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10Pcs Garden Tool Set Heavy Duty Gardening With Non-Slip Handle

$21

10Pcs Garden Tool Set Heavy Duty Gardening With Non-Slip Handle

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10Pcs Garden Tool Set Heavy Duty Gardening With Non-Slip Handle

Place of modernity

Ulm School of Design

Ulm
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Ulm School of Design (1955–1968) was founded as a successor to the Bauhaus, and its architecture also embodies the Bauhaus philosophy. The educational complex designed by Max Bill captivates with its sober, reduced architectural language.

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Holstentorhalle

Lübeck
MRSMeyerDE, https://de.wikipedia.org/wiki/Holstentorhalle#/media/File:HolstentorhalleFront.jpg, licensed under CC BY-SA 3.0
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Lange House | Esters House

Krefeld
Museum Haus Esters, Krefeld, Foto: Volker Döhne.

In the Lange and Esters Houses (1930), Ludwig Mies van der Rohe combined the New Architecture with the rather conventional spatial programme of a home for the upper middle class. The unadorned, box-like brick buildings are among the highlights of the Bauhaus city of Krefeld.

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German Environment Agency

Dessau-Roßlau
Umweltbundesamt, Foto: Martin Stallmann.

The German Environment Agency in Dessau-Roßlau was built in 2005 as a federal model project, to plans by Sauerbruch Hutton. The architects responded in their design to issues of climate change and rigorously addressed the use of renewable energies.

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Carl Legien Housing Estate

Berlin
Anja Steinmann.

With the Carl Legien Housing Estate, Bruno Taut demonstrated that socially equitable residential development is possible despite high urban density. The UNESCO World Heritage Site is one of the outstanding examples of the new housing projects of the Weimar Republic.

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Deutsches Architekturmuseum

Frankfurt am Main
DAM, Moritz Bernoully, 2019.

The Deutsches Architekturmuseum (DAM), or German Architecture Museum, opened in 1984 in a Wilhelminian-style villa converted by the architect Oswald Mathias Ungers. The centrepiece of his white museum architecture is a cubic structure – the “house-in-house” as a metaphor for architecture.

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Konrad Wachsmann House

Niesky
Museum Niesky.

Konrad Wachsmann was a pioneer of industrialised construction. He developed a prefabricated system for timber construction that he used in exemplary fashion in Niesky. The Wachsmann House (1927) stands out due to its modern, Bauhaus-inspired formal language.

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Magdeburg Civic Hall

Magdeburg
MVGM, Foto: Andreas Lander.

The ensemble of civic hall, entry gateway and observation tower is an important example of the New Architecture. Built for the 1927 German Theatre Exhibition, the buildings rank among the main works of the architects Johannes Göderitz and Albin Müller.

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VerSeidAG Dyeworks and Warehouse

Krefeld
Mies van der Rohe Business Park, Foto: Makis Foteinopulos.

The VerSeidAG building in Krefeld (1931), a straightforward and unadorned rectangular block, still epitomises functional, modern industrial architecture. It is the only factory building designed by Ludwig Mies van der Rohe that was built anywhere in the world and is now a listed historic monument.

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Federal Chancellery

Berlin
IMAGO/imagebroker, 20.5.2021.

The German Federal Chancellery in Berlin (1997–2001) by Axel Schultes and Charlotte Frank is part of the “Federal Ribbon” building ensemble. As one of the most important new government buildings in the German capital, it epitomises government architecture that conveys openness and transparency.

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Berlin Tempelhof Airport

Berlin
IMAGO/Günter Schneider, 12.7.2001.
Visit

Völklingen Ironworks

Völklingen
IMAGO/Becker & Bredel, 22.6.2016.

The Völklinger Hütte was the first industrial monument to be declared a UNESCO World Heritage Site in 1994. The imposing buildings of the former iron production plant, which is now used as a cultural site, are considered pioneers of modern industrial architecture.

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Garden City Hellerau

Dresden
Lothar Sprenger.

Hellerau was Germany’s first garden city, created from 1909 onwards on the initiative of Werkbund co-founder Karl Schmidt. Here, he realised his idea of a social-reformist housing estate that unites living with work, culture and education.

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Hanover Municipal Library

Hannover
Von Christian A. Schröder (ChristianSchd) - Eigenes Werk, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=38248056
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Horseshoe Housing Estate

Berlin
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

Bruno Taut’s Horseshoe Housing Estate in Britz is recognised internationally as a key work of modern urban housing construction. The UNESCO World Heritage Site was trailblazing for the architecture of its time and paved the way for a new form of social housing.

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Houses with Balcony Access

Dessau-Roßlau
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Houses with Balcony Access in Dessau-Törten embody the beliefs of Hannes Meyer, the second Bauhaus director, whose credo was simple: “Put the needs of the people before the needs of luxury”. Together with his students, he designed the five apartment blocks in 1929/30. They have been inscribed on the UNESCO World Heritage List since 2017.

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Masters’ Houses

Dessau-Roßlau
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

With the Masters’ Houses (1925–26), Walter Gropius implemented his ideas of the New Architecture for the first time in a group of homes. The three pairs of semi-detached houses and the director’s house are regarded around the world as prototypes of modern architecture and rank among the UNESCO World Heritage Sites.

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Falkenberg Garden City

Berlin
visitBerlin, Foto: Angela Kröll.

The garden city estate of Falkenberg was among the earliest examples of a new type of social housing in Berlin. This UNESCO World Heritage Site is an early work by Bruno Taut. It is here where he used his hallmark colour concepts as a design tool for the first time.

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Giebichenstein Bridge

Halle (Saale)
Matthias Kunkel (Halle), 2018.

The Giebichenstein Bridge in Halle was built between 1926 and 1928 with contributions by Werkbund members Paul Thiersch and Gerhard Marcks. The bridge is adorned with two large animal sculptures and stretches out along the foot of the Giebichenstein Castle in Halle.

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Zollverein Coal Mine Industrial Complex

Essen
Stiftung Zollverein, Foto: Jochen Tack.

With construction of the centrally located Shaft XII (1928–1932), Fritz Schupp and Martin Kremmer created one of the most important surviving examples of modern industrial architecture. Today, the UNESCO World Heritage Site is a popular cultural tourism attraction and a symbol of the transformation of the city of Essen and the Ruhr area.

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Hermann Beims Estate

Magdeburg
Foto: N. Perner.

The Hermann Beims Estate in Magdeburg (1925–29) is considered an exemplary social housing development. Based on plans by Bruno Taut, inexpensive and thoughtfully designed flats were built in the style of the New Architecture. Today, the housing estate is a protected heritage area.

