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Bauhaus: Walter Gropius
built 622 days ago
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 ... 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. In Taut's case, the housing may still be seen in south-west Berlin, is still occupied, and can be reached by going easily from the U-Bahn stop Onkel Toms Hütte.
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Après la dissolution du Bauhaus de Weimar, plusieurs villes d'Allemagne proposent d'accueillir le Bauhaus. C'est finalement Dessau qui est choisie par les maîtres du Bauhaus. L'une des raisons qui motive la proposition de la ville industrielle de Dessau est le manque de logements : Gropius prônant l'industrialisation de la construction se voit également confier la création d'une cité à Dessau-Törten
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A principle of the Bauhaus was to serve the development of contemporary housing, from the most basic household equipment to the complete house. Walter Gropius, the director of the Bauhaus, was convinced, "that houses and their furnishings must have a meaningful relation to each other and aims to derive the form of every object from its natural functions and limitations, by means of systematic experimentation..."
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Gropius stepped down as director of the Bauhaus in 1928, succeeded by the architect Hannes Meyer (1889–1954). Meyer maintained the emphasis on mass-producible design and eliminated parts of the curriculum he felt were overly formalist in nature. Additionally, he stressed the social function of architecture and design, favoring concern for the public good rather than private luxury. Advertising and photography continued to gain prominence under his leadership.
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Walter Gropius founded the Bauhaus in 1919, to unite art and design. It would put the modernist imagination, as free of history as of surface decoration, at the service of industry and craft. The exhibition includes both craft and publications, many of which Moholy-Nagy would have edited. It contains media from porcelain enamel on steel to Formica and Bakelite, the plastic used for radios as recently as in an Elvis Costello song. However, both Albers and Moholy-Nagy found themselves more at home with artistic experiment for its own sake, especially when they could claim to codify its rules.
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