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EDITORIAL
sist e rMAG 5 2
BAUHAUS
d e a r s i s t e r m ag r eaders, One topic was obligatory for the sisterMAG year of art: In 2019 – one hundred years after the foundation of Bauhaus in Weimar – an issue had to be devoted to this ground-breaking art school. In September, the time has come. In preparation for this issue, we repeatedly realised how much the ideas and principles of Bauhaus prevailed over the last 100 years. Back then, the ideas were something completely new. Art and craftsmanship were strictly separated and the fusion of both of them was so revolutionary that the ideas have been shaping the image of modernistic trends until today. You can see that in the two exhibitions in Krefeld and Berlin we present to you in sisterMAG No. 52. The question was how we could manage to make such a big and encompassing topic tangible for you in one sisterMAG issue. We established three main topics that associate Bauhaus with
sisterMAG in their own way. In section 1, »Deconstructivism«, you find the theoretic articles about Bauhaus. For our series »The year 1919«, Elisabeth Stursberg takes a look at the most important political and social topics in the founding year and Michael Neubauer spotlights the architectural projects of Bauhaus and their worldwide spin-offs. If you feel like visiting Tel Aviv, the city with the most Bauhaus building in the world, have a look at our Digital Ladies Travel – Tel Aviv. We recruited Sivan Askayo for this who lives in the »White City« (some long-time readers of sisterMAG might know her from previous issues). In the second section, we deal with the »female Bauhaus«, a topic that only came into focus slowly. We recruited four new authors who exemplarily introduce five Bauhaus women Marianne
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Brandt, Gunta Stölzl, Ise Frank, Dörte Helm and Alma Gropius (MahlerWerfel) to you. You also find our big gin special with great new gin producers and recipes that emerged in collaboration with the World Class Bartender Germany (2018) Yve. We are curious how you like our Bauhaus-inspired shooting of the cocktails. In the third and last section, it gets »handson« for you – »Living Bauhaus«, so to speak. Here you find everything for springing into Bauhaus action, like the DIY with Bauhaus hair clips or the Bauhaus-inspired
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desserts by Carole Poirot. If you want to dive deeper into the time of Bauhaus, you can get inspired by our book recommendations. Next to some newly released non-fiction books, there are thrilling novels playing in that time. We also found out which interior design classics for your own four walls – be it furniture or household objects – have a Bauhaus origin.We are so excited to learn how you like this issue. Feel free to share your own Bauhaus inspirations and experiences with us on Instagram, Facebook, Twitter or via email. As always, we are always looking forward hearing from you.
Toni & the sisterMAG Team
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TABLE OF CONTENT
S I S T E R M A G # 5 2
PAGE 16 – THE YEAR 1919
03 08 10
248
EDITORIAL CONTRIBUTORS OF THE ISSUE DOWNLOAD-OVERVIEW IMPRINT
– DE CO N ST RUCT IVISM –
16
THE YEAR 1919
24
BAUHAUS PROJECTS
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TYPOGRAPHY
When the Bauhaus was founded
Architecture & Aftermath
À la Bauhaus PAGE 64 – DESSERTS
50
TRACKING TALENTS
58
NO ALCOHOL, TOBACCO,
Exhibition Report
OR DRUGS! How to follow and celebrate the »straight edge« lifestyle
64 78
PAGE 112– HAPPY END
DECONSTRUCTIVISM RECIPES by Lenka Selinger DIGITAL LADIES TRAVAL In Tel Aviv
98 112
– T H E FE MA L E BA UH A US – WOMEN AT THE BAUHAUS Woven Modernism HAPPY END What happens after the happy end of intercultural couples
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THE BEST INSTAGRAM ACCOUNTS
126
GIN FEATURE
152
COMFORTABLE & STYLISH
PAGE 152 – ara
PAGE 126 – GIN FEATURE
170 180
About Bauhaus
Gin Gin!
With ara in Amsterdam & Salzburg
– L IVIN G BA UH A US – FASHION FEATURE In Rosa BOOKS ABOUT BAUHAUS A little preview of the best new releases
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BAUHAUS IN WEIMAR
198
DIY BAUHAUS HAIRCLIPS
A City Walk
Do it yourself
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BAUHAUS RECIPES
218
BAUHAUS-DESIGN AT HOME
by Carole Poirot
How the cooperation between Schott Jenaer glass and the design school revolutionised glass
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5 BAUHAUS CLASSICS
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MUSEEN HAUS LANGE HAUS ESTERS
Presented by Robert Eberhardt
In Krefeld - A field report
CONTRIBUTORS Text Sivan Askayo @sivanaskayo Victoria Beier @vintagemaedchen_by_victoria Bianca Demsa graceandholmes.com Robert Eberhardt roberteberhardt.com Marlen Gruner marlengruner.com Martina Klaric @buchberuehrung
proof
translation
Bianca Demsa graceandholmes.com
Sabrina B채cker
Alex Kords kords.net Ira H채ussler Amie McCracken amiemccracken.com Christian Naethler @iamvolta Michael Neubauer sisterMAG Team
Christian N채thler @iamvolta
Bianca Demsa graceandholmes.com Barbara Eichhammer die-kleine-schreibecke.de Alexander Kords kords.net Ira H채ussler Christian Naethler @iamvolta Elisabeth Stursberg @lizziemariees sisterMAG Team
Michael Neubauer Sophia Schmidts testphase-mensch.de Elisabeth Stursberg @lizziemariees Lisa Striegler sisterMAG Team
FOOD Carole Poirot @carole.poirot Yvonne Rahm @yvonne__rahm Lenka Selinger lenkaslens.com
illustration Gani Hakobian behance.net/ganiHakobian Drew Wiebe @drewwiebe
photo & Video
Hair & Makeup
Sivan Askayo @sivanaskayo
Katharina Handel katharinahandel.com
Claus Kuhlmann boheifilm.de
Patricia Heck patriciaheck.de
Lale Tütüncübasi @lale.yla
Tina Fischbach @tinafischbach_makeupartist
Jaclyn Locke jaclynlocke.com
THE COVER PHOTOS
Loris Rizzo lorismgrizzo.com
Jaclyn Locke
sisterMAG Team
MODEL Katharina Handel
OUTFIT MODELS Katharina Handel katharinahandel.com
Styling Evi Neubauer @neu1bauer
Evi Neubauer
HAIR & MAKE-UP Tina Fischbach
Daniela Herold @dani_nanaa Katja Schoffro @emmaleinswelt
PARTN ER O F T H E I S S UE You can recognize our partner features through the logo at the top of the page. We thank our partner ara, very cordially, because without them this issue would not be possible!
MULTIMEDIA LEMON-PIE
CHOCOLATE RASPBERRY TARTE
CONCRETE CAKE
JELLY CUBES
NIEMAND DRY GIN
HUMBOLDT DRY GIN
VIKTORIA GIN
WONDERLEAF ALCOHOL-FREE
SIEGFRIED RHEINLAND DRY GIN
PATTERN 52-1
ARA WITH DANI
ARA WITH KATJA
DIY BAUHAUS-HAIR CLIP DIY BAUHAUS-HAIR CLIP
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VEGAN CHEESE CAKE
VIDEOS
KALTER HUND
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S T AY I N T O U C H !
FOLLOW US
Follow along our stories and daily news from the sisterMAG office easily on Instagram! You can find magazine content, behind-the-scenes and snapshots of our contributors. And of course, prize draws, invitations and other exclusive activities can be found on @SISTER_MAG.
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O U R
PORTRAIT C O V E R M O D E L
S I S T E R M A G
# 5 2
K AT H A R I N A H A N D E L
This is Katharina – usually responsible for giving the models in front of the camera the right look, she is now in the spotlight!
THE COVER PHOTOS Jaclyn Locke
MODEL Katharina Handel
OUTFIT Evi Neubauer
HAIR & MAKE-UP Tina Fischbach
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»Beauty behind Beauty« The 31-year-old from Brandenburg is living in the vibrant capital Berlin for 11 years now and is successfully working as hair & make-up artist in the fields of advertising, fashion, beauty, editorial and music. Early on, she knew that this was the right way for her. Also for the sisterMAG Shootings Katharina was already often in use! With a lot of passion for her job, she was able to develop her craft over many years and got to know interesting people. Especially she likes it that it never gets boring. »There is no stop sign«, says Kathatrina about her job. She love to retreat on the countryside, to travel and to paint whenever she has the time for it.
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W A S B A U H A U S W H E N
T H E
1919
THE YEAR
F O U N D E D
The Year
1919
What was happening in the year in which the Bauhaus took up its work? What was in the news; what was occupying people’s minds; and which developments determined daily life, or not? In our series »THE YEAR X« we take a closer look at a year and fill the number with life. All the different areas of life play a role here: Politics and history, arts, meteorology, the public sphere. We want to reconstruct the historical context of the artwork to paint the bigger picture. In this issue: THE YEAR 1919 .
Text: El is abe t h S t u r s ber g
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PUBLIC SPHERE & CITY LIFE NEW YORK ’s hotel scene was
flourishing. On 25 January, the HOTEL PENNSYLVANIA opened its doors in Midtown, a gigantic complex and with around 2200 rooms, the world’s largest hotel. The rate: $2.50 per night. In the pursuit of diversification, railway companies were discovering the hotel industry as a natural extension of their services. The Pennsylvania Railroad (the founder of Hotel Pennsylvania)
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and the New York Central Railroad (a company founded in 1853 that operated connections to Chicago and Boston) took their competition to the next level when the latter opened its own hotel, the Commodore, in direct vicinity of its Grand Central Terminal. Only slightly smaller, it boasted baths and other modern equipment such as circulating ice water in every room.
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a W
lte rG
rop
iu s
ART & SOCIETY On 12 APRIL , WALTER GROPIUS took up his work as the new, first director of an art institute founded only a few days prior in Weimar. The »STATE BAUHAUS IN WEIMAR« wanted no less than to revolutionise architecture and design in general. Although Art Nouveau had already introduced modernism into many living rooms, the »LESS IS MORE« of the Bauhaus implied a more radical change. The average
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furnishing in 1919 was most of all comfortable: chairs and sofas were upholstered, the curtains heavy, the lines curved. The walls were probably adorned with framed landscape views and the overall ambience was most likely dominated by dark wood, its grain beautifully accentuated by large, polished surfaces.
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HISTORY & POLITICS I
EAST ASIA
Times were turbulent in Germany after the war. Particularly in BERLIN , violent clashes between Communists and paramilitary groups (the »Freikorps«, which were joined by a number of former frontline soldiers) kept the public on tenterhooks. Meanwhile, the
The TREATY OF VERSAILLES was highly consequential not only for European countries, but far beyond. In CHINA , actually a winner of the war, people took to the streets in early May when it became known that the allies wanted to give the area of KIAUTSCHOU (formerly German colonial territory) to Japan. This perceived betrayal led China to mistrust the West (until today). What’s more, the Communist Party – later the sole ruler of the country – would be describing the »MAY FOURTH MOVEMENT« that evolved out of the students’ protests against Versailles as one of its founding moments.
VERSAILLES
PEACE
TREATY
was being negotiated, a draft of which the BERLINER LOKALANZEIGER on 8 May described as a »VIOLENT PEACE« . Many perceived the announced conditions as devastating.
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John Maynard Keynes
POLITICS & ECONOMY
HISTORY & POLITICS II
JOHN MAYNARD KEYNES was the
Against all odds, the Treaty of Versailles was signed on 28 JUNE .
delegation leader representing the BRITISH TREASURY in the negotiations on the Treaty of Versailles. He was successful, yes. But no one could know yet that he would later become one of the most influential economists of the 20th century. Then, he was unhappy with the proposals and outright concerned, fearing that excessive reparation claims imposed on Germany could trigger a global financial crisis. On 11 JUNE , when his warnings were still being ignored, Keynes resigned in protest. SISTER-MAG.COM
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BIOGRAPHIES I
POLITICS & SO CIETY was another topic stirring up emotions in 1919. As early as 1893, New Zealand had been the first country to introduce passive women’s suffrage, but it was only recently that women were also given the right to actively participate and run for office. Countries around the globe were following suit, in Europe first Finland (1906), while it took longer in others: Italian women would be voting for the first time in 1946, while the Swiss had to wait until 1971. WOMEN’S
SUFFRAGE
On 20 July, EDMUND HILLARY was born in Auckland, New Zealand. He started climbing the Alps on the South Island at a young age, studied for a while, then worked as a beekeeper. But it was his hobby – or perhaps passion is more accurate – of MOUNTAIN CLIMBING that would make him world-famous 33 years later when, on 29 MAY 1953 , Hillary and the Nepalese Sherpa Tenzing Norgay became the very first (documented) people to climb MOUNT EVEREST . The exciting news arrived in the United Kingdom on 2 June (the expedition was one of several British operations), where Queen Elizabeth II was about to ascend the throne.
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SCIENCE & RESEARCH I
BIOGRAPHIES II
»LIGHTS ALL ASKEW IN THE
On 3 DECEMBER , French painter PIERRE-AUGUST RENOIR passed away in his house in Cagnes-surMer in Southern France, leaving behind a generous oeuvre. His characteristic displays were breathing the spirit of the BELLE ÉPOQUE : lively depictions of social events, dancers, flowy dresses, and portraits of colleagues (Monet, Manet and others) as well as some of his contemporaries famous in genres other than painting (Richard Wagner). Although the public mood changed drastically in the early 20th century as a result of the war, Renoir retained the pastel serenity of his painting even in his postimpressionist phase, when his subjects became more clear-cut, depicted in uncharacteristically sharp outlines.
HEAVENS« headlines the NEW YORK TIMES on 10 NOVEMBER .
The enthusiastic report referred to the ground-breaking discovery by a British astrophysicist, ARTHUR STANLEY EDDINGTON . During an expedition to the Caribbean six months earlier he had measured the displacement of stars around the sun during a total solar eclipse and achieved his goal of precisely determining the deflection of starlight. The successful experiment proved EINSTEIN’S GENERAL THEORY OF RELATIVITY from 1915 .
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SCIENCE & RESEARCH II It was one thing for the fame of ALBERT EINSTEIN that Eddington’s proof of the tHEORY OF RELATIVITY had disproven principles of astrophysics that had been considered true for centuries, thus revolutionising human understanding of the universe. It was another matter that popular newspapers, the mass media of the time, understood how to break down such complex issues and fire people up with entertaining coverage about it. After an initial
period of reluctance, German newspapers started imitating the New York Times. On 14 DECEMBER , the BERLINER ILLUSTRIRTE ZEITUNG praised a »new greatness in world history: Albert Einstein, whose research represents a complete revolution in our view of nature and is equivalent to the insights of Copernicus, Kepler and Newton«. Adding a snazzy photo – and you had a new science pop star, one of the first, actually.
» n e w g r e at n e s s i n world history: albert einstein, whose research represents a complete revolution i n o u r v i e w o f n at u r e a n d i s e q u i va l e n t t o t h e insights of copernicus, kepler and newton«.
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A R C H I T E C T U R E
&
A F T E R M A T H
bauhaus projects
1 0 0 Y E A RS O F BA UH A US
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Text: MICHAEL NEUBAUER
100 years of Bauhaus – a school not only of great importance for art and design, but above all for the architecture of the 20th century. It continues to influence these disciplines to this day. However, an architecture department wasn't in the cards during the first years of Bauhaus. It was the school's founder, Walter Gropius (1883 - 1969), who with his »Bauatelier«, which opened in Berlin in 1910, had a decisive influence on modern architecture throughout the school's early history. His involvement contributed to the development of the school's students and young masters. Standout projects include the Fagus factory building in Alfeld (19111925), the house of Dr. Fritz Otte in Berlin (1921-1922), and of course the Bauhaus building in Dessau (1925-1926). It was not until 1927 that Walter Gropius found his successor and independent head of the Bauhaus construction department: the Swiss architect Hannes Meyer (1889 - 1954).
