Model house on the Horn

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West view of the model house Am Horn (2009)

The model house Am Horn is an experimental house of the Bauhaus in Weimar . The reason for the construction of this single house based on a design by Georg Muche was the first Bauhaus exhibition in 1923 . It served as an object to show how the Bauhaus envisioned future communal living and working. It should offer a viable answer to the housing shortage, with a modular, cost-effective construction, a usage-oriented floor plan and living comfort through modern technology. In the project, the Bauhaus School worked for the first time across workshops by planning, building and equipping together. The model house is the only reference to the Bauhaus completed in Weimar. The building has been a listed building since 1973. Historically grown conversions and extensions were dismantled as part of extensive renovation measures. In 1996, the building was used as part of Bauhaus and its sites in Weimar, Dessau and Bernau by the UNESCO for World Heritage declared. The house was primarily used as a residential building until 1998 and can now be viewed as a museum.

prehistory

context

In the crisis years after the First World War, there was a shortage of more than a million apartments in Germany. Since there was also a lack of incentives for private building due to the lack of wealthy tenants, the municipalities were forced to act as developers themselves for the first time in social housing . Due to the economic situation, the priorities were on low construction costs, which was to be achieved by rationalizing the construction industry. Under these framework conditions, the orientation of the Bauhaus developed from a return to handicraft to art and technology - a new unit . Walter Gropius , the founder of the Bauhaus, recognized industry as the determining force of his time. Dealing with industrial and machine production became the credo of all Bauhaus work.

"The new goal would be the factory-made production of residential houses in large-scale operations in stock, which are no longer produced on the construction site, but in special factories in assemblable individual parts [... and] then [...] can be assembled into different house types."

- Walter Gropius (1924) : Selected writings

Brainstorming

For Gropius, architecture was the element that should unite all workshops in the background. In a jointly built and equipped building, all workshops would come together on one architectural work. The medieval construction hut was considered the ideal for carrying out the project . Despite the emphasis on architecture, there was no architect class, not least for financial reasons.

A group led by Walter Determann presented the first drafts and models for a Bauhaus estate in the summer of 1919. The main idea was to build a settlement for the members of the Bauhaus in order to secure them material living space and food, to promote a working and living community and to provide the workshops with practical relevance. Originally, not just a model house, but an entire test site was to be built. In the following year, Determann presented concrete plans for a settlement on the Am Horn site . The planned system was strictly symmetrical. It included residential, workshop, community and sports buildings. The area was enclosed and bordered by towers. In the end, however, the plans for an entire estate were not implemented in Weimar because the Bauhaus had to leave the city in 1925. At the new location, Dessau , the idea of ​​a settlement project was finally implemented.

Property in the street Am Horn am Park an der Ilm

In 1920 the Bauhaus leased the proposed Am Horn settlement . The site was on the Hornberg, the then eastern outskirts of Weimar. First of all, emergency buildings should be built as accommodation. However, this failed due to the resistance of the residents of the street Am Horn , who protested vehemently against the settlement idea.

In April 1922 a settlement cooperative was founded to provide legal security. The architect Fred Forbát , who worked with Gropius, designed a type of house in which “a large, central, square living room was flanked on three sides by lower bedrooms and ancillary rooms”. This starting point should be variably expandable with six prefabricated "room cells". Gropius referred to this modular construction as "a large building block". The drafts were submitted to the city administration in July 1922, where they met with strong political opposition. In the same year inflation devalued the estate of the settlement cooperative. The project could no longer be implemented as planned.

At the same time, three years after the official founding of the Bauhaus under the sponsorship and funding of the State of Thuringia , the state parliament wanted to see results from the new university, which was still dependent on state funds. In addition, the Bauhaus was increasingly put under pressure by its political opponents from the conservative-nationalist camp. These circumstances forced the school to prove its raison d'etre. Faculty and students initially thought the timing was premature, but shortly after they bowed to the pressure. In September 1922, Gropius then presented his first proposal for an exhibition program with a "model home" as the central element:

"Objects in practical use [...], in a family house that was built and furnished for the exhibition. Produced jointly by the Bauhaus workshops and companies in the construction industry. "

- Announcement for the Bauhaus week : Bauwelt No. 33/1923

In addition to Gropius' work, two other designs were available for the model house: Farkas Molnár's design Rote Würfel and the design by the painter Georg Muche , who had worked in the weaving mill since 1921. In an internal school vote on October 6, 1922, Muche convinced the teaching staff and students with a passionate speech about his design. Gropius accepted the result of the vote with the words:

“Your swing - even if it was born out of madness - is the nerve of our exhibition. I am ready and will participate. "

- Walter Gropius : Small white cubes?

planning

Georg Muche at the table in the work niche, with Bernd Grönwald (1983)

The concept of Muche, who was newly married at the time, aimed to reduce the housewife's work "so that she could devote herself to spiritual tasks again." With this he referred to a substantive discussion of the religious and esoteric currents of his time, towards those the Bauhaus was considered very open-minded. According to some experts, this connection with the spiritual is also reflected in the building itself: With its location on a hill and the shape reminiscent of a Greek or Indian temple, it represents a “temple of everyday life”. The house was intended for a family of three to four “without staff”. The lack of premises for employees illustrates a new understanding of the social order.

The practical implementation of the design was carried out by Walter March and Adolf Meyer from Gropius' architecture office. All of the Bauhaus workshops were involved in furnishing the house, and they were able to contribute their - also experimental - view of contemporary living. The house was not specifically intended for immediate occupancy.

financing

The building project was financed by the industrialist Adolf Sommerfeld , for whom Gropius designed the Sommerfeld house in Berlin-Lichterfelde in 1920/21 . Previous inquiries to US industrialists and the city of Weimar were unsuccessful.

Several of the contracted construction companies worked at cost price, but were able to use their materials effectively in advertising. Some furnishings, such as the gas stove, were intended as mere exhibits and should be returned after the exhibition if no buyer could be found.

