{"id":60873,"date":"2019-12-03T16:06:10","date_gmt":"2019-12-03T16:06:10","guid":{"rendered":"https:\/\/metropolismag.com\/projects\/build-bauhaus-on-brand\/"},"modified":"2021-09-09T19:25:39","modified_gmt":"2021-09-09T19:25:39","slug":"build-bauhaus-on-brand","status":"publish","type":"metro_viewpoint","link":"https:\/\/metropolismag.com\/viewpoints\/build-bauhaus-on-brand\/","title":{"rendered":"What Does It Mean to Build Bauhaus \u201cOn Brand\u201d?"},"content":{"rendered":"
\"The
The Bauhaus Museum Weimar, designed by architect Heike Hanada, holds a vast collection of works dating from the school\u2019s first period (ca. 1919\u201323). Courtesy Thomas M\u00fcller\/Klassik Stiftung Weimar<\/strong><\/figcaption><\/figure>\n
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In 2019, two museums bearing the name Bauhaus appeared on the German culture circuit. Angling to capitalize on the design school\u2019s centennial, the Bauhaus Museum Weimar<\/a> was first out of the gate, opening in early April; a few clicks behind, the Bauhaus Museum Dessau<\/a> followed suit in early September. A third project, the much-delayed extension to Walter Gropius\u2019s 1979 Bauhaus- Archiv\/Museum f\u00fcr Gestaltung<\/a> in Berlin, did not manage to keep pace and isn\u2019t expected to open for a couple more years yet.<\/p>\n

At the moment in Berlin, kapit\u00e4n<\/em> Gropius\u2019s keel is shipwrecked in a sea of muddy ditches, its programming relocated to a temporary annex. The building, which broke ground in 1976, the same year the kapit\u00e4n<\/em>\u2019s Dessau campus was restored by the German Democratic Republic, opened in 1979 and was never much loved, although footfalls dramatically increased after the Wall came down. It is visibly the result of compromise: Gropius\u2019s original plans, drawn up in 1964 for a sloped site in the small city of Darmstadt near Frankfurt, were waylaid by local politicians; only in the following decade, after Gropius\u2019s death, did the project find a site in then\u2013West Berlin. The dislocation did violence to the original scheme, however, requiring extensive modifications by Gropius\u2019s acolyte Alex Cvijanovic (not least among them translating the building to flatland).<\/p>\n

Whatever verve there was in that first project was methodically snuffed out in the pallid final version. It is modular without the conviction for its logic, and subtractive \u201cwithout a flaming desire for new potentialities,\u201d to borrow a line from the critic Sibyl Moholy-Nagy, who seized every chance to antagonize Gropius in his elder-statesman years. The surfaces\u2014which, contrary to the school\u2019s reputation, were a source of much craftsmanly anxiety for architects at the Bauhaus\u2014are dull. The trademark shed roofs, and the jaunty winding ramp added by Cvijanovic, strive for loftier heights but don\u2019t reach them. It was, and remains, not very Bauhaus.<\/p>\n

The case of the Bauhaus-Archiv is instructive because it highlights the problem of building \u201con brand,\u201d especially a legacy brand like BAUHAUS. The magic simply cannot be recaptured, as surely as tragedy passes into farce, farce into memetic nihilism. While plenty of \u201cmodern\u201d buildings are going up in every city in the world, they have more in common with IKEA and the lobotomizing virality of Alucobond than with the 20th century\u2019s most famous design school.<\/p>\n

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The 24,000 square feet of galleries at the Bauhaus Museum Weimar are arrayed around a primary off-center staircase. The cubic building, whose smooth concrete is articulated in striations, anchors the northeastern edge of a park in central Weimar. It is steps away from a former administrative complex built and used by the Nazis. Courtesy Thomas M\u00fcller<\/strong><\/figcaption><\/figure>\n
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The genius of the Bauhaus, such as it was, lay in the combustible political situation that forced it into being. From the magma of world war emerged a new spirituality, to which Gropius gave voice in his 1919 manifesto while founding the school in Weimar. \u201cCrystallization\u201d is the key term, as in his memorable exhortation: \u201cArt must finally find its crystalline expression in a great total work of art. And this great total work of art, this cathedral of the future, will then shine with its abundance of light into the smallest objects of everyday life.\u201d<\/p>\n

It is no coincidence, then, that the most reproduced image of the Bauhaus\u2019s initial Weimar period was Lyonel Feininger\u2019s woodcut<\/a> depicting a prismatic \u201ccathedral of socialism.\u201d This socialism was of the William Morris sort, earthy and fraternal, bowing to sensuous feeling and species essence before instrumental reason. Art, that is to say crafts, would be a prophylactic against the mechanized terror of war prosecuted by the bourgeoisie at home and abroad.<\/p>\n

