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Datenschutzhinweis: Bitte versenden Sie keine sensiblen Daten über dieses Kontaktformular. He was also influenced in respect to aesthetics by the work of the Der Blaue Reiter group in Munich , as well as the work of Austrian Expressionist Oskar Kokoschka.
The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate.
This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since , when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.
Gropius was not necessarily against Expressionism , and in fact, himself in the same pamphlet proclaiming this "new guild of craftsmen, without the class snobbery", described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future.
He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production.
To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic merit.
The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the Weimar Republic lacked the number of raw materials available to the United States and Great Britain, it had to rely on the proficiency of a skilled labour force and an ability to export innovative and high-quality goods.
Therefore, designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry.
Weimar was in the German state of Thuringia , and the Bauhaus school received state support from the Social Democrat -controlled Thuringian state government.
The school in Weimar experienced political pressure from conservative circles in Thuringian politics, increasingly so after as political tension rose.
One condition placed on the Bauhaus in this new political environment was the exhibition of work undertaken at the school. This condition was met in with the Bauhaus' exhibition of the experimental Haus am Horn.
The Bauhaus issued a press release on 26 December , setting the closure of the school for the end of March After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar.
This school was eventually known as the Technical University of Architecture and Civil Engineering, and in changed its name to Bauhaus-University Weimar.
The Bauhaus moved to Dessau in and new facilities there were inaugurated in late Gropius's design for the Dessau facilities was a return to the futuristic Gropius of that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House.
Meyer became director when Gropius resigned in February , [1] and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes ADGB Trade Union School in Bernau bei Berlin.
Meyer favoured measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs.
This approach proved attractive to potential clients. The school turned its first profit under his leadership in But Meyer also generated a great deal of conflict.
As a radical functionalist, he had no patience with the aesthetic program and forced the resignations of Herbert Bayer , Marcel Breuer , and other long-time instructors.
Even though Meyer shifted the orientation of the school further to the left than it had been under Gropius, he didn't want the school to become a tool of left-wing party politics.
He prevented the formation of a student communist cell, and in the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school.
Dessau mayor Fritz Hesse fired him in the summer of Mies was appointed in and immediately interviewed each student, dismissing those that he deemed uncommitted.
He halted the school's manufacture of goods so that the school could focus on teaching, and appointed no new faculty other than his close confidant Lilly Reich.
When it gained control of the Dessau city council, it moved to close the school. In late , Mies rented a derelict factory in Berlin Birkbusch Street 49 to use as the new Bauhaus with his own money.
The students and faculty rehabilitated the building, painting the interior white. The school operated for ten months without further interference from the Nazi Party.
In , the Gestapo closed down the Berlin school. Mies protested the decision, eventually speaking to the head of the Gestapo, who agreed to allow the school to re-open.
However, shortly after receiving a letter permitting the opening of the Bauhaus, Mies and the other faculty agreed to voluntarily shut down the school [ when?
Although neither the Nazi Party nor Adolf Hitler had a cohesive architectural policy before they came to power in , Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labelled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs.
Increasingly through the early s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in Even before the Nazis came to power, political pressure on Bauhaus had increased.
The Nazi movement, from nearly the start, denounced the Bauhaus for its " degenerate art ", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism".
Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the "New Bauhaus" of Chicago: [26] Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute now Illinois Institute of Technology in Chicago and to seek building commissions.
When Hitler's chief engineer, Fritz Todt , began opening the new autobahn highways in , many of the bridges and service stations were "bold examples of modernism"—among those submitting designs was Mies van der Rohe.
The paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building, [28] the school did not offer classes in architecture until During the years under Gropius — , he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school.
So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena , and the competition design for the Chicago Tribune Tower , which brought the school much attention.
The definitive Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the Haus am Horn , student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.
In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" apartment buildings with balcony access , which are still in use today, and another for the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes ADGB Trade Union School in Bernau bei Berlin.
Meyer's approach was to research users' needs and scientifically develop the design solution. Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach.
As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics.
Neither Mies van der Rohe nor his Bauhaus students saw any projects built during the s. The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate.
Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies.
It was the Bauhaus contemporaries Bruno Taut , Hans Poelzig and particularly Ernst May , as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany.
The Bauhaus had a major impact on art and architecture trends in Western Europe, Canada, the United States and Israel in the decades following its demise, as many of the artists involved fled, or were exiled by the Nazi regime.
Tel Aviv in was named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture; [29] [30] it had some 4, Bauhaus buildings erected from onwards.
In , the Hungarian painter Alexander Bortnyik founded a school of design in Budapest called Miihely also "Muhely" [31] or "Mugely" [32] , which means "the studio".
Victor Vasarely , a pioneer of Op Art , studied at this school before establishing in Paris in Walter Gropius, Marcel Breuer , and Moholy-Nagy re-assembled in Britain during the mid s to live and work in the Isokon project before the war caught up with them.
Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split.
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