As a general rule we prefer to focus the Design Calendar on positive events, it just seems more, well, positive; however, sometimes a negative event is more illustrative of a situation, provides for better access to a story.
An event such as Mart Stam’s beurlauben, suspension, as Rector of the Hochschule für angewandte Kunst, Berlin, on September 22nd 1952.
The unhappy end of Mart Stam’s not altogether joyful sojourn in East Germany.
But also a moment that allows for some focussed considerations on both the person Mart Stam and on his understandings of art, architecture and design.
Tuesday September 22nd marks the 2020 Southward Equinox, and thus the start of autumn in the northern hemisphere, and of spring in the southern hemisphere. Two seasons known throughout history for the vagaries, capriciousness, of their weather.
And thus two seasons perfectly suited to a longer architecture and design, or art, museum visit.
Our recommendations for four new showcases opening in September (autumn) 2020 can be found in Berlin, Kolding, Düsseldorf and Berlin (again); our recommendation for a new showcase opening in September (spring) 2020 can be found in Sydney.
And as ever in these times, if you do feel comfortable about visiting any museum, please familiarise yourself in advance with the current ticketing, entry, safety, hygiene, cloakroom, etc rules and systems. And during your visit please stay safe, stay responsible, and above all, stay curious….
“At the present day a library has become as necessary an appendage to a house as a hot and cold bath” wrote the Roman Stoic Seneca at some point in the first century CE, “I would excuse them straightway if they really were carried away by an excessive zeal for literature; but as it is, these costly works of sacred genius, with all the illustrations that adorn them, are merely bought for display and to serve as wall-furniture.”1
While the glossy coffee table book may be have become an increasingly popular, and commercially successful, use of books as idle representation, we’d be interested to know how many individuals in the past months have deliberately positioned themselves in front of a carefully reorganised bookcase for work video conferences, or how many politicians have ensured that an appropriately stocked bookcase serves as the background for their video interview?
For, and despite the, alleged, reduction in the relevance and importance of the printed word in contemporary society, the bookcase remains, in contrast to the bath, not only a near ubiquitous piece of domestic furniture, but a strongly symbolic object…….
“Wij hebben de nieuwe wereld te scheppen” wrote a, then, 19 year old Mart Stam in 1919.1
“We have to create the new world”
And subsequently spent the following decades developing, explaining and demonstrating his understandings of what that meant……
“What August dosen’t do, September puts right”1 opined once Johann Wolfgang Goethe.
And loathed as we are to contradict Goethe. He’s wrong.
August may be a time when one can allow oneself a little more freedom than the rest of the year; however, that which we call life is the actions, experiences, leanings, emotions of each month consecutively and sequentially building on, informing and evolving one-another, a month of inactivity is a month of moments missed, and hoping that September can in some form rectify for a laxness in August is wishful thinking.
And this year not particularly sensible: for as we all understand, that which we don’t do in August may come back to bite us in September.
Thus, on this occasion, ignore Goethe, and use August wisely, sagely and as a chance to get more out of September. And subsequently get more out of October. November. Etc. Etc. Etc.
Our five recommendations for meaningful things to do in August 2020, apart from regular hand washing, keeping abreast of local developments/advice and maintaining mutual respectful relations with those around you, can be found in Tallinn, Brussels, Malmö, Amsterdam and Berlin.
And as ever in these times, if you are planning visiting any museum or exhibition, please familiarise yourself in advance with the current ticketing, entry, safety, hygiene, cloakroom, etc rules and systems. And during your visit please stay safe, stay responsible, and above all, stay curious….
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 architecture and design exhibitions are planned and planning to open throughout July 2020.
And thus, while our physical travel options may still be limited, our (potential) cerebral and cultural travel spheres continues to expand, and that is never a bad thing.
If you do feel comfortable about visiting a museum, and are physically allowed to do so, as we will never tire of saying in these trying of times, please familiarise yourself in advance with the current ticketing, entry, safety, hygiene, cloakroom, etc rules and systems.
And during your visit please stay safe, stay responsible, and above all, stay curious….
