Designer Desire: Mies van der Rohe

Portrait of Mies van der Rhoe
credit

Last week we featured a gorgeous Detroit townhouse designed by a very famous architect. It was only then that we realised that we’d never really highlighted him – just the occasional mention in passing about some of the furniture that he designed.

Mies van der Rohe (1886-1969) is probably the most influential modernist architect to have ever lived – and we’re not saying that lightly. The skyscraper would not be what it is today without his forward-thinking ideas. The concept drawing (first image below) was created with the idea of using soaring glass and steel on the outside of a building – something that had never been done before. It was 1921 and the architectural world wasn’t ready; the design he submitted was unsuccessful.

He was a contemporary of other eminent Bauhaus architects and designers such as Walter Gropius, Le Corbusier, Marcel Breuer, Wassily Kandinsky and László Moholy-Nagy. He become director of the Bauhaus in 1930, remaining until he emigrated to Chicago in 1937 to become head of the architecture department at Illinois Institute of Technology.

You get an understanding of Mies van der Rohe, his methods and his beliefs from some of the quotes that have been attributed to him:

We must be as familiar with the functions of our building as with our materials. We must learn what a building can be, what it should be, and also what it must not be

We must be as familiar with the functions of our building as with our materials. We must learn what a building can be, what it should be, and also what it must not be

Architecture has the power to create order out of unholy confusion

We’ve selected just a few of jis many and varied ground-breaking buildings; he’s designed houses, apartment blocks, a kiosk, a petrol station and a public library.

We’ve placed them in chronological order, according to the date they were completed, to illustrate his progression.

Unsuccessful 1921 design entry for the Friedrichstrasse skyscraper competition
Unsuccessful 1921 design entry for the Friedrichstrasse skyscraper competition
German Pavilion designed for the 1929 International Exposition in Barcelona, Spain
German Pavilion designed for the 1929 International Exposition in Barcelona, Spain
Villa Tugendhat in Brno, Czech Republic. Built between 1929 & 1930
Villa Tugendhat in Brno, Czech Republic. Built between 1929 & 1930
Interior of Villa Tugendhat in Brno, Czech Republic
Interior of Villa Tugendhat in Brno, Czech Republic
Kiosk built in 1932 as part of the Bauhaus buildings, Dessau
Kiosk built in 1932 as part of the Bauhaus buildings, Dessau
Landhaus Lemke, built in 1933 in Alt-Hohenschönhausen, Berlin
Landhaus Lemke, built in 1933 in Alt-Hohenschönhausen, Berlin
Landhaus Lemke, built in 1933 in Alt-Hohenschönhausen, Berlin
Landhaus Lemke, built in 1933 in Alt-Hohenschönhausen, Berlin
Farnsworth House, designed & built between 1945 and 1951 in Plano, Illinois
Farnsworth House, designed & built between 1945 and 1951 in Plano, Illinois
Interior of Farnsworth House, designed & built between 1945 and 1951 in Plano, Illinois
Interior of Farnsworth House, designed & built between 1945 and 1951 in Plano, Illinois
860-880 Lake Shore Drive Apartments, completed in 1951 and situated on the Shore of Lake Michigan in Streeterville, Chicago, Illinois
860-880 Lake Shore Drive Apartments, completed in 1951 and situated on the Shore of Lake Michigan in Streeterville, Chicago, Illinois
S. R. Crown Hall (built 1950–1956) - College of Architecture at the Illinois Institute of Technology in Chicago, Illinois
S. R. Crown Hall (built 1950–1956) – College of Architecture at the Illinois Institute of Technology in Chicago, Illinois
Seagram Building, 375 Park Avenue, Manhattan, New York City. Completed in 1958
Seagram Building, 375 Park Avenue, Manhattan, New York City. Completed in 1958
Gas station, Nun's Island, Montreal - 1969
Gas station, Nun’s Island, Montreal – 1969
Gas station, Nun's Island, Montreal - 1969
Gas station, Nun’s Island, Montreal – 1969
Martin Luther King Jr. Memorial Library, Washington DC, completed in 1972
Martin Luther King Jr. Memorial Library, Washington DC, completed in 1972

Additional image credits:

MOMA | Wikiarquitectura | Wikipedia

Designer Desire: Otl Aicher

Montage of Otl Aicher designs | H is for Home

After recently highlighting the global influence of designer Margaret Calvert, we’ve chosen another who had a similar impact – Otl Aicher.

Otl ‘Otto’ Aicher (1922-1991) was a German designer and educator who made an indelible mark on post-war pictography and mass communication.

In 1953, Aicher co-founded Ulm School of Design (Hochschule für Gestaltung Ulm) with Swiss designer, Max Bill. In 1962, with assistance from the Ulm student development team – Entwicklungsgruppe 5 (E5) – Aicher updated the Lufthansa corporate identity, introducing a brighter yellow colour and sans serif Helvetica font to the branding.

