According to the old saying "Human spirit and the June wind often change swiftly", and while we can undertake only little to influence the wind, a visit to an architecture or design exhibition should help strengthen, enhance, embolden and thus stabilise the human spirit. In June, or at any time of the year. Our five recommendations for new exhibitions opening in June 2019 can be found in Ulm, Hornu, Munich, Gothenburg and Boston...... "bauhaus ulm: From Peterhans to Maldonado" at the
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In centuries past traditions were something that were established slowly, often becoming such long after those who had began them, who had understood their origins, meaning and function in contemporary society, had shuffled off this mortal coil; in our contemporary world traditions arrive over night, no-one having the patience to wait, no-one wanting to miss out on anything. In which sense, celebrating in 2019 its second edition, our traditional 3daysofdesign Copenhagen #embassytour. As
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"I assure you that you and your work are the model case for what the Bauhaus has been after" wrote Walter Gropius to Wilhelm Wagenfeld in April 1965. Just how Wilhelm Wagenfeld developed that "model case" "after" Bauhaus is explored, at least in terms of one design genre, in that genre for which Wilhelm Wagenfeld is most popularly known as a Bauhaus model, in the exhibition Wilhelm Wagenfeld: Lamps at the Wilhelm Wagenfeld Haus Bremen. Tropfen (l) & Düren (r) by Wilhelm Wagenfeld for
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The German town of Boppard sits on two of the most pronounced and prominent curves on the Mittelrhein. Can it be a coincidence that Boppard's most famous son, Michael Thonet, is most popularly known for his curving bentwood chairs? Can it really be a coincidence? Possibly. Almost certainly. What is less contentious is that the flow and meandering of first Michael Thonet's creativity and vigour and subsequently that of the company Thonet has carved its mark not only on the Rhenish Massif
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For all the controversy surrounding smow Tel Aviv's victory in the 2018 smow Song Contest, not least the question if there even is a smow Tel Aviv, the staging of the 2019 Contest in Israel does allow for a very nice reinforcing of the central theme of the 2019 smow Song Contest.... Inarguably the biggest architecture and design story in 2019 is the centenary of the founding of Bauhaus Weimar. And whereas one can, should, argue if the school deserves its singular billing, it gets it. What
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That joining the Women's Department weaving workshop was for many a female Bauhäusler not so much an active wish as the response to a take-it-or-leave-it proposition, shouldn't be confused with the workshop producing work of an involuntary, unloving, uncaring nature, of it playing second fiddle to the rest of the institution. Far from it. The quality and relevance of the work created in the Bauhaus weaving workshop being in many regards attested by the fact it was one of the more productive and
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More or less...... .....while 3 of the 5 have a direct connection to Bauhaus, 5 of the 5 are very much in the spirit of the attempts of inter-War architects and designers to reform architecture and design, to establish a new architecture and design for the new society, attempts in which Bauhaus played an important role. And for those seeking escape from Dessau and Weimar, figuratively not physically, we refer you to our more general 5 New Architecture & Design Exhibitions for May 2019
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"Low bowls with flowers, as well as flowers placed on the tablecloth and a platter of fruit, are the most beautiful table decorations. All table centrepieces with rocks, palm trees, ostriches, deer, and such are ludicrous, for these things have no business on a table, and all tall table decorations - even those made of flowers - are also unsuitable since they screen the dinner guests from one another", opined Ellen Key of table culture in her 1899 essay Beauty in the Home.1 But that was then.
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One of the principle motors of the development of new products is new materials: stone famously ceding its primacy to bronze, which in turn ceded to iron... to .... to .... to .... plastics; new materials not only allowing for new forms of objects, but for objects with new functionalities, new properties, new purposes, and thus objects both reflective of the new needs of a continually evolving society and also allowing those needs to be not only met but, ideally, exceeded, thus contributing to
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While the shortlist of exhibitions for this column is regularly long, that for May 2019 was particularly so. And particularly tricky. Perusing it we saw no realistic chance of getting it down to five, all made good claims for inclusion, none deserved to be ignored...... Then we noticed that, with a little bit tweaking, we could get two lists: one featuring those exhibitions directly connected with Bauhaus/Inter-War architecture and design, and one featuring those less directly connected. 💡
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Sitting, quietly, unobtrusively, in the north-western corner of Germany, Oldenburg is, in many regards, a near textbook example of a provincial town. Which we don't mean as an insult. Doesn't mean it's irrelevant. In any sense less worthy than elsewhere. Much more Oldenburg is the sort of self-contained community that exists not so much independent of the rest of the world, but without the rest of the world noticing. Or Oldenburg caring if they notice. Oldenburg has its (hi)stories, its
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"I first saw resilient tubular steel furniture designed by Professor Mies van der Rohe in September 1927 at the exhibition "Samt und Seide" in Berlin, objects which made a very deep impression on me, because I felt and saw that here, for the first time, was a meaningful way to utilise the forces inherent in tubular steel." Anton Lorenz, 27th March 19391 Because discussions on the steel tube furniture that, in many regards, characterises the inter-War period tend to focus on the designers and
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When one considers the, let's say, unique, derisive, unalluring place the Sächsisch dialect enjoys endures amongst German speakers, it could be considered unwise, foolhardy, to explore all too deeply the contributions made by creatives and industry in and from the State of Sachsen to the development of Bauhaus, to explore, if you will, Bauhaus's Sächsisch accent. With the exhibition Bauhaus_Sachsen the Grassi Museum für Angewandte Kunst Leipzig do just that....... Bauhaus_Sachsen, Grassi
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Today industrially produced objects are so self-evident and ubiquitous it can be hard to believe there was a time when they weren't. There was. With the exhibition Unique Piece or Mass Product? the Werkbundarchiv – Museum der Dinge Berlin explores the developments of industrial production in the early 20th century, the discussions and discourses which accompanied those developments and the connections between such developments and the evolution of both formal understandings and the role and
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Aside from the, inevitable, consolidation the main theme at Milan Furniture Fair 2019, and the one which occupied us much more than that which was on show for our perusal, is/was the international furniture industry's increasing hunger for data; a hunger which embodied itself at Milan 2019 in a exponential surge in the number of manufacturers requiring potential stand visitors to either pre-register, submit a business card or have their Fair ticket scanned before being allowed onto the stand.