Due to the inflation , the construction costs rose within a year from the estimated 100 initially to 450 million marks and finally to 650 million marks.

Construction phase

Modern in design and technology: regulator on the radiator

The model house Am Horn was built in 1923 after the foundation of the non-profit housing cooperative of the Bauhaus . The foundation stone was laid on April 11, 1923. The building owner was Gropius himself, the construction work was carried out by the social building works in Weimar . The construction time lasted until August 15, 1923 and was therefore only four months.

The construction management tried to find building materials and constructions which, according to Gropius, followed "a new, synthetic building concept" and promised high economic efficiency. Over 40 suppliers, distributors, companies and medium-sized craft businesses were involved. The modern construction material Jurko lightweight concrete block - a prefabricated lightweight block made of cement-bound slag concrete - promised a quick construction time with better physical properties. Another modern material, Torfoleum, was used for insulation . The panels made of industrially processed peat, set twice, brought significant savings compared to a brick wall in terms of material, transport and wage costs as well as in the built-up area and in heating requirements. Torfoleum was also laid under the screed of the floor. The Haus Am Horn is likely to have been one of the first houses with all-round thermal insulation . The ceilings were designed as ceramic hollow stone ceilings with steel inserts , the roof covering as multi-layer bitumen sheet covering .

Facade decoration was taboo for Bauhaus supporters. It was plastered with a weather-resistant, silver-gray Terranova high - quality plaster , which achieved an iridescent effect through mica particles . The mortar, which was not mixed on the construction site, was industrially produced and had a consistent quality, which meant time savings. Instead of using the usual scratch plaster , a scrape plaster with a grain size of only 1 mm was chosen, which resulted in a finer surface structure. The window sills were made of asbestos slate sheets.

Space -saving tilt windows with crystal mirror glass were used in the bathroom and kitchen . The skylights in the living room were made of frosted glass, with which a soft incidence of light was achieved. The ribbon windows, baseboards and wall coverings in the kitchen, bathroom and washbasin were made of white, black and red opaque mirror glass. Rubber and triolin were used as the floor covering . The latter served as a substitute for linoleum , which was subject to a luxury tax. At that time, modern technology was comprehensively installed: in the basement a central heating system with coal boiler, in the kitchen and bathroom gas water heater and in the basement a house laundry with gas heating and electric drive. Other domestic appliances that were modern at the time were a vacuum cleaner, bread toaster , kettle, coffee maker, hair dryer, gas stove, house telephone, telephone and easy-care surfaces.

The third volume of the Bauhaus books, published in 1925, was primarily dedicated to these new types of materials and technologies.

workshops

Design by Siedhoff-Buscher for the children's room

In December 1922, the Bauhaus called on people to work on the “house problem”. The best achievements of the individual participants should be combined into a “unified whole”. Bauhaus students in particular played a role in the interior design. 19 students were named. The provision of equipment was distributed among the workshops as follows:
Sculpture:

Furniture workshop :

Metal workshop :

Mural painting workshop :

Weaving workshop :

Ceramic workshop :

Bauhaus exhibition 1923

Advertising sheet for the Bauhaus exhibition

"[In] the most beautiful location in Weimar, a settlement area is being developed on which individual and group houses will be built, in which relatives and friends of the Bauhaus will live."

- Exhibition catalog from 1923 : Haus Am Horn

The first Bauhaus exhibition took place from August 15 to September 30, 1923. The exhibition was introduced by the so-called Bauhaus Week , a major cultural event in the style of a festival, which was very well received. Gropius opened the Bauhaus week with a lecture on art and technology - a new unit . Lectures followed, including by the Dutch architect JJP Oud on the development of modern Dutch architecture. Part of the exhibition was a compilation of international architecture. The Haus Am Horn was presented in this context, together with works from the Netherlands , France , Russia , Germany and the USA .

show home

The architecture of the model house does not show the 100 years because of the puristic design language. The aim was to achieve the highest technical standard at the time, from building materials to interior fittings.

"Here is a house for Martians, and when we say it arouses longing, we mean in this sense: Longing for the future and for a life without clutter and baggage."

- Fritz Wichert : Haus Am Horn

Exterior view

Southwest view with fencing

The property is located on Am Horn , which is still rarely used today . It can be reached through the park on the Ilm directly opposite , which was the usual access route at the time of construction. The property of the model house has a size of over 2,000 m². The house does not follow the alignment of its neighboring houses. It is slightly twisted relative to the street so that the viewer is given an “extremely advantageous” three-dimensional perspective.

The floor plan of the house is square, with a side length of 12.70 m, with a living space of approximately 120 square meters. A square structure with two-sided ribbon windows sits exactly in the middle of the roof. This can give the impression from the outside that the house has two storeys, but the cause is the living room's height of 4.14 m. The cuboid chimney is also angular. Viewed from the facade, the windows are arranged asymmetrically, fully adapted to the needs of the rooms. Nevertheless, its asymmetrical arrangement is assigned a design element, as an interplay with the symmetrical facade structure.

The appearance of the building has been compared in literature to temples or a Cinquecento villa. The proportions of the facade fields follow the golden ratio . Building traditions or architectural models can be excluded as templates. Muche said of external influences on his architecture: "Everyone realized in his own way what he thought was right [...]: renewal."

