[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-tecnolumen-tl3":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":96},{"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":91,"matched_pages":92,"match_count":93,"two_pages":94,"show_text":95},21889,"TL3","tecnolumen-tl3","\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fe6\u002F4e8de014ffe2e4c0c671ab9598bdfd-28df46a2cd.pdf","TECNOLUMEN",1944,"tecnolumen","1.0 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},"3\nTL\nA magazine by \n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.2.png","Floor lamp BULO XL\u002FBLON 16 P \nWell-conceived, clever and always \nfunctional: Oliver Niewiadomski \ntranslates a mathematical concept \ninto incisive design language, as \nhere with the floor lamp BULO XL \nwhich sits neatly on its base to work \nperfectly in any specific setting. \n \n \n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.3.png","Purpose & Form: \nProf. Dr. Klaus Struve’s Collection \nBauhaus Standard Lamps \nHandmade in Germany: \nTraditional Craftsmanship with Heart and Soul \nFrom Arts and Crafts via De Stijl to Bauhaus \nOliver Niewiadomski: A Portrait \nGropius Door Handle, Series 130:  \nTECNOLINE’s Special Edition\n4 \n \n6 \n8 \n \n12 \n16 \n18 \nThe new times give rise to a funda-\nmental question: How can I feel safe \nand at ease? In future, we'll be  \ndemanding a lot more of our homes. \nThis refers to far more than just cosy \ntrends such as cocooning or hygge. \nIt’s more a case of needing our own \nintimate space of peace and quiet \nwhere we can withdraw from the \nworld and recharge our batteries in  \na feel-good atmosphere. This is  \nparticularly challenging for those who \nsetting up a home office environ-\nment in their own four walls, with a \nspecial need for feel-good spaces  \nin between. The whole interior design \nindustry is tackling the issues invol-\nved and their various manifestations \nto cover all bases, taking an inspiring \npeople-focused approach. \nGood light is an essential factor to \ngive rooms their desired effect. It \ncan be used for clever demarcation \nof specific sections, putting an  \nemphasis on the feel-good areas.  \nA reduced design limited to the  \nessentials has a soothing impact on \nthe mind, leaving it free to come  \nup with fresh thoughts and new \nideas. Pleasing tactile effects resul-\nting from an excellent choice of  \nmaterials help to keep you grounded \nin a digitised world. Old favourites \ngive people something reliable and \nunchanging to hold on to.  \nTECNOLUMEN has always combined \nthese essential factors, producing \nclassic lamps “made in Germany” \nusing the best craftsmanship traditi-\nons and working together with small \ncompanies who give outstanding \nquality the same priority that we do. \nLet’s make the best of it! \n \n \n \n \nYour Carsten Hotzan \nExecutive Director of \nTECNOLUMEN \n \n \n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.4.png","4\nItˇs a comprehensive collection. \nSome items can be found in Struveˇs \nhome, a detached house built  \nin 1934 where he has completely \nredesigned the interior. “The chal-\nlenge was to obtain all the lamps”, \nsays the college and university \nteacher with pride. The original  \ninterior fittings are examples of the \nstandard features of detached  \nand semi-detached houses up until \nthe 1950s. And therefore belong, \nnot just coincidentally, to his main \narea of interest as a collector. \n“My collection focuses on industrially \nmanufactured objects that were  \ninstalled and used in every house \nand every room.” Struve is not  \ninterested in hand crafted items but \nin the products of mass production \nby machinery. Heˇs referring to \nthose mass-produced works of art \ndesigned during the decades  \nbetween the First World War and \nthe recovery and reconstruction  \nperiod that followed the Second \nWorld War. “Iˇm interested in the  \nresults of Bauhaus designs and the \nimpact that they had during the \n1920s.” The prevailing ideal in those \ndays was that everyone should  \nbe able to live on a certain level of \nprosperity in surroundings of  \nfirst-rate design. The downside of \nthe mass-production approach  \nwas the waste involved. “Houses \nwere modernised without any  \nconsideration for significant histori-\ncal aspects. I rescued many of  \nmy objects from skips.” You can hear \nhow much it means to him to  \npreserve these treasures. But youˇd \nbe wrong to think the collection  \nis just an accumulation of similar \nproducts. “As a collector, Iˇm  \nexcited to see the constant change \nin mass-produced items.” \nGlass shades in different colours, \ndesigns adapted for technical  \nreasons: itˇs the deviations in the \ndetails of one and the same type  \nof lamp that make these items so \nvery special. Collector Struve is  \nin his element. “Iˇm constantly in \ntouch with colleagues when it \ncomes to defining the exact details \nof various items in the collection, \nincluding when they would have \nbeen launched on the market, the \nperiod of production and their  \nactual use.” \nRight behind the front door there are stacks of boxes, with lamps and door handles \nlying around as well as bits of furniture standing in the way. “Please excuse the \nconfusion”, says Prof. Dr. Klaus Struve as he tries to make his way through his living \nroom, “itˇs all just come back from an exhibition”. Not an unusual occurrence for \nthe 77-year old man from Oldenburg. His “Purpose and Form” collection has made \nhim well known way beyond North Germany itself.