The Room for Focussed Activity, as seen at The Biophilic Workspace, Technische Universität München, Munich Creative Business Week 2024 For all that the office is popularly considered an 'environment', over a great man decades it was essentially a monoculture in terms of flora and fauna: humans were there, but little else. Save that half-dried out Yucca sp. or Philodendron sp. in the shadiest corner of the office. Or sat on the sunniest window still. Objects that have not only accompanied the
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From the Bauhaus Museum Weimar you can see the Buchenwald concentration camp; from the Bauhaus Museum Weimar you can exactly locate the violence and inhumanity of the NSDAP. However from Bauhaus Weimar and Bauhaus Dessau and Bauhaus Berlin locating the NSDAP is a lot less straightforward; from the Bauhauses seeing the NSDAP is not as simple, the view towards the NSDAP being as it is partially hidden, lightly distorted, unfocussed, by the mists of an unquestioned post-War narrative. And that
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In 1949 Edgar Kaufmann Jr. the, then, Director of the Industrial Design Department at the Museum of Modern Art, New York, reflected, not uncritically, that "as more and more new chairs become available to the buying public, the problem of selection begins to be bewildering." A truism that has lost nothing in contemporaneousness over the decades; and also a very nice eyewitness observation from the early days of the rise of the post 1939-45 War American furniture design industry. And of its
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Wellen, Wogen, Wirbel. Water as a source of inspiration, Galerie Handwerk, Munich Water, as we all know, is that compound without which life on earth simply wouldn't be physically possible. And a compound that, as discussed from, for example, Water Pressure. Designing for the Future at the Museum für Kunst und Gewerbe, Hamburg, has an importance and relevance for human society that goes far beyond the physical of its life giving properties. Important and relevant as the physical of its life
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Earth Centered Design. An Exhibition, Hochschule München, Munich Creative Business Week 2024 In context of Tsuyoshi Tane's Garden House project on the Vitra Campus, long-year Vitra CEO Rolf Fehlbaum opined that in the immediate post 1939-45 War decades "the industrial idea of taking over nature without caring was very typical". And arguably not just then. As discussed in context of, for example, At the coalface! Design in a post-carbon age at the Centre for Innovation and Design at
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Rowac at Berlin Design Week 2024 By the time the Peter-Behrens-Bau was inaugurated in 1917 Robert Wagner’s Rowac Schemel, one of the earliest seating objects crafted from lightweight sheet steel, had been on the market for almost a decade. If it was used in the workshops and offices of the Nationale Automobil-Gesellschaft, NAG, who, at that time, called the Peter-Behrens-Bau home, or by the wider AEG family to whom NAG was a member, and who so defined the industrialisation of the early 20th
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For all that steel tubing is the popular personification of the rise of the novel in furniture and interior design in context of the developing industrialisation of the first third of the 20th century, that primary representative of the rise of the machine and its victory over craft, in many regards the real symbol of the progress of the period was the novel synthetic plastics being developed, Bakelite being inarguably the best known and most widely employed. Yet while in the 1920s and 30s the
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Given that 'design' is popularly associated with a limitless reality, an unrestrainable questioning, a pushing at the open doors of possibility, it does tend to get hemmed in quite a lot, we do tend to like place it within an awful lot of borders: geographic borders, category borders, practice borders, conceptual borders, historic borders, etc, etc, etc. Or at least most of us do. For the past 20 years Budapest has been home to a borderless design, to Design Without Borders, an institution
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Morari by Jesse Altmann, Valentina Lenk and Klara Schneider, as seen at Berlin Design Week 2024 If we're going to entice and encourage ever more individuals in urban spaces to give up their private cars, and, we'll argue, that is desirable not only in terms of tackling the myriad problems of our contemporary urban spaces but also in exposing the fiction of, and the egoistic stupidity of, autonomous cars and flying taxis, we not only need public transport vehicles and networks that are
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Dedas by Annabella Hevesi, as seen at Berlin Design Week 2024 Admittedly the Dedas sofa by Budapest based designer Annabella Hevesi isn't part of Berlin Design Week 2024. But it is on show at Berlin Design Week 2024. Is part of the installation of the Sphere wallpaper collection for Italian manufacturer Tecnografica by Berlin based, Hungarian born, media artist Dávid Szauder in cooperation with Budapest based interior design studio Freeform a.k.a. Eszter Bolgár and Tímea Csitári. Albeit
