ADOLPH WALTER GROPIUS (PIONEER ARCHITECT ) (1883-1969)

intro-duCt!oN
Walter Adolph Georg Gropius (May 18, 1883 July 5, 1969) was

a German architect and founder of the Bauhaus School,who, along with Ludwig Mies van der Rohe, Le Corbusier and Oscar Niemeyer, is widely regarded as one of the pioneering masters of modern architecture. Walter Gropius, like his father and his greatuncle Martin Gropius before him, became an architect. Gropius could not draw, and was dependent on collaborators and partnerinterpreters throughout his career. In school he hired an assistant to complete his homework for him. In 1908 Gropius found employment with the firm of Peter Behrens, one of the first members of the utilitarian school. His fellow employees at this time included Ludwig Mies van der Rohe, Le Corbusier, and Dietrich Marcks. Gropius's career was interrupted by the outbreak of World War I in 1914. Called up immediately as a reservist, Gropius served as a sergeant major at the Western front during the war years, and was wounded and almost killed

 An introduction to the work of Walter Gropius, the renowned

German architect who is widely regarded as one of the pioneering masters of modern architecture and design. Walter Gropius is widely regarded as one of the pioneers of modern architecture due to his belief in bridging the gap between technology, industry and architecture Walter Gropius. Studied at the Colleges of Technology of Berlin and Munich. Worked under the german architect Peter Behrens from 190710. He was influenced by the writings of Frank Lloyd Wright. Founded the Bauhaus (House of Building), one of the most influential architecture and design schools of the 20th century. The rise of National Socialsim and Adolf Hitler drove Gropius out of Germany. He first went to London, but eventually settled in Boston, where he taught at Harvard and MIT. (WJC)

Beginning Career
Gropius's career advanced in the postwar period. Henry van

de Velde, the master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar was asked to step down in 1915 due to his Belgian nationality. His recommendation for Gropius to succeed him led eventually to Gropius's appointment as master of the school in 1919. It was this academy which Gropius transformed into the world famous Bauhaus, attracting a faculty that included Paul Klee, Johannes Itten, Josef Albers, Herbert Bayer, Lszl Moholy-Nagy, Otto Bartning and Wassily Kandinsky. One example product of the Bauhaus was the armchair F 51, designed for the Bauhaus's directors room in 1920 - nowadays a re-edition in the market, manufactured by the German company TECTA/Lauenfoerde

 Gropius created innovative designs that borrowed

materials and methods of construction from modern technology. This advocacy of industrialized building carried with it a belief in team work and an acceptance of standardization and prefabrication. Using technology as a basis, he transformed building into a science of precise mathematical calculations. An important theorist and teacher, Gropius introduced a screen wall system that utilized a structural steel frame to support the floors and which allowed the external glass walls to continue without interruption

PRACTICE
Peter Behrens (19081910) Walter gropius work under Peter behren in berlin,Germany. The Architects' Collaborative (19451969) In 1937 Gropius moved to America and became a Senior Professor at the Harvard Graduate School of Design There he created The Architects' Collaborative which fast became one of the most well-known and respected architectural firms in the world. This clip has subtitles available in Flash

WaLter Gropius fieLd of interest

Bauhaus Biedermeier Constructivism Cubism Futurism Historicism Op-Art Photography Pop-Art Secession

CUBISM

Cubism

Cubism (from the French, cube) formed in France at the beginning of the 20th century, and was employed simultaneously by Pablo Picasso and George Braque, who independently from each other found their way to this pictorial solution. Cubism dissipated representation by using simple geometric surfaces, above all cubes. By use of this process, forms became split up, so that cubism created a first form of abstraction. An important impulse for cubism was the art of Paul Czanne as well as his programmatic statement, "everything in art is formed of balls, cones and cylinders". On the other hand, Picassos "Demoiselles dAvignon" of 1907 is considered a programmatic work of cubism itself. The work was shocking not only in its theme, but also the stark method of representation of the female nude. Picasso received an important impulse for this picture from the angular carvings of African art as well.

