Bauhaus Online | Magazin http://bauhaus-online.de/en/magazin en-US Bauhaus Face: Wassily Kandinsky http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-wassily-kandinsky <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Russian painter and cosmopolitan <a href="http://bauhaus-online.de/atlas/personen/wassily-kandinsky">Wassily Kandinsky</a> taught at the Bauhaus from <a href="http://bauhaus-online.de/atlas/jahre/1922">1922</a> to <a href="http://bauhaus-online.de/atlas/jahre/1933">1933</a>, having already gained a reputation as a theorist and practitioner of abstract art owing among other things to his book “Concerning the Spiritual in Art” (1912), the almanac “Der Blaue Reiter” (1912) and several exhibitions. He was already living in Germany before he began to work at the Bauhaus, teaching from 1901 to 1902 in Munich at the private art school Phalanx before returning to Russia in 1914. In Moscow he taught from 1918 to 1921 at SOMAS (the Free State Art Studio), the Institute of Artistic Culture INKHuK and the art school VKHuTEMAS. He was appointed to teach at the Bauhaus by its founder <a href="http://bauhaus-online.de/atlas/personen/walter-gropius">Walter Gropius</a>. Up to the school’s eventual closure, Kandinsky remained active at the Bauhaus under its subsequent directors <a href="http://bauhaus-online.de/atlas/personen/hannes-meyer">Hannes Meyer</a> and <a href="http://bauhaus-online.de/atlas/personen/ludwig-mies-van-der-rohe">Ludwig Mies van der Rohe</a> and despite the school’s relocation from Weimar to Dessau (1925) and from there to Berlin (1932).</p><p>During his time at the Bauhaus, Kandinsky taught a variety of courses, published books including a development of his art theory in “Point and Line to Plane” (1926) in the series of Bauhaus books, and produced around 350 oil paintings and a total of 584 watercolour, gouache and tempera paintings. As in his own works from this period, the elementary geometric forms and colours also played an important role in <a href="http://bauhaus-online.de/atlas/das-bauhaus/lehre/unterricht-wassily-kandinsky">Kandinsky’s classes</a>. As master of form in thewall painting workshop, of which he was head from 1922 to 1925, Kandinsky put to the test his theories regarding the coherencies between the elementary colours of yellow, red and blue and the elementary forms of triangle, square and circle, based on a questionnaire, which was to be filled in by his students.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-wassily-kandinsky" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/1_portraetfoto_von_kandinsky_fotograf_hugo_erfurth.jpg" alt="" title="Hugo Erfurth, Porträt Wassily Kandinsky, 1925-1928 Bauhaus‐Archiv Berlin" class="imagecache imagecache-article_full" width="318" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-wassily-kandinsky"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>His classes for the introductory course, later known as the preliminary course, were obligatory for all new students from <a href="http://bauhaus-online.de/atlas/jahre/1922">1922</a> to <a href="http://bauhaus-online.de/atlas/jahre/1930">1930</a>. Initially lasting one term, then two terms from 1925, this featured lessons in both analytical drawing and design theory. Together, the courses were designed to give students the capacity to perceive and interpret colour, form and abstraction as a basis for an autonomous, synthesized design, coupled with an understanding of abstract art as an evolutionary step in art and the history of the human race. In fourteen lecture modules, Kandinsky first addressed art history, then explored the colours yellow and blue, red, white and black, green and grey, orange and violet, and subsequently focused on point, line and plane and their relationships to colour. The lectures were complemented by practical courses for students, group critiques of the outcomes and homework. Kandinsky taught that art was governed by rules, the grammar of which could be learned, even though he also invariably emphasised that art was not possible without intuition. His class in analytical drawing, in which the students for instance set up and connected still life compositions with linear networks and abstracted these based on the elementary forms of circle, square, triangle and rhombus, was part of the design-orientated schooling at the Bauhaus.</p><p>In the course of the increasingly functional orientation of the Bauhaus under <a href="http://bauhaus-online.de/atlas/personen/hannes-meyer">Hannes Meyer</a>, in 1928 Kandinsky taught an intensive seminar in construction and design for students pursuing their main studies. In fourteen lectures, he compared technology with art, discussed form and content and focused explicitly on construction. In doing so, he made use of a wide range of images from the worlds of art, architecture, technology, daily life in different cultures and flora and fauna.</p><p>In addition, Kandinsky taught a painting class from 1927, which from 1928 was referred to as a “free painting class”. However, this was not a painting class per se; rather, the students’ work was discussed in terms of colour, rhythm, tensions and composition. While Kandinsky’s classes were developed as additional options for the students under Hannes Meyer, <a href="http://bauhaus-online.de/atlas/personen/ludwig-mies-van-der-rohe">Ludwig Mies van der Rohe</a> consistently cut down on Kandinsky’s lessons and made them a voluntary part of the students’ curriculum. In Berlin, Kandinsky’s teaching was limited to the “free painting class”, which nevertheless remained popular with the students until the closure of the Bauhaus in 1933. Following his departure from the Bauhaus, Kandinsky moved to Paris in 1933, where he died in 1944.</p><p> </p><p><strong>Biography</strong></p><p>Wassily Kandinsky (1866-1944)</p><p><strong>4.12.1866</strong> Birth in Moscow</p><p><strong>1885-1893 </strong>Studies law, economics and statistics at the University of Moscow, marries Anja Fedorovna Chimyakina</p><p><strong>1896</strong> Moves to Munich</p><p><strong>1897-1901</strong> Attends the private painting school of Anton Ažbe and is accepted in Franz von Stuck’s painting class; meets <a href="http://bauhaus-online.de/atlas/personen/paul-klee">Paul Klee</a></p><p><strong>1901-02 </strong>Foundation of the exhibition association and private art school Phalanx, classes in painting and life drawing</p><p><strong>1904-1908 </strong>Travels with Gabriele Münter to Holland, France, Tunisia, Itally and Switzerland</p><p><strong>1911-1912 </strong>Publication of the book “Concerning the Spiritual in Art” and the almanac “Der Blaue Reiter” (in collaboration with Franz Marc)</p><p><strong>1914-1921 </strong>Returns to Moscow, marries Nina Nikolayevna Andreevskaya, works with several Russian arts and cultural institutions (inc. NARKOMPROS, INKHuK)</p><p><strong>1921 </strong>Leaves for Berlin</p><p><strong>1922</strong> Begins to teach at the Bauhaus in Weimar, design of wall paintings for the Juryfreie Kunstschau, Berlin</p><p><strong>1923-24</strong> Acquaintance with the art historian Will Grohmann, publication of Grohmann’s first Kandinsky monograph</p><p><strong>1924</strong> Foundation of the exhibition group “Die Blaue Vier” with <a href="http://bauhaus-online.de/atlas/personen/lyonel-feininger">Lyonel Feininger</a>, Alexej von Jawlensky and Paul Klee</p><p><strong>1925</strong> Relocates with the Bauhaus to Dessau, moves into one of the Master’s Houses</p><p><strong>1926</strong> Publication of the Bauhaus book “Point and Line to Plane”, exhibition to commemorate his sixtieth birthday</p><p><strong>1928</strong> Set design for Modest Mussorgsky’s “Pictures at an Exhibition” at the Stadttheater, Dessau</p><p><strong>1931</strong> Ceramic wall design for a music room at the Deutsche Bauausstellung in Berlin</p><p><strong>1932</strong> Relocates with the Bauhaus to Berlin</p><p><strong>1933</strong> Closure of the Bauhaus and relocation to Paris</p><p><strong>1937</strong> 57 works by Kandinsky are seized from German museums, 14 works shown at the propaganda exhibition “Entartete Kunst” (Degenerate art)</p><p><strong>13.12.1944</strong> Death in Paris</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-wassily-kandinsky#comments Bauhaus Faces Sat, 16 Aug 2014 18:11:11 +0000 8690 at http://bauhaus-online.de The architect of the new Weimar Bauhaus Museum http://bauhaus-online.de/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Study of architecture in Berlin, DAAD (GAES) research fellowship in Tokyo, research assistant at Bauhaus-Universität Weimar, foundation of a practice in Berlin, professor at Fachhochschule Potsdam, two children: Heike Handa’s career speaks for itself. Working together with Prof. Benedict Tonon, last year she ourperformed 536 participants to win the international competition for the new Bauhaus Museum building in Weimar. Heike Hanada in conversation with Gabriela Oroz.