From Grassi to Hellerau and Zwenkau
In the Grassi Museum of Applied Arts in Leipzig, Josef Albers designed the largest glass surface created during the Bauhaus period. The “Rundling” residential complex in Leipzig – whose moniker refers to the circular arrangement of its 300 flats – exemplifies the pioneering communal housing of the 1930s. The Church of Reconciliation (Versöhnungskirche) in Leipzig is also well worth a visit, as it is an important historical monument of classic modernism.
The state capital of Dresden saw construction of a modern factory as early as 1908: the Deutsche Werkstätten Hellerau. And Germany’s first garden city, Dresden-Hellerau – which was closely connected to the Deutscher Werkbund – was built nearby starting in 1909.
The Hellerau Festival Theatre was built as a centre for rhythmical musical education, or Rhythmics, in 1911. Today it houses the Hellerau – European Centre for the Arts Dresden, offering numerous theatre, dance and music performances. In Löbau, the Schminke House (Haus Schminke) beckons visitors. Hans Scharoun designed it in 1930 in the New Architecture style for the noodle manufacturer Fritz Schminke, who wanted a modern and extravagant home. And at the Rabe House (Haus Rabe) in Zwenkau, Oskar Schlemmer added his unmistakable signature with elaborate interior decoration.
In Leipzig – the world’s capital of books and typography at the beginning of the 20th century – the German Museum of Books and Writing at the German National Library looks at a classic of the New Typography – Jan Tschichold – whose modernity is still stylistically influential to this day. To mark the centenary, the German Museum of Books and Writing at the German National Library in Leipzig is devoting attention to the typography of the Bauhaus, which is a unique hallmark that Saxony draws attention to with pride.
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The bauhaus100 newsletter will be circulated from time to time with news about the Bauhaus Centenary 2019.
Marking the centenary of the Bauhaus’s founding, the Bauhaus-Archiv / Museum für Gestaltung’s exhibition at the Berlinische Galerie is presenting famous, familiar and forgotten Bauhaus originals and recounting the history behind the objects: Who is the woman sitting on the tubular-steel chair? Does the Haus am Horn have a secret twin? Why have the tea infusers which were created as prototypes for industrial production always remained one-of-a-kind pieces? The exhibition sheds light on how unique work and series, remake and original are inseparably linked in the history of the Bauhaus. Around 1,000 Bauhaus originals from the Bauhaus-Archiv’s collection will be on display, as well as exceptional loans from international collections and contemporary artistic positions.