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Vitra Design Museum

Dan Tobin Smith, »A Matter of Perspective«, published in the magazine »Wallpaper«, no. 69, June 2004, set design by Lyndsay Milne McLeod 2

New Releases Neuheiten Balkrishna Doshi  Atlas of Furniture Design  Objects of Desire

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Featured Titles Weitere Titel Chair Times 14 Typecasting15 Victor Papanek 16 The Bauhaus 17 Backlist18 Products23 Vitra Design Museum  Vitra Campus


Exhibitions Worldwide Ausstellungen weltweit




Aerial view, Amdavad Ni Gufa Art Gallery, Ahmedabad, 1994 4

New Releases Neuheiten


1. C  ourt with staircases, Indian Institute of Management (IIM), Bangalore (1977 – 92) 2. Balkrishna Doshi in his office, Sangath Architect’s Studio, Ahmedabad 3. E  xternal view with water channels and grass steps of the amphitheatre leading to the entrance, Sangath Architect’s Studio, Ahmedabad, 1980

Debitis int laut etur, que sunturia dunt laborum quam


The Shreyas school complex was Doshi’s first large commission for Leena Mangaldas, the daughter of Sarladevi Sarabhai, who introduced the Montessori school concept in India in 1924. In the early stages of the design process Doshi and Mangaldas focused intensely on the process of learning and its relationship to architecture. The school was intended as a manifestation of Maria Montessori’s philosophy of education imparted through observation and experience with an emphasis on self-growth. Children are encouraged to nourish their personal strengths, and learning also takes place beyond the confines of the classroom. Doshi conceived a village of learning and growth for the undulating thirty-acre site. The campus emerged by transforming valleys into theatres and fields into parks interspersed with clusters of classrooms. The freestanding classroom buildings with attached verandas are connected by means of corridors or pathways open to the sky. These open and closed spaces are intended as extensions of the learning spaces. Children are encouraged to move through the open spaces at their own pace while taking in the changing seasons, trees, birds, clouds, and nature. The classroom plans are flexible, allowing for multiple activities within the same space and for different age groups. Storage areas in the classrooms are tucked into the niches created by the columnar structure visible from both interior and exterior. The buildings were designed in relation to the physical height of teachers and children; they are low towards one end and high at the other depending on the activities taking place within. The precast roof construction not only responds to these changing heights but also to Ahmedabad’s hot climate. The roof is designed to create an air gap between the top layer of waterproofed asbestos cement sheet and the bottom layer of reinforced concrete slab cast in-situ. The structure is supported by precast hollow concrete girders with small square holes at their ends to allow air to circulate under the roof. The air gap thus serves as an insulating layer that keeps the classrooms cooler during summer months. Furthermore, louvered windows on both sides of the classroom allow for cross ventilation and the entry of diffuse natural light. The buildings merge with the landscape of the Shreyas campus and open upon a hilly playground shaped by the site’s natural topography. This interaction between landscape and buildings reinforces the idea of unlimited time and space for learning.

Debitis int laut etur, que sunturia dunt laborum quam Debitis int laut etur, que sunturia dunt laborum quam

Debitis int laut etur, que sunturia dunt laborum quam

Debitis int laut etur, que sunturia dunt laborum quam

ARCHITECT Eture, excest lab iniatempos CLIENT Eture, excest lab iniatempos PROJECT ASSOCIATES D.C. Eture, excest lab iniatempos PROJECT ASSISTANTS H.M. Eture, excest lab iniatempos PROJECT ENGINEERS R.M. Eture, excest lab iniatempos STRUCTURAL ENGINEERS Eture, excest lab iniatem CONTRACTORS Eture, excest iniatempos ENGINEERING Eture, excest lab iniatempos TOTAL BUILT-UP AREA xxx COST INR xxx



Debitis int laut etur, que sunturia dunt laborum quam



Balkrishna Doshi Architecture for the People

› First monograph in over 20 years on Balkrishna Doshi´s life and work › Texts by renowned scholars, architects, and colleagues, as well as interviews › New photographs of Doshi´s buildings and portfolios documenting his artistic work, design, and research

› Erste Monografie der letzten 20 Jahre über Balkrishna Doshis Leben und Werk › Textbeiträge von renommierten ­Forschern, Architekten und Weg­ge­fährten sowie ­Interviews › Neue Fotoaufnahmen von Doshis Bauten und ergänzende Portfolios zu seinem künstlerischen Schaffen, zu Design und Forschung

Balkrishna V. Doshi (b. 1927 in Pune) is one of the most influential pioneers of modern architecture in India. His life’s work was honored in 2018 with the ­prestigious Pritzker Prize. Doshi has realized more than one hundred projects, including administrative and c­ ultural facilities, housing developments, and ­residential buildings. He has become internationally known for his visionary ­urban planning and social housing projects, as well as his involvement in ­education. His most important buildings include the School of Architecture in Ahmedabad (1966 – 68) and the Aranya housing development in Indore (1989). »Balkrishna Doshi: Architecture for the People« is the first overview of the ­architect’s work in over twenty years, analyzing his most important works and providing timely context to his oeuvre. In-depth academic texts by outstanding experts in the field, including Kenneth Frampton, Kazi Ashraf, and Juhani ­Pallasmaa, give i­nsights into the inspiration behind Doshi’s work and background to his projects, as well as his lasting influence on younger generations. The richly illustrated s­ urvey comes complete with a detailed biography and new photographs of his buildings, which demonstrate the impressive timeliness of the Indian master’s ­approach to a wide variety of typologies.

Balkrishna V. Doshi (*1927, Pune) zählt zu den einflussreichsten Pionieren der ­modernen Architektur in Indien. Sein Lebenswerk wurde 2018 mit dem renommierten Pritzker-Preis geehrt. Doshi hat über 100 Projekte realisiert, darunter ­Verwaltungs- und K ­ ultureinrichtungen, Siedlungen und Wohnhäuser. International bekannt wurde er durch seine visionären Stadtplanungen und sozialen Wohnprojekte sowie durch sein Engagement im Bildungsbereich. Zu seinen wichtigsten Bauten gehören die School of Architecture in Ahmedabad (1966 –  1968) und die Siedlung Aranya in Indore (1989).

Balkrishna Doshi Architecture for the People Publishers: Vitra Design Museum, Wüstenrot ­Stiftung Concept: Mateo Kries, Khushnu Hoof, Jolanthe Kugler Editors: Jolanthe Kugler, Khushnu Hoof Hardcover, cloth binding with bellyband 24 × 30 cm 400 pages, approx. 450 images 03/2019 978-3-945852-31-6 (English) Art.-No. 200 222 02 Balkrishna Doshi Architektur für den Menschen 978-3-945852-30-9 (German) Art.-No. 200 222 01 € 59,90

Mit dem Buch »Balkrishna Doshi. Architektur für den Menschen« liegt seit zwanzig Jahren erstmals wieder eine umfassende Publikation über den ­Architekten vor, die alle wichtigen Projekte vorstellt und mit wissenschaftlichen Essays herausragender Doshi-Experten, darunter Kenneth Frampton, Kazi Ashraf und Juhani Pallasmaa, Aufschluss über Inspirationen, Hintergründe und Einfluss von Doshis Arbeit gibt. Ergänzt wird das reich illustrierte Überblickswerk durch eine ausführliche B ­ iografie und neue Fotografien seiner Bauten, die eindrücklich die Aktualität der Heran­gehensweise des indischen Meisters an unterschiedlichste Bauaufgaben belegen. With contributions by Mateo Kries, Jolanthe Kugler, Khushnu Hoof, Balkrishna Doshi, Kenneth Frampton, Kazi Ashraf, Martha Thorne, Iwan Baan, Samanth Subramanian, Juhani Pallasmaa, Rajeev Kathpalia, and others 7

Atlas of Furniture Design

› The ultimate book on modern furniture design › 1 028 pages, 1 740 objects, 2 852 images, 551 texts › 7 1 authors, 237 years, 546 designers, 565 manufacturers

› Das maßgebliche Buch über modernes Möbeldesign › 1 028 Seiten, 1 740 Objekte, 2 852 Abbildungen, 551 Texte › 7 1 Autoren, 237 Jahre, 546 Designer, 565 Hersteller

This year, the Vitra Design Museum proudly presents the »Atlas of Furniture Design«, an encyclopedic overview of the history of modern furniture design. Featuring over 1 700 objects by more than 500 designers, it includes some 2 800 illustrations ranging from detailed object photographs to historical images documenting interiors, patents, brochures, and related works of art and architecture. The basis for the »Atlas of Furniture Design« is the collection held by the Vitra Design Museum, one of the largest of its kind. The book presents selected pieces by the most important designers of the last 200 years and documents key periods in design history, including early nineteenth-century industrial furniture in bentwood and metal, Art Nouveau and Secessionist pieces, and works by protagonists of classical modernism and postwar design, as well as postmodern and contemporary pieces. The »Atlas of Furniture Design« employed a team of more than 70 experts and features over 550 detailed texts about key objects. In-depth essays provide sociocultural and designhistorical context to four historical epochs of furniture design and the pieces highlighted here, enriched by a detailed annex containing designer biographies, glossaries, and elaborate information graphics. The »Atlas of Furniture Design« is an indispensable resource for collectors, scholars, and ­experts, as well as a beautifully designed object that speaks to design enthusiasts.

