[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-tecnolumen-tl1":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":97},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":92,"matched_pages":93,"match_count":94,"two_pages":95,"show_text":96},21890,"TL1","tecnolumen-tl1","\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F48\u002F9a7fd92e7135e99313674f1a624aa6-28df46a2cd.pdf","TECNOLUMEN",1944,"tecnolumen","5.8 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85,89],{"image":7,"text":15,"number":16},"TL\n1\nA magazine by \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.2.png","The metal version of the “Bauhaus lamp” \ndesigned by Wilhelm Wagenfeld \nin 1924 and manufactured at the Weimar\nState Bauhaus.\nJoachim Fliegner \n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.3.png","There can be no doubt that the \nWagenfeld lamp is one of these\ntimeless design icons. And it \ncertainly has been our most famous\nworkpiece for almost 40 years.\nThis is our history.\nHow did TECNOLUMEN become an\nauthorised manufacturer of \nthis lamp, and who was the founder\nof the Bremen-based company?\nApart from this lamp, which other\ndesigner lamps and classics \nare found in our portfolio, and which\nphilosophy does TECNOLUMEN\npursue? We would like to divulge \nall of the above in the following\npages of our magazine. The future\nneeds both the past and the present,\nand there is no present without the\npast. We are very pleased to \nannounce the first edition of our\nTECNOLUMEN magazine \nTL1 and wish you interesting and \ninformative reading.\nCarsten Hotzan\nManaging Director\nDear Readers,\nIn 2019, Germany is celebrating \n100 years of Bauhaus. And we are\ncelebration nearly four decades \nof TECNOLUMEN. 140 years \nof tradition – brimming with stories\nwe would like to share with you. \nAnd one of these stories starts \nin Weimar in 1919. Walter Gropius\nfounded the “Staatliche Bauhaus”\nschool, where art and craft are\nuniquely combined. Interdiscipli-\nnary, cosmopolitan and eager to try\nout new things, regardless of\nwhether in architecture, furniture,\nphotography or silverware – \nboth Bauhaus masters and students\ncreated numerous classics.\nThe Bauhaus Idea\nThe TECNOLUMEN History\nInterview with Walter Schnepel\nEverything Handmade\nDesign Icon in the Light of Art\n“Young Designers”\n4\n6\n8\n12\n14\n16\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.4.png","4\nHerbert Bayer\nMax Bill\nLaszlo Moholy-Nagy\nMarianne Brandt\nHin Bredendieck\nMarcel Breuer\nEmil Bartoschek\nHeinrich Brocksieper\nAlma Buscher\nErich Consemüller\nChristian Dell\nFriedl Dicker-Brandeis\nErich Dieckmann\nAlfred Ehrhardt\nT. Lux Feininger\nWerner Graeff\nEmil Bert Hartwig\nJosef Hartwig\nFritz Hesse\nOtto Hofmann\nMartin Jahn\nCarl Jacob Jucker\nIda Kerkovius\nJosef Knau\nKurt Kranz\nEmil Lange\nJean Leppien\nAdolf Meyer\nWera Meyer-Waldeck\nFarkas Molnár\nHeinrich Neuy\nGyula Pap\nHeinrich Pëus\nHans Przyrembel\nLilly Reich\nMargaretha Reichardt \nKarl Peter Röhl\nHinnerk Scheper\nOskar Schlemmer\nCarl Schneiders\nLotte Stam-Beese\nGunta Stölzl\nElsa Thiemann\nWolfgang Tümpel\nWilhelm Wagenfeld\nFritz Winter\nPlywood, steel and aluminium were\nintroduced and practicality was at\nthe heart of everything: chairs had to\nbe collapsible, and cupboards had to\nbe mobile.\nAfter a mere two years, the third and\nfinal director, Ludwig Mies van der\nRohe, followed. His focus was on the\nfunction of the school. The produc-\ntion department, built in accordance\nwith Henry van de Velde’s designs,\nwas abandoned, the preliminary\ncourse cancelled, and the focus\nshifted to architecture. \nHowever, it was not Gropius alone\nwho shaped what we today refer to\nas being “typical Bauhaus”. His suc-\ncessors’ legacy is also found in the\nclear design vocabulary, the guiding\nprinciple of “form follows function”,\nas adopted by the American archi-\ntect, Louis Sullivan, and the combi-\nnation of industrial production\nprocesses with creativity in crafts-\nmanship and design.