In 1902 the Belgian architect and designer Henry van de Velde came to Weimar on the initiative of the art patron Harry Graf Kessler and Elisabeth Förster-Nietzsche - the sister of the philosopher Friedrich Nietzsche. As an advisor for handicrafts, according to Grand Duke Wilhelm Ernst's ideas, he should provide new artistic inspiration for the state's workshops in order to stimulate the economy. In the course of his work in Weimar, several designs were created that document the aesthetics of Van de Velde's line in a special way. These include the interior design of the Nietzsche archive, the art school buildings - which from 1919 housed the State Bauhaus Weimar - and his own house, the Hohe Pappeln House.
With reference to the idea of the "New Weimar", this tour aims to shed light on the tension between the fading "Art Nouveau" and the emergence of the "New Objectivity" taking into account the "Arts and Crafts Movement" in Great Britain and the artistic work of Henry van de Velde and himself Classifying total works of art in the context of the time: To what extent did the ideas of the all-rounder influence and inspire the Bauhaus, which was built in the same place after the First World War?
The tour takes place on the grounds of the art school buildings - the main building of today's Bauhaus University Weimar - in order to take an example of the many facets of Henry van de Velde's creative work. From the wonderfully curved staircase to the curved windows of the studios in the attic, the attention to detail of a designer who was one of the most important representatives of his time should be the focus.