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Nicholas Fox Weber - iBauhaus: The iPhone as the Embodiment of Bauhaus Ideals and Design (KNOPF)

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Nicholas Fox Weber iBauhaus: The iPhone as the Embodiment of Bauhaus Ideals and Design (KNOPF)
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A rich, wide-ranging meditation on the iPhone as direct descendant of the 1930s Bauhaus, one of the twentieth centurys most influential schools of art and design (summed up in Mies van der Rohes dictum, less is more) whose principle aim was to connect art and industry. From one of the leading authorities on the Bauhaus and modernism.Nicholas Fox Weber, in this deft, entertaining, and brilliant rumination on art and technology, writes of the iPhone as the essence of the Bauhaus principles of form following function--of honesty of design and materials that reflect the true nature of objects and buildings, favoring linear and geometrical forms; adhering to line, shape, and colors; synthesizing art to modern times; the fusion in design of art and technology. Weber, an authority and celebrant of twentieth-century modernism, ranging from the paintings of Balthus to the architecture of Le Corbusier, was a close associate of Anni and Josef Albers, the last living giants of the Bauhaus, and absorbed firsthand its truest beliefs. The Alberses emphasized their passion for good design over bad art. Anni, a groundbreaking textile artist and printmaker, and Josef, a painter and color theorist and influential art teacher, stuck to what was taught at the Bauhaus: the right use of materials, good technique, a purpose that serves all. Weber writes that the Bauhaus was not a style but an attitude: clear design and visual acuity as the embodiment of morality and honesty. And in iBauhaus, Weber explores how the iPhone, with its effective design and its versatility, honors these deepest beliefs, as well as the values that the Bauhaus sought to give to the world.

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ALSO BY NICHOLAS FOX WEBER Freuds Trip to Orvieto The Bauhaus Group Le - photo 1
ALSO BY NICHOLAS FOX WEBER

Freuds Trip to Orvieto

The Bauhaus Group

Le Corbusier: A Life

The Clarks of Cooperstown

Josef + Anni Albers: Designs for Living
(with Martin Filler)

Marc Klionsky
(with John Russell and Elie Wiesel)

Anni Albers

Balthus

Cleve Gray

Patron Saints

The Art of Babar

Warren Brandt

Leland Bell

The Woven and Graphic Art of Anni Albers

Louisa Matthiasdottir: Small Paintings
(with Jed Perl and Deborah Rosenthal)

The Drawings of Josef Albers

THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A KNOPF Copyright 2020 by - photo 2

THIS IS A BORZOI BOOK

PUBLISHED BY ALFRED A. KNOPF

Copyright 2020 by Nicholas Fox Weber

All rights reserved. Published in the United States by Alfred A. Knopf, a division of Penguin Random House LLC, New York, and distributed in Canada by Penguin Random House Canada Limited, Toronto.

www.aaknopf.com

Knopf, Borzoi Books, and the colophon are registered trademarks of Penguin Random House LLC.

Excerpts from The Apples of Czanne: An Essay on the Meaning of Still-Life by Meyer Schapiro, originally published in ARTnews Annual XXXIV (1968), pp. 3453. Courtesy of Artnews Media, LLC, New York, and the Estate of Meyer Schapiro.

Library of Congress Cataloging-in-Publication Data

Names: Weber, Nicholas Fox, [date] author.

Title: iBauhaus : the iPhone as the embodiment of Bauhaus ideals and design / Nicholas Fox Weber.

Description: First edition. | New York : Alfred A. Knopf, 2020. | This is a Borzoi book published by Alfred A. Knopf. | Includes index.

Identifiers: LCCN 2019016976 (print) | LCCN 2019017557 (ebook) | ISBN 9780525657293 (ebook) | ISBN 9780525657286 (hardcover)

Subjects: LCSH : iPhone (Smartphone) | Product design. | Modernism (Aesthetics) | Bauhaus.

Classification: LCC TS 171.4 (ebook) | LCC TS 171.4 . W 423 2020 (print) | DDC 658.5/752dc23

LC record available at https://lccn.loc.gov/2019016976

Ebook ISBN9780525657293

Cover design by Tyler Comrie

v5.4

ep

Contents

To Charlie and Gretchen Kingsley

Dont think that our most high and noble art is taught or learned in schools or academies. What you discover there will be reworked as soon as you are able to observe forms and colors with love.

