Bauhaus Foundation

8/13/2019 Bauhaus Foundation

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TIMELINE OF THE BAUHAUS BUILDING

|| Sept. 1925 Construction begins in Dessau.|| March 21, 1926 Topping-out ceremony.|| Dec. , 1926 !esti"e inauguration.|| #pri$ 192% &a$ter 'ropius o((icia$$y resigns as )irector* +annes Meyer is appointe) his successor.|| #ug. 19 +annes Meyer is )ismisse)* u)/ig Mies "an )er 0ohe becomes the ne/ )irector.|| an. 21, 192 The SD#34s motion to )emo$ish the bui$)ing is reecte).|| ct. 1, 192 The 7auhaus in Dessau is shut )o/n. Mies "an )er 0ohe continues running it as apri"ate institution in 7er$in.|| 19 - 195 The bui$)ing is use) by a state schoo$ (or /omen, a schoo$ (or training ationa$Socia$ist )istrict $ea)ers, the un8ers (actory, the 7ui$)ing Committee o( #$bert Speer an) otherinstitutions.|| 196-19 +ousing is bui$t in the area aroun) the 7auhaus. The architect Car$ !ieger4s p$ans (or)e"e$oping the area bet/een the train station an) the 7auhaus 7ui$)ing are reecte).|| March , 195 3art o( the bui$)ing burns )o/n a(ter a hea"y air-rai) on Dessau.|| 196 #ttempt to re"i"e the 7auhaus in Dessau as a :+ochschu$e (;r 'esta$tung: <Schoo$ o()esign=. !ai$s )ue to po$itica$ opposition in 19.|| 196-19% The (aca)e o( the /or8shop /ing is patche) pro"isiona$$y by bui$)ing a bric8 /a$$ /ith/oo)en-(rame barrac8 /in)o/s.

|| 196-1961 The temporary bric8 /a$$ on the /or8shop /ing is remo"e).|| 196 3$ans are )e"e$ope) (or the reconstruction o( the 7auhaus 7ui$)ing.|| || 196 >nc$usion into the ist o( Monuments (or the District o( +a$$e.|| 1965 0eno"ation o( the (aca)e o( the /or8shop /ing an) the stair/e$$ /in)o/* reconstruction o(in)i"i)ua$ rooms.|| 19 The 7auhaus 7ui$)ing is a))e) to the 'D04s ist o( Signi(icant Monuments.|| 196 0estoration is rea$i?e) in strict obser"ance o( preser"ation measures (or historic bui$)ingsan) monuments.|| Dec. , 196 ((icia$ re-inauguration o( the 7auhaus 7ui$)ing on the 5th anni"ersary o( the7auhaus4 opening in Dessau.|| as o( 19 Se"era$ rooms are assigne) to the #ca)emic Cu$tura$ Center <&@A=. # co$$ection onthe history o( the 7auhaus is (oun)e). Bhibitions are he$) an) cu$tura$ e"ents presente) in the7auhaus theater.

|| #pri$ 1, 19% The B)ucationa$ Center 7auhaus Dessau ta8es up its acti"ities.|| Dec. , 19%6 :0e-opening: o( the 7auhaus as :Center (or Design:, an o((icia$ state ce$ebration o(the 6th anni"ersary o( the 7auhaus4 opening in Dessau.|| 19%9 During the 2n) &a$ter 'ropius Seminar, the 8ey i)ea (or the :>n)ustria$ 'ar)en 0ea$m: is)e"e$ope).|| 199 The 7auhaus Dessau is turne) into a pub$ic (oun)ation /ith three )epartments the&or8shop, the Co$$ection an) the #ca)emy. The !oun)ation4s obecti"es to preser"e, transmit an)stu)y the $egacy o( the historic 7auhaus, as /e$$ as to contribute to so$"ing the prob$ems in"o$"e) in)esigning to)ay4s en"ironment.|| Dec. 5, 1996 The 7auhaus is inc$u)e) on the EBSC &or$) Cu$ture an) ature +eritage ist. ||1999 7#E+#ES @B' /as (oun)e).