\nPurpose & Form: \nProf. Dr. Klaus Struve’s collection \n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.5.png","So itˇs not so easy to know when to \nstop. Even so, Struve’s collection \ndoes of course have its highlights. \nBesides lamps and door handles,  \nhe also has a few industrial so-called \nmaster clocks with slave clocks for \nuse in factories, as well as furniture \nmade of bent beechwood. Bentwood \nfurniture already featured among \nthe first collection items, products \nof industrialised furniture production \nof Viennese coffee-house furnish-\nings. How is it possible to keep track \nof the items when there are so \nmany of them? “Iˇm still behind with \narchiving all the things in the  \ncollection”, confesses Struve. It is \nboth time—and space—consuming  \nto make sure the archive items are \nstored properly and professionally. \nHundreds of ceiling, wall, desk and \ntable lamps, about a thousand door \nhandles and countless items of \nbentwood furniture are standing,  \nlying or hanging in shelves, on tables \nand on the walls of a warehouse. \nBut apart from sorting and number-\ning them, there are more important \nthings to be done. Between the \nlengths of shelving he has a range \nof workplaces all with different \nkinds of tools and equipment: the \nskilled stonemason restores his \nfindings himself, as far as possible. \nHis passion for collecting is not  \nan end in its own right but a means \nof preserving cultural assets. “My \naim is to restore them so they can \ngo back to being used all the time”, \nemphasises Struve. In this way,  \nit is still possible to perceive the  \ndesign and beauty of the historical \nobjects. This doesnˇt mean his  \nfindings canˇt be put to a different \nuse. A lamp can become a sculp-\nture, a work of art, and thereˇs no \nreason why a doorknob shouldn't  \nbe used as a paperweight on a desk. \nMoving towards the warehouse \nexit, Prof. Struve cleverly skirts \naround more piles and stacks of \nthings. Doesnˇt he find it hard to say \ngoodbye after he has taken so  \nlong to find things and put so much \neffort into their restoration? “No, \nnot at all!” Klaus Struve shakes his \nhead emphatically. \n“When all is said and done, they’re \nsupposed to be used!” \n5\nHistorical lamps, particularly from the \nBauhaus period, together with bentwood \nfurniture and door handles account for  \nthe majority of Prof. Dr. Klaus Struve’s  \nimpressive collection.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.6.png"," \nFloor lamps are more than just lighting. Already  \nthe Bauhaus experts admired the special flexibility \nand impact of standard lamps as a design element  \nin a room. In contrast to ceiling or wall lamps,  \nthey can be easily moved around and plugged in to \nthe nearest power socket, while also offering the \npossibility of changing how the setting in a room is \ncreated. Furthermore, they are ideal as an uplight  \nto illuminate a certain area or as a reading light  \nin a cosy corner. Today they have become popular \nonce more. \nBH 23 \nItˇs not known who designed this \nsculptural lamp around 1923. \nWhoever it was, the lamp designer \nhad a weakness for mechanical  \nfeatures, with a counterweight for \nadjusting the arm. Itˇs also clear  \nthat the floor lamp must have  \noriginated from the proximity of  \nthe Bauhaus community. \nThe playful shape and sense of  \nmobility recalls both Oskar  \nSchlemmerˇs figures in the Triadic \nBallet as well as the clear, delicate \nlamp designs by Marianne Brandt. \nToday the BH 23 sets an artistic  \naccent in sophistically designed \nrooms. \n6\nBauhaus Standard Lamps\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.7.png","DSL 23 \nThis floor lamp from 1923 clearly  \nillustrates the formative style of the \nBauhaus era, although its designer, \narchitect Richard Döcker, never \nstudied or taught at Bauhaus. Here, \nclear shapes and lines are paired \nwith high functionality and refined \ndetails. Although  the DSL 23  \nmight look plain and simple, it is  \nan elegant eyecatcher thanks to  \nthe almost free-floating suspension \nof the lamp head. The light ball  \nmade of opal glass emits a  \nparticularly atmospheric light.  \nThe floor lamp thus helps create \nvery effective mood lighting and \nacts as a brilliant design feature in \nprivate space such as living  \nrooms, studies or bedrooms, or \nequally in prestigious areas of \ncommercial and industrial premises. \n \n \nBST 23 \nIn Gyula Papˇs last year as a student \nat Bauhaus in Weimar, he designed  \na floor lamp for the “Haus am  \nHorn” that was being planned by  \nGeorg Muche and the construction  \ndepartment. The outstanding  \nfeature of the lamp is its uncon-\ncealed light source, consisting of \nthe recently invented metallised \nlight bulb. The light rays are  \ndirected downwards and make the \nlight source appear dark; they  \nare refracted by a horizontal matt-\netched glass pane that makes  \nthem seem to float like a luminous \nlayer over the thin nickel-plated \nmetal tube. In 1925, this lamp  \nfeatured as an example of functional \ndesign in Bauhaus book no. 7  \n“New Works from Bauhaus Work-\nshops”. It was only ever produced \nas one-off item for the experimental  \n“Haus am Horn” and is unfortunately  \nnow missing. Special tools had  \nto be produced, metal parts turned \nand refined to ensure that the  \nstandard lamp corresponded to the \ndesign and appearance of the  \noriginal, right down to the very last \ndetail. \n \n \n7\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.8.png","Cooperation with the silversmiths \nbegan in 1982 when Björn Schulze \ntook over the family business in the \nthird generation. “The first piece  \nwe produced for TECNOLUMEN \nwas a fruit bowl based on a design \nby Josef Albers”, explains the  \nskilled metal spinner and industrial \ndesigner. This was followed shortly \nafterwards with the joint presen- \ntation of “Collection 1” by Walter \nSchnepels, featuring silver work \nsuch as the coffee and tea service \nby Boris Lacroix (Art déco) as well \nas designs by Björn Schulze. A  \nsecond collection followed in 1987. \n \nThings take time \n \nRight up until the present day, one \nof the most artistic and also elabo-\nrate products has been the teapot \nMBTK 24 designed by Marianne \nBrandt. Many little steps are involved \nin making this teapot. It takes  \nmore than fifty hours altogether to \npress and grind the geometrical \nparts made consistently in accor-\ndance with the Bauhaus design \nprinciples, as well as woodturning \nthe ebony handle and through to \nthe galvanising process. “We donˇt \nhammer the teapot: that would  \nbe much easier. We press the silver. \nKeeping the clamped surface \nsmooth including all the soldered \nbits, is a high art. We canˇt afford  \nto make any mistakes.” The first \nMBTK 24 was produced in the early \n1980s. The range also includes  \nthe EB 27 by Édouard-Wilfrid Buquet. \nThis is one of the most important \nproducts, as table, wall or standard \nvariant. “We once made a lamp \ncompletely of sterling silver, although \nno-one thought it would ever sell. \nBut in fact, it wasnˇt on display for \nvery long before Brad Pitt came \nand bought it”, tells Schulze with a \ngrin and not a little pride. Today  \nthe Buquet lamp is still made by hand \nin Bremen-Walle. Itˇs based on a \nprototype thatˇs decades old, toget-\nher with drawings stuck to a locker. \n“We got an original Buquet lamp \nfrom Mr. Schnepel which we used \nto develop a model.” \n  \nAmong others, orders also come \nfrom the regional Evangelical \nChurch in Hanover. “When the \nwhole congregation drinks from a \nsilver chalice, thereˇs no risk of  \ncontagion. The antibacterial effect \nThe noble art of meticulous care: Marianne Brandtˇs tea \npot MBTK 24 and Édouard-Wilfrid Buquetˇs EB 27 were \nproduced for TECNOLUMEN in the BWKS (Bremen \nworkshops for handcrafted silver works).\nHandmade in Germany:  \nTraditional Craftsmanship with Heart and Soul\nof silver has always been important \nfor users in church settings.”  \nBesides restoring historical chalices, \nchandeliers and baptism fonts,  \nother objects are also produced on \nthe basis of new designs. \n \nSilver, sea and cigarettes \n \n“In the past they used silver 750, \nbut it contained so much copper \nthat the silver turned green. All that \nchanged with the Imperial Law  \nof 1873. From then on, items were \nstamped with a crescent moon  \n(silver) and crown (German Empire) \nto guarantee the silver content.  \nOn the other hand, the techniques \nused to work the silver have  \nscarcely changed in decades. \n  \nFrom turning the wooden form to \nrepolishing the workpieces,  \neverything is still done by hand, as \nit has been for a hundred years.  \nThe Schulze family has a long  \ntradition of silver craftsmanship. \n“My grandfather Wilhelm was  \napprenticed to Koch & Bergfeld as  \na silversmith, after which he set  \nout as a journeyman in the usual  \nfashion of the times.” He went  \nto Oslo and worked with David  \nAndersen, where his tasks among \nothers also included designing  \nracing yachts. “Two of them are still \nsailing today”, says the grandson. \nThe skilled chaser Wilhelm Schulze \nreturned to Bremen in 1920.  \n“Germany was a low-wage country \nin those days, compared to  \nScandinavia where workers were \npaid much more. And so my  \ngrandfather set up a local branch \nfor David Andersen.” To the great \ndispleasure of the workforce in \nOslo, so that Andersen eventually \ngave in to their protests. The  \nworkshop in Bremen was taken \nover by Wilhelm Schulze. Towards \nthe end of the Second World War, \nwhen the company premises were \nalmost totally destroyed, Richard \nSchulze, who had meanwhile taken \n8\n “We got an original Buquet lamp from  \nMr. Schnepel which we used to develop a  \nmodel.”\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.9.png","over from his father, set to work to \nrebuild the company on the same \nsite in 1947. “With gold dollars”, \nsays Björn Schulze with a laugh. \n“Cigarettes were the only currency \nback then.” \n \n100 years and their stories  \n \nToday as in those days, BWKS works \nwith a range of different designers, \nsuch as Friedrich Marby or, in  \nthe past, Wolfgang Tümpel (former \nBauhaus designer, goldsmith  \nand university teacher). Besides  \nexternal designs, the company also \nmade products based on its own \nideas. “My grandfather created  \ntypical Norwegian designs.” With \ngreat success: at the World Ex- \nhibition in 1937, he won the gold \nmedal with his “Parisian Bowl”.  \nThe showcases display jugs, candle \nholders and creamers by family \nmembers. “The Bauhaus influence \non our Uncle Wilhelm Schulze jr \ncan be clearly seed”. In the 1950s \nthey launched their own range  \nof lamps, made and sold under the \nname “Werkkunst”. \n  \n \n \n \n \n \nOver the years, members of the  \nfamily have handed down their own \npersonal stories with traces still  \nto be found everywhere in the buil-\nding. Today Björn Schulze and  \nhis wife, who also works for the \ncompany, still live on the premises \nof the firm which is celebrating  \n100 years of corporate history in \n2020. Although there are no longer \nquite so many Marianne Brandt  \nteapots, in total a proud 194 have \nactually been produced since  \nthe very first one nearly forty years  \nago, with the last two recently  \nleaving the traditional silversmiths \nin the West of Bremen. \n  \nThe  individual components of the top quality \nlamps and design objects are made and  \nassembled using old tools and with great  \npatience, paying the same attention to detail \nthat youˇd find a hundred years ago.\n9\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.10.png","",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.11.png","LUM 135\nLUM 85 \nLUM X \nLUM 50 \nLUM 125 \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.12.png","12\nBauhaus without its founding father Walter Gropius?  \nSimply inconceivable? What about its previous history? \nAlthough Gropius made no mention of beginnings,  \nroots or sources of inspiration, Bauhaus didnˇt simply  \nhappen as the result of a brainwave but emerged  \nas a development that tells its own story. A development \nin terms of society at large and design in particular,  \nconsisting of currents that made Bauhaus possible in  \nthe first place, and theories still used today as the basis  \nfor this influential approach to design. \nFrom Arts and Crafts via De Stijl to Bauhaus\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.13.png","13\nSo how did it all begin? The early \nhistory of Bauhaus takes us back \ntwo centuries. Back to the 1870s, to \nbe precise. In terms of social  \ndevelopment, it was a time of epic \nupheaval. But not everyone thought \nthe industrial revolution was a  \ngood thing. While some saw the \ntransformation from agricultural  \nto industrial production as a new era \nfor mankind with inestimable  \nopportunities for society and the \neconomy, others warned of cultural \nlosses and dangers. Art historians \nsuch as John Ruskin and Gottfried \nSemper examined the rapid changes \nof their time, representing the \nviews of many in defence of innova-\ntion and progress or conservative-\nromantic preservation of value; \nKarl Marx and Friedrich Engels saw \nthe impoverishment of the pro- \nletariat rather than technological \nand economic progress. Despite \nbeing surrounded in controversy,  \nin 1851 the Great Exhibition opened \nits doors in London. More than \n100,000 exhibits were on display. \nThey presented the status of  \ndevelopment of the whole of man-\nkind, illustrating both the diversity \nof industrial design and the latest \nproduction methods. Exhibits  \nincluding Joseph Paxtonˇs Crystal \nPalace made it an unforgettable  \nexperience for around six million  \nvisitors. Semper compared the \nabundant diversity of industrial pro-\nduces presented at the exhibition \nwith the Tower of Babel. Despite all \nscepticism and hostility, European \ndesigners found new inspiration in \nthe exhibits from all over the  \nworld. Edward William Godwin from \nGreat Britain was one of the  \nmost exciting designers of the day,  \nwith modern designs made time-\nless by managing without historical \nfeatures. Japonism was one of the \nprime influences, with its reduced \nsimplicity being a perfect match  \nfor the emerging possibilities for \nmachine production. Generally \nspeaking, the new production forms \nchanged the design of many every-\nday objects. Industrialisation made \nit easy to have access to things  \nthat used to be unique, turning \nthem into mass products with  \nthe possibility of unlimited repro-\nduction putting them on the  \nshelves of middle-class households. \nBut the use of machinery in the  \nproduction process increasingly  \nbecame separated from any kind  \nof craftsmanship and inevitably led \nto a longing for originality. Instead \nof plain unadorned items for  \nindustrial production, it was in fact \nby focusing on natural, honest  \nmaterials and processing them with \nhonest, simple craftsmanship  \nthat the Arts and Crafts Movement \nmade a name for itself in England \nand beyond, with an ever increasing \nnumber of followers. This anti- \nindustrial movement aimed to  \neliminate the distinction between \nfree and applied art, finding in- \nspiration in the shapes and colours \nof nature, in Mediaeval Europe – \nand in Japanese art. \n  \n \n \n \n \n \n \n \nIt didnˇt take long for similar develop- \nments to emerge. In Scotland, it  \nwas the city of Glasgow that became \na leading centre for architecture \nand design, with the regionˇs ship-\nbuilding industry promoting the  \ndemand for craftsmanship and  \ndesign. Frances Newbery founded \nthe Glasgow School of Art with a \nfocus on traditional techniques and \ncraftsmanship. One of the best \nknown representatives of the Glas-\ngow Style is Charles Rennie  \nMacintosh. He worked with James \nHerbert McNair and the sisters \nMargaret and Francis MacDonald \nas The Four to propagate the link \nbetween architecture and furnishing \nas implemented in the “Tea Rooms”. \nThey were clearly influenced by the \nArts and Crafts Movement with its \nconcept of “total artwork” allowing \nthem to transcend structural hierar-\nchies as artists, architects and  \ndesigners. Taking a genuine Scottish \napproach combined with the  \nJapanese influence on design lan- \nguage, the symbolism of the \nMacDonald sisters and Art Nouveau \ninfluences from Vienna, he characte-\nrised all that was new in the Glasgow \nStyle. \n \nTop picture: \nThe Crystal Palace by Joseph \nPaxton was the landmark of the \nGreat Exhibition in London in \n1851. The Crystal Palace burnt \ndown in 1936. \nBottom picture: \nThe famous woodblock print \n“The Great Wave off Kanagawa” \nby Katsushika Hokusai also  \ninfluenced the development of \ndesign in Europe. \nCharles Rennie Mackintosh was \nprobably the main proponent of \nArt Nouveau in Great Britain \nand one of the most influential \nScottish designers. His “Hill \nHouse Chair” is still well known \ntoday.\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.14.png","14\nGlasgow and Vienna? In fact, the \nAustrian influence extended right \nup north. Take Josef Hoffmann,  \nfor example: architect, co-founder \nof the Vienna Secession and sub-\nsequently founder of the Wiener \nWerkstätte, professor at the Vienna \nSchool of Art and Crafts and pro-\nponent of modern, rational design. \nHis aim was to give people an  \naesthetic education through the all-\nencompassing design of everyday \nobjects, in other words by creating \ntotal artwork along the same lines \nas the Arts and Crafts Movement in \nEngland.  \nHowever, instead or organic  \ncurved lines, he soon turned to geo- \nmetric design, just like the Scotsman \nCharles Rennie Macintosh. \n  \nWas that a coincidence? Hardly.  \nAfter all, the Netherlands also  \nwitnessed a growing reluctance to \naccept industrially optimised  \ndesign. De Stijl called itself the  \nmovement of protagonists who \ntransposed the aesthetic aspect of \ngeometric style into free art, putting \ngeometric abstraction into painting. \nTheo van Doesburg spoke of the \n“desire for style”, the ultimate style \nof modernism and comprehen- \nsive design in all areas, as already  \nadvocated by Mackintosh and  \nHoffmann. “Rooms as accessible \nworks of art”. \nGlasgow, Vienna, the Netherlands: \nwherever you looked, the new  \nindustrial possibilities were giving \nrise to discussion and debate about \nthe historical and the natural  \nconnection between production \nand design. What about Germany? \nWell, Germany also had its answer \nto modernism. In 1906, the third \nGerman Arts and Crafts Exhibition \nin Dresden sought to find a place \nfor art in the new system of industri- \nalisation and its associated capita-\nlism, seeing a chance in efficient \nproduction methods. The intention \nwas for the “mass-produced  \nfurniture programme” to combine  \nartistic design and high quality \nstandards with machine production \non the basis of an objective design \nlanguage, with applied art playing a \ncentral role. Furniture started to  \nbe made in mass production at low \ncost in “noble simplicity” for the \nnewly emerging educated middle \nclasses of the consumer society. \nEasily combined, with first-rate \nquality and recognisable corporate \nidentity design, rather than the  \nindividual one-off approach. Two of \nthe most successful proponents \nwere Richard Riemerschmid, co-\nfounder of the German Association \nof Craftsmen, and Bruno Paul,  \nwith their mass-produced furniture \naccording to the type furniture  \nprogramme. \nThe German Association of Crafts-\nmen founded in 1907 by twelve  \nartists and architects saw itself as a \nplatform for promoting cooperation \nbetween designers and industry,  \nincluding: AEG and Kaffee Hag. The \naim was to achieve a systematic  \napproach to design in the context  \nof industrial production. But how?  \nBy restricting artistic freedom?  \nDesigners as service providers for \nindustry? The debate culminated  \nin a dispute at the German Associa-\ntion of Craftsmen in 1914. Hermann \nMuthesius and his ten theses de-\nmanded that art and design should \nbe separated seeking to establish  \na German style that would be a com- \nmercial success and lead to global \nexports, thus establishing a  \nnew understanding of design and \ndesigners. Henry van de Velde  \non the other hand believed in the \nrole of artists working with artistic \nfreedom and thus independently \nfrom industry. \nDe Stijl was the name given to a \ngroup of artists, architects and \ndesigners from the Netherlands \nwho formed an art movement  \nin 1917 and published an epony-\nmous journal.\nGerrit Rietveld's famous Red \nand Blue Chair is an iconic  \npiece of furniture reflecting the  \navant-garde De Stijl art  \nmovement. \n  \nThe DS 36 was created in the  \nNetherlands around 1930, towards  \nthe end of the Bauhaus era.\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.15.png","15\nLike van de Velde, Walter Gropius \ndidnˇt reject industrial production as \nsuch and similarly also tried to find a \nformula for the relationship between \nart and technology. In the end, he \nestablished his position by founding \nhis Bauhaus and with his state- \nment “Art and Technology – a New \nUnity”. Admittedly, this connection \nwas not really ‘newˇ. Initially, the \nproponents of the newly founded \nschool did not set great score by  \nindustrial manufacturing. The move \nto take emotion out of the equation \nand to combine geometry and  \nmachine aesthetics had nothing to \ndo with actual industrial mass  \nproduction. Instead, Bauhaus and  \nits protagonists strived to eliminate \nthe distinction between art and \ncraft: this was a goal they shared \nwith the Arts and Craft Movement. \n“When we design a bottle, we should \nask whether it will work, whether it \nwill meet all the demands made of a \nbottle, whether it could work even \nbetter and, finally (...) whether it is \nnice to look at.” In the end, moder-\nnism also had its impact on Bauhaus. \nHannes Meyer, one of the best \nknown functionalist architects of the \n1920s and Bauhaus director from \n1928, brought industrialisation and \nmass production with him, thus  \nalso making industry a partner of \nBauhaus. This consistent colla- \nboration with industrial production, \nand with the manufacturing process \nwhich was thus transformed accor-\ndingly, changed the approach to the \ndesign process itself. A new profes-\nsion emerged that bridged the  \ngap between history and modernism, \nbetween art and craft. Bauhaus  \nbecame the “School of Design”,  \noffering designers the necessary \ntraining.\nThe DS 28 piano lamp is a table \nlamp reduced right back to  \nbasics from the repertoire of the \nDe Stijl movement.\nTable lamp SF 28. \nThe design for this table lamp \nwas a product of the Swedish \nfunctionalism architects who \nworked parallel to Bauhaus. \nSource: “Von Arts and Crafts \nzum Bauhaus. Kunst und Design \n– eine neue Einheit!”, Wienand \nVerlag, Cologne 2019\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.16.png","Oliver Niewiadomski: A Portrait\nSpheres, cubes, cylinders: for Oliver Niewiadomski, the  \nbasic geometric shapes are the archetypes of design and  \ncharacterise his creative work as a designer as well as  \nhis teaching at Bremen University of the Arts. “Shapes like \nthese are easy to understand because of our established  \nhabits of seeing and perception.” But the designer is concer-\nned about more than just reproducing known shapes. Itˇs  \na case of interpreting the theme: turning something familiar \ninto something surprising, innovative and new. \n16\nThe FLAD table lamp is a  \nmodern, energy LED desk lamp. \nThe lamp has an innovative \nrocker foot and can be adjusted \nin two different positions without \njoints. \nThe BULO XL for example is the  \nresult of his approach to the sphere \nas a geometric shape, now inter-\npreted in his own style. The designer \ncombined light and body by cutting \nthe shape into slices with the light \nin the middle and allowing it to \nmove freely on its supportive base. \nIs this just form and function? Or  \nis it a kind of inverted ornamentation \nwhen you cut something out?  \nTaking away instead of adding some- \nthing? Niewiadomski grins, itˇs a \ngood question, but his answer is no. \n“Itˇs a case of developing a shape \nthat has neither too much nor too \nlittle.” This was the Bauhaus motto: \nreinterpreting the familiar, often \nwith a surprising outcome resulting \nfrom the use of innovative technical \npossibilities. The invention of the \nlight bulb or the bending of tubular \nsteel created new spaces and new \nfreedom for design. “Mart Stamˇs \ncantilever chair was an intellectual \nchallenge. A chair on just two legs \nwas completely inconceivable! It \ntook fifty years before it was really \nunderstood.” One technological  \ninnovation that has enhanced  \nNiewiadomskiˇs approach to forms \nand themes is LED technology. \nHow can the resulting space be put \nto creative use? His studio is an  \noffice, lab and workshop all in one. \nThis is where he draws, designs  \nand researches models and proto-\ntypes. “Designing is a hybrid  \nprocess. I have to test ideas, com-\npare theory and practice and sound \nNiewiadomski was born in Hamburg \nin 1963. Originally, he wanted to \nmake musical instruments. “Violins, \nactually. But they are already perfect \nas they are.” When the existing  \nproduct has already reached such a \nlevel of perfection that would only \npermit any further innovation in tiny \nsteps, thereˇs not much scope left \nfor creativity. And so the designer \nlooked for other possibilities of con-\nstantly readdressing the challenge \nposed by perfection. If you think a \nsphere is just a sphere, end of story, \nthen youˇll meet with passionate \nobjections. “God lives in the detail!” \nAnd heˇs not talking about alienating \nthe familiar by adding decorative \nornaments. “Most certainly not!” \nNiewiadomski laughs, although this \nis something he takes very seriously. \nHis design focuses on a clear design \nlanguage, logical functionality  \nand a sensual choice of materials. \n“Itˇs a case of making the best  \nfrom whatˇs there and enhancing \nwhatˇs necessary, with an incisively \nformulated result.” Ornaments tell  \na story that goes beyond the shape. \nBy contrast, Niewiadomskiˇs  \ndesigns tell their own story through \ntheir reduced clarity. “My designs \nare functional and appeal to the \nsenses.” \n  \n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.17.png","out the potential of new technolo-\ngies.” For him is important to  \nremain independent throughout the \nprocess. Having others waiting for \nhis ideas to be implemented would \nthwart his workflow, which is why \nhe is constantly picking up new \ntechnologies as and when necessary. \nHe says heˇs just learnt how to \nweld: this allows him to put new \nthoughts and ideas to the test \nstraight away using corresponding \nmaterials in his workshop next \ndoor. Selecting the material is a \nsensual process. “It must be clear \nand pure, not encumbered with \nlies.” When he was a student, he \nstripped away all the concealing \ncoats of paint on things, an approach \nthat remains basically unchanged \nto this day. Design, machinery,  \narchitecture, mathematical sculptu-\nres: Niewiadomski has many  \ninterests and tackles many themes. \nFor example, the Professor for  \nConstructive Design created a mo-\ndern collection of building hardware \nfor TECNOLINE. An intensive  \ndevelopment process with Charlotta \nSchnepel that put a key focus on \nmaterial and technology. “The com-\nplicated production process is the \nmain challenge”, says Niewiadomski, \nand you can still hear his passionate \ndelight in the tricky task. \nBut light has always played a parti-\ncular role in his work. “Good light  \nis extremely important for our  \nwell-being. Itˇs a little miracle, every \ntime.” Thatˇs almost poetic. Well \nmaybe. Or maybe not. Actually, itˇs \nall about being objective and \nfunctional. But of course, his designs \naddress a certain target group. \n“Even functional design can speak \nan emotional language.” Emotional \nor functional, in the end itˇs about \nconcentration and attention, about \nintellectual freedom. “I donˇt have  \nto keep reinventing the shape. We \nknow the shape from basic geo-\nmetry. My aim is to give the shape \nintelligent details to help develop  \nits identity.” Just as the BULO XL is \na deconstructed sphere, the MLON \nis more than just a little luminous \nsquare shape with a coloured cable. \nOr stitching the power lead for  \nthe FLAD desk lamp to use all the  \ndesign possibilities: “Here the  \ncable is used as a design detail to \ncultivate the product identity.” \n \n17\nOliver Niewiadomski designed  \nthe pendant light BULO HLON 11 \nfor TECNOLUMEN in 2010.\nThe purist table lamp SQUARE \nMLON sheds a warm white  \ndimmable LED light while acting \nas an attractive eye-catcher.  \nIt is an impressive illustration of \nthe Bauhaus era with its stylish \nfunctionality − something that \nTECNOLUMEN also stands for.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.18.png","In 1922, Walter Gropius invented \na door handle whose simple \nform is so timeless that it still has \nits place in modern architecture \n100 years later. \nFalling into near obscurity in the \nmeanwhile, it was rediscovered \nduring the 1980s. Eventually  \nin 1983, the heirs of Walter \nGropius licensed TECNOLINE \nas manufacturer. The company \nfrom Bremen was aiming not \njust for a perfect design but also \nfor uncompromising, perfect  \nproduction. From the handle  \nto the tiniest screw. The result  \nis something quite unique:  \nSeries 130. \nGropius Door Handle, Series 130: \nTECNOLINEˇs Special Edition\n18\nRaw brass.