Walter Gropius

wp:heading {"textAlign": "center"} An indelible mark on twentieth-century modern architecture An indelible mark on twentieth-century modern architecture /wp:heading wp:paragraph The personality of Walter Gropius, the German architect, designer and town planner, is forever linked to the creation of the Bauhaus School, which he directed from 1919 to 1928. In a Europe in the throes of intellectual upheaval, the Bauhaus prefigured what would become modern architecture, and later the international style. In this article, we would like to focus not so much on the work produced by Gropius during the Bauhaus period, which has been extensively commented on and described, but on his highly avant-garde vision of architecture, which began in 1911, before understanding the theoretical 'turning point' in the mid-1920s that gave rise to industrial design, of which Gropius was one of the key players, if not perhaps the most important. The personality of Walter Gropius, the German architect, designer and town planner, is forever linked to the creation of the Bauhaus School, which he directed from 1919 to 1928. In a Europe in the throes of intellectual upheaval, the Bauhaus prefigured what would become modern architecture, and later the international style. In this article, we aim to highlight not so much the work Gropius produced during the Bauhaus period, which has been extensively commented on and described, but his highly avant-garde vision of architecture, which began in 1911, before looking at the theoretical 'turning point' in the mid-1920s that gave rise to industrial design, of which Gropius was one of the key players, if not perhaps the most important. /wp:paragraph wp:image {"align": "center", "id":15792, "width":364, "height":508, "sizeSlug": "large", "linkDestination": "none"} Walter Gropius, portrait Walter Gropius, portrait © Art Zoo /wp:image wp:paragraph Walter Gropius (1883-1969) was born into a wealthy family in Berlin. His father was a building consultant and his uncle, Martin Gropius, designed the Berlin Museum of Decorative Arts. For 2 years, Walter Gropius studied at the Technical College in Munich, before going on to study at the Technical College in Berlin, although he never finished his studies. Walter Gropius (1883-1969) was born in Berlin into a wealthy family. His father was a building consultant and his uncle, Martin Gropius, designed the Berlin Museum of Decorative Arts. For 2 years, Walter Gropius studied at the Technical College in Munich, before going on to study at the Technical College in Berlin, although he never finished his studies. /wp:paragraph wp:paragraph Gropius began his career in 1908 as a site supervisor in the Berlin architecture office of Peter Berhens (1868-1940), who was one of the pioneers of industrial design and invented corporate design. Gropius forged ahead and in 1910 set up his own architectural practice in Potsdam with his colleague Adolf Meyer. By 1911, Gropius was already expressing his vision of modern, functional architecture, explaining that public and private buildings had to adapt to changes in society. For example, he believed that factories should be designed to facilitate workers' work, with more light, fresh air and better hygiene. Gropius began his career in 1908 as a site manager in the Berlin architecture office of Peter Berhens (1868-1940), who was one of the pioneers of industrial design and invented corporate design. Gropius forged ahead and in 1910 set up his own architectural practice in Potsdam with his colleague Adolf Meyer. By 1911, Gropius was already expressing his vision of modern, functional architecture, explaining that public and private buildings had to adapt to changes in society. For example, he thought that factories should in future be designed to facilitate workers' work by providing more light, fresh air and better hygiene. /wp:paragraph wp:media-text {"mediaId":15793, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} AEG turbine factory in Berlin, architect: Peter Berhens, 1910. This factory is considered to be one of the first buildings of modern architecture. AEG turbine factory in Berlin, architect: Peter Berhens, 1910. This factory is considered to be one of the first buildings of modern architecture. AEG turbine factory in Berlin, architect: Peter Berhens, 1910. This factory is considered to be one of the first buildings of modern architecture /wp:paragraph /wp:media-text wp:paragraph /wp:paragraph wp:paragraph In the same year, he was commissioned to design the Fagus factory in Alfeld and achieved a master stroke: he put his avant-garde ideas into practice. For the factory's main building, which housed the offices, Gropius designed a glass façade (Mur-rideau): the traditional load-bearing exterior walls were a thing of the past, and luminosity was the order of the day! Gropius freed up the facade by placing reinforced concrete columns on the inside and innovated with entirely glazed exterior corners, something that had never been seen before at the time! That same year, he was