Het Huis Stoclet in Brussel - Academie voor Beeldende Kunsten Aalst

Academie voor Beeldende Kunsten
Schoolreis zesde jaar
4 – 6 oktober 2010
Metz – Colmar – Bazel

PRAKTISCHE GEGEVENS
Jeugdherberg:
Youth Hostel Basel
St. Alban Kirchrain 10
Ch-4052 Basel
Tel: ++41 (0)61 272 05 72 Fax:++41 (0)61 272 08 33
www.youthhostel.ch/basel
Telefoonnummers (in nood):
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Stefaan: 0032486535222
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Veerle: 0032476721165
De huidige wisselkoers:
1,0000 EUR = 1,3164 CHF
1,0000 CHF = 0,7570 EUR

1. Centre Pompidou – Metz
A) OVER DE ARCHITECT en HET GEBOUW
Shigeru Ban
Shigeru Ban (1957) wordt gezien als
een pionier op het gebied van bouwen met
karton. In zijn gebouwen is papier het
belangrijkste materiaal. Daarnaast gebruikt
hij organische materialen als bamboe. Naast
het gebruik van deze natuurlijke materialen
staat Shigeru Ban bekend om de humanitaire
gedachte die in zijn werk naar voren komt.
Zo ontwierp hij van karton een
daklozenhuisvesting voor de slachtoffers van
de aardbeving in Kobe (1995).
Ban werd geboren in Tokio. Van 1977
tot 1980 studeerde hij aan de Southern
California Institute of Architecture. Van 1980
tot 1982 volgde hij the Cooper Union School
of Architecture. Hier kreeg hij onder meer les
van John Hejduk.
(http://www.shigerubanarchitects.com/)
Hij begon zijn carriére bij het architectenbureau van Arata Isozaki, waarna hij in 1985 zijn

eigen bureau begon. Ban liet zich onder andere inspireren door het werk van Ludwig Mies
van der Rohe.
Hij ontwierp talloze tentoonstellingen, waaronder de show van Alvar Aalto in de Axis
Gallery te Tokio in 1986. Verder ontwierp hij gebouwen, zoals het Odawara paviljoen in
Kanagawa (1990), de Paper Gallery in Tokio (1994), het Paper House in Lake Yamanaka
(1995) en de Paper Church in Takatori, Hyogo (1995). Ook ontwierp hij het Japanse
paviljoen op de Expo 2000 in Hannover. Daarnaast bedacht Ban ook afbreekbare
structuren, zoals zijn Paper Refugee Shelter, gemaakt van plastic vellen en papieren
buizen.
(http://www.architectenweb.nl/aweb/archipedia/archipedia.asp?ID=7399)
Metz Centre Pompidou / Shigeru Ban’s winning project
Just a few months after the official announcement of the winning project, the Paris
exhibition presents the proposals of the six finalists in the architecture competition for
construction of the Metz Centre Pompidou.
Shigeru Ban, Tokyo & Jean de Gastines, Paris and Philip Gumuchdjian of London,
have won the design competition to build the new Pompidou Centre in the city of Metz, 3
1/2 hours east of Paris. Commemorating the 30th anniversary of the opening of the
Pompidou Centre in Paris, the new facility is scheduled to open in 2007.
The Pompidou Center and the city of Metz in eastern France announced the
decision in January 2003, in agreement with the ministry for the arts, culture &
communications, to set up the first decentralized branch of the ‘Centre National d'Art et de
Culture Georges Pompidou’ in Metz. The building will be constructed in the ‘amphithéâtre’
district, currently the focus of a wide-ranging development project; it will host exhibition
halls, ateliers, conference rooms and administrative offices. The project will also permit
future expansion with the addition of a mediateque.
Total area: 12,000 m2 for 6,000 square meters / exhibition space: 6,000 square
meters. Costs: € 35 million.
Short description of the winning project: a large pavilion set within a new park, the
museum consists of both permanent and temporary exhibition space. The centre's most
interesting feature will be the roof – inspired by a woven bamboo chinese hat, a giant,
hexagonal umbrella made of woven steel and plywood protected by a translucent lattice
membrane on top will cover the entire complex. It protects the facades from the weather
in winter and provides shade in the summer.
3 rectangular, climate-controlled, steel truss, cantilevered tubes, each measuring
100m long x 15m wide, will form the basis of the galleries for the permanent collections
and will be sited so as to frame views of the city's historic monuments, such as its railway
station and cathedral.
The whole forum will be encased with movable glass shutters that can close off the
forum from, or open it up to, the surrounding gardens. The scheme offers the curators a
broad range of flexible spaces and lighting opportunities. The only windows will be each
end of the galleries, thus emphasising the importance of the internal lighting. Enormous
curtains will reduce the natural light as required.
The floor of the public forum is cooled and warmed using re-circulated ground
water while the large forum space is cooled and warmed by re-circulating the tempered air
of the gallery spaces.
The design team includes the landscape architect Michel Desvigne, recipient of the
medal of the French Academy of Architecture in 2000, who worked on the Dallas Centre

for the Performing Arts foundation in 2003. Arup engineers, which also worked on the
original Pompidou Centre, will prepare the structural and services designs. Ingo Maurer
from Munich, Germany will be the lighting designer, and DLE, France, the quantity
surveyors.

