BAUHAUS, WALTER GROPIOUS

PRESENTED BYKANIKA JAIN SHRUTI SINNGH

HISTORY OF BAUHAUS
BAUHAUS ARCHITECTURE IS WHAT TEL AVIV (THE WHITE CITY) HAS BECOME KNOWN FOR. THE STYLE EMERGED FROM THE ART AND ARCHITECTURE SCHOOL OF THE SAME NAME WHICH BEGAN IN GERMANY IN 1919. THE BAUHAUS SCHOOL WAS FOUNDED BY WALTER GROPIOUS IN WEIMAR.THE BAUHAUS SCHOOL WAS ESTABLISHED IN THE WINDS OF ARTISTIC CHANGE THAT SWEPT THE WORLD THE FIRST WORLD WAR. BAUHAUS TEACHING ATTEMPTED TO ADRESS ARCHITECTURE AND ARTS IN A RADICALLY SIMPLIFIED FORMS THROUGH RATIONALITY AND FUNCTIONALITY . THERE WAS NO TEACHING OF HISTORY OF DESIGN AND ART IN THE SCHOOL BECAUSE EVERYTHING IS SUPPOSED TO BE A NEW DESIGN AND CREATION. CONTROVERSIAL AND GROUND-BREAKING FOR ITS TIME,IT WAS REJECTED BY MANY.

BORN IN BERLIN IN 1883 AND DIED IN BOSTON IN 1969. GREAT BELIEVER IN TEAM WORK,AN INSPIRING TEACHER,AN ACADEMIC ADMINISTRATOR,A DESIGNER WHO CAME TO DEFINE MODERN STYLE AND A SUCCESFUL PUBLIC RELATION AGENT. HIS WORKS LIKE FAGUS FACTORY,BAUHAUS BUILDING,HOUSES FOR BAUHAUS MASTERS,KARLSRUHE-DAMMERSTOCK ARE FLAGSHIPS OF MODERN ARCHITECTURE. EMPLOYED IN PETER BEHRENS OFFICE IN 1908 AS ASSISTANT AND BUILDING SUPERVISOR. GROPIOUS THOUGHT,BEHRENS FACADES DIDNT SEEM AUTHENTIC,THERE CONSTRUCTIVE ELEMENTS COULD NOT BE RECOGNISED AND THEY WERE AESTHETICALLY MANIPULATED!

LIFE AND WORK

TRIBUNE TOWER-A BUILDING BY BEHRENS WITH ITS GOTHIC STYLE SPIRE

AFTER WORLD WAR I,PERIOD OF SOCIAL TRANSITION AND NEW POLITICAL SITUATIONS,CAREFUL CONSIDERATION WERE GIVEN TO ARTISTIC AND SOCIAL FUNCTIONS OF ARCHITECTURE. FOR REALISTIC AND NEEDS OF CONTEMPORARY INDUSTRIAL SOCIETY, THE NEW UNITY OF ART AND TECHNOLOGY BECAME THE OVERRIDING MOTTO IN 1923. REPRESENTED A NEW RARIONAL APPROACH. BAUHAUS WAS RELOCATED TO DESSAU IN 1925.
STRAIGHT LINES EASIER TO BUILD AND MORE ECONOMICAL

PHILOSOPHY
WANTED TO CREATE BUILDINGS AS CLEAR,ORGANIC BODIES,NAKED AND RADIANT FREE OF FALSEHOOD AND EXTRAVAGANCIES BUILDINGS THAT AFFIRM A POSITIVE ATTITUDE TOWARDS OUR WORLD OF MACHINES,CABLES AND HIGH SPEED TRANSPORTATION BUILDINGS THAT DISCLOSE THERE SENSE AND PURPOSE OF THEIR OWN ACCORD REJECTING EVERYTHING SUPERFLUOUS,THAT MIGHT OBSCURE THE ABSOLUTE FORM OF THE ARCHITECTURE

SMALLER WINDOWS INCREASED WALL AREA GIVING MORE RESTING SPACE FOR FURNITURE

USE OF GEOMETRY AND FLAT ROOFS WERE CHEAPER TO ABSTRACTION MAKE AND HAD SCOPE FOR EXPANSION

MEANING OF BAUHAUS
BAUHAUS IS ALSO THE NAME OF AN APPROACH TO DESIGN THAT WAS DEVELOPED AND TAUGHT IN THE SCHOOL. THE MOST NATURAL MEANING FOR ITS NAME(RELATED TO GERMAN VERB FORBUILD) IS ARCHITECTURE HOUSE.

PRINCIPAL ELEMENTS OF THE BAUHAUS

RAISED BUILDING-ON PILOTIS (COLUMNS)

STRIP WINDOWS
FREE FACADE FREE INTERNAL PLAN FLAT ROOF/ROOF TERRACE

THE PRINCIPALS OF BAUHAUS HAVE BECOME THE BASIS OF ALL MODERN ARCHITECTURAL STYLES AND THE SIMPLICITY AND CLEAN LINES PAVED THE WAY FOR MODERNISM.

GROPIOUSS CONCEPT:TRANSFORMING A TECHNICAL FORM INTO AN ART FORM. HE GAVE A FORM THAT WAS BOTH MONUMENTAL YET OBJECTIVE,KEEPING WITH ITA FUNCTIONAL AND CONSTRUCTIVE LOGIC.

