Bauhaus Online | Magazin en-US The White City will be restored <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-white-city-will-be-restored"></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 White City in Tel Aviv was built for the most part by German Jewish architects who had fled Nazi Germany around1933. The majority of these had been students at the Bauhaus or had learned their profession with one of the modern architects of the avant-garde in the 1920s and 1930s, for instance Le Corbusier, Erich Mendelsohn, <a href="/en/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Ludwig Mies van der Rohe</a> or<a href="/en/atlas/personen/walter-gropius" title="Walter Gropius"> Walter Gropius</a>. (Shmuel Mestechkin, Munio Gitai-Weinraub, Shlomo Bernstein, <a href="/en/atlas/personen/arieh-sharon" title="Arieh Sharon">Arieh Sharon</a> as Bauhaus students; Dov Carmi, Genia Averbuch, Ben-Ami Shulman, Ze’ev Rechter and Joseph Neufeld with other architects). From Europe to Tel Aviv they brought their skills, building materials and their own architectural aesthetic, which was guided by the maxim “form follows function”: strong linear elements, flat roofs and white facades, which led to the neighbourhood being named White City. From <a href="/en/atlas/jahre/1931" title="1931">1931</a> to 1956, 4,000 buildings were built here in the International Style. Around 1990 1,000 of these were placed under a preservation order; in 2003 the White City was awarded UNESCO World Cultural Heritage status. Over the years the ravages of time and the corrosive sea air have left their mark on the unique buildings, such a great number of which are found only here. They are now going to be restored and in order to save this singular architectonic gem from decay, Germany is providing Israel with financial support to the value of ca. 3.2 million dollars (around 2.9 million euros).</p><p>Further information about the White City in Tel Aviv is found on the homepage of the <a href="">Bauhaus Center</a> in Tel Aviv.</p> </div> </div> </div> Architecture Bauhaus Faces Thu, 23 Jul 2015 06:05:57 +0000 Anja Guttenberger 8953 at Before restoration, the exhibition <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Prior to the restoration of eleven paintings by the Bauhaus master <a href="/en/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, donated by Anneliese and Ludwig Steinfeld, these will be shown in a special exhibition by the <a href="/en/stiftung-bauhaus-dessau" title="Stiftung Bauhaus Dessau">Bauhaus Dessau Foundation</a> from 18 July to 9 August 2015.</p><p><a href="/en/atlas/personen/georg-muche" title="Georg Muche">Georg Muche</a>, along with <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>, <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a> and <a href="/en/atlas/personen/johannes-itten" title="Johannes Itten">Johannes Itten</a>, is one of the most important and bankable painters to have taught at the Bauhaus. Muche arrived at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a> in <a href="/en/atlas/jahre/1919" title="1919">1919</a> and was, as the youngest of the masters, chiefly responsible for the <a href="/en/atlas/werke/weaving-workshop" title="Weaving Workshop">weaving workshop</a> until <a href="/en/atlas/jahre/1927" title="1927">1927</a>. <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a> sought him out personally for the Bauhaus. Previously in Berlin, Muche moved in the same circles as the writer, critic and gallery owner Herwarth Walden (“Der Sturm”) and was thus a member of the avant-garde elite in the early twentieth century. He eventually left the Bauhaus in 1927, having had a significant influence on the <a href="/en/atlas/ort/haus-am-horn_1403" title="Haus am Horn">Haus Am Horn</a> in Weimar, the <a href="/en/atlas/das-bauhaus/lehre/vorkurs-johannes-itten" title="Preliminary Course by Johannes Itten">preliminary course</a> directed by Johannes Itten and the <a href="/en/atlas/werke/metal-prototype-house" title="Metal Prototype House">Stahlhaus</a> on the <a href="/en/atlas/werke/dessau-toerten-housing-estate" title="Dessau-Törten Housing Estate">Dessau-Törten housing estate</a>. As a painter his early interest in abstract art was followed in the 1950s by a shift towards figurative art. His paintings are characterised by a vibrant and radiant use of colour, whereby only a few of his early works survived the war. This makes all the more valuable the 1915 painting “Das große Bild XX”, which may now be seen in the exhibition. This will be complemented by later paintings dating from the 1950s.</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/before-restoration-the-exhibition" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="From l. to r.: Georg Muche, “Das große Bild XX”, 1915 and Georg Muche, “Wasserspiegel” (1954) Photo: Tassilo C. Speler" 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/before-restoration-the-exhibition"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Muche, two of whose paintings were also shown in the NS exhibition of “degenerate art” in Munich in 1938, settled in the 1930s in Lower Rhine and taught textile art there for many years. In Wuppertal at the Institut für Malstoffkunde (Institute for painting materials science) he met together with Oskar Schlemmer and Willi Baumeister. After the war he continued to teach in Krefeld and worked as a painter of frescoes for the Landtag in Düsseldorf (1948) and others. Georg Muche died in 1987 in Lindau, Lake Constance.