What was required to face down this opposition was a surplus of feeling and humanity, and what better place to take such a stand than in Weimar, the nerve center of the German Enlightenment, home of Goethe and Schiller? But soon, the expressionist Esperanto that wafted through the Bauhaus workshops morphed into another design theodicy, more angular and staccato, partly based on the work of the De Stijlist Theo van Doesburg.<\/p>\n

Neither influence found particular purchase with the architect Heike Hanada, who designed the Bauhaus Museum Weimar. A squat concrete cube, it evinces a little of the angst that was latent in expressionism, but denies its redemptive vector. Appropriate, given the importance of Weimar to the Nazis\u2019 machine-abetted policy of extermination, and the site\u2019s proximity to both the Gauforum (the administrative building where that policy was drawn up) and the Buchenwald camp (where it was implemented). The museum\u2019s massing is leavened by only a few windows, giving off a feeling of intense solidity. The strategy would appear to be one of internalized negative enlightenment, if not for the airy interiors, which nonetheless suffer from an overemphasis of the central, very narrow staircase.<\/p>\n

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The second Bauhaus museum opened in Dessau this fall. The building was designed by the Barcelona, Spain\u2013based addenda architects. Courtesy Stiftung Bauhaus Dessau\/Photo: Thomas Meyer\/OSTKREUZ, 2019<\/strong><\/figcaption><\/figure>\n
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For all this compression and heavy bearing, a \u201cbunker\u201d it is not, as some critics have claimed. Architectural criticism has always had an uneasy pact with simile. In this case, the temptation is understandable\u2014being so close to the Gauforum and its adjoining courtyard, which once bore the honorific \u201cAdolf Hitler-platz\u201d\u2014and, if anything, it points to a version of Godwin\u2019s law: Any discussion of the Bauhaus will lead to Nazism.<\/p>\n

The school was first pushed out of Weimar when rankled provincial authorities pulled its funding. It moved to Dessau, where the school had its Golden Years on Gropius\u2019s campus (1926), incubating. Gropius passed the baton to the grinning communist<\/a> (and architecturally his better) Hannes Meyer. The school turned a profit, while at the same time, students began more fully engaging with the world outside their workshops. This became a problem and Meyer was forced out, with Mies van der Rohe stepping into the breach. He gutted the curriculum and turned the focus away from workers\u2019 housing\u2014and advertising, painting, sculpture, and theater\u2014to plateglass Platonic villas. Student explorations into the riddles of industry and of history were rechanneled into finger-to-lip probing of architectural form. But it didn\u2019t matter, because the brownshirts came, some even infiltrating the Bauh\u00e4usler. They called the school the \u201caquarium\u201d and booted it up to Berlin, where it finally acquiesced to Kulturkampf browbeating.<\/p>\n

The Bauhaus was among the first victims of the fascists, prompting the dispersal of its leading lights across borders and hemispheres. (Again, Moholy-Nagy: \u201cIn 1933 Hitler shook the tree and America picked up the fruit of German genius.\u201d) By the end of the decade, Gropius, Breuer, and others had been welcomed into the heart of the American intellectual firmament, and \u201cGrope\u201d\u2014the obtuse nickname his new companions gave him\u2014preemptively began expunging the record. The Weimar period was binned in toto, and the school\u2019s socialist undercurrent was retconned. What was left was his Dessau Bauhaus, an institution too modern for the Old Continent.<\/p>\n

That Bauhaus was a linchpin in the CIA\u2019s soft-power strategy to chip away at the elevated status afforded to the Soviets after World War II. Dessau, both the campus and the city, fell under Soviet control, but the real Bauhaus, like democracy, lived on in the First World. As scholars such as Kathleen James-Chakraborty have shown, the various modernities that existed up to, alongside, and even after the Bauhaus in Germany\u2014Neues Bauen, expressionism, Weimar Lichtreklame\u2014were formally subsumed into BAUHAUS, a brand to be imported throughout the NATO bloc.<\/p>\n

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The new museum stands in the heart of Dessau at the edge of a public park, a few miles away from the famous Walter Gropius\u2013designed campus. Courtesy Stiftung Bauhaus Dessau\/Photo: Thomas Meyer\/OSTKREUZ, 2019<\/strong><\/figcaption><\/figure>\n
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But what counted for echt Bauhaus architecture in its homeland could be counted on two hands. Apart from the school campus, there are textbook buildings, like the totalizing villas Gropius built for Bauhaus masters (variably, Kandinsky, Moholy-Nagy), and non-textbook, stucco-less works\u2014namely, Gropius\u2019s Employment Office (1929) and Hannes Meyer\u2019s deceptively straightforward Houses with Balcony Access (1930). In Weimar, the 1923 Haus am Horn was a first stab at the genre. Farther from the Mitteldeutschland beat is Meyer\u2019s 1930 ADGB Trade Union School in Bernau outside Berlin; like the Dessau campus, it is chock-full of ideas\u2014and eminently usable ones at that\u2014while not giving a fig about Gropius\u2019s Sachlichkeit signaling.<\/p>\n