Das Vitra Design Museum veröffentlicht 2019 den »Atlas des Möbeldesigns«. Die über 1  0 00-seitige Publikation bietet einen einzigartigen enzyklopädischen Überblick über die Geschichte des modernen Möbels. Vorgestellt werden rund 1  700 Objekte von über 500 Designern, illustriert durch über 2 800 Abbildungen, von ­detailgenauen Objektfotografien bis zu historischen Bildern von Inneneinrichtungen, Patenten, ­Broschüren und Referenzwerken aus Kunst und Architektur. Grundlage für den ­»Atlas des Möbeldesigns« ist die Sammlung des Vitra Design Museums, eine der größten ihrer Art. Das Buch umfasst Werke der bedeutendsten Designer der vergangenen 200 Jahre und dokumentiert alle wichtigen P ­ hasen der Design­ geschichte. Dazu gehören Möbel des 19. Jahrhunderts aus B ­ ugholz und Metall, Entwürfe aus der Zeit des Jugendstils und der Secession, D ­ esignikonen von Protagonisten der Moderne, aber auch Möbel der Postmoderne und der Gegenwart. An der Vorbereitung für den »Atlas des Möbeldesigns« waren über 70 Experten beteiligt. Über 550 Texte liefern detailgenaue Objektanalysen, Essays zu vier großen historischen Epochen beschreiben den soziokulturellen und designhistorischen Kontext der gezeigten Objekte, ein umfangreicher Anhang bietet Designerbiografien, Glossare und Informationsgrafiken. All dies macht den »Atlas des Möbeldesigns« zu einer unverzichtbaren Recherchegrundlage für Sammler, Wissenschaftler und ­Experten — und zu einem wunderbar gestalteten Objekt für ­Designenthusiasten. With texts by Mateo Kries, Jochen Eisenbrand, Henrike Büscher, Janna Lipsky, Alberto Bassi, Fulvio Ferrari, Otakar Máčel, Jane Pavitt, Ingeborg de Roode, Catharine Rossi, Arthur Rüegg, Penny Sparke, Deyan Sudjic, Wolf Tegethoff, Carsten Thau and Kjeld Vindum, Gerald W. R. Ward, and others

Atlas of Furniture Design Editors: Mateo Kries, Jochen Eisenbrand Hardcover 23 × 30,5 cm 1028 pages, approx. 2800 images 978-3-931936-99-0 (English) Art.-No. 200 814 02 Atlas des Möbeldesigns 978-3-931936-98-3 (German) Art.-No. 200 814 01 € 149,90

1. Thonet factory in Bystřice, Czechoslovakia (now Czechia), c. 1921 2. Michael Thonet, No. 14 / Consumer Chair, c. 1855 – 1 859 3. Gerrit Thomas Rietveld, Untitled / Red Blue Chair, 1918/19 4. Bart van der Leck, »Man te paard« (The Horseman), 1918, oil on canvas


1973 – 2017


Corallo Fernando Campana, Humberto Campana



1411 ◊

Random Chair Bertjan Pot

1412 ◊

Breeding Table Kram/Weisshaar

1413 ◊

Pane Chair Tokujin Yoshioka

Type Designed First Production Later Production Material

Lounge chair 2003 Since 2005 Edra, Perignano, Italy – Stainless-steel wire, finished with epoxy lacquer in coral red, white, or black

Type Designed First Production Later Production Material

Lounge chair 2003 2003–06 Studio Bertjan Pot (c. 50 copies) Since 2006 Goods, Amsterdam, Netherlands Epoxy-drained carbon fibre

Type Designed First Production

Type Designed First Production Later Production Material

Lounge chair 2003–05 2005 Tokujin Yoshioka (edition of 39 copies) – Polyester fibre (polyester elastomer)


Table 2003–05 Since 2005 Kram/Weisshaar, Munich, Germany / Stockholm, Sweden Since 2006 Moroso, Cavalicco, Italy (two different models under the name Countach) Mild steel, powder-coated / smoked glass, reflective on one side

Object Depicted Dated Material Dimensions

MBR-1009 2014 Stainless-steel wire, finished with epoxy lacquer in coral red 86.5 × 138 × 91 cm

Object Depicted Dated Material Dimensions

SNL-1007 2013 Epoxy-drained carbon fibre 71.5 × 53.5 × 93.5 cm

Object Depicted Dated Material Dimensions

MGE-1192 (#1157) 2007 Mild steel, powder-coated / smoked glass, reflective on one side 74.5 × 160 × 80 cm

Object Depicted Dated Material Dimensions

MJP-1044-1 (no. 14 of 39) 2005 Polyester fibre (polyester elastomer) 78 × 87 × 87 cm

1410 ◊

Although Corallo alludes to the form of a classical upholstered lounge chair, it is made of an intricate mesh of stainless-steel wire; lacquered in light red, it is recalling the sprawling coral reefs off the coast of Brazil. Fernando and Humberto Campana describe this sculptural object as ‘scribbling’ translated into a three-dimensional structure.1 The design in fact rests on a sketch by Humberto, hastily done in preparation for a metal sculpture in 1989. Fourteen years later the brothers built a series of models based on the sketch, proceeding in their typically experimental, artisanal fashion by welding small pieces of wire together. The initial concept and early mock-ups were realized by Humberto, while it was Fernando who reworked them and removed all superfluous elements.2 Edra, which commenced serial production of the chair in 2004, still bends, welds, and lacquers all the wire by hand. In 2013 the company launched a bed designed in the same way. With Corallo’s graphic tangle of lines, the Campanas have succeeded in reinterpreting the classic lounge chair in a spectacular way. Wiebke Lang 1 2

Price, ed., Campana Brothers (2010), 114. Ibid. 111.

A recurrent theme in Bertjan Pot’s varied oeuvre is the ‘skin‘ of an object or, more precisely, a thin surface which can have constructive and decorative functions. Pot’s first major achievement in this regard was the Random Light of 1999, which has been distributed by Moooi since 2002. The large globes of this lamp are produced from hand-wrapped glass fibre impregnated with epoxy (synthetic resin) and allowed to harden. In 2003 and 2004, the lamp was followed by a series of chairs made from carbon filament. The Random Chair shown here, for which uncoated carbon filament permeated by epoxy is randomly coiled over a polystyrene mould, was the first design in this series. The irregular play of lines in Pot’s Random Light and Random Chair emphasizes the handmade nature of the process. Although Pot says that the ideal of designers such as Charles and Ray Eames to ‘make affordable products for the masses’ is not foremost in his mind, his designs distributed by Moooi are commercially successful.1 The Random Chair is made in smaller quantities by manufacturer Goods and is therefore more exclusive. Ingeborg de Roode 1

Reinewald, ‘Portfolio Bertjan Pot’ (2005), 75.

Later Production

Design duo Reed Kram and Clemens Weisshaar’s Breeding Table is one of the first examples of a generative computer-based design approach to making furniture. The bases of the tables are produced with the help of a specially developed software which uses an algorithm to generate the geometrics and then control the production. Parameters like dimensions, splay, and carrying capacity of the legs can be altered, and previously generated models can be crossed with each other. From all considerable variations, the software only generates geometrics which are stable and corresponds to the given parameters of construction. Different source data is used depending on the type of table. This process facilitates the output of an infinite number of table structures from which the designers can make their selection. As a next step, the parts for the table bases are cut from steel plates with a laser, mechanically folded, and finally joined and powder-coated. The bases and tabletops of the Breeding Table are made by specialized manufacturers, then assembled and distributed by Kram/Weisshaar. Since 2006, Moroso has produced two variants of the table in small series. Jochen Eisenbrand

No. 1410 – 1413

Tokujin Yoshioka is known for his poetic designs and installations made of unusual, often lightweight, ephemeral materials. His interest in the opportunities offered by textiles and fibres was sparked in 2003 by an article in National Geographic.1 That same year, he began conducting experiments for the Pane Chair. To create the chair, he sawed into a cylindrical block of polyester foam, sewed it partially together, wrapped it in a sheet, tied the ends together, and slid it into a cardboard cylinder. It was then baked at 104 degrees Celsius – quite like an Italian panettone cake. The chair was first presented at the Museo della Permanente during the 2006 Milan Furniture Fair. A year later, Moroso launched a modified version as the Panna Chair, for which Yoshioka reinforced the foam with an internal steel frame and covered the whole object with fabric. Jochen Eisenbrand 1

Ito, ‘Thanks to National Geographic‘ (2006), 117.


