FORM, STRUCTURE, MATTER, ERGONOMY – A SET OF QUALITIES, WHOSE COMPILATION DETERMINES AN ITEM’S CHARACTER AND ITS UNIQUENESS. WE ARE PARTICULARLY SENSITIVE TO SPACE – ITS ARRANGEMENT AND INDIVIDUAL CHARACTER. WE COLLECT OBJECTS DESIGNED BY THE MOST RENOWNED INDUSTRIAL DESIGN CREATORS. EXTRAORDINARY, INIMITABLE, TIMELESSLY BEAUTIFUL. VINTAGE, SPECTRUM: YEARS 1900-1990.
20
20
BAUHAUS – INCEPTION OF THE SCHOOL LET’S COME BACK TO THE ROOTS. LET’S IMAGINE WEIMAR, YEAR 1919. WALTER GROPIUS, ACTUALLY WALTER ADOLF GEORG GROPIUS, A GERMAN MODERNIST ARCHITECT IMPLEMENTS HIS VISION >>
INDUSTRIAL THAT IS AN ETERNAL DISSONANCE IN DESIGN. BECAUSE ON THE ONE HAND IT MEANS A WONDERFUL CLIMATE, BUT ON THE OTHER HAND IT’S KIND OF DIRTY AND UNPLEASANTLY. THIS STYLE – AS EVERYTHING ELSE – HAS COME TO US FROM THE WEST, WHERE IT HAD ITS ORIGIN IN THE ‘50S. IT WAS BORN OUT OF A PURELY TECHNICAL NEED TO ARRANGE OLD FACTORIES AND BANKRUPT PLANTS.
FORM, STRUCTURE, MATTER, ERGONOMY – A SET OF QUALITIES, WHOSE COMPILATION DETERMINES AN ITEM’S CHARACTER AND ITS UNIQUENESS. WE ARE PARTICULARLY SENSITIVE TO SPACE – ITS ARRANGEMENT AND INDIVIDUAL CHARACTER. WE COLLECT OBJECTS DESIGNED BY THE MOST RENOWNED INDUSTRIAL DESIGN CREATORS. EXTRAORDINARY, INIMITABLE, TIMELESSLY BEAUTIFUL. VINTAGE, SPECTRUM: YEARS 1900-1990.
BAUHAUS – INCEPTION OF THE SCHOOL LET’S COME BACK TO THE ROOTS. LET’S IMAGINE WEIMAR, YEAR 1919. WALTER GROPIUS, ACTUALLY WALTER ADOLF GEORG GROPIUS, A GERMAN MODERNIST ARCHITECT IMPLEMENTS HIS VISION >>
INDUSTRIAL THAT IS AN ETERNAL DISSONANCE IN DESIGN. BECAUSE ON THE ONE HAND IT MEANS A WONDERFUL CLIMATE, BUT ON THE OTHER HAND IT’S KIND OF DIRTY AND UNPLEASANTLY. THIS STYLE – AS EVERYTHING ELSE – HAS COME TO US FROM THE WEST, WHERE IT HAD ITS ORIGIN IN THE ‘50S. IT WAS BORN OUT OF A PURELY TECHNICAL NEED TO ARRANGE OLD FACTORIES AND BANKRUPT PLANTS.