B) OVER DE TENTOONSTELLING
CHEFS-D'OEUVRE?
“To the question What is a masterpiece? neither museums nor reproductions give any
definitive answers, but they raise the question clearly.” (André Malraux, 1947)
“… the artist may shout from all the rooftops that he is a genius: he will have to wait for
the verdict of the spectator in order that his declarations take a social value and that,
finally, posterity includes him in the primers of Artist History.” (Marcel Duchamp, 1957)
“The art business is merely jumping from one catalogue to the next.” (Marcel Broodthaers,
1972)
“There is no more an ideal format than there is a masterpiece: there is a “wholeness of
work”, of which we see parts or excerpts.” (Niele Toroni, 1988)
A Unique Exhibition
What is a masterpiece? Is this notion still relevant today? Who decides what is a
masterpiece? Once a masterpiece, always a masterpiece? The opening exhibition of the
Centre Pompidou-Metz examines the notion of the masterpiece, past, present and future,
through an exceptional selection of almost eight hundred works of art.
Thanks to the extraordinary richness and diversity of the collection of the Centre
Pompidou, Musée national d’art moderne (which is the source of the majority of the
artwork displayed in this exhibition), some of the greatest figures of 20th century art are
on display in Metz. Come and discover or rediscover major works and experience
unexpected "encounters with works of art". In addition, commissions have been especially
undertaken for the occasion, along with loans from prestigious French and foreign
institutions, creating an ensemble which is as novel as it is majestic. Paintings, sculptures,
installations, graphic arts, photography, video, sound works, film, architecture, design, and
more, every field of artistic creation is represented, reflecting the cross-disciplinary nature
of Centre Pompidou-Metz’ programming.
Masterpieces? invites you to partake in a journey in four parts. In the Grande Nef, a
chronological display takes you on an encounter with "Masterpieces throughout history"
and highlihgts key moments in the creation of the Musée national d’art moderne and its
collection. In Gallery 1, "Stories behind masterpieces" plunges you into the life of the
works presented, from their production right up to their reception by critics, institutions
and the visitors themselves. The exhibition continues in Gallery 2 with "Masterpiece
Dreams", the proposal of a dream museum. Finally, in Gallery 3, "Masterpieces ad
infinitum " examines the persistence of the notion of the masterpiece over the 20th
century, in an era when images became easily reproducible.
Four Parts
The first part of the exhibition, Masterpieces throughout History, unfolds as a
chronological succession of 17 rooms illustrating how the concept of the masterpiece has
evolved over the centuries.
By analysing the various meanings of the term ‘ masterpiece ’ since it first appeared
in the Middle Ages, this section provides the opportunity to re-examine the history of

taste. It also highlights key moments in the creation of the Musée National d’Art Moderne
and its collection.
A huge mirror hanging from the ceiling of the monumental nave shows an inverted
image of the gallery space, thus visually including the visitor in the exhibition’s endeavour
to examine the nature of a masterpiece.
Stories Behind Masterpieces
The second part of the exhibition, Stories behind Masterpieces, is presented in
Galerie 1. What is a masterpiece, other than the product of converging stories – those of
an artist, a creative process, a work, and its critical fortunes ? Once passed Respirare
l’ombra, by Giuseppe Penone, visitors can choose between two possible directions : a
series of rooms dedicated to the main avant-garde movements, or so-called ‘ isms ’
(Fauvism, Cubism etc.) or a different historic narrative revolving around lesser-known
figures and movements from the 20th century. This gallery is subdivided into a series of
various sized rooms, providing for numerous visual correspondences.
Masterpiece Dreams
The exhibition continues in Galerie 2 with the section entitled Masterpiece Dreams,
a proposal for the ‘dream museum’ that draws a parallel between the museum as a
‘container’ and the artworks as its ‘contents’. Upon entering the gallery space, visitors face
a chronological display of emblematic works from the 20th century. The reverse side of the
wall features the first-ever historical outline of modern and contemporary art venues built
in France since 1937. Some thirty architectural projects are highlighted in a unique
presentation of models, original drawings, and filmed interviews.
Masterpieces ad infinitum
The final part of the exhibition, Masterpieces ad infinitum, analyses how the notion
of masterpiece has persisted throughout the 20th century at a time when images became
easily reproducible.
With the development of new media such as film and digital imagery, contemporary
artists have adopted a different approach to the concept of masterpiece. Many have made
copies and reproductions a part of their work, prompting the viewer to reconsider the
essential characteristic of any masterpiece : its uniqueness.
And finally the exhibition’s scenography calls the visitor’s attention to the scenic
view of St. Stephen’s Cathedral, an architectural masterpiece by any standard. The optical
illusion created - the cathedral diminishes, as the viewer draws nearer to it – offers a
visual allegory of the unfathomable essence of the masterpiece, the definition of which
eludes us while accommodating the most contradictory interpretations.