commissioned to design the Fagus factory in Alfeld, and achieved a master stroke: he put his avant-garde ideas into practice. For the factory's main building, which housed the offices, Gropius designed a glass façade (Mur-rideau): the traditional load-bearing exterior walls were a thing of the past, and luminosity was the order of the day! Gropius freed up the façade by placing reinforced concrete columns on the inside and innovated with entirely glazed exterior corners, something that had never been seen before at the time! /wp:paragraph wp:media-text {"mediaId":15794, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} Part of the Fagus factory with the main building and its large glazed windows, architects : Walter Gropius and Adolf Meyer. Construction of the factory began in 1911 and was completed with the very last buildings in 1925. A colossal project, since the site includes several buildings (offices, manufacturing, storage). Part of the Fagus factory with the main building and its large glass windows, architects: Walter Gropius and Adolf Meyer. Construction of the factory began in 1911 and was completed with the very last buildings in 1925. A colossal project, since the site includes several buildings (offices, manufacturing, storage). Part of the Fagus factory with the main building and its large glass windows, architects: Walter Gropius and Adolf Meyer. Construction of the factory began in 1911 and was completed with the very last buildings in 1925. A colossal project, since the site includes several buildings (offices, manufacturing, storage) /wp:paragraph /wp:media-text wp:spacer {"height":44} /wp:spacer wp:media-text {"mediaId":15825, "mediaLink":"https://blog.design-market.fr/?attachmentid=15825", "mediaType": "image"} wp:paragraph {"placeholder": "Content...", "fontSize": "large"} Main building of the Fagus factory designed by Gropius and Meyer. The factory was listed as a World Heritage Site in 2011. Main building of the Fagus factory designed by Gropius and Meyer. The factory was listed as a World Heritage Site in 2011 Main building of the Fagus factory designed by Gropius and Meyer. The factory was listed as a World Heritage Site in 2011 /wp:paragraph /wp:media-text wp:spacer {"height":54} /wp:spacer wp:paragraph The Fagus factory is one of the first works of modern architecture: an impressive volume, orthogonal lines, simple geometric forms, external glazing that gives a certain weightlessness, a great architectural unity and a refined load-bearing structure (steel framework). It embodies Gropius's ambitions to conceive a design that 'opens' the building to the outside, allowing employees and workers to enjoy natural light and unobstructed views. It should also be said that Gropius was part of a country, Germany, that was at the centre of an architectural novelty. Along with Mies van der Rohe and Bruno Taut, he embodied a new generation of avant-garde architects focused on industrial techniques. The Fagus factory is one of the first works of modern architecture: an impressive volume, orthogonal lines, simple geometric forms, exterior glazing that gives a certain weightlessness, great architectural unity and a refined load-bearing structure (steel framework). It embodies Gropius's ambitions to conceive a design that 'opens' the building to the outside, allowing employees and workers to enjoy natural light and unobstructed views. It should also be said that Gropius was part of a country, Germany, that was at the centre of an architectural novelty. Along with Mies van der Rohe and Bruno Taut, he embodied a new generation of avant-garde architects focused on industrial techniques. /wp:paragraph wp:spacer {"height":52} /wp:spacer wp:image {"align": "center", "id":15796, "width":623, "height":467, "sizeSlug": "large", "linkDestination": "none"} In 1929, the German architect Ludwig Mies van der Rohe designed the famous German pavilion for the Barcelona International Exhibition. Free plan (the walls are no longer load-bearing), fluidity of space with glass façades, flat roof... Many of the elements of this cult building of modern architecture were already in gestation in Walter Gropius's Fagus Factory, begun in 1911 In 1929, the German architect Ludwig Mies van der Rohe designed the famous German pavilion for the Barcelona International Exhibition. Free plan (the walls are no longer load-bearing), fluidity of space with glass façades, flat roof... Many elements of this cult building of modern architecture were already in gestation in Walter Gropius's Fagus Factory, begun in 1911 © BTP Cours /wp:image wp:image {"align": "center", "id":15797, "sizeSlug": "large", "linkDestination": "none"} House no. 19, at Weissenhof-Estate in Stuttgart, Germany, 1927. Architecture: Bruno Taut. In 1927, the European architectural avant-garde took to the heights of Stuttgart to build prototypes of houses representative of functionalist and modern architecture. Bruno Taut was obviously one of them House no. 19, Weissenhof-Estate, Stuttgart, Germany, 1927. Architecture: Bruno Taut. In 1927, the