There are a great many and varied mediums via which to track the (hi)story of a region, the 2021 Bauhaus Lab chose plants; or more accurately, the 2021 Bauhaus Lab chose the (hi)stories of the flora in the region around Dessau as a medium for explorations of the human, social, industrial, political, economic, ecological, et al (hi)stories of the region. A telling of a local (hi)stories which enables access to both global considerations on, and questions concerning, our relationships with the
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1 x rounded piece of beech, 2 x quadratic pieces of beech, 3 x quadratic pieces of spruce... 1, 2, 3... An Ulmer Hocker1 With the exhibition The Ulmer Hocker: Idea ─ Icon ─ Idol the HfG-Archiv, Ulm, help elucidate that while an Ulmer Hocker is that simple, it is a deceptive, and highly informative, simplicity....... The Ulmer Hocker: Idea - Icon - Idol, HfG-Archiv Ulm The HfG Ulm: Idea - Icon - Idol - Bauhaus Arising from the Ulmer Volkshochschule, a post-War institution initiated by Inge
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It is perhaps indicative of the differing receptions to and estimations of design in the former West Germany and the former East Germany that while Dieter Rams' Ten Principles of good design are revered as if cast in stone, Karl Clauss Dietel's Five Big Ls of good design have barely seen the light of day since November 1989. A popular focus on the former West which tends to popular understandings of design from West Germany as being valid and authentic and laudable, while design from East
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Whereas politics, economics or sport in West Germany and East Germany are well and widely studied, and the similarities and differences regularly and publicly analysed and contextualised, thereby allowing for more refined, nuanced, popular understandings; design in and from the two Germanys remains, largely, a niche subject for a small band of specialists, and on a popular level something not only repeatedly reduced to a few works, institutions and protagonists, but also defined by
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Much as with "Bauhaus", "Memphis" is all too often popularly reduced to a "style", something one can "recreate". As with "Bauhaus" that it is not only disingenuous, and erroneous, but hinders development of understandings of the (hi)story of design, understandings of the path taken to our contemporary design that are important for considerations on where we are and how best to progress. With the showcase Memphis: 40 Years of Kitsch and Elegance the Vitra Design Museum Gallery issue an
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In 1950 the Dutch architect and designer Mart Stam told a conference in Leipzig, "when I speak here for a group of individuals active in industry about the problem of industrial design, I do so because I believe that it is necessary for us to concern ourselves in detail with the question of industrial design, and also because I believe that through intensive work and cooperation in this field we can contribute to increasing the cultural quality of our goods."1,2 With the exhibition The Early
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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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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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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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In 1977 Ludwig Glaeser, curator of the Mies van der Rohe Archive at the Museum of Modern Art, New York, opinioned that "it is certainly more than a coincidence that [Mies van der Rohe's] involvement in furniture and exhibition design began in the same year as his personal relationship with Lilly Reich."1 A statement that has in many regards come to define understandings of the furniture designs of both Ludwig Mies van der Rohe and Lilly Reich. An understanding that "is certainly more than a
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"Wij hebben de nieuwe wereld te scheppen" wrote a, then, 19 year old Mart Stam in 1919.1 "We have to create the new world" And subsequently spent the following decades developing, explaining and demonstrating his understandings of what that meant...... Mart Stam (1899 - 1986) Martinus Adrianus Stam was born on August 5th 1899 in Purmerend, a community to the north of Amsterdam, and which, not uninterestingly, is also the birthplace of Stam's contemporary J.J.P. Oud. Following an initial
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In a letter in 2008 to the editors of the Journal of the Society of Architectural Historians concerning remarks in an article on the staged illumination of Mies van der Rohe's skeletal frame constructions, the architecture historian Kathleen James-Chakraborty refers to the "linking of Heinrich Tessenow's Festspielhaus of 1910-12 in Hellerau with the installation for the glass industry that Mies designed (in collaboration with Lilly Reich, whom Petty does not mention) for the Stuttgart Werkbund
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Bauhaus Weimar's centenary may now be behind us, but there remains a lot of discussion, consideration and reflection ahead of us. Not least in context of the rapidly approaching Bauhaus Dessau centenary. By way of an accompaniment to those reflections, considerations and discussions, and of engendering a differing perspective on both the schools and the contexts in which they existed, a Radio smow playlist devoted to music of, from and associated with the Bauhauses. Radio smow: A Bauhaus
