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Bauhaus From Wikipedia, the free encyclopedia
Bauhaus
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Das Bauhaus-SignetDas Staatliche Bauhaus wurde 1919 von Walter Gropius in Weimar als Kunstschule gegründet. Nach Art und Konzeption war es damals etwas völlig Neues. Das historische Bauhaus stellt heute die einflussreichste Bildungsstätte im Bereich der Architektur, der Kunst und des Designs dar. Das Bauhaus bestand von 1919 bis 1933 und gilt heute weltweit als Heimstätte der Avantgarde der Klassischen Moderne auf allen Gebieten der freien und angewandten Kunst. Die Resonanz des Bauhauses hält bis heute an, und prägt wesentlich das Bild deutscher Entwürfe im Ausland. Das Bauhaus entstand in Weimar durch die Vereinigung der Kunstschule in Weimar mit der 1907 von Henry van de Velde gegründeten Großherzoglich Sächsischen Kunstgewerbeschule Weimar. Sie wurde zum direkten Vorläufer des Bauhauses, das dann in van de Veldes Schulgebäuden seine Arbeit aufnahm. 1925 erfolgte der Umzug nach Dessau – ab 1926 im Gebäude des Bauhauses Dessau. 1932 musste das Bauhaus nach Berlin umziehen und wurde 1933 geschlossen. Der Einfluss des Bauhauses war so bedeutend, dass umgangssprachlich der Begriff Bauhaus oft auch mit der Moderne in Architektur und Design gleichgesetzt wird. Kunstgeschichtlich ist es jedoch problematisch, den Bauhausstil und die Entwicklungen in Deutschland isoliert zu betrachten und Bauhaus als Stilbegriff, als Architekturstil oder Möbelstil, zu verwenden. Die Entwürfe und Arbeiten von Lehrern und Schülern am Bauhaus werden daher als Teil von länderübergreifenden, längerfristigen Strömungen gesehen und unter Begriffen wie Funktionalismus, Klassische Moderne, Neue Sachlichkeit, Internationaler Stil, Neues Bauen eingeordnet. Im Bauhaus wurden die traditionell getrennten Bereiche der Bildenden Kunst, der Angewandten Kunst und der Darstellenden Kunst auf der Grundlage des Konzeptes miteinander verbunden, was wiederum starke Ausstrahlung auf Malerei, Darstellende Kunst und Musik hatte. Inhaltsverzeichnis [Verbergen]
Grundgedanke
Rekonstruierte Fassade des Bauhauses Dessau
Computermodell des Sessels "Wassily" von Marcel Breuer
Das Bauhaus-ProgrammDie ursprünglichen Intentionen von Henry van de Velde und Walter Gropius waren, die Kunst von der Industrialisierung zu emanzipieren und das Kunsthandwerk wieder zu beleben. Damit war ein Gegenentwurf zu der Ästhetik des Historismus gemeint, in welcher kunsthandwerklich entwickelte Ornamente durch industrielle Massenproduktion seriell kopiert wurden. Mit dem Begriff "Kunst" wurde nicht die damalige Avantgarde bezeichnet, sondern die Formensprache der zeitgenössischen Entwerfer für die Produktion im Stil vergangener Epochen. Mit der Rückbesinnung auf das Handwerk war die gestalterische Intention verbunden, nicht vergangene, handwerklich entwickelte Stile industriell reproduzieren zu wollen, sondern experimentell und manuell eine neue Formensprache zu entwickeln, die dem industriellen Herstellungsprozess gerecht wird. Ein Leitbild des Bauhauses war die Architektur als Gesamtkunstwerk mit den anderen Künsten zu verbinden. Deshalb verkündete das Bauhaus im Gründungsmanifest von 1919 auch: "Das Endziel aller bildnerischen Tätigkeit ist der Bau". Im Laufe der Entwicklung resultiert jedoch besonders das heutige Industrie- und Grafikdesign aus diesen Ideen. In der Architektur hat sich das modulare Bauen nicht nur bei Industrieanlagen, sondern auch bei der Schaffung günstigen Wohnraums zum Beispiel in Satellitenstädten von Megametropolen durchgesetzt. Das "Staatliche Bauhaus" war vom Gründer Walter Gropius als eine Arbeitsgemeinschaft gedacht, in der die Unterscheidung zwischen Künstler und Handwerker aufgehoben werden sollte. Durch ihr Schaffen wollten die Mitarbeiter des Bauhauses gesellschaftliche Unterschiede beseitigen und zum Verständnis zwischen den Völkern beitragen. In Intention und Ergebnissen bestanden damit vielfältige Ähnlichkeiten und Verbindungen mit dem 1907 gegründeten Deutschen Werkbund, dessen Mitglied Walter Gropius bis 1933 war. "Das Endziel aller bildnerischen Tätigkeit ist der Bau! […] Architekten, Bildhauer, Maler, wir alle müssen zum Handwerk zurück! […] Der Künstler ist eine Steigerung des Handwerkers." – Gropius in seinem Bauhaus-Manifest
