 00:38:51,480
It's very playful, isn't it?
I just wanted to have fun with it.

781
00:38:51,480 --> 00:38:53,920
You've been really, really
experimental in your approach,

782
00:38:53,920 --> 00:38:55,360
and really creative, I think,

783
00:38:55,360 --> 00:38:58,800
in your choice of object
and your compositions.

784
00:38:58,800 --> 00:39:00,160
It's really made me...

785
00:39:01,160 --> 00:39:02,720
..look at the materials.

786
00:39:02,720 --> 00:39:04,920
Like, the beauty that is
kind of found in this, like,

787
00:39:04,920 --> 00:39:06,400
cellophane or clingfilm -

788
00:39:06,400 --> 00:39:09,840
these everyday materials, like,
we just never think about.

789
00:39:09,840 --> 00:39:12,320
You know, this has made me realise
how powerful light can be -

790
00:39:12,320 --> 00:39:14,000
to create something so beautiful,

791
00:39:14,000 --> 00:39:16,440
something so inspired in just
a short amount of time.

792
00:39:16,440 --> 00:39:19,080
So that's been, like, the most
eye-opening thing, I think, for me.

793
00:39:19,080 --> 00:39:22,240
Moholy-Nagy manipulated
his distinctive photograms

794
00:39:22,240 --> 00:39:24,880
to create strikingly modern images

795
00:39:24,880 --> 00:39:28,480
in the emerging field
of graphic design.

796
00:39:28,480 --> 00:39:30,680
To experiment in this new medium,

797
00:39:30,680 --> 00:39:34,880
a printing and advertising workshop
was set up at the school.

798
00:39:34,880 --> 00:39:37,920
At its helm was Austrian designer
Herbert Bayer,

799
00:39:37,920 --> 00:39:42,040
a former student who designed
the famous geometric lettering

800
00:39:42,040 --> 00:39:43,720
on the Bauhaus building.

801
00:39:43,720 --> 00:39:48,040
His work has had a huge impact
on graphic designer Neville Brody,

802
00:39:48,040 --> 00:39:51,520
best known for his bold designs
for The Face magazine.

803
00:39:51,520 --> 00:39:52,960
Neville Brody!

804
00:39:54,360 --> 00:39:56,040
Thank you, Jim.

805
00:39:56,040 --> 00:39:58,760
Tomorrow evening, you're going
to have a costume party.

806
00:39:58,760 --> 00:40:01,080
And the theme is going to be metal.

807
00:40:01,080 --> 00:40:05,160
The challenge today is to create
a poster to promote this.

808
00:40:05,160 --> 00:40:08,840
The poster has to be communicating
the subject really clearly.

809
00:40:08,840 --> 00:40:11,160
And it has to be attention-seeking.

810
00:40:11,160 --> 00:40:13,760
So, I'm sure you guys are going to
be well up for all of that.

811
00:40:13,760 --> 00:40:15,840
There's only...

812
00:40:15,840 --> 00:40:17,560
There's only two rules -

813
00:40:17,560 --> 00:40:21,000
you can't mix upper case
and lower case.

814
00:40:21,000 --> 00:40:25,200
And you have to include an element
which is part of a new language,

815
00:40:25,200 --> 00:40:26,880
which you're going to invent.

816
00:40:26,880 --> 00:40:30,320
This, out of all the days,
is the most on home turf for me.

817
00:40:30,320 --> 00:40:31,800
Is your brain whirring?

818
00:40:31,800 --> 00:40:34,120
No, it's really, really blank!
Is it? This is so...

819
00:40:34,120 --> 00:40:36,200
You've got no ideas? This is so
unusual to me.

820
00:40:36,200 --> 00:40:39,040
Don't worry, and just
be crazily imaginative.

821
00:40:39,040 --> 00:40:42,080
I've got an example here
of Herbert Bayer typography.

822
00:40:42,080 --> 00:40:45,440
I mean, it's quite amazing,
really, how modern this looks.

823
00:40:45,440 --> 00:40:47,800
I really don't like that. It just
makes... You don't like it?

824
00:40:47,800 --> 00:40:49,360
It makes it hard to read.

825
00:40:49,360 --> 00:40:51,480
But it communicates
the theme accurately,

826
00:40:51,480 --> 00:40:55,120
which is a kind of
crazy costume party.

827
00:40:55,120 --> 00:40:57,840
So, you've got about an hour
and a half for this,

828
00:40:57,840 --> 00:40:59,320
for the sketching.

829
00:41:02,000 --> 00:41:04,040
I'm looking at weapons.

830
00:41:05,760 --> 00:41:07,600
So I've stabbed...

831
00:41:07,600 --> 00:41:10,400
..the word. It's quite aggressive.

832
00:41:10,400 --> 00:41:15,000
I quite like the idea of having the
scientific element of metal.

