TL a Magazine By

A magazine by 3 TL Floor lamp BULO XL/BLON 16 P The new times give rise to a funda- up with fresh thoughts and new Well-conceived, clever and always mental question: How can I feel safe ideas. Pleasing tactile effects resul- functional: Oliver Niewiadomski and at ease? In future, we'll be ting from an excellent choice of translates a mathematical concept demanding a lot more of our homes. materials help to keep you grounded into incisive design language, as This refers to far more than just cosy in a digitised world. Old favourites here with the floor lamp BULO XL trends such as cocooning or hygge. give people something reliable and which sits neatly on its base to work It’s more a case of needing our own unchanging to hold on to. perfectly in any specific setting. intimate space of peace and quiet TECNOLUMEN has always combined where we can withdraw from the these essential factors, producing world and recharge our batteries in classic lamps “made in Germany” a feel-good atmosphere. This is using the best craftsmanship traditi- particularly challenging for those who ons and working together with small setting up a home office environ- companies who give outstanding ment in their own four walls, with a quality the same priority that we do. special need for feel-good spaces Let’s make the best of it! in between. The whole interior design industry is tackling the issues involved and their various manifestations to cover all bases, taking an inspiring people-focused approach. Your Carsten Hotzan Good light is an essential factor to Executive Director of give rooms their desired effect. It TECNOLUMEN can be used for clever demarcation of specific sections, putting an emphasis on the feel-good areas. A reduced design limited to the essentials has a soothing impact on the mind, leaving it free to come 4 Purpose & Form: Prof. Dr. Klaus Struve’s Collection 6 Bauhaus Standard Lamps 8 Handmade in Germany: Traditional Craftsmanship with Heart and Soul 12 From Arts and Crafts via De Stijl to Bauhaus 16 Oliver Niewiadomski: A Portrait 18 Gropius Door Handle, Series 130: TECNOLINE’s Special Edition Purpose & Form: Prof. Dr. Klaus Struve’s collection Right behind the front door there are stacks of boxes, with lamps and door handles lying around as well as bits of furniture standing in the way. “Please excuse the confusion”, says Prof. Dr. Klaus Struve as he tries to make his way through his living room, “itˇs all just come back from an exhibition”. Not an unusual occurrence for the 77-year old man from Oldenburg. His “Purpose and Form” collection has made him well known way beyond North Germany itself. So itˇs not so easy to know when to go back to being used all the time”, stop. Even so, Struve’s collection emphasises Struve. In this way, does of course have its highlights. it is still possible to perceive the Besides lamps and door handles, design and beauty of the historical he also has a few industrial so-called objects. This doesnˇt mean his master clocks with slave clocks for findings canˇt be put to a different use in factories, as well as furniture use. A lamp can become a sculp- made of bent beechwood. Bentwood ture, a work of art, and thereˇs no furniture already featured among reason why a doorknob shouldn't the first collection items, products be used as a paperweight on a desk. of industrialised furniture production Moving towards the warehouse of Viennese coffee-house furnish- exit, Prof. Struve cleverly skirts ings. How is it possible to keep track around more piles and stacks of of the items when there are so things. Doesnˇt he find it hard to say many of them? “Iˇm still behind with goodbye after he has taken so archiving all the things in the long to find things and put so much collection”, confesses Struve. It is effort into their restoration? “No, both time—and space—consuming not at all!” Klaus Struve shakes his to make sure the archive items are head emphatically. stored properly and professionally. “When all is said and done, they’re Hundreds of ceiling, wall, desk and supposed to be used!” table lamps, about a thousand door handles and countless items of bentwood furniture are standing, lying or hanging in shelves, on tables and on the walls of a warehouse. But apart from sorting and number- Itˇs a comprehensive collection. by machinery. Heˇs referring to Glass shades in different colours, ing them, there are more important Some items can be found in Struveˇs those mass-produced works of art designs adapted for technical things to be done. Between the home, a detached house built designed during the decades reasons: itˇs the deviations in the lengths of shelving he has a range in 1934 where he has completely