展覽「整個世界就是包浩斯」以8個主題篇章來介紹20世紀最重要的藝術學校之一－－1919年創立於德國威瑪的包浩斯，讓世人得以一窺這所學校在創作與生活上多采多姿與令人驚喜的面貌。包浩斯在1926年搬遷至德劭之後，因為國家社會主義的干預而無法在此地繼續營運下去，於是在1932年遷校至柏林，到了1933年，這所學校就在這裡永遠關閉了。
這場展覽展出的照片、書面作品、模型、文件、影片、文章與物件，將會讓我們發現，在建築、生活用品、繪畫與舞臺藝術，甚至是教育模式等方面符合時代的現代設計，包浩斯的概念與解決之道是多麼地全面且與眾不同。而為人類及環境創造更適切、更美好的生活條件，也一直是包浩斯的目標。
在展覽中的每個主題篇章中，您將可看到－－以展品為出發點－－精選出來的包浩斯成員生平簡介，他們指引出了生命道路的多元性與共同基準。
而在包浩斯存在的14年歷史中，它也是個不斷自我創新的機構，因為學校的走向乃是由三位校長（華特．葛羅培斯、漢納斯．麥耶及路德維希．密斯．范．德．羅這三位建築師）、包浩斯的師傅、工坊負責人以及學生在反覆的熱烈討論之下並在爭議中定義下來的。包浩斯不同身分角色的對談討論，以及當時對於包浩斯的批評意見，在展覽中皆以聲音的方式呈現－－請您戴上耳機來傾聽。
不只是在包浩斯內部，就連在包浩斯之外，對於它任務與意義的討論一直都很分歧－－至今仍是。這個部分則是透過不同人物的引言摘錄，以及大多是來自1945年到今天的報紙文章來呈現；從這裡可以看出大眾對包浩斯的接受度與其意義的轉變。
（本文作者為此展策展人波瑞斯．符利德瓦）
歌德學院再2019年推出過【包浩斯】專題：https://www.goethe.de/ins/tw/cn/kul/dos/bau.html
專題裡介紹了多位重要的包浩斯大師，諸如約瑟夫·阿爾伯斯（Josef Albers）， 賀內克·雪伯（Hinnerk Scheper）， 蓋沃·穆赫（Georg Muche）， 莫霍力-納吉（László Moholy-Nagy），賀伯特·拜耳（ Herbert Bayer），優思特·施密特（Joost Schmidt），沃爾特·格羅皮烏斯（Walter Gropius），馬塞爾·布勞耶（Marcel Breuer），瓦西里·康丁斯基（Wassily Kandinsky），保羅·克利（ Paul Klee），利奧尼·費寧格（ Lyonel Feininger），婫塔·許託茲 (Gunta Stölzl），奧斯卡·許雷默爾（Oskar Schlemmer）等等。
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Discover some of the best Bauhaus buildings in Britain: https://bit.ly/2FJHKWT
Image: Impington Village College near Cambridge, by Walter Gropius and Maxwell Fry, 1936–39. © Alan Powers
The Bauhaus Buildings of Britain
Posted on 01 Mar 2019
The Bauhaus was the short-lived German art school that opened its doors 100 years ago, but whose effects can still be seen across the world today. We take a look at some of the overlooked buildings of Britain by Bauhaus émigrés.
Following the school’s closure due to increasing pressure from the Nazi regime, teachers and students found new opportunities in Britain and the United States. Bauhaus Goes West tells a story of cultural exchange between the Bauhaus émigrés and the countries to which they moved. The following text and images are taken from Alan Powers’ Bauhaus Goes West.
In the case of Britain, it is often said that during the time they spent in London, Walter Gropius, Marcel Breuer and László Moholy- Nagy – three major Bauhaus figures – had insufficient opportunities, prompting their decisions to move on to America. This is unjust: their stay in the UK might not have been a spectacular success, but neither was it a failure.
