The Period That Led to the Bauhaus Was Very Much

The period that led to the Bauhaus was very much influenced by approaches to education reform and by the pre-war arts and crafts movement, especially the progressive education movement and the concept of the Gesamtkunstwerk (total work of art).

Henry van de Velde in Weimar in 1902 founded the Arts and Crafts Seminar and was the director of the School of applied arts from 1907 to 1915. The school played a significant role in the early history of the Bauhaus. Gropius had been already proposed as his successor by van der Velde in 1915.Under Henry van de Velde, the school workshops had already taken the transitional step from craftsmanship techniques to industrial technology in 1910.

The discussions at the works council for art, where German intellectuals, architects and artists came together in the autumn of 1918, had another decisive influence on the pioneering programme of the Bauhaus. One work group including Walter Gropius discussed the far- reaching reform of the educational system. In the spring of 1919, it developed a mutual concept paper that served as a basis for Gropius’s concept.

The artist William Morris was the founder and leader of a reform movement that aspired to counter the cultural damage caused by industrialization. Starting in 1861, he revived historic handicraft techniques in his workshops and used them to produce high quality goods such as fabrics, carpets, glass paintings, furniture and everyday objects. The wave of reform was reached to German Later, Where the industrialization had achieved a new quality in that time. Germany also recognized that well-designed industrial products represented a significant economic factor. Through analysis of British educational system, German artists and intellectuals found it was necessary to reform arts and crafts of school in German and applied arts is the most important task now.

Shortly after, Walter Gropius found the Weimar State Bauhaus with the goal of overcoming division between the artisan and the artist in 1919. The employees of the Bauhaus wanted to eliminate social differences through their creative work.

On 1st of April 1919. Walter Gropius became the director of the former Grand-Ducal Saxon College of Fine Arts Art School in Weimar. He united it formally with the College of Applied Art, and named it the State Bauhaus in Weimar. The school represented the spirit of awakening. Gropius then appointed as masters at the Bauhaus Weimar included Gerhard Marcks, Lyonel Feininger, Johannes Itten, Paul Klee, Oskar Schlemmer, Wassily Kandinsky and László Moholy-Nagy.

In his manifesto and programme for the Weimar State Bauhaus, Walter Gropius called for a new beginning for building culture. Art should once again serve a social role, and there should no longer be a division between the crafts-based disciplines. Instead of academic theory, the Bauhaus relied on a pluralistic educational concept, on creative methods and the individual development of the students’ artistic talents. Based on the manifesto and programme, the Bauhaus masters developed a new type of teaching programme based on the preliminary course developed by the Johannes Itten, the famous theory of Paul Klee and Kandinsky and practical training in the workshops. The ultimate goal of the educational programme was collaborative work on a representative building, the ‘Synthesis of the art’, as Gropius called it, to which all the Bauhaus workshops were to contribute. Training in the workshops was preceded by the preliminary course, a trial semester where the personal skills of the students were tested and the foundations of craftsmanship and design were taught. The workshops were the core of the Bauhaus Weimar.

In 1923, Walter Gropius initiated a decisive change of direction at the Bauhaus Weimar. Theo van Doesburg, a Dutch artist, member of the group De Stijl, served as a catalyst for this development, but finally this was not accepted at the Bauhaus.

Between 1919 and 1923, the state government generally promoted Gropius’s plans. With the right wing party won the election. The budget for the Bauhaus was cut and the teachers’ contracts cancelled as March 1925. Then Gropius and masters resigned in December. After then Bauhaus moved to Dessau in 1925.

Surprisingly, following the politically motivated closure of the Bauhaus in Weimar, the change of location to Dessau did not result in a crisis in the school. Starting with the famous Bauhaus Building designed by Walter Gropius, the majority of the products and buildings that still define the image of the Bauhaus today were created in Dessau.

