bauhaus faces

In this bonus episode, we will look at the development of Moholy’s art through selected works — paintings, photographs, sculptures, and films that help trace his extraordinary artistic evolution. Once again, Moholy’s grandsons Daniel and Andreas Hug, together with the Canadian art historian Oliver Botar, guide us through his work.

SHOW NOTES

Moholy-Nagy Foundation

CHAPTER IMAGES

László Moholy-Nagy’s work is often associated with the Bauhaus years, photography, and the New Vision. Yet the second half of his life shows how far his ideas travelled beyond Dessau — and how they continued to evolve across different countries, media, and institutions. After leaving the Bauhaus, Moholy worked in Berlin as a freelance graphic and stage designer before the political situation in Germany forced him into exile.

This second part of the bauhaus faces episode follows Moholy first to the Netherlands, then to England, and finally to Chicago, where he became director of the New Bauhaus and explores Moholy not only as a former Bauhaus master, but as an artist, educator, and thinker whose ideas helped bring Bauhaus principles into a new international context. At the centre of Moholy’s work remained a profound interest in light, movement, space, new materials, and human perception.

Once again, Moholy’s grandsons Daniel and Andreas Hug, together with the Canadian art historian Oliver Botar, guide us through his life, work, and legacy.

SHOW NOTES

Moholy-Nagy Foundation

FILMS AND LITERATURE

Alexander Korda: Things to Come (1936) H.G. Wells War film | A hundred years ahead of its time „Things to Come“, https://youtu.be/iwTDqHrJ4vc?si=4azQFqrd38fVk3p9

Sibyl Moholy-Nagy: Moholy-Nagy: Experiment in Totality, 1950

Oliver A. I. Botar: Sensing the Future: Moholy-Nagy, Media and the Arts, 2014

Hilde Heynen: Sibyl Moholy-Nagy: Architecture, Modernism and its Discontents (Bloomsbury Studies in Modern Architecture), London 2021

CHAPTER IMAGES

1 Self portrait of László Moholy-Nagy, 1940s, Collection of the Moholy-Nagy estate, © Moholy Nagy Foundation

László Moholy-Nagy is often associated above all with photography and the New Vision. Yet his work reaches far beyond this field. He was one of the great multimedia artists of the twentieth century — working with painting, photography, film, typography, stage design, and sculpture.

At the centre of Moholy’s practice was a profound interest in education. He did not see art as something separate from life. His work explored how art could mediate between new technology and human experience — and how it might teach us to see, think, and live differently.

This episode of bauhaus faces explores Moholy not only as the artist of the New Vision, but as an artist, educator, and thinker whose ideas helped shape modern visual culture.

Because Moholy’s work is so vast and varied, this story will be told in two parts. Part 1 focuses on his family background, his path toward becoming an artist, his Bauhaus years, and his later period in Berlin. Part 2 follows him to the Netherlands, England, and finally Chicago, where he became director of the New Bauhaus and helped bring Bauhaus ideas into an international conversation about art, design, technology, and education.

The episode features conversations with Moholy’s grandsons, Daniel and Andreas Hug, and with the Canadian art historian Oliver Botar. A bonus episode will accompany both parts, in which all three interview partners discuss selected works by Moholy — tracing his development from a young, self-taught painter to an internationally renowned artist and educator.

SHOW NOTES

Moholy-Nagy Foundation

„Dynamic-constructive system of forces“ (Alfred Kemény and László Moholy-Nagy), Manifesto, in: Der Sturm, 1922, No. 12, English translation: https://monoskop.org/images/2/2b/Moholy-Nagy_Laszlo_Kemeny_Alfred_1922_Dynamic-Constructive_System_of_Forces.pdf

László & Lucia Moholy-Nagy: „Production Reproduction“, 1923, originally published in: De Stijl, Issue 5, No. 7, July 1922, pp. 98–101, English translation: https://monoskop.org/László_Moholy-Nagy/Produktion-Reproduktion_1922

László Moholy-Nagy: Ein Lichtspiel: Schwarz Weiß Grau (Light-Play: Black White Grey, 1930, https://moholy-nagy.org/art-database-detail/12

