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cts standardized parts created clean lined designs for the company s graphics developed a consistent corporate identity built the modernist landmark aeg turbine factory and made full use of newly developed materials such as poured concrete and exposed steel behrens was a founding member of the werkbund and both walter gropius and adolf meyer worked for him in this period the bauhaus was founded at a time when the german zeitgeist had turned from emotional expressionism to the matter of fact new objectivity an entire group of working architects including erich mendelsohn bruno taut and hans poelzig turned away from fanciful experimentation and towards rational functional sometimes standardized building beyond the bauhaus many other significant german speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school they also responded to the promise to promote the object of assuring to every german a healthful habitation written into the new weimar constitution article 155 ernst may bruno taut and martin wagner among others built large housing blocks in frankfurt and berlin the acceptance of modernist design into everyday life was the subject of publicity campaigns well attended public exhibitions like the weissenhof estate films and sometimes fierce public debate bauhaus and vkhutemas edit main article vkhutemas the vkhutemas the russian state art and technical school founded in 1920 in moscow has been compared to bauhaus founded a year after the bauhaus school vkhutemas has close parallels to the german bauhaus in its intent organization and scope the two schools were the first to train artist designers in a modern manner 10 both schools were state sponsored initiatives to merge traditional craft with modern technology with a basic course in aesthetic principles courses in color theory industrial design and architecture 10 vkhutemas was a larger school than the bauhaus 11 but it was less publicised outside the soviet union and consequently is less familiar in the west 12 with the internationalism of modern architecture and design there were many exchanges between the vkhutemas and the bauhaus 13 the second bauhaus director hannes meyer attempted to organise an exchange between the two schools while hinnerk scheper of the bauhaus collaborated with various vkhutein members on the use of colour in architecture in addition el lissitzky s book russia an architecture for world revolution published in german in 1930 featured several illustrations of vkhutemas vkhutein projects there history of the bauhaus edit weimar edit the main building of the bauhaus university weimar built between 1904 and 1911 and designed by henry van de velde to house the sculptors studio at the grand ducal saxon art school it was designated a unesco world heritage site in 1996 the school was founded by walter gropius in weimar on 1 april 1919 14 as a merger of the grand ducal saxon academy of fine art and the grand ducal saxon school of arts and crafts for a newly affiliated architecture department 15 its roots lay in the arts and crafts school founded by the grand duke of saxe weimar eisenach in 1906 and directed by belgian art nouveau architect henry van de velde 16 when van de velde was forced to resign in 1915 because he was belgian he suggested gropius hermann obrist and august endell as possible successors in 1919 after delays caused by world war i and a lengthy debate over who should head the institution and the socio economic meanings of a reconciliation of the fine arts and the applied arts an issue which remained a defining one throughout the school s existence gropius was made the director of a new institution integrating the two called the bauhaus 17 in the pamphlet for an april 1919 exhibition entitled exhibition of unknown architects gropius still very much under the influence of william morris and the british arts and crafts movement proclaimed his goal as being to create a new guild of craftsmen without the class distinctions which raise an arrogant barrier between craftsman and artist gropius s neologism bauhaus references both building and the bauhütte a premodern guild of stonemasons 18 the early intention was for the bauhaus to be a combined architecture school crafts school and academy of the arts swiss painter johannes itten german american painter lyonel feininger and german sculptor gerhard marcks along with gropius comprised the faculty of the bauhaus in 1919 by the following year their ranks had grown to include german painter sculptor and designer oskar schlemmer who headed the theatre workshop and swiss painter paul klee joined in 1922 by russian painter wassily kandinsky the first major joint project completed by the bauhaus was the sommerfeld house which was built between 1920 and 1921 a tumultuous year at the bauhaus 1922 also saw the move of dutch painter theo van doesburg to weimar to promote de stijl the style and a visit to the bauhaus by russian constructivist artist and architect el lissitzky 19 from 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of johannes itten who taught the vorkurs or preliminary course that was the introduction to the ideas of the bauhaus 17 itten was heavily influenced in his teaching by the ideas of franz cižek and friedrich wilhelm august fröbel he was also influenced in respect to aesthetics by the work of the der blaue reiter group in munich as well as the work of austrian expressionist oskar kokoschka the influence of german expressionism favoured by itten was analogous in some ways to the fine arts side of the ongoing debate this influence culminated with the addition of der blaue reiter founding member wassily kandinsky to the faculty and ended when itten resigned in late 1923 itten was replaced by the hungarian designer lászló moholy nagy who rewrote the vorkurs with a leaning towards the new objectivity favoured by gropius which was analogous in some ways to the applied arts side of the debate although this shift was an important one it did not represent a radical break from the past so much as a small step in a broader more gradual socio economic movement that had been going on at least since 1907 when van de velde had argued for a craft basis for design while hermann muthesius had begun implementing industrial prototypes 19 mechanical stage design by joost schmidt 1925 gropius was not necessarily against expressionism and in the same 1919 pamphlet proclaiming this new guild of craftsmen without the class snobbery described painting and sculpture rising to heaven out of the hands of a million craftsmen the crystal symbol of the new faith of the future by 1923 however gropius was no longer evoking images of soaring romanesque cathedrals and the craft driven aesthetic of the völkisch movement instead declaring we want an architecture adapted to our world of machines radios and fast cars 20 gropius argued that a new period of history had begun with the end of the war he wanted to create a new architectural style to reflect this new era his style in architecture and consumer goods was to be functional cheap and consistent with mass production to these ends gropius wanted to reunite art and craft to arrive at high end functional products with artistic merit the bauhaus issued a magazine called bauhaus and a series of books called bauhausbücher since the weimar republic lacked the number of raw materials available to the united states and great britain it