The early key works of Walter Gropius and their influence on modernism.

Jessica Louise Walker

Architecture KA4025
Year 1 (L4)
Contents

Contents page 1

Assignment 2-5

References .6-7

Bibliography 8

Jessica Louise Walker 1

The focus of this text is to analyse the early key works of Walter Gropius and their
overall influence on modernism. It will look at work like the Fagus factory, the
Bauhaus and the principles behind these. Additionally, it will identify why the work of
Gropius through this period had such a large impact on architecture both in the past
and present day.

Firstly, Walter Gropius, who is now considered to be a pioneer of modern

architecture, began his architectural education in his country of origin, Germany, in
which he commenced a professional journey in the office of architect Peter Behrens
and worked alongside, now world renowned architects, Ludwig Mies van der Rohe
and Le Corbusier. Despite his inability to draw and dependency on collaborators, in
1910 Gropius set up his own firm within Berlin, in partnership with Adolf Meyer (Bert
van der Waal van Dijk, 2017).

Illustration: The Fagus factory.

The partnerships first
key design which had
major influence in
Germanic
modernism,
beginning
construction in 1910,
was the Fagus
factory in Alfield,
which would go on to
achieve a new form
of representation
(Jaeggi, 2000).
Taking influence from
Peter Behrens AEG
turbine factory in
Berlin, where the
machine became the aesthetic of architecture, Gropius further pushed the focus on
the complicated architectural problem of masses at corners and dematerialised
these using glass and dispensed corner support (Joedicke J, 1959). Contrasting to
Behrens, Gropius did not favour classicism and disallowed using ornaments, profiles
and motifs mostly from previous cultures (Evers et al., 2011). With this concept, it
was this design that foreshadowed the modernist movement in Germany and began
a new influence in architecture with its changing architectural values. It was a major
move towards a functionalist industrial aesthetic, shown through the curtain wall
that opens the faade up using glass panes and steel, enabling transparency, whilst
exposing manufacturing aspects. It was this design that made Gropius an
international reputation and began to influence other architects, whilst also being the
start of the Bauhaus movement (UNESCO, 2011).

Jessica Louise Walker 2

 On the other hand, differing to Gropius concept, architects Henry van de Velde and
Bruno Taut also submitted concepts for architectural ideas in Germany at the same
time, in which Henry van de Velde put forth expressionist theatre, whilst Bruno Taut
put Glass Pavillion, which is now considered as the first art-deco building. Although
having differing ideas, in 1918, many architects,
Illustration: The
Coup-Kapp
including Gropius and Taut, came together as a
monument by group of left-wing German artists and architects.
Gropius. Through communication with one another came
a vision of an expressionist city called
Stradktrone, where Gropius incorporated his
influence through the design of a monument to
the Coup-Kapp victims in 1921 (Fine arts site
World Museum, Undated).

Later, at the end of World War I, when art was separating from manufacturing and at
risk of becoming non-existent, Gropius went on to found the Bauhaus in 1919.
Originally in Weimar, it was a modernist art school with an aim to rekindle arts and
creativity with manufacturing and technology, whilst reforming education and placing
emphasis on rejoining creativity and realisation (P, Undated). It demonstrated
exciting prospects and ambitions of being close to real life matters, unlike any other
academic institute. It began through the abolishment of traditions in design and
through its principles, begin to shape the appearance of the modern age (Knfel U,
2009). Expressed by Gropius upon the founding was the release of the Manifesto, in
which he put forth a text on the differing intentions of the school compared to
anything that had been done prior (Manifesto and Programme of the Weimar State
Bauhaus, Undated). Further stated by Bauhaus Interiors (undated), the Bauhaus
movement enforced ideas of natural materials remaining unchanged and being used
in their honest form, which includes exposing these elements, as shown in Fagus
factory and its exposure of steel. Further stated, the movement consisted of
economic sensibility, simplicity and mass production. More so, Pehnt and
Underwood (1973) stated that whilst expressionism was against the academies, the
Bauhaus was classed as one of its own, with the school being a friend and foe alike
to being a place of expressionism. In a school of trial and revolution, the young
works of the Bauhaus are now defined as being romantic and expressionistic with
their attempts to show ties to the past and unrealistic hopes for the future, a place
expressing many
complex artistic
philosophies and
ideas
(Franciscono,
1971)

