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In PNOW, is celebrating ONN years of . And we are celebration nearly four decades of TECNOLUMEN. ORN years of tradition – brimming with stories we would like to share with you. There can be no doubt that the And one of these stories starts Wagenfeld lamp is one of these in in OWOW. timeless design icons. And it founded the “Staatliche Bauhaus” certainly has been our most famous school, where art and craft are workpiece for almost RN years. uniquely combined. Interdiscipli - nary, cosmopolitan and eager to try This is our history. out new things, regardless of whether in architecture, furniture, How did TECNOLUMEN become an photography or silverware – authorised manufacturer of both Bauhaus masters and students this lamp, and who was the founder created numerous classics. of the -based company? Apart from this lamp, which other designer lamps and classics are found in our portfolio, and which philosophy does TECNOLUMEN pursue? We would like to divulge all of the above in the following pages of our magazine. The future needs both the past and the present, and there is no present without the past. We are very pleased to announce the first edition of our 4 TECNOLUMEN magazine The Bauhaus Idea TLO and wish you interesting and informative reading. 6 The TECNOLUMEN History

8 Carsten Hotzan Interview with Walter Schnepel Managing Director 12 Everything Handmade 14 Design Icon in the Light of Art 16 “Young Designers” r e n g e i l F m i h c a o J

The metal version of the “Bauhaus lamp” designed by Wilhelm Wagenfeld in OWPR and manufactured at the Weimar State Bauhaus. Herbert Bayer “Such resonance can neither be achieved by organisation, Max Bill

Laszlo Moholy-Nagy nor by propaganda. Only an idea possesses Marianne Brandt the power to disseminate itself to such an extent.” The essence of the Bauhaus idea was found in the comprehensive Hin Bredendieck education of a new generation of proficient and committed designers. This was done with the objective of revolutionising Emil Bartoschek

Heinrich Brocksieper everyday life and creating a new and better world.

Alma Buscher In order to achieve this, Walter Gropius developed the Bauhaus Erich Consemüller Walter Gropius (OVVQ –OWTW) (OVVW –OWSR) Ludwig Mies van der Rohe (OVVT –OWTW) teachings. The traditional form Christian Dell of academic teaching was abolished and replaced by a pluralistic Friedl Dicker-Brandeis educational concept that promoted Erich Dieckmann the individual development of creative talents and methods. The Alfred Ehrhardt r r r h academic prerequisites for e e e i t m m S ö ö

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k k k and here the areas of teaching and p p p b b Martin Jahn b practice were not considered separately. Carl Jacob Jucker As short as its existence might have been, its concept Under the direction of László The Bauhaus school was and is so Group picture in the metal workshop at was highly versatile. The Bauhaus school, founded in OWOW, Moholy-Nagy, the “Laboratorium für multi-faceted and heterogeneous the Bauhaus school in Weimar, around OWPR. Josef Knau Front: Gerhard Vallentin, Laszlo Design“ (Laboratory for Design) that deriving a uniform style is was not merely an experimental school with a wide range Moholy-Nagy, Wilhelm Wagenfeld and Kurt Kranz produced designs such as the impossible. And this is what makes it Otto Rittweger Bauhaus lamp by Wilhelm Wagen - so interesting and topical to this Back: Marianne Brandt, Christian Dell, Emil Lange of educational opportunities in the fields of arts and crafts. feld and the tea pot by Marianne very day. The democratic idea, the Josef Knau, Max Krajewski and the arms of Hans Przyrembel Jean Leppien Brandt, which are still iconic items of demonstrative forthrightness and The idea also had an impact on the social and cultural everyday use today. modernity, as well as the timeless Adolf Meyer topicality of the “Bauhaus classics”: Wera Meyer-Waldeck spheres of life in that it united a multitude of different all serve to illustrate the social self-understanding. Thus, Gropius’ Farkas Molnár voices and transformed itself into something new with each guiding idea of synthesis of the arts Heinrich Neuy through the collaboration of art of its directors. and craftsmanship has once again Gyula Pap come to the fore. Today, workpieces Bauhaus. A manifesto. The philoso - Plywood, steel and aluminium were Heinrich Pëus such as the Bauhaus lamp represent phy, which was originally formulated introduced and practicality was at a symbol of the cosmopolitanism Hans Przyrembel by Walter Gropius, first and foremost the heart of everything: chairs had to and diversity that made the Bauhaus encompassed the human being as a be collapsible, and cupboards had to school in Weimar the starting point whole: artistic, scientific and techni - be mobile. of an epoch in OWOW. cal questions were combined with new forms of life and art-pedagogi - After a mere two years, the third and Karl Peter Röhl cal concepts. The school was in - final director, Ludwig Mies van der Hinnerk Scheper tended to enable nothing less than Rohe, followed. His focus was on the training a new generation of design - function of the school. The produc - ers. The work done in the workshops tion department, built in accordance Carl Schneiders and the handling of different materi - with Henry van de Velde’s designs, The Bauhaus logo, OWPP designed by als, guided and shaped by well- was abandoned, the preliminary Lotte Stam-Beese Oskar Schlemmer known artists such as Gerhard course cancelled, and the focus Gunta Stölzl Marcks, and Oskar shifted to architecture. Schlemmer, remain an educational Elsa Thiemann concept in design and architecture However, it was not Gropius alone The studio building of Bauhaus Weimar built in accordance with Wolfgang Tümpel schools to this very day. who shaped what we today refer to Henry van de Velde’s designs. The company moved to in OWPS. as being “typical Bauhaus”. His suc - Wilhelm Wagenfeld The Swiss architect and advocate of cessors’ legacy is also found in the r e

