The Masters on the Roof of the Bauhaus Studio Building in Dessau, during the opening of the Bauhaus: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer. For the load-bearing structure, addenda architects took their cue from bridge building and pushed things to the limit. Facts Contractor Stiftung Bauhaus Dessau Architecture addenda architects González Hinz Zabala , Barcelona Function Exhibition spaces and rooms for pedagogical activities, visitor service, shop, lounge and café Exhibitionspace 2. The building was made as large as possible with the budget available. Interludes in the form of temporary exhibitions in the exhibition allow to extend and perpetuate the Versuchsstätte Bauhaus in regular intervals. It is restrained yet persuasive, and the formal vocabulary is a creative take on both the present and Modernism.
These not only looked to Bauhaus for solutions to the shortage of affordable housing for workers in industrial regions but also anticipated innovative cultural impulses for the city. From 1926, the former Weimar State Bauhaus was officially called Bauhaus — School of Design. The glass façade that runs around all four sides forms the outer envelope. Given the incipient global economic crisis, there was little appreciation for the added cultural value of the Bauhaus with its stage, Bauhaus-Kapelle Bauhaus band , readings and festivals. In the new museum, a suitable space to publicly display the collection is being created for the very first time. It embraces the Black Box and the Open Stage and turns them into exhibits in their own right presented in a display case.
For conservational reasons there is no natural light inside, and the 1,500 square metres of space provide optimal climatic conditions under which to present the sensitive items from the collection. And the film Bauhaus Agenten Dessau — Die Schulprojekte gives an idea of the projects and cooperation between the Bauhaus Agents programme and the partner schools involved Magazine bauhaus100. . The Collection, the exhibition in the Bauhaus Museum Dessau will tell the narrative of the famous school in Dessau. Ranging from ceramics to furniture, it was a colourful mix. On the side facing the city, the block relates all the more strongly to the urban environment, while the buildings opposite are reflected in its facade. The city passed a resolution to close the Bauhaus in Dessau as of September 1932.
Guest objects from international Bauhaus collections can be presented and enter into a dialogue with the Dessau collection. New convolutes of the Dessau collection or objects that are not included in the permanent exhibition in the museum are shown in them. The architecture stands out for the clarity and simplic-ity of both the concept and the aesthetics. Together, the five architects are responsible for the building which will provide a new home for the Bauhaus Museum Dessau from 8 September. The relocation of the school with all its equipment to an old telephone factory in Berlin-Steglitz, which was organised by Mies van der Rohe, was just a brief interlude that preceded its final closure on 20th July 1933. This tradition included the concept of a basic course, one that was mandatory for all students. The students were most affected by the ban on any type of political activity and the discontinuation of production lines.
The box is about 100 metres long, 18 metres wide and floats five metres above the heads of the visitors. At the end of 2015 the proposal from Barcelona-based young architectural practice addenda architects won over the jury in the open international competition, which had attracted 831 submissions from all over the world. From 1927 in Dessau, as in Weimar before that, Gropius was once again forced to fight for the political survival of his school. Bauhaus-Archiv Berlin, mit freundlicher Genehmigung der Société Kandinsky, Paris. So far, it has only been possible to present the prized collection of the Bauhaus Dessau Foundation in a limited way in the Bauhaus Building. In topical sections, it shows that teaching, designing and constructing at the Bauhaus should serve the change, improvement and shaping of the society. This Intermezzo shows the photographs that the Bauhaus Dessau Foundation has received from the joint acquisition by Bauhaus Dessau Foundation, Berlinische Galerie and Sprengel Museum Hannover.
The lack of affordable living space due to the high costs for the experimental Dessau-Törten estate angered the middle classes in Dessau in the same way that the libertarian lifestyle at the Bauhaus sparked aversion. Bauhaus Museum Dessau 2019 The Bauhaus Museum Dessau is being built for the centenary of the founding of the Bauhaus and will open in 2019, the centenary year. In the new museum, a suitable space to publicly display the collection is being created for the very first time. So far, it has only been possible to present the prized collection of the Bauhaus Dessau Foundation in a limited way in the Bauhaus Building. Starting with the famous Bauhaus Building — designed by the private architecture office of its founding director Walter Gropius in cooperation with the Bauhaus workshops and opened in 1926 —, the majority of the products and buildings that still define the image of the Bauhaus today were created in Dessau. After World War I, the Bauhäusler searched for approaches to form and shape life in a new and modern way. The presented collection is an exhibition in motion.
The result took just under two and a half years to construct and features a 105-metres-long, 25-metres-wide and 12-metres-high building. Euro Construction period 2016 until 2019 Opening 8th September 2019 The Black Box on the first floor forms the core of the museum. At the same time, the exhibition links, in space and contents, the numerous Bauhaus buildings that are lined up like a red threat from the north to the south of Dessau. 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. Located at the heart of Dessau, Bauhaus Museum Dessau acts to draw a line between city and nature, while likewise interfacing them. The Masters on the Roof of the Bauhaus Studio Building in Dessau, during the opening of the Bauhaus: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer. As an architect and designer who had already made a name for himself in 1911 with the celebrated glass building for the Fagus-Werk shoe last factory in Alfeld, Lower Saxony, Gropius was warmly welcomed by the Dessau city fathers.
This purchase formed the basis of the collection of the Bauhaus Dessau Foundation, now consisting of more than 49,000 items. The importance of this image factor for the emerging industrial location cannot be overestimated. The two ends project about 18 metres over the stairwells. Depending on the light, the surroundings are reflected more or less strongly in the glass façade or enable views through the building. Beneath them, on the north side are office spaces and the delivery bay for art, and on the south side, event venues and education spaces. The cube thus rests only on two stair-well shafts 50 metres apart and there are no intervening supporting pillars.
The László Moholy-Nagy audio track describes the masters life and work and practical experiences with the pre-liminary course exercises. Fonts, furniture, textiles, wall papers or architectures, the everyday culture of Modernism, which has become a matter of course for us nowadays, emerged in Dessau at that time. One more reason to bring to our minds the historical conditions, the visions and concepts, the working procedures and methods, the actors and networks of the Bauhaus from the distance of 100 years by means of the objects preserved by the collection activities since 1976. The two artworks Lichtspielhaus by Lucy Raven art for architecture and the Arena by Rita McBride provide a forum for dance, concerts, plays, performances, debates, conversations, lectures, film screenings and encounters. And when you enter the building everything nevertheless seems open and transparent.
The artistic subjects were pushed aside in favour of courses orientated towards industrial design. A total of 571 triple-glazed glass panes were needed — they provide heat insulation, protection from the sun, bird protection and security. This flexible multipurpose space boasts a lobby, the ticket desk, a café and shop as well as 600 square metres of space for changing exhibitions. To this day he remains symbolic of Modernist photography, combining the formal language of New Objectivity with Expressionist ideas. It consists of a closed cube made of reinforced concrete that stands on stilts. On the side facing the park, the in-teraction with nature is all the stronger when the trees are reflected in the glass.