With the major exhibition »The Bauhaus #itsalldesign« (26.09.2015 – 28.02.2016), the Vitra Design Museum presents, a comprehensive overview of design at the Bauhaus for the first time. The exhibition encompasses a multiplicity of rare, in some cases never-before-seen exhibits from the fields of design, architecture, art, film and photography. At the same time, it confronts the design of the Bauhaus with current debates and tendencies in design and with the works of contemporary designers, artists and architects. In this way, “The Bauhaus #itsalldesign” reveals the surprising present-day relevance of a legendary cultural institution.
The Bauhaus #itsalldesign, by Vitra Design Museum
Australian photographer Tom Blachford presents the latest instalment of his series of modernist architecture photography Midnight Modern, a body of work that captures iconic Palm Springs mid-century residences in the chilling light of a full moon.
Midnight Modern, Palm Springs, USA, Photography by Tom Blachford
Hans J. Wegner (1914-2007) was one of the most prolific designers the world has ever seen. His furniture paved the way for the international breakthrough of Danish Design in the years after World War II. In 1949 he created the Round Chair, which the Americans dubbed “The Chair”: the ultimate chair design. Over his long career he created some 500 chairs. Wegner’s work always stems from the manual craft, and he personally created many of the prototypes in his workshop. His life was a constant quest to explore the logic and potentials of wood. In 2014, Designmuseum Danmark celebrates the 100th anniversary of Hans J. Wegner’s birth with the exhibition “Hans J. Wegner – just one good chair”.
Hans J. Wegner – Just One Good Chair, April 3 – December 7, 2014, Designmuseum Danmark, København K, Danmark
The Barcelona show is something of an intervention, with a diagonal walkway slashing across the famously rectangular floor plan to set up a dialogue with the solitary existing sculpture in the Pavilion, Georg Kolbe’s ‘Alba (Dawn)’, which stands on a small plinth in the smaller of the building’s two reflecting pools. Veilhan has reinterpreted Kolbe’s figure in four figures of descending scale, using different materials in a homage to Mies’ simple, rich palette of glass, steel and marble. The pools have been partly built over, offering visitors new perspectives on spaces made iconic through photography, reproduction and imitation.
‘My curatorial role was focused on researching together with Xavier Veilhan about the history of the pavilion, the characters and conditions that defined its design and how we could connect with that through our project,’ Gonzalo Herrero Delicado explains. ‘It was also important for the Barcelona installation to create a conversation with the rest of the exhibitions.’ The architect oversaw all aspects of the project, from liaising with the MvdR Foundation to secure permissions to finding the local architects, MAIO, to build the final design.
Xavier Veilhan. Architectones, at The Mies van der Rohe Pavilion, Barcelona Spain
Photography by Florian Kleinefenn
Trained as an architect, but proficient in all manner of activities, Alexander Girard was introduced to Herman Miller through Charles Eames and George Nelson, established the Herman Miller Textile Division in 1952, and served as its Director of Design until 1973. From his outpost in Santa Fe, New Mexico, he designed over 300 textiles in multitudes of colorways, multiple collections of wallpaper, decorative prints and wall hangings, an expansive group of furniture, and both decorative and useful objects. His passion for international folk art led him around the globe as he amassed a collection of roughly 106,000 pieces, and his many corporate and freelance assignments-including the La Fonda Del Sol restaurant and the total design program for Braniff International-engendered lavish praise for his diverse skills and unique vision.
With a resolute and reserved personality, Girard believed quality should speak for itself-and he did much to propagate the notion that life should be lived with a higher regard for the humanity of one’s surroundings. His uncommon way of seeing and admirably undogmatic approach to each new solution resulted in an unparalleled body of work that is not only staggering in sheer volume and creativity, but due to its fundamental qualities of beauty and usefulness, remains completely relevant today. In 1972, Girard developed 40 decorative silkscreen designs to add an element of “aesthetic functionalism” to corporate environments. Unlike his printed textiles, the panels consist of single, stand-alone images that range from abstract patterns to figurative pictograms. Herman Miller is pleased to make 12 of these designs available once again.
Walking through the 2,000-square-foot showcase, traces of world cultures soon become evident. Girard did not wish to break all ties with the past, but was able to pull together disparate elements-popular culture, non art, folk motifs-and re-synthesize them with harmony and humor. “In the ideology of his work, Girard was about taking the entirety of history but in execution, he was one of those designers who followed nobody’s rules. And because of his skill level, his eye, things looked amazing. Girard could combine 18 fonts on one poster and it looked incredible. He could hand draw entire alphabet in mixed case letters and somehow it all fit together,” says Grawe.