\nBauhaus. A manifesto. The philoso-\nphy, which was originally formulated\nby Walter Gropius, first and foremost\nencompassed the human being as a\nwhole: artistic, scientific and techni-\ncal questions were combined with\nnew forms of life and art-pedagogi-\ncal concepts. The school was in-\ntended to enable nothing less than\ntraining a new generation of design-\ners. The work done in the workshops\nand the handling of different materi-\nals, guided and shaped by well-\nknown artists such as Gerhard\nMarcks, Paul Klee and Oskar\nSchlemmer, remain an educational\nconcept in design and architecture\nschools to this very day.\nThe Swiss architect and advocate of\nfunctionalism, Hannes Meyer, al-\nready head of “Baulehre” (architec-\ntural theory) at the Bauhaus school\nin 1927, opposed the teamwork con-\ncept with the “Gesamtkunstwerk”\n(synthesis of the arts). Instead of\n“art and technology”, it was now\n“people’s needs instead of luxury”.\nWalter Gropius (1883–1969)\nThe Bauhaus logo, 1922 designed by \nOskar Schlemmer\nHannes Meyer (1889–1954)\nLudwig Mies van der Rohe (1886–1969)\nbpk \u002F Kunstbilbiothek, SMB, Photothek Willy Römer \u002F Willy Römer\nbpk \u002F Kunstbilbiothek, SMB, Photothek Willy Römer \u002F Willy Römer\nbpk \u002F Kunstbilbiothek, SMB, Photothek Willy Römer \u002F Walter Stiehr\nAs short as its existence might have been, its concept \nwas highly versatile. The Bauhaus school, founded in 1919,\nwas not merely an experimental school with a wide range \nof educational opportunities in the fields of arts and crafts.\nThe idea also had an impact on the social and cultural \nspheres of life in that it united a multitude of different \nvoices and transformed itself into something new with each\nof its directors.\n“Such resonance can neither be achieved by organisation, \nnor by propaganda. Only an idea possesses \nthe power to disseminate itself to such an extent.”\nLudwig Mies van der Rohe\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.5.png","5\nIn order to achieve this, Walter\nGropius developed the Bauhaus\nteachings. The traditional form \nof academic teaching was abolished\nand replaced by a pluralistic \neducational concept that promoted\nthe individual development of \ncreative talents and methods. The\nacademic prerequisites for \nadmission were abolished: every\ngifted young person was to be \nafforded the opportunity to study at\nthe Bauhaus school – regardless \nof the school leaving certificate, \nnationality or gender.\nBauhaus workshops were at the\nheart of the design training, \nand here the areas of teaching and\npractice were not considered \nseparately.\nUnder the direction of László \nMoholy-Nagy, the “Laboratorium für\nDesign“ (Laboratory for Design)\nproduced designs such as the\nBauhaus lamp by Wilhelm Wagen-\nfeld and the tea pot by Marianne\nBrandt, which are still iconic items of\neveryday use today.\nThe Bauhaus school was and is so\nmulti-faceted and heterogeneous\nthat deriving a uniform style is \nimpossible. And this is what makes it\nso interesting and topical to this \nvery day. The democratic idea, the\ndemonstrative forthrightness and\nmodernity, as well as the timeless\ntopicality of the “Bauhaus classics”:\nall serve to illustrate the social \nself-understanding. Thus, Gropius’\nguiding idea of synthesis of the arts\nthrough the collaboration of art \nand craftsmanship has once again\ncome to the fore. Today, workpieces\nsuch as the Bauhaus lamp represent\na symbol of the cosmopolitanism\nand diversity that made the Bauhaus\nschool in Weimar the starting point\nof an epoch in 1919.\nGroup picture in the metal workshop at \nthe Bauhaus school in Weimar, around 1924. \nFront: Gerhard Vallentin, Laszlo \nMoholy-Nagy, Wilhelm Wagenfeld and \nOtto Rittweger\nBack: Marianne Brandt, Christian Dell, \nJosef Knau, Max Krajewski and the arms \nof Hans Przyrembel\nThe studio building of Bauhaus Weimar built in accordance with \nHenry van de Velde’s designs. \nThe company moved to Dessau in 1925.