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Walter Gropius founded the »Staatliche Bauhaus« in Weimar on April 1, 1919, to use art and architecture to influence a new social beginning after the devastating First World War. His manifesto for its foundation points to this new approach:
Bauhaus for a second time. The school in Weimar was renamed the »Staatliche Bauhochschule Weimar« under the direction of architect Otto Bartnink (1883 - 1959). It is little known that Otto Bartnink was also active in the Deutscher Werkbund (association of artists, »The Bauhaus strives for unity in all architects, designers artistic creation; for the reunification and industrialists) which of all artistic disciplines – sculpture, also attracted Walter painting, arts, and handicrafts – to form Gropius and other avanta new architectural art of inseparable gardists. He made a components.« number of contributions to the discourse, such as: At the end of 1924, Walter Gropius »Craftsmanship is the uniform and all the other Bauhaus masters means of any artistic activity. reckoned with the consequences The natural development of of the election of a right-wing craftsmen, architects, and visual Thuringian government. They left artists is the evolution from Weimar and found a new home craftsmanship to construction.« in Dessau, where they built the
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Peter Behrens
Otto Bartnink
So, who was the father of the BAUHAUS PHILOSOPHY? Otto Bartnink surrounded himself with a number of former Bauhaus intellectuals with whom he began to challenge traditional ideas and struggle with emerging social changes – and ultimately lost. The Bauhochschule in Weimar was closed in 1930. All these thoughts had a prelude and a conclusion. In the last decades of the 19th century, voices in art, philosophy, and the social sciences turned away from Wilhelmian narrowness to
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demand a freer, more authentic life that was closely connected with art. The result was an Art Nouveau style observed in architecture, fine arts and interior design, and arts schools, including life reform movements rooted in vegetarianism, naturopathy and nudism. Ideas for reform, which were to combine art with rapidly growing industrial advances, resulted in the »Deutscher Werkbund«, founded in 1907. »Good form« was an expression
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of quality and objectivity. Emphasis on content and form favoured functional thinking in goods production, furniture construction and architecture. Peter Behrens (1868 - 1940), an industrial designer, was a pioneer, founding member, and among the most excellent representatives of this new school of thought. Among others, he was the designer of the
Berlin AEG turbine hall, in whose office Walter Gropius worked. For Behrens, this was a unique opportunity to follow discussions and developments on architecture in Germany and beyond. His strong personality, respected writings, contacts and great organisational talent inspired Gropius to found the Bauhaus.
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EVERYTHING HAD ITS AFTERMATH. Walter Gropius initially demanded the unity of trades during the »romantic« Bauhaus phase, especially the importance of craftsmanship in the sense of earlier »Bauhütten«. However, rapid industrial progress forced him to reconsider as early as 1923. He reformulated the model of the Bauhaus apprenticeship into »Art and Technology - the New Unity«.
The second director of the Bauhaus, Hannes Meyer, who emphasized architecture even more, oriented his work towards aggravating social conditions. Among other things, he created the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) together with the architect Hans Wittwer. The global economic crisis of 1929 and 1930 brought forth political questions. Meyer's slogan, »The needs of the people instead of the need for luxury«, and his handling of communist tendencies among students, finally led to his dismissal.
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BAUHAUS
When the Nazi regime began, the third director of the Bauhaus, Mies van der Rohe (1886 - 1969), who had meanwhile moved to Berlin, was forced to close the school in 1933. »Art Bolshevism«, as the Bauhaus was called, was declared to have no future in Germany. While Mies van der Rohe and Lilly Reich's German Pavilion at the 1929 International World Exhibition in Barcelona – with a house airily gliding along in nature – attracted great attention, van der Rohe could only realize his vision in the distant future. For example, in shaping the
cityscape of Chicago. The actual aftermath had begun; Bauhaus as a philosophy had not died. Throughout the world, buildings by architects or students of the Bauhaus bear witness to this. They can be found in Chile, in the USA, in Wroclaw, Brno, Königsberg, and especially in Tel Aviv (the »White City«). Furthermore, the modern ideas of the Bauhaus were spread by other institutions: • im New Bauhaus and School of Design, Chicago • im Black Mountain College, NC • in der Hochschule für Gestaltung Ulm
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o l o o h c S d n a s u a h u New Ba CHICAGO
From 1937 to 1949 The economy also provided impetus for Bauhaus's foundation in America in the form of the »Chicago Association of Arts and Industries«. American interest in the German Bauhaus culminated in 1938 in the exhibition »Bauhaus 1919 to 1928« at the Museum of Modern Art in New York. On Walter Gropius's recommendation, former Bauhaus colleague László Moholy-Nagy (1895 - 1946) was appointed director. Other former Bauhausers also found employment across the pond. The teaching program followed the models of Weimar and Dessau very closely, naturally incorporating new scientific findings. All art movements, supplemented by photography in interplay with
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technology and science, were included in the curriculum. The school became a veritable elite forge of modern American design. However, soon skepticism arose among donors when they did not accept Moholy-Nagy's modern teaching methods as purposeful. Financial support failed to materialize, and new companies were founded with other donors under the name »School of Design« in 1939 and again in 1944 as the »Institute of Design«. László Moholy-Nagy's premature death was a big setback and the school was ultimately bailed out in 1949 through its incorporation into the »Illinois Institute of Technology«, led by Mies van der Rohe.
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of Design
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sz
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รณ
y l o h o
gy a N
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e g e l l o C n i a t n u o M k Blac
S A N I L O R A C NORTH From 1933 to 1956
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In addition to Josef Albers (»Homage to the Square«, 1949), an established Bauhaus master, famous teachers such as John Cage, Merce Cunningham, Willem de Kooning, Lyonel Feininger, Walter Gropius, Charles Olsen, Alexander Schawinsky, Cy Twombly and Robert Rauschenberg taught at this college. The director was the founder John Andrew Rice, an advocate of modern teaching methods such as »learning by doing«. It was a very liberal school without a fixed curriculum, including subjects of fine arts and humanistic teaching. Regular discussions about all matters of education and social problems took place between students and
teachers. The entire school body was involved in the administration and maintenance of the institute, and the Bauhaus philosophy was guaranteed by Josef Albers. The curriculum followed his guidelines and teaching. Summer and art courses complemented the program. Money problems were also a limiting factor at this college. This was exacerbated by the campus's isolated location in a very conservative society, which defended itself against left-liberal approaches. Several attempts to save the school by structural changes failed, leading to the dissolution of Black Mountain College in 1956.
2 019, R ic ha rd Siega l:
» a l l c o n t e m p o r a r y a r t u lt i m at e ly s ta n d s o n t h e s h o u l d e r s o f t h e b a u h a u s a s t h at i s w h e r e i d e a s w h i c h s t i l l f o r m t h e f o u n d at i o n f o r m a n y a r t i s t s t o d ay, w e r e f i r s t brought together.«
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g n u t l a t s e G r ü f e l u h Hochsc ULM From 1953 to 1968 After the Second World War, attempts were made in Germany as well to take up Bauhaus ideas and pass them on in teaching. Inspired by Inge Scholl, sister of Hans and Sophie Scholl, an art academy was founded in Ulm to answer artistic and political questions about the consequences of the Nazi regime in a democratic way. Leading teachers came together for this task: Max Bill as director; Tomas Maldonado; Max Bense and Alexander Kluge. However, art, architecture and design remained marginal aspects of education.
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Unfortunately, the ideas of the protagonists were divided between more artistic design of everyday objects (Max Bill) and an industrial design geared to mass production (Tomas Maldonado). Max Bill eventually resigned as director. As the relationship to the original Bauhaus concepts increasingly faded, with education based more and more on technology and science, »art« students became displeased with the curriculum. Not least as a result of the '68 student movement, the university was closed during the same year.
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19 2 3 , O s ka r S c h lemmer:
A »struggle of the spirits like p e r h a p s n o w h e r e e l s e , a c o n s ta n t r e s t l e s s n e s s t h at f o r c e s t h e i n d i v i d u a l a l m o s t d a i ly t o ta k e a f u n d a m e n ta l s ta n d o n d e e p s e at e d p r o b l e m s . D e p e n d i n g o n t h e i n d i v i d u a l ' s t e m p e r a m e n t, h e s u f f e r s f r o m t h i s d i v e r s i t y, f i n d s i t h i s g r e at e s t p l e a s u r e , i s f r a g m e n t e d b y i t, o r i t s t r e n g t h e n s h i m i n h i s conviction.«
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À
L A
B A U H A U S
Typography
DE SIGN
BAUHAUS
The impact of serifs, widths and small capitals on companies and brands
The Bauhaus school of design only existed for 14 years at the beginning of the 20th century, but its influence can still be seen today. Among others, in typography. The typefaces
created there were already influential in the ’20s and ’30s and still shape typefaces and logos today. They have a significant impact on a company’s identity.
Text: MARLEN GRUNER
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says ERIK
type
designer
SPIEKERMANN
»Writing is to culture what the air we breathe is to us. Without the written word there would be no culture «
with reference to a very special project (1): for the 2019 Bauhaus centenary, he, together with the US software company Adobe, looked for unfinished Bauhaus typefaces or sketches and letter fragments in the archives, then reconstructed them and brought them to life. László Moholy-Nagy Wohin geht die typographische Entwicklung, © Kunstbibliothek, Staatliche Museen zu Berlin
A look into the hi s tor y o f
TYPO These typefaces with influences on culture were not discussed at BAUHAUS from the beginning. At first, typography did not play a big role at the school founded in 1919 . Although students experimented with letters and SISTER-MAG.COM
their geometry in the course »SCHRIFTFORMLEHRE« (English: teachings of the written form), they only started looking into fonts and typefaces with the appointment of the Hungarian American typographer, photographer,
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(1)
https://bit.ly/2Zdfe7v
BAUHAUS László Moholy-Nagy Wohin geht die typographische Entwicklung, © Kunstbibliothek, Staatliche Museen zu Berlin
painter
designer LÁSZLÓ MOHOLY-NAGY in 1923. The Bauhaus teacher announced a »NEW TYPOGRAPHY« . Because »typography is an instrument of communication. It has to have a clear statement in the most urgent way possible,« wrote MOHOLYNAGY in the Bauhaus book as early as 1923. At the time, he demanded a »standardised font without minuscule and capital letters, only with standardised letters – not with respect to size but form,« he is cited in edition 7 of the magazine »OFFSET« from 1926 (2). No sooner said than done or designed! (2)
and
stage
https://bit.ly/2KKpAI7
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László Moholy-Nagy | Von Material zu Architektur © Kunstbibliothek, Staatliche Museen zu Berlin
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A bou t the
of
IMPACT Thus, fonts and typefaces came increasingly into the focus of research. And during the course of the years and decades, companies have also had to pay more attention to and deal with them with regards to their logo or lettering because that is often the first thing a customer sees when going to a website or entering a store. »We perceive before we understand. Erik Spiekermann Typography works just like background music: you do not really listen to it, but it still unconsciously has an effect on your mood,« explains typography expert ERIK SPIEKERMANN (3). Companies utilise this and let logos have their impact on people.
»We perceive before we understand. Typography works just like background music: you do not really listen to it, but it still unconsciously has an effect on your mood«
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(3)
https://bit.ly/2ZegvuX
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László Moholy-Nagy | Wohin geht die typographische Entwicklung © Kunstbibliothek, Staatliche Museen zu Berlin,
Behind this lies a complex construct, namely the interaction between content (text), background of the potential buyer (cultural and personal) and design via typography. However, the latter has the power to introduce values
to the logo of a company. Because it’s the typography that triggers emotions and associations among potential customers and thus it represents the identity of the respective brand. A unique logo is an unmistakable hallmark.
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COMPANIES a n d t h eir
What psychological aspects are behind this? »A font can change the meaning of a word completely and give it a personality,« explains British graphic designer SARAH HYNDMAN (4) in this context. Typography helps to tell a story. For instance, rounded typefaces that resemble handwriting seem warm and friendly, while angular, geometric ones seem cool and technical. Wide letters stand for stability, narrow ones for instability. Short ascenders and descenders make a typeface
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seem down-to-earth while long ones give the impression of elegance. The important aspect is this: »These particularities cannot be forced or seem like foreign objects, but have to insert themselves seamlessly into the concept of the typeface. Standing out without bothering someone – ideally, the observer will feel connected to the brand even if they only see the headline or read a brochure,« explains Berlin font designer HANNES VON DÖHREN (4).
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(4)
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FASHION BRANDS o n t he way to si mi l ar
With regard to this, it has recently been noticed that many luxury fashion brands have changed their logos. BALMAIN , YVES SAINT LAURENT and BURBERRY for instance changed their unique and partly ornamental word marks into simple, bold logos. YVES SAINT
LAURENT dropped the »Yves«
and changed their lean and elegant logo in small capitals to a simple sans-serif font – just like at the company’s beginning in the 1960s . BURBERRY and BALMAIN also let go of serifs, which technically form a line that the eye can follow.
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The new word marks appear reduced and more objective instead of ornamental and opulent without losing elegance. They even remind you a little bit of the BAUHAUS approach to a standardised font. The reason, however, seems to be a different one: social media. So the logos serve a practical purpose: industry experts are speculating that they are supposed to look good on Instagram, Facebook and the like. In addition, whether with, without or just as a monogram, they are easily readable, »ALSO ON ACCESSORIES AND
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Jan Tschichold Die Frau ohne Namen © Lilo Tschichold-Link
explained a spokesperson of BALMAIN (5) . This shows that people experiment a lot with typefaces, especially since the Bauhaus times, and that you have to move with the times depending on your target groups and their needs. Just what was propagated at Bauhaus: Uniting art and technology not only to make everyday life more beautiful, but also more functional. CLOTHING,«
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(5)
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László Moholy-Nagy | Wohin geht die typographische Entwicklung, © Kunstbibliothek, Staatliche Museen zu Berlin
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B Y
M I C H A E L
N E U B A U E R
»tracking talents«
E X H IBIT IO N RE PO RT
Text: MICHAEL NEUBAUER
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BAUHAUS Tracking Talents, Exhibition view, Culture Forum 2019, © Staatliche Museen zu Berlin / David von Becker
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One hundred years ago, Walter Gropius opened the Bauhaus in Weimar. His vision of founding a school that would get people interested in new, forward-looking ideas after the catastrophic events of the First World War led to a movement that continued to have an effect until today – far beyond the 14 years of its existence. With revolutionary vigour, well-known, famous painters, architects, designers, interior decorators, engineers and craftsmen started to develop an overall concept for construction, furnishing and life with and for each other. The success was great — a standard for many things emerged that everything that followed had to be measured by.
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Today, 100 years later, we have deliberately or unconsciously applied and accepted many ideas from the Bauhaus school. But even after 100 years, the Bauhaus concept of connecting the different trades, be it art or craftsmanship, in their ideas and their work, is fascinating for us. It is only in this way that thoughts could have been transferred into practise and suggestions of several people become whole.
Staatliche Museen zu Berlin, Culture Forum, upper special exhibition hall
BAUHAUS
Tracking Talents,© Weissensee Kunsthochschule Berlin
The Berlin art academy Weißensee, together with the Trier University of Applied Sciences, the French art academies ESAA Duperre Paris and Esmod Paris and the Apolda European Design Award, followed these ideas and designed the exhibition »Tracking Talents« from June to the beginning of August in the culture forum Berlin, together with the Staatliche Museen zu Berlin.
Tracking Talents, Exhibition view, Culture Forum 2019, © Staatliche Museen zu Berlin / David von Becker
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Tracking Talents, Exhibition view, Culture Forum 2019, © Staatliche Museen zu Berlin / David von Becker
It was not a fashion fair! All the exhibited projects presented designs from the students of these academies without thinking of commercialisation. The exhibition showed the diverse and creative ideas of the young artists but also demonstrated the handling of textiles and materials and their implementation into a fashionable design. The »Bauhaus idea« materialised in multi-day workshops in a close collaboration with textile manufactories in Apolda or the textile institute in Chemnitz. Idea and practise met
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here. In a common struggle, a leathery material emerged from shale and heat that would be ideal for fashionable bags. An »old« circular knitting machine in Chemnitz created patterns in up to 60 different colours, thanks to the creativity of a Weißensee master student. The Bauhaus was also present when the workshops encouraged the mutual exchange of the participants, showing the usage of technical and digital work equipment and providing future graduates with contacts and applications.
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BAUHAUS Tracking Talents, Exhibition view, Culture Forum 2019, © Staatliche Museen zu Berlin / David von Becker
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The 39 students designed 50 models of incredibly diverse creations: wearable, created with fantasy, daring, status-relevant, machine-knitted, woven, waisted and hiding the figure. Position was taken to everything – be it leather, wool, linen, silk, cotton, foil or even shale. A room-size image of the Apolda leather workshop showed the room and demonstrated the interaction of design and craftsmanship.
Leather workshop Apolda, Š Photo: Alexander Kohout
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BAUHAUS Tracking Talents, Exhibition view, Culture Forum 2019, © Staatliche Museen zu Berlin / David von Becker
One would like to shout out to the young fashion designers: Yes, it’s a pleasure to find so much creative interest in fashion in Germany. Keep it up, please!
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H O W
T O
F O L L O W A N D C E L E B R A T E T H E L I F E S T Y L E A N D S T I L L B E
» S T R A I G H T C O O L
E D G E «
n o a l c o h o l ,t o b a c c o o r d r u g s !
L IFE ST Y L E
Text
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MARLEN GRUNER
Illustrations
GANI HAKOBIAN
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BAUHAUS
»Straight edgers« lead a life of abstinence – of their choosing. However, they are no longer the exception to the rule. Current social movements and the continuing focus on sustainability and fitness are following the same path, which is anything but square or uncool.
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STRAIGHT EDGE –
What sounds like a simple statement is actually the epitome of a whole movement. »Straight edge« originated from the hardcore punk scene and was invented by the US punk band Minor Threat, or rather their singer Ian McKaye.