833
00:41:15,000 --> 00:41:17,320
That reads through the
periodic table. Yeah.

834
00:41:17,320 --> 00:41:21,320
Oh, my God! The periodic table
totally goes against our rule...

835
00:41:21,320 --> 00:41:22,760
..of upper case and lower case.

836
00:41:22,760 --> 00:41:24,560
Cos it's all one capital and
one lower?

837
00:41:24,560 --> 00:41:27,280
Oh, yeah. Damn! I can work on a
Bauhaus symbol. Yeah.

838
00:41:27,280 --> 00:41:29,680
The symbol can kind of be something
that all represents...

839
00:41:29,680 --> 00:41:33,280
Oh, that's representing us?
..our entire... Yeah. ..project.

840
00:41:34,840 --> 00:41:36,400
What's that?

841
00:41:36,400 --> 00:41:40,720
"KLLLAD". The "KLLLAD" is just
all our initials put together.

842
00:41:40,720 --> 00:41:45,080
At the Bauhaus, fonts and symbols
where continually reinvented

843
00:41:45,080 --> 00:41:49,760
and experimented with, breaking the
established rules of typography.

844
00:41:51,800 --> 00:41:53,280
Anything jump out?

845
00:41:53,280 --> 00:41:54,960
This jumps out.

846
00:41:54,960 --> 00:41:57,640
Yeah, I think that's too much.
Maybe that's me.

847
00:41:57,640 --> 00:42:00,120
Yeah, but you have this readability
obsession!

848
00:42:00,120 --> 00:42:02,280
But sometimes it
needs to be literal.

849
00:42:02,280 --> 00:42:04,920
But for a crazy costume party?

850
00:42:04,920 --> 00:42:06,440
What I liked about this

851
00:42:06,440 --> 00:42:09,040
was that there is a new language
element, here.

852
00:42:09,040 --> 00:42:11,600
It's like a rewind button. Yeah.
That's like a rewind. Yeah.

853
00:42:11,600 --> 00:42:14,120
Yeah. But it's turning it into
a letterform as well,

854
00:42:14,120 --> 00:42:16,240
which Bauhaus would have loved.

855
00:42:16,240 --> 00:42:19,800
There's one thing missing for me,
which is a kind of human element.

856
00:42:19,800 --> 00:42:23,480
This does feel a little bit like
it's going to be a car repair party.

857
00:42:23,480 --> 00:42:24,760
Yeah.

858
00:42:25,840 --> 00:42:29,760
The Bauhaus created designs for
journals, posters and invites,

859
00:42:29,760 --> 00:42:33,080
promoting the artistic activity
of the school.

860
00:42:33,080 --> 00:42:36,120
And they were often
experimental in nature.

861
00:42:36,120 --> 00:42:39,120
It was all about attention-seeking,
attention-grabbing.

862
00:42:39,120 --> 00:42:41,760
Being direct, being appealing.

863
00:42:41,760 --> 00:42:43,520
And they built a lot of the
principles

864
00:42:43,520 --> 00:42:45,960
that we now know as advertising.

865
00:42:45,960 --> 00:42:49,080
I think they really helped us step
out of the decorative,

866
00:42:49,080 --> 00:42:51,640
illustrative style of the
Victorians

867
00:42:51,640 --> 00:42:53,960
and step into a modern Europe.

868
00:42:53,960 --> 00:42:57,440
The Bauhaus used a printing process
known as letterpress...

869
00:42:57,440 --> 00:42:58,760
Hello!

870
00:42:58,760 --> 00:43:01,080
..and guiding our students
through the technique

871
00:43:01,080 --> 00:43:04,840
is Helen Ingham, their
master of craft for the day.

872
00:43:04,840 --> 00:43:07,960
That would work, actually. That it
be nice, wouldn't it, that?

873
00:43:07,960 --> 00:43:10,200
Yeah. Yeah, you could cut that!

874
00:43:10,200 --> 00:43:13,440
Shall we get on and do it?
Yeah, let's start laying it out.

875
00:43:13,440 --> 00:43:17,520
Herbert Bayer said "I'm only going
to use sans-serif type."

876
00:43:17,520 --> 00:43:19,760
The serif is a little
dangling point, isn't it?

877
00:43:19,760 --> 00:43:22,400
The serif is the bit that sticks
out. A bit of fancy?

878
00:43:22,400 --> 00:43:24,400
Bayer said, you know,
"This is just decoration.

879
00:43:24,400 --> 00:43:25,920
"Don't need it, get rid of it."

880
00:43:25,920 --> 00:43:27,680
And I don't need
upper case and lower case.

881
00:43:27,680 --> 00:43:30,920
So he just kept reducing and
reducing.