Outdoor area

House border and kitchen garden behind

The outside areas of the property were simply designed. This was probably due to the lack of time to keep the date of the exhibition. The garden area of ​​the property consists of a terrace-like lawn that slopes down to the sides of the street due to the hillside location. Behind the house is a separate kitchen garden that is divided into four parts . Self-sufficiency was a necessity and at the same time corresponded to the spiritual nutrition teachings of some Bauhaus members. Students from the Bauhaus University were invited to cultivate the kitchen garden. The produce of the kitchen garden was used for the Bauhaus canteen as early as 1920 . In the construction plan, an area of ​​the garden is apparently intended as a playground. There is a red beech tree on the property , which was not part of the original tree population from 1923, but has been preserved as a natural monument. A gravel path surrounds the lawn. The property is fenced in with a plain black wire fence. Today's reproduction of the fence is based on photos of the original. The template for the fence was an electric fence - a patent from before the First World War. With this construction method, greater widths could be spanned. The entrance gate is a design by the Bauhaus student Rudolf Baschant . He used the construction of the pasture fence and created a sophisticated, graphic pattern from it. Today's gate is a reproduction of the original. In the 1920s, spindle fruit trees lined the path to the house.

inner space

The room layout of the house follows the principle of "honeycomb construction", in which a large main room is surrounded by small adjacent rooms. Half of the usable area is taken up by the central living room , which marks the center of the floor plan like an atrium . Arranged in a ring around this are the so-called lady's rooms, gentlemen's rooms, children's rooms, work niches, guest rooms, dining rooms, kitchen and bathroom. This division made corridors unnecessary. The wall design is also puristic . There are no pictures throughout the house. The color concept is subordinate to the architecture. Light pastel tones, such as yellow, green or gray, contrast with strong, accentuated colors; an example of the latter is the red and blue checkered floor in the dining room.

Living area

Living area towards the work niche. Cabinet by Marcel Breuer.

The symmetrical central living room has an area of ​​6 x 6 m 2 . The ceiling of the four-meter-high room lets in light through the frosted glass panes of the skylights on the south and west sides. The room has no other windows. The skylight windows consist of wrought iron window frames that take the weight of the ceiling. One of the windows can be tilted by a scissor mechanism. Turning windows with window handles, so-called olives, were installed in the living rooms. The eye-catcher in the living room was the 4 x 4 m 2 patterned carpet by Martha Erps , which has been lost and whose color is no longer known today. The sitting area was furnished with a sofa, a table and three chairs by Marcel Breuer and the slatted chair ti 1a . The light source was a floor lamp by Gyula Pap , whose socket is a curiosity about a meter high on the wall surface. Marcel Breuer designed the living room cupboard from various rectangular elements and different types of wood. Today there is a complete reconstruction by Gerhard Oschmann in Haus Am Horn . The wall colors in olive green and light yellow were designed by Alfred Arndt and Josef Maltan . The atmosphere is characterized by smooth, even surfaces and the isolation from the outside world, which only comes in through the subdued daylight. The architecture and design are related to the interior and create an almost meditative atmosphere, with the focus on family life.

In the working niche there was a desk and chair, also designed by Marcel Breuer, as well as a crank telephone with a connection to the lady's room and to the outside. There was probably a carpet by Gunta Stölzl here . A swiveling lamp by Carl Jakob Jucker hung over the desk . Thanks to a telescopic mechanism, the lamp could be placed flexibly. However, the implementation was not yet fully developed, so there was a risk of electric shock. The window in the work niche is the only way to look out into the garden from the living room.

Bedrooms

Separate bedrooms for men and women were unusual, especially given the small size of the house, and also a modern idea. In the man's room, the bed, table and built-in wardrobe were designed by Erich Dieckmann . A chair covered with fabric was probably designed by Marcel Breuer. Black-stained oak and reddish padouk were used as woods . According to the sales documents, there was also a storage table, but this has not yet been proven. Opaque glass shelves were attached to the walls. Reading and ceiling lamps were again from László Moholy-Nagy. The reading lamp set into the wall is still in its original form.

Lady's room with dressing table and contours of earlier furniture

The lady's room has similar furniture elements as the man's room , namely built-in wardrobes and a bed. The cabinets were partially reconstructed in 1999. The carpet comes from Agnes Roghé , the furniture was designed by Marcel Breuer. The room is dominated by a dressing table with two moveable mirrors and a chair, the journeyman's piece by Marcel Breuer. The damaged table is now in the Bauhaus Dessau Foundation . Today a reconstruction by Gerhard Oschmann from 2018/2019 is on display in Haus Am Horn . Modern electrical equipment were the telephone, hairdryer and curling hair iron -Erhitzer. The walls were painted gray, old white, and pale yellow.

The children's room adjoins the lady's room in line of sight to the dining room and kitchen. The idea behind this room arrangement was that the mother should keep an eye on the children while doing housework. This is the only room in the house with a separate entrance to the garden. On top of that, it is the largest room after the living room. Alma Buscher and Erich Brendel designed the furnishings and the carpet Benita Otte . The play cupboard with mobile elements and several functions is dominant here. For example, a cabinet element can also be used as a puppet theater. The oldest variant of the cabinet that can be found comes from 1924 and can be seen today in the Bauhaus Museum . There is a replica from 2018/2019 in the children's room. Red, blue and yellow wooden panels on the walls served as painting surfaces. The appearance and position of the cot and changing table can only be guessed on the basis of photos taken in 1924 of a room reconstruction as part of an exhibition. In the children's room there was a washstand with a hot water connection. The large ceiling lamp is a round, flat, frosted glass pane with a light bulb, now partially reconstructed. The original wall color could not yet be determined.

Hardly any information has been received about the furnishings in the guest room. There was probably a bed and a vanity in the room, and an electric lamp on the ceiling. There is secure information about the skirting boards in red, while white and black bars were installed in the rest of the house. This room now serves as a cash desk.

Dining rooms

Replica of the kitchen unit from 1923

A dining room replaces the usual large eat-in kitchen. The furnishings are functional: a table with a protective glass plate, four chairs, a built-in wardrobe. The built-in wardrobe and the three wooden window frames are among the few original items of equipment in the house. All furniture in the dining room was designed by Erich Dieckmann. They are kept simple in color, in gray and black stain . In contrast, there is the rubber flooring, which is conspicuously checked in red, blue and white. The shape of the ceiling lamp made of crystal mirror glass corresponds to this. A toaster and crockery made of Jena glass were modern , as were ceramic vessels from the pottery workshop. The wall color is true to the original ocher.