Geschichte Vorgeschichte
Vorgängerorganisation für das Bauhaus war das im Jahre 1902 von Henry van de Velde begründete "Kunstgewerbliche Seminar" und das etwas später als Lehranstalt konzipierte "Kunstgewerbliche Institut",[1] das seinen Lehrbetrieb im Jahr 1907 aufnahm. Unstrittig ist, dass bereits van de Velde eine erhebliche Anzahl jener Methoden und Prinzipien etablierte, für die das spätere Bauhaus berühmt geworden ist.[2]
1919 bis 1925 – Weimar
Das Bauhaus wurde am 21. März 1919 aus einer Vereinigung der Großherzoglich Sächsischen Hochschule für Bildende Kunst in Weimar und der 1915 aufgelösten Kunstgewerbeschule Weimar gegründet. Als Lehrer konnte Gropius bedeutende Künstler wie Lyonel Feininger, Johannes Itten, Josef Albers, Paul Klee (ab 1921), Wassily Kandinsky (ab 1922) und Oskar Schlemmer (ab 1921) für das Bauhaus gewinnen. Die Lehre am Bauhaus bestand aus dem Vorkurs und der Arbeit in den Werkstätten. Die Werkstätten wurden von den Künstlern, die sich Meister der Form nannten und den Handwerksmeistern geleitet. Anfangs mischten sich romantische Rückwendung in vorindustrielle Produktionsweisen mit modernen gestalterischen Ansätzen. Projekte des Bauhauses, wie das "Haus Sommerfeld" waren in dieser Phase noch sehr expressionistisch geprägt. 1923 kam der Konstruktivist László Moholy-Nagy als Nachfolger des Malers Johannes Itten, der für ganzheitliche lebensreformerische Ideen stand. Beispielhaft, und für die Ausbildung an Kunst- und Designschulen in aller Welt bis heute prägend, ist der gemeinsame Vorkurs, bei dem Wert auf eine vielseitige und umfassende Ausbildung der Schüler gelegt wurde. Das Musterhaus "Am Horn" in Weimar wurde 1923 das erste Projekt, das konsequent in Architektur und Einrichtung von der Neuen Sachlichkeit, wie sie insbesondere die niederländische Richtung "De Stijl" vorgab, geprägt war. In der Öffentlichkeit galten diese Bauten als "kalt", "karg" und "maschinell". In der Zeit der Weimarer Republik galten Lehrer, Schüler und Bewunderer des Bauhauses als "links" und "internationalistisch". Politisch rechte Parteien lehnten das Bauhaus von Anfang an ab. Nachdem sich die Machtverhältnisse nach der Landtagswahl in Thüringen im Februar 1924 geändert hatten, kürzte die Regierung unter Richard Leutheußer (DVP) den Etat um 50 %. Daraufhin boten sich andere Städte den Lehrern und Schülern als neue Standorte an. Finanziell und politisch von der Thüringer Regierung unter Druck gesetzt, beschloss der Meisterrat 1925 den Umzug nach Dessau. Dort bot der Flugzeugbauer Hugo Junkers eine Förderung, zudem herrschte in dieser Industriestadt eine stabile sozialdemokratisch und liberal orientierte Mehrheit. Das Weimarer Bauhaus wurde schließlich 1925 aufgelöst.
1925 bis 1932 – Dessau
Bauhausgebäude Dessau, AtelierflügelSiehe Hauptartikel: Bauhaus Dessau
1925 erfolgte der Umzug nach Dessau. Dort entstehen die ersten Möbel aus dem neuartigen Material Stahlrohr und – von Marcel Breuer (der die Rechte am "Freischwinger" besitzt), Mart Stam und Ludwig Mies van der Rohe entworfen – die ersten Freischwinger. Die Zusammenarbeit mit der Industrie begann. Am 4. Dezember 1926 wurde das neue, von Walter Gropius entworfene Bauhausgebäude eingeweiht. Der vollständig verglaste Werkstattflügel zur Straßenseite beeindruckte besonders, ebenso die gleichzeitig errichteten und ebenfalls von Gropius entworfenen "Meisterhäuser", die als Wohnhäuser fungierten und wie das Bauhausgebäude konsequent und mustergültig die entwickelten Vorstellungen von Wohnen und Arbeiten vereinten. Am 1. April 1928 trat Gropius als Direktor zurück. Auf seinen Vorschlag wurde der Schweizer Architekt Hannes Meyer neuer Direktor, der für das Bauhaus nicht nur die Devise "Volksbedarf statt Luxusbedarf" ausgab, sondern auch die Zusammenarbeit mit der Industrie intensivierte und eine Konzentration auf das Fach Architektur bewirkte.[3] Meyer blieb bis zu seiner fristlosen Entlassung durch den Oberbürgermeister von Dessau am 1. August 1930 Direktor.[4] Von 1930 bis 1933 leitete der Architekt Ludwig Mies van der Rohe das Bauhaus. Am 19. Juli 1933 löste sich das Bauhaus auf. Viele seiner Mitglieder emigrierten und trugen so zur internationalen Verbreitung der Ideen des Bauhauses bei. 1945 wurde das Gebäude des Bauhauses in Dessau teilweise zerstört. Es wurde erst 1976 rekonstruiert.