Image: The Bauhaus

Dessau.
Picture credit
Bauhaus-Dessau

Jessica Louise Walker 3

 The curriculum at the Bauhaus is shown through a wheel diagram. The outer ring
represented the vorkurs, a sixth month preliminary course with focused on practical
form and analysis; with emphasis on properties of forms, colours and materials. The
two middle rings represented two three year courses, the formlehre, focusing on
form related issues and werklehre, which was a practical workshop focusing on
technical craft skills. These classes looked Construction
at functionalism through simplified and
geometric forms, enabled easy
reproduction of a design. At the center is Vorkurs
construction focused courses where
students could understand the practicality Formlehre
and requirement of technological and
reproduction; with emphasis on craft and Werklehre
workmanship which was lost in
technological manufacturing. The teaching
behind this focused on abolishing
competitive tendencies and encouraging Illustration:
curriculum wheel.
individual creativity, whilst creating a sense
of shared purpose (The Art Story,
Undated).

Exposing itself, the Bauhaus held an exhibition in 1923 which drew in 15,000
spectators (Khan and Jodidio, 2009). However, regardless of success, the Bauhaus
had opposition in Germany and press referred to it as a menace and the collapse of
Weimar. In an intense political period and German nationalism having great power,
people demanded closure due its hospitality towards people and having trends from
outside the country. It would be later that the Thuringia government ended the
employment of Bauhaus teachers, and demanded closure by 1925. However,
Gropius took opportunity to design a new school for the Bauhaus in 1926. The
location; a small isolated city surrounded by dry land in Dessau (Weber, 2011), a
place he could continue what he began and furthermore influence modernism.

Showing a more futuristic style of Gropius, the design was one that would influence
many and became a symbol of modernism. Portraying Bauhaus characteristics such
as; flat roofs, smooth faades,
Illustration: cubic shapes, the use of primary
Aerial view of colours, function furniture, open
the Bauhaus,
Dessau.
floor plans and glass curtain walls
(Craven, 2017), the design echoed
Bauhaus style. In the plans were
spaces for; teaching, housing
students and faculty members, an
auditorium and offices (Sveiven,
2010). Included were elements that
applied to the Fagus Factory, with
constructive elements on view and
the build being suspended in front of the load bearing framework. Glass was
overlapping, enabling the sense of lightness into the design. The design exceeded

Jessica Louise Walker 4

the Fagus factory, with a complete glass surface and suppressed masonry
attachments, however, this aspect became unpractical due to unbearable
penetrating temperatures. Going against the original aim, opaque curtains were
applied (Bauhaus Dessau, 2015). In the overall layout, splitting activity areas up into
various volumes, Gropius interlocked the volumes in a deliberate asymmetric form
and the position would be determined through the requirement of the space. He said
that to appreciate the design, the observer must walk the entire build (Walter Gropius
Bauhaus in Dessau, 2011). Stated by Gropius in New Architecture and The
Bauhaus (1968), is reference to new architecture opening its walls like curtains to
admit fresh air, daylight and sunlight. Additionally, he indicates favour of building with
lighter foundations where the build meets naturally with the Earth. He states this will
meet the psychological, aesthetic and material requirements. The Bauhaus, like the
Fagus factory and many works of Gropius, were added to the list of UNESCO World
Cultural Heritage sites in 1996, with their recognition as symbols of modernism
(Bauhaus Dessau, Undated).

Regardless of the Bauhaus later moving to

Berlin and shutting due to Nazis, the
Bauhaus style was one that would go on to
influence many architects, such as that of
Alvar Aalto and his designs for the Turun
Sanomat Building, the Municipal Library and
the sanatorium. Similarly having smooth
white surfaces, ribbon windows, flat roofs,
terraces and balconies (Alvar Aalto; Finnish
architect, Undated). Additionally, after the
Bauhaus closer in 1933, its popularity grew
Illustration: The in the Western World after Gropius held an
Bauhaus, Dessau exhibition in New York and by the death of Gropius in 1969,
design building.
the Bauhaus had itself became a topic of modernism
(Spotlight: Walter Gropius, 2016).

