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На фотографиях, опубликованных Катей Улитиной по следам ее визита в роттердамский дом Сонневельда, в компании со стальной мебелью Виллема Хендрика Гиспена в замечено кресло за авторством немецкого дизайнера Эриха Дикманна, который был незаслуженно забыт и не удостоен ни полсловом в прекрасном обзоре истории Баухауса, написанном Фрэнком Уитфордом. Хоть Дикманн, учившийся в Баухаусе в 1921-1924 гг., а после досрочно сдавший экзамены по столярному делу и преподававший эту дисциплину веймарским студентам, известен прежде всего предметами мебели из древесины, в его репертуаре было значительное количество из других материалов, в том числе стальных трубок, которые он гнул под впечатлением от работ своего коллеги Марселя Брейера, но отличным от последнего образом.

К слову, Брейер, в 1926 г. передавший Дикманну руководство факультетом деревообработки, по достоинству оценивал работу своего преемника на поприще проектирования предметов быта: «Его мебель отличается известной легкостью и ненавязчивостью, она словно начерчена в пространстве и не мешает ни движению, ни обзору»…

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If you’ve read Katya’s account of her visit to the Sonneveld house in Rotterdam, you may have noticed a lounger amidst other tubular steel furniture designed by the Dutch Willem Gispen. This lounger is a product of an influential German designer by the name of Erich Dieckmann who was active in the 1920-1940s and has then fallen into oblivion without so much as a tiniest mention in Frank Withford’s comprehensive history of Bauhaus. A student of Bauhaus in 1921-1924, Dieckmann completed his apprenticeship as a carpenter ahead of the curriculum to begin teaching woodworking to Bauhaus students and was so fascinated by wood that it’s difficult to come to terms with his equally stunning tubular steel endeavors. His interest in bent steel furnishings was obviously inspired by one of his much better known colleagues, Marcel Breuer, but manifested itself in highly original twists and turns.

Interestingly, Breuer, whom Dieckmann replaced as head of the woodworking department at Bauhaus in 1926, paid due respects to the German designer’s vision and talent as a furniture-maker in subsequent years. Here’s what he wrote on Dieckmann’s furnishings in 1928, “They are rather light, open, as if sketched into the room; they do not hinder either movement or the view across the room."…



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На фотографиях, опубликованных Катей Улитиной по следам ее визита в роттердамский дом Сонневельда, в компании со стальной мебелью Виллема Хендрика Гиспена в замечено кресло за авторством немецкого дизайнера Эриха Дикманна, который был незаслуженно забыт и не удостоен ни полсловом в прекрасном обзоре истории Баухауса, написанном Фрэнком Уитфордом. Хоть Дикманн, учившийся в Баухаусе в 1921-1924 гг., а после досрочно сдавший экзамены по столярному делу и преподававший эту дисциплину веймарским студентам, известен прежде всего предметами мебели из древесины, в его репертуаре было значительное количество из других материалов, в том числе стальных трубок, которые он гнул под впечатлением от работ своего коллеги Марселя Брейера, но отличным от последнего образом.

К слову, Брейер, в 1926 г. передавший Дикманну руководство факультетом деревообработки, по достоинству оценивал работу своего преемника на поприще проектирования предметов быта: «Его мебель отличается известной легкостью и ненавязчивостью, она словно начерчена в пространстве и не мешает ни движению, ни обзору»…

———

If you’ve read Katya’s account of her visit to the Sonneveld house in Rotterdam, you may have noticed a lounger amidst other tubular steel furniture designed by the Dutch Willem Gispen. This lounger is a product of an influential German designer by the name of Erich Dieckmann who was active in the 1920-1940s and has then fallen into oblivion without so much as a tiniest mention in Frank Withford’s comprehensive history of Bauhaus. A student of Bauhaus in 1921-1924, Dieckmann completed his apprenticeship as a carpenter ahead of the curriculum to begin teaching woodworking to Bauhaus students and was so fascinated by wood that it’s difficult to come to terms with his equally stunning tubular steel endeavors. His interest in bent steel furnishings was obviously inspired by one of his much better known colleagues, Marcel Breuer, but manifested itself in highly original twists and turns.

Interestingly, Breuer, whom Dieckmann replaced as head of the woodworking department at Bauhaus in 1926, paid due respects to the German designer’s vision and talent as a furniture-maker in subsequent years. Here’s what he wrote on Dieckmann’s furnishings in 1928, “They are rather light, open, as if sketched into the room; they do not hinder either movement or the view across the room."…

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At this point, however, Durov had already been working on Telegram with his brother, and further planned a mobile-first social network with an explicit focus on anti-censorship. Later in April, he told TechCrunch that he had left Russia and had “no plans to go back,” saying that the nation was currently “incompatible with internet business at the moment.” He added later that he was looking for a country that matched his libertarian ideals to base his next startup. At its heart, Telegram is little more than a messaging app like WhatsApp or Signal. But it also offers open channels that enable a single user, or a group of users, to communicate with large numbers in a method similar to a Twitter account. This has proven to be both a blessing and a curse for Telegram and its users, since these channels can be used for both good and ill. Right now, as Wired reports, the app is a key way for Ukrainians to receive updates from the government during the invasion. Right now the digital security needs of Russians and Ukrainians are very different, and they lead to very different caveats about how to mitigate the risks associated with using Telegram. For Ukrainians in Ukraine, whose physical safety is at risk because they are in a war zone, digital security is probably not their highest priority. They may value access to news and communication with their loved ones over making sure that all of their communications are encrypted in such a manner that they are indecipherable to Telegram, its employees, or governments with court orders. Telegram was co-founded by Pavel and Nikolai Durov, the brothers who had previously created VKontakte. VK is Russia’s equivalent of Facebook, a social network used for public and private messaging, audio and video sharing as well as online gaming. In January, SimpleWeb reported that VK was Russia’s fourth most-visited website, after Yandex, YouTube and Google’s Russian-language homepage. In 2016, Forbes’ Michael Solomon described Pavel Durov (pictured, below) as the “Mark Zuckerberg of Russia.” And indeed, volatility has been a hallmark of the market environment so far in 2022, with the S&P 500 still down more than 10% for the year-to-date after first sliding into a correction last month. The CBOE Volatility Index, or VIX, has held at a lofty level of more than 30.
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