Sibyl Moholy-Nagy: Moholy-Nagy: Experiment in Totality, 1950

Oliver A. I. Botar: Sensing the Future: Moholy-Nagy, Media and the Arts, 2014

CHAPTER IMAGES

2 László and Ákos, Szeged, 1912, Moholy Nagy Foundation, https://www.moholy-nagy.org/biography/

3 László Moholy-Nagy as an artillery officer cadet Budapest, Hungary, 1915, Moholy Nagy Foundation, https://www.moholy-nagy.org/photo-album/12

4 László Moholy-Nagy: Das große Rad (The Great Wheel), 1920, Van Abbemuseum, Eidhoven, Moholy Nagy Foundation, https://www.moholy-nagy.org/art-database-detail/56?prev=gallery

5 Berlin Potsdamer Platz, 1920s, http://www.kubiss.org/hkk-20er-jahre/alltag.html

6 László Moholy-Nagy: Metallkonstruktion mit Spirale, 1921, The Museum of Modern Art New York, Moholy Nagy Foundation, https://www.moholy-nagy.org/art-database-detail/100?prev=gallery

7 El Lissitzky: Proun (No. 2 from Kestnermappe), 1919–23, Staatliche Museen zu Berlin, Kupferstichkabinett, CC BY-SA 4.0, https://recherche.smb.museum/detail/1583783/proun-blatt-2-aus-der-1--kestnermappe

8 László Moholy-Nagy: Kinetic Constructive System: Structure with Moving Parts for Play and Conveyance, 1922, Moholy Nagy Foundation, https://www.moholy-nagy.org/art-database-detail/192?prev=gallery

9 László Moholy-Nagy: Photograms, 1920s–1940s, Moholy Nagy Foundation, https://moholy-nagy.org/photograms/

10 László Moholy-Nagy: Konstruktion in Emaille or Telephone Painting, 1922/23, https://moholy-nagy.org/art-database-detail/55?prev=gallery

11 László Moholy-Nagy in his atelier Weimar, 1923, Moholy Nagy Foundation, https://www.moholy-nagy.org/biography/

12 László Moholy-Nagy among his students at the Bauhaus metal workshop, ca. 1924, https://tecnolumen.de/das-bauhaus/

13 László Moholy-Nagy: 7 a.m. (New Year’s morning), c. 1930, https://thecharnelhouse.org/2014/06/19/laszlo-moholy-nagy-painting-and-photography/laszlo-moholy-nagy-7-a-m-new-years-morning-c-1930/#main

14 László Moholy-Nagy: Berlin Radio Tower, 1928–29, Moholy Nagy Foundation, https://www.moholy-nagy.org/art-database-detail/113?prev=gallery

15 László Moholy-Nagy: Double page from Malerei Photographie Film, Bauhaus book, 1923, https://exhibitions.letterformarchive.org/bauhaus/walkthroughs/typophoto-in-moholy-nagy-s-painting-photography-film

16 László Moholy-Nagy: Offenbach’s Tales of Hoffmann, Kroll Opera, Berlin 1929, https://theatron.hu/theatron_cikkek/performing-agitation-laszlo-moholy-nagy-and-the-1924-special-issue-of-ma-today-on-music-and-theater/#gallery-27

17 László Moholy-Nagy: Light Prop for an Electric Stage, 1930, https://moholy-nagy.org/art-database-detail/133?prev=gallery

18 László Moholy-Nagy: Ein Lichtspiel: Schwarz Weiß Grau (Light-Play: Black White Grey, 1930, https://moholy-nagy.org/art-database-detail/12

Generally known as “the spy with a camera,” this episode asks: What do we see when we stop looking for the spy and start looking at her photographs, collages, and publications?

Edith Tudor-Hart has too often been seen through a story that is not primarily about her work, but about secrecy, politics, and the men around her. Several publications have linked her to the Cambridge Five, the group of British men who spied for the Soviet Union. It is a dramatic story. But it can easily overshadow everything else.

Once we move past this stereotype, we see a remarkable photographer of social realities: poverty, housing, health, children’s welfare, women’s health, and the sharp inequalities of 1920s and 30s Austria and Britain. We see a Bauhaus student, a communist, a migrant, a mother, and an artist who understood photography as a tool of social critique and education.