882
00:43:30,920 --> 00:43:32,880
I don't know what Neville's
going to think of it

883
00:43:32,880 --> 00:43:34,960
and, frankly, I feel
quite pressured.

884
00:43:34,960 --> 00:43:37,000
He is very much looked up to in the
type

885
00:43:37,000 --> 00:43:38,960
and graphic design world.

886
00:43:38,960 --> 00:43:40,880
Having him here...

887
00:43:40,880 --> 00:43:44,120
..is no joke. It's quite
nerve-racking.

888
00:43:44,120 --> 00:43:48,680
We want to do a kind of collage
of human and the metal tools.

889
00:43:48,680 --> 00:43:50,920
We could go to Ricky and just ask
him... Oh, yeah!

890
00:43:50,920 --> 00:43:52,560
..for just like a load of fun stuff.

891
00:43:55,680 --> 00:43:58,760
Ricky, we're going to have a rifle
through your... Bits and bobs!

892
00:43:58,760 --> 00:44:00,080
Absolutely!

893
00:44:00,080 --> 00:44:02,320
I've got a hat!

894
00:44:02,320 --> 00:44:03,520
Love it!

895
00:44:13,160 --> 00:44:17,080
Bauhaus students made use of
cutting-edge advertising techniques,

896
00:44:17,080 --> 00:44:19,560
designed to catch the viewer's eye.

897
00:44:19,560 --> 00:44:22,920
They frequently cut together images
from multiple sources,

898
00:44:22,920 --> 00:44:25,560
in a process known as photomontage.

899
00:44:25,560 --> 00:44:27,840
Put your arms at funny angles, OK.

900
00:44:27,840 --> 00:44:30,920
Or do I look like I just jumped off
a building? I don't know!

901
00:44:30,920 --> 00:44:33,640
Cool. Should we put some
chains on your hand?

902
00:44:36,680 --> 00:44:38,480
The chains just make it look sexual.

903
00:44:38,480 --> 00:44:41,160
They do. Yeah, I think it got a bit
weird.

904
00:44:43,040 --> 00:44:45,680
Sometimes, the letters will push
outside of the boundaries,

905
00:44:45,680 --> 00:44:48,440
even if it's only by
a fraction or a hairline.

906
00:44:48,440 --> 00:44:50,840
That could really throw
off the whole composition.

907
00:44:50,840 --> 00:44:53,800
I thought the four would fit
perfectly in this space,

908
00:44:53,800 --> 00:44:56,480
but it's ever so slightly too wide.

909
00:44:56,480 --> 00:44:59,680
It's sort of maths meets Tetris,
in a lot of ways.

910
00:45:01,800 --> 00:45:03,760
One of Bayer's students wrote,

911
00:45:03,760 --> 00:45:08,040
"A joy in experimentation developed,
heedless of every extreme."

912
00:45:08,040 --> 00:45:09,720
Right, the moment of truth.

913
00:45:09,720 --> 00:45:12,280
Ah. Nice!

914
00:45:12,280 --> 00:45:14,320
OK...

915
00:45:14,320 --> 00:45:17,000
Oh, can you put your hand in there?
Yeah!

916
00:45:19,080 --> 00:45:20,600
Oh... That's interesting.

917
00:45:20,600 --> 00:45:23,880
Yeah, I like that, and I also like
those bits together.

918
00:45:23,880 --> 00:45:25,560
Get your face on there.

919
00:45:30,040 --> 00:45:32,600
Oh, my... That's worked quite well,
hasn't it? Yeah!

920
00:45:35,000 --> 00:45:38,360
I want the beginning and the end
letters to be sort of symbols.

921
00:45:38,360 --> 00:45:40,760
Cos that's like a rewind button,
that's like a play button.

922
00:45:40,760 --> 00:45:43,320
So it kind of works... Oh, yeah!
Check you out! ..in that sense.

923
00:45:43,320 --> 00:45:44,880
I know, right? Yeah!

924
00:45:44,880 --> 00:45:48,640
Trace it off, flip the tracing paper
over... Yeah.

925
00:45:48,640 --> 00:45:51,000
..put some chalk on the back
of the tracing paper,

926
00:45:51,000 --> 00:45:52,880
and then we can transfer it.

927
00:45:52,880 --> 00:45:54,320
Great, fabulous.

928
00:45:54,320 --> 00:45:56,320
Thank you very much!

929
00:45:56,320 --> 00:45:58,640
What I like about this sort
of process is that it goes back

930
00:45:58,640 --> 00:46:00,560
to that very analogue way of
working.

931
00:46:00,560 --> 00:46:03,320
And in my own practice,
I'm very, very digital.

932
00:46:03,320 --> 00:46:07,360
If I were set this brief, I would
just go straight to the computer.

933
00:46:07,360 --> 00:46:08,920
There is no way I'd...

