{"id":305483,"date":"2018-06-18T13:00:03","date_gmt":"2018-06-18T17:00:03","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=305483"},"modified":"2021-12-15T07:17:41","modified_gmt":"2021-12-15T12:17:41","slug":"dessau-bauhaus","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/dessau-bauhaus\/","title":{"rendered":"A Walking Tour of Dessau, the Capital of the Bauhaus"},"content":{"rendered":"
\"Bauhaus

Bauhaus students on a balcony of the studio building in Dessau, Germany, ca. 1931 or 1932. Photo courtesy of the Bauhaus Dessau Foundation<\/p><\/div>\n

Who knew that you could sleep at the Bauhaus<\/a>? I certainly didn\u2019t when I began planning a trip to Dessau, Germany, to see its legendary school and architecture. But a few weeks later, there I was inside the Arndt studio, taking in the view of rooftops and sky through the same massive half-wall of windows that architect Alfred Arndt and photographer Gertrud Arndt once stared through.<\/p>\n

The couple, along with Franz Ehrhlich<\/a>, Marianne Brandt<\/a> and Marcel Breuer<\/a> (whose tubular steel furniture still adorns many of the rooms), were among the Bauhaus visionaries who inhabited the studio building\u2019s coveted student ateliers during the school\u2019s heyday. Today, these spaces are bookable accommodations, but the light-filled studios maintain the same spirit, with their no-frills furnishings and serene vibe.<\/p>\n

\u201cThe idea that people working on a shared task, as at the Bauhaus, should have the opportunity to occasionally and undisturbedly withdraw from the community, led to the students\u2019 atelier building being removed from the rest of the workplaces,\u201d Bauhaus founder Walter Gropius<\/a> said in 1930, \u201cand to giving each atelier the greatest possible peace and each its own small balcony.\u201d<\/p>\n

\"Arndt

Our intrepid writer slept in the Arndt Room, which was the quarters of Alfred and Gertrude Arndt when they were Bauhaus students. Photo by Yvonne Tenschert<\/p><\/div>\n

It\u2019s this one-of-kind atmosphere that sets the tone for the Bauhaus experience in its entirety. The Bauhaus building as a whole \u2014 now home to the Bauhaus Dessau Foundation<\/a> \u2014 has the feel of its own little community within a community. (\u201cA lot of our research is focusing on material studies, colors and traces of the various renovations in the past 90 years,\u201d says director Claudia Perren.)<\/p>\n

You can stroll around the grounds, as I did, to get the full perspective of the building. You can also have breakfast, lunch or dinner at the caf\u00e9 bistro or a midday meal at the original canteen, and then head out at your leisure to explore the other architecture sites.<\/p>\n

After all, Dessau, where Gropius was able to most fully realize his motto of \u201cArt and Technology \u2014 A new Unity\u201d is home to more original Bauhaus buildings that any other city in the world. It\u2019s a thrill to walk in the footsteps of Gropius, Ludwig Mies van der Rohe<\/a>, Josef Albers<\/a> and so many others who shaped design, architecture and modern living.<\/p>\n

\u201cAlthough it was only a short period of time, the impulses for modernity and functionalism that were set during this period are still influential today,\u201d says Frank Landau<\/a>, a Bauhaus specialist who has an eponymous gallery in Frankfurt. \u201cEven now, designers are faced with the task of merging aesthetics and functionality. Of course, new impulses have been set ever since, and of course the design is constantly changing, with one difference \u2014 the Bauhaus remains modern.\u201d<\/p>\n

\n

The Bauhaus Building<\/h2>\n
\"Bauhaus

Photo by Tadashi Okochi \u00a9 Pen Magazine<\/p><\/div>\n

For this design lover, seeing the famous Bauhaus logo on the former school building\u2019s southwest side was something akin to seeing the Eiffel Tower for the first time. My elation continued when I rounded the corner and came face to face with the famous glass-curtain wall, through which the underlying construction is visible. The grid of small panes became a defining aesthetic for this modernist icon of glass, steel and reinforced concrete.<\/p>\n

Following the Bauhaus\u2019s move from Weimar, where Gropius founded the school in 1919, to Dessau in 1925, the then-industrial city commissioned him to design the new building on a municipal plot.<\/p>\n

The four-story asymmetrical wings comprise the workshop wing, which today houses exhibition spaces, the visitors’ center and the caf\u00e9; the north wing, where the technical school resides; and the studio building, in which Brandt\u2019s former atelier has been kept in its original state, complete with furniture by her classmate Breuer.<\/p>\n

\"Bauhaus

Photo by Tadashi Okochi \u00a9 Pen Magazine<\/p><\/div>\n

Including joinery, weaving, metal, wall painting and typography, the Bauhaus workshops were behind most of the building\u2019s furnishings. A skybridge, appearing to float above the ground, connects the workshop wing and the north wing and has a replica of Gropius\u2019s office, which he occupied until his departure in 1928.<\/p>\n