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k k p p b R b S Whether it’s about lights, silverware, door fittings or rotary switches; the focus is always on high quality. ”It’s this symbolic character of the Manufactured in Germany from high-quality materials and with Wagenfeld lamp that fascinates me most.” diligent craftsmanship, it is true to the original and made with the Walter Schnepel same dedication and enthusiasm as nearly RN years ago.

Whether it’s about lights, silverware, door fittings or rotary switches; the focus is always on high quality. Manufactured in Germany from high-quality materials and with diligent craftsmanship, it is true to the original and made with the same dedication and enthusiasm as nearly RN years ago. Some things in life happen unexpectedly. And sometimes WA PR is a table lamp that was designed in OWPN. Its captivation lies something that is supposedly unimportant goes on to in its reduction to its basic elements, making it elegant, functional, become something really big. When Walter Schnepel came “Finally, when everything was ready, uncomplicated and also timeless. And undisputedly, it is one of the across early woodcuts by the artist Wilhelm Wagenfeld the German furniture stores didn’t most famous Bauhaus objects today. in OWUT, he knew nothing about a lamp that would lay the want to sell the lamp – and so we had Walter Schnepel discovered it during one of his many visits to foundation for his company TECNOLUMEN. to market and distribute it ourselves, Wilhelm Wagenfeld’s studio. It was Details had to be adjusted, and each form of exchange was possible, as simply standing there, gathering change first had to be approved her home was in Eastern Germany. which actually wasn’t part of our dust, and it had no manufacturer. by Wilhelm Wagenfeld. Eventually, Despite all this, Walter Schnepel “Why had he never had it produced,” PSN pieces were produced. secured the rights to her works – original plan.” Schnepel asked. Wagenfeld replied: And nobody showed any interest. and as a token of his gratitude, he Walter Schnepel “Why don’t you do it?” And this sent the Wilhelm Wagenfeld lamp to is exactly what Walter Schnepel did. He placed advertisements in the GDR museums in individual parts, art magazine ART and in SCHÖNER which were cleared by customs This was by no means an easy task, WOHNEN. Within only three weeks, without being unnoticed. Her and since the production of lamps the lamp was sold out. This is others workpieces, such as the had never been a part of his portfolio what one calls a promising start. BST PQ floor lamp by the Hungarian, until then. However, he did know In OWVN Walter Schnepel founded Gyula Pap, or the HP PV ceiling everything about asserting himself. TECNOLUMEN and started serial lamp by Hans Przyrembel have Although suppliers were unreliable production. meantime become collector’s items. and furniture stores were not And this was not limited to the lamps interested – nothing could deter the Today TECNOLUMEN is one of alone. Founded in PNNP, the sister art collector from selling the lamp. the best-known manufacturers company TECHNOLINE offers Some technical changes had to be of original Bauhaus models. The first door and window fittings, switches This variant of the metal table lamp, made and cables and sockets have edition of WA PR was followed and supplementary accessories – created in the same year, has a glass base been changed over the decades. by various versions, in addition designed by Wilhelm Wagenfeld, and a glass rod in which a nickel-plated ON mm tube leads the supply line. to co-operations with other Bauhaus Walter Gropius and other Bauhaus An old drawing and an original lamp were artists. Establishing contact was designers. available for construction. This way, not always easy. With Marianne with the new production, the exact dimensions Brandt, for example, only an indirect and proportions could be kept. T U “I could not live without art. I must have it around me. I cannot explain it.” Walter Schnepel