1932 bis 1933 – Berlin
Berliner Gedenktafel am Haus Birkbuschstraße 49, in Berlin-Steglitz1931 gewann die NSDAP die Gemeinderatswahlen in Dessau. 1932 musste das Bauhaus zum zweiten Mal umziehen, diesmal nach Berlin-Steglitz; aber schon kurze Zeit später, 1933, wurde die Institution von den Nationalsozialisten endgültig zur Selbstauflösung gezwungen.
Nachwirkung
Einige der Protagonisten des Bauhauses, wie Josef Albers, Walter Gropius, László Moholy-Nagy und Ludwig Mies van der Rohe, emigrierten in der Folgezeit in die USA, wo – mit einem besonderen Schwerpunkt beim Black Mountain College – bald schon der Einfluss der Bauhaus-Lehr- und Entwurfskonzeption deutlich wird. Besonders in der Architektur, aber auch im Produkt- und Kommunikationsdesign, setzten sich Methoden und Lehrsätze des Bauhauses rasch durch. László Moholy-Nagy selbst führte das Konzept des Bauhauses ab 1937 im amerikanischen Exil als The New Bauhaus in Chicago weiter. Ursprünglich sollte Walter Gropius dessen Direktor werden, dieser war jedoch einem Ruf als Professor für "Graduate School of Design" der Harvard University gefolgt und empfahl daraufhin Moholy-Nagy. Nach Ende des Zweiten Weltkriegs entstand 1953 in Ulm die Hochschule für Gestaltung (HfG Ulm), die zunächst von dem Bauhausabsolventen Max Bill geleitet und nach dem Vorbild des Bauhauses konzipiert wurde und einen ähnlichen sachlichen Stil weiterführte und unter anderem die neuen Einflüsse der Schweizer Typografie in ihre Akzidenzen und Grafiken einband. Erst Anfang der 1970er-Jahre kamen eine Reihe von Möbeln und Gebrauchsobjekten als lizenzierte Reeditionen auf den Markt, die bis heute die Vorstellung eines einheitlichen Bauhausstils prägen. 1996 wurde das Bauhaus-Gebäude in Dessau, das seit 1986 vom "Bauhaus Dessau – Zentrum für Gestaltung" genutzt wurde, in das UNESCO-Weltkulturerbe aufgenommen. Es ist heute Sitz der 1994 gegründeten Stiftung Bauhaus Dessau.
Aufbau des Studiums
Meisterhäuser in Dessau (Ebert-Allee)Das Studium am Bauhaus war aufgeteilt in drei Abschnitte. Die Vorlehre bestand aus einem halben Jahr Formunterricht und Materialübungen. Danach erfolgte die Aufnahme in die Werklehre. Dabei konnte zwischen verschiedenen Lehrwerkstätten gewählt werden. Der dritte Abschnitt bestand aus der Baulehre. Diese bestand aus der Mitarbeit am Bau mit bedingungsabhängiger Dauer. Als Abschluss wurde ein Meisterbrief der Handwerkskammer und bei besonderer Begabung auch des Bauhauses vergeben. Einige der Schüler des Bauhauses arbeiteten nach ihrer Ausbildung als Meister am Bauhaus weiter.