BAUHAUS 1919-1933

|| The 7auhaus occupies a p$ace o( its o/n in the history o( 2th century cu$ture, architecture,)esign, art an) ne/ me)ia. ne o( the (irst co$$eges o( )esign, it brought together a number o( themost outstan)ing contemporary architects an) artists an) /as not on$y an inno"ati"e training centerbut a$so a p$ace o( pro)uction an) a (ocus o( internationa$ )ebate. #t a time /hen in)ustria$ society/as in the grip o( a crisis, the 7auhaus stoo) a$most a$one in as8ing ho/ the mo)erni?ation processcou$) be mastere) by means o( )esign.|| !oun)e) in &eimar in 1919, the 7auhaus ra$$ie) masters an) stu)ents /ho sought to re"erse thesp$it bet/een art an) pro)uction by returning to the cra(ts as the (oun)ation o( a$$ artistic acti"ity an)



)e"e$oping eemp$ary )esigns (or obects an) spaces that /ere to (orm part o( a more humane(uture society. !o$$o/ing intense interna$ )ebate, in 192 the 7auhaus turne) its attention toin)ustry un)er its (oun)er an) (irst )irector &a$ter 'ropius <1%%-1969=. The maor ehibition /hichopene) in 192, re($ecting the re"ise) princip$e o( F#rt an) techno$ogy G a ne/ unityH, spanne) the(u$$ spectrum o( 7auhaus /or8. The +aus am +orn pro"i)e) a g$impse o( a resi)entia$ bui$)ing o(the (uture.|| >n 192 (un)ing (or the 7auhaus /as cut so )rastica$$y at the instigation o( conser"ati"e (orcesthat it ha) to see8 a ne/ home. The 7auhaus mo"e) to Dessau at a time o( rising economic(ortunes, becoming the municipa$$y (un)e) Co$$ege o( Design. #$most a$$ masters mo"e) /ith it,/hi$e (ormer stu)ents became unior masters in charge o( the /or8shops. Dessau pro)uce) (amous/or8s o( art an) architecture an) in($uentia$ )esigns in the years bet/een 1926 an) 192.|| &a$ter 'ropius resigne) as )irector on #pri$ 1, 192% un)er the pressure o( constant strugg$es (orthe 7auhausI sur"i"a$. +e /as succee)e) by the S/iss architect +annes Meyer <1%%9-195= /hose/or8 sought to Fshape a harmonious societyH. Cost-cutting in)ustria$ mass pro)uction /as to ma8epro)ucts a((or)ab$e (or the mass o( the popu$ation. Despite his successes, +annes MeyerIs Maristcon"ictions became a prob$em (or the city counci$ ami)st the po$itica$ turbu$ence o( 'ermany in1929, an) the (o$$o/ing year he /as remo"e) (rom his post.|| En)er u)/ig Mies "an )er 0ohe <1%%6-1969= the 7auhaus )e"e$ope) (rom 19 into a technica$co$$ege o( architecture /ith subsi)iary art an) /or8shop )epartments. #(ter the a?is became thebiggest party in Dessau at the e$ections, the 7auhaus /as (orce) to mo"e in September 192. >ts

(resh start in 7er$in /as short-$i"e). The 7auhaus )isso$"e) itse$( un)er pressure (rom the a?is in19.