Walter Schnepel founded the You came to Bauhaus through art. As an art collector, you initially You once said: “Art, design and music are media for communica - Can Bauhaus be found in your company? Copies and counterfeits are an issue that has accompanied you Bremen lamp manufacturing started with Classical paintings and subsequently tion, not a language that can be logically learnt or even since the late 5<;4s. Is it still a nuisance? company TECNOLUMEN in OWVN. In went on to purchase mainly Fluxus works – what parallels do you translated”. Does the idea of the Bauhaus school, with its credo Hard to say. Some employees have understood what our work - an interview, he speaks about see between Bauhaus and Fluxus? of “form follows function” oppose this? Does it in fact promote pieces are all about, and it’s definitely visible through the furnish - The situation has not improved and has become even more the Bauhaus idea, a spontaneous this intellectual confrontation? ings and products. You can feel Bauhaus if you want to. With complex owing to the possibilities provided by the Internet. visit to Wilhelm Wagenfeld, That is difficult. I would say delete the question, because it’s not “Young Designers”, it is our gut feeling that decides whether or Putting a stop to this is hard. In other countries, different legal and the appeal found in designing possible to explain everything. In general, we only ever know Yes and no. Even those designers who were formative for not we want to include their designs in our programme. We frameworks apply. One can only hope that people will be able to Walter Schnepel, founder of TECNOLUMEN. things yourself. this geometric Bauhaus school style, but that’s not the whole story, Bauhaus, appreciated artefacts by unknown craftsmen, such as always have the entire collection in mind. This way, the new distinguish between the original and a plagiarism. because Bauhaus also had its expressionists. Take Paul Klee, everyday objects found in rural culture. These objects also designs harmoniously fit into the existing collection. for example. In which category would you sort him? We always satisfy the credo of “form follows function”, yet without any There have been changes in the technical field: the good old measure the school by the results in architecture and design. intellectual aspiration. It was not Bauhaus, but woodcuts that drew your attention to incandescent lamp has been replaced by more efficient LED light However, in combination with art you have to take on a different For me, art is a means of communication that cannot be translated. Wilhelm Wagenfeld in 5<:9. What inspired you about these pictures sources. What has changed for the lamps as a result? perspective. You will find artists who have worked quite differently, You have to imbibe art holistically, with emotional intelligence. at that time? expressionistically, with almost surreal works. Even Gyula Pap’s When I was a little younger, I worked for TECNOLUMEN out in the Nothing has changed in the Bauhaus lamp’s design. In new work was expressionist later on. The visual artists at the Bauhaus field. Whenever I was shown a plagiarism, I said: “Put our lamp I discovered these expressionistic woodcuts by chance in an designs, the current technical possibilities are integrated into the school are not only abstract or “hard edge”, as the English call it. next to it.” If the customer sees and understands it, he will buy archive in Worpswede. At first I was surprised, because I only knew design. Only Kandinski and Moholy consistently painted abstractly. our lamp. If he doesn’t see it, we hope he will become happy with Wilhelm Wagenfeld’s later works and his designs for Lindner. I recently discovered Paul Klee and Hans Arp in a Swiss exhibition his plagiarism. That worked. It cannot be explained. It’s about I then spontaneously visited him in and we talked for a Speaking of changes: With a view to the current design and on surrealism. There are amazing connections. proportions, about something abstract – you have to feel it. long time, whereby he dismissed the early woodcuts as a “youthful furnishing style, does the Wagenfeld lamp fit into today’s living Bauhaus and Fluxus share the common idea of moving away You don’t even have to know what’s right or wrong with the object. indiscretion”. I can only remark: an adroit “youthful indiscretion”. rooms? from decoration. If you are searching for a concrete connection, Insignificant designs are also found among the Bauhaus work - He had a few more, too. Some