Meet our TINY [BAU]HAUS.

2019 marks the centenary of the legendary Bauhaus. The architecture, art and design that was created in Germany is still revered around the world to this day. A trip to Weimar, Dessau or Berlin is a must this year but if you are interested in architecture or design, why not go further? Explore our new ‘Grand Tour of Modernism’, a suggested travel itinerary which stops at exactly 100 Bauhaus landmarks.

To mark the centenary of the influential art school, we have created our own mini ‘Bauhaus’ to give people a preview of the impressive range of Bauhaus heritage in Germany. The 3D-printed TINY [BAU]HAUS will travel to various European cities. Through the TINY [BAU]HAUS you will be able to experience the essence of Bauhaus with all your senses – e.g., enter the original study of Bauhaus founder Walter Gropius through the magic of Virtual Reality - and discover then where in Germany you can see the real thing.

The story of TINY [BAU]HAUS

The making of the TINY [BAU]HAUS was captured on video. Like the members of the school, we also used innovative ideas. The house was created by DUS Architects in Amsterdam using 3D-print technology. Made of recyclable materials and with a surface area of just 8m², it corresponds with the growing global ‘tiny house’ movement. Functional design, linear and geometric shapes and the relationship between interior and exterior are all typical Bauhaus features. With carefully selected Bauhaus ornaments in the interior, the little house is very much a synthesis of the arts or ‘Gesamtkunstwerk’.

TINY [BAU]HAUS on the road

Between 1930 and 1950, the influence of the Bauhaus spread out all over the world. Nearly one hundred years later, our own TINY [BAU]HAUS will also be reaching out to other countries. It is going on a journey through Europe and will be displayed at different cultural events in major cities, from Paris to Kopenhagen. Below you can see when the TINY [BAU]HAUS will be visiting a city near you!

Paris

19.03. – 07.04.2019
musée des Arts et Métiers

151, boulevard de l'Hôpital
75013 Paris
France

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Rotterdam

11.04. – 05.05.2019
Het Nieuwe Instituut

Museumpark 25
3015 CB Rotterdam
Netherlands

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Barcelona

08.05. – 18.05.2019
Pavelló Mies Van Der Rohe

Francesc Ferrer i Guàrdia 7
08038 Barcelona
Spain

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Marseille

20.05. – 03.06.2019
Friche la Belle de Mai

41 rue Jobin
13003 Marseille
France

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Vienna

17.06. – 19.06.2019
MuseumsQuartier

Museumsplatz 1
1070 Vienna
Austria

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Vienna

21.06. – 23.06.2019
Donauinselfest

Donauinsel
Austria

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Prague

25. – 30.06.2019
National Technical Museum

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Budapest

07. – 13.08.2019
Sziget Festivál

Belgrad

04. – 08.09.2019
Dorćol Platz

Budapest

16.09. – 23.09.2019
University of Technology and Economics

Copenhagen

03.10. – 31.10.2019
Designmuseum Danmark

Bryghuspladsen
1473 Copenhagen
Denmark

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Blogs

TINY (BAU)HAUS in Belgrade Dorćol Platz

TINY (BAU)HAUS in Belgrade Dorćol Platz

As part of the European tour, the TINY [BAU]HAUS visited Belgrade, and it was positioned at Dorćol Platz - a multidisciplinary art community, open to all creative people, a venue that gathers both international and domestic public who is interested in arts, architecture, music, education, performances and new technologies. Dorćol Platz acts on the community through arts, education and projects aimed at activating and networking the domestic and foreign creative sectors. It was the perfect location to showcase our TINY [BAU]HAUS. And Belgrade is the perfect city as it carries a strong Bauhaus tradition and legacy which is to some degree encaptured in some of the most recognizable buildings that were influenced by this modernist style. Those are, for example, TANJUG (Telegraphic Agency of New Yugoslavia) building in Belgrade city center (formerly known as the administrative building of the Privileged export joint stock company - PRIZAD) by arch. Bogdan Nestrovic which is built in recognizable non-ornamental post-modernist style; or BIGZ (Belgrade's Publishing and Graphics Institution) building which is one of the most famous architectural landmarks in Belgrade that was projected by arch. Dragisa Brasovan, and carries a strong Bauhaus influence and heritage. During the whole year Belgrade has been hosting many events that celebrate 100 years of Bauhaus. One of the things that indicate to what degree has this centenary re-actualized interests in Bauhaus and its influences to contemporary art and design is the fact that a residential building that celebrates 100 years of Bauhaus is just being built in Belgrade city center, and it will feature a large facade mural to pay the respect for this influential school for architecture, design and arts. It just goes to show that there is still so much to learn from Bauhaus, as the founder of Bauhaus Walter Gropius once said: “The mind is like an umbrella. Its most useful when open”


German National Tourist Office Belgrade

Bauhaus in the digital age

Bauhaus in the digital age

I have a long admiration for the Bauhaus period, sharing its fascination for craftsmanship and innovation. Designers were given modern tools, which inspired to re-interpret possibilities and pursue new ideas and create a new vocabulary for contemporary products.