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Blumläger Feld Housing Estate

Celle
Otto Haesler Stiftung.

The Blumläger Feld Housing Estate (1930/31) was the most radical and controversial project by Otto Haesler in Celle. With standardised floor plans and rational design, he created particularly low-priced dwellings of minimal size – social housing in its most rigorous form.

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Steinberg, Herrmann & Co. Hat Factory

Luckenwalde
Thomas Kemnitz.

The former Steinberg, Herrmann & Co. Hat Factory (1923) by Erich Mendelsohn is one of the pioneering works of the New Architecture movement. Thanks to its hat-like roof structure, the expressionist industrial building became a symbol of Luckenwalde.

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Deaconess Motherhouse "Neuvandsburg"

Oberharz am Brocken/Elbingerode
Diakonissen-Mutterhaus Elbingerode / Foto: Sabine Unterweide.

The Deaconess Motherhouse in Elbingerode, nearly unchanged since it was built, offers a chance to experience many details of the New Architecture. Architect Godehard Schwethelm created this ultra-modern complex between 1932 and 1934. 150 Protestant nuns still live there today.

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Bauhaus Building

Dessau-Roßlau
Stiftung Bauhaus Dessau, Foto: Yvonne Tenschert.

The school building (1925/26) by Walter Gropius is regarded internationally as an icon of modern architecture. The Bauhaus experienced its heyday in the functional, minimalist building complex. Today it is part of a UNESCO World Heritage Site and home to the Bauhaus Dessau Foundation.

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Kaiser Wilhelm Memorial Church

Berlin
IMAGO/F. Berger, 2020.

The Kaiser Wilhelm Memorial Church (1961) is a monument for peace with powerful historic symbolism. Egon Eiermann integrated the tower ruins of the church, which had been mostly destroyed in the Second World War, into a new complex of four free-standing buildings of reinforced concrete.

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Technische Hochschule Ulm

Ulm
Land Baden-Württemberg vertreten durch Vermögen und Bau Baden-Württemberg, Amt Ulm, Fotograf: Martin J. Duckeck, Ulm.

Günter Behnisch, who is known as the “master builder of democracy”, designed the Ulm University of Applied Sciences campus, which was completed in 1962. The functionalist ensemble is a key work of post-war modernism for more than just its then-groundbreaking prefabricated construction method.

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Car Park South

Halle (Saale)
Bauverein Denkmal GmbH, Wolfgang Möller.

Walter Tutenberg’s Car Park South, one of Germany’s oldest multi-storey parking structures, is an outstanding example of the New Architecture. This functional building with its ultra-modern lift system was far ahead of the architecture of its day.

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Loheland

Künzell-Loheland
Loheland-Stiftung.

The women's settlement in Loheland was an important center of the European reform movement in the 1920s. To this day, the holistic teaching practiced there and the existing monuments have an outstanding cultural-historical value.

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Kunsthalle Darmstadt

Darmstadt
Kunsthalle Darmstadt, Foto: Nikolaus Heiss, 2016.

The Kunsthalle, built in 1957 by Theo Pabst, was one of the first museum buildings to be built after the Second World War. The simple, open building in the style of classic modernism dispenses with monumental gestures and represents the new beginning undertaken after 1945.

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Rosenthal Porcelain Factory

Selb
Alexander Feig Fotodesign.

The Rosenthal Porcelain Factory in Selb is an important late work by Walter Gropius and bears witness to the influence of the Bauhaus in Bavaria. Gropius created the innovative industrial building in close collaboration with the client, Philip Rosenthal.

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Einstein Tower

Potsdam
Leibniz-Institut für Astrophysik Potsdam (AIP).

Between 1919 and 1922 the Einstein Tower was built in Potsdam – a solar observatory to prove the theories formulated by Albert Einstein. Erich Mendelsohn designed the expressionist building, which is considered an icon of the architectural awakening.

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Deutsches Hygiene-Museum Dresden

Dresden
Deutsches Hygiene-Museum Dresden (DHMD), Oliver Killig, 2017.

The imposing home of the Deutsches Hygiene-Museum in Dresden (1927–1930) features various stylistic elements. As designed by Wilhelm Kreis, the architecture combines monumental elements of classicism with the style of the Neue Sachlichkeit, or New Objectivity.

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Dessau-Törten Housing Estate

Dessau-Roßlau
Stadtarchiv Dessau-Roßlau, Foto: Sven Hertel.

With the first construction phase of the Dessau-Törten Housing Estate, Walter Gropius put new low-cost production and construction methods to the test. As an experimental housing estate, it is an exemplary model for the serial production of social housing.

TP-Link TL-PA4010 Nano PowerLine Adapter AV500 White 500mbps

Rammelsberg

Goslar
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Rammelsberg near Goslar is home to a unique ensemble of architectural monuments to German mining history. The above-ground structures of the UNESCO World Heritage Site impressively show the development of modern industrial structures during the era of National Socialism.

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German Film Institute and Museum

Frankfurt am Main
DIF/Bild: Uwe Dettmar.

The German Film Museum (DFF), opened in 1984, is housed in a Wilhelminian-style villa that has undergone repeated radical reconfigurations. Helge Bofinger initially implemented a postmodern house-in-a-house concept in 1984, and the building was again thoroughly remodelled by the firm Blocher Partners in 2009–11.

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Fagus Factory

Alfeld an der Leine
UNESCO-Welterbe Fagus-Werk.

Built in 1911, the Fagus Factory in Alfeld ranks internationally as one of the masterpieces of modern architecture. The factory building is an early work by Bauhaus founder Walter Gropius. The UNESCO World Heritage Site, with its striking glass façade, is still actively used today for manufacturing.

Visit

Technical Administration Building of Hoechst AG

Frankfurt am Main
Infraserv GmbH & Co. Höchst KG.
Visit

House of Youth

Hamburg
Berufliche Schule Energietechnik Altona (BEA), Foto: Eric Langerbeins.

In the middle of downtown Altona, the House of Youth bears witness not only to the New Architecture movement, but also to the educational reforms of the Weimar Republic. It was built according to the designs of Gustav Oelsner as a vocational training centre in 1928–1930.

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Arnstadt Dairy

Arnstadt
Jan Kobel, 2021.

The Arnstadt dairy processing plant designed by Martin Schwarz in 1928 illustrates how modernist industrial buildings combined functionality and social responsibility into an architectural unity. The historical monument is currently under renovation for use as a cultural centre.

