We’ve long considered it an absolute cheek that German high-speed ICE trains stop in Hildesheim. Nothing against Hildesheim, but when one considers other cities in Germany where ICEs don’t stop, or stop with an almost insulting (in)frequency, coupled to the closeness of Hildesheim to more major centres and their ICE hubs, it always seemed as if Hildesheim was being unfairly favoured by Deutsche Bahn.
That was until we wanted to visit the Hochschule für angewandte Kunst Hildesheim’s Summer Graduation Exhibition, then the ICE stop made perfect sense, was a clear and logical piece of planning, something civilised society couldn’t conceivably exist without…..
And the projects on show at the 2108 Hildesheim Summer Graduation Exhibition…….?
The Proclaimers may have rightly celebrated the virtues of the Sunshine on Leith, but on the day we visited the 2018 Degree Show at Edinburgh College of Art’s School of Design the city was very much in the grip of a North Sea haar which had drifted, unhelpfully, up the Firth of Forth.
Or was it perchance an omen?
Would that which greeted us in the exhibition be equally as nebulous, cold and opaque……..?
Whereas Frankfurt can, and very loudly does, claim to the birthplace of the German poet, playwright, scientist, statesman, etc, etc, etc Johann Wolfgang von Goethe, nearby Offenbach was not only the birthplace of his almost wife and long, long time love Lili Schönemann, but it was in the, then, relative, calm of Offenbach that Goethe’s affections for Lili evolved and grew; “Lili was the first person I deeply and truly loved, and maybe she was the last”, an octogenarian Goethe is reported as having confided to a friend.
Would however we return from the 2018 Hochschule für Gestaltung Offenbach Rundgang with such a deep, enduring love….? With our own Lili……?
The building which Central Saint Martins calls home was erected in 1852 as store for grain arriving from Lincolnshire and awaiting its further distribution to London’s bakers.
Was, if you like, a transfer point, a hub, a location where general ideas became specific solutions, a place industry and trade called upon when needing raw materials for their latest project, a source for those whose work helped support and nourish the populace, a central institution in the development of the city and one, thereby, directly related to the immediate needs and interests of society.
We’re sure there’s a metaphor in there somewhere, somewhere, but where…….? Would a visit to the 2018 Central Saint Martins’ Degree Show help us locate it…….?
“We are children of the age of the steam engine, the telegraph and electricity. We have turned our backs on the beautiful, and that is why we no longer understand it”, bemoaned the Dutch draughtsman, designer and educator Johannes Ros in his 1904 text “Het doel” [The goal/target/objective]
How Johannes Ros and his contemporaries attempted a return to the beautiful, indeed what was understood as beautiful in the Netherlands at the turn of the 19th/20th centuries, and for all the particular Dutch accent of that attempt/understanding is explored in the Gemeentemuseum Den Haag’s exhibition Art Nouveau in Nederland.
The Hochschule für Gestaltung und Kunst Basel’s Institute Industrial Design is sited in the city’s Dreispitz district, a name derived from the district’s (roughly) triangular form, and a term which translates into English as “cocked hat”
But would the work of the Institute’s students see conventional ideas, wisdoms and understandings knocked into a Dreispitz…..
In October 2017 the Design Department of the Folkwang Universität der Künste Essen moved into its new home, the so-called Quartier Nord designed by Stuttgart based MGF Architekten.
The 2018 Folkwang Summer Rundgang therefore not only offered an opportunity to explore the work undertaken by institute’s students in the semester past, but also to explore their new home…….
Tracing its history back to 1899 the Sir John Cass School of Art, Architecture and Design a.k.a The Cass has an established place in the (hi)story of English design, for all in woodcraft based design including toys, music instruments and furniture.
But as we all know a long history and illustrious alumni are poor hooks on which to hang the future of an institution, much more robust are the current staff, students and their work.
The 2018 Cass Summer Show allowed some insights into the contemporary Cass……
Our visit to the 2018 Glasgow School of Art Degree Show occurred before the recent fire, indeed this post was all planned to go, then came news of the fire … and it seemed appropriate to wait.
But not to archive it away altogether, for tragic and destructive as the fire unquestionably was, an art/design/architecture school is its staff and students and ideas and visions and understanding of the world. Not the bricks and mortar that surround it.
Even if those bricks and mortar were arranged by Charles Rennie Mackintosh.
And so with reflections on what has been lost, but our eyes still firmly on the future…..
Lilla torg, the square in Malmö old town which the Form/Design Center calls home, traces its history back to Malmö’s hanseatic days, the former market of yore having evolved over the centuries to become one large open air food court, bordered as it is on all sides by restaurants, bars and coffee shops, which spill gregariously out into the ever narrowing square.