1. Peggy Guggenheim in her Art of this Century gallery seated on the Correalistic Rocker by Frederick Kiesler, October 1942; 2. Meret Oppenheim, Traccia, 1939; 3. Man Ray, »Cadeau« (Gift), 1921/1963; 4. Studio65, Marilyn/Bocca, 1970; 5. Front, Horse Lamp, 2006; 6. Salvador Dalí, »Femme à tête de roses« (Woman With a Head of Roses), 1935, oil on wood, 35 x 27 cm, Kunsthaus Zürich. Opposite page: Mimi Parent, poster for the exhibition »EROS (Exposition internationale du surréalisme)« at Galerie Daniel Cordier, Paris 1959/60

Objects of Desire Surrealism and Design 1924 – Today

› A thorough look at the reciprocal ­influences of Surrealism and design to the present day › An examination of the influence of Surrealist ideas on design beyond functionalist dogma › A comprehensive selection of images documenting the dialogue between Surrealism and design, including works by well-known artists and designers

› Umfassende Darstellung der wechsel­ seitigen Beeinflussung von S ­ urrealismus und Design bis heute › Untersuchung des Einflusses von surrealistischem Gedankengut auf ein ­Design jenseits des funktionalistischen Dogmas › Umfangreicher Bildteil mit Werken ­bekannter Künstler und Designer

Surrealism expanded our reality by drawing upon myths, dreams, and the subconscious as sources of artistic inspiration. Beginning in the 1930s, the movement made a crucial impact on design, and it continues to inspire designers to this day. ­»Objects of Desire: Surrealism and Design« is the first book to document this ­fascinating conversation. It includes numerous essays and a comprehensive selection of images which traces these reciprocal exchanges by juxtaposing exemplary artworks and design ­objects. Among the featured artists and designers are Gae Aulenti, Achille C ­ astiglioni, Giorgio de Chirico, Le Corbusier, Salvador Dalí, Marcel Duchamp, Antoni Gaudí, Frederick Kiesler, René Magritte, Carlo Mollino, Meret Oppenheim, and many others. The book is rounded off with historical text material as well as short texts and statements by contemporary designers. This ­in-depth examination makes one thing abundantly clear: form does not always follow function — it can also follow our obsessions, our fantasies, and our hidden desires.

Der Surrealismus erweiterte unsere Realität, indem er Mythen, Träume und das Unterbewusstsein als Quellen künstlerischen Schaffens entdeckte. Ab den 1930erJahren übte dies einen entscheidenden Einfluss auf das Design aus und inspiriert Designer bis heute. »Objekte der Begierde. Surrealismus und Design« ist die erste Publikation, die diesen faszinierenden Austausch dokumentiert. Sie umfasst mehrere fundierte Essays und einen umfangreichen Bildteil, der der wechselseitigen Beeinflussung anhand prägnanter Gegenüberstellungen von Kunstwerken und Designobjekten nachspürt. Unter den vertretenen Künstlern und Designern sind Gae Aulenti, Achille Castiglioni, Giorgio de Chirico, Le Corbusier, Salvador Dalí, Marcel Duchamp, Antoni Gaudí, Friedrich Kiesler, René Magritte, Carlo Mollino, Meret Oppenheim und viele andere. Abgerundet wird das Buch durch historische Textauszüge und Zitate sowie Kurztexte und Statements von zeitgenössischen ­Designern. Dabei wird deutlich: Die Form folgt nicht immer der Funktion — sondern zuweilen auch unseren Obsessionen, Fantasien und Sehnsüchten.

Objects of Desire Surrealism and Design 1924 – Today Editors: Mateo Kries, Tanja Cunz 09/2019 978-3-945852-33-0 (English) Art.-No. 200 815 02 Objekte der Begierde Surrealismus und Design 1924 – heute 978-3-945852-32-3 (German) Art.-No. 200 815 01 € 59,90

With texts by Mateo Kries, Krzysztof Fijalkowski, Claudia Mareis, Vera Sacchetti, Alex Coles, Tanja Cunz, and others 11

»Typecasting«, curated by Robert Stadler, presented 200 objects in the former sports hall La Pelota during Milan’s Design Week 2018 12

Featured Titles Weitere Titel


Chair Times

› The companion book to a cinematic ­journey into the wide world of chairs › From the Vitra Design Museum collection: prototypes, flops, and eccentricities › Featuring Rolf Fehlbaum, Chairman ­Emeritus of Vitra

A History of Seating / A film by Heinz Bütler 

› Das Begeleitbuch zu einer filmischen Reise in die weite Welt der Stühle › Aus der Sammlung des Vitra Design ­Museums: Prototypen, Flops und ­Skurrilitäten › Mit Rolf Fehlbaum, Chairman ­Emeritus von ­Vitra

The book »Chair Times: A History of Seating« is the companion to the film of the same name, taking viewers on a journey through a »sea of chairs«: 124 objects from 1807 to the latest 3D-printed designs are arranged in the order of their ­production year to create a timeline of modern furniture design. Ser ving as guide on this excursion: Rolf Fehlbaum, Chairman E ­ meritus of Vitra.

Das Buch »Chair Times. Stühle in ihrer Zeit« ist das Begleitmedium zum gleichnamigen Film, ein Parcours durch ein »Meer der Stühle«: 124 Objekte von 1807 bis zu jüngsten Entwürfen aus dem 3D-Drucker sind im Vitra Schaudepot in der Reihenfolge ihrer Produktionsjahre zu einer Chronologie des modernen Sitzmöbeldesigns arrangiert. Als »Reiseführer« auf der Zeitreise durch die Stühle: Rolf Fehlbaum, Chairman Emeritus von Vitra. With contributions by Rolf Fehlbaum, Mateo Kries, Franco Audrito, Ronan Bouroullec, Christian Brändle, David Chipperfield, Antonio Citterio, Pierre de Meuron, Jochen Eisenbrand, Ulrich Fiedler, Susanne Graner, Jacques Herzog, H ­ ella Jongerius, Maira Kalman, Amelie Klein, Serge Mauduit, Peter Noever, Arthur Rüegg, Leonie Samland, Ruggero Tropeano, and others

Chair Times Stühle in ihrer Zeit/ A History of Seating Editor: Heinz Bütler Hardcover Includes USB drive with film Film in German with English subtitles 19 × 21 cm 248 pages, approx. 220 images 11/2018 978-3-945852-28-6 (German/English) Art.-No. 200 224 01

Gerrit T. Rietveld Rood-blauwe stoel 1918/XX

€ 49,90 3

PANTON CHAIR Rolf Fehlbaum 1960 revolutionierte ein vollkommen neuartiger Stuhl das Konzept des federnden Stuhls ohne Hinterbeine: der erste Freischwinger aus Vollkunststoff des dänischen Designers Verner Panton (1926–1998). Auf der Suche nach einem geeigneten Hersteller, reiste Panton quer durch Europa. Doch niemand erkannte das Potenzial des singulären Objekts, und keiner glaubte an dessen kommerzielles Potenzial, bis Verner Panton in Basel ankam… 1960 revolutionierte ein vollkommen neuartiger Stuhl das Konzept des federnden Stuhls ohne Hinterbeine: der erste Freischwinger aus Vollkunststoff des dänischen Designers Verner Panton (1926–1998). Auf der Suche nach einem geeigneten Hersteller, reiste Panton quer durch Europa. Doch niemand erkannte das Potenzial des singulären Objekts, und keiner glaubte an dessen kommerzielles Potenzial, bis Verner Panton in Basel ankam…