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Haus des Volkes

Probstzella
Haus des Volkes GmbH & Co. KG

Known today as the Bauhaus Hotel, the Haus des Volkes in Probstzella (1927) invites you to explore, visit the café or spend the night. Many of its furnishings are replicas of the original furniture by Bauhaus members such as Alfred Arndt, Marcel Breuer and Marianne Brandt.

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Bauhaus-Archive / Museum of Design

Berlin
Bauhaus-Archiv, Foto: Karsten Hintz.

The Bauhaus-Archiv / Museum für Gestaltung (1979) holds the world’s largest Bauhaus collection. The building, whose distinctive sawtooth roof silhouette has made it one of Berlin’s landmarks, is based on a design by Walter Gropius.

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Schocken Department Store

Chemnitz
Staatliches Museum für Archäologie Chemnitz | Foto: Michael Jungblut.

With his design for the Schocken department store (1930), Erich Mendelsohn realised the ideals of the International Style. The building combines function with dynamism and stands as a milestone of the New Architecture. Today it houses the State Museum of Archaeology.

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Böttcherstraße

Bremen
IMAGO/blickwinkel/S. Ziese, 8.7.2021.

Bremen’s Böttcherstraße is an eclectic total work of art that combines elements of Brick Gothic, Expressionism and Art Deco. It was created between 1922 and 1931 and is considered an important example of architecture from the interwar years.

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Schillerpark Housing Estate

Berlin
Von Marbot - Eigene Fotografie des Veröffentlichers (own work by uploader), CC BY-SA 3.0 de, https://commons.wikimedia.org/w/index.php?curid=4385718.

Die Berliner Siedlung Schillerpark von Bruno Taut gilt als erstes großstädtisches Wohnprojekt der Weimarer Republik. Bis heute zählt die UNESCO-Welterbestätte zu den wichtigen Beispielen des sozialen Wohnungsbaus nach dem Ersten Weltkrieg.

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Chilehaus

Hamburg
Union Investment Real Estate GmbH, Foto: Andreas Vallbracht.

Chilehaus was one of the first high-rise buildings in Hamburg and is an icon of German Brick Expressionism. This UNESCO World Heritage property still impresses with its unusual building shape and richly detailed clinker brick façades.

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Garden City Colony „Reform“

Magdeburg
Michael Sachsenweger.

The colourful „Reform“ Housing Estate in Magdeburg is an early example of Germany’s garden city movement. Its design is largely based on plans by Bruno Taut. Carl Krayl and Franz Hoffmann, among others, were also involved in building the estate between 1913 and 1938.

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Becker Tower

St. Ingbert
Stefan Braun.

The Becker Tower was built between 1925 and 1931 for the Becker brewery of the St. Ingbert in Saarland. Hans Herkommer created the industrial building, now a listed monument, in the style of the New Architecture. Today, its tenants include a museum and a restaurant.

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Diesel Power Plant

Cottbus
Tillmann Franzen, tillmannfranzen.com

The diesel power plant in Cottbus, designed and built in 1927 by Werner Issel, is an impressive monument to modern industrial architecture. Since 2008, the architectural heritage of the expressionist brick ensemble has been kept alive as an art museum.

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Taut’s Home

Berlin
Ben Buschfeld.

Taut’s Home, which first opened its doors to holiday guests in 2012, exemplifies the architecture of Berlin Modernism in an experienceable way. The faithfully reconstructed house offers a unique opportunity to directly experience the architecture of Taut’s Horseshoe Estate in Berlin (1925–30), which is a UNESCO World Heritage Site.

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Kreutzenberger Winery

Kindenheim
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Kreutzenberger Winery in Kindenheim, Rhineland-Palatinate, is a unique example of how the New Architecture influenced the design of wineries. Designed by Otto Prott in 1929, the cube-like building received an award-winning expansion in 2004–2007.

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Hohenhof

Hagen
Foto: Tobias Roch.

Henry van de Velde designed the Hohenhof villa (1906–1908) in Hagen for the founder of the Folkwang idea, Karl Ernst Osthaus. The Gesamtkunstwerk of Art Nouveau is today a museum for the “Hagen Impulse” and honours its cultural and historical significance.

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Leipzig Trade Fair

Leipzig
Leipziger Messe, Foto: Christian Kraus.

The Leipzig Trade Fair is one of the most modern exhibition and congress centres in the world.  The vaulted Glass Hall is its impressive centrepiece. This masterpiece of architectural and engineering skill is Europe’s largest fully glazed structure.

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Haus Am Horn

Weimar
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Haus Am Horn was built in 1923 as a model house for the first Bauhaus exhibition in Weimar. It is the first example of Bauhaus architecture built in Weimar and ranks as a prototype of modern construction and living. Today, the UNESCO World Heritage Site is an exhibition venue.

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White City Berlin

Berlin
Tillmann Franzen, tillmannfranzen.com.

The White City, a UNESCO World Heritage Site, is one of Berlin’s most outstanding modernist housing estates. In the early 1930s, it particularly stood out for its high social standard and was the epitome of modern, affordable living.

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Schulenburg House

Gera
Haus Schulenburg Gera.

The Schulenburg Mansion in Gera embodies nascent modernism in Europe. Built between 1913 and 1915, it was designed by Belgian architect Henry van de Velde as a Gesamtkunstwerk, a total work of art. Today the villa houses a museum that presents Van de Velde’s work in an unparalleled fashion.

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Kornhaus

Dessau-Roßlau
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018.

The Kornhaus restaurant was built in 1929–30 by Carl Fieger during his time at the Bauhaus. With its striking semicircular prow, the building is typical of the architectural style of Fieger, whose works have made an important contribution to modern architecture.

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Liederhalle Stuttgart

Stuttgart
Herbert Medek, Untere Denkmalschutzbehörde (UDB), Foto: Landesamt für Denkmalpflege.

The Stuttgart Liederhalle was built in 1956 based on designs by Rolf Gutbrod and Adolf Abel. The playful ensemble is one of the most important cultural buildings of the post-war period. In 1991 it was expanded by Wolfgang Henning into a culture and congress center.

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Ilse Country House

Burbach
Gemeinde Burbach.
Visit

Schminke House

Löbau
Stiftung Haus Schminke / Ralf Ganter.

The Schminke House (1930–1933) is one of the key works by the architect Hans Scharoun. The home in the Saxon town of Löbau is regarded worldwide as a prime example of the “Neues Bauen”, and of modern architecture in the International Style.

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Garden City Piesteritz

Wittenberg
Georgios Anastasiades.

The Piesteritz Workers’ Housing Estate (1916–19) is a paragon example of the garden city movement and reform architecture. Georg Haberland, Otto Rudolf Salvisberg and Paul Schmitthenner created the residential development for the employees of the Central German Nitrogen Works.