</p><p><strong>At the moment, your work often takes you to Weimar. Do you remember the first time you came to the city? What impressions do you recall?</strong></p><p>For me, Weimar was never an unknown quantity because my grandmother comes from Thuringia. Although my parents moved to the west before the Berlin Wall was built, we visited Thuringia every summer and also frequently travelled to Weimar. Even in those days, the Ilmpark with its lovely, romantic and charming landscape was what impressed me the most. The second decisive moment for me in Weimar came in the summer of 1999, when I met Prof. Karl-Heinz Schmitz for an interview at the faculty of design and building studies II at Bauhaus-Universität Weimar. That year, Weimar was the European Capital of Culture, and a thrilling place to be. My conversations with the students were often fascinating and exciting, because many of them had grown up in the GDR. Working in Prof. Karl-Heinz Schmitz’s department is still the most formative experience that I’ve had. Then, in 2012, the faculty of architecture asked me to be a member of the jury for the graduation exhibition. I was very pleased about this “return” to my former place of work.</p><p><strong>From Weimar you then went straight to Berlin, where you set up your own office. How did your first steps into self-employment go?</strong></p><p>While I was at the university I made a conscious decision not to set up my own office, because I thought the pressures of the demanding job there combined with my family would be too much. When I stopped working at the university in 2006, setting up my own office was more of a stopgap. I was unemployed and took a seminar on setting up a business with the only project that was on the table: a highly adventurous competition entry for an extension to the municipal library in Stockholm. To my mind, it’s still a small miracle: to win first place with my first competition, which allowed me to set up my own business. The project gained a lot of attention in the press, although it was not realised for a number of reasons. That made it easier for me to take part in other projects and competition. I still run my office on my own, but I work with other architects on specific projects.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/interview_hanada_portraet_copyright_heike_hanada.jpg" alt="" title="Portrait of Heike Hanada" class="imagecache imagecache-article_full" width="291" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>You did so for the competition entry for the Bauhaus Museum. How did your collaboration with Benedict Tonon come about? How do you divide your workload?</strong></p><p>I first began on my own, working on the concept. I knew Benedict Tonon from before, when I worked in his office in the 1980s. And after working successfully together on a competition project in Potsdam I spoke to him about the competition for the Bauhaus Museum. We had a clear division of labour from the start. Benedict Tonon’s strengths, which I value highly, lie in concept development and urban development. Because we are both strong designers, we always set out a 60 per cent vote in advance, so that we avoid endless discussions. Benedict Tonon lends conceptual support for the Bauhaus Museum project, but most of the work happens in my office.</p><p><strong>What convinced you to participate in the competition for the Bauhaus Museum?</strong></p><p>I participate in around two or three competitions per year. The first question is invariably whether we’re allowed to participate, because open competitions are a rarity these days. And then it comes down to the context. I look specifically for themes that interest me. The competition for the Bauhaus Museum was one of the major open competitions of 2011. It interested me to think about how we look at modernism, what relationship I have to it, and how this relationship might be reflected in the building itself. This is a critical question, irrespective of whether one has lived in Weimar or not.</p><p><strong>The decision in favour of your design was made in summer 2012. At what stage in its realisation are you now?</strong></p><p>In summer 2012, the municipality of Weimar also decided to issue a development plan for the grounds of the Bauhaus Museum. The development plan provides security that my design will actually be realised. The municipality and Klassik Stiftung Weimar are currently focusing above all else on establishing the foundations for the development plan. At the same time, Klassik Stiftung Weimar has commissioned me, based on my competition entry, to complete the design documentation for the Museum by spring 2014.</p><p><strong>Do you see architects as role models?</strong></p><p>There are many architects, whom I find influential. Peter Zumthor, for example, has successfully built high quality and sustainable architecture. When I was studying in Berlin in the 1980s, it was plain to see how architecture was suffering. To my mind, the change came in the 1990s with the Swiss architects. Apart from a number of contemporary architects, classical modern architects such as <a href="http://bauhaus-online.de/atlas/personen/ludwig-mies-van-der-rohe">Mies van der Rohe</a> and Louis Kahn appeal to me. I am also often drawn to independently-minded architects, such as Álvaro Siza. The list could go on and on. In any case, I try to look at major works of architecture with an eye to where their strengths lie and what I can learn from that.</p><p><strong>What message would you have for today’s students of architecture?</strong></p><p>I don’t believe that it’s important to become self-employed as quickly as possible. To want to be one’s own boss is understandable, but I think that these years of learning, which one needs in order to reach a certain level of maturity, are really important. Today, this step seems to be taken too fast, which means that one lacks foresight. Often, the point where one wishes to be is found by chance, rather than by design, and in the process a certain objective can be missed. I would advise today’s students to give themselves time find their feet, work in a good office for a some time, all the while keeping their own career in view.</p><p><strong>Many thanks for your time and the insights into your work!</strong></p><p>The interview appeared in <a href="http://www.uni-weimar.de/de/universitaet/aktuell/bauhausjournal-online/">Bauhaus.Journal 2012/2013</a>, published by Bauhaus-Universität Weimar.</p><p>Facts and figures: Bauhaus Museum Weimar</p><p>Location: Platz am Weimarhallenpark, total floor space: 3,716 m2</p><p>Investment volume: 22.6 million euros from the special investment programme of the German federal government and the State of Thuringia.