The Baus is one of the best known and most admired of the twentieth century.
While it might not be the first modern museum in the world to be built in the style of the Bauhouse, it is perhaps the most significant of its kind.
The Baurhaus was founded by Johann Georg Ludwig von Bau and his architect, Georg Ludwig van Beethoven.
In his original plans for the museum, which was opened in 1877, Bau proposed the building as a monument to a new, more rational style of architecture that would be more harmonious with the city.
The museum is located on the outskirts of Bremen, and it opened in 1889.
The building is one part of a complex that also includes the Baurholms Art Museum, the National Gallery of Art, the Biergarten Museum, and the Böhnhardt Museum.
It is a unique institution, and its unique mission is the preservation of an artistic tradition that began in 18th-century Berlin and which was adopted in other parts of the world.
But the Baus also represents a fundamental cultural and intellectual failure.
As a modern, avant-garde institution, it was destined to fail in every possible way.
Its founder had no interest in the future of architecture.
His only aim was to perpetuate a tradition of architectural excellence that he had inherited from his father.
Bau, a painter and a musician who studied at the Bürgerbau (bachelor’s school) in Berlin, believed in the art of the past, not the future.
He believed in architectural styles and ideas that were based on the classical traditions of his native city, but which he considered to be inferior.
Baus was, as his architect and fellow-designer Friedrich Lippmann would say, “the most radical architectural project of the century.”
Lippman had just completed the design of the Prussian Institute of Fine Arts in Vienna.
Lippmans design, which became known as the Lippoman, was a complete reinvention of the city’s architecture.
It would be the most radical and radical architecture of the period, and a radical one at that.
Lippers new architecture embodied the city, its aesthetic and its traditions.
It was not a radical architecture; it was a modernism.
It embodied the ideals of the age, but it was not an architecture of any particular era.
It reflected the changing nature of urban life, and that was a major reason for its failure.
Lips plan was to build the museum in a way that would promote the modernity and the modernism of its times, but would also foster the artistic legacy of the building.
He sought to incorporate the most modern of German styles into the museum’s design, including the new style of cantilever roofs that would make it the most efficient, the use of concrete and steel as building materials, and an integrated layout.
But Lipps vision of modern architecture was not compatible with the new, new buildings of the time.
His design did not conform to the tastes of modernism, and Lipp’s new buildings would not be as attractive to the public.
Baudelaire, who had lived in Bau’s house and known him as the “Father of Modernism,” and whose ideas would shape the architecture of New York for the next two centuries, said of Lippmans approach, “The Bau house was designed to be a monument and a place of celebration, not a museum.”
But Baudelews architectural style and aesthetic failed to meet the expectations of the times.
Litzmann, a young architect with no background in architecture, was the architect responsible for the Baudhelmans plan.
Littmann wanted the museum to be the center of an international center for the study of modern art and architecture, and his designs called for a new style that would unite and enrich the modern world.
He wanted to make the museum a place where visitors could get a taste of the new architecture and see how it influenced contemporary design, and how it would evolve.
But he was unable to reconcile his vision for the building with his own vision for how the museum should look.
The buildings were intended to look like buildings of their day, and they were designed so that visitors would come to see the architecture and the architecture, but they were not designed to make people feel proud of their architectural heritage.
The new museum, and particularly the cantilevered roof of the Litzmans building, is the only part of the museum that is open to the general public.
It stands at the very edge of the urban landscape, and to a large degree, its design is a product of the public’s desire for a more tranquil, quiet, and even romantic setting.
In its grandiose vision, the museum was to create an international hub for the exchange of ideas, and for a space where people could find inspiration in the contemporary art and design of their own time. But