Alexander Girard: An Uncommon Vision, May 17 – May 28, 2014, New York, Sponsored by Herman Miller Collection, Maharam
This 1960’s Hugh Kaptur ranch house was in quite a state of disrepair when it was purchased as a foreclosure. It had been “remuddled” several times, featuring electrical wiring run on the outside of walls, awkward closets added in every room, and poor design choices highlighted throughout. It was stripped of all finishes and some minor layout work was implemented. It was restored to its mid-century glory with modern, but period-appropriate, finishes and materials. Furnishings are a mix of vintage and new, mostly sourced from eBay and local Palm Springs vintage boutiques. It’s intended use as a vacation home provided some extra latitude for whimsy and use of color. The original architect came to view the home at the end of the project and was highly complimentary.
Richard Pare’s fascination with modernist architecture shines through his vast collection of images taken over several decades. Living Laboratory will illustrate how he photographs buildings, taking care to reveal both their many subtleties and magnificent monumentality. Pare’s perceptive point of view brings into play dramatic use of light, (always achieved with no supplemental lighting) as well as varied weather conditions and seasons.
To achieve his images he deploys a wide range of technical approaches, combining conventional film and a view camera with the latest advances in digital image making. These state-of-the-art aspects of his work serve to highlight the majesty of his subjects without in any way overwhelming the purposes of the undertaking. He is also attentive to the effects of the passage of time and changing social conditions on the works he chooses to portray. The absence of human beings, coupled with signs of wear and decay, including creeping vegetation and the lingering evidence of past eras, emphasise the impermanence of seemingly solid structures and their struggle for survival.
While Pare’s work covers many subjects, Living Laboratory reveals his admiration for Le Corbusier and Konstantin Melnikov, two of the finest and earliest proponents of modernist principles in architecture.
Living Laboratory: Richard Pare on Le Corbusier and Konstantin Melnikov, March 21 – May 11, 2014, PM Gallery & House, London, United Kingdom
Photography by Richard Pare
Italian architect and illustrator Federico Babina has recently unveiled a new project, this time taking a look at the connection between architecture and the visual arts. Titled ‘Archist’, the project comprises a series of illustrations of imaginary buildings inspired by famous works of art. Beginning with the question: what would a house designed by Dalí or a museum by Miró look like, the resulting images demonstrate what Federico Babina believes is the ”implicit partnership between Architecture and Art.” They sometimes treat the facade as a canvas decorated with a well-known piece of art, while in other cases, they draw inspiration from the artist’s overall output to create an inventive architectural composition. Quite interestingly, and probably unbeknownst to the artist himself, the project also shows how the visual arts world is just as male-dominated as the world of architecture, as only two women (Jeanne-Claude – Christo’s partner – and Anne Truitt) made it onto Babina’s list of 27 ”most popular artists.”
List of artists: Keith Haring, Sol LeWitt, Anish Kapoor, Salvador Dalí, Marcel Duchamp, Pablo Picasso, Damien Hirst, Andy Warhol, Roy Lichtenstein, Donald Judd, Joan Miró, Mark Rothko, Gerhard Richter, Richard Serra, Piet Mondrian, Ernesto Neto, Ellsworth Kelly, Josef Albers, Antoni Tàpies, James Turell, Frank Stella, Christo and Jeanne-Claude, Anne Truitt, Lucio Fontana, Tony Smith, Peter Halley, Kazimir Málevich.
Over the course of… four years, George Nelson, along with his associate Gordon Chadwick, would execute a highly personalized design-a home tailored to the members and lifestyle of the Kirkpatrick family. This itself is not remarkable-it could be said of any architectural commission. What makes the Kirkpatrick House so special-then and now-are the universal qualities that transcend the specifics.
The best Nelson designs, be it a clock, chair, or in this case, home, share that same elusive trait. His view of design allowed for both modular system and mannerist quirk. As an “architect in industry” (as he categorized himself in the introduction to the 1948 Herman Miller Collection catalogue), Nelson was responsible for creating-and making salable-consumer goods. In the Kirkpatrick House, it becomes clear that this mentality affected his practice of architecture in equal measure. A product had to be unique to stand out in the market, but it also had to appeal to a wide array of people to be successful. Even in the execution of this private home for personal friends, Nelson’s brand of modernism embraces this duality fully.
Kirkpatrick House, Kalamazoo, Michigan, by George Nelson, Gordon Chadwick
via: Herman Miller
Charlotte Perriand is regarded as one of the most influential designers of the early modern movement, acknowledging the increasingly machine-driven culture of the 1920s and ’30s and introducing the profound change in aesthetic values to interiors. As a true pioneer in the application of materials like steel, aluminium and glass to furniture, the french architect and designer established an expansive breadth of work that, to this day, remains the archetype of an evolutionary shift in the industry. When she was just 24-years-old, she commenced a decade-long collaboration with Le Corbusier and Pierre Jeanneret, during which period the trio conceived and developed a series of tubular steel chairs, existing now as icons of an era. The work of Perriand will be a significant presence at Design Miami/ Art Basel Miami 2013 with presentations at the Raleigh Hotel, the Louis Vuitton Boutique and the Cassina showroom.