Bauhaus Online | Magazin en-US Apply now: Bauhaus Lab 2015 and IKEA Bauhaus Summer 2015 <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>Young people come to Bauhaus: Bauhaus Dessau Foundation again hosts two interesting educational programs in 2015. From 4th May to 9th August, <a href="" target="_blank">Bauhaus Lab 2015 </a>„Cracks in the Curtain Wall – Beyond an Architecture of Cleanliness“ is focussing on the new material culture of modern architecture, regarding one rather neglected aspect: cleaning. Young professionals in architecture, design, fine arts and curatorial practice may apply until 31st March. Current design ideas for living and working in the Masters’ Houses are sought at this year’s <a href="" target="_blank">IKEA Bauhaus Summer</a> „Newly Furnished“ (3rd August – 31st October). During a three-month designer residency and a three-week summer workshop, minimal interventions for Masters’ house Muche/Schlemmer will be developed.  Young teams of two to four graduates or young professionals from the fields of interior design, art, design and architecture are invited to apply until 12th April.</p> </div> </div> </div> Dessau Education Fri, 13 Feb 2015 13:49:59 +0000 Redaktion 8826 at Bauhaus Face: Anni Albers <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Anni Albers’ career as an artist begins like the archetypal life story of a Bauhausler: In <a href="/en/atlas/jahre/1922" title="1922">1922</a>, still known as Anneliese Elsa Frieda Fleischmann (born 1899), she arrives at the Bauhaus in Weimar, where she aims to complete the studies that she began at the School of Arts and Crafts in Hamburg in 1919 and become a fine artist. She attends the preliminary course and then joins the <a href="/en/atlas/werke/weaving-workshop" title="Weaving Workshop">weaving workshop</a> in 1923. The young lady from a bourgeois home in Berlin then fulfils her artistic ambitions at the loom. Her success is unparalleled, perhaps also because she discovers in the strict grid of the loom a stability that she failed to find in free painting and certainly in the early Bauhaus with its “great confusion” and “extensive inquiry on all sides” (interview with Anni Albers, 1968, Archives of American Art, Smithsonian Institution). In her designs for industrial mass production and her unique weavings, Anni Albers proves her prowess at the loom and her proficiency with textiles. In <a href="/en/atlas/jahre/1930" title="1930">1930</a> she completes her Bauhaus Diploma with a sound-absorbing, light-reflecting curtain made from cotton and cellophane, which is installed in the auditorium of <a href="/en/atlas/personen/hannes-meyer" title="Hannes Meyer">Hannes Meyer</a>’s <a href="/en/atlas/werke/trade-union-school-of-adgb" title="Trade Union School of ADGB">trade union school in Bernau</a>. When <a href="/en/atlas/personen/gunta-stoelzl" title="Gunta Stölzl">Gunta Stölzl</a> leaves the Bauhaus in 1931 in the wake of a rebellion in the weaving workshop, Anni Albers takes over as head of the workshop, thereby becoming one of the few women to hold such a position.<br /><br />At the Bauhaus, her life hits the right track in more ways than one: Here, she not only gets to explore the loom’s diverse possibilities, but also meets and falls for her life partner. The two marry in 1925 and the rebellious Anneliese Fleischmann becomes Anni Albers, wife of the Bauhaus master <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>. Artistically, they shared above all else a life-long fascination with abstraction. Anni Albers’s interest in abstraction was piqued by another Bauhaus master, <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a>, though not through his lessons as much as “through observing what he did with a line, a point or a stroke of the paintbrush, and I tried to some extent to find my own direction through my own material and my own artistic discipline” (interview with Anni Albers, 1968, Archives of American Art, Smithsonian Institution).</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-anni-albers" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Umbo (Otto Umbehr): Portrait Anni Albers, 1929 © VG Bild-Kunst Bonn 2015, Bauhaus-Archiv Berlin" class="imagecache imagecache-article_full" width="320" 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-anni-albers"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>From now on, the couple are rarely parted. In 1928 they both move from their studio flats in the Prellerhaus into one half of a duplex in the complex of Masters’ Houses, and in 1932 from the Bauhaus Dessau to the Bauhaus in Berlin. When the National Socialists come to power in 1933, they emigrate to the USA. Josef Albers had been appointed as a lecturer at the renowned <a href="/en/atlas/ort/black-mountain-college-museum-arts-center_1444" title="Black Mountain College Museum &amp; Arts Center">Black Mountain College </a>and Anni, while still working on her weaving and writing, likewise began to teach there from 1939. In 1949 Josef and Anni Albers left Black Mountain College and moved to Connecticut. Anni Albers continued to work on her textile designs, weaving and writing and later also drawing. She and her husband made numerous journeys to Mexico and South America from the 1930s to the 1970s, and these were an important source of inspiration for her multifaceted creative work. Here, in the countries where abstraction originated, Anni Albers studied traditional weaving patterns and techniques. In 1965 she published the results of her forays into the theory and practice of weaving, its history and significance, in the seminal book “On Weaving”.<br /><br />Anni Albers continued to work on textile designs and with printing techniques up to her death in 1994. She was the first female textile artist to have a solo exhibition at the Museum of Modern Art New York (1949); a number of further exhibitions followed. Anni Albers received numerous awards for her work, as well as an honorary doctorate.<br /><br /><br />References:<br /><a href="" target="_blank"></a><br /><a href="" target="_blank"></a><br />Brenda Danilowitz „The rigorous and the other“ in: Bauhaus magazine, issue 5, (pub. Bauhaus Dessau Foundation), June 2013</p> </div> </div> </div> Bauhaus Faces Mon, 19 Jan 2015 08:11:27 +0000 Gesine Bahr 8772 at Bauhaus Face: Herbert von Arend <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Herbert von Arend was born in 1910 in Qingdao, China, the son of a German merchant family. When WWII shifted the balance of power shifted in the seaport, until then controlled by the German Empire, the von Arend family were expelled from China. Back in Germany, Herbert von Arend attended the higher vocational school (Oberrealschule) in Muenster, Westphalia from 1921 to 1928. He showed an early interest in drawing, painting and working with textiles; art teacher Leo Burgholz therefore encouraged him to study at the Bauhaus.</p><p>Von Arend enrolled at the <a href="/en/atlas/das-bauhaus/idee/bauhaus-dessau" title="Bauhaus Dessau">Bauhaus Dessau</a> in the summer term of <a href="/en/atlas/jahre/1928" title="1928">1928</a>. He began his studies in <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>’s <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a>. After one term of basic training, he chose to join the <a href="/en/atlas/das-bauhaus/werkstaetten/weberei" title="Weaving">weaving workshop</a> – one of the few male students to do so. He also attended the free painting classes tutored by <a href="/en/atlas/personen/paul-klee" title="Paul Klee">Paul Klee</a> and <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> (up to the winter term of 1930/31) and participated in the two ‘Junge Bauhausmaler’ (Young Bauhaus painters) exhibitions in Weimar, Jena, Erfurt and Berlin.<br /> <br />In <a href="/en/atlas/jahre/1931" title="1931">1931</a>, the students in the weaving classes rebelled against the pedagogical leadership style of the workshop’s head, <a href="/en/atlas/personen/gunta-stoelzl" title="Gunta Stölzl">Gunta Stölzl</a>; von Arend, along with <a href="/en/atlas/personen/margaretha-reichardt" title="Margaretha Reichardt">Grete Reichardt</a> and Ilse Voigt, was one of the ringleaders. In September 1931, as a result the revolt in the weaving workshop and other hostilities, Stölzl left the Bauhaus. Reichardt, Voigt and von Arend were temporarily expelled. Von Arend forwent his Bauhaus Diploma and, in 1932, passed his apprenticeship certification examination at the Chamber of Crafts of Galuchau, Saxony, qualifying as a hand weaver.