</p><p>The Muche donation originates from the collection of Anneliese and Ludwig Steinfeld of Schlüchtern. Ludwig Steinfeld (1917-1998) and Georg Muche were friends for many years. Steinfeld was quick to recognise Muche’s significance as an artist and bought his paintings. After the war Steinfeld laboriously gathered together his friend’s paintings, which had been strewn far and wide during the war years, in a small collection. Following the death of his widow Anneliese Steinfeld in 2014, the works were donated to the Bauhaus Dessau Foundation. As a result, for the very first time the Foundation now owns a collection of paintings by this major Bauhaus painter. Previously owners of onlya small number ofMuche’sgraphics, the donation now paves the way for an exemplary exhibition of Georg Muche’s work.</p><p>For further information on the exhibition of the eleven paintings by Georg Muche, please visit the website of the <a href="/en/stiftung-bauhaus-dessau" title="Stiftung Bauhaus Dessau">Bauhaus Dessau Foundation</a>.</p> </div> </div> </div> Bauhaus Faces Dessau Exhibition Painting Thu, 23 Jul 2015 05:59:10 +0000 Anja Guttenberger 8952 at Reproductions in Henry van de Velde’s Haus Hohe Pappeln <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Belgian designer and arts reformer Henry van de Velde (1863–1957) moved to Weimar in 1902 as artistic counsellor to Grand Duke Wilhelm Ernst with the intention of inspiring modern design in craftsmanship and industry in Saxe-Weimar-Eisenach. In order to introduce the “new style” to the younger generation too, he founded the Kunstgewerbeschule (school of arts and crafts) from which the Bauhaus was to develop in 1919. In 1907 on the outskirts of Weimar van de Velde designed a house for his family of seven, known as Haus Hohe Pappeln. Here, he was able to build an architectonic Gesamtkunstwerk without having to submit to the demands of other clients. As with many of his buildings he designed not only the architecture, but also numerous details of the décor itself, from picture rails and curtains to lights. But he – unlike the clients for his other buildings – lacked the means to design the whole interior. He therefore also integrated older furniture characterised by dynamic lines in the new, decidedly simple and elegant style of the house. After the family relocated to Switzerland, the house was sold in 1919. It is now owned by the Klassik Stiftung Weimar and the representative ground floor and the garden, designed by Henry and Maria van de Velde, are open to the public. The furniture of the Münchhausen family, which was designed by van de Velde in Weimar in 1904, has replaced the now missing or scattered original furniture belonging to van de Velde.</p><p>The overall impression of the ground floor, formerly characterised by diverse colours and materials, is to be restored in line with conservation guidelines so that it may be brought to life once again. The project will embrace all fittings and furnishings in the workroom and in the salon. Information pertaining to the authenticity and reconstruction of features will be provided by means of texts, an audio guide and plans. The fitted cabinets along the workroom walls, the two writing desks integrated in these, the radiator casings and a sofa installed against the wall will be reconstructed. The missing wall covering made from Henry van de Velde’s “Tula” cloth can be rewoven in detail. Metal fittings such as handles, picture hooks and decorative elements on the radiator casings will also be reconstructed. In the salon, curtains and lights will be rewoven or redressed. The reconstructions will be based on historic photographs, the statements of historic witnesses, the findings of building archaeology and analogous examples. In the workroom, the study of the preserved window reveals and doors showed evidence of once faintly lustrous surfaces. The removal of more recent layers of render also brought to light the original battens of the wall covering, complete with remnants of coloured thread. Identifying the colours of the room’s original textiles presented the project’s greatest challenge thus far. Although the pattern repeat, material and technique of both wall covering and salon curtain are known from originals from various collections and listed in the second volume of the catalogue of works, Henry van de Velde had the cloth woven in a number of colour variations, which could only be partially identified. A greyscale comparison of historic photographs and the known sample materials however meant it was possible to identify red and pink as the colours of the salon curtain. A study of photos of the nuanced colour changes in the wall covering however was inconclusive. An analysis of the dye in the millimetre-sized remnant of cloth will hopefully give some indication of the original colours of the wall covering. Overall, the room will be defined by the soft matt colours pink (wall), yellow-olive/mud coloured (wall covering), anthracite (radiator niches) and reddish brown (fitted furniture).