 Characteristic for cubistic works is the decrease of color and

the concentration on form. These features are applicable both to analytical cubism of the years 1910-12 and to synthetic cubism from 1912-15. While analytical cubism breaks down the forms into their individual parts, deforms them into cubes and simultaneously includes several perspectives in one picture, the individual pictorial elements in a synthetic cubistic work are put together in such a way that one is compelled to bring the original shape back together in ones thoughts. In addition, in synthetic cubism, newspaper clippings or pieces of carpet are integrated into the pictures, so that the first collages were created. It is first in orphic cubism that Robert and Sonia Delaunay brought color and softer forms back into pictorial works. Important artists of cubism are: Georges Braque, Lyonel Feininger, Juan Gris, Francis Picabia, Pablo Picasso.

Futurism

Futurism

An avante-garde movement seeking to break with all past art movements, Futurism (for "future", futuro in Italian) emerged in Italy around 1910. Futurist artists called for an end to all academies, equated museums with cemeteries, and sought an aesthetic of dynamic fragmentation. Similar to Cubism, Futurism was preoccupied with the decomposition of form. However, formal decomposition in Futurism is not the same as the pure fragmentation of form in Cubism; rather, Futurist images seek to visualize a series of motions, using chronophotography, or multiple photographic exposures (stop-motion photography). The factor of time occupies a central role in Futurist art. The depiction of simultaneity in dynamic processes was meant to illustrate such technical advances, signifying a futuristic approach to flow. Composition thus becomes more rhythmic and protracted, as motion cannot insert itself into an prescribed pictoral space. Futurist artists developed a rapid, vibrant style that dismantled perspective and delineation so that color and shape could be expressed. Futurist sculpture tried to capture the motion and speed of the world of technology in a single object; figures are fragmented, as in Boccionis work, "Unique Forms of Continuity in Space".

 In terms of social history, this fascination with speed grew out

of a desire to totally restructure society in the wake of technical advancements. The "Futurist Manifesto", published by the poet Marinetti on Febuary 20, 1909 on the front page of Le Figaro, announced a total break with all established tradition. The Futurists regarded war as an opportunity to purge the world of old outdated views, a chance to start anew. Their insistence on working outside the boundaries of artistic convention was progressive and was later echoed in Dadaism. The Futurists were inspired by the writings of the philosophers Nietzsche and Bergon. The artists Giacomo Balla, Umberto Boccioni, Carlo Carra, Filippo Tommaso Marinetti, Luigi Russolo, and Gino Severini were Futurists

Historicism

Historicism

Historicism, in the broadest sense, means the recourse to historical style, which was also utilized during the Renaissance, for example. Normally, however, this term is understood to mean the more narrow characterization and stylistic pluralism in the second half of the 19th century, which in turn can be differentiated into the so-called neostyles (Neo-Romanticism, Neo-Gothic, Neo-Renaissance, Neo-Baroque, etc.). When these styles are intermixed, one also speaks of Eclecticism. During this period, several nations defined themselves anew, and in search for a national style, historicism played a leading role; typical here is Heinrich Hbschs work, In welchem Style sollen wir bauen [In What Style Should We Build]. The origins of historicism lie both in Romanticism, in which national consciousness and interest for the Middle Ages was awakened, and also in classicism, in which one used elements from the Antique. The main carrier of historicism was architecture: the historical styles that were rediscovered were employed contemporaneously and choreographed for certain statements: in this way, Gothic elements were used for residences; for banks, theaters and museums, on the other hand, the Neo-renaissance was chosen. Well-to-do citizens prefered the forms of the Neo-Baroque style for their homes.

Industrialization, through manufacture of new materials, made new construction possibilities available; even so, these were not shown openly, but were rather hidden behind the masking facades of Neostyle. The application of the style of a past epoch on new and for the most part larger buildings often resulted in a certain conscious strictness to such an extent that the proportions were no longer in harmony and the repertory of forms had to be repeated. Engineering architecture is, however, an exception. The reduction of the cost of producing crude iron resulted in the use of cast-iron as a building material. Here, Paxtons Crystal Palace from 1851 at the first World Exhibition, or the Eiffel Tower at the Paris Universal Exhibition in 1889 are definitive examples. Eugne Viollet le Duc finally combined the new material with Gothic shapes. Industrialization also played an important role in the applied arts. On the one hand, the retreat into old tried and true forms is a conscious reaction against the unreal and stereotype-reinforcing mass production of industry; on the other, however, it is precisely machine production that allows one to produce everyday objects in the styles imitated at reasonable prices. In painting, historicism shows up in the categories of the Nazarene movement and the Pre-Raphaelite Brotherhood. Both movements had a thematic interest in medieval legends and literary works