\nbpk \u002F Kunstbilbiothek, SMB, Photothek Willy Römer \u002F Willy Römer\nbpk\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \nThe essence of the Bauhaus idea was found in the comprehensive\neducation of a new generation of proficient and committed \ndesigners. This was done with the objective of revolutionising \neveryday life and creating a new and better world.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.6.png","6\nSome things in life happen unexpectedly. And sometimes\nsomething that is supposedly unimportant goes on to \nbecome something really big. When Walter Schnepel came\nacross early woodcuts by the artist Wilhelm Wagenfeld \nin 1976, he knew nothing about a lamp that would lay the\nfoundation for his company TECNOLUMEN.\nWhether it’s about lights, silverware,\ndoor fittings or rotary switches; \nthe focus is always on high quality.\nManufactured in Germany from\nhigh-quality materials and with \ndiligent craftsmanship, it is true to\nthe original and made with the \nsame dedication and enthusiasm as\nnearly 40 years ago.\nWA 24 is a table lamp that was \ndesigned in 1920. Its captivation lies\nin its reduction to its basic elements,\nmaking it elegant, functional, \nuncomplicated and also timeless.\nAnd undisputedly, it is one of the\nmost famous Bauhaus objects \ntoday.\nWalter Schnepel discovered it \nduring one of his many visits to \nWilhelm Wagenfeld’s studio. It was\nsimply standing there, gathering\ndust, and it had no manufacturer.\n“Why had he never had it produced,”\nSchnepel asked. Wagenfeld replied:\n“Why don’t you do it?” And this \nis exactly what Walter Schnepel did. \nThis was by no means an easy task,\nsince the production of lamps \nhad never been a part of his portfolio\nuntil then. However, he did know\neverything about asserting himself.\nAlthough suppliers were unreliable\nand furniture stores were not \ninterested – nothing could deter the\nart collector from selling the lamp.\nSome technical changes had to be\nmade and cables and sockets have\nbeen changed over the decades. \nDetails had to be adjusted, and each\nchange first had to be approved \nby Wilhelm Wagenfeld. Eventually,\n250 pieces were produced. \nAnd nobody showed any interest.\nHe placed advertisements in the \nart magazine ART and in SCHÖNER\nWOHNEN. Within only three weeks,\nthe lamp was sold out. This is \nwhat one calls a promising start. \nIn 1980 Walter Schnepel founded\nTECNOLUMEN and started serial\nproduction.\nToday TECNOLUMEN is one of \nthe best-known manufacturers \nof original Bauhaus models. The first\nedition of WA 24 was followed \nby various versions, in addition \nto co-operations with other Bauhaus\nartists. Establishing contact was \nnot always easy.  With Marianne\nBrandt, for example, only an indirect\nform of exchange was possible, as\nher home was in Eastern Germany.\nDespite all this, Walter Schnepel \nsecured the rights to her works –\nand as a token of his gratitude, he\nsent the Wilhelm Wagenfeld lamp to\nGDR museums in individual parts,\nwhich were cleared by customs\nwithout being unnoticed. Her and\nothers workpieces, such as the \nBST 23 floor lamp by the Hungarian,\nGyula Pap, or the HP 28 ceiling \nlamp by Hans Przyrembel have\nmeantime become collector’s items.\nAnd this was not limited to the lamps\nalone. Founded in 2002, the sister\ncompany TECHNOLINE offers \ndoor and window fittings, switches\nand supplementary accessories –\ndesigned by Wilhelm Wagenfeld,\nWalter Gropius and other Bauhaus\ndesigners.\n”It’s this symbolic character of the \nWagenfeld lamp that fascinates me most.”\nWalter Schnepel\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.7.png","7\n \n \n \n \n \n \n \n \n \n \n \n \nWhether it’s about lights, silverware,\ndoor fittings or rotary switches; \nthe focus is always on high quality.\nManufactured in Germany from\nhigh-quality materials and with \ndiligent craftsmanship, it is true to\nthe original and made with the\nsame dedication and enthusiasm as\nnearly 40 years ago.