100th anniversary of Bauhaus, Weimar
In search of modern colours
In 2019, the Bauhaus, the most important school of architecture, design and art in the 20th century, celebrates its 100th anniversary.
Reason enough to look back at some selected projects such as the Masters’ Houses, Dessau (Germany). In 2014 the Berlin-based architects Bruno Fioretti Marquez (BFM) replaced the missing buildings with contemporary interpretations. The monolithic effect of the architecture is the result of a special surface treatment with the slightly white pigmented concrete glaze KEIM Concretal-Lasur.
The Bauhaus existed for only 14 years - first as a 'Staatliches Bauhaus' in Weimar, then as a 'Hochschule für Gestaltung' in Dessau and finally as a private educational institution in Berlin - but its ideas are still effective today. Founded by Walter Gropius in 1919, the Bauhaus was an interdisciplinary, international workshop of ideas and a living field of experimentation for free and applied art, design, architecture and pedagogy. Within a few years, it became a magnet for young people from all over the world, who experienced a pedagogically new and experimental way of dealing with art, architecture, crafts and materials. The outstanding international networking of the teachers, above all Walter Gropius, led to a lively exchange and an international discussion about the so-called 'New Building'.
When refurbishing the buildings with KEIM colours, it was possible to resort to original findings. Sometimes this led to difficult decisions, as the artists had sometimes experimented with their paintings sometimes very creative and experimentally always new colour compositions. A special renovation case was destroyed in the Second World War home of Gropius itself. In GDR times, there was built a settlement house with pitched roof, which was demolished later. In 2010, an international architectural competition decided on how a reconstruction could take place. The design by Bruno Fioretti Marquez Architekten from Berlin was chosen, and thus an 'architecture of blurriness' that consciously avoids the historically exact reconstruction and enables a clear perception between existing and reinterpretation. The architects developed cubatures analogous to the original buildings, but the windows on the outside were inserted flush into the facades and provided with matt-coated glass panes, which both ensure the exposure and prevent glances and outlooks. The construction in exposed concrete with a leveling glaze is a further measure of abstraction and strengthens the sculptural character of the buildings. KEIM Concretal-Lasur was the means of choice to visually unify and protect the surfaces inside as well as outside.