Legacy · Where it continued

Here, “method” becomes a repeatable language: proportions, modules, and clarity that scale from rooms to the city.

• A major concentration of buildings designed by Ludwig Mies van der Rohe
• Campus as a system: order, circulation, and structural logic
• Modernism as an educational environment, not a single icon

Legacy becomes visible at scale: not one building, but a fabric of modern housing and public space.

• UNESCO World Heritage recognition for the White City (2003)
• A large concentration of International Style buildings from the 1930s
• Modern architecture adapted to local conditions and daily routines

Not a monument, but a working house: clarity, utility and material decisions that carry the Bauhaus method forward.

• A domestic setting that communicates modern principles through use
• Legacy as routine: furniture, light, proportion and storage
• Teaching continues through lived space

Legacy here is intellectual: design as method, studio as system, and the school as an engine of practice.

• Rudolph Hall (formerly Yale Art & Architecture Building), completed in 1963
• Education as a structured environment for making and thinking
• A modern institution shaping generations through method

Ulm sharpens the Bauhaus impulse: less “movement,” more method. Clear process, clear criteria, clear outcomes.

• Hochschule für Gestaltung Ulm (HfG Ulm), founded 1953 and active until 1968
• Design understood as an interdisciplinary system
• From form to process: analysis, prototypes, standards

Legacy here is continuity: the modern attitude persists through training, standards, and the daily craft of design.

• Basel Academy of Art and Design (FHNW) as a contemporary design institution in the region
• Modern design as a systematic practice, not ornament
• Clarity, typography, and production logic as cultural tools

In exile, “Bauhaus” becomes less a place and more a portable discipline: applied to planning, education, and production.

• Hannes Meyer worked in Mexico City from 1939, including roles connected to planning and publishing
• Design framed by social need and public responsibility
• Legacy as translation: method adapted to context

Legacy is not identical repetition. It is selective adoption: proportion, function, and rational planning reappear under new conditions.

• Modern architecture in Argentina shaped by international exchange
• Urban growth demands typology, systems, and clarity
• Bauhaus principles persist as method, not branding

Legacy becomes a lens: clarity, reduction, and system thinking resonate where precision and discipline already matter.

• Modernism develops through international exchange and exhibitions
• Design understood as process and proportion
• Influence appears as attitude: minimal means, maximum logic

In fast-growing cities, modernity becomes infrastructure: standardized solutions, structural clarity, and new typologies.

• Modern architecture in Brazil shaped by industrialization and urban expansion
• Form follows systems: structure, climate, production
• Legacy as capacity: designing for the many

Here the legacy becomes extreme: almost nothing “added,” only structure, proportion, and the discipline of detail.

• Designed by Ludwig Mies van der Rohe
• Architecture as a clear system of supports and planes
• Modern living reduced to essentials — and the consequences are visible

Legacy here is spatial intelligence: not “style,” but how to stage movement, light, surfaces and thresholds.

• Associated with Ludwig Mies van der Rohe and the Modern Movement
• Material as method: precision, joints, planes, reflection
• Architecture as sequence — readable, slow, controlled

Legacy becomes adaptation: modern principles translate into climate, landscape, and new domestic rituals.

• Modern housing experiments tied to broader European modernism
• Space designed as workflow and daily pattern
• Precision and freedom balanced through clear structure

Legacy is sustained where knowledge is reproduced: curricula, studios, standards, and a culture of making.

• Academic structures that carry modern principles forward
• Design and engineering as a shared language
• Method persists through training and institutional continuity

Legacy is not only housing. It is the modern city as a machine of work, movement and organization.

• Industrial modernism as architectural clarity
• Space organized by workflow and circulation
• Design as an operating system for the everyday

Legacy appears as a social proposal: compact living, shared life, and a modern attitude inside a dense metropolis.

• The Isokon (Lawn Road Flats) as a modernist housing model
• Modern design networks intersect with urban life
• Housing understood as typology, not luxury

Legacy is strongest where it reproduces itself: through teaching, critique, and the daily discipline of making.

• Walter Gropius taught at Harvard after emigrating to the United States (from 1937)
• Design education as framework: process, critique, and standards
• Bauhaus method translated into a new academic ecosystem

Legacy becomes public language: modern design is named, collected and disseminated — method presented as history and reference.

• MoMA’s 1938 “Bauhaus 1919–1928” publication (edited by Herbert Bayer, Walter Gropius, Ise Gropius)
• Modernism framed for a global audience through institutions
• From school to canon: the afterlife of the Bauhaus narrative