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Bauhaus. Noventa Años a Través De La Biblioteca Del COAM”

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Bauhaus. Noventa Años a Través De La Biblioteca Del COAM” BAUHAUS. NOVENTA AÑOS A TRAVÉS DE LA BIBLIOTECA DEL COAM Contenido 1.- ¿QUÉ FUE LA BAUHAUS? ................................................................................................. 2 2.- WEIMAR. DESSAU. BERLÍN .............................................................................................. 3 3.- WALTER GROPIUS. HANNES MEYER. LUDWIG MIES VAN DER ROHE ................................. 4 4.- EL MODELO DOCENTE. ESTRUCTURA Y ORGANIZACIÓN. LOS TALLERES ............................ 5 5.- LA SECCIÓN DE ARQUITECTURA Y LA CUESTIÓN DE LA VIVIENDA SOCIAL .......................... 6 6.- EL CONJUNTO ARQUITECTÓNICO-URBANÍSTICO DE DESSAU .......................................... 10 7.- LA BAUHAUS SE MUESTRA AL MUNDO. EXPOSICIONES Y OTRAS ACTIVIDADES............... 11 8.- ANTECEDENTES Y EPÍGONOS ......................................................................................... 13 9.- EPÍLOGO ....................................................................................................................... 15 10.- ANEXOS ...................................................................................................................... 16 10.1.- LOS TALLERES ....................................................................................................... 16 10.2.- FICHAS BIBLIOGRÁFICAS DE OBRAS EXPUESTAS .................................................... 27 11.- OTROS DOCUMENTOS RELACIONADOS ........................................................................ 32 11.1.- BIBLIOGRAFÍA GENERAL ....................................................................................... 32 11.2.- BIBLIOGRAFÍAS FIGURAS RELEVANTES DE LA BAUHAUS: DIRECTORES .................... 64 11.3.- FIGURAS RELEVANTES DE LA BAUHAUS: ARQUITECTOS Y ARTISTAS ..................... 104 11.4.- Cronología 1900-1939 ......................................................................................... 159 11.5.- NOTAS EXPLICATIVAS ......................................................................................... 213 1.- ¿QUÉ FUE LA BAUHAUS? La Bauhaus fue un espacio de inagotable fertilidad creativa entre las dos guerras europeas, de 1919 a 1933, y aunque tuvo una vida breve brilló como una constelación. Según Bruno Zevi, la catarsis ocasionada desde el legado de William Morris de la renovación artesana hasta el del Werkbund para la industria conduciría a Walter Gropius a concebir la Bauhaus en 1919 como “una idea totalizadora del “design” desde la cuchara a la ciudad… la aproximación a cualquier tipo de diseño, una silla, un edificio, una ciudad… deben ser idénticos…” La “Staatliche Bauhaus” (fusión de la Escuela de Artes y Oficios y de la Academia Superior de Arte de Weimar) sería una escuela dedicada al diseño de objetos de uso diario producidos en serie, un viaje sincrético a través del teatro, la pintura, la escultura, la fotografía, el grafismo…, una tarea docente e innovadora que germinará en el proyecto seriado e interpretará las inquietudes de Morris ante el caos estético moderno devenido de la revolución industrial, sin enfrentarse a la máquina sino desde ella, aprovechando su fuerza para reconducirla por canales artísticos y revelando su consistencia ideológica como puente que recogería la evolución hacia la industrialización desde los vestigios de la tradición artesanal. Gropius sobrevalorará la producción industrial ante la artesana desde el debate “arte y técnica: una nueva unidad”, cuestión esencial de la Bauhaus promulgada en 1923 y cuyo director expresa en su obra Alcances de la Arquitectura Integral: “La creación y el amor a la belleza son elementos primordiales para la experiencia de la felicidad…” . La Bauhaus fue un centro de cultura artística, un foro selecto donde trabajaron artistas de todo jaez como los pintores Lionel Feininger, Paul Klee, Wassili Kandinsky, Laszlo Moholy-Nagy, Piet Mondrian, Theo van Doesburg o Kasimir Malevich… Creado para unir arquitectura, escultura, pintura y artes aplicadas, define sus objetivos como “Escuela de Diseño” contra posiciones esteticistas decimonónicas, volcándose en la modernidad y en la impregnación de la abstracción formal de los años veinte. La Bauhaus serán “muchas Bauhäuser” y nada la definirá mejor que el edificio de la escuela, obra de Gropius, en Dessau, icono y referente esencial de la institución. Volver 2.- WEIMAR. DESSAU. BERLÍN La Bauhaus, una epopeya entre las vanguardias y la revolución que alumbraría una nueva conciencia, se desarrolló en tres etapas con perfiles diferenciados: 1ª/ La Bauhaus estatal de Weimar, fundada y dirigida por Walter Gropius desde 1919 hasta su cierre el 26 de diciembre de 1924, tras la formación del “gobierno burgués” de Turingia, que desplaza a los socialdemócratas en el poder. Ocupó las instalaciones de sus predecesoras, construidas por Henry van de Velde, aunque a partir de 1921 la Academia de Arte recuperará su autonomía bajo la dirección de Otto Barning. 