The Bauhaus revolutionized many aspects of design, some of which were visual, while others ideological. One of the great shifts in design seen due to the Bauhaus’ teachings was the change in understanding of space. The Bauhaus catalyzed the popularization of the axonometric view, dramatically changing how designers considered physical space in this new era of architectural design[1]. The axonometric projection of space was greatly popularized by the modernist architects at the Bauhaus during the beginning of the 20th century despite its creation decades before the school’s inception[2]. The altering of how spaces are described alters how we understand and create space around ourselves. With the popularization of axonometric drawings in architecture through the Bauhaus, architecture changed beyond the previously understood boundaries of space and architectural organization. The Bauhaus further changed this perception due to the unique three-dimensional format of axonometric projections that they used successfully[3]. Through this new consideration of space, the connection between more elements in architecture became more easily understood and created a generation where these three-dimensional spaces began to shift beyond the typical formats seen in previous buildings. The axonometric projection of interior spaces created a new connection between the body, floorplan, walls, and ceiling that we had not recognized beforehand.
Looking at the E-Flux article titled “Rendering: The Cave of the Digital” we can dissect how our representational methods greatly influence our definition of architecture[4]. The article takes us through many forms of representation and how our ideologies have evolved alongside the invention of different methods of representation. It walks us through the genesis of art (cave drawings) and into more complex visual representations seen in eras such as the renaissance up until the present and our current fascination with virtual reality and digitally created images. If we look at the article’s discussion on two-dimensional representation and its shift into three dimensionalities, we can begin to understand how these mediums had such a heavy influence on architectural design.
Our understanding of space throughout history was restricted to the two-dimensional representations that were being produced at the time. We can especially point to the eras before the renaissance to begin to decipher architecture and its relationship to the representational methods being used[5]. Looking at Image 1, which is a floorplan of Old St. Paul’s during medieval times, we can see how the primary organization of the building relies on the floorplan[6]. The simple cruciform shape in which it is laid out reveals a lot about the building, and if we take a closer look at the building, we can begin to dust away some of the pseudo complexities and realize that the layered elements are simply ornamentation or added elements that support the cathedral’s soaring roof and large span[7]. The true planning of the space would happen in this two-dimensional floorplan while the vertical elements were improvised as the load increased and the physics of the building was understood.
Up until the medieval era, western culture primarily represented architecture in plans, sections, and pseudo perspectives like seen in Image 2, which is an attempt at a three-dimensional drawing of St. Paul’s Cathedral. These two-dimensional forms of representation created seemingly elaborate spaces through the adornment of structural elements that are needed to hold up the towering roofs and spires of buildings such as this one. The true formal organization of this building is quite straight forward and very repetitive, especially in the most upheld buildings of the time[8].
Shifting to three-dimensional representation of space another layer of complexity is added to our understanding of the buildings which we inhabit. Throughout history many attempts to represent space in three dimensions were made, but it was not until the Renaissance where we began to understand how perspectives truly worked to recreate the world around us in drawing[9]. Filippo Brunelleschi must have been fueled by the Renaissance’s obsession with accuracy, as he was the leading figure deciphering perspectives. He brought a newfound scientific methodology into drawing and created a wave of perspective-driven art. This new form of representation came coupled with a new understanding of space in relation to the human body. The depiction of space is more closely related to the body in three dimensions, and it makes it much easier to understand than the previously used two dimensional modes. We can begin to understand how a body would move in a space and what the space would begin to look like in a more experiential manner. The evolution of our representation of space leapt towards a more complex, yet harder to measure method that was this perspective format.
With the invention of axonometric projection, we took a step back towards plans and sections regarding their accuracy while maintaining large parts of the three-dimensional and experiential elements of perspective representation. Axonometric projection, or axon, as we know it today was solidified in concept by Professor William Farish of Cambridge University[10]. He provided the rules to create these detailed axonometric projections in a scientific publication in 1822. These guidelines he meticulously denoted were mainly used in engineering up until they became incorporated in architecture in the 1920s. Despite these methods being used in engineering for almost a century before the creation of the Bauhaus, the movements that are credited with bringing axonometric drawing into the foreground of design and architecture were the Bauhaus and the De Stijl movements in Europe[11], not Professor Farish.