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Eiermann Building Apolda

Apolda
IBA Thüringen, Foto: Thomas Müller.

The Eiermann Building in Apolda (1938/39) is an icon of industrial architecture and an outstanding example of sustainable building conversion. The expansion in the style of the New Architecture laid the groundwork for the career of architect Egon Eiermann.

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Dessau Employment Office

Dessau-Roßlau
Stadtarchiv Dessau-Roßlau, Foto: Sven Hertel.

The Dessau Employment Office (1929) by Walter Gropius is a pioneering example of functionalist architecture. The layout of the distinctive semicircular building and the adjoining administrative block is rigorously derived from organisational procedures in the office.

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Siemensstadt Housing Estate

Berlin
Anja Steinmann.

Siemensstadt is a large housing estate and UNESCO World Heritage Site designed as a joint project by architects including Walter Gropius and Hans Scharoun. It displays the entire range of the New Architecture style and served as a model for housing built after the Second World War.

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Hamburg’s Ohlsdorf Crematorium

Hamburg
Hamburger Friedhöfe AöR, 2013.

With his New Crematorium (1930–32), Fritz Schumacher – architect, founding member of the Werkbund and Hamburg’s long-serving building director – created a typical work of Northern German Brick Expressionism. The symmetrical complex was his last building in Hamburg.

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ADGB Trade Union School Bernau

Bernau bei Berlin
Tillmann Franzen, tillmannfranzen.com / VG Bild-Kunst, Bonn 2018 / Stiftung Bauhaus Dessau.

The ADGB Trade Union School in Bernau is one of the largest Bauhaus ensembles in the world. Today’s UNESCO World Heritage Site was built in 1928–30 under the direction of the second Bauhaus director, Hannes Meyer, with the aid of students from the Dessau Bauhaus.

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Glassworks

Amberg
Erich Spahn, 2018.

The Glassworks in Amberg was Walter Gropius’s last work. Together with his firm TAC, he designed the spectacular industrial building for factory owner Philip Rosenthal. The “Glass Cathedral”, a listed historical monument, was completed in 1970, one year after Gropius’s death.

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Luther Church

Mainz
Evangelische Luthergemeinde Mainz, Hans Ulrich Hoffmann-Schaefer.
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Lehmbruck Museum

Duisburg
Dr. Thomas Köster.

The Lehmbruck Museum in Duisburg (1964/1987) presents the oeuvre of the prominent sculptor Wilhelm Lehmbruck (1881–1919). His son Manfred Lehmbruck designed an impressive ensemble of post-war modernism that captivates with its expressive variety.

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Reichstag Building

Berlin
Simone M. Neumann, 6.7.2009.

With his transformation of the Reichstag (1999), Norman Foster created a symbol of German unity. Originally designed by Paul Wallot, the building had been erected at the end of the 19th century. The signature glass-and-steel dome has become one of Berlin’s landmarks.

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Konsum Building

Dessau-Roßlau
Sven Hertel.

The Konsum Building (1928), designed by Walter Gropius, forms the centre of the well-known experimental Dessau-Törten Estate due to its location and prominent tower block. The simple, functionalist building and the entire estate constitute an important monument to modernism.

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Altstädter School

Celle
Celle Tourismus und Marketing GmbH.

The Altstädter School (1928) is an outstanding example of classical modernism. It is one of the best-known works of the architect Otto Haesler – who, as a pioneer of the New Architecture during the 1920s, played a decisive role in shaping the cityscape of Celle.

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Bauhaus Museum Weimar

Weimar
Foto: Alexander Burzik, Klassik Stiftung Weimar

Anlässlich des 100-jährigen Jubiläums des 1919 in Weimar gegründeten Staatlichen Bauhauses eröffnete 2019 das Bauhaus-Museum Weimar und präsentiert seitdem die Schätze der weltweit ältesten Bauhaus-Sammlung. Der 2015-19 errichtete Museumsbau von Heike Hanada folgt einer geometrisch klaren Architektur: Der minimalistische Kubus gliedert sich in fünf Ebenen, die in zweigeschossigen offenen Räumen ineinander übergehen.

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Mathildenhöhe

Darmstadt
Bildarchiv Foto Marburg, Foto: Ingo E. Fischer.
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Ernst May House

Frankfurt am Main
ernst-may-gesellschaft, Foto: Reinhard Wegmann.

The Ernst May House is an example of the New Frankfurt housing construction programme carried out under city planning commissioner Ernst May. Between 1925 and 1930, 12,000 affordable dwellings were built with modern conveniences that included the innovative Frankfurt kitchen designed by Margarete Schütte-Lihotzky.

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GRASSI Museum

Leipzig
Esther Hoyer

The Grassi Museum (1925–1929) in Leipzig is a total work of art of the modernist era. New Objectivity, Art Deco and the Bauhaus converge in a unique way in this building. Especially impressive are the glass windows by Bauhaus Master Josef Albers.

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Steel House

Dessau-Roßlau
Stiftung Bauhaus Dessau, Foto: Sebastian Gündel, 2012.

With the Steel House, built in 1927 on the edge of Gropius’s Dessau-Törten Estate, Richard Paulick and Georg Muche tested the applicability of steel for residential construction. It is an important testimony to the innovative ideas that shaped the Bauhaus in the 1920s.

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Hellerau Festival Theatre

Dresden
Festspielhaus Hellerau, Foto: Samira Hiam Kabbara.

The Festival Theatre, built in 1911/12 by Heinrich Tessenow in the garden city Hellerau, was a radical alternative to traditional theatre buildings. Mary Wigman once danced here. Today, Hellerau is still a centre of contemporary art.

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Le Corbusier House at Weissenhof Estate

Stuttgart
González/Weissenhofmuseum.

The Weissenhof Estate, with two houses by Le Corbusier that are on the UNESCO World Heritage List, is one of the world’s most important architectural monuments of classic modernism. Prominent international representatives of the New Architecture movement created the housing estate in 1927.

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Ehem. Großherzogl. Kunsthochschule & Kunstgewerbeschule

Weimar
Bauhaus-Universität Weimar, Thomas Müller.

Van de Veldes ehemalige Kunstschule mit Bauhaus-Atelier (1904-11) und die ehemalige Kunstgewerbeschule (1905-06) wurden 1919 zum Staatlichen Bauhaus Weimar vereint. Heute beherbergen sie die Bauhaus Universität Weimar und zählen zum UNESCO-Welterbe.