A MOVEMENT FROM THE HARDCORE PUNK SCENE In 1981, McKaye wrote the song »straight edge« – »Don't drink, don't smoke, don't fuck«, he sings. The song became the movement's anthem, which today has tens of thousands of followers in Germany alone. Anything that influences thoughts, actions or the personality on a whole, is given up. That includes swearing off alcohol, tobacco as well as any kind of drug. Promiscuity and one
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night stands are also a no-go for straight edgers. Many followers are also vegan, so avoiding all animal products. Tattoos however are not banned: They are a way of expressing personality. Outer appearance versus inner values – for some, an extreme contrast, for straight edgers, a lifestyle. And this lifestyle is characterised by pragmatism: Real-life instead of intoxication, that’s the motto.
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ABSTINENCE AS A COOLNESS FACTOR AND A MODEL FOR A MODERN WAY OF LIFE But why abstinence, some might ask? »The scene is popular with young people. A generation whose thoughts about political and economic issues, as well as life choices, are taking a front seat. For them, straight edge couldn't come at a better time«, explains Gabriele Rohmann of the Archive of Youth Cultures in Berlin. Followers, so she says, have had »enough of the consumer society and want to take a serious look at the future of this world.
Many straight edgers are also involved in activism on many levels, including animal rights, anti- sexism and homophobia campaigns. And they are not alone. In light of the current and continuing movement Clean Living; promoting an environmentally conscious and health- oriented way of life, increasing numbers are avoiding alcohol, tobacco and meat. And that has a social impact.
Ga b r i e l e Roh m a nn ex pla in s:
»The scene is popular with young people. A g e n e r at i o n w h o s e t h o u g h t s a b o u t political and economic issues, as well as l i f e c h o i c e s , a r e ta k i n g a f r o n t s e at. F o r t h e m , s t r a i g h t e d g e c o u l d n ' t c o m e at a better time«, 61
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LESS SMOKING, MORE FITNESS For instance, according to Statista, the number of smokers in Germany has decreased from 22.22 to 18.85 million people between 2000 and 2015. A further decrease is expected by 2020, to a low of 17.53 million people. At the same time, the number of gym members are increasing: While, according to the employers’ association of German fitness and health centres (DSSV), 4.4 million people went to the gym in 2003, this number increased to 10.6 million in 2017 and even further to 11.1 million people in 2018. In addition to this, increased groups are advocating for animal rights, are against sexism and SISTER-MAG.COM
homophobia – or all three. A healthy and sustainable lifestyle, with a focus on self-improvement, is definitely considered cool, even if you do not follow the straight edge lifestyle completely. Much more important is finding your own path on the journey to selfimprovement. Giving up smoking might be your thing, for another, saying no to drugs, being tee-total, avoiding one night stands or the consumption of animal products. But at the end of the day, it's about leading a happier life according to your principles. And ensuring the peaceful coexistence of different lifestyles by respecting others.
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So, yes you can celebrate with a soda instead of wine without being stared at. That way, you can avoid hangovers and your mental health will thank you as studies of the University of Hongkong show. These figures also prove that it's possible to attend a party without lighting up a cigarette. And with a little bit of preparation and the right products, a vegetarian or vegan buffet is made just as easily as a regular one – plus super delicious. Will you have to defend your choices in life? No. »Straight edge« is a revolutionary lifestyle
which
is
increasingly
becoming our every day, in whichever form and ready to be lived.
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B Y
L E N K A
S E L I N G E R
deconstructivism
BA UH A US DE SSE RT S
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Photos & recipes
ba u -ha us-
LENKA SELINGER
BAUHAUS
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BAUHAUS
Vegan No-Bake Cardamom Lime
ÂťCHEESE CAKEÂŤ WITH BLUEBERRIES This cake is fresh, easily prepared and suited for almost any crowd. Cardamom and lime come together with blueberries to form a surprising and irresistible flavour combination. The creamy-fresh filling is a perfect counterpart for the nutty, chocolaty base. This cake is sweetened naturally.
INGREDIENTS For the base
For the filling
65 g oats
225 g
cashews, soaked in water for 2-8h
Juice and zest of an organic lime
80 g
maple syrup
50 g
cold-pressed coconut oil (melted)
1 tsp
freshly ground cardamom
A pinch of salt
70 g almonds 2 tbsp cocoa 10
Medjool dates
1 tbsp
cold-pressed coconut oil
1
/4 tsp salt
For decorating 250 g blueberries
A couple of fresh mint leaves (optional)
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INSTRUCTIONS For the base I used a rectangular tin (10x34cm) which equals a round tin with a diameter of about 20cm. 1. Chop the oats and almonds in a kitchen machine until they’re ground roughly. 2. Add the other ingredients and mix until thicker chunks form when you pinch the dough between your fingers. 3. Press the dough into the bottom of your tin and around 2cm up the sides (dampen your fingers with a little water if it sticks to your fingers) and put it in the fridge to cool.
Recipe Download
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For the filling 1. Add all of the ingredients to the bowl of your stand mixer and stir until you have a creamy, homogenous filling without chunks. 2. Add the filling to the base and quickly shake it from left to right a couple of times so it spreads all over. Then bang the tin on your kitchen counter once to eliminate any air bubbles and help the filling spread into the corners. 3. Cool for at least 2 hours. This cake can be frozen very well – simply take it out to defrost at room temperature half an hour before serving. Before serving Garnish with blueberries and mint (I used very little for the pictures but recommend adding more when actually eating the cake – it’s a delicious flavour combination!)
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A Different Kind of
LEMON - PIE A cake that surprises and will enchant you with a fresh and zesty taste of lemon. Tip: For a lactose and gluten-free version, simply swap in the base of the red chocolate raspberry tarte. I tested both and couldn’t choose which I prefer.
INGREDIENTS For the base
For the filling
300 g
spelt flour
5-6 eggs
150 g
raw cane sugar
150 g
raw cane sugar
115 g
spelt flour (or 60g cornflour for a glutenfree option)
200 g butter 1
/4 tsp salt
For the meringue 2
egg white
100 g
raw cane sugar
/2 tsp
vanilla extract (optional)
1
250 ml lemon juice (about 3-4 lemons)
Zest of 3 organic lemons
1 tbsp
fresh ginger, finely ground
1 tsp turmeric 71
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INSTRUCTIONS For the base
For the filling
1. Grease a 28cm tin with butter and pre-heat the oven to 225ยบC.
While the dough is baking, prepare the filling:
2. Add flour, sugar and salt to a bowl.
1. Add eggs and sugar into a big bowl and beat with an electric mixer for 4-5min.
3. Cut the cold butter into 1cm cubes and add it. 4. Mix the butter into the flour using your fingers. Work quickly and knead as little as possible so the base will be nice and crisp. 5. Form a ball, transfer into the greased tin and press down with your fingers. 6. Bake for 25-30min or until golden brown.
2. Peel the ginger, grate it finely and add to the eggs. 3. Add turmeric. 4. Add flour or cornflour and stir until there are no lumps left. 5. Zest the lemons and juice them. Add both to the bowl and carefully mix on the lowest setting to avoid splatters. 6. Slowly add the very liquid filling to your finished base. 7. Bake for another 20-25min at 180ยบC. 8. Carefully shake the tin to check if the filling has hardened. 9. Let cool to room temperature and then refrigerate for another 2 hours.
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The meringue (optional) Recipe Download
1. For an extra creamy and resistant meringue, heat the egg whites and sugar in a bain-marie to 73ยบC (this step can be skipped). 2. Beat at the highest setting of your mixer until the eggs are shiny and peaks stay upright (6-10 min). 3. Add vanilla extract and beat for another minute. 4. Add meringue to a (reusable) piping bag or a freezer bag with the corner snipped off to decorate the cake as you wish. 5. You can carefully toast the meringue using a kitchen torch.
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Vegan
CHOCOLATE RASPBERRY TARTE This tarte is easy to prepare but turns into a real eye-catcher. The chocolate filling is so intensely creamy that no one would know it is just made from chocolate and coconut milk. Tip: You can also prepare this with the (nonvegan) base of the lemon pie.
INGREDIENTS For the base 175 g
oat flour (You can easily make this yourself by grinding oats in your kitchen mixer. Grinding them roughly is enough for this base.)
75 g
ground almonds
150 g
coconut sugar
100 g
cold-pressed coconut oil
1
/2 tsp salt
For the filling 300 g
dark chocolate (at least 70%)
300 g
coconut milk (no coconut water/ coconut drink!)
For the raspberry jam 125 g
fresh or defrosted raspberries
2 tbsp
maple syrup
1 tbsp
chia seeds
For decorating Berries to your liking
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INSTRUCTIONS For the base 1. Pre-heat the oven to 200ยบC and grease a 28cm tarte or springform tin with coconut oil. 2. Add all the base ingredients into a bowl and knead with your hands. The dough will remain on the crumbly side. 3. Press the dough into your tin (base and 2cm up the sides). 4. Bake the base for 10 minutes or until golden brown.
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Recipe Download
For the filling
For the raspberry jam
1. Break the chocolate into pieces and add to a pot.
1. Put all of the ingredients into a bowl and squash the raspberries with a fork.
2. Add coconut milk and carefully heat over low heat while stirring until the chocolate is fully melted. 3. Add the chocolate filling to the base and carefully shake the tin from left to right to get an even surface. 4. Refrigerate for at least 2 hours or freeze for 30 minutes.
2. Wait for 5-10 minutes until the chia seeds have soaked up liquid. 3. Pour over the cooled, hardened chocolate filling and spread to the edges using a spoon. 4. Decorate to your liking with fresh berries or fruit!
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S T Y L I S H ,
C O N T E M P O R A R Y
tel aviv
DIGITA L L A DIE S T RAVE L
C I T Y
BAUHAUS
DIGITAL LADIES TRAVEL
Tel Aviv
When people who have never been to Israel find out I am originally from Tel Aviv, they tend to think I am from a provincial Middle Eastern city with slow-motioned camels, armed soldiers everywhere, and ancient Biblical monuments. I don’t even know where to begin to prove them wrong. Tel Aviv is a stylish, contemporary Mediterranean metropolis filled with chic and bustling cafÊs and restaurants, an exciting culture, trendy boutiques, beautiful, lively people and a roaring nightlife.
Text & Photos
SIVAN ASKAYO
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LEAFY BOULEVARDS
the City Th at Never Sleeps
The city is renowned for its clubs, restaurants, art galleries, and cultural events. But the city’s real seduction comes from the people who call it home. You notice it in the crowded cafes, buzzing with laughter and conversation almost 24/7, from the masses that spill out of the theaters, music halls, and night clubs, and even in the way people dress. It is not a coincidence that city’s slogan is »the city that never sleeps«. Indeed, New York has a rival.
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RAMESSES
HOTEL NORMAN
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Contr asts
HOTEL NORMAN
And last, but not least, TEL AVIV has the largest number of buildings in the Bauhaus/International Style of any city in the world. A collection of more than 4,000 buildings in »the white city« of Tel Aviv was named a World Heritage Site by UNESCO (2003).
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In recent years, TEL AVIV has seen a surge of development: new high-rise buildings are being constructed, old ones are being demolished or restored, some turned into chic boutique hotels. The contrast between new and old, chic and conservative, and local and international flair is what makes Tel Aviv so special. And let’s not forget the beach. Tel Aviv’s entire west side faces the Mediterranean Sea and boasts 14 kilometers (9 miles) of sandy beach. The coastline attracts locals and tourists, both young and old, who enjoy sunbathing, surfing, kayaking or just a place for meeting your friends and hanging out. SISTERMAG 52 | 09 / 2019
- HIGHLIGHTS -
Cozy cafes Israelis LOVE their coffee and there is a great coffee culture in Israel. When you tell your friend, »lets meet for a coffee«, you actually mean let’s meet for a two- to three-hour chat about life. As a Mediterranean city with warm weather most of the year, the majority of cafés are outdoors, or at least having an outdoor seating area. Alongside international coffee chains, there is an impressive number of cozy, independent, home-roast cafes across the city. The coffee kiosks along the leafy boulevards are especially unique to Tel Aviv.
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COFFEE KIOSKS
y z o C s cafe
In addition to getting your coffee on your way to work or while sitting on a bench under a tree, these coffee kiosks also offer delicious sandwiches and patisseries. 83
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SHOPPING & SOUVENIRS
Jaff a Fle a Market and the Saga Store The JAFFA FLEA MARKET , or SHUK HAPISHPESHIM in Hebrew, is a highlight of the ancient port city. (Jaffa is a 4000-year-old city adjacent to and a part of TEL AVIV ). SISTER-MAG.COM
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JAFFA FLEA MARKET BAUHAUS
SAGA SHOP
One of my favorite places to shop is SAGA ; which also has a gallery and hosts and promotes unique art and products by Israeli designers. You can find home accessories, lighting, books, posters, jewelry and more. The gallery’s display is constantly changing and each visit to the store offers a different experience.
The FLEA MARKET has expanded and developed dramatically in the last couple of years. Next to antique stores and vendors who have been there for ages selling genuine antiques, wood crafts, Judaica, and silver, you can find new boutiques of young Israeli designers, galleries, and many bars and restaurants with live music.
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BAR
RAMESSES
to meet locals: Ramesses
Tel Aviv
establishments
Eros
pride themselves on staying open until the last customer. Case in point: Ramesses, a restaurant and bar that takes over an entire pedestrian street in the Greek
Aphrodite
Quarter of Jaffa’s flea market area.
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The best time to visit is on a weekend evening, or on a Friday afternoon. Even though the place might be packed, this is when you can experience the true vibe of the place. Some of the special cocktails are: EROS – beetroot gin, raspberry, hibiscus, coriander or APHRODITE – gin married with olives, homemade syrup from olive leaf and Persian lime, fresh lemon juice.
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DINNER WITH FRIENDS
BAUHAUS
Port Said Effortlessly cool and decidedly hipster, Port Said is the culinary child of chef Eyal Shani, a TV personality (Israeli Master Chef) and one of Israel’s most renowned chefs. He is known for his highly theatrical, downto-earth approach while serving food on flat cardboard or directly on the bar. The food is Middle Eastern with a twist: a blend of Egyptian (masabaha and lima beans) and Eastern European (herring with crème fraîche), for example. Besides the delicious food, trendy crowd, and DJs, I love Port Said’s location in the shadow of the GREAT SYNAGOGUE of ALLENBY STREET .
HUMMUS for lunch
Hummus is perhaps the most popular Israeli street food for a quick on-the-go lunch. There are many great Hummus joints all over Tel Aviv, and there is a constant debate among locals over which one is the best. Admittedly, it is impossible to argue over a matter of taste.
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One of my favorite places to take visitors is ABU HASSAN/ALI
KARAVAN
in Jaffa. Some might call it a »hole in the wall« for being a very simple place, but if you can get a seat before the hummus is gone (it is first-come, first-served), you will be treated to one of the most delicious pleasures in town.
ABU HASSAN But trust the Tel Avivians to take things to the next level when it comes to hummus. In the YAMENITE QUARTER next to HACARMEL MARKET , diners sit shoulder-to-shoulder on plastic chairs at Shlomo and Doron. This place has been around for 82 years (four generations) and serves mostly hummus. The recent menu serves specials which are new variations on the classic dish. There is MATBUCHKA , a SISTER-MAG.COM
hummus shakshuka made of smoked matbucha salad with green tahini; MEXICAN , which is hummus with a mash of Mexican and fava beans and chopped jalapeno; and TANDURI DAL , with Indian lentil dal in tanduri curry. So if you thought that hummus is more or less always the same, I highly recommend trying one of these specials. You’ve definitely got it wrong ;)!
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T E S N U S T BES B E AC H Any beach, really. Some people love to start their day at the beach, and some enjoy watching the sun slowly go down to disappear behind the waves. You’ll be happy with either. And hey, why not both?
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HACARMEL
LEVINSKI
FOOD MARKETS TEL AVIV is famous for its foods markets, such
What tourists might miss but locals love: Food markets like HaCarmel and LeVinski (especially at night) When I travel abroad, I hardly if ever visit the local markets (unless I get a special recommendation from a local). SISTER-MAG.COM
as HACARMEL MARKET (Shuk HaCarmel) and LEVINSKI MARKET (Shuk Levinski). In recent years, alongside fruit and vegetable stalls, you can find small food joints, falafel, hummus, meat-only restaurants, coffee roasters, and more. There are also various food tours in these markets, which are very popular and highly recommended. But while tourists might enjoy these markets during the day, the locals enjoy going to the tiny restaurants and bars which are exclusively open at night. The markets have a completely different vibe when the sun goes down. I highly recommend visiting the markets during the day (preferably on a food tour) and coming back to dine there later on in the evening.
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+ t r A f o m eu s u M iv Tel Av y b n lo u H n i m eu s u M n ig Des Ron Ar ad Tel Aviv Museum of Art’s
TEL AVIV MUSEUM OF ART
UNIQUE ARCHITECTURE
BAUHAUS
a »waterfall of light«, as the
recent wing (2011) named after American architect Preston Herta and Paul Amir, is made
Scott Cohen called it. It houses
up of 430 angular concrete
an Israeli architecture archive,
geometric surfaces that form
and section for photography
a gleaming white triangle, or
and visual arts.