The De Stijl was an art movement in the Netherlands from 1917 until 1931 which advocated pure abstraction and the use of fundamental forms and colors[12]. Artists like Theo van Doesburg created images that used axonometric projection as a form of artistic expression as well as a form of representation for architectural designs[13]. An excellent example of van Doesburg’s work with axonometric projection is seen on Image 3, his Contra-Construction Project from 1923, which was his attempt to reconceptualize architecture and construction.
Another catalyst in this artistic style was El Lissitzky. He was a Russian artist that was active during the same time as van Doesburg who helped popularize straightforward representation of architectural space and the artistic representation of axonometric projections. An excellent example of El Lissitzky’s work can be seen on Image 4, El Lissitzky’s “Cabinet of Abstraction”. This project furthers our understanding of what we consider to be the more iconic axonometric views depicted by the Bauhaus as it unravels the building’s interior and further pushes our understanding of the body in space by placing an image of a person within the space. The use of an interior being unraveled helps us understand the interior connections between materials in a manner that was not considered as much beforehand, in the time of plans and sections. His work and style are clear examples of the De Stijl movement that was happening outside of the Netherlands and how the movement was becoming such a large part of Midcentury European visual culture.
Both artists were contemporaries of the Bauhaus movement borrowed and lent many styles and ideologies to and from the Bauhaus during the early 20th century, but the Bauhaus still served a greater role in popularizing axonometric projection within architecture. One of the primary reasons as to why the Bauhaus was such a strong force in popularizing axon view was the fact that it was a school. The Bauhaus’ role as a teaching institution did just that, teach students how to create axonometric views[14]. As an architecture student myself I had to learn how to create these drawings from scratch, and without proper instruction or understanding of what an axonometric projection is, creating such images wouldn’t have occurred to me or caused me to begin to see these spaces in such a different way. This form of representation needs instructions to create precise representation, as it heavily relies on accurate units throughout the space to create a true axonometric projection. One must take what is essentially a floor plan of a building and rotate it (usually 45 degrees), and then begin to build up the vertical elements straight up. These vertical elements must lie on the same vertical angle and must also be accurately drawn according to their true measurements in order to create an accurate axonometric projection.
The teaching of this complex method allowed for people to become more familiar with how it is composed and allowed for the further teaching and understanding of axonometric projection. As understanding and popularity grew, the manipulation of this method of drawing increased, creating images that transcended the exterior understanding of architecture that came with the initial introduction of axonometric projection. These manipulations created images that revealed interior space relationships (such as the example of Image 5:of the Haus am Horn), spatial relationships of buildings with one another through worms eye view projections, and most popularly, interior views of spaces. The complexities that allowed for these types of projections to happen can be learned independently, but the nature of the Bauhaus as a school strongly helped catalyze these images’ popularity during this time, as they were first introduced into architecture.
Furthermore, in comparison to the De Stijl movement, the Bauhaus’ reach transcended the art world as the architecture of the Bauhaus was created into actual buildings in a higher frequency. During its existence as a school as well as after the school’s existence, buildings were erected under the Bauhaus name[15]. The relationship between people and space shifted greatly as new considerations were taken in the design of these buildings using these axonometric projections as well as using these images to study projects after the fact. The combination of engineering accuracy of the axonometric drawings along with the new three-dimensional considerations create new spaces that we now recognize as iconic Bauhaus projects[16].
The three-dimensional considerations brought about by these new forms of representation create a new relationship between floor-wall-ceiling. The material, scalar, and spatial elements are reconsidered to create newly intricate spaces that are intricate in a very different manner than the earlier image we saw of St. Paul. An example of the Bauhaus’ physical manifestations of axonometric representation is the Haus am Horn where all the spaces of the home begin to have an interlaced relationship regarding the rooms around them as well as the materials used within each room[17]. The axonometric diagram seen in Image 5 depicts this arrangement of space and how it was understood in drawing. This is an excellent example of axonometric drawings in the Bauhaus and how they began these complex spaces and a new ideology of formal layout. This image can be a great tool to understand how it was designed and as a study of the home after its construction. It may or may not have been an image considered as the house was being designed or constructed, but the considering of these spaces in this format helps mold how the further consideration of space within architecture occurs.
