[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-tecnolumen-tl2":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},21888,"TL2","tecnolumen-tl2","\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F2c\u002Ff68c0c34cf920ebdc620fc2a355555-28df46a2cc.pdf","TECNOLUMEN",1944,"tecnolumen","4.0 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\n2\nA magazine from  \nPIVOT POINT\nCIRCLE\nPIVOT POINT\nSILVER\nSPOUT SHOW IN 15°\nPERSPECTIVE\n38°\n48\n°\n3\nWOOD\nWOOD\nSILVER\nSILVER\n1\n2 16\n11\n89°\n5°\n89°\n16\n5\n32\n3\n64\n9\n16\n5\n8\n3\n35\n8\n23\n3 32\n1\n 2\n25\n132\n23\n132\n5\n8\n1\n2 4\n1\n116\nCIRCLE\n1\n116\n3\n1 8\n7\n16\n9\n616\n5°\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 \n \n \n \n \n \n \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.2.png","This Marianne Brandt teapot \noriginates from the 1924 tea and\ncoffee set consisting of numerous\npieces, of which only one known\ncomplete set exists. However, \nthere are several specimens of the\nteapot in various museums, \nincluding the Museum of Modern\nArt, New York, which has kindly\ngiven us the exact dimensions.\nThe teapot is certainly an object \nthat was designed most strictly\naccording to the formal Bauhaus\nprinciples. The circle, sphere,\nand square are the basic geometric\nscheme of the design.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.3.png","Marianne Brandt – A guest article\nby Hans Irrek\nThe Buquet lamp\nHartmut Dörrie – A life of\ndesign and photography\nBauhaus shapes\nLUM – THONET by TECNOLUMEN\nLight-Sight\nEgon Eiermann – A portrait\nTECNOLINE manufacture fittings\n4\n6\n8\n10\n12\n14\n16\n18\nWe are now in the midst of the\nBauhaus anniversary year. \nThe media has been accepting this\nsubject with appreciation and the\nexhibitions on this topic are being\nseamlessly strung together across\nthe republic. The extent of the\naccompanying strong interest in our\nproducts, both on a national and\ninternational level, was unexpected\nand also came as quite a surprise \nfor us. Without a doubt, the Bauhaus\nis a major German cultural export. \nI was particularly pleased that\nMarianne Brandt is finally receiving\nthe acknowledgement that she has\nlong since earned. We take a look at\nher work with a guest article by\nHans Irrek. Anyone with employees\nand partners who are as enthusiastic\nas ours are, can consider themselves\nlucky. We introduce Hartmut Dörrie,\na person who continues to live\npassionately for his career, as well\nas for design and photography, and\nhas no intention of stopping despite\nhaving celebrated his 80th birthday.\nWhat is it about our lamps that\npeople are actually fascinated by?\nHow did they come to own one?\nAnd how does it effect their lives?\nOne special person who has \ngiven us insight into these questions, \nand is featured in “Light-Sight”.\nThe Bauhaus design classics are by\nfar not the only thing TECNOLUMEN\nhas to offer. At the IMM in Cologne,\nwe presented the LUM – a new \nlamp that will come onto the market\nthis year in cooperation with\nTHONET. The portrait of Egon\nEiermann also shows that products\nfrom other eras also become design\nclassics.\nThe large amount of consistently\npositive responses to the first\nTECNOLUMEN magazine has\nmotivated us to make TL2 even\nmore interesting and worth reading\nfor you. I am certain that we \nhave done an excellent job of\nachieving this, and hope you enjoy\nreading it.\nSincerely, Carsten Hotzan\nExecutive Director of\nTECNOLUMEN\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.4.png","4\nThe expectation that awaited \nthe “1919 Bauhaus 1928” MoMA\nexhibition in 1938, was not\ndisappointed. The exhibition,\ncomprehensively staged by Walter\nand Ilse Gropius, introduced the\nBauhaus approach to design \nfor the first time. In the catalogue\nthat documents the exhibition, \nthe programmatics, workshops and\ninstitution protagonists are\nportrayed in an encyclopaedic\nscope. The momentum was\nfavourable. No nation in the world\nwas more in tune with Modernism\nthan the USA, which was more\noptimally prepared for it than any\nother. The Americans had been \nvery enthusiastic about Philip\nJohnson’s minimalistically designed\nexhibit “Machine Art”, which\ncelebrated safes, industrial glass \nand ship propellers. And now the\nBauhaus with its programmatics \nthat reconcile industry and craft-\nmanship.\nThe designs put on display back\nthen met with an excellent response\nfrom the open-minded Americans;\nespecially the objects that emerged\nfrom the metal workshops \ndrew attention, in particular those\ndesigned by Marianne Brandt. \nThe fact that Walter Gropius\ndirected such a clear focus onto\nMarianne Brandt’s designs during\nthe exhibition was in part due \nto the extraordinary aesthetic \nquality of these objects. These\nworks distinguished themselves\nfundamentally from most of the\nother designs both in shape and\nproportion as well as in their\naesthetic appearance. In addition,\nGropius used the attention that was\ngenerated to refer to Brandt and\nother Bauhaus designers, who \nin the meantime were scattered\naround the whole world.\nIf you leafed through the exhibition\ncatalogue you would inevitably \nstop at her work. It is no coincidence\nthat Gropius selected the tea and\ncoffee set, created in 1924, in silver\nas well as a model of the teapot in\nsilver-plated nickel, which\ncelebrates the primary geometric\nshapes of Modernism in its hybrid\nappearance, while simultaneously\nradiating virtual, classic elegance.