</p><p>In 1933 von Arend abruptly abandoned his artistic career. He started work as a weaver on mechanised looms in the textile industry, then became a soldier and subsequently an officer in the Wehrmacht. He married in 1939. Following military service and a period as a prisoner of war in Russia, from which he returned in 1949, for the next two years he took a number of odd jobs, among other things in forestry and in tube drawing in the metal industry. In 1952 von Arend finally returned to his creative work, doing so alongside his main occupation as a tax officer at the revenue office in Schleiden-Gemünd, Eifel. After retiring in 1972 von Arend devoted himself entirely to his art, acquired a high-warp loom and, in 1973, started to weave again. In his special issue symbol. zeitschrift für bildende kunst und lyrik (symbol. journal for visual art and verse), published in 1981, he writes, “i like to describe my work as creative weaving. my starting point was a small woven piece that i made at the bauhaus in dessau in 1931.” Almost all of Herbert von Arend’s pre-war work was misplaced in the tumult of war – except for this woven work, titled “zwischen rot und blau” (between red and blue), which he made in the weaving class. He was encouraged to do so by Emil Bert Hartwig, with whom he experimented in the weaving workshop.</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/bauhaus-face-herbert-von-arend" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Herbert von Arend: zwischen rot und blau, Bauhaus Dessau 1931" class="imagecache imagecache-article_full" width="313" 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-herbert-von-arend"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Von Arend’s catalogue raisonné lists around 2,600 works on paper executed in a range of drawing, painting and mixed and graphic techniques. It includes 30 woven works – woven images, rugs and tapestries, most of them larger format works measuring up to 210 x 75 cm. In addition to the exhibition ‘Arbeiten aus der Weberei des Bauhauses’ (Works from the weaving workshop of the Bauhaus) shown in 1964 in the Bauhaus-Archiv Darmstadt, von Arend’s work was shown from 1972 to 1999 in a range of solo and group exhibitions in North Rhine-Westphalia, Weimar, Dessau, Paris and Liège. Herbert von Arend died in April 2001 in Schleiden, Eifel. In 2014, the Heinrich Neuy Bauhaus Museum in Steinfurt-Borghorst devoted a solo exhibition to the artist, showing his works on paper and a tapestry.</p><p>References:<br />Wolfgang Wangler (Ed.): symbol. herbert von arend. zeitschrift für bildende Kunst und lyrik nr. 36. Cologne, 1981; herbert von arend. werkverzeichnis. Mokossa Druck und Medien GmbH, Gelsenkirchen, 1996; Allgemeines Künstlerlexikon - AKL V, 1992, p. 18.</p> </div> </div> </div> Bauhaus Faces Mon, 22 Dec 2014 07:00:37 +0000 Burckhard Kieselbach 8753 at Bauhaus Face: Heinrich Neuy <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Heinrich Neuy was born on 27 July 1911 in Kevelaer in the Lower Rhine region. From 1925 to 1928 he completed an apprenticeship in his father’s carpentry workshop. Encouraged by the landscape painter Josef Pauels, at the same time he began to produce figurative architectural, landscape and portrait studies. After his apprenticeship Neuy attended the School of Applied Art and Craft in Krefeld (until 1930). In the spirit of the school, his first furniture and interior designs are distinguished by a rigorous functionality and clarity of design.</p><p>Impressed by his visit to the exhibition ‘10 Jahre Bauhaus’ (10 Years of Bauhaus) at the Folkwang Museum in Essen, Heinrich Neuy enrolled at the <a href="/atlas/das-bauhaus/idee/bauhaus-dessau" title="Bauhaus Dessau">Bauhaus Dessau</a> in the summer term of <a href="/atlas/jahre/1930" title="1930">1930</a>. Here, the 19-year old initially studied under <a href="/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a> as master of works, under <a href="/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> (creative design, abstract form elements and analytical drawing) and under <a href="/atlas/personen/joost-schmidt" title="Joost Schmidt">Joost Schmidt</a> (typography and life drawing). Having completed the preliminary course, Neuy opted to join the department of architecture and interior design, attending courses and seminars in architecture with <a href="/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Mies van der Rohe</a>, town planning with <a href="/atlas/personen/ludwig-hilberseimer" title="Ludwig Hilberseimer">Ludwig Hilbersheimer</a>, interior design with <a href="/atlas/personen/lilly-reich" title="Lilly Reich">Lilly Reich</a>, colour with <a href="/atlas/personen/hinnerk-scheper" title="Hinnerk Scheper">Hinnerk Scheper</a> and psychology with Karlfried Graf von Dürckheim. In March <a href="/atlas/jahre/1932" title="1932">1932</a> he was granted leave for a term of practical work experience, but owing to the political changes underway, he did not return to the Bauhaus thereafter.</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-heinrich-neuy" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Ausweis Bauhaus Dessau Heinrich Neuy, 1930, HeinrichNeuyBauhausMuseum, Steinfurt-Borghorst" class="imagecache imagecache-article_full" width="324" 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-heinrich-neuy"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Instead, Neuy returned to his carpentry apprenticeship in his father’s workshop and became a master carpenter. He married in 1937, took over his father-in-law’s carpentry workshop in Borghorst and set up a furniture and arts and crafts business, where he accepted private commissions as well as public contracts for the municipality of Borghorst.</p><p>From 1940 to 1944 Heinrich Neuy served in the Luftwaffe, became a prisoner of war and was interned in various camps in the USA. During this period he developed a number of design projects for the camp organisers, sketched portraits of his fellow prisoners and kept a sketchbook of architectural and town planning designs. In 1946 he was transferred to England, where, thanks to the help of a Scottish medical officer in a military hospital, he gained the opportunity and means to return to abstract painting.</p><p>In October 1946 Neuy returned to Borghorst, where he continued to run his carpentry workshop and his furniture and arts and crafts business. He began to take on apprentices once again and thereby adopted an open-minded approach to education, taking on numerous girls as carpentry apprentices and rising to the particular challenge of giving socially disadvantaged young people a new sense of direction. He continued to teach apprentices until 1989 when, at the age of 78, he handed over the carpentry workshop to his grandson.</p><p>That same year, Heinrich Neuy opened a gallery in his old carpentry workshop, now redeveloped, and devoted himself entirely to his creative work. In 1991 he was awarded the Culture Prize of the city of Steinfurt and, in 1996, the Culture Prize of the district of Steinfurt. A school in Borghorst was named in his honour in 2001. Heinrich Neuy died in Steinfurt-Borghorst on 24 March 2003.</p><p>Heinrich Neuy began to exhibit again in 1960, participating in numerous group and solo exhibitions in Germany and in Amsterdam, Helsinki, Minsk and Tokyo and in group exhibitions worldwide with the Bauhaus-Archiv. In 1994 the retrospective ‘Heinrich Neuy, Malerei und Grafik’ was shown at the Bauhaus Dessau and in Muenster.</p><p>In 2011 after a lengthy process of restoration and expansion, the Heinrich Neuy Stiftung (Heinrich Neuy foundation) opened the <a href="" target="_blank">HeinrichNeuyBauhausMuseum</a> in the historic Stiftskurienhaus (built 1668). The museum is dedicated to the design doctrine of the Bauhaus and exhibits concepts and works from the fields of art, design and architecture. A series of solo and group exhibitions primarily present the work of Heinrich Neuy and other Bauhauslers and Bauhaus tutors.</p><p><br />References:<br />heinrich neuy, Annegret Rittmann, (Ed.): Bauhaus Dessau Verlag, 1994<br />Heinrich Neuy, Werner Friedrich, Tecklenborg Verlag, 2001<br /></p> </div> </div> </div> Bauhaus Faces Mon, 15 Dec 2014 08:38:39 +0000 Burckhard Kieselbach 8751 at Mies, the Prince and the carbuncle <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The final opus of <a href="/en/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Ludwig Mies van der Rohe</a>, the twentieth century’s most illustrious architect, was the 1969 Mansion House Square project in London. It was never realised. There is therefore no Mansion House Square either – just a junction, where eight roads converge. Here, we find the Classicist Mansion House (built 1739-52), seat of the Lord Mayor of the City of London, the Bank of England with its windowless ground floor (built 1925-39) and, adjacent to it, another high-profile building, the Royal Exchange (completed 1844). The Mansion House and the Royal Exchange are both fronted by grand, pillared porticos.