The Bauhaus way of learning and exploring is a great inspiration while developing our own new tools like 3D printing in today’s data driven world. Exactly 100 years after Bauhaus, we formed a “digital design to build’’ team with DUS Architects and Aectual to create a novel Bauhaus building, introducing the building movement of the 21st century. Like Bauhaus we also connect our technology and design possibilities with industry partners creating solutions to share with the global community.

‘Bauhaus led to Modernism and mass-production; 100 years later we enter a new era in which we offer tailor-made & personal architecture on a global scale’
Hans Vermeulen, CEO of DUS Architects & Aectual

In the design process we questioned ourselves: What will future living look like? Will every house be built out of data? What happens if we link craftsmanship to new digital possibilities? How can we combine sustainable materials in a smart way?


In the design process we questioned ourselves: What will future living look like? Will every house be built out of data? What happens if we link craftsmanship to new digital possibilities? How can we combine sustainable materials in a smart way?

The TINY [BAU]HAUS is a series of design experiments inspired by new technologies creating a new design vocabulary based on digital craftsmanship. The result is a living space setting with a composition of tailor-made architectural products, using the intelligence of 3D printing to create a present-day ‘Gesamtkunstwerk’. Sculptural walls become shelter, shelving and seating, integrating smart solutions and bespoke materials. The house is made of natural materials with minimum ecological footprint, printed with bio-plastics based on linseed and accentuated with wood and terrazzo. Beauty, comfort and smart production go hand-in-hand. The TINY [BAU]HAUS is an invitation to join, learn and together create new sustainable solutions for the world of today.

Hans Vermeulen – Architect of the TINY [BAU]HAUS

TINY [BAU]HAUS in Paris

TINY [BAU]HAUS in Paris

The TINY [BAU]HAUS journey begins in the Musée des Arts et des Métiers, in the middle of the third arrondissement in Paris. The Musée des Arts et des Métiers is one of the oldest museums of innovation and handicrafts. The site selection was obvious, as innovation is also the focus of the Bauhaus movement. The museum’s courtyard will house the TINY [BAU]HAUS exhibition from 19 March 2019 through 7 April 2019. Admission is free.

Initially Bauhaus had a difficult time gaining a foothold in France. France and Germany went in different directions when it came to embracing modernism, with the Bauhaus style hardly being seen in France. France valued custom-built, individually designed craft pieces, whereas in Germany the Bauhaus school was about designing simple and modest objects.

The Bauhaus movement arrived in Paris in the 1930s following an exhibition at the “Société des artistes décorateurs”, where it received a warm reception despite the two countries’ very divergent requirements. In France the Bauhaus style was focused on industry, technology and mass production in its Dessauer version. Since then, the Bauhaus style has been the topic of temporary (art) exhibits in Paris. In 2009 and 2016, for example, exhibits were shown in the Louvre Museum (“L‘esprit du Bauhaus”) and the Musée des Arts Décoratifs. In the Musée des Arts Décoratifs over 900 works in the Bauhaus style were put on display that illustrated the historical context and the style’s various phases.

The Paris public is very interested in the Bauhaus movement, its anniversary and all of the exhibits. The concept of Tiny Housing is also of interest to many Parisians who are confronted with housing and environmental issues in their daily lives. Parisians are delighted with the materials used to make the TINY [BAU]HAUS. They are also getting lots of travel ideas for Germany related to the Bauhaus topic.

In addition to visiting the TINY [BAU]HAUS exhibit, visitors can also learn about the history of art, architecture and handicrafts in the museum. The exhibit is being met with an enthusiastic response by the citizens of Paris.


Office National Allemand du Tourisme

TINY [BAU]HAUS in Rotterdam

TINY [BAU]HAUS in Rotterdam

How Do We Get Home on this New Earth?