\nWe know this rare effect from \nother truly outstanding designs of\nthe 20th century, for instance Mies\nvan der Rohe’s Barcelona Chair,\ndesigned in 1929.\nHowever, the spotlight that was\ngranted by the large-scale exhibition\nin New York, did not reach the\noriginator of these masterpieces in\nGermany. Brandt was denied the\nnew vital biographical branching\nthat we know happened to Josef and\nAnni Albers, the Gropius couple,\nMoholy-Nagy or Mies. A glimpse at\nher eventful biography provides\nsome context. Born in Chemnitz in\n1889, a daughter from a middle-\nclass, wealthy home, Brandt enjoys\nan extensive artistic education at\nvarious institutions. She is instructed\nin drawing, sculptural work, and\nfinally in painting – studies that\nbegan in Weimar and ended in\nMunich. The marriage to Norwegian\npainter Erik Brandt make Oslo the\ncentre of life for a short period of\ntime, however there are difficulties\nwith the painter’s parents. After \nan intermezzo in Paris and Southern\nFrance, the young pair returns to\nWeimar where the designer briefly\nstudies sculpting again. The large\nWeimar Bauhaus exhibition is rightly\nattributed as the turning point \nin Brandt’s life. She is accepted as a\nstudent at the Bauhaus for the\nwinter semester in 1923, and in her\nsearch for a suitable form of\nexpression finds Laszlo Moholy-\nNagy to be a dedicated mentor.\nContrary to all Bauhaus conventions\nthat would have preferred to see\nBrandt in the weavery, Moholy-\nNagy made room for her in the metal\nworkshop, with emphasis on \ntraining to become a silversmith.\nThe exuberant energy, the vital\nproductivity of those years in Weimar\nand then later in Dessau already led\nto astounding results early on.\nNothing illustrates the passionate\nimpulse for demonstrable,\nrepresentative prototypes more\nclearly than the wide variation of\nteapots, sugar and milk containers,\nashtrays and bowls from this\nproductive phase. Let’s not forget\nthat all of it basically arose in a very\nshort period of time under\nTea and coffee set, Design: Marianne Brandt \u002F Photo: Lucia Moholy, 1924\nMarianne Brandt:\nSelf-portrait for the “Metallischen Fest”\nat the Bauhaus Dessau\nTempo, tempo, culture of\nprogress – Our guest author\nHans Irrek, Essayist and \nauthor, takes a look at the\ndesigner of the century, \nMarianne Brandt.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.5.png","5\ncircumstances that were beyond\nmodest. The recollections of\nWilhelm Wagenfeld, who studied\ntogether with Marianne Brandt,\nsuccinctly summarise the\ncircumstances: “There was only \none outdated grinding and polishing\nmachine in our metal workshop,\notherwise there were no other\nmechanical tools, only makeshift\nmanual ones…“\nIf you look at the precision and\nperfection of craftsmanship of the\nobjects within the context of the\ncircumstances at that time, and the\nfew months that she had left to\nengage in the complex processing of\nmetal, you can get a vague idea \nof Brandt’s energetic direction. The\nother Mariann Brandt was only\ndiscovered later, when the focus\nshifted to the enigma of this\neternally mysterious designer at the\nBauhaus, and the concentrated\ncollection of valuable installations\nwas found that captured the tempo\nand rhythm of the modern era in\ndynamic compositions. A creative\nenergy was expressed here that \nfed off of bubbling metropolises, like\nParis or Berlin. The, at times\nrestrictive, world of the Bauhaus\nprogrammatics appeared externally\nhere. Inspired by Moholy-Nagy, \nshe also became a passionate\nphotographer, who always turned\nthe camera onto her work, and self-\nreflectively onto her life.\nThe work of the designer, the\nhandling of material and its\nrefinement, and the perfection in\ndetails fascinates again and again.\nWhen it comes to Brandt’s \ndesign vocabulary we can refer to\ncarefully considered minimalism\nthat condenses the shape and\napplication requirements to their\nessence, without losing any of the\nbeauty. When she designed a\ncylindrical ashtray with tilting lid, it\nset aesthetic and practical standards\nthat influenced a whole generation\nof future designers. The same\napplied to the pendant light\ndesigned in 1925, which Marianne\nBrandt designed together with \nHans Przyrembel for the iconic\nBauhaus building in Dessau that \nwas designed by Gropius.\nAfter working privately for herself in\n1926 in Paris for a longer period \nof time, she returns to Dessau in the\nspring of 1927, and temporarily \ntakes over direction of the metal\nworkshop in 1928. She finally \ngoes to Berlin to work as an interior\narchitect for Gropius. During the\nimmensely turbulent times at \nthe end of 1929, Marianne Brandt\ndecides to become the Head of \nthe Design Department at the\nRuppelwerk in Gotha. In hindsight,\nthis decision proves to be fatal.\nNamely, after the seizure of power in\n1933, Marianne Brandt fades\ncompletely into obscurity and \nas a graduate of the Bauhaus, she\nremains without work or\nassignments until long after the war\nends. Shortly after 1933, Josef \nand Anni Albers were already in\nAmerica, the Gropius couple was in\nEngland and Moholy-Nagy was in\nthe Netherlands.