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Walter Gropius Photo

Walter Gropius

German Architect

Born: May 18, 1883 - Berlin, Germany
Died: July 5, 1969 - Massachusetts, USA
Movements and Styles:
The International Style
"We cannot go on indefinitely reviving revivals...Neither medievalism nor colonialism can express the life of the 20th-century man. There is no finality in architecture - only continuous change"
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Walter Gropius Signature
"Artists, let us at last break down the walls erected by our deforming academic training between the 'arts' and all of us become builders again! Let us together will, think out, create the new idea of architecture"
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Walter Gropius Signature
"Architects, sculptors, painters, we must all return to the crafts! For there is no 'professional art'."
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Walter Gropius Signature
"Painters and sculptors, become craftsmen again, smash the frame of salon art that is around your pictures, go into the buildings, bless them with fairy tales of color, chisel ideas into the bare walls - and build in imagination, unconcerned about technical difficulties. The boon of imagination is always more important that all technique, which always adapts itself to man's creative will"
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Walter Gropius Signature
"The true task of the socialist state is to exterminate this evil demon of commercialism and to make the active spirit of construction bloom again among the people"
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Walter Gropius Signature
"We want to create the purely organic building, boldly emanating its inner laws, free of untruths or ornamentation"
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Walter Gropius Signature
"The ultimate goal of all artistic activity is the building! To decorate it was once the noblest task of the visual arts, they were indissoluble components of the great art of building"
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Walter Gropius Signature
"Art and technology, a new unity! Technology does not need art, but art very much needs technology - example: architecture! They differ in nature; therefore their addition is not possible, but their common creative source must be explored and rediscovered by those who are endeavoring to establish the 'new idea of building'. The means: through preparatory training for these people in the crafts and technology"
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Walter Gropius Signature
"As to my practice, when I built my first house in the U.S.A. - which was my own - I made it a point to absorb into my own conception those features of the New England architectural tradition that I found still alive and adequate. This fusion of the regional spirit with a contemporary approach to design produced a house that I would never have built in Europe with its entirely different climatic, technical and psychological background"
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Walter Gropius Signature

Summary of Walter Gropius

Not only was Walter Gropius one of the pioneers of modern architecture, he was the founder of the Bauhaus, a revolutionary art school in Germany. The Bauhaus replaced traditional teaching methods with a flexible artistic community, focusing on a collaborative approach to learning and the creation of integrated design projects. Later, the Bauhaus also incorporated mass production techniques into its output, designing objects and buildings for a wide audience. The school taught some of the most famous names in modernism as well as attracting established artists working within the fields. Despite its relatively short-lived existence, the Bauhaus and the design styles associated with it were hugely influential on a global scale, but particularly so in the United States where many of the artists moved before and during the Second World War to escape persecution by the Nazis.


  • Gropius believed that all design should be approached through a study of the problems that needed to be addressed and he consequently followed the modernist principle that functionality should dictate form. He applied these beliefs to wider social issues, designing affordable housing in the interwar period and seeking to improve physical conditions for factory workers through his architecture.
  • As well as pushing boundaries in architectural design, Gropius also experimented with innovative building and assembly techniques using prefabricated units and new materials such as reinforced concrete. Similar ideas were later utilised to create cheap, mass produced housing in the 1940s (known as prefabs).
  • Gropius is credited with the introduction of modernist architecture to the United States through his design of the Gropius House and his teaching at Harvard University. Gropius's buildings were in stark contrast to previous architectural styles and were characterized by their cubic design, flat roofs and expanses of glass that allowed for a merging of interior and exterior spaces.

Biography of Walter Gropius

Walter Gropius Photo

Walter Gropius was born in Berlin to Walter Adolph Gropius, a government official and Manon Auguste Pauline Scharnweber, the daughter of the Prussian politician Georg Scharnweber. His parents were wealthy and well connected and Gropius spent his summers on the estates of landowning members of the family. Walter Gropius Senior had a keen interest in architecture and Gropius's uncle, Martin Gropius, was also an established architect, his biggest commission being the design for the Museum of Decorative Arts in Berlin (1881), consequently Gropius's interest in architecture was encouraged from a young age.