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ARCHITECTURE
TEL AVIV MUSEUM OF ART
Design Museum Hulon The building, in the city just south of TEL AVIV , is a work of art in itself, created by Israeliborn, London-based architect RON ARAD . This architectural icon was built using five curvaceousruby-red steel bands. Some tourists take a 20-minute taxi from TEL AVIV just to see the building from the outside. Check it out from different angles to get an idea of what truly makes it special. SISTER-MAG.COM
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DESIGN MUSEUM HULON
BAUHAUS
STORE
ELEMENTO
Elemento
One of my favorite stores, from which I get lots of inspiration for color and texture, is Elemento. ELEMENTO is a furniture store
that carries colorful and modular furniture (couches, lamps, tables) made by the talented designer YOSSY GOLDBERG . There is also a collection of contemporary paintings and photography by local Artists. Yossy’s sense of style, attention to details and high quality, comes through in every piece he creates and designs.
Even though I can’t afford any pieces of furniture (yet), I love to visit the store quiet often and get updates on Yossi’s creations. The store is located in the old part of Jaffa, in a beautiful Ottoman building.
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T H E B E S T H OT E L
NORMAN HOTEL
The Norman If I have to recommend a great place to stay in Tel Aviv, it would be, without any hesitation, the Norman Hotel.
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Not just because I photographed it over the course of six months before it opened, but mostly for its luxury and exceptional service, which set a new standard in the city’s hospitality scene. The hotel is located in KING ALBERT SQUARE , right in the heart of the White City. It is comprised of two elegant, beautifully restored buildings. The main building of the hotel (in beautiful light blue) is modern and features clean lines and wooden shutters (à la 1920s architecture), and the second building (light brown) is eclectic with some oriental accents. The interior of the Norman incorporates antique elements from
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the interior of the original building, including Israeli art works. Aside from the Classic, Deluxe, and Grand Deluxe rooms, there are six different types of suites, each of them unique.
Highlights
Highlights of the hotel include the LIBRARY BAR , which is designed in 1940s colonial style, and the ROOFTOP INFINITY SWIMMING POOL , which offers an impressive view of TEL AVIV .
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» W O V E N
M O D E R N I S M «
women at the bauhaus
L O N G T IME IN T H E SH A DO W O F ME N
BAUHAUS
Text:VICTORIA BEIER The Bauhaus movement is often regarded as THE quintessence of the early 20th-century avant-garde in Germany. Many art lovers find themselves caught up in the flair of its time and the aura of the renowned artists at the world-famous school.
But the image of this exemplary democratic institution might not always be as it seems. For a long time, women in particular, were left in the schools’ shadow, although their work and vision had a fundamental influence on Bauhaus art. When Walter Gropius opened his Bauhaus school in Weimar in 1919, he announced in his programme: »Every person without exception is accepted as an apprentice, regardless of age and gender; and whose talent and previous training is considered sufficient by the Master's Council.« In fact, there were more female than male applicants in that first semester. After the war, women gained new selfconfidence. They came to Bauhaus in the hope and expectation of being able to explore new possibilities. The democratic constitution of the Weimar Republic granted them the right to study and vote for the first time.
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In practice however, things were different. Gropius demanded strict separation of the students. Johannes Itten claimed that women had »a weakness« in three-dimensional vision. Oskar Schlemmer coined the sentence: Oskar Schlemmer coined the sentence: »Where there is wool, there is also a woman who weaves, even if only to pass the time«.
»Where there is wool, there is also a woman who weaves, even if only to pass the time.« Inevitably, this meant entering the weaving mill and working on two-dimensional objects. Unfortunately, this tension between the women's professional desires, their love of experimentation and the traditional gender thinking at the Weimar Bauhaus remained so for the long term. From 1920 onwards, the weaving mill was designated as »women's work«. This attempt to reduce the female students to their roles as weavers culminated in an enormous surge in industrial design development and a re-
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evaluation of textile art. Step by step women succeeded in penetrating the classical male domains and creating outstanding artistic achievements. Among the most successful Bauhaus women were the metal artist Marianne Brandt, the painter Lou Scheper, the photographer Lucia Moholy and the designer Lilly Reich. At the Bauhaus Dessau, the fusion of art and technology was strongly encouraged. Women took up this combination enthusiastically. Anni Albers, a weaving student, unlocked her innovative potential by developing industrial materials. Others successfully had their inventions contracted or were granted patents for their ideas. The work and vision of these women has had a lasting and significant impact on Bauhaus art. The history of the Bauhaus is no longer just a history of male artists. It is time to shine a spotlight on these talented women and their incredible achievements. And raise them up to the same level as a Kandinsky, Schlemmer or Itten.
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MT 49 - four letters which are unmistakably Marianne Brandt
They refer to her silver and ebony teapot, which holds the record for the highest price ever paid for a Bauhaus object - in 2007: 361,000 SISTER-MAG.COM
US dollars. Created by a visionary metal designer whose spherical and flat jugs, sugar bowls and ashtrays are among the most famous Bauhaus designs ever made.
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»It wasn’t a warm welcome at first. The general opinion: A woman doesn't belong in the metal workshop. This meant assigning me mainly boring, tedious tasks.«
Nevertheless, the metal artist succeeded in gaining a foothold in the Bauhaus workshop. Marianne Brandt grew up in a middle-class family in Chemnitz. Her father was a lawyer and an advocator of the theatre and fine arts. At 18, she studied painting at the Grand Ducal-Saxon Academy of Fine Arts in Weimar. In the summer of 1923, a large Bauhaus exhibition held in Weimar opened her eyes. She gave up painting, seeing no money in it, and switched to the Bauhaus school. The five years in Weimar and Dessau became her most prosperous as a metal designer, and the Hungarian, Moholy-Nagy, was her most important mentor.
It wasn’t long before she had set new standards for the metal design of the classical modern age. In 1928 she was appointed deputy master. Brandt was also considered an innovative artist in the photography field. In 1933, her career, like that of many other Bauhaus women, was cut dramatically short. Even later on, there was no room for her experimental design in the GDR. As a metal designer, industrial designer and photographer, Marianne Brandt is an important part of our 20th-century art history. Her tea extract jug is still regarded as an icon of Bauhaus design today, and her designs always attached great importance to functionality:
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»...No jug has ever left our workshop, which was not drip-free.«.
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Gunta StÜlzl was one of the most successful Bauhaus women and paved the way for modern textile design. Despite her talent and assertiveness, she didn't always have it easy. Unlike Marianne Brandt for example, she wasn’t sponsored by a Bauhaus master. In 1927 she became the first female teacher to take over the entire management of the Bauhaus weaving mill at Dessau.
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Adelgunde Stölzl was born in Munich. After seven semesters at the somewhat conservative Munich School of Applied Arts, she joined the Weimar Bauhaus in 1919 at the age of 22. So impressed was she by the reform ideas of Walter Gropius that she enrolled a second time. In October 1919 she wrote in her diary: »...nothing is inhibiting about my outer life, I can shape it as I like. So often have I dreamt about this and now it has finally come true (...).«
Gunta Stölzl combined the principles of modern design with sound craftsmanship. The influence of Johannes Itten's contrast theory is particularly evident in the colour choice for her Bauhaus designs. Her weaving mill fitted out the theatre café in Dessau, she developed upholstery fabrics for Marcel
Breuer's tubular steel chairs and exhibited at the Leipzig trade fairs. Towards the end of the 1920s, she married the left-wing Jewish architect Arieh Sharon, but political change was on the horizon. In 1931, she was forced to resign her position and move with her family to Switzerland, where she ran her own weaving mill in Zurich. Her carpets lived life’s rhythm, breathed richness of form and did not follow a trend. »It was necessary to clarify our imagination, shape our experiences through material, rhythm, proportion, colour and form«. The excessive colourfulness of her early work in particular, radiates an atmosphere reminiscent of jazz and expressive dance. Her work still connects us to a colourful Bauhaus life, how it might have been.
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Text: LISA STRIEGLER
GREAT, SAD MOMENTS If you leaf through the countless piles of Bauhaus books, you won't find her name on any of the front pages. She doesn’t adorn the title of any documentary nor does there seem to be any real information about the second wife of the world-famous Walter Gropius. Yet, Ise Frank deserves nothing less than a glamorous VIP seat in the very front row. SISTER-MAG.COM
»Behind every successful man is a strong woman.« A supposedly simple truth, but also a clever generalisation stating the obvious: There is no hiding behind that broad successful back, no support at all costs. His needs must be recognised and met, his ideas saved. A burden which feels like the heavens collapsing and the endless struggle continues to find your own identity.
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BEING NEEDED AND THINKING AHEAD
AN ESCAPE FROM THE PAIN
A few semesters of German studies and work in a bookshop led Ise Frank to a yet undiscovered passion: writing. As an editor and secretary, she loved nothing more than a challenging word game. In 1923, at the age of 26, she married Walter Gropius and his Bauhaus idea in Weimar. An idea which she continued to pursue and struggle with at the same time. She formulated his letters, lectures and articles until she finally gained the necessary freedom to work on her own writing career. In a whirlwind of uncertainty, she lost their unborn child as well as Gropius on occasion.
Ise Frank was vulnerable. She would see herself as uprooted and lost. Feelings of being expected or coming home were alien to her. One summer in Paris she was taken in by her trusted friend Irene Hecht »during a week-long free fall« as Jana Revedin so heartrendingly describes, in her biography »Everyone here calls me Frau Bauhaus«. Irene gave Ise the closeness and stability she was so deprived of in her relationship with Walter Gropius. Warm croissants and cafe latte became their staple of a comforting home; a place which became »their place«.
Ja na Reve d in 's a u tob i ogra phy a b o ut Is e Fra n k
»everyone here calls me frau bauhaus.«
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Text: SOPHIA SCHMIDTS If you search for a picture of Dörte Helm, you will find a sea of actresses faces, but not Dörte Helm herself.
The artist from Rostock was a versatile talent. She worked as a graphic artist, painted city skylines and landscapes and played a major role in the interior design of the »Haus Sommerfeld« at the Weimar Bauhaus. Nevertheless, she was demoted not just once, but twice to lover status by German television during the Bauhaus 100th anniversary. First as an adulteress to a fictitious couple and then as the affair of Bauhaus founder Walter Gropius. A fact SISTER-MAG.COM
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that was never proven. Dörte Helm was born in Berlin in 1898, daughter to a philologist father and a Jewish mother. Her artistic talent was apparent early on. Helm gave art lessons and spent three years studying sculpture and drawing in Kassel after graduating from a girls’ school in Rostock. This led to her move to Weimar in 1918. Although it was a common fear at the Bauhaus, that the men would lose their valuable workshop positions to the women, Helm earned herself a space in the dominantly male domain of mural painting. In 1922 she passed the apprenticeship exams in decorative painting.
Back in Rostock, the young unconventional thinker had a hard time establishing herself. Her strict father didn't think much of the avant-garde Bauhaus ideas and living together with him was like suffering in silence. She married the journalist Heinrich Heise and they moved to Hamburg together where she worked as a writer. As a »half-jew« she was forbidden to work by the Nazis in 1933, yet continued writing under a pseudonym. She died at the young age of 42 of an infectious disease. To this day, Dörte Helm is an example of the everpresent gap and lack of reflection concerning women in the arts and proof that television is still not One year later, 20 postcards were created prepared to tell the story of a for the large Bauhaus exhibition and only strong woman without putting one was designed by a woman: a famous man at her side. Dörte Helm.
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Text: BIANCA DEMSA
A MUSE, FEMME FATALE AND A SECRET COMPOSER. Alma Gropius was a complex personality with an extraordinary and multifaceted life. Not just the wife of Walther Gropius, she was a socialite, writer, and composer of over 100 songs. Born in 1879, Alma’s father Emil Jakob was a renowned Viennese landscape painter, her mother a singer and step-father Carl Moll.
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Her beauty, intelligence and charm drew countless influential suitors in. One of her first loves, the 18 year older Gustav Klimt. Alma soireed with the likes of Thomas Mann, Richard Strauss and many more famous artisans of the salon scenes in Vienna, Los Angeles and New York and was known as an intellectual muse.
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It was during her difficult marriage to Gustav Mahler and the loss of her daughter Maria that she met Walter Gropius during a stay at the Wildbad Clinic in Austria. After a five year on-off affair and now a rich widow, she travelled to Berlin in 1915 to profess her undying love for Gropius.
in 1920 by claiming fault and let himself be caught in flagranti with a prostitute. Alma fled to Los Angeles with Werfel, continued her salon and wrote her criticised 1960 autobiography which portrayed various unflattering portraits including Gropius. She died aged 84 in New York in 1964 and was laid to rest in Vienna in 1965.
Their marriage was also not an easy one. Alma’s need for social standing created disharmony. Misunderstood or not, Alma had The experience of the war immeasurable creativity. She shaped Gropius’s ambition studied composition with Josef and led him to the Bauhaus Labor, Alexander von Zemlinsky movement. A vision which Alma and Max Burckhard. She composed didn’t share. Daughter Manon instrumental pieces, an opera and was born but things came to a over 100 songs. Musical talent that head when Gropius discovered was then stifled. Only 17 exist today her affair with Franz Werfel but create an everlasting legacy. and an illegitimate son. He granted Alma a quickie divorce
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O F R E A L - L I F E L O O K B E H I N D T H E S C E N E S C R O S S - C U L T U R A L C O U P L E S A
after the happy end
FRO M DISTA N CE T O VICIN IT Y
After the successful launch of our new series ÂťAfter the Happy EndÂŤ in sisterMAG No. 51 we directly continue with an exciting interview in our September issue. For this we interviewed Jaclyn, a Canadian living in Germany. Her love for Daniel made her move to Germany and was crowned with a Canadian-Bavarian wedding this year. Learn more about the two, how they met and how Jaclyn's start in the new country went.
TEXT &IDEA
antonia sutter
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D A N I E L & J A C LY N
live in
BERLIN, Germany
What countries are you both from? D: I'm from Germany. J: I'm from Canada. How did you get to know each other? What’s your love story? D: We met in Toronto at a house party of a mutual friend while I was living there for a year in 2011. We only met about two months before I had to leave Canada, unfortunately. We really hit it off immediately but we both agreed that neither one of us was interested in a long-distance relationship, so we thought it was really great, but that’s it. But then we kept talking over Skype etc. pretty much every day and we just got along so incredibly well. Before we knew it, J booked a ticket to come visit me in Germany over New Years. She arrived and we drove from Munich (where I was living at the time) to Berlin to celebrate with friends. The whole experience was so fantastic and we realised we were falling in love, so obviously our plan of not doing long distance didn’t quite work out and we started visiting each other as often
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as we could. We always said that we will continue only as long as it feels right for both of us but suddenly five years had passed, and J decided to move to Germany with me.. J: Let’s not forget the first date in Toronto (which I almost said no to). Dan suggested we catch a ferry to Toronto Island, have dinner and drinks at a little restaurant there. We biked to the beach afterwards and watched the sunset. It was crazy romantic, and we now visit that spot every time we’re in Toronto. When did you know that it’s the real thing? Are you already married? Do you have kids? J: I think it was one of the many times we left each other at the airport. Those moments were always the hardest and put things into perspective for me.
D: I couldn’t pinpoint an exact moment when I knew it was the right thing but about a year ago, I thought that I do want to spend my life with this woman and the only way to really do that is to marry her. So, I proposed and we got officially married at the Standesamt in April this year, and had our main wedding on August 10. We don’t have kids (yet ;) )
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©Photo: Adam Moco
How was the wedding – combining the two cultures? D: I’m Bavarian and we both loved the idea of having a wedding in the Bavarian countryside with a view of the mountains and in full Bavarian Trachten. So we combined that with some Canadian wilderness/countryside aesthetic and it couldn’t have been better and more beautiful. We also had tons of friends and family coming in from Canada and the USA. It really was absolutely perfect and very »us«. J: It was really amazing to have everyone we love in one spot together. Our ceremony
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was spoken in both German and English, there were Oktoberfest games during cocktail hour, the ponies on the farm had braided hair with wild flowers in it, and we danced to Wild Horses by The Rolling Stones for our first dance. How did you decide in which country you want to live? J: This was pretty easy. Daniel had already exhausted his options of living and working in Canada as a freelancer, but Germany had many visas available for me to apply for. I had never lived abroad and although it was hard to leave my friends, family and career in Canada, it was our best option of giving our relationship a go.
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ŠPhoto: Emma McIntyre
Do you want at one point in time also live in the other country? D: Toronto is my second home and I really love it so I’m definitely up for the idea of eventually moving back there again. J: I think we can see ourselves back in Canada at some point.