FEATURES

PRECISELY DETERMINED FORMS DEVOID OF EVERYTHING ARBITARY CLEAR CONTRASTS WELL ORDERED MEMBERS SERIAL ROWS OF SIMILAR ELEMENTS UNITY OF FORM AND COLOR
REGULAR STR. OF THE FAADE CREATED BY ALTERNATING THE PIERS AND GLAZING FULLY GLAZED CORNERS SEEM TO BE WEIGHTLESS

GLASS GIVING TRANSPARENCY THROUGH THE STAIRCASE

HE CALLED THE BUILDING PALACES OF LABOUR,PROVIDING WORKERS WITH AMPLE LIGHT,FRESH AIR AND HYGENIC CONDITIONS THE CONTRAST BETWEEN SOLID WALL AND TRANSPARENT WINDOW SURFACES CONTRIBUTES TO ENHANCEMENT OF INDIVIDUAL ELEMENTS

FAGUS FACTORY (1911-1925)

THE FAADE OF THE FLAT ROOFED STRUCTURE MADE ARCHITECTURAL HISTORY BY DEMATERIALISATION OF OUTER WALL REPLACED BY LARGE WINDOWS THE SUPPORTS OF THE RCC SKELETON WERE LOCATED INSIDE THE BUILDING MAKING IT POSSIBLE TO LIBERATE THE EXTERIOR WALLS THE FACADES WERE DESIGNED WITHOUT NEEDING TO CONSIDER THEIR ROLE IN PRVIDING STRUCTURAL SUPPORT.

THOUGH,THE SYSTEM OF SUPPORTS AND CEILING PROVED TO BE PROBLEMATIC THE WINDOW FRAMES RUSTED QUICKLY INSULATION OF THE BUILDING WAS CLEARLY INSUFFICIENT.

FULL GLAZED FACADE

LARGE BUILDING SITE PROVIDED BY THE CITY ALLOWED FOR CUBIC FORMS IN AN UNCONSTRAINED AND ASYMMETRICAL WAY FLAT ROOFED,INTERCONNECTED BUILDING SEGMENTS WERE DEDICATED TO DEFINED FUNCTIONS ONE WING WAS AN INDEPENDENT TECHNICAL SCHOOL EQUIPPED WITH CLASSROOMS,ADMIN. OFFICES AND LIBRARY A 2-STOREY BRIDGE RESTING ON 4 CONCRETE PIERS CONNECTED THE SCHOOL TO THE WORKSHOP,ALSO HAVING DIRECTORS OFFICE AND GROPIOUSS PRIVATE ARCHITECTURAL OFFICE. RETRACTABLE WALLS MADE IT POSSIBLE TO OPEN UP ALL THE ROOMS TO FOM ONE BIG SPACE

BAUHAUS BUILDING

DESIGN OF THE CORNERS MADE ARCHITECTURAL HISTORY

BAUHAUS BUILDING REFLECTED CONTEMPORARY MODERN STANDARDS. ITS A CASE OF A SKELETON OF FERRO-CONCRETE PARTIALLY FILLED WITH BRICK WHITE PAINT CREATED AN IMPRESSION THAT THE BUILDING WAS FLOATING AND WEIGHTLESS THE SCHOOL WAS CLOSED IN 1932 UNDER POLITICAL PRESSURE
STUDIO BLOCK-AFFORDED 28 STUDENTS LIVING AND WORKING SPACE

STAIRWAY IN THE SCHOOL BUILDING

WORKSHOP BUILDING WOTH EXTENSIVE GLAZING,LOW-RISE AND STUDIO BLOCK

THE SINGLE GLAZING PROVIDED NO THERMAL INSULATION CONDENSATION CAUSED THE SLENDER WINDOW FRAME TO CORRODE QUICKLY ACOUSTIC INSULATION PROVED INSUFFICIENT FLAT ROOF TENDED TO LEAK

Alan I W Frank House

The Alan I W Frank House is a private residence in Pittsburgh, Pennsylvania, designed by Bauhaus founder Walter Gropius and partner Marcel Breuer, two of the pioneering masters of 20th-century architecture. This spacious, multi-level residence and its furnishings and landscaping were created by Gropius and Breuer as a Total Work of Art. In size and completeness, it is unrivaled. With four levels of living space and an indoor swimming pool, the main building complete with curved glass facade, nine bedrooms and 13 bathrooms. Including the five terraces that are part of the house and the rooftop dance floor. The stonework of the exterior walls and the dramatic entry of this innovative house suggest a detailed and richly textured building. Inside, graceful curves prevail.

Front view

The stair is a sensuously curved cantilevered stair. The theme is echoed in a sculptural outside stair of concrete taking visitors from the front to the back garden via an open terrace, an alternative dramatic path through the house. Effects are achieved through natural materials set in contrast with man-made products, through contrasts of light and heavy, closed and open, and through dramatic lighting and staging of movement on the wooded sloping site.

Cantilevered stair

Unique features of this home include roof surfaces that support living lawns and contribute to thermal efficiency, innovative electrical and energy management systems that reduce energy use, and one of the first examples of central air conditioning with electrostatic air purification.

Gropius House
The Gropius House was the family residence of noted architect Walter Gropius at 68 Baker Bridge Road, Lincoln, Massachusetts. The house caused a sensation when built. In keeping with Bauhaus philosophy, every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity. Gropius carefully sited the house to complement its New England habitat on a rise within an orchard of 90 apple trees. Set amid fields, forests, and farmhouses, the Gropius House mixes up the traditional materials of New England architecture (wood, brick, and fieldstone) with industrial materials such as glass block, acoustic plaster, and chrome banisters. The house structure consists of a traditional New England post and beam wooden frame, sheathed with white painted tongue and grove vertical siding. Traditional clapboards are used in the interior foyer, but are applied vertically.

Plan of gropious house