SHOW NOTES

Support bauhaus faces on Ko-fi: https://ko-fi.com/bauhausfaces or via bauhausfaces.com

Interview with Wolfgang Suschitzky

ON SPY ACTIVITY

Walter Ruttmann: Berlin: Die Sinfonie der Großstadt, 1927

EPISODES ON bauhaus faces ABOUT

LITERATURE ABOUT EDITH TUDOR-HART

CHAPTER IMAGES

01 Rudolf Bauer: Portrait of Edith Suschitzky, ca. 1928, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

02 Edith Tudor-Harts original negative boxes, © Dr. Stefanie Pirker

03 Bookshop Brüder Suschitzky, Vienna, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

04 Edith Tudor-Hart: Unemployed Workers’ Demonstration, Vienna, 1932, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

05 Edith Tudor-Hart: Edith Tudor-Hart, March for May Day, Landstrasse, Vienna, 1931, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

06 Edith Tudor-Hart: no title, Vienna, ca. 1930, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

07 Edith Suschitzky (right) with her cousin Karla (left) at the Bauhaus in Dessau, 1929–30, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

08 Edith Tudor-Hart: Scrapbook, pp. 86-87, Photo collage „Die Neue Frau der Zukunft,“ ca. 1929, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

09 Edith Suschitzky (?): Photo collage „Die Großstadt,“ ca. 1928, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

10 Walter Ruttmann: Poster of „Berlin. Die Sinfonie der Grossstadt“, 1927, IMDb

11 Edith Tudor-Hart: Cover „The Listener,“ 10 January 1934, Vol XI, Nr 261, British Library

12 Edith Tudor-Hart: Ferris Wheel, Vienna, ca. 1931, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

13 Edith Tudor-Hart, in: „Lilliput,“ April 1939, p. 426-427, British Library

14 Edith Suschitzky: „A University of Commercial Art,“ in: Commercial Art Magazine, March 1931, p. 113-114, British Library

15/16 Edith Tudor-Hart: Sausage Stall, Vienna, ca. 1931, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

17/18/19 Edith Tudor-Hart: „Hakenkreuze im Schatten", Vienna, ca. 1932 © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

20/21 Edith Tudor-Hart: Isokon Flats Opening Party, 1934, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

22/24 Edith Tudor Hart & Grete Stern: The South London Hospital for Women and Children, 1934, p. 10, British Library

23 Grete Stern: Self-portrait, 1956, from: https://flashbak.com/grete-sterns-surreal-dreams-of-female-emancipation-384888/grete-stern-montage-photo-38/, in the public domain, https://commons.wikimedia.org/w/index.php?curid=73900080

25 Edith Tudor-Hart: Tommy on the Cover of Picture Post, 10th of August 1946, Getty Images

26 Edith Tudor-Hart: „A School Where Love is a Cure,“ in: Picture Post, 30th of April 1949, pp. 28-29, Getty Images

27 Edith Tudor-Hart, in: Amateur Photographer, 27 June 1956, pp. 612-613, British Library

28 Portrait of Edith Tudor-Hart, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

29 Wolfgang Suschitzky: Edith Tudor-Hart and Tommy, ca. 1936, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

30 Edith Tudor-Hart: Upton Country, Primary School, Kent, ca. 1950, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

31/32 Wolfgang Suschitzky: Edith Tudor-Hart and Tommy, ca. 1936, © Wolf Suschitzky Estate, courtesy of FOTOHOF>Archive

In the early 1930s, a small group of young architects left the Bauhaus in Dessau and followed their teacher, Hannes Meyer, to the Soviet Union. They went in search of new possibilities for architecture—convinced that the ideas they had developed at the Bauhaus could find a future there. Their paths, however, would soon diverge in unexpected ways.

This episode returns to that group—often referred to as the Red Bauhaus Brigade—and focuses on two more members: Konrad Püschel and René Mensch. Picking up on my previous conversation with Daniel Talesnik about Tibor Weiner, we take a broader view of what it meant to continue architectural work across shifting political and geographic contexts.

SHOW NOTES

Konrad Püschel: Wege eines Bauhäuslers. Erinnerungen und Ansichten. Anhaltische Verlagsgesellschaft mbH, Dessau 1997. (Neuauflage: Taschen, Köln 2002, ISBN 978-3-910192-40-9)

Daniel Talesnik: The Itinerant Red Bauhaus, or the Third Emigration. (PhD Thesis in Architectural History and Theory, Graduate School of Architecture, Planning and Preservation, Columbia University, New York, 2016.) In: ABE Journal (Architecture Beyond Europe), volume 11, 2017.[3]

Dong-Sam Sin: Die Planung des Wiederaufbaus der Städte Hamhung und Hungnam in Nordkorea durch die DAG-Städtebaubrigade der DDR von 1955–1962. Eine städtebaugeschichtliche Abhandlung aus der Sicht eines Zeitzeugen. wvb Wissenschaftlicher Verlag, Berlin 2017, ISBN 978-3-96138-009-1.