ARCHITECTURE AT THE BAUHAUS

|| :The bui$)ing is the u$timate goa$ o( a$$ (ine artH, the 7auhaus mani(esto proc$aime) bac8 in 1919. #rchitecture training at the 7auhaus in &eimar /as initia$$y the prerogati"e o( &a$ter 'ropiusIpri"ate architectura$ practice an) (or a short time courses /ere run by his partner #)o$( Meyer an)in association /ith the bui$)ing tra)es schoo$ in &eimar. The 7auhaus /or8shops /ere in"o$"e) inthese e((orts through 'ropiusI o((ice. This co$$aboration pro)uce) the +aus am +orn an) otherbui$)ings in 192. 3$ans (or a 7auhaus estate remaine) unimp$emente). Some ne/ metho)s base)on speci(ic types an) stan)ar)i?ation /ere emp$oye) not on$y to pro)uce ne/ architecture but toanticipate a ne/ $i(esty$e through this architecture.

|| #$though the 7auhaus $ac8e) an architecture )epartment, it /as the bui$)ings )esigne) in'ropiusI o((ice an) erecte) (rom 1925 on/ar)s G among /hich the 7auhaus bui$)ing itse$( an) themastersI houses enoy pri)e o( p$ace G /hich )ominate) the years in Dessau right (rom the outset.>n 192 &a$ter 'ropius o((ere) +annes Meyer a position in charge o( architecture c$asses. Thatyear +annes Meyer began to put together a curricu$um /hich inc$u)e) a$$ re$e"ant subects G)ra(tsmanship, )esign, construction, p$anning, urban p$anning. #rchitecture (or &a$ter 'ropius an)+annes Meyer a$i8e main$y )enote) the :)esign o( $i(eIs processes:. +annes Meyer /ent too (arbeyon) 'ropiusI :stu)y o( essentia$sH, /hich (ocuse) ecessi"e$y on the obect (or his taste, turninghis teaching program into one /here the concrete con)itions in society an) the (actors )eterminingarchitecture an) its use (orme) the point o( )eparture (or a$$ p$anning an) )esign. The habits o( the(uture resi)ents o( an estate or a house /ere stu)ie) in scienti(ic )etai$. Stu)ents (rom "arious years/or8e) together in :"ertica$ briga)esH on the )esign an) erection o( bui$)ings such as the ba$conyaccess houses in Dessau an) the $abor unionsI schoo$ in 7ernau near 7er$in. Car$ !ieger, the

engineer !rie)rich @Jhn, +ans &itt/er, u)/ig +i$berseimer, #nton 7renner, #$car 0u)e$t an) MartStam taught in the architecture )epartment..|| !rom 19 to 19 u)/ig Mies "an )er 0ohe carrie) on /ith much o( /hat ha) been starte)un)er his pre)ecessors. The retention o( teachers $i8e u)/ig +i$berseimer he$pe) to ensure acertain continuity a(ter the change o( )irector. #t the same time Mies "an )er 0ohe stream$ine) thecurricu$um to pro)uce something $i8e a system o( courses /hich $e(t a$most no room (or utopianeperiments. The maority o( the ne/ stu)ent inta8e at the 7auhaus ha) a$rea)y comp$ete) acourse o( stu)ies, an) the 7auhaus became a :postgra)uate co$$ege: <&o$s)or((=. Mies "an )er0oheIs teaching (ocuse) on the )esign o( speci(ic bui$)ings /hose appearance o/e) nothing to'ropiusI :stu)y o( essentia$sH or to the co$$ecti"e satis(action o( :the peop$eIs nee)sH, but /hich



/ere to be :the spatia$ imp$ementation o( inte$$ectua$ )ecisionsH <Mies "an )er 0ohe= in aesthetica$$yconsummate (ashion.

BAUHAUS WORKSHOPS

|| 3ractica$ /or8 in the /or8shops /as the core training e$ement at the 7auhaus. The 7auhaus

stu)ents )uring the &eimar year /ere ca$$e) apprentices, ourneymen an) master cra(tsmen inaccor)ance /ith artisan tra)ition. They norma$$y sat the ourneymanIs eam a(ter three semesters.

n$y a(ter that /ere they a)mitte) to the bui$)ing course /hich $e) to a Kua$i(ication as master

cra(tsman.