Gedanken zur Sammlung Rolf Fehlbaum

Als ich Anfang der 1980er Jahre Möbel von Prouvé, Aalto und den Eames kaufte, dachte ich nicht an eine Sammlung. Ich stellte sie vor meinem Büro auf und erfreute mich an ihrem Anblick. Als CEO des Möbelherstellers Vitra hatte ich täglich mit Stühlen zu tun, das war meine Pflicht. Die Vintage-Modelle aber, die ohne einen speziellen Zweck herumstanden, waren für mich Erholung und Anregung. Im Falle von Charles und Ray Eames, die seit den 1950er Jahren die Vitra-Welt bestimmten, interessierten mich frühe Entwürfe, die ich nur aus Publikationen kannte. In Prouvé und Aalto sah ich Eames- Verwandte: Aalto als Vorgänger und Prouvé als Zeitgenossen, der wie die Eames konstruktiv dachte, aber auf andere Materialien und Techniken zurückgriff. Mit der Zeit füllte sich der Raum um mein Büro, eine Glasbox, die Nicholas Grimshaw entworfen hatte. Gegenwartsdesign war dazugekommen; auf meinen Exkursionen zur Fifty/50 Gallery in New York, den Vintage Shops in Los Angeles und den Pariser Händlern hatte ich Neues entdeckt. Eines Tages war der Paimio Sessel seitlich eingerissen – offenbar hatte sich ein Schwergewicht darauf gesetzt. Das war ein Zeichen. Ich begann nach einem Raum für die kleine Sammlung zu suchen. 1984 wurde mein Vater Willi Fehlbaum siebzig, und wir gaben bei Claes Oldenburg und Coosje van Bruggen eine Skulptur in Auftrag, die ihm gewidmet sein sollte. Bei einem Besuch im Atelier von Claes Oldenburg lernte ich Frank Gehry kennen. Wir sprachen über Möbel und

freundeten uns an. Zur ersten Vitra Edition (ab 1987) steuerte Frank Gehry den Sessel Little Beaver bei. Eines Tages fragte ich ihn, ob er Lust hätte, einen kleinen Shed – das Wort Museum wäre mir viel zu prätentiös erschienen – für die Stühle, die ich gesammelt hatte, zu entwerfen. Dies schien angesichts der Entfernung zwischen Weil am Rhein und Los Angeles und der Tatsache, dass Gehry zu jener Zeit keine anderen Projekte in Europa hatte, aufwändig. Als Vitra aber zusätzliche Produktionskapazitäten benötigte und der Bau einer neuen Fabrik anstand, lautete die Frage an Frank Gehry, ob er die Fabrik entwerfen und ein kleines Gebäude hinzufügen könne. Aus diesem zusätzlichen Gebäude wurde ein unabhängiger Bau vor dem Fabrikgelände – und aus diesem Bau das Vitra Design Museum. Die ursprüngliche Idee des Gebäudes als Ort der Aufbewahrung der kleinen Sammlung (von ungefähr 250 Objekten) wurde noch vor seiner Fertigstellung modifiziert, und als es 1989 eröffnet wurde, gab es einen Museumsdirektor, Alexander von Vegesack, und die Zielsetzung, wechselnde Ausstellungen durchzuführen. Die Sammlung wurde in den folgenden Jahrzehnten mit dem Ziel ausgebaut, die wichtigsten Strömungen des Autorendesigns seit 1800 zu repräsentieren. Die wechselnden Ausstellungen griffen immer wieder auf die Sammlungsbestände zurück, und zeitweise war in der Vitra Fire Station eine Auswahl aus der Sammlung zu sehen. Aber erst mit dem 2016 eröffneten Vitra Schaudepot ist ein repräsentativer Querschnitt durch die inzwischen auf über 7000 Objekte angewachsene Sammlung für die Öffentlichkeit zugänglich.





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Die Sammlungskriterien Ausgelöst durch gesellschaftliche Umwälzungen, neue Materialien und produktionstechnische Innovationen haben sich in der Zeit zwischen 1800 und heute, dem Zeitausschnitt unserer Sammlung, im Bereich des Möbels in so rascher Folge Neuerungen ereignet wie nie zuvor. Die zentrale Figur des Aufbruchs ist der Designer, der Gestalter. Jahr


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An Assembly of Iconic, Forgotten and New Vitra Characters

› A new perspective on Vitra’s icons of design › Extensive documentation of 200 objects ranging from rarely seen ­experiments to newly commissioned design studies › With contributions by Konstantin Grcic, Hella Jongerius, Ronan and Erwan ­Bouroullec, Simon Denny, Mark Lee, ­Jasper Morrison, and Alice Rawsthorn

› Eine neue Perspektive auf die Design­ ikonen von Vitra › Eine umfangreiche Dokumentation von 200 Objekten, darunter selten gezeigte Experimente und neue Design­s tudien › Mit Beiträgen u.a. von Konstantin ­Grcic, Hella Jongerius, Ronan und Erwan Bouroullec, Simon Denny, Mark Lee, Jasper Morrison und Alice Rawsthorn

During Milan’s Design Week 2018, the Vitra exhibition »Typecasting«, curated by Robert Stadler, presented 200 objects in the former sports hall La Pelota in the city’s Brera district. In addition to a generous photographic documentation, the eponymous publication investigates how design evolves under the influence of social ­media. In fact, by presenting the objects as characters, »Typecasting« is as much about furniture as it is about ourselves. Whereas furniture’s practical function is a given, its representational role has dramatically evolved. Furniture and objects have b ­ ecome props for online self-presentation.

Im Rahmen der Mailänder Designwoche 2018 zeigte Vitra in der ehemaligen Sporthalle La Pelota die von Robert Stadler kuratierte Ausstellung »Typecasting« mit 200 Objekten. Neben einer umfassenden fotografischen Dokumen­tation untersucht die Publikation zur Ausstellung auf kritische Weise, wie sich Design unter dem ­Einfluss sozialer Medien verändert. Die Objekte sind als Charaktere präsentiert, wodurch »Typecasting« nicht nur das Möbel verhandelt, sondern auch uns als ­M enschen. Die praktische Funktion eines Möbelstücks liegt auf der Hand, doch seine repräsentative Rolle hat sich dramatisch gewandelt — ­ Möbel sind zu Requisiten der Selbstinszenierung im Internet geworden. With contributions by Jay Barber and Edward Osgerby, Jan Boelen, Ronan and Erwan Bouroullec, ­Commonplace Studio/Jon Stam and Simon de Bakker, Simon Denny, Eva Franch I Gilabert, Front/Anna Lindgren and Sofia Lagerkvist, Konstantin Grcic, Lena Henke, Maria Jeglinska, Hella Jongerius, Mark Lee, Jasper Morrison, Jonathan Muecke, Chrissie Muhr, Jonathan Olivares, Alice Rawsthorn, Robert Stadler, and others

Typecasting An Assembly of Iconic, Forgotten and New Vitra Characters Editor: Robert Stadler Softcover, foil with screen print 24 × 32 cm 176 pages, approx. 350 images 12/2018 978-3-945852-29-3 (English) Art.-No. 200 223 02 € 24,90


Victor Papanek

› Comprehensive overview of Victor Papanek’s life and work › Critical analysis of contemporary design work influenced by Papanek’s legacy › Discussion of the politics of design from historical and contemporary perspectives

The Politics of Design

› Umfassender Überblick über Victor ­Papaneks Leben und Werk › Kritische Auseinandersetzung mit zeitgenössischem Design in Papaneks Nachfolge › Diskussion der politischen Bedeutung von Design in Geschichte und Gegenwart

The designer, author, and design activist Victor J. Papanek (1923–98) anticipated an understanding of design as a tool for political change and social good that is more relevant today than ever. »Victor Papanek: The Politics of Design« offers a comprehensive overview of the work of the designer, author, and activist, focusing on his instructive guide »Design for the Real World«, published in 1971, as well as on his designs and commitment to social minorities. Contemporary work by Tomás Saraceno, as well as Flui Coletivo and Questtonó, among others, rounds off the publication.

Der Designer, Autor und Aktivist Victor J. Papanek (1923–1998) war Wegbereiter eines sozial engagierten, nachhaltigen Designansatzes, demzufolge Design nicht nur Formgebung ist, sondern ein Werkzeug politischen und sozialen Wandels. »Victor Papanek. The Politics of Design« bietet erstmals einen umfassenden Überblick über Papaneks ­Leben und Werk. Sein Hauptwerk, die 1971 erschienene Streitschrift »Design for the Real World«, wird dabei ebenso beleuchtet wie seine Entwürfe und sein Engagement für ­soziale Minderheiten. Ergänzt wird das Buch um Werke etwa von Tomás Saraceno, Flui Coletivo und Questtonó. With texts by Jan Boelen, Alison J. Clarke, Elizabeth Guffey, Orit Halpern, Jamer Hunt, Amelie Klein, Felicity Scott, Cameron Tonkinwise, Alice Twemlow, and others

Victor Papanek The Politics of Design Editors: Mateo Kries, Amelie Klein, Alison J. Clarke Softcover, debossed, with flaps 19 × 25 cm 400 pages, approx. 500 images 10/2018 978-3-945852-26-2 (English) Art.-No. 200 220 02 978-3-945852-25-5 (German) Art.-No. 200 220 01 € 59,90

UN Women Memac Ogilvy & Mather Dubai Autocomplete Truth (2013)

Note: In some cases the editors have not maintained a chronological timeline in order for all contentrelated connections to be made. Everything that appears in regular type and with solid lines is related to Victor Papanek’s life and work. Everything written in italics and with dotted lines is supplementary historical context.

