Introduction
The building which was created by Walter Gropius in 1926 is considered to be one of the best architectural projects of the twentieth century. It was very fresh and new to use modern materials and combine magnificence and light space (‘Architecture!’ 2007). The author was inspired by American buildings of that time because skyscrapers seemed to have no walls and, at the same time, they were huge monoliths with walls made of glass.
The modern era was waiting for people that would come and change everything. Changes were typical of all progressive people, though not every individual was able to fulfill the project of such scale as the Bauhaus Building. The original project took into account the place and time; however, it became an amazing combination of ‘aesthetic avant-garde and heavy industry’ (‘Architecture!’ 2007).
One of the distinctive features of the building is its many-sided perspective, its façade with numerous parts of the same monolith, and multi-functional purpose. As it was aimed to be the workshop, the studio, and the housing place for students, it played the role of a small town where all components were within the building.
The Bauhaus was built in a year; it is hard to imagine that the project of such complicated design could be built within one year. People that came to the presentation of the Building and inauguration of Walter Gropius (as he was supposed to become a director of the School for Architecture) saw a tremendous cube made of light, glass, and regular forms which became a distinctive feature of the Modern design (‘Architecture!’ 2007).
The initial project included a part within a building where professors would be able to live, though finally separate houses were placed standing by themselves. The design is complicated and simple at the same time because forms and regular proportions involve the visitors and observers into the modern world which is inclined to be full of geometry, proportions, flat roofs (this aspect was considered to be non-typical of German style), and a lot of glass.
Walter Gropius can be treated as the pioneer of the modern style in architecture; his techniques and innovations made the Bauhaus Building one of the most regularly shaped, though asymmetric multi-purpose projects of the twentieth century. Some methods introduced by Gropius became an integral part of the modern architectural design. The choice of place was made deliberately in order not to be limited with space, landscape, and other buildings.
The Great Representative of the Modern Design
A brief comment on Gropius’s biography
Walter Gropius was a German-born architect, designer, and educator. He studied architecture in Berlin and Munich. His first projects were influenced by the works of another great architect Frank Lloyd Wright who was famous among architects for his ‘horizontality and the wide overhanging eaves’ (Gale 2005-2006). It is clear that further Gropius developed features of his individual style and techniques that can be attributed to his architectural design.
As argued by Moffett, Fazio, and Wodehause (2003, p.511), Walter Gropius’s father was an architect as well; Walter obtained his knowledge and experience on architectural design in Peter Behrens’ office, after that he established an independent practice with his colleague Adolf Meyer. They managed to complete several architectural projects before the World War I, and only one project after it as Meyer died in 1924 (Gale 2005-2006).
Walter Gropius was one of the architects that were searching for an appropriate method in architecture that would combine ‘aesthetic expression [and] … industrial movement’ (Moffett, Fazio, Wodehause 2003, p.511). The Bauhaus building appeared to be a perfect combination of aesthetic and practical, industrial needs and desire to create beautiful things, a single building and a great number of its functions.
Gropius was one of the German architects influenced by ‘the British Arts and Crafts movement and who attempted to go further by adapting good design to machine production’ (Gale 2005-2006). This passion for arts and crafts can be clearly observed in the Bauhaus Building. The proportions and regular forms are distinctive feature of the British Arts and Crafts movement. The ‘idea of fundamental unity’ (Gropius 1965, p.51) was implemented in the course of planning the project of a workshop, studio, and housing for students and teachers. The building can be attributed to the earlier works of the architect.
Career before, during, and after the Bauhaus
Walter Gropius was invited to become a director of the school of fine arts, so, he became a director when the war was about to end. As he was invited to obtain position of a director of two schools, he decided to combine both positions in one building; this was the State Building House. The main goal of Gropius was to combine arts and industrial innovations. An aesthetic movement could be traced in industrial cities where the architectural projects of Walter Gropius took place (Gale 2005-2006).
It is clear that the architect wanted to give the industry an artistic direction, which appeared to be possible when the Bauhaus in Weimar was finished. The position of an educator demanded to keep the balance between the technical and artistic, rational and spiritual, emotional and physical parts as he had to be an artist and an educator at the same time. The British Arts and crafts movement influenced the architect greatly, though it did not deprive him of individual style and techniques typical of Gropius only.
It is obvious that a great architect encountered critical appraisal of his work in the Bauhaus in Weimar. So, he had to leave; however, he had created a new design of another Bauhaus Building which was supposed to be located in Dessau. This work was finished in a year and enraptured all visitors that were invited to the Gropius’ inauguration (‘Architecture!’ 2007). The building appeared as a beacon with a great amount of glass on its walls. The modern design will borrow this technique and make it its distinctive feature (curtain wall façade).
