BAUHAUS SOUL: The dance of basic forms & The Gestalt

In the context of the late German modernization and the creation of the Weimar Republic, Gestalt Psychology represented a possible response to the crisis discourse and the demand for the synthesis of those years.

This writing doesn’t pretend anything but investigates the relations between Gestalt Psychology and the Bauhaus School between 1919-1933 , discovering the perspective of collaborative work, personal encounters with multidisciplines that inspired the creation, tendency and diffusion of Bauhaus theories: The co-operation of different elements outside its field such as , Gestalt psychology to incorporate them into their structure mind / behavioural discipline of the human life and the Design.

A way to conceive and extract from Psychology, elements of the creative forms, interpretation, usefulness from an artistic sphere to the daily life of human beings and society. The approach is used to achieve the objectives. The work focuses on the Bauhaus “know-how” creators, lending from outside the box knowledge and incorporated them as a whole in their designs recreates and incorporates knowledge of a foreign discipline from understanding in psychological aspect, and this is the key what can be defined as the main object of interest of architecture and design in this revolucionary movement of geometry, colour, and beautifulness.

IN THE BEGINNING,

The psychology of Gestalt (also psychology of the form or psychology of the configuration) is a current of modern psychology, emerged in Germany in the early twentieth century, whose most recognized exponents were the theorists Max Wertheimer, Wolfgang Köhler, Kurt Koffka and Kurt Lewin.

The term Gestalt comes from German, was first introduced by Cristian Von Ehrenfels and can be translated here as “FORM”, “FIGURE”, “CONFIGURATION”, “STRUCTURE” or “CREATION”.

The mind configures, through certain principles discovered by this same current, the elements that reach it through sensory channels (perception) or memory (thoughts, intelligence and problem-solving). In the experience that the individual has in his interaction with the environment, this configuration has a primary character over the elements that face it, and the sum of these last ones could not generate by itself the comprehension of the mental functioning. This approach is illustrated by the axiom it says:

The Gestalt school has been more frequently identified with it. The axiom tries to explain that the basic organization of what we perceive is in relation to a figure in which we concentrate, which in turn is part of a broader background, where there are other forms. In other words, everything perceived is much more than information that reaches the senses.

In the 1930s, criticism of Gestalt’s assertions became widespread, and among such criticisms the so-called Ganzheit psychology, headed by Felix Krueger, stands out above all.

The Gestalt School

Two universities obtained the first experimental results. On the one hand, there was the school in Graz; on the other hand, there was the school in Berlin. The Graz school proposed the theory of production, which considered the Gestalt quality, that is, the form or all, as the product of a perceptive act. On the other hand, the Berlin school demonstrated that Gestalt is given immediately; it is not a product of perception, but, on the contrary, perception is a product of Gestalt. The veracity of this assertion was demonstrated by the apparent movement, with the presentation of two phenomena at different times.

The three psychologists initiators of this current, Max Wertheimer, Wolfgang Köhler and Kurt Koffka, developed the first Gestalt investigations at the beginning of the 1910s, and they did it working on apparent movement and giving rise to the theory of the phenomenon phi, an optical illusion of our brain that makes perceive continuous movement where there is a succession of images). [required quotation].

Laws or principles of Gestalt Law of Pregnancy or Good Form Principle of similarity Principle of proximity Principle of symmetry Principle of continuity Common guiding principle Principle of simplicity Principle of the figure-background relationship Principle of equality or equivalence Principle of enclosure or closure Principle of experience