Prejudice and unrealistic expectations have tended to obscure the evidence and prevent a fair assessment of what might have been expected for them. Apart from these three world-famous individuals, there were other former Bauhaus students and teachers who remained in Britain and made contributions to industry and education that have been largely forgotten. In the centenary year of the Bauhaus, we have the opportunity to view these events afresh, in the light of changing understandings of the strengths and weaknesses in the Bauhaus itself.
New Ways, Northampton, by Peter Behrens, 1925–26. Modernism descends on the English suburb, complete with a rock garden. From Taut, B., Modern Architecture (London: e Studio, 1929) P.33 from ‘Bauhaus Goes West’
New Ways, Northampton, Peter Behrens, 1925-26
The beginning of the sequence leading to the adoption in Britain of ‘proper’ modernism is usually traced to a house designed by Peter Behrens in Northampton in 1925. In every way, this house was an anomaly, with its slightly Expressionist decorative details over the entrance and a plan that did nothing special to develop a sense of space. In German terms it was old-fashioned, although outlandish enough in England to provoke comment.
Rothes Colliery in Fife, Egon Riss, 1960 © National Mining Museum Scotland Trust. P.181 from ‘Bauhaus Goes West’
Rothes Colliery in Fife, Egon Riss, 1960
Egon Riss, appears not to have enrolled at the Bauhaus on a formal basis, but spent some time at the school in the Weimar period, after studying at the Wiener Technische Hochschule. He had a notable career in his native Austria up to 1938, specializing in buildings related to healthcare, but at the Anschluss he escaped to Britain via Prague. Settling in London, he lodged at the Lawn Road Flats in return for doing odd jobs, with his rent of £1 per week paid by the Architects’ Czech Refugee Fund. Prior to the start of the Second World War Riss designed a series of witty domestic objects for Jack Pritchard’s Isokon furniture range, including the Isokon Donkey.
After war service, Egon Riss worked as an architect for the coal industry in Scotland, creating dramatic pithead buildings, such as this example at the short-lived Rothes Colliery in Fife, 1960. The winding towers were destroyed with explosives in 1993.
pl. 8 Impington Village College near Cambridge, by Walter Gropius and Maxwell Fry, 1936-39 © Alan Powers. Colour plate 8 from 'Bauhaus Goes West'
Impington Village College, near Cambridge, Walter Gropius and Maxwell Fry, 1936 -39
Faced with the actual building at Impington, which has been well preserved over the course of more than seventy years of use, with extensions tactfully made at a sufficient distance, the visitor might be tempted to ask, ‘Is that all?’ – especially if they have been prepared by Nikolaus Pevsner for ‘one of the best buildings of its date in England, if not the best’. The response of a later guidebook writer, Norman Scarfe, was that, ‘Forty years on, the building looks surprisingly commonplace, which is perhaps its best tribute.’It is not the gleaming-white Bauhaus, but built of the same local brick as its predecessors, which has weathered well.
A school with additional adult facilities, the fourth to
be completed in Henry Morris’s visionary scheme, Impington’s materials and forms are local in character and slotted in among the older trees on the site.
pl. 10 Gropius, The Wood House, Shipbourne, Kent Credit: © Morley von Sternberg
The Wood House, Kent, Walter Gropius and Maxwell Fry, 1937
Jack Donaldson (later a Labour peer) and his wife, Frances, were supporters of the Pioneer Health Centre in Peckham. When in 1935 they were given the opportunity to build a house in Kent on the estate of the Cazalet family – socialites rather than socialists, part of the circle of the Prince of Wales (later Edward VIII who became Duke of Windsor) – they chose Gropius and Fry as their architects. Completed in 1937, the house was built of timber, with an oak frame and cedar cladding, reverting to the natural material chosen by Gropius for the Sommerfeld House in Berlin, his first major work after the First World War. The young German émigré Walter Segal, already experienced in timber building, was invited by Gropius to help him. By this time, Gropius had recruited Albrecht Proskauer, who also worked on the house. A similarly skilled German, Proskauer had been working with Wells Coates, who encouraged him to make the transfer.