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ABOUT YOU
Jaclyn
Was it always a dream of yours to permanently live in this specific country? J: No, I had never thought of Germany as a place I would live. Visit yes, but this was a surprise to me. Did you know the language before you moved there? J: No, unfortunately not. How well did you know the culture? J: I really didn’t know much.
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©Photo: Emma McIntyre
How easy or hard was it for you to build your professional career in the new country? J: It has been the biggest challenge to restart my career here with language barrier and no previous network. But I always say that it takes a few years to build that no matter where you are. But being exposed to a new market and learning outside of a smaller Canadian creative scene has been amazing. What do you miss most about your home country? J: Oh Canada… I always miss the very sunny (yet freezing) winters in Toronto, smell of the forest, how grocery store cashiers often ask you what you’ll be making for dinner and having wide variety of restaurants from different cultures. What was the hardest about the move? J: Leaving my best friends and family were the hardest part. I miss my girlfriends every day. And Daniel and I are super close to my sister, her partner and step daughter, so only seeing them (maybe) once a year together is hard.
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I S P I R I N G
A C C O U N T S
bauhaus Instagram Accounts
T H E BE ST
BAUHAUS
THE INFLUENCE OF BAUHAUS CAN STILL BE FELT IN MANY ASPECTS OF LIFE TODAY.
Contemporary artists, illustrators, and typographers use the school's formal language and colour palette, which has evolved over decades, and transform them into modern interpretations. Here we show and recommend 10 inspiring Instagram accounts which
continue the artistic heritage of the Bauhaus live and set new impulses in a playful way. From crazy compositions of colour and form to crisp characters and minimalist, representational objects, no trace is left unexplored.
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@ s asc ha_lobe
@l agg . ar t Here you can marvel at special movable letters that recall the work of Bauhaus teacher LÁSZLÓ MOHOLY-NAGY
and his typography.
@malikafavre Unique architectural illustrations from Argentina that evoke the »INTERNATIONAL STYLE « of Bauhaus. An absolute must for lovers of both architecture and illustration!
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@hey stu dio
A visual design language from Barcelona brought to life by BRIGHT COLOURS and GEOMETRIC SHAPES .
@n u riamor a
Nuria uses free and abstract language to make direct references to the surface and create unique works of art.
This French artist uses positive and negative space and colours to create works in her typical minimalist aesthetic. You can find her creations published in the »NEW YORKER« and »VOGUE« .
@thomas_dan thony
Here
you will find TIMELESS , SIMPLE DESIGN as prints or motifs on jute bags or rugs. 123
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@ e ltonogram
@maa ike_ canne
Eltono’s expressive compositions of form and COLOUR COMBINE to create public art in large format.
@maria.naran jas This illustrator from Rotterdam creates MURALS and is thematically inspired by petrol stations, shopping malls and motels.
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@ be tonze i tr aum
What an eye-catcher! Betonzeitraum designs simple, timeless CONCRETE OBJECTS by hand.
We believe even smaller accounts are worth following! For example, this one curated by Maria, an INFORMATION DESIGNER from Mexico.
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G I N ! G I N
gin feature
SIST E RMAG'S BIG
Production: Thea Neubauer, Marie Darme & Christina Rücker
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Drinks: Yvonne Rahm
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For a couple of years now, the classic »Gin & Tonic« is no longer the only kid on the block. Drinks such as »Gin Basil Smash« or »London Mule« revived the liquor’s stuffy image. Yet, these are not the only drinks the juniper is perfectly mixable for. We asked different Gin producers from all over Germany about what makes their gin special. Together with German World Class Bartender of 2018, Yvonne Rahm, we mixed some new signature drinks and added some new creations, as well. Feeling Supersonic? There’s more than Gin & Tonic :)
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Viktoria Gin e e f f o C n a i r Vikto Recipe: Yvonne Rahm
INGREDIENTS 8 cl
Cold Brew (e.g. Good Spirits)
Garnish
3 cl
Viktoria Gin
50-70ml cream
1,5 cl
Dry Orange Liqueur/ Triple Sec (e.g. Pierre Ferrand, Cointreau)
1 cl
sugar syrup
a pinch of cardamom
INSTRUCTIONS For the cream: 1. Shake the cold brew, gin, cognac and sugar syrup with ice and pour it through the sieve into a shallow cup
1. Shake the cream and cardamom extremely well or whip it using a soda syphon or hand mixer. 2. Slowly pour the cream over the drink and enjoy.
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ŠP ho to
:N
an Konrad m r o
m h a R e n n o v Y
- World Class Bartender Germany 2018 Loves the sheer endless possibilities to combine flavours. Therefore, she loves to create drinks from essentially everything you place in front of her. Currently Head Bartender at Bonvivant , she and her colleague work on the combination pf food and drinks. Additionally, her personal project dualities aspires to work towards reviving the Bar as a place for critical and exhilarated place for discourses on Art, Politics, as well as joy and gusto. Simply, a place for relaxed conversation and meeting of people.
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Niemand Dry Gin
s r u o l o True C Recipe: Yvonne Rahm
INGREDIENTS Mash a 2x5cm piece of watermelon very well in a cocktail shaker
1,5 cl
sugar syrup
1 bsp
(bar spoon) rose water
4,5 cl
Niemand Gin
1 cl
aquafaba (chickpea juice)
2 cl
Belsazar RosĂŠ Wermouth
Garnish
1,5 cl
lime juice
Freshly grated nutmeg and dried rose leaves (can be found in the tea section).
INSTRUCTIONS 1. Tightly pack the ingredients and shake them cold over ice, then pour them through a very fine sieve (e.g. tea sieve) into a pre-chilled cocktail bowl. 2. Grate some fresh nutmeg over the top and decorate with a couple of rose leaves.
Cheers!
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NIEMAND DRY GIN
INDUSTRY NIEMAND-GIN.DE
SPIRITS HEADQUARTER TELL US A LITTLE BIT ABOUT THE BRAND AND THE GIN.
HANNOVER FOUNDERS SEBASTIAN MARIA OTTO T O R B E N PA R A D I E K NIEMANDGIN NIEMAND DRY GIN
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Nobody (»Niemand«) is like you. Wood meets flower. The premium handcraft gin foregoes the usual citrus note and captivates with its floral, soft note. Sandalwood, lavender and rosemary shape this gin and invite you on a dreamy stroll. The inspiration for the main ingredients — lavender and sandalwood — comes from the world of perfumery that also
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inspired the stylish glass bottle. Niemand Gin Dry is the first gin that uses a type of wood as a botanical – exceptional and unique. Behind it are the two creative businessmen Sebastian Maria Otto and Torben Paradiek who already made a name for themselves with »Gin Flight« – seasonings to refine gin and tonic. At the International Spirits Competitions 2017 in Los Angeles and New York, respectively, Niemand Dry Gin won two silver medals, also a gold medal in China. It won gold medals in Singapore in 2018 and in Japan in 2019 as well.
the elegance. It reduces the spiciness of the basic alcohol. WHO IS RESPONSIBLE FOR THE PRODUCTION AND DISTILL ATION OF THE GIN?
Niemand Dry Gin has been distilled in a small distillery in Hannover since 2015. HOW IS YOUR DISTILL ATION PROCESS DIFFERENT FROM THE CONVENTIONAL WAY?
It’s a classical London Dry procedure. The maceration comes first, then the distillation, then blending to 46%.
WHAT IS SO SPECIAL ABOUT YOUR GIN?
The recipe is unique! We left out the citrus note that is usually included and also put the juniper in the background. Our concept is: »Wood meets flower.« The main botanicals lavender, rosemary and sandalwood bring the flowery scent to the nose. Ginger and cinnamon provide for a slight spiciness in the finish. In all, we limited the selection to 10 botanicals. Apple, vanilla, pine nuts, coriander and juniper complement the package. WHICH NOTES ARE E SPECI A LLY IMP ORTA NT FOR THE GIN?
Lavender and rosemary are important for the scent and the taste – sandalwood brings
WHERE DO YOU GET YOUR JUNIPER?
Heide, Germany. WHAT WA S THE INSPIR ATION FOR THE PACK AGING? WHAT IS E SPECI A LLY IMP ORTA NT ABOUT IT FOR YOU??
The two botanicals lavender and sandalwood are inspired by perfumes. That’s why we designed the bottle like a perfume flacon. GIN AND TONIC: A BORING STANDARD DRINK OR AN UNRECOGNISED GENIUS?
Somewhere in between. It’s so easy to mix with a lot of variety, thanks to the many gin and tonic brands. The sugar and the carbonic acid make opinions diverge.
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GIN AND TONIC WITH CUCUMBER, LIME OR LEMON?
Definitely an apple slice in our GT! And if you like the visual appearance, you can add a branch of rosemary. SHOULD WE DRINK YOUR GIN PURE?
Our gin is very often drunk pure as an aperitif.
for everyone. Nowadays, the zeitgeist prefers less alcohol volume, »low ABV« in spirits and cocktails. That’s why we launched our Niemand liqueur with only 20% ABV in June 2019. The main notes — bergamot, cucumber and grapefruit — delight every palate. WHICH GIN COCK TAIL RECIPE IS YOUR FAVOURITE? WHAT IS E SPECI A LLY HIP THI S SUMMER?
IS GIN STILL IN?
Yes! Gin is firmly established in the supermarket shelves and the back buffets of bars. Thanks to the wide range of flavours, there is something
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For us, it’s still the Niemand Perfect-Serve: Gimlet with 6 cl Niemand Gin, 4 cl lemon juice and 2 cl sugar syrup.
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Humboldt Dry Gin
s n i l l o C s u o r tu Adven INGREDIENTS
4 cl
Humboldt Dry Rye Gin
2 cl
lemon juice
1 cl
Spreewald Destillerie red currant liqueur
Soda
1 cl
sugar syrup
Garnish
Lemon wedge.
INSTRUCTIONS 1. Pour gin, sugar syrup and lemon juice into a long drink glass with ice cubes, stir and top with soda. 2. Pour over the red currant liqueur.
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HUMBOLDT DRY GIN
INDUSTRY
HUMBOLDT-GIN.DE
SPIRITS HEADQUARTER TELL US A LITTLE A LITTLE BIT ABOUT THE BRAND AND THE GIN.
BERLIN/BRANDENBURG FOUNDERS SEBASTIAN BRACK STEFFEN LOHR BASTIAN HEUSER HUMBOLDT_GIN HUMBOLDT GIN
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Humboldt Gin emerged in collaboration with the botanical garden and botanical museum Berlin-Lichterfelde and the curators of the exhibition »The brothers Humboldt« in the German Historical Museum. They had the idea of creating a gin in honour of Alexander von Humboldt and on the occasion of his 250th
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birthday. The gin is based on the botanicals that Alexander von Humboldt archived and described for Europe for the first time. We liked the idea so much that we soon abandoned our principle: »We don’t make gin.«! WHAT IS SO SPECIAL ABOUT YOUR GIN?
I think its history and its inspiration make it special. We were allowed to roam through the archive of the botanical museum with the botanists and choose from over 3,000 plant samples the great Alexander von Humboldt himself picked on his trips to South America. For the gin, we chose seven, partly quite exotic, botanicals that define the character of the gin: »» Angostura bark & guaran seeds from the Orinoco River »» Congona (cinnamon pepper), cinchona bark and blue sage from the Andes »» Pimento from the Caribbean Islands »» Epazote (Mexican-tea) from Mexico
WHICH NOTES ARE E SPECI A LLY IMP ORTA NT FOR THE GIN?
We created a classical gin recipe, which was then refined with the seven lead botanicals. This way, a gin emerged that appears floral and fresh as well as aromatic and powerful, thanks to its rye base. WHO IS RESPONSIBLE FOR THE PRODUCTION AND DISTILL ATION OF THE GIN?
My partner, Steffen Lohr, is our »master distiller«. HOW IS YOUR DISTILL ATION PROCESS DIFFERENT FROM THE CONVENTIONAL WAY?
We distil the gin after a short maceration of the botanicals in rye distillate in our hybrid pot stills, which we also use to distil our rye whiskey. WHERE DO YOU GET YOUR JUNIPER?
From the specialist trade! It might not have been harvested at full moon by virgins, but it’s organic.
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WHAT WA S THE INSPIR ATION FOR THE PACK AGING? WHAT IS E SPECI A LLY IMP ORTA NT ABOUT IT FOR YOU?
My other business partner, Sebastian Brack, is responsible for the packaging. The whole thing was created in collaboration with the graphic studio Editienne. The bottle is plain and lowkey which makes it all the more noble. Surely, Alexander von Humboldt was like that as well! GIN AND TONIC: A BORING STANDARD OR AN UNRECOGNISED GENIUS?
Gin and tonic always works. I love it! GIN AND TONIC WITH CUCUMBER, LIME OR LEMON?
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Humboldt gin and tonic with grapefruit or orange, I personally, however, love my gin and tonic without any vegetables. SHOULD WE DRINK YOUR GIN PURE?
Everybody does what they like most. I’m not into dogmas. IS GIN STILL IN?
Apparently so because the whole world still talks about it and buys gin like crazy. We will see in the next two to three years how much
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growth is still possible. I think that the limit will be reached then. WHICH GIN COCK TAIL RECIPE IS YOUR FAVOURITE? WHAT IS E SPECI A LLY HIP THI S SUMMER?
My absolute favourite among the gin drinks is the Last Word. You shake gin, Chartreuse Verte, Maraschino and lime juice in equal shares on ice and pour it in a precooled Coupette glass. A splendidly refreshing and also complex drink!
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Wonderleaf
y a d a f a e l r e d a won INGREDIENTS 6 cl
Wonderleaf
Garnish (optional)
/ 4
green apple
A slice of apple.
2 cl
lavender honey
3 cl
lemon juice
2 cl
egg white
1
INSTRUCTIONS 1. Lightly crush the apple in a shaker using a mortar. 2. Add the other ingredients and shake them over ice. 3. Pour through the sieve into a tumbler with cubed ice.
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Siegfried Rheinland Dry Gin
z z i F e m o s Awe INGREDIENTS
3 cl 1,5 cl 3 cl
Siegfried Rheinland Dry Gin
2 cl
sugar syrup
8 cl
Soda
Raspberry Schnaps (e.g. by Schladerer)
Garnish
lemon juice, freshly pressed
Lemon slices.
INSTRUCTIONS 1. Shake raspberry schnaps, gin, lemon juice and sugar over ice, pour into a long drink glass, top with soda.
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SIEGFRIED RHEINLAND DRY GIN & WONDERLEAF
INDUSTRY SIEGFRIEDGIN.DE
SPIRITS
TELL US A LITTLE BIT ABOUT THE BRAND AND THE GIN.
HEADQUARTER BONN FOUNDERS RAPHAEL VOLLMAR GERALD KOENEN SIEGFRIEDGIN SIEGFRIED-RHEINLAND DRY GIN
With its numerous top accolades at worldwide competitions, Siegfried Rheinland Dry Gin is one of the best gins on the planet. It’s distilled in small batches with traditional craftsmanship, exquisite ingredients as well as tranquillity, patience and a lot of attention to detail. WHAT IS SO SPECIAL ABOUT YOUR GIN?
SIEGFRIED GIN
Big name, a lot behind it: In the Nibelungen
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saga, the linden tree played an important role when a linden leaf changed the life of the heroic dragon killer Siegfried permanently. In this gin, the linden tree also makes the difference. Eighteen botanicals, the linden blossom being one of them, create the balance in our Siegfried Rheinland Dry Gin. A special flavour profile emerges which made it the highest-rated gin of the world in blind tastings. It’s not the packaging that distinguishes us but the content. You can find an overview of our awards here WHICH NOTES ARE E SPECI A LLY IMP ORTA NT FOR THE GIN?
The linden blossom is the lead botanical and not only creates the symbiotic connection between the brand and the distillate but provides the gin with its distinctive flavour profile. WHO IS RESPONSIBLE FOR THE PRODUCTION AND THE DISTILL ATION OF THE GIN?
The Rheinland Distillers GmbH is responsible for the production and the distillation. HOW IS YOUR DISTILL ATION PROCESS DIFFERENT FROM
THE CONVENTIONAL WAY?
The Siegfried Rheinland Dry Gin is distilled conventionally, thus traditionally. However, it’s getting »wild« with our non-alcoholic version Wonderleaf. We have taken completely new paths here and taken the spirit further. We worked a long time to achieve the optimal extraction of the aromas. We can’t go into details, but it generally applies that we distil the botanicals classically but more potently than for gin. Of course, we only use natural botanicals. We categorically reject artificial flavours.. WHERE DO YOU GET YOUR JUNIPER?
We always use the best quality possible. We purchase where we find the highest quality. WHAT WA S THE INSPIR ATION FOR THE PACK AGING? WHAT IS E SPECI A LLY IMP ORTA NT ABOUT IT FOR YOU?
Before we made the name SIEGFRIED respectable again, we thought about how we could tone down this outmoded, massive name in a skilful way. That’s why we opted for the clear glass apothecary bottle.