CONSTRUCTIVISM

Contructivism
Constructivism is an artistic style that appeared in Russia

around 1913. It concentrated on strictly geometric composition, and for this reason was nonrepresentational. In this approach, constructivist (lat. "constructio" = structure) artists strove at the same time for a certain tectonics. The constructive nature of their art lay in building a composition by means of simple geometric building blocks. Constructivism received important impulses from cubism and from the dynamic fragmentation of futurism, which also put together their compositions from geometricizing shapes. Within the constructivist group itself, there were two strands:

 while one part concentrated itself on a functional

constructivism and thought about architecture, design and typography, the suprematic group around Malewitsch strove for a pure form of art that retreated from every social obligation. Constructivism established itself in any case after the October Revolution in both forms as the official Russian state art; in the political turmoil, however, many constructivists emigrated to the West, where they joined groups such as de Stijl or Bauhaus. For this reason, the designation "constructivist" is often used for other styles of modern art that follow similar principles

SECESSION

Secession
The Secession (from the Latin secessio, or split) refers to the

conscious departure of certain groups of artists from official and academic circles. Much like the historicism of the Gothic Revival, the Secession took a stand against the standardization of form and industrialized manufacturing, and may be viewed as part of the fight against mass production and its perceived threat to human individuality. However, Secessionist art was also directed against the propagation of historical styles, and turned more towards stylized plant-like forms. Typical of the movement is an ornamental, linear graphic style exemplified by the curving lines and floral motif of Peter Behrens woodcut The Kiss. Secessionist movements formed at the end of the 19th century in European art centers; in Germany, the Jugendstil, named after the magazine Der Jugend, was centered in Munich, Berlin, and Darmstadt.

 In France and Belgium the Secession was called art nouveau, mainly

understood as a reaction against impressionism. In Italy, the Liberty style emerged at the 1902 Turin Exhibition, and in England a new style grew out of the Arts and Crafts movement inspired by William Morris. The Austrian group was known as the Wiener Secession after its home in Vienna, with Gustav Klimt as its standard bearer; the Secession Building designed by Joseph Maria Olbrich became known as the movements "temple". Within the Secession movement were painters, sculptors, and even architects, who turned away from official art. They sought an integrated conception of art and attempted to create a synthesis of all the arts. Applied art was particularly influenced by the art of the Secession. Among members of the Secession are: Gustav Klimt, Antonio Gaud, Victor Horta, Carl Faberg, Peter Behrens, Koloman Moser, Alfons Mucha, Walter Maria Olbrich, Franz von Stuck, Fritz von Uhde, Henry van de Velde, and Otto Wagner.

OP ART

Op-Art
Op-Art Op-Art is short for "optical art", which is an art style that plays

with the optical perception of the observer. Op-Art emerged in the 1950s and absorbed important impulses from orphism, futurism and de Stijl. The optical illusion in Op Art is achieved by the repetition of strictly calculated, equal fields of color that are consecutively coordinated with each other. The illusion is created by means of deliberate juxtaposition of graphic elements as well as the utilization of the laws of color, such as for example the law of simultaneous contrast. The term "Op Art" itself caught on first in 1965 after the MoMA exhibit, "The Responsive Eye". Important representatives of Op Art are: Victor Vasarely, Bridget Riley, Jsus Soto, Cruz Diez , Julio Leparque, Youri Messen-Jaschin.

POP ART

Pop-Art

Pop-Art Pop Art is an abbreviation for popular art and represents a style that developed simultaneously in England and in the US during the 1950s. What was popular about pop art were the trivial pictorial subjects; for example, pop art oriented itself strongly to advertising posters, consumer goods and other elements of life in a big city. Thus pop art wanted to permit items fit for the masses and popular objects to become art. In the US, pop art was less theoretical and more directly targeted: the world of supermarkets and mass production, comics, and shining stars with the image of eternal youth. Pop art worked in this way with everyday objects, which it isolated and in so doing placed into focus. Another method of representation of pop art was the arrangement of represented objects in even rows. Pop art used the techniques of screen printing and photo montage. Pop art reached its climax in the US during the 1960s; the English critic Lawrence Alloway coined the term. Besides "pop art" Alloway is said to have also used the term "pop culture". Among the most important American pop artists are Andy Warhol, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg.

