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The Bauhaus school in Dessau by Walter Gropius
Interested in creating a new form of design found at the intersection of architecture, art, industrial design, typography, graphic design, and interior design, Walter Gropius was inspired to create an institution known as the Bauhaus at Dessau, with an emerging style that would forever influence architecture.
Initially a school in Weimar, growing political resentment forced the move to Dessau. Gropius took this as an opportunity to build a school that reflected his hopes for the education that would be had within it's walls. The style of the Dessau facilities hints at the more futuristic style of Gropius in 1914, also showing similarities to the International style more than the Neo-classic style.
Walter Gropius, founder of the Bauhaus in 1919 and its director until 1928, designed the building on behalf of the city of Dessau and in cooperation with Carl Fieger, Ernst Neufert and others in his private architectural practice – the Bauhaus did not have its own department of architecture until 1927.
The Bauhaus workshops were integrated within the building's interior design. The city of Dessau provided money for the new school building on a development site close to the train station and also for the Masters' Houses, and remained the owner of both properties.
In his design, Walter Gropius refined architectonic ideas he first put into practice before WW I in the construction of the Fagus-Werke in Alfeld an der Leine. In Dessau as in Alfeld, the glass curtain wall suspended in front of the load-bearing framework defines the exterior of the workshop wing and openly shows the constructive elements. Gropius, rather than visually amplifying the corners of the cubic body of the building, allowed the glass surface to overlap the edges, thereby creating the impression of lightness.
Gropius consistently separated the parts of the Bauhaus building according to their functions and designed each differently. He thereby arranged the different wings asymmetrically – in relation to what is today the Bauhausstraße and the Gropiusallee respectively. In order to appreciate the overall design of the complex, the observer must therefore move around the whole building. There is no central viewpoint.
The glazed, three-storey workshop wing, the block for the vocational school (also three storeys high) with its unostentatious rows of windows, and the five-storey studio building with its conspicuous, projecting balconies are the main elements of the complex.
The building is indeed comprised of three wings all connected by bridges. The school and workshop spaces are associated through a large two-story bridge, which creates the roof of the administration located on the underside of the bridge. The housing units and school building are connected through a wing to create easy access to the assembly hall and dining rooms. The educational wing contains administration and classrooms, staff room, library, physics laboratory, model rooms, fully finished basement, raised ground-floor and two upper floors.
The entire complex is rendered and painted mainly in light tones, creating an attractive contrast to the window frames, which are dark. To incorporate the students of the Bauhaus, the interior decoration of the entire building was done by the wall painting workshop, the lighting fixtures by the metal workshop, and the lettering by the print shop. With the Bauhaus building, Gropius thoughtfully laid out his notion of the building as a 'total work' of compositional architecture. The junior master of the mural workshop, Hinnerk Scheper, designed a detailed colour plan that, by differentiating between supporting and masking elements through the use of colour, aimed to accentuate the construction of the building.
The huge curtain window facade of the workshop building became an integral part of the building's design. Hoping to create transparency, the wall emphasized the 'mechanical' and open spatial nature of the new architecture. These vast windows enabled sunlight to pour in throughout the day, although creating a negative effect on warmer summer days. In order to preserve the curtain wall as one expanse, the load bearing columns were recessed back from the main walls.
As a practiced architect, Gropius was interested in including structural and technological advancements as he designed this revolutionary school for architecture and design students. Some of the various progressions include a window glazing, a skeleton of reinforced concrete and brickwork, mushroom-like ceilings of the lower level, and roofs covered with asphalt tiles that were meant to be walked on. The total area for construction of the Dessau Bauhaus was 113,400 sq ft, the building itself containing approximately 250,600 sq ft. The total cost was around 902,500 marks, or 27.8 mars per cubic m of space.
Under pressure from the National Socialists, the "Hochschule für Gestaltung" (school of design) at the Bauhaus was closed in 1932. After suffering heavy bomb damage towards the end of the war, the building was provisionally repaired. Designated a protected monument in 1974, it was comprehensively restored for the first time in 1976. The Wissenschaftlich-kulturelle Zentrum Bauhaus Dessau (WKZ), which began to establish a Bauhaus collection and which organised events, introduced an institution that focused on the work of the Bauhaus Dessau into the building.
The WKZ merged with two further education institutes in 1987 to form the Bauhaus Dessau, which in 1994 became the Bauhaus Dessau Foundation. With its declaration as a World Cultural Heritage Site in 1996, it was decided to carry out further extensive restoration, which was completed in 2006. Today, the Bauhaus is therefore once more a vital place for experimental design, research and teaching, similarly dedicated to the cultivation and communication of the Bauhaus legacy, and to work on contemporary urban issues.
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Jean-Bastien Lagrange
www.jeanbastienlagrange.fr | www.jeanbastienlagrange.com
Latest posts by Jean-Bastien Lagrange (see all)
- The Bauhaus school in Dessau by Walter Gropius - November 28, 2014
- Maison du Brésil | Le Corbusier's architecture meets student housing - November 21, 2014
- Re-reading ruins with Davide Virdis - July 31, 2014