Werklehre
Die Werklehre fand in den Werkstätten statt. Hier wurden die Schüler mit den grundlegenden Materialeigenschaften und wichtigen Prinzipien der Produktgestaltung vertraut gemacht. Die Erziehung zum Künstler sollte nicht mehr in Klassen von Professoren (wie an Akademien) erfolgen, sondern im handwerklichen Umgang mit den Objekten. Die leitenden Lehrer in den Werkstätten wurden nicht "Professoren" genannt, sondern "Formmeister". Ihnen stand jeweils ein Werkmeister unterstützend zur Verfügung, der die Grundlagen des Handwerks beherrschte. Die verschiedenen Werkstätten Bauhaus-Werkstatt Formmeister Werkmeister
Druckerei Lyonel Feininger
Glasmalerei Josef Albers, Johannes Itten
Metallwerkstatt Johannes Itten, László Moholy-Nagy, Alfred Arndt Christian Dell, Naum Slutzky
Tischlerei Walter Gropius Anton Handik
Weberei Georg Muche Gunta Stölzl
Fotografie Walter Peterhans
Wandmalerei Oskar Schlemmer, Wassily Kandinsky, Alfred Arndt Heinrich Beberniss
Bühne Lothar Schreyer, Oskar Schlemmer
Buchbinderei Paul Klee
Töpferei Gerhard Marcks Max Krehan
Architektur Walter Gropius, Ludwig Mies van der Rohe, Hannes Meyer
Ausstellungsgestaltung Joost Schmidt
Harmonisierungslehre Gertrud Grunow
Weitere Künstler des Bauhauses
Produktentwurf aus der Metallwerkstatt des Bauhauses von Marianne BrandtMarianne Brandt
Heinrich Brocksieper
T. Lux Feininger
Emil Bert Hartwig
Kurt Kranz
Adolf Meyer
Heinrich Neuy
Margaretha Reichardt (siehe auch: Stedten an der Gera)
Carl Schneiders
Thilo Schoder
Wilhelm Wagenfeld
Fritz Winter Siehe auch
Stiftung Bauhaus Dessau
Bauhaus-Archiv (Berlin)
Deutscher Werkbund
Bauhaus-Universität Weimar
Bauhaus-Museum in Weimar
Staatliche Akademie für Kunst und Kunstgewerbe Breslau
Fagus-Werk in Alfeld (Leine) Literatur
Publikationen
Bauhausbücher. Schriftenreihe. Albert Langen, München 4.1924–1914.1929.
Hans M. Wingler (Hrsg.): Neue Bauhausbücher. Neue Folge der von Walter Gropius und László Moholy-Nagy begründeten Bauhausbücher. Schriftenreihe. Mann, Berlin 1925ff., Kupferberg, Mainz 1965ff. (Repr.)
Sekundärliteratur
Kirsten Baumann: Bauhaus Dessau: Architektur, Gestaltung, Idee. Jovis, Berlin 2007.
Boris Friedewald: Bauhaus. Prestel, München 2009. ISBN 978-3-7913-4201-6
Marty Bax: Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum. Architectura & Natura, Amsterdam 1991. ISBN 90-71570-04-5
Michael Siebenbrodt: Bauhaus Weimar, Designs for the Future; Bauhaus Weimar, Entwürfe für die Zukunft. Hatje Cantz, Ostfildern 2000. ISBN 3-7757-9030-6
Ulf Meyer: Bauhaus. Prestel, München 2006. ISBN 3-7913-3613-4
Jeannine Fiedler, Peter Feierabend (Hrsg.): Bauhaus. Könemann bei Tandem, Köln 1999. ISBN 3-89508-600-2
Michael Siebenbrodt, Gerda Wendermann, Constanze Hofstaetter, Emese Doehler, Eberhard Renno, Stefan Renno, Rolf Bothe: Karl Peter Röhl in Weimar 1912–1926. Stiftung. Kunstsammlungen, Weimar 1997.