Further examples of Bauhaus architecture are the set of Master’s Houses in Dessau by Walter Gropius. These layered spaces exemplify the Bauhaus’ influence in architecture[18]. The style itself is secondary to the formal novelties experienced throughout all of the houses. The houses could be covered in different styles and ornaments, but the fundamental portions of these structures remain intact due to Gropius’ innovative consideration of space in relation to the body and the other spaces around it. The interlocking shapes that are layered on top of each other create new spaces that are heavily influenced by three-dimensional consideration. A part of this new consideration is the connection between interior and exterior spaces[19] as we can see is exemplified in these houses with their overlapping terraces and balconies of the Master’s Houses, as seen in Image 6, an image by Lucia Moholy. The terraces interact with one another in a complex yet subtle manner that does not reveal itself when we are looking at this project in plan or in section, but the moment we begin to consider these spaces in three dimensions, and especially in axonometric projection, we can truly understand how Gropius intended these spaces to be revealed to each other. The nature of the axonometric projection uncovers itself with the formal elements of this drawing as the complexity of the three-dimensional representation reshapes the conception of the building.
Another version of Bauhaus architecture is the Barcelona Pavilion by Ludwig Mies van der Rohe. This was also built by a Bauhaus director, but it differs as it was built after the existence of the Bauhaus school. He is considered to be one of the most important designers in the international styles and this project in particular greatly exemplifies the values of this style as well as the influence felt by axonometric projection[20]. One of his most notable pieces of work is the Barcelona Pavilion, which particularly exemplifies the interior influence of axonometric ideals. The alignment between the ground tiles and wall slabs (seen in Image 7) creates a beautifully thought-out piece of architecture. Without these considerations of three dimensional space that are brought about by axonometric drawing the strong connection between these elements may have not been considered in such a strong manner. His neurotic obsession with alignment and precision can be directly linked to the Bauhaus ideals surrounding interior spaces and interrelations of interior and exterior through its blurring of the interior lines of the pavilion (which is echoed in the Master’s Houses by Gropuis).
The Bauhaus’ use of axonometric projection changed the broader ideals about body in space[21]. With the use of scale figures and interior views, the relationship between the viewer and the building is more accurately depicted and thoroughly investigated. The Bauhaus undoubtedly influenced architecture and design through aesthetic innovation as the Bauhaus style is still easily recognized today, but the shifts in buildings were beyond these stylistic elements. The reconsideration of space caused by the Bauhaus punctures through styles, time, and space. The reach of the Bauhaus goes beyond Germany and Europe during the 20th century. The movement of the Bauhausler to other parts of the world allowed for the popularization of the movement to transcend the school’s physical existence in Germany from 1919 to 1933, carrying with it the tools of axonometric projection.
These three-dimensional representations of architecture that the Bauhaus helped popularize led into contemporary representations of architecture that exist in three-dimensional, digital space. The introduction of the axonometric view into architecture created the base for many three-dimensional architecture computer programs, and the programs themselves very easily create and recreate axonometric views. This direct link from axonometric projection to modern software leaves us wondering what is the next dimension that is going to transcend the world we experience digitally[22], and what our new understanding of space will be.
Images
Image 1: Illustrations from Dugdale, The History of St.Pauls Cathedral in London, Floorplan, https://www.medart.pitt.edu/image/England/London/Old-Saint-Pauls/London-OSPaul.html
Image 2: Illustrations from Dugdale, The History of St.Pauls Cathedral in London, Exterior, https://www.medart.pitt.edu/image/England/London/Old-Saint-Pauls/London-OSPaul.html
Image 3: Theo van Doesburg, Cornelis van Eesteren, Contra-Construction Project (Axonometric) 1923 Medium: Gouache on lithograph, Dimensions: 22 1/2 x 22 1/2" (57.2 x 57.2 cm), Credit: Gift of Edgar Kaufmann, Jr., Object number: 149.1947, Department: Architecture and Design https://www.moma.org/collection/works/232
Image 4: El Lissitzky’s “Cabinet of Abstraction” (Kabinett der Abstrakten)
Image 5: Axonometric diagram showing the arrangement of living spaces centered around the living room at Haus am Horn. Image/Drawing by Georg Muche
Image 6: Meisterhäuser, 1926, Lucia Moholy
Image 7: Barcelona Pavilion / Mies van der Rohe https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe
Bibliography
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Bois, Yve-Alain. "For Bruno Reichlin." Metamorphoses of Axonometry, 1981.