</p><p>Museum collection: Currently ca. 10,000 exhibits on the background, history and lasting influence of the Staatliches Bauhaus</p><p>Further information: <a href="http://www.bauhausmuseumweimar.de/">www.bauhausmuseumweimar.de</a></p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum#comments Architecture Interview Weimar Sat, 16 Aug 2014 18:05:04 +0000 Gabriela Oroz 8689 at http://bauhaus-online.de Bauhaus Cooperation Berlin Dessau Weimar welcomes statements in coalition agreement http://bauhaus-online.de/en/magazin/artikel/bauhaus-cooperation-berlin-dessau-weimar-welcomes-statements <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>“The coalition agreement’s acknowledgement of the Bauhaus centenary year 2019 ‘as an event of national and international significance’ is a great success for the Bauhaus cooperation and a validation of our long-term efforts”, states Prof. Dr. Wolfgang Holler, General Director of the <a href="http://bauhaus-online.de/klassik-stiftung-weimar">Klassik Stiftung Weimar</a> museums and this year’s executive director of the Bauhaus Cooperation. “Together with our partners at the <a href="http://bauhaus-online.de/bauhaus-archiv-berlin">Bauhaus-Archiv Berlin</a> and the <a href="http://bauhaus-online.de/stiftung-bauhaus-dessau">Bauhaus Dessau</a> Foundationwe can now intensify our work as regards content. It gives us great confidence that the coalition partners acknowledged the need to strengthen the museum and architectural infrastructure at all three locations”, continued Holler.</p> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-cooperation-berlin-dessau-weimar-welcomes-statements"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In 2012, six federal states (Baden-Wuerttemberg, Berlin, Brandenburg, Lower Saxony, Saxony-Anhalt and Thuringia) came together to form the associationBauhaus 2019with a view to making the Bauhaus centenary a national event with an international impact. In July 2013 the association’s board of trustees met in Weimar and reached agreement on the structure, objectives and project ideas for the centenary year 2019. The activities for the anniversary will have the overarching theme “Die Welt neu Denken” (Rethinking the world) – an ambition of the historic Bauhaus that encompasses the further development of the Bauhaus’s ideas. The stated objective is that the subject of the Bauhaus is not laid to rest with the centenary year, but that the numerous events in fact generate momentum for the time thereafter. The main event will be a centenary exhibition, held at the three historic Bauhaus locations in Weimar, Dessau and Berlin.</p><p>The coalition agreement states that: “The Bauhaus centenary in 2019 will also be supported by the German federal government as an event of national and international significance. We will establish the necessary structural conditions at the three Bauhaus institutions Bauhaus Dessau Foundation, <a href="http://bauhaus-online.de/klassik-stiftung-weimar">Klassik Stiftung Weimar</a> and <a href="http://bauhaus-online.de/bauhaus-archiv-berlin">Bauhaus-Archiv Berlin</a>. Together with the federal states united in the associationBauhaus 2019, the German federal government will contribute to the preparations for the Bauhaus centenary.” (‘Deutschlands Zukunft gestalten’ (Shaping Germany’s future), coalition agreement between the CDU, CSU and SPD, 18th legislative period, p.132)</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-cooperation-berlin-dessau-weimar-welcomes-statements#comments Bauhaus 2019 Berlin Dessau Weimar Sat, 16 Aug 2014 18:01:10 +0000 Timm Schulze 8688 at http://bauhaus-online.de A friendship that evolved from a crisis http://bauhaus-online.de/en/magazin/artikel/a-friendship-that-evolved-from-a-crisis <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/a-friendship-that-evolved-from-a-crisis"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>On the night of 21 to 22 June 1943, having been bombed out and temporarily blinded, Georg Muche sits surrounded by his possessions on the Ostwall in Krefeld and meets the textile industrialist Hans Jammers. Jammers invites Muche and his wife El to move in to his family home on Bismarckstrasse 80. The desperate situation results in a close friendship that would last until Jammers’s death in 1974. Muche, a former Bauhaus master, moves to Krefeld in 1939 to take up a post as creative director of the masters class for textile art (which he had founded) at the textile engineering school, after having been dismissed without notice from the Staatliche Kunstakademie in Breslau by the National Socialists in 1933. During this period, he already gets to know Jammers, who works closely with the textile engineering school as the owner of the family firm “Mechanische Seidenweberei Carl Jammers KG”. Muche stays in Krefeld until 1958 and moves to Lake Constance in 1960. Over the years, the painter and textile industrialist exchanged over 240 letters. These letters have now been bequeathed to the Bauhaus Dessau Foundation, where they augment the archival collection.</p><p>Literature:</p><p>Jens Voss, “Erinnerung an eine große Freundschaft” (Memories of a great friendship), in: Rheinische Post, 30 July 2014</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/a-friendship-that-evolved-from-a-crisis#comments Bauhaus Faces Dessau Research Sat, 16 Aug 2014 17:32:53 +0000 Anja Guttenberger 8684 at http://bauhaus-online.de New Master’s Houses in Dessau http://bauhaus-online.de/en/magazin/artikel/new-master%E2%80%99s-houses-in-dessau <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>When the Bauhaus moved from Weimar to Dessau in <a href="http://bauhaus-online.de/atlas/jahre/1925">1925</a> Lord Mayor Fritz Hesse promised the founder of the Bauhaus, <a href="http://bauhaus-online.de/atlas/personen/walter-gropius">Walter Gropius</a>, the necessary financing not only for a new school building, but also for a residential complex for the Bauhaus’s teachers, known as masters since the Weimar days. Just a year later the Bauhaus building and the Master’s Houses were finished and became symbols of a revolution in design and education. To this day, they are the epitome of “white modernism“ worldwide.</p><p>The complex of Master’s Houses is one of the most impressive examples of Bauhaus modernism in Germany, and became a byword for the twentieth century artists’ colony. Pioneering works of classical modernist art were created in the cubic homes and ateliers. The complex was moreover seen as a kind of experimental workshop for the Bauhaus idea of a new way of living. With <a href="http://bauhaus-online.de/atlas/personen/walter-gropius">Walter Gropius</a>, <a href="http://bauhaus-online.de/atlas/personen/hannes-meyer">Hannes Meyer </a>and <a href="http://bauhaus-online.de/atlas/personen/ludwig-mies-van-der-rohe">Ludwig Mies van der Rohe</a>, all three directors of the Bauhaus lived right next to Bauhaus masters <a href="http://bauhaus-online.de/atlas/personen/laszlo-moholy-nagy">László Moholy-Nagy,</a> <a href="http://bauhaus-online.de/atlas/personen/lyonel-feininger">Lyonel Feininger</a>, <a href="http://bauhaus-online.de/atlas/personen/georg-muche">Georg Muche</a>, <a href="http://bauhaus-online.de/atlas/personen/oskar-schlemmer">Oskar Schlemmer,</a> <a href="http://bauhaus-online.de/atlas/personen/wassily-kandinsky">Wassily Kandinsky</a> and <a href="http://bauhaus-online.de/atlas/personen/paul-klee">Paul Klee</a>. Later, they were joined by Anni and <a href="http://bauhaus-online.de/atlas/personen/josef-albers">Josef Albers</a>, <a href="http://bauhaus-online.de/atlas/personen/gertrud-arndt-hantschk">Gertrud</a> and <a href="http://bauhaus-online.de/atlas/personen/alfred-arndt">Alfred Arndt</a>, <a href="http://bauhaus-online.de/atlas/personen/gunta-stoelzl">Gunta Stölzl</a> and <a href="http://bauhaus-online.de/atlas/personen/lou-scheper-berkenkamp">Lou</a> and <a href="http://bauhaus-online.de/atlas/personen/hinnerk-scheper">Hinnerk Scheper</a>.