Bauhaus Magazine issue 12 – Habitat
Bauhaus Dessau Foundation (Ed.)
by Regina Bittner und Claudia Perren
With texts by Elisa Dainese, Peggy Buth, Judith Raum, Anne Berrini, Dorothée Brill, Sarah Alberti, Katharina Jebsen and others.
Dwelling is more than just having a functional roof over your head. At the CIAM Congress in 1953, a group of young architects produced a Charter of Habitat calling for a radical shift away from the dogma of functionalism and universalism: informal building, dwelling as a social practice, architecture as a mode of design that generates community. The term “habitat” constitutes a pooling of the post-war modernist debates on recalibrating architecture and urban planning. It embodies a holistic view of housing, human beings, and the environment. With this in mind, Bauhaus #12 focuses on “Habitat” from both a historical and a contemporary perspective, because housing and the climate crisis are the very issues that challenge our global community today. The magazine goes in search of alternatives to the functionalist housing machine that was evident in the 1920s at the Bauhaus and elsewhere and which continued as part of the post-war modernist movement and is still prevalent today.
12.2020, Spector Books, Leipzig
190 pp. numerous colour and black-white illustrations, perfect bound softcover
The fifth issue is dedicated to places of longing of european avant-garde – between Latin America, Africa and Asia.
Walter Gropius % Ein Spaziergang mit dem Bauhausdirektor
Walter Gropius hatte dieser neuen Einrichtung den Namen Staatliches Bauhaus gegeben und wollte hier eine moderne künstlerische Lehre und Unterrichtsform schaffen. Die Namenswahl war ein kluger Schachzug, bezog sich dabei auf die Künstler der Bauhütten des Mittelalters ebenso wie auf die Künstler der Renaissance, die oft Baumeister und gleichzeitig freie und angewandte bildende Künstler waren.
The Non-objective World
Kasimir Malevich’s treatise on Suprematism was included in the Bauhausbücher series in 1927, as was Piet Mondrian’s reflections on Russian Constructivism in 1925. Like Mondrian, who was never an official member of the Bauhaus, Malevich nevertheless has a close connection to the ideas of the school in terms of content.