\nThis variant of the metal table lamp, \ncreated in the same year, has a glass base\nand a glass rod in which a nickel-plated \n10 mm tube leads the supply line. \nAn old drawing and an original lamp were\navailable for construction. This way, \nwith the new production, the exact dimensions\nand proportions could be kept.\n“Finally, when everything was ready,\nthe German furniture stores didn’t\nwant to sell the lamp – and so we had\nto market and distribute it ourselves,\nwhich actually wasn’t part of our \noriginal plan.”\nWalter Schnepel\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.8.png","8\n“I could not live without art. \nI must have it around me. \nI cannot explain it.”\nWalter Schnepel\nYou came to Bauhaus through art. As an art collector, you initially\nstarted with Classical Modernism paintings and subsequently \nwent on to purchase mainly Fluxus works – what parallels do you\nsee between Bauhaus and Fluxus?\nThat is difficult. I would say delete the question, because it’s not\npossible to explain everything. In general, we only ever know \nthis geometric Bauhaus school style, but that’s not the whole story,\nbecause Bauhaus also had its expressionists. Take Paul Klee, \nfor example. In which category would you sort him? We always\nmeasure the school by the results in architecture and design. \nHowever, in combination with art you have to take on a different\nperspective. You will find artists who have worked quite differently,\nexpressionistically, with almost surreal works. Even Gyula Pap’s\nwork was expressionist later on. The visual artists at the Bauhaus\nschool are not only abstract or “hard edge”, as the English call it.\nOnly Kandinski and Moholy consistently painted abstractly. \nI recently discovered Paul Klee and Hans Arp in a Swiss exhibition\non surrealism. There are amazing connections.\nBauhaus and Fluxus share the common idea of moving away \nfrom decoration. If you are searching for a concrete connection, \nintellectual spirituality could be mentioned as one. At the \nbeginning of the Bauhaus school, the parallel DADA movement, \nas found in Zurich, existed, and it naturally also had its influence \non Bauhaus artists. Fluxus, on the other hand, has its roots \nin DADA art. It emerged from both concrete and abstract poetry. \nFluxus is still not a descendent of the Bauhaus school, but just \nas widespread, because there are expressionistic and, in part \nliterary, works. Kurt Schwitters and, if you wish, even Christian\nMorgenstern and Bauhaus; everything is so closely interlinked that\nit’s basically impossible to answer the question unequivocally.\nAnd yet you can find a small reference to the connections, \nan artist who always carried the whole thing from the 1920s \nup to Fluxus: Marcel Duchamp. He made a great deal of concrete, \nbut also surrealist art. In this respect, I consider Bauhaus and\nFluxus not to be so far apart from one another.\nYou once said: “Art, design and music are media for communica-\ntion, not a language that can be logically learnt or even \ntranslated”. Does the idea of the Bauhaus school, with its credo \nof “form follows function” oppose this? Does it in fact promote \nthis intellectual confrontation?\nYes and no. Even those designers who were formative for\nBauhaus, appreciated artefacts by unknown craftsmen, such as\neveryday objects found in rural culture. These objects also \nsatisfy the credo of “form follows function”, yet without any \nintellectual aspiration.\nFor me, art is a means of communication that cannot be translated.\nYou have to imbibe art holistically, with emotional intelligence.\nWhen I was a little younger, I worked for TECNOLUMEN out in the\nfield. Whenever I was shown a plagiarism, I said: “Put our lamp\nnext to it.” If the customer sees and understands it, he will buy \nour lamp. If he doesn’t see it, we hope he will become happy with\nhis plagiarism. That worked. It cannot be explained. It’s about \nproportions, about something abstract – you have to feel it. \nYou don’t even have to know what’s right or wrong with the object.