Victor Josef Papanek is born in Vienna on 22 November 1923, the only son of Jewish delicatessen owner Richard Papanek and his wife, Helene. It is quite late, on the heels of the Kristallnacht in November 1938, when mother and son decide to flee from the Nazis; Helene is widowed by then. They travel via Vlissingen, Holland, and reach New York on 4 April 1939. Shortly after, one of the greatest spectacles the city has ever seen opens: the New York World’s Fair. “Building the World of Tomorrow, For Peace and Freedom—all Eyes to the Future” is the motto of this international exhibition, which attracts in total 55 million visitors. We can only surmise that 15-year-old Victor is one of them. Nevertheless, he could hardly have escaped the effects of the show on the city, its inhabitants, and their view of a radiant—and designed—future.

71–1 General Motors Corporation and Jam Handy Organization, To New Horizons, as shown at GM’s Highways and Horizons exhibit at the 1939–40 New York World’s Fair. Film, 23 minutes.

71–3 Bernard Rudofsky, Are Clothes Modern? An Essay on Contemporary Apparel, 1947. First edition of the hardcover exhibition catalogue in Victor Papanek’s library from the exhibition at MoMA. Victor Papanek amasses a comprehensive library over the course of his life. Individual works document their influences on his philosophy of design. Here, for example, Bernard Rudofsky and Henry Miller’s critique of modernism.

71–2 General Motors Corporation, Futurama, guide to the exhibition, designed by Norman Bel Geddes at GM’s Highways and Horizons exhibit at the 1939–40 New York World’s Fair. Paper, 17.78 × 20.8 cm.





1940: The first McDonald’s opens (as McDonald‘s Bar-B-Que) in San Bernardino, California.

70–1 “Manifest of Alien Passengers for the United States Immigrant Inspector at Port of Arrival”, New York, 4 April 1939. The list includes entries for Victor Papanek, aged 15, and his mother, Helene Papanek, in lines 25 and 24, respectively.


71–4 Henry Miller, The AirConditioned Nightmare, 1945. First edition hardcover book.

Sometimes Google’s autocomplete function seems to know just what we are thinking. And in a way, it does—the autocomplete suggestions reflect our most commonly searched-for terms and the content of the web pages we have visited. Considered as a reflection, then, of both our behaviours and social and cultural attitudes, the results can be disturbing. A series of advertisements developed by Memac Ogilvy & Mather Dubai for UN Women, the United Nations Entity for Gender Equality and the Empowerment of Women reveals the depth of sexism and misogyny still levelled against women. Based on the autocomplete suggestions for searches from 9 March 2013, the adverts expose negative attitudes against women that range from stereotyping to the denial of women’s rights: Women shouldn’t vote/work. In the adverts, the text of the Google searches appears over the mouth of the women of different races who are portrayed, as if silencing them. The campaign, refreshingly, gave a window into a real, rather than an idealized world. In some quarters feminism today seems more vocal than ever, but what people are not audibly stating also bears listening to. The Autocomplete Truth advertisements confirm that we need to continue to act as advocates of women’s empowerment and equality, but they also ask us to consider our own unconscious prejudices and preconceptions. Women should, or should not— what, exactly? In a patriarchal culture where limiting or negative views of women are so deeply embedded, it is worth considering which stereotypes and sexist attitudes might be stuck in our mind, even if we dare not speak them out loud.

1940 Biographical Timeline



269–1, 269–2, 269–3, 269–4 UN Women, The Autocomplete Truth: “Cannot”, “Need to”, “Should”, and “Shouldn’t”, 2013. Campaign designed by Memac Ogilvy & Mather Dubai; poster series and video 1:29 min.


The Bauhaus

› A new look at Bauhaus design from ­today’s perspective › Numerous short contributions by ­r enowned designers, artists, and ­architects, including Norman Foster, Tobias Rehberger, Arik Levy, and Hella Jongerius › Glossary with key concepts and terms relating to the Bauhaus, as well as an extensive catalogue section


› Ein neuer Blick auf das Design am ­Bauhaus aus aktueller Sicht › Zahlreiche Kurzbeiträge namhafter Designer, Künstler und Architekten, u.a. Norman Foster, Tobias Rehberger, Arik Levy und Hella Jongerius › Beinhaltet ein Glossar mit Schlüssel­ begriffen rund um das Bauhaus sowie einen ausführlichen Katalogteil


ye a r s o f bauhaus

The Bauhaus was one of the 20th century’s most influential cultural movements, yet at the same time it is regarded as the epitome of a Modernist design cliché: geometric, industrial, minimalistic. »The Bauhaus #itsalldesign« takes a new look at design at the Bauhaus, offering the very first comprehensive overview of the extension of the ­concept of design that was initiated here and demonstrating the investment its ­designers made in social interconnectivity and experimentation. Alongside rare ­exhibits, the book also documents development processes and the socio-political ­concepts behind the movement.

Das Bauhaus war eine der einflussreichsten kulturellen Bewegungen des 20. Jahrhunderts, doch zugleich wurde es zum Inbegriff des modernen Design-Klischees: ­geometrisch, industriell, kühl. Die Publikation »Das Bauhaus #allesistdesign« widerlegt dieses Klischee und wirft einen neuen, aktuellen Blick auf das Design am Bauhaus mit einer umfassenden Übersicht über den erweiterten Designbegriff des Bauhauses, der dem Designer einen umfassenden Gesellschaftsauftrag zuweist. Neben seltenen ­Exponaten dokumentiert das Buch die Entwicklungsprozesse und Gesellschafts­ entwürfe hinter dem Bauhaus-Begriff. With works by Josef Albers, Marcel Breuer, Walter Gropius, Marianne Brandt, Wassily Kandinsky, Ludwig Mies van der Rohe, Herbert Bayer, and others

The Bauhaus #itsalldesign Editors: Mateo Kries, Jolanthe Kugler Softcover with flaps 19 × 25 cm 464 pages, approx. 500 images 09/2015 978-3-945852-02-6 (English) Art.-No. 200 214 02 Das Bauhaus #allesistdesign 978-3-945852-01-9 (German) Art.-No. 200 214 01 € 69,90

Bauhaus Production

Principles, Price Lists, Advertising Cards

Arthur Rüegg

Two Kinds of Bauhaus


3 4

5 6 7 8 ■ 110 Unknown, net price list for Bauhaus metal

devices (front), June 1929. Five numbered pages, tacked, handwritten additions, signed by Marianne Brandt, Marianne Brandt Estate, Freese Collection ■ 109 Walter Gropius (text), Herbert Bayer (design),

principles of Bauhaus production, 1926, letterpress on sketch paper, 28.8 × 21.1 cm, Freese Collection

■ 111 Joost Schmidt, primary distribution, advertisement card for workshops in Dessau, 1926, letterpress, 10.1 × 14.4 cm, Freese Collection

■ 112 Bauhaus distribution, general agency, 1926

letterpress, 10.4 × 14.4 cm, Freese Collection

The journal ABC, Beiträge zum Bauen, published in Basel by Hans Schmidt, Mart Stam and Emil Roth and influenced by El Lissitzky, appeared in nine editions between 1924 and 1928. A reprint with a commentary volume was brought out by Lars Müller Publishers, Baden, in 1993. Hannes Meyer, “Die neue Welt”, in Das Werk, year 3, no. 6, July 1926, pp. 205–24; p. 223. Ibid. See Arthur Rüegg, “Kunstgewerbe, Kunstindustrie, Maschinenkunst: Vom Möbeltyp zum Typenmöbel”, in Christian Brändle, Renate Menzi and Arthur Rüegg, ed., 100 Jahre Schweizer Design, Lars Müller Publishers, Zurich 2014, p. 54. Meyer, op. cit. 1926, pp. 205–24. Ibid., p. 223. Ibid. Hans Ulrich Gumbrecht, “Rationale Ungeduld mit der Vergangenheit: Hannes Meyers Co-op.Interieur, 1926”, in 100 Jahre Schweizer Design, op. cit., p. 83.