In 1928 Walter Gropius was forced to resign because he did not want the whole institution to suffer consequences of his opposition (the art school of Bauhaus) to the Nazism regime. Meanwhile, the school was doomed to be closed under another director after moving to Berlin (Gale 2005-2006). After having resigned, Gropius was engaged into minor projects specialized on housing development and creation of dwellings, to say more exactly, the architectural projects in the native country did not seem to of great interest for the architect.
America suggested wider perspectives for such an outstanding architect as Walter Gropius; he was invited to hold the ‘chair of architecture at Harvard from 1938 to 1952’ (Gale 2005-2006). After having retired from Harvard, he established an architectural practice and devoted all his time and effort to it. The work in America can be considered a period after the Bauhaus and it is natural that the career of Gropius was not marked with bright spots.
Walter Gropius is an outstanding architect of his time, though the authorities of his native country did not recognize the great talent. His techniques were used in British architecture during the period of the World War II because he influenced it greatly before the war had begun. The Nazis authorities seemed to lack understanding the major concepts of the Bauhaus Building in Dessau as well as the successive regime (‘Architecture!’ 2007).
Though the critical appraisal of the Gropius’ major and the most prominent work affected the contemporary understanding of his project by ordinary people, the architectural world was influenced by the movement in architectural design which was then called Modernism.
Urban Scale Project
Design theories and concepts on which the design of the scheme is based
Though the discussion of the urban scale projects is mostly associated with metropolitan cities, suchlike New York, it is necessary to consider one of the first projects of urban design introduced in the beginning of the twentieth century. As suggested by Simino, repetition can be considered a very important part of the modern design project because
[t]he repetition of the frame creates an order within the project. It’s linear quality regulates the movement through the site, in which the pedestrian, shopper, or resident becomes an active participant (1999, p.13).
The design of the scheme is base don the concepts of the combination of aesthetic expression and heavy industry. The project was created on the fundamental concepts of the architectural style of that time. The modern design was not typical and Gropius benefited from using modern materials which made the building technologically advanced.
The urban style was characterized by combination of simple methods in order to create an overall impression of monolithic building, symmetry and hierarchy were rejected and replaced by original cascades of parts of the same building. The concept consisted in making the building many-sided and multi-purpose; it had to be observed fro different angles because a façade of one part could not persuade an observer in its magnificence.
Simino (1999) suggests the most distinctive features of the urban style as used in the project of the Bauhaus building, it must support the density and structure of the area, contribute to the variety of uses, provide quality spaces, and create an interactive edge bounded by the street and the adjacent structures. Buildings are often seen as fragments within urban areas. Views are obscured by adjacent buildings, prohibiting a person from observing the entire structure at one time. Instead, individual spaces are perceived. These areas exist as spaces between buildings, facades, thresholds, entrances, windows, balconies, light, and material (p.1).
As you can see, the structure was the major concept in the design on which the scheme is based. It also presupposes that the forms are diverse, asymmetry is present, lack of hierarchy in terms of size, proportions, and height of separate parts of a building.
All the rough materials which were used in the construction were not expected to be concealed. Every detail could be observed and it was aimed at inspiring the students of the school of arts. Walls were painted in unusual colours which were not typical of studios and workshops; this was done in order to emphasize the asymmetry of walls and construction as a whole. The place was another concept which was the basis for the project design as it was chosen not to limit the building in its form and structure. The landscape presupposed that the industrial town should acquire an artistic feature.
The built form and typological characteristics of the design
The use of modern materials and its avant-garde techniques singled the Bauhaus Building in Dessau out of other different buildings created in the period of Modern Movement. Its construction, size, and purpose contribute greatly to the overall image of the Bauhaus.
The main problem of the scheme was to combine ‘imaginative design and technical proficiency’ (Gropius 1965, p.52). The students were working on the interior design of the Bauhaus Building; everything that can be considered handicraft was created by students of different faculties of the Bauhaus. ‘The large building site provided by the city, near to Dessau’s city centre, allowed for cubic building elements to be erected in an unconstrained, asymmetrical way’ (Lurfer & Sigel 2004, p.38)
It is natural that the overall impression suggests that the original idea of the architect was realized to the full extent.
The facades were made of an unusual design; the form of the building can be recognized only from the bird’s eye view. This contributes to the overall impression of the building of the future. It seems to be built in advance while its time had not come yet. As cited in Lupfer and Sigel (2004), facades were created asymmetrical deliberately:
a building created in the sprit of today spurns the impressive appearance created by symmetrical facades. Only by walking around such buildings is it possible to comprehend their corporeality and the function of their members (p.38).
The many-sided facades can be considered one of the typical features of the design. As the urban project presupposes that there should be three diverse scales (town, building, and people), ‘[t]hree different scales exist within the urban context, that of the town, the building, and the person. At each scale, the urban context and the presence of man come together’ (Simino 1999, p.3), it is necessary to analyze the appropriateness of the urban techniques in the Bauhaus Building project.
