The Bauhaus Manifest established the philosophy and ideology of the new school: "The complete building is the ultimate aim of all the visual arts. Once the noblest function of the fine arts was to embelish buildings: they were indispensable components of great architecture. Today the arts exist in isolation.... Architects, painters, and sculptors must learn anew the composite character of the building as an entity.... The artist is an exalted craftsman. In rare moments of inspiration, transcending his conscious will, the grace of heaven may cause his work to blossom into art. But proficiency in his craft is essential to every artist. Therein lies the prime source of creative imagination." (3)

On the basis of the experiences gained at the Weimar Bauhaus, Gropius summed up his central starting points in 1925: "The Bauhaus wishes to serve the actual development of housing, from simple utensils to the complete dwelling house. Convinced of the fact that a house and the utensils have to be in a sensible relation to each other, Bauhaus tries to find the form of every object in its natural functions and presuppositions by systematically experimenting in theory and practice - in forms, in the technical and economic spheres... a subject is defined according to its being. In order that it - a dish, a chair, a house - could be designed in such a mode that it will function well, you have to study its nature to begin with... When all the modern production means, construction, and material are strictly observed, the result are forms that - differing from the common ones - often feel strange and startling". (4)

The origins of Bauhaus were far from the earlier methods of education in industrial art, art proper and architecture. Its programme was based on the newest knowledge in pedagogy. The idealistic basis of Bauhaus was a socially orientated programme. "An artist must be conscious of his social responsibility to the community. On the other hand the community has to accept the artist and support him." (5)

Specialization together with solid basic knowledge was not a risk when the students were employed by the production. They were able to follow the changes in technology and society in a flexible manner. Homogeneous professional roles started to dissolve in practice, or at least to change radically. At the same time it seemed necessary for the student to take personal responsibility for his or her studies and the development of professional skills. (6)

This new pedagogic approach did, of course, motivate in vocational subjects and practical workshop work. The Bauhaus workshops were the birthplaces of new industrial designs. First, an industrialization of the handicrafts was realized. Results also showed in the field of textile art. Thousands of experiments with textiles were performed. Many of them were adopted by the factories for production, and they were also eagerly copied. Likewise photography was taken more seriously into the curriculum at the end of the 1920s. Oskar Schlemmer led the work of the exhibition department. He trained painters, technicians, actors, dancers, and directors. One of the main goals of Bauhaus was to renew architecture. The leaders of Bauhaus, Walter Gropius, Hannes Meyer, and Ludwig Mies van der Rohe, were architects. (7)