Bauhaus Dessau Exhibition C Arl F Ieger . from Bauhaus to Bauakademie 22 March

Total Page:16

File Type:pdf, Size:1020Kb

Bauhaus Dessau Exhibition C Arl F Ieger . from Bauhaus to Bauakademie 22 March Bauhaus Dessau Press Kit Bauhaus Dessau C a r l F i e g e r . From Bauhaus Exhibition to Bauakademie Exhibition 22 March – 31 October 2018 C a r l F i e g e r . From Bauhaus P r e s s c o n t a c t to Bauakademie Sonja Vogel T +49-340-6508-234 [email protected] 22 March – Bauhaus Dessau Foundation Gropiusallee 38 31 October 2018 06846 Dessau-Roßlau bauhaus-dessau.de facebook.com/bauhausdessau twitter.com/gropiusallee Dessau-Roßlau, 8 March 2018 1 / 10 Bauhaus Dessau C a r l F i e g e r . Press Kit From Bauhaus to Bauakademie C a r l F i e g e r . From Bauhaus to Bauakademie Content Press Kit Exhibition 22 March – 01 31 October 2018 Exhibition 02 Supporting programme P r e s s c o n t a c t 03 Biography Sonja Vogel T +49-340-6508-234 04 [email protected] Interview Bauhaus Dessau Foundation 05 Gropiusallee 38 Publication 06846 Dessau-Roßlau bauhaus-dessau.de facebook.com/bauhausdessau twitter.com/gropiusallee Dessau-Roßlau, 8 March 2018 2 / 10 Bauhaus Dessau 01 Exhibition Press Kit C a r l F i e g e r. From Bauhaus to Bauakademie. C a r l F i e g e r . From Bauhaus 22 March – 31 October 2018 to Bauakademie Exhibition “We now need to invent a house with all the modern technological achieve- 22 March – ments, which is cheap enough to be affordable for most of those who need 31 October 2018 homes.” (Carl Fieger: ‘Das Wohnhaus als Maschine’, in: Baugilde 6, 1924) Even with his first building, Carl Fieger made architectural history. Though the single-family house of 1924 remained an experimental building, the P r e s s c o n t a c t circular building called a Wohnmaschine (machine for living in) had an immense effect on the professional community and future architects. It was Sonja Vogel an important contribution to the search for new standards in housing T +49-340-6508-234 construction. [email protected] Carl Fieger, born 1893 in Mainz, began his career in Berlin, initially in the Bauhaus Dessau Foundation office of Peter Behrens, later with Walter Gropius. He accompanied Gropius Gropiusallee 38 from Weimar to Dessau. There he was substantially involved in planning 06846 Dessau-Roßlau many iconic modern buildings as an architect, among them the Fagus bauhaus-dessau.de Factory in Alfeld (1922–25) as well the Bauhaus Building and the Masters’ facebook.com/bauhausdessau Houses in Dessau (Walter Gropius, 1925/26). twitter.com/gropiusallee Fieger’s work is characterised by the radical realisations of minimal dwellings, bold colour designs and curved walls that we see in the plans of Dessau-Roßlau, his buildings, e.g. in his home, Fieger House in Dessau, (1926/27) and the 8 March 2018 Kornhaus restaurant on the Elbe river (1929–1930). It is in these buildings that Fieger’s playful approach to standards, prefabricated building compo- nents and innovative building materials comes to the fore – invariably also in interaction with the interior fittings and fixtures he designed to match the ar- chitecture. 3 / "Fieger’s rendering of architecture was unbelievably dextrous and incompa- 10 rably skilful.” (Letter from architect Paul Linder to Paul Klopfer, 10 December 1957) Carl Fieger was fluent in several artistic vernaculars from typography to furni- ture and interior design. He was also a master drawer. Thanks to his drawing abilities he taught technical drawing at the Bauhaus from 1925 to 1928, a mandatory course for Bauhaus students. A passion for working exerimentally and for developing standards and norms to suit individual needs marks Fieger’s 40-year career as a