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Our approach is edgy and clean – naturally, we didn’t follow the trend with that. Our company doesn’t have a heritage and doesn’t pretend to have one. We also waive references to the Nibelungen saga, dragons and swords. It’s important for us that WE like our packaging. We are all the more happy that »the others« like it too – which was confirmed by the German Design Award 2018 in the packaging category. GIN AND TONIC: A BORING STANDARD DRINK OR AN UNRECOGNISED GENIUS?
Gin and tonic is anything but underestimated. Instead, it’s one of the most popular long drinks of the Germans.
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And with Wonderleaf, there is an alcohol-free alternative now that significantly increases the enjoyment factor for those who don’t want or mustn’t drink alcohol. GIN AND TONIC WITH CUCUMBER, LIME OR LEMON?
We always say: Anything goes! However, the garnish is not everything because the quality of a long drink starts with the preparation. Next to high-quality products, it’s important to use good ice. SHOULD WE DRINK YOUR GIN PURE?
It’s very important to know that our Siegfried 150
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Rheinland Dry Gin is in the high-end sector of crafted spirits. In order to evaluate the fine taste nuances and the mature interplay of aromas, you should taste every (alcoholic) gin at room temperature and pure to discover the differences. IS GIN STILL IN?
Our answer: Of course, gin is still in! All first movers, pleasure nerds and people interested in gin opened the door and paved the way for us to encounter »exotic products« in more and more places. They also made possible that the variety of the gin world evolves in the future. Gin is far from out because now, the spirit gradually reaches the mainstream. Nevertheless, we think that the time of the big brands and the domination of the market by single brands is over. This is because the consumers want this variety and there are different tastes. Beyond that, we discovered another need of the consumers and launched
a non-alcoholic version named Wonderleaf within our core brand – as the only spirit producer to date. WHICH GIN COCK TAIL RECIPE IS YOUR FAVOURITE? WHAT IS E SPECI A LLY HIP THI S SUMMER?
It’s almost impossible to answer this question briefly and in only one sentence since our very different moods lead to the answer. There is a clear trend towards conscious enjoyment and a reduction of alcohol. That’s why in summer, light drinks play a central role.
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S A L Z B U R G A N D A M S T E R D A M I N
Comfortable and stylish
MY JO URN E Y W IT H A RA
PROMO
Project manager SOPHIE SIEKMANN Assistant to the project manager THERESA BAIER Models DANIELA HEROLD K ATJA S C H O F F R O Photos LALE TÜTÜNCÜBAŞI Videos CLAUS KUHLMANN
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Hair & Make up PAT R I C I A H E C K
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COM FO R T&Astylish BLE Over the course of this year, we are discovering the most beautiful places in Europe while wearing ara shoes. Together with the influencers Dani from @dani_nanaa and Katja from @emmaleinswelt we went to the Netherlands and Austria and the two took a closer look at Amsterdam and Salzburg for us. They were wearing the most beautiful ara shoes from autumn and winter 2019! Read about Dani’s and Katja’s adventures and what the new ara shoes can do!
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PROMO
Romantic town canals and bikes – Dani in Amsterdam
R O MA N T IC SISTER-MAG.COM
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JA C K S O N a ra
B O OT
Blogger DANI just became a mum and loves sharing the newest fashion and lifestyle trends with her followers on her BLOG and INSTAGRAM .
She knew one thing right away: »If I’m going to be out and on my feet a lot, I
Together with her husband
am going to need
and son Milo, Dani travelled
comfortable shoes!
to the Dutch capital in early
But they should
July to discover the city’s
also look good,
most beautiful corners and
that’s important to
give the new ara winter
me too.«
models a spin.
WATC H D A N I ’ S V I D E O H E R E
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PROMO
A LO N G A L L O F T H E S M A L L TOW N CA N A L S , D A N I TO O K A S T R O L L – C O M E R A I N O R S H I N E , T H E N E W A R A M O D E L S A R E P E R F E CT FO R T H I S T R I P :
»My favourite model is the cognaccoloured winter boot JACKSON. It won the »Freundin Perfect Piece Award« for fall / winter 2019 and I love it because it goes with numerous outfits and is super comfortable. It also keeps my feet
> = fect r e p .
C L I C K H E R E TO G E T TO T H E a ra O N L I N E S H O P
toasty!« SISTER-MAG.COM
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JAC K S O N W I N T E R B O OT ara
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stylish SISTERMAG 52 | 09 / 2019
PROMO
I F YO U P R E F E R B L AC K , YO U CA N W E A R T H E ara M O D E L JAC K S O N I N T H I S C O LO U R W I T H HIP CROCODILEPAT T E R N .
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CO U R T YA R D ara
S N E A K E R
To switch it up from wintery boots, Dani put on the autumnal SNEAKERS COURTYARD in black with gold writing. COMFORT WIDTH H makes this sneaker an especially comfortable companion!
In the pedestrian zone in the old town or at the modern SCIENCE CENTRE NEMO by the docks: Dani fully enjoyed her time in Amsterdam and had no problem walking around for hours in her new ara shoes – and she stayed true to her fashionista style.
T H E S P E C I A L T H I N G A B O U T T H E JAC K S O N B O OT S I S T H E a ra H I G H S O F T F E AT U R E – T H E PA D D E D I N S O L E I S V E R Y S O F T A N D E X T R A C O M FO R TA B L E . T H E S H O E S A L S O H AV E T H E a ra L I G H T CELL SOLE SO THE SHOES ARE VERY LIGHT DESPITE THE C O M PA CT A P P E A R A N C E .
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PROMO
Katja with Frieda in Salzburg
On
M ZA R ' footsteps
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Instagrammer KATJA travelled to the picturesque city of Salzburg with ara – and she wasn’t alone: right on top of her suitcase thrones her sweet Maltese dog Frieda. At 1.5 years she’s all grown up but still looks like a puppy. And she’s just as curious! The two discovered the traditional old town of Salzburg, strolled through the small lanes and even hiked up the famous Kapuziner mountain – all wearing different ara shoes from autumn and winter 2019.
ara
B O OT
JAC K S O N
The stylish ara high boots JACKSON took Katja through the pedestrian zone to the house where Mozart was born and the very special square of the Salzburger Dom.
ara
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A S P E N
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ara Boot JACKSON
PROMO
ara Cityshopper Melrose
K ATJA
»The black high boots by ara are my f av o u r i t e s . T h e y m at c h s o m a n y outfits and are perfect for autumnal w e at h e r ! «
C L I C K H E R E TO G E T TO T H E a ra O N L I N E S H O P
Just like the red ara boots JACKSON , which Katja wore to enjoy the views from the Kapuziner mountain, the high boots also feature the ara HighSoft innovation to guarantee a super soft and comfortable walking experience in both models!
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W H AT M A K E S T H E a ra H I G H S O F T S O SPECIAL?
The basic thought behind developing HighSoft was to take the walking experience of a sneaker and apply it to other shoes. By combining super soft outer materials with a highly flexible sole and a softly padded insole, we achieve the indescribably comfortable walking experience of the HighSoft.
The models n Jackson & Aspe t have both a ligh cell sole!
ara BOOT ASPEN
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PROMO
WATC H K ATJA ‘ S V I D E O H E R E
The next day, Salzburg cooled down and Katja had to get out her trusty umbrella. Her feet were perfectly equipped with the ara boots ASPEN : This model features warm lining and GORE TEX ® which make it the ideal shoe for cold and wet autumn and winter days. With the warm lining and GORE TEX ® material, the shoes are waterproof but still breathable. SISTER-MAG.COM
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ara BO OT A S P E N
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PROMO
C L I C K H E R E TO G E T TO T H E ara O N L I N E S H O P
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ara
GO RE TFeatuEre X
X X X
ara shoes with
JAC K S O N B O OT a ra
At ara , you’ll find a wide range of shoes that are equipped with GORE TEX ®. GORE TEX ® is known for its reliable weather protection. It keeps water out and still carries sweat and moisture outside. This is due to the unique GORE TEX ® membrane. The GORE TEX ® membrane has more than 1,4 billion pores per square centimetre. The pores are 20.000 times as small as a drop of water and about 700 times bigger than a molecule of steam. Thanks to this characteristic, sweat can evaporate while water is kept out by the membrane.
Katja feels at home in Salzburg: »This city is worth a trip! You can go shopping and the architecture is truly impressive! I am already looking forward to coming back. With my new ara shoes , I am perfectly equipped for a long day on the town no matter the weather.«
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Have you found your new favourite ara shoes yet? Wait for more exciting models in the next issues which are taking us to Barcelona and Dublin – the camera always by our side. Get excited! SISTERMAG 52 | 09 / 2019
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September is for fresh starts: This applies to our wardrobes, also. We’re not yet into full-on winter clothes which is why we’ll show you the newest siserMAG collection on the following pages. This time, we opted for blush pink and mixed it with blue-green accessories and specials. As a special highlight, we include the pattern for the box-shaped blouse to download.
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PHOTOS: Jaclyn Locke STYLING & DESIGNS: Evi Neubauer MODEL: Katharina Handel HAIR & MAKEUP: Tina Fischbach
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ONE The outfit for everyday: The pattern for the trouser is from issue 41 (business trousers) – this time, in blush pink. Perfectly combined with our light and box-cut linenblouse, adorned by a pointy collar and thick buttons on its sleeves.
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sisterMAG 52-1 Box-cut linen blouse
sisterMAG 41-7 Slim-cut business trousers
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sisterMAG 52-2 Double-brested jacket
TWO The sophisticated version of this outfit: The doublebreasted jacket with short sleeves. We’re combining it with the trousers from issue 40 and the little fur bag made after our DIY instructions from our sisterMAG Christmas issue!
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sisterMAG 52-3 The blushpink cotton wool coat
THREE The centre piece of our collection: The blushpink cotton wool coat is just ideal for the between season from summer to winter. The small hat with bow, literally tops of this outfit!
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FOUR The perfect dress for those last warm autumn days or when worn with a cardigan, to face those days with a little chill in the air. What makes this dress so special is not only the great fabric from Italy, but also the lovely simple cut which still shows no signs of bagging.
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sisterMAG 52-4 Midi Slipdress in green
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A
L I T T L E
P R E V I E W
O F
T H E
B E S T
N E W
R E L E A S E S
new books abouT »bauhaus«
SIST E RMAG PRE SE N T S:
BAUHAUS
Text & Sourcing MARTINA KLARIC
& CAROLIN KRALAPP
The Bauhaus has always been the subject of countless publications and novels. As the famous art school celebrates its centenary in 2019, publishing numbers are rising once again. Here’s a little preview of the best new releases – maybe one or the other will find its way onto your shelves? See for yourself...
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»ITTEN, GROPIUS, KLEE AM BAUHAUS IN WEIMAR« Christoph Wagner takes on the big task of telling the history of the Bauhaus in Weimar (1919-1925) using the newly evaluated works of Johannes Itten as a source. The focus is on the relationships between Johannes Itten, Walter Gropius, Oskar Schlemmer and Paul Klee. A new point of view to understand the aesthetic utopia of the Bauhaus. (only available in German)
»Itten, Gropius, Klee am Bauhaus in Weimar« Christoph Wagner Utopie und historischer Kontext Gebrüder Mann Verlag 2019 (to be published) ISBN 978-3-7861-2615-7, Ca. 69,00€
»Moholy Album. Changing Perspectives on the Roadmaps of Modern Photography, 1925-1937« Laszlo Moholy-Nagy Steidl Verlag, Göttingen 2019 ISBN 978-3958-2910-72 68,00€
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»TOD AM BAUHAUS. NORMA TANNS ACHTER FALL« A politician is shot in front of the German National Theatre in Weimar. Private investigator Norma Tann starts a new case as her friend Timo suddenly vanishes – the only hints seem to be a piece of Bauhaus-furniture and a glass negative from Bauhausphotographer Lucia Moholy. An incredible case takes us back to the years of the Weimar Republic... (only available in German) »Tod am Bauhaus. Norma Tanns achter Fall«, Susanne Kronenberg Gmeiner Verlag, February 2019 ISBN 978-3-8392-2399-4 13,00€
»MOHOLY ALBUM. CHANGING PERSPECTIVES ON THE ROADMAPS OF MODERN PHOTOGRAPHY, 1925-1937« A world premiere: Hattula Moholy-Nagy, daughter of artist and Bauhaus-craftsman László Moholy-Nagy, has opened her archives and published MoholyNagy’s album of contacts from
1925 to 1937. The formerly unseen source of pictures shows new aspects of his photographic works: the play between film and photography, as well as his travels through Europe.
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»WALTER GROPIUS. DER ARCHITEKT SEINES RUHMS« Walter Gropius – one of the greats of modern architecture. But what did he really build? Not a lot. After two years at university, he quickly discovered that he was missing the talent to become an architect. Bernd Polster meticulously researched the life of Gropius and put together something other than a hero’s tale. A different kind of biography. (only available in German) »Walter Gropius. Der Architekt seines Ruhms« Bernd Polster Carl Hanser Verlag Munich 2019 ISBN 978-3446-2626-38 32,00€
»The Hiding Game« Naomi Wood Pikador, July 2019 ISBN 978-1509892785 22,00€
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»ILSE SCHNEIDERLENGYEL. FOTOGRAFIN, DICHTERIN. EIN PORTRÄT« During the 1920s, she was one of the women to open up contemporary art: Ilse SchneiderLengyel (1903-1972). She studied ethnology, art history and became a photographer at the Bauhaus and published her first photo book about indigenous masks in 1934 – inspired by the »New Seeing« of László Moholy-Nagy. An intriguing portrait about an artist and her varied works. (only available in German) »Ilse Schneider-Lengyel. Fotografin, Dichterin. Ein Porträt« Peter Braun Wallstein Verlag, Göttingen 2019 ISBN 978-3835-3339-01 24,90€
»THE HIDING GAME« Wood’s new novel is a contemporary dedication to the Bauhaus art school. In the flourishing Weimar of 1922, five young students meet and form close friendships based on their
mutual love of avant-garde art. As friendship turns to happy and fateful love, Wood masterfully leads us through a time of blooming and tragic change.
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Text: Robert Eberhardt
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W A L K
Bauhaus in Weimar
RE DISCOVE RIN G
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Despite its small size, Weimar, the royal seat of Thuringia, became THE German Âťcourt of the musesÂŤ in the 18th century, attracting writers, scholars, artists and musicians. This, in turn, influenced future generations so 187
that countless cultural celebrities, including Franz Liszt, Friedrich Nietzsche and designer Henry van de Velde, made Weimar their home.
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10 tips
R E D I SC OVERI N G B AU H AU S I N W EI MAR The Grand Ducal School of Fine Arts, founded by van de Velde in 1907, was responsible for Weimar emerging as the Bauhaus State in 1919 — a movement which revolutionised architecture and design and continues to have global aesthetic effects to this day. No Ikea design, Manhattan skyscraper or metropolitan loft would be complete without the Bauhaus design language. Although Bauhaus was forced to move to Dessau as early as 1925, the foundation for this modern design and construction revolution was already set in stone during the early years in Weimar.
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You can discover the Bauhaus phenomenon in many areas of this picturesque city. 10 tips for a trip to Weimar during the Bauhaus 100-year anniversary.
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MUSEUM Not far from the railway station, the Bauhaus pilgrim will find the brand new Bauhaus Museum, which could almost be mistaken for Mecca’s Kaaba — large concrete cube in which paintings, furniture, glass, textiles and various other Bauhaus items are exhibited, along with the movement’s history and its members. After years of deliberation, disappointed visitors might have wished for an airier museum in the style and tradition of the Bauhaus architecture, and not a bunker-like box. But through its almost windowless
facade, you are immersed in a Bauhaus world far away from the outside reality, a world completely in the thinking and design of the 1920s. You are quickly aware that the birth of Bauhaus was literally a group of crazy youngsters rebelling against their bourgeois contemporaries. One hundred years after its foundation, curatorial attempts are being made to compare the attitude and thinking of the 1920s to present day and that the design and art of the early Bauhaus years was anything but a singular episode. This makes
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B AUHAUS UNIVE RSITY it possible for creative groups to connect with a great history. You don't have curtains? Then you are Bauhaus! For many, attitudes of the Bauhaus movement, such as creative self-expression, love outside of bourgeois marriage and back to nature, go hand-inhand with our current living environment. At the same time, however, the museum tour reveals elements of Bauhaus that are largely outdated today, such as occultism or sexism that prevailed in the Bauhaus period. SISTER-MAG.COM
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Âť The birth of Bauhaus was literally a group of crazy youngsters rebelling against their bourgeois contemporaries ÂŤ
BAUHAUS
UNIVERSITY The Bauhaus University is a lively place to think and plan and is located near the Goethe House at Ilmpark.