As an architect who had already made a reputation for himself in 1911 with the celebrated glass building for the Fagus-Werk shoe factory, Gropius was warmly welcomed by Dessau citizens. Fortunately, the Weimar masters Lyonel Feininger, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Georg Muche and Oskar Schlemmer followed Gropius to Dessau and moved into the Masters’ Houses that he had designed. It is so important for Bauhaus. From 1926, the former Weimar State Bauhaus was officially called Bauhaus – School of Design. The masters were appointed as professors.

A year later, on Gropius’s recommendation, the director’s post was handed over to the Swiss architect and urbanist Hannes Meyer, previously the head of the architectural department established at the Bauhaus in 1927.But, in 1930, he was dismissed by the city council for supposed ‘communist practices’.

With Ludwig Mies van der Rohe in 1930, the Bauhaus acquired its last and least politically minded director. The school’s orientation towards architecture grew under his direction. however, there was also an increasing lack of socio-political reference. The students were most affected by the ban on any type of political activity and the discontinuation of production lines. Just one year after Mies van der Rohe took office, The city decided to close the Bauhaus in Dessau on September 1932. The relocation of the school with all its equipment to an old telephone factory in Berlin, which was organised by Mies van der Rohe, was just a brief interlude that preceded its final closure on 20th July 1933.

Due to the repressive political measures of the National Socialists and the drastic cutbacks in funding, only a limited amount of work was possible during the Bauhaus’s last phase in Berlin. With regular teaching activities were no longer possible, Finally It had been dissolved in April 1933. Instead, the brief and dramatic Berlin phase led many professors and students to move elsewhere in Germany or to emigrate.

The move to Berlin was organized by Ludwig Mies van der Rohe, who was the third Bauhaus director from 1930. In October 1931, the Bauhaus masters and students resumed their work in an abandoned telephone factory in Berlin. However, After being searched by polices, 32 students were arrested. These were unacceptable to Mies van der Rohe, the teaching staff dissolved the Bauhaus on 20th July 1933.

After the dissolution of the Bauhaus in Berlin, a large number of those who taught and studied at the Bauhaus emigrated and contributed greatly to the global dissemination of the Bauhaus concept.

One of the distinctive features of the Bauhaus is that it integrated a diverse range of international trends and was required to reinvent itself in consistently new contexts due to its forced relocation. Perhaps the most intensive communication and propagation of the ideas coming from the Bauhaus happened through the teachers and students even before its closure in 1933.

Europe Gerhard Marcks, for example, went to the Burg Giebichenstein school of applied art in Halle in 1925. Oskar Schlemmer taught at the academy in Breslau from 1929 and Paul Klee at the art academy in Dusseldorf as of 1932. The Weimar architectural academy, the direct successor of the Bauhaus, employed former students and masters of the Bauhaus such as Ernst Neufert, Erich Dieckmann and Wilhelm Wagenfeld as teachers. In 1926, the former Bauhaus member Sándor Bortnyik founded the ‘Mühely’ (workshop) also known as the ‘Hungarian Bauhaus’, etc.

USA With the emigration of many members of the Bauhaus, the Bauhaus idea was transplanted into other cultural circles and under the new conditions, the contents and forms of expression changed. Josef and Anni Albers, Walter Gropius, Ludwig Mies van der Rohe, Marcel Breuer emigrated to the USA. In 1937, the New Bauhaus was founded in Chicago by Lászlo Moholy- Nagy. Walter Gropius and above all Ludwig Mies van der Rohe became the most important and influential architects in the USA. Many ideas from Ford‘s rationalisation principles, the lifestyles associated with jazz, steel-frame constructions and the architecture of Frank Lloyd Wright had already been influential at the Bauhaus and beyond in the 1920s, under the title of ‘Americanism’.

Not only that, the spirit of Bauhaus around the world now is affecting almost every aspect of human life and will continuing to be passed down by its successors.

