You’ll find the three remaining Meisterhäuser on leafy Ebertallee, a 15-minute walk west of the Hauptbahnhof. The leading lights of the Bauhaus movement lived together as neighbours in these white cubist structures that exemplify the Bauhaus aim of ‘design for living’ in a modern industrial world.

Originally there was a stand-alone home for Gropius, plus three duplexes, each half of which provided a living/working space for a senior staff member and his family. Gropius’ home was destroyed in WWII, along with one-half of the neighbouring duplex (at the time of research both Gropius’ home and the duplex were being reconstructed using original plans). In the febrile environment of the 1920s, you could sit at home here with the Kandinskys, on furniture donated by Marcel Breuer, and with the possibility that Paul Klee or László Moholy-Nagy might drop by for tea.

Haus Feininger, former home of Lyonel Feininger, now pays homage to Dessau-born Kurt Weill, who later became playwright Bertolt Brecht’s musical collaborator in Berlin, and composed The Threepenny Opera and its hit ‘Mack the Knife’, later immortalised by a rasping Louis Armstrong.

Haus Muche/Schlemmer, at No 65–67, it becomes poignant how the room proportions used and experiments, such as low balcony rails, don’t really cut it in the modern world. The partially black bedroom here is intriguing, though; look out for the leaflet explaining the amusing story behind it – Marcel Breuer apparently burst in to paint it when reluctant owner Georg Muche was away on business.

Haus Kandinsky/Klee at No 69-71 is most notable for the varying pastel shades in which Wassily Kandinsky and Paul Klee painted their walls (recreated today). There’s also biographical information about the two artists and special exhibitions about their work.