The presentation of TINY BAU[HAUS] in Rotterdam serves as a prelude to the temporary academy Neuhaus, Het Nieuwe Instituut’s response to the celebration of 100 years of Bauhaus, which opens on 19th May 2019.

Het Nieuwe Instituut asked philosopher and sociologist Ruben Jacobs to write an essay that reflects upon some of the ideas behind, and possible interpretations of Neuhaus.

You can read an excerpt from the essay below, focusing on the link between Bauhaus and Neuhaus.

The Bauhaus Model

Back to the year 1919. While William Butler Yeats, in his study in Sandymount (Ireland), was writing his prophetic words, on the European mainland, in Weimar (Germany), the architect Walter Gropius merged his School of Visual Arts with the Grossherzoglich-Sächsische Kunstgewerbeschule. The result: Bauhaus, a new institute with both a theoretically and practically applied programme consisting of a synthesis of expressive arts, craftsmanship and industry. Although inspired by the same collective burnout and associated political and cultural disorder as Yeats, Gropius and his companions took a different, more utopian turn. It was not the threat of loss, disorientation, or weltschmerz, which Yeats expressed so poetically, but the very possibility of reorientation, ‘die Welt neu denken’ (rethinking the world), that was the optimistic tenor. ‘Together let us desire, conceive, and create the new structure of the future’, proclaimed Gropius.

Bauhaus. We all know it from the austere modernist and multifunctional architectural style and ditto furniture pieces. Less well known is the revolutionary and ideological baseline with which it once began. In the early stages in particular, Bauhaus symbolised a place where there was a re-evaluation of how knowledge is created and what role art, the imagination, should play in this. New frameworks of thought and teaching were developed and the utopian potential of art in transforming society became an important spearhead.

This movement was not really unique. Between 1900 and 1930, various art schools in both Germany and Russia were re-formed or established with similar objectives and educational innovations. Gropius’ original intentions and ideas were also in line with the mindset in the more avant-garde circles of the time. What primarily distinguished Bauhaus was that it was able to give the most practical form to these innovative ideas. In his essay ‘The Bauhaus Today’ Philipp Oswalt, director of the Bauhaus Dessau Foundation, concludes that Bauhaus was primarily a shining example of a ‘radical experiment in the breaking down of boundaries, in de-categorization, and consolidation [....] The Bauhaus was a laboratory for the exploration of a new realm of possibility that took shape with the new knowledge, the new technologies, and the new ways of thinking that were emerging in that time.’

However, this has never led to an unambiguous programme. In addition to being a hive of contradictions, Bauhuas was also a place where there were numerous clashes about artistic and pedagogical views: the school housed representatives of Expressionism, Constructivism and Functionalism as well as De Stijl. Despite these contradictions and conflicts about content, they were united in a common purpose: to improve the quality of life for everyone and also to make it affordable. ‘The emancipation of human beings, the quest for approaches to a better present’, according to Oswalt.

Think Like a Mountain

Again we scroll forward on the timeline, to the present. A century after the foundation of the Bauhaus, Het Nieuwe Instituut (Rotterdam) takes inspiration from the utopian German impulse of yesteryear. Neuhaus points the way ahead. It aspires to be a 21st-century learning environment that once again asks the question ‘what should people learn?’ and is also guided by artistic imagination. Where emancipation for ‘human beings’ was central to Bauhaus, Neuhaus, in line with what is brewing under the surface of contemporary culture, chooses to add ‘more than human’ to the equation, because, now that the backdrop of modernity is disappearing and the hidden post-humanity is rapidly becoming visible, the question arises: how should we deal with this today? How should we learn in the 21st century? What could be the starting point of a post-human school like Neuhaus? Metaphor vs. Model is an important starting point for the ideas about learning that are used in Neuhaus. A correct metaphor creates sensory insight; it opens up a new space for us to work with.

Read the whole essay in the webmagazine Neuhaus

Het Nieuwe Instituut

TINY [BAU]HAUS in Barcelona

TINY [BAU]HAUS in Barcelona

Notes from the article ‘Mies, Barcelona and the Bauhaus’ by Laura Martínez de Guereñu - Editorial Tenov/ Fundació Mies van der Rohe
(free summary)

Ludwig Mies van der Rohe was the third and last director of the Bauhaus. One of the stories he seemed most to enjoy telling in the school had to do with the construction of the Barcelona Pavilion. Mies would proudly recount how he had stayed up all night before the inauguration, personally putting in position the glass screens as well as cleaning the ‘millions of hand-prints’, just in time for the opening.