Training began with the preliminary course ,where new experimental educational methods were applied to acquaint students with the use of materials and the basic principles of design.In three different periods, three different masters are mainly responsible for teaching,including: 1. Johannes Itten’s preliminary course, 1919–1923. 2. László Moholy-Nagy’s preliminary course, 1923–1928. 3. Josef Albers’s preliminary course, 1928–1933.

1.At the Weimar State Bauhaus, he devised a contemporary method of teaching based on insights gained from the progressive educational movement and the artistic avant-garde. Itten encouraged his students to explore their own subjective feelings and to bring creativity to design. His course was divided into three sections: studies of nature and materials including colour and form theory, analyses of the old masters and life drawing.

2.In 1923, the Hungarian Constructivist László Moholy-Nagy joined the Bauhaus Weimar as the youngest master of form.Moholy-Nagy adopted Itten’s teaching method in the preliminary course by asking students to carry out independent studies of material. He did not want to promote the pure individuality of his students, but to systematically introduce them, through a synthesis of the senses, to the technical foundations of statics, dynamics and equilibrium.

3.When Moholy-Nagy left the Bauhaus in 1928, Albers became the official head of the preliminary course. Albers taught material studies during the first semester, which he extended to up to 18 hours per week in the preliminary course workshop. In his classes, he had the students use simple tools to explore the properties of various materials such as metal, wood and paper. The focus was on the development of spatial structures.

Practical exercise in the workshops was the core of a Bauhaus education. Each workshop was run by a master of form and a master of work. From 1919 to 1933, there were totally eleven different kinds of workshops,including： 1. Sculpture, 1919-1930. 2. Joinery, 1919–1933. 3. Metal, 1919-1933. 4. Weaving,1919-1933. 5. Ceramics, 1919-1925. 6. Graphic printshop, 1919-1925. 7. Stained glass, 1920-1925. 8. Wall painting, 1920-1933. 9. Stagecraft, 1921-1929. 10. Painting and Advertising, 1925-1933. 11. Photography, 1929-1933.

Training in the craft workshops was complemented by subject teaching in the arts, sciences and professional practice. Descriptive geometry, mathematics, physics and chemistry were already included at foundation level. The classes include： 1. Building Theory, 1919-1933. 2. Other Disciplines, 1919-1933. 3. Harmonization Theory by Gertrud Grunow, 1919-1924. 4. Elementals by Wassily Kandinsky, 1922-1933. 5. Fine Art, 1923-1933. 6. Lettering Design by Joost Schmidt, 1925–1932. 7. The human being by Oskar Schlemmer, 1928-1929.

1.Construction on pilotis. Ze'ev Rechter battled the authorities for some two years before obtaining a building permit for Engel House (84 Rothschild Boulevard) - the city's first structure employing this element. Construction on pilotis was later institutionalized in the city plans.

Nonetheless the practice of residential buildings being "raised in the air" above a green garden, with air flowing between and below them would recede in the 1940s, when the Tel Aviv municipality began to permit contractors and entrepreneurs to build small flats on 50 % of the columned ground level. This effectively blocked the flow and continuity of the open space and gardens. For all that, buildings of this type remain characteristic of Tel Aviv's "old north," and the front gardens, extending the narrow residential streets, have kept the city green to this day

（Chapter 6，paragraph 5, p .240）.

在柱庄上展开建设。 Ze'ev Rechter 与当局争夺了两年之久，然后获得了恩格尔楼（罗斯柴尔德

大道 84 号）的建筑许可证 - 这是该市第一个采用这种元素的建筑。试点建设后来在城市规划

中制度化。尽管如此，在 20 世纪 40 年代，当特拉维夫市开始允许承包商和企业家在 50％的

土地上建造小型公寓时，居住建筑在绿色花园上空“升起”，空气在其中间和下面流动的做法将会

消退。圆柱底层。这有效地阻止了开放空间和花园的流动和连续性。尽管如此，这种类型的

建筑仍然是特拉维夫“老北部”的特色，前面的花园延伸了狭窄的住宅街道，直到今天仍保持着城

市的绿色。

2.The Free Façade.