\nWithout a doubt, Marianne Brandt\ncan be declared to be a talent \nof the century. Yet her biography,\nwith regard to the period after 1933,\nis exemplary of the type of\nemancipated woman whose talent\nwas truly bolstered  by the\ncommencing century with regard \nto culture. In this regard, the\nreception history, the attribution of\ndesigns and achievements,\nproceeded on nebulous terrain. \nThe war and the long post-war years\nthat followed erased the individual\nbiographies and the work of most \nof the women right into oblivion.\nLilly Reich, Anni Albers, Lucia\nMoholy-Nagy and many of the other\nwomen from the Bauhaus work-\nshops left behind works that are\nmoving increasingly into the\nspotlight of general interest and\nultimately also correcting our view\nThe ceiling light DMB\n26 was designed in\n1926 by Marianne\nBrandt, and like the\nteapot it too is a \ndesign classic. The\nlight is available as a\nnickel-plated metal\nversion, also polished\nand zapon-varnished\nin brass, with various\nsphere sizes.\nof the Bauhaus. Beyond its pure\nmythology, the history of the\nBauhaus is also a history of women.\nThe collection at the Museum of\nModern Art had already instilled this\nculture of recollection many\ndecades ago, and has 12 Marianne\nBrandt exhibition pieces in its\npossession. The most important\nexhibits originate from the donation\nmade by Phyllis Lambert, the\nCanadian architect that Mies van der\nRohe commissioned with the design\nof the Seagram Building in New\nYork. Marianne Brandt, who lived in\na reclusive manner in the end and\ndied in 1983, would have loved \nto stroll past the display cases at the\nMuseum of Modern Art and see her\nexquisite works. However, the\nwoman from Chemnitz, like many\nother women from the Bauhaus era,\nwere not granted adequate regard\nfor their life’s work, even in their \nold age. Just like Mies, Marianne\nBrandt had the ability to express the\naesthetic dimension of an entire era\nin one single design. However,\nunlike Mies for whom the definitive\nwas important, Marianne Brandt\ndrew her creative energy from the\nconstant search. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.6.png","On February 9, 1927, at 16:29,\nÉdouard-Wilfrid Buquet filed a \npatent application for parts \nof this lamp, in particular the joint,\nat the “Ministère du Commerce\net de l'Industrie” in Paris.\nLight in precise balance\n6\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.7.png","Balance is essential. In architecture,\npainting, movement, thinking, \nand in life. Politically as well as\npersonally. Becoming unbalanced,\nlosing balance, being thrown out of\nsync, losing focus, everything is \nset in motion when there is a lack of\nbalance. At the start of the 20th\ncentury, many things were set in\nmotion. There were years of unrest,\ninnovations, certainties that had \nlost balance. The yearning for order\ngrew. Architects like Le Corbusier or\nWalter Gropius met the turbulence\nof the Golden Twenties with \nan objective and functional style;\npainters like Klee, Kandinsky or\nMondrian met it with clear lines,\norganised planes, while Alexander\nCalder moved the line into the \nroom, designing that which was in\nmotion and seeking balance.\nEngineer Édouard-Wilfrid Buquet\ninterpreted the search for balance in\nhis 1927 lamp as a shifting of \nweight. He objectively describes this \npoetic shifting of light in his patent\nspecification as a “directional \nlight fixture with jointed arm”.\nPractically, this design enables the\nlamp head to be moved in virtually\nany conceivable position through \nsmall shifts in the weight – sliding\nrather than pushing the centre \nof the light. The fact that the EB 27 is\nmore than  just one of many ways \nto light up a desk, was not only\nrecognized by the MoMA in New\nYork, which presented a specimen of\nBuquet's “La Lampe Equilibrée” in\nthe “Recent Acquisitions:\nArchitecture and Design” exhibition\nin 1979, together with works by\nMarcel Breuer. Artists, painters and\narchitects like Le Corbusier also\nappreciated the lamp and used it in\nateliers as well as exhibitions. \nIn addition to the table lamp, \nBuquet also developed other models,\ndesigning a wall lamp as well as a\nfloor lamp following the same\nprinciple. However, although \nthe Bauhaus assigned lamp from \nthe French designer was met with\nenthusiasm around the world, \nas well as being mentioned in many\npublications and being held in \nhigh regard, very little is known\nabout Buquet and his work. Perhaps\nit was due to the increasing material\nprices in the 1930s that the lamp\ndisappeared from the books.  \nOr because of the necessary\nmeticulous handwork that was\nrequired to produce the individual\nparts, especially the joints, and \nto balance the weights. However, to\nthis day, serial production is \nnot possible due to the perfection\nrequired by the design.\nTECNOLUMEN still produces the \nEB 27 with precise, detailed\ncraftsmanship. For this purpose the\nlight has only been minimally\nadapted to current technical\nrequirements.   \nThe wooden base was replaced \nby metal, in order to give \nthe transformer a secure spot, the\nnarrow reflector outfitted with \na contemporary frame. Everything\nelse has remained the same \nas the patent specifications that\nÉdouard-Wilfrid Buquet submitted\nto the Paris Ministry of Industry \nover ninety years ago. And so, \n“La Lampe Equilibrée” is a lamp that\nstill combines fascinating, technical\nperfection and poetic ease to \nthis day. Reduced to the essentials, \nwith a timeless, clear vocabulary \nof shapes that still bring everything\ninto balance. \nEB 27 WL\nEB 27 StL\nEB 27\nIn February 1927, engineer Édouard-Wilfrid Buquet made\na patent application for parts of his famous table lamp, \nincluding the exceptional joints.