|| Bach o( the /or8shops ha) t/o hea)s throughout the &eimar years. # master o( (orm, an artist

responsib$e (or the )esign an) aesthetic aspect o( /or8, a$/ays ha) at his si)e a master o( cra(ts, a

cra(tsman /ho passe) on technica$ s8i$$s an) abi$ities. Cra(ts /or8 /as seen as an i)ea$ unity o(

artistic )esign an) materia$ pro)uction. ohannes >tten, /ho sought to train artists /or8ing /ith their

in)i"i)ua$ pecu$iarities, /as master o( (orm in charge o( a$most a$$ /or8shops at the beginning. >n

the course o( 1922 &a$ter 'ropius manage) to )i"ert the attention o( the 7auhaus to/ar) the

nee)s o( in)ustry an) appointe) as?$o Moho$y-agy to hea) the meta$ /or8shop.

|| &ith yone$ !eininger, &assi$y @an)ins8y, 3au$ @$ee, as?$o Moho$y-agy, 'eorg Muche an)

s8ar Sch$emmer, a$most a$$ masters mo"e) /ith the 7auhaus to Dessau. !ormer stu)ents

became unior masters in charge o( the /or8shops. ose( #$bers ran part o( the preparatory course,+erbert 7ayer the typography /or8shop, Marce$ 7reuer the oinery /or8shop, +inner8 Scheper the

mura$ painting /or8shop, oost Schmi)t the scu$pture /or8shop an) un) 'unta StJ$?$ the /ea"ing

/or8shop. # $imite) company, 7auhaus 'mb+, /as (orme) in 1925 to se$$ the pro)ucts )e"e$ope)

at the 7auhaus. &hen the /or8shops mo"e) to the 7auhaus bui$)ing, the masters became

pro(essors an) hence(orth the stu)ents recei"e) a )ip$oma. The artic$es inc$u)e) a secon)

obecti"e a$ongsi)e training, name$y Fthe per(ormance o( practica$ eperimenta$ /or8, particu$ar$y in

house bui$)ing an) interior )esign, an) the )e"e$opment o( mo)e$s (or in)ustry an) the cra(tsF. #$$

/or8shops accor)e) greater importance to co$$aboration /ith in)ustry. !urniture an) other e"ery)ay

obects /ere )esigne) (or mass pro)uction to enab$e $arge sections o( the popu$ation to buy Kua$ity

items at prices they cou$) a((or). This /as un)er$ine) in Fnecessities, not $uuriesF, the o"erri)ing

princip$e (ormu$ate) by the secon) 7auhaus )irector +annes Meyer e/ /or8shops /ere

estab$ishe), such as the photographic /or8shop un)er &a$ter 3eterhans, /hich (orme) part o( the

a)"ertising )epartment. The 7auhaus /a$$papers )esigne) in the mura$ painting /or8shop /ere thecommercia$$y most success(u$ pro)uct.

|| The (orms an) signi(icance o( /or8shop acti"ities )ec$ine) consi)erab$y un)er the thir) 7auhaus

)irector, u)/ig Mies "an )er 0ohe, /ho subor)inate) them to architecture emp$oying the )esigns

an) materia$s o( the time.

ART AT THE BAUHAUS

|| The (irst masters appointe) to the 7auhaus /ere artists. FCount$ess i)eas pro)uce) by mo)ern

painting once it she) its o$) constraints no/ $ie (a$$o/, a/aiting their imp$ementation in the tra)esF,

&a$ter 'ropius /rote in 192. &assi$y @an)ins8y, 3au$ @$ee an) other 7auhaus artists ha)

)eparte) (rom the tra)itiona$ concept o( images, turning to abstraction in the years $ea)ing up to

&or$) &ar >, an) starte) to ana$y?e the $a/s o( artistic )esign /ith ne/ theories an) )octrines o(

art. Many o( their /or8s ma)e a high$y organi?e) impression, contrasting sharp$y /ith a

contemporary rea$ity that /as percei"e) as chaotic.

