Almost from its beginning, the school came under increasing threat from the Nazis. The Bauhaus located in first in Weimar until 1925, Dessau until 1932, and then Berlin, until its closing, under the architect L Mies van Der Rohe. As well as Gropius, its faculty included Josef Albers (1888-1976), Laszlo Moholy-Nagy (1895-1946), Lyonel Feininger (1871-1956), Paul Klee (1879-1940), Vasily Kandinsky (1866-1944), and Marcel Breuer (1902-1981)
In origin, its approach -- functionalist -- did, however, emerge in part from the Arts and Crafts movement and, in impact, led to Modernism. Realizing that the inevitability of the future was mass-production, it rejected the Arts and Crafts ethic that the only true was individually-produced products. Using austere, rectilinear geometric forms, and modern materials -- such as tubular steel and plastics -- by integrating art, craftsmanship, and technology, its ideal was to create prototype designs for mass-produced everyday items.
Given its impact upon style of design in the 1920s in America, the inevitably that Bauhaus style would permeate amatuer woodworking was only time. In 1929, a curious article, "Manual Arts and the Modern Art Movement" appeared in the Industrial Education Magazine. And, as a new periodical -- May, 1930-- the Chicago-based Popular Homecraft acknowledged the pull of the modern style by includidng small projects in it issues (more info to come). Check out section seven in Chapter 4