</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/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Study in Haus Hohe Pappeln, View from southeast, ca. 1910 Bildarchiv Foto Marburg" class="imagecache imagecache-article_full" width="435" height="315" /></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/reproductions-in-henry-van-de-velde%E2%80%99s-haus-hohe-pappeln"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Although Henry van de Velde was a long way from modern mass production around 1908 and championed individual design, he used the same designs many times over. Contemporary analogies of decorative details could therefore be used for the parts of the workroom for which no evidence could be found. The elegant grooves in the edge of the shelving arrangement will be reproduced based on the villa Hohenhof in Hagen, the radiator casings based on an identical example in Hof Lauterbach.</p><p>In its equally functional and unpretentious design vocabulary, the workroom in Haus Hohe Pappeln provides a perfect example of Henry van de Velde’s design around 1908. Here as in his early works, for example for the Berlin hair salon Haby, even the smallest surface is functional and not one detail of the décor is superfluous. By now, van de Velde’s eschewal of a linear dynamic was far more emphatic than it was around 1900. By way of functionalism and a comparatively minimalist simplicity he positioned himself against the revived and thriving tendency towards historicism in furniture design. He brought the structures of the materials into effect and implemented them decoratively so that they superseded the ornament’s functional design. The material vernacular of the grain of the teak wood, the ribbing of the sofa’s cord velvet upholstery and the marbling of the stove give the room its character. When the restoration of the workroom and salon in Haus Hohe Pappeln is complete, this unpretentious but deliberate and elegant minimalism will be brought to life with far greater vibrancy than ever before. Thanks to the outstanding commitment of the highly specialised craftspersons and restorers and the support of the Federal Government Commissioner for Culture and the Media, from April 2016 the architectonicGesamtkunstwerkwill regain an important part of its original appearance as intended by Henry van der Velde.</p><p></p><p>Information for visitors:<br /> Haus Hohe Pappeln<br /> Belvederer Allee 58 <br /> 99425 Weimar</p><p>Opening times:<br /> 9.5. - 24.10.<br /> Tues Wed Thurs Fri Sat Sun | 11 a.m. – 5 p.m.<br /> Closed for restoration from 14 – 26 September 2015</p><p>Admission<br /> Adults 3,00 € | Concessions 2,00 € | Students (aged 16-20) 1,00 €<br /> Free for children and under-16s</p> </div> </div> </div> Architecture Design Weimar Thu, 09 Jul 2015 19:42:24 +0000 Sabine Walter 8943 at Bauhaus Face: Hubert Hoffmann <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Born 23 March 1904 in Berlin-Zehlendorf Hubert Hoffmann spent his early years in Monte Verità, Ascona, where his father was working as an architect. He attended school in Hanover then completed an apprenticeship in agriculture in Eastern Friesland. He subsequently returned to Hanover to study at the Bauschule (school of architecture), Kunstgewerbeschule (school of arts and crafts) and the Technische Hochschule (technical university), and for a further year at the Academy of Fine Arts, Munich.</p><p>In <a href="/en/atlas/jahre/1926" title="1926">1926</a> he finally found the ideal educational institution – the Bauhaus Dessau. He enrolled as student No. 124 for the winter term 1926/27 and was immediately able to witness the completion of the Bauhaus building. Up to 1929 his teachers included <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>, <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a> and <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a>, later also <a href="/en/atlas/personen/hannes-meyer" title="Hannes Meyer">Hannes Meyer</a>, <a href="/en/atlas/personen/joost-schmidt" title="Joost Schmidt">Joost Schmidt </a>and <a href="/en/atlas/personen/alfred-arndt" title="Alfred Arndt">Alfred Arndt.</a> He was involved in a several projects for the expansion of <a href="/en/atlas/ort/siedlung-toerten_643" title="Siedlung Törten">Siedlung Törten</a> and was active in the <a href="/en/atlas/das-bauhaus/werkstaetten/druck-reklame-werkstatt" title="Printing and Advertising Workshop">advertising department</a>.