Photography

Photography

Photography is understood as an optical-technical process that enables copying and keeping pictures permanently. The word "photography" comes from the Greek and means "to write light". The chemical foundation for photography, photochemistry, is based on the discovery of the light sensitivity of halogen silver salts. The physical and chemical effects of light are used on certain substances to create photographs. The idea of photography itself meanwhile can be traced back to the 15th century. The experiments of Brunelleschi, da Vinci and Drer with a hole camera and those of Athanasius Kirchner with a projector are well known, and these created the technical basis for photography. The basic idea for photography as we know it today came from the siblings Claude and Joseph Nipce. Joseph Nipce created the first photograph (with an exposure time of 6 hours) that is still preserved today: a picture of his yard. However, M. Daguerre is considered the actual inventor of photography; his exposure time took only a few minutes and thus attracted more imitators and more interest among the public. The discovery of photography had in terms of art history immediate ramifications for impressionism, but also decades later for futurism and hyperrealism as well.

 Photography itself also became an art medium, for

example in Bauhaus. Art photography however was for a long time not considered as such. Henri CartierBresson, himself a photographer and a painter, saw photography not as a form of art but rather as a craft: "Photography is a handcraft. Many want to make art out of it, but we are simply craftsmen who must do their job well". At the same time, it was precisely Cartier-Bressons photographs that were displayed in museums and art exhibits very early on, for example in the MoMA retrospective (1947) and the Louvre exhibit (1955). Photography is now considered an artistic genre on equal footing with the others.

BIEDERMEIER

BIEDERMEIER
The concept "Biedermeier" marks for the German-speaking world

the time of the Restoration and the Pre-March Era. Originally, it was the pseudonym of a popular figure in the journal Fliegende Bltter [Flying Leaves/Pages] and had negative connotations. The disappointment after the Wars of Liberation and the restorative measures that had a braking effect on the middle classes lead to their retreat into private spaces. This condition is also reflected in art; first primarily used for arts and crafts, Biedermeier is carried over to painting and literature as well. In the cultivation of home decor, this style places simpler forms and fine materials with shiny, polished surfaces in opposition to the ostentatious Empire style. Light woods are preferred, and these can be delimited by artful inlays. The decor is reserved: pilasters, pillars, palmettes and flower motifs are readily used; gilding or the Egyptian embellishments of the Empire are strictly avoided. In painting, this simplicity is reflected in uncomplicated compositions; for the most part smallformat pictures were made, meant for private rooms.

 In like manner, their themes are often narrative scenes with

familiar content. The genre picture reaches its high point. The apparently harmonious-looking representations contain, however especially in Spitzweg a deeper meaning. In his paintings, the once represented unity of human and nature is reduced to absurdity, and romantic motifs are observed at an ironic distance, so that the works of the artist are entirely critical of society. A characteristic feature of Biedermeier is fashion: women wear white tiered skirts and a high, tightly laced bodice. The men wear a suit, vest, and the typical shirt with a high collar as well as a top hat. Important artists are: Eduard Grtner, Johann Peter Hasenclever, Georg Friedrich Kersting, Franz Krger, Ludwig Richter, Moritz von Schwind, Carl Spitzweg, Ferdinand Georg Waldmller, Franz Xaver Winterhalter.

BAUHAUS

Product Design Bahaus Chair Brewer

Bauhaus - design principle and global brand Staircase

Output Of Bahaus Students

BAUHAUS

Bauhaus Bauhaus was founded by Walther Gropius in Weimar in the year 1919 as an art, design and architecture school. The goal of Bauhaus was to bring together art, handcrafts and architecture into one single synthesis of the arts. This guideline is rather strongly oriented on the arts and crafts movement however, Bauhaus opened itself for new technological possibilities, so that the way to industrial design was smoothed. These artistic ambitions affected interpersonal relationships as well, so that no distinction was made any longer between the artist and the craftsman. Gropius goal was, "The final goal for all artistic activity is architecture! ... Architects, sculptors, painters, we must all go back to handwork! ... The artist is an intensification of the craftsman", which he proclaimed in the Bauhaus manifesto. This goal was also continued by his successors Hannes Meyer and Ludwig Mies van der Rohe after Bauhaus moved to Dessau and Berlin, which had to be done because of political reasons. Particularly under the leadership of van der Rohe, Bauhaus became an architectural school with a strong emphasis on the technical. Formally, Bauhaus stood for simple and clear lines. Under the influence of Moholy- Nagy, photography was also taken up into the Bauhaus program. In 1932, Bauhaus was forced to close; Mies van der Rohe opened it again briefly, but disbanded it shortly thereafter in 1933. Moholy- Nagy founded the new Bauhaus in Chicago in 1937. Important representatives of Bauhaus are: Johannes Itten, Gerhard Marcks, Lyonel Feininger, Georg Muche, Paul Klee, Oskar Schlemmer, Wassily Kandinsky, Josef Albers und Laszlo Moholy-Nagy.

imp0rtant

Pr0jects

19101911 the Fagus Factory, Alfeld an der Leine,

Germany 1914 Office and Factory Buildings at the Werkbund Exhibition, 1914, Cologne, Germany 1921 Sommerfeld House, Berlin, Germany designed for Adolf Sommerfeld 1922 competition entry for the Chicago Tribune Tower competition 19251932 Bauhaus School and Faculty, Housin, Dessau, Germany 1936 Village College, Impington, Cambridge, England 1936 66 Old Church Street, Chelsea, London, England

 1937 The Gropius House, Lincoln, Massachusetts, USA 1939 Waldenmark, Wrightstown Township,

Pennsylvania (with Marcel Breuer) 19421944 Aluminum City Terrace housing project, New Kensington, Pennsylvania, USA 19491950 Harvard Graduate Center, Cambridge, Massachusetts, USA (The Architects' Collaborative) 19451959 Michael Reese Hospital, Chicago, Illinois, USA - Master planned 37-acre (150,000 m2) site and led the design for at least 8 of the approx. 28 buildings. 19571960 University of Baghdad, Baghdad, Iraq

 19631966 John F. Kennedy Federal Office

Building, Boston, Massachusetts, USA 1948 Peter Thacher Junior High School, 1957-1959 Dr. and Mrs. Carl Murchison House, Provincetown, Massachusetts, USA (The Architects' Collaborative) 19581963 Pan Am Building (now the Metlife Building), New York, with Pietro Belluschi and project architects Emery Roth & Sons 1957 Interbau Apartment blocks, Hansaviertel, Berlin, Germany, with The Architects' Collaborative and Wils Ebert 1960 Temple Oheb Shalom (Baltimore, Maryland)

 1960 the Gropiusstadt building complex, Berlin,

Germany 1961 The award-winning Wayland High School, Wayland, Massachusetts, USA (demolished 2012) 19591961 Embassy of the United States, Athens, Greece (The Architects' Collaborative and consulting architect Pericles A. Sakellarios) 1968 Glass Cathedral, Thomas Glassworks, Amberg 1967 69 Tower East, Shaker Heights, Ohio, this was Gropius' last major project.

The Fagus Factory

The Fagus Factory

The Fagus Factory Plan

The Fagus Factory

The Fagus Factory (German: Fagus Fabrik or Fagus Werk),

a shoe last factory in Alfeld on the Leine in Germany, is an important example of early modernism. Fagus Factory in Alfeld - UNESCO World Heritage Centre Fagus Factory in Alfeld is a 10-building complex - began around 1910 to the design of Walter Gropius, which is a landmark in the development of modern architecture and industrial design. Serving all stages of manufacture, storage and dispatch of lasts used by the shoe industry, the complex, which is still operational today, is situated in Alfeld an der Leine in Lower Saxony. With its groundbreaking vast expanses of glass panels and functionalist aesthetics, the complex foreshadowed the work of the Bauhaus school and is a landmark in the development of architecture in Europe and North America. For the first time a complete facade is conceived in glass.

 The supporting piers are reduced to narrow mullions of brick. The corners are left without

any support... The expression of the flat roof has also changed. Only in the building [the Steiner House, Vienna] byAdolf Loos which was done one year before the Fagus Factory, have we seen the same feeling for the pure cube. Another exceedingly important quality of Gropius's building is that, thanks to the large expanses of clear glass, the usual hard separation of exterior and interior is annihilated.

GROPIUSSTADT

GROPIUSSTADT

GROPIUSSTADT
Gropiusstadt is a locality (Ortsteil) within

the Berlin borough (Bezirk) of Neuklln. It was named after the architect who projected the complex:Walter Gropius. Building of the quarter, initially named Britz-Buckow-Rudow and projected in a modernist style by Walter Gropius, ended in 1960. In Berlin, Gropius also projected the Sommerfeld House, the Interbau and the Grosiedlung Siemensstadt quarter. As part of West Berlin, its borders withBrandenburg (part of East Germany) were crossed by the Berlin Wall from 1961 to 1989. As of 2001 it was still an autonomous Ortsteil.

Tower East, Shaker Heights, Ohio

Tower east, shaker height, ohio

Tower East, a high-rise office building that overlooks the

complex and heavily-trafficked six-way intersection of Chagrin Boulevard, Van Aken Boulevard, Warrensville Center Road and Northfield Road at the eastern end of Shaker Heights, Ohio, is the citys tallest structure. It is also the last United States building designed by famed Bauhaus architect Walter Gropius, and his firm The Architects Collaborative (TAC), with assistance from Norman C. Fletcher. Completed in 1969, the 12-story office tower rises to a height of 160 feet and contains over 173,000 square feet of area. The large cubic mass of the tower is clad in repetitive precast concrete wall panels over a skeletal steel frame, and hovers above a recessed base that receives visitors and accommodates the surrounding site access and development. The complex includes a structured parking garage just east of the tower, as well as an incorporated restaurant.

View of 21st century

Pan Am(Metlife)

Plan of Panam

Pan Am (Metlife)

Designed by Emery Roth & Sons with the assistance of Walter Gropius and Pietro Belluschi, the Pan Am Building is an example of an International style skyscraper. It is purely commercial in design with large floors, simple massing, with an absence of ornamentation inside and out. It has been popular with tenants, not least because of its location next to Grand Central Terminal. In 1987, the lifestyle periodical New York revealed in a poll that MetLifethen Pan Amwas the building that New Yorkers would most like to see demolished. Perhaps contributing to the hatred of the building is the fact that it is so visible. Situated behind Grand Central Terminal outside of the grid, the building, which would have otherwise been tucked away into the city, is left totally exposed and contrasted with the other buildings around it, most notably the New York Central Building, which is now called the Helmsley Building. Today the building is one of the most recognizable skyscrapers in the City. The building previously had helicopter service to Pan Am's terminal at John F. Kennedy International Airport, a 7-to-10-minute flight from the rooftophelipad. The New York Airways Vertol 107 flights lasted from December 21, 1965, to February 18, 1968 Pan Am originally occupied 15 floors of the building

Embassy of the US, Athens

Embassy of the United States, Athens

The chancery building in Athens was

designed by famed Bauhaus architect Walter Gropius with consulting architect Pericles A. Sakellarios. It was constructed between 1959 and 1961 and is a protected architectural landmark. Gropius' famous design was in the characteristic simple Bauhaus form, inspired by the architecture of the Parthenon.

Gropius house
The house caused a sensation when built. In keeping with

Bauhaus philosophy, every aspect of the house and its surrounding landscape was planned for maximum efficiency and simplicity. Gropius carefully sited the house to complement its New England habitat on a rise within an orchard of 90 apple trees. Set amid fields, forests, and farmhouses, the Gropius House mixes up the traditional materials of New England architecture (wood, brick, and fieldstone) with industrial materials such as glass block, acoustic plaster, and chrome banisters. The house structure consists of a traditional New England post and beam wooden frame, sheathed with white painted tongue and grove vertical siding. Traditional clapboards are used in the interior foyer, but are applied vertically. Striking as it is, the house was built with economy in mind, and total construction costs were $18,000

66 old sreet, Chelsea

66 Old Sreet, chelsea

66 Old Church Street, Chelsea, London was designed in 1935-1936 for the politician and playwright Benn Levy by Walter Gropius and Maxwell Fr Levy House formed part of a joint development with Cohen House, designed by Erich Mendelsohn and Serge Chermayeff for the publisher Denis Cohen. It was listed Grade II in 1970

rEfErEncEs
Wikipedia (internet) Bauhaus, The Tate Collection, retrieved 2008-

05-18 Gropius House by Walter Gropius The Development of Industrial Buildings, Walter Gropius, The Walter Gropius Archive, Routledge (publisher), 19901991.

History Of Architecture_III

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Mr. DD Debbarma AR11027 B.Arch 4th sem