Benita Otte and Ernst Gebhardt were responsible for the conception of the kitchen . The design of the kitchen, the housewife's laboratory , followed a completely new approach. Furniture and lighting conditions were adapted to the work processes. A Dutch journalist proclaimed: "Such a construction is the downfall of the German housewife!" The kitchen is one of the first fitted kitchens in Germany and was created earlier than the well-known Frankfurt kitchen . The kitchen line on display today was reproduced in 1998. The cooking, roasting and grill stove was operated with gas. The wall cladding is made of white opaque glass, just like in the bathroom. The washbasin has a rapid water heater. Ceramic vessels for storing food are part of the kitchen furnishings. They were designed by Theodor Bogler and produced in series in the Velten-Vordamm stoneware factory . A new edition is on display; the originals can be viewed in the Bauhaus Museum. The 1923 exhibition also included vessels made of Durax glass from the Schott AG company , at that time located in Jena.

bathroom

Shower bath with recessed light

The ceiling in the bathroom is suspended up to the level of the doors and is therefore significantly lower than in the other rooms. The bathroom has a washbasin and a built-in bathtub with an additional shower function. A Junkers gas bath heater warmed the bath water. The modern sanitary facilities and fittings came from the Triton works in Hamburg. Other equipment accessories were grab bars, shelves and towel rails. The entire vanity was covered with white opaque glass. The rectangular lamp on the vanity was built into the right-hand side. The walls were also clad with white opaque glass tiles, these are not fully preserved. No equivalent material could be researched, which is why the missing areas were filled with white acrylic resin sheets in 1999. The floor runs slightly diagonally towards a drain. The rubber flooring has not survived. Next to the washbasin is a water closet with an upper cistern, separated by a separate door.

Entrance area

A reconstruction of a mirror is located in the anteroom. A shelf made of opaque glass is attached underneath, which can be found throughout the house. Above the mirror is a festoon lamp by László Moholy-Nagy , now a reconstruction.

The house has a partial basement. The basement is accessible from the hallway. In the basement there is a laundry room, pantry and boiler room. According to the brochure, there was a washing machine in the laundry room, which was exceptionally modern at the time. The central heating in the basement, which supplied the whole house, was just as contemporary. The manufacturer of the heating was the company of Johannes Haag . Photos of the heater are not preserved.

criticism

Moisture damage to the facade (2019)

The success of the Bauhaus Week exceeded all expectations. Accordingly, numerous reports were made about the model house. The building received both praise and criticism. German daily newspapers testified to the hostile political and social climate with polemical and defamatory comments. In spite of criticism, trade journals tried to look at the architecture objectively.

Apparently there was agreement in praise of the manual work. But even good work does not protect against faulty designs. For design reasons, the facade was not fitted with a base, which immediately led to splash water damage at the foot of the building. Later, the flat roof should also prove to be permeable to water.

It was nastily called “a house for Martians”, “public latrine”, “a white candy box” or “North Pole station”. Children were threatened with: "If you are not good, you will come to the Bauhaus." It was recognized as contradicting that, contrary to the intention, the furnishings of the house were only affordable for rich people or that the house was inflexible in terms of its floor plan, despite the Bauhaus highly touted modular flexibility.

The building and floor plan were described as a "dead scheme". The shape of a local newspaper was reminiscent of a tent in the desert: " Blown from the Biskra oasis to Weimar". The National Socialists later dubbed it “ cultural Bolshevik desert architecture”. A contemporary voice read: "You think you can feel how people must hate each other who have to meet each other in this constructive housing [...] every day."

The inflexible floor plan seemed inconsistent, despite the modular flexibility that was highly touted in the Bauhaus. The discrepancy between the real and the planned target group created a lot of resentment. Contrary to the intention, the furnishing of the house was only feasible for wealthy people. The contradiction that it was like a house for the wealthy class but then had no maids room seemed incompatible. The convenience of the technical equipment could not help over this deficiency. It was assumed that the question of the floor plan was: How little space do people need? With the exception of the living room, the rooms were small at about ten square meters per room and the ceilings were about 2.3 meters low, so that visitors spoke of “cabins” instead of rooms. In the press one read comparisons like “cells” or “prison-like narrowness”. In the 1960s, the cramped room layout prevented ordinary furniture from being placed, which made it difficult to rent out even if there was a housing shortage.

The color scheme was perceived as pleasant, but the puristic interior design was still too bare. The missing door sills protect against tripping hazards, but the disadvantage was that it “pulled through powerfully” under the doors, according to the former resident of Grönwald. From the late thirties to 1945, a Wehrmacht officer lived in the Am Horn building , who concealed the no-frills door frames under ornate panels in rustic oak . These temporary components could later be found in the basement.

The garden also received indirect criticism, as it was crossed by residents of the neighborhood as a shortcut on the way to the bus stop.

In conclusion, the contemporary reviews can be summarized as follows: The model house is a step in the right direction, but not convincing for the social living of the future.

Use after 1923

Opening of the exhibition cabinet in Haus Am Horn on the 50th anniversary of the Bauhaus exhibition in 1973 (from left to right: Lilo and Konrad Püschel , Christian Schädlich , Bernd Grönwald )

After the Bauhaus exhibition, the Am Horn building was empty. It belonged to the mortgage lender Adolf Sommerfeld, who had planned to sell the house for a profit. The hyperinflation frustrated this plan. In November 1923, when a kilo of bread cost 42 billion marks, he tried to at least minimize his financial damage. He had the entire movable equipment removed from the house and transported to his home in Berlin. He offered the house for sale in vain.

