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The Development of Bauhaus Architecture and a New Art of Construction

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The Development of Bauhaus Architecture and a New Art of Construction TABLE OF CONTENTS CHAPTER PAGE I INTRODUCTORY DEFINITIONS, CONCEPTS AND TRENDS • . • . • . 1 II COMPANION TRENDS IN ARCHITECTURE AND PAINTING • • • • • • • • • • • • • 8 III INAUGURA.TION OF THE. BAUHAUS • · • • • • • , 36 N NEO-PIASTICISM. • • • 47 v CULMINATION OF BAUHAUS ARCHITECTURE • 62 VI CONCLUSION • • • • • • • • • 79 Bibliography o • • • • • • • • 83 / ii LIST OF ILLUSTRA.TIONS PLA.TE I HENRY VAN DE VELDE, W.eimar School of Applied Arts, 1905 86 . II (a) PABLO PICASSO, Two Nudes 1 1906 (b) PABLO PICASSO, Nude in a Forest, 19 08-09 8 7 III PETER BEHRENS, A.E.G. Turbine Factory, Berlin1 1909 .88 N WALTER GROPIUS / Fagus Works shoe-last factory 1 Alfeld aodo L.eine, 1911 (in collaboration with Adolf Meyer) 89 v (a) PABLO PICASSO, Girl With a Mandolin,. 1910-11 (b) PABLO PICASSO, Mandolin, 1914: wood con- struction 9 0 VI WALTER GROPIUS, Model Factory for Deutz Motor Company, Werkbund Exhibition, Cologne, 1914 (in collaboration with· Adolf Meyer) 91 , .. VII WALTER GROPIUS, Spiral Staircase on comer of the model factory 1 Werkbund Exhibition, Cologne, 1914 92 VIII {a) WALTER GROPIUS, Sommerfeld House, Berlin, 1921 (b) WALTER GROPIUS 1 concrete monument, Weimar 1 1921 93 iii LIST OF ILLUSTRATIONS PIATE PAGE (a) LYONEL FEININGER, woodcut for the cover .of the first Bauhaus Proclamation, 1919 11 11 (b) JOHANNES ITTEN, cubic composition1 1919: plaster 94 x (a) PABLO PICASSO, Two Seated Women, 1920 (b) PIET MONDRIAN I ncomposition,n 1919 95 XI (a) BAUHAUS DEPARTMENT OF ARCHITECTURE, 11 models of standardized '"serial-houses 1 19 21 (b} WALTER.GROPIUS, model for a residence.r 1922 (in collaboration with Adolf Meyer) 96. XII (a) FARKAS MOLNAR, "The Red Cube, 11 project for a .house.r 1922: perspective (b) FARKAS MOLNAR, project for a wood frame house, 1922: · perspective 97 11 XIII (a}. THEO VAN DOES BURG, Model of a House 1 u 1923: wood construction (b) THEO VAN DOESBURG, "Scheme for an Architec- ture, 11. 1923 98 XIV (a) WALTER GROPIUS, Municipal Theater at Jenaz 1922: remodeled (in collaboration with Adolf Meyer) 99 iv LIST OF ILLUSTRATIONS PIATE PAGE XIV (b) BAUHAUS DEPARTMENT OF ARCHITECTURE 1 "Haus am Horn, 11 Weimar, 1923: erected for first Bauhaus Exhibition 99 xv (a) WALTER GROPIUS, project submitted to the International Chicago Tribune Competition, 1922: perspective (in collaboration with , Adolf Meyer} (b) WALTER GROPIUS 1 Bauhaus Buildings 1 Dessau, 1926: air view 100 XVI (a) WALTER GROPIUS 1 Bauhaus Buildings, Dessau1 1926: Bauhaus Workshop wing 1 view from the northwest (b} WALTER GROPIUS, Bauhaus Buildings 1 Dessau1 1926: Student• s studio-apartment wing, view from the east 101 XVII (a) WALTER GROPIUS 1 Double House for Bauhaus Masters,. Dessau1 1925: view from east (b) WALTER GROPIUS, Gropius Residence 1 Bauhaus,. Dessau~ 1925 102 XVIII {a) WALTER GROPIUS 1 Bauhaus Buildings 1 Dess au,. 19 2 6: view from south {b} WALTER GROPIUS, Bauhaus Buildings, Dessau, 1926: buildings under construction, view from southeast 103 v LIST OF ILLUSTRATIONS PIATE PAGE XIX (a) WALTER GROPIUS, Bauhaus Buildings, Dessau, 1926: interior of Bauhaus workshop 104 (b) WALTER GROPIUS, Bauhaus Buildings, Dessau, 1926: detail of glass walls xx WALTER GROPIUS, Bauhaus Buildings, Dessau1 1926: northwest corner of Bauhaus Workshop wing 105 vi INTRODUCTORY DEFINITIONS, CONCEPTS AND TRENDS Architecture 1 the. creation of a physical environment1 is deter- mined by a wide variety of practical considerations o The designing of a building involves many problems which belong in particular to the fields of sociology / psychology 1 economics, business and politics, as well as to the science and technology of engineering. However, in. addition to achieving an expedient solution, architecture must seek to gratify aes- thetic demandso As indeed implied in the very definition Baukunst - "the art of building," architecture is the creation of plastic beauty o As one of the visual arts 1 architecture cannot avoid being influ- enced by the evolving aesthetic principles which effect and determine these arts. As Mondrian states: In practical architecture aesthetic has to be largely excluded. But architecture as art, like all other .plastic arts, has to reveal the new aesthetic conceptions of our time.1 Since new aesthetic conceptions are embodied in the treatment of certain structural elements basic to any artistic composition, it may be assumed that the use of these elements - line, plane, color, light, space, etc. - are comparable in one medium to their use in another. Therefore, if an lo Piet Mondrian, 11 A New Realism,n Plastic Art and Pure Plastic Art (New York, 1945) / p. 19. 