The functional, ordered, democratic supply of provisions, having become a self-satisfying celebration of the same.
What would Émile Zola say?
And would the projects on show at the Form/Design Center’s 2018 Vårutställning – Spring Exhibition – of student graduation projects help lighten his humour…..?
The Dog Days of summer are with us and, as is traditional, the international curatorial community have removed themselves to the cooler climes of their storerooms, archives and libraries to sit out the heat until autumn’s bracing breeze tempts them back out.
Which, logically, means a great sparsity of new architecture and design exhibitions opening in July 2018.
Whoever thinks of Switzerland thinks of Swiss clockwork, Swiss railways, Swiss chocolate, Swiss precision.
It’s therefore all the more surprising that Dada has its European origins in Switzerland, and for all in the legendary Cabaret Voltaire in Zürich.
But would the 2018 Zürcher Hochschule der Künste graduates prove as anarchic, confrontational, spirited and revolutionary in their creativity……..?
19th century Sheffield was the City of Steel; as one of the major centres of steel and steelware in the British Empire, Sheffield was not only important in the evolution of functional-decorative & decorative-functional tableware, personal and household accessories, but also one of technical innovation, for all the development in the city of stainless steel revolutionising global product design and architecture.
20th century Sheffield was one of the main centres for the development and evolution of UK music; the collapse of the steel industry in the second half the 20th century seeing artists as varied as, and amongst many others, The Human League, Cabaret Voltaire, Def Leppard or Pulp making prudent use of the post-industrial cityscape, and for all the availability of post-industrial space for rehearsing, to develop their individual soundscapes.
21st century Sheffield is home of the World Snooker Championship.
But would the 2018 graduation projects from design students at the Sheffield Institute of Arts see them pot the reds then, screw back, for the yellow, green, brown, blue, pink and black? Or would they miscue and go in-off…………?
Anchored next to the Göta älv Bridge in Gothenburg is a decommissioned ferry. Repurposed as a car park.
While in no way a substitute for an integrated urban transport concept that reduces our dependence on the car, it is a really nice example that recycling, reusing and reappropriating isn’t just something for designers, is also a subject for architects and urban planners. And by extrapolation, us all.
Suitably motivated we scaled and crossed the Göta älv Bridge and made our way the 2018 HDK Gothenburg Degree Exhibition.
In his Ron Arad monograph Restless Furniture Deyan Sudjic notes that the Sticks & Stones furniture crusher Arad developed for the exhibition Nouvelles Tendances staged by the Centre de Creation Industriel Paris in 1987 was itself only saved from the crusher through the post-exhibition “intervention of a friendly Swiss furniture manufacturer.”1
While all Swiss furniture manufacturers are friendly, one particularly friendly Swiss furniture manufacturer springs to mind whenever the discussion turns to furniture design as being more than the shape of a chair, furniture design as a cultural imperative or the preservation of furniture design heritage.
As if confirmation were needed, the Sticks & Stones crusher greets visitors to the Vitra Design Museum Schaudepot exhibition Ron Arad: Yes to the Uncommon!
During June 2018 the participative art installation Freiheit 2.0 in Stuttgart is exploring issues around Big Data, artificial intelligence and the future of our relationships with the digital, virtual, environment.
In addition to a series of colloquia in which invited experts talk about aspects of the wider themes and engage in conversations with the project initiator Florian Mehnert, the three further pillars on which Freiheit 2.0 is built are a Self-Tracking App via which everyone can create a personal movement profile akin to the ones Big Data constructs for each of us everyday; Public Space, the renaming of local businesses with the suffix “der freiheit” [of/for/the freedom]; and the Guidance System, a series of coloured lines which lead from the renamed businesses to the Freedom Laboratory in Stuttgart’s StadtPalais museum.
The latter two being pillars which, if we’re being honest, we didn’t quite 100% understand as supporting ahead of the opening; but whose intrinsic role in the construction became much clearer after we’d had a chance to stroll along and among them……
“…this is also a sure sign for the development of our style that we gradually succeed in bringing the practical back in line with the ideal. It seems to me, this could now also apply to many aspects of our common aspirations.”1 So wrote Peter Behrens in 1901 to the Kaiser Wilhelm Museum Krefeld’s director Friedrich Deneken.
With the exhibition The Practical and the Ideal the Kaiser Wilhelm Museum Krefeld explore not only how Peter Behrens’ understood such and how he attempted to achieve just that, but also the importance of both the Kaiser Wilhelm Museum and Friedrich Deneken in the development of Peter Behrens’ oeuvre. And in doing so offer new perspectives on the popularly understood Behrens’ biography.
