From Bauhaus to Bollywood

Aditya Dev Sood in Design! Public:

ScreenHunter_18 May. 31 16.07I spent Sunday morning at the Barbican, a curious London cultural institution that dates from the 1970s. Its heavy and brutalist architecture could have been featured in A Clockwork Orange. The Barbican was hosting a widely acclaimed exhibition on the Bauhaus. I went in there with my friend Sarah not expecting much — what was there about the Bauhaus, I wondered, that I had left to learn?

But the exhibition was a comprehensive curation, not only of the themes and preoccupations of the Bauhaus at various stages of its development and peripatetic movement around Germany to increasingly large urban centers, but also of its historical development and shifting, evolving priorities: now arts and crafts, now total-art-work, now industrial support, now architecture. There was even a brief section of the future legacy of the Bauhaus, which documented the movement of different students and teachers from the school to centers in other parts of Germany and the United States. I was surprised to learn that the Ulm School of Design, of which we have heard so much from M. P. Ranjan in the last couple of Design Public events, was set up by a Bauhaus student after the war, in 1953.

I had spent my entire college years in thrall to the lost but resilient legacy of the Bauhaus, studying its personalities from the point of view of painting, sculpture, theater — and even design pedagogy. Like all architects and designers, my foundational education also included a kind of recreation of the Bauhaus, and I too was therefore steeped in their lore. When I looked up, from the art books, posters, and gelatin prints through which Bauhaus culture continues to be transmitted, I found the rest of the world odd and strange.

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