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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In 1977 the German designer Luigi Colani demanded a "renaissance of Art Nouveau"1 What he meant, why he meant it, and if it is something we should all fear, can be explored and considered in the exhibition Luigi Colani and Art Nouveau at the Bröhan-Museum, Berlin....... Luigi Colani and Art Nouveau at the Bröhan-Museum, Berlin Born in Berlin on August 2nd 19282 Lutz Colani3 studied sculpture at Berlin's Hochschule für bildende Künste between 1946 and 1948, before moving to Paris where he
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"Hvis jeg får et nyt liv, vil jeg være gartner", opined once the Danish architect and designer Arne Jacobsen. "If I have another life, I want to be a gardener" Not that, as Arne Jacobsen – Designing Denmark at Trapholt, Kolding, would tend to imply, he made an incorrect career choice..... Arne Jacobsen - Designing Denmark, Trapholt, Kolding Arne Emile Jacobsen was born in Copenhagen on February 11th 1902 into a, by all accounts, comfortable middle class family; his mother a trained bank
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"Trunk-hasped, cart-heavy, painted an ignorant brown. And pew-strait, bin-deep, standing four-square as an ark"1 Reading Seamus Heaney's musings on his Settle Bed one could be forgiven for considering it a thoroughly unremarkable object. Ignorant even. That would however be to misunderstand the nature, spirit, essence, of poetic construction. And the nature, spirit, essence of the Settle Bed. A World of Vernacular Furniture: The Settle Bed. As a settle...... (Photo Kenneth Allen via
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While understandings of form, of beauty, in context of the objects with which we surround ourselves continually evolve and develop, understandings of function are, generally, much more stable. Or at least are once they have been identified, understood and normalised. Something that can be studied and appreciated in Thomas E. Warren's Centripetal Spring Chair..... A Centripetal Spring Chair by Thomas E. Warren for the American Chair Company with tapered back and armrests (Image © and
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In all corners of the globe one finds objects of furniture which developed in response to local conditions, traditions and practices; vernacular objects without a formal author and which although, on account of?, arising from a very specific place and time can, invariably, both teach us a lot about the essentials of furniture and help explain furniture's relationships with wider realities. And objects we want to celebrate, starting with arguably, one of the best known examples of vernacular
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The German designer and graphic artist Otl Aicher once opined, "Hans Gugelot wasn't a theoretician. But not a practitioner either. What is one if neither a theorist nor a practitioner?"1 What, indeed.....? With the exhibition Hans Gugelot. The Architecture of Design the HfG-Archiv Ulm allows one to approach an answer..... Hans Gugelot. The Architecture of Design, HfG-Archiv Ulm Johan (Hans) Gugelot was born in Makassar, Indonesia, on April 1st 1920, as the second son to Dutch couple
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Christa Petroff-Bohne arrived a trifling couple of minutes late for the opening of Beauty of Form. And was most apologetic, apologised for keeping us all waiting. Whereby, we couldn't help thinking, it is much more us, all, the international community, who should be apologising for keeping Christa Petroff-Bohne waiting for such a comprehensive and rounded recognition of her work and career.........1 Form studies by students of Christa Petroff-Bohne's Basics of Visual Design, as seen at
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July is traditionally a slow month for new architecture and design exhibition openings. July 2020 less so. Not because of any fundamental changes in understandings amongst architecture and design museums of when is a good time to open an exhibition; but because owing to Corona many shows scheduled to open in the spring had to be postponed, not least until the museums were allowed to open. And throughout July 2020 ever more museums are planned and planning to open; meaning ever more
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With the 2020 edition Stockholm Furniture Fair celebrates its 70th birthday. Grattis på födelsedagen! We did think about taking along a cake, but knew the halls of Stockholmsmässan would be filled to the rafters with Kanelbullar, as indeed would we. And so by way of a present, a Stockholm Furniture Fair 2020 High 6!! EIO Lounge Chair from Nuen The first thing to say is that we feel that, for us, EIO is but the start of a journey. The second thing to say is that ahead of any trade fair one
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Apart from the chance to peruse and consider the collections and new products of and from a wide variety of manufacturers and labels, one of the real joys of visiting any furniture fair is the opportunity it allows to observe designers in conversation with manufacturers and labels. For all in pairings that currently don't formally exist. We never eavesdrop on such conversations, that would be rude, and to overplay our prowess as spies; but we do enjoy imagining what may arise from those
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In our post from the exhibition Design Gruppe Pentagon at the Museum Angewandte Kunst Cologne we noted that Gallery Pentagon was laterally based in Cologne's Bismarckstrasse. Bismarckstrasse 50 to be precise, a former cardboard packaging factory which in the 1980s was developed into spaces for creatives of various ilks..... .....Bismarckstrasse 50 is still home to creatives of various ilks, and is still home to a gallery, Galerie Martina Kaiser, where in context of the 2020 Passagen Interior
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In context of the 2013 exhibition Lightopia at the Vitra Design Museum a point of particularly intense illumination, pun intended, was the difference between light and lighting, and that the craft of the lighting designer is to bring a tangible form to an intangible material. With the exhibition Ingo Maurer intim. Design or what? Die Neue Sammlung – The Design Museum Munich celebrate, and remember, one of Germany's leading designer's of light..... Ingo Maurer intim. Design or what?, Die
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"Since the founding of the museum in 1864 there has been an ongoing committent to honouring the statute of the house, namely, to promote the art industries and the arts and crafts and to develop the taste of contemporary society"1 So noted the, then, Österreichisches Museum für angewandte Kunst's Director Wilhelm Mrazek in the catalogue to the museum's 1969 exhibition Sitzen 69, Sitting 69, an exhibition which sought "to develop the taste of contemporary society" in terms of sitting/seating.
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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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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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In 1968 the East German designer Rudolf Horn opined that "the changed tenor of industrial production in the socialist society, in relation to its task of satisfying cultural needs on a mass scale, raises the question of how despite mass production the consumer can realise an individual [domestic] environment, and in addition forces us to consider the problem of how the cultured personality can creatively contribute to the design of their immediate surroundings."1 How indeed....? It was,
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According to our old friend Roget possible synonyms for "August" include great, noble, impressive or worshipful. We can't promise the following quintet of exhibitions will exactly meet such qualities; however, they promise to be anything but frivolous, undignified or flighty explorations of their subject, and therefore certainly should be tending to the August in August 2019....... "New rollout. bauhaus wallpaper" at the Kulturgeschichtlichen Museum Osnabrück, Germany Although Bauhaus,
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According to the Greek philosopher Anaximenes of Miletus, air is the source of everything. And whereas in the intervening 2500 years we have come to better understand the true nature, character and properties of air, as the exhibtion Design on Air at the Centre d'innovation et de design Grand-Hornu illustrates, air remains a very potent, stimulating, and protean creative force. Design on Air, Centre d'innovation et de design au Grand-Hornu Omnipresent yet absent, perceptible yet
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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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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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