934
00:46:08,920 --> 00:46:11,000
..bother in letterpressing...

935
00:46:11,000 --> 00:46:12,760
..because that just takes time.

936
00:46:12,760 --> 00:46:16,680
I'd like to keep it as
analogue as possible.

937
00:46:16,680 --> 00:46:19,920
Just going to put the last
few bits of lead on.

938
00:46:19,920 --> 00:46:22,400
And then we should be done!

939
00:46:22,400 --> 00:46:24,360
Hello! Hey!

940
00:46:24,360 --> 00:46:26,360
We have the central image.

941
00:46:26,360 --> 00:46:28,360
A bit more of a minimal one.

942
00:46:28,360 --> 00:46:31,440
It's gonna be difficult to print,
I'll tell you that.

943
00:46:31,440 --> 00:46:34,360
The Bauhaus were one of the first
institutions

944
00:46:34,360 --> 00:46:38,400
to pull together typography
and photography in to one place,

945
00:46:38,400 --> 00:46:41,040
and set, basically, the pattern for
commercial design

946
00:46:41,040 --> 00:46:44,280
for the next 100 years.

947
00:46:46,520 --> 00:46:48,880
I think that's really nice.

948
00:46:48,880 --> 00:46:50,520
Ooh...

949
00:46:50,520 --> 00:46:53,080
I think that's the best one yet!

950
00:46:55,200 --> 00:46:58,680
Yes! That's lovely. Oh, that's good,
isn't it?

951
00:46:58,680 --> 00:47:01,640
Yeah, that's really nice.
Is everyone pleased with it? Yeah.

952
00:47:01,640 --> 00:47:03,280
Yeah. I'm happy with that.

953
00:47:03,280 --> 00:47:05,240
Have you changed your mind
since this morning?

954
00:47:05,240 --> 00:47:08,400
No, but... But I do like that.

955
00:47:08,400 --> 00:47:12,160
That's all right, then. You just
won't admit it, will you?

956
00:47:12,160 --> 00:47:14,480
That's it. There we are, look,
that's me!

957
00:47:14,480 --> 00:47:17,400
You've got KLLLAD on your face.

958
00:47:17,400 --> 00:47:19,240
That's really punk!

959
00:47:19,240 --> 00:47:21,560
Right, I'm going to go
and get Neville now.

960
00:47:21,560 --> 00:47:24,800
Choose your favourite three
and lay them out.

961
00:47:26,920 --> 00:47:28,680
Wow! Which do you think?

962
00:47:28,680 --> 00:47:30,840
It's pretty stunning.

963
00:47:30,840 --> 00:47:34,280
You've got your kind
of new invented forms going on.

964
00:47:34,280 --> 00:47:35,800
Which is brilliant.

965
00:47:35,800 --> 00:47:38,800
It's definitely attention-seeking.

966
00:47:38,800 --> 00:47:41,120
This one feels a bit more metallic.

967
00:47:41,120 --> 00:47:44,120
But this is the sort of one
I'd want as a poster.

968
00:47:44,120 --> 00:47:46,880
So, for me, that's the winner.

969
00:47:46,880 --> 00:47:48,920
So, well done, guys! I think that's
brilliant.

970
00:47:48,920 --> 00:47:53,360
And very much in the kind of Bauhaus
style of creating through making.

971
00:47:53,360 --> 00:47:54,800
Thank you! Thank you very much.

972
00:47:54,800 --> 00:47:57,800
See you later! See you later!
And enjoy the party!

973
00:47:57,800 --> 00:48:00,320
Today, I think it's
been quite difficult.

974
00:48:00,320 --> 00:48:03,720
Because this way of working is very,
like, technical, and slow paced.

975
00:48:03,720 --> 00:48:09,200
I work fast and produce a lot
of kind of bad work. And...

976
00:48:09,200 --> 00:48:12,040
I always enjoy any time that I spend
in letterpress,

977
00:48:12,040 --> 00:48:13,600
but I still learned a lot today.

978
00:48:13,600 --> 00:48:15,560
I realise you guys
did the photo collage,

979
00:48:15,560 --> 00:48:17,920
but that's something
completely alien to me.

980
00:48:17,920 --> 00:48:22,080
I'm normally very rigid, grids,
I work in quite a structured way.

981
00:48:22,080 --> 00:48:24,040
Would you take this further
in your practice,

982
00:48:24,040 --> 00:48:25,840
in terms of collaborating with...
Yeah!

983
00:48:25,840 --> 00:48:27,920
..fine artists, and just
seeing what they produce

984
00:48:27,920 --> 00:48:29,880
and trying to work together?
I'd love to, yeah!

985
00:48:29,880 --> 00:48:33,320
Because I think your two brains work
in a completely different way to me,

986
00:48:33,320 --> 00:48:37,240
but they still produce
work that I really like! Yeah!