</p><p>Mies’s project could have stood in the thick of all this, at No. 1 Poultry, named after the road that approaches the junction to the right of Mansion House at an acute angle – had, that is, the building project been carried out. Mies van der Rohe’s design was based on a smaller version of his Seagram Building in New York – a vertical block of steel and glass with a bronze-toned facade – but this time just 20 storeys high rather than New York’s 38. Nonetheless, it was a typical Mies building. In front of the building, the Mansion House Square from which Mies’s project derived its name was to be first created by the demolition of the listed building that occupied the space. Under the square, Mies had planned for a subterranean shopping arcade, leading to the existing Underground station.</p><p>Mies was commissioned to develop the London project by Peter Palumbo in 1962. Palumbo, who was born in 1935 and held significant assets, which he, like his father and grandfather before him, sought to enhance by way of property projects, was a great fan of the esteemed architect. Palumbo bought Mies’s <a href="" target="_blank">Farnsworth House</a> in 1972; the multi-millionaire also accumulated architectural icons by other modernists, such as Frank Lloyd Wright or Le Corbusier.</p><p>Mies took the project extremely seriously, although it was evident that he would not live to see the building realised – after all, some of the plots required would not have become available until the early Eighties, the decade in which he would have reached his 100th birthday. Nonetheless, when Mies submitted his detailed plans in 1969, the City of London Corporation gave a basically positive assessment of the project. At the time the skyscraper, in proportion with its surroundings and with the Mansion House Square in front of it, was seen as an asset for the City of London. Moreover, at a public exhibition of the plans in the Royal Exchange in 1968, the majority of visitors were in favour of Mies’s project. The square in front of Mies’s skyscraper would have not only opened up and therefore enhanced Mansion House, but also closed the distance between the new square and the church located one block away, St. Stephen Walbrook (built 1672-79), built by the architect who played such an important role in shaping London, Sir Christopher Wren (1632 - 1723).</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-prince-and-the-carbuncle" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="So hätte der Londoner Mansion House Square aussehen können, wäre Mies&#039; Entwurf verwirklicht worden: Fotomontage von John Donat, 1983 (c) John Donat / RIBA Library Photographs Collection" 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/mies-the-prince-and-the-carbuncle"></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 1982, when Palumbo had acquired all the necessary plots of land, he resubmitted the Mies project for approval. But in the meantime, the Zeitgeist had changed. Many of the buildings in the area were by now listed and, most notably, modernism had lost considerable ground, also in Britain. The condemnation of modern architecture as an urban catastrophe owed much to one person, who wielded great influence: the Prince of Wales. In 1984, Price Charles spoke to the <a href="" target="_blank">Royal Institute of British Architects (RIBA)</a> about Richard Rogers’s proposed extension to the National Gallery on Trafalgar Square and fulminated against its design, which had already been accepted by the jury, calling it a “monstrous carbuncle in the face of a much-loved and elegant friend”. The so-called “Carbuncle speech” has since gone down in history and, in Britain, the ominous expression has become a familiar phrase in the world of modern architecture. The Prince of Wales was and is not only the most prominent critic of modernism in the UK; he is also a propagandist and protégé of what has become known as New Urbanism. This type of architecture aspires to salvage the urban identity of the city by returning to pre-modern, traditional forms.</p><p>In the same “Carbuncle speech”, the Prince also commented on his friend and polo team-mate Peter Palumbo’s plans for a skyscraper opposite Mansion House: “It would be a tragedy if the character and the skyline of our capital city were to be further ruined and St. Paul’s dwarfed by yet another giant glass stump, better suited to downtown Chicago than the City of London”. It is possible that Charles also intervened behind the scenes in relation to No. 1 Poultry. The Secretary of State for the Environment, Patrick Jenkin, finally rejected Mies’s plans in 1985 when, suddenly, the plans would have no longer been in keeping with the city. Fault was found above all with the lack of deference to the historic cityscape. Although there had been skyscrapers in London for some time, the proximity to Mansion House and the other historic buildings was now an argument against Mies, much the same as the opening up by means of the new square in the Sixties was seen as an improvement of the city.</p><p>Palumbo responded to the rejection of the modernist Mies project in a businesslike manner and now put forward an alternative postmodern design by the British architect James Stirling. Ironically, Stirling did not live to see his plans realised either. Mies died in 1969, Stirling in 1992; No. 1 Poultry was however completed only in 1998.<br />The postmodern Stirling building with its pink-striped facade, the forefront of which pushes into the junction like the bow of a steamer complete with navigating bridge, also suffered under Price Charles’s merciless eye. His Royal Highness intimated that the building brought to mind a “1930s wireless”. Nevertheless, it was built and has since then occupied the spot on the corner with Queen Victoria Street, where the Neo-Gothic building of the jewellers Mappin &amp; Webb, dating from 1870, once stood. There were vociferous protests against this building’s demolition in 1994. However, the historic Magistrates’ Court opposite, which occupied the site where Mies wanted to built his Mansion House Square, remained standing.</p><p>And the moral of the story? The world turns and the Zeitgeist shifts in accord. Today, Mies’s skyscraper would be no more than a small detail in the London skyline. The city has long been home to a whole array of skyscrapers and their number is growing. Right now, the highest building stands at over 300 metres (The Shard, by Renzo Piano, was opened in 2012; including its steel tip, it is 310 metres high). If Mies van der Rohe’s Mansion House Square project had in fact been built, by now it would itself be historic and, in its typical Mies-style perfection of form, an icon of architectural modernism of the first order. When all’s said and done, modernism, too, has in the meantime become classical.</p><p><br />LITERATURE:<br />Peter Carter: Mies at Work, New York, 1974<br />Jane Margaret Jacobs: The Politics of the Past: Redevelopment in London, London, 1990</p> </div> </div> </div> Architektur Historie Thu, 27 Nov 2014 08:21:53 +0000 Ronald Berg 8749 at Oskar Schlemmer - Visions of a New World <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Large State Exhibition 2014, featuring "Oskar Schlemmer: Visions of a New World" (21th November 2014 to 6th April 2015) will be the first comprehensive retrospective of the artist since almost forty years.Based on its own extensive holdings, not least also the documents from the in-house Schlemmer archive, as well as prominent loan items from museum – Bauhaus-Archiv Berlin among others – and private possession, the Staatsgalerie has researched the high ethnic and artistic aspirations of <a href="/en/atlas/personen/oskar-schlemmer" title="Oskar Schlemmer">Oskar Schlemmer</a> (1888-1943). The ambivalence of his vision of a new world, which on the one hand is aimed at metaphysical-religious spheres and on the other hand relies on the world-changing power of art, the view and analysis of the reform efforts of his time. The exhibition of works is chronologically and thematically structured in six sections which feature approximately 250 paintings, watercolours, drawings, sculptures, photographs and the original costumes of the "Triadic Ballet" still preserved in the Staatsgalerie. </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/oskar-schlemmer-visions-of-a-new-world" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Oskar Schlemmer, Figurine zum Triadischen Ballett (Der Abstrakte), 1922, verschiedene Materialien, Staatsgalerie Stuttgart, Leihgabe der Freunde der Staatsgalerie" class="imagecache imagecache-article_full" width="320" 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/oskar-schlemmer-visions-of-a-new-world"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>Schlemmer's early work is characterised by his studies at Stuttgart Academy and the confrontation with the European avant-garde. His knowledge was promoted through a stay in Berlin during 1911/12 and the acquaintanceship with Herwarth Walden as well as visits to his gallery "Der Sturm".