\nNot much more is known about the man who came \nfrom the Paris suburb of Montrouge. He was and still is\nakin to a phantom in design history.\nEB 28\n7\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.8.png","8\nAt 80 years old, Hartmut Dörrie\nbelongs to the ‘old guard’, and he\nknows this is something that \ndealers value. To this day, he still\nneeds the “smell of the stable” and\nthe discourse. And as long as no \none says: “Stay at home Grandpa,\nand feed the seagulls at the Neckar\nRiver”, the Independent Sales \nRep for TECNOLUMEN and\nTECNOLINE since 2003 will still be\non task, and just as inspiredas \nhe was fifteen years ago.\n“It was the cherry on top of my\nprofessional career!”, he raves.\nAlthough at the time, the switch\nwas not an easy one, as he\nremembers.\n“I came from a large corporation.\nFrom one moment to the next, \nI found myself at a family-run\ncompany. Suddenly everything that\nused to apply didn't anymore.” \nOf course this wasn't necessarily a\nbad thing. “The tone is always \nset from above”. And with Walter\nSchnepel and Carsten Hotzan, \nit was always outstanding. Getting\nhired here was the best thing \nthat could have happened to him.\nWith fantastic products, fantastic\nemployees, it was consistent and\nvery honest. “Complaints aren't met\nwith long discussions – they are\nmanaged in a generous manner.\nCustomers really appreciate that.”\nHe says this with a hint of pride. \nAnd he loves the challenge.\n“TECNOLUMEN and TECNOLINE\nare two very cultural companies.” \nIt isn't exactly easy bringing these\ntwo brands together that don't \ngo hand in hand. A different\napproach is required when it comes\nto door handles, window handles,\nand fittings, especially for\nTECNOLINE. “In this market it's all\nabout technology, not culture. \nThe hardware market finds it difficult\nto understand our products.” But\nHartmut Dörrie is happy to explain\nhimself. “Gropius, Wagenfeld,\nKramer – I am a big fan of these\nclassics and an enthusiastic door-\nto-door salesperson in the best\nsense”, he stresses and laughs.\nWhereas his professional life could\nhave taken a very different turn.\nAfter his vocational training,\nHartmut Dörrie worked for 3M and\nKoss. He was also fully dedicated \nto his passion for photography. He\nshot his first motorsports photos\nwhen he was twenty-three years old\n- and was so good at it that he has\nbeen capturing the Hockenheimring\nGmbH's races and events as the\nofficial photographer for over 50\nyears now. A start.\nThe Munich Olympics followed, \nthe soccer world championship, and\nas the years past there were\ncommissions for ski racing, hockey\nand the bobsleigh team. In addition\nto sports and their speed, Hartmut\nDörrie discovered music, in\nparticular Jazz with its emotional\npower. He photographed John\nColtrane, Dizzy Gillespie, as well as\nthe Rolling Stones and Michael\nJackson. With his sense for defining\nmoments, he quickly advanced \nto become a heavily booked\nphotographer. “I was able \nto approach everyone with the\ncamera!” Only it remained a hobby.\nEven back then, his second passion\nwas for design. “We have several\nWagenfeld lamps at home, says\nHartmund Dörrie with a smile.\n“Everyone in the family has them.”\nHe purchased his first one from\nTECNOLUMEN in 1983, together\nwith his wife. Two years prior, \nhe had switched to being the Sales \nDirector with American furniture\nmanufacturer Knoll, bringing \nhigh quality furniture onto the\nmarket from that point onward.\nPerhaps it was the direct proximity to the Fagus Factory\ndesigned by Gropius in his native city of Alfeld. \nPerhaps it was the apprenticeship at the Wittekop chemist.\nOr was it simply the coincidences of life and the \nluck of the times? Whatever it was that made Hartmut\nDörrie into who he is today – his accurate view is definitely\nthe basis of his success.\nPhoto above: On August 2, 1970, the history of\nthe Formula 1 began at Hockenheimring. \nThis photo, taken by Hartmut Dörrie documents\nJochen Rindt at the finish line. That race is \nstill considered to be one of the most \nspectacular and exciting Formula 1 Grand Prix\nevents that took place at the high-speed racing\ncircuit.\nPhoto below: Hartmut Dörrie wasn't only \nknown for his good eye at major sporting\nevents. He also had personalities from \npolitics and entertainment in front of his \ncamera throughout the years.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.9.png","9\nHere he encountered the Bauhaus\nclassics, designs from architects\nMies van der Rohe and Marcel\nBreuer that inspired him and that \nhe could no longer forget. Looking\nback, the switch to L. & C. Arnold\nStendal GmbH seemed almost\nimperative – a company that was\nalready connected to the Bauhaus in\nthe 1920s and 1930s through \nclose collaboration. Heinz and Bodo\nRasch, Mart Stam, again Mies \nvan der Rohe and Marcel Breuer,\ncan all be found in the company\nhistory with their steel tube\nfurniture. Hartmut Dörrie added\nanother designer to their side \nfrom the Bauhaus era. He\ndiscovered a chair designed by\narchitect Carl Fieger in the\nbasement of the Bauhaus Dessau.