\nInsignificant designs are also found among the Bauhaus work-\npieces, although they supposedly follow the rules. It becomes \nparticularly clear in those small goldsmith’s works. For me, \nMarianne Brandt is a great artist in this field. She has designed\nthings that I consider to be highly emotional. Of course, there are\nexplanations about the pieces, the material used and the form, \nbut these explanations were certainly provided afterwards.\nBauhaus was a school and conveyed not only the creative \naspects but also a certain idea of looking at the world. Do you see\nBauhaus as a kind of philosophy of life, the spirit of which can \nstill be conveyed today?\nIn some ways, yes. It is difficult to say, because they are grey\nareas. Many appreciate the Bauhaus design, own a Wagenfeld\nlamp and have furnished their home accordingly. When I walk\nthrough antique shops in Budapest, every square cupboard \nthere is assigned to Bauhaus, although the “square” alone says\nnothing at all. And yet, very few people know that Bauhaus was a\nschool. There are excellent buildings designed by Hungarian\nBauhaus architects, an entire street in Budapest, the napraforgó\nutca (Sunflower Street). This, for example, arose slightly later \nthan Bauhaus, in the early 1940s. However, the way in which these\nbuildings were renovated, does not correspond to the Bauhaus\nspirit. Today, Bauhaus serves as a role model for many. You don’t\nhave to do things the same way, but you can learn from it. \nYou can’t learn it schematically; you have to feel it. There never\nwere any real rules anyway. Dieter Rams, for example, did \nnot learn at the Bauhaus school, he nevertheless captured its\nspirit. His designs came from the Bauhaus idea.\nWalter Schnepel founded the \nBremen lamp manufacturing \ncompany TECNOLUMEN in 1980. In\nan interview, he speaks about \nthe Bauhaus idea, a spontaneous\nvisit to Wilhelm Wagenfeld, \nand the appeal found in designing\nthings yourself.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.9.png","9\nCan Bauhaus be found in your company? \nHard to say. Some employees have understood what our work-\npieces are all about, and it’s definitely visible through the furnish-\nings and products. You can feel Bauhaus if you want to. With\n“Young Designers”, it is our gut feeling that decides whether or \nnot we want to include their designs in our programme. We \nalways have the entire collection in mind. This way, the new \ndesigns harmoniously fit into the existing collection.\nIt was not Bauhaus, but woodcuts that drew your attention to \nWilhelm Wagenfeld in 1976. What inspired you about these pictures\nat that time?\nI discovered these expressionistic woodcuts by chance in an\narchive in Worpswede. At first I was surprised, because I only knew\nWilhelm Wagenfeld’s later works and his designs for Lindner. \nI then spontaneously visited him in Stuttgart and we talked for a\nlong time, whereby he dismissed the early woodcuts as a “youthful\nindiscretion”. I can only remark: an adroit “youthful indiscretion”.\nHe had a few more, too. Some I eventually bought, because \nI believe they belong to the complete works of Wilhelm Wagenfeld. \nThe initial production and distribution of Wa24 was not easy. \nMaterial broke or couldn’t be used, and no furniture store was \ninterested in this cool design. Nevertheless, you sold the \nalready produced 250 pieces within three weeks. Were you always\nconvinced of the success?\nYes. An anecdote: In a telephone conversation with my wife, who\nwas still living in Sweden at the time, I asked for the address \nof the Arts and Crafts Museum in Gothenburg in order to send a\npublicity flyer there. I was convinced that this museum would \nbuy a lamp. And, after a few days, I received the order for a lamp\nfrom the Röhsska Museum in Gothenburg. Naturally, such \na project is based on the conviction that it will be a success.\nCopies and counterfeits are an issue that has accompanied you\nsince the late 1980s. Is it still a nuisance?