\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.19.png","Square or round, rough or smooth, \ndainty or hand-filling: door handles \ninfluence the way you see a room \nwhen you come into it, even if this  \nis often a subconscious thing. In \nmanufacturing the Gropius door \nhandle, TECNOLINE was not aiming \nto simply reproduce the shape.  \nInstead of just replicating the door \nhandle in its outer appearance, a \nmould maker was found who took  \na lead model from a historical  \noriginal piece. Since then, this origi-\nnal mould has been used at \nTECNOLINE to create traditional \nsand casting moulds, each of which \nis only used just one single time.  \nIn other words, no door handle  \nis identical to any other. The door \nhandles are produced in these \nmoulds using top quality brass \nMS63, which is a copper\u002Fzinc alloy. \nThe raw parts are then sawn, barrel \nfinished, burnished and refined  \nand processed by hand in dozens \nmore individual steps. \n“To achieve perfect quality, we  \nrely on our feelings and not just on  \nmachines. \n  \n19\nHandcrafting is the secret of the \nunique and the unsurpassed”, says \nCharlotta Schnepel, CEO at \nTECNOLINE. This elaborate hand-\ncrafting is clearly visible in the door \nfittings: the resulting patina tells  \nits own story with its traces and \nspecial tactile properties, making \nevery door handle inimitably  \nunique. Raw and heavy. Durable \nand perfect. \nThe special thing about this door \nhandle designed by Walter Gropius \nwas initially the conical handle  \nneck set at right angles on the square \nbar. This first version was used  \ninitially in the Municipal Theatre in \nJena, in Otte House in Berlin  \nand in the Fagus Factory in Alfeld,  \nbefore Walter Gropius then revised \nthe design shortly afterwards.  \nThe fittings were made by the bronze \nfoundry S. A. Loevy in Berlin  \nwhich acquired the manufacturing  \nrights in 1923. It soon transpired \nthat this was not a successful step. \nAlthough the Prussian Tribunal  \nof Art Experts acknowledged that \nthe door handle had a certain  \naesthetic value, it concluded that \n“the puritanical renunciation of  \nany decorative element in the basic \nshapes, the strict functionality of \ncylinder and square lacks the neces-\nsary individuality in this specific \ncase” and that the door handle  \n“is not an idiosyncratically artistic \ncreation”. However, today it is  \ndifficult to follow this functionality  \nargument in the verdict given  \nby the Prussian experts. “When we \nmeet customers, we always show \nthem original door handles by  \nGropius from the 1920s and 1930s \nthat have so many stories to tell \ngoing back over all the years”, says \nCharlotta Schnepel with a grin. \n“And it is exactly this vintage look \nthat customers want.” An unsur-\npassed obsession with perfection \nmakes this quality possible. \nEvery piece is made step by step. \nFor more than thirty years,  \nTECNOLINE products have been \nmade in Germany in a family  \nbusiness in the Sauerland. For old \napartments or newbuilds on the  \nprivate sector, the Design Hotel in \nVienna, the Grandhotel Hessischer \nHof in Frankfurt or the “Glocke” \nconcert hall in Bremen, today door \nhandles by Walter Gropius can  \nbe found in all kinds of different \nsurroundings. \nIn 2013, TECNOLINE paid tribute to \nthe timeless classic door handle \nwith a special edition to mark the \noccasion of the 130th birthday of \nthe architect and industrial designer \nWalter Gropius. Besides door hand-\nles by renowned designers such  \nas Ferdinand Kramer and Wilhelm \nWagenfeld, four models of the  \nSeries 130 are still being made of \nbrass today with a range of  \ndifferent surfaces finishes using the \ntraditional casting method. You  \njust donˇt want to put them down.\nbarrel finished brass\nbarrel finished, burnished\nbarrel finished, nickel plated\n",19,{"image":90,"text":51,"number":91},"\u002Fmedia\u002Fimages\u002Feb\u002F404c2256edf71695ee0100fa43057d-28df48023d.20.png",20,[],0,false,true,{"success":95,"data":97,"meta":316,"count":317,"next":318,"previous":319,"results":356,"brand_chips":417},[98,111,124,137,147,160,173,183,193,203,213,225,235,245,254,264,277,287,297,307],{"id":99,"title":100,"slug":101,"image":102,"source":103,"brand_name":104,"brand":105,"brand_slug":106,"file_size":107,"pages":108,"pages_count":109,"matched_pages":110,"match_count":93,"two_pages":94,"show_text":95},26599,"News 2026","porada-news-2026","\u002Fmedia\u002Fimages\u002Fce\u002Fd99f531b06a46fd5bee10f83389e8c-296fcd1b7e.1.png","\u002Fprivate\u002Ffiles\u002Fc2\u002F62a24ea3de0c50ca2a88817e98c8e9-296fcd1b61.pdf","Porada",394,"porada","9.3 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