</p><p>With the collapse of the Weimar Republic – the end of the first democracy on German soil – the Bauhaus masters and students left their place of work in Dessau. After a short period in Berlin, the Bauhaus succumbed to the pressures exerted by the National Socialists and closed in <a href="http://bauhaus-online.de/atlas/jahre/1933">1933</a>. Many of the Bauhauslers had to emigrate and were never to return to Germany. The Nazis saw the now empty Master’s Houses as “un-German” and had them redeveloped. When Dessau was bombed in 1945, Gropius House and the Moholy-Nagy half of a Masters’ House were also reduced to rubble. The remaining houses survived the GDR era as rental properties used by third parties, but no evidence remained of the original Bauhaus architecture, which had been deliberately and promptly destroyed.</p><p>With the reunification of Germany, the fortunes of the complex changed. Thanks to financially strong investors, the municipality of Dessau was in a position to renovate the surviving Feininger, Kandinsky/Klee and Muche/Schlemmer houses in 1994, 2000 and 2001 respectively. The complex of Master’s Houses recovered its identity, but remained nonetheless incomplete. For a number of years there was a controversial debate about whether and how the destroyed houses might be rebuilt. The turning point came in 2001: In consultation with the leading British architect David Chipperfield and other experts, a decision was made to rebuild the Gropius and Moholy-Nagy Master’s Houses, not as replicas of the originals, but utilising the means of contemporary architecture. As a result, they have now been rebuilt as innovative reductions and abstractions of the original buildings. Inside the buildings, artist Olaf Nicolai has created an installation that re-enacts the original dialogue between Gropius’s architecture and the Bauhaus artists. Instead of colour, light! The kiosk designed by Ludwig Mies van der Rohe, which protrudes from the wall surrounding the complex, is also back in its original place.</p><p>The reparation of the complex of Master’s Houses is a project of the municipality of Dessau-Roßlau, supported and supervised by the Bauhaus Dessau Foundation in the framework of their mission to conserve the legacy of the Bauhaus.</p><p>The topping-out ceremony for the rebuild of Gropius House was held in December 2012; the opening took place on 16 May 2014.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/new-master%E2%80%99s-houses-in-dessau" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/neue_meisterhnuser-7561.jpg" alt="" title="" class="imagecache imagecache-article_full" width="435" height="285" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/new-master%E2%80%99s-houses-in-dessau"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>Architects Bruno Fioretti Marquez built the new Gropius and Moholy-Nagy Master’s Houses</strong></p><p>In actual fact, we know the Director’s House and the Moholy-Nagy House only from historical documents: drawings, plans, models and photos. In spring 2010 the Berlin-based architects Bruno Fioretti Marquez delivered a convincing concept that comes to grips with memories. Rather than reconstruct the Bauhaus icons, they prioritised an interpretation, utilising the means of contemporary architecture.</p><p>For the architects, who come from Italy and Argentina, reconstruction was not an option, because it would have not only obscured the differences of the architectural origins, but also would – like every copy – query the legitimacy of the originals. The concept of imprecision as an inevitable component of memory was elevated to an architectonic principle. Their design aims to meet the requirement of repair by recreating the shell of the earlier buildings. The visitor will recognise all this in the choice of materials and the drastic reduction of details.</p><p>A shell of poured concrete with embedded windows surrounds a sculptural “artefact” that gives a fragmented rendition of the original internal organisation of the buildings. This reduction of the building to two elements allows for multilayered interpretations. It is to be understood as an incentive to complete the picture of the building in one’s own mind and, at the same time, creates an independent composition, a tension between solid shell and subtle installation.</p><p><strong>On Olaf Nicolai’s artistic interior configuration of the new Master’s Houses in Dessau</strong></p><p>The dialectic of tradition and renewal inherent to the work of architects Bruno Fioretti Marquez is also taken up in the work “La pigment de lumière” (The colour of light) by the artist Olaf Nicolai, who designed the so-called artefacts inside the new Master’s Houses. One of Germany’s most successful artists on the international scene, Nicolai divides the structure into different segments, thereby creating an abstract image composed of rectangles and squares.</p><p>The “grid” of the given structure forms the starting point; segments within this are defined, thus establishing a composition that brings to mind a constructive-abstract image made up of rectangles and squares of different sizes, these to be enhanced by occasional diagonal connections.</p><p>This arrangement is no arbitrary projection; it is dictated by the structural specifications of the building. These lines define segments, which, however, are not defined by colour, ornamentation or structures; rather, it is the surface itself which is worked by hand to create a diverse range of render and spackle finishes. That is to say: the visual segmentation and the technical realisation evolve from the building and the conditions of its realisation. Each segment is given its own surface, which, thanks to the incident light and the depth of the room, yields an extremely subtle interplay of monochrome surfaces.</p><p>The artefacts gain a “skin” that accentuates them clearly, yet does not dominate in and of itself. Rendered and spackled surfaces take on a variety of guises.  The alternation of the white surfaces, the boundaries of which blend from one to the next, and the different angles of refraction that the differently finished surfaces present, create a subtle interplay of refraction and shadow effects. Nicolai developed his work based on the theories of László Moholy-Nagy, who dealt intensively with the phenomenon of light and its pigments. “La pigment de lumière” was generously supported by the Kunststiftung Sachsen-Anhalt, Stiftung Meisterhäuser Dessau and Lotto-Toto GmbH Sachsen-Anhalt.</p><p></p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/new-master%E2%80%99s-houses-in-dessau#comments Dessau Fri, 01 Aug 2014 09:35:29 +0000 Stiftung Bauhaus Dessau 8683 at http://bauhaus-online.de As Bauhauslers we are seekers http://bauhaus-online.de/en/magazin/artikel/as-bauhauslers-we-are-seekers <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>After a long break, the series of publications by the association “baudenkmal bundesschule bernau e.V.” continues with journal no. 7, entitled ‘“als bauhäusler sind wir suchende” Hannes Meyer (1889 – 1954) Beiträge zu seinem Leben und Wirken’ (“as bauhauslers we are seekers” Hannes Meyer (1889-1954) Articles on his life and work). The journal is published to coincide with the 125th birthday of <a href="http://bauhaus-online.de/atlas/personen/hannes-meyer">Hannes Meyer</a> in 2014. The association was especially keen to commemorate the Bauhaus and Hannes Meyer researcher Klaus-Jürgen Winkler (1944-2011), to whom this journal is dedicated.