</p><p>After completing his studies, from <a href="/en/atlas/jahre/1929" title="1929">1929</a> to <a href="/en/atlas/jahre/1932" title="1932">1932</a> Hoffmann worked among others for Fred Forbat and <a href="/en/atlas/personen/marcel-breuer" title="Marcel Breuer">Marcel Breuer</a>’s office in Berlin and fitted over fifty grocery stores for a cabinet maker’s, using a modular construction system. At the same time he continued to visit the Bauhaus as a guest student and worked with Jacob Hess and Cornelius van der Linden on the “Analyse von Dessau” (Analysis of Dessau), which was presented at the <a href="/en/atlas/jahre/1933" title="1933">1933</a> CIAM congress.</p><p>From 1934 to 1936 Hoffmann was an assistant to Prof. Müller at the Institut für Kraftverkehr und Städtebau (institute of transport and urban development) of TU Berlin and was subsequently employed in the planning office of the province of Posen. From 1938 to 1939 he also worked briefly as a town planner in Potsdam. In 1940 he was called up to the Wehrmacht, for which he worked among other things as a land-use planner in Lithuania. Towards the end of the war, as an employee of the Akademie für Städtebau (academy of urban development) near Magdeburg, he was briefly incarcerated in an American prisoner of war camp.</p><p>After the war, for a few months Hoffmann was a town planner in Magdeburg and then, from late-1945, in Dessau. Under the reinstated Lord Mayor Fritz Hesse he worked towards the re-opening of the Bauhaus and organised initial measures to safeguard the now severely damaged Bauhaus buildings. From 1946 to 1948 he participated in numerous competitions with a group of former Bauhauslers known as the "Planungsgemeinschaft Bauhaus” (Bauhaus planning collective). Fritz Hesse set Hoffmann the task of reviving the Bauhaus. Ultimately however, the re-opening of the Bauhaus as a modern art school failed following the rise to power of the Socialist Unity Part of Germany (SED), which judged the Bauhaus to be too elitist. Hoffmann was denounced and had to flee to the West.</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-hubert-hoffmann" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Unknown photographer, Hubert Hoffmann, beginning of the 1920s Private collection" 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/bauhaus-face-hubert-hoffmann"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Hubert Hoffmann settled in West Berlin and worked for the building design authorities. From 1953 he worked as a freelance architect for Hans Scharoun and Walter Rossow and others and contributed to the planning of Berlin’s Hansaviertel. In 1957 in association with Wassily Luckhardt he built house no. 9 for the international building exhibition Interbau.</p><p>In 1959 Hoffmann was appointed tenured professor and director of the Institut für Städtebau und Entwerfen (institute of urban design and planning) at the technical university in Graz (now Graz University of Technology). Numerous projects in Austria followed, mainly in Styria and Vorarlberg; Hoffmann also participated in various competitions in Germany.</p><p>In 1956 he became a guest lecturer at Auburn University in Alabama, USA. The same year, he and a team of colleagues won a competition for the Institut für Hochspannungstechnik und elektro- und biomedizinische Technik of TH Graz (institute of electrical engineering of what is now Graz University of Technology), which was realised from 1968 to 1972.</p><p>In the 1970s Hoffmann was a dedicated advisor of citizens’ initiatives and frequently took on the role of initiator. A professor emeritus from 1975, he worked with his former pupil Arnold Werner as an architect and planner in St. Veit, Graz.</p><p>In the meantime the already historic Bauhaus was steadily gaining traction in the public eye and Hubert Hoffmann became one of its most fervent protagonists. Indefatigable and committed, he missed few opportunities to publicly express his views on the subject. He was equally tireless and dedicated in his work as a town planner and architect and worked into old age on numerous developments and buildings.</p><p>In 1983 Hubert Hoffmann was permitted entry to the GDR for the first time in order to attend a Bauhaus colloquium. The GDR had taken offence to his article about the revival of the Bauhaus after 1945, published in Eckhard Neumann’s book “Bauhaus und Bauhäusler. Erinnerungen und Bekenntnisse” and had blacklisted him from 1971 onwards. From 1988 Hoffmann regularly visited Dessau and the Bauhaus on his journeys to the Academy of Arts in Berlin, where he had been a fellow since 1972. He visited Dessau for the last time in 1996 for the 70th anniversary of the opening of the Bauhaus building, by which time he was one of very few contemporary witnesses. It was to be Hubert Hoffmann’s last Bauhaus party – the Bauhaus had also just been awarded World Heritage status – and his final chance to reign as the most indefatigable storyteller and dancer of all.</p><p>Hubert Hoffmann died in Graz on 25 September 1999 at the age of 96.