I eventually bought, because intellectual spirituality could be mentioned as one. At the pieces, although they supposedly follow the rules. It becomes I believe they belong to the complete works of Wilhelm Wagenfeld. It always fits in well-furnished homes, even though I think that beginning of the Bauhaus school, the parallel DADA movement, particularly clear in those small goldsmith’s works. For me, furnishing trends are artificially produced today. Presently, as found in Zurich, existed, and it naturally also had its influence Marianne Brandt is a great artist in this field. She has designed The initial production and distribution of Wa67 was not easy. it has to be expensive, yet look shabby – absurd. It’s the same on Bauhaus artists. Fluxus, on the other hand, has its roots things that I consider to be highly emotional. Of course, there are Material broke or couldn’t be used, and no furniture store was with contemporary art. Many things are very strained. One in DADA art. It emerged from both concrete and abstract poetry. explanations about the pieces, the material used and the form, interested in this cool design. Nevertheless, you sold the thing I observe with great regret is that we have fewer and fewer Fluxus is still not a descendent of the Bauhaus school, but just but these explanations were certainly provided afterwards. already produced 684 pieces within three weeks. Were you always furniture stores. Meanwhile, people are buying on the Internet. as widespread, because there are expressionistic and, in part convinced of the success? literary, works. Kurt Schwitters and, if you wish, even Christian Bauhaus was a school and conveyed not only the creative With your company TECNOLUMEN, you don’t only sell the Morgenstern and Bauhaus; everything is so closely interlinked that aspects but also a certain idea of looking at the world. Do you see Yes. An anecdote: In a telephone conversation with my wife, who famous Wilhelm-Wagenfeld lamp, you have also designed lamps it’s basically impossible to answer the question unequivocally. Bauhaus as a kind of philosophy of life, the spirit of which can was still living in Sweden at the time, I asked for the address yourself – what attracts you, personally, to design your own And yet you can find a small reference to the connections, still be conveyed today? of the Arts and Crafts Museum in Gothenburg in order to send a objects? an artist who always carried the whole thing from the OWPNs publicity flyer there. I was convinced that this museum would up to Fluxus: Marcel Duchamp. He made a great deal of concrete, In some ways, yes. It is difficult to say, because they are grey buy a lamp. And, after a few days, I received the order for a lamp There was something missing in our collection at that time, but also surrealist art. In this respect, I consider Bauhaus and areas. Many appreciate the Bauhaus design, own a Wagenfeld from the Röhsska Museum in Gothenburg. Naturally, such and we wanted to extend our offer. Hence, we designed the lamps Fluxus not to be so far apart from one another. lamp and have furnished their home accordingly. When I walk a project is based on the conviction that it will be a success. with fabric shades. Of course we could have commissioned through antique shops in Budapest, every square cupboard someone. But by designing it ourselves, we were able to use what there is assigned to Bauhaus, although the “square” alone says was already there. Some designers have no idea of the technology nothing at all. And yet, very few people know that Bauhaus was a and therefore do not know what is possible. In addition, the idea school. There are excellent buildings designed by Hungarian of applying what I had learnt through my intensive involvement Bauhaus architects, an entire street in Budapest, the napraforgó with Bauhaus designs and to create something of my own utca (Sunflower Street). This, for example, arose slightly later appealed to me. Design has something to do with emotions. And than Bauhaus, in the early OWRNs. However, the way in which these if you use the golden ratio, nothing can go wrong. buildings were renovated, does not correspond to the Bauhaus spirit. Today, Bauhaus serves as a role model for many. You don’t have to do things the same way, but you can learn from it. You can’t learn it schematically; you have to feel it. There never were any real rules anyway. Dieter Rams, for example, did not learn at the Bauhaus school, he nevertheless captured its spirit. His designs came from the Bauhaus idea.