Important Art by Walter Gropius

The Fagus Factory (1910)

Gropius designed the façade of this factory in conjunction with Adolf Meyer in the period after they left the office of Peter Behrens. The floor to ceiling glass creates a sense of light and the large rectangular panes, punctuated by steel mullions and brickwork, wrap the factory in a continuous manner rarely seen in building design before. Of particular note are the corners, where the glass joins at right angles, giving the illusion of not needing support. This works to eliminate the distinction between interior and exterior, a reoccurring theme in modernist architecture. Every element of the building is simple, functional, and cubic in construction and this pre-empts the Art Deco aesthetic of the interwar period. The entrance and clock date from a 1913 expansion to the building, also designed by Gropius and Meyer.

The building was commissioned by Carl Benscheidt, the General Manager of Fagus, a company that specialized in the manufacture of shoe lasts, foot-shaped forms that were used in the production and repair of shoes. Benscheidt was keen for the building to demonstrate a clear break with the past and this provided Gropius and Meyer with a chance to experiment with new ideas and technologies. The influence of their experience at Behrens's office, where they worked on projects such as the AEG Turbine Factory, can be seen in the openness of the aesthetic and the expansive use of glass. Gropius was particularly intrigued by how good design could benefit society as a whole and in this design he saw the use of glass as advantageous for the factory workers, who would be exposed to more light and fresh air than they had been in the enclosed brick factories of the 19th century.

Sommerfeld House (1921)

Sommerfeld House (1921)

Commissioned by the Berlin-based timber entrepreneur Adolf Sommerfeld as his private residence, Sommerfeld House marked the first large-scale example of the Bauhaus method of collaborative design and the unity of art forms. Almost all of the workshops of the Bauhaus Weimar contributed to the design and making of the building and its interiors with the design overseen by Gropius and Adolf Meyer. The interior featured elaborate geometric carvings by Joost Schmidt, stained glass by Josef Albers, weavings by Dörte Helm, wall paintings by Hinnerk Scheper, and furniture designed by Marcel Breuer.

Sommerfeld House is perhaps not instantly recognizable as a work by the architectural avant-garde of the period. The use of wood as the main building material lends it a traditional, rustic look and this reflects the early expressionistic phase of the Bauhaus. The plank-based design also references the owner's occupation and the building utilized a patented system of pre-cut interlocking timbers developed by Sommerfeld's own construction company called the Blockbauweise Sommerfeld (Sommerfled block building method). Despite Gropius's forward-thinking designs, he saw wood as a key material, describing it as "the building material of the present...Wood has a wonderful capability for artistic shaping and is by nature so appropriate to the primitive beginning of our newly developing life". In addition to Sommerfeld House, Gropius and Meyer were tasked with designing four houses on the same plot for employees of the Sommerfeld company. The house was destroyed in World War Two.

Monument to the March Dead (1922)

Monument to the March Dead (1922)

This monument is the result of a competition launched by The Weimar Trades Unions to commemorate those who lost their lives opposing the Kapp Putsch in March 1920. This was an unsuccessful coup, led by the right-wing nationalist Wolfgang Kapp, which aimed to overthrow the Weimar government and establish a right-wing autocracy in its place. The competition committee chose Gropius's design from several submitted, and erected the monument in the Weimar central cemetery. Although Gropius maintained that the Bauhaus should not engage with politics, he agreed to participate in the competition and to involve the school's stone-carving workshop in the project. In doing so, Gropius revealed his increasingly Left leaning political sympathies. The memorial was destroyed by the Nazis due to its design and political overtones, but it was later rebuilt in the post-war period.

The design is abstract and fractured in its form and is considered part of Gropius's short Expressionist period. The lower sections form a circulatory, ascending path which visitors could follow to an enclosed area for quiet reflection. The lightning bolt rising from the main body of the monument suggests dynamism and the continued living spirit of those that died. The design bears similarities to Expressionist sculptures and architectural projects produced by Gropius's contemporaries at the Deutsche Werkbund. Its form is particularly reminiscent of the cathedral design by Lyonel Feininger which featured on the cover of the 1919 Bauhaus manifesto.

Influences and Connections

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Walter Gropius
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Content compiled and written by Alexandra Banister

Edited and revised, with Summary and Accomplishments added by Kate Stephenson

"Walter Gropius Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Alexandra Banister
Edited and revised, with Summary and Accomplishments added by Kate Stephenson
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First published on 20 Sep 2018. Updated and modified regularly
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