creative. He later put to use the experiences he made in these fields at the Bauhaus as a rese- arch fellow at the Deutsche Bauakademie, the German university of architec- ture in East Berlin. Consequently, in 1953 Carl Fieger became the first archi- tect to plan a prefabricated house in the GDR, a concrete slab building that did not look like one from the outside and hid its construction method behind a traditional facade. As a model for industrial mass production in housing construction this was a seminal building. “In bourgeois circles people are still prejudiced against the Bauhaus with its modern conception of art.” (Letter by Fieger to Walter Gropius from January 1, 1949) Bauhaus Dessau The exhibition leads the visitor through Fieger’s entire creative period, taking in the major architectural debates of the time: From the debates on the mer- Press Kit its of standardisation versus creative individualism at the Deutscher Werk- bund (German Association of Craftsmen) and the early Bauhaus to Le Cor- C a r l F i e g e r . busier’s concept of the “machine for living in” (machine à habiter), which was From Bauhaus to provide greater comfort of living for more people through serial production, to Bauakademie and the formalism debate in the GDR of the 1950s, which revived the discus- sion about standards and the freedom of art. Exhibition 22 March – The exhibition sheds light on the architect’s complete oeuvre for the first time 31 October 2018 and locates it in its historical context. Almost all the original drawings, designs, furniture, photographs and student projects originate from Carl Fieger’s estate, which is owned by the Bauhaus Dessau Foundation. Archi- tectural models made by Fieger of his best-known designs show the diversity of his works – including a full-scale model of the never-realised circular P r e s s c o n t a c t house of 1924. Sonja Vogel T +49-340-6508-234 Carl Fieger is thus rediscovered: as an architect in his own right, a furniture [email protected] designer, brilliant draughtsman and Bauhaus teacher. Bauhaus Dessau Foundation Gropiusallee 38 06846 Dessau-Roßlau bauhaus-dessau.de Project funded by: facebook.com/bauhausdessau twitter.com/gropiusallee Dessau-Roßlau, 8 March 2018 4 / 10 Bauhaus Dessau 02 Supporting programme Press Kit Curator guided tours C a r l F i e g e r . From Bauhaus 13 May 2018, to Bauakademie 3 pm Wolfgang Thöner Exhibition 22 March – 3 June 2018 31 October 2018 3 pm Dr. Uta Karin Schmitt Fieger Construction Kit P r e s s c o n t a c t Interactive Architectures Sonja Vogel 22 March–31 October 2018 T +49-340-6508-234 10 am – 5 pm [email protected] How can standardised components yield something unique? With the inter- Bauhaus Dessau Foundation active Fieger Construction Kit, everyone can be the architect of their own Gropiusallee 38 city! Visitors will be able to assemble or reconfigure a range of Carl Fiegers’ 06846 Dessau-Roßlau housing typologies, based on the construction kit principle. The use of sensor bauhaus-dessau.de and camera will enable visitors to immerse themselves and their buildings in facebook.com/bauhausdessau this landscape. twitter.com/gropiusallee Standardised Knowledge Dessau-Roßlau, Talk series 8 March 2018 April – June Every thursday, 6 pm Standardisation of housing construction, rationalisation of layouts, uniformity 5 of lettering and language, modularisation of forms – the Bauhaus strove for / systematisation and consistency. Behind this lay the Bauhaus’s belief in the 10 egalitarian power of technology and industry. It also shows the will to inter- vene through design to bring order to an increasingly complex and acceler- ated present. In light of the Bauhaus’s drive for standardisation, the talk se- ries Standardised Knowledge introduces modern projects, standard works and systems that address the ambivalent alliance between the pursuit of or- der and the shaping of society. 