Right from the start, Fischer focuses his full creative attention not just on each lamp as a whole but on every single one of its components. In architecture and product design, the avantgarde takes much of its impetus from the urge to modernise traditional ways of doing things.
When the Bauhaus moves into its new buildings in Dessau in 1926, Midgard lamps are among the fixtures. Masters and students alike find their precise, machine-like aesthetic both modern and motivating. Art historian Robin Rehm has analysed the Bauhaus buildings and their original furnishings. In 1925, the Bauhaus goes to great effort to find out everything it can about lighting. At the suggestion of Walter Gropius, excursions are organised to Osram’s Lichthaus lighting centre in Berlin and the firm Körting & Mathiesen, or Kandem for short, in Leipzig. It isn’t known how the contact with Curt Fischer came about, but the records do show an exchange of letters between Gropius and Fischer.