\nThe situation has not improved and has become even more \ncomplex owing to the possibilities provided by the Internet. \nPutting a stop to this is hard. In other countries, different legal\nframeworks apply. One can only hope that people will be able to\ndistinguish between the original and a plagiarism.\nThere have been changes in the technical field: the good old \nincandescent lamp has been replaced by more efficient LED light\nsources. What has changed for the lamps as a result?\nNothing has changed in the Bauhaus lamp’s design. In new \ndesigns, the current technical possibilities are integrated into the\ndesign.\nSpeaking of changes: With a view to the current design and \nfurnishing style, does the Wagenfeld lamp fit into today’s living\nrooms?\nIt always fits in well-furnished homes, even though I think that \nfurnishing trends are artificially produced today. Presently, \nit has to be expensive, yet look shabby – absurd. It’s the same \nwith contemporary art. Many things are very strained. One \nthing I observe with great regret is that we have fewer and fewer\nfurniture stores. Meanwhile, people are buying on the Internet.\nWith your company TECNOLUMEN, you don’t only sell the \nfamous Wilhelm-Wagenfeld lamp, you have also designed lamps\nyourself – what attracts you, personally, to design your own \nobjects?\nThere was something missing in our collection at that time, \nand we wanted to extend our offer. Hence, we designed the lamps\nwith fabric shades. Of course we could have commissioned \nsomeone. But by designing it ourselves, we were able to use what\nwas already there. Some designers have no idea of the technology\nand therefore do not know what is possible. In addition, the idea \nof applying what I had learnt through my intensive involvement\nwith Bauhaus designs and to create something of my own \nappealed to me. Design has something to do with emotions. And \nif you use the golden ratio, nothing can go wrong.\nWalter Schnepel, founder of TECNOLUMEN.\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.10.png","10\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.11.png","11\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.12.png","12\nTECNOLUMEN’s understanding \nof sustainability has developed \nnaturally and pragmatically. Short\ntransport distances on the one \nhand, outstanding quality of the \nindividual parts received from \nmanufacturers with whom the com-\npany has been working for many\nyears, and the careful assembly \nof the finished lamp on the other,\nstand for substance and perfection.\n“All our designer lights are num-\nbered and VDE-certified. This \nguarantees the authenticity and\nsafety of our durable products,” \nsays Carsten Hotzan, managing \ndirector of TECNOLUMEN. \nAnd he continues: “In addition, \nunlike other lighting suppliers, we\ncan guarantee our customers \navailability of precisely-fitting spare\nparts for decades.”\nWhat Wilhelm Wagenfeld may have\nperceived as a painful contradiction\nis today an expression of highest\nquality and longevity. The basic \nmaterials are glass and metal, \nas was the case back then, and in\nthe re-edition published by \nTECNOLUMEN in 1980, only \nminimal changes were made to the\noriginal design. In coordination \nwith Wilhelm Wagenfeld, these\nchanges were due to popular taste\npreferences on the one hand and,\non the other, a result of constantly\nchanging technology. The radius \nof the base and the plate thickness\nwas reduced and the glass dome\nwas placed slightly higher. \nThis allowed the implementation \nof Walter Gropius’ basic idea: mass\nproduction, while complying with\ndesign principles. Of course, the\nBauhaus lamp is still not a mass\nproduct. It cannot be, because as a\nmanufacturer, TECNOLUMEN\nplaces highest value on reliable\nquality and sustainability. The \nindividual parts are produced\nmainly in Europe and especially in\nGermany. The lamps are assembled\nwith great diligence in Bremen. \nThe company avoids globalised\nstructures – nevertheless, it is inter-\nnationally renowned.