In 1919 the Schools of Art and of Applied Arts of the Grand Duchy of Saxony were combined to form the State Bauhaus of Weimar. The building of the former had been constructed in two phases, in 1904 and 1911, to the designs of Henry van de Velde (1863-1957), then Director of the School of Applied Arts, replacing the original structure of 1860, the year the School was founded. The new building is representative of the progressive architectural concepts of the Jugendstil, in the transitional phase between Historicism and Modernism. The building was decorated with murals painted by Herbert sever in 1923 following the internationally famous Bauhaus exhibition.
Van de Velde was responsible for the design of the former School of Applied Arts (1905-6), also in the Jugendstil tradition. Oskar Schlemmer added wall sculptures in 1923; these had disappeared, but have now been replaced by copies.
The Haus am Horn was built to a design by Georg Muche in 1923 as a model building and exhibit, the first practical statement of the New Building Style of the Bauhaus. Annexes (a gatehouse, more rooms, a verandah, and a terrace facing the garden) were made in 1925. However, the original appearance as seen from the road is virtually unchanged. It is the only original Bauhaus building remaining in Weimar.
The Weimar Bauhaus was obliged to close in 1925 for political reasons. Gropius found support for his cultural and political stance in Dessau, along with the opportunity to create a number of large-scale new buildings. These were situated on the outskirts of the town, and comprise the Bauhaus itself and the Masters• Houses (Meisterhäuser), all commissioned by the municipality of Dessau and built in 1925-26. The latter were the residences of the successive Directors of the Bauhaus and some of its distinguished teachers.
Hannes Meyer replaced Gropius as Director in 1928, followed two years later by Mies van der Rohe. From then until 1932 the institution enjoyed its most influential period in its struggle for the renewal of artistic and industrial design. It attracted world-famous artists such as Feininger, Kandinsky, and Moholy-Nagy to its teaching staff.
The Bauhaus was closed down in 1933, the building itself being used for other purposes. The interior was completely destroyed in a 1943 air-raid, and no renovation was carried out until 1956. The Masters• Houses were also badly damaged during this raid, the Director's house being completely destroyed; restoration and reconstruction work was carried out in the 19505.
In 1919 the Schools of Art and of Applied Arts of the Grand Duchy of Saxony were combined to form the State Bauhaus of Weimar. The building of the former had been constructed in two phases, in 1904 and 1911, to the designs of Henry van de Velde (1863-1957), then Director of the School of Applied Arts, replacing the original structure of 1860, the year the School was founded. The new building is representative of the progressive architectural concepts of the Jugendstil, in the transitional phase between Historicism and Modernism. The building was decorated with murals painted by Herbert sever in 1923 following the internationally famous Bauhaus exhibition.
Van de Velde was responsible for the design of the former School of Applied Arts (1905-6), also in the Jugendstil tradition. Oskar Schlemmer added wall sculptures in 1923; these had disappeared, but have now been replaced by copies.
The Haus am Horn was built to a design by Georg Muche in 1923 as a model building and exhibit, the first practical statement of the New Building Style of the Bauhaus. Annexes (a gatehouse, more rooms, a verandah, and a terrace facing the garden) were made in 1925. However, the original appearance as seen from the road is virtually unchanged. It is the only original Bauhaus building remaining in Weimar.
The Weimar Bauhaus was obliged to close in 1925 for political reasons. Gropius found support for his cultural and political stance in Dessau, along with the opportunity to create a number of large-scale new buildings. These were situated on the outskirts of the town, and comprise the Bauhaus itself and the Masters• Houses (Meisterhäuser), all commissioned by the municipality of Dessau and built in 1925-26. The latter were the residences of the successive Directors of the Bauhaus and some of its distinguished teachers.
Hannes Meyer replaced Gropius as Director in 1928, followed two years later by Mies van der Rohe. From then until 1932 the institution enjoyed its most influential period in its struggle for the renewal of artistic and industrial design. It attracted world-famous artists such as Feininger, Kandinsky, and Moholy-Nagy to its teaching staff.
The Bauhaus was closed down in 1933, the building itself being used for other purposes. The interior was completely destroyed in a 1943 air-raid, and no renovation was carried out until 1956. The Masters• Houses were also badly damaged during this raid, the Director's house being completely destroyed; restoration and reconstruction work was carried out in the 19505.
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