1 2 historian investigating architecture bases his point of view upon certain appropriate .aspects in the major trend of a contemporary art and aesthetic.r he takes advantage of what is perhaps the only possible way his subject can be interpreted as an art formo If works produced by the more progressive artists and craftsmen during the first quarter of the twentieth century were analysed ~n relation­ ship to each other, there would be revealed among them certain signifi­ cant similarities o Therefore,· the development of architecture· during ·this period coulq. well be compared to the development in any· one of the other visual arts, since each contains· characteristics of fonni. material, and style common to allo For our purposes,, the growth of·an important trend· in painting proves to be closest to the evolvement of architecture under investigationo In'fact1 . during the course of this paper it should be demon­ strated that a companion development of style is shared by the architec;... ture which culminates in the Bauhaus with a trend of painting that reaches its climax at the same time o What is this tren~ of painting and what are its basic characteristics that may be related to a contemporary architectural movement ? To answer this questiori, let us briefly trace two dominant con­ cepts of art which evolve immediately before·and after the turn of the cen­ tury o From them we should be able to distinguish clearly the trend of painting that contains qualities most like those achievable· in architecture. 3 During the latter part of the nineteenth cen~ury a new method of composition is introduced in painting o For sake of convenience / this general method might be called a method of reductive analysis o. Objects in nature, usually represented re,alistically, are analysed and reduced to varying degrees of abstraction; they are presented as forms, increasingly less natural in appearanceo. As a r~sult of the basic method of reductive analysis, the two major concepts of art arise in painting. Representing one of these concepts are painters who choose to ' . • .' ~ I • . portray their personal and emotional reaction to life around them. or even attempt to picture a fantastic world of the imagination. .This concept is ' ' ' . ., . ( -· ... advanced by groups .such as the Symbo~is,ts and the E~pressionist5- r .. both of which are inspired mainly by. tjle. flat curvilinear color patterns employed in the works of Van Gogh and Gauguin. After the turn of .the. century, it is the Fauves who first show the greatest concern for the manipulation of . ' . .. ~ ' . .. flat color shapes o They gain even more independence from a direct adap- tation of natural colors _and _forms than do the Post-Impressionists o Gradually, the Fauves become more and more i_ntrigued with an emotional means of expression; compo_sition to them becomes a problem of merely organizing increasingly intense colors • .. ": . An expressionistic concept_ of art is represented in Germany at the beginning of the. century by such painters as Munch. It is later inherited by the Brficke anq the Blaue Reiter ·schools o Although the latter. reacts against certain aspects of a Fauvist influence, its. general approach to 4 painting is adapted directly from the Fauves themselves. Irrational and emotional characteristics in the Blaue Reiter doctrine are to be found both in the work and.in the theory of·Marc and Kandinskrwho express a deep regard for the "spiritual in arto 11 Neither is interested in the prob­ lems of composition alone; but each shows a fascination for what Marc describes as nthe inner spiritual aspects of nature on Kandinsky pro­ poses that all painters should probe for the "inner resonances'• or the 11 internal vibrationsn which he believes are expressed by all natural and pictorial objects o It is Paul Klee,. ·an associate member of the Blaue·Reiter,. who comes closest to adopting as his main concern the· structural process of pictorial compositiono Perhaps this is the reason he refers to his working method as 11 constructive picture formation;," However,. Klee is not satis­ fied with solving only-the problems of·compositiorio Most ofteri·he builds structural frameworks merely as a means ·of supporting linear and color­ istic movements manifest in vague dream world images o Following the first period of its initiation,. this concept of art·· which emphasizes an emotional approach to painting as characterized by the erratic linearization. of Klee,. the intense color of the Fauve,. and the often tenuous spatial relations of Kandinsky, moves into many currents of developmento For example,. it is.·as a result of the groundwork laid by this first generation of expressionistic painters that many of the basic 5 tenets for later. movements of abstract expressionism and surrealism are establishedo However / there are few attributes to be found in this concept that lend themselves well to the discovery of a trend in painting related to the development of Bauhaus Architecture o2 Therefore, it is in the other impor- tant concept evolving after Impressionism that we must look for inherent qualities which might prove kindred to certain characteristics in architec- tureo This second dominant concept of art, which develops concurrently with the expressionistic concept, is indeed even more inseparable from the general Post-Impressionist method of painting which "!Ne have called a reductive analysis.
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