Slit Tapestry Red-Green, author: Gunta Stölzl, 1927–1928.. 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. 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. See more ideas about bauhaus textiles, bauhaus, textile design. Designtex upholstery textiles inspired by Gunta Stölzl designs from their Bauhaus anniversary collection. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Gunta Stolzl, Apr 10, 2018 - Explore Ann Brauer's board "Gunta Stolz", followed by 706 people on Pinterest. 1926. The final event in our series celebrating Bauhaus women turns to Gunta Stölzl and her efforts at making the heavily gendered textiles of the weaving workshop compatible with the architectural innovations of her time. Weavers in the workshop. metalocus, JOSE JUAN BARBA, MARÍA REDONDO, 21/04/2019 - “There were always all these new Gobelins!”. Her practice spans drawing, photography and weaving, and her output ranges from individual exhibition pieces to site-specific commissions and collaborations. [Munich, 1897 - Switzerland, 1983] 100 YEARS OF THE BAUHAUS. Courtesy of the Gunta Stölzl Foundation. Gunta Stölzl design for a double weave wallhanging; watercolor (1926). Wall hanging "Aufstrebend" by Gunta Stölzl, 1968. “The irony of the situation,” explains Designtex president Susan Lyons, “is that the weaving workshop was really the embodiment of what the Bauhaus was supposed to be, taking things down to an abstract form and turning them into products.” Under Stölzl’s leadership the workshop, where prototypes for functional fabrics were designed by hand before being produced on an industrial scale, was particularly profitable — in a 1927 letter to her brother, she boasts of the “maximum number of commissions, furnishing a large café, etc.”, “She did all of this and had a kid with her,” Stölzl’s grandson, Ariel Aloni, reminds us. Courtesy of the Gunta Stölzl Foundation. The "Prellerdecke'" (Preller bedcover) designed by Gunta Stölzl. Courtesy of the Gunta Stölzl Foundation. 1923. Moliner House by Alberto Campo Baeza, Generate identity to create the city center. Gunta Stölzl was an extraordinary textile designer. She is the author of Breaking Ground: Architecture by Women published in 2019. Courtesy of the Gunta Stölzl Foundation. Looking for one of our artists or something from our Collection? 1920-24. Group portrait of the Bauhaus weaving workshop students, 1927. What, if anything, do contemporary experiments with both owe to early twentieth century luminaries like Stölzl? Photograph by Lotte Beese. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Female students such as Gunta Stölzl, who later became the head of the weaving workshop, taught themselves many technical and practical skills such as dyeing. For that reason we went to the production of fabrics that are sold by the meter, which could be useful to solve the problems of the house. [...] Georg Muche (teacher of this section) was little interested in the practical side of the section. And what are the structural barriers that contemporary designers continue to share with the women of the Bauhaus? metalocus, AISHA SAR SAR ALONSO, We use cookies to make your reading a better experience. His mother, Yael, was born in Dessau in 1929, following Stölzl’s marriage to Jewish architect Arieh Sharon. Design for Textile by Gunta Stölzl. "In 1922-1923 we had a conception of the house substantially different from today's. Photo by Andrew Garn © Cooper Hewitt, Smithsonian Design Museum. Stölzl's Wall Hanging. Fashion Fabrics, 1940s. Courtesy of the Gunta Stölzl Foundation. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Gunta Stölzl,1929. Weavingby by Gunta Stölzl. Upholstery fabric for tubular steel chairs by Gunta Stölzl. We realized how pretentious those singular pieces were: tablecloths, curtains, tapestries. 1923–1928. 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. In line with government guidance, the Royal Academy of Arts is closed. The slogan of this new era was: models for the industry! From left: Josef Albers, Hinnerk Scheper, Georg Muche, László Moholy-Nagy, Herbert Bayer, Joost Schmidt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stölzl, Oskar Schlemmer. Courtesy of the Gunta Stölzl Foundation. The richness of colors and forms began to seem too authoritarian, did not allow adaptations, did not submit to the room. Gunta Stölzl (1897-1983), teacher and director of the textile workshop of the Bauhaus. Curtain in Linen for Courtroom in Meilen, Zurich by Gunta Stölzl,1960s. 1923-28. 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. © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Courtesy of the Gunta Stölzl Foundation. Libby Sellers (chair) is a design historian, consultant, curator and writer. 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. 1926. [Poland, 1903 - The Netherlands, 1988] 100 YEARS OF THE BAUHAUS - metalocus, MARÍA REDONDO, 24/04/2019 - Courtesy of the Gunta Stölzl Foundation. Wolfratshausen 9.IV by Gunta Stölzl. "Bauhaus". Design for Double-Woven Cloth by Gunta Stölzl. [Austria-Hungary, 1894 - Switzerland, 1989] - Suit Material by Gunta Stölzl. 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. Burlington House, Piccadilly,London, W1J 0BD, We use cookies to improve your experience online. ", "In the fabric section, Gunta Stölzl is required to be recognized as a director and reaffirmed in this position, more protests against teachers.". Gunta Stölzl watercolor design for wallhanging (ca. Courtesy of the Gunta Stölzl Foundation. Knotted Floor rug and the Breuer chair by Stölzl. Little by little, there was a transformation. 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. 1923. [Dresden, Germany, 1906 - Bonn, Germany, 1964] 100 YEARS OF THE BAUHAUS - Instead he simply wants to take us to the point where we will free ourselves.” She would follow Itten to Switzerland, on graduating from the Bauhaus in 1924, to help him set up the Ontos weaving business near Zürich, but a year later returned to her alma mater — which by now had moved to Dessau — to join the teaching staff as head of the weaving workshop. 1920. 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 … Gunta Stölzl: drawing, design for double woven cloth, ca. (1) Jeannine Fiedler, Peter Feierabend. Albers later immigrated to the United States where she followed, together with her husband Josef, an artistic-academic path that brought her almost household-name status. Our fabrics could still be poetry full of ideas, floral decorations, individual experiences. 6.30 — 7.45pm, Wednesday 9 December 2020 [Vienna, Austria, 1898 - Auschwitz, Germany, 1944] 100 YEARS OF THE BAUHAUS - 1928. Please contact us with your ticket enquiries. Try our new search feature. {{ node.node.field_fecha }}. 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. 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. At 70, Stölzl retired from business and returned to weaving tapestries, which she exhibited and sold. 1928. 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.