19 April 2018, 6 pm Organised Transport. The Container System Talk by Alexander Klose, author and Container Researcher from Vienna, Austria. 17 May 2018, 6 pm Houses of the Production Line: The “Packaged House System” of Walter Gropius and Konrad Wachsmann Talk by Bauhaus Lab 2018. The Bauhaus Lab is engaged in research into the universal wedge connectors that underpin the building system. 21 June 2018, 6 pm Ernst Neuferts: Architects’ Data: A Standard Work Talk by the Berlin based architect Gernot Weckherlin. He worked at Bau- haus-Universität Weimar and Universität der Künste Berlin. Bauhaus Dessau 27 September 2018, 6pm Weltformat DIN Press Kit Talk by Markus Krajewski, professor of Media Science at the University of Basel, Switzerland. C a r l F i e g e r . From Bauhaus to Bauakademie Drawing Made Simple For visitors of all ages Exhibition 22 March – Sunday, 9 September 2018 31 October 2018 European Heritage Day 10 am – 5 pm Free admission Carl Fieger was a brilliant draughtsman, whose architectural designs invaria- P r e s s c o n t a c t bly carried conviction. Visitors will have a number of opportunities to learn more about Carl Fieger using a range of drawing techniques to develop their Sonja Vogel own designs with the assistance of an illustrator. No previous experience T +49-340-6508-234 required. [email protected] Bauhaus Dessau Foundation Gropiusallee 38 06846 Dessau-Roßlau bauhaus-dessau.de facebook.com/bauhausdessau twitter.com/gropiusallee Dessau-Roßlau, 8 March 2018 6 / 10 Bauhaus Dessau 03 Biography Press Kit Carl Fieger C a r l F i e g e r . 1893 Born in Mainz. From Bauhaus to Bauakademie 1908–1911 Studies at the Mainz Art and Vocational School. 1911–1913 Employed at the Studio of Peter Behrens in Potsdam-Neuba- Exhibition belsberg. 22 March – 31 October 2018 1913–1914 Employed at the Studio of Walter Gropius. 1915–1918 Military service during the First World War.
Recommended publications
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education
    Engineering, 2013, 5, 323-328 http://dx.doi.org/10.4236/eng.2013.54044 Published Online April 2013 (http://www.scirp.org/journal/eng) The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education Wenwen Chen1*, Zhuozuo He2 1Shanghai University of Engineering Science, Shanghai, China 2Zhongyuan University of Technology, Zhengzhou, China Email: *[email protected] Received October 11, 2012; revised February 24, 2013; accepted March 2, 2013 Copyright © 2013 Wenwen Chen, Zhuozuo He. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. ABSTRACT The Bauhaus, one of the most prestigious colleges of fine arts, was founded in 1919 by the architect Walter Gropius. Although it is closed in the last century, its influence is still manifested in design industries now and will continue to spread its principles to designers and artists. Even, it has a profound influence upon subsequent developments in art, architecture, graphic design, interior design, fashion design and design education. Up until now, Bauhaus ideal has al- ways been a controversial focus that plays a crucial role in the field of design. Not only emphasizing function but also reflecting the human-oriented idea could be the greatest progress on modern design and manufacturing. Even more, harmonizing the relationship between nature and human is the ultimate goal for all the designers to create their artworks. This essay will analyze Bauhaus’s influence on modern design and manufacturing in terms of technology, architecture and design education.