</p> </div> </div> </div> Architecture Bauhaus Faces Design Wed, 08 Jul 2015 09:58:41 +0000 Harald Wetzel 8941 at The Bauhaus-Archiv shows the winner of architectural competition in December <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Bauhaus celebrates its centenary in 2019. On the occasion of these major festivities, the Bauhaus-Archiv / Museum für Gestaltung, Berlin will be reconstructed and expanded. After the reconstruction of the historic Bauhaus-Archiv, which was specifically designed by Walter Gropius, including an annexe to the existing building had been approved, architects were invited to send their aesthetics of a new, expanded museum. In October 2015 the winner will be elected and on display from 2 December, 2015 until 29 February, 2016 in the exhibition "DEPARTURE  – The winning designs for the new Bauhaus-Archiv" together with further awardees of the architectural competition at the Bauhaus-Archiv / Museum für Gestaltung, Berlin. For further information, please visit the website of <a href="">Bauhaus-Archiv / Museum für Gestaltung, Berlin</a>.</p> </div> </div> </div> Architecture Berlin Exhibition Mon, 06 Jul 2015 17:51:40 +0000 Redaktion 8939 at Kandinsky collection at Guggenheim on display <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/kandinsky-collection-at-guggenheim-on-display"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Perhaps more than any other twentieth-century painter, Kandinsky has been linked to the history of the Solomon R. Guggenheim Museum. Hilla Rebay, artist, art advisor to Solomon R. Guggenheim, and the institution’s first director, promoted nonobjective painting above all other forms of abstraction. She was particularly inspired by Kandinsky. By 1929 Guggenheim and his wife, Irene, had begun collecting the artist’s work, and, together with Rebay, they visited Kandinsky’s studio at the Bauhaus in Dessau, Germany, in 1930. Before the trip, Rebay wrote to the artist and described Guggenheim’s new interest in the avant-garde: “Mr. G. has gotten to know [the work of] my friends Léger, Gleizes, Braque, Delaunay, Chagall, and Mondrian, but he still loves . . . yours most of all. You will find him to be a fine, great man who is open to all that is first rate, and capable of enthusiasm. A year ago he still knew nothing at all about this art, for one rarely sees good examples of abstract art in New York.” While Guggenheim particularly appreciated Kandinsky’s Bauhaus works, Rebay encouraged him to collect his work in-depth, across various media and from different periods. As a result of this discerning guidance, the Guggenheim collection, established with Solomon's private holdings in 1937, now contains more than 150 works by this single artist.</p><p>This presentation of select works from the Guggenheim collection traces Kandinsky’s aesthetic evolution: his early beginnings in Munich at the start of the century, the return to his native Moscow with the outbreak of World War I, his interwar years in Germany as a teacher at the Bauhaus, and his final chapter in Paris.</p><p>From July 2015 onwards, the Solomon R. Guggenheim Museum presents its very own Wassily Kandinsky collection at their Kandinsky Gallery for nearly one year.</p><p>For further information about the exhibition at the Kandinsky Gallery and the display of the <a href="">Kandinsky collection online</a>, please visit the website of the <a href="">Solomon R. Guggenheim Museum</a>.</p> </div> </div> </div> Bauhaus Faces Exhibition Painting Mon, 06 Jul 2015 08:22:03 +0000 Anja Guttenberger 8937 at Berlin extends Hélène 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 8935 at Catalogue for the exhibition "Black Mountain: An Interdisciplinary Experiment 1933 –1957" published <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 8932 at Correspondence between Harry Graf Kessler and Henry van de Velde published <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 8928 at 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="" 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="">Zentrum Paul Klee, Berne</a>.</p> </div> </div> </div> Bauhaus Faces Exhibition Painting Wed, 17 Jun 2015 20:39:37 +0000 Anja Guttenberger 8925 at 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="" 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> Bauhaus Faces Design Exhibition Photography Wed, 17 Jun 2015 19:56:57 +0000 Anja Guttenberger 8923 at 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="">International summer school Bernau.</a></p> </div> </div> </div> Berlin Education Mon, 15 Jun 2015 13:50:03 +0000 Redaktion 8920 at 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 8918 at Black Mountain <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="" 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="">Hamburger Bahnhof</a>. The homepage of the <a href="" 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> Architecture Berlin Design Exhibition Painting Photography Mon, 08 Jun 2015 19:57:10 +0000 Anja Guttenberger 8916 at 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="" 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> Architecture Berlin Exhibition Interview Photography Mon, 08 Jun 2015 19:16:28 +0000 Gesine Bahr 8914 at