Across the northern hemisphere September generally marks the start of the academic year, be that in primary, secondary, tertiary or quaternary education contexts, as students at all levels return to their studies after the long summer break. And while quinary education may not need an official start, or indeed a structured year, there is not only something appropriate in opening a new chapter in your studies alongside that of your fellow students, but for all the number and variety of new
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"The May of life blooms but once", reflects Friedrich Schiller, continuing, "It has faded for me".1 Cheer up Freddie!!! And there's nothing quite like a good architecture or design exhibition to revitalise all your faculties. Our recommended fertilizers for the zest of life in May 2022 can be found in Berlin, Den Haag, Brussels, Pfäffikon SZ and Amsterdam....... "Organizing Things" at the Werkbundarchiv - Museum der Dinge, Berlin, Germany According to Rudolf Clausius's interpretation of
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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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In the final decades of the 19th century the lands of the, then, German Empire, established themselves amongst the leading protagonists in the developments of contemporary applied arts as they moved towards that which we today term design. A leading position which, in certain regards, became a European dominance in the course of the 1900s, 1910s and 1920s through the contributions made to the evolving practices, processes, expressions and understandings of the period by institutions such as,
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