European architectural avant-garde took to the heights of Stuttgart to build prototypes of houses representative of functionalist and modern architecture. Bruno Taut was obviously one of them © Miro Kurcik /wp:image wp:image {"align": "center", "id":15799, "sizeSlug": "large", "linkDestination": "none"} Schröder House, design by Gerrit Rietveld, 1924. The famous Dutch architect designed this house in the purest De Stijl spirit. Schröder House, designed by Gerrit Rietveld, 1924. The famous Dutch architect designed this house in the purest De Stijl spirit. Schröder House, designed by Gerrit Rietveld, 1924. The famous Dutch architect designed this house in the purest De Stijl spirit /wp:image wp:spacer {"height":39} /wp:spacer wp:media-text {"mediaId":15816, "mediaType": "image"} wp:paragraph {"placeholder": "Content...", "fontSize": "large"} Gerrit Rietveld, a member of the De Stijl movement, is responsible for the famous Red Blue Chair (1918). A style purified to the extreme! Gerrit Rietveld, a member of the De Stijl movement, designed the famous Red Blue Chair (1918). A style purified to the extreme! Gerrit Rietveld, a member of the De Stijl movement, designed the famous Red Blue Chair (1918). A style purified to the extreme! /wp:paragraph /wp:media-text wp:spacer {"height":57} /wp:spacer wp:paragraph In 1919, Walter Gropius brought together the School of Decorative Arts and the School of Fine Arts in Weimar before being appointed Director of the new establishment, which he named BAUHAUS - which means 'House of Construction' in German. He developed the idea of placing all forms of arts and crafts on the same level, without focusing on the creation of mass-produced types. The school developed with great success. But it wasn't just in Germany that brilliant minds were on the move. At the same time, the radical Dutch movement De Stijl was shaking up the codes of architecture and the visual arts. /wp:paragraph wp:paragraph The proponents of De Stijl were pushing back the boundaries of modern architecture: they were turning it into an excessively stripped-down geometric art form, based on the exclusive use of straight lines to create a 'total art'. Gropius and his peers were seduced by these ideas. Theo van Doesburg (1883-1931), the movement's theorist, even came to give classes outside the Bauhaus. Under the influence of De Stijl, Gropius revised the teaching at the Bauhaus, marking a decisive turning point in the history of the school and of architecture. The proponents of De Stijl pushed back the boundaries of modern architecture: they turned it into an excessively stripped-down geometric art form, based on the exclusive use of straight lines to create a "total art". Gropius and his peers were seduced by these ideas. Theo van Doesburg (1883-1931), the movement's theorist, even came to give classes outside the Bauhaus. Under the influence of De Stijl, Gropius revised the teaching at the Bauhaus, marking a decisive turning point in the history of the school and of architecture. /wp:paragraph wp:paragraph Thus, Walter Gropius replaced Johannes Ittem, who had resigned, with the constructivist Moholy-Nagy (1895-1946) to head the fundamental course. From then on, the Bauhaus favoured an industrial approach to design, putting craftsmanship on the back burner. Students were invited to design types intended for mass production. The building was seen as the culmination of a total work of art. For some, this marked the birth of industrial design. Walter Gropius replaced Johannes Ittem, who had resigned, with the constructivist Moholy-Nagy (1895-1946) to head the fundamental course. From then on, the Bauhaus favoured an industrial approach to projects, putting craftsmanship to one side. Students were invited to design types intended for mass production. The building was seen as the culmination of a total work of art. For some, this marked the birth of industrial design. /wp:paragraph wp:spacer {"height":53} /wp:spacer wp:media-text {"mediaId":15800, "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize": "large"} From 1925 to 1926, Gropius designed the new university building for the Bauhaus School, which had moved to the town of Dessau. From 1925 to 1926, Gropius designed the new university building for the Bauhaus School, which moved to the town of Dessau. From 1925 to 1926, Gropius designed the new university building for the Bauhaus School, which moved to the town of Dessau. A building faithful to his avant-garde ideas /wp:paragraph /wp:media-text wp:paragraph /wp:paragraph wp:gallery {"ids":[15801,15802], "linkTo": "none"} The Bauhaus university building, today The Bauhaus university building, today The Bauhaus university building, today Double house designed by Walter Gropius to house the school's teachers, just a few minutes from Dessau's university campus. A typical Bauhaus building: projecting roofs, white facades and cubic volumes. Double house designed by Walter Gropius to house the school's teachers, just a few minutes from Dessau's university campus. A building typical of the