bauhaus faces

We have ended part 2 with Hannes Meyer leaving the Soviet Union to go and help build a socialist republic in Spain which was interrupted by the Franco coup and left Meyer in limbo in his home country, Switzerland. Here, he married Lena Bergner in 1937 – they already had a daughter, Lilo, back then. In 1938 to 1939 Hannes Meyer built the orphanage Mümliswil, which I have discussed more extensively at the end of part 2.

In this new episode I have invited the Mexican art-historian Raquel Franklin to talk about Meyer’s next and last emigration to Mexico between 1938 and 1949, about which she wrote her PhD thesis. What were his goals and opportunities? Was Meyer really a spy for the Soviets? What was the Black book of Nazi terror and Meyer’s role in it? And why did he leave Mexico, too, ending up again in Switzerland and not in another socialist country like the GDR?

As in parts 1 and 2 I will bring in former Berlin Senator for Culture Thomas Flierl to share his research results and expertise, too.

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Ludwig Mies van der Rohe (1886–1969) was a pioneering modernist architect. Born in Aachen, he started as a bricklayer before moving to Berlin, where he worked for Bruno Paul and Peter Behrens. His first major commission, the Riehl House (1907), showed early signs of modernism. In 1921, he changed his name, marking his shift to modern architecture while maintaining classical influences.

As vice president of the German Werkbund, he led the "Die Wohnung" exhibition (1927), cementing his reputation. In 1930, he became Bauhaus director, striving to protect it from Nazi repression. After the school closed in 1933, Mies attempted to continue working in Germany, even accepting Nazi commissions, a decision he later had to justify.

In 1938, he emigrated to the U.S., becoming director of the Armour Institute (later IIT) in Chicago. There, he designed iconic buildings like the Farnsworth House and the Seagram Building, defining modernist architecture, only returning once to Germany to design the Neue Nationalgalerie in Berlin in the 1960s.

For the first part of the Mies podcast, I invited Wita Noack, as head of the Mies van der Rohe Haus in Berlin a true expert about House Lemke where the institution is situated, and Fritz Neumeyer, THE Mies expert in Germany, who published several books about Mies van der Rohe and his work during the past 40 years.

This episode has been supported by The Mies van der Rohe house.

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Mies van der Rohe Haus, Berlin https://www.miesvanderrohehaus.de

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WORKS BY MIES VAN DER ROHE

INTERVIEW WITH MIES

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This is PART 2 of the Podcast episode about Ludwig Mies van der Rohe. It puts a magnifying glass over a specific period of time in Mies’s life: his commissions for the Nazis after the Bauhaus had closed in July 1933 and his final emigration to the US in 1938.

For this episode, the art-historian Aya Soika shares her expertise. She published a book about this time of Mies’s life with the title „Mies van der Rohe in the Third Reich. The Brussels Project, 1934" (link in the show notes). Aya Soika doesn’t denounce Mies van der Rohe for his commissions for the Nazis but emphasizes the circumstances in which Mies found himself as a modern architect and as a person that didn’t necessarily want to leave his home. But she also underlines his naivety in thinking that as an architect he could be apolitical.

Although Mies never won the competition and the pavilion was never even built due to a financial lack of Nazi Germany to come up with enough foreign currency, this project – and some others – that Mies van der Rohe accepted to plan for the Nazis, those projects were, of course, hotly disputed by architecture historians. And what did Mies himself say about this after the end of the Second World War? Well, that’s what you will find out in the 2nd part of my podcast about Ludwig Mies van der Rohe.

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Aya Soika at Bard College Berlin berlin.bard.edu/people/profiles/aya-soika

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In der ersten Bonusfolge zum eigentlichen Podcast über Ludwig Mies van der Rohe spricht Wita Noack, seit über 30 Jahren Leiterin des Mies van der Rohe Hauses in Berlin mit Sitz im ehemaligen Haus Lemke. Diese Folge enthält Zusatzmaterial, das im englischen Podcast nicht enthalten.

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In der zweiten Bonusfolge zum eigentlichen Podcast über Ludwig Mies van der Rohe spricht Fritz Neumeyer, promovierter Architekt und Mies-Forscher. Diese Folge enthält Zusatzmaterial, das im englischen Podcast nicht enthalten ist.

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This episode is dedicated to a Japanese couple who went all the way to Germany to study at the Bauhaus in Dessau: Iwao and Michiko Yamawaki. When they met each other in 1928 Iwao Fujita had already studied architecture in Tokyo and was also actively involved in the theatre. Michiko came from a very wealthy family and was a culturally educated young woman of 18 years. By marrying into the Yamawaki family Iwao profited from their wealth. He happily took on Michiko’s family name in exchange for a World trip with that one final destination: the Bauhaus in Dessau.