In modern architecture, the wall is detached from the skeleton, its function being to envelop the interior like an elastic shell and distinguish between exterior and interior. This quality is emphasized in various ways - for instance, by means of columns receding as little as 2-4 centimetres from the wall plane, a device that highlights the wall's independence and enhances its plasticity (e.g. Citrus House, pp. 389-91).

In Tel Aviv, the option of punctuating the wall with large windows was not exploited to the same extent as in Europe, given the local climatic conditions (humid heat and glaring light), but the flexibility of the non-bearing wall membrane, as distinguished from the massive, load- bearing wall, was exposed and expressed by other means. Sometimes the corners extend beyond the envelope to stress its being a mere screen that can, theoretically, be moved or replaced as needed (fig. 12, p. 55: 7 Ruppin Street, and fig. 01.5, p. 280: 1 Hagilboa Street).

The modern qualities of the wall are in clear evidence also when the corners of the building are not supported by columns but feature windows or balconies. This "subtraction" from the corner mass, epitomizing the free façade, is seen in many residential buildings in Tel Aviv (e.g. figs. 13 and 14, p. 55: 40 Melchett Street and 16 Crémieux Street).

在现代建筑中，墙壁与骨架分离，其功能是像弹性外壳一样包围内部并区分外部和内部。这种质

量以各种方式得到强调 - 例如，通过距离墙壁平面仅 2-4 厘米的柱子，一种突出墙壁独立性并

增强其可塑性的装置（例如 Citrus House，pp.389-91）。

在特拉维夫，考虑到当地的气候条件（潮湿的热量和耀眼的光线），使用大窗户对墙壁进行点缀

的选择没有像欧洲那样被开发，但是非承重墙膜的灵活性，从巨大的承重墙暴露出来并通过其他

方式表达出来。有时角落延伸到围合之外，以强调它只是一个屏障，理论上可以根据需要移动或

更换（图 12，第 55 页：7 Ruppin 街，图 01.5，第 280 页：1 Hagilboa 街）。

当建筑物的角落没有柱子支撑但是有窗户或阳台时，墙壁的现代性特质也很明显的展示出来。在

特拉维夫的许多住宅楼（例如图 13 和 14，图 55：40 Melchett 街和 16Crémieux 街）都可以看

到角落体积的“减法”原则，体现了自由的外观。

3.The free plan.

The interior design of flats was functional and simple. The bedrooms, living-room and kitchen opened onto a vestibule or central hall, the kitchen was small - measuring some 5 sq. meters - and the living room was larger than the other rooms. Since the inner walls were for the most part built of silicate blocks, it was in effect impossible to move or remove them; the only flexibility lay in the characteristic large glazed double doors between the living-room and the adjacent room, which could be opened or shut according to the needs of the hour or the occasion. The columns of the skeleton were hidden within the thickness of the walls, but the layout of the flat did not indicate the interior walls independence and modularity.

4.The strip or ribbon window.

Le Corbusier's strip window prototype was not applicable to local building, since the hot climate made large glass surfaces of the kind used in Europe impractical. The accentuated horizontality of the strip window was achieved by one of the following methods:

1. A protruding concrete frame surrounding the windows and extending along the façade. This was a favorite method of Ze'ev Rechter (see p. 241, fig. 25.1) 2. Elongated balconies with a narrow interval between the parapet and the sun-break "apron" projecting from the floor above and thus emphasizing the horizontal flow of the façade. The “apron” effectively shaded the balcony as well as the rooms opening on to it. Excluded from the registered (and taxable) size of the flat, such “strip balconies” were in great demand (fig. 15.2 Bilu Street).

5.The flat roof, serving as garden terrace.