had to rely on the proficiency of a skilled labour force and an ability to export innovative and high quality goods therefore designers were needed and so was a new type of art education the school s philosophy stated that the artist should be trained to work with the industry 21 22 weimar was in the german state of thuringia and the bauhaus school received state support from the social democrat controlled thuringian state government the school in weimar experienced political pressure from conservative circles in thuringian politics increasingly so after 1923 as political tension rose one condition placed on the bauhaus in this new political environment was the exhibition of work undertaken at the school this condition was met in 1923 with the bauhaus exhibition of the experimental haus am horn 23 the social democrats lost their majority in the 1924 state election and the new conservative ministry of education placed the staff on six month contracts and cut the school s funding in half the bauhaus issued a press release on 26 december 1924 setting the closure of the school for the end of march 1925 24 25 at this point it had already been looking for alternative sources of funding after the bauhaus moved to dessau a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in weimar this school was eventually known as the technical university of architecture and civil engineering and in 1996 changed its name to bauhaus university weimar children s staircase by erich dieckmann furniture designer 1925 dessau edit main article bauhaus dessau the bauhaus moved to dessau in 1925 and new facilities there were inaugurated in late 1926 gropius s design for the dessau facilities was a return to the futuristic gropius of 1914 that had more in common with the international style lines of the fagus factory than the stripped down neo classical of the werkbund pavilion or the völkisch sommerfeld house 26 during the dessau years there was a remarkable change in direction for the school according to elaine hoffman gropius had approached the dutch architect mart stam to run the newly founded architecture program and when stam declined the position gropius turned to stam s friend and colleague in the abc group hannes meyer meyer became director when gropius resigned in february 1928 1 and brought the bauhaus its two most significant building commissions both of which still exist five apartment buildings in the city of dessau and the bundesschule des allgemeinen deutschen gewerkschaftsbundes adgb trade union school in bernau bei berlin meyer favoured measurements and calculations in his presentations to clients along with the use of off the shelf architectural components to reduce costs this approach proved attractive to potential clients the school turned its first profit under his leadership in 1929 but meyer also generated a great deal of conflict as a radical functionalist he had no patience with the aesthetic program and forced the resignations of herbert bayer marcel breuer and other long time instructors even though meyer shifted the orientation of the school further to the left than it had been under gropius he didn t want the school to become a tool of left wing party politics he prevented the formation of a student communist cell and in the increasingly dangerous political atmosphere this became a threat to the existence of the dessau school dessau mayor fritz hesse de fired him in the summer of 1930 27 the dessau city council attempted to convince gropius to return as head of the school but gropius instead suggested ludwig mies van der rohe mies was appointed in 1930 and immediately interviewed each student dismissing those that he deemed uncommitted he halted the school s manufacture of goods so that the school could focus on teaching and appointed no new faculty other than his close confidant lilly reich by 1931 the nazi party was becoming more influential in german politics and won a majority on the dessau city council the following year it moved to close the school only four communists and hesse dissented 28 wassily chairs by marcel breuer 1925 1926 berlin edit in late 1932 mies rented a derelict factory in berlin birkbusch street 49 to use as the new bauhaus with his own money the students and faculty rehabilitated the building painting the interior white the school operated for ten months without further interference from the nazi party in 1933 the gestapo closed down the berlin school mies protested the decision eventually speaking to the head of the gestapo who agreed to allow the school to re open however shortly after receiving a letter permitting the opening of the bauhaus mies and the other faculty agreed to voluntarily shut down the school when 28 although neither the nazi party nor adolf hitler had a cohesive architectural policy before they came to power in 1933 nazi writers like wilhelm frick and alfred rosenberg had already labelled the bauhaus un german and criticized its modernist styles deliberately generating public controversy over issues like flat roofs increasingly through the early 1930s they characterized the bauhaus as a front for communists and social liberals indeed when meyer was fired in 1930 a number of communist students loyal to him moved to the soviet union even before the nazis came to power political pressure on bauhaus had increased the nazi movement from nearly the start denounced the bauhaus for its degenerate art and the nazi regime was determined to crack down on what it saw as the foreign probably jewish influences of cosmopolitan modernism 1 despite gropius s protestations that as a war veteran and a patriot his work had no subversive political intent the berlin bauhaus was pressured to close in april 1933 under the nazi regime about twenty bauhauslers are known to have been killed in prison or concentration camps some emigrated while others adapted and participated in propaganda exhibitions and design fairs produced photographic and graphic works such as magazine covers movie posters and designed furniture carpets household objects and even busts of hitler 29 of 119 teaching staff c 15 emigrated between 1933 and 1938 of the c 1 250 students who were enrolled when hitler came to power in 1933 approximately 900 are thought to have remained in germany of those 188 joined the national socialist party 170 men and 18 women 14 were part of the brown shirts 12 joined the ss and one was involved in the design of the crematoria at auschwitz 29 30 mies emigrated to the united states to assume the directorship of the school of architecture at the armour institute now illinois institute of technology in chicago and to seek building commissions a the simple engineering oriented functionalism of stripped down modernism however did lead to some bauhaus influences living on in nazi germany when hitler s chief engineer fritz todt began opening the new autobahns highways in 1935 many of the bridges and service stations were bold examples of modernism and among those submitting designs was mies van der rohe 31 emigrants did succeed however in spreading the concepts of the bauhaus to other countries including the new bauhaus of chicago 32 architectural output edit the paradox of the early bauhaus was that although its manifesto proclaimed that the aim of all creative activity was building 33 the school did not offer classes in architecture until 1927 during the years under gropius 1...
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