Given the very close connections between Le Corbusier and France, one could be forgiven for, occasionally, forgetting that he was born in Switzerland.
With the exhibition Le Corbusier and Zürich the Museum für Gestaltung allow not only an insight into the Le Corbusier biography as charted by Switzerland’s largest city, but also of his not always easy relationship with the country of his birth.
“It’s not possible to define a style in my work”1, opined once the Italian architect and designer Gae Aulenti.
With the exhibition Gae Aulenti: A Creative Universe, the Vitra Design Museum Schaudepot don’t contradict that opinion, but do provide for a framework for considerations on its validity……
As previously noted, the (hi)story of the office is long and has its origins in functions and individuals rather than physical spaces; its understanding evolving over the course of several centuries as those functions/individuals gradually became synonyms for their physical place of activity. Before in the course of the 19th century its understanding became increasingly institutionalised, not least against the background of increasing commerce, industry and civic administration, and leading to the emergence of the “office building” as an identifiable branch of architecture; something, arguably, most popularly associated with the skyscrapers of Chicago, and in which context Louis H Sullivan penned the (fateful) words “form ever follows function, and this is the law.“1
A law, tenet, understanding, option, that Sullivan’s former employee, and in many regards pupil, Frank Lloyd Wright developed to a milestone of office building design with his Larkin Administration Building in Buffalo, New York.
We thought long and hard as to if we should continue our online exhibition recommendations series, or go back to offline exhibitions…… and decided for a return to offline.
We fully appreciate that in a lot of countries museums are still closed, as indeed are the international borders that you would normally and naturally criss-cross for a short city break to visit those that are open; however, many museums are open, many more are planned/planning to open in the course of June, and interesting and informative as online presentations can be, viewing an exhibition in a museum is the more satisfying experience, the more rewarding experience, the more enduring experience. And an important experience.
As we oft opine, museums aren’t just about collecting and preserving the past, nor just additions, adornments, to cafés and gift shops; rather they are locations for discourse, contemplation and reflection. Locations in which not only subjects which, in the overhyped, overheated marketplace of contemporary media may never find an audience, can be allowed to tell their story, can in many cases be allowed to reclaim their place in our (hi)story, but locations where subjects can be approached not only from a multitude of perspectives simultaneously, but from new, contradictory and often otherwise unachievable perspectives, and that without prejudice, bias or a commercial necessity to conform to some preconceived narrative.
Admittedly not every exhibition manages that, many do succumb to an egoistic desire to be a “blockbuster” and thus present an accepted, tourist gaze, presentation of their subject; but there is no reason why every exhibition cannot discuss lesser illuminated subjects without fear or favour.
And when museums do such, and do such well, do such with honesty and impartiality, they become locations which invite, encourage and enable you to extrapolate on that which is presented and to carry your thoughts and arguments over into other arenas and areas, and thereby helping us all approach better understandings of ourselves, individually and collectively, and of the world around us, the innate natural and that which human society has created. While also improving our knowledge of the subject at hand. Clarifying that you may not have understood a subject as completely as you believed you did.
And that’s not an experience and opportunity that one should ever undervalue or neglect. And certainly never stop searching for.
While specifically in context of design exhibitions; for all that online exhibitions can and do offer, there is simply no substitute to being in the presence of a physical object, nor can we imagine there ever will be.
And so while all museums remain virtually open 24/7, and we’d encourage each and everyone of you to use museums’ online services as tools and resources; the fact that many are physically open is much more important. And something to be treasured and made use of.
If made use of with appropriate awareness and sensibility at this moment. Therefore, if you feel comfortable visiting a museum, please before doing so (a) check in advance to ensure that it is actually open, short-term changes can occur and (b) familiarise yourself in advance with ticketing, entry, safety, hygiene, etc rules and systems. And during your visit stay safe and responsible. And receptive for new ideas, new opinions, new names, new perspectives, new connections, new understandings……
Developed in the mid-1960s as an office furniture system, the inherent flexibility and variability of USM Haller’s modular system has allowed it to naturally evolve alongside office practices and realities; for example, alongside the shift in recent decades from rigid to more flexible office scenographies, alongside the rise in recent decades of home working, or, most recently, with the USM Security Screen which naturally, and quickly, allows any existing USM reception desk to be effortlessly updated and reinvented for our Corona age.