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Museum Angewandte Kunst

Frankfurt am Main
Museum Angewandte Kunst Frankfurt am Main, Foto: Anja Jahn.

The Museum Angewandte Kunst (Museum of Applied Arts) in Frankfurt am Main is a recognised icon of postmodernism. The ensemble created by Richard Meier (1987) consists of a neo-classicist villa embraced by a new building. The complex skilfully plays with the stylistic elements of functionalism.

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Head of modernity

Lyonel Feininger

1919–1932 Bauhaus master
Bauhaus-Archiv Berlin / Zeppelin-Museum / Getty Images / VG Bild-Kunst Bonn, 2020.

Feininger was one of the first masters recruited to the Bauhaus by Gropius in 1919. His woodcut ‘Cathedral’ adorned the cover of the Bauhaus Manifesto.

T. Lux Feininger

1926–1929 Bauhaus student
Bauhaus-Archiv Berlin / unbekannt.

Feininger practically grew up at the Bauhaus. With his camera he tirelessly recorded the vibrant life in the community and was later much in demand as a photojournalist for the prestigious photo agency DEPHOT.

Max Bill

1927–1928 Bauhaus student
Bauhaus-Archiv Berlin / Willy Maywald Association.

By co-founding the Ulm School of Design, Max Bill made an exceptional contribution to upholding the Bauhaus philosophy. His Ulm stool and the Junghans clock are still considered innovative and timeless.

Hinnerk Scheper

1920–1922 Bauhaus student / 1925–1933 Bauhaus young master
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

Scheper headed the wall painting workshop at the Bauhaus, was involved in developing the Maljarstroi building institute in Moscow and later took over the public agency for the preservation of monuments in Berlin.

Hannes Meyer

1928–1930 Director of the Bauhaus
Bauhaus-Archiv.

He is often called the unknown Bauhaus director but in retrospect it seems that Meyer probably influenced the Bauhaus and its students more than Gropius may have wanted to believe.

Walter Peterhans

1929–1933 Bauhaus master
Bauhaus-Archiv Berlin / Estate Grete Stern, Courtesy Galería Jorge Mara – La Ruche.

Peterhans was a photographic perfectionist. He used tweezers to arrange his still lifes millimetre by millimetre. He demanded the same devotion to technical precision from the students in his photography class.

Alfredo Bortoluzzi

1927–1928 Bauhaus student / 1930 guest student
Bauhaus-Archiv Berlin / unbekannt.

Alfredo Bortoluzzi was an enthusiastic member of the Bauhaus theatre company under Schlemmer. After graduating from the Bauhaus he became a professional dancer, choreographer and set designer.

Etel Fodor-Mittag

1928–1930 Bauhaus student / 1932 guest student
Bauhaus-Archiv Berlin / unbekannt.

In her memoirs, Etel Fodor-Mittag described her eventful life as an active communist with Jewish roots. Meanwhile, her portrait photography and still lifes speak the language of art at the Bauhaus.

Karla Grosch

1928–1932 Teacher at Bauhaus Dessau
Bauhaus-Archiv Berlin.

After training with the dancer Gret Palucca, Grosch was hired by the Bauhaus to teach gymnastics. Her performances for theatre class productions are legendary.

Hajo Rose

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

His photography and typography oscillate between New Vision, Surrealism and New Objectivity. As a teacher at the private Nieuwe Kunstschool in Amsterdam, Rose imported Bauhaus ideas to the Netherlands.

Ivana Tomljenović

1929–1930 Bauhaus student
Museum of Contemporary Art Zagreb / The Avantgarde Museum.

“Good luck, Bauhaus and Berlin comrades, see you after the revolution”: Tomljenović processed her expulsion from the Bauhaus in a photocollage.

Horacio Coppola

1932 Bauhaus student
Bauhaus-Archiv Berlin / Estate Grete Stern, Courtesy Galería Jorge Mara – La Ruche.

When Horacio Coppola and Grete Stern showed their Bauhaus photographs in Buenos Aires they injected significant momentum into the development of modern Argentinian photography.

Eberhard Schrammen

1919–1925 Bauhaus student
Bauhaus-Archiv Berlin.

Schrammen’s ‘Bauhaus Mascot’ integrates typical elements of Bauhaus design: a cylinder, a sphere and a hemisphere as basic shapes and the primary colours blue, red and yellow.

Walter Gropius

1919–1928 Director of the Bauhaus
Klaus Niermann.

Walter Gropius founded the Bauhaus in 1919 as a new type of art school that combined life, craft and art under one roof. Gropius managed the Bauhaus as its director until 1928.

Erich Consemüller

1922–1929 Bauhaus student
unbekannt.

In 1927 Consemüller took about 300 interior photographs of the Bauhaus building in Dessau for Gropius. Together with the outdoor shots by Lucia Moholy, these have played a big part in shaping our image of the Bauhaus.

Lis Beyer-Volger

1923–1929 Bauhaus student
Bauhaus-Archiv Berlin.

Beyer designed one of the rare garments created at the Bauhaus: a dress tailored geometrically in various shades of blue and ending just above the knee – scandalous for 1928!

Wassily Kandinsky

1922–1933 Bauhaus master / 1923–1933 Deputy Director
Bauhaus-Archiv Berlin / für Hugo Erfurth: gemeinfrei (abgelaufen 2018).

When Kandinsky was appointed by the Bauhaus, he was already one of the great names in modern art. For young people with talent, this was often reason enough to attempt the Bauhaus experiment.

Ricarda Schwerin

1930–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Equipped with skills from the Bauhaus advertising workshop, Ricarda and Heinz Schwerin, both active communists, founded their advertising agency Hammer and Brush in Prague.

Ludwig Hilberseimer

1929–1932 Bauhaus teacher
Bauhaus-Archiv Berlin / unbekannt.

Abstract, open, useful. Those were the modern principles that Hilberseimer instilled in his students of architecture and of housing and urban design. He recorded his urban planning theory in numerous publications.

Wera Meyer-Waldeck

1927–1932 Bauhaus student
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

She designed almost all the interior fittings of the ADGB-Bundessschule in Bernau (ADGB Trade Union School in Bernau) for the Bauhaus. However, she first made a name for herself as an architect and interior designer in the 1950s.

Max Krehan

1920–1924 Bauhaus master
Bauhaus-Archiv Berlin.

Krehan and Marcks worked as a team in the Bauhaus pottery workshop. Together with their students they created vessels with geometric shapes: modern, simple, with timeless elegance.

Margaretha Reichardt

1926–1931 Bauhaus student
Bauhaus-Archiv Berlin.