Norbert Korrek: Konrad Püschel – Städtebauer in der Sowjetunion, Nordkorea und der DDR. In: Philipp Oswalt (Hrsg.): Hannes Meyers neue Bauhauslehre. Von Dessau bis Mexiko. Birkhäuser Verlag, Basel et al. 2019, ISBN 978-3-0356-1724-5, S. 483–496.

Doreen Mende: Hamhŭng’s Two Orphans (To Konrad Püschel). East German Internationalism in North-Korea Emerging through a Chronopolitical Lens, 2019, in: https://www.bauhaus-imaginista.org/articles/6100/hamhung-s-two-orphans-to-konrad-puschel/de/?0bbf55ceffc3073699d40c945ada9faf=cc330b7dc647fe55024dda7ca15eaa55

László Moholy-Nagy: The Architects’ Congress, 1933, https://www.youtube.com/watch?v=VMYMq9Zdamg

Gregor Harbusch: „Bauhaus an Bord“, 2018 https://bauhauskooperation.de/kooperation/jubilaeumsarchiv/magazin/entdecke-das-bauhaus/bauhaus-an-bord

CHAPTER IMAGES



KONRAD PÜSCHEL

01 Podcast Logo: Portraits of Konrad Püschel and René Mensch

02 “Hannes Meyer Mluví” (Hannes Meyer with Konrad Püschel and Tibor Weiner on the right), in: Tvorba, October 8, 1931

03 Portrait of Konrad Püschel on the roof of the Bauhaus in Dessau, ca. 1927, Collection of Bauhaus Dessau Foundation, © (Püschel, Konrad) Heirs to Konrad Püschel

04/05 Konrad Püschel & Leo Wassermann: Collective Farm Vogelgesang Elbe, 1930, in: Hideo Tomita: Soviet and East German influence on collective farming in 1950s North Korea: Bauhaus graduate Konrad Püschel and the case of LPG Joyang, Journal of Asian Architecture and Building Engineering, 2025, DOI: 10.1080/13467581.2025.2542305

06 Konrad Püschel: Perspective of Orsk, Konrad Püschel, 1935, gta Archiv, Zürich

07 GDR task force and their families in Hamhŭng with Konrad Püschel, c. 1958, Source: photoarchive Matthias and Hannelore Schubert (German task force Hamhung), Wismar D, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=76324777

08 Konrad Püschel: Hamhŭng, Zentraler Platz, 2008, Flickr, Foto: © Moravius

09 Re-opening of the Bauhaus in Dessau, 1976, https://www.mz.de/lokal/dessau-rosslau/bauhaus-in-dessau-friedrich-konrad-puschel-liess-das-bauhaus-wieder-in-altem-glanz-erstrahlen-1269098

10 Ludwig Hilberseimer & Uni Kassel: Mixed housing, visualization for Dessau-Törten, http://bauhausbauen.de/geschichte/

RENÉ MENSCH

01/02 Portrait of René Mensch by unknown photographer, ca. 1930, in: Konrad Püschel: Die Tätigkeit der Gruppe Hannes Meyer in der UdSSR in den Jahren 1930 bis 1931, https://www.db-thueringen.de/servlets/MCRFileNodeServlet/dbtderivate00042384/Pueschel_pdfa.pdf

03 Richard Neutra, Arieh Sharon, René Mensch and others: Charkov State Theatre, 1931, https://www.ariehsharon.org/KibbutzBauhaus/BauhausDessau/Charkov-State-Theatre/i-5qjx9Xq

04 “Hannes Meyer Mluví” (Hannes Meyer with Konrad Püschel and Tibor Weiner on the right), in: Tvorba, October 8, 1931

05/08 René Mensch: Sabet Pasal Palace, 1961, Source: Tasnim News Agency, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=72758516

06/07 Portrait of René Mensch by unknown photographer, ca. 1930, in: Konrad Püschel: Die Tätigkeit der Gruppe Hannes Meyer in der UdSSR in den Jahren 1930 bis 1931, https://www.db-thueringen.de/servlets/MCRFileNodeServlet/dbtderivate00042384/Pueschel_pdfa.pdf

09 Podcast Logo: Portraits of Konrad Püschel and René Mensch

A new episode of bauhaus faces is out now. This time, I’m joined by Chilean architect and historian Daniel Talesnik to explore the story of a remarkable group of Bauhaus students—through the life of one of them: Tibor Weiner.