V W ON OO When Wilhelm Wagenfeld designed his table lamp in the Bauhaus workshop following a task issued by Moholy-Nagy, the requirement was clear: the result should be an industrial product, i.e. one that could be mass-produced by a machine. And the material and design vocabulary actually correspond to the idea of the machine age. Only, manufacturing reality was different. WA PR was produced as a mini-series for the OWPR Leipzig Autumn Fair in handmade concentrated and elaborate craftsmanship. And this is still the case today.

What Wilhelm Wagenfeld may have perceived as a painful contradiction is today an expression of highest quality and longevity. The basic materials are glass and metal, as was the case back then, and in the re-edition published by TECNOLUMEN in OWVN, only minimal changes were made to the original design. In coordination with Wilhelm Wagenfeld, these changes were due to popular taste preferences on the one hand and, on the other, a result of constantly changing technology. The radius of the base and the plate thickness was reduced and the glass dome was placed slightly higher.

This allowed the implementation of Walter Gropius’ basic idea: mass production, while complying with design principles. Of course, the Bauhaus lamp is still not a mass product. It cannot be, because as a manufacturer, TECNOLUMEN places highest value on reliable quality and sustainability. The TECNOLUMEN’s understanding However, it goes without saying individual parts are produced of sustainability has developed that traditional, handcrafted mainly in Europe and especially in naturally and pragmatically. Short production does not mean stand - Germany. The lamps are assembled transport distances on the one still. The company reacts very with great diligence in Bremen. hand, outstanding quality of the sensitively and attentively to The company avoids globalised individual parts received from technical innovations in the lighting structures – nevertheless, it is inter - manufacturers with whom the com - market. And this is always done nationally renowned. pany has been working for many with the purpose of making our own years, and the careful assembly design lamps shine in the best of the finished lamp on the other, possible light. stand for substance and perfection. “All our designer lights are num - bered and VDE-certified. This guarantees the authenticity and safety of our durable products,” says Carsten Hotzan, managing director of TECNOLUMEN. And he continues: “In addition, unlike other lighting suppliers, we can guarantee our customers availability of precisely-fitting spare parts for decades.”

OP OQ “You can’t make them better,” Dieter Roth established when Walter Schnepel handed him a WA PR, “but you can always use a lamp.” That was in OWWS.

So what was the thought behind neither about “re-examining the product to another level of aesthetic everything that Walter Schnepel had proximity, or even the congruence of reflection that is traditionally when he gave Wa PR to Dieter art and design,” – and one might reserved for art”. In other words: Roth and to QO other artists in the almost want to add: “unnecessary” – Walter Schnepel delivered a Wa PR course of the following few years? nor about a ranking list. No, it’s to QO artists and received one work As Peter Friese makes clear, it’s about something else. It’s about the of art from each of them in return. design icon as an “object of artistic interest,” about “opening up and debating a field of experimentation”. It’s about “using the means of art to raise an outstanding design

Jochen Fischer, o.T., OWWV Fritz Schwegler, o.T., PNNN Susanne Windelen, o.T., OWWV Aldo Mondino, Jugend-stilo, OWWS