</p><p>On almost 100 pages the authors explore different aspects of Hannes Meyer’s life and work in Switzerland, Germany, Russia and Mexico. One article focuses on his intermittent collaborator <a href="http://bauhaus-online.de/atlas/personen/hans-wittwer">Hans Wittwer</a>. The articles are accompanied by an index of names.</p><p><strong>This book has not yet been translated into English and is available only in German.</strong></p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/as-bauhauslers-we-are-seekers" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/leseprobe_heft_7_schriftenreihe_bbb_0.jpg" alt="" title="" class="imagecache imagecache-article_full" width="307" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/as-bauhauslers-we-are-seekers"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>Journal no. 7 – List of contents</strong></p><p>Introduction – Michael Siebenbrodt p. 4</p><p>Hans Wittwer - a cooperative individualist – Hans-Jakob Wittwer pp. 5-9</p><p>Hannes Meyer and the Duncker family. An attempt to reconstruct their amicable encounters – Heinz Deutschland pp. 10-18</p><p>Hannes Meyer in private. “Life is a pursuit of oxygen + carbon + sugar + starch + protein.” – Anja Guttenberger pp. 19-25</p><p>“ein eisenbahnwaggon ausstellungsgut”. The Bauhaus-Wanderaustellung 1929/30 and its show in Mannheim Christoph Zuschlag pp. 26 - 34</p><p>The Bauhaus Director Hannes Meyer as university lecturer and architect in Moscow 1930-1936 – Michael Siebenbrodt pp. 35-40</p><p>Hannes Meyer’s strong women of the Bauhaus commune on Moscow’s Arbat-Platz 1930 – 1938 – Astrid Volpert pp. 41-54</p><p>Hannes Meyer’s cooperative children’s home Mümliswil (1939). A former orphanage boarder and Bauhaus Director builds a children’s home – Thomas Huonker pp. 55-63</p><p>A final encounter in Mexico. Tina Modotti and Hannes Meyer – Peter Steininger pp. 64-71</p><p>Hannes Meyer and the Bauhaus in Mexico in the context of transnational migration in the first half of the 20th century – Karoline Noack pp. 72-83</p><p>The Hannes-Meyer-Prize – Peter Steininger pp. 84-94</p><p>Index of names pp. 95–102</p><p>Index of illustrations p. 103</p><p>Index of authors p. 104</p><p><strong>The journal may be ordered from the association <a href="http://www.bauhaus-denkmal-bernau.de/publikationen.html">here</a> for € 5 plus shipping. It is available free to members of the association.</strong></p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/as-bauhauslers-we-are-seekers#comments Bauhaus Faces Publication Research Fri, 01 Aug 2014 09:30:36 +0000 baudenkmal bundesschule bernau 8682 at http://bauhaus-online.de Dessau 1945 – Destruction of Modernity http://bauhaus-online.de/en/magazin/artikel/dessau-1945-destruction-of-modernity <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>When the Gropius and Moholy-Nagy Master’s Houses were destroyed in spring 1945, Dessau, too, lay in ruins. After the National Socialists came to power, the former residential city of Anhalt became synonymous with arms production and forced labour. The name Junkers became representative of the aerial warfare in Europe and the “pesticide” Zyklon B produced in Dessau became a tragic byword for the genocide of the European Jewry. At the end of the war, the houses previously lived in by the Bauhaus masters were occupied by the executive employees of the Junkers aircraft factory. The exhibition “Dessau 1945: Destruction of Modernity” shows the Bauhaus city from the National Socialists’ assumption of power up to the end of the war.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/dessau-1945-destruction-of-modernity" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/038_b630amhzerstoert1945hagemann_1c.jpg" alt="" title="Unknown photographer, Moholy-Nagy Master’s House after bombing in March 1945. Family collection of Ralph Walter Hageman" class="imagecache imagecache-article_full" width="435" height="300" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/dessau-1945-destruction-of-modernity"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The French photographer Henri Cartier-Bresson can be described as a high-profile key witness: Having been imprisoned in Germany himself, he documented the return of French forced labourers and prisoners of war. 32 of the resulting works will now be on display in the basement of the Bauhaus building. Historic documents, maps and witness statements from Dessau’s municipal archives and the main archive of the federal state of Saxony-Anhalt will complement these. In the context of the compensation claims made by former forced labourers from 2000 to 2007, these had provided evidence of their exploitation. These ca. 40 witnesses and hitherto unpublished video interviews with witnesses are held in Dessau’s municipal archives; some of these will be made public in the scope of the exhibition. Curated by Philipp Oswalt and on show until 7 September 2014, the exhibition is the first to focus on the very duality of the legacy of modernity in Dessau.</p><p>To accompany the exhibition, the book “Dessau 1945 – Moderne Zerstört” was published by <a href="http://www.spectorbooks.com/">Spector Books</a> in the series Edition Bauhaus (No. 45) (€ 34,00), with contributions by Philipp Oswalt, Wolfgang Thöner, Ingolf Kern, Anke Blümm, Katharina Menzel-Ahr, Thomas Tode, Richard Overy and others.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/dessau-1945-destruction-of-modernity#comments Dessau Exhibition Photography Fri, 01 Aug 2014 09:26:03 +0000 Stiftung Bauhaus Dessau 8681 at http://bauhaus-online.de Man and Art Figure. Oskar Schlemmer’s intermedial programmatic http://bauhaus-online.de/en/magazin/artikel/man-and-art-figure-oskar-schlemmer%E2%80%99s-intermedial-programmati <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/man-and-art-figure-oskar-schlemmer%E2%80%99s-intermedial-programmati" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/313baxk6yl._ss500_.jpg" alt="" title="" class="imagecache imagecache-article_full" width="435" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/man-and-art-figure-oskar-schlemmer%E2%80%99s-intermedial-programmati"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>With his <a href="http://bauhaus-online.de/magazin/artikel/das-triadische-ballett">Triadic Ballet</a> (premiered in 1922), the Stuttgart-born artist <a href="http://bauhaus-online.de/atlas/personen/oskar-schlemmer">Oskar Schlemmer</a> created an exceptionally complex work that is now, along with the painting “Bauhaustreppe” (1932), one of the best-known works of classical modernism. Moving beyond mainstream art, which Schlemmer had already interpreted as that dead end in which contemporary art appears to be trapped, he pursued undeterred the opposite direction of a timeless and universal “grand style” that can only emerge from a serendipitous combination of tradition and innovation. Based on the Triadic Ballet, he developed a three-step design principle, which from then on was to define all his work. This study presents in the first instance a coherent overview of Schlemmer’s oeuvre. It does not focus, as is usually the case, on art history or theatre studies, but connects both fields of research and includes both musicological studies and aspects of literary history. This new, broad perspective demonstrates that Schlemmer must be considered a style reformer far surpassing the contemporary art revolution, whose agenda has again become hugely relevant, especially to the contemporary practice of art.