Paul Czanne to Georges Rouault, 1906

You can go anywhere from anywhere.

Anni Albers

Part I
1.

So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavored to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive, and create the new building of the future that willrise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come.

This was the goal for which Walter Gropius founded the Bauhaus, a groundbreaking school and laboratory for modernism. The year was 1919. The Bauhaus would soon have workshops to develop new textiles, chairs, tables, flatware, lamps, childrens toys, and a range of other everyday objects that would revolutionize the way human beings lived all over the world. Prototypes would be made for objects that could be manufactured on a large scale, all of them designed to ameliorate daily existence. While performing needed tasks, they would add charm through their aesthetic grace. The stuff of life was to be absent ornament. Honest, clean, easily maintained, and visually appealing; it would create a new emotional ease.

Worldwide, humankind was to have materials of impeccable construction. They would be compact, sleek, and able to achieve multiple functions. These revolutionary objects would facilitate unprecedented possibilities for everyday existence. And they would be playful as well as useful. The sense of fun alongside the candid This is what I am and this is what I do was to transform the human spirit. Designcapable of miracles, truthful and alluringwas the new religion.


The Bauhaus started in a former arts-and-crafts school in the small, historic German city of Weimar. In 1925, it moved to ample new headquarters that Gropius designed for it in Dessau, a rather isolated industrial city. The building epitomized the handsome, streamlined style the school advocated for design of every sort. After the new right-wing government forced its closure in 1932, it had one last desultory year in a disused telephone factory in Berlin. All in all, it would last only fourteen years. Like all brilliant experiments in new approaches to living, it was both a utopia and a place that struggled to survive.

Much of what is greatest in human existencethe amazing engines that are our bodies, the earth itselfmakes possible and enhances our lives without our necessarily being conscious of the details. The Bauhaus school does not rival the miracles of nature, but it was a determined effort to transform the way things look and give birth to objects that make daily existence infinitely easier. It succeeded. The schools impact greatly exceeds its recognition. Most of the world does not know the name Bauhaus, but the manifestations of its approach to design are everywhere. The achievements of this institutionwhere like-minded people, of dramatically different backgrounds but a shared utopian spirit, gathered together and invented the new pervade our world.

When the Bauhaus opened its sparkling new headquarters in Dessau everything - photo 3

When the Bauhaus opened its sparkling new headquarters in Dessau, everything was straightforward and purposeful. The name itself was what iPhone would be: a startling invention, its two punchy syllables based on the familiar, yet without precedent.

2.

In 1983, Steven Paul Jobs, the cofounder of Apple Computer, gave a speech at the Aspen Institute. The institute and its annual summer conference were the brainchildren of Walter Paepcke, a successful Chicago-based businessman who, with his wife, Elizabeth, had developed a profound admiration for the Bauhaus.

In 1939, Elizabeth Paepckenicknamed Pussyhad discovered Aspen, a former mining town now nearly abandoned, when the pipes froze at her country house south of Denver and she needed a place to take her guests skiing. In 1945, she got her husband there. Walter Paepcke invited Walter Gropius to come redesign the Victorian town, where he acquired property mostly by paying overdue taxes. After Gropius said no, but proffered the advice not just to restore the old but also build modern, Paepcke got the Bauhaus-trained architect Herbert Bayer to come.

Together, Walter Paepcke and Herbert Bayer planned an international celebration of the two hundredth birthday of Johann Wolfgang von Goethe, the philosopher, novelist, color theorist, and poet. Goethes pantheism had been embraced at the Bauhaus. Goethe was a longtime resident of Weimar, which was among the reasons the small city was so apt for the design school.

Two thousand people attended the events held in Aspen in 1949 in honor of Goethes creative genius. Among them were the pianist Arthur Rubinstein, the novelist and playwright Thornton Wilder, the philosopher Jos Ortega y Gasset, and the humanitarian doctor Albert Schweitzer. Only four years after the horrors of World War II had come to an end, the celebrants were making the point that nationality did not matter as much as the capacity, whatever a persons parentage was, to contribute beautifully to human progress.

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