Similarly in the domestic landscape. A landscape USM Haller quickly inhabited and where over the decades the inherent flexibility and variability of its modular system has seen it naturally adapt to the ever evolving realities of domestic life: the domestic life of both the private individual with all its personal fluctuations, high, lows and unpredictability, but also of communal society and, for example, its ever increasing collective networked, digital structure.
But despite its indoor success, system USM Haller hasn’t found its way out of doors……
While we’d all much rather physically visit architecture and design museums, our current enforced virtual patronage does allow us all an excellent opportunity to begin to understand architecture and design museums as more than just an exhibition space with shop and café, and to begin to learn to interact with them, and for all their collections, in new, proactive, manners. To understand architecture and design museums as tools as much as institutions.
And while a virtual visit can never replace a physical one, it can help us extenuate and expand our understandings and thereby allow us to take even more from that physical visit. And those physical visits will return.
Until then, volume two of our online recommendations takes you from your sofa to Berlin, Hamburg, Bloomfield Hills, Mumbai, München, and hopefully and awful lot further…..
The museums may be closed, travel restricted and leaving your home, when possible, unadvised….. but that’s no reason to restrict your cultural uptake, far less neglect the development of your architecture and design understandings.
Or put another way, if you can’t get to the museum….. let the museum come to you.
Five online architecture and design exhibitions and museum collections to explore from your sofa, bed, garden, balcony, wherever…..
“What is the goal?” asked Elsie de Wolfe in 1913 in context of domestic interior design.
“A house”, she answered, “that is like the life that goes on within it, a house that gives us beauty as we understand it and beauty of a nobler kind that we may grow to understand, a house that looks amenity.”1
How Elsie de Wolfe understood such, and how over the intervening century and a bit understandings of life, beauty, nobler beauty, amenity, the goal(s) of domestic interior design have developed and expanded are explored and discussed in the Vitra Design Museum’s exhibition Home Stories: 100 Years, 20 Visionary Interiors.
On March 6th 1927 the exhibition Europäisches Kunstgewerbe opened at the Grassimuseum Leipzig, not only a presentation of contemporary European applied arts but the inaugural exhibition in the museum’s (almost finished) new home on the city’s Johannisplatz.
With the exhibition Spitzen des Art déco the Grassi Museum für Angewandte Kunst Leipzig stage not only a presentation of European Art déco porcelain, but a reminder of both the Johannisplatz complex’s Art déco heritage and the vibrancy, colour and roar of the 1920s.
Our increasingly networked, digital, virtual society is not only changing our relationship to innumerable everyday activities, activities such as personal communication, shopping or watching television to name but three, and thereby activities which a few short years ago seemed destined to remain unchanged for ever, but is also changing our relationship to work, be that in terms of what we do, where we do it or how we do it.
Changes which invariably place both new demands on our furniture, and our understanding of the term “functional” in context of furniture; an understanding which a few short years ago seemed destined to remain unchanged for ever.
With the showcase USM Haller HomeWork smow Cologne consider responses to such evolutions with the assistance of the USM Haller modular furniture system.
Off late, and certainly in a European context, January has become a month of forgoing, eschewing and general abstention, with campaigns such as Dry January and Veganuary extolling us to utilise our guilt at our dangerous, decadent, gluttony of late December as an impetus to radically alter our behaviour, as a catalyst for reduction.
And while less is unquestionably more, and thus worth striving for, fundamental change is invariably more sustainably and meaningfully achieved through better understandings rather than by sudden, extreme, knee-jerk, changes; that more information can lead to less harmful choices. More information and better understandings such as those an architecture or design exhibition can provide.