Some sources point out that Mies van der Rohe could have been appointed director of the Bauhaus earlier, in 1928. However, it seems plausible to imagine that he would have declined the offer in anticipation of the work he would have to do if the German government decided to take part in the Barcelona International Exposition. In fact, Lilly Reich also rejected the offer she received to run the new Fashion Institute in Munich because, as she explained, Mies and she were in charge of constructing the entire German section of the exhibition in Barcelona.

That year, 1929, the Bauhaus celebrated its tenth anniversary by presenting the school’s work internationally, over a series of art and industrial exhibitions. The International Exposition of Barcelona was not an exemption, where the Bauhaus took part as an industry capable of offering its products to the market. Together with almost 350 German companies, the Bauhaus was shown as one of the many industries that had played an active role in the reconstruction of the productive fabric of Germany following its defeat in World War I.

Thus, by participating in the first major international exhibition in which Germany took part after the war, the Bauhaus validated the original idea that Walter Gropius, its founder, had put forward ten years before. At that time the school already had designs of four of its workshops (Weaving, Carpentry, Metal and Wallpaper) in industrial production.

In the textile section (Palace of Textile Arts- now transformed into Pavilion 2 of the Fira de Barcelona in the Montjuïc fairgrounds), the Bauhaus products on display were curtain fabrics, upholstery for sofas and wall tapestries, possibly chosen by Gunta Stözl, Anni Albers and Ludwig Grote.

In the toys section (Palace of Industrial and Applied Arts - now demolished, located where the Municipal Sports Palace was constructed in Calle Lleida, today the Barcelona Teatre Musical) the Bauhaus exhibited pieces from the carpentry and metal workshops, such as probably the boat game designed by Alma Buscher that is still marketed today.

In the graphic arts section (Palace of Graphic Arts - today the Archaeological Museum of Catalonia), the objects of the Bauhaus on display were most likely those of the wallpaper workshop, which had evolved from the original mural art workshop and had been the first to go into industrial production. This workshop was precisely the one that went into decline when Mies was appointed Director in 1930, because he considered wallpaper to be ‘architecturally dishonest’ as a surface treatment.

Architects and artists linked to the Bauhaus and the architectural avant-garde also came to Barcelona at that time.

Mies’s and Gropius’ master, Peter Behrens, a forerunner in the creation of links between design and industry, visited the International Exposition and Mies himself later recalled how he gained the recognition of his old master for his work in Barcelona. Bauhaus artists and instructors such as Josef and Anni Albers also visited the Exposition, and the impact of their visit left its mark on their subsequent artistic productions.

More information at www.miesbcn.com and www.bauhaus100.com

Summary authorised by Laura Martínez de Guereñu, All Rights Reserved.

TINY [BAU]HAUS in Marseille

TINY [BAU]HAUS in Marseille

The Bauhaus movement can also be found in Marseille in southern France. The well-known Bauhaus architect Le Corbusier developed the residential building type l'Unité d'Habitation, which is referred to as the precursor of prefabricated buildings. The aim was to offer a solution to the lack of living space. His attempt at a new housing system can be found in the Cité radieuse building in Marseille. This was added to the UNESCO World Heritage List in 2016. Other buildings designed by Le Corbusier can be found in Berlin, Rezé-Nantes, Firminy and Briey.

As part of the European tour, the TINY [BAU]HAUS can also be seen in Marseille. Here it will be open to the public on the site of a former tobacco factory. La Friche Belle de Mai is now an industrial-style cultural centre where more than 400 artists work every day. In addition, with 2400m2 of exhibition space and five concert halls, the location offers ideal conditions for a wide variety of events. Every year, about 400.000 visitors come to La Friche Belle de Mai.

On the occasion of the 100th anniversary of the Bauhaus, the festival "Transformer le Bauhaus" will take place this year from 20 May to 2 June at La Friche Belle de Mai. There will also be other events in Marseille as part of the anniversary year.


Office National Allemand du Tourisme

TINY [BAU]HAUS in Vienna

TINY [BAU]HAUS in Vienna

In the 1920s to the early 30s, when the Bauhaus-school was active in Germany, the influence on the Austrian neighbours was not all that major – even though some Austrians actually studied at the Bauhaus-university in Weimar. Some of these students were connected to the Bauhaus through Johannes Itten, who had run an art school in Vienna during World War I and became a teacher at the Bauhaus-university in Weimar in 1919. The photographer Edith Suschitzky, the designer Carl Auböck and the architects Otto Breuer, Anton Brenner and Franz Singer were among the Austrian pupils. Several Austrians were also active in the so-called “Kreis der Freunde des Bauhauses” (circle of friends of the Bauhaus). They didn’t only support the school’s ideas, but also helped to find funding when a financial crisis hit the Bauhaus from 1924 upwards. Josef Hoffmann, Arnold Schönberg, Oskar Kokoschka, Franz Werfel and others were members of this circle. This clearly indicates that the Austrians were in fact interested in the Bauhaus, even though less Bauhaus influenced work was created here as in for example France and other countries.