\nThe long-standing company \nadded it to their range under the\nauspice of Dörrie. \nHe loves and lives the Bauhaus. In\naddition to marketing the furniture\nfrom this era, the preservation of\nclassic pieces from this period\nhas therefore always been important\nto Dörrie. “Companies that\nproduced Bauhaus furniture have\nenjoyed excellent business for many\nyears using the 'Bauhaus' name. \nSo it was time for me to give\nsomething back to Bauhaus.” \nAs Sales Director of Knoll\nInternational, he arranged the\ntransfer of furniture – valued at\n100,000 D-Marks – to the \nBauhaus in Dessau that was being\nrebuilt at the time, and also ensured\nthat the rebuilt Bauhaus cafeteria\nwas outfitted with Breuer stools – a\ngift from L. & C. Arnold Stendal\nGmbH. When the Fagus Factory\nin Dörrie's home town was declared\na UNESCO World Cultural Heritage\nSite, the bustling sales rep did not\nmiss this opportunity. In September\n2014, Hartmut Dörrie opened the\nexhibition that he initiated\nand conceptualised: “Living with\nBauhaus” – thereby fulfilling one \nof his dreams. Photos from the\nBauhaus archive collection were\nshown as well as classic Bauhaus\nobjects from the TECNOLUMEN and\nTECNOLINE range. To this day, \nthere is excitement surrounding the\nBauhaus, its history of style and\ndesign, its architecture, design and\nespecially its handcrafted everyday\nitems. “I am happy, that I get to\nexperience ‘100 Years of Bauhaus'\nwith TECNOLUMEN and\nTECNOLINE” And what about\nretiring?\n“For the love of God! You can't do\nthat to my wife”, he says laughing –\nand is also probably referring to\nhimself a bit too.\n... and in the end\nthe cherry on top!\nHartmut Dörrie\nHis passion: design classics. \nHartmut Dörrie in front of the Bauhaus in \nDessau with Bauhaus icons\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.10.png","10\nWilhelm Wagenfeld: Fat-lean Sauce boat, 1924\nTea can, 1924\nTea warmer, 1928\nWilhelm Wagenfeld: Table lights, 1923\u002F24\nMulti-purpose light, 1930\nFloor light, 1930\nTable light, 1928\nMarianne Brandt: Ceiling lights, 1925–1929\nCircle, square, triangle – Kandinsky’s\nform theory was an essential com-\nponent of the foundation course at\nthe Bauhaus school and its effect\nreached all the way to the work-\nshops. The reduction to these clear\nshapes as well as the combination of\nthis simplicity had a major influence\non the designs of students at the\ntime when designing lights and daily\nitems, which later became design\nclassics. TECNOLUMEN produces\nthese products by hand as they \nhave always been made, and the\nsupplier companies virtually all stem\nfrom Germany and the EU.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.11.png","11\nMarianne Brandt and Hans Przyrembel: Ceiling lights, 1925\nMarianne Brandt: Teapot, 1924\nTea extraction pot, 1924\nAshtray, 1924\nAshtray, 1924\n \n \n \n \nProf. Richard Döcker: Floor light, 1923\u002F26\nBauhaus Range: Floor light, 1928\nGyula Pap: Floor light, 1923\nHans Przyrembel: Ceiling light, 1928\nMart Stam: Wall light, 1927\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.12.png","12\nIt can be switched on and off by\ntouch on the light head and also a\ndimming option. Turning the\nhorizontal light heads also enables a\ncontinuous change of the beam\ndirection by up to 340°. This allows\nthe creation of a very personalised\nlighting arrangement. The high\nefficiency of the light output\nsupports the very low electricity\nusage. The lights can be used \nboth in living room as well as office\nsettings.\nThe lights are produced by \nTHONET and TECNOLUMEN, that\nstarted a collaboration for this\npurpose, supplying the lights to\ndesign and technology enthusiasts\nRenowned designer Ulf Möller \ndesigned the LUM, a light that has\nbeen formally reduced to a\nminimum, which is fitting for the\n2019 Bauhaus anniversary year, \nand was presented at the IMM \nin Cologne to an international trade\nfair audience.\nThis family of lights continues the\nBauhaus concept of reduction \nto the essential with a high degree\nof functionality and aesthetics.\nUsing the classic and famous 20mm\ntubular steel, LUM designed by \nUlf Möller is a light that isn’t just\ncomplimentary to the well-known\ntubular steel furniture, it can also be\nintegrated discreetly yet trenchantly\nin an appealing room ambience\nthanks to its timeless design.\nIn addition to the clear design, \nthe LUM also impressed with its\nconvenient function and it is\nexceptionally flexible in application.\nBright and brilliant colour rendering\nis guaranteed, thanks to the usage\nof state-of-the-art LED technology.\nunder the signet “THONET by\nTECNOLUMEN”. Just like with their\nfurnishing and lighting pieces, \nboth long-standing family-run\ncompanies place great value on\noutstanding product quality in this\narea as well. \nSale begins in the fourth quarter \nof 2019.\nModern, puristic, functional – the famous tubular steel furniture\ndesigned by Mart Stam, Marcel Breuer and Ludwig Mies \nvan der Rohe, as well as the table lamp designed by Wilhelm\nWagenfeld, which is often referred to as a  “Bauhaus lamp”, \nbecame Bauhaus design icons and today they represent \nmilestones in design history. The two family-run companies that\nstand behind these products are THONET and TECNOLUMEN.\nWhat would a lamp look like that combined the two?\nby\nLUM X-Shape Pendant Light, 77 cm long\nLUM Floor Lamp, 125 cm high\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.13.png","13\nBorn in 1969 in Kassel, architect \nUlf Möller studied Architecture,\nUrban Planning and Design at \nthe Technical University Darmstadt.