Even a century on, these buildings still crackle through their sheer force of example. Of course, one could do without the Lutheran purity, which was subverted by the Bauh\u00e4usler anyway in their everyday social relations. Or the flighty conceptual afflatus (\u201ca new unity\u201d) or technophilic hymning (art-and- technology, technology-and-art, amen).<\/p>\n

Thanks be given, then, to addenda architects<\/a>, the Barcelona, Spain\u2013based studio behind the Bauhaus Museum Dessau. It has done away with the most cloying proclivities of the Dessau gang, while keeping the hard lines and modish typography. Which isn\u2019t to say that the building is a standout. The diagram is exceedingly simple, a classic void-solid relationship: A continuous clear-span exhibition hall is suspended over a continuous clear- span mixed-programming hall. The upper half is tinted black to conceal its contents, while the bottom leaves the translucent envelope untouched.<\/p>\n

So far, so self-effacing. But the glazing is not transparent as it should be, given the building\u2019s prominent siting in a large park in the town center. The architects had imagined dematerializing the facade (very Bauhaus) to the extent that inside and outside were blurred, but short of this, the museum\u2019s presence in the otherwise public space feels intrusive.<\/p>\n

\"\"<\/a>
The extension to the Bauhaus-archiv in Berlin, by Staab Architekten, is due to open in 2021. Courtesy Staab Architekten Gmbh, Berlin<\/strong><\/figcaption><\/figure>\n
\n

The museum extension in Berlin, meanwhile, is the most elegant design of the new crop. The majority of the project will be concealed underground, with a five-story towerlet being the only obvious superstructure in the plan. It features gossamer-thin, parametrically ruled columns on the exterior, leaving the interior floors (for a museum caf\u00e9 and shop) completely open. Staab Architekten<\/a>, which was awarded the commission in 2015, was wise to put some distance between the extant building and its own, the better to disavow any outright influence.<\/p>\n

It is ironic that the Bauhaus\u2019s claim to history largely hinges on the architectural works imputed to it. Apart from Meyer\u2019s buildings and the Dessau campus, \u201cBauhaus architecture\u201d is something of a misdirection. It was the school\u2019s other spheres of activity, from weaving to wallpaper design, painting to advertising, that were pioneering, the ones that still manage to capture our imagination. (Indeed, the Bauhaus lacked an architecture program for much of its existence.)<\/p>\n

If the Bauhaus were reconstituted in 2019, what would keep its students up at night? Such is the question asked by the new book Bauhaus Futures<\/em><\/a> (MIT Press), and among the many diverse and timely responses, architecture\u2014i.e., buildings\u2014is nowhere to be found. But you can\u2019t mount a massive tourism campaign on living ideas\u2014risky new IP\u2014only on ossified ones.<\/p>\n

Nor can you, prospective traveler, walk around inside an Albers tapestry. You can\u2019t inhabit a Klee painting or press up bodily against the contours of a Brandt teakettle. But you can get on a plane, fly to Berlin, jump on a train to Dessau, hail a taxi to 38 Gropiusallee, walk through those (redder-than-) red doors and pose for photos on the staircases, buy picture books in the gift shop, mourn your lost youth in the canteen. You can even spend the night.<\/p>\n

You may also enjoy \u201cFar from Being a Temple to Rationality, the Bauhaus Was a <\/a><\/em>\u2018Cauldron of Perversions.\u2019\u201d<\/em><\/p>\n

Would you like to comment on this article? Send your thoughts to: comments@metropolismag.com<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The Bauhaus turned 100 this year, and a crop of museum buildings sprang up for the celebration.<\/p>\n","protected":false},"author":26,"featured_media":28051,"menu_order":0,"template":"","meta":{"_acf_changed":false,"featured_image_focal_point":[],"legacy_WP_ID":null},"tags":[872,158,1363],"metro_tax_domain":[8],"metro_tax_topic":[13],"metro_tax_program":[],"metro_issue":[],"metro_cat_viewpoint":[],"internal_flag":[],"class_list":["post-60873","metro_viewpoint","type-metro_viewpoint","status-publish","has-post-thumbnail","hentry","tag-architecture","tag-bauhaus","tag-bauhaus-100","metro_tax_domain-cultural","metro_tax_topic-architecture"],"acf":[],"yoast_head":"\nWhat Does It Mean to Build Bauhaus \u201cOn Brand\u201d? - Metropolis<\/title>\n<meta name=\"description\" content=\"The Bauhaus turned 100 this year, and a crop of museum buildings sprang up for the celebration.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/metropolismag.com\/viewpoints\/build-bauhaus-on-brand\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What Does It Mean to Build Bauhaus \u201cOn Brand\u201d? 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