Bois, Yve-Alain. "From - Infinity to 0 to Infinity." El Lissitzky 1890-1941: Architect, Painter, Photographer, Typographer.
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Difford, Richard. “Conversions of Relief: On the Perception of Depth in Drawings.” Journal of architecture (London, England) 19, no. 4 (2014): 483–510.
Droste, Magdalena. Bauhaus 1919-1933. Köln: Taschen, 2019.
Jackson, Neil. “WHERE NOW THE ARCHITECT?” Transactions of the Royal Historical Society 13 (2003): 207–217.
Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
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[1] Jackson, Neil. “WHERE NOW THE ARCHITECT?” Transactions of the Royal Historical Society 13 (2003): 207–217.
[2]Beaudoin, Kali "A Brief History of Architectural Drawings." BluEntCAD. January 29, 2021. Accessed April 01, 2021. https://www.bluentcad.com/blog/a-brief-history-of-architectural-drawings/.
[3] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[4] "Rendering: The Cave of the Digital." E. Accessed April 01, 2021. https://www.e-flux.com/architecture/representation/167503/rendering-the-cave-of-the-digital/.
[5] Difford, Richard. “Conversions of Relief: On the Perception of Depth in Drawings.” Journal of architecture (London, England) 19, no. 4 (2014): 483–510.
[6]Beaudoin, Kali "A Brief History of Architectural Drawings." BluEntCAD. January 29, 2021. Accessed April 01, 2021. https://www.bluentcad.com/blog/a-brief-history-of-architectural-drawings/.
[7] Medievalists.net. "Old St. Paul's Cathedral of London." Medievalists.net. April 13, 2016. Accessed May 12, 2021. https://www.medievalists.net/2014/04/old-st-pauls-cathedral-london/.
[8]Beaudoin, Kali "A Brief History of Architectural Drawings." BluEntCAD. January 29, 2021. Accessed April 01, 2021. https://www.bluentcad.com/blog/a-brief-history-of-architectural-drawings/.
[9]Beaudoin, Kali "A Brief History of Architectural Drawings." BluEntCAD. January 29, 2021. Accessed April 01, 2021. https://www.bluentcad.com/blog/a-brief-history-of-architectural-drawings/.
[10]Beaudoin, Kali "A Brief History of Architectural Drawings." BluEntCAD. January 29, 2021. Accessed April 01, 2021. https://www.bluentcad.com/blog/a-brief-history-of-architectural-drawings/.
[11] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[12]Bois, Yve-Alain. "From - Infinity to 0 to Infinity." El Lissitzky 1890-1941: Architect, Painter, Photographer, Typographer.
[13]Bois, Yve-Alain. "From - Infinity to 0 to Infinity." El Lissitzky 1890-1941: Architect, Painter, Photographer, Typographer.
[14] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[15] Owen Hopkins "Dezeen's Guide to Bauhaus Architecture and Design." Dezeen. November 14, 2018. Accessed April 01, 2021. https://www.dezeen.com/2018/11/01/bauhaus-100-guide-architecture-design/.
[16] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[17] Lauren Walser "A Brief History of Bauhaus Architecture: National Trust for Historic Preservation." January 16, 2019. Accessed April 01, 2021. https://savingplaces.org/stories/a-brief-history-of-bauhaus-architecture#.YGUzUq9KhPY.
[18] Owen Hopkins "Dezeen's Guide to Bauhaus Architecture and Design." Dezeen. November 14, 2018. Accessed April 01, 2021. https://www.dezeen.com/2018/11/01/bauhaus-100-guide-architecture-design/.
[19] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[20] Droste, Magdalena. Bauhaus 1919-1933. Köln: Taschen, 2019.
[21] Kato, Michio. "Axonometry and New Design of Bauhaus." Journal for Geometry and Graphics, 73-82, 11, no. 1 (June 2007).
[22] Madrazo, Leandro. “Systems of Representation: a Pedagogical Model for Design Education in the Information Age.” Digital creativity (Exeter) 17, no. 2 (2006): 73–90.
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