Throughout the Mediterranean, roof terraces serve for social get-togethers and recreation, or even as a sleeping place on hot summer nights. In Tel Aviv, the roof of a block of flats was part of the common property, albeit planned not as a Corbusian roof garden but as an added space to be used by all residents, with a laundry room and sometimes an additional area set aside for

Social activities. The communal purpose of the roof was indicated by pergolas comprising a concrete grid or concrete beams and iron tubes (fig. 16: 18 George Eliot Street). Throughout the 1930s and 40s, social events and family celebrations such as weddings and bar mitzvahs commonly took place on this communal rooftop.

在整个地中海地区，屋顶露台可用于社交聚会和娱乐活动，甚至可以作为炎热夏夜的睡眠场所。

在特拉维夫，公寓楼的屋顶是公共财产的一部分，尽管不是作为一个 Corbusian 屋顶花园，但作

为一个额外的空间供所有居民使用，有一个洗衣房，有时还有一个额外的区域用于社交活动。屋顶的共同目的是由具有混凝土网格或混凝土梁和铁管的棚架（图 16：18 乔治艾略特街）表示。

在整个 20 世纪 30 年代和 40 年代，社交活动和家庭庆祝活动，如婚礼和酒吧明星，通常在这个

公共屋顶上进行。

6. Asymmetry, or regularity, as opposed to classical symmetry. Asymmetrical designs were common in the early and mid-1930s, as seen in the massing of the building's various sections and in the articulation of the façade itself. Initially, asymmetry occurred between the storeys - usually with the layout of the first floor differing from that of the others. At a later stage, municipal regulations making it mandatory to plan three identical floors hampered creativity and resulted in monotonous and bland façades. The late 1930s thus saw the beginning of a bourgeois trend, with buildings, blocks of flats in particular, reverting to a symmetrical layout, though still preserving a generally "modern" appearance (see p. 299, 12-14 Ruppin Street). Regularity - or repetition of a module or of a detail in the façade - is a rare feature in Tel Aviv. Outstanding examples are the "French balconies of Me'onot Hod (a workers' co-operative housing estate)

(p. 313, fig. 01.4) and the rounded balconies of the Leon Recanati House (p. 299, fig. 04.1).

不对称设计在 20 世纪 30 年代早期和中期很常见，如建筑物各个部分的体量和立面本身的清晰

度所示。最初，楼层之间出现不对称 - 通常第一层的布局与其他楼层的布局不同。在稍后阶

段，市政法规规定必须规划三个相同的楼层，这阻碍了创造力，导致单调和平淡的外墙。因此，

20 世纪 30 年代后期看到了资产阶级趋势的开始，特别是建筑物，公寓楼，恢复到对称的布局，

但仍然保留了一般的“现代”外观（见第 299 页，Ruppin 街 12-14 号）。规则 - 或重复模块或外

观中的细节 - 是特拉维夫罕见的特征。杰出的例子是“Me'onot Hod 的法国阳台（工人合作住宅

区）（第 313 页，图 01.4）和 Leon Recanati House 的圆形阳台（第 299 页，图 04.1）。

7. Avoidance of applied decoration.

International Style architecture in Tel Aviv is characterized by elaborately designed functional elements and details, as seen for example in the variegated balcony balustrades, or in their niched concrete lower boxes. The cornices, the overhangs, the roof pergolas and the circumferential root beams also serve as functional-decorative elements. In addition, the walls are faced with a wide variety of decorative plaster textures, with a preference for Waschputz

(washed plaster) and Kratzputz (scraped plaster). Pilotis were rendered in various types of wate- repellent and durable concrete plaster, which set them off against other parts of the building. The majority of buildings were faced with plaster of fairly neutral shades ranging from bright white to creamy or sandy beiges; a close look at today's weathered and faded façades reveals that some were originally pale pink or green or dark ochre -all shades that had been in vogue already in the 1920s. Parts of the building might also be highlighted by plaster in a different colour or shade. The pigments were imported from Europe, especially Britain,

Denmark and Norway, with the same shades in use until the mid- 1930s. Two outstanding examples were the "Blue Villa" on Bialik Street, designed by Genia Averbouch, and the e"Red

House" on Hayarkon Street (both demolished).