10 11 12

13 14


Hannes Meyer, “Mein Herauswurf aus dem Bauhaus. Offener Brief an Herrn Oberbürgermeister Hesse, Dessau”, in Lena MeyerBergner and Klaus-Jürgen Winkler, ed., Hannes Meyer: Bauen und Gesellschaft. Schriften, Briefe, Projekte, VEB Verlag der Kunst, Dresden 1980, p. 68. Ibid. Ibid., p. 69. Georg Schmidt, “Zur Einführung”, in BauhausWanderschau 1930, Wegleitung 34, Kunstgewerbemuseum der Stadt Zurich, 1930, p. 5. On Georg Schmidt see Roger Fayet, “Georg Schmidt und die Frage der künstlerischen Werte”, in RIHA Journal 0097, September 2014 Ibid., pp. 8ff. Lothar Lang, Das Bauhaus 1919–1933 – Idee und Wirklichkeit, 2nd expanded edition, Zentralinstitut für Gestaltung, Berlin 1966. Charles-Edouard Jeanneret, Étude sur le mouvement d’art décoratif en Allemagne, Haefeli, La Chaux-de-Fonds 1912, p. 43.

16 See Arthur Rüegg,

“Kunstgewerbe, Kunstindustrie, Maschinenkunst: Vom Möbeltyp zum Typenmöbel”, op. cit. 2014, p. 53. 17 Ibid., pp. 53f. 18 The Freidorf housing

settlement in Muttenz bei Basel – a model cooperative housing form – was built from 1919 to 1921 as an initiative of Bernhard Jaeggi, President of the management commission of the Swiss Co-operatives Association VSK (today Co-op). The Co-op headquarters building was completed in 1924. 19 Hannes Meyer and Jean Bard, “Das Propagandatheater Co-op”, in Bauhaus, year 1, no. 3, 1927, p. 5 (Kraus reprint, Nendeln, in cooperation with Bauhaus-Archiv Berlin, 1976). 20 Ibid. 21 See Stanislaus von Moos, “Le Corbusier und Loos”, in Stanislaus von Moos, ed., L’Esprit Nouveau. Le Corbusier und die Industrie 1920–1925, Wilhelm Ernst & Sohn, Berlin 1987, p. 124.

22 Adolf Loos, “Schulausstellung

der Kunstgewerbeschule” [1897], in Adolf Loos, Ins Leere gesprochen 1897– 1900, Editions Crès et Cie., Zurich 1921, p. 10.




the bauhaus



the bauhaus



Paradoxically, the most important designs of the pre-war era were now once again rediscovered, by the postmodern generation, raised to the status of classics and produced for the first time in large numbers. 43 Ever since then, the red/blue chair and the zic-zac chair by Gerriet Rietveld, the Jucker/Wagenfeld lamp, the Wassily chair by Marcel Breuer, the Barcelona chair by Mies van der Rohe and the furniture by Corbusier/Jeanneret/Perriand have enjoyed higher popularity, despite the fact that they are all based on entirely different concepts of product design. That the most radical of manifestos, which struck expressly at the heart of historicism with its renown addiction, should now have found its place among the prestigious must-haves has most certainly much to do with the exhaustion of every possibility for understanding an item of furniture as being in any way a powerful symbol. While numerous designers must continue to concern themselves with the serial and inexpensive possibilities of “needs of the people” production, a boundless passion has been manifested up to today for the “classics” and for all those unique pieces which have occupied the border territories of art, with which one can give expression to individuality and social status. This much appears to be certain: the discussion of design will thus continue until further notice to be an essential aspect of everyday culture – if only under quite different premises from those of the “heroic period” 44 of the moderns.

23 Le Corbusier, “Pédagogie”,

in L’Esprit Nouveau. Revue internationale illustrée de l’activité contemporaine, no. 19, December 1921, n.p. 24 Walter Gropius, “Grundsätze

der Bauhausproduktion”, in Walter Gropius, ed., Neue Arbeiten der Bauhauswerkstätten, Albert Langen Verlag, Munich 1925, p. 7. 25 Ibid. 26 Letter from Walter Gropius to the works master, 21 April 1922, in Volker Wahl, ed., Die Meisterratsprotokolle des Staatlichen Bauhauses Weimar 1919–1923, Verlag Hermann Böhlaus Nachfolger, Weimar 2001, p. 185. 27 See Winfried Nerdinger, “Le Corbusier und Deutschland. Standard und Typ”, in L’Esprit Nouveau. Le Corbusier und die Industrie 1920–1925, Wilhelm Ernst & Sohn, Berlin 1987, p. 48.

■ 395 Marianne Brandt, ceiling light with opal glass sphere on chain suspension, ME104b, 1926, 165 cm, Ø 40 cm, yellow brass (nickel-plated), opal glass, Bauhaus-Archiv Berlin



ROBOTS 1:1 R.F. Collection

»ROBOTS 1:1« explores the space-themed toys in the R. F. Robot Collection held by the Vitra Design Museum. Showing the »small kinetic sculptures« and their original packaging (when available) on a scale of 1:1, the supersized book is limited to an edition of 1  000 copies, numbered and signed by Rolf Fehlbaum.

»ROBOTS 1:1« beschäftigt sich mit den Spielzeugrobotern der R. F. Robot Collection des Vitra Design Museums. Das Buch im Sonderformat, das diese »kleinen kinetischen Skulpturen« samt Originalverpackung (sofern verfügbar) im Maßstab 1:1 zeigt, ist limitiert auf eine Auflage von 1  000 Stück, nummeriert und signiert von Rolf Fehlbaum.

ROBOTS 1:1 R.F. Collection Editor: Rolf Fehlbaum Hardcover, large format, Includes USB drive and poster 32 × 48 cm 276 pages, approx. 250 images 06/2018 978-3-945852-27-9 (English) Art.-No. 200 221 02 Limited edition, signed € 150,00

Introduction by Rolf Fehlbaum

Night Fever Designing Club Culture 1960 – Today

Since the 1960s, nightclubs and discothèques have been centres of the avant-garde that question established codes of social living. »Night Fever: Designing Club Culture« takes the reader on a fascinating journey through a world of glamour, subculture, and the search for the night that never ends.

Night Fever Designing Club Culture 1960 – Today Editors: Mateo Kries, Jochen Eisenbrand, Catharine Rossi Softcover, silver emboss, with flaps 20 × 26,5 cm 400 pages, approx. 600 images 03/2018

Seit den 1960er Jahren versammeln sich in Nachtclubs und ­Diskotheken Avantgarden, die gesellschaftliche Normen infrage stellen. »Night Fever. Design und Clubkultur« begleitet die Leser auf einer faszinierenden Reise durch Subkulturen und Glitzer­ welten – auf der Suche nach der Nacht, die kein Ende nimmt.

978-3-945852-24-8 (English) Art.-No. 200 219 02

With texts by Jörg Heiser, Tim Lawrence, Ivan Lopez Munuera, Catharine Rossi, ­Sonnet Stanfill, Alice Twemlow, and others, as well as interviews with Ben Kelly, Peter Saville, Ian Schrager, and others

Night Fever Design und Clubkultur 1960 – heute 978-3-945852-23-1 (German) Art.-No. 200 219 01 € 59,90 18

Eames Furniture Sourcebook Editors: Mateo Kries, Jolanthe Kugler Hardcover, debossed  17 × 24 cm 336 pages, approx. 350 images 09/2017 978-3-945852-20-0 (English) Art.-No. 200 813 02 978-3-945852-19-4 (German) Art.-No. 200 813 01 € 49,90

Essential Eames Words & Pictures Editors: Eames Demetrios, Carla Hartman Softcover 16,5 × 24 cm 216 pages, approx. 125 images 09/2017 978-3-945852-17-0 (English) Art.-No. 200 812 02 Essential Eames Zitate & Bilder 978-3-945852-16-3 (German) Art.-No. 200 812 01 € 29,90

Together! The New Architecture of the Collective Editors: Mateo Kries, Mathias Müller, Daniel Niggli, Andreas Ruby, Ilka Ruby Softcover 23 × 30 cm 352 pages, approx. 440 images 06/2017 978-3-945852-15-6 (English) Art.-No. 200 811 02 Together! Die Neue Architektur der Gemeinschaft 978-3-945852-14-9 (German) Out of stock

Hello, Robot. Design between Human and Machine Editors: Mateo Kries, Amelie Klein Softcover, embossed 19 × 25 cm 328 pages, approx. 255 images 01/2017 978-3-945852-11-8 (English) Art.-No. 200 809 02 Hello, Robot. Design zwischen Mensch und Maschine 978-3-945852-10-1 (German) Art.-No. 200 809 01 € 49,90