</p><p>384 pages, Rombach Verlag KG; 2nd edition, revised (11 April 2014), ISBN-10: 3793097676, ISBN-13: 978-3793097679, € 64,00</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/man-and-art-figure-oskar-schlemmer%E2%80%99s-intermedial-programmati#comments Bauhaus Faces Publication Research Fri, 01 Aug 2014 09:22:58 +0000 8680 at http://bauhaus-online.de “Bürgerinfo Bauhaus” website goes online for the people of Weimar http://bauhaus-online.de/en/magazin/nachricht/buergerinfo-bauhaus%E2%80%9D-website-goes-online-for-the-people-of-w <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Weimar gains a new Bauhaus Museum. For the people of Weimar, the realisation of such a building project raises many questions and reservations. The website "<a href="http://www.buergerinfo-bauhaus.de/">Bürgerinfo Bauhaus</a>", designed specifically to address these issues and in association with the building project, is therefore now live online. It supplies information relating to the building project and is also designed as a platform for exchange so that people of Weimar can contact those in charge and air their views in public. A <a href="https://www.facebook.com/buergerinfo.bauhaus">Facebook</a> page will also be published.</p> </div> </div> </div> Architecture Bauhaus 2019 Publikcation Weimar Fri, 01 Aug 2014 09:16:21 +0000 Redaktion bauhaus-online.de 8679 at http://bauhaus-online.de Claudia Perren is the new director of the Bauhaus Dessau Foundation http://bauhaus-online.de/en/magazin/artikel/claudia-perren-is-the-new-director-of-the-bauhaus-dessau-fou <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/claudia-perren-is-the-new-director-of-the-bauhaus-dessau-fou" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/portrait_claudia_perren_14_04_img_3681s.jpg" alt="" title="Portrait Dr. Claudia Perren" class="imagecache imagecache-article_full" width="290" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/claudia-perren-is-the-new-director-of-the-bauhaus-dessau-fou"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Dr. Claudia Perren will commence her role as the new director and chief executive officer of the <a href="http://www.bauhaus-dessau.de">Bauhaus Dessau Foundation</a> on 1st August, 2014.</p><p>Dr. Claudia Perren (1973) is an architect, curator and academic, currently lecturing at the University of Sydney’s Faculty of Architecture, Design and Planning, in design, curatorial practice, history and theory of art and architecture. Her areas of interest mainly centre on the intersection of art, design and architecture. The results of her research, teaching and practice have been published and exhibited internationally in Australia, Germany, The Netherlands, Poland, The Czech Republic, Singapore, Spain, Finland, Estonia and Switzerland. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/claudia-perren-is-the-new-director-of-the-bauhaus-dessau-fou#comments Dessau Thu, 31 Jul 2014 20:58:18 +0000 Stiftung Bauhaus Dessau 8678 at http://bauhaus-online.de Roundtable discussion http://bauhaus-online.de/en/magazin/nachricht/roundtable-discussion <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>On thursday 31st July, 2014 at 5 pm a roundtable discussion will take place at the Masters' House Muche/Schlemmer. Michael Erlhoff (Cologne), Stefan Schridde (Berlin) and Julia Amberger discuss the topics “using rather than owning” / “new trends in shareconomy and design” / “plannend obsolescence”. In English.</p> </div> </div> </div> Dessau discussion Wed, 30 Jul 2014 20:22:09 +0000 Redaktion bauhaus-online.de 8675 at http://bauhaus-online.de Bauhaus-Archiv / Museum für Gestaltung introduces new corporate design http://bauhaus-online.de/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-introduces-new-corpora <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>With this revision of elements forming its corporate design, the <a href="http://www.bauhaus.de">Bauhaus-Archiv / Museum für Gestaltung in Berlin</a> is further consolidating its strategic orientation as the world’s leading collecting and research insti- tution for the Bauhaus and the history of the design school’s influence. The Bauhaus-Archiv conducts research and presents the history and influence of the Bauhaus (1919–1933), the 20th century’s most impor- tant school of architecture, design and art. The website <a href="http://www.bauhaus.de">www.bauhaus.de</a> will be launched today, featuring a new design and expanded content.</p><p>"With our new design, we have rendered the transformation in our institution outwardly visible and tangible", declared the director of the Bauhaus-Archiv, Dr Annemarie Jaeggi. "Our visitor numbers and the collection’s holdings are constantly growing. In 2019, to mark the 100th anniversary of the Bauhaus, we will be adding a new Bauhaus-Museum building on our grounds. Along with historical Bauhaus themes, we have increasingly begun to pursue the question of the degree to which the Bauhaus influences and inspires our lives today. This dichotomy is magnificently displayed by the newly created house typeface 'bayer next', the newly designed Internet portal bauhaus.de and our unmistakable printed materials. It is therefore a very special pleasure for me to be able to publicly present the sense of anticipation to be found within our institution by means of our new self-presentation."</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-introduces-new-corpora" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/bha-glyphen_01_300dpi_01.jpg" alt="" title="Derivation of the glyphs Bauhaus-Archiv Berlin " class="imagecache imagecache-article_full" width="435" height="285" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-introduces-new-corpora"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>The new overall design developed by Professor Sascha Lobe and his team at the Stuttgart agency L2M3 Kommunikationsdesign GmbH, encompasses not only the stationery and other printed materials of the Bauhaus-Archiv, but also numerous other materials applying this design, such as exhibition catalogues and the semi-annual programme magazine. The design of the museum’s website was also fundamentally revised by L2M3. The new information and control system in the interior and exterior areas of the Bau- haus-Archiv will be installed in the coming months. In mid July 2014, a poster campaign in the Berlin met- ropolitan area will already be launched in cooperation with the Wall AG and will present the new image of the Bauhaus-Archiv to the inhabitants of and visitors to the capital city of Berlin. </p><p><strong>The “bauhaus-archiv” word mark, which was developed by the Bauhaus master <a href="/en/atlas/personen/herbert-bayer" title="Herbert Bayer">Herbert Bayer</a>, was taken up by the creative agency and carefully supplemented.</strong> </p><p>"Our intention was to stir memories of the Bauhaus legacy and to make use of already available resources for the self-presentation of the Bauhaus-Archiv. We thus developed a concept that communicates the essence of the Bauhaus and, through its technical and aesthetic innovations, is simultaneously suited for a cultural institution’s self-presentation in a manner that is up to date and effective in terms of publicity", explained head designer Professor Sascha Lobe. "A globally active institution like the Bauhaus-Archiv / Museum für Gestaltung requires internationally comprehensible and effective instruments of communica- tion, which we have developed within the framework of a unified, but simultaneously flexible system."</p><p><strong>"Archive of glyph forms"</strong></p><p>Along with the revised word mark "Bauhaus-Archiv / Museum für Gestaltung", the system developed by L2M3 for the Bauhaus-Archiv encompasses an extensive set of characters featuring the new house type- face "bayer next" and glyphs taken from historical Bauhaus texts. In this way, unlimited possibilities have been created for adapting the design’s application in printed materials and digital media. In the words of Professor Sascha Lobe: "We paid homage to the diversity of the archival material by redrawing the glyphs and examining further possibilities for their adaptation and modification – we have created a total of over 500 characters and gathered them together in an 'archive of glyph forms'."