8. Architectural solutions to climatic problems.

The Mediterranean climate with its strong light and hot summers, making well-ventilated interiors mandatory, prompted architects to search for solutions in the flat's layout as well as the building's exterior design. The solutions can be divided in two groups:

Shading devices, an integral part of the local vernacular, which include the following elements:

1. Cantilevered slabs above windows or other openings screening off direct sunlight in summer

2. Suspended sun-break "aprons" (generally composed of 10 to 12 centimeters thick slabs of cast concrete, affixed to the concrete beam of the upper balcony), providing shade to the recessed part of the balcony

3. Windows and doors of relatively small dimensions (in contrast to Europe), with a maximum height of 2.10 meters from floor level, to limit the penetration of sunlight into the rooms

4. Recessed windows, their upper part shaded by frames protruding from the wall surface

Means of ventilation

1. Architects favored flats ventilated by an east-west or, alternatively, north-south airflow.

Bedrooms would be located to the east and living rooms to the west, with openings

between the rooms for optimal cross-ventilation (fig. 17).

2. In order to give each flat a westerly elevation, or at least an opening facing to the west to catch the sea breeze, the building's wings would be aligned so as to ensure an unobstructed airflow. 3. Balcony balustrades had openwork wrought-iron railings, and concrete parapets and upper

"aprons" sometimes featured perforations or slots allowing the breeze to pass through (fig. 19).

4. In the early 1930s, it became customary to place small round or square ventilation openings above windows and doors an element borrowed from local Arab architecture but this practice was soon discontinued.

5. The columned ground level was intended to increase the airflow at street level and shade the entrance to the building. The gardened space had a beneficial effect on the micro-climate of both street and entrance

9. Balconies.

The Tel Aviv balcony was designed to serve a variety of functions. It was very different from that of modern buildings in Europe, which tended to have a decorative rather than utilitarian purpose.

For many years, Tel Aviv was popularly referred to as "the balcony city" and indeed its balconied residential buildings became a ubiquitous feature of the urban landscape. Refi he openness of

Tel Aviv's social fabric, the balcony served as a natural link between the flat and the street. In buildings planned in the 1920s, balconies gave on to the private backyard and served family members for quiet get-togethers, reflecting a more inward-looking lifestyle. From the 1930s, in contrast, the living-room with its balcony extension faced the street, making for (often animated) conversation between residents and neighbors or passersby. In the evenings, family and friends would eat, chat and play cards on the balcony, which functioned as an open-air living space suited to the spirit of a Mediterranean city. Apart from its social purpose, the balcony plays a significant role in a building's exterior design. The cantilevered balcony enhances the interplay of light and shade in the façade, as does the recessed balcony, creating a negative-positive effect in the flat wall. Among the numerous balcony types that developed in Tel Aviv during the period under discussion, the most common were the following: a) The cantilevered "French balcony," measuring 1.20 x 1.20 meters and serving mainly as a design feature, though its casement (French) window, reaching down to the floor, also improves the room's ventilation. b) The cantilevered strip balcony, running along the entire façade. Reaching a depth of up to 1.90 meters, it has the dual advantage of shading the interior during daytime and functioning as a recreational area on cool evenings. c) The recessed balcony - a local variation of strip fenestration - shaded by its sun-break "apron" and affording additional space not included in the registered flat size. Although in shade throughout the day, its ventilation is deficient because of hot air pockets formed in the space behind the "apron." d) The semi-recessed, semi-protruding balcony, which was very popular in the late 1930s and

*40s. Often more than 2 metres in depth, it was ideal for evening entertaining. This was the type favored by Dov Karmi, who evolved a signal balcony layout, its curved profile – which diverged conspicuously from the straight lines of the façade – creating a flexible niche-like space and imparting a sense of plasticity. e) The "Mendelsohnian" balcony, combining rounded and rectilinear corners and hence softening the building's rigid angularity. These primarily decorative balconies cast an interesting pattern of shade on the walls and affect the layout of the building and the view of the street rather than serving as a functional and recreational extension of the flat (see scheme, fig. 20).

