In the first Bauhaus Manifesto of 1919, Gropius refers to the 'new structure of the future' which the school will conceive and create, a structure which will 'rise towards heaven ... like the crystal symbol of a new faith'. While there is no shortage of literature on the Bauhaus, the nature of the programme of redemption to which the school aspired is seldom explored. By studying the origins of the school and focusing on the way in which its aims were put into practice for the International Exhibition of 1923, particularly through the experimental house and the Bauhaus stage, this essay attempts to look more closely at the 'cultural paradigm' proposed by the Bauhaus.
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Diana Periton (1996) studied this question.