|| The initia$ years at the 7auhaus in particu$ar /itnesse) heate) contro"ersies about the "a$ue o(

art an) its p$ace in the genera$ or)er o( things an) the schoo$Is training program. &assi$y @an)ins8y

respon)e) in the (irst issue o( the 7auhaus maga?ine in 1926, a$$u)ing to the pi"ota$ ro$e o( the

basic )esign course taught by the (ine artists F3ainting is seen as one o( the organi?ing (orces.H

|| The contro"ersy reache) a ne/ stage /ith the intro)uction o( (ree painting c$asses in the inter

semester o( 192-2%. The /or8shops /ere being increasing$y subor)inate) to (unctiona$ an)

techno$ogica$ consi)erations, /hi$e the output o( (ine arts /as greater than e"er. The "isionary unity



o( art an) )esign in a mo)ern, more humane society began to crac8. >n the $ate t/enties 7auhaus

maga?ine e)itor Brnt @a$$ai remar8e) that the 7auhaus )isp$aye) an Fobecti"ity shape) by

stereotype mass pro)uction an) )etermine) entire$y by consi)erations o( uti$ity an) constructionH,

on the one han), an) Fa metaphysica$ attitu)e born o( )reams, "isions, pure inner commitment or

para)oica$ /i?ar)ryH, on the other.

|| The (ine art pro)uce) at the 7auhaus range) (rom $ate epressionism an) abstraction to (igures,

concrete socia$$y critica$ an) surrea$ist /or8s. There is no trace o( any 7auhaus-speci(ic sty$e. Thinho$)s true (or the /or8s o( masters $i8e ohannes >tten, &assi$y @an)ins8y, 3au$ @$ee an) s8ar

Sch$emmer, /ho /ere (amous painters e"en at that time, an) a$so (or the stu)entsI artistic output.

|| The 7auhaus stage, run by s8ar Sch$emmer, p$aye) a specia$ ro$e. The stu)y o( the re$ations

bet/een humans an) space (orme) the point o( )eparture (or eperiments )ra/ing on the

e$ementary theatrica$ components o( space, (orm, co$or, $ight, mo"ement, soun) an) $anguage. The

pro)ucts o( the Feperimenta$ stage (or )ancers, actors an) )irectorsF in the $ate t/enties inc$u)e)

the 7auhaus )ances in /hich the human (orm /as re)uce) to an i)ea$ type using mas8s an)

erseys. Sociocritica$ p$ays )e"e$ope) a(ter Sch$emmerIs )eparture in 1929 /ere no more than a

passing episo)e.

MASTERS´ HOUSES BY WALTER GROPIUS (1925-26

|| The $itt$e estate o( three semi-)etache) houses (or the 7auhaus masters an) a sing$e )etache)house (or the )irector /as p$anne) an) erecte) at the same time as the 7auhaus 7ui$)ing. Bach

artist ha) use o( a spacious ate$ier, /hose huge g$ass /in)o/s (orm an important part o( the

)esign.

|| The sing$e house an) the a)acent (ormer home o( as?$o Moho$y agy /ere )estroye) )uring

&or$) &ar >>. The other ha$( o( the $atter bui$)ing, the !eininger +ouse, to)ay houses the @urt &ei$$

Centre. >n 1999, preser"ation /or8 on the (ormer homes o( &assi$y @an)ins8y an) 3au$ @$ee cou$)

be comp$ete). Lisitors can enoy the (ascinating eperience o( a mu$titu)e o( co$ors /hich both

artists app$ie) $ibera$$y to the interior )esign o( their rooms.

|| nce the house origina$$y share) by 'eorg Muche an) s8ar Sch$emmer is a$so restore), the

genera$ impression o( the estate /i$$ be "isib$e again. The Muche Sch$emmer +ouse /i$$ be use) by

the 7auhaus Dessau

|| !oun)ations 7au-haus @o$$eg an) by the Saony #nha$t Design Centre.

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