“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 Otti Berger to begin to retake her place on the helix of design, and architecture, (hi)story……
In July 1969 Apollo 11 landed on the moon, and as Neil Armstrong stepped from the Eagle lunar module he announced it was, “one small step for [a] man, one giant leap for mankind”.
And inarguably it was. And was.
But what has it brought mankind?
Apart from an awful lot of conspiracy theories. And an ongoing fascination with space that drives the irrational belief that in the 21st century we urgently require everything which appeared in 1950s and 1960s science fiction comics and films in order to have happy, functioning societies.
Yes, it also brought us Gil Scott-Heron’s, ever glorious, and still very relevant, Whitey on the Moon; a work that through it’s continuing, unabated, undiluted, relevance reminds us all how little Apollo 11 has brought mankind.
Other small steps can, we’d argue, be much more meaningful. Can enable longer leaps in more meaningful directions.
Such as the small step into an architecture or design museum; a step that can, will, inform and entertain, can, will, allow fresh insights and perspectives, can, will, cause a questioning and reflection: and thereby, potentially, enable the development of differentiated thoughts and appreciations on the now and on that now still to come. And perhaps in doing so quell a few conspiracy theories. And so allow for the development of a future worthy of the name.
Our five featured short steps for July 2023 can be taken in Stuttgart, New York, Hornu, London and Berlin…….
“Design”, opined textile designer Bernat Klein in 1976, “means to enjoy the exploration of new possibilities. It means to take pleasure in finding new solutions to old problems; or to have fun juggling with a number of old solutions until they suddenly click and coalesce into one, beautiful, new solution”.1
With the exhibtion Bernat Klein. Design in Colour the National Museum of Scotland, Edinburgh, allow insights into how Klein explored, discovered and juggled. And the new possibilities and new solutions that thereby arose…….
“It is possible to live without taking colours in daily life seriously just as it is possible to live and to ignore music, sculpture and other arts” opines the textile designer Bernat Klein in his 1965 book Eye for Colour, and thereby not only freely equating colour with other cultural goods but also very neatly setting up the refutal, “no one will doubt, however, that life will be fuller and richer if colours are daily absorbed, handled and savoured as they can and should be”.1
Eye for Colour is both an introduction to how Bernat Klein arrived at such a position, and an argument in support of its validity…….
That joining the Women’s Department weaving workshop was for many a female Bauhäusler not so much an active wish as the response to a take-it-or-leave-it proposition, shouldn’t be confused with the workshop producing work of an involuntary, unloving, uncaring nature, of it playing second fiddle to the rest of the institution. Far from it. The quality and relevance of the work created in the Bauhaus weaving workshop being in many regards attested by the fact it was one of the more productive and commercially successful Bauhaus workshops.
With the exhibition Bauhaus. Textiles and Graphics the Kunstsammlungen Chemnitz explore the work undertaken in the Bauhaus weaving workshops, some of the institutions’ principle protagonists and their place in wider considerations of inter-War weaving. While also neatly, if indirectly, highlighting Bauhaus’s gender differences, inequalities, prejudices……
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 our social and cultural evolution.
With the exhibition New textile worlds in a creative context – Potential technical, intelligent textiles + smart materials the Wasserschloß Klaffenbach explores such relationships between materials and objects in context of both commercial products employing new materials technology and/or understandings and also academic research indicating possible future realities.
According to the German philologist, mythologist, folklorist and definer of the Germanic Umlaut, Jacob Grimm, an old belief states that the Cuckoo never sings before the 3rd of April; and, “should you have money in your pouch when you hear him sing the first time, you will be well off all that year, if not, you will be short the whole year” 1
Much like the cuckoo, our five new architecture & design exhibitions recommendations for April 2018 begin with their songs after April 3rd; and should you have money in your pouch when in their vicinity, and use it to visit one, we can’t guarantee a year of financial wealth, but they all sound like providing not only a couple of hours entertainment, but a lifetime of joy through helping you develop your understanding of architecture and design, and thereby the world that surrounds you….