Michael Siebenbrodt, Utz Brocksieper, Heinrich Brocksieper, Ulrich Hermanns, Walter Klein, Eberhard Renno, Rolf Bothe: Heinrich Brocksieper. Nahsichten. Kunstsammlungen, Weimar 1998. ISBN 3-929323-15-X
Michael Siebenbrodt: Kunstsammlungen zu Weimar. Bauhaus-Museum. Weimar 1995–2006. ISBN 3-422-06584-9
Peter Hahn, Michael Siebenbrodt, Hardt W Hämer, Magdalena Droste, Jenny Anger, Manfred Ludewig, Rolf Bothe: Das Bauhaus webt. Die Textilwerkstatt des Bauhauses. G & H Verlag, Berlin 1998. ISBN 3-931768-20-1
Andrea Legde: Eine Zelle, die ausstrahlt in die Welt – Das Bauhaus. in: Ursula Peters: Moderne Zeiten. Die Sammlung zum 20. Jahrhundert. Kulturgeschichtliche Spaziergänge im Germanischen Nationalmuseum. Bd. 3. In Zusammenarbeit mit Andrea Legde. Verlag des Germanischen Nationalmuseums, Nürnberg 2000 (insb. S. 141–152). ISBN 3-926982-61-6
Magdalena Droste: bauhaus. Taschen, Köln 2002. ISBN 3-8228-2102-0
Magdalena Droste: Bauhaus 1919–1933. Reform und Avantgarde. Taschen, Köln 2006. ISBN 3-8228-2222-1
Cornelius Steckner: Bauhaus und Hamburgische Universität in: Gudrun Wolfschmidt (Hrsg.): Hamburgs Geschichte einmal anders. Entwicklung der Naturwissenschaften. Nuncius Hamburgensis – Beiträge zur Geschichte der Naturwissenschaften. Bd 2. Medizin und Technik, Norderstedt 2007, S. 30–57. ISBN 978-3-8334-7088-2
Walter Scheiffele: bauhaus junkers sozialdemokratie – ein kraftfeld der moderne. form+zweck, Berlin 2003. ISBN 3-935053-02-9
Hans M. Wingler: Das Bauhaus. 1913–1933 Weimar Dessau Berlin und die Nachfolge in Chicago seit 1937. DuMont, Köln 1968, 2002. ISBN 3-8321-7153-3
Christoph Wagner (Hrsg.): Das Bauhaus und die Esoterik. Johannes Itten, Wassily Kandinsky, Paul Klee. Kerber, Bielefeld 2005. ISBN 3-938025-39-5
Rainer Wick: bauhaus-Pädagogik DuMont, Köln 1982, 1994. ISBN 3-7701-1268-7
Herbert Bayer: 50 Jahre Bauhaus. Ausstellung, veranstaltet vom Württembergischen Kunstverein Stuttgart, Kunstgebäude am Schloßplatz, 5. Mai – 28. Juli 1968. Württembergischer Kunstverein, Stuttgart 1968.
Die Bühne im Bauhaus. A. Langen, München 1925
Tom Wolfe: Mit dem Bauhaus leben ("From Bauhaus to our house"). Aus dem Amerikanischen von Harry Rowohlt. EVA, Hamburg 2007. ISBN 3-86572-638-0
Anja Baumhoff: The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919–1931. Peter Lang, Frankfurt/Berlin/New York 2001. ISBN 3-631-37945-5
Anja Baumhoff: Bauhaus in: Hagen Schulze, Etienne Francois, (Hgs.): Deutsche Erinnerungsorte. Studien zur historischen Philosophie von Pierre Nora, München, C. H. Beck Verlag, S. 584–600, ISBN3-406-47223-0
Brigitte Salmen et al.: Bauhaus-Ideen – Um Itten, Feininger, Klee, Kandinsky: Vom Expressiven zum Konstruktiven, Schloßmuseum Murnau, 2007, ISBN 3-932276-24-8
Dorothea Fischer-Leonhardt: Die Gärten des Bauhauses – Gestaltungskonzepte der Moderne, JOVIS Verlag Berlin 2005, ISBN 978-3-936314-34-2
Torsten Blume, Burghard Duhm: Bauhaus.Bühne.Dessau – Szenenwechsel. edition bauhaus, Bd. 21, JOVIS Verlag Berlin 2008, ISBN 978-3-936314-81-6 Weblinks
Commons: Bauhaus – Album mit Bildern, Videos und Audiodateien
Bauhaus Archiv (Museum für Gestaltung Berlin)
Bauhausstadt
Impuls Bauhaus – Forschungsplattform zur Sammlung aller biografischen Daten der Bauhäusler
Audiofeature über die Geschichte des Bauhaus auf Bayern2 Radiowissen Mediathek
Das Bauhaus – seine künstlerische und gesellschaftliche Bedeutung
hs-anhalt Dessau
Jubiläum 2009 in Weimar Einzelnachweise
↑ Henry van de Velde in Weimar 1902 bis 1917 bei www.thueringen.de
↑ Der unbekannte Mr. Bauhaus, abgerufen am 31. März 2009
↑ Hans M. Wingler: "bauhaus" (Bramsche, 1975) – S. 462
↑ /http://www.dessau-geschichte.de/hannes_meyer.htm Bauhaus
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Typography by Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005. Bauhaus (help·info) ("House of Building" or "Building School") is the common term for the Staatliches Bauhaus (help·info), a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1927, Hannes Meyer from 1927 to 1930 and Ludwig Mies van der Rohe from 1930 to 1933, when the school was closed by the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. When the school moved from Weimar to Dessau, for instance, although it had been an important revenue source, the pottery shop was discontinued. When Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it. Contents [hide]
Bauhaus and German modernism
For more details on this topic, see New Objectivity (architecture).