A single-story building just beyond the bridge links the workshop wing to the studio building, and it houses the auditorium and canteen. I spent a lot of time walking around the building, both inside and out, discovering all of its design details, from its subtle color accents to its sunny vestibules to how light changes the appearance of its facade throughout the day. It\u2019s true what Gropius said: \u201cThe observer was to go all around this building to comprehend its corporality and the function of its subdivisions \u2014 there is no central aspect of the building.\u201d<\/p>\n

\n

The Masters\u2019 Houses<\/h2>\n
\"Masters'

Reconstructed Masters’ Houses of Walter Gropius and L\u00e1szl\u00f3 Moholy-Nagy. Photo by Yvonne Tenschert<\/p><\/div>\n

Following my first look at the main Bauhaus building and lunch at the caf\u00e9, I headed down Gropiusallee and took a right on Ebertallee, where the complex of Masters\u2019 Houses are located. Set within a quiet wooded plot of pine trees, these four white, cubic forms were designed by Gropius to embody his principles of modern living.<\/p>\n

Each house bears the last name of the Bauhaus master who lived there, which included the aforementioned L\u00e1szl\u00f3 Moholy-Nagy<\/a> and Lyonel Feininger<\/a>, Georg Muche and Oskar Schlemmer<\/a> and Wassily Kandinsky<\/a> and Paul Klee<\/a>, some of whom departed from Gropius\u2019s design by adding interior colors that harmonized with their work.<\/p>\n

Together comprising the quintessential artist colony, these homes \u2014 modular juxtapositions of horizontal and vertical lines with strong interior-exterior connections \u2014 were later occupied by the Alberses, the Arndts and Mies van der Rohe. (The Gropius house is a contemporary interpretation of the original, which, along with the Moholy-Nagy house, was destroyed in World War II.)<\/p>\n

\n

The Pump Room (Trinkhalle)<\/h2>\n
\"Trinkalle\"

The Pump Room, or Trinkhalle, designed by Mies van der Rohe. Photo by Yvonne Tenschert<\/p><\/div>\n

Built into the wall surrounding Gropius\u2019s own Master House, this refreshment kiosk was the only building in Dessau realized by the third and final Bauhaus director, Mies van der Rohe. Although today\u2019s structure is a contemporary interpretation (the original was demolished in 1962), it maintains the same clean form that seamlessly blends into the wall.<\/p>\n

\n

Kornhaus<\/h2>\n
\"Kornhaus

Kornhaus, designed by Carl Fieger. Photo by Doreen Ritzau<\/p><\/div>\n

After my visit to the Masters\u2019 Houses, I headed down the street to the Kornhaus. (If you\u2019re not up for the walk, look out for the Bauhaus bus.) Situated in a pleasant spot on the bank of the Elbe River, the curving building was designed by Carl Fieger in 1929.<\/p>\n

Feiger worked as a draftsmen in Gropius\u2019s firm, and taught technical drawing and descriptive geometry at the Bauhaus between 1927 and 1930. He also played an integral role in the planning of the Bauhaus building and the Masters\u2019 Houses.<\/p>\n

If you come upon the Kornhaus from the east side, like I did, it doesn\u2019t look much at first. But when you come around the back to the west side, you see that the area that was originally supposed to be an open balcony is now a striking semi-circle covered in paned glass. On the back terrace, which faces the water, the original mushroom-shaped ferroconcrete dome still stands. A semicircular terrace down by the water offers an inviting place to cool off in summer.<\/p>\n

\n

Dessau-T\u00f6rten Housing Estate<\/h2>\n
\"Bauhaussiedlung

Walter Gropius-designed housing in the estate. Photo by Yvonne Tenschert<\/p><\/div>\n

Slightly farther afield is this terraced housing estate, which was the Bauhaus\u2019s solution for cost-effective mass residential living. Composed of three different housing types, Gropius\u2019s light-colored homes included a garden to grow food and keep livestock.<\/p>\n

His two-sectioned Konsum building (today a visitor center and exhibition space) functioned as the center of the estate. Providing an opportunity for the Bauhaus building department to experiment with housing construction, the estate is also home to a brick complex called Houses with Balcony Access (1929\u201330) by the second Bauhaus director, Hannes Meyer; a prototype of the Steel House by Georg Muche and Richard Paulick (1926\u201327); and the round-meets-boxy Fieger House (1927), by Carl Fieger.<\/p>\n

\n

Bauhaus Museum Dessau<\/h2>\n
\"Bauhaus

A rendering of the Bauhaus Museum Dessau, set to open next year. Courtesy of \u00a9 Gonzalez Hinz Zabala<\/p><\/div>\n