987
00:48:37,240 --> 00:48:39,560
The Bauhaus taught students

988
00:48:39,560 --> 00:48:44,120
that creativity didn't stem
from the individual alone.

989
00:48:44,120 --> 00:48:48,280
Collaboration between courses
was actively encouraged.

990
00:48:48,280 --> 00:48:51,360
And what better way
to do this than a party?

991
00:48:51,360 --> 00:48:54,800
From a kite festival
to a Chinese lantern party,

992
00:48:54,800 --> 00:48:57,760
and even a beard,
nose and heart party,

993
00:48:57,760 --> 00:49:00,320
the Bauhaus went big on fun.

994
00:49:00,320 --> 00:49:02,760
And leading them all
was Oskar Schlemmer,

995
00:49:02,760 --> 00:49:06,600
the German artist, costume designer,
and choreographer

996
00:49:06,600 --> 00:49:09,000
who ran the Bauhaus theatre group.

997
00:49:09,960 --> 00:49:11,480
Schlemmer has had a big influence

998
00:49:11,480 --> 00:49:14,000
on acclaimed fashion designer
Holly Fulton,

999
00:49:14,000 --> 00:49:16,800
known for her Bauhaus-inspired
prints.

1000
00:49:17,960 --> 00:49:23,200
Welcome to the final day
of The Bauhaus Experiment.

1001
00:49:23,200 --> 00:49:27,800
The metal party is going
to be held in here today.

1002
00:49:27,800 --> 00:49:32,440
And to explain more about that,
please welcome Holly Fulton!

1003
00:49:35,800 --> 00:49:39,560
Good morning! Your task today is to
stage a costume ball

1004
00:49:39,560 --> 00:49:41,560
based on the theme of metal.

1005
00:49:41,560 --> 00:49:43,480
And you must also dress this
gallery space

1006
00:49:43,480 --> 00:49:45,680
at Saint Martins for the occasion.

1007
00:49:45,680 --> 00:49:47,320
I would encourage you to think big.

1008
00:49:47,320 --> 00:49:51,080
This is about creating dynamic,
interesting shapes.

1009
00:49:51,080 --> 00:49:54,640
Masters and students will also take
part in the Bauhaus dance.

1010
00:49:54,640 --> 00:49:56,680
In pairs, but without touching.

1011
00:49:56,680 --> 00:50:00,560
And leaping and wild stamping
of feet are absolutely essential!

1012
00:50:00,560 --> 00:50:03,680
This is a real opportunity
to let your imagination run riot.

1013
00:50:03,680 --> 00:50:07,440
I can't wait! It's a time to go
crazy - I like this!

1014
00:50:07,440 --> 00:50:10,920
So, your guests are going
be arriving at four o'clock.

1015
00:50:10,920 --> 00:50:13,240
But I'd get a move on, if I was you.

1016
00:50:13,240 --> 00:50:17,560
A metal party was held
at the Bauhaus in February 1929,

1017
00:50:17,560 --> 00:50:22,360
with costumes and room decoration
fashioned out of everyday objects.

1018
00:50:22,360 --> 00:50:24,400
This is some of the delights
that we've assembled

1019
00:50:24,400 --> 00:50:26,200
for you to work with today.

1020
00:50:26,200 --> 00:50:28,600
A lot of foil -
you're going to need that!

1021
00:50:28,600 --> 00:50:30,280
We've got thermal blankets.

1022
00:50:30,280 --> 00:50:32,200
I'm excited about this!

1023
00:50:32,200 --> 00:50:34,640
Yeah! It's the star piece.

1024
00:50:34,640 --> 00:50:36,640
I feel like we need a concept.

1025
00:50:36,640 --> 00:50:38,840
I was thinking about,
like, magnetic fields?

1026
00:50:38,840 --> 00:50:40,080
And linking that.

1027
00:50:40,080 --> 00:50:42,080
Oh, my God, yeah, yeah, because,
like,

1028
00:50:42,080 --> 00:50:45,000
some of us will repel and some of us
will attract!

1029
00:50:45,000 --> 00:50:49,040
Think of it is a very
sensory experience. Yeah.

1030
00:50:49,040 --> 00:50:52,320
Sensory or sensual? Well, could be
both!

1031
00:50:53,640 --> 00:50:55,000
We need more stuff.

1032
00:50:55,000 --> 00:50:56,080
Follow me!

1033
00:51:01,040 --> 00:51:02,280
That should work.

1034
00:51:02,280 --> 00:51:04,080
Oh, my God, those streamers!

1035
00:51:04,080 --> 00:51:05,800
Oh! Oh, my God! That's really...

1036
00:51:05,800 --> 00:51:07,880
Oh, my God, this is perfect! Yeah?

1037
00:51:07,880 --> 00:51:10,360
I think we should get at least one
shower head.