€ 49,90

The Vitra Schaudepot Architecture, Ideas, Objects Editors: Mateo Kries, Viviane Stappmanns Softcover with flaps 17 × 23,5 cm 108 pages, approx. 480 images 01/2017

The Vitra Campus Architecture Design Industry Editor: Mateo Kries Softcover with flaps 17 × 24 cm 204 pages, approx. 200 images 10/2016

978-3-945852-13-2 (English) Art.-No. 200 810 02

978-3-945852-07-1 (English) Art.-No. 200 217 02

Das Vitra Schaudepot Architektur, Idee, Objekte 978-3-945852-12-5 (German) Art.-No. 200 810 01

Der Vitra Campus Architektur Design Industrie 978-3-945852-06-4 (German) Art.-No. 200 217 01

€ 14,90

€ 24,90



Alexander Girard A Designer’s Universe Editors: Mateo Kries, Jochen Eisenbrand Hardcover, cloth binding 19,5 × 27,5 cm 512 pages, approx. 5 30 images 03/2016

The Lucky, Plucky Chairs Author: Rolf Fehlbaum Illustrations: Maira Kalman Hardcover with jacket 15,5 × 20,5 cm 48 pages, approx. 35 images 12/2015

978-3-945852-05-7 (English) Art.-No. 200 215 02

978-3-945852-09-5 (English) Art.-No. 200 083 02

978-3-945852-04-0 (German) Art.-No. 200 215 01

Die tollkühnen Stühle 978-3-945852-08-8 (German) Art.-No. 200 083 01

€ 69,90

Making Africa A Continent of Contemporary Design Editors: Mateo Kries, Amelie Klein Softcover 24 × 33,5 cm 336 pages, approx. 350 images 04/2015 978-3-931936-52-5 (English) Art.-No. 200 213 02 978-3-945852-00-2 (German) Art.-No. 200 213 01 Making Africa Un continente de diseño ­contemporáneo 978-8-495216-75-5 (Spanish) Art.-No. 200 213 04

€ 14,95

Alvar Aalto Second Nature Editors: Mateo Kries, Jochen Eisenbrand Hardcover, cloth binding 16,5 × 23,5 cm 688 pages, approx. 500 images 09/2014 (03/2018, 2nd printing) 978-3-931936-93-8 (English) Art.-No. 200 513 02 978-3-931936-87-7 (German) Art.-No. 200 513 01 € 69,90

€ 69,90

Konstantin Grcic Panorama Editors: Mateo Kries, Janna Lipsky Softcover 21 × 28 cm 320 pages, approx. 440 images 03/2014 978-3-931936-07-5 (English) Art.-No. 200 5 30 02 978-3-931936-06-8 (German) Art.-No. 200 5 30 01 € 69,90

Lightopia Editors: Mateo Kries, Jolanthe Kugler 3 softcover volumes in slipcase 21,5 × 28,5 cm 397 pages, approx. 300 images 09/2013 978-3-931936-05-1 (English) Art.-No 200 529 02 978-3-931936-04-4 (German) Art.-No 200 529 01 € 79,90

Pop Art Design Editors: Alexander von Vegesack, Mathias Schwartz-Clauss, Peter Dunas Softcover in plastic 28 × 28 cm 272 pages, approx. 325 images 10/2012 978-3-931936-96-9 (English) Out of stock 978-3-931936-95-2 (German) Art.-No. 200 808 01 € 69,90

Gerrit Rietveld Die Revolution des Raums Author: Ida von Zijl Hardcover with jacket 23 × 29 cm 240 pages, approx. 400 images 05/2012 978-3-931936-94-5 (German) Art.-No. 200 527 01 € 75,00

Louis Kahn The Power of Architecture Editors: Mateo Kries, Jochen Eisenbrand, Stanislaus von Moos Hardcover with jacket 24 × 32 cm 370 pages, approx. 500 images 09/2012 978-3-931936-92-1 (English) Art.-No. 200 807 02 978-3-931936-91-4 (German) Art.-No. 200 807 01 German retail price € 79,90

Rudolf Steiner Alchemy of the Everyday Editors: Mateo Kries, Alexander von Vegesack Hardcover with jacket 21 × 28,5 cm 336 pages, approx. 550 images 06/2010 978-3-931936-86-0 (English) Out of stock Rudolf Steiner Die Alchemie des Alltags 978-3-931936-85-3 (German) Art.-No. 200 805 01 € 79,90

Die Essenz der Dinge/ The Essence of Things Editors: Alexander von Vegesack, Mathias Schwartz-Clauss Softcover with flaps 24,5 × 31 cm 132 pages, approx. 180 images 03/2010 978-3-931936-50-1 (German/English) Art.-No. 200 804 99 € 41,00

Antibodies/Antikörper Fernando & Humberto Campana 1989 – 2009 Editors: Alexander von Vegesack, Mathias Schwartz-Clauss Softcover 24,5 × 32 cm 128 pages, approx. 250 images 05/2009 978-3-931936-47-1 (English/German) Art.-No. 200 803 01 € 32,90



George Nelson Architect, Author, Designer, Teacher Editors: Alexander von Vegesack, Jochen Eisenbrand Hardcover 23,5 × 28 cm 352 pages, approx. 300 images 09/2008 978-3-931936-82-2 (English) Out of stock George Nelson Architekt, Autor, Designer, Lehrer 978-3-931936-81-5 (German) Art.-No. 200 523 01 € 59,90

Le Corbusier A Study of the Decorative Art Movement in Germany Editors: Mateo Kries, Alexander von Vegesack Hardcover with bellyband 16,5 × 20 cm 224 pages, approx. 115 images 06/2008 978-3-931936-29-7 Art.-No. 200 186 02 (English) Le Corbusier Studie über die deutsche Kunstgewerbebewegung 978-3-931936-28-0 Art.-No. 200 186 01 (German) € 36,40

Le Corbusier The Art of Architecture Editors: Alexander von Vegesack, Stanislaus von Moos, Arthur Rüegg, Mateo Kries Hardcover with bellyband 22 × 31 cm 398 pages, approx. 500 images 05/2007 978-3-931936-72-3 (English) Out of stock 978-3-931936-71-6 (German) Art.-No. 200 121 01 € 59,90

Joe Colombo Inventing the Future Editors: Alexander von Vegesack, Mateo Kries Hardcover 24 × 28 cm 304 pages, approx. 520 images 10/2005 978-3-931936-58-7 (English) Out of stock Joe Colombo Die Erfindung der Zukunft 978-3-931936-57-0 (German) Art.-No. 200 184 01 Joe Colombo L̓ i nvention du futur 978-3-931936-73-0 (French) Art.-No. 200 184 03 € 44,90

Jean Prouvé The Poetics of the Technical Object Editors: Alexander von Vegesack, Bruno Reichlin, Catherine Dumont d’Ayot Hardcover in corrugated metal 23 × 28 cm 392 pages, approx. 895 images 03/2006 978-3-931936-54-9 (English) Out of stock Jean Prouvé Die Poetik des technischen Objekts 978-3-931936-5 3-2 (German) Art.-No. 200 185 01 € 71,90

Grow Your Own House Simón Vélez and Bamboo Architecture Simón Vélez und die Bambusarchitektur Editors: Alexander von Vegesack, Mateo Kries Softcover 24 × 29 cm 265 pages, approx. 300 images 2000 978-3-931936-25-9 (German/English) Art.-No. 200 165 09 € 22,40


The Chair Collection Poster 84 × 119 cm Art.-Nr. 203 370 02 € 22,60

R. F. Robot Collection Poster 84 × 119 cm Art.-Nr. 205 504 31 € 22,60

Alexander Girard Coloring Book La Fonda del Sol Softcover 18 × 18 cm 42 sheets 978-3-945852-21-7 Art.-No.: 200 218 02 € 9,90 


Vitra Design Museum Vitra Campus Located on the Vitra Campus in Weil am Rhein, Germany, the Vitra Design Museum is one of the world’s leading museums of design. It is dedicated to the research and presentation of ­design, past and present, and examines its relationship to architecture, art, and everyday culture. The museum mounts at least two major exhibitions every year in its main building, designed by Frank Gehry. Additional shows are presented in the Vitra Design Museum Gallery and in the Vitra Schaudepot, designed by Herzog & de Meuron. Up to ten annual exhibitions, as well as a wide array of events, workshops, talks, and tours, provide a rich programme of cultural activities on the Vitra Campus. For our current calendar of events, please visit