We can’t promise the following five will necessarily change your (unhealthy) relationship to alcohol or food, they should however allow for new perspectives on the world around us, new perspectives which should allow for new reflections on your relationship to that world, and, potentially, a healthier, happier you. And a healthier, happier world. Potentially.
“…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 2019 to the following new exhibitions opening in Vienna, Holon, Bloomfield Hills, Weil am Rhein & San Francisco……..
Sitting unassumingly, and largely unnoticed, in the middle of Germany, the city of Gotha may have only little resonance with the majority, with the great unwashed; however, every European royal family can trace their lineage back to Gotha: most famously the English royal family through Queen Victoria’s 1840 marriage to Prince Albert, but the royal houses of Sweden, Denmark, Spain, Holland, Norway, you get the idea, can all trace their lineage back to and through Gotha.
Gotha and royalty ✔
Gotha and inter-war Modernism ¿✔?
As this Bauhaus Weimar centenary year is making ever clearer, whereas Bauhaus may have been physically sited in Weimar, Dessau and (nominally) Berlin, approaching a better understanding of “Bauhaus” involves leaving those sites and following the many paths that either led to, or from, those sites.
Paths that not only allow one to approach a better understanding of “Bauhaus”, but for all to approach a better understanding of the wider developments of the inter-War years, of inter-War Modernism, and thus to better understand that Bauhaus was but a component of that period, but a component of inter-War Modernism.
And paths, such as those mapped by the Brandenburgisches Landesmuseum für moderne Kunst, that invariably lead to new places, to new understandings and to an Unknown Modernism………
Whereas the 1920s may have been Roaring, Golden, Années folles, a decade which could be certain that The Great War, that war to end all wars, had brought lasting peace to Europe, and where the utopian visions of the International Modernists, coupled to political and social emancipation and technological progress, made everything possible, and meant we could all gaily Charleston away our nights and days; the 1920s was also the decade that ushered Europe into one of the darkest periods in its history.
With the exhibition Design of the Third Reich the Design Museum Den Bosch explores the role of artists, architects and designers, in helping that darkness settle over 1930s Europe……..
László Moholy-Nagy may have given Marianne Brandt “mettle for metal”, and metal may be the material with which she is most readily and popularly associated; however, as she wrote in 1922, “Ich bin ganz von Glas”….. I am entirely glass.
Fragile? Transparent? Opaque? Metamorphic? Refractive? Sparkling?
For its 7th edition the triennial International Marianne Brandt Contest sought projects exploring glass in all its interpretations, properties and essences; the 60 nominated projects being presented alongside a cabinet showcase devoted to Marianne Brandt in the exhibtion Ich bin ganz von Glas. Marianne Brandt and the Art of Glass Today at the Sächsische Industriemuseum Chemnitz.
Our Mondo Contemporaneo is a very unhappy, unsatisfying, unrewarding, dark, place.
Should we perhaps all consider a move to the colourful, dynamic reverie of Mondo Mendini?
At the Groninger Museum you can undertake a trial visit……………
While Ludwig Mies van der Rohe is arguably best known for the works he realised in the (mid-)west USA, the works he realised in west(ern) Germany are no less relevant or important for understanding the man, his work and his legacy.
Summer 2019 saw the western German State of Nordrhein-Westfalen host three Mies van der Rohe exhibitions, one each in, and devoted to Mies’s works in, Aachen, Krefeld and Essen. Three exhibitions now united in one in Cologne, and which as a unified trio not only provides for a very concise overview of the work of Ludwig Mies van der Rohe in Nordrhein-Westfalen, but also of both the development of Mies van der Rohe as an architect and, in many regards, the wider developments in understandings of architecture and design in the course of the 20th century.
While it is important, and relevant, that the centenary of the opening of Bauhaus Weimar is used to delve a little deeper into the (hi)story of both the institution and inter-War Modernism, design and architecture is more than Bauhaus.
Thus following on from our October Bauhaus/inter-War Modernism focussed new exhibition recommendations, five more general, if anything but humdrum, architecture and design exhibitions opening in October 2019 in Groningen, Frankfurt, New York, Stockholm and Weil am Rhein…..