</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-introduces-new-corpora#comments Berlin Design Mon, 21 Jul 2014 19:10:40 +0000 Bauhaus-Archiv Berlin 8671 at http://bauhaus-online.de Bauhaus-Archiv / Museum für Gestaltung launches Berlin poster campaign http://bauhaus-online.de/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-launches-berlin-poster <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Beginning immediately, they can be seen on posters all across Berlin: <a href="/en/atlas/personen/marcel-breuer" title="Marcel Breuer">Marcel Breuer</a>’s world-famous tubular steel chair, <a href="/en/atlas/personen/marianne-brandt" title="Marianne Brandt">Marianne Brandt</a>’s tea infuser, photographs of <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a>’s "Triadic Ballet" and the distinctive building of the Bauhaus-Archiv – a late work by Bauhaus founder <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>. These exceptional works are all part of the "Bauhaus Collection: Classic Modern Originals" at the <a href="http://www.bauhaus.de">Bauhaus-Archiv / Museum für Gestaltung</a>, and they can be seen at the Klingelhöferstraße 14. The Berlin poster campaign featuring the four motifs was made possible through the generous support of the Wall AG. For one week at the beginning of August, the motifs from the Bauhaus Collection will also be shown on the digital advertising panels in the underground station at Friedrichstraße. </p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-launches-berlin-poster" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/plakatmotive_bauhaus-archiv_berlin_cl2m3.jpg" alt="" title="New posters for the Bauhaus-Archiv Berlin Bauhaus-Archiv Berlin " class="imagecache imagecache-article_full" width="435" height="150" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-launches-berlin-poster"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>"In our poster campaign, we place four individuals from the Bauhaus in the spotlight as pioneers of modern design", explains Dr Annemarie Jaeggi, Director of the Bauhaus-Archiv. "Innovative teaching methods and the collaboration with important figures from highly diverse fields enabled Bauhaus students to develop their talents early on and to follow new paths. You can explore the results in our permanent exhibition."</p><p>The poster campaign that can be seen for the next 14 days was made possible by the generous support of Wall AG. Daniel Wall, Chairman of the Board of Wall AG, has stated: "Even today, the Bauhaus continues to have a strong influence on art and architecture. With the Bauhaus-Archiv, Berlin possesses a genuine cultural gem that has fascinated its many visitors. For us as well – as street furnishers and outdoor advertisers – aesthetics and appealing design are important values. That is why we are particularly pleased to support the Bauhaus-Archiv in inspiring even more people with enthusiasm for the beauty of the forms of modern and timeless design."</p><p><strong>The Bauhaus figures in the poster campaign</strong></p><p>In 1919, the 35-year-old architect Walter Gropius founded the Bauhaus, which became the 20th century’s internationally most important school of architecture, design and art. Gropius is considered one of the main protagonists of modern architecture. In 1979 the distinctive building that he designed for the Bauhaus-Archiv was opened in Berlin as a central site for the heritage of the Bauhaus. His estate provided the initial foundation of the Bauhaus collection in Berlin.<br /> As the only woman, Marianne Brandt taught in the metal workshop of the Bauhaus Dessau in the 1920s and created timeless design classics, such as her tea infuser, which continues to be manufactured today. </p><p>The architect and designer Marcel Breuer is seen as the inventor of modern tubular steel furniture. He designed the renowned tubular steel armchair B 3 in 1926, one year after being appointed a junior master and the head of the furniture workshop at the Bauhaus Dessau.<br /> The artist Oskar Schlemmer described his "Triadic Ballet", which was also performed on the Bauhaus stage, as a "festival in form and colour". Numerous original photographs, including those of <a href="/en/atlas/personen/erich-consemueller" title="Erich Consemüller">Erich Consemüller</a>, have been preserved. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-archiv-museum-fuer-gestaltung-launches-berlin-poster#comments Berlin Mon, 21 Jul 2014 18:51:09 +0000 Bauhaus-Archiv / Museum für Gestaltung in Berlin 8670 at http://bauhaus-online.de Wassily Kandinsky – Teaching at the Bauhaus http://bauhaus-online.de/en/magazin/artikel/wassily-kandinsky-teaching-at-the-bauhaus <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The teaching work of <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> (1866–1944) at the Bauhaus is the focus of an exhibition that can be seen at the Bauhaus-Archiv / Museum für Gestaltung from 25 June to 8 September 2014. Kandinsky, the pioneer of abstract painting, taught at the famous art school for 11 years, up to its closure in <a href="/en/atlas/jahre/1933" title="1933">1933</a>. Teaching manuscripts and materials by the Bauhaus teacher, on loan from the archives of the Centre Pompidou (Paris) and the Getty Research Institute (Los Angeles), are being presented together for the first time, along with a selection of practical exercises and notes made by his students from the holdings of the <a href="http://www.bauhaus.de">Bauhaus-Archiv in Berlin</a> and the <a href="http://www.bauhaus-dessau.de">Stiftung Bauhaus Dessau</a>. The combination of these materials at the "Wassily Kandinsky – Teaching at the Bauhaus" exhibition reveals the content and methods that Kandinsky used for teaching in the Mural Painting Workshop, in the Basic and Main Courses, and in the Free Painting Class at the Bauhaus, and the exhibition also illustrates the ways in which the students used and reflected on them. </p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/wassily-kandinsky-teaching-at-the-bauhaus" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/11_ausstellungsplakat_kandinsky_2014_l2m3.jpg" alt="" title="Exhibition poster &quot;Wassily Kandinsky – Teaching at the Bauhaus&quot; Bauhaus-Archiv design: L2M3" class="imagecache imagecache-article_full" width="309" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/wassily-kandinsky-teaching-at-the-bauhaus"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>"None of the other Bauhaus masters worked at the Bauhaus for as long as Wassily Kandinsky did. His teaching work and his charismatic personality had an enormous influence on the students," explains Dr. Annemarie Jaeggi, Director of the Bauhaus-Archiv.</p><p>During his time at the Bauhaus, Wassily Kandinsky developed his ideas on the theory of art further, teaching them and putting them into practice. His publications and eleven of his prints and watercolours from this period of his creative work are also on show. In addition, works dedicated to him by of his Bauhaus colleagues – one each by <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a>, <a href="/en/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, <a href="/en/atlas/personen/lyonel-feininger" title="Lyonel Feininger">Lyonel Feininger</a> and <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a> – are also being exhibited.</p><p>The exhibition "Wassily Kandinsky – Teaching at the Bauhaus" is based on a research project carried out by the Société Kandinsky and is curated by art historian Dr. Angelika Weißbach. It is accompanied by a 195-page catalogue with some 200 illustrations, edited by Bauhaus researcher Prof. Magdalena Droste on behalf of the Bauhaus-Archiv / Museum für Gestaltung. A varied programme of events provides further information about details from the exhibition.