Weiner was part of the circle around Hannes Meyer, the second director of the Bauhaus—a group often referred to as the “Red Bauhaus Brigade.” After Meyer’s dismissal in 1930, he relocated to the Soviet Union, and a number of his students followed, hoping to continue their work and ideals abroad.

In our conversation, Daniel traces what he calls the “Itinerant Red Bauhaus" or "The Third Emigration,” following these architects as their paths diverged across the Soviet Union, and beyond. At the center is Weiner’s own journey—from Moscow to Paris, on to Chile, and eventually back to his home Hungary after the Second World War. His story reflects the broader reality many of them faced: architecture not just as a discipline, but as a means of survival in a century marked by political upheaval.

Daniel and I will be back soon with a bonus episode, taking a closer look at other Red Bauhaus Brigade members Konrad Püschel (who was sent to North Korea), René Mensch (who ended up in Iran), and Philipp Tolziner (who was imprisoned for 10 years in a Soviet Gulag and then became one of the first monument preservationists of the Soviet Union).

You can find the episode now wherever you listen to podcasts—and if you enjoy bauhaus faces, please consider leaving a 5-star-review on Spotify or Apple Podcasts or sharing it with someone who might be interested.

SHOW NOTES

[Daniel Talesnik: The Itinerant Red Bauhaus, or the Third Emigration, 2016

Daniel Talesnik: "Moving Away to the Other End of the World: Reflections on the Letters Between Tibor Weiner and Hannes Meyer from the DAM Archive", 2019

Tatiana Efrussi: _Hannes Meyer: Soviet Architect. Life and Work in the USSR, 1930–1936_, 2025](https://vernonpress.com/book/2222?srsltid=AfmBOorYsErRw9JadWblBKymuawZkcjLbhokMj7P6JvpzGc2_7LTe6Xl)

Astrid Volpert & Anja Guttenberger: "Gelobt, Verurteilt, Vergessen, Wiederentdeckt – 62 Bauhäusler*innen im Land der Sowjets", 2019

Philipp Tolziner: "Mit Hannes Meyer am Bauhaus und in der Sowjetunion", in: Hannes Meyer 1889–1954: Architekt, Lehrer, Urbanist, 1989, pp. 234-263

Tibor Weiner Papers at the Mai Magyar Építészet, Budapest

CHAPTER IMAGES

In our first episode of 2026, we turn the spotlight on Florence Henri. Drawn to the Bauhaus less by its curriculum than by its people, Henri discovered photography through Lucia Moholy and never looked back. What began as an experiment became a radical reinvention: mirrors, props, fractured spaces — images that redefined modern photography. Henri stayed fiercely artistic, while mentoring a generation of women who would go on to shape the medium themselves: Dora Maar, Lisette Model, Gisèle Freund, Ilse Bing, and more.

In this episode I was joined by the head of the Florence Henri Archive Giovanni Battista Martini, art historian Paola Rosina, and curator Roberto Lacarbonara — in a truly Bauhaus-style multilingual conversation, recorded in Switzerland and brought to you in English. And there’s more to come: bonus episodes with deep dives into Henri’s most iconic photographs, and the full original interview in French/English.

🎧 Listen on bauhausfaces.com or on all major podcast platforms!