Today, more than 4,000 students study design and technical courses here. In 1919, Walter Gropius decreed in his Bauhaus manifesto that:
»Architects, sculptors, painters; we all have to return to crafts! Because there is no art by profession. There is no essential difference between the artist and the craftsman. The artist enhances the craftsman.«
Even though today's studies are more theory and credit-point oriented, the Bauhaus spirit lives on through the students’ lifestyle and work as no other university can. The main building of the university is worth a visit. It was built between 1904-1911 and designed by Henry van de Velde as the »GroßherzoglichSächsischen Hochschule für Bildende Künste«. It has been a UNESCO World Heritage Site since 1996 and additionally houses a very well equipped and modern library which shouldn't be missed.
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POPLARS The Belgian designer Henry van den Velde lived in this Art Nouveau villa built in 1906-07 until 1917.
The residential building is certainly not a Bauhaus building but it does reflect van de Velde's architectural principle. The exterior of the house is a result of the interior structures and function of the individual rooms. High Poplars is not characterised by the decor and ornate facades but the idea of a reduced and functional design language. This restrained and elegant aesthetic equals Bauhaus thinking.
H I GH - POP L AR S
AT HOR There is only 16 years difference between the construction of High Poplars and the House at Horn but what an architectural quantum leap.
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HOUS E AT HORN
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The flat building, 12x12 metres, is the only Bauhaus in Weimar in which both the modern-living ideas of master and student were presented paradigmatically. The House at Horn was built for the Bauhaus exhibition of 1923. According to Walter Gropius’ modular principle, the building was to be a costeffective model house for a small, working family. The construction was carried out by the Social Bauhütte, a trade union organisation developed by Bauhaus. The House at Horn can be walked through entirely. All rooms are arranged around a central living room that is illuminated from above. After an eventful history, it was renovated in 1998-99
in its original style and the authentic furniture partially reconstructed. As you go through the house, you might ask yourself whether you would want to live in such a clear, cool building. Oddly enough, a »no« wouldn't be an exception to the prominent Bauhaus artists who stayed mostly in tranquil and cosy apartments. Even if today's Ikea style makes a lot of reference to Bauhaus design, the colour-filled room ensemble at the Goethe House radiates today's ideas of living just as strongly as
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WEIMAR If you would like to understand the historical, aesthetic and ideological background on which Bauhaus was founded in Weimar from 1919 onwards, then the exhibition in the newly reopened New Museum is for you.
in 1923. Anyone who wants to understand why our modern-day apartments look the way they do can gain excellent insights in Weimar. A mixture of Biedermeier cosiness and Bauhaus elements characterises most of contemporary furnishings and, yes – right in your own living room! SISTER-MAG.COM
Many consider its concept even better than the neighbouring Bauhaus Museum. The tour shows a fascinating intellectual scene of early modernism in the city. In addition to the »Weimarer Malerschule« (Weimar school of painting), visitors can discover the work of the impressive cosmopolitan Harry Graf Kessler, the designer Henry van de Velde and the brilliant thinking and wild conceptions around the turn of the 18th century under the formative influence of Friedrich Nietzsche. 194
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ARCHIVE The philosopher Friedrich Nietzsche spent the last years of his life in madness at the former villa Silberblick. After his death, his sister Elisabeth had Henry van de Velde redesign the building in 1902.
This was not yet done in the Bauhaus style, but the interior architecture and furnishings are among the most successful creations of the Belgian architect and designer who, as head of the Weimar School of Applied Arts, coined the Bauhaus nucleus.
Š R.MÜhler, CC BY-SA 3.0 https://bit.ly/2HA45HY
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T EMP L E E STATE
ESTATE In Weimar’s urban area, many residential buildings are known to have housed the heroes of the Bauhaus during the short-lived Weimar years. Most of them are privately owned and are no longer accessible. However, the memory of Bauhaus master Johannes Itten is connected with a public building even though only parts of it have survived due to war damage: the Temple estate in Ilm Park. The neo-Gothic building was once a garden salon for the Ducal family and Johannes Itten had his studio in the building. And because the rational Bauhaus movement was also an institution of Dionysian
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celebrations, it housed lively festivities organised by Bauhaus members. Among other things, this was meant to resolve conflicts between stubborn artists or with the public, as Ilse Gropius noted in her diary: »My husband has found that the best way to deal with these problems is to celebrate. It’s a kind of catharsis, a cleansing, like a thunderstorm — afterwards, the air is cleared. They laughed at each other, made jokes, and that was clearly the educational goal.« Oskar Schlemmer, the head of the theatre workshop proclaimed:
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»Tell me how you celebrate and I'll tell you who you are.«
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MONUMENT FOR THE Walter Gropius, the founder of Bauhaus, created this monument for the victims of the 1920 Kapp Putsch.
According to Gropius, the abstract monument a: »Flash of lightning from the grave as a symbol of the living spirit« is the only one of his architectural ideas to have been implemented in Weimar. Even though the monument is a reconstruction with slight changes made in 1946 (the original was destroyed by the Nazis in 1936), it’s worth exploring the unfathomable places of remembrance in Weimar city. In 1946 the monument marked the first anniversary of the liberation of the Buchenwald concentration camp.
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MO NUME NT FO R THE MARC H VICTIMS
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Y O U R S E L F
Hairclip
I T D O
Bauhaus hairclips
DIY
DIY Who doesn’t love the clear forms and lines, the bold colors of BAUHAUS? We definitely got inspired - Marie & Loris Rizzo have prepared a new DIY for the sisterMAG readers: hair clips made with BAUHAUS forms. The project is super easy and you simply need some FIMO clay that will harden in your oven. There is so much creativity in this project that you can also easily do with children – handmade DIY hair accessories. You can find our forms in your household items: glasses, lids or even a cocktail measuring cup served as cutters! M AT E R I A L
FIMO Clay (z.B. from idee-shop.com FIMO Acrylic roller SISTER-MAG.COM
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Hot glue gun Hairclips
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More sisterMAG-DIYs
here!
s DIY Hairclip
M AT E R I A L
FIMO Clay (z.B. from idee-shop.com FIMO Acrylic roller
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Hot glue gun Hairclips
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B Y
C A R O L E
P O I R O T
bauhaus recipes
FO O D FE AT URE
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B
C RE & L E OS R O OT A PH C
s e p i c e R
Y
O ES IP I R P O T
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e t e r c n Co
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You will need » » two 21cm s quare baking tins . » » Star t with the baking the day before you’d like to s er ve it. H OW IT’ S D ONE
S TEP 1
Preheat oven to 170C. Grease the cake tin and line with baking paper. Whisk the butter and sugar together with an electric mixer until pale and fluffy.
» » For the mos t accur ate and g eometr ic res ult, place a thick piece of cardboard ( covered in cling film) the s ame s ize of the cake on the top to be able to g et ver y s har p edg es when icing around it.
S TEP 2
Now add the eggs one by one and mix between each addition. Sift the flour into the mix and incorporate with a large spoon. Add a little bit of milk if the batter is too thick, it should have a droopy consistency. S TEP 3
Now divide the batter between the tins and bake for 25 minutes. Take the cakes out of the oven and leave to cool in the tin for 10 minutes. Cool completely on a rack. 205
Ingredients F OR THE BATTE R 250G
flour
250G
butter
250G
cas ter s ug ar
4
medium eg g s
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STEP 4
Wrap both cakes in cling film and refrigerate over night. The next day unwrap the cakes and cut off the dome if there is one. S T EP 5
Use a ruler to measure the middle of each cake and cut them in half. Whisk the butter until creamy (about 2-3 minutes), then sift the icing sugar into it. Gently whisk until combined. Add the vanilla extract and food colouring and mix again until combined. S T EP 6
To assemble the cake spread a layer of jam onto the first cake layer. Using a piping bag and round nozzle, pipe a layer of buttercream on top. Smooth slightly with a palette knife if needed. S TEP 7
Ingredients F OR THE F ILLING 150G
Blackcur r ant jam
250G
butter ( s oft)
500G
icing s ug ar
1TSP
vanilla extr act
A F E W DROPS
Place the second layer on top and top that one with jam and then buttercream. Repeat with the third layer. Place the fourth layer on top. S T EP 8
Now mix the butter, icing sugar, vanilla extract and a small amount of food colouring for the decorative icing. Icing the cake, part 1: Cover the cake in a thin layer of buttercream to keep crumbs from appearing on the outside later.
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of black food colour g el
F OR THE ICING 150G
butter ( s oft)
300G
icing s ug ar
½ TSP vanilla extr act 1 SMALL TUBE
Black food colour g el
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Refrigerate the cake for one hour and cover the bowl with the remaining buttercream. STEP 9
Mix some more colouring into the buttercream. Icing the cake, part 2: Take the cake out of the fridge and cover with a thicker coat of butter cream whilst still keeping some aside. Smooth as much as possible. S TEP 1 0
Icing the cake, part 3: Add more colouring to the buttercream and add the darker dots to the existing cake decoration. Smooth the darker dots into the buttercream to achieve the »concrete« look. Don’t worry about the icing being completely smooth, concrete usually isn’t. Refrigerate until ready to serve. SISTER-MAG.COM
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DOWNLOAD
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» » Yo u will need s ix s hor t t um bler g las s es about t he same diameter as t he bis cuits » » Mak es: 5- 6 Mini C akes , ½ a cake per per s on sho uld be enoug h
Hund Ingredients 20 0 G
dark chocolate ( 72%)
250 G
uns alted butter
2TS P
ins tant coffee
1 50 G
icing s ug ar
1 50 G
(roug hly 25- 30) bis cuits
HOW IT’S DONE
STE P 1
D OW NLOAD
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Line each glass with cling film and smooth it out as much as possible. Break the chocolate into small pieces. 210
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S TEP 2
Place the chocolate and butter into a saucepan and melt slowly over a very low heat. S TEP 3
Now add the icing sugar and whisk into the chocolate mix. Spoon a tablespoon of chocolate into the bottom of the glass. S TEP 4
Top with one of the biscuits. Now add another 1 to 1.5 tablespoons (enough to cover the biscuits) on top. S TEP 5
Place the next biscuit onto the chocolate. Repeat until you have used all 4 biscuits. S TEP 6
Top with another 1.5 tablespoons of chocolate. Repeat with the other glasses. Now refrigerate for at least 3-4 hours. S TEP 7
To take the cakes out of the glasses, gently warm each glass with your hands, then carefully pull the cling film to pull the cake out. Peel off the cling film and cut into halves to serve.
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Blac kcurr an
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nt & Cass is
»» M
ake
s: 6 jell ou ies ice will n eed cub lar e m a si ge oul lico (4. d ne 5cm for ) ic e c ube s »» Y
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DOWNLOAD
Ingredients 60 0G
b l a c kc ur r ant s
50 ML
c a s si s
1 5 0G
c a s t e r sugar
Jui c e o f 1 lem o n
6
g e l a t i n e leaves
STE P 4
Put a clean muslin cloth into a sieve and place over a bowl or jug. Pour the fruits into the sieve and leave the juices to drip into the bowl/jug. STE P 5
H OW I T ’ S D ONE STEP 1
Put the gelatine leaves into cold water and leave to soak for 5 minutes. S T EP 2
Wash the blackcurrants and put into a saucepan with 250ml water, the sugar and lemon juice. STEP 3
Cook for 2-3 minutes over a medium heat until the fruits are softened.
Use a wooden spoon to press some more liquid through if needed. Now take the gelatine out of the water and squeeze the remaining water out. STE P 6
Add to the fruit juice and stir until dissolved. Add the cassis and then pour the liquid into the ice cube mould. STE P 7
Leave to cool before refrigerating for at least 2 hours. Serve the jellies on their own or garnished with fruits and cream.
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H O W T H E C O O P E R A T I O N B E T W E E N S C H O T T J E N A E R G L A S S A N D T H E D E S I G N S C H O O L R E V O L U T I O N I S E D G L A S S
DE SIGN
Bauhaus Design at home
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When the German art school Âťthe BauhausÂŤ was founded in 1919 to unite art and technology, no one could have possibly known that the cooperations and creations forged would one day be known all over the world. 218
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Text : M A R L E N G R U N E R Illusta t i o ns : D R E W W I E B E
The collaboration with the manufacturer of speciality glass SCHOTT, in particular, is quite remarkable. Resourceful Bauhaus students and master craftsmen breathed new life
into its glass. The result, design classics such as the »Sintrax« coffee maker, the »Wagenfeld tea set« and the »egg coddler« could be found in many households worldwide.
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THE DESIGN SCHOOL EXISTED FOR 14 YEARS
Founded in Weimar in 1919, it closed its doors in Berlin in 1933. A relatively short amount of time, but those 14 years had a significant and lasting impact on art, design and architecture – and still does to this day. Artists, craftsmen and architects worked side by side, gaining creative inspiration. This unification of art and technology was the experimental yet principle approach of the design school, bringing together form and function. A philosophy that the Bauhaus students and master craftsmen passed on to the Jena company SCHOTT. CHOTT- S O T T O -
From glass in a lab TO DOMESTIC USE
In 1887, the chemist Otto Schott created a heat and chemical resistant glass, socalled borosilicate glass. This fire-proof speciality glass was mainly used for laboratory devices such as lighting glass, pharmaceutical ampoules and bottles. Otto's son Erich Schott took over the company management in 1927. Bauhaus founder Walter Gropius approached him after
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the famous model home »Haus am Horn« exhibition at the school in 1923. Glass baking dishes from SCHOTT – named »Schott & Gen.« at the time – were exhibited in its kitchen. Gropius had detected certain »formal weaknesses« in the »superb baking dishes« and offered Schott a collaboration.
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SCHOTT HITZEBESTÄNDIGES KOCHGESCHIRR
Seeing a chance to break into new markets with potential innovations, Schott accepted the offer gratefully. In 1931, Erich Schott hired former Bauhaus student Wilhelm Wagenfeld after hearing him speak on »machines and craftsmanship« . Wagenfeld is said to have criticised Schott in his presentation by saying »You commission scientists and technicians, but no artists«. Challenged by this, Schott answered: »Then show me what you can do«. The task was to work on old models and create new ones.
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Wa gen feld
designs legendary tea set
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TEA SET
What he did: In 1931, Wagenfeld studied glass to find out which possibilities it offered in terms of design and function.
In the same year, he designed the famous tea set that combined the Bauhaus principle of artistic design with practical use. The set is composed of plates, cups, sugar and creamer and the iconic teapot which became a design classic. And all resistant to chemical and mechanical influences. These designs were as complex as they were simple. They made Wilhelm Wagenfeld one of the most important industrial designers of his time and beyond.
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egg
Wagenfeld creates
coddler EGG CODDLER
Until 1935, Wagenfeld had created a whole range of household glass items including, cooking and baking utensils, casserole dishes, pressed glass plates, sauce boats, jugs and the egg coddler.
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Created in 1933, the egg coddler would make design history due to its distinctive shape and various possible uses. And if you are wondering how you would use it to coddle eggs, then its fairly simple: A raw egg is broken into the coddler, salt and herbs are added, the lid and clips are put on top and the coddler is then placed in a bain-marie for up to six minutes. Additional ingredients can be added. After the success of the egg coddler number 1 for one egg, number 2 for two eggs followed and subsequently two large models in L and XXL.
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Marcks develops the
Sintrax
Back to Bauhaus and another innovation. Although sculptor and graphic designer Gerhard Marcks managed the ceramic workshop until 1925, this did not stop him from studying glass.
COFFEE MAKER
In 1924/5, he created his first drafts of the »Sintrax« coffee maker for the glass factory Schott & Gen. in Jena. His ideas were inspired by the »Sintrax« glass filtering devices from the 19th century. Marcks utilised their vacuum suspension or negative pressure system and combined this technology with the fire- resistant glass from SCHOTT. He then gave his coffee maker a tasteful
and groundbreaking design. Its name is a combination of the words sinter – changing solid masses through heat – and extract. The »Sintrax« was presented to the public in 1926 and set into production as the first Bauhaus designed household appliance in 1927. The Sintrax would go on to be used in households all over the world.
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B Y
R O B E R T
E B E R H A R D T
5 bauhaus classics
DE SIGN
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T E X T R O B E R T E B E R H A R D T
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TABLE LAMP
W a g e n f e l d
WAGE NFE LD L AM P
THE »WAGENFELD L AMP«, ALSO KNOWN AS THE »BAUHAUS L AMP«, IS PR OBABLY THE MOST FAMOUS OF THE BAUHAUS PR ODUCTS
was 24 years old when he enrolled in the Bauhaus school. The Bauhaus had set itself the goal of giving industrial products not only practicality but beauty-ofform in high-quality materials – a task the young Wagenfeld fulfilled with flying colours when he designed the table lamp in 1923-24 under the instruction of Bauhaus master László Maholy-Nagy . Wilhelm
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The table lamp, made of metal and glass, included an especially designed matterof-fact worksheet on which the lamp’s advantages were listed: »best light-diffusion (tested exactly) in Jenaer Schott glass ; very stable; simple, pleasing form; practical for desk, bedside table etc; shade is screwed on, remains fixed in any position«. The lamp is still in production today.