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Next: Young European Design, Kunstgewerbemuseum Berlin, Berlin Design Week 2024 Curated by Alexandra Klatt, initiator and driving force behind Berlin Design Week, and staged in cooperation with the European Union National Institutes for Culture, EUNIC, Berlin and the Kunstgewerbemuseum Berlin, the latter also hosting the showcase, the 'Next' of Next: Young European Design isn't to be understood as the 'next generation of designers', or not solely it is also about that, but primarily is to be
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As all around, certainly all around here in Europe, the world blossoms and blooms into life, as colour and variety and vitality abound, it's strange to remember that just a few short weeks ago everything was so barren, monochrome, desolate. Not least in context of the global architecture and design museum community: how hard we had to labour to achieve anything approaching what could justifiably be termed a 'list' of new architecture and design exhibitions. Similarly it's hard to imagine that
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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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Occasional table by Rita Koralevics from the Paper-up Collection, as seen Magyar Design, Otthon Design Budapest 2024 The first thing that drew us to Paper-Up a.k.a Rita Koralevics' occasional table was the construction: the small wooden batons on the side implying it was possibly worth taking a closer look. So we did. And it very much was. Didn't disappoint. Revealing as it did a deliciously simple, efficient, unhurried, construction principle that actively contributes to not only the
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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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Components of the Bold collection by András Kerékgyártó for Brave Home, as seen at Magyar Design, Otthon Design Budapest 2024 András Kerékgyártó wasn't the first Hungarian designer whose work we saw, that would have been Marcel Breuer, but András is, arguably, that active Hungarian designer who has featured most often in these dispatches. A position achieved not on account of any formal legal agreement, just to clarify, but simply because he invariably produces good, interesting work worthy
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Polc íróasztallal by Woodoo, as seen at Magyar Design, Otthon Design Budapest 2024 Budapest, indeed Hungary as a whole, was an important centre of that which today is known as Art Nouveau, or Szecesszió to be more precise, if an expression of Art Nouveau, Szecesszió, that all too often tends to get overlooked by the expression of if its near neighbour Vienna. But a Szecesszió which one can't overlook walking through and around Budapest. Nor can one overlook Szecesszió standing in the
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The Budapest born photographer Robert Capa is quoted as once opining that, in context of photography, "it is not enough to have talent, you also have to be Hungarian"1, and in terms of furniture design there was, arguably, a period when that was also true; for all during that, all too, brief period between the dissolution of the Austro-Hungarian empire in 1918 and the outbreak of the 1939 - 1945 war, an inter-War period that, amongst other episodes, saw the Magyar trio Marcel Breuer, Kálmán
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An (early) interior (and possibly early furniture) by Dr Josef Frank, undated, but before 1915 "Living rooms intended to serve more than purely representational purposes are not works of art or well-coordinated harmonies in colour and form, whose individual components (wallpaper, carpets, furniture, pictures) comprise a finished whole in which they are inextricably linked", opined Dr Josef Frank in 1919, and that not least because, "any new item added would be perceived as awkward,
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Chairs by Elisabeth von Baczko realised by Korbmacher Kapsch, Bremen Just a few short years ago Dr. Karl Schaefer, the new Director of the Wallraf-Richartz-Museum, Cologne, opined that furniture and interior design required "a clear, well-disciplined architectural appreciation for the corporeal and its dimensions, for the tectonic and for the material, a certain dryness and an unapologetic sincerity" and for all "penetrating, deliberative understanding more than unbridled fantasy",
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After several years of preparation, and a lot of, at times (very) heated, discussion, this past March saw the staging of the inaugural Grassimesse Leipzig in the city's Rathaus. Instigated by Dr. Richard Graul, Director of the Leipzig Kunstgewerbemuseum by way of a response to, an answer to, the increasing concerns amongst many professional creatives regarding the quality of contemporary objects of daily use presented at the bi-annual Leipzig Fair, for all the quality of the novel machine
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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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