\nHowever, it goes without saying\nthat traditional, handcrafted \nproduction does not mean stand-\nstill. The company reacts very \nsensitively and attentively to \ntechnical innovations in the lighting \nmarket. And this is always done \nwith the purpose of making our own \ndesign lamps shine in the best \npossible light.\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.13.png","13\nWhen Wilhelm Wagenfeld designed his table lamp in the Bauhaus workshop following \na task issued by Moholy-Nagy, the requirement was clear: the result should be an \nindustrial product, i.e. one that could be mass-produced by a machine. And the material\nand design vocabulary actually correspond to the idea of the machine age. Only, \nmanufacturing reality was different. WA 24 was produced as a mini-series for the 1924\nLeipzig Autumn Fair in handmade concentrated and elaborate craftsmanship. \nAnd this is still the case today.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.14.png","14\n31 individual confrontations with \nan object. Revised, commented,\nreinterpreted, alienated, sometimes\nironic, sometimes appreciative, \nand sometimes grotesque. \nWithin twenty years, a diverse \ncollection of works was created,\nstarting from a work that was \nconsidered ideal-typical and unsur-\npassed in its perfection of form. \nJochen Fischer, for example, \ncompletely covers the lamp with\nwicker, thus seemingly making the\nicon disappear fully – yet not \nwithout making it reappear through\na sensual play of light. Fritz \nSchwegler humorously puts a fool’s\ncap on the Wagenfeld lamp. And \nSusanne Windelen fills the perfect\nsmoothness of the lamp with \nwhite plastic resin, mixes the mass\nwith fluorinating particles – and in\nher way places the lamp’s luminosity\nat the centre. Aldo Mondino \nperforms an art-historical rearrange-\nment, hanging two Bauhaus lamps\nwith ballpoint pens and calling his\nwork “Jugend-stilo”. Daniel Spörri,\non the other hand, removes the\nlampshades and reinterprets the\nglass covers in his black-and-white\nphotography – an object of pleasure\ninstead of a luxury item. This way,\nespecially workpieces that tran-\nJochen Fischer, o.T., 1998\nFritz Schwegler, o.T., 2000\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.15.png","15\nSo what was the thought behind\neverything that Walter Schnepel had\nwhen he gave Wa 24 to Dieter \nRoth and to 31 other artists in the\ncourse of the following few years?\nAs Peter Friese makes clear, it’s \nneither about “re-examining the\nproximity, or even the congruence of\nart and design,” – and one might \nalmost want to add: “unnecessary” –\nnor about a ranking list. No, it’s\nabout something else. It’s about the\ndesign icon as an “object of artistic\ninterest,” about “opening up and \ndebating a field of experimentation”.\nIt’s about “using the means of \nart to raise an outstanding design\nproduct to another level of aesthetic\nreflection that is traditionally \nreserved for art”. In other words:\nWalter Schnepel delivered a Wa 24\nto 31 artists and received one work\nof art from each of them in return.\nscend boundaries and taboos were\ncreated. Workpieces that question\nthe regularities of beauty and \nfunction and juxtapose static objects\nwith a dynamic element – an idea\nthat is also inherent especially \nto the Fluxus movement. And Dieter\nRoth? Eventually, he placed his \nWa 24 on BAR no.1, put a beret on \nit and poured red paint over it. \nIn his work, which is subject to con-\nstant change, he thus sets a counter-\npoint to the timeless quality of the\nBauhaus lamp. Change and \nrebelliousness instead of equality\nand perfection. Above all, however,\nas a result of all its interventions, \nin all of its transformations, the\nBauhaus lamp acquires a symbolic\nmeaning, thereby extending its \nfunction and beauty, and becoming\nan “object plus y”. \nThe collection has already been\nshown in: \nNeues Museum Weserburg, Bremen\nKunstverein, Plön \nKiszelli Museum, Budapest \nFrom June 2019 \nIn the „Centrul de Interes“ \ncluj-napoca, Klausenburg, Romania\n“You can’t make them better,” \nDieter Roth established when Walter Schnepel \nhanded him a WA 24, \n“but you can always use a lamp.” \nThat was in 1995.