</p><p>In <a href="/en/atlas/jahre/1921" title="1921">1921</a>, Schlemmer is appointed to a position at the Bauhaus in Weimar, where as "master of form" he is responsible for stone sculpture and mural art and from 1923 on also for the theatre workshop. His most important work at stagecraft, the "<a href="/en/atlas/werke/plan-of-figurines-for-the-triadic-ballet" title="Plan of figurines for the Triadic Ballet">Triadic Ballet</a>", is premiered in 1922 at the Würrtemberg Regional Theatre in Stuttgart and is regarded as an incunable of dance. Rigid costumes forcing the body to marionette-like movement lead to the concept of avant-garde dancing liberated from historical ballast. In the course of the Bauhaus relocation to Dessau in 1925, as director of the <a href="/en/atlas/werke/bauhaus-stage" title="Bauhaus Stage">Bauhaus theatre workshop</a> Schlemmer receives numerous orders for scenic design of operas and ballets. He celebrates trans-regional successes with the "Bauhaus dances", in which dancers wear jerseys and masks instead of extravagangt costumers ans sound out elementary body-space relationships.</p><p>From <a href="/en/atlas/jahre/1928" title="1928">1928</a> Schlemmer works on deisgns for the Fountain Room at Folkwang Museum in Essen. He increasingly focuses on the athletic figure which is correlated with abstract geometrical shapes. The design series in oil on canvas as well as mural-high pastels on transparent paper from the Staatsgalerie collection uniquely document Schlemmer's largest commissioned work. The implemented series was removed from the museum in 1933 by the National Socialists and is said to be missing. After Schlemmer's switch in 1929 to the State Academy for Art and Apploed Arts in Breslau, important paintings emerge, which show multifigured human architectures with echoes of sports events as well as complexly staggered balustrade scenes. The artist comments on the 1932 closure of the Bauhaus with his programmatic painting "Bauhaus Stairway"(today exhibited at the Museum of Modern Art in New York). When Schlemmer is dismissed from the teaching position and branded as "degenerate" artist in 1933, more somber paintings emerge, and shortly before his death "Window Pictures" which observe the life of others from the distance of an outsider. The artist now earns his livelihood with commercial paintings. In 1940 he receives a final mural order for a private house in Stuttgart.</p><p>The exhibition –curated by Dr. Ina Conzen – pays tribute to the visionary achievement of this pioneer of a modern understanding of the world that reconciles technology and art, human beings and civilisation as well as body and mind. And also the tragedy of this understanding of the world, in which dimension, number and law could hardly serve as bulwark against totalitarism any longer after the takeover by the National Socialists in 1933.</p><p></p><p>More to read: Issue #6 "Schlemmer" of Bauhaus Dessau Foundations Magazine "bauhaus" is dedicated to Oskar Schlemmer. With contributions by Karin von Maur, Ina Conzen, Gerda Breuer, Peter Raue, BlexBolex and others.</p> </div> </div> </div> Ausstellung Bauhaus-Köpfe Malerei Mon, 17 Nov 2014 12:03:04 +0000 Staatsgalerie Stuttgart 8742 at In Reserve: Concerning the Architecture of the Reservoir <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>What do “architectures of storage” like grain silos and warehouses reveal about past and present assumptions in agriculture and food production? What role do safekeeping and stockpiling play in the modern household? In an era of profitability, optimization and worldwide resource shortage, how and where should commodities be stored and saved in the agronomy of the 21st century? The Bauhaus Dessau Foundation’s Bauhaus Lab 2014 addressed these and other questions about the relation between architecture and agriculture under the title “In Reserve: Concerning the Architecture of the Reservoir” within the framework of a three-month research program.</p><p>The results will now be presented on November 14th as part of a final presentation and an exhibition, which will be on view in the Bauhaus Building in Dessau until January 5th, 2015. The director of the Swiss Architecture Museum, Hubertus Adam, and Nis Romer, lecturer at the Danish Kunsthøjskolen i Holbæk, will be attending the Lab’s final presentation as guest critics. The Bauhaus Lab is a postgraduate program for architectural research that sees itself as a platform for collaborative learning, research and design. The Lab took place for the second time in 2014, under the direction of Dr. Regina Bittner, with seven selected international participants from various disciplines.</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/in-reserve-concerning-the-architecture-of-the-reservoir" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Exhibition Poster" 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/in-reserve-concerning-the-architecture-of-the-reservoir"></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 starting point for the program was a historical visual dialogue: In his 1925 book “International Architecture,” Walter Gropius published American grain silos in Buffalo alongside the Masters’ Houses in Dessau. He shared a fascination for the monumental buildings on Lake Erie with Le Corbusier and Erich Mendelsohn. The architects of Neues Bauen associated American grain silos with the expression “neuer Formwillen,” a new formal intention, but they were interested in neither the function of the buildings nor their role in the industrialization of agriculture and global grain trade.</p><p>The exhibition begins with Buffalo. Using historical documents and diagrams, the large grain silos are introduced as agents of the modernization of food production. Today’s residents of Silo City, silo operators, and tourist guides alike also have their say, as they were interviewed by Lab participants during their excursion to Buffalo. To what extent these radical changes in the production and storage of grain directly altered the domestic sphere is the subject of the second part of the exhibition. The radical division between the production and consumption of food has transformed household inventory practices. Looking at examples of new items for kitchen storage – like Tupperware containers or the pouring bins designed in 1927 by Margarete Schütte-Lihotzky for the revolutionary Frankfurt Kitchen – the exhibition tells of the transformation in domestic storage.</p><p>In the third part of the exhibition, the Bauhaus Lab reflects contemporary policies of storage by presenting examples that include global seed banks – vast cereal, rice, soybean reservoirs that, in our world of international agricultural industry, are intended to ensure the survival of mankind in times of climate disasters, scarcity of resources, and genetically modified foodstuffs. Thus the Bauhaus Lab also seeks to contribute to critical rethinking of the relationship between architecture and agriculture.</p><p>The exhibition “In Reserve: Architectures of the Reservoir” also points to the international Household Trade Fair taking place in the coming year in the Masters’ Houses, where stockpiling and storage will be one of the thematic focal points of the Bauhaus Dessau Foundation’s interdisciplinary art and research project “Householding.”</p><p>Team Bauhaus Lab 2014: Dr. Regina Bittner, Michael Zinganel, Dr. Katja Szymczak, Philline Schneider</p><p>Participants Bauhaus Lab 2014: Christopher McDonnell (Ireland); Dan Dorocic (Canada); Irina Goryacheva (Russia); Jennifer Heinfeld (USA); Alison Hugill (Canada), Sophia Branco (Portugal); Iris Lacoudre(France)</p> </div> </div> </div> Dessau Education Exhibition Mon, 10 Nov 2014 10:46:58 +0000 Stiftung Bauhaus Dessau 8735 at Sensing the Future: László Moholy-Nagy, the media and the arts <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/sensing-the-future-laszlo-moholy-nagy-the-media-and-the-arts" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Portrait of László Moholy-Nagy, 1926, photo: Lucia Moholy Photo Credit: Bauhaus-Archiv Berlin" 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/sensing-the-future-laszlo-moholy-nagy-the-media-and-the-arts"></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 Bauhaus-Archiv in Berlin is presenting an exhibition starting on 8 October 2014 on the complex media art of the famous Constructivist and Bauhaus teacher <a href="/en/atlas/personen/laszlo-moholy-nagy" title="László Moholy-Nagy">László Moholy-Nagy</a> (1895–1946). As a pioneer of multimedia and conceptual art, Moholy-Nagy was one of the twentieth century’s most influential artists. His practical and theoretical engagement with the interactions between the various media and the senses and his experimental use of new media have continued to inspire artists and media theorists right down to the present day. In addition to works by Moholy-Nagy