Aicher was responsible for designing the ground-breaking, memorable branding used in the 1972 Olympics held in Munich; iconic pictograms and designs that were used in the signage, programmes, posters, tickets… and Waldi, the Olympic mascot.

In the late 1970s, he was commissioned to create an identity concept for the small southern German town of Isny Im Allgäu with the aim of boosting tourism to the area. He created 120 monochrome pictograms of local buildings and landmarks.

He created the Rotis typeface in 1988 which was later used in collaboration with architect, Norman Foster on the signage for the Bilbao metro system.

If you have a look on Etsy or eBay, you’ll find original 1976 Munich Olympics posters, memorabilia and ephemera (programmes, match boxes, beer mats etc.).

To date, there’s only a single published monograph on this important designer, written by Markus Rathgeb.

Portrait of Otl Aichercredit

Additional image credits:

Dezeen | MOMA | Phaidon

Designer Desire: John Donald

Montage of jewellery designed by John Donald | H is for Home

We often feature vintage jewellery design on the blog however, it’s usually of the Scandinavian variety. Today we’re spotlighting a home-grown jewellery designer, John Donald.

We learned about him on last week’s episode of Antiques Roadshow where a member of the public brought in a beautiful ring to be valued. Donald (b. 1928) was at the vanguard of 1960s and 70s British jewellery design, alongside other metalworking giants such as Gerald Benney, Stuart Devlin and Robert Welch.

He worked with precious and semi-precious materials including diamonds, rubies, sapphires, pearls, amethyst, citrine, pyrite and quartz set in silver and gold. He describes the process of creating his honeycomb series (seen in the top two images in the montage above) in 1972:

This piece of cast honeycomb, in 18ct yellow gold and set gold bee and Mexican fire opals as honey drops, was achieved after considerable effort. In theory, casting from wax – the lost wax process – should be straightforward. This process was successfully created by craftsmen several thousand years ago. For this honeycomb, it took two years of constant experimentation by me with my assistant in order to produce a satisfactory piece.

The casting process is relatively simple; embed the wax object in a can of plaster, leaving a hole for the wax to drain away once it has been heated to a high temperature. Whilst the plaster is still very hot, the molten metal is poured into the space left by the wax. This is best assisted by atmospheric pressure or centrifugal force. But….. fresh honeycomb dries out very quickly, making cell walls too thin for metal to flow easily. Also, we discovered, in frustration, that molten gold will not flow through more than two right angles! This problem was partially overcome by attaching wax rods to the original honeycomb in order to facilitate the flow of metal.

This piece is the result of a ‘miscast’, where the bottom of each cell is missing, thus showing the structure of the cell behind. The idea for this piece originated from mythology: – Daedalus, the goldsmith, made a gold honeycomb with seven gold bees for his son, Icarus, as a wedding present.

John Donald has numerous famous fans and customers, including the late Princess Margaret and author, Barbara Taylor Bradford.

I can’t afford any of his exquisite jewellery – perhaps I could stretch to buying a copy of Precious Statements. John Donald: designer and jeweller – his monograph, currently available at the pretty price of almost £90.00.

Portrait of jeweller, John Donaldcredit

Additional image credits:

1stDibs | Bonhams

Designer Desire: Margaret Calvert

Montage of Margaret Calvert designs | H is for Home

Even if you’re not that much of a fan or know that much about graphic design, Margaret Calvert will surely have had an influence on your life.

Calvert (b. 1936), with her former teacher at Chelsea College of Art, Jock Kinneir designed the signage for the burgeoning motorway system. Ironically, at the time, neither Calvert nor Kinneir could drive.

As well as the signage for the nation’s road and rail, Calvert & Kinneir designed the accompanying typefaces. Motorway was first used in 1958 on the M6 Preston bypass (now part of the M6). It’s also been adopted on the road networks of Ireland and Portugal. Rail Alphabet, designed in 1965, was first used at London’s Liverpool Street Station. It would later be adopted by the NHS in England, Scotland and Wales for its signs. It continues to be the dominant typeface used on signs in older hospitals. It’s also been adopted by British Airports Authority and by Danish railway company, DSB.

Calvert re-imagined her ‘Man at Work’ sign as a ‘Woman at Work’ artwork (compare the top pair of road signs). She also updated her ‘Children Crossing’ sign in 2016 (the girl was based on a childhood photo of herself); can you spot the differences?

She was responsible for designing the Tyne and Wear Metro typeface in 1977. It was later updated and evolved to be used, in 1992, as 3D external signage for Royal College of Art.

In her own words:

We never decided, ‘Oh, let’s brand the United Kingdom’… but as with London black cabs and red buses… You thought of everything from the standpoint of: ‘What if I am at the wheel, doing speeds of over 70mph?’

I like the idea of designing for the larger public… Design is a service. The term graphic design didn’t exist then. They called it commercial art. It’s not designing from a fashion point of view, it’s purely logic, function and aesthetics. And you can’t get simpler.

Portrait of Margaret Calvertcredit

Additional image credits:

It’s Nice That