2ª/ La Bauhaus que sobrevivirá y se afianzará como Escuela Superior de Diseño en Dessau, invitada por la ciudad, a donde se traslada en 1925 y en la que continuaría hasta 1928 bajo la dirección de Gropius, que dimite y es sustituido en abril por Hannes Meyer al rechazar el puesto Mies van der Rohe; destituido de su cargo el 1 de agosto de 1930 por su marcado compromiso con la izquierda, lo reemplaza el propio Mies por recomendación de Gropius, hasta que el Consejo Municipal, de mayoría nazi después de las elecciones de 1931, disuelve la escuela el 5 de octubre de 1932. Desde 1926, profesores y estudiantes dispondrían en Dessau de los edificios escolares y residenciales proyectados por Gropius. 3ª/ La Bauhaus agonizante de Berlín, en donde, trasladada por Mies en 1932, vivirá su “expulsión del paraíso”. En una antigua fábrica de teléfonos abandonada, transformada en instituto privado y tras un plan docente de cariz autoritario, la Bauhaus se suprime en 1933 ante una muerte anunciada. Será el comienzo del exilio definitivo. Volver 3.- WALTER GROPIUS. HANNES MEYER. LUDWIG MIES VAN DER ROHE La Bauhaus representó una nueva mirada, pero fue también un desfile de “primeros espadas” sobre la cultura de la modernidad bajo la dirección de tres figuras irrepetibles: - El alemán Walter Gropius (Berlín, 1883-Boston, 1969), alma y guía de la escuela, alumbró gran parte del siglo XX. Discípulo de Peter Behrens, sería para Bruno Zevi “catalizador de energías artísticas más que espíritu creador”. Se comprometió con la docencia y el trabajo en equipo y arrastraría a sus filas a los mejores artistas, artesanos y arquitectos contemporáneos: Oskar Schlemmer, Max Bill, Marcel Breuer y otros muchos además de los ya citados, élite única, alumnos y profesores que harían de la Bauhaus una escuela de “cinco estrellas”. - El suizo Hannes Meyer (Basilea, 1889-1954), “el gran desconocido” pero figura primordial en Dessau, que, formado en la Escuela Profesional de Basilea, se integraría en la Bauhaus en 1927 como responsable de la recién creada sección de Arquitectura; como director, prolongaría una Bauhaus comprometida y ampliaría y encauzaría los talleres escolares primando lo comunitario sobre lo artístico y formalista desde discursos filosófico-colectivistas sobre la problemática social y el cooperativismo. La Bauhaus, donde ahora los alumnos participarán más activamente en los encargos particulares de sus maestros, se hace también más científica e incrementa la colaboración con la industria. A su salida de Europa, Meyer iniciaría su diáspora en Moscú para, desengañado, trasladarse a México en 1939. - El alemán Mies van Der Rohe (Aquisgrán, 1886-Chicago, 1969), “prima donna” de la arquitectura moderna, es el último director. Empotrado, según Zevi, entre Paul Klee y Piet Mondrian, sería un adalid de la arquitectura neoplástica a través de un periplo que cubre desde Schinkel a Peter Behrens, el descubrimiento de Wright en la exposición de Berlín de 1910, Holanda y Berlage, los vientos expresionistas de posguerra y su presencia en la Deutsche Werkbund (como vicepresidente en 1926). Autor del Pabellón de la Exposición de Barcelona de 1927, quizás “suma teológica” de su obra, tras la diáspora alemana, junto a Gropius, Breuer y tantos otros, sentará cátedra en Chicago insuflado de aires tecnológicos y de sus merodeos por la racionalidad con su “menos es más”. Volver 4.- EL MODELO DOCENTE. ESTRUCTURA Y ORGANIZACIÓN. LOS TALLERES La Bauhaus abarcaba disciplinas prácticas y científicas afines a la creación artística, (arquitectura, escultura, pintura…) e incluía además todos los sectores artesanales, proponiendo formar artesanos, escultores, pintores o arquitectos capacitados para cualquier trabajo creativo según una estrategia configurada en y desde el artesanado (en realidad, no debían existir diferencias sustanciales entre artista y artesano). La estructura de talleres, esencia y motor del modelo docente diseñado e impartido a través de ideas y proyectos, directores, profesores y alumnos, será el pilar del programa de enseñanza de la Bauhaus inspirado por Gropius, cuyos objetivos aceptarían la máquina como medio propulsor de objetos bien concebidos y de formas adaptadas para productos de espectro industrial y social: edificios, muebles y todo tipo de utensilios cotidianos. La estrategia empírica de los talleres partiría de la oposición a los métodos artesanales y al alejamiento de la máquina propios de William Morris y el “Arts And Crafts” (aunque aceptando dialécticamente tal debate) y supo evolucionar significativamente hacia lo constructivo a través de la experimentación sobre nuevos
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