\nAs part of his studies, Ulf Möller\nshifted successfully into self-\nemployment with his own atelier,\nsubsequently executing various\ndesign-oriented buildings. in 1998,\nhe joined the architecture firm\nCoordes Möller+Partner in Kassel,\nwhich worked with residential \nand industrial buildings in Germany\nand beyond. In 2005, Ulf Möller \ntook over the Möller+Partner\narchitecture firm, since then\nfocusing on the areas of architecture,\ninterior architecture and design. \nFor over 20 years now, there \nhas been a close collaboration with\nTHONET.\nThe  LUM is a Bauhaus light \nthat was born in the 21st century. \nUlf Möller\n \n \n \n \n \n \n \n \n \n \n \nLUM Long Pendant Light, 135 cm long\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.14.png","14\nKirsten’s home is also home to a large number of \nbooks – which isn’t surprising, since writing determines \nthe daily life of the German Language Specialist. \nHowever, language isn’t the only passion of the native \nfrom Düsseldorf. She loves design that is suitable \nfor daily use, easy-breezy, and doesn’t take up a lot of space.\nPhoto: Oliver Jung, München\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.15.png","15\nArchitecture, art and design – \nwhen Kirsten started working at \nthe Walther König bookstore \nin 1992, she found everything that\nshe was interested in collected in\none place. She was amazed at \nhow many subjects were to be found\non the shelves.\nOne book in particular captivated\nher: Thomas Heyden's “Die Bauhaus\nLampe”, which was hot off the press.\n“I couldn't believe it was possible \nto write an entire book about a\nsingle lamp!”  She tells us today,\nlaughing. It was an epiphany, in a\ndouble sense. “Content is expressed\nthrough materials and proportions\nand translated in the function. After\nreading it I suddenly understood\nwhat design actually achieves.” \nHere in the form of Wilhelm\nWagenfeld's lamp. “It communicates\nthe attitude toward electricity at the\ntime, a new attainment that had \nnot been an aspect of people's daily\nlives for very long at the time it was\ndesigned at the start of the 1920s.\nThe visible cable is a tell-tale sign of\nthis new world.”\nKirsten was captivated by this\ndiscovery. She asked for a Bauhaus\nlamp for her wedding – and since\nthen it has a permanent spot in the\nliving room. It isn’t just a light \nsource like many others, it is a\nmeaningful design. The Wagenfeld\nlamp lights up, but does not dazzle,\nand the warm light accentuates \nits timelessly beautiful shape,\n“Unlike my two selective light-\nemitting work lamps, it emits light in\nall directions in a proud and\nconfident manner.” The light from\nthe Bauhaus lamp does not produce\nconcentrated cosiness, instead \nit provides embracing lighting to the\nroom: “All the space around it is\nilluminated when it is switched on.”\nLight plays an important role in\nKirsten’s life. “Coming home and\nswitching on the light signifies\ncomfort and warmth. Brightness\ncontributes to well-being – whether\nit is sunlight or electrically powered\nlights.”\n“What surrounds me is of essential\nimportance to me.”\nDesign is as important as light in\nyour home. Kirsten lives between an\nEiermann table and task chair, the\nEames rocking chair, the Marcel\nBreuer table stool, as well as various\nMAGAZINE drafts. But not to \ncreate a false impression: “For me,\ndesign does have limits. Nothing is\ndecorated here, instead everything\nis used. If I had the Marianne Brandt\nteapot, it would be on the table \nwith tea stains and not gathering\ndust in a glass display to be looked\nat as a collector’s item.” The\napartment is not a museum, it is a\nspace that is lived in:\n“Socks should just be allowed to lie\naround on the floor sometimes. \nYou have to be able to breathe.” \nFor the German Language\nSpecialist, its all about language \nand content. “It’s the same when it\ncomes to design.” In addition to\nfurniture and books, for her it is\nprimarily pictures that belong in a\nhome. “I am always the happiest\nwhen I come home.” Back then she\nhad found art posters in the\nbookstore's storage – one of them\nstill hangs in the bedroom to this\nday: “Learn to read Art” by\nLawrence Weiner. “I've loved it since\nthen.” Kirsten gets her affinity for\ndesign from her parents’ house. \n“I grew up between 1960's furniture\nthat has become trendy again today.\nWhen the\n70's began, my mother promptly\nsaid goodbye to that style: she\nbrought the couch and armchair to\nthe upholsterer to have it covered\nwith brown corduroy, and the\nkitchen was completely redone in\norange. Our kitchen chairs that were\njust introduced to the market in\n1969, have since become design\nclassics.” Their daughter does the\nsame. She makes good things last.\n“I'm happy to repaint chairs but I\ndon't replace them if they are still\nbeautiful!”\n“Consistency and new impulses –\nboth are important.”\nOf course, she also likes to keep a\nlookout for new ideas. In addition \nto classic designs, she is inspired by\nfurniture stores such as MAGAZIN\nor manufacturers like HAY or muuto.\nHowever, every now and again \nshe is disappointed by current\ndesign. “The paint is peeling from\nthe beautifully shaped Thermos\ncontainer, or the whistle on the\nkettle gets so hot that I can't put it\nback on. You have to ask yourself \nif designs today is created \nwith the same amount of care as in\nWagenfeld's day.”