Design System
The primary colors - red, yellow, blue - form the foundation. Combined with black and white, they create maximum visual impact.
In Bauhaus theory, each primary color corresponds to a geometric form: red with the square (stability), yellow with the triangle (dynamism), and blue with the circle (infinity).
Square
Stability, weight
Triangle
Energy, direction
Circle
Infinity, flow
Geometric sans-serif typefaces embody Bauhaus principles. No serifs, no decoration - pure functional form.
A mathematical 4px base unit creates rhythm and harmony. Every measurement derives from this fundamental unit.
Functional, geometric, bold. Buttons communicate action through form and color without unnecessary embellishment.
Input elements are reduced to essentials. Bold borders define space, focus states use color to indicate interaction.
Content containers use bold borders and geometric accents. Hover states create depth through offset shadows.
Functional buildings that unite form and purpose through geometric clarity.
Sans-serif letterforms stripped of historical ornament and tradition.
Industrial materials shaped into functional, mass-producible designs.
A Kandinsky-inspired geometric composition demonstrating the interplay of primary colors and basic shapes.
Information presented with clarity and structure. Bold headers, clean rows, and status indicators provide quick comprehension.
| Master | Workshop | Period | Status | Works |
|---|---|---|---|---|
| Walter Gropius | Architecture | 1919-1928 | Founder | 156 |
| Wassily Kandinsky | Wall Painting | 1922-1933 | Active | 89 |
| Paul Klee | Bookbinding | 1921-1931 | Active | 124 |
| Josef Albers | Glass | 1923-1933 | Teaching | 67 |
| Ludwig Mies van der Rohe | Architecture | 1930-1933 | Director | 43 |
Compact labels for status, categories, and metadata. Geometric variants reflect Bauhaus shape language.
The foundational ideas that guided the Bauhaus movement and continue to influence modern design.
Every element must serve a purpose. Ornament for its own sake is eliminated. The form of an object should be determined by its function, not by arbitrary aesthetic preferences.
There should be no distinction between fine artists and craftspeople. All creative work shares the same foundation, and practical skills are as valuable as artistic vision.
Materials should be used honestly, expressing their inherent qualities rather than imitating other substances. Steel should look like steel, wood like wood.
Basic geometric forms - the circle, square, and triangle - are the building blocks of all design. Complex forms arise from simple geometric combinations.
Good design should be accessible to everyone, not just the wealthy. Objects should be designed for industrial production, making quality affordable.
The Gesamtkunstwerk ideal: architecture, furniture, textiles, and all decorative elements should work together as a unified artistic vision.