Reichardt made a particularly resilient and durable polished thread called ‘iron yarn’ that was used to span Marcel Breuer’s tubular steel furniture.

German Tokens Catalog Part 1 - Schimmel 1987 64 Pages w/ Illust

Wera Meyer-Waldeck

1927–1932 Bauhaus student
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

She designed almost all the interior fittings of the ADGB-Bundessschule in Bernau (ADGB Trade Union School in Bernau) for the Bauhaus. However, she first made a name for herself as an architect and interior designer in the 1950s.

Friedrich Reimann

1931–1933 Bauhaus student
Bauhaus-Archiv Berlin / Margareta Raabe, Nachlass Friedrich Reimann.

Reimann received his diploma in advertising graphics just ten days before the Bauhaus was closed down. He worked in the field at first in Berlin. After the Second World War he became an art teacher.

Marcel Breuer

1920–1924 Bauhaus student / 1925–1928 Bauhaus young master
Bauhaus-Archiv Berlin / unbekannt.

He was the first furniture designer ever to use tubular steel. Breuer quickly grasped how to use this material, combining it with textiles for optimum comfort.

Hans Thiemann

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin / Margot Schmidt, Nachlass Elsa Thiemann.

Thiemann, a student of Kandinsky, painted with a hint of surrealism. He found an artistic home among the Fantasten in Berlin.

Josef Hartwig

1921–1925 Bauhaus master
in: Wingler, H.-M. (1962): Das Bauhaus 1919–1933, Weimar Dessau Berlin und die Nachfolge in Chicago seit 1937, Bramsche, S. 256 / unbekannt.

When Hartwig designed his famous Bauhaus chess set, it met all the criteria defined for an object by Gropius: practical, durable, inexpensive and beautiful.

Selman Selmanagić

1929–1933 Bauhaus student
Bauhaus-Archiv Berlin.

He was a Bauhäusler through and through. Until his retirement in 1970 Selmanagić taught the unity of art and technology at the art college in Weissensee (Berlin).

Hajo Rose

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

His photography and typography oscillate between New Vision, Surrealism and New Objectivity. As a teacher at the private Nieuwe Kunstschool in Amsterdam, Rose imported Bauhaus ideas to the Netherlands.

Selman Selmanagić

1929–1933 Bauhaus student
Bauhaus-Archiv Berlin.

He was a Bauhäusler through and through. Until his retirement in 1970 Selmanagić taught the unity of art and technology at the art college in Weissensee (Berlin).

Friedrich Engemann

1927–1929 Bauhaus student / 1929–1933 Bauhaus teacher
Stiftung Bauhaus Dessau.

With his experience as an architect and vocational trainer, Engemann was taken on to teach architectural drawing, fitting out and descriptive geometry at the Bauhaus.

Herbert Bayer

1921–1925 Bauhaus student / 1925–1928 Bauhaus young master
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

The commercial typography he designed for the Bauhaus was a defining feature of the Dessau period and hugely enhanced the popularity of the School of Design.

Xanti Schawinsky

1924–1926 Bauhaus student / 1927–1929 stagecraft teacher
Bauhaus-Archiv Berlin / The Josef and Anni Albers Foundation / VG Bild-Kunst, Bonn 2020.

Xanti Schawinsky was a multi-talent: painter, photographer, architect, graphic designer, saxophonist and stage designer. He remains one of the few Bauhäusler to make their mark in every sphere.

Elsa Thiemann

1929–1931 Bauhaus student
Bauhaus-Archiv Berlin / unbekannt.

Some Bauhaus students achieved world fame, but many remained largely unknown. One such was the photographer Elsa Thiemann, who designed some quite untypical wallpaper at the Bauhaus.

Mart Stam

1928–1929 Bauhaus teacher
unbekannt.

From chairs to cities, Stam designed types for industrial and serial production. His standardised row house for the Weissenhof housing estate was a game-changer.

Kurt Kranz

1930–1933 Bauhaus student
Nachlass Siegfried Kühl.

Kranz thought about art in terms of series, formal categories and variants. Whether in paintings, photographs, graphic designs or experimental films, what fascinated him was the game of change and processes of transformation.

Joost Schmidt

1919–1925 Bauhaus student / 1925–1932 young master
Bauhaus-Archiv, Foto: unbekannt.

Known to all as ‘Schmidtchen’, Joost Schmidt came to the Bauhaus as a student and was among the young masters appointed by Gropius in 1925. He stayed until 1932.

Isaak Butkow

1928–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Butkow was the linchpin of a Communist cell at the Bauhaus. In 1932 he was expelled. He went to the Soviet Union as political émigré, but in 1937 he was accused of espionage and sentenced to death.

Georg Muche

1920–1927 Bauhaus master
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

Muche was one of the youngest Bauhaus masters. The Haus am Horn, based on his designs, was in fact the ‘dream house’ he had designed for himself and his young wife El.

Irena Blühová

1931–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Blühová was one of the few students at the Bauhaus to engage with social photography. Before joining the course, Slovakian-born Blühová was already observing the lives of people around her with a critical eye.

Gunta Stölzl

1919–1925 Bauhaus student/ 1925–1931 young master
Bauhaus-Archiv Berlin / unbekannt.

Gunta Stölzl’s affinity for weaving and textiles stood her in such good stead that she was placed in charge of the weaving workshop at the Bauhaus in Dessau, first as a master of works and ultimately as its head.

Hans Thiemann

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin / Margot Schmidt, Nachlass Elsa Thiemann.

Thiemann, a student of Kandinsky, painted with a hint of surrealism. He found an artistic home among the Fantasten in Berlin.

Friedrich Engemann

1927–1929 Bauhaus student / 1929–1933 Bauhaus teacher
Stiftung Bauhaus Dessau.

With his experience as an architect and vocational trainer, Engemann was taken on to teach architectural drawing, fitting out and descriptive geometry at the Bauhaus.

Alfred Arndt

1929–1932 Bauhaus master
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

He came across the Bauhaus in Weimar more or less by chance – and after his first conversation with Walter Gropius he knew he would be staying. Years later Arndt took over the Building and Fitting Out department.

Sullivans Set of 3 Small Ceramic Bottle Vases 5"H, 7.5"H 10"H

Judit Kárász

1930–1932 Bauhaus student
Bauhaus-Archiv Berlin / unbekannt.

Judit Kárász was one of the few students to explore social photography. With her camera she ventured a glimpse behind the scenes of bourgeois life and documented poverty and social exclusion.

Moshe Bahelfer

1928–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Bahelfer had to leave Nazi Germany when he finished studying at the Bauhaus because of his Jewish identity. In Paris he was one of the most sought-after graphic designers for Jewish publications.