    [Show full text]
  • Curriculum Vitae W O L F G a N G T H Ö N E R Bereichsleiter Sammlung Stiftung Bauhaus Dessau Gropiusallee 38 06846 Dessau-Ro
    Curriculum Vitae Wolfgang Thöner W o l f g a n g T h ö n e r Ausbildung Bereichsleiter Sammlung 1977 – 1981 Stiftung Bauhaus Dessau Studium der Kunsterziehung und Germanistik an der Humboldt-Universität Ber- Gropiusallee 38 lin (Diplom) 06846 Dessau-Roßlau +49-340-6508-250 bauhaus-dessau.de Akademische Tätigkeiten (AusWahl) seit 1987 Gelegentliche Gastvorträge und -vorlesungen, Referate auf Symposien, Kongressen und Workshops, u. a. an Universität Mailand (1996), Columbia UniversitY New York (2003), Universität Göttingen (2004), Universität Tokio (2005), TU BraunschWeig (2005 – 2009), Strelka Institute Moskau (2012), MARCHI Moskau (2012), Universität Karlsruhe (2013), Landeszentrale für politische Bildung Baden-Württemberg (u. a. 2013), Universität Magdeburg (u. a. 2013) Kuratorische Tätigkeiten (AusWahl) 2014 Kurator (mit Lutz Schöbe) der Ausstellung „Bauhaus. Die Kunst der Schüler. Werke aus der Sammlung der Stiftung Bauhaus Dessau“ (Bauhaus Dessau) 2011 Kurator der Ausstellung „Carl Marx. Zum 100. Geburtstag des Malers und Bauhausschülers“ (Meisterhäuser KandinskY-Klee, Dessau) 2009 Kurator (mit Michael Siebenbrodt, Klaus Weber, Lutz Schöbe u. a.) der Ausstellung „Modell Bauhaus (Martin-Gropius-Bau in Berlin, mit anderen, danach verändert im MoMA New York) 2008 Kurator (mit Lutz Schöbe) der Ausstellung „Franz ehrlich. Der moderate Funktionalist“ (Meisterhaus Schlemmer, Dessau) 2007 – 2008 Kurator (mit Torsten Blume u.a.) der Ausstellung „Bauhaus – Werkstatt der Moderne“, Bauhaus Dessau 2007 Kurator der Ausstellung „Roman Clemens. Schenkung der Stiftung Lis und Roman Clemens, Zürich“, Meisterhaus Schlemmer, Dessau 2006 Kurator (mit Walter Prigge und Monika Markgraf) der Ausstellung „Ikone der Moderne. 80 Jahre Bauhausgebäude Dessau“ (Bauhaus Dessau, danach Bernau) 2005 Kurator (neben Werner Möller u. anderen) der Ausstellung „Bauhaus-Objekte - Bauhaus-Dialoge, Meisterhaus Muche/Schlemmer 1 von 9 Curriculum Vitae 2004 Kurator (neben Torsten Blume u.
    [Show full text]
  • Bauhaus Dessau Foundation Gropiusallee 38 06846 Dessau-Roßlau, Germany Phone 0049-340-6508-250
    Bauhaus Dessau Foundation Gropiusallee 38 06846 Dessau-Roßlau, Germany phone 0049-340-6508-250 www.bauhaus-dessau.de Institutional funding: World Heritage Site Bauhaus Expansion: Former ADGB Bernau Trade Union School Berlin Dessau Bauhaus building Masters’ Houses Weimar Expansion: Houses with Balcony Access Former art academy and for- mer school of arts and crafts Haus Am Horn UNESCO World Heritage Convention The purpose of UNESCO as an organisation of the United Nations is “to contribute to peace and security by promoting collaboration among the nations through education, science and culture”. UNESCO is working towards this goal with a range of programmes, which from 1972 have also included the World Her- itage Convention as an instrument to protect the world cultural and natural heritage The world cultural and natural heritage includes monuments of past civilisations, great works of art and unique natural land- scapes, the destruction of which would constitute an irreplace- able loss for all of humanity. World Heritage Sites are of outstand- ing universal value and authentic and their integrity is largely preserved. Their protection is therefore not the sole responsibility of a single nation, but a task for the international community. The World Heritage List encompasses over 1,000 natural land- scapes and cultural sites in 163 countries worldwide. Germany is represented on the List by 40 World Heritage Sites. www.unesco.de www.whc.unesco.org/en/list Cover: Three Bauhauslers on the southern side entrance canopy before the lettering of the Bau- haus building in Dessau, 1929, Photo: unknown, Bauhaus Dessau Foundation | All colour pictures: Photo: Christoph Petras, 2011 © ARGE model bauhaus 2009 c/o Stiftung Bauhaus Dessau Planned expansion of the World Heritage Site Bauhaus In 2016 an application was made to UNESCO to add to the World Heritage Site Bauhaus the Bauhaus building Houses with Balcony Access and the ADGB Trade Union School, built under the stewardship Masters’ Houses of the second Bauhaus director Hannes Meyer.