The BauhausDefeat in World War I, the fall of the German monarchy and the abolition of censorship under the new, liberal Weimar Republic allowed an upsurge of radical experimentation in all the arts, previously suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius himself did not share these radical views, and said that Bauhaus was entirely apolitical.[2] Just as important was the influence of the 19th century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function.[3] Thus the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as far back as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus - the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit - were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1870 members (by 1914). The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meier worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist ("spirit of the times") had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.
Bauhaus and Vkhutemas
Main article: Vkhutemas
Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner.[4] Both schools were state-sponsored initiatives to merge the craft tradition with modern technology, with a Basic Course in aesthetic principles, courses in color theory, industrial design, and architecture.[4] Vkhutemas was a larger school than the Bauhaus,[5] but it was less publicised and consequently, is less familiar to the West.[6] With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.[7] The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia - an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects.
History of the Bauhaus
Bauhaus and its Sites in Weimar and Dessau*
UNESCO World Heritage Site
State Party Germany
Type Cultural
Criteria ii, iv, vi
Reference 729
Region** Europe and North America
Inscription history
Inscription 1996 (20th Session)
* Name as inscribed on World Heritage List.
** Region as classified by UNESCO. Weimar
The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde.[8] When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should and socio-economic reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.[9] In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons.[10] The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky [11] From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the ideas of the Bauhaus.[12] Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel an in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-econimic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.[13] Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, with out the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement," instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."[14] Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry. Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. In February 1924, the Social Democrats lost control of the state parliament to the Nationalists. The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. They had already been looking for alternative sources of funding. Together with the Council of Masters Gropius announced the closure of the Bauhaus from the end of March 1925. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1926 changed its name to Bauhaus University Weimar.
Dessau
Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House.[15] The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer. Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929. But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. As a vocal Communist, he encouraged the formation of a communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Meyer was also compromised by a sexual scandal involving one of his students, and Gropius fired him in 1930.
Berlin
Although neither the Nazi Party nor Hitler himself had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in 1930. Even before the Nazis came to power, political pressure on Bauhaus had increased. But the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism." Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was closed in April 1933. Mies van der Rohe was expelled from Germany. (The closure, and the response of Mies van der Rohe, is fully documented in Elaine Hochman's Architects of Fortune.) Curiously, however, some Bauhaus influences lived on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahn (highways) in 1935, many of the bridges and service stations were "bold examples of modernism" - among those submitting designs was Mies van der Rohe.[16] Architectural output
Bauhaus building in ChemnitzThe paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school did not offer classes in architecture until 1927. The single most profitable tangible product of the Bauhaus was its wallpaper. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery. In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one by the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution. Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither van der Rohe nor his Bauhaus students saw any projects built during the 1930s. The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. In Taut's case, the housing may still be seen in south-west Berlin, is still occupied, and can be reached by going easily from the U-Bahn stop Onkel Toms Hütte. Impact
The Engel House in the White City of Tel Aviv. Architect: Zeev Rechter, 1933. A residential building that has become one of the symbols of Modernist architecture. The first building in Tel Aviv to be built on pilotis.The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel (particularly in White City, Tel Aviv) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, has been named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture in 2004[17][18]; it had some 4000 Bauhaus buildings erected from 1933 on. Walter Gropius, Marcel Breuer, and László Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others. In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design|Hochschule für Gestaltung in Ulm, Germany (HfG Ulm), a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the ′Ulm Model′ concept continues to influence international design education.[19] One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. Vorkurs ("initial" or "preliminary course") was taught; this is the modern day "Basic Design" course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent. One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair by Dutch designer Mart Stam, using the tensile properties of steel, and the Wassily Chair designed by Marcel Breuer are two examples. The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s[20]. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution. American art schools have also rediscovered the Bauhaus school. The Master Craftsman Program at Florida State University bases its artistic philosophy on Bauhaus theory and practice. Gallery
A Stage
Ceiling with light fixtures for stage
The Studio wing
Mechanically opened windows
The Mensa (Dining room) Bauhaus artists
Bauhaus was not a formal group, but rather a school. Bauhause's three architect-directors Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe, are most closely associated with Bauhaus. Furthermore a large number of outstanding artists of their time were lecturers at Bauhaus: Anni Albers
Josef Albers
Herbert Bayer
Max Bill
Marianne Brandt
Marcel Breuer
Avgust Černigoj
Christian Dell
Werner Drewes
Lyonel Feininger
Naum Gabo
Gertrud Grunow
Ludwig Hilberseimer
Johannes Itten
Wassily Kandinsky
Paul Klee
Gerhard Marcks
László Moholy-Nagy
Piet Mondrian
Georg Muche
Hinnerk Scheper
Oskar Schlemmer
Josef Hartwig
Joost Schmidt
Lothar Schreyer
Naum Slutzky
Wolfgang Tumpel
Gunta Stölzl
Otto Lindig See also
Bauhaus Archive
New Objectivity (architecture)
International style (architecture)
Bauhaus in Budapest
New Bauhaus
Form follows function References
-Nikolaus Pevsner, ed (Paperback). A Dictionary of Architecture and Landscape Architecture. John Fleming, Hugh Honour (5th ed.). Penguin Books. pp. 880. ISBN 78014513233x.