Lilly Reich

1932–1933 Master at Bauhaus Dessau and Berlin
Bauhaus-Archiv Berlin / unbekannt.

She was the woman at Mies’s side. In 1932 Lilly Reich took over the fitting out workshop and officially became the second female Bauhaus master.

Kurt Stolp

1927–1931 Bauhaus student
Bauhaus-Archiv Berlin.

Stolp first came across communists at the Bauhaus. As a party member he remained true to his political convictions beyond the confines of the school.

Grete Stern

1930 / 1932–1933 Bauhaus student
Bauhaus-Archiv Berlin / Estate Grete Stern, Courtesy Galería Jorge Mara – La Ruche.

When Walter Peterhans was appointed to the Bauhaus, his students Grete Stern and Ellen Auerbach bought all his equipment. As ringl+pit they took the Berlin advertising world by storm.

Heinz Schwerin

1931–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Schwerin and his wife were among 25 Bauhäusler who emigrated to Palestine. The Schwerins were not Zionists: they simply lacked alternatives.

Gertrud Grunow

1919–1924 Teacher at Bauhaus Weimar
Bauhaus-Archiv Berlin.

The musician had formulated her own approach to teaching music, seeking to address all the senses in a harmony of equals. Her classes were attended by masters as well as students.

Heinrich Neuy

1930–1932 Bauhaus student
HeinrichNeuyBauhausMuseum, Steinfurt-Borghorst / Hermann Famulla (Fritz Kuhr).

Heinrich Neuy was one of the youngest people at the Bauhaus. The things he learned and experienced there left such a deep impression that they remained a source of direction and guidance for the rest of his life.

Josef Albers

1920–1923 student at the Bauhaus / 1923–1933 Bauhaus young master
Bauhaus Archiv Berlin / unbekannt.

Gropius appointed Josef Albers as a young master before he had even qualified as a journeyman. He was in charge of the preliminary course, where he formulated a pioneering approach to art education.

1937/38 George VI Bahamas Mint Stamps Hinged on Album Page.

Edmund Collein

1927–1930 Bauhaus student
Stiftung Bauhaus Dessau (I 9361 F) / (Collein, Edmund) Collein, Kirsten.

Although Edmund Collein never studied photography or advertising, all that survives from his time in Dessau are photographs. His picture of the “Gropius building studio” is an icon of Bauhaus photography.

Friedrich Reimann

1931–1933 Bauhaus student
Bauhaus-Archiv Berlin / Margareta Raabe, Nachlass Friedrich Reimann.

Reimann received his diploma in advertising graphics just ten days before the Bauhaus was closed down. He worked in the field at first in Berlin. After the Second World War he became an art teacher.

Kurt Kranz

1930–1933 Bauhaus student
Nachlass Siegfried Kühl.

Kranz thought about art in terms of series, formal categories and variants. Whether in paintings, photographs, graphic designs or experimental films, what fascinated him was the game of change and processes of transformation.

Arieh Sharon

1926–1929 Bauhaus student
unbekannt.

He was the man at the side of Bauhaus master Gunta Stölzl: Arieh Sharon. He was later among the European architects who defined the “White City” of Tel Aviv.

New SONY EDM-9100CWW 9.1GB R/W Optical Disk EDM9100C 5.25 MO Sea

Lothar Schreyer

1921–1923 Bauhaus master
Bauhaus-Archiv Berlin.

Lothar Schreyer took over the stage workshop at the Bauhaus in 1921 but left abruptly in 1923 when his cult-like ‘Moon Play’ proved a disaster.

Otto Lindig

1919–1924 Bauhaus student / 1924–1926 Head of Ceramics
Bauhaus-Archiv Berlin.

Lindig quickly became a leading force in the Bauhaus pottery workshop. The pots and decorations he and Theodor Bogler created were a defining influence in Bauhaus ceramics.

Heinrich Neuy

1930–1932 Bauhaus student
HeinrichNeuyBauhausMuseum, Steinfurt-Borghorst / Hermann Famulla (Fritz Kuhr).

Heinrich Neuy was one of the youngest people at the Bauhaus. The things he learned and experienced there left such a deep impression that they remained a source of direction and guidance for the rest of his life.

Hans Fischli

1928–1929 Bauhaus student
SIK-ISEA Schweizerisches Institut für Kunstwissenschaft, Zürich (www.sikart.ch) / unbekannt.

In 1928 Fischli did well in the competition to design patterns for the Gebrüder Rasch wallpaper company, picking up two thirds of the prizes.

Heinrich Clasing

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin.

Clasing had experienced first-hand what it was like to scratch a living due to the Bauhaus stigma, so he devoted himself to showing banned avant-garde artists at his own little gallery in Münster.

Johannes Itten

1919–1923 Bauhaus master / 1919–1923 Deputy Director
Kunstmuseum Bern, Itten-Stiftung / Itten-Stiftung, Kunstmuseum Bern / VG Bild-Kunst, Bonn 2020.

Itten developed the celebrated Bauhaus preliminary course and was a major influence during the early years. He left the Bauhaus after disagreements and founded the Itten School in Berlin.

Grete Stern

1930 / 1932–1933 Bauhaus student
Bauhaus-Archiv Berlin / Estate Grete Stern, Courtesy Galería Jorge Mara – La Ruche.

When Walter Peterhans was appointed to the Bauhaus, his students Grete Stern and Ellen Auerbach bought all his equipment. As ringl+pit they took the Berlin advertising world by storm.

Ludwig Mies van der Rohe

1930–1933 Director of the Bauhaus
Bauhaus-Archiv Berlin / unbekannt.

Ludwig Mies van der Rohe was a shining star of German avant-garde architecture when he joined the Bauhaus as its director. This post enabled the architect to devote his energy to teaching for the first time.

Heinrich Clasing

1930–1933 Bauhaus student
Bauhaus-Archiv Berlin.

Clasing had experienced first-hand what it was like to scratch a living due to the Bauhaus stigma, so he devoted himself to showing banned avant-garde artists at his own little gallery in Münster.

Adolf Meyer

1920–1925 Bauhaus teacher
Bauhaus-Archiv Berlin.

He was Walter Gropius’s right-hand man, his number 1 planner and a close confidant. In 1910 they had already worked together on the Fagus Factory, one of the most significant buildings in modernist architecture.

Carl Marx

1932–1933 Bauhaus student
unbekannt.

Marx took a long time after studying at the Bauhaus to find his own way as an artist. Influenced by various modernist styles, his paintings reflected a world detached from reality.