1038
00:51:12,000 --> 00:51:13,040
Oh, my God!

1039
00:51:14,040 --> 00:51:15,720
I'm making a little accessory

1040
00:51:15,720 --> 00:51:18,120
that I might utilise myself
at the party.

1041
00:51:18,120 --> 00:51:19,880
It's a whole-body chain!

1042
00:51:21,520 --> 00:51:23,480
Oh, my God, yeah!

1043
00:51:23,480 --> 00:51:25,800
Oh, my God, mirror!

1044
00:51:25,800 --> 00:51:27,640
And it's only three quid -
let's get loads!

1045
00:51:27,640 --> 00:51:29,360
Let's just get them all.

1046
00:51:30,880 --> 00:51:33,040
Thank you very much! Thank you,
you too. Bye!

1047
00:51:35,680 --> 00:51:37,720
Hey! Welcome back!

1048
00:51:39,600 --> 00:51:41,920
These are amazing.

1049
00:51:41,920 --> 00:51:44,120
I'm loving this mirror!

1050
00:51:44,120 --> 00:51:46,560
People can see the Bauhaus
as quite a kind of serious,

1051
00:51:46,560 --> 00:51:48,840
almost quite austere in its
aesthetic. But the parties

1052
00:51:48,840 --> 00:51:51,400
in particular show that there was
this real playful side,

1053
00:51:51,400 --> 00:51:53,560
and I think it was really just an
opportunity

1054
00:51:53,560 --> 00:51:56,520
for the students and the masters
across all the different disciplines

1055
00:51:56,520 --> 00:52:00,760
to come together and use it as a
sort of playground for creativity.

1056
00:52:00,760 --> 00:52:02,360
I actually enjoy working with Amir

1057
00:52:02,360 --> 00:52:03,800
because I think what he brings

1058
00:52:03,800 --> 00:52:06,440
and what I have just complements
each other really well.

1059
00:52:06,440 --> 00:52:09,160
I'm quite a literal thinker,
quite rational,

1060
00:52:09,160 --> 00:52:11,120
and Dom, like, brings
the flavour to it.

1061
00:52:11,120 --> 00:52:13,080
There was probably a healthy
competition

1062
00:52:13,080 --> 00:52:16,080
to come up with something that was
totally their own each time.

1063
00:52:16,080 --> 00:52:20,440
I've got a little crown!
Oh, my God! That's so good!

1064
00:52:20,440 --> 00:52:21,880
They need to pick up the pace.

1065
00:52:21,880 --> 00:52:23,080
Might have to get a...

1066
00:52:23,080 --> 00:52:24,400
..a metal whip out!

1067
00:52:25,800 --> 00:52:27,920
That sounds like a Bauhaus party!

1068
00:52:29,400 --> 00:52:32,280
OK, people, come on! You've got less
than two hours.

1069
00:52:32,280 --> 00:52:35,720
I think this really needs to start
looking like it's a party area.

1070
00:52:35,720 --> 00:52:38,760
What do we think? I think that's
definitely...a winning look.

1071
00:52:38,760 --> 00:52:41,280
Oskar Schlemmer's abstract costume
designs

1072
00:52:41,280 --> 00:52:45,480
were ground-breaking in their
originality. And at the parties,

1073
00:52:45,480 --> 00:52:49,800
his outlandish ideas were turned
into reality by the students.

1074
00:52:49,800 --> 00:52:52,960
It's fucking good! Go on, try it!
What, put it on?

1075
00:52:52,960 --> 00:52:55,000
That's pretty good! That's pretty
good!

1076
00:52:55,000 --> 00:52:58,040
Hey, what about if that
goes on the top of it?

1077
00:52:59,360 --> 00:53:02,040
That's brilliant!

1078
00:53:02,040 --> 00:53:04,160
You've got, like,
a hugely long head!

1079
00:53:04,160 --> 00:53:07,760
At the Bauhaus metal party,
Oskar Schlemmer recalls,

1080
00:53:07,760 --> 00:53:11,240
"A child's slide, covered
in white sheet metal

1081
00:53:11,240 --> 00:53:15,320
"led one past immeasurable
gleaming silver balls,

1082
00:53:15,320 --> 00:53:18,000
"lined up and sparkling
under spotlights,

1083
00:53:18,000 --> 00:53:21,080
"right into the heart of the party."

1084
00:53:21,080 --> 00:53:25,040
Oh, it's moving on at quite a pace,
isn't it?

1085
00:53:25,040 --> 00:53:26,960
Oh, oh!

1086
00:53:26,960 --> 00:53:28,720
CHIMES

1087
00:53:28,720 --> 00:53:31,120
Yes! Who needs a band?

1088
00:53:31,120 --> 00:53:33,400
This is great, isn't it?

