Editing Bauhaus (section)

== Architectural output ==
The paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building,<ref>{{cite web |url=http://bauhausmanifesto.com |title= Manifesto of the Staatliches Bauhaus |author=Gropius, Walter |date=April 1919 |work=BauhausManifesto.com}}</ref> the school did not offer classes in architecture until 1927. During the years under Gropius (1919–1927), he and his partner [[Adolf Meyer (architect)|Adolf Meyer]] observed no real distinction between the output of his architectural office and the school. The built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in [[Jena]], and the competition design for the [[Chicago Tribune Tower]], which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 [[Haus am Horn]], student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.

In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the [[ADGB Trade Union School|Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes]] (ADGB Trade Union School) in [[Bernau bei Berlin]]. Meyer's approach was to research users' needs and scientifically develop the design solution. He intended to place emphasis on Gropius' objective analysis of the properties determining an object's use value, known as ''Wesensforschung''. Gropius believed that it was possible to design exemplary products of universal validity that should be standardized.<ref>{{cite book |last1=James-Chakraborty |first1=Kathleen |title=Bauhaus Effects in Art, Architecture, and Design |date=2022 |publisher=Routledge |pages=82}}</ref>

[[Mies van der Rohe]] repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither Mies van der Rohe nor his Bauhaus students saw any projects built during the 1930s.

The Bauhaus movement was not focused on developing worker housing. Only two projects, the apartment building project in Dessau and the Törten row housing fall into the worker housing category. It was the Bauhaus contemporaries [[Bruno Taut]], [[Hans Poelzig]] and particularly [[Ernst May]], as the city architects of Berlin, [[Dresden]] and [[Frankfurt]] respectively, who are rightfully credited with the thousands of socially progressive housing units built in [[Weimar Germany]]. The housing Taut built in south-west Berlin during the 1920s, close to the U-Bahn stop [[Onkel Toms Hütte (Berlin U-Bahn)|Onkel Toms Hütte]], is still occupied.