T l
BAUHAUS
TALL LIDDEL POT
OTTO T a l l i d d e l p o t BY
LINDIG
THE BAUHAUS HAD VARIOUS WORKSHOPS, INCLUDING A CER AMICS WORKSHOP IN DORNBUR G. IT WAS HERE THAT OTTO LINDIG COMPLETED HIS TR AINING IN 1922 AND CREATED THE »TALL LIDDEL POT« AS HIS APPRENTICE PIECE.
He completely avoided the traditional forms of ceramic art and combined eccentric geometric shapes . Within its design, the pot reflects many
of the basic elements found in Bauhaus furniture, such as the cone, cylinder, sphere section, and circle. The jug becomes a sculpture in the true sense of the word, defined even by its lively yellow glaze. Lindig was promoted to technical and commercial head of the ceramics workshop in 1924 .
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MARCEL BREUER
C h a i r
BY
W a s s i l y
L e m
LY I S S A W
THE FAMOUS »NO B3 CHAIR« EARNED ITS NAME A LITTLE L ATER ON AFTER THE BAUHAUS MASTER WASSILY KANDINSKY.
Marcel Breuer , the director
became a design classic. Breuer's constructivist design using tubular steel revealed the chair’s structure and combined aesthetics and function in a revolutionary way. In 1933 Breuer fled Germany and established the Faculty of
of the Dessau furniture workshop and appointed by Gropius , had designed the chair as a new-age living showpiece. The chair Architecture at Harvard belonged to the Dessau University together with Bauhaus building , which Walter Gropius . opened in 1926 and soon
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k e
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LUDWIG
H o u s e
MIES VAN DER ROHE SIMPLE FORMS, A L ACK OF DECOR, CLEAR STRUCTURES, AND WHITE WALLS – THAT IS HOW MANY WOULD DESCRIBE THE AR CHITECTUR AL BAUHAUS ST YLE.
However, there was never a uniform style. Walter Gropius , for example, favoured cost-effective building with prefabricated elements, Mies van der Rohe wanted to melt the boundaries between interior and exterior space, and Ernst Neufert favoured a timber frame construction method. A hidden »architectural classic« can be discovered in Berlin’s Hohenschönhausen district. The house was Ludwig Mies van der Rohe ’s last creation before his
emigration to the United States. This was the building where von der Rohe developed his architectural principle of »flowing space« even though the building itself was a solid construction. And because the house was built at ground level, the rooms extended into the landscape. Open the windows of the study and it became a hallway, connecting to the terrace. Exhibitions and guided tours still take place here regularly.
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NORDDT. LLOYD
r o o m
e n g i n e
MS COLUMBUS VIEW OF THE ENGINE R OOM OF THE NORDDT. LLOYD
Thanks to inexpensive 35mm cameras, there was no shortage of photographs taken during the Dessau Bauhaus era, including by the »Meisterfrau« Ise Gropius . This photograph by Ise of the engine room on the transatlantic ship MS Colombus was taken during her seven-week trip to America in 1928 . It shows the »New Vision« aesthetic, away from traditional picturesque landscape views and towards the revelation of visible forms and structures. An image showing the design language of the new, technological world.
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ISE G R OPIUS
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R E P O R T F I E L D A – K R E F E L D I N
VISIT IN G T H E
Museen Haus Lange Haus Esters
Franck Bragigand
The Restoration of the Daily Life, 1998-2019, © Kunstmuseen Krefeld
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Hermann Lange and Dr. Josef Esters, are a real treat for lovers of architecture and the Bauhaus aesthetic. Now open as public museums, rooms are adorned with contemporary art that reveal the spirit of »NEW OBJECTIVITY« .
We’re certainly not revealing any secrets as it is now common knowledge: 2019 is the centenary anniversary of the Bauhaus. Countless publications, exhibitions and films are currently flooding the market and paying tribute to the art school founded by
Interview with Curator Sylvia Martin (Kunstmuseen Krefeld)
Walter Gropius in Weimar in 1919. There was no question, of course, whether we would dedicate an issue to the Bauhaus in the sisterMAG art year.
T E X T & I N T E R V I E W :
CA RO L IN KRA L A PP Even though Krefeld is certainly not the first city that comes to mind when thinking of Bauhaus, it has stood as a breeding ground for renowned Bauhaus figures and creative expression. The MUSEEN HAUS LANGE HAUS ESTERS , two residential houses which were built at the end of the 1920s by the architectural icon and last Bauhaus director LUDWIG MIES VAN DER ROHE as private houses for the wealthy silk manufacturers
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What is behind the art museums (Kunstmuseen) in Krefeld? How are they curated, and what does the museum collection contain? The Kunstmuseen Krefeld are the KAISER WILHELM MUSEUM in the city centre, which was financed by Krefeld citizens in 1897 and was founded as one of the first public museums, and HAUS LANGE HAUS ESTERS in a quiet residential quarter,
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which were built by LUDWIG MIES VAN DER ROHE as private houses. At KWM, various forms of art were shown at that time: arts and crafts through photography, and through classical exhibits of the fine arts. There has always been a very fruitful exchange between the museum and the artists. That remains to this day. HAUS LANGE was added in 1955 , and HAUS ESTERS at the end of the 1970s, which became accessible to the public in 1981 . Haus Lange Haus Esters primarily function as temporary exhibition houses in the contemporary realm, while the KWM houses its own collection, which has been growing steadily since 1897. It comprises more than 18,000 pieces from the fields of applied art, painting, sculpture, graphics, photography and new media. Our director, KATIA BAUDIN , who has been at the museum for three years, has somewhat readjusted the museum and is now once again focussed on the historical treasures. We are currently holding many exhibitions in which SISTER-MAG.COM
works from different centuries collide and invite visitors to think outside the box. The collection begins in the late Middle Ages, goes as far as contemporary art, and is continuously being expanded through acquisitions analogous to the exhibition programme. Very important positions are expressed in the art following 1945, namely those of artists such as DAVID REED and through larger collections by Gerhard Richter and Sigmar
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Polke. We are very happy to exhibit them.
On the occasion of the 100th anniversary of the Bauhaus, the Kunstmuseen Krefeld offer several exhibitions to mark the occasion. What do visitors expect when they come to Krefeld? Here in Krefeld, the public encounters two remarkable buildings in the NEW OBJECTIVITY STYLE : Mies van der Rohe’s Haus Lange and Haus Esters, which
were built between 1927 and 1930. It is easy to discover and feel the close connection between Mies van der Rohe and Krefeld, which was brought to fruition by the builder HERMANN LANGE . The houses are currently showing »ANDERS WOHNEN. ENTWÜRFE FÜR HAUS LANGE HAUS ESTERS« ,
a large exhibition where future living models are thematized as a special format in three acts: UTOPIA, MOBILITY, DYSTOPIA . A total of 14 artists and architects
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were invited to create something for this special place. Here we look back at the historical Bauhaus and also at our own site-specific tradition in moving towards the future. It was not meant to be a purely historical presentation, as it was also important for the Bauhaus to consider how to move forward. The exhibition »VON
Architect Ludwig Mies van der Rohe while drawing © Kunstmuseen Krefeld
ALBERS BIS ZUKUNFT. AUF DEN
in the Kaiser Wilhelm Museum, where masters and pupils of the Bauhaus are given a stage, is on until April 2020. For this exhibition the employees actually went on a search for traces through the museum’s collection and found, among other things, educational colour plates of the early 1920s by WASSILY KANDINSKY , which were stored for a long time in the archive. Those interested in architecture can also take a look at Mies van der Rohe’s only completed factory building, SPUREN
DES
BAUHAUSES«
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the VerSeid AG (Vereinigte Seidenwebereien) building in Krefeld.
What are the typical characteristics of Bauhaus art and architecture? It is difficult to determine and summarize them. The characteristics are very heterogeneous. First of all, there must be FUNCTIONALITY . This is complemented by AESTHETIC which is connected with the form. Playing with materials is also important. In architecture,
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Andrea Zittel
Installation view, summer house Esters, © Kunstmuseen Krefeld
it is the white cube that catches one’s eye. Nevertheless, the Bauhaus cannot be broken down to just a handful of stylistic characteristics. This is especially true in Bauhaus weaving or the ceramic workshops.
You already mentioned the architect of the Haus Lange and Haus Esters, Ludwig Mies van der Rohe – a renowned name. What should one know about this person?
LUDWIG MIES VAN DER ROHE was
born in Aachen and trained by the architect Bruno Paul in Berlin. During the time before his exile in Chicago, he was particularly interested in the »OPEN FLOOR PLAN« and materials. He was interested in »architecture«, the combination of building and art, which can also be clearly seen in Haus Lange and Haus Esters. Characteristic of his architecture is the free composition of walls in forming the building as a whole.
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Interior view with designed chairs by Ludwig Mies van der Rohe © Kunstmuseen Krefeld
Cubes are nested into each other and yet have the character of being open towards the outside. Basically, he was interested in the experience of space. Not so much in social building as GROPIUS , for example, but rather in experiencing space in connection with architecture, art and nature. The culmination of these aspects found form in the Barcelona Pavilion, built in 1928, before van der Rohe’s tenure in America. As the last director of the Bauhaus, he tried to sharpen the school’s focus on architecture and moved with the Bauhaus to Berlin. But with the increasingly difficult political situation in National Socialist Germany, which Modernism rejected, he was soon forced to close the building in 1933.
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Circling back to the exhibition: Do you plan to purchase works from »Anders Wohnen« in Haus Lange Haus Esters for the collection? If so, which ones?? We would like to acquire works from the exhibition but are still waiting until all the works from the three acts are in the houses. The third nude, »DYSTOPIE« , is still pending (on view from 15.09). But one or the other will stay in Krefeld. The former garden house of the Esters family, which the artist ANDREA ZITTEL has transformed into a café for the public, has already been bought with the generous donation of a Krefeld family. We are very grateful for this!
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field report
Ludwig Mies van der Rohe
Haus Lange, 1930, © Kunstmuseen Krefeld
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Olaf Holzapfel
Rückgabe Reimbursement Cells - Cellulare Dialektik, 2019, © Kunstmuseen Krefeld
Upon entering the first of the two houses by architecture icon LUDWIG MIES VAN DER ROHE , Haus Lange, you will be welcomed in the large hall – formerly the living and dining room – by works by the artists OLAF HOLZAPFEL and DIDIER FIÚZA FAUSTINO . When I enter, my gaze first wanders to Holzapfel’s »RÜCKGABE CELLULARE DIALEKTIK« (2019),
You feel isolated from what is happening outside. It is dark and quiet. In such a confined space you are completely alone, as if you had briefly pressed pause on life and all external influences are muted. Only a small opening allows a soft glow of light to enter from the outside. Emerging from the encasing feels like a reset, a new beginning, which inspires me to explore the rest of the exhibition.
a building within the building that stands out above all for its curved wall segments and halftimbered and reed materials. Walking along the work, one ends up in a small cell with rounded walls, which reveals itself as the core of the architecture. You can smell the natural material.
Faustino’s work also has a similar enclosing, somewhat binding effect on me. Guided by a passageway made up of sewn together aircraft ceilings, with every step one moves closer and closer towards the alarming »GLOBAL WARMING« (2019), which is attached to a large
REIMBURSEMENT
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CELLS
–
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»FRAGILE
Olaf Holzapfel
detailed view, 2019, © Kunstmuseen Krefeld
window pane and opens up to a view into the green garden of Haus Lange. Artistically and strategically very well executed, it forced me to pause for a moment as I became thoughtfully immersed at the window in looking at the cross-shaped camp beds outside, which are part of Faustino’s »REST IN PEACE« (2019) installation. There was little room left for thought. I was struck by the thought that sometimes art has to be oppressive and thoughtprovoking. Arriving on the upper floor, ANDREAS SCHMITTEN ’s work restores some happiness. His
KONSTRUKTION«
(2019) shows two models: Haus Lange and a mixed form of Haus Lange and Haus Esters in bursting colours. As it says in the description of the museum, his installations, sculptures and drawings almost always convey the impression of stagings, sets or toy landscapes, which I find very appropriate. One becomes immersed in a miniature landscape that at first glance resembles something of an amusement park. But if you dive deeper, they also evoke something melancholic and finite. It almost seems as if this optical exaggeration calls into question the effectiveness of modernism in the present, as was achieved, for example, by Mies van der Rohe. FRANCK BRAGIGAND ’s position
with his ongoing project »THE RESTORATION LIFE«
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THE
DAILY
is
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Andreas Schmitten
Fragile Konstruktion, 2019 © Kunstmuseen Krefeld
radical, taking up direct reference to the everyday life of many people and their reality. He deals with different provincial places and architectural conditions and gives them a new coat of paint with his colourful »INTERVENTIONS« . The title already captures the procedure very well: everyday objects, pieces of furniture, found objects, public facilities and buildings are »RESTORED« and, together with the residents, colour-coordinated in such a way that a new quality of life is created for them and the objects. The exhibition provides an overview of the places that Bragigand has visited and »restored« so far and shows many of his designs. One room also presents newly painted pieces of furniture and objects. SISTER-MAG.COM
During my visit to the exhibition, Haus Esters was still largely void of exhibits. The final act, »DYSTOPIE« , opens in midSeptember. However, I was able to see in advance the original design of the former Esters family garden house by the American artist Andrea Zittel. She has created an artistic space for the public which functions as a café. With its forms and surfaces it nods both to the work of Mies van der Rohe and to that of the Bauhaus. In walking through the historic building I am struck by the original elements and furnishings that seem to preserve time, carrying the 1920s and 1930s into the present in an open and authentic public display. Before leaving the houses, it would have been fitting to briefly return
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again to Olaf Holzapfel’s cell as a reset, which I visited at the beginning. Consider this a little tip from me for your (hopefully) forthcoming visit to the exhibition in Krefeld.
Didier Fiúza Faustino
Global Warming, 2019, © Kunstmuseen Krefeld
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PARTNER
2019
AUG
s i st e rMAG i s pu bl i s h e d monthly! READ NOW
ALEX Sales
MARKETING & ADMIN
W H AT H A P P E N E D SO FAR »A YEAR OF ART« - that’s what we
called 2019 for our sisterMAG issues. In January, it startet with an impressionist painting by GUSTAVE CAILLEBOTTE. From abstraction and sculpture we went to a floral still life by GIOVANNA GARZONI in April. In July, SANDRO BOTTICELLI gave the title with his painting »VENUS & MARS«, in August Roy Lichtenstein’s »IN THE CAR«. How will this year continue? With many great artworks by ROSANOVA, RICHTER and MONET. We can’t wait to hear your thoughts!
TONI Marketing & Finance
CAROLIN Content Distribution
MEDEA Administration
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BAUHAUS
OPERATIONS
THEA
CREATION
SOPHIE
Chief Editor & Design
Content Management
FRANZISKA
CHRISTINA
Content Management
Content Management
SOPHIA Content Management
THERESA Content Management
EVI Fashion
MARIE Design & Creation
ILARIA Design
LALE Video & Design
247
SISTERMAG 52 | 09 / 2019
IMPRINT
SISTERMAG – JOURNAL FOR THE DIGITAL LADY www.sister-mag.com Chief editor
Theresa Neubauer, Antonia Sutter
Operations
Theresa Baier, Carolin Kralapp, Medea Moir, Christina Rücker, Sophie Siekmann, Sophia Werner, Franziska Winterling,
Fashion
Eva-Maria Neubauer (Fashion Dir.)
Design
Theresa Neubauer (Art Dir.), Marie Darme, Lale Tütüncübaşı, Ilaria Trombí
Contributing Editors (Text)
Sivan Askayo, Victoria Beier, Bianca Demsa, Robert Eberhardt, Marlen Gruner, Martina Klaric, Christian Näthler, Michael Neubauer, Sophia Schmidts, Elisabeth Stursberg, Lisa Striegler, sisterMAG Team
Contributing Editors (Photo & Video) Translation
Proof
Sivan Askayo, Claus Kuhlmann, Jaclyn Locke, Loris Rizzo, sisterMAG Team
Sabrina Bäcker, Bianca Demsa, Barbara Eichhammer, Alex Kords, Ira Häussler, Christian Näthler, Elisabeth Stursberg, sisterMAG Team Bianca Demsa, Alex Kords, Ira Häussler, Amie McCracken, Christian Naethler, Dr. Michael Neubauer, Susanne Zazworka, sisterMAG Team
Published by Carry-On Publishing GmbH, Gustav-Meyer-Allee 25, 13355 Berlin, Germany. Re-use of content is only allowed with written permission of the publisher. There is no liability for unsolicited manuscripts and photographs. The Carry-On Publishing GmbH assumes no liability or guarantee for the accuracy, currency and completeness of the information provided. All information is provided without warranty. Contact: mail@sister-mag.com Management Sales Marketing
Antonia Sutter, Theresa Neubauer, Alex Sutter Alex Sutter (Sales Dir.) Antonia Sutter (Marketing Dir.)
N E X T I SS U E B E G I N O F O CTO B E R ! FO L LO W U S O N I N S TAG R A M TO D I S C O V E R MORE!
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