1089
00:53:33,400 --> 00:53:36,720
It's like, what's that game, bowls?
That old man game?

1090
00:53:37,920 --> 00:53:39,200
Oh!

1091
00:53:39,200 --> 00:53:41,000
Jim!

1092
00:53:41,000 --> 00:53:43,680
I just put that back.

1093
00:53:43,680 --> 00:53:46,400
Have you thought about
the dance at all, yet? Yeah.

1094
00:53:46,400 --> 00:53:48,240
We're doing, like,
opposites attract.

1095
00:53:48,240 --> 00:53:51,280
Whatever A does, B does the
opposite. B does the opposite, yeah.

1096
00:53:51,280 --> 00:53:53,800
And then they swap. Do you think
this is a good signal, then,

1097
00:53:53,800 --> 00:53:55,240
for the next person to take the
lead?

1098
00:53:55,240 --> 00:53:57,040
I think that's a really good signal.

1099
00:53:57,040 --> 00:53:59,800
Everybody's been going through these
sets of rules this week.

1100
00:53:59,800 --> 00:54:01,560
And, like...

1101
00:54:01,560 --> 00:54:03,280
..we've not broken them that much.

1102
00:54:03,280 --> 00:54:05,480
We've kind of danced
around the perimeters of rules,

1103
00:54:05,480 --> 00:54:08,240
and I guess that's what we'll be
doing here. When do the guests come?

1104
00:54:08,240 --> 00:54:09,640
In like 25 minutes.

1105
00:54:09,640 --> 00:54:12,000
How...? 25 minutes.

1106
00:54:12,000 --> 00:54:13,600
Oh, my God. Shall we get changed?

1107
00:54:13,600 --> 00:54:15,440
Yeah, let's get dressed.
Let's do it.

1108
00:54:17,080 --> 00:54:22,400
I'm going to attempt to make
a metallic cyclops horse...

1109
00:54:22,400 --> 00:54:24,880
..that may wander into
the party at some point.

1110
00:54:24,880 --> 00:54:28,840
So what I'll need to do is cut
a hole in it, about there.

1111
00:54:30,960 --> 00:54:32,680
Head through there.

1112
00:54:32,680 --> 00:54:34,280
These are the legs.

1113
00:54:38,160 --> 00:54:40,280
How's it look? Oh, my God!

1114
00:54:40,280 --> 00:54:43,520
Does it work? You're like a deformed
Dalek!

1115
00:54:43,520 --> 00:54:46,200
Is it? That's so weird. It's quite
disturbing.

1116
00:54:46,200 --> 00:54:48,960
It's quite difficult to control.

1117
00:54:51,480 --> 00:54:52,800
Me eye's gone.

1118
00:54:54,320 --> 00:54:56,080
Have you got me eye?

1119
00:54:56,080 --> 00:54:57,280
Anyone?

1120
00:55:01,800 --> 00:55:03,640
OK, people, are you ready?

1121
00:55:03,640 --> 00:55:06,160
Yeah! Yes, you're ready!

1122
00:55:06,160 --> 00:55:07,640
Is that a baby in there?

1123
00:55:07,640 --> 00:55:09,680
A womblike feature. Yes!

1124
00:55:09,680 --> 00:55:11,440
Good. Now, look.

1125
00:55:11,440 --> 00:55:14,400
Wearing the helmet that I designed.
That is quite Bauhaus,

1126
00:55:14,400 --> 00:55:17,800
that, actually, isn't it? Yeah!

1127
00:55:17,800 --> 00:55:20,960
Lizzie. Yes? That's just
frightening.

1128
00:55:20,960 --> 00:55:24,280
It's like a very disturbed
relative of Neptune.

1129
00:55:25,480 --> 00:55:28,840
I honestly have never
been more excited.

1130
00:55:28,840 --> 00:55:32,000
Pulled it out the bag again!
Come on, party people.

1131
00:55:32,960 --> 00:55:34,200
Party time!

1132
00:55:37,080 --> 00:55:38,760
Schlemmer remembers,

1133
00:55:38,760 --> 00:55:41,600
"The Bauhaus band
had dressed festively

1134
00:55:41,600 --> 00:55:44,280
"in coquettish silver top hats

1135
00:55:44,280 --> 00:55:50,520
"and it launched into the music with
great elan, rhythm and verve.

1136
00:55:50,520 --> 00:55:55,000
"Guests were served lovely cakes
with a bit of glitter."

1137
00:55:55,000 --> 00:55:57,440
Nut free and vegan!

1138
00:55:57,440 --> 00:56:00,880
It's amazing! I love the
decorations.

1139
00:56:00,880 --> 00:56:02,680
What do you think she looks like?

1140
00:56:03,800 --> 00:56:05,560
Cleaning apparatus...