0.Building materials.

Silicate and cement bricks supplanted the local soft sandstone, the prevalent building material until the early 1920s. In 1921 a silicate factory was built in central Tel Aviv on the initiative of

Josef Seidner, a Viennese engineer, and with funding from the well-known philanthropist

Yitzhak Leib Goldberg. Silicate blocks, produced from sand and lime, would continue to be the major building material until the early 1950s Whereas construction in soft sandstone was a traditional expertise of Arab builders, the silicate blocks were easier to handle, attracting newly trained Jewish bricklayers Until the early 1930s, load-bearing walls were built to a width of two silicate blocks, with ceilings of reinforced concrete. From then on, the modern method of reinforced concrete frame construction became prevalent, with silicate blocks serving only as exterior sealing walls or interior partitions.

In the early 1930s, the Czech engineer Emil Teiner arrived in Tel Aviv, where he would organize training courses for local construction workers. Houses were built to a high quality and with admirable workmanship. Walls were for the most part coated with smooth plaster and then whitewashed. Teiner also introduced the German plaster technology and the use of Waschputz

(washed plaster), Kratzputz (scraped plaster) and Steinputz (imitation stone plaster). These plaster types appear in Tel Aviv in more than fifteen different versions and, owing to their resistance to wear and tear, buildings given such a facing have remained reasonably well preserved despite a blatant lack of maintenance over more than fifty years. Building and facing materials were largely imported from Europe. Since German emigrants were not permitted to take money with them, their assets were often transferred in the form of goods imported through local agents, a practice that flooded the country with ceramic tiles from Czechoslovakia and

Germany, mahogany doors and windows, oak wood for entrance doors, cast glass in various patterns, rounded glass profiles for display windows, marble tiles, sanitary ware and radiators

Courtyards were paved with roughly hewn Jerusalen stone, varicolored terrazzo (cast mosaic) tiles in a checkered pattern or white concrete tiles engraved with local versions of Oriental motifs.

Terrazzo, composed of the same materials as Waschputz but given a polished finish, served primarily for entranceways, staircases, window sills and balcony parapets. Both materials are water-repellent and protect the walls from dampness. The workmanship was generally high, reflecting the skill of bricklayers, plasterers, floor-layers, carpenters and a small number of metalworkers. In the 1920s, metalwork had been an exclusively Arab craft, with wrought-iron balcony railings produced mainly in Jaffa. By the 1930s, the use of iron profiles for stairwells, balcony balustrades, staircase handrails and fences became prevalent. Balcony railings were commonly made of rounded iron or fine iron grilles, allowing cool winds to penetrate the flat.

Some of these designs are of outstanding quality, difficult to restore.

11.The street.

In the course of the 1930s and 40s, some 4,000 residential buildings were added to the fast- growing city. The rapid pace of construction was reflected in the characteristically homogeneous appearance of Tel Aviv's streets. The Modern Movement spurned the hierarchy of façades in favor of three-dimensional architecture and a balanced perspective - i.e. laying equal stress on each angle of the building. In Tel Aviv, however, a clear hierarchy was established between the elaborately designed street frontage, the less accentuated lateral walls and the strictly functional rear elevation. Houses were recessed 2-4 meters from the front edge of plots, with landscaped courtyards between the buildings de featuring rows of cypresses, fruit and palm trees, cactuses fishponds and stone flower boxes at the entrance to and scattered throughout the courtyard. These decorative touches, carefully set against the building's overall layout, contributed to the special atmosphere of Tel Aviv's residential neighborhoods. Moreover, the harmonious proportions of street width in relation to building height, the intensive gardening and the calculated separation of residential streets from major arteries imparted to Tel Aviv a fine balance that integrate garden areas, dwelling quarters and commercial zones, ensuring convenience and quality of life to inhabitants of the city center. Rothschild, Chen and Ben-