-Richard J Evans, The Coming of the Third Reich, 416
-Funk and Wagnall's New Encyclopaedia, Vol 5, 348
-a b (Russian) Great Soviet Encyclopedia, Вхутемас
-Paul Wood, The Challenge of the Avant-Garde, Yale University Press, 1999, Page 244, ISBN 0300077629
-Tony Fry, Inc NetLibrary, A New Design Philosophy an Introduction to Defuturing, UNSW Press, 1999, Page 161, ISBN 0868407534
-Timothy J. Colton, Moscow: Governing the Socialist Metropolis, Harvard University Press, 1995, Page 215, ISBN 0674587499
-Nikolaus Pevsner, ed (Paperback). A Dictionary of Architecture and Landscape Architecture. John Fleming, Hugh Honour (5th ed.). Penguin Books. p. 44. ISBN 78014513233x.
-Frampton, Kenneth. "The Bauhaus: Evolution of an Idea 1919-32". Modern Architecture: a critical history (3rd ed. rev. ed.). New York, NY: Thames and Hudson, Inc.. p. 124. ISBN 0500202575.
-Whitford, Frank, ed. The Bauhaus: Masters & Students by Themselves. London: Conran Octopus. p. 32. ISBN 1850294151. "...He invented the name 'Bauhaus' not only because it specifically referred to bauen ('building', 'construction') -- but also because of its similarity to the word Bauhütte, the medieval guild of builders and stonemasons out of which Freemasonry sprang. The Bauhaus was to be a kind of modern Bauhütte, therefore, in which craftsmen would work on common projects together, the greatest of which would be buildings in which the arts and crafts would be combined."
-Hal Foster, ed. "1923: The Bauhaus … holds its first public exhibition in Weimar, Germany". Art Since 1900: Volume 1 - 1900 to 1944. Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh. New York, NY: Thames & Hudson. pp. 185–189. ISBN 0500285349.
-Frampton, Kenneth. "The Bauhaus: Evolution of an Idea 1919-32". Modern Architecture: a critical history (3rd ed. rev. ed.). New York, NY: Thames and Hudson, Inc.. p. 124. ISBN 0500202575.
-Foster, Hal, ed. "1923: The Bauhaus … holds its first public exhibition in Weimar, Germany". Art Since 1900: Volume 1 - 1900 to 1944. Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh. New York: Thames & Hudson. pp. 185–189. ISBN 0442240392.
-Curtis, William. "Walter Gropius, German Expressionism, and the Bauhaus". Modern Architecture Since 1900 (2nd Ed. ed.). Prentice-Hall. pp. 309–316. ISBN 0135866944.
-Curtis, William. "Walter Gropius, German Expressionism, and the Bauhaus". Modern Architecture Since 1900 (2nd Ed. ed.). Prentice-Hall. p. 120. ISBN 0135866944.
-Richard J Evans, The Third Reich in Power, 325
-BBC NEWS | Middle East | Unesco celebrates Tel Aviv
-White City of Tel-Aviv - the Modern Movement - UNESCO World Heritage Centre
-Ulm School of Design | HfG Ulm Archive[1]
-Current information : english : Stiftung Bauhaus Dessau / Bauhaus Dessau Foundation Bibliography
Oskar Schlemmer. Tut Schlemmer, Editor. The Letters and Diaries of Oskar Schlemmer. Translated by Krishna Winston. Wesleyan University Press, 1972. ISBN 0819540471
Magdalena Droste, Peter Gossel, Editors. Bauhaus, Taschen America LLC, 2005. ISBN 3822836494
Marty Bax. Bauhaus Lecture Notes 1930–1933. Theory and practice of architectural training at the Bauhaus, based on the lecture notes made by the Dutch ex-Bauhaus student and architect J.J. van der Linden of the Mies van der Rohe curriculum. Amsterdam, Architectura & Natura 1991. ISBN 9071570045
Anja Baumhoff, The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic's Premier Art Institute, 1919-1931. Peter Lang, Frankfurt, New York 2001. ISBN 3-631-37945-5
Boris Friedewald,Bauhaus, Prestel, Munich, London, New York 2009. ISBN 13: 9783791342009
Catherine Weill-Rochant, "Bauhaus" - Architektur in Tel Aviv, Rita H. Gans. Ed., Kiriat Yearim, Zurich, 2008 (German and French)
'The Tel-Aviv School : a constrained rationalism' (Catherine Weill-Rochant)DOCOMOMO journal (Documentation and conservation of buildings, sites and neighbourhoods of the modern movement), April 2009. External links
Wikimedia Commons has media related to: Bauhaus
Bauhaus-Archiv in Berlin
Foundation bauhaus dessau
master of Architecture -MArch- master DIA/dessau
Review of Hotel Brandenburger Hof Berlin with Bauhaus design furniture
Marguerite Wildenhain and the Bauhaus A detailed account of ceramics at the Weimar Bauhaus.
