“…one only finds warmth of life and sincerity where human nature is allowed to flourish”, opined the German designer Erich Dieckmann in 1931, “one shouldn’t forget that in our apartments. Let’s treat our contemporary homes to something humane. Something unelaborate, something provisional, with some leeway and space for things to grow as they wish over time.”1
With the exhibition Chairs: Dieckmann! The Forgotten Bauhäusler Erich Dieckmann, the Kunststiftung des Landes Sachsen-Anhalt and Staatlichen Museen zu Berlin extend an invitation to explore how Erich Dieckmann understood an unelaborate, humane, contemporary apartment full of leeway and space to grow…….
Wandering aimlessly through the digital Marcel Breuer Archive one afternoon, we stumbled across a letter dated July 25th 1950 from Peter M Fraser, one of Breuer’s employees, to the Eames Office, enquiring about a lighting design by Charles and Ray that Breuer was interested in using in one of his architectural projects, and requesting…
…”a lighting design by Charles and Ray”???
Eames furniture ✔ Eames toys ✔ Eames exhibitions ✔ Eames textiles ✔ Eames films ✔ Eames photography ✔
But where is the lighting design in the portfolio of Charles and Ray Eames…?
Alongside the Chinese and Korean New Year celebrations one of the most popular observances in any given February is, arguably, the Feast Day of Saint Valentine on February 14th; St Valentine famously being the patron saint of
greetings card manufacturers, lovers, but less famously, if just as importantly, also offering protection from the plague.
Now while the misanthropes amongst you will query whether love and plague aren’t synonyms, and a pox upon you for that; this February 14th we could all do with not only a little love, but a goodly dose of plague protection. And so rather than the traditional veneration of St Valentine through the distribution of hurriedly purchased and poorly considered flowers and chocolates, how about we all agree to celebrate the life of St Valentine through taking a little more care of one another, spreading a little more communal love and a little less plague, taking the weight of his shoulders for a few hours………….?
Beyond offering protection to lovers and from the plague, and protecting beekeepers, St Valentine also offers protection to travellers, which sadly no-one is these days. But those days will come again.
Until they do we continue with our hybrid exhibitions recommendations lists: that for February 2021 featuring a trio of offline exhibitions in Weil am Rhein, Hamburg und Falkenberg, and while they in all probability wont open as planned, will open, and before they do offer impetus for a little self study, and also two online highlights to explore, research and, for all, enjoy at your leisure.
Perhaps on February 14th, for as we all know, the couple that develop and deepen their design understandings together, stay together……
“I first saw resilient tubular steel furniture designed by Professor Mies van der Rohe in September 1927 at the exhibition “Samt und Seide” in Berlin, objects which made a very deep impression on me, because I felt and saw that here, for the first time, was a meaningful way to utilise the forces inherent in tubular steel.” Anton Lorenz, 27th March 19391
Because discussions on the steel tube furniture that, in many regards, characterises the inter-War period tend to focus on the designers and architects, it can be all too easily forgotten that without those who identified the potential, those who not only understood the significance of the new developments of the period, but had the requisite skills to bring the ideas of a, relatively, small group of creatives to the market, steel tube furniture may not today enjoy the fascination and following that it does.
Certainly wouldn’t stand as characteristic of the inter-War period.
Amongst those who played a leading a role in such developments was the Hungarian born designer and entrepreneur Anton Lorenz. With the exhibition From Avant-Garde to Industry the Vitra Design Museum Schaudepot not only explain Anton Lorenz’s role in the development of inter-War furniture, but also his post-War contributions to an, apparently, contradictory furniture genre……
“…the strict, logical lines which avoid anything unnecessary and which with the sleekest form and through the simplest means embodies
“The starting point for the chair was the problem of comfortable seating combined with a simple construction. A problem which
The (hi)story of applied arts is, we believe it’s not too impetuous to claim, very closely connected with that of
Following the necessary disruption of their permanent exhibition to accommodate the recently ended exhibition Sensing the Future: László Moholy-Nagy, die
“When”, we asked in context of the Grassi Leipzig exhibition Sitting – Lying – Swinging. Furniture from Thonet, “does an exhibition
There are only very few furniture manufacturers who can claim to have been major players in two fundamental furniture design
At the risk of upsetting furniture historians, wood is probably the longest serving material in furniture design. It is also
Until October 31st 2012 Bauhaus Dessau is showing the exhibition “Marcel Breuer – Design and Architecture” Presenting a wide-ranging look
Because we know what’s coming up at DMY Berlin, we loved this quote from Marcel Breuer that we discovered in
Much as Gerrit Rietveld‘s career is publicly reduced down to the Rood-blauwe stoel, so too is it all to easy
Is there anything left to say about Bauhaus? Have we not all seen, read, written enough? We all know the
On March 20th the Bauhaus Archiv Berlin opened their spring exhibition “Stühle ohne Beine – Chairs without legs” Dedicated to
Twas the month before Christmas, when all through the house Not a creature was stirring, not even a mouse. Save
As we stood looking at some mighty fine, but horribly over-carved, wooden furniture at the Salone in Milan a female
At the Tokyo Design Week the German furniture producer Thonet presented their classic cantilever chair in a new light. In
In 1927 at the opening of the Weissenhof Estate in Stuttgart, the Dutch architect and designer designer Mart Stam presented