Gurion Boulevards form a green ring around the core of Tel Aviv, similar to the way that rivers encircle the old quarters of European cities. Built in phases, the boulevards make it possible to follow Tel Aviv's development from the 1920s to the present. The central part of Rothschild

Boulevard-between Nachmani and Hahashmonaim Streets - is flanked by a sequence of mostly three- or four-storied International Style houses of the mid-1930s. In its last-built section, however, as well as along the entire length of Chen and Ben-Gurion Boulevards- we find residential blocks on pilotis, with ample entrance gardens that maintain a dialogue with the boulevard greenery. The buildings along Chen Boulevard are characterized by their skilled workmanship and fine materials. The columned ground-level reveals a rich variety of finishes and plaster textures - all amazingly well preserved- alongside the remains of courtyards and entrance paths with tastefully stylized designs in the spirit of the period.

The spontaneous, pleasant and informal character of Tel Aviv's streets derives from the large number of buildings constructed during a period dominated by a minimalist and modest conception, and from the talent of architects to adapt the forms and principles of the Modern

Movement to personal taste and local conditions.

This sense of freedom - part of the general atmosphere of a modern nation in the making - contributed to a rich vocabulary of forms and a search for creative solutions to problems of design and function posed by the needs of the time and place.

Through the case study, there are two kinds of facade plastering techniques for the Bauhaus building in Tel Aviv - lime plaster and cement based decorative plaster. So in my proposal of facade update, the creteria will be use both of them. Architects in Tel Aviv used lime-based stucco and painted white plaster as finish, which following the tradition of the city in the 1920s and afterwards. Therefore, in order to restore the characteristics of the Bauhaus buildings in Tel Aviv, it is natural to choose this kind of white plaster as the main facade material.

Secondly, in order to provide a variety of possibilities, the selection for residential buildings No. 3, No. 19 and No. 25 in the project will be light grey polished plaster for the exterior wall materials, which is a more rough plaster technique. In addition, the use of grey is also considered to be able to achieve beauty in color with white.

Most of the original Bauhaus residential buildings in Tel Aviv used slender steelframe doors and windows. Nowadays, most of the window frame need to be renovated which had been replaced by pvc materials and the size of the window frame of the original Bauhaus style was thinner than it was now. The characteristics of the Bauhaus building have been lost.

In addition, the former Bauhaus glazing of the window uses three equal parts or more in the separation of the windows to try to make each sash seems more erected.

Separating the form of the french window with a horizontal plaid is also an important element during the restoration.

Although Bauhaus-style window and door frames in Tel Aviv include multiple colors, the color in my proposal maintain simply black and white. The black-colored window frame uses steel, while the white one uses aluminum alloy.

In addition, the former Bauhaus glazing of the window uses three equal parts or more in the separation of the windows to try to make each sash seems more erected.

Separating the form of the french window with a horizontal plaid is also an important element during the restoration.

Some of the buildings does not have a proper front garden neither a good floor treatment. To reduce the high temperatures all around the building in the floor level, a garden with simple plants and some shadowing palm trees and Lemon-scented eucalyptus,which are typical in Tel Aviv,are proposed in front of the buildings where there is no green. The big trees that already exising in front of the buildings or on the street were carefully maintained for sustainable life. The gardens will extend all around the building being cared by the building neighbor association. An automatic water supply system will water the treess when needed. The front yard fence were replaced following the style of ballustrate of balcony of each building and painted black.

Palm tree

Lemon-scented eucalyptus