Category Archives: ARCHITECTURE


“The aim is an alliance of the arts under the wing of great architecture.” — Walter Gropius, founder of the Bauhaus

BAUHAUS BEGINNINGS, now at the Getty Center, celebrates the centenary of the founding of the school in Weimar.

The exhibition “reexamines the founding principles of this landmark institution,” considering the school’s “early dedication to spiritual expression and its development of a curriculum based on elements deemed fundamental to all forms of artistic practice.”*


Through October 13.

Getty Center

1200 Getty Center Drive, Brentwood, Los Angeles.

From top: Léna Bergner, Durchdringung (Penetration) for Paul Klee‘s course, circa 1925–1932, © the heirs of Léna Bergner; Walter Gropius, undated photograph by Lucia Moholy, © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Gerd Balzer, Color wheel for Vassily Kandinsky’s Preliminary Course, 1929, gouache on paper, pasted on black paper; Material exercises in paper (2), photographs by Alfred Ehrhardt, circa 1928–1929, © Alfred Ehrhardt Stiftung; Erich Mzozek, Study for Vassily Kandinsky’s Farbenlehre (Course on color), circa 1929–1930, collage with gouache on paper, © Estate Erich Mrozek; Léna Bergner, Carpet design, circa 1925–1932, © the heirs of Léna Bergner; Joost Schmidt, Form and color study, circa 1929–1930; Benita Koch-Otte, Einfamilienwohnhaus auf der Ausstellung des Staatlichen Bauhauses (Single-family house at the exhibition of the State Bauhaus), 1923, Georg Muche, architect, 1923, from Staatliches Bauhaus in Weimar 1919–1923 (Munich: Bauhausverlag, 1923), p. 165, courtesy and © Bodelschwingh Foundation Bethel; Lyonel Feininger, Villa am Strand (Villa on the shore), 1921, from Bauhaus Drucke: Neue Europaeische Graphik, Erste Mappe [first portfolio], Meister d. Staatlichen Bauhauses in Weimar (Potsdam: Müller, 1921), © 2019 Artists Rights Society (ARS), New York and VG Bild-Kunst, Bonn; Ringl + Pit (Grete Stern and Ellen Auerbach), Bald Head (Johannes Itten), 1930, printed 1985, The Jewish Museum, © Ringl + Pit, courtesy Robert Mann Gallery, New York; Hilde Reindl, Color wheel and tone study for Paul Klee’s Course, circa 1927. Images courtesy of the Getty Research Institute.


ETTORE SOTTSASS AND THE SOCIAL FACTORY “connects Sottsass’ production to momentous postwar economic and social changes,” and is on view in Miami until October.

“During il miracolo economico, Italy went from being a low-cost manufacturer to an economy that used design to create premium products it could sell around the world. Fiat would stop building the faintly comic Topolino in 1947, and move towards the formal brilliance and technical innovation of the Cinquecento in 1959… In the space of twelve years, Ettore Sottsass went from building workers’ housing and designing fruit bowls made from knitted wire to being called in by Olivetti to design a computer.” —Deyan Sudjic*


Through October 6.

Institute of Contemporary Art

61 NE 41st Street, Miami.

*Deyan Sudjic, “Post-War to America,” in Ettore Sottsass and the Poetry of Things (London: Phaidon, 2015), 104.

From top: Ettore Sottsass, Monumento di Merda Alle Patrie, 1966, photograph © Silvia Ros, courtesy of Kim and Al Eiber; Ettore Sottsass, Mobili grigi, 1970, fiberglass, manufactured by and courtesy Centro Studi Poltronova, photograph by A. Fioravanti and Sottsass, © 2019 Artists Rights Society (ARS), New York, and ADAGP, Paris; Ettore Sottsass and the Social Factory, 2019, Institute of Contemporary Art, Miami, installation views (3), photographs courtesy and © Silvia Ros;


BAUHAUS / DOCUMENTA—VISION UND MARKE—a new exhibition in Kassel curated by Philipp Oswalt and Daniel Tyradellis—looks at the crosscurrents between two iconic German institutions:

Bauhaus aimed to confront the crisis of industrialization and the damages caused by the First World War through the applied design of objects, spaces and buildings; documenta took up the romantic idea of the engagement with fine art, through which people should become responsible citizens again.”*

The show—part of the celebration of the Bauhaus centenary—includes works by Marianne Brandt, Marcel Breuer, Bazon Brock, Hans Haacke, Wassily Kandinsky, Barbara Klemm, Aleksandr Ptuschko, and Gilles Raynaldy.


Through September 8.

Neue Galerie

Schöne Aussicht 1, Kassel.

From top: Staircase of the Fridericianum with tapestry by Fritz Winter, 1956–1957, documenta 2, 1959, photograph by Günther Becker; Sculpture Hall at documenta I, Kassel, 1955, featuring works by Hans Arp, Henri Laurens, Alexander Calder, and Henry Moore; rotunda at the Fridericianum, documenta I, photograph by Günther Becker. Below: invitation card for Bauhaus/documenta—Vision und Marke, featuring images of Haus-Rucker-Co, Oase Nr. 7 (Oasis No. 7), documenta 5, 1972, photograph by Carl Eberth; and Wilhelm Wagenfeld ‘s Tischleuchte (table lamp), 1924, photograph by Joachim Fliegner. Images courtesy and © documenta archiv.


What is the relationship between novelty and innovation?

“Our understanding of what constitutes good design evolves constantly. In the last fifty years design has developed from being a tool to sell new things, to making new things in more effective ways, to imagining new systems and ways of addressing new realities. But, is novelty a fundamental aspect of good design?”*

Join independent design curator Maria Cristina Didero, OMA partner Ippolito Pestellini Laparelli, and Alice Rawsthorn—author of Hello_World and Design as an Attitude—for a Miartalks conversation, moderated by creative director Tony Chambers.


Sunday, April 7, from 1:30 pm to 2:30 pm.



Fiera Milano City

Viale Lodovico Scarampo, Milan.

From top: Cooking SectionsWhat Is Above Is What Is Below, 2018, installation view, Manifesta 12, Palermo, co-organized and directed by Ippolito Pestellini Laparelli, image courtesy Manifesta 12, photograph by Wolfgang Träger; Rawsthorne book cover image courtesy JRP|Ringier; Cristina Celestino, The Happy Room collection for Fendi, curated by Maria Cristina Didero, photograph courtesy Fendi.


We are very sorry to hear that the architect, artist, and curator Francois Perrin died this morning.

Perrin was born in Paris, worked in Los Angeles at his studio Air Architecture, and will be greatly missed.

From top: Francois Perrin; Francois Perrin, Air Houses: Design for a New Climate, at the Garfield Park Conservatory, a project for the 2017 Chicago Architecture Biennial, photograph by Steve Hall, courtesy the Chicago Architecture Biennial; Perrin’s design for a guesthouse in Brentwood, Los Angeles; the PAS House, designed by Perrin and skater Gil Lebon Delapointe for Pierre Andre Senizergues.