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"We feel ourselves beholden to the traditions of Bauhaus"1 opined Rolf Kuhn, Director of the Dessau based Zentrum für Gestaltung, in the catalogue for the institute's 1988 exhibition Experiment Bauhaus. And while that may have been the case in the late 1980s, it certainly wasn't always so in East Germany. With the exhibition Shaping everyday life! Bauhaus modernism in the GDR the Dokumentationszentrum Alltagskultur der DDR in Eisenhüttenstadt allow for not only an exploration of the
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"Sometimes one has to remind oneself that this change took place in one generation - such is the gap between the woman of today and of yesterday, between the girl of then and of now." So begins the German magazine Die Woche's 1930 article "Mädchen wollen etwas lernen", "Girls want to learn something", an article which opens Four "Bauhausmädels" and is subsequently extend by the Angermuseum Erfurt to explore not only what Gertrud Arndt, Margarete Heymann, Margaretha Reichardt and Marianne
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"Form should not be finite but should be amorphous, so that the experience within is loose, meandering and multiple" - Balkrishna Doshi1 With the exhibition Architecture for the People the Vitra Design Museum explore Indian architect Balkrishna Doshi's understanding of, belief in and approach to realising the amorphous, the social, the humane, in architecture. Balkrishna Doshi. Architecture for the People, Vitra Design Museum An Indian architect who has built exclusively in India,
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From you have I been absent in the spring, When proud-pied April, dressed in all his trim, Enticed us into the following architecture and design exhibitions....... William Shakespeare, Sonnet 98, From you have I been absent in the spring (extended, with apologies) "Bauhaus_Sachsen" at the Grassi Museum für Angewandte Kunst Leipzig, Germany When in 1925 it became clear that Bauhaus would have to leave Weimar, Leipzig was one of the city's to offer it a new home; as history records Walter
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Whereas at Bauhaus Weimar and Dessau architecture was essentially a subject of theory and experimentation, elsewhere in inter-War Europe architecture was theory and practice, and that, occasionally, on a large scale. Such as the Neues Frankfurt project. Instigated in 1925 by Frankfurt's then Mayor Ludwig Landmann and employing a team of some 148 architects, urban planners, garden designers, journalists et al, under the leadership of Ernst May and Martin Elsaesser, Neues Frankfurt realised
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Were it possible that there could be such a thing as a "lost" Bauhaus building, something wholly unimaginable this of all years, then the best candidate would, arguably, have to be the ADGB Bundesschule in Bernau bei Berlin. Yes, it is on the UNESCO World Heritage List, and so is not really lost; however as an object it only rarely features, and when then invariably passingly, in the popular Bauhaus discourse .... and that despite being built by a serving Bauhaus Director. With the exhibition
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The 1920s was in many regards a decade that promised so much, achieved so much, but which was then overtaken by political and economic events before it could cement that which it promised and achieved, and which therefore remains hanging, almost stranded, in history. Somehow unfulfilled. And which with its popular image as as roaring, golden, age also appears a little too joyous, a little too optimistic, sandwiched as it is between the horrors and loss of two wars. But then in the course of
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Although Bauhaus did undeniably exist, sometimes we could all be forgiven for believing we had collectively imagined it. Not only on account of its ephemerality as an institution, but also because it existed in a period of history that is, generally, a little abstract, intangible, indecipherable for a majority of us. While today the popular image of Bauhaus is so ideal, represents such a utopia and eutopia, it has that tangible feeling of intangibility, of unreality, of something imaginary.
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As all familiar with the peculiar and idiosyncratic method by which these dispatches are produced will appreciate, come March 30th 2019 there will be a few fundamental changes, as the smow blog team are forced to abandon our familiar home on the internet and create a new one for ourselves in the analogue wastelands of the (dis)United Kingdoms. And as Brexit's unregulated shadow casts itself ever deeper, indelibly, suffocatingly, over the smow blog office, our thoughts turn, somewhat
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