In July of 1930 the Yamawakis left Japan, stayed for some time in New York and then went on to Berlin and Dessau. After the preliminary course Michiko decided – due to her interest in fashion – to go into the weaving workshop. Iwao, though an already formed architect, chose to continue in the photo class. He developed a special interest in photo montages. One of them entitled „The attack on the Bauhaus“ became the visual epitome of the forced closure of the Bauhaus by the Nazis and is today often used as an illustration of that dark last period of the Bauhaus. These two years at the Bauhaus shaped the future of the Yamawakis sustainably. Upon returning to Japan in 1932, they became pivotal figures in introducing Bauhaus principles to their home country. They brought back a vast collection of Bauhaus objects, books, and furniture, creating a Bauhaus-inspired ambiance in their Tokyo home. And they both taught at art schools using the Bauhaus principles of Josef Albers’ Vorkurs.

On this episode not one but two great researchers help me tell the story of Michiko and Iwao Yamawaki: Helena Capkova and Mariko Takagi.

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https://marikotakagi.de

COVER IMAGE Iwao & Michiko Yamawaki, illustration © [Anika Takagi](https://www.anikatakagi.com))

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COLLECTIONS WITH IWAO YAMAWAKI'S PHOTOS

PHOTOS BY IWAO YAMAWAKI

"THE ATTACK ON THE BAUHAUS"

This brand-new episode of "bauhaus faces" is about a rather unknown Bauhausler: Fritz Kuhr. Although he was at the Bauhaus for roughly 7 years he is widely unknown. Kuhr was the student spokesperson of the Bauhaus Master Council, part of the infamous Bauhaus band, helped edit and produce the Bauhaus publications with Ernst Kállai and had a connection to the communists at the Bauhaus. After leaving the Bauhaus in 1930 Kuhr moved to Berlin and tried to make a living as a freelance artist. He was internationally represented by the gallery Ferdinand Möller and though he seemingly was a rising star in the vibrant art scene of the 1930s, this all came to an abrupt end when the Nazis defamed him as a degenerated artist in 1937.

Kuhr stayed in Berlin during World War 2. His atelier was bombed twice and many of his works were partly or completely destroyed. After the second bombing in 1944 Kuhr was drafted into military service and became a Soviet prisoner of war. On his return to Berlin, he was a „bird-free painter in berlin. no studio. no light. no paper. hardly any canvases and oil colours. nevertheless. a new beginning. made possible by the comradeship of colleagues who are also suffering. “

In 1948 Kuhr was appointed as university teacher at the Hochschule der Bildenden Künste in Berlin (today UdK Berlin). From now on, he fully concentrated on his art students. Fritz Kuhr died in 1975.

For this episode fellow art-historian Ute Famulla tells Kuhr’s story. Her family has close ties with Kuhr and today owns his estate.

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COLLECTIONS WITH FRITZ KUHR's ART

PUBLICATIONS ABOUT FRITZ KUHR

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This episode of "bauhaus faces“ is not about a typical Bauhäusler, not a student or a master. She nevertheless played crucial part in documenting the history of the Bauhaus between 1923 and 1928 in her diary. Of course she was also Walter Gropius’s closest confidant, advisor, and editor, his wife, Ise Gropius.

Ise Gropius entered the service of the Bauhaus as a secretary, editor, organizer and ‘equal partner’ for Gropius. Soon, she became “Mrs. Bauhaus” and liked her role very much. „The Bauhaus infected me,“ she would later say.

For this episode the architect and author Jana Revedin helps to tell the story of Ise Gropius. She wrote a biographical novel called "Jeder hier nennt mich Frau Bauhaus“. The novel is based on Ise Gropius as a main character and her diary that she kept during her stay at the Bauhaus from 1923 to 1928.

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JANA REVEDIN

ARTICLES ABOUT ISE GROPIUS

FILMS WITH ISE GROPIUS

This episode of bauhaus faces is about the Bauhaus educated architect Pius Pahl. After being trained as carpenter and interior designer, he decided it was time to go to the Bauhaus and become an architect.

He studied with Ludwig Mies van der Rohe and Ludwig Hilberseimer, who would both become essential for his approach towards designing buildings. Pius Pahl is also one of the students who made the Bauhaus move from Dessau to Berlin. After successfully graduating with his Bauhaus diploma in 1933 he went on a journey to Switzerland, Italy and North Africa before starting to work in different architecture offices. In World War II he was drafted by the military and became a prisoner of war. Although he set up his own building office in 1946 in fear for his four sons to also become soldiers in a war – it was the time of the Cold War between the Soviet Union and the West – Pius Pahl decided it was time to emigrate. While he wasn’t allowed to go to the US to work with Mies van der Rohe in Chicago (this was his dream) the choice fell on South Africa, because his wife Jeanette was born there and could speak English fluently.

Pius, however, struggled during the first years as his language skills were underwhelming. Once he and his family had relocated to Stellenbosch and he had started – once again – his own office, Pius Pahl planned several public and private houses, adapted to the possibilities and materials there. Two of his four sons, Jan-Peter and Tyll Pahl invited me into their houses to talk to me about their father and his work.   

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ARTICLES ABOUT PIUS PAHL

BUILDINGS BY PIUS PAHL IN SOUTH AFRICA

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