dating from the 1920s to the 1940s, ‘Sensing the Future: László Moholy-Nagy, the Media and the Arts’ will also be presenting works by numerous contemporary artists who have taken up Moholy-Nagy’s ideas, showing his continuing relevance. Some 300 exhibits – ranging from paintings and sculptures, photos, photograms and graphic works to films and stage designs, light and sound installations, tactile boards, manual sculptures and publications – provide multisensory approaches to Moholy-Nagy’s work. The exhibition is accompanied by an extensive supporting programme and is accessible for the blind and visually impaired and for wheelchair users. </p><p></p> </div> </div> </div> Bauhaus Faces Berlin Exhibition Wed, 01 Oct 2014 13:17:46 +0000 Bauhaus-Archiv/Museum für Gestaltung, Berlin 8721 at Bauhaus Face: Ré Soupault <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Ré Soupault was born Meta Erna Niemeyer on 29 October 1901 in Bublitz, Pomerania (now Bobolice, Poland). After the First World War, the young woman seeks intellectual freedom and escapes from family ties in chess, playing the piano and joining the ‘Wandervogel’ youth movement. Her only glimmer of hope is her drawing teacher, “the sole sensible person”<a href="#_edn1" title="">[i]</a>. The latter shows Niemeyer the Bauhaus Manifesto, drafted by <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>. Its promotion of solidarity among artists and artisans in an equal rights community, building a future together, reflects her own desire for a new worldview. She quickly decides that, “I wanted to be part of it”<a href="#_edn2" title="">[ii]</a>. She eventually has her chance in <a href="/en/atlas/jahre/1921" title="1921">1921</a>: Meta Erna Niemeyer applies with her work to the <a href="/en/atlas/das-bauhaus/idee/bauhaus-weimar" title="Bauhaus Weimar">Bauhaus in Weimar</a> and is accepted. Here, she becomes acquainted with Otto Umbehr, who later goes on to become an established avant-garde photographer under the name ‘Umbo’. Niemeyer and he remain lifelong friends.</p><p>In an autobiographical essay dating from 1977, the painter and eventual photographer summarises the originality of the Bauhaus as follows: “But what was so special about the Bauhaus that children defied their parents in order to live in this community? We shared one mind: one for all, all for one. We were brought together by an ideal: to leave behind the prejudices of a bourgeois world, which was governed by Prussian militarism and suffocated the people. The lost war and the material and spiritual crisis were put down to this militarism and this bourgeoisie. Not that we spoke much about it, but our whole way of living and thinking was rooted in it: a fresh start, throwing the past overboard, withstanding interference. [...] There were neither national nor racial differences between us: we were just Bauhauslers.”<a href="#_edn3" title="">[iii]</a></p><p>Deeply impressed by Johannes Itten’s colour and form theory, Niemeyer attends his preliminary course twice. The Persian Mazdaznan doctrine pursued by Itten and other Bauhauslers interests the young woman so much that she also studies Sanskrit in Jena for two terms. Each week, she cycles from Weimar to Jena and back. From this study, she derives her life motto: “Greed is the root of all evil (lobhah papasya karanam)”.<a href="#_edn4" title="">[iv]</a> On a carpet loom at the Bauhaus, she weaves the Sanskrit words of wisdom into abstract colour compositions.</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-re-soupault" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Ré Soupault, Self-portrait, Tunis, 1939 in: Inge Herold, Ulrike Lorenz &amp; Manfred Metzner (publ.), &quot;Ré Soupault. Künstlerin im Zentrum der Avantgarde&quot;, Heidelberg 2011" class="imagecache imagecache-article_full" width="424" 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-re-soupault"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>During a visit to Berlin she again meets the former Bauhausler Werner Graeff, who introduces her to the Swedish experimental filmmaker Viking Eggeling. After participating in the first major Bauhaus exhibition in Weimar in 1923, – taking part is a “matter of honour” for every Bauhausler and she paints some pictures “very quickly, just so that I don’t arrive empty-handed”<a href="#_edn5" title="">[v]</a> – Niemeyer becomes Eggeling’s assistant. Fascinated by Eggeling’s enthusiasm for his project, she works for the sick and penniless filmmaker for a year to complete the film ‘Symphonie Diagonale’. “The work with Eggeling began with some lessons with the animator. He showed me how to use the animation stand and the Askania motion picture camera, how to cut out shapes and lines in tin foil, etc. Eggeling was not a technician. He simply explained how he envisaged a movement and how it should come together with the other movements – or what might best be described as visual melodies. [...] In order to realise Eggeling’s visions, I was therefore compelled to rely on my own initiative, which led to sometimes insurmountable problems.”<a href="#_edn6" title="">[vi]</a></p><p>Ré eventually moves to Hanover with Kurt Schwitters, who gave her the nickname “Ré”. When the Bauhaus relocates to Dessau in <a href="/en/atlas/jahre/1925" title="1925">1925</a> and moves towards functionalism, Ré decides not to return to the Bauhaus, but to remain in Berlin. Here, she again comes into contact with the Dadaist Hans Richter, whom she had already met in Weimar in 1922. They marry in 1926; their home becomes a meeting place for the avant-garde, among them Fernand Léger, Man Ray, Werner Graeff, Paul Hindemith and <a href="/en/atlas/personen/ludwig-mies-van-der-rohe" title="Ludwig Mies van der Rohe">Mies van der Rohe</a>. Under the pseudonym Renate Green, Ré Richter becomes a writer and illustrator for the magazine ‘Sport im Bild’, published by Scherl-Verlag. The marriage breaks down in 1927 and they divorce in 1931.</p><p>In 1929, Ré Richter moves to Paris to work as a correspondent for Scherl-Verlag. At the Café Dôme on Montparnasse, she meets up every day with the bohemians of Paris and Berlin: “Everybody called by at least once a day. I was there every day with Man Ray, Kiki [de Montparnasse], [Tsuguharu] Foujita, [Alberto] Giacometti, Léger and [André] Kertész.”<a href="#_edn7" title="">[vii]</a> At a birthday party for Kiki, Ré Richter meets the American millionaire Arthur Wheeler, with whom she establishes the fashion company ‘Ré Sport’ in 1931. Before her marriage to Hans Richter, she had already designed the very first culottes for the fashion designer Paul Poiret. Her subsequent designs for sporty everyday wear were designed to appeal to the contemporary young woman, who wished to be fashionably dressed, but in a practical and comfortable way. Man Ray photographed the first collection of twenty designs. With her design for a dress that could be transformed from office wear into an evening gown with a few adjustments, brightened by some accessories, Ré Richter revolutionises the fashion world. Following Wheeler’s sudden death and the subsequent withdrawal of financial backing, Ré Richter closes down her business in 1934.</p><p>In 1933 at a reception at the Russian Embassy in Paris, she meets the surrealist Philippe Soupault. He had just divorced his second wife and Ré Richter had just given up her business; they were both therefore at a loose end and decided to do some travel reportage together. Ré Richter’s photographs, taken with her 6x6 Rolleiflex, were to be published alongside Philippe Souault’s literary texts. In the years thereafter, the two of them continue in the same vein, travelling to Germany, Switzerland, England, Scandinavia and Tunisia. They marry in 1937. In 1934, Ré and Philippe Soupault relocate to New York. Here, they meet up again with many of their European friends, including Kurt Weill, Fernand Léger, André Masson, <a href="/en/atlas/personen/herbert-bayer" title="Herbert Bayer">Herbert Bayer</a>, Hans Richter and <a href="/en/atlas/personen/marcel-breuer" title="Marcel Breuer">Marcel Breuer</a>. The couple separate after the end of the war; he moves back to Europe and she remains in New York and earns a living writing travel reports for ‘International Digest’ and ‘Travel Magazine’.</p><p>In 1946 Ré returns to Paris, where she sets out on a career as a translator. Two years later, she moves to Basel. In 1950 Ré Soupault acquires a Rolleiflex on the black market, with which she produces her final photo reportages in displacement camps. In 1954, her most significant achievement in translation is published: ‘Das Gesamtwerk’ by Comte de Lautréamont, which was considered untranslatable before then. In 1955, Ré Soupault returns to Paris for good. Until the late 1980s, she writes essays for radio broadcast. She keeps in touch with Philippe Soupault over the years and, in collaboration with him, publishes ‘Märchen aus fünf Kontinenten’ (1968) in Paris, which is still available today in a number of languages. In 1967, they make a film together about <a href="/en/atlas/personen/wassily-kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a>. In the early 1970s, Ré and Philippe Soupault move into one house together, in which they maintain separate flats.