In September 1924 the lawyer Franz A. Kühn bought the house and lived in it with his family until 1938. He had the architect Ernst Flemming remodeled and extended: In 1926 the lady's room was given a veranda with access to the garden. In 1927 the entrance area was extended with a vestibule. In 1933, the dining and children's rooms were enlarged and a completely new room with a terrace and a basement was created in the west corner of the house. As a result, the floor area was increased by half. Even if the changes were aesthetically adapted to the appearance of the house, it had lost its clear structure. The extensions did justice to the basic idea of ​​the house concept of creating a home that grows with the size of the family. These extensions remained until 1998. The garden has also been redesigned.

In 1938 the German Labor Front bought the property through coercion in order to build an Adolf Hitler School on the site as part of the “redesign” of Weimar by the National Socialists. However, this project was thwarted by the beginning of the Second World War . Instead, a Wehrmacht officer lived in the house until the Labor Front was expropriated by the Soviet military administration in 1945.

Between 1945 and 1951 the house was public property in the fiduciary administration of the city of Weimar. In the post-war years, up to three families temporarily shared the 144 m² living space. To this end, renovations were carried out again and again, walls moved, room use and design changed. Up until the 1980s, the work niche was separated from the living room by a wall or the bathroom served as the kitchen for the second living unit. The central heating could not be operated in the meantime due to a lack of fuel, which is why additional stoves and chimneys were installed in the children's and men's rooms. At times there were up to three garages on the property. The building has belonged to the city of Weimar since 1951. It was placed under monument protection and was inhabited until 1998.

From 1971 on, the architect Bernd Grönwald rented the property for a monthly rent of 75 GDR marks . Grönwald had a teaching position for architectural theory at the University of Architecture and Building (today's Bauhaus University ) and from 1979 a professorship in this field. In 1973 he initiated a research project on the history of the Bauhaus and worked out the first conservation objectives for dealing with the building. Under the difficult circumstances of material procurement in the GDR , he succeeded in implementing monument preservation measures, partly on his own. The family carried out repairs to the sewer system, electrics, and walls.

The building has been a listed building since 1973 . On the 50th anniversary of the 1st Bauhaus exhibition in 1973, an exhibition cabinet was opened in the central room of the house. The residents lived around this room. There were more visitors. Georg Muche visited “his” house in the mid-1970s. The public interest caused the Central Committee of the SED to remove the taboo from the Bauhaus by party order. From 1976 Grönwald organized several “Bauhaus colloquia” there. Between 1979 and 1988, the architecture students at the College of Architecture and Construction then attended their introductory course there. In 1983 the exhibition cabinet was redesigned. Bernd Grönwald committed on 28 January 1991 at the basement of the house in the Horn suicide because he was the transformation of German reunification did not see grown. Marlis Grönwald lived in the house until 1998.

In 1993 a circle of friends was founded. a. the aim was to “preserve the monument protection of the university and the Bauhaus”. The final decision to renovate the house was made in 1995. The future use was still unclear. Depending on the use, the contract would have allowed a second building to be built on the site. The rehabilitation process is described as "long and arduous". In 1998 the extensions were finally removed and components worth preserving were expanded and secured. The aim was to preserve existing elements, restore them or replace them as authentically as possible. On April 14, 1999, the renovated house was opened with a vernissage .

UNESCO World Heritage Site

Living room. Reconstruction with white frames for equipment that is no longer comprehensible (2019)

1996 has been Haus am Horn as part of Bauhaus and its sites in Weimar, Dessau and Bernau by the UNESCO for World Heritage declared and included in the list of monuments of the United Nations. In 1998/99 the building was fundamentally renovated and repaired in terms of monument conservation. The German Foundation for Monument Protection was involved in the renovation of the facade . An attempt was made to come as close as possible to the original condition from 1923. The difficulty with the repairs is still that immediately after the exhibition in 1923 the furniture went to the financier Adolf Sommerfeld in Berlin. The original furniture was therefore difficult to understand. The work relied heavily on historical indoor and outdoor photographs. During the redesign in the 1990s, the extensions were removed, wall cupboards and lights were reconstructed, the kitchen furnishings were modeled, the property was redesigned according to old plans, etc. Since 1998, the building has been owned by the Freundeskreis der Bauhaus-Universität Weimar e. V. and was used as a guest and exhibition house.

Between 1999 and 2017, the Friends of the Bauhaus-Universität Weimar eV organized a permanent and 65 special exhibitions on various topics in Haus Am Horn .

After it was transferred back to the city of Weimar on August 25, 2017, the Klassik Stiftung Weimar coordinated new renovation measures on behalf of the city in order to bring the building and the property even closer to the original state of 1923. The most important template for this was the Bauhaus Book No. 3 written by the Bauhaus in 1925 . There was no documentation of the color scheme, only black and white photos. The original color was rediscovered during restoration work in 1999 and has now largely been restored.

At the beginning of 2019, the property became the property of the Klassik Stiftung Weimar . Since May 18, 2019, the house has been regularly open to visitors as a monument. A new permanent exhibition is dedicated to the history of the building with the aim of making the design and technological idea understandable. Outline furniture made of metal rods suggest the no longer existing furnishings. A complete reconstruction of the interior is not planned.

gallery

  • The man's room with reconstructed wall paint

  • Dining room with eye-catching floor

  • Children's room with modular play furniture

  • Kitchen garden behind the kitchen

Trivia

Models of the Am Horn model house are available as kits in paper, wood, plastic and stone.