Das Vitra Design Museum auf dem Vitra Campus in Weil am Rhein zählt zu den führenden Designmuseen weltweit. Es erforscht und vermittelt die Geschichte und Gegenwart des ­Designs und setzt diese in Beziehung zu Architektur, Kunst und Alltagskultur. Im Hauptgebäude von Frank Gehry präsentiert das Museum jährlich zwei große Wechselaus­ stellungen. Weitere Ausstellungen werden in der Vitra Design Museum Gallery und im Vitra Schaudepot von Herzog & de Meuron gezeigt. Insgesamt präsentiert das Museum bis zu zehn Ausstellungen jährlich auf dem Vitra Campus, ergänzt um zahlreiche Veranstaltungen,

6 Vitra Schaudepot Herzog & de Meuron, 2016

Workshops und ­andere Vermittlungsangebote. Unser aktuelles Programm finden sie unter


1 Vitra Design Museum Frank Gehry, 1989

5 Fire Station/Feuerwehrhaus Zaha Hadid, 1993


5 4 Vitra Slide Tower/Vitra Rutschturm Carsten Hรถller, 2014


2 3

3 VitraHaus Herzog & de Meuron, 2010

2 Vitra Design Museum Gallery Frank Gehry, 2003


Exhibitions Worldwide Ausstellungen weltweit Vitra Design Museum exhibitions around the world. More information at Aktuelle Wanderausstellungen des Vitra Design Museums. Nähere Informationen unter

2 Night Fever Designing Club Culture 1960 – Today 11. 2018 – 05. 2019 Brussels (BE) 3 Together! The New Architecture of the Collective 11. 2018 – 03. 2019 Leipzig (DE) 05. 2019 – 06. 2019 Geneva (CH)

Victor Papanek The Politics of Design 10.2019 – 02.2020 Barcelona (ES) 03.2020 – 06.2020 Genk (BE) 1


6 2 1 3

4 4

5 5

4 Hello, Robot. Design ­between Human and Machine 01. – 04. 2019 Lisbon (PT) 06. – 09. 2019 San Sebastián (ES) 11.2019 – 02.2020 Dundee (UK)








5 Alexander Girard A Designer’s Universe 05. – 10. 2019 Santa Fe (US) 11.2019 – 03.2020 Palm Springs (US)

7 Making Africa A Continent of Contemporary Design 10. 2018 – 01. 2019 Austin (US)

8 Alvar Aalto Second Nature 12. 2018 – 02. 2019 Nagoya (JP) 02. – 04. 2019 Tokyo (JP) 04. – 06. 2019 Aomori (JP)

6 The Bauhaus #itsalldesign 09. 2018 – 01. 2019 Lausanne (CH) 03. – 12.2019 Copenhagen (DK)

9 Rêveries Urbaines Ronan & Erwan Bouroullec 10. 2018 – 02. 2019 Hong Kong (CN)

Contact All publications may be ordered directly from the Vitra Design Museum or from our distributors. Prices reflect German retail prices incl. VAT and are subject to change without prior notice given. Alle Publikationen sind direkt beim Verlag des Vitra Design Museums erhältlich oder bei unseren Vertriebspartnern. Preise entsprechen den deutschen Verkaufspreisen inkl. gesetzlicher Mehrwertsteuer, Preisänderungen vorbehalten. Vitra Design Museum Charles-Eames-Str. 2 79576 Weil am Rhein Germany T +49 (0) 76217 02 3200 F +49 (0) 76217 02 3590

Distribution Germany and Austria LKG, Leipziger Kommissions- und Großbuchhandelsgesellschaft GmbH An der Südspitze 1 – 12 04571 Rötha Germany T +49 (0) 34206 65 100 F +49 (0) 34206 65 110 Peter Jastrow T +49 (0) 30447 32 180 F +49 (0) 30447 32 181 North and East Germany Michael Klein T +49 (0) 8742 9645522 Northwest Germany Stefan Schempp T +49 (0) 89 23077737 South and Southwest Germany, Austria

Americas Artbook | D.A.P. 75 Broad St., Suite 630 New York, NY 10004 USA T +1 (212) 627-1999 F +1 (212) 627-9484 For a complete list of sales representatives, please visit For the UK and the rest of the world, please contact Thames & Hudson: Thames & Hudson Ltd 181A High Holborn London WC1V 7QX United Kingdom T +44 (0) 207 845 5000 F +44 (0) 207 845 5055 For a complete list of UK and export representatives, please visit

Switzerland AVA Verlagsauslieferung AG Centralweg 16 8910 Affoltern am Albis Switzerland T +41 (0) 44 762 42 00 F +41 (0) 44 762 42 10 Giovanni Ravasio T +41 (0) 44 260 61 31 F +41 (0) 44 260 61 32 France Interart 1 rue de l’Est 75020 Paris France T +33 (0) 1 43 49 36 60 F +33 (0) 1 43 49 41 22 Imprint / Credits Vitra Design Museum GmbH Charles-Eames-Str. 2 79576 Weil am Rhein Germany T +49.7621.702.3200 F +49.7621.702.3590 HRB 413163 Amtsgericht Freiburg UST ID DE 813099569 Concept: Boros. Layout: Vitra Design Museum Cover: Detail of miniature painting by Balkrishna Doshi of Sangath Architect’s Studio, Ahmedabad, 1980. P. 02/03 © Dan Tobin Smith; p. 04/05: © Iwan Baan 2018; p. 06: (image 1) © Iwan Baan 2018; (image 2) © Iwan Baan 2018; (image 3) courtesy of Vastushilpa Foundation, Ahmedabad; p. 09: (image 1) Collection Alexander von Vegesack, Domaine de Boisbuchet, France; (image 2) © Vitra Design Museum, photo: Jürgen HANS,; (image 3) © VG Bild-Kunst, Bonn 2019, © Vitra Design Museum, photo: Jürgen HANS,; (image 4) © VG Bild-Kunst, Bonn 2019, Collection Kröller-Müller Museum, Otterlo; p. 10 (image 1) © picture alliance/ASSOCIATED PRESS, photo: Tom Fitzsimmons; (image 2) © Vitra Design Museum, photo: Andreas Sütterlin, copyright for the works of Meret Oppenheim: © VG BildKunst, Bonn 2019; (image 3) © bpk/The Art Institute of Chicago/Art Resource, NY, copyright for the works of Man Ray: © Man Ray Trust, Paris/VG Bild-Kunst, Bonn 2019; (image 4) © Vitra Design Museum, photo: Jürgen HANS; (image 5) © Vitra Design Museum, photo: Andreas Sütterlin; (image 6) Kunsthaus Zürich, copyright for the works of Salvador Dalí: © Salvador Dalí, Fundació Gala-Salvador Dalí/VG BildKunst, Bonn 2019; p. 11 Musée national des beaux-arts du Québec, Québec (Canada), copyright for the works of Mimi Parent: © Succession Mimi Parent; p. 12/13: © Vitra, photo: Julien Lanoo; p.24/25 (image 1) © Vitra Design Museum, photo: Thomas Dix; (image 2) © Vitra Design Museum, photo: Thomas Dix; (image 3) © Vitra, photo: Julien Lanoo; (image 4) © Vitra, photo: Julien Lanoo; (image 5) © Vitra, photo: Thomas Dix; (image 6) © Vitra Design Museum, photo: Mark Niedermann 27

Alvar Aalto, Gae Aulenti, Iwan Baan, Jan Boelen, Ronan & Erwan Bouroullec, Umberto & Fernando Campana, Salvador Dalí, Balkrishna Doshi, Marcel Duchamp, Charles & Ray Eames, Front, Alexander Girard, Global Tools, Walter Gropius, Gruppo 9999, Keith Haring, Heide & von Beckerath, Herzog & de Meuron, Allen Jones, Ben Kelly, Friedrich Kiesler, Shiro Kuramata, Michael Maltzan, Dorte Mandrup, Ingo Maurer, Shawn Maximo, Marshall McLuhan, mischer’traxler, Carlo Mollino, Isamu Noguchi, Opendesk, Meret Oppenheim, Victor Papanek, Gaetano Pesce, Man Ray, Daniel Rybakken, Peter Saville, Jerszy Seymour, Ettore Sottsass, Robert Stadler, Studio 65, Superflux, …

Vitra Design Museum Charles-Eames-Str. 2 79576 Weil am Rhein Germany

ISBN: 978-3-945852-34-7

Profile for Vitra Design Museum

Vitra Design Museum: Publications Preview 2019  

2019 (EN/DE)

Vitra Design Museum: Publications Preview 2019  

2019 (EN/DE)