</p><p>From the late-1980s, old negatives dating from the 1930s and 1940s are rediscovered and published successively in illustrated books. These are followed by exhibitions of photographs from Ré Soupault’s travels and numerous photographic self-portraits. Ré Soupault passes away on 12 March 1996 in Versailles.</p><p>_______________________________</p><p><a href="#_ednref" title="">[i]</a> Manfred Metzner, “Ré Soupault. Vom Bauhaus in die Welt”, pp. 9-23, in: Inge Herold, Ulrike Lorenz &amp; Manfred Metzner (Ed.), “Ré Soupault. Künstlerin im Zentrum der Avantgarde”, Heidelberg 2011, here: p. 9</p><p><a href="#_ednref" title="">[ii]</a> ibid</p><p><a href="#_ednref" title="">[iii]</a> Manfred Metzner (Ed.), “Ré Soupault. Bauhaus – die heroischen Jahre von Weimar”, Heidelberg 2009, pp. 32-33</p><p><a href="#_ednref" title="">[iv]</a> ibid, p. 38</p><p><a href="#_ednref" title="">[v]</a> ibid, p. 46</p><p><a href="#_ednref" title="">[vi]</a> ibid, p. 48</p><p><a href="#_ednref" title="">[vii]</a> Herold, Lorenz &amp; Metzner, Heidelberg 2011, p. 12</p><p></p><p>Literature</p><p>Manfred Metzner (Ed.), Ré Soupault, “Paris 1934-1938”, Heidelberg 1994; Manfred Metzner (ed.), Ré Soupault, “Tunesien 1936-1940”, Heidelberg 1996; Manfred Metzner (Ed.), Manfred Metzner (Ed.), Ré Soupault, “Frauenportraits aus dem “Quartier reserve” in Tunis”, Heidelberg 2001; Ré Soupault, “Philippe Soupault. Portraits”, photographs 1934-1944, with an essay by Philippe Soupault, Heidelberg 2003; Manfred Metzner (Ed.), “Ré Soupault - Die Fotografin der magischen Sekunde: Im Zentrum der Klassischen Moderne zwischen Berlin und Paris. Fotografien”, Berlin 2007; Manfred Metzner (Ed.), “Ré Soupault. Das Bauhaus – die heroischen Jahre von Weimar”, Heidelberg 2009; Unda Hörner, “Scharfsichtige Frauen. Fotografinnne der 20er und 30er Jahre in Paris”, Berlin 2010; Inge Herold, Ulrike Lorenz &amp; Manfred Metzner (Ed.), “Ré Soupault. Künstlerin im Zentrum der Avantgarde”, Heidelberg 2011.</p> </div> </div> </div> Bauhaus Faces Weimar Mon, 29 Sep 2014 18:40:44 +0000 Anja Guttenberger 8718 at Etel Mittag-Fodor: A Life between Worlds <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/etel-mittag-fodor-a-life-between-worlds" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Etel Mittag-Fodor, Sprung von der Terrasse der Bauhauskantine, ca. 1930" class="imagecache imagecache-article_full" width="322" 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/etel-mittag-fodor-a-life-between-worlds"></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 href="/en/atlas/personen/etel-fodor-mittag" title="Etel Fodor-Mittag">Etel Mittag-Fodor</a> (1905–2005) is among those Bauhaus students whose photographs are still largely unknown – despite the fact that these very high-quality works evoke a great deal about the spirit of her times and her very individual sense of humour in both their composition and their visual language. The project of publishing the work of Mittag-Fodor and her virtually exemplary biography as an exile is of special importance to the Bauhaus-Archiv Berlin.</p><p>Etel came to the Bauhaus Dessau in <a href="/en/atlas/jahre/1928" title="1928">1928</a>, following her training as a graphic artist. After completing the <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a> of <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers</a>, she entered the printing and <a href="/en/atlas/das-bauhaus/werkstaetten/druck-reklame-werkstatt" title="Printing and Advertising Workshop">advertising workshop</a> and, from <a href="/en/atlas/jahre/1929" title="1929">1929</a> onwards, attended<a href="/en/atlas/personen/walter-peterhans" title="Walter Peterhans"> Walter Peterhans</a>’s photo class. By <a href="/en/atlas/jahre/1930" title="1930">1930</a>, when she left the Bauhaus to establish herself as a photographer in Berlin, she had created numerous still lifes and portraits. In the years that followed, the stations of her life led through Budapest to a stay in Moscow and finally to her emigration to South Africa, where she continued to work as a photographer and weaver to a very advanced age, fully in keeping with her motto: ‘I absolutely wanted to make something of my life.’</p><p>On the occasion of the European Photography Month, the Bauhaus-Archiv in Berlin is presenting a studio exhibition from 23.10. until 24.11.2014 with selected photographs by Bauhaus member Etel Mittag-Fodor (1905–2005). With her still lifes and portraits, she is one of the Bauhaus’s most important photographers. To coincide with the exhibition, her memoirs with commentary are being published for the first time, as the third volume in the series "Bauhaus Members: Documents from the Bauhaus-Archiv Berlin".</p><p>More information at <a href=""></a></p><p><strong>Etel Mittag-Fodor, "Not an Unusual Life, for the Time and Place", ed. by Bauhaus-Archiv Berlin (Bauhäusler.Dokumente aus dem Bauhaus-Archiv Berlin, Bd. 3), Berlin 2014, ca. 14 €.</strong></p> </div> </div> </div> Bauhaus Faces Berlin Exhibition Fri, 26 Sep 2014 16:41:47 +0000 Bauhaus-Archiv/Museum für Gestaltung, Berlin 8706 at Daughter of Bauhaus founder Walter Gropius has died <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>On 7 September 2014, Ati Gropius Johansen died near Boston, at the age of 88. The daughter of Bauhaus founder <a href="/en/atlas/personen/walter-gropius" title="Walter Gropius">Walter Gropius</a>, she emigrated to the USA together with her parents in 1937. Educated in the Bauhaus tradition at Black Mountain College and at the New Bauhaus in Chicago, she became a successful illustrator and was constantly committed to preserving the legacy of the Bauhaus. Her support for the <a href="">Bauhaus-Archiv</a>, co-founded by Walter Gropius in 1960, continued to the end of her life. She taught the Bauhaus <a href="/en/atlas/das-bauhaus/lehre/Vorkurs-josef-albers" title="Preliminary Course by Josef Albers">preliminary course</a>, based on <a href="/en/atlas/personen/josef-albers" title="Josef Albers">Josef Albers’</a>s course, at the Museum of Modern Art in New York, at the Walter Gropius School in Erfurt and elsewhere."</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/daughter-of-bauhaus-founder-walter-gropius-has-died" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Ati Gropius Johansen in May 2013 Photo: Annemarie Jaeggi Bauhaus-Archiv Berlin" 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/daughter-of-bauhaus-founder-walter-gropius-has-died"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>"We are saddened by the death of Ati Gropius Johansen. The Bauhaus-Archiv has lost a major supporter, who enriched our work to an extraordinary extent," said Dr. Annemarie Jaeggi, Director of the Bauhaus-Archiv / Museum für Gestaltung, on Monday. "I am extremely grateful that Ati showed such generous and active commitment to our institution and became a close friend for us. We shall miss her."</p> </div> </div> </div> Bauhaus Faces Berlin Wed, 17 Sep 2014 20:54:53 +0000 Bauhaus-Archiv Berlin 8698 at The way for the competition process in Dessau is cleared <div class="field field-type-text field-field-news-text"> <div class="field-items"> <div class="field-item odd"> <p>The Foundation Board of the Bauhaus Dessau Foundation has once again confirmed at today's special meeting the intention to erect the new building of the Bauhaus Museum at City Park. Furthermore, the Foundation Board decided about the exhibition and communication concept for the Bauhaus Museum as a basis for further proceedings. In addition, the committee agreed on the further competition process and instructed the Director to apply, by secured total funding, for an open two-phase competition of the new building project. The Foundation Board recommended nine professionals for the Advisory Board of the Bauhaus Dessau Foundation (among others Ute Eskildsen - Professor of Photography in Essen, Daniel Hug - Director of the Art Cologne, and Prof. Dr. Martino Stierli - Chief Curator of Architecture and Design at MoMA in New York).</p> </div> </div> </div> Architecture Bauhaus 2019 Dessau Thu, 11 Sep 2014 12:11:14 +0000 Redaktion 8696 at Bauhaus City Dessau <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>When the Bauhaus arrived in Dessau in <a href="">1925</a> the ambition of giving shape to society became reality. The political, economic and cultural urban elites had brought the School of Design to the city in order to forge the future of the up-and-coming municipality in the spirit of modernism. The Bauhaus not only made its mark on the architecture of the city, but also contributed to the design of many municipal facilities, from city information office to library, from theatre to swimming pool. In the new Bauhaus book “Die unsichtbare Bauhausstadt. Eine Spurensuche in Dessau” (The invisible Bauhaus City. Searching for traces in Dessau), author Andreas Butter explores how a modernist network took shape in the city.