Bauhaus School
Bauhaus in America. A documentary describing the impact on Bauhaus on American architecture.
Bauhaus in Budapest
Bauhaus in Tel Aviv
Student Short Film on late Bauhaus (2006)
Memories of one of the few English-speaking Bauhaus students
UNESCO names Tel Aviv a World Heritage Site (2004)
"A Change in Looking" by Sonali Pahwa. Al-Ahram Weekly, 22 - 28 April 2004, Issue No. 687.
Pictures of passenger accommodations on airship Hindenburg designed by Fritz August Breuhaus
v • d • eAvant-garde movements
Visual art Abstract expressionism · Art Nouveau · Conceptual art · Constructivism · Cubism · De Stijl · Expressionism · Fauvism · Impressionism · Post-Impressionism · Color Field · Incoherents · Lyrical Abstraction · Mail art · Neue Slowenische Kunst · Suprematism
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Literature and poetry Angry Penguins · Asemic writing · Cyberpunk · Flarf poetry · Language poets · Neoteric
Cinema and theatre Cinema pur · Dogme 95 · Drop Art · Epic theatre · Remodernist film · Theatre of Cruelty
General Bauhaus · Dada · Fluxus · Futurism · Lettrism · Neo-Dada · Neoism · Minimalism · Postminimalism · Primitivism · Situationist International · Social realism · Surrealism · Symbolism
v • d • eWestern art movements by century
14th to 18th century International Gothic - Renaissance (Early) (14th) · Mannerism (16th) · Baroque (17th) · Rococo - Neoclassicism - Romanticism (18th)
19th century Realism · Pre-Raphaelites · Academic · Impressionism · Post-Impressionism · Neo-impressionism · Chromoluminarism · Pointillism · Cloisonnism · Les Nabis · Synthetism · Symbolism · Hudson River School
20th century Modernism · Cubism · Expressionism · Abstract expressionism · Abstract · Neue Künstlervereinigung München · Der Blaue Reiter · Die Brücke · Dada · Fauvism · Neo-Fauvism · Art Nouveau · Bauhaus · De Stijl · Art Deco · Pop art · Futurism · Suprematism · Surrealism · Color Field · Minimalism · Installation art · Lyrical Abstraction · Postmodernism · Conceptual art · Land art · Performance art · Video art · Neo-expressionism · Outsider art · Lowbrow · New media art · Young British Artists · Stuckism · Systems art
21st century Relational art · Videogame art
v • d • eWorld Heritage Sites in Germany
Aachen Cathedral · Abbey and Altenmünster of Lorsch · Castles of Augustusburg and Falkenlust at Brühl · Town of Bamberg · Bauhaus and its Sites in Weimar and Dessau · Berlin Modernism Housing Estates · Museumsinsel (Museum Island), Berlin · Classical Weimar · Cologne Cathedral · Garden Kingdom of Dessau-Wörlitz · Dresden Elbe Valley · Mines of Rammelsberg and Historic Town of Goslar · Lübeck · Luther Memorials in Eisleben and Wittenberg · Maulbronn Monastery Complex · Messel Pit Fossil Site · Monastic Island of Reichenau · Muskauer Park (with Poland) · Collegiate Church, Castle, and Old Town of Quedlinburg · Palaces and Parks of Potsdam and Berlin · Pilgrimage Church of Wies · Old Town of Regensburg with Stadtamhof · Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier · St. Mary's Cathedral and St. Michael's Church at Hildesheim · Speyer Cathedral · Historic Centres of Stralsund and Wismar · Town Hall and Roland on the Marketplace of Bremen · Upper German Raetian Limes (with UK) · Upper Middle Rhine Valley · Völklingen Ironworks · Wartburg Castle · Würzburg Residence with the Count Gardens and Residence Square · Zollverein Coal Mine Industrial Complex in Essen
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