The centenary of the Bauhaus offers us an opportunity to review the usual silos and simplifications that have distorted the history of the legendary interwar school, systematically denying its cultural complexity. It is therefore pertinent to revisit the Bauhausers who developed their professional activity outside the main avenues and hegemonic centers. One of these eccentric trajectories, which helps us better understand the Bauhaus in its plurality and global repercussions, is that forged by architect Paul Linder (1897-1968). After studying between 1919 and 1920 at the school's inception, he would gradually add many other elements to his intellectual and professional background, without losing contact with his former professors and colleagues from Weimar. But the Bauhaus was only one of the multiple and sometimes discordant elements from which Linder conceived a heterogeneous body of work in each of his facets as an architect, critic, and university professor. His pilgrimage between Germany, Spain and Peru also conditioned a particular syncretic notion of the modern, which, paraphrasing Carlos Monsiváis, could be characterized as an interweaving of the "traveling essences of modernity."

Number of pages: 432
Size: 20 x 25 cm
Editor: Joaquín Medina Warmburg

The centenary of the Bauhaus offers us an opportunity to review the usual silos and simplifications that have distorted the history of the legendary interwar school, systematically denying its cultural complexity. It is therefore pertinent to revisit the Bauhausers who developed their professional activity outside the main avenues and hegemonic centers. One of these eccentric trajectories, which helps us better understand the Bauhaus in its plurality and global repercussions, is that forged by architect Paul Linder (1897-1968). After studying between 1919 and 1920 at the school's inception, he would gradually add many other elements to his intellectual and professional background, without losing contact with his former professors and colleagues from Weimar. But the Bauhaus was only one of the multiple and sometimes discordant elements from which Linder conceived a heterogeneous body of work in each of his facets as an architect, critic, and university professor. His pilgrimage between Germany, Spain and Peru also conditioned a particular syncretic notion of the modern, which, paraphrasing Carlos Monsiváis, could be characterized as an interweaving of the "traveling essences of modernity."

Number of pages: 432
Size: 20 x 25 cm
Editor: Joaquín Medina Warmburg