QO individual confrontations with starting from a work that was Schwegler humorously puts a fool’s at the centre. Aldo Mondino scend boundaries and taboos were Wa PR on BAR no.O, put a beret on rebelliousness instead of equality The collection has already been an object. Revised, commented, considered ideal-typical and unsur - cap on the Wagenfeld lamp. And performs an art-historical rearrange - created. Workpieces that question it and poured red paint over it. and perfection. Above all, however, shown in: reinterpreted, alienated, sometimes passed in its perfection of form. Susanne Windelen fills the perfect ment, hanging two Bauhaus lamps the regularities of beauty and In his work, which is subject to con - as a result of all its interventions, ironic, sometimes appreciative, Jochen Fischer, for example, smoothness of the lamp with with ballpoint pens and calling his function and juxtapose static objects stant change, he thus sets a counter - in all of its transformations, the Neues Museum Weserburg, Bremen and sometimes grotesque. completely covers the lamp with white plastic resin, mixes the mass work “Jugend-stilo”. Daniel Spörri, with a dynamic element – an idea point to the timeless quality of the Bauhaus lamp acquires a symbolic Kunstverein, Plön Within twenty years, a diverse wicker, thus seemingly making the with fluorinating particles – and in on the other hand, removes the that is also inherent especially Bauhaus lamp. Change and meaning, thereby extending its Kiszelli Museum, Budapest collection of works was created, icon disappear fully – yet not her way places the lamp’s luminosity lampshades and reinterprets the to the Fluxus movement. And Dieter function and beauty, and becoming without making it reappear through glass covers in his black-and-white Roth? Eventually, he placed his an “object plus y”. From June PNOW a sensual play of light. Fritz photography – an object of pleasure In the „Centrul de Interes“ instead of a luxury item. This way, cluj-napoca, Klausenburg, Romania especially workpieces that tran -

OR OS Contemporary lamps by “Young Designers” also find their place at TECNOLUMEN. They have always complemented the company’s collection of lamps. Carefully selected, these works fit into the product portfolio, which is still characterised by the Bauhaus design spirit today.

Joachim Manz pendant lamp “ Trabant O ”

Surprising, precise and almost alive – with his luminaires, Joachim Manz creates intense plays of light that dissolve the boundaries between form and space. The free - lance sculptor uses fine concrete to cast luminaires such as “Trabant O”, which seems to look down, seem - ingly curiously, from above. The Bremen artist places sculptures in public domains, builds architectural miniatures and designs objects for Oliver Niewiadomski use. Floor lamp “Bulo XL”

well thought out, refined and always functional – Oliver Niewiadomski translates mathematical concepts into a trenchant design vocabulary. The same applies to the “Bulo XL” floor lamp, which can be rotated on its base according to individual taste and needs; functionality with an aesthetic effect. The industrial designer and professor of construc - tive geometry designs lamps but also furniture and entire room concepts with a minimalist look and feel.

OT OU Christian Schmidt Pendant lamp “Theia”

Contemporary, dynamic and always open for something new – Christian Schmidt finds his inspiration in many places. It’s not without reason that his pendant lamp “Theia“, for example, is reminiscent of pebbles, when viewed from the side. But even though many important influences, such as functionalism, Art Deco or the Memphis Group, are found in design craft, the designer always remains committed to the Bauhaus spirit with his company zenolicht Lena Schlumbohm GmbH. Desk lamp “Jella”

Straight-lined, modern and highly flexible – her desk lamp “Jella” did not only appeal to TECNOLUMEN. With her reminiscence of EBPU, designed by Eduard-Wilfrid Buquet in OWPU, Lena Schlumbohm has won several design prizes, including the “interior innovation award PNOR”. The process and product designer from North Rhine-Westphalia studied in Regensburg and Aachen.

Mathias Schifferdecker Light object “Cubelight”

Clear, reduced and playful at the same time – the “cubelight” is more of a light object than it is a luminaire. Mathias Schifferdecker’s designs are based on Bauhaus architecture and, like Bauhaus, they are puristic and timeless. The combination of technical and playful aspects is an important characteristic of the engineer and designer’s objects, which with his cubes made of the classic materials glass and stainless steel invites to individual design.

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f w o h r a e e e n T © L C i w L T P OV P OW In OWPV Wilhelm Wagenfeld designed the WDPV door handle based on an original hand sample TECHNOLINE (then TECNOLUMEN), together with Prof Wagenfeld, resumed production of the model in OWVP.