". "In 1922-1923 we had a conception of the house substantially different from today's. She is the author of Women Design: Pioneers in architecture, industrial, graphic and digital design from the twentieth century to the present day published in 2018. Her practice spans drawing, photography and weaving, and her output ranges from individual exhibition pieces to site-specific commissions and collaborations. Gunta Stölzl,1929. Courtesy of the Gunta Stölzl Foundation. Photo by Andrew Garn © Cooper Hewitt, Smithsonian Design Museum. When should this exhibition be published? Gunta Stölzl is one of the most important figures of the Bauhaus, both for having been an excellent student and for having been a teacher and director of the Textile Workshops in Dessau.She was one of the outstanding women of the school thanks to her creativity, perseverance and ability to organize. 1923 Exhibition, Room 40. Courtesy of the Gunta Stölzl Foundation. Courtesy of the Gunta Stölzl Foundation. Gunta Stölzl (1897–1983) had an “almost animal feeling for textiles,” according to fellow fabric designer Anni Albers, who was Stölzl’s student in the 1920s at the Dessau Bauhaus in Germany. (1) Gunta Stölzl’s affinity for weaving and textiles stood her in such good stead that she was placed in charge of the weaving workshop at the Bauhaus in Dessau, first as a … Barcelona: Könemann, 2000, p. 346, Home for a poet. 1923. Student's Alcove in the Dormitory. “To my eyes, she worked all the time,” remembers Aloni of his grandmother, the textile pioneer. 1923. Courtesy of the Gunta Stölzl Foundation. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Representatives of the Bauhaus at the International Architecture Congress and visit to the Wchutemas. [...] Georg Muche (teacher of this section) was little interested in the practical side of the section. 1928. Suit Material by Gunta Stölzl. Taken from PIN–UP 26, Spring Summer 2019. Outside the home, they quickly found an echo in a fairly large audience; they were objects more easily understandable, and thanks to the material, more insinuating than all those violently revolutionary products of the Bauhaus. [Poland, 1903 - The Netherlands, 1988] 100 YEARS OF THE BAUHAUS - Courtesy of the Gunta Stölzl Foundation. Changzhou Culture Plaza by gmp Architekten, Contemporary dialogue on reconstruction of a fortress. Courtesy of the Gunta Stölzl Foundation. Arieh Sharon and Gunta Stölzl at the beach in Verrazza, 1930. See more ideas about bauhaus textiles, bauhaus, textile design. metalocus, JOSE JUAN BARBA, MARÍA REDONDO, 21/04/2019 - Images © Victoria and Albert Museum, London; Cooper Hewitt, Smithsonian Design Museum; VG Bild-Kunst Bonn; and Stölzl Estate. Image: © Victoria and Albert Museum, London. Gunta Stölzl and textiles in space More events Join a designer and architect to explore the role of textiles in architecture and design and the parallels we can draw between the luminary work of Gunta Stölzl at the Bauhaus, and contemporary high-tech material innovation. Wolfratshausen 9.IV by Gunta Stölzl. Then we strive to be simpler, to discipline our media, to take more account of the possibilities of the material and the function of the object. Born in Munich, the daughter of a school principal, she’d already climbed mountains and been a Red Cross nurse by the time she went to study at the Weimar Bauhaus as a 22-year-old, after catching wind of the Bauhaus manifesto during a student movement for academic reform at the Munich arts-and-crafts school. Design for Textile by Gunta Stölzl. What, if anything, do contemporary experiments with both owe to early twentieth century luminaries like Stölzl? (1) Jeannine Fiedler, Peter Feierabend. Upholstery fabric for tubular steel chairs by Gunta Stölzl. metalocus, MARÍA REDONDO, 24/04/2019 - Little by little, there was a transformation. She was formerly a curator at the Design Museum, London and now focuses on writing, client consultancy and freelance curation for institutions including the Serpentine Galleries and other commercial galleries including Nilufar Milan and Friedman Benda New York. Sketches 1915-1917. 6.30 — 7.45pm, Wednesday 9 December 2020 1923-28. [Dresden, Germany, 1906 - Bonn, Germany, 1964] 100 YEARS OF THE BAUHAUS - She later married Swiss writer and journalist Willy Stadler and had another daughter, Monika, who is now in charge of her mother’s archive. Gunta Stölzl was a German textile artist who played a fundamental role in the development of the Bauhaus school’s weaving workshop. ", "In the fabric section, Gunta Stölzl is required to be recognized as a director and reaffirmed in this position, more protests against teachers.". [Austria-Hungary, 1894 - Switzerland, 1989] - Gunta Stölzl (1897–1983) had an “almost animal feeling for textiles,” according to fellow fabric designer Anni Albers, who was Stölzl’s student in the 1920s at the Dessau Bauhaus in Germany. Courtesy of the Gunta Stölzl Foundation. Courtesy of the Gunta Stölzl Foundation. }}, Lilly Reich, designer of Bauhaus modernity, Lotte Stam-Beese, urban planner of the Bauhaus, Friedl Dicker-Brandeis, exemplary Bauhaus student and architect, Wera Meyer-Waldeck, architect of sustainable housing, Lucia Schulz, essential piece of the school, Bauhaus official photographer. By using our website, you agree to the use of cookies as described in our. Our fabrics could still be poetry full of ideas, floral decorations, individual experiences. Photograph by Lotte Beese. With the Bauhaus centennial in full swing, that all looks set to change, especially since textile company Designtex is rereleasing examples of both women’s work this year. [Berlin, Germany, 1885 - Berlin, Germany, 1947] 100 YEARS OF THE BAUHAUS - In terms of form, the female students oriented themselves on the lessons of Johannes Itten, Paul Klee and Wassily Kandinsky, transferring their concepts of colour and form to the weaving loom. Jane’s particular focus is on collaborative practice between artists and architects, which she explores through installation and exhibition design. Courtesy of the Gunta Stölzl Foundation. Libby Sellers (chair) is a design historian, consultant, curator and writer. Jane Hall is a founding member of the London based, architecture collective Assemble who work across the fields of art, architecture and design. Design for Double-Woven Cloth by Gunta Stölzl. Designtex upholstery textiles inspired by Gunta Stölzl designs from their Bauhaus anniversary collection. Reversible Drapery Material by Gunta Stölzl. Collage of cutouts of photographs, sequins, plastic, fabric and Japanese paper painted with watercolor on white cardboard by Gunta Stölzl. His mother, Yael, was born in Dessau in 1929, following Stölzl’s marriage to Jewish architect Arieh Sharon. Group portrait of the Bauhaus weaving workshop students, 1927. By positioning Stölzl as an innovative precursor to high-tech experiments with weaving, colour and materials, we ask an architect and a designer to speak to the way gendering manifests in contemporary material experiments.