Bauhaus style: projecting roofs, white facades and cubic volumes /wp:gallery wp:spacer {"height":39} /wp:spacer wp:paragraph In 1927, Walter Gropius designed the architecture of the employment office in Dessau, affirming his commitment to thoughtful design and the predominance of functionalism ("form follows function"). That same year, an exhibition marked a milestone in the history of modern architecture: Gropius, along with the cream of European avant-garde architecture (Mies van der Rohe, Mart Stam, Hans Scharoun, Bruno and Max Taut, Victor Bourgeois, J.J.P. Oud and Le Corbusier), invaded a district of Stuttgart, Le Weissenhoff, to design a housing estate for workers. The exhibition had an exceptional impact. In 1927, Walter Gropius designed the architecture for the employment office in Dessau, affirming his commitment to thoughtful design and the predominance of functionalism ("form follows function"). That same year, an exhibition marked a milestone in the history of modern architecture: Gropius, along with the cream of European avant-garde architecture (Mies van der Rohe, Mart Stam, Hans Scharoun, Bruno and Max Taut, Victor Bourgeois, J.J.P. Oud and Le Corbusier), invaded a district of Stuttgart, Le Weissenhoff, to design a housing estate for workers. The exhibition had an exceptional impact. /wp:paragraph wp:spacer {"height":52} /wp:spacer wp:image {"align": "center", "id":15803, "width":354, "height":230, "sizeSlug": "large", "linkDestination": "none"} Postcard showing a view of the Weissenhoff district, designed for an exhibition devoted to housing. The rectangular, minimalist style of the houses is recognisable. Postcard showing a view of the Weissenhoff district, designed for an exhibition devoted to housing. The rectangular and minimal style of the houses is recognisable © Weimar Architecture /wp:image wp:spacer {"height":37} /wp:spacer wp:gallery {"ids":[15806,15807], "linkTo": "none", "align": "centre"} Right: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Left: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Left: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Left: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Left: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Left: Building designed by Dutch architect Mart Stam in the Weissenhoff district, 1927 Building designed by the German architect Peter Berhens, in the Weissenhoff district, 1927 Building designed by the German architect Peter Berhens, in the Weissenhoff district, 1927 © Weimar Architecture /wp:gallery wp:spacer {"height":44} /wp:spacer wp:paragraph 1 year before stepping down as director of the Bauhaus Bauhaus , Walter Gropius innovated once again for the exhibition "Die Wohnung" (the home in German) at the Weissenhoff: he designed a single-family house with the appearance of a box painted in off-white. The prefabricated walls are part of a modular system developed by Gropius. The wall panels were designed outside, in a workshop where they could be assembled in the dry. With this system, Gropius accelerated the industrial construction process, regardless of the weather conditions on a building site. Gropius subsequently emigrated towards the end of the 1930s to pursue his career in the United States, but not before accompanying, defining with others and laying the foundations of modern architecture and the international style that was then to reign. /wp:paragraph wp:spacer {"height":38} /wp:spacer wp:media-text {"mediaId":15835, "mediaLink": "https://blog.design-market.fr/?attachmentid=15835", "mediaType": "image"} wp:paragraph {"placeholder": "Contents...", "fontSize":"large"} Single-family house, designed by Walter Gropius for the Weissenhoff exhibition, Stuttgart, 1927 Single-family house, designed by Walter Gropius for the Weissenhoff exhibition, Stuttgart, 1927 Single-family house, designed by Walter Gropius for the Weissenhoff exhibition, Stuttgart, 1927 /wp:paragraph /wp:media-text wp:spacer {"height":42} /wp:spacer wp:image {"align": "centre", "id":15809, "sizeSlug": "large", "linkDestination": "none"} © Luna Archives /wp:image wp:image {"align": "centre", "id":15810, "sizeSlug": "large", "linkDestination":"none"} Walter Gropius family home Walter Gropius family home © Daniel Shea for M magazine du Mond © Daniel Shea for M magazine du Mond e /wp:image wp:image {"align": "center", "id":15811, "sizeSlug": "large", "linkDestination": "none"} Living room in the Walter Gropius family home. Womb armchair by Finnish designer Eero Saarinen, on the right 2 Butterfly stools by Japanese designer Sori Yanagi, in the background coffee table by Hungarian designer Marcel Breuer Living room in the family home of Walter Gropius. Womb armchair by Finnish designer Eero Saarinen, on the right 2 Butterfly stools by Japanese designer Sori Yanagi, in the background coffee table by Hungarian designer Marcel Breuer © Daniel Shea pour Le Monde /wp:image wp:paragraph {"align": "right"} François Boutard François Boutard François Boutard /wp:paragraph

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