literature

  • Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn. Series: Bauhaus architecture in Weimar. Klassik Stiftung Weimar (Ed.) Verlag Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 .
  • Bernd Grönwald: Georg Muche and his work in the GDR. In: form + Zweck , 8/6, Berlin 1975, pp. 25-27.
  • Marlis and Bernd Grönwald: Haus Am Horn - experiment for the series. In: form + Zweck, 15/2, Berlin 1983, pp. 18–23.
  • Sparkassen-Finanzgruppe (Ed.): The house "Am Horn". Conservation restoration and future of the UNESCO World Heritage Site in Weimar. no place, around 1999.
  • Friends of the Bauhaus University Weimar e. V. (Ed.): Haus Am Horn. Reconstruction of a utopia. Publishing house of the Bauhaus University Weimar, Weimar 2000, ISBN 978-3-86068-122-0 .
  • Lars-Christian Uhlig, Walter Stamm-Teske (eds.): New building on the horn. A model estate in Weimar. Publishing house of the Bauhaus University Weimar, Weimar 2005, ISBN 978-3-86068-246-3 .
  • Walter Gropius , László Moholy-Nagy (Hrsg.): Bauhaus books 3. An experimental house of the Bauhaus in Weimar. Edited by Adolf Meyer. Verlag der Bauhaus-Universität Weimar, Weimar 2009 (reprint), ISBN 978-3-86068-079-7 . (See original edition of Bauhaus books )
  • Klaus-Jürgen Winkler (Ed.): Bauhaus albums. Bauhaus exhibition 1923, Haus Am Horn, architecture, stage, printer. Volume 4. Verlag der Bauhaus-Universität Weimar, Weimar 2009, ISBN 978-3-86068-372-9 .

