Bauhaus Project

Marcel Breuer Biopic

Born in May 1902 in Hungry (died 1^st July 1981 in New York) Marcel Breuer taught and attended the Bauhaus school between 1920 and 24, the school stressed the importance of visual arts, crafts and technology in the industry of production. Due to the increasing influence of the Nazi party Breuer fled to London where he worked for Isokon company for several years creating his iconic Wassily chair. He later moved to America where he became a well-known architect (creating over fifty buildings) and taught at Harvard University.

Breuer was heavily influenced by Charles-Édouard Jeanneret, otherwise known as Le Corbusier, Walter Gropius and Ludwig Mies van der Rohe, all considered to be the pioneers behind modern architecture. Gropius and Mies were both architect directors at and even though Le Corbusier never taught or attended the school he was said to be a pioneer in the study of modern high design and dedicated to improving the living conditions of highly populated areas. Even changing his name to the pseudonym La Corbusier trying to prove his point that any one and anything can change.  Mies created an influential twentieth century style, making use of modern materials such as industrial steel and plate glass. Using this minimal style to define the interior space allowing a flowing and open area. Like many other artist and creative people of the time the Nazi regime quashed many creative practices, such as the Bauhaus school having its funding cut and eventually closed (later to be reopened). This minimal style greatly influenced Breuer style; in 1921 in collaboration with Gunta Stölzl they created a chair that would see the beginnings of Breuer’s later work. A few years after this he created what was to be one of Breuer’s most iconic creations, the Wassily Chair. It was revolutionary in its use of steel tubing, fabric and method of manufacture, in 1935/6 while in England he went on to create the Long Chair; made of plywood formed to match the curves of the human form. In his later years Breuer turned his hand to architecture creating multiple buildings; probably his best known one is the Whitney Museum in New York. Inspired by his time at Bauhaus he wanted to bridge the gap between the creative arts and architecture. Breuer wanted the building to have its own identity; he didn’t want it to look like an office building or a place of entertainment but still stand string against the surrounding sky scrapers. Creating its own story transforming the street and the understanding of art.

Influenced architects such as Philip Johnson, Paul Ruloph and Edward L. Barnes, while in the United States.

Timeline

1902- Born in Pécs, Hungary

1920- Wins scholarship to Vienna Academy of Fine Arts, but drops out to work in an architect’s office                  then moves to Weimer, Germany to study at Bauhaus

1921- 1 of 6 apprentices to work in the new Furniture Workshop, where he produced the African chair

1923- Becomes a Journeyman and builds wood slat chair influenced by De Stijl

1924- Left Bauhaus for Paris to work as an architect but was disappointed. Gropius asked him to come to teach the furniture workshop at Bauhaus

1926- Created the Wassily Chair

1928- Gropius and Breuer both resign from the Bauhaus and become architects in Berlin

1933- Moved to Switzerland to concentrate on making furniture

1935- Gropius asks Breuer to come and work with him in Isokon in London owned by Jack Pritchard

1937- Gropius and Breuer both move to the United States and become professors at Harvard University, and they open an architect’s office together

1941- Gropius and Breuer dissolve their partnership

1946- Partners up with Eliot Noyes and build Geller House on Long Island

1953- Started building the UNESCO headquarters in Paris

1963- Started building the Whitney Museum of American Art

1981- Dies in New York

Design Concept

Starting location Weimer, Germany. Focusing on the Bauhaus building, exterior shot of building, where the furniture workshop is located. Interior shot of corridors, classrooms and the furniture workshop where Breuer studied. Set to 1920 backdrop, making the audience aware of that the WWI has just ended. Taking into account any relevant artist exhibitions for posters on the walls of classrooms etc. and style of dress. In the classroom there should be typical equipment that you would expect to find in there, such as hand tools, pencils and rulers. Using various shots from around the university and surrounding area to give the feel of the area.

Still at Bauhaus but one year later interior of the furniture workshop where Breuer has created the Africa Chair, a lighter mood one of celebration having produced the chair and have got an apprenticeship at the workshop.