Rely too heavily on popular representations of design from Denmark and one could come to the conclusion that Danes only started designing objects in the late 1940s, so often is one presented with Danish design books, exhibitions and newspaper/magazine/blog articles that begin, self-evidently, post-War.
With their exhibition Made in Denmark. Design since 1900, the Grassi Museum of Applied Arts Leipzig demonstrate that design in Denmark does have a pre-war, and pre-design, history.
While others spend their summers’ holidaying with families, barbecuing with friends or pretending to read novels on the balcony, at the beach and/or in the local park, we travel Europe visiting design school summer exhibitions and subsisting exclusively from falafel. It’s a curious, idiosyncratic, slightly tragic, way to spend your life, but it’s the one we’ve chosen, is in many regards the only road we’ve ever known. And so, as May’s warmth ceded to the heat of June, we made like Whitesnake…. Here We Go Again.
Our 2018 #campustour kicked off in Stockholm, a city as closely related with the Hanseatic League as smow, and specifically at Konstfack, Sweden’s largest and oldest art/craft/design school.
If swarm intelligence describes natural systems where individuals pool their resources for the benefit of the community, then Big Data can be considered a form of swarm intelligence appropriated by commerce: where commerce pools individuals’ resources, their data, for the benefit of commerce. In both swarm intelligence and Big Data the individuals involved are, largely, unaware of the extent of the interaction and resource pooling. Whereas however birds, bees, fish and ants needn’t be aware of such, we all really should be, that we generally aren’t making Big Data much more a demonstration of swarm unintelligence. If not swarm negligence.
With his participatory art installation Freiheit 2.0 Florian Mehnert visualises the permanent interaction between our analogue and digital lives, the ensuing tensions, and thereby aims to allow us a new, differentiated, view of where we are at and where we could end up.
Throughout June 2018 Freiheit 2.0 can be experienced in Stuttgart, and ahead of the opening we spoke with Florian Mehnert.
“Memphis in June,
A shady veranda under a Sunday blue sky,
Memphis in June,
And cousin Amanda’s makin’ a rhubarb pie”
(Memphis in June, Hoagy Carmichael)
Sounds lovely Hoagy, but we’ll have to pass, because despite Memphis having some interesting museums, we can’t find one opening a new architecture or design exhibition in June 2018.
Consequently, and unlike Marc Cohn, we’ll not be “Walking in Memphis” this June, but in Düsseldorf, Espoo, Andelsbuch, Rotterdam and San Francisco…..
“Monsieur, with these Rocher you are really spoiling us!”
Ever since Ferrero brought a touch of self-congratulatory kitsch to the savoir-faire of international diplomacy, we’ve felt a great empathy for the concept of the Embassy.
And while the years since we first heard those words may not have seen us follow an illustrious, freely debonair, diplomatic career, we do have as a substitute the embassy design exhibition.
3daysofdesign Copenhagen 2018 offered such a wealth and variety of embassy exhibitions we simply couldn’t resist donning a metaphorical morning coat and taking a flânerie through the diplomatic quarter.
But would that which awaited us also be an ultimate “sign of good taste”……..?*
“This exhibition intends to acknowledge the cultural achievements of Italian design in the last decade, to honor the accomplishments of its gifted designers and incisive critics, and to illustrate the diversity of their approaches to design by presenting a collection of the most interesting examples of their work.”1
Thus announced the curators of the Museum of Modern Art’s 1972 exhibition Italy: The New Domestic Landscape their intentions.
The New Domestic Landscape portrayed by the gifted designers accomplishments and diversity of their approaches wasn’t however, necessarily, one inhabited by voluminously upholstered sofas and elegant lighting…….
For the German architect, designer, artist Peter Behrens it was important that the exterior reflected a building’s intended function, that the exterior provided information about the nature of the building and its occupants.
We suspect therefore he would greatly approve of the title of the Museum für Angewandte Kunst Cologne’s exhibition in honour of his 150th birthday, neatly encapsulating as it does the nature of its protagonist.
Established in 1897 as an institution for pure and applied arts the Kaiser Wilhelm Museum in Krefeld was, for all through the person of its founding director Friedrich Deneken, an important protagonist in the discourse concerning the relationships between art, craft and industry at the turn of the 20th century
With the exhibition From Idea to Form. Domeau & Pérès: Design and Craftsmanship in Dialogue, the contemporary Kaiser Wilhelm Museum Krefeld continue this discourse.