    [Show full text]
  • Bauhaus Dessau Press Release P R E S S C O N T a C T Ute König P +49-340-6508-225 [email protected] Bauhaus Dessau
    Bauhaus Dessau Open Call for the Bauhaus Residency 2021 Press release The Bauhaus Dessau Foundation and the GfZK – Museum of Contemporary Art Leipzig are searching for artists working collectively for the Bauhaus Residency 2021 Gropius House || Fictional via a joint open call. They can live and work for three months in the Masters’ House Muche/Schlemmer. Closing date for applications is 30 October 2020. Bauhaus Residency 2021 – Gropius House || Fictional P r e s s c o n t a c t The focus of the Bauhaus Residency is on the Masters’ Houses, which are Ute König not just a reminder of the past but continue to serve as a starting point for P +49-340-6508-225 contemporary debates and positions. New ideas, experiments and work [email protected] developed during the residency are all accessible to the public through presentations, studio visits, discussions, concerts and more – even during Bauhaus Dessau Foundation their initial development. Gropiusallee 38 06846 Dessau-Roßlau The programme is aimed at international artists whose work relates to the Germany historical disciplines represented at the Bauhaus and the subsequent bauhaus-dessau.de developments of these core disciplines – among them painting, product facebook.com/bauhausdessau design, textile design, music, theatre, performance, architecture and twitter.com/gropiusallee photography. Artworks and artistic processes create specific new ways of seeing the world; Dessau-Roßlau, in this sense, they are fictional. The meaning of fiction is revealing in this 3 September 2020 regard: originally derived from the Latin verb fingere, it means nothing other than to shape, form, invent. Fiction thus does not entail first and foremost the creation of a separate world, but can likewise denote shaping the existing world, the real.
    [Show full text]
  • Bauhaus Houses and the Design Canon: 1923-2019
    Bauhaus Houses and the Design Canon: 1923-2019 Jeremy Aynsley Introduction The focus of this paper is issues central to the reconstruction and display of iconic Modernist houses and how such issues complexify our understanding of the canonical reputation of the Bauhaus. Like the De Stijl movement, the Bauhaus can expect to receive much renewed media and scholarly attention as its centenary year of 2019 approaches. And like De Stijl, it holds pre-eminence in design history as a point when new theories and roles for design were realised by a remarkable set of actors. For its relatively short life of 14 years as a school in Germany, fol- lowed by the Chicago years, the Bauhaus has sustained what might be considered to be a disproportionate amount of attention. Indeed, arguably, its short life adds neatness to applying a narrative that suits re-telling and mythification. By applying the term ‘canon’ to design, we can assume this involves a select set of figures, objects and movements that claim official status, receiving scholarly atten- tion and entering museums and galleries. To do so, they conform to and meet certain criteria. As we know, critical theory, feminism, race theory and post-Marxism have all offered means of critique of the canon, questioning the basis on which it privileges certain histories – at worst, ‘dead white men’ or in the case of the Bauhaus, a site of high conservative modernism. Accordingly, in recent years, revisions in Bauhaus scholarship have also taken place, whether through questioning gender relations and roles at the school, challenging fundamental principles such as functionalism and universalism, or considering its diaspora of influence in a post-colonial context.1 Before turning to the houses of my focus today, it is perhaps worth teasing out the structures that have been central for the construction of the Bauhaus within the design historical canon: 1 Examples include Philipp Ostwalt (ed.), Bauhaus Conficts, 1919-2009: Controversies and Counterparts, Ostfildern (Hatje Cantz) 2009 and Bauhaus.