In conclusion, the early key works of Gropius undoubtedly influenced modernism,

whilst becoming a symbol of modernism themselves. Gropius opened the eyes of
many with a concept no one had successfully done before and brought a shimmer of
hope to both humans and design. He simply revived the World of art by connecting it
to industry and taught people to broaden their horizons. With his principles in the
Bauhaus, he enables architects to design uniquely using geometry and offered the
world a new distinct style in architecture. Through the education offered to students,
Gropius can be considered as a great theorist of the modernist time with work that
will influence design for centuries to come.

Jessica Louise Walker 5

References

A history of architecture modernism (Undated) Historiasztuki.com.pl. Available at:

http://www.historiasztuki.com.pl/kodowane/003-02-01-ARCHWSP-MODERNIZM-
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Alvar Aalto; Finnish architect (Undated) Encyclopedia Britannica. Available at:

https://www.britannica.com/biography/Alvar-Aalto#ref18337 (Last accessed 8th May
2017)

Bauhaus Dessau (2015) Architectuul.com. Available at:

http://architectuul.com/architecture/bauhaus-dessau (Last accessed 8th May 2017).

Bert van der Waal van Dijk. (2017). Walter Gropius (1883-1969).Available at:
https://www.gustav-mahler.eu/index.php/familie/339-generation-6-husbands-alma-
after-gustav-walter-franz/504-gropius-walter-1883-1969 (Last accessed 1st May
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Bauhaus Dessau (Undated) Bauhaus-dessau.de. Available at: http://www.bauhaus-

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Craven, J. (2017) Modernism - Picture Dictionary of Modern Architecture,

ThoughtCo. Available at: https://www.thoughtco.com/modernism-picture-dictionary-
4065245 (Last accessed 8th May 2017).

Evers, B., Thoenes, C., Gaines, J., Fauria, G and Shuttleworth, M. (2011)
Architectural theory from the Renaissance to the present. 1st ed. Kln: Taschen, pp.
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Franciscono, M. (1971) Walter Gropius and the creation of the Bauhaus in Weimar.
1st ed. Urbana: University of Illiniois Press, p.4.

Gropius, W. and Shand, P. (1968) The new architecture and the Bauhaus. 1st ed.
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The Art Story (Undated) Bauhaus Movement, Artists and Major Works. Available at:
http://www.theartstory.org/movement-bauhaus.htm (Last accessed 5th May 2017).

Jaeggi, A. (2000) Fagus. 1st ed. New York: Princeton Architectural Press, p. 6.

Joedicke, J. (1959) A history of modern architecture. 1st ed. London: Architectural

Press.

Khan, H. and Jodidio, P. (2009) International Style. 1st ed. Kln: Taschen, p21.

Jessica Louise Walker 6

Knfel, U. (2009) The Legacy of Modernism: Celebrating 90 Years of Bauhaus,
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Pehnt, W. and Underwood, J. (1973) Expressionist architecture. 1st ed. London:

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Weber, N.(2011) The Bauhaus group. 1st ed. New Haven [Conn.]: Yale University
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Jessica Louise Walker 7

Bibliography

http://www.bauhaus-dessau.de/world-heritage-site-bauhaus.html - Image of the

Bauhaus.

https://www.nytimes.com/2016/08/14/travel/bauhaus-germany-art-design.html?_r=0
- Information regarding the Bauhaus.

http://www.architectweekly.com/2012/12/why-was-bauhaus-style-so-important.html
(Image of Bauhaus curriculum wheel and information)

https://theartstack.com/artist/walter-gropius/kapp-monument-1921 -Image of Coup

Kapp monument.

https://www.studyblue.com/notes/note/n/bauhaus/deck/5743985 - Image of the

Bauhaus.

https://images.google.com - Various images regarding Walter Gropius work.

Jessica Louise Walker 8