between the First World War and details of one and the same type of workplaces all with different redesigned the interior. “The chal- the recovery and reconstruction of lamp that make these items so kinds of tools and equipment: the lenge was to obtain all the lamps”, period that followed the Second very special. Collector Struve is skilled stonemason restores his says the college and university World War. “Iˇm interested in the in his element. “Iˇm constantly in findings himself, as far as possible. teacher with pride. The original results of Bauhaus designs and the touch with colleagues when it His passion for collecting is not interior fittings are examples of the impact that they had during the comes to defining the exact details an end in its own right but a means standard features of detached 1920s.” The prevailing ideal in those of various items in the collection, of preserving cultural assets. “My and semi-detached houses up until days was that everyone should including when they would have aim is to restore them so they can the 1950s. And therefore belong, be able to live on a certain level of been launched on the market, the not just coincidentally, to his main prosperity in surroundings of period of production and their area of interest as a collector. first-rate design. The downside of actual use.” “My collection focuses on industrially the mass-production approach manufactured objects that were was the waste involved. “Houses installed and used in every house were modernised without any and every room.” Struve is not consideration for significant histori- interested in hand crafted items but cal aspects. I rescued many of in the products of mass production my objects from skips.” You can hear how much it means to him to preserve these treasures. But youˇd be wrong to think the collection is just an accumulation of similar products. “As a collector, Iˇm excited to see the constant change Historical lamps, particularly from the in mass-produced items.” Bauhaus period, together with bentwood furniture and door handles account for the majority of Prof. Dr. Klaus Struve’s impressive collection. 4 5 Floor lamps are more than just lighting. Already the Bauhaus experts admired the special flexibility and impact of standard lamps as a design element in a room. In contrast to ceiling or wall lamps, they can be easily moved around and plugged in to the nearest power socket, while also offering the possibility of changing how the setting in a room is created. Furthermore, they are ideal as an uplight to illuminate a certain area or as a reading light in a cosy corner. Today they have become popular once more. Bauhaus Standard Lamps BH 23 The playful shape and sense of BST 23 metal tube. In 1925, this lamp DSL 23 The floor lamp thus helps create Itˇs not known who designed this mobility recalls both Oskar In Gyula Papˇs last year as a student featured as an example of functional This floor lamp from 1923 clearly very effective mood lighting and sculptural lamp around 1923. Schlemmerˇs figures in the Triadic at Bauhaus in Weimar, he designed design in Bauhaus book no. 7 illustrates the formative style of the acts as a brilliant design feature in Whoever it was, the lamp designer Ballet as well as the clear, delicate a floor lamp for the “Haus am “New Works from Bauhaus Work- Bauhaus era, although its designer, private space such as living had a weakness for mechanical lamp designs by Marianne Brandt. Horn” that was being planned by shops”. It was only ever produced architect Richard Döcker, never rooms, studies or bedrooms, or features, with a counterweight for Today the BH 23 sets an artistic Georg Muche and the construction as one-off item for the experimental studied or taught at Bauhaus. Here, equally in prestigious areas of adjusting the arm. Itˇs also clear accent in sophistically designed department. The outstanding “Haus am Horn” and is unfortunately clear shapes and lines are paired commercial and industrial premises. that the floor lamp must have rooms. feature of the lamp is its uncon- now missing. Special tools had with high functionality and refined originated from the proximity of cealed light source, consisting of to be produced, metal parts turned details. Although the DSL 23 the Bauhaus community. the recently invented metallised and refined to ensure that the might look plain and simple, it is light bulb. The light rays are standard lamp corresponded to the an elegant eyecatcher thanks to directed downwards and make the design and appearance of the the almost free-floating suspension light source appear dark; they original, right down to the very last of the lamp head.

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