The Bauhaus period included several influential planners and architects such as the three succeeding directors of the Dessau-Bauhaus university. These individuals included Walter Gropius (1883-1969), Hannes Meyer (1889-1954), and Ludwig Mies Van Der Rohe (1888-1969). Their influence over architecture and thinking, however, was felt far beyond the campus grounds and the city of Dessau.
Ludwig Mies van der Rohe (1888-1969) According to Tom Wolfe’s “From Bauhaus to Our House”, Ludwig Mies Van Der Rohe held the position of Bauhaus director during World War II and was an extremely gifted architect that was considered one of the “white gods” and “a pioneer of modernist architecture” along with his Bauhaus predecessor, Walter Gropius [4].. Said by Van Der Rohe, the well-known statement, “less is more”, embodied his design philosophy as it emphasized simplicity over over-ornamentation. These words were a powerful phrase that exemplified function over form which paved the way from the reductionist Bauhaus style to the anti-ornamental Modernist style of the mid-20th century. An example of Van Der Rohe’s structures that best represented his work was the Barcelona Pavilion that especially emphasized function over form.
Walter Gropius (1883-1969) The first Bauhaus-Dessau director, Walter Gropius, was nicknamed the “Silver Prince” by Tom Wolfe and a “pioneer of modernist architecture” along with Ludwig Mies Van Der Rohe [5]. A portion in Wolfe’s book, From Bauhaus to Our House, describes the “European artist” (e.g. in this specific case, Gropius) as a “dazzling figure” and as role models that the American students should be admiring [6]. Prior to his departure from Bauhaus, Gropius constructed a multitude of structures that most famously included the Master Houses (1925-1926) and the Torten Estates (1926-1928) (more information on these housing units is addressed within the housing section). Through his assembly-line-oriented architecture he desired to cater to the “non-bourgeoisie”, but was ridiculed by Bauhaus peer, Theo Van Doesburg, as his perception of the “non-bourgeoisie” included handcrafted items that working class citizens could never afford [5]. It is mentioned in Fiedler’s “Social Utopias of the Twenties” article that the original craft-oriented Bauhaus exemplified handcrafted items” which supported Wolfe’s anecdote regarding Gropius’s original thoughts targeting the “non-bourgeoisie” audience through handmade products [7]. This realization to his own misconceptions influenced the construction of the Torten Estates as the buildings, themselves, were quickly built as to imitate the efficiency of the assembly-line. Ultimately, Gropius’s building philosophy included the elements, “...modern, geometric, bright” which most accurately represents his Master Houses [8].
Hannes Meyer (1889-1954) Hannes Meyer (1889 –1954) was a “...Swiss architect that was the appointed second director of the Bauhaus (in Dessau) from 1928 to 1930” [3]. Immediately after receiving power, Meyer constructed the radical Balcony House (1929- 1930). Quite unlike anything in its time, the building utilized uncommon building materials (e.g. brick). The construction of the Balcony House was such an out-of-the-box idea that no other architects of this era would have ever attempted this sort of architecture. In contrast to the initial reaction to this piece, the novelty of this structure was taken rather well. In fact, the building was so well received and constructed that it is still in use to this current day. With its wellbuilt structure, excellent use of natural light, functional floor plan and pastel-painted walls, the structure was pure genius and well beyond the norm for its time. In conclusion, with this high level of creativity and boldness, the structure assisted in further developing Bauhaus’s reputation and influence.
Citations Image: [1] "House Gropius: Bauhaus Masters' Houses." Retrieved from: http://jamiefobertarchitects.com/work/house-gropius/ [2] Bauhaus100. (n.d.). Ludwig Mies van der Rohe. Retrieved fromhttps://www.bauhaus100.de/en/past/people/directors/ludwig-mies-van-der-rohe/ [3] Bauhaus100. (n.d.). Walter Gropius. Retrieved from https://www.bauhaus100.de/en/past/people/directors/walter-gropius/ [4] Bauhaus100. (n.d.). Hannes Meyer. Retretieved from https://www.bauhaus100.de/en/past/people/directors/hannes-meyer/
Text: [5] Wolfe, T. (2009). From Bauhaus to our House. New York: Picador/Farrar, Straus and Giroux. [6] Smock, W. (2004). The Bauhaus Ideal: Then and Now: An Illustrated Guide to Modernist Design. Chicago, IL: Academy Chicago. [7] Fiedler, J. (n.d.). Social Utopias of the Twenties Bauhaus, Kibbutz, and the Dream of the New Man. Retrieved from https://books.google.de/books/about/Social_utopias_of_the_twenties.html?id=0ZwYAAAAYAAJ&redir_esc=y [8] Bauhaus Dessau. (n.d.). Bauhaus Building by Walter Gropius. Retrieved from https://www.bauhaus-dessau.de/en/architecture/bauhaus-building.html [9] Bauhaus Dessau. (n.d.). Houses with Balcony Access by Hannes Meyer (1929-30). Retrieved from https://www.bauhaus-dessau.de/en/architecture/bauhaus-buildings-in-dessau/houses-with-balcony-access.html