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Here is the pavilion at dusk ready for the bride and groom to arrive.
Their ceremony began with the blowing of the pu, a giant triton shell. They wanted rain, and there was rain. They wanted thunder and lightning, and they were blessed with a clap of thunder during their nuptial kiss.
The sacred heiau at the secluded beach had intrigued them, so near sunset the next day we had a photo shoot there. There was a rainbow and glorious sunset.
Magic is something that is difficult to convey. The magic of the island, of the setting, waits to be discovered. During the day of the photo shoot, the couple talked about how much more exotic, romantic, and amazing the pavilion had been than they had expected. They were so very happy, and ready for the magic to happen.
In this emerald forest, on top of the volcano, the sense of the sacred is as present as the mist. You feel kissed by the air, and blessed by an intangible presence.
When we set up the blessing circle, it turned out to be an invitation to Lono to offer blessings. He presented the drama desired. The prayer is in the wish, readily granted where the gods have always walked amongst the people of Hawaii.
We consider this place to be sacred, and to belong to no one. Hawaii, the Big Island, has bridges in time and space that allow for the most scientific of minds to wander into dreamscapes. It can be like crossing into your personal fairy tale. I think that is what this couple discovered here in the emerald forest.

subset: commoncrawl


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This year's Hereford River Carnival goers will have much to thank Peter Hill and Liz Harvey for, as they slake their thirst with a pint (or two!) of 'Sink or Swim' on the day. Peter with a friend, spent a day last year creating a special, limited edition 4.0% ABV Pale Amber ale that will be on sale in the run up to the Carnival and on the day itself.
When asked about their idea for the beer name, Peter said: "Liz and I thought of a dozen names and sent them all in and luckily for us the judges liked the sound of Sink or Swim. The brewing day has been absolutely superb – unfortunately Liz couldn't make it, so another friend, Paul, joined me instead. It's been really interesting to see how the malts and hops are balanced with other ingredients to create different flavours and aromas; I certainly didn't expect to be zesting pink grapefruit to go in the beer! Head Brewer, Gareth and his team have been fantastic and we'd also like to thank everyone at Hereford River Carnival for setting this up. We can't wait to taste the fruits of our labour – 'Sink or Swim' we're confident will taste great!"
Isobel Heywood, Marketing Executive of Wye Valley Brewery adds, "There were some great entries proving that there is no lack of creativity or imagination among the people of Herefordshire. For us, Sink or Swim was the standout name. Succinct and relevant to the Carnival, it also has a touch of humour and it is easy to imagine someone walking up to the bar and asking for a pint – always the acid test for us.
"Wye Valley Brewery is always keen to support local community events, so it's a privilege for us to support something as quintessentially Herefordshire as the River Carnival. Having its own specially-brewed cask ale should add to the occasion. We would also like to wish all the Wye Valley Brewery pubs who are taking part in the river procession the very best of luck and we hope that one of them is victorious in winning the £250 prize for best dressed float, generously donated by the Mayor."
Carnival organiser, Leo Caithness says, "The River Carnival is all about the people of Hereford. This year, local businesses have been fantastic in getting right behind us to support the Carnival with sponsorship and fantastic prizes like this one from Wye Valley Brewery. Cotswold Mini, East Friars B&B in Hereford, Bulmers, ABC Print, the Left Bank and Harrison Clark Rickerbys have also given us invaluable support alongside Hereford City Council, the Environment Agency and many others."