In 2019, Bauhaus will mark 100 years since its founding. Festivities are planned in the three major Bauhaus cities \u2014 Weimar, Berlin and Dessau \u2014 and there will also be new museums opened in each location, including the Bauhaus Museum Dessau, which is set to open next fall.<\/p>\n

The new museum, designed by Barcelona-based architects Gonz\u00e1lez Hinz Zabala, will display the second-largest Bauhaus collection in the world. Its 40,000-plus items include early furniture by Breuer, the main estate of Meyer, architectural drawings by Feiger and photocollages by Brandt, ensuring that the Bauhaus legacy will live far into the future.<\/p>\n

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Who knew that you could sleep at the Bauhaus? I certainly didn\u2019t when I began planning a trip to Dessau, Germany, to see its legendary school and architecture. But a few weeks later, there I was inside the Arndt studio, taking in the view of rooftops and sky through the same massive half-wall of windows 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\u00fcbersiedelte, sicherte Oberb\u00fcrgermeister Fritz Hesse dem Bauhausgr\u00fcnder Walter Gropius nicht nur die Finanzierung eines neuen Schulgeb\u00e4udes zu, sondern versprach ihm obendrein auch eine Wohnsiedlung f\u00fcr die Bauhauslehrer, die sich seit Weimarer Tagen Meister nannten. Bereits ein Jahr sp\u00e4ter waren das Bauhausgeb\u00e4ude und die Meisterh\u00e4user fertig und wurden zu Symbolen einer Gestaltungs- und Bildungsrevolution. Bis heute stehen sie weltweit f\u00fcr die wei\u00dfe Moderne schlechthin. Die Meisterhaussiedlung avancierte zum Inbegriff der K\u00fcnstlerkolonie des 20. Jahrhunderts. Wegweisende k\u00fcnstlerische Arbeiten der Klassischen Moderne entstanden in den kubischen Wohn- und Atelierh\u00e4usern. Au\u00dferdem galt die Siedlung als eine Art Experimentallabor des Bauhauses f\u00fcr das neue Wohnen. Mit Walter Gropius, Hannes Meyer und Ludwig Mies van der Rohe lebten hier alle drei Bauhausdirektoren T\u00fcr an T\u00fcr mit den Bauhauslehrern Laszlo Moholy-Nagy, Lyonel Feininger, Georg Muche, Oskar Schlemmer, Wassily Kandinsky sowie Paul Klee. Sp\u00e4ter kamen noch Anni und Josef Albers, Gertrud und Alfred Arndt, Gunta St\u00f6lzl sowie Lou und Hinnerk Scheper dazu. Mit dem Ende der Weimarer Republik, mit dem Ende der ersten Demokratie auf deutschem Boden verlie\u00dfen die Bauhausmeister und ihre Sch\u00fcler ihre Dessauer Wirkungsst\u00e4tte. Nach einem kurzen Intermezzo in Berlin l\u00f6ste sich das Bauhaus 1933 unter dem Druck der Nationalsozialisten auf. Viele Bauh\u00e4usler mussten emigrieren und sollten nie wieder nach Deutschland zur\u00fcckkehren. Die Nazis empfanden die nun leergezogenen Meisterh\u00e4user als \u201eundeutsch\u201c und lie\u00dfen sie \u00fcberbauen. Als Dessau im Fr\u00fchjahr 1945 bombardiert wurde, sanken auch das Direktorenhaus und die Meisterhaush\u00e4lfte Moholy-Nagy in Schutt und Asche. Die \u00fcbriggebliebenen H\u00e4user \u00fcberdauerten vermietet und fremdgenutzt auch die DDR-Jahre. Von der einstigen Bauhausarchitektur war l\u00e4ngst nichts mehr zu sehen, sie wurde mit Gewalt gebrochen. Mit der deutschen Einheit wendete sich das Schicksal f\u00fcr die Siedlung. Die Stadt Dessau war dank finanzkr\u00e4ftiger Geldgeber in der Lage, die verbliebenen H\u00e4user Feininger (1994), Kandinsky\\\/Klee (2000) und Muche\\\/Schlemmer (2001) zu sanieren. Die Meisterhaussiedlung erhielt ihr Gesicht zur\u00fcck, blieb aber Fragment. Jahrelang wurde dar\u00fcber gestritten, ob und wie die zerst\u00f6rten H\u00e4user wieder aufzubauen w\u00e4ren. 2010 dann die Wende: Unter Beratung des englischen Stararchitekten David Chipperfield und weiterer Experten wurde beschlossen, die Meisterh\u00e4user Gropius und Moholy-Nagy nicht 1:1 wieder zu errichten, sondern mit den Mitteln der zeitgen\u00f6ssischen Architektur zu rekonstruieren. Mit der Umsetzung betraut wurde das B\u00fcro Bruno Fioretti Marquez Architekten, Berlin. Und so sind sie nun in einer innovativen Reduktion und in Abstraktion des Ursprungbaus wieder entstanden. Im Innern der H\u00e4user realisierte der K\u00fcnstler Olaf Nicolai eine Arbeit, die den urspr\u00fcnglichen Dialog zwischen der Gropiusschen Architektur und den Bauhausk\u00fcnstlern nachvollzieht. Statt Farbe: Licht! Auch die von Mies van der Rohe entworfene Trinkhalle, die aus einer Umgebungmauer auskragt, steht wieder an altem Platz.