EL NUEVO CURSO EN LA BAUHAUS
Ante la convocatoria de una huelga por los estudiantes, frustrados por la destitución de Meyer, van der Rohe respondió, apoyado por las autoridades de Dessau, con el cierre inmediato de la escuela y la anulación de los estatutos vigentes en ese momento. Cada uno de los alumnos de la Bauhaus, si deseaba seguir en ella, debería solicitar una nueva admisión y se retiró la vivienda, con efecto inmediato, a aquellos que disponían de los 26 talleres para estudiantes. Al mismo tiempo cinco de los estudiantes extranjeros más aventajados y pertenecientes al círculo de colaboradores de Hannes Meyer fueron expulsados sin la menor justificación.
El nuevo estatuto entró en vigor el 21 de octubre. El poder de decisión se concentraba ahora prácticamente en el director; no era necesario escuchar a los estudiantes, que habían perdido su representación en el Consejo de Maestros. Se prohibía todo tipo de actividad política e incluso se prohibía fumar. El estudio se redujo a seis semestres y la arquitectura constituía ahora, todavía más que bajo Meyer, el centro del programa.
La Bauhaus se convirtió en una escuela de arquitectura que contaba con algunos talleres. En la hasta entonces floreciente producción de los talleres tuvo lugar un cambio decisivo.
La Bauhaus se convirtió en una escuela de arquitectura que contaba con algunos talleres. En la hasta entonces floreciente producción de los talleres tuvo lugar un cambio decisivo.
Mies suprimió la producción y decidió que los talleres debían realizar únicamente modelos para la industria. La Bauhaus dejó de ser productora y no admitía contratos. Con ello satisfacía Mies una de las exigencias de la artesanía de la ciudad, que veía competencia en la escuela, pero retiraba a los estudiantes la posibilidad de ganar algo de dinero durante su formación o de financiarse el estudio con su trabajo. Muchos alumnos criticaron esta medida como socialmente dura, pues, además, permanecían habían elevado notablemente.
LAS CLASES DE ARQUITECTURA DE HILBERSEIMER Y VAN DER ROHE
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aplicar una profunda analítica. La más importante tarea, que Mies planteaba una y otra vez, consistía en diseñar una "casa de un piso y techo plano en un patio", pues afirmaba que quien era capaz de diseñar una casa, es también capaz de solucionar cualquier problema de construcción.
Bajo Mies desapareció por completo un aspecto central de la educación Bauhaus: el engranaje entre teoría y práctica. Esta característica había sido siempre lo especial de la educación Bauhaus y Meyer la había hecho efectiva. Ahora predominaba la teoría. Mies no daba demasiada importancia a las candentes cuestiones sociales. La arquitectura era para él arte, análisis del espacio, la proporción y el material.
LOS TALLERES DE PUBLICIDAD Y FOTOGRAFÍA
Durante la era Meyer, el taller de publicidad se había ocupado principalmente de la organización y realización de exposiciones. Joost Schmidt no pudo elaborar un programa de estudios regular en este taller hasta que Mies eliminó el trabajo para exposiciones y prácticas.
Hasta que la Bauhaus se trasladó a Berlín, Joost dio clases en la que se conjugaban ejercicios de combinaciones de texto y fotografías y espacios tridimensionales en perspectiva. En lo referente a las clases de fotografía Walter Peterhans enseñaba a sus alumnos sobre todo la realización de fotografías técnicamente perfectas.
LOS TALLERES DE TEJIDO Y MONTAJE
Después de la dimisión de Gunta Sölzl ocurrida en el otoño de 1931, Mies colocó en su lugar a la arquitecta de interiores Lilly Reich. Aunque Lilly Reich había analizado en profundidad el efecto de los textiles en el espacio, y alcanzado en este campo resultados hasta hoy sin rival, carecía de conocimientos técnicos sobre tejeduría. El taller se concentraba en diseñar muestras de estampados para imprimir y en recopilar colecciones para empresas.
Before the call of a strike for the students frustrated by Meyer's removal from office, they go der Rohe answered, supported by the authorities of Dessau, with the immediate closing of the school and the annulment of the current articles of association in this moment.
Each of the pupils of the Bauhaus, if he wanted to continue in her, should request a new admission and one withdrew the housing, with immediate effect, from those who had 26 workshops for students. At the same time five of the foreign students most outstanding and belonging to the collaborators' circle of Hannes Meyer were expelled without the least justification.
The new statute came into force on October 21. The decision power was concentrating now practically on the director; it was not necessary to listen to the students, who had lost its representation in the Teachers' Advice. It was prohibiting itself all kinds of political activity and enclosed he was prohibiting himself to smoke.
The study came down to six semesters and the architecture was constituting now, even more than under Meyer, the center of the program. The Bauhaus turned into a school of architecture that was provided with some workshops. In till then flourishing production of the workshops took place a decisive change.