The Hereford River Carnival on Saturday 30th April 2016 promises to be a fantastically fun event for all the family – with even more people, schools, businesses and community groups getting involved.
Despite a 40-year absence, the event has been so successful since its 2014 return, that the organisers expect this year's Carnival to exceed the 7,000 people and over 70 local groups that were involved last year.
The Carnival is a day of fun for everyone, celebrating the beauty and vitality of the River Wye and the life that it brings to the city of Hereford.
For more information on the competition, visit our website at www.rivercarnival.org or contact Polly Ernest on email@example.com or Stuart Fox firstname.lastname@example.com.
To get involved on the day, contact the Carnival on firstname.lastname@example.com, like us on Facebook, herefordrivercarnival, follow us on Twitter @WyeCarnival or visit our website at www.rivercarnival.org


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The important question, as Abraham Piper points out , is what were going to watch now that Lost has left our lives for good.
I liked Lost . A lot. I have to say that and repeat it so the Losties dont kill me for what comes next: it wasnt the best show on television the past three weeks. That position belongs to Friday Night Lights , the beautifully filmed drama that people think is about football. But its not. Really .
Friday Night Lightss timing is fortuitous: while Lost is done, it rebooted with several new characters and an intriguing new central storyline. I wont recap it here, but I will make a brief case why its worth your attention:
1) The show oozesand there is no other word for it authenticity. More than any other network show Ive ever seen, FNL makes me feel as though I was really in the middle of the world Ive been dropped into, observing the events as they unfold. And no wonder. They dont film it like most shows, with three cameras and scripted movements. Instead, the actors are given instructions about the plot points and allowed to improvise with the cameras following them, which creates a beautiful effect. Dont believe me? Check out the teaser:
2) The Taylors . The central characters are hardly perfect, but they wear and bear their imperfections with a gracious faithfulness unknown in TV-land. They have managed to find that difficult equilibrium of respect, candor, and love, all while dealing with the practical realities of raising children and seeking excellence in their work.
3) The plot. There are no islands, no vampires, andbest of allno time travel. Theres only that guy from down the street. You know, the guy who cares a bit too much about his football because he doesnt have any other life. And the guy who thinks football is a waste of time because he wants his son to get an education. And the capable-but-underachieving girl who only wants to get away from her broken life, but has no way of doing it. And the talented kid whose mom is too drugged out to raise him. And the kid who doesnt much like white people.
You know: the stuff of real life. The best part of Friday Night Lights is that it manages to take life in a small Texas town (which is not so different from the small Washington town I grew up in) and draw us in to the powerful narratives and dynamics that are always present, but that we might miss in our own lives.
There is more to be said but for now check out the first three episodes , and let me know what you think.


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Steve Bell once covered the Vietnam War. So did George Lewis, Richard Threlkeld, Ted Koppel, Jim Laurie, Garrick Utley, Neil Davis, Liz Trotta, Bruce Dunning and Peter Arnett. Some are back in Vietnam now. The others are due there later this month.
The reason: They are part of the network television coverage of the 10th anniversary of the fall of Saigon, now known as Ho Chi Minh City, to North Vietnamese and Viet Cong troops. The city surrendered on April 30, 1975.


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