SHOW NOTES

bauhausfaces.com | @bauhausfacespodcast | YouTube | Spotify | Apple Podcasts

29.8. – 10.1.2027 Exhibition on Florence Henri at Zentrum Paul Klee, Berne

OTHER PODCASTS

LUCIA MOHOLY | Robin Schuldenfrei

PAUL KLEE | Fabienne Eggelhöfer

ANNI & JOSEF ALBERS | Brenda Danilowitz

LITERATURE ABOUT FLORENCE HENRI

Ann und Jürgen Wilde: Florence Henri-Sammlung. Sprengel Museum Hannover, Hannover 1993

Muriel Rausch (Hrsg.): Florence Henri. Miroir des avant-gardes (1927–1940). Éditions Photosynthèses, Arles 2015

Anja Guttenberger: Florence Henri, p. 72–87, in: Fotografische Selbstportraits der Bauhäusler zwischen 1919 und 1933, PhD thesis, 2012, https://refubium.fu-berlin.de/bitstream/handle/fub188/8338/DissAnjaGuttenberger.pdf?sequence=1&isAllowed=y

Anja Guttenberger: Florence Henri, https://bauhauskooperation.de/wissen/das-bauhaus/koepfe/biografien/biografie-detail/person-Henri-Florence-494

Annette Bußmann: Florence Henri, in: FemBio. Frauen-Biographieforschung, https://www.fembio.org/biographie.php/frau/biographie/florence-henri/

Works of Florence Henri at the ICP (International Center of Photography)

Works at Centre Pompidou

PODCAST LOGO

CHAPTER IMAGES

In this very short episode, Giovanni Battista Martini, head of the Florence Henri Archive in Genoa, and the Italian art historians Paola Rosina and Roberto Lacarbonara will describe their favourite photo by Florence Henri in more detail for you. Please look out for the images on your smartphone or tablet while listening. As always, I added the photos to the chapters.

🎧 Listen on bauhausfaces.com or on all major podcast platforms!

SHOW NOTES

bauhausfaces.com | @bauhausfacespodcast | YouTube | Spotify | Apple Podcasts

COVER PHOTO

Florence Henri: Self-portrait, 1930, Florence Henri Archive / © Galleria Martini e Ronchetti

CHAPTER IMAGES

Florence Henri: "Portrait composition" (Von Von), 1937, Florence Henri Archive / © Galleria Martini e Ronchetti

Florence Henri: "Femme aux cartes," 1930, Florence Henri Archive / © Galleria Martini e Ronchetti

Florence Henri: "Fênetre" (Windows, Bauhaus Dessau), 1927, Florence Henri Archive / © Galleria Martini e Ronchetti

BONUS EPISODE – FRANCAIS

Deuxième épisode bonus de bauhaus faces — et une conversation résolument multilingue !

Autour de la peintre et photographe Florence Henri, j’échange avec Giovanni Battista Martini, Paola Rosina et Roberto Lacarbonara dans un dialogue mêlant français et anglais, fidèle à l’esprit du Bauhaus et au croisement des cultures.

Il existe également un épisode principal entièrement en anglais, ainsi qu’un premier bonus en anglais dans lequel les trois invités présentent et analysent chacun leur photographie préférée de Florence Henri.

Un triptyque d’épisodes pour explorer en profondeur l’œuvre et l’héritage de Florence Henri — entre langues, perspectives et regards passionnés.

🎧 Écoutez sur bauhausfaces.com ou sur toutes les principales plateformes de podcasts !

SHOW NOTES

bauhausfaces.com | @bauhausfacespodcast | YouTube | Spotify | Apple Podcasts

COVER PHOTO

Florence Henri: Self-portrait, 1928, Florence Henri Archive / © Galleria Martini e Ronchetti

CHAPTER IMAGES

The last episode of 2025 is here! And it's about Ludwig Hilberseimer. Never heard of him? No problem! bauhaus faces will help you out.

Only few of the houses Hilberseimer planned were built. He was much more concerned about the bigger picture: How does the modern city, especially the metropolis, need to be organized to meet people's needs? His futuristic-looking draft of a Highrise City from 1924 with floating bridge pavements high above the streets, skyscrapers as apartment buildings, and a plant-less, sterile surrounding was certainly a real shocker. A "necropolis" rather than a metropolis. That high-rise apartment buildings would soon become reality, only a few of his contemporaries of the 1920s believed.

With the help of the architectural historians Ute Poerschke and Kevin Harrington we will shine a light on Ludwig Hilberseimer.

🎧 Listen on bauhausfaces.com or on all major podcast platforms!

SHOW NOTES

LITERATURE BY LUDWIG HILBERSEIMER

LITERATURE ABOUT LUDWIG HILBERSEIMER

ARCHITECTURE BY LUDWIG HILBERSEIMER

FILM "Das wachsende Haus" (The growing house), 2020

PODCAST EPISODES

CHAPTER IMAGES