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While we'd all much rather physically visit architecture and design museums, our current enforced virtual patronage does allow us all an excellent opportunity to begin to understand architecture and design museums as more than just an exhibition space with shop and café, and to begin to learn to interact with them, and for all their collections, in new, proactive, manners. To understand architecture and design museums as tools as much as institutions. And while a virtual visit can never
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The museums may be closed, travel restricted and leaving your home, when possible, unadvised..... but that's no reason to restrict your cultural uptake, far less neglect the development of your architecture and design understandings. Or put another way, if you can't get to the museum..... let the museum come to you. Five online architecture and design exhibitions and museum collections to explore from your sofa, bed, garden, balcony, wherever..... Vitra Design Museum - Collection Online In
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Back in the days of the Roman Republic Martius was the month in which troops mustered in preparation for the coming battle season, to prepare, as it were, to March into war. Please don't! The world's out of control enough as it is! Rather use the coming spring as your incentive, to (a) make up for some of those New Year's Resolutions you've long forgotten you'd made and (b) to march into a future of new impulses, new understandings, new perspectives, a new world. To march into an architecture
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"In many workshops and offices it is regularly attempted to achieve both direct and semi-indirect lighting by means of large, single, light sources, that is, to work only with ample general lighting. Yet as pleasant as this type of lighting may be, in many cases it proves unsatisfactory on account of certain inherent shortcomings"1 So opined in 1926 the German engineer Curt Fischer. Rhetorically. For in 1919 he had already patented his first solution to resolving such "inherent shortcomings".
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Looking back from the safety of 2019 it can be all too easy to assume that Bauhaus was a popularly received and much celebrated institution. ❌ From its very earliest days, even before the first students had arrived in Weimar, the institution met with tenacious criticism and steadfast resistance; and arguably nowhere more so than in Weimar. With the exhibition Mathilde von Freytag-Loringhoven. Painter, Author, Animal Psychologist and Bauhaus Critic the Stadtmuseum Weimar introduce one of the
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"...when we shall hear The rain and wind beat dark December, how, In this our pinching cave, shall we discourse The freezing hours away?" asks Arvirargus of his brother Guiderius in Shakespeare's play Cymbeline, before lamenting, "We have seen nothing" Easily solved old boy, a visit to an architecture or design exhibition should not only provide for new, stimulating, impressions but plenty of discourse throughout not only December but for many, many months to come. For all a visit in December
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Sitting unassumingly, and largely unnoticed, in the middle of Germany, the city of Gotha may have only little resonance with the majority, with the great unwashed; however, every European royal family can trace their lineage back to Gotha: most famously the English royal family through Queen Victoria's 1840 marriage to Prince Albert, but the royal houses of Sweden, Denmark, Spain, Holland, Norway, you get the idea, can all trace their lineage back to and through Gotha. Gotha and royalty ✔
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For all the popular associations of the inter-War years with the reduced and the paired down, with objects whose value was deemed inherent rather than something one added, one must remember that the inter-War years were also a period that brought forth the colours and confusions of Surrealism and the glitz and glamour of Art Déco: The Roaring of the Twenties being as much about a self-confidence of expression as a joyous relief that the war years were, once and for all, over. And thus that
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As this Bauhaus Weimar centenary year is making ever clearer, whereas Bauhaus may have been physically sited in Weimar, Dessau and (nominally) Berlin, approaching a better understanding of "Bauhaus" involves leaving those sites and following the many paths that either led to, or from, those sites. Paths that not only allow one to approach a better understanding of "Bauhaus", but for all to approach a better understanding of the wider developments of the inter-War years, of inter-War Modernism,
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On November 1st 1512 Pope Julius II celebrated the All Saint's Day Mass in the Sistine Chapel. The first public presentation of Michelangelo's frescos, and thereby the opening of a permanent exhibition still on show today. And still attracting a public. And while permanent exhibitions are good and important, for all in allowing an overview and an introduction to a subject, it is those ever changing temporary exhibitions that, should, ideally, allow for new insights and deepening of
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Whereas the 1920s may have been Roaring, Golden, Années folles, a decade which could be certain that The Great War, that war to end all wars, had brought lasting peace to Europe, and where the utopian visions of the International Modernists, coupled to political and social emancipation and technological progress, made everything possible, and meant we could all gaily Charleston away our nights and days; the 1920s was also the decade that ushered Europe into one of the darkest periods in its
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