"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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Imagine you were one of the best selling and most widely used chairs in your country. But (hi)story had forgotten you. Imagine you were informative in context of elucidating important, but rarely illuminated, chapters in the (hi)story of furniture design. But (hi)story had forgotten you. Imagine you were instructive in context of the practice and craft and industry of furniture design. But (hi)story had forgotten you. Imagine you were in use in a great many locations. But no-one saw you.
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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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When Erich Mendelsohn's new Schocken department store opened in Chemnitz in 1930 Wasmuths Monatshefte für Baukunst, one of the leading architecture periodicals of the age, were unsparing in their praise "With his new Schocken department store in Chemnitz Erich Mendelsohn has achieved a new peak in his creativity", they announced.1 With the conversion of Mendelsohn's construction to the new Staatlichen Museum für Archäologie Chemnitz - the State Archaeology Museum in Chemnitz - the responsible
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