</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-city-dessau-0" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Buch cover &quot;Bauhausstadt Dessau – Labor der Moderne&quot;" class="imagecache imagecache-article_full" width="316" 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-city-dessau-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>Nowadays, the idea of the “Bauhaus City” should inspire confidence and a sense of direction – but how did things look at the time? In 1925, when Lord Mayor Fritz Hesse brought the School of Design from Weimar to the ambitious industrial town, its housing concept delighted social reformers and intimidated conservatives. In various ways, the work of the masters and students had an effect on the destinies of the city’s inhabitants: besides Junkers, around 100 companies worked together with the institute. The worlds of art and academia set out on the path to modernism, with the Garden Realm of the Enlightenment’s Prince Franz serving as a role model and emblems of the new age making their mark in numerous locations. Nevertheless, after seven years in which the prevailing conflicts had become politicised, ill will won out. But even the NSDAP’s Sturmabteilung and the Public Prosecutor’s office were unable to bring about the school’s final demise, and the Bauhaus is now more celebrated than ever.</p><p>Based on various Bauhaus sites in Dessau, the book relates how the history of the city and the School of Design were closely interwoven. The hidden origins of this connection are addressed in a 32-page picture section with artistic photographs from present-day Dessau.</p><p>Bauhaus Dessau Foundation (Ed.): “Bauhausstadt Dessau – Labor der Moderne” (Bauhaus City Dessau – Workshop of Modernism), with texts by Andreas Butter and images by Daniel Niggemann, ca. 190 pages incl. 32-page picture section, Spector Books, Leipzig 2013, € 9,90</p> </div> </div> </div> Architecture Dessau Publication Thu, 04 Sep 2014 17:54:18 +0000 Stiftung Bauhaus Dessau 8691 at Bauhaus Face: Wassily Kandinsky <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>The Russian painter and cosmopolitan <a href="">Wassily Kandinsky</a> taught at the Bauhaus from <a href="">1922</a> to <a href="">1933</a>, having already gained a reputation as a theorist and practitioner of abstract art owing among other things to his book “Concerning the Spiritual in Art” (1912), the almanac “Der Blaue Reiter” (1912) and several exhibitions. He was already living in Germany before he began to work at the Bauhaus, teaching from 1901 to 1902 in Munich at the private art school Phalanx before returning to Russia in 1914. In Moscow he taught from 1918 to 1921 at SOMAS (the Free State Art Studio), the Institute of Artistic Culture INKHuK and the art school VKHuTEMAS. He was appointed to teach at the Bauhaus by its founder <a href="">Walter Gropius</a>. Up to the school’s eventual closure, Kandinsky remained active at the Bauhaus under its subsequent directors <a href="">Hannes Meyer</a> and <a href="">Ludwig Mies van der Rohe</a> and despite the school’s relocation from Weimar to Dessau (1925) and from there to Berlin (1932).</p><p>During his time at the Bauhaus, Kandinsky taught a variety of courses, published books including a development of his art theory in “Point and Line to Plane” (1926) in the series of Bauhaus books, and produced around 350 oil paintings and a total of 584 watercolour, gouache and tempera paintings. As in his own works from this period, the elementary geometric forms and colours also played an important role in <a href="">Kandinsky’s classes</a>. As master of form in thewall painting workshop, of which he was head from 1922 to 1925, Kandinsky put to the test his theories regarding the coherencies between the elementary colours of yellow, red and blue and the elementary forms of triangle, square and circle, based on a questionnaire, which was to be filled in by his students.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-wassily-kandinsky" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Hugo Erfurth, Porträt Wassily Kandinsky, 1925-1928 Bauhaus‐Archiv Berlin" class="imagecache imagecache-article_full" width="318" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/bauhaus-face-wassily-kandinsky"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p>His classes for the introductory course, later known as the preliminary course, were obligatory for all new students from <a href="">1922</a> to <a href="">1930</a>. Initially lasting one term, then two terms from 1925, this featured lessons in both analytical drawing and design theory. Together, the courses were designed to give students the capacity to perceive and interpret colour, form and abstraction as a basis for an autonomous, synthesized design, coupled with an understanding of abstract art as an evolutionary step in art and the history of the human race. In fourteen lecture modules, Kandinsky first addressed art history, then explored the colours yellow and blue, red, white and black, green and grey, orange and violet, and subsequently focused on point, line and plane and their relationships to colour. The lectures were complemented by practical courses for students, group critiques of the outcomes and homework. Kandinsky taught that art was governed by rules, the grammar of which could be learned, even though he also invariably emphasised that art was not possible without intuition. His class in analytical drawing, in which the students for instance set up and connected still life compositions with linear networks and abstracted these based on the elementary forms of circle, square, triangle and rhombus, was part of the design-orientated schooling at the Bauhaus.</p><p>In the course of the increasingly functional orientation of the Bauhaus under <a href="">Hannes Meyer</a>, in 1928 Kandinsky taught an intensive seminar in construction and design for students pursuing their main studies. In fourteen lectures, he compared technology with art, discussed form and content and focused explicitly on construction. In doing so, he made use of a wide range of images from the worlds of art, architecture, technology, daily life in different cultures and flora and fauna.</p><p>In addition, Kandinsky taught a painting class from 1927, which from 1928 was referred to as a “free painting class”. However, this was not a painting class per se; rather, the students’ work was discussed in terms of colour, rhythm, tensions and composition. While Kandinsky’s classes were developed as additional options for the students under Hannes Meyer, <a href="">Ludwig Mies van der Rohe</a> consistently cut down on Kandinsky’s lessons and made them a voluntary part of the students’ curriculum. In Berlin, Kandinsky’s teaching was limited to the “free painting class”, which nevertheless remained popular with the students until the closure of the Bauhaus in 1933. Following his departure from the Bauhaus, Kandinsky moved to Paris in 1933, where he died in 1944.</p><p> </p><p><strong>Biography</strong></p><p>Wassily Kandinsky (1866-1944)</p><p><strong>4.12.1866</strong> Birth in Moscow</p><p><strong>1885-1893 </strong>Studies law, economics and statistics at the University of Moscow, marries Anja Fedorovna Chimyakina</p><p><strong>1896</strong> Moves to Munich</p><p><strong>1897-1901</strong> Attends the private painting school of Anton Ažbe and is accepted in Franz von Stuck’s painting class; meets <a href="">Paul Klee</a></p><p><strong>1901-02 </strong>Foundation of the exhibition association and private art school Phalanx, classes in painting and life drawing</p><p><strong>1904-1908 </strong>Travels with Gabriele Münter to Holland, France, Tunisia, Itally and Switzerland</p><p><strong>1911-1912 </strong>Publication of the book “Concerning the Spiritual in Art” and the almanac “Der Blaue Reiter” (in collaboration with Franz Marc)</p><p><strong>1914-1921 </strong>Returns to Moscow, marries Nina Nikolayevna Andreevskaya, works with several Russian arts and cultural institutions (inc. NARKOMPROS, INKHuK)</p><p><strong>1921 </strong>Leaves for Berlin</p><p><strong>1922</strong> Begins to teach at the Bauhaus in Weimar, design of wall paintings for the Juryfreie Kunstschau, Berlin</p><p><strong>1923-24</strong> Acquaintance with the art historian Will Grohmann, publication of Grohmann’s first Kandinsky monograph</p><p><strong>1924</strong> Foundation of the exhibition group “Die Blaue Vier” with <a href="">Lyonel Feininger</a>, Alexej von Jawlensky