\nSusanne Windelen, o.T., 1998\nAldo Mondino, Jugend-stilo, 1995\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.16.png","16\nContemporary lamps by “Young Designers” also find their place \nat TECNOLUMEN. They have always complemented the company’s \ncollection of lamps. Carefully selected, these works fit into the \nproduct portfolio, which is still characterised by the Bauhaus design \nspirit today.\nOliver Niewiadomski \nFloor lamp “Bulo XL” \nwell thought out, refined and always\nfunctional – Oliver Niewiadomski\ntranslates mathematical concepts\ninto a trenchant design vocabulary.\nThe same applies to the “Bulo XL”\nfloor lamp, which can be rotated on\nits base according to individual \ntaste and needs; functionality with\nan aesthetic effect. The industrial\ndesigner and professor of construc-\ntive geometry designs lamps but\nalso furniture and entire room \nconcepts with a minimalist look and\nfeel.\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.17.png","17\nJoachim Manz \npendant lamp “Trabant 1” \nSurprising, precise and almost \nalive – with his luminaires, Joachim\nManz creates intense plays of light\nthat dissolve the boundaries \nbetween form and space. The free-\nlance sculptor uses fine concrete to\ncast luminaires such as “Trabant 1”,\nwhich seems to look down, seem-\ningly curiously, from above. The \nBremen artist places sculptures in\npublic domains, builds architectural\nminiatures and designs objects for\nuse.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.18.png","18\nChristian Schmidt \nPendant lamp “Theia”\nContemporary, dynamic and \nalways open for something new –\nChristian Schmidt finds his \ninspiration in many places.\nIt’s not without reason that his \npendant lamp “Theia“, for example,\nis reminiscent of pebbles, when\nviewed from the side. But even\nthough many important influences,\nsuch as functionalism, Art Deco or\nthe Memphis Group, are found in\ndesign craft, the designer always \nremains committed to the Bauhaus\nspirit with his company zenolicht\nGmbH.\nLena Schlumbohm \nDesk lamp “Jella” \nStraight-lined, modern and highly\nflexible – her desk lamp “Jella” did\nnot only appeal to TECNOLUMEN.\nWith her reminiscence of EB27,\ndesigned by Eduard-Wilfrid Buquet\nin 1927, Lena Schlumbohm has \nwon several design prizes, including\nthe “interior innovation award 2014”.\nThe process and product designer\nfrom North Rhine-Westphalia \nstudied in Regensburg and Aachen.\nLegal imprint: \n© TECNOLUMEN 2018 \nTelephone (0421) 43 04 17-0 \ninfo@TECNOLUMEN.de \nwww.TECNOLUMEN.de \nConcept\u002FText: Frank Meierdiercks, communication consultant, Bremen \nText: Anja Rose, copywriter, Bremen \nLayout: BrücknerAping, Office for Design, Bremen \nPrint: Berlin Druck, Bremen \nPhotos: Michael Gielen, Bremen\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.19.png","19\nMathias Schifferdecker \nLight object “Cubelight” \nClear, reduced and playful at the\nsame time – the “cubelight” is more\nof a light object than it is a luminaire.\nMathias Schifferdecker’s designs \nare based on Bauhaus architecture\nand, like Bauhaus, they are puristic\nand timeless. The combination of\ntechnical and playful aspects is \nan important characteristic of the\nengineer and designer’s objects,\nwhich with his cubes made of the\nclassic materials glass and stainless\nsteel invites to individual design.\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002F51\u002Fbba80b422b90ef2470b4c9ef20038d-28df478d56.20.png","In 1928 Wilhelm Wagenfeld designed \nthe WD28 door handle based on an \noriginal hand sample TECHNOLINE \n(then TECNOLUMEN), together with \nProf Wagenfeld, resumed production \nof the model in 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