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	title of this thread your message that Robert's remarks are aimed at me, but in case you are Robert, I have to agree that even with the proverbial 20/20 hind sight, there are countless interpretations for every historical event. As for more trivial questions like this one there must be many more. Lilly Reich, the so often overlooked genius actually worked for Joseph Hoffmann in Vienna from, 1909 on. But one has to consider that she left when she was 26 years old. I guess that 3 years would be enough to pick up some of Hoffmann's fundamental ideas, but she has proven many times over not to be just a sponge. She also joint the teaching staff at the Bauhaus, but if I remember well, not before L.Mies van der Rohe became director. So let's say earliest 1930, but most likely a year or two later. Which is 3,2 or one year before the Bauhaus was closed. I do not think that that period was very influential as far as the fundamental principle of the school was concerned Of course she was director of the Werkbund for a while and after the war she worked herself into the grave to resuscitate the organization. Although the two words have the word: Werk in common. The W.Werkstätte was a large workshop with close to 100 artisans of all kinds working in it. The werkbund was a large national organization of architects, designers and manufacturers of furniture, cutlery etc. Although I am still open to be convinced by other arguments, I am still in the corner of those who interpret their history as a parallel aesthetic evolution with some common but mostly different goals. The common ones were hardly new for neither of these two institutions. The idea of the Gesamtkunstwerk came from the previous century and most of the social goals had been formulated earlier to. Some differences are of course, simply the result of the difference between an educational system and institution (the Bauhaus) and a production shop (the Wiener Werkstätte). But I still see a very fundamental difference in the Arts and crafts type of rejection of the industrial area (W.W.) and the goals of the Bauhaus, to provide the industrial revolution with it's own form language. As for Oskar Kokoschka-He was a very good expressionist painter and a passionate rival of Gropius for Alma Mahler's love, but not a very objective observer of what Gropius and the Bauhaus were trying to achieve. associated web images (optional) associated web link (optional) your email your password create a forums account \| you forgot your password?