    [Show full text]
  • 100 Years of Bauhaus
    Excursions to the Visit the Sites of the Bauhaus Sites of and the Bauhaus Modernism A travel planner and Modernism! ↘ bauhaus100.de/en # bauhaus100 The UNESCO World Heritage Sites and the Sites of Bauhaus Modernism Hamburg P. 31 Celle Bernau P. 17 P. 29 Potsdam Berlin P. 13 Caputh P. 17 P. 17 Alfeld Luckenwalde Goslar Wittenberg P. 29 P. 17 Dessau P. 29 P. 10 Quedlinburg P. 10 Essen P. 10 P. 27 Krefeld Leipzig P. 27 P. 19 Düsseldorf Löbau Zwenkau Weimar P. 19 P. 27 Dornburg Dresden P. 19 Gera P. 19 P. 7 P. 7 P. 7 Künzell P. 23 Frankfurt P. 23 Kindenheim P. 25 Ludwigshafen P. 25 Völklingen P. 25 Karlsruhe Stuttgart P. 21 P. 21 Ulm P. 21 Bauhaus institutions that maintain collections Modernist UNESCO World Heritage Sites Additional modernist sites 3 100 years of bauhaus The Bauhaus: an idea that has really caught on. Not just in Germany, but also worldwide. Functional design and modern construction have shaped an era. The dream of a Gesamtkunst- werk—a total work of art that synthesises fine and applied art, architecture and design, dance and theatre—continues to this day to provide impulses for our cultural creation and our living environments. The year 2019 marks the 100 th anniversary of the celebration, but the allure of an idea that transcends founding of the Bauhaus. Established in Weimar both time and borders. The centenary year is being in 1919, relocated to Dessau in 1925 and closed in marked by an extensive programme with a multitude Berlin under pressure from the National Socialists in of exhibitions and events about architecture 1933, the Bauhaus existed for only 14 years.
    [Show full text]
  • How We Celebrate International Women's Day in Bauhausland
    How we celebrate International Women’s Day in BauhausLand Women in the Bauhaus movement: Discover who they were and what they did When an exhibition by Bauhaus artist Anni Albers opened in London recently, art critics gave the show five stars. Albers’ textiles, wall-hangings and “pictorial weavings” were a revelation. But she was not the only female artist in the Bauhaus. Now, as the world marks the 100th birthday of this revolutionary design movement, the contributions of its women designers are in the spot- light. In BauhausLand (the German federal states of Thuringia and Saxony- Anhalt), women, such as Albers, Gertrud Arndt and Marianne Brandt are being celebrated. And, a couple of hours to the north, Berlin, another Bauhaus hotspot, has declared International Women's Day (March 8) to be an official public holiday. Anni Albers: Master of Textiles When Walter Gropius created the Bauhaus school in Weimar in 1919, every- one was welcome “without regard to age or sex.” In fact, more women than men applied! Anni Albers studied weaving and went on to be a brilliant and influential textile designer. After fleeing Germany, she based herself at Black Mountain College in Asheville, North Carolina, USA. Gunta Stölzl: Designer, teacher and producer Albers had studied under Gunta Stölzl. She was the head of the Bauhaus weaving department and one of only six women in the 45-strong faculty. Stölzl transformed her students into a full-on, professional, industrial design unit. For example, they designed and wove the blankets for the beds in Dessau’s stu- dent dorm. The Bauhaus Dessau Foundation has a fine collection of Stölzl’s textiles.
    [Show full text]
  • Executive Summary
    Executive Summary Executive Summary State Party Federal Republic of Germany State, Province or Region Federal State of Saxony-Anhalt; Federal State of Brandenburg Name of the serial property The Bauhaus and its Sites in Weimar, Dessau and Bernau Names of the nominated components: VI Houses with Balcony Access, Dessau-Roßlau VII ADGB Trade Union School, Bernau bei Berlin Geographical coordinates VI Houses with Balcony Access, Dessau-Roßlau: to the nearest second N 51° 48' 3" / E 12° 14' 39" VII ADGB Trade Union School, Bernau bei Berlin: N 52° 42' 22“ / E 13° 32' 37" Textual description of the VI Houses with Balcony Access, Dessau-Roßlau: boundaries of the nominated The Houses with Balcony Access are a group of five individual buildings in a properties residential area of Dessau. Three of the buildings are situated on the Peterholzstraße at house numbers 40, 48 and 56 and two on the Mittelbreite at house numbers 6 and 14. To the rear of each house there are a washhouse and a garden. The boundaries of the grounds are also the boundaries of the nominated component. VII ADGB Trade Union School, Bernau: The ADGB Trade Union School is located in a woodland area north of Bernau bei Berlin. The complex consists of school building at Hannes-Meyer-Campus 1 and a row of houses at Hannes-Meyer-Campus 5–11 with a transformer hut. The boundaries of the buildings are the boundaries of the nominated property. A4 size map of the nominated See page 10–11 properties, showing boundaries and buffer zones Criteria under which properties Criterion (ii): are nominated (itemised criteria) The Bauhaus building in Dessau is a central work of European modern art, embodying an avant-garde conception directed towards a radical renewal of architecture and design in a unique and widely influential way.
    [Show full text]
  • Luthergedenkstätten in Wittenberg Bauhaus Dessau Und
    Luthergedenkstätten in Wittenberg Bauhaus Dessau und Meisterhäuser Gartenreich Dessau-Wörlitz Biosphärenreservat Mittelelbe www.facebook.com/luther.bauhaus.gartenreich www.luther-bauhaus-gartenreich.de Herzlich Willkommen in der Region LUTHER | BAUHAUS | GARTENREICH! Verbunden durch das Blaue Band der Elbe und die unberührte Natur des UNESCO-Biosphärenreservates Mittelelbe reihen sich unsere UNESCO-Weltkulturerbestätten wie Perlen aneinander: Die Luthergedenkstätten in Wittenberg, das Gartenreich Dessau-Wörlitz sowie das Bauhaus in Dessau. Nirgendwo sonst in der Welt erleben Sie eine der- artige Dichte von vier UNESCO-Welterbestätten im Umkreis von nur 35 Kilometern. Und das Gute ist: Nur eine Autostunde trennt die Region von Berlin oder Leipzig. Weiterhin: In der Anhaltischen Landesbücherei Dessau befindet sich Luthers Schrift „Des Heiligen Paulus Brief an die Römer“, die zum UNESCO-Weltdokumentenerbe zählt. Besuchen Sie uns - Wir freuen uns auf Sie! Ihre WelterbeRegion Anhalt-Dessau-Wittenberg INHALTSVERZEICHNIS Luthergedenkstätten in Wittenberg 3|4 Bauhaus Dessau 5–7 Übersichtskarte 8|9 Gartenreich Dessau-Wörlitz 10|11 Biosphärenreservat Mittelelbe 12|13 WelterbeCard 14 Impressum 15 WelterbeRegion Anhalt-Dessau-Wittenberg e.V. Geschäftsstelle Dessau-Roßlau Fotos Titel (v.l.n.r.): Lutherhaus Wittenberg, © WelterbeRegion Anhalt-Dessau-Wittenberg e.V.; Bauhausgebäude Dessau, © Neustraße 13 | 06886 Lutherstadt Wittenberg Kavalierstraße 37-39 | 06844 Dessau-Roßlau Christoph Petras (Berlin); Gotisches Haus in Wörlitz, © Kultur- Tel. (0 34 91) 40 26 10 | Fax (0 34 91) 40 58 57 Tel. (0340) 204 2442 | Fax (0340) 204 2908 stiftung Dessau-Wörlitz (Heinz Fräßdorf); Ranger an der Elbe, E-Mail: [email protected] E-Mail: [email protected] © Biosphärenreservatsverwaltung Mittelelbe (Mirko Pannach) Foto Innenseite Umschlag: Auenwiese, © Biosphärenreser- www.anhalt-dessau-wittenberg.de vatsverwaltung Mittelelbe (Peter Ibe) 2 Luthergedenkstätten in Wittenberg UNESCO-Welterbe seit 1996 Altar von Lucas Cranach d.
    [Show full text]
  • From Gothic to Bauhaus: a Lineage for Modern Curtain Wall Façade Construction
    From Gothic to Bauhaus: A Lineage for Modern Curtain Wall Façade Construction Hannah Rushton1, Guy Marriage2 and Marc Aurel Schnabel3 1, 2,3Victoria University of Wellington, Wellington, New Zealand {Hannah.Rushton, Guy.Marriage, Marcaurel.Schnabel}@vuw.ac.nz Abstract: From the craft production of the Gothic to the standardised industrial production of the Bauhaus, this research follows the development of modern architecture and the evolution of façade construction. This paper examines how, as technology has continued to advance and modes of production have evolved, complete dematerialisation – defined in this paper as a non-structural glass exterior walls – of the façade was achieved with the curtain wall. This research aimed to establish a link between Gothic and Bauhaus architecture to propose a lineage for modern curtain wall façade production and construction. The paper argues that changing modes of production is in response to construction issues, technological innovation and are dependent on the socio-cultural context of a specific time. Presenting a lineage that places this evolution into three stages – pre-industrial, industrial, and post-industrial – the relationship of architecture, technology and how construction methods respond to new technology will be illustrated. This paper will examine the curtain wall’s arrival in New Zealand as a case study for the international dissemination of this system, to conclude with a discussion that outlines how the architecture of a post-industrial age both favours and can produce customised and complex façades. Keywords: Architectural History; Façade Construction; Dematerialisation; Industrialisation. 1. Introduction Historically, artistic hierarchies and changing socio-cultural contexts determined who designed buildings. This role shifted between the artist, craftsman, and architect (Rannells, 1949; Harvey, 1950).
    [Show full text]
  • Press Portfolio B a U H a U S C E N T E N a R Y 2 0 1 9 Programme Of
    Press portfolio The Bauhaus Dessau in the Centenary Year 2019. B a u h a u s In 2019 the Bauhaus Association will celebrate the centenary of the founding C e n t e n a r y 2 0 1 9 of the Bauhaus as a cultural event across the whole of Germany. Its mem- bers are jointly organising an internationally-orientated cultural thematic year Programme of the Bauhaus Des- on the Bauhaus and modernism, which will also serve to boost Germany’s sau Foundation for the centenary tourism-related development as a home of modernism. of the founding of the Bauhaus. The Bauhaus Dessau Foundation's programme is based on many years of artistic and scientific research by the foundation, which is embedded in inter- P r e s s c o n t a c t national networks of universities and collection and research institutions. The highlight will be the opening of the Bauhaus Museum Dessau on 8 Septem- Ute König ber 2019. Another milestone will be the new performance of the Bauhaus +49-340-6508-238 buildings. And the Bauhaus Dessau Festivals with the festivals School FUN- [email protected] DAMENTAL, Architecture RADICAL and Stage TOTAL will also set a clear accent in the anniversary year. Bauhaus Dessau Foundation Gropiusallee 38 Press portfolio contents 06846 Dessau-Roßlau bauhaus-dessau.de The Centenary of the Founding of the Bauhaus. facebook.com/bauhausdessau The Bauhaus Association and the structure of the centenary. twitter.com/gropiusallee The Bauhaus Dessau Foundation. A brief description of the Foundation and its work.
    [Show full text]