Grain suppressed the production and decided that the workshops had to realize only models for the industry. The Bauhaus stopped being a producer and it was not admitting contracts. With it one of the requirements was satisfying Grain of the craft of the city, which saw competition in the school, but it was withdrawing from the students the possibility of gaining some money during its formation or of the study being financed with its work. Many pupils criticized this measurement as socially it lasts, then, also, they were remaining had raised significantly.
These classes were given at three levels. The basic knowledge was forming the first one on the construction, heating, materials, etc and they were given by engineers and teachers. In the second level the classes of the architect were and urbanista Ludwig Hilberseimer in that there were appearing systematically theoretical problems of the construction of colonies.
And in the fourth trimester the students were happening already to have class with Mies van der Rohe in that the study of the design was essential across the drawing as well as to apply the analytical deep one. The most important task, which Grain was raising repeatedly, was consisting of designing a "house of an apartment and flat roof in a courtyard", since he was affirming that who age capable of designing a house, is also capable of solving any problem of construction.
During the age Meyer, the publicity workshop had dealt principally with the organization and achievement of exhibitions. Joost Schmidt could not prepare a regular studies program in this workshop until Grain eliminated the work for exhibitions and practices.
Until the Bauhaus moved to Berlin, Joost taught in that there were conjugating exercises of combinations of text and photos and three-dimensional spaces in perspective. As for the classes of photo Walter Peterhans was teaching to its pupils especially the photos achievement technically perfect.
After the resignation of Gunta Sölzl happened in the autumn 1931, Grain placed in its place the architect of interiors Lilly Reich. Although Lilly Reich had analyzed in depth the effect of the textiles in the space, and reached in this field results up to today without rival, he was lacking technical knowledge on weaving. The workshop was concentrating in designing patterns samples to print and in compiling collections for companies.
Down Grain eliminated completely a central aspect of the education Bauhaus: the gear assembly between theory and practice. This characteristic had always been the special of the education Bauhaus and Meyer had made her effective. Now it was predominating over the theory. Grain was not giving too much importance to the white hot social questions. The architecture was for him an art, analysis of the space, the proportion and the material.
THE NEW COURSE IN THE BAUHAUS
Before the call of a strike for the students frustrated by Meyer's removal from office, they go der Rohe answered, supported by the authorities of Dessau, with the immediate closing of the school and the annulment of the current articles of association in this moment.
Each of the pupils of the Bauhaus, if he wanted to continue in her, should request a new admission and one withdrew the housing, with immediate effect, from those who had 26 workshops for students. At the same time five of the foreign students most outstanding and belonging to the collaborators' circle of Hannes Meyer were expelled without the least justification.
The new statute came into force on October 21. The decision power was concentrating now practically on the director; it was not necessary to listen to the students, who had lost its representation in the Teachers' Advice. It was prohibiting itself all kinds of political activity and enclosed he was prohibiting himself to smoke.
The study came down to six semesters and the architecture was constituting now, even more than under Meyer, the center of the program. The Bauhaus turned into a school of architecture that was provided with some workshops. In till then flourishing production of the workshops took place a decisive change.
Grain suppressed the production and decided that the workshops had to realize only models for the industry. The Bauhaus stopped being a producer and it was not admitting contracts. With it one of the requirements was satisfying Grain of the craft of the city, which saw competition in the school, but it was withdrawing from the students the possibility of gaining some money during its formation or of the study being financed with its work. Many pupils criticized this measurement as socially it lasts, then, also, they were remaining had raised significantly.
THE CLASSES OF ARCHITECTURE OF HILBERSEIMER AND DER ROHE GOES
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| VAN DER ROHE |
THE WORKSHOPS OF PUBLICITY AND PHOTO
During the age Meyer, the publicity workshop had dealt principally with the organization and achievement of exhibitions. Joost Schmidt could not prepare a regular studies program in this workshop until Grain eliminated the work for exhibitions and practices.
Until the Bauhaus moved to Berlin, Joost taught in that there were conjugating exercises of combinations of text and photos and three-dimensional spaces in perspective. As for the classes of photo Walter Peterhans was teaching to its pupils especially the photos achievement technically perfect.
THE WORKSHOPS OF TEXTILE AND ASSEMBLY
After the resignation of Gunta Sölzl happened in the autumn 1931, Grain placed in its place the architect of interiors Lilly Reich. Although Lilly Reich had analyzed in depth the effect of the textiles in the space, and reached in this field results up to today without rival, he was lacking technical knowledge on weaving. The workshop was concentrating in designing patterns samples to print and in compiling collections for companies.
Down Grain eliminated completely a central aspect of the education Bauhaus: the gear assembly between theory and practice. This characteristic had always been the special of the education Bauhaus and Meyer had made her effective. Now it was predominating over the theory. Grain was not giving too much importance to the white hot social questions. The architecture was for him an art, analysis of the space, the proportion and the material.
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