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/www.1stdibs.com\\\/blogs\\\/the-study\\\/dessau-bauhaus\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/www.1stdibs.com\\\/blogs\\\/the-study\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"A Walking Tour of Dessau, the Capital of the Bauhaus\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/www.1stdibs.com\\\/blogs\\\/the-study\\\/#website\",\"url\":\"https:\\\/\\\/www.1stdibs.com\\\/blogs\\\/the-study\\\/\",\"name\":\"The Study\",\"description\":\"1stDibs Blog about antique and modern furniture, jewelry, fashion & 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f\u00fcr die Bauhauslehrer, die sich seit Weimarer Tagen Meister nannten. Bereits ein Jahr sp\u00e4ter waren das Bauhausgeb\u00e4ude und die Meisterh\u00e4user fertig und wurden zu Symbolen einer Gestaltungs- und Bildungsrevolution. Bis heute stehen sie weltweit f\u00fcr die wei\u00dfe Moderne schlechthin. Die Meisterhaussiedlung avancierte zum Inbegriff der K\u00fcnstlerkolonie des 20. Jahrhunderts. Wegweisende k\u00fcnstlerische Arbeiten der Klassischen Moderne entstanden in den kubischen Wohn- und Atelierh\u00e4usern. Au\u00dferdem galt die Siedlung als eine Art Experimentallabor des Bauhauses f\u00fcr das neue Wohnen. Mit Walter Gropius, Hannes Meyer und Ludwig Mies van der Rohe lebten hier alle drei Bauhausdirektoren T\u00fcr an T\u00fcr mit den Bauhauslehrern Laszlo Moholy-Nagy, Lyonel Feininger, Georg Muche, Oskar Schlemmer, Wassily Kandinsky sowie Paul Klee. Sp\u00e4ter kamen noch Anni und Josef Albers, Gertrud und Alfred Arndt, Gunta St\u00f6lzl sowie Lou und Hinnerk Scheper dazu. Mit dem Ende der Weimarer Republik, mit dem Ende der ersten Demokratie auf deutschem Boden verlie\u00dfen die Bauhausmeister und ihre Sch\u00fcler ihre Dessauer Wirkungsst\u00e4tte. Nach einem kurzen Intermezzo in Berlin l\u00f6ste sich das Bauhaus 1933 unter dem Druck der Nationalsozialisten auf. Viele Bauh\u00e4usler mussten emigrieren und sollten nie wieder nach Deutschland zur\u00fcckkehren. Die Nazis empfanden die nun leergezogenen Meisterh\u00e4user als \u201eundeutsch\u201c und lie\u00dfen sie \u00fcberbauen. Als Dessau im Fr\u00fchjahr 1945 bombardiert wurde, sanken auch das Direktorenhaus und die Meisterhaush\u00e4lfte Moholy-Nagy in Schutt und Asche. Die \u00fcbriggebliebenen H\u00e4user \u00fcberdauerten vermietet und fremdgenutzt auch die DDR-Jahre. Von der einstigen Bauhausarchitektur war l\u00e4ngst nichts mehr zu sehen, sie wurde mit Gewalt gebrochen. Mit der deutschen Einheit wendete sich das Schicksal f\u00fcr die Siedlung. Die Stadt Dessau war dank finanzkr\u00e4ftiger Geldgeber in der Lage, die verbliebenen H\u00e4user Feininger (1994), Kandinsky\/Klee (2000) und Muche\/Schlemmer (2001) zu sanieren. Die Meisterhaussiedlung erhielt ihr Gesicht zur\u00fcck, blieb aber Fragment. Jahrelang wurde dar\u00fcber gestritten, ob und wie die zerst\u00f6rten H\u00e4user wieder aufzubauen w\u00e4ren. 2010 dann die Wende: Unter Beratung des englischen Stararchitekten David Chipperfield und weiterer Experten wurde beschlossen, die Meisterh\u00e4user Gropius und Moholy-Nagy nicht 1:1 wieder zu errichten, sondern mit den Mitteln der zeitgen\u00f6ssischen Architektur zu rekonstruieren. Mit der Umsetzung betraut wurde das B\u00fcro Bruno Fioretti Marquez Architekten, Berlin. Und so sind sie nun in einer innovativen Reduktion und in Abstraktion des Ursprungbaus wieder entstanden. 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