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A house is said to be true that expresses the likeness of the form in the architect's mind.
If children would continue to develop as they at first intimate, we would have many geniuses.
The Bauhaus was a preeminent creative cultural institution of the modern world that decisively shaped much of twentieth-century architecture, furniture and interior design, graphics and typography, expressionist painting, and worldwide art education. Peter Gay (1976) terms the Bauhaus “possibly the most influential school of design since men began to teach design.” The fertile space structured for the masters and the students in the Bauhaus, the leadership styles and struggles over policies and control, and the institutional functioning and group process between the masters (and between the masters and the students), are dimensions which may be enriched by psychodynamic understanding of this wonderful, creative group.
The Bauhaus aesthetics were a reaction to the concealing ornamentation of art nouveau and the elaborate decoration of Jugendstil. As Bauhaus founder Walter Gropius (1883-1969) wrote in 1910: “Instead of good proportions and practical simplicity, pomposity and a false romanticism have become the trend of our time” (Wingler, 1969, p. 20). Bauhaus principles of design symbolize modernism: