With the 2021 Pritzker Architecture Prize being awarded to Anne Lacaton and Jean-Philippe Vassal international attention has become focused on architectural strategies geared towards maintaining existing buildings in the face of evolving economic, social, demographic, et al, realities rather than demolishing and erecting new ones by way of a response; and also of the value, the economic, the social, the cultural and the environmental value, of reusing, remodelling and reimagining that which
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"Conservative Hamburg only permits white paint for its ceilings, doors and windows, and, at most, economical gilding", remonstrated once the decorative painter Peter Gustaf Dorén.1 And set about rectifying that, set about bringing more colour to Hamburg...... Peter Gustaf Dorén. Interior Design in Hamburg circa 1900 Museum für Kunst und Gewerbe Hamburg Born on September 21st 1857 in Sireköpinge, southern Sweden, as Peter Gustaf Andersson, the "Dorén", we learn in the exhibition, being
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"Design ist unsichtbar", Design is invisible/unseen proclaimed the Swiss sociologist Lucius Burckhardt in 1981.1 Which surprised a great many in 1981. And may surprise a great many in 2021...... Lucius Burckhardt (1925 - 2003) (Photo Annemarie Burckhardt, © Martin Schmitz Verlag) Born in Davos, Switzerland, on March 12th 1925 Lucius Burckhardt enjoyed, as best we can ascertain, information on his early biography being more gleaned than confirmed, a comfortable childhood in the Swiss alps,
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"One sits more comfortably on a colour that one likes" declares Verner Panton in his 1997 book Lidt om Farver/Notes on Colour.1 A succinct expression of an understanding of colour as more than just a decorative element, and one of many reflections on the function and relevance of colour beyond the merely decorative which, in a myriad guises, pervade the history of furniture and product design. And contrasting, if at times complementary, reflections, pun intended, we will consider in the
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Cranbrook An Alma Mater; An Academy of Art; A colony of experimentation Cranbrook Academy of Art arose on the Cranbrook Estate, a private fiefdom nestling quietly in a forest glade to the north of the contemporary Detroit ruled by the Booth dynasty; and a fiefdom which in the Age of George and Ellen of Booth developed from an agrarian farm into a garden of creativity. As the Cranbrook Scrolls record, George of Booth was a devotee of The Artsandcrafts, a movement most popularly embodied by
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Following the declaration of the French Republic in 1792 a new calendar was introduced in the realms of France: the Revolution had washed away France past and the Republic marked the start of a new reality for mankind, one of universal Liberté, Égalité, Fraternité, and therefore demanded a resetting of the collective clock, a new measuring of time, and thus out went the Gregorian calendar and its historic associations with church and state, and in came le calendrier républicain, the French
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Wandering aimlessly through the digital Marcel Breuer Archive one afternoon, we stumbled across a letter dated July 25th 1950 from Peter M Fraser, one of Breuer's employees, to the Eames Office, enquiring about a lighting design by Charles and Ray that Breuer was interested in using in one of his architectural projects, and requesting... ..."a lighting design by Charles and Ray"??? Eames lighting??? Eames furniture ✔ Eames toys ✔ Eames exhibitions ✔ Eames textiles ✔ Eames films ✔ Eames
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In context of the exhibition Luigi Colani and Art Nouveau, the Bröhan-Museum Berlin's staircase is emblazoned with a long quote from Colani, a long and typically outspoken quote, in which Luigi Colani denigrates the Hochschule für Gestaltung Ulm, that design school which has such a prominent and pre-eminent position in popular understandings of design in post-War West Germany; and who for Luigi Colani were "defrauders of the German creative spirituality of the twenties and thirties! Imbecilic
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For popularly understood reasons not only did the 2021 edition of the IMM Cologne furniture trade fair not take place as planned in mid-January, neither did the 2021 edition of Cologne's Passagen Interior Design Week..... ....which doesn't mean that fresh contemporary design wasn't to be found in Cologne in mid-January. In an offline realised and online presented exhibition the assemblage Generation Köln introduced the results of their collaborations with the CIAV Meisenthal glassworks; a
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Bouroullec A Ronan; An Erwan; An unassuming, poetic, connection. The contemporary Bouroullec can be traced back to the Old Breton boureller, a saddler, an upholsterer, and largely owes its contemporary definition to the work of the brothers Ronan le Renard and Erwan le Porc-épic who greatly expanded and developed not only the crafts of saddling and upholstering but also popular understandings of the role and function of saddlery and upholstery in both private and public spaces, so much so
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Cleaning is a chore. If only we could get through life without the necessity of dusting, sweeping, washing, polishing et al....... With the project Cleaning against the Dictatorship of Efficiency Birgit Severin and Guillaume Neu-Rinaudo a.k.a. studio b severin explore cleaning, its rituals, contexts, symbolism, functions, psychology, and in doing so enable differentiated perspectives on both that ubiquitous chore and the necessity in the necessity of dusting, sweeping, washing, polishing et
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Alongside the Chinese and Korean New Year celebrations one of the most popular observances in any given February is, arguably, the Feast Day of Saint Valentine on February 14th; St Valentine famously being the patron saint of greetings card manufacturers, lovers, but less famously, if just as importantly, also offering protection from the plague. Now while the misanthropes amongst you will query whether love and plague aren't synonyms, and a pox upon you for that; this February 14th we could