Web links

Commons : Musterhaus Am Horn  - Collection of pictures, videos and audio files

Individual evidence

  1. ^ A b c Henry Bernhard: "Temple of Everyday Life" on a hill. The very first Bauhaus house. In: deutschlandfunkkultur.de. Deutschlandradio, January 14, 2019, accessed on March 10, 2020 .
  2. ↑ a b c d e f g h Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , introduction, p. 11 .
  3. ↑ a b c Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The state Bauhaus in Weimar, p. 67 .
  4. ↑ a b c Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 99 (e-book ISBN 978-3-95935-107-2 ).
  5. ^ Bauhaus and its Sites in Weimar, Dessau and Bernau. In: UNESCO - World Heritage Center. Retrieved September 24, 2019 .
  6. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Between Temple and Technology, p. 106 .
  7. ^ Walter Gropius: Selected writings . In: H. Probst, Ch. Schädlich. Ed .: Ch. Schädlich. tape 3 . Berlin 1988, p. 97-100 .
  8. ↑ a b c d Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , building draft, construction and equipment, p. 81 .
  9. ↑ a b c d e Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Early Plans - The Bauhaus Settlement, p. 71, 72 .
  10. ^ Magdalena Droste: Bauhaus . 2013th edition. Taschen Verlag, Cologne-Berlin 1990, p. 110-111 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 44 (E-Book ISBN 978-3-95935-107-2 ).
  11. ↑ a b c Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 45 (e-book ISBN 978-3-95935-107-2 ).
  12. ^ Klaus-Jürgen Winkler: The architecture at the Bauhaus in Weimar . Berlin-Munich 1993, p. 82-83 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 45 (e-book ISBN 978-3-95935-107-2 ).
  13. ↑ a b c Stephan Finsterbusch: The prototype is back: Bauhaus No. 1 . In: FAZ . Frankfurter Allgemeine Zeitung GmbH, Frankfurt August 12, 2016 ( faz.net ).
  14. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 43 (e-book ISBN 978-3-95935-107-2 ).
  15. ^ Klaus-Jürgen Winkler: The architecture at the Bauhaus in Weimar . Berlin-Munich 1993, p. 95 (with reference to: Minutes of the meeting of the Masters' Council on September 18, 1922, files Staatliches Bauhaus, STAW, BH 12.). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 47 (e-book ISBN 978-3-95935-107-2 ).
  16. ↑ a b Shirin Homann: An experimental house . The Haus am Horn in the context of an exhibition in 1923 and today. In: Bauwelt . tape 10 . Bauverlag BV GmbH, 2019, ISSN  0005-6855 , p. 4–5 ( bauwelt.de ).
  17. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 47 (e-book ISBN 978-3-95935-107-2 ).
  18. ↑ Georg Muche: Focus. Sturm, Dada, Bauhaus, the present . 2nd Edition. Wasmuth, Tübingen 1965, p. 127-129 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 47 (e-book ISBN 978-3-95935-107-2 ).
  19. ^ Klaus-Jürgen Winkler: The architecture at the Bauhaus in Weimar . Berlin-Munich 1993, p. 100-101 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 59 (E-Book ISBN 978-3-95935-107-2 ).
  20. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , entrance area and floor plan, p. 18 .
  21. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 78 (e-book ISBN 978-3-95935-107-2 ).
  22. ↑ a b c d e f g h i Bettina Vaupel: Cube in Weimar . The Haus Am Horn as an experimental building. In: German Foundation for Monument Protection (Hrsg.): Monuments . Magazine for monument culture in Germany. No. 4 . Monuments publications, 2019, ISSN  0941-7125 , p. 21-23 .
  23. ^ Klaus-Jürgen Winkler: The architecture at the Bauhaus in Weimar . Berlin-Munich 1993, p. 98 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 67 (e-book ISBN 978-3-95935-107-2 ).
  24. ↑ a b c Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Das Haus Am Horn as part of the Bauhaus exhibition 1923, p. 77, 78 .
  25. ↑ a b c d e f g h i j k l Kerstin Decker: Life in the Ur-Haus der Moderne. In: tagesspiegel.de. Verlag Der Tagesspiegel GmbH, August 15, 2018, accessed on March 10, 2020 .
  26. ↑ Adolf Meyer (Ed.): An experimental house of the Bauhaus in Weimar . Bauhaus Book No. 3rd Volume 1 . Albert Langen Verlag, Munich 1925, p. 15-19 (with the collaboration of Walter Gropius and Laszlo Moholy-Nagy). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 43 (e-book ISBN 978-3-95935-107-2 ).
  27. ↑ a b c d e f g Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , building draft, construction and equipment, p. 86 .
  28. ↑ a b Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 68 (e-book ISBN 978-3-95935-107-2 ).
  29. ↑ a b c Georg J. Kolbe: Scrap plaster on the facade of the Haus am Horn in Weimar renovated. In: bauhandwerk.de. Bauverlag BV GmbH, August 7, 2019, accessed on March 10, 2020 .
  30. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 69 (e-book ISBN 978-3-95935-107-2 ).
  31. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 67 (e-book ISBN 978-3-95935-107-2 ).
  32. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , building draft, construction and equipment, p. 87 .
  33. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The exhibition concept, p. 74 .
  34. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , pp. Envelope .
  35. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 52 (e-book ISBN 978-3-95935-107-2 ).
  36. ↑ a b c d e f g h Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Die Außenflächen, p. 61-63 .
  37. ↑ a b Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 53 (E-Book ISBN 978-3-95935-107-2 ).
  38. ↑ a b Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 58 (E-Book ISBN 978-3-95935-107-2 ).
  39. ^ A b Eva Zimmermann: Architectural Icon: The First Bauhaus Building in the World. In: houzz.de. Houzz Inc., May 13, 2016, accessed March 10, 2020 .
  40. ↑ Michael Siebenbrodt: House on the Horn. The Freundeskreis and Haus Am Horn. In: uni-weimar.de. Bauhaus-Universität Weimar, accessed on March 10, 2020 .
  41. ↑ a b c d e Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , approach from outside, p. 17 .
  42. ^ Adalbert Behr: The model house of the State Bauhaus in Weimar from 1923. In: Scientific newspaper of the University of Architecture and Building Weimar. tape 20 , no. 2 , 1973, p. 167-177 (p. 172). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 60 (e-book ISBN 978-3-95935-107-2 ).
  43. ^ Christian Wolsdorff: Georg Muche as an architect . In: responsible Hans M. Wingler Bauhaus Archive Berlin (ed.): Georg Muche. The artistic work 1912-1927. Critical index of paintings, drawings, photos and architectural works; Catalog for the exhibition / retrospective of the same title in the Bauhaus Archive Berlin, September 19, 1980 to January 12, 1981. Gebr. Mann, Berlin 1980, p. 27 (With the collaboration of Magdalena Droste, Christian Wolsdorff and Bauxi Mang, pp. 24–30). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 59 (E-Book ISBN 978-3-95935-107-2 ).
  44. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 59 (E-Book ISBN 978-3-95935-107-2 ).
  45. ^ Christian Wolsdorff: Georg Muche as an architect . Georg Muche: Insights into letters and the time in which they were written, unpublished transcripts of letters Critical index of paintings, drawings, photos and architectural works; Catalog for the exhibition / retrospective of the same title in the Bauhaus Archive Berlin, September 19, 1980 to January 12, 1981. Gebr. Mann, Berlin 1980, p. 27 (With the collaboration of Magdalena Droste, Christian Wolsdorff and Bauxi Mang, pp. 24–30).
  46. ^ Christian Wolsdorff: Georg Muche as an architect . Georg Muche: Insights into letters and the time in which they were written, unpublished transcripts of letters Critical index of paintings, drawings, photos and architectural works; Catalog for the exhibition / retrospective of the same title in the Bauhaus Archive Berlin, September 19, 1980 to January 12, 1981. Gebr. Mann, Berlin 1980, p. 27 (With the collaboration of Magdalena Droste, Christian Wolsdorff and Bauxi Mang, pp. 24–30). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 60 (e-book ISBN 978-3-95935-107-2 ).
  47. ↑ Alexander Stumm: Bauhaus-Greige in Weimar. Reopening of the Haus am Horn. In: baunetz.de. Heinze GmbH, May 20, 2019, accessed on March 18, 2020 .
  48. ↑ a b c d Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The Reception of the House Am Horn, p. 91, 92 .