On the occasion of the 100th anniversary of the Bauhaus the 3D-printed TINY [BAU]HAUS will also visit the Austrian capital Vienna. It will be exhibited in the courtyard of the Vienna Museum Quarter (MQ) next to mumok – museum for modern art. Within this setting it offers visitors a great possibility to experience the ideas of the Bauhaus and to visit the original office of Bauhaus-founder Walter Gropius using virtual reality. Later on the TINY [BAU]HAUS will also be part of the Donauinsel Festival on the Danube Island of Vienna. With 2.5 million visitors this music festival is the biggest one in Europe.

TINY [BAU]HAUS in Prague

The Bauhaus visit to Prague. In 3D.

100 years ago, the legendary Bauhaus school developed a revolutionary new concept combining arts, crafts and design. At the time, the vibrant city of Prague was a meeting point for different art movements and open to a further development of this new impulse coming from Germany. Simultaneously the founding of the first Czechoslovak Republic in 1918 triggered a wave of renewal and a sense of national upheaval. Artists, composers and writers influenced by recent developments used the new impressions in their work. The history of the early 20th century is still tangible in Prague today, which makes the city an excellent destination for our TINY [BAU]HAUS.

In the last week of June, people interested in architecture, fine arts and design had the opportunity to get closely acquainted with the ideas and works of the Bauhaus. The travelling exhibition called TINY [BAU]HAUS visited Prague as a symbol of this movement, that deeply influenced modern culture and could be qualified as the cradle of modern art. The small house, built out of 3D printed recycled plastic was placed in front of the National Technical Museum in Letná. Visitors were invited to discover three crucial Bauhaus locations: Weimar, Dessau and Berlin. Bauhaus, the embodiment of wit, flair and modern art, was way ahead of its time. Steve Jobs, the founder of Apple who was famous, amongst other things, for his graphic programs said: “Bauhaus was a crucial influence on me. Not only due to its minimalism and functional aesthetic, but also its sense of humour”.

TINY [BAU]HAUS in Budapest

TINY [BAU]HAUS in Budapest

The Hungarian artist László Moholy-Nagy played an important role in the spread of the ideas and concepts of the Bauhaus in Hungary. In 1920 he moved from Budapest to Berlin and came into contact with artists like Kurt Schwitters, Hannah Höch and Herwarth Walden. Two years later he met Walter Gropius, who invited him to become a “Meister” at the Bauhaus. Moholy-Nagy was in charge of the preliminary course and the metal workshop in Weimar from 1923 to 1925 and in Dessau from 1925 to 1928, after the school had been forced to change locations. Together with Walter Gropius he also started the publication of a series of Bauhaus books.

Not just Moholy-Nagy, but plenty of other Hungarian students and teachers at the “Bauhaus” school were part of the new art movement. Marcel Breuer, Henrik Neugeboren and Alfréd Forbát are just few of them. They did not leave their footprints in Germany exclusively. Between 1930 and 1948, “Baushaus” was a big hit in Budapest and eternized itself in a mentionable context in the neighborhood of Újlipótváros, in the Szent István Park and on the Margit Körút.

On the occasion of the 100th anniversary of the Bauhaus, the TINY [BAU]HAUS produced by the German National Tourist Board will visit Budapest twice. In August it was exhibited at the popular Sziget Festivál (one of the biggest music festivals in Europe) and from the 16th– 23rd of September it will be placed in the courtyard of the University of Technology and Economics during the SEFI Annual Conference 2019.


Photo gallery

Here you can have a look at the TINY [BAU]HAUS at the various European locations.

Modernism in Germany

The Bauhaus movement in Germany at the start of the 20th century was a period of artistic awakening. One hundred years on, its inspiring ideas for a modern, tolerant and freedom-loving society are just as relevant. In this respect the Bauhaus school represents a unique period in German history. The centenary of this exceptionally creative movement is being celebrated with events throughout Germany. Here are some of the highlights.

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