Carl Marx

1932–1933 Bauhaus student
unbekannt.

Marx took a long time after studying at the Bauhaus to find his own way as an artist. Influenced by various modernist styles, his paintings reflected a world detached from reality.

Otti Berger

1927–1930 Student / 1931–1932 deputy head of Weaving at Bauhaus Dessau
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

Berger was acting head of Weaving after Gunta Stölzl left. She later opened her own Textile Studio but being Jewish she was soon banned from practising her trade. Otti Berger died in Auschwitz in 1944.

Fritz Kuhr

1923–1930 Bauhaus student / 1929–1930 Bauhaus teacher
Bauhaus-Archiv Berlin.

At the Bauhaus Kuhr studied under the great artists Kandinsky, Klee and Moholy-Nagy. He was later recruited himself to teach figurative drawing and nude and portrait painting.

Theodor Bogler

1919–1924 Bauhaus student
Bauhaus-Archiv Berlin.

Theodor Bogler’s timeless ceramic designs epitomise the radical rethink at the Weimar Bauhaus in 1923: clear forms, functionality, modern beauty – and affordable for everyone.

Side Panel for Korg DSS-1 Left side end cap - Very good used

Werner David Feist

1927–1930 Bauhaus student
Bauhaus-Archiv Berlin / unbekannt.

Feist enthusiastically took pictures at the Bauhaus: portraits, still life, material studies. His expressive images are composed with an all-pervasive dynamism.

Gerhard Marcks

1919–1924 Bauhaus master
Bauhaus-Archiv Berlin / unbekannt.

Sculpture, pottery and woodcuts were life’s blood to Marcks. As master of form he set up the pottery workshop at the Bauhaus.

Paul Klee

1920–1931 Bauhaus master
Bauhaus-Archiv Berlin / für Hugo Erfurth: gemeinfrei (abgelaufen 2018).

Klee was left-handed but he could paint with both hands. Many of his Bauhaus students were so impressed by his artistic skills that they dedicated their own works to him.

Carl Fieger

1927–1930 Bauhaus teacher
Stiftung Bauhaus Dessau / unbekannt.

He had travelled his path with Gropius, Behrens and Le Corbusier. For the team of architects headed by Gropius, Fieger drew plans for the Bauhaus building and the Masters’ Houses. Alongside this he taught at the Bauhaus.

Herbert von Arend

1928–1932 Bauhaus student
Andreas Hölz.

He was one of the few men in the Bauhaus weaving workshop. In 1931 he took part in the revolt against Gunta Stölzl, then left the Bauhaus and became a tax inspector.

Anni Albers

1922–1928 student at the Bauhaus / 1928–1929 and 1930–1931 Deputy Head of Weaving
Bauhaus-Archiv Berlin / Phyllis Umbehr / Kicken Gallery / VG Bild-Kunst, Bonn 2020.

Anni Albers originally wanted to be a painter, but it was at the loom where she found artistic freedom at the Bauhaus. In her work she primarily explored abstraction.

Erich Consemüller

1922–1929 Bauhaus student
unbekannt.

In 1927 Consemüller took about 300 interior photographs of the Bauhaus building in Dessau for Gropius. Together with the outdoor shots by Lucia Moholy, these have played a big part in shaping our image of the Bauhaus.

Irena Blühová

1931–1932 Bauhaus student
Bauhaus-Archiv Berlin.

Blühová was one of the few students at the Bauhaus to engage with social photography. Before joining the course, Slovakian-born Blühová was already observing the lives of people around her with a critical eye.

Hubert Hoffmann

1926–1929 Bauhaus student
Privatbesitz / unbekannt.

After 1945 it was Hoffmann who led efforts to secure the war-ravaged Bauhaus buildings in Dessau. Mayor Hesse tasked him with reviving the Bauhaus – but the plan ultimately failed.

Franz Ehrlich

1927–1931 Bauhaus student
Stiftung Bauhaus Dessau, in: Galerie am Sachsenplatz (1980): Bauhaus 4, Franz Ehrlich – die frühen Jahre, Leipzig, S. 4.

When Ehrlich was arrested for contributing to communist magazines, his experience as an architect came to his aid: he survived the concentration camp at Buchenwald as an ‘indentured’ labourer.

Lotte Beese

1926–1929 Bauhaus student
Bauhaus-Archiv Berlin.

Beese was the first woman to study in the building department of the Dessau Bauhaus. After graduating she was a sought-after architect.

László Moholy-Nagy

1923–1928 Bauhaus master
Bauhaus-Archiv Berlin / VG Bild-Kunst, Bonn 2020.

László Moholy-Nagy was the genius of all media. He was a living example of his own educational philosophy as a self-taught artist – at the Bauhaus and later at the New Bauhaus in Chicago.

Arthur Schmidt

1929–1930 Bauhaus student
Jost Schmidt.

Schmidt came to the Bauhaus in Dessau on the recommendation of Karl Hubbuch, professor of drawing at the Baden School of Art in Karlsruhe. He later played a part in the second International Hygiene Exhibition in Dresden.

Eduard Ludwig

1928–1932 Bauhaus student
unbekannt.

The Drinking Hall, the only building in Dessau implemented by Mies van der Rohe, was designed by his student Eduard Ludwig. After graduating Ludwig worked in the practice Mies ran in Berlin.

Hans Wittwer

1927–1929 Bauhaus teacher
Institut für Geschichte und Theorie der Architektur an der ETH Zürich (gta-archiv/ETH Zürich) / gta-archiv / ETH Zürich.

Wittwer was Hannes Meyer’s right-hand man and his partner in the practice. When Meyer was appointed director of the Bauhaus, Wittwer accompanied him to Dessau to teach.

Margaret Leiteritz

1928–1931 Bauhaus student
Heinrich P. Mühlmann / Nachlass Margaret Camilla Leiteritz.

Together with Hans Fischli, Leiteritz won the competition for Bauhaus wallpaper. The designs were used by the Gebrüder Rasch factory in Bramsche for a Bauhaus collection still in production today.

Emil Bert Hartwig

1927–1931 Bauhaus student
Stiftung Bauhaus Dessau (I 868 F).

Hartwig was the first male student in the weaving workshop, where he trained in pictorial weaving. He also studied painting and later joined Paul Klee’s master class.

Oskar Schlemmer

1921–1929 Bauhaus master
Bauhaus-Archiv Berlin.

Space Dance, Gesture Dance, Rod Dance, Triadic Ballet. Oskar Schlemmer developed his costumed, masked dancer into an ‘art figure’ synthesising dance, costume and music.


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