</p><p><strong>Exhibits</strong></p><p>Twenty pages of text and notes by Wassily Kandinsky from his course preparation work, as well as 30 items of pictorial material and seven publications that he presented as teaching materials; 60 exercises, works and notes made by students (including Eugen Batz, Erich Comeriner, Lothar Lang, <a href="/en/atlas/personen/hans-thiemann" title="Hans Thiemann">Hans Thiemann</a> and Monica Ulmann-Broner), five publications and 11 works (watercolours, prints) by Vassily Kandinsky and one art work each by László Moholy-Nagy, Georg Muche, Lyonel Feininger and Paul Klee.</p><p><strong>Exhibition catalogue</strong></p><p>Wassily Kandinsky – Teaching at the Bauhaus, ed. by Magdalena Droste for the Bauhaus-Archiv, Berlin. 2014, museum catalogue (self-published), 195 pages with a total of approx. 200 illustrations, available in German and English at the Bauhaus-Archiv for €29 or by mail order from the Bauhaus shop for €33 (<a href="http://www.bauhaus-shop.de">www.bauhaus-shop.de</a>). </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/wassily-kandinsky-teaching-at-the-bauhaus#comments Bauhaus Faces Berlin Exhibition Mon, 21 Jul 2014 18:44:27 +0000 Dina Blauhorn 8669 at http://bauhaus-online.de Bauhaus Face: Ida Kerkovius http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-ida-kerkovius <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Ida Kerkovius was born on 31 August 1879 in Riga, one of twelve children of an affluent, respectable German family. She attended a secondary school for young ladies and was taught to play the piano and sing. Her parents indulged her desire to be an artist and sent her to a private art school in Riga, where she completed a foundation course. When she visited an art salon in Riga in 1901 – an exhibition of works by Baltic German women artists – Kerkovius was impressed by the work of the painter and pupil of Adolf Hölzel, Martha Hellmann. Following a tour of Italy a few months later, Ida Kerkovius visited Hölzel in Dachau and likewise became his pupil. After five formative months – working under Hölzel, the young woman learned that painting was an autonomous means of expression and that the picture has to be built up from colour – she was called home by her parents. Five years passed before she returned to Germany. After a brief period in the private studio of Adolf Mayer, Kerkovius was drawn back to Hölzel, who at the time had accepted a professorship at the Königlich Württembergische Akademie der Bildenden Künste in Stuttgart. As a master student, in 1911 Kerkovius became his assistant and taught Hölzel’s theory herself in a master studio in the academy. Among her students was <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>, who was to later become her teacher during her time at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a>. When WWI broke out, Kerkovius was deprived of her German citizenship. As a foreigner, from now on she was no longer permitted to teach at the academy; in her private studio, she taught foreign students who had been refused places to study at the academy.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-ida-kerkovius" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/ida_kerkovius.jpg" alt="" title="" class="imagecache imagecache-article_full" width="326" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-ida-kerkovius"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>In <a href="/en/atlas/jahre/1920" title="1920">1920</a> Kerkovius decided to enrol at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a>, where she studied during the winter term until <a href="/en/atlas/jahre/1923" title="1923">1923</a>. She developed her painting further in the classes of <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>, <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a> and <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>. Using strong colours, she worked to break down the limitations of representational art. After completing the <a href="/en/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Preliminary Course by Johannes Itten">preliminary course</a> Kerkovius, like most of the women at the Bauhaus, transferred to the <a href="/en/atlas/werke/weaving-workshop" title="Weaving Workshop">weaving workshop</a>. Here, she showed great talent and wove carpets for <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a> and <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, who adored her work. She saw her talent as an opportunity to make a future living for herself. In <a href="/en/atlas/jahre/1924" title="1924">1924</a> the painter and weaver returned to Stuttgart, where she taught and continued to weave. From 1934 to 1939, Kerkovius travelled to Norway, Belgium, France, Bulgaria and Italy; in between, she visited her homeland. During the period in which the National Socialists came to power, Kerkovius did in fact earn her living mainly with her weaving work. Her close friend Hanna Bekker vom Rath, initially Kerkovius’s apprentice, then an art dealer, secretly sold Kerkovius’s art during the time in which her painting was viewed as "degenerate".  In 1944 her studio in Stuttgart was bombed out, which is why very few of Kerkovius’s works from the years before the bombing exist.</p><p>In 1950 Ida Kerkovius became a member of the Deutscher Künstlerbund. Between 1950 and 1965 she travelled frequently: to Ischia in 1952 and 1954, Brittany in 1954, the South of France in 1956 and Lake Garda in 1965. In 1954 Kerkovius was awarded the German Order of Merit, First Class. The same year, she became an honorary member of the artists’ guild of Esslingen/Neckar. In 1955 she was awarded the first prize of the exhibition "Ischia im Bilde deutscher Maler". She became a professor in 1958 and taught into old age. In 1962 she was made an honorary member of the Staatliche Akademie der Bildenden Künste in Stuttgart and, a year later, an honorary board member of the Deutscher Künstlerbund.</p><p>Ida Kerkovius died on 7 June 1970 in Stuttgart.</p><p> </p><p>Literature:</p><p>Rudolf Bayer, biography Ida Kerkovius, Galerie Bayer, <a href="http://www.galerie-bayer-bietigheim.de/index.htm?/kuenstler/kerkovius/index.htm">http://www.galerie-bayer-bietigheim.de/index.htm?/kuenstler/kerkovius/index.htm</a>, downloaded on 17.06.2014; Adrienne Braun, “Die späte Schülerin. Serie: Frauen am Bauhaus”, in: ART. Das Kunstmagazin 2002, issue 11, pp. 60-66, <a href="http://www.art-magazin.de/div/heftarchiv/2002/11/EGOWTEGWPPWOOPOGWTRWPSAA/Die-sp%E4te-Sch%FClerin">http://www.art-magazin.de/div/heftarchiv/2002/11/EGOWTEGWPPWOOPOGWTRWPSAA/Die-sp%E4te-Sch%FClerin</a>, downloaded on 17.06.2014; Annette Bußmann, “Ida Kerkovius | Biographie bei Fembio”, <a href="http://www.fembio.org/biographie.php/frau/biographie/ida-kerkovius/">http://www.fembio.org/biographie.php/frau/biographie/ida-kerkovius/</a>, downloaded on 17.06.2014; Anne-Kathrin Herber, “Frauen an deutschen Kunstakademien im 20. Jahrhundert. Ausbildungsmöglichkeiten für Künstlerinnen ab 1919 unter besonderer Berücksichtigung der süddeutschen Kunstakademien”, dissertation, Universität Heidelberg, Heidelberg 2009; Stadt Stuttgart, “Ida Kerkovius”, <a href="http://www.stuttgart.de/item/show/33860">http://www.stuttgart.de/item/show/33860</a>, downloaded on 17.06.2014; Ingrid Radewaldt, “Ida Kerkovius”, in: Ulrike Müller, “Bauhaus-Frauen. Meisterinnen in Kunst, Handwerk und Design”, Munich 2009, pp. 28-33.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/bauhaus-face-ida-kerkovius#comments Bauhaus Faces Fri, 27 Jun 2014 20:28:52 +0000 Anja Guttenberger 8666 at http://bauhaus-online.de