The town benefited from the construction of the building because it combines characteristic features of the artistic techniques and the technical innovations. The whole project consists of numerous minor projects, suchlike colour of the walls and handicraft, which resembles greatly the gross machines on the production line that consist of minor details. Every detail of the heavy industry made it possible to create the embodiment of the artistic project, aesthetic expression, and emotion.
The people acquired a unique opportunity to live and work within the specific building which is aimed to give as much light for the working process as possible, though it managed to conceal the part of the class in order to hide the students from the outer world. It is natural that the artistic environment predisposes to create and invent. All techniques were used to make the place as convenient and functional as it may be. As a rule, the Modern Movement is considered to be an embodiment of functionality and usefulness.
A transition between inner and outer space is very vague, though some parts of the building are concealed from the outside viewers in the street. The rooms are full of light and the part of the building which was supposed to be used as a dormitory for students was deliberately made a bit higher than others. The construction suggests that the rooms of the dormitory would be lighted with the last rays of the setting sun.
Evaluation of the scheme in use, and the reactions of the public to the design
The scheme can be considered one of the most effective in use as it presupposed the multi-functional premises in a single building. The first project suggested that there should be several part of the school of arts which would be treated as a whole. Every part should be unique and appropriate taking into account its purpose, though it should also be a part of the whole. The goal was to combine different purposes and techniques under one roof.
In addition, the roof appeared to be not as typical of the German architectural style as it was flat. ‘The curtain wall, consisting of small panes of glass and steel mullions, creates a unified facade’ (Simino 1999, p.23).This celebrated building is attributed to the international architectural heritage (‘Architecture!’ 2007). This building was recognized as one of the buildings with the most exceptional character. Its design was innovative for its contemporaries because the author of the project can be considered one of the pioneers of the twentieth century architectural projects.
Its innovative design leaves no space for usage of the old established forms and techniques. Technical virtuosity of Walter Gropius makes successive generations admire his talent and enormous desire to create unusual buildings. It can be considered the brightest example of the Modern Movement projects because it includes all distinctive features of this movement.
As introduced by Lupfer and Sigel (2004), the construction was created to combine different parts of a building:
The flat-roofed, interconnected building segments were each dedicated to precisely defined functions. One wing was planned as an independent technical (vocational) school and equipped with classrooms, administrative offices and a library. A two-storey bridge resting on four concrete piers connected the school to the workshops (p. 40).
The multi-purpose building can be considered rather effective with a view to its multiple levels, facades, and premises.
Though the first reaction of the public was amazement and admiration as people that had arrived to the inauguration of Walter Gropius saw a cube made of glass and light. The authorities did not express their admiration and made everything possible to force Gropius to resign. Neither Nazis, nor the post-war authorities recognized the genuine importance of the Gropius’ contribution to the national traditions in architecture and design.
The international recognition did not make to wait long and influenced the British architectural techniques of the period of the World War II. It is natural that the progressive ideas of the architect were not always treated as it should have been, though his methods contributed greatly to the development of the international Modern Movement. It was spread all over the world, though Gropius was inspired with American buildings before creating the project of the Bauhaus Building in Dessau.
Conclusion
To conclude, the Modern Movement in architecture was established by separate architects that contributed greatly to the overall characteristics of the movement. It is natural that Walter Gropius and his major and the most outstanding project the Bauhaus Building in Dessau is considered one of the pioneers of the Modernism in architecture. The cubic form and irregular, asymmetric construction which is designed of glass, curtain wall facades which are aimed to make the outer walls lighter and more transparent can be considered the distinctive features of the Bauhaus Building. The combination of form and space as well as aesthetic avant-garde and industrial technologies contributes greatly to the major idea and concept of the building. The revolutionary thinking found its expression in the progressive project of that era.
All the techniques and traits that can be traced in the design of the inner and outer space of the Bauhaus Building can be attributed to all architectural projects which are claimed to belong to the Modern Movement in architecture. The flat roof, asymmetric construction, multiple facades made of glass (curtain wall facade which is used in order to make the outer walls non-structural ones) all these and other features can be treated as the mixture of the functional design.
Though the first impression of people was exciting, the authorities did not happen to support the progressive movement. The innovations introduced by Walter Gropius in his major architectural work the Bauhaus Building in Dessau influenced the major part of the world in terms of architectural movement which rooted from progressive ideas.
References
Architecture! Walter Gropius – The Dessau Bauhaus 2007, YouTube, Web.
Gale, T 2005-2006, Encyclopedia of World Biography on Walter Gropius, Encyclopedia of World Biography, Web.
Gropius, W 1965, The New Architecture And The Bauhaus, MIT Press, Massachusetts.
Lupfer, G & Sigel, P 2004, Walter Gropius, 1883-1969: The Promoter of a New Form, Taschen, Los Angeles.
Moffett, M, Fazio, M W & Wodehouse, L 2003, A World History of Architecture, Laurence King Publishing, London.
Simino, S 1999, ‘Thoughts on architecture…’, March thesis, Virginia Polytechnic Institute and State University.