  49. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 78-88 (e-book ISBN 978-3-95935-107-2 ).
  50. ↑ a b Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 75 (e-book ISBN 978-3-95935-107-2 ).
  51. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The central living space, p. 21 .
  52. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The central living space, p. 24 .
  53. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The central living space, p. 26, 28 .
  54. ↑ a b Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 77 (E-Book ISBN 978-3-95935-107-2 ).
  55. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The working niche, p. 34-36 .
  56. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Das Bad, p. 40.42 .
  57. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The Lord's Room, p. 37, 40 .
  58. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The Lady's Room, p. 44.47.48 .
  59. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The Dining Room, p. 52, 54 .
  60. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Das Kinderzimmer, p. 48.51 .
  61. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The guest room, p. 59 .
  62. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Die Küche, p. 57 .
  63. ^ Georg Muche: The experimental house of the Bauhaus . In: An experimental house of the Bauhaus in Weimar. In: Adolf Meyer (Ed.): Bauhaus Book No. 3 . tape 1 . Albert Langen Verlag, Munich 1925, p. 15-19 (with the collaboration of Walter Gropius and Laszlo Moholy-Nagy). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 86 (e-book ISBN 978-3-95935-107-2 ).
  64. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The Reception of the House Am Horn, p. 93 .
  65. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Die Küche, p. 55.57 .
  66. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Die Küche, p. 58 .
  67. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 76 (e-book ISBN 978-3-95935-107-2 ).
  68. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Das Bad, p. 43.44 .
  69. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , entrance area and floor plan, p. 21 .
  70. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , Der Keller, p. 61 .
  71. ^ Reginald R. Isaacs et al: Walter Gropius; Man and his work . The basics; the time until leaving Germany. tape 1 . Mann, Berlin 1983, p. 312 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 92 (e-book ISBN 978-3-95935-107-2 ).
  72. ↑ a b c d e f Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 92-93 (e-book ISBN 978-3-95935-107-2 ).
  73. ↑ a b Bert Strebe: The window to modernity: On the trail of the Bauhaus feeling. In: kn-online.de. Kieler Zeitung Verlags- und Druckerei KG-GmbH & Co., February 9, 2019, accessed on March 18, 2020 .
  74. ↑ A. Behne: The construction world . tape 14 , 1923, pp. 591-592 . Quoted from Christian Wolsdorff: The house on the Horn in the mirror of the press . In: Georg Muche. The artistic work 1912–1927 Critical index of paintings, drawings, photos and architectural works; Catalog for the exhibition / retrospective of the same title in the Bauhaus Archive Berlin, September 19, 1980 to January 12, 1981. Ed .: responsible Hans M. Wingler Bauhaus Archive Berlin. Gebr. Mann, Berlin 1980, p. 42 (With the collaboration of Magdalena Droste, Christian Wolsdorff and Bauxi Mang, pp. 31–45). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 93 (E-Book ISBN 978-3-95935-107-2 ).
  75. ↑ a b F. Stahl: The model house . In: Berliner Tagewerk . August 28, 1923, p. 591-592 . Quoted from Christian Wolsdorff: The house on the Horn in the mirror of the press . In: Georg Muche. The artistic work 1912–1927 Critical index of paintings, drawings, photos and architectural works; Catalog for the exhibition / retrospective of the same title in the Bauhaus Archive Berlin, September 19, 1980 to January 12, 1981. Ed .: responsible Hans M. Wingler Bauhaus Archive Berlin. Gebr. Mann, Berlin 1980, p. 36 (With the collaboration of Magdalena Droste, Christian Wolsdorff and Bauxi Mang, pp. 31–45). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 93 (E-Book ISBN 978-3-95935-107-2 ).
  76. ↑ a b c d e f g h i j k Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , history of use and renovation 1923–1998, p. 95, 97, 99 .
  77. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 95 (e-book ISBN 978-3-95935-107-2 ).
  78. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 96 (e-book ISBN 978-3-95935-107-2 ).
  79. ↑ a b c Marlis Grönwald: The history of use 1923-1996 . In: Haus am Horn, reconstruction of a utopia . Ed .: Bernd Rudolf. Bauhaus Univ. Weimar. Univ-Verl., Weimar 2000, p. 111-113 . Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 96 (e-book ISBN 978-3-95935-107-2 ).
  80. ^ A b Thomas Wittenberg: Priorities of the renovation of the monument preservation . In: Sparkassen-Kulturstiftung Hessen-Thüringen, Das Haus "Am Horn". Conservation restoration and future of the UNESCO World Heritage Site in Weimar . Ed .: Thomas Wurzel. Friends of the Bauhaus-Univ. Weimar, Bauhaus Museum at the Weimar Art Collections, Frankfurt am Main 1999, p. 24–31 (with the collaboration of Heiko Donath, Barbara Happe, Bernd Rudolf, Michael Siebenbrodt, Thomas Wittenberg). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 96-97 (e-book ISBN 978-3-95935-107-2 ).
  81. ↑ Interview with Marietta Schwarz: Bernd Grönwald and the house on the Horn. In: baunetz.de. Heinze GmbH, March 7, 2019, accessed on March 18, 2020 (Friederike Meyer asked the questions).
  82. ↑ cf. on this Claude Schnaidt: Bernd Grönwald. In: In other words. Writings 1950–2001 , Weimar 2009, ISBN 978-3-86068-373-6 , p. 276.
  83. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 97 (e-book ISBN 978-3-95935-107-2 ).
  84. ↑ Thomas Wittenberg: Priorities of the renovation of the listed buildings . In: Sparkassen-Kulturstiftung Hessen-Thüringen, Das Haus "Am Horn". Conservation restoration and future of the UNESCO World Heritage Site in Weimar . Ed .: Thomas Wurzel. Friends of the Bauhaus-Univ. Weimar, Bauhaus Museum at the Weimar Art Collections, Frankfurt am Main 1999, p. 8 (With the collaboration of Heiko Donath, Barbara Happe, Bernd Rudolf, Michael Siebenbrodt, Thomas Wittenberg). Quoted from Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 98 (E-Book ISBN 978-3-95935-107-2 ).
  85. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , on the reconstruction of Breuer furniture, p. 88 .
  86. ↑ a b Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , pp. 12 .
  87. ↑ a b Bauhaus University Weimar: Haus Am Horn. Retrieved September 10, 2018 (German).
  88. ^ [1] Website of the Bauhaus University Weimar, accessed on January 4, 2019.
  89. ↑ Weimar's house on the Horn is getting new finery under the Christo cover . In: Thuringian General . ( thueringer-allgemeine.de [accessed on September 10, 2018]).
  90. ↑ a b c Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , The renovation of the house on the Horn, p. 101, 102 .
  91. ↑ Sonja Stadje: Small white cubes? The Bauhaus, De Stijl and their first realized buildings - an architectural consideration. disserta Verlag, imprint of Diplomatica Verlag GmbH, Hamburg 2015, ISBN 978-3-95935-106-5 , p. 87 (E-Book ISBN 978-3-95935-107-2 ).
  92. ↑ Ute Ackermann, Anke Blümm, Martina Ullrich: Haus Am Horn . Bauhaus architecture in Weimar. Ed .: Klassik Stiftung Weimar. Hirmer, Munich 2019, ISBN 978-3-7774-3274-8 , pp. 8 .
  93. ↑ weimar.de: Haus Am Horn. Retrieved May 20, 2019 .
  94. ^ Michael Siebenbrodt, Klaus Dieter Locke: Handicraft sheet "Haus am Horn 1923" . Bauhaus-Universitätsverlag Weimar, 2018, ISBN 978-3-95773-261-3 ( lovelybooks.de ).
  95. ↑ Haus Am Horn, mini kit, matchbox. In: sugartrends.com. Sugartrends GmbH, accessed on March 13, 2020 .
  96. ↑ Haus Am Horn, miniature, kit. In: sugartrends.com. Sugartrends GmbH, accessed on March 13, 2020 .
  97. ↑ Haus Am Horn, anchor stone construction kit. In: sugartrends.com. Sugartrends GmbH, accessed on March 13, 2020 .

Coordinates: 50 ° 58 ′ 26 ″  N , 11 ° 20 ′ 22 ″  E

This article was added to the list of articles worth reading on March 28, 2020 in this version .