Professional Documents
Culture Documents
1883-1969
Cambridge Dessau
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Historical context:
Walter Gropius was a major pioneer of the modern movement. Through his teaching he became one of the most influential designers of the 20th century. His most significant building is the Bauhaus Building at Dessau, constructed in 1925-26. Gropius was a second generation modernist and a contemporary of his fellow German architect Ludwig Mies van der Rohe, both of whom were architecture students of Peter Behrens from 190810. In 1919 Walter Gropius established the Bauhaus, which became the most famous and influential design school of the 20th century. The creation of the Bauhaus was an extension of the Deutscher Werkbund, a group of German architects, designers and industrialists who sought to merge artistic design and creation with industrial mass-production to produce affordable, high quality, machinemade products and appliances. Watch this short video of the context of the Bauhaus. In 1928 Gropius resigned as director of the Bauhaus and in 1937 he emigrated to the United States (Mies van der Rohe, the third and last Bauhaus director, had already emigrated there in 1933 after the Nazis closed the Bauhaus.) Gropius lectured at Harvard University in Cambridge Massachusetts and he later established The Architects Collaborative (TAC), a major architectural firm, one of their significant buildings being the former Pan Am Building, (now the MetLife Building) 1958-63, (recently voted by New Yorkers as the building they most wanted demolished!) Gropius always adopted a collaborative approach to design. While studying under Peter Behrens he met Adolf Meyer with whom he worked on the design and construction of their first significant building, the Fagus Shoe-last Factory, 1911-13, and at the Bauhaus. He employed the most radical and innovative artist-designers to staff the Bauhaus, including Marcel Breuer who he continued working with in the United States.
Social context:
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Together let us desire, conceive, and create the new [building] of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers.
This statement by Gropius indicates his concern for the Gesamtkunstwerk, the building stylistically unified with all its furnishings and fixtures. It also reveals the influence of the Dutch De Stijl movement which sought to unite the visual arts of architecture, painting and sculpture into one seamless environment. This concept, derived from William Morris and the English Arts and Crafts movement, and reflected in the more recent organic architecture of Frank Lloyd Wright, was embraced by Gropius, but with an industrial aesthetic and means of production in mind.
Walter Gropius embraced the philosophy of his teacher Peter Behrens (and that of other members of the Deutscher Werkbund) to affect a change in the German social structure from a class-divided society to an industrially-based, egalitarian mass society. This is evident in the types of buildings that Gropius chose to design; buildings for the masses, for the workers: factories, schools, apartment blocks, and commercial buildings. This rather left-wing socialist philosophy eventually led to the closure of Gropius Bauhaus by the Nazis in 1933. Bauhaus ideas were however embraced by communist Russia and the commercial, mass-production economy of American. Like Peter Behrens before him, Gropius wanted to reconcile artistic design with modern materials and industrial methods of production. He wanted to create well-designed, useful, everyday objects and appliances that were accessible and affordable for the masses. This required mass-production, which in turn necessitated objects be made, at least in part, of industrial materials and standardised components. Standardisation became a design issue at this time because it limited the freedom and scope of artist-designers, and not all Bauhaus creations made it to the consumer mass market.
Peter Behrens,
Walter Gropius,
Walter Gropius,
Bauhaus Workshops,
1926.
metal frames asymmetrical composition horizontal windows flat roofs transparency internal skeletal structures cantilevered elements white walls open, fluid space glass curtain walls windows flush with wall plane functionalist, purist, industrial, machine aesthetic standardised, modular components lightweight, floating effect exposed, utilitarian fixtures Observe other stylistic features here and here
Accommodation
5 stories + basement, 28 student apartments with kitchenettes, gymnasium, laundry, lockers, bathrooms.
Technical School
3 stories plus basement, houses classrooms, library, administrative offices.
The bridge
2 stories raised on stilts, lower level contains masters offices, upper level houses the architecture department.
Marcel Breuer, Wassily Chair, 1923 Joost Schmidt, Bauhaus Exhibition poster, 1923 Wilhelm Wagenfeld, lamp, 1924
The Gropius wanted their American home to reflect its surroundings and traveled around New England studying its vernacular architecture. In designing the house, Gropius combined traditional elements of New England architecture such as clapboard, brick, and fieldstone, with new, innovative materials, such as glass block, acoustical plaster, and chromed banisters, along with the latest technology in fixtures.
Gropius carefully sited the house to complement its site on a rise overlooking an apple orchard and fields. The house was built with economy in mind. The screened porch and terraces extend the living spaces outdoors, it is sited for maximum ventilation and passive solar heating, and all fixtures and building supplies were factory-made items readily available in the United States. Using the Bauhaus design approach the house utilizes standard materials and products. The result is a regionally inspired house that employs the philosophy and goals of the modern movement.
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