and Paul Klee</p><p><strong>1925</strong> Relocates with the Bauhaus to Dessau, moves into one of the Master’s Houses</p><p><strong>1926</strong> Publication of the Bauhaus book “Point and Line to Plane”, exhibition to commemorate his sixtieth birthday</p><p><strong>1928</strong> Set design for Modest Mussorgsky’s “Pictures at an Exhibition” at the Stadttheater, Dessau</p><p><strong>1931</strong> Ceramic wall design for a music room at the Deutsche Bauausstellung in Berlin</p><p><strong>1932</strong> Relocates with the Bauhaus to Berlin</p><p><strong>1933</strong> Closure of the Bauhaus and relocation to Paris</p><p><strong>1937</strong> 57 works by Kandinsky are seized from German museums, 14 works shown at the propaganda exhibition “Entartete Kunst” (Degenerate art)</p><p><strong>13.12.1944</strong> Death in Paris</p> </div> </div> </div> Bauhaus Faces Sat, 16 Aug 2014 18:11:11 +0000 8690 at The architect of the new Weimar Bauhaus Museum <div class="field field-type-text field-field-article-text-upper"> <div class="field-items"> <div class="field-item odd"> <p>Study of architecture in Berlin, DAAD (GAES) research fellowship in Tokyo, research assistant at Bauhaus-Universität Weimar, foundation of a practice in Berlin, professor at Fachhochschule Potsdam, two children: Heike Handa’s career speaks for itself. Working together with Prof. Benedict Tonon, last year she ourperformed 536 participants to win the international competition for the new Bauhaus Museum building in Weimar. Heike Hanada in conversation with Gabriela Oroz.</p><p><strong>At the moment, your work often takes you to Weimar. Do you remember the first time you came to the city? What impressions do you recall?</strong></p><p>For me, Weimar was never an unknown quantity because my grandmother comes from Thuringia. Although my parents moved to the west before the Berlin Wall was built, we visited Thuringia every summer and also frequently travelled to Weimar. Even in those days, the Ilmpark with its lovely, romantic and charming landscape was what impressed me the most. The second decisive moment for me in Weimar came in the summer of 1999, when I met Prof. Karl-Heinz Schmitz for an interview at the faculty of design and building studies II at Bauhaus-Universität Weimar. That year, Weimar was the European Capital of Culture, and a thrilling place to be. My conversations with the students were often fascinating and exciting, because many of them had grown up in the GDR. Working in Prof. Karl-Heinz Schmitz’s department is still the most formative experience that I’ve had. Then, in 2012, the faculty of architecture asked me to be a member of the jury for the graduation exhibition. I was very pleased about this “return” to my former place of work.</p><p><strong>From Weimar you then went straight to Berlin, where you set up your own office. How did your first steps into self-employment go?</strong></p><p>While I was at the university I made a conscious decision not to set up my own office, because I thought the pressures of the demanding job there combined with my family would be too much. When I stopped working at the university in 2006, setting up my own office was more of a stopgap. I was unemployed and took a seminar on setting up a business with the only project that was on the table: a highly adventurous competition entry for an extension to the municipal library in Stockholm. To my mind, it’s still a small miracle: to win first place with my first competition, which allowed me to set up my own business. The project gained a lot of attention in the press, although it was not realised for a number of reasons. That made it easier for me to take part in other projects and competition. I still run my office on my own, but I work with other architects on specific projects.</p> </div> </div> </div> <div class="field field-type-filefield field-field-extrabild"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum" class="imagecache imagecache-article_full imagecache-linked imagecache-article_full_linked"><img src="" alt="" title="Portrait of Heike Hanada" class="imagecache imagecache-article_full" width="291" height="435" /></a> </div> </div> </div> <div class="field field-type-emvideo field-field-article-video"> <div class="field-items"> <div class="field-item odd"> <a href="/en/magazin/artikel/the-architect-of-the-new-weimar-bauhaus-museum"></a> </div> </div> </div> <div class="field field-type-text field-field-article-text"> <div class="field-items"> <div class="field-item odd"> <p><strong>You did so for the competition entry for the Bauhaus Museum. How did your collaboration with Benedict Tonon come about? How do you divide your workload?</strong></p><p>I first began on my own, working on the concept. I knew Benedict Tonon from before, when I worked in his office in the 1980s. And after working successfully together on a competition project in Potsdam I spoke to him about the competition for the Bauhaus Museum. We had a clear division of labour from the start. Benedict Tonon’s strengths, which I value highly, lie in concept development and urban development. Because we are both strong designers, we always set out a 60 per cent vote in advance, so that we avoid endless discussions. Benedict Tonon lends conceptual support for the Bauhaus Museum project, but most of the work happens in my office.</p><p><strong>What convinced you to participate in the competition for the Bauhaus Museum?</strong></p><p>I participate in around two or three competitions per year. The first question is invariably whether we’re allowed to participate, because open competitions are a rarity these days. And then it comes down to the context. I look specifically for themes that interest me. The competition for the Bauhaus Museum was one of the major open competitions of 2011. It interested me to think about how we look at modernism, what relationship I have to it, and how this relationship might be reflected in the building itself. This is a critical question, irrespective of whether one has lived in Weimar or not.</p><p><strong>The decision in favour of your design was made in summer 2012. At what stage in its realisation are you now?</strong></p><p>In summer 2012, the municipality of Weimar also decided to issue a development plan for the grounds of the Bauhaus Museum. The development plan provides security that my design will actually be realised. The municipality and Klassik Stiftung Weimar are currently focusing above all else on establishing the foundations for the development plan. At the same time, Klassik Stiftung Weimar has commissioned me, based on my competition entry, to complete the design documentation for the Museum by spring 2014.</p><p><strong>Do you see architects as role models?</strong></p><p>There are many architects, whom I find influential. Peter Zumthor, for example, has successfully built high quality and sustainable architecture. When I was studying in Berlin in the 1980s, it was plain to see how architecture was suffering. To my mind, the change came in the 1990s with the Swiss architects. Apart from a number of contemporary architects, classical modern architects such as <a href="">Mies van der Rohe</a> and Louis Kahn appeal to me. I am also often drawn to independently-minded architects, such as Álvaro Siza. The list could go on and on. In any case, I try to look at major works of architecture with an eye to where their strengths lie and what I can learn from that.</p><p><strong>What message would you have for today’s students of architecture?</strong></p><p>I don’t believe that it’s important to become self-employed as quickly as possible. To want to be one’s own boss is understandable, but I think that these years of learning, which one needs in order to reach a certain level of maturity, are really important. Today, this step seems to be taken too fast, which means that one lacks foresight. Often, the point where one wishes to be is found by chance, rather than by design, and in the process a certain objective can be missed. I would advise today’s students to give themselves time find their feet, work in a good office for a some time, all the while keeping their own career in view.</p><p><strong>Many thanks for your time and the insights into your work!</strong></p><p>The interview appeared in <a href="">Bauhaus.Journal 2012/2013</a>, published by Bauhaus-Universität Weimar.</p><p>Facts and figures: Bauhaus Museum Weimar</p><p>Location: Platz am Weimarhallenpark, total floor space: 3,716 m2</p><p>Investment volume: 22.6 million euros from the special investment programme of the German federal government and the State of Thuringia.</p><p>Museum collection: Currently ca. 10,000 exhibits on the background, history and lasting influence of the Staatliches Bauhaus</p><p>Further information: <a href=""></a></p> </div> </div> </div> Architecture Interview Weimar Sat, 16 Aug 2014 18:05:04 +0000 Gabriela Oroz 8689 at