Located in the Kent village of Shipbourne, the Wood House, as it was christened, is very different from the symmetrical and highly-wrought Sommerfeld design. Forming an L-shape, with a two-storey main block under a monopitch roof with deep eaves to the front (an innovation favoured in Sweden) and a lower entrance and service wing extending back from it, the house has simple horizontal boarding in a dark colour, with a two-storey open balcony at the far end, canted out slightly towards the view. The slight exaggeration of form here, belying the strict grids associated with Gropius, suggests that he might recently have learnt something from Hans Scharoun or Hugo Häring, two of his former associates in Der Ring. The other signifiant external feature is the sloped canopy over the main entrance, just slightly larger than one might expect, adding further character to this side of the house. The remainder is relatively conventional, but it hangs together well and without effort, similar in this respect to 66 Old Church Street.
Hunstanton School, Norfolk, Alison and Peter Smithson, 1950-54 © Alan Powers. Colour plate 27 from 'Bauhaus Goes West'
Hunstanton School, Norfolk, Alison and Peter Smithson, 1950-54
In 1959 Mies received the RIBA Royal Gold Medal for architecture in London, where a small group of younger architects who had worked for him or SOM remained faithful disciples, among them Peter Carter, Adrian Gale and John Winter. Some years earlier, inspired only by drawings and photographs of the initial IIT buildings torn from the pages of the Architects’ Journal, a young Alison and Peter Smithson had designed Miesian student projects; later, with a similar-looking scheme, they had won the competition in 1949 for a secondary school at Hunstanton in Norfolk, a building whose formalism seemed counter-revolutionary in the context of the national norms set by the ‘progressive’ Hertfordshire schools, and which was slow to build owing to steel shortages during the Korean War. The Smithsons, who claimed in any case that Japan was the greater in uence on the design, were never to build in such a directly Miesian way again. Peter once remarked, in his cryptic way, ‘Mies is great but Corb communicates’, but he and Alison remained enthusiastic about the unaccented regularity of Mies’s elevations – picked up as a theme in the pattern of vertical concrete fins at their Robin Hood Gardens in London (1972) – as well as the quality of what they called ‘the spaces between’ at Mies’s Lafayette Park, Detroit.
ART
Bauhaus Goes WestModern Art and Design in Britain and AmericaAlan Powers£24.95
Bauhaus Goes West is a timely re-evaluation of the Bauhaus’s relationship with modern art and design in Britain and the USA, published to mark the centenary of the school’s founding.
Related Topics
BAUHAUSBERLINCONTEMPORARY ARTGERMANY
Hunstanton School, Norfolk, Alison and Peter Smithson, 1950-54 © Alan Powers. Colour plate 27 from 'Bauhaus Goes West'
Hunstanton School, Norfolk, Alison and Peter Smithson, 1950-54
In 1959 Mies received the RIBA Royal Gold Medal for architecture in London, where a small group of younger architects who had worked for him or SOM remained faithful disciples, among them Peter Carter, Adrian Gale and John Winter. Some years earlier, inspired only by drawings and photographs of the initial IIT buildings torn from the pages of the Architects’ Journal, a young Alison and Peter Smithson had designed Miesian student projects; later, with a similar-looking scheme, they had won the competition in 1949 for a secondary school at Hunstanton in Norfolk, a building whose formalism seemed counter-revolutionary in the context of the national norms set by the ‘progressive’ Hertfordshire schools, and which was slow to build owing to steel shortages during the Korean War. The Smithsons, who claimed in any case that Japan was the greater in uence on the design, were never to build in such a directly Miesian way again. Peter once remarked, in his cryptic way, ‘Mies is great but Corb communicates’, but he and Alison remained enthusiastic about the unaccented regularity of Mies’s elevations – picked up as a theme in the pattern of vertical concrete fins at their Robin Hood Gardens in London (1972) – as well as the quality of what they called ‘the spaces between’ at Mies’s Lafayette Park, Detroit.
ARTBauhaus Goes WestModern Art and Design in Britain and AmericaAlan Powers£24.95
Bauhaus Goes West is a timely re-evaluation of the Bauhaus’s relationship with modern art and design in Britain and the USA, published to mark the centenary of the school’s founding.
Related Topics
BAUHAUSBERLINCONTEMPORARY ARTGERMANY
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