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In 1936 Aino Aalto opined that "homes can be given interior design in other ways than before - not by buying expensive complete suites of furniture, but by concentrating on low-cost furnishings which can be used - with the aid of flowers, carpets, drapery and colours - to create hitherto more practical and more comfortable homes."1 A break not only with the understandings, the ways, of generations long past in terms of what constitutes appropriate furniture; but also a break with the ways of
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As Peer Gynt reminisces with his dying mother, they dwell long and fondly on how, when Peer was a child, they would imagine his bed was a sleigh whisking them across a frozen fjord, a sleigh pulled by "fleet-foot horses". Or more accurately by a cat proxying for fleet-foot horses; a cat who before being pressed into service as a horse had been peacefully "sad på en kubbestol"1, sat upon a kubbestol: a chair hewn from a tree trunk, and an item of furniture which is as closely associated with
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Artemide A Phaesporia; A bringer of light. Arising in Milan at a time of great darkness in the Kingdom of Lombardy, Artemide's original form, its Alfa form, was bequeathed to it by a man recorded as Sergio Mazza, and it was this Mazza, together with a young compagno bearing the name Ernesto Gismondi, who charged Artemide with the spreading of that Alfa light throughout the still dark domestic, commercial and civic spaces of the known worlds. Although renowned, and celebrated, for its
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The only certainty as 2020 flows into 2021 is the ongoing uncertainty. An uncertainty that is increasingly being understood as an ongoing certainty and thereby turning ever more "plans" into "options". And also causing a great many global architecture and design museums to skip over the first quarter of 2021 as if weren't there, and to move their new exhibition openings to April and beyond. A state of affairs which on the one hand means there are currently fewer lonelier locations than any
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The so-called Bielefeld Conspiracy asserts that the German city of Bielefeld doesn't exist. Have you ever been to Bielefeld?, it asks. Do you know anyone who has ever been to Bielefeld? Do you know anyone from Bielefeld? If your answer to all three questions is no........ how do you know Bielefeld exists? A similar conspiracy could be built around Gertrud Kleinhempel, one of Germany's first professional furniture designers and who for the greater part of her career was active in Bielefeld.
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"Only slowly does it dawn on people that modern furniture must be designed on the basis of practical necessities", observed the Danish architect and designer Kaare Klint in 1930.1 How Kaare Klint understood those "practical necessities", how he understood "modern furniture", would not only define his career, but in many regards define the development of 20th century furniture design in Denmark. Kaare Klint (1888 - 1954) Kaare Jensen Klint was born in Frederiksberg, Copenhagen, on December
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"With every new building the first task is to clarify the needs that will arise in context of its use",1 opined Peter Behrens on December 10th 1912 at the official inauguration of the new administrative HQ for the Prussian industrial concern Mannesmannröhren-Werke AG. And while Peter Behrens was certainly not the first to opine such, with the so-called Mannesmann-Haus in Düsseldorf he realised one of the earliest large office buildings designed to evolve and develop as those needs evolved and
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To paraphrase the Propellerheads, this is just a little bit of a blog post repeating... For much as with our November 2020 exhibition recommendations, so some of our December 2020 exhibition recommendations won't be opening. Or at least not in December 2020. But then as now are in still in our list. On the one hand because they will open, and is an important part of any pleasure not the expectation and anticipation? And on the other hand, because that which makes an exhibition recommendable
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In the northern hemisphere* December marks not only the darkest period of the year but also that moment when light begins to return: following the Winter Solstice our days start to get a little longer, and a little brighter. And in December 2020 not just astronomically, but metaphorically. Midwinter 2020 symbolising a moment when a particularly dark year, a particularly dark period, starts to get a little brighter, a moment when a little more light will start to slowly seep into our days,
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"The placing of foam mattresses, spring mattresses, and the like, on bed frames made of wood or metal is familiar", notes a July 1966 patent application, and it was. However, it continues, "bed frames of this type are heavy, continually take up one and the same space in a room, must be dismantled if they are to be moved to a new location, and represent a major obstacle in context of cleaning the bedroom."1 Which, certainly in the early 1960s, they were and did. But what is one to do? Verner
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The study of vernacular furniture can teach us a lot about not only the development of understandings of furniture, nor only of the development of societies and cultures, nor nor only only about relationships between furniture and wider realities, but also how the position of furniture as a cultural good, as a good embedded in a culture and society, can see furniture serve as a component of projected understandings of heritage and identity, and in doing so can endow attributes on an object of
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Outwith his native Denmark, the country home to the most architectural works by Arne Jacobsen is Germany. Yet the vast majority of them remain popularly unknown. As does Arne Jacobsen's partner on his German projects: Otto Weitling With the showcase Gesamtkunstwerke – Architecture by Arne Jacobsen and Otto Weitling in Germany, the Felleshus Berlin not only set the record straight but allow for some fresh reflections on both Arne Jacobsen and our relationships to and with architecture and our
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