In Germany, Richard Huelsenbeck established the Berlin group, whose members included Jean Arp, John Heartfield, Wieland Hertzfelde, Johannes Baader, Raoul Hausmann, George Grosz and Hannah Höch. Machines, technology, and a strong Cubism element were features of their work. Jean Arp and Max Ernst formed a Cologne Dada group, and held a Dada Exhibition there that included a work by Ernst that had an axe "placed there for the convenience of anyone who wanted to attack the work". Kurt Schwitters established his own solitary one-man Dada "group" in Hanover, where he filled two stories of a house (the Merzbau) with sculptures cobbled together with found objects and ephemera, each room dedicated to a notable artist friend of Schwitter's. The house was destroyed by Allied bombs in 1943. The New Objectivity artists did not belong to a formal group. Various Weimar Republic artists were oriented towards the concepts associated with it, however. Broadly speaking, artists linked with New Objectivity include Käthe Kollwitz, Otto Dix, Max Beckmann, George Grosz, John Heartfield, Conrad Felixmüller, Christian Schad, and Rudolf Schlichter, who all "worked in different styles, but shared many themes: the horrors of war, social hypocrisy and moral decadence, the plight of the poor and the rise of Nazism". Otto Dix and George Grosz referred to their own movement as Verism, a reference to the Roman classical Verism approach called verus, meaning "truth", warts and all. While their art is recognizable as a bitter, cynical criticism of life in Weimar Germany, they were striving to portray a sense of realism that they saw missing from expressionist works. New Objectivity became a major undercurrent in all of the arts during the Weimar Republic. Design The design field during the Weimar Republic witnessed some radical departures from styles that had come before it. Bauhaus-style designs are distinctive, and synonymous with modern design. Designers from these movements turned their energy towards a variety of objects, from furniture, to typography, to buildings. Dada's goal of critically rethinking design was similar to Bauhaus, but whereas the earlier Dada movement was an aesthetic approach, the Bauhaus was literally a school, an institution that combined a former school of industrial design with a school of arts and crafts. The founders intended to fuse the arts and crafts with the practical demands of industrial design, to create works reflecting the New Objectivity aesthetic in Weimar Germany. Walter Gropius, a founder of the Bauhaus