1141
00:56:05,560 --> 00:56:08,400
I was thinking, like, goddess. OK!

1142
00:56:08,400 --> 00:56:10,200
If you look into here...

1143
00:56:10,200 --> 00:56:11,880
..you can see your future.

1144
00:56:11,880 --> 00:56:13,080
Oh, my God, no!

1145
00:56:13,080 --> 00:56:15,000
It broke!

1146
00:56:15,000 --> 00:56:17,000
It's all falling apart.

1147
00:56:17,000 --> 00:56:20,560
OK, everybody! Prepare for the
Bauhaus dance!

1148
00:56:24,920 --> 00:56:27,160
OK, opposites.

1149
00:56:27,160 --> 00:56:29,560
But how am I going to mirror
Holly's moves

1150
00:56:29,560 --> 00:56:31,760
if I can't see through me helmet?

1151
00:56:36,040 --> 00:56:40,680
The Bauhaus may have brought in
strict principles of art and design

1152
00:56:40,680 --> 00:56:43,800
but, crucially, it gives students
the freedom

1153
00:56:43,800 --> 00:56:46,800
to experiment with new ideas.

1154
00:56:46,800 --> 00:56:50,680
Bringing together young people
across every creative field,

1155
00:56:50,680 --> 00:56:54,080
it invented the art school
as we know it.

1156
00:56:54,080 --> 00:56:56,280
And this collaborative spirit

1157
00:56:56,280 --> 00:56:58,960
came together most of all
in the parties,

1158
00:56:58,960 --> 00:57:03,400
where the legacy of the Bauhaus
is very much alive here today.

1159
00:57:06,240 --> 00:57:07,720
Has everyone gone?

1160
00:57:09,040 --> 00:57:10,520
They've all gone!

1161
00:57:13,400 --> 00:57:15,320
We left you all by yourself!

1162
00:57:15,320 --> 00:57:18,280
You danced so hard! I'm actually so
out of breath! I'm absolutely...

1163
00:57:18,280 --> 00:57:21,640
You wouldn't believe how much heat
generates inside this!

1164
00:57:21,640 --> 00:57:24,920
I think every dance ever should be
like this - it's so freeing!

1165
00:57:24,920 --> 00:57:28,200
I thought that was
a strong performance!

1166
00:57:28,200 --> 00:57:30,440
It encapsulated the spirit
of what they've done today

1167
00:57:30,440 --> 00:57:33,240
and the spirit of the Bauhaus.
We didn't do any leaping, though.

1168
00:57:33,240 --> 00:57:35,840
We'll let it slide,
seeing as it's the last day.

1169
00:57:35,840 --> 00:57:39,800
I thought that was a superb end
to an excellent week.

1170
00:57:42,200 --> 00:57:44,560
I hold my ball up to you all!

1171
00:57:44,560 --> 00:57:46,840
That dance could not
be more different...

1172
00:57:46,840 --> 00:57:49,480
..than the meditative
breathing on the first day!

1173
00:57:49,480 --> 00:57:50,720
Imagine, on Monday,

1174
00:57:50,720 --> 00:57:53,800
if we knew we'd have all looked
like this together at the end.

1175
00:57:53,800 --> 00:57:56,720
I feel like I could do
the whole week again. Right now.

1176
00:57:56,720 --> 00:57:59,160
I've never done so many
projects as collaboratively

1177
00:57:59,160 --> 00:58:01,040
across so many different...

1178
00:58:01,040 --> 00:58:02,920
It's been intense. Yeah, it's been
intense.

1179
00:58:02,920 --> 00:58:05,360
Imagine if you did
this for three years!

1180
00:58:05,360 --> 00:58:07,960
I'd love it! It would completely
change you as a person,

1181
00:58:07,960 --> 00:58:11,280
I think, doing this for
longer than a week.

1182
00:58:11,280 --> 00:58:14,320
Well, well done, everyone.
What a fabulous week.

1183
00:58:14,320 --> 00:58:15,960
Do you know what it is, as well?

1184
00:58:15,960 --> 00:58:18,360
I think everyone's kind
of bonded and we've all got on

1185
00:58:18,360 --> 00:58:21,640
and we've enjoyed helping each other
out and working on things,

1186
00:58:21,640 --> 00:58:23,680
which is what the Bauhaus
was all about.

1187
00:58:23,680 --> 00:58:26,320
Let's finish off with a
little dance.

1188
00:58:35,360 --> 00:58:37,360
SAXOPHONE TRILLS

1189
00:58:43,920 --> 00:58:47,000
Goodbye!

1190
00:58:47,000 --> 00:58:48,960
Goodbye, my friends!

1191
00:58:48,960 --> 00:58:51,320
Goodbye. Goodbye.

1192
00:58:56,560 --> 00:58:59,000
I think that should be the
final frame of the film.