Word: dessau
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From the Bauhaus drawing boards, lean, well-proportioned buildings came forth to challenge the Gothic, Baroque and neoclassic structures of the day. One of the best examples of the austere new look was Gropius' design for the Bauhaus' second home in Dessau. Flat-topped and structurally spare, the building had horizontal bands of windows that made it seem to hover effortlessly above rather than rest heavily on the ground. Such buildings had no more of a distinct national style than a locomotive, a chair, a doorknob, or any other machine-made object...
...many others, Gropius left a thousand possibilities, none of which can now be lost, all captured in the name he popularized, Bauhaus. Established in 1919 in Weimar and moved to Dessau in 1925, the Bauhaus School of Design was the first major attempt to unite art with industry and daily life...
...weakness, not its financial failure, is the real shame. Anne Bancroft contributes a valiant performance, and Eric Bentley's revised translation is more smooth and idiomatic than his previous efforts (while avoiding the Runyanesque inaccuracy of Blitzstein's Threepenny Opera). The least known of Brecht's musical collaborators, Paul Dessau, successfully broadens the tradition of Weill, Hindemith and Eisler. Unfortunately, the modified orchestra blares his tunes over Miss Bancroft's not-brassy-enough voice...
...lesser degree Walter Gropius. Mies, declaring the doctrine of "less is more," gave modern architecture its greatest discipline and refinement-the spareness visible in glass and metal in any American city. And German-born Walter Gropius, with the artists, architects and craftsmen of his famed Bauhaus at Dessau in the '205, established the grammar of design suited to modern mass production. They made simplicity and austerity and a faithfulness to function the liberating marks of the International Style...
...German city of Dessau, a pupil of Painter Paul Klee saw him marching down the center of the sidewalk, absentmindedly keeping time to the music of a passing band. What he was pondering, explained Klee, was the rhythmic relationship between the music and the slabs of concrete passing beneath his feet. To illustrate, he drew a sketch: a stream of smoothly flowing lines set off against a series of thrusting rectangles. Klee, son of a musicologist and himself an accomplished violinist, long wavered between music and painting; throughout his life (he died in 1940) he kept seeing rhythmic parallels between...