Second location Paris, France. Architect’s office, posters of other architects of the time of the walls and modern buildings for that time period. In the office would be architects equipment and desks for staff to work at, with a couple of 1920s style typewriters located around the room. Set to 1924 backdrop, correct style of dress and furniture, choosing shots of building that would have been around in that period. Could use shots of the Eiffel Tower as would have only been around for 30 years or so relatively modern compared to the surrounding area. Simple Parisian bedsit where Breuer lived (had little money so wouldn’t be very big with many belongings in it) and where Gropius can come and convince him to come back to Bauhaus and teach. Typical Paris coffee shops etc. where the two of them can wander the streets together. Beginning scenes would be grim as Breuer was disappointed with how life in Paris was turning out.

Back to Bauhaus location but four years on, the overall structure wouldn’t have changed but furniture, style of dress would have moved on. Shooting in the surrounding area that would have been the same in the 1924. New equipment would be in the furniture workshop, new areas of Bauhaus would be revealed as Breuer was now a lecturer and would be allowed to go into areas that students wouldn’t have been able to.  Main focus would end up being the furniture workshop where in 1926 he would create the iconic Wassily chair.

Between 1928 and 1933 he moved between Berlin and Switzerland, may require shots of the area where he worked, areas that wouldn’t have changed since that period. The WWII was on the horizon so there would be signs of the Nazi party gaining support in the area, especially in Berlin (Switzerland was neutral so wouldn’t have been so prevalent).

Moved over to London in 1935, to work for Isokon (who build modernist housing and subsequently furniture). Lived in the Lawn Road flats (at the time the ultimate in modernist building), exterior shots from outside the building signs of the impending WWII. Building would have been very new so no signs of age would have appeared yet, there would be a few cars on the roads (cars used would have to be appropriate for that period). Interior shots from inside the Lawn Road building, modernist style of living, maybe an architect’s desk in the corner covered in paper and equipment. Ideas for new furniture and buildings on the desk and walls may have some prototypes of furniture as well. Exterior would also include iconic shots of London, buildings that would have been around in that period, such as Westminster Abbey with Big Ben and shots of the Thames.

Over to the United States of America in 1937; Breuer moved to Cambridge, Massachusetts to teach at Harvard University alongside Gropius. Would require exterior shots of Harvard and the surrounding area getting a feel for the area, WWII was only a few years away so there might have been tension in the air and talk of the impending fallout (but life was still going on as normal for most people). Army posters would be in view on the streets and around the campus. Interior shots would include lecture theatres and workshops from inside Harvard, all containing the usual classroom/workshop equipment, images of architecture specifications and papers and notes students would have taken in class. Interior shots would also include his apartment somewhere in Cambridge close to Harvard, drawings and designs maybe seen within it, including a typewriter. Breuer and Gropius had formed a partnership, opening an architect’s office together, so would require interior shots of architect’s office; containing architects equipment of the time, general office equipment and individual desks for the staff to work at each one unique to the person.

Gropius and Breuer end their partnership but continue working together at Harvard together; Breuer opens up his own architect’s office in New York in 1946. The Second World War is over; the mood is lighter there is a sense of relief in the air and New York was fast becoming the hub of Abstract Expressionism. Exterior shots would include areas of the New York and Long Island that wouldn’t have changed since the 1940s the skyline would have been quite different from the present, there have been many changes in the style of building. Started the design of Geller House on Long Island, exterior shots would show the building once completed, interior would show the design process (an architect’s office) and rooms from within Geller House (how it would have been once completed).

From his office in New York he went in to design the UNESCO Headquarters in Paris and the Whitney Museum of American Art in New York. During this time exterior shots would include images from Paris, what building looks like today and images of the Whitney Museum. Interiors may include architect’s office where Breuer designed the buildings, where he lived and area that he lived in (places that he may have frequented). All set to changing backdrop between 1946 and 1963, influences would have changed and styles would have moved on, the art scene in New York become bigger and more prolific.

Documenting his last few days/weeks of Breuer’s life would include interior/exterior shots of New York, in 1981.