\nWhen I come home,\nI look forward to brightness and light.\n \n \n \nPhoto: Merk & Mark, Berlin\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.16.png","16\nES 57\nEE 61\u002F2SW\nEgon Eiermann is considered to be the most \nsignificant architect and furniture designer \nin post-war Germany. He was one of the first to\nbegin to conceptualise serial furniture to meet\ninternational standards of function and form,\nand that dictate the style of an entire generation.\nHis structures are famous and numerous. \nHis furniture is still partially being produced to\nthis day.\nThe Ceiling Light ES 57 by \nEgon Eiermann is available in the \ncolours green, white, red, grey and\nwhite. When it came to the colour\nscheme, TECNOLUMEN referred to\nthe colours of USM-furniture\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.17.png","17\nThe deliberate reduction,\nthe omitting, the simplifi-\ncation has a deeply \nethical basis: Something\nthat is simple can never \nbe disliked.\nEgon Eiermann\nThe expression and culmination of\nthis liberation from everything \nthat had come before, are the steel\nconstructions that characterise \nEgon Eiermann's work in both\narchitecture and furniture design. \nHe picked up on Bauhaus design\nprinciples in his designs. The\npermeability of the intermeshing of\nthe inside and outside, nature \nand constructed space became an\nexpression of democracy in\narchitecture as well as in furniture\ndesign. With its reduction to the line,\nthe reflection on pure form and\nliberation from overflowing\naccessories, anything heavy and\nadditional, Eiermann achieves a\nmodesty in his designs that seems to\nfree his objects from historical\ncontexts while still presenting them\nas a consistent continuation of\nwhat came before. Nonetheless, or\nperhaps for this reason, the works\nare characterised by timelessness. It\nis no wonder then that his buildings\nare classified as historical\nmonuments, his desks and chairs\nenjoy great popularity up to this day,\nand can be found in many public\nbuildings, as well as modern\nagencies and private spaces. The\nceiling light from 1957 is no doubt\nalso one of the products that \nis still as exciting as ever. Specially\ndesigned by Egon Eiermann and\nSepp for the world exhibition\npavilion in Brussels and actually\nproduced in a small series, the \nES 57 soon enjoyed great popularity. \nEgon Eiermann travelled to Italy in\n1954 to take over the construction of\nthe Triennale in Milan. It is possible\nthat Gino Sarfatti inspired him here,\nwhose lights, which are exquisite\nand functional at the same time, \nlike sculptures, set the stage for the\nlight itself. However, it is also\npossible that the construction of the\npavilion with its intermeshing cubes,\nthe penetration of the exterior space\nwith the interior world, the crossing\nlines and maximum transparency\nculminate in this light.\nThey are commonly referred to\nfondly as the “lipstick and powder\ncompact”, monument preservation\nrefers to it as a “city icon”, \nand he himself calls it his life's work.\nWe are talking about the architectural\nensemble of the Kaiser-Wilhelm\nMemorial Church in Berlin, that\ndeteriorating war ruin built in \nthe neo-romanticism style, that\nEgon Eiermann provided with \na modern side. The architect didn't\nhold much of preserving the old,\ninstead he relied on the consistent\nprogression of the familiar.\nFunctionality and practicality,\ntransparency and reduction to clear\nlines were in the foreground of his\ndesigns.\nIn his own activities, such as his role\nas professor at the Technical\nUniversity Karlsruhe, he advanced\nthe development of the Modern.\nAway from historical ballast,\ntowards lightness.\nThen again, perhaps it is also the\ninfluences of all his encounters with\narchitects from the previous\ngeneration, with Walter Gropius,\nMarcel Breuer or Ludwig Mies van\nder Rohe. Perhaps it was the\nconfrontation with the ideas and\nideals of the Bauhaus, design \nthat reaches beyond the limits of\narchitecture. Perhaps it is the\nconcept of putting the focus of\ndesign on functionality. It is possible\nthat his confrontation with\ninternational developments\nduring his trips to the United States\nalso contributed to this German\narchitects signature. And it may also\nbe a blend of all of these aspects. In\nany case, the ceiling light ES 27\ncontinues to inspire – even sixty\nyears after the design of its fine,\ndelicate appearance. Featuring\nabandonment of any embellishments,\nreduction to functionality that \nalmost gives it a sculptural touch.\nEgon Eiermann himself may \nhave been less excited about\ncreating an object that endured so\nlong. And perhaps he would not\nhave agreed to his structures\nsurrounded by scaffolding at the\nMemorial Church in order to save its\nsubstance. Instead he may have\npreferred to design something new.\nA new building, new furniture,\na new light ... but even though it was\nconstructed a long time ago, it is \nstill beautiful.\n \nKaiser-Wilhelm-Memorial Church, \nBerlin 1957\u002F63\nSide table by Egon Eiermann von 1961\nAdministration and Training Centre  of the \nGerman Olivetti, Frankfurt am Main 1967\u002F72 \n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.18.png","Walter Gropius, born in 1883,\nis one of the most significant Bau-\nhaus designer's there was. \nGropius studied architecture at \nthe start of the 20th century, also\njoining the design office of \nPeter Behrens, as did Mies van der \nRohe and Le Corbusier. As an \nindependent architect and industrial\ndesigner, Walter Gropius later \ndesigned the well-known Gropius\nprinter, which was first produced by\nS.A. Loevy. TECNOLINE (which \nwas with TECNOLUMEN until 2002)\nmanufactures the various Gropius\nmodels and is authorised by the\nheiress as the sole manufacturer\nworldwide.