2. Isenheimschrijn – Colmar
Between 1512 and 1516, the artists Niclaus of Haguenau (for the sculpted portion)
and Grünewald (for the painted panels) created this celebrated altarpiece for the Antonite
order’s monastic complex at Isenheim, a village about 15 miles south of Colmar. This
polyptych, which decorated the high altar of the monastery hospital’s chapel until the
French Revolution, was commissioned by Guy Guers, who served as the institution’s
preceptor from 1490 to 1516.
Established around 1300, the Isenheim monastery belonged to Saint Anthony’s
order, which had been founded in the Dauphiné region of France in the 11th century. The
monks of the Antonite order ministered to victims of Saint Anthony’s fire, a horrible illness
that was common in the Middle Ages. This calamity’s cause is now known to be poisoning
from a fungus (ergot) that grows on rye grass, thus contaminating the rye flour used in
making bread. Ergot contains a chemical that drives its victims mad and results in

gangrene of the hands and feet due to constriction in blood flow to the extremities. To
care for the sick, the Antonites served them good quality bread and had them drink a
concoction called saint vinage, a holy fortified wine, in which the monks had first
macerated a special blend of herbs and then soaked the relics of Saint Anthony. They also
produced a salve from herbs possessing anti-inflammatory properties.
Little by little, the monks at Isenheim acquired a rich collection of works of art
commissioned and financed by the monastery, one of which was this altarpiece. Held at
this religious institution until the Revolution, it was transferred to the local branch of the
French national library in 1792 for safekeeping. In 1852 it was moved to the chapel of the
former Dominican convent known as the Unterlinden in Colmar, becoming the principal
treasure of the museum being established at that time and has never ceased to captivate
and enthral visitors since.
Matthias Grünewald (ca. 1480 – 1528)
(eig. Mathis Gothard) Duits schilder, waarshijnlijk geboren in Würzburg. De naam
Grünewald kreeg hij per abuis van een 17e-eeuwse biograaf.
Grünewald kreeg veel grote opdrachten en
was van 1516-1525 in dienst bij de
belangrijkste keurvorst van die tijd, kardinaal
Albrecht van Brandenburg. Zijn stijl is te
omschrijven als monumentaal en realistisch,
met een opvallende behandeling van kleur
en licht, en is waarschijnlijk beïnvloed door
de Italiaanse renaissance maar wordt
doorgaans gerekend tot de laat-gotische
schilderstraditie.
Zijn hoofdwerk is het Isenheimer Altar, een veelluik met voornamelijk bijbelse taferelen dat
zich thans in een museum in Colmar bevindt.
Nadat hij door Albrecht van het hof was verdreven, voorzag Grünewald enige tijd in zijn
onderhoud door watermolentjes en fonteinen te bouwen. Hij overleed in 1528 te Halle.
Het hier afgebeelde portret is van St. Sebastiaan en onderdeel van het altaar, maar wordt
vaak als een zelfportret beschouwd.

3. Bazel
Switzerland, one of Europe's smallest countries, with the Alps at its core, has an area of
41293 square kilometres. Its 1850 kilometres of borders link it to France in the west,
Germany in the north, Liechtenstein and Austria in the east, and Italy in the south.
Surrounded by the great continental cultures, its central position and control of the alpine
passes have made Switzerland a classic transit region, across which goods were, and still
are, moved from east to west, from north to south, and vice versa. Switzerland is a
European watershed whose rivers flow in all directions, and is the source of Rhine, Rhone,
and of major tributaries to Danube and Po. 140 glaciers and some 1500 lakes make
Switzerland Europe's moated castle. The other major mountain range is the Jura, which
extends from the Basel region along Switzerland's western border to Geneva. The Swiss
midlands lie between the Jura and the Alps, and south of the Alps lie the Ticino and a few
valleys that belong to the canton of Grisons. The country's highest point, 4634m above
sea level, is the Dufourspitze in the Monte Rosa massif; its lowest, at 193m, is Lago
Maggiore.
Seven million inhabitants
Like its topography, Switzerland's climate also varies very widely. In the west, the Atlantic
is the dominant influence; in the east, continental air currents dominate; in the north, the
Arctic makes its influence felt; and the south is often subjected to hot and humid
Mediterranean air. The Föhn, a warm, dry southerly wind, blows mainly down the Alpine
valleys and can cause severe storms; it is also often blamed for moodiness. Because the
Alpine region is rather inhospitable, most of Switzerland's population is concentrated in the
country's midlands, which are also used for intensive agriculture, and in its cities; the
biggest of these are Zurich, Geneva, Basel, Berne, and Lausanne. Foreign nationals
account for about one-fifth of Switzerland's population of some seven million, but the ratio
in some cantons, such as Basel-Stadt, may be as high as thirty percent.
Four official languages
Switzerland has four official languages. The majority speaks German; next comes French,
followed by Italian and Romantsch, an ancient form of Latin struggling for survival in the
Alps. Protestants and Roman Catholics are the main denominations, the latter with a
slightly higher share of the total population.

