Bauhaus Online | Magazin http://bauhaus-online.de/en/magazin en-US Berlin extends Hélène Binet exhibition http://bauhaus-online.de/en/magazin/nachricht/berlin-extends-helene-binet-exhibition <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>On account of the public’s great interest the Bauhaus-Archiv / Museum für Gestaltung, Berlin extends its current exhibition "Dialogues – Photographs by Hélène Binet" until 26th October, 2015. In the comprehensive display Binet presents poetic architectural photos – beginning with buildings by architects John Hejduk, Ludwig Leo and Le Corbusier and reaching to Peter Zumthor and Zaha Hadid. The images show an interplay between architecture and photography. They generate new landscapes within, created to develop independent existences.</p> </div> </div> </div> Architecture Berlin Exhibition Photography Wed, 01 Jul 2015 20:57:40 +0000 Redaktion bauhaus-online.de 8935 at http://bauhaus-online.de Catalogue for the exhibition "Black Mountain: An Interdisciplinary Experiment 1933 –1957" published http://bauhaus-online.de/en/magazin/nachricht/catalogue-for-the-exhibition-black-mountain-an-interdiscipli <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The interdisciplinary and experimental educational ideas espoused by Black Mountain College (BMC), founded in North Carolina in 1933, made it one of the most innovative schools in the first half of the twentieth century. Visual arts, economics, physics, dance, architecture, and music were all taught here on an equal footing, and teachers and students lived together in a democratically organized community. The first rector of the school was John Andrew Rice, and <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>, John Cage, <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, and Buckminster Fuller were among the many adepts to give courses here. In consequence, BMC witnessed the development of a range of avant-garde concepts. This richly illustrated book appears in conjunction with the Black Mountain exhibition. It is the first comprehensive publication on BMC in the German-speaking world and traces the key moments in the history of this legendary school. </p><p>Eugen Blume, Matilda Felix, Gabriele Knapstein, Catherine Nichols<br />Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin<br />cyan, Berlin<br />464 pp., German / English, 450 black-white images and 22 colour images, EUR 34.00, ISBN EN 978-3-95905-025-8</p><p></p> </div> </div> </div> Architecture Design Exhibition Photography Publication Sat, 27 Jun 2015 10:01:36 +0000 Redaktion bauhaus-online.de 8932 at http://bauhaus-online.de Correspondence between Harry Graf Kessler and Henry van de Velde published http://bauhaus-online.de/en/magazin/nachricht/correspondence-between-harry-graf-kessler-and-henry-van-de-v <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Belgian star designer Henry van de Velde (1863–1957) and the German patron and cultural politician Harry Graf Kessler (1868–1937) met in a time of crucial personal and social changes. Their correspondence comprises 40 years and consists of over 400 preserved documents. Herein their time in Weimar, where they worked together for the modern art movement between 1902 and 1914, takes up the most important time span. While van de Velde worked as head of the Weimar Kunstgewerbeschule, Kessler got involved as honorary director of the Museum für Kunst und Kunstgewerbe. The so far unpublished correspondence between the two cosmopolites gives deep insight into their exchange of ideas as much as into their creative examination. All letters are commented elaborately. With this, for the very first time the complex art and cultural historical coherences can be reasonably recognised. The correspondence reflects a considerable piece of cultural history of the beginning of the 20th century. The editor of the book, Antje Neumann, works on the "catalogue raisonné Henry van de Velde" at <a href="/en/klassik-stiftung-weimar" title="Weimar Classics Foundation">Weimar Classics Foundation</a>. </p> </div> </div> </div> Design History Publication Research Weimar Fri, 19 Jun 2015 09:06:19 +0000 Redaktion bauhaus-online.de 8928 at http://bauhaus-online.de Klee & Kandinsky http://bauhaus-online.de/en/magazin/artikel/klee-kandinsky <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Never before has such an outstanding selection of works from these two masters ever been united in one exhibition. <a href="/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a> (1879–1940) and <a href="/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> (1866–1944) count as the founding fathers of abstract art and at the same time had one of the great friendships in the history of art. The exhibition reveals a great deal about the narrow division between friendship and rivalry, between mutual artistic inspiration and personal distinction, but also between success and condemnation. Besides preciosities from their own collections, the Zentrum Paul Klee and their partner, the Municipal Gallery in the Lenbachhaus in Munich, have assembled altogether 150 pictures from the most famous museums in the world, from the Centre Georges Pompidou in Paris, the National Gallery in Berlin to the Guggenheim Museum in New York. </p><p>The exhibition covers the time span from 1900 until 1940 and is grouped into eight thematic areas, which provide emphases on the content of the chronology of the works. </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/klee-kandinsky" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/content_klee-und-kandinsky-in-dessau-beim-tee_content.png" alt="" title="Nina Kandinsky (?), Paul Klee and Wassily Kandinsky, Burgkühnauerallee 6-7, Dessau, 1929 Centre national d&#039;art et de culture Georges Pompidou Bibliothèque Kandinsky, Paris" 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/klee-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>In the collaboration with the Lenbachhaus in Munich the Zentrum Paul Klee found an ideal partner for this large international project, since both museums count as Competence Centres for both artists with regard to the content of the collections as well as their research background. </p><p>For further information about the exhibition and the contents of it, please go and visit the website of the <a href="http://www.zpk.org/en/ausstellungen/aktuell/klee-kandinsky-969.html">Zentrum Paul Klee, Berne</a>.</p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/klee-kandinsky#comments Bauhaus Faces Exhibition Painting Wed, 17 Jun 2015 20:39:37 +0000 Anja Guttenberger 8925 at http://bauhaus-online.de From Bauhaus to Buenos Aires http://bauhaus-online.de/en/magazin/artikel/from-bauhaus-to-buenos-aires <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Museum of Modern Art has organized the first major exhibition to examine the individual accomplishments and parallel developments of two of the foremost practitioners of avant-garde photography, film, advertising, and graphic design in the first half of the 20th century: <a href="/en/atlas/personen/grete-stern" title="Grete Stern">Grete Stern </a>(German, 1904–1999) and <a href="/en/atlas/personen/horacio-coppola" title="Horacio Coppola">Horacio Coppola</a> (Argentine, 1906–2012). "From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola" will be on view May 17 through October 4, 2015, and features more than 300 works gathered from museums and private collection across Europe and the Americas—many of which have never before been exhibited in the United States. These include more than 250 vintage photographs and photomontages, 40 works of original typographic design and award-winning advertising materials, 26 photobooks and periodicals, and four experimental 16mm films. From Bauhaus to Buenos Aires is organized by Roxana Marcoci, Senior Curator, and Sarah Meister, Curator; with Drew Sawyer, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography.</p><p><a href="/en/magazin/artikel/homage-to-horacio-coppola-and-grete-stern" title="Homage to Horacio Coppola and Grete Stern">Stern and Coppola</a> were united in their exploration of a modernist idiom, yet despite their relationship as husband and wife (from 1935 to 1943) they pursued this goal along remarkably original paths. Having started their artistic careers within the European avant-garde of the late 1920s and early 1930s, Stern and Coppola produced their major body of works in Argentina, where they thrived amid a vibrant milieu of Argentine and émigré artists and intellectuals. As harbingers of New Vision photography in a country caught up in the throes of forging its own modern identity, their distinctly experimental styles led to their recognition as founders of modern Latin American photography.</p><p>The earliest works in the exhibition date from the late 1920s to the early 1930s, when both artists began their initial forays into photography and graphic design. After beginning her studies in Berlin with <a href="/en/atlas/personen/walter-peterhans" title="Walter Peterhans">Walter Peterhans</a>, who became head of photography at the Bauhaus, in <a href="/en/atlas/jahre/1928" title="1928">1928</a> Stern met <a href="/en/atlas/werke/portrait-ellen-auerbach" title="Portrait Ellen Auerbach">Ellen (Rosenberg) Auerbach</a> and together they opened the pioneering studio ringl + pit, specializing in portraiture and advertising. Named after their childhood nicknames (Stern was ringl; Auerbach was pit), the studio embraced both commercial and avant-garde loyalties, creating proto-feminist works. The exhibition presents a large number of photographs, graphic design materials, and advertisements by the duo that explored alternative models of the feminine. Defying the conventional style of German advertising photography in this period, ringl + pit emerged as a dissident voice that stirred the interest of critics, artists, and consumers. </p><p>Coppola’s first photographs, made in Buenos Aires in the late 1920s, reveal an optical curiosity completely out of sync with prevailing trends in Argentina. Instead of using the camera to accurately render the details of the visible world, Coppola instead explored its potential to complicate traditional understandings of pictorial space. Like Man Ray and <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a>, he was interested in the effects of light, prisms, and glass for their visual and metaphoric potential, and he photographed his native city from unexpected perspectives akin to Germaine Krull’s images of Paris from the same decade. These early works show the burgeoning interest in new modes of photographic expression that led him to the Bauhaus in <a href="/en/atlas/jahre/1932" title="1932">1932</a>, where he met Stern.</p><p>Following the close of the Bauhaus and the rising threat of the Nazi powers in 1933, Stern and Coppola fled Germany. Stern arrived first in London, where her friends included activists affiliated with leftist circles, and the exhibition presents her now iconic portraits of German exiles, including those of playwright Bertolt Brecht, actress Helene Weigel, Marxist philosopher Karl Korsch, and psychoanalyst Paula Heimann. After traveling and photographing throughout Europe, Coppola joined Stern in London, where his modernist photographs depicting the fabric of the city alternate between social concern and surrealist strangeness.</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/from-bauhaus-to-buenos-aires" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/482_2011_ricr_1.jpg" alt="" title="Grete Stern. Sueño No. 1: Artículos eléctricos para el hogar (Dream No. 1: Electrical Appliances for the Home), 1949 The Museum of Modern Art, New York. Latin American and Caribbean Fund through gift of Marie-Josée and Henry R. Kravis in honor of Adriana Cisneros de Griffin " class="imagecache imagecache-article_full" width="373" 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/from-bauhaus-to-buenos-aires"></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 exhibition’s third gallery includes films that Coppola produced in Berlin, Paris, and London during these years. The first of these films, "Der Traum" (The Dream), bears the strongest relationship to Surrealist filmmaking, while his next two films, "Un Muelle del Sena" (A Quai on the Seine) (1934) and "A Sunday on Hampstead Heath" (1935), are increasingly ambitious, using the film camera alternately as a still camera and for its unique capacity to pan across a scene and to capture action in urban environments.</p><p>In 1935, Stern and Coppola married and embarked for Buenos Aires, where they mounted an exhibition in the offices of the avant-garde magazine Sur, announcing the arrival of modern photography in Argentina. Following the exhibition’s successful critical reception, their home became a hub for artists and intellectuals, both those native to Argentina and the exiles continuously arriving from a war-torn Europe. The fourth gallery in From Bauhaus to Buenos Aires presents Coppola’s photographic encounters from the city’s center to its outskirts and Stern’s numerous portraits of the city’s intelligentsia.</p><p>In 1936, Coppola received a career-defining commission to photograph Buenos Aires for a major publication celebrating the 400th anniversary of the city’s founding. Coppola used the opportunity to construct his own modern vision of the city, one that would incorporate the celebration of the local and his appreciation of the city’s structure inspired by the architect Le Corbusier. Concurrently, Coppola made his final film, "The Birth of the Obelisk"—an ode to Buenos Aires and its newly constructed monument. The film combines dynamic shots of the city with sequences of carefully constructed stills, demonstrating in six-and-a half minutes a vibrant, confident mix of influences, from Moholy-Nagy and Krull to the Concrete art movement in Argentina to films by Walter Ruttmann, Charles Sheeler, and Paul Strand. </p><p>Throughout the 1940s, Stern took incisive portraits of artists and writers, many of whom were aligned with the international antifascist cause and the emergence of an emancipatory feminist consciousness. These included playwright Amparo Alvajar; socialist realist painters Antonio Berni, Gertrudis Chale, and Lino Eneas Spilimbergo; poet Mony Hermelo; and graphic designer Clément Moreau. Among Stern’s numerous other subjects were poet-politician Pablo Neruda, abstract painter Manuel Ángeles Ortiz, and writer Jorge Luis Borges.</p><p>The exhibition concludes in the mid-1950s, at the end of Juan Domingo Perón's era, with a large presentation of Stern’s "Sueños" (Dreams), a series of forward-thinking photomontages that she contributed on a weekly basis to the women’s magazine Idilio (Idyll) from 1948 to 1951. In Dream No. 1: "Electrical Appliances for the Home", an elegantly dressed woman is converted into a table lamp that waits to be turned on by a male hand, using electricity as a sexual pun to expose feminine objectification. In Dream No. 24: "Surprise", a female protagonist hides her face in shock as she confronts a larger-than-life baby doll advancing toward her. Debunking fantasies about women’s lives, Stern plumbed the depths of her own experience as a mother and artist to negotiate the terms between blissful domesticity and entrapment, privacy and exposure, cultural sexism and intellectual rebellion. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/from-bauhaus-to-buenos-aires#comments Bauhaus Faces Design Exhibition Photography Wed, 17 Jun 2015 19:56:57 +0000 Anja Guttenberger 8923 at http://bauhaus-online.de International summer school Bernau 2015 http://bauhaus-online.de/en/magazin/nachricht/international-summer-school-bernau-2015 <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>From 17 until 22 August 2015 the Internation summer school Bernau will be held at the Bauhaus Trade Union School Landmark in Bernau for the first time. The curatorial motif 2015 is NEW VIEWS. Conceived and taught by five different handpicked specialists, each of the five courses will take a conceptual and practical approach to rethinking the legacy of the Bauhaus in order to stimulate artistic exploration, collaboration, and knowledge production. Until 30 June 2015 you can still apply on the website of the <a href="http://www.summerschool-bernau.de/2015/application/">International summer school Bernau.</a></p> </div> </div> </div> Berlin Education Mon, 15 Jun 2015 13:50:03 +0000 Redaktion bauhaus-online.de 8920 at http://bauhaus-online.de Funding of the Bauhaus-Archiv in Berlin is assured http://bauhaus-online.de/en/magazin/nachricht/funding-of-the-bauhaus-archiv-in-berlin-is-assured <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Minister of State, Monika Grütters, and the governing mayor of Berlin, Michael Müller, have signed today an administrative agreement about the funding of the Bauhaus-Archiv. With an overall sum of 56.2 Mio. € the financial requirements are now ensured to restore and enlarge the Bauhaus-Archiv. Berlin's mayor, Michael Müller, arguments: "The Bauhaus collection of the Bauhaus-Archiv in Berlin is one of the most important worldwide and the building of Walter Gropius is among the architectural highlights of Berlin. In the past ten years the museum could double the number of visitors. With the now initiated restoration and enlargement of the Bauhaus-Archiv it will finally find its appropriate place within the many museums of Berlin. A wonderful and important present for the centenary of the Bauhaus in 2019!"</p> </div> </div> </div> Bauhaus 2019 Berlin Mon, 08 Jun 2015 20:22:41 +0000 Redaktion bauhaus-online.de 8918 at http://bauhaus-online.de Black Mountain http://bauhaus-online.de/en/magazin/artikel/black-mountain-0 <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Hamburger Bahnhof – Museum für Gegenwart – Berlin presents the first comprehensive exhibition in Germany devoted to the legendary Black Mountain College. Founded in 1933in North Carolina, USA, Black Mountain rapidly rose to fame on account of its progressive teaching methods and the many prominent figures who taught and studied there. Its influence upon the development of the arts in the second half of the 20th century was enormous; the performatisation of the arts, in particular, that emerged as from the 1950s derived vital impetus from the experimental practice at Black Mountain. The founders wanted to establish a democratic, experimental, interdisciplinary educational facility in line with the forward-thinking pedagogical ideas of philosopher John Dewey. The exhibition traces the history of this university experiment in its main outlines. In the first few years of its existence, the college was strongly shaped by German and European émigrés – among them several former Bauhaus members such as JosefandAnni Albers, Alexander “Xanti” Schawinsky andWalter Gropius. After the Second World War, the creative impulses issued increasingly from young American artists and academics, who commuted between rural Black Mountain and the urban centres on the East and West Coast. Right up to its closure in 1957, the college remained imbued with the ideas of European modernism, the philosophy of American pragmatism and teaching methods that aimed to encourage personal initiative as well as the social competence of the individual.</p><p>At Black Mountain, the sciences and the arts were taught on an equal footing. The arts were seen as an essential component of a rounded education that would equip students to become responsible members of society. As time went by, however, the artistic disciplines shifted increasingly to the fore and attracted many students to apply for a place at the college. Teachers were free to structure their classes entirely as they wished, and students chose the courses that particularly interested them. Although there was no fixed curriculum, students were encouraged to take courses in a mixture of scientific and artistic subjects. Responsibility for the college was borne jointly by the teaching staff and the students, and everyone was expected to contribute on a voluntary basis to the daily running of the community as well as to evening programmes, field work and construction projects. Black Mountain was accessible right from the start to female as well as male students and staff, and contrary to contemporary practices of racial discrimination also accepted a number of Afro-American 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/black-mountain-0" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/11_bmcrp_buckminster_fuller_class.jpg" alt="" title="Black Mountain College: Buckminster Fuller Class, Lake Eden Campus, summer, 1949" class="imagecache imagecache-article_full" width="348" 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/black-mountain-0"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Within an architectural environment designed by the architects’ collective raumlabor_berlin, the exhibition at the Hamburger Bahnhof is showing works both by teachers at the college, such as <a href="/atlas/personen/josef-albers" title="Josef Albers">Josef </a>and <a href="/atlas/personen/anni-albers-fleischmann" title="Anni Albers (-Fleischmann)">Anni Albers</a>, Richard Buckminster Fuller, John Cage, Merce Cunningham, Shoji Hamada, Franz Kline, Xanti Schawinsky and Jack Tworkov, and by a number of Black Mountain students, including Ruth Asawa, Ray Johnson, Ursula Mamlok, Robert Rauschenberg, Dorothea Rockburne and Cy Twombly. In addition to loans from Germany and abroad, individual works from the collections of Erich Marx, Ulla and Heiner Pietzsch, Friedrich Christian Flick and Egidio Marzona are also on display. Like the extensive holdings of the Staatliche Museen zu Berlin and Stiftung Preußischer Kulturbesitz, these collections – today under the aegis of the Nationalgalerie – served as a valuable resource in the creation of the exhibition. A wealth of photographs and documentary film footage, as well as publications produced by the college, offer an insight into the way in which the institute worked and into life on campus. The exhibition also presents books by the academics and writers teaching at Black Mountain, as well as filmed interviews conducted over the past few years with former students.</p><p>For further information about the exhibition and its contents please visit directly the website of the <a href="http://www.smb.museum/en/museums-and-institutions/hamburger-bahnhof/exhibitions/ausstellung-detail/black-mountain-lehren-und-lernen-als-auffuehrungskuenste.html">Hamburger Bahnhof</a>. The homepage of the <a href="http://www.blackmountaincollege.org/history" target="_blank">Black Mountain College Museum + Arts Center</a> contains among other topics articles about the historical Black Mountain College, estates in the archive and current exhibitions. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/black-mountain-0#comments Architecture Berlin Design Exhibition Painting Photography Mon, 08 Jun 2015 19:57:10 +0000 Anja Guttenberger 8916 at http://bauhaus-online.de Photographing is a long dialogue http://bauhaus-online.de/en/magazin/artikel/photographing-is-a-long-dialogue <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>She is said to be one of the leading architectural photographers in the world: Hélène Binet. With her camera (exclusively analogue), she takes astonishing images of the work of the famous architects of our time like David Chipperfield, Zaha Hadid, John Hejduk, Daniel Libeskind, Edmund de Waal or Peter Zumthor. Binets execptional photographs capture the soul of a building and at the same time create a new, abstract space. From 3 June until 21 September 2015 some of her work is shown in the exhibition „Dialogues – Photographs by Hélène Binet“ at Bauhaus-Archiv / Museum für Gestaltung, Berlin. A great occasion for bauhaus-online to ask Hélène Binet some questions about the relationship between architecture and landscape, Moholy-Nagys’ ideas of photography and her principles of composition.</p><p><strong>Mrs. Binet, your exhibition „Dialogues“ is currently shown at the Bauhaus-Archiv Berlin – an institution where the worlds largest Bauhaus collection is located, which also includes most of the famous Bauhaus photography. Does the Bauhaus in general has an influence on your work?</strong></p><p>I think so. It was an amazing time, where so many doorways opened. A time of freedom with a lot of strenght and engagement, where photography became quite independent. There was the idea of moving away from the iconic image. I really appreciate all of that and looking at those images was a great influence to me. Especially László Moholy-Nagy’s approach, who aimed to visualize an idea with the camera, was inspiring. Because, when you photograph a building, you can also visualize an idea, for example use the line of the building to create your own composition. So the image is still in the spirit of the building but it becomes it’s own tableau. It has complete freedom.</p><p><strong>The exhibition at the Bauhaus-Archiv Berlin is called „Dialogues“ – what kind of dialogues?</strong></p><p>There are different cases of dialogues: between different architecture, but not only. In one specific case – Zaha Hadid, that I’ve been photographing for years – I decided to create this dialogue between architecture and landscape. In some of her works, there is a sense of using forces to build a gesture, that are very similar to the one of what exist in nature. For example if you think about lava movement and waves and sand dunes created by wind that have this natural flow. Due to the material and the way it reacts to forces and gravity, her work has something in common very strong with the natural flow, which is different from architects that are somehow accommodating with nature in a very delicate way. In Hadid’s case, it is different, she somehow uses the same strong energy as nature does.</p><p><strong>Regarding the relationship between landscape and architecture, the second Bauhaus director Hannes Meyer once said: „As creators we fulfill the fate of the landscape.“ What are good examples for a suceeded adaption of a building to it’s surrounding landscape?</strong></p><p>I think, a lot of the work of Peter Zumthor, the thermal bath that he built in Vals or the little chapel St. Benedict in the mountains. Peter Zumthor’s work is respecting and entering and dialogueing with the nature in a very subtle way, it really stands in the right place and doesn’t disturb. The Kunsthaus Bregenz is amazing, because it is next to a lake, where it is a very humid kind of atmosphere, and Zumthor said „I’m trying to create this building with almost collecting this fog and it’s humidity and turn it into a building.“ I think this dialogue is very subtle, it is not mimicking anything – it is just in harmony with what is happening at this specific place and with the landscape.</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/photographing-is-a-long-dialogue" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/image001.jpg" alt="" title="Alessandra Trainiti, Portrait of Hélène Binet" 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/photographing-is-a-long-dialogue"></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>No people, no digital photography, barely colours: how and why did you develop your principles of composition?</strong></p><p>We all know that composition is a very strong tool to create a space – even if it is all flat. So you can gain a sense of depth with different densities of having different grey and black. Structures and composition are a way to give you a more mental state that has a depth. And how I decide what kind of composition to choose is also in relation to the work. I will not compose an image in the same way, for example a building by Zaha Hadid like one by Peter Zumthor. I do look at the work of the architects to see their reference and to comprehend the work, to choose a way of composing. The work of Zaha Hadid for example is all lines which have a sense of continuity that never stops, they carry on in a way of greatness which is very different from the work of Peter Zumthor, which is very controlled. And I try to compose the image in parallel to the plan of the architect and create a space where you slowly enter another state – a very flat space, almost without perspective.</p><p><strong>How long does it take you to photograph a building?</strong></p><p>It depends a lot on the building – and on how strong the light changes, because light is so important for my work. It takes time to understand at what time and where the light will shine on the building or not, because sometimes it is also nice to be in a situation in which the light is very soft. So the more time I have, the better it will be. It is a long dialogue and a process, in which, I have to take away everything, which is really not necessary, so only at the end of the work I manage to photograph really abstract. Sometimes I get commissions like „Oh, can you do just two or three just very abstract photographs?“ and they think, I only need one day, but to get to that stage where you are really in touch with what is the most crucial point and you can reduce everything that is unnecessary – it takes time.</p><p><strong>Walter Gropius designed the Bauhaus building in a way, that it can only be understood while walking around it or through it. And it is said to be impossible to take an overall picture from only one point of view. Would you like to make an attempt of photographing this iconic building?</strong></p><p>Unfortunately, I never took a picture of the famous Bauhaus building in Dessau. I unfortunately haven’t photographed anything from Walter Gropius or other Bauhaus architects – but this is still to come, for it is definitely something beautiful, that I will be happy to photograph.</p><p><strong>This is something we are looking forward to. Thank you very much for your time.</strong></p><p></p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/photographing-is-a-long-dialogue#comments Architecture Berlin Exhibition Interview Photography Mon, 08 Jun 2015 19:16:28 +0000 Gesine Bahr 8914 at http://bauhaus-online.de Open Call – „Light at the Bauhaus“ http://bauhaus-online.de/en/magazin/nachricht/open-call-light-at-the-bauhaus <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Until 30 June 2015 the Bauhaus in Dessau invites students and young artists who work or study light design, architecture, stage design or scenography to apply for a workshop with the famous artist Philipp Geist. In an intensive 10-day-workshop, light and video projections, light objects or accesible space installations will be created and subsequently presented at the Bauhaus festivities from 4 until 5 September 2015 with immense public and medial attention. For further information and applicaiton conditions go to: <a href="http://www.bauhaus-dessau.de/open-call-licht-am-bauhaus.html">http://www.bauhaus-dessau.de/open-call-licht-am-bauhaus.html</a>.</p> </div> </div> </div> Design Dessau Education Mon, 08 Jun 2015 10:08:32 +0000 Redaktion bauhaus-online.de 8910 at http://bauhaus-online.de Saxony is invited to be part of the Bauhaus Verbund 2019 http://bauhaus-online.de/en/magazin/nachricht/saxony-is-invited-to-be-part-of-the-bauhaus-verbund-2019 <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Bauhaus Kooperation Berlin Dessau Weimar has suggested to invite the free state of Saxony  to become part of the Bauhaus Verbund 2019. On 2 July 2015, the curatorship of the Bauhaus Verbund 2019 will decide if Saxony will be a future member. Saxony's secretary of the interior, Markus Ulbig, said there are many traces of the Bauhaus in the free state and Saxony will thus happily accept the invitation. Ulbig recognizes the chance to show Saxony's classical modern side in architecture. Bauhaus traces can be found in multiple Saxonian places. Josef Alber's, for example, designed the staircase window for the Grassi Museum in Leipzig and Oskar Schlemmer planned a one-family house in Zwenkau near Leipzig. Furthermore the Saxonian company Kamdem modernized the lighting industry in cooperation with the Bauhaus. Not least one of the most popular Bauhaus students, the metal designer Marianne Brandt whose works are synonymous with the Bauhaus until today, came from Chemnitz and spent most of her life there. Today the Marianne-Brandt Prize is annually offered. </p> </div> </div> </div> Bauhaus 2019 Tue, 02 Jun 2015 20:50:07 +0000 Redaktion bauhaus-online.de 8896 at http://bauhaus-online.de Berlin initiates international competition concerning the Bauhaus-Archiv http://bauhaus-online.de/en/magazin/nachricht/berlin-initiates-international-competition-concerning-the-ba <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Bauhaus-Archiv / Museum of Design in Berlin will expand its walls on occasion of the centennial of the Bauhaus in 2019. The architectural competition comprises the restoration of the existant building, once planned by <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, and a new building for the museum. Architects from all over the world may apply for participation until 11 June 2015. </p> </div> </div> </div> Architecture Bauhaus 2019 Berlin Tue, 02 Jun 2015 20:28:37 +0000 Redaktion bauhaus-online.de 8895 at http://bauhaus-online.de Hélène Binet's poetic gaze at architecture at the Bauhaus-Archiv in Berlin http://bauhaus-online.de/en/magazin/artikel/helene-binets-poetic-gaze-at-architecture-at-the-bauhaus-arc <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Hélène Binet, one of the world’s most successful contemporary architectural photographers is presenting key moments from her career as an artist at the Bauhaus-Archiv / Museum für Gestaltung, Berlin, from 3 June to 21 September 2015. In the exhibition, which was conceived by Binet herself, the artist establishes relationships between her photographs of buildings by the well-known architects John Hejduk, Le Corbusier, Peter Zumthor and Zaha Hadid and her photographs of another building or a landscape. The resulting artistic dialogues between the works as well as the individual, mostly abstract compositions of the images underscore the distinctive atmospheric qualities of the buildings.</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/helene-binets-poetic-gaze-at-architecture-at-the-bauhaus-arc" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/helene_binet_zaha_hadid_riverside_museum_glasgow_grossbritannien_2011_c_helene_binet.jpg" alt="" title="Hélène Binet, Riverside Museum of Transport, Glasgow (United Kingdom), 2011 " class="imagecache imagecache-article_full" width="435" height="330" /></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/helene-binets-poetic-gaze-at-architecture-at-the-bauhaus-arc"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>“Dialogues – Photographs by Hélène Binet” is the first solo exhibition in a German museum to be devoted to Binet’s work. This year in the US the photographer was presented the Excellence in Photography Award of the Julius Shulman Institute. The exhibition includes 70 medium- and large-format photos. Today, as at the beginning of her career 26 years ago, Binet still shoots her photographs on analogue film, usually in black and white. She sees both as artistic means of concentration. The compositions of her images are precise decisions selecting the optimal detail and the right moment. </p><p>For detailed information about the exhibition, please visit directly the website of the <a href="http://www.bauhaus.de/">Bauhaus-Archiv / Museum für Gestaltung, Berlin</a>. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/helene-binets-poetic-gaze-at-architecture-at-the-bauhaus-arc#comments Architecture Berlin Exhibition Photography Tue, 02 Jun 2015 20:09:41 +0000 Anja Guttenberger 8894 at http://bauhaus-online.de Mies: The Reconstructions http://bauhaus-online.de/en/magazin/artikel/mies-the-reconstructions <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>“Architecture is the will of an epoch translated into space.”<a href="#_ftn1" title="">[1]</a> This is how <a href="/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Ludwig Mies van der Rohe</a> defined the meaning of architecture in an essay of 1924. Applied to the present day, it would seem that the will of this epoch – that is to say, contemporary architecture – has succumbed to a kind of vampirism: Reconstructions are on the rise and many projects are resurrecting buildings that no longer exist – and with them the forms of other, earlier epochs. The present wears the past as a mask and perhaps thereby arms itself against a present day that is evidently perceived as anything from unsatisfactory to threatening. At any rate, retro cults and revivals are booming – not only in architecture.</p><p>Something similar occurred in the nineteenth century in the name of historicism. The architecture clothed itself in the costumes of other eras and cultures. Modernism stepped up in order to put an end to his masquerade. The New Architecture for the New Man rose up against the old.</p><p>In the meantime, even so-called classical modern buildings are being reconstructed. This mainly goes to show that modernism itself has by now become historic. And when the modern architecture is as powerful as Mies van der Rohe’s, the desire to bring his destroyed or even unrealised buildings into the present grows – all the more so when the respective city marketing departments gain another tourist attraction in the process.</p><p><strong>The interpretation of a myth: The Barcelona Pavilion</strong></p><p>Mies’ renowned <a href="/atlas/werke/barcelona-pavillon" title="Barcelona-Pavillon">Barcelona Pavilion </a>was reconstructed as early as 1986 to mark the great architect’s centenary. The building was originally built for the <a href="/atlas/jahre/1929" title="1929">1929 </a>Barcelona International Exposition to represent a new, modern Germany, which wanted to prove its break with its Wilhelmine past. The pavilion existed for just seven months and was dismantled when the exhibition ended. Its constituent parts, including the valuable onyx wall around which Mies had reportedly designed the building, have vanished without a trace.</p><p>Nevertheless, the Barcelona Pavilion (complete with furniture designed by Mies) has come to epitomise classical modernism. Only a few people saw the building in situ in 1929; its importance was also barely recognised in its day. The building’s fame came posthumously, in its later life as an image in countless magazines and books. It was above all its presence in Philip Johnson’s seminal 1947 Mies exhibition in MoMA<a href="#_ftn2" title="">[2]</a> that elevated the Pavilion to the ranks of the twentieth century’s most famous buildings.</p><p>On closer examination, the reconstruction of 1986<a href="#_ftn3" title="">[3]</a> is by no means a true copy of the original. After all, the reconstruction was guided by the intention to realise the concept of Mies’ Pavilion as if it had been designed as a permanent structure. In 1986 this mainly meant using the materials required in order to meet this new remit.<a href="#_ftn4" title="">[4]</a> For example, while the roof of the original was made from a steel skeleton with cladding, this was realised in the reconstruction as a solid reinforced concrete slab. The foundation is now also concrete and there is also a heating system, which the original did not have. The building site also deviates from the original by a few metres. Because all we have from 1929 are black and white photographs of the Pavilion, the colours of the mousy grey and bottle green slabs in the reconstruction are moreover the result of guesswork. Above all else, the reconstruction’s symmetrical arrangement of the central, freestanding onyx wall constitutes a blatant departure from the asymmetry of the original.</p><p>The reconstruction of the Barcelona Pavilion is therefore not so much a reconstruction as a reinterpretation. But this – more or less intentionally – is almost always the case with every reconstruction or restoration. The transition from one to the other is also fluid.</p><p></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/mies-the-reconstructions" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/haus_wolf.jpg" alt="" title="Mies&#039; modernes Erstlingswerk als Rekonstruktion im kleinen Maßstab: Modell von Haus Wolf auf der &quot;Modell Bauhaus&quot; Ausstellung im Berliner Martin-Gropius-Bau 2009" class="imagecache imagecache-article_full" width="327" 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/mies-the-reconstructions"></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>Restoration minus history: Villa Tugendhat</strong></p><p>The reconstruction of another Mies building provides a striking example of the above: <a href="/atlas/werke/haus-tugendhat" title="Haus Tugendhat">Villa Tugendhat</a> in Brno, built in <a href="/atlas/jahre/1930" title="1930">1930</a>. This building, in which Mies transferred the Barcelona Pavilion’s concept of “flowing space” to a regular residence, was reopened as a “museum in itself” in 2012 after a two-year restoration process. Shortly after its restoration, the museum looks like a new build. In fact, this is also the case in some parts: For instance, due to water damage the external steps leading to the garden had to be demolished and rebuilt – although the render was removed fresco-style and reapplied to the reconstruction. At Villa Tugendhat, another modern 20th century icon and of course also a UNESCO World Cultural Heritage site, the restoration process was complex and demanding. The remit for the restoration of the rather dilapidated building was to replicate to the greatest possible degree the original condition of 1930. The Czech restorers involved call this process “subtractive restoration”, meaning that all the changes to the original that had occurred over time had to be removed some eight decades later. After the emigration of the Jewish Tugendhat family in 1938, the building was among other things a children’s sanatorium. In order to eliminate the traces of later uses or modifications, in some places this only meant the removal of a “wrong” coat of paint. But in the bathroom, the missing fittings had to be reconstructed and then re-made based on historic photographs and with the aid of digital technologies. Today, the washbasin and toilet are also reconstructions.</p><p>Broadly speaking, the subtractive process overlooks history in favour of the “purity” of the (architectural) work of art, which, bar its actual use as a residence, is what Villa Tugendhat represents.</p><p><strong>GDR history eliminated through restoration: House Lemke</strong></p><p>This peculiar ahistoric-historicising will of the epoch had also dictated events at <a href="/atlas/werke/haus-lemke-0" title="Haus Lemke">House Lemke</a> in Berlin. Completed in <a href="/atlas/jahre/1933" title="1933">1933</a>, House Lemke is the last of Mies’ residential building to be built in Germany. It was commissioned by the printing works owner Karl Lemke and his wife. Mies worked as hard as he did on Villa Tugendhat for the childless couple, designing a house that, to meet his clients’ wishes, ultimately had to be relatively small, modest and inexpensive. Since the end of the GDR the building has been used as a gallery for modern and contemporary art. The comprehensive restoration of 2000–2002 aimed to return the building to its original condition. The house had undergone a whole raft of changes since its construction: The once ceiling-high doors had been lowered and the former bedroom had been turned into a children’s room, with an additional window inserted in the external wall. In the 1970s in the GDR, the house was placed under a conservation order and partly reconstructed. Before that, the house had however also faced adversity: It served for a while as a garage for the Russian occupying forces and as a laundry depot for the “Stasi properties” in the area. In the interim, the house with its partly bricked-in windows looked like a suburban bungalow. In the 2002 restoration of the building to its original condition, these historically fascinating states were utterly ignored. Even original parts of the building were destroyed, such as the stone-flagged drive and the garden steps. The layout of the garden itself was largely based on a surviving plan by Herta Hammerbacher, the realisation of which is however questionable.<a href="#_ftn1" title="">[5]</a></p><p><strong>No place for interpretation: Monument to the Revolution</strong></p><p>For similar reasons, the reconstruction of another renowned Mies-designed structure in Berlin has so far remained unrealised, despite initiatives to this end. This is the memorial to the martyrs of the revolution of November 1918, located in the cemetery in Berlin-Friedrichsfelde. <a href="#_ftn2" title="">[6]</a> One of the problems is that while we are familiar with the facade of the monument with its layered, protruding and recessed brickwork segments, which has been widely disseminated in photographs, we have no record of what the back of the monument looks like. Commissioned in 1926 by the communist party, the monument now however incorporates all sorts of political and historical implications, which also stand in the way of its reconstruction.</p><p> </p><p><strong>Reconstruction as a German-Polish conciliation project: Villa Wolf</strong></p><p>A different fate awaits another building by Mies, for which reconstruction plans are currently underway. This is Villa Wolf in Guben/Gubin, the first modernist building by Mies that was actually also built. This already demonstrates the open-plan spatial structure that is so typical of Mies’ designs. Built in <a href="/atlas/jahre/1926" title="1926">1926 </a>for the textile and hat manufacturer Erich Wolf, the building was extensively damaged in the war and demolished in 1945. Today, the park-like grounds with terraces leading down to the Neisse river lie on the Polish side of the once German town of Guben, now known as Gubin.</p><p>The planned reconstruction project owes much to the initiative of the former President of the Federal Office for Building and Regional Planning (BBR), Florian Mausbach. To date, however, there is no financing in place. Mausbach has however already attracted a series of backers for what is intended as a German-Polish conciliation project. The plans and layout drawings still exist and the underground part of the building remains in situ, as an investigative excavation proved in 2001. If possible, the aim is to faithfully rebuild this “archetypal modernist villa in 1:1 scale”. Mausbach himself avoids the term “reconstruction” for his project, because this is ideologically charged in Germany – something that he learned in his former post during his involvement in the highly controversial reconstruction of Berlin’s Stadtschloss. The new-old Villa Wolf was originally scheduled for completion in time for the Bauhaus centenary in 2019, but it now looks as if the project will be delayed. A symposium in Berlin in autumn 2015 will aim to raise the public profile of the project. Mausbach expects broader support in terms of funding for the reconstruction only when the building work has begun, adding that basic financing to this end must first be secured.</p><p> </p><p><strong>The walkable architectural model: Krefeld Golf Club</strong></p><p>A reconstruction of <a href="/atlas/ort/mies-11-das-golfclub-projekt_8389" title="1 Das Golfclub Projekt">Mies’ Krefeld Golf Club</a> of 1930 was also called a model or, more precisely, a “Walkable Architectural Model”. The never-realised building was built in 2013 on an 80 x 80 square metre area on the initially planned site in Egelsberg, near Krefeld. The model was a temporary building, in situ for just seven months. Wood was used as a building material for all non-load bearing walls. The artistic director of the project, Belgian architect Paul Robbrecht, likened the project to a musical interpretation of Mies’ plans. Although some details are missing and some parts remain “sketchy”, with materials such as stone floors and chrome plated steel supports, what was built came close to the look and feel of the planned building, without repudiating its model character. This facilitated a physical experience of the building lacking in the many 3D computer simulations – especially with regard to the interplay with the surrounding landscape. It has to be said however that these kinds of models would be nearly impossible to realise without today’s technical resources, e.g., CAD<a href="#_ftn3" title="">[7]</a> programmes.</p><p>These sophisticated digital means of simulating and animating drawings and plans in virtual models and the computer-aided production of building components (e.g., cutting wooden sections to size) are also a major reason why reconstructions of destroyed or unrealised structures have become fashionable. By now, it is easy to bring historic plans or photos of old buildings to life in the virtual realm. The transition from virtual to actual building activity comes about in the same way as it would with contemporary plans (which are all realised with the computer today).</p><p>From a technical standpoint, Mies reconstructions are therefore not exceptional cases. But the fact that reconstructions of his buildings are evidently so popular (even when they are officially called restorations) is not only due to their undisputable class, but also because they have already become so iconic and popular as images, as media phenomena<a href="#_ftn4" title="">[8]</a>, that there is a desire to see them vindicated in spatial and substantial terms, even when some aspects of these built conceptions don’t quite add up – first and foremost their authenticity and, at the same time, their historicality as evidence of a bygone age. Mies reconstructions are therefore at least as much an expression of our contemporary “will of an epoch” as illustrations of built conceptions of history.</p><p></p><p><a href="#_ftnref1" title="">[1]</a> In: Der Querschnitt (1924) 4, pp. 31 – 32</p><p><a href="#_ftnref2" title="">[2]</a> Catalogue: Philip Johnson: MIES VAN DER ROHE. New York:  Museum of Modern Art, 1947</p><p><a href="#_ftnref3" title="">[3]</a> Realised by architects Cristian Cirici, Fernando Ramos and Ignasi de Solà-Morales</p><p><a href="#_ftnref4" title="">[4]</a> Cf. El Pavelló Alemany de Barcelona de <a href="http://dblp.kbs.uni-hannover.de/dblp/Search.action;jsessionid=C4F7FB84D6C66BFFBB06095E72384C8E?search=&amp;q=by%3A%22Ludwig+Mies+van+der+Rohe%22">Ludwig Mies van der Rohe</a> 1929-1986, <a href="http://dblp.kbs.uni-hannover.de/dblp/Search.action;jsessionid=C4F7FB84D6C66BFFBB06095E72384C8E?search=&amp;q=in%3A%22Fundaci%C3%B3+P%C3%BAblica+del+Pavell%C3%B3+Alemany+de+Barcelona+de+Mies+van+der+Rohe%22">Fundació Pública del Pavelló Alemany de Barcelona de Mies van der Rohe,</a> <a href="http://dblp.kbs.uni-hannover.de/dblp/Search.action;jsessionid=C4F7FB84D6C66BFFBB06095E72384C8E?search=&amp;q=in%3A%221987%22">1987</a></p><p><a href="#_ftnref1" title="">[5]</a> Udo Dagenbach was the landscape architect for the reconstruction</p><p><a href="#_ftnref2" title="">[6]</a> Cf. Mies Haus Magazin Periodikum zur Kultur der Modern, No.1/2005 "Denkmalkult: MIES' DENKMAL - rekonstruieren: ja oder nein?"</p><p><a href="#_ftnref3" title="">[7]</a> CAD = Computer-aided design</p><p><a href="#_ftnref4" title="">[8]</a> Cf. Colomina, Beatriz, Manifesto Architecture: The Ghost of Mies, Berlin, 2014</p><p></p><p> </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/mies-the-reconstructions#comments Architecture Fri, 22 May 2015 08:50:00 +0000 Ronald Berg 8881 at http://bauhaus-online.de The Coop Principle http://bauhaus-online.de/en/magazin/artikel/the-coop-principle <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Cooperative societies, sharing communities, building groups – the collective is booming. The questions of the relationship between society and design, between individual and collaborative creation and production were already being negotiated at the Bauhaus: The second Bauhaus director <a href="/en/atlas/personen/hannes-meyer" title="Hannes Meyer">Hannes Meyer</a> (1889-1955) notably organised his teaching and workshops, planning and architecture along the radical lines of the collective and its requirements. Meyer’s idea of a collective design process was particularly revolutionary. Now, this so-called coop principle is being addressed for the first time by the exhibition “the coop principle – Hannes Meyer and the Concept of Collective Design”.<br /><br />The exhibition elucidates why Meyer by his own admission never developed projects alone, how he realised the “cooperative” in theory and practice and what precisely lies behind his motto “Volksbedarf statt Luxusbedarf” (the needs of the people instead of the need for luxury). Under Meyer’s reign as director, for a period of two years the "Volkswohnung" (People’s flat) was the Bauhaus Dessau’s main mission and leitmotif. The goal was to achieve the greatest economy in form, construction and material – a design credo that is being rediscovered in many places today.</p><p></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-coop-principle" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="http://bauhaus-online.de/files/imagecache/article_full/magazin-bilder/02-1_sbd_hannes-meyer_ar.jpg" alt="" title="Erich Consemüller, Hannes Meyer on the building ground of the Trade Union School of ADGB in Bernau (near Berlin), 1928 " class="imagecache imagecache-article_full" width="300" 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-coop-principle"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>A special highlight of the exhibition is the reconstruction of the "Volkswohnung" by Bauhaus Dessau Foundation in cooperation with the Deutsche Werkstätten Hellerau and the Arbeits- und Sozialförderungsgesellschaft Dessau e.V. Here, visitors may try out themselves what the "Volkswohnung" was about and how you could live in it.</p><p>For further information, please visit the website of <a href="http://www.bauhaus-dessau.de/das-prinzip-coop-hannes-meyer-und-die-idee-einer-kollektiven-gestaltung.html">Bauhaus Dessau Foundation</a>. </p> </div> </div> </div> http://bauhaus-online.de/en/magazin/artikel/the-coop-principle#comments Architecture Bauhaus Faces Design Dessau Exhibition Tue, 19 May 2015 10:10:37 +0000 Anja Guttenberger 8880 at http://bauhaus-online.de