\nSomething that definitely stands \nout is that TECNOLINE offers the\npossibility of designing fittings\naccording to any taste – and not just\nwith regard to the colour selection. \nA modular system makes it possible\nto combine all parts with the same\nbasic material (brass casting or\nstainless steel) in whatever manner\nthe building contractor, house \n& apartment owners and architects\nwould like. They can choose\nbetween various materials, surfaces\nand accessory parts, in order to \nadd the finishing touch to be enjoyed\nby people who will reach for the\nhandle for generations to come.\nToday, the door handles from\nfamous Bauhaus designers Walter\nGropius, Wilhelm Wagenfeld \nand Ferdinand Kramer are design\nclassics. Either authorised by the\ndesigners themselves or their heirs,\nTECNOLINE has been producing \nthe original door handles according\nto their templates. TECNOLINE\n(under the TECNOLUMEN label \nat the time) started the production\nback in the 1980s, which also\nproduced fittings from Art Deco\ndesigners as well as those from\nBauhaus designers. The classic\ndesigns demand execution that is\ndetailed and true to the original, \nand that meets today's technological\nstandard. In addition, the Hanseatic\nfamily-run company offers many\nmore distinguished designs, \nranging for instance from Ludwig\nWittgestein and Dieter Rams \nto the modern style of Hadi Teherani\nand Jürgen Ringel.\nThe door handles are cast and\nprocessed with great care in the\nSauerland region, the cradle \nof the German metal industry. This is\ndone by hand, which is the only \nway to achieve such outstanding\nquality. For special series, for\ninstance the 130 series that was\nissued on the occasion of the 130th\nbirthday of Walter Gropius, special\nsand moulds are created that \ncan only be used once, thereby\nmaking every handle a one-of-a-\nkind piece.\nIt is usually the first thing we touch when we enter a\nhouse: the door handle. Special houses and buildings in\nparticular deserve to have a special door handle. Often\nthese small yet absolutely important details mirror \nthe style and architecture of a building. TECNOLINE has \nbeen manufacturing high quality door fittings, handles \nand switches from famous designers.\n18\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.19.png","19\nWilhelm Wagenfeld, born in Bremen,\nis one of the most well-known \nBauhaus designers. He designed\nthe famous light WG24, as well \nas various designs for Braun, \nRosenthal and WMF. In 1928, \nWagenfeld designed the door \nhandle WD 28 for S.A. Loevy and\na matching window handle, which\nhowever was only produced \nin a limited quantity. TECNOLINE \n(which was with TECNOLUMEN \nat the time) resumed production \nof the model together with \nProf. Wagenfeld in 1982, following\nthe original hand sheet.\nAs an architect and designer, \nFerdinand Kramer, born in 1898,\nwas a representative of classic\nfunctionality. True to the motto \n“the function determines the form”,\nKramer predominantly designed \nobjects for interior design that \ndid justice to the prevailing narrow\nrooms in the first half of the 20th\ncentury. With low manufacturing\ncosts, Kramer created purposeful,\ntimeless design in the realm of\ninterior architecture. In 1925, \nhe designed this door handle with\nconical handle, which we have \nbeen producing since 1992, with\npermission from Kramer's widow.\nWe understand a good shape to be the natural form \nof a product that has developed from its functional and\ntechnical requirements, that corresponds fully \nwith its purpose and is beautiful at the same time.\nMax Bill, Architect, Sculptor, Painter and Designer, Die gute Form, 1949\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Ff9\u002F8605df35ca70a4e2a7b0ab9c53548d-28df4877c0.20.png","© TECNOLUMEN 2019, Telephone (0421) 43 04 17-0, info@tecnolumen.de, www.tecnolumen.de, Concept\u002FText: Frank Meierdiercks, Communications Consultant, Bremen, Text: Anja Rose, Copywriter, Bremen, Design: BrücknerAping, Design Agency, Bremen, Print: Berlin Druck, Bremen, Photos: Michael Gielen, Bremen\n",20,[],0,false,true,{"success":96,"data":98,"meta":318,"count":319,"next":320,"previous":321,"results":359,"brand_chips":420},[99,112,122,132,142,152,162,172,182,194,207,220,230,243,256,266,276,286,296,308],{"id":100,"title":101,"slug":102,"image":103,"source":104,"brand_name":105,"brand":106,"brand_slug":107,"file_size":108,"pages":109,"pages_count":110,"matched_pages":111,"match_count":94,"two_pages":95,"show_text":96},26607,"Working 2026","leds-c4-working-2026","\u002Fmedia\u002Fimages\u002F3a\u002F295e58aee952a0d50352f22925106a-29704a6e39.1.png","\u002Fprivate\u002Ffiles\u002Fad\u002F06804e7560a395bf4a98c17bd40b17-29704a6af8.pdf","Leds C4",2502,"leds-c4","106.7 MB",[],1218,[],{"id":113,"title":114,"slug":115,"image":116,"source":117,"brand_name":105,"brand":106,"brand_slug":107,"file_size":118,"pages":119,"pages_count":120,"matched_pages":121,"match_count":94,"two_pages":95,"show_text":96},26606,"Architectural Systems  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