Badekarren in Katwijk by Wilhelm Gutmann, 1908 (Image Public Domain, courtesy of Städel Museum, Frankfurt am Main) ... ... Wilhelm Gutmann used the occasion of Grassimesse Leipzig 1920 to present...... .......we no know. Or more accurately, in terms of Wilhelm Gutmann generally we no know hardly nothing. Certainly we no know an awful lot more than the we no know about the other Grassimesse 1920 designers featured thus far in these dispatches. Despite the fact that, arguably, there should
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A living room design by Gertrud Lincke featuring two Arbeitskojen, Work Bunks/Berths, on the left and right, home office à la the 1920s (undated, but before 1927, possibly 1924/5) In 1926 the Dresden based architect Gertrud Lincke will opine that "women are decisive, paramount, when it comes to setting up a home", and that not because of what you think, but because, "they are the most negatively impacted by the housing crisis and all that comes associated with it". However, she will lament
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As Letitia Elizabeth Landon so very, very, nearly wrote in 1823, Of all the months that fill the year Give April's month to me, For the architecture and design museums are then so filled, With sweet variety! Our sweet variety in April's month of 2024 can be found in Dessau, Brussels, Rome, Paris and Dresden....... "The Gesture Speaks" at the Bauhaus Museum, Dessau, Germany For all that the Bauhauses were, without question, art and design and craft and architecture, they were also movement;
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As we all know from the 1st Law of Thermodynamics, energy cannot be created nor destroyed, only transformed from one form to another. And as a species we've developed a myriad ways of transforming one form of energy to another. We burn oil. We burn coal. We burn gas. We burn wood. We burn an awful lot, don't we..... But we also employ, for example, the kinetic energy of wind, waves and photons or the potential energy of Uranium atoms. With Transform! Designing the Future of Energy the
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"To meet the needs of a living architecture," opined Otti Berger in 1930, "we need clarity about what fabric is, and further, what fabric in space is".1 With the showcase Otti Berger. Weaving for Modernist Architecture the Temporary Bauhaus-Archiv, Berlin, allow one to begin to approach appreciations of what both Otti Berger understood as fabric, "and further, what fabric in space is", and in doing so not only enable differentiated perspectives on Weaving and Modernist Architecture but allow
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It would inarguably, and inexcusably, be little more than employing a lazy, cheap, unwarrantable, stereotype and innuendo to opine that Hamburg is an apposite location for an exhibition exploring and discussing human societies' relationships with water, being as it is a city where the incessant, clinging drizzle is only interrupted by the regular torrential downpours; rather, Hamburg is an apposite location for an exhibition exploring and discussing human societies' relationships with water, as
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There is a convincing argument to be made that in our contemporary age perfection is one of our primary aims, one of our guiding aims, individually and collectively. A convincing argument to be made that perfection is, to paraphrase a Shane MacGowan, 'the measure of our dreams'. And there are no shortage of experts out there to tell us all how to achieve that perfection, in all areas of life and work and love and home and hobby. With Perfectly Imperfect – Flaws, Blemishes and Defects the
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In the popular narrative of architecture and design in the second half of the 20th century the phrase 'Postmodern' is widely used; a wide use, and an equally wide, unquestioning, popular acceptance of what is meant, that all too often not only blinds us all to the heterogeneity of the period but also impedes meaningful debate and discussion on the motivations, positions and realities of that period. And on the lessons of the period. With Bold and Beautiful. Estonian private houses from the
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In Shakespeare's A Winter's Tale Perdita bewails that she has no "flowers o’ th’ spring" to make garlands for, and to strew over, her beloved Florizel; "flowers o’ th’ spring" including violets, primroses, oxlips or "daffodils, That come before the swallow dares, and take the winds of March with beauty". Whereby in her infatuation with, and fearless youthful love for, Florizel, Perdita fails to appreciate that it wasn't fear of the winds of March that kept the swallows away, swallows love a
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"When architecture is born, a place is born" opined Japanese architect Tsuyoshi Tane in 2018, continuing, "humans began to understand that by building architecture, a meaning is given to a place, and then that place has a story that can be passed on to others". But for Tane architecture doesn't just bequeath a place meaning and a story, it also "gives memories to a place", memories of the past and memories of the future, collective memories that help create bonds. But memories that are
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Basketry has something of the archaic about it, almost anachronistic, has echoes of a past we've all long moved on from. With the exhibition All Hands On: Basketry the Museum Europäischer Kulturen, Berlin allow for, demand, a critical reassessment....... All Hands On: Basketry, Museum Europäischer Kulturen, Berlin Presenting its narrative over the course of four chapters — People, Protection, Material and Pattern — four chapters which, and at the risk of opening with an unforgivable pun,
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Arguably little characterises contemporary society, certainly contemporary European society, better than our relationship with sleep. And, arguably, little charts the path of human society, again certainly European society, better than the (hi)story of our relationship with sleep. With the exhibition Uneversum: Rhythms and Spaces the Estonian Museum of Applied Art and Design, Tallinn, explore and reflect upon sleep, spaces of sleep, rhythms of sleep, and for all on our relationships with
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For all that as a species we like to think that we are in control of the wider universe, like to think that our mastery of physics and mathematics has put us in charge, little underscores the fallacy of that position as neatly as the Gregorian calendar, an apparently flawless invention, one that defines our lives, where everything sits so snugly.... until every four years we have to add an extra day to stop it all going haywire. Unless that is the year is exactly divisible by 100, but not by
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"Projektowanie i realizacja form powłokowych jest problemem złożony", opined the Polish architect Witold Lipiński in 1978, "design and implementation of shell structures is a complex problem". And it certainly is. For all a complex mathematical problem, and that of a degree that, for Lipiński, for all when combined with the associated technical challenges, "greatly limit[s] plastic ingenuity", meaning as it did that architects were invariably restricted to forms "mathematically defined in a
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Time was when new architecture and design exhibitions opened every month. Some months more. Some months less. But every month enough for a list. Time was. But time is. And today you'll struggle to find new showcases opening in August and January. If that's a collective decision made by the global museum community, or pure chance, we no know. We can but observe it's existence as an actual thing. Or put another way: we can find, globally, but one, as in 1, new exhibition due to open in
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"So revolutionary his ideas", opined the Austrian state broadcaster ORF in 1969 of architect Hans Hollein, "when he enunciates them they sound like the cosy, cordial habitiere of ages past. His 'schauen se' and 'eeeeeh' conjure up Fiaker, the chatter and gossip on Graben, the Riesenrad, memories of alt-Wien".1 With Hollein Calling. Architectural Dialogues the Architekturzentrum Wien invite one to explore in more detail the vocabulary and articulation of Hans Hollein....... Hollein Calling.
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According to Germanic folklore, "If December is wild with rain, then leave your fields and get thee to an architecture or design museum" Our five locations for escaping the rains of December 2023 can be found in Cottbus, Rome, Maastricht, Tallinn and Zürich....... "Else Mögelin. Ich wollte, gegen alle Hindernisse, weben" at the Brandenburgisches Landesmuseum für moderne Kunst, Dieselkraftwerk, Cottbus, Germany In context of their 2019 exhibition Unknown Modernism the Brandenburgisches
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There is an argument to be made that popular understandings of, and the popular presentation of, inter-War European avant-garde architecture and design tend to focus on Germany and Russia, and on Functionalism, popular foci that tend to cause us all to forget that the inter-War European avant-Garde was a homogenous mix of positions and, and as with the Art Nouveau before it, an international moment defined by its variety of regional dialects. With the exhibition Hej rup! The Czech Avant-Garde
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Postmodernism ¯\_(ツ)_/¯ With the exhibition Everything at Once: Postmodernity, 1967–1992 the Bundeskunsthalle, Bonn, request a more considered response....... Everything at Once. Postmodernity 1967-1992, Bundeskunsthalle, Bonn .......not that it initially appears that that is their aim: one enters Everything at Once: Postmodernity, 1967–1992 through a heavy curtain into a darkened space filled with music and videos from, amongst others, Roxy Music, The Specials or Afrika Bambaataa &
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Back in the spring Haitian musician Wyclef Jean informed us all he'd be "Gone Till November". And so he should be back any day now; and given how busy he's invariably been all summer, earning as he has been enough money to buy out blocks, he's probably not had a chance to visit an architecture or design museum. And so, we assume, will be absolutely desperate to stimulate his cognitive faculties. Our five recommendations for new exhibitions opening in November 2023 for Wyclef Jean, or indeed
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Adobe by Ralf Stauss / Papier Langackerhäusl, as seen at Grassimesse 2023, Museum für Angewandte Kunst, Leipzig As previously noted in these dispatches, in the 18th century serious attempts were made to employ Papier-mâché as a material for furniture construction, primarily in context of the so-called 'japanning' of the period: a fashion, a t****, in 18th and 19th century Europe for 'Oriental' lacquered goods that saw European craftsfolk develop their own local alternatives, not least as a
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"If we want to survive, if we want to reach the next level", postulated the German architect Günther L. Eckert in 1980, "we simply have to risk the impossible. It is too easy to invest only in common logic and to dismiss everything that does not have these specific characteristics, everything that encroaches into the incorruptible dimensions of creative self-consent".1 Günther L. Eckert's "impossible", his distancing from "common logic", his encroaching "into the incorruptible dimensions of
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Much as the (hi)story of architecture is also a chronicle of developments and changes in the social, cultural, economic, ecological, technical, et al realities of any given region, so to is the (hi)story of a region's parks and gardens and urban green spaces. Whereby the (hi)story of the latter is much less often popularly employed in studying and interpreting and learning from the (hi)story of a region than the former. With the showcase Of Gardens and People. Designed Nature, Art and
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1 M² by Studio Högl Borowski, the Ums Eck project for Vienna Design Week 2023 One of the real joys of Vienna Design Week is that it has always actively and naturally, self-evidently, included the city in all its hues, and expressions, and realities in its programme, has always understood definitions of design to include not only social design and urban design in addition to the more commercial definitions, but also to include the exchange and interaction between all manifestations of design
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