23 cantons
Switzerland is divided into 23 cantons, three of which are split into two half-cantons:
Unterwalden (Obwalden and Nidwalden [those above and below the woods]); Appenzell
(Innerrhoden and Ausserrhoden [those on the near and far banks of the Rhodan river]);
and Basel (Stadt and Landschaft). Though Berne is the country's capital, Zurich is the
country's biggest city.
Two peculiarities distinguish the canton of Basel-Stadt from the other 25 cantons and halfcantons:
like all half-cantons, it has only one representative in the Upper Chamber of the
federal parliament, the Ständerat (Council of State); and because the territory of its
biggest municipality is almost identical with that of the canton, it is practically a city-state.
Basel beats differently is the motto with which Basel wants to draw attention to itself at
home and abroad. Special to Basel in fact different is its position in the so-called
Dreiländereck, the triangle formed by the three countries of Switzerland, Germany, and
France. Basel is known as an open, many-faceted cultural, educational, and economic
metropolis.
Basel is the centre of north-western Switzerland, on the border with Germany and France,
and located at the very core of central Europe. Identification with their city is exceptionally
high not only among the city's population, but also among those who live in the city's
suburbs and beyond.
Population of the Basel-Stadt at the end of the year 2006: 165'529 inhabitants.
Cultural, educational, and economic metropolis
Basel projects, well beyond central Europe, the image of a progressive, environmentally
conscious, international, and integrative cultural, educational, and economic metropolis. It
successfully combines such small-town features as clarity and intimacy with the
advantages of a city: expansiveness, wide choice, and diversity.
Despite its social dynamism and innovative economic strength, Basel is a lively border
town, with a strong traditional base rooted in history which can be experienced not only at
its carnival, the Basler Fasnacht. Both its historic townscape and modern architecture are
part of Basel's living present.

4. Fondation Beyeler
In a extremely sensitive response to the collection, its creators and the location, Renzo
Piano has created an ideal building for presenting modern art. From outside, the
approximately 127 metre-long building, which is shielded from traffic noise by a porphyryclad
external wall, resembles a ship lying anchored alongside the busy road.
On passing through the entrance gate, one finds oneself in the calm of an English-style
landscape park. To the right, nestled among groups of trees, one sees the pavilion-like
museum built out of a harmonious combination of stone, white-painted steel and glass. Its
projecting glass roof, with a surface area of approximately 4,500 square metres, seems to
float above its four monumental parallel walls.
There exists a harmonious balance between the materials used throughout the museum.
The vertical walls clad with porphyry from Argentina convey an impression of heaviness
and durability. A projecting steel structure has been suspended over them horizontally like
a flying carpet. It supports the glass of the transparent roof and the 900 brise-soleil that
protect the interior against direct overhead sunlight.
The internal requirements associated with the Beyeler Collection's characteristics and size
have been sensitively reconciled with the site's external constraints. Piano has described
his task in the following words: "A museum should attempt to interpret the quality of the
collection and define its relationship with the outside world. This means taking an active,
but not an aggressive role."
The transparent roof, with its highly sophisticated technology, provides the whole of the
interior with the natural light so desirable for viewing works of art. The use of glass for the
museum's northern and southern façades creates interaction between the building and the
park. Through the interconnections he has established between the interior and the
exterior, Piano has created a unique synthesis of art, architecture and nature.

Inside the museum, Piano has designed absolutely tranquil rooms unmarred by the
slightest technical or design detail. Their carefully conceived sequence alternately
encourages standing still and motion, intensive viewing of the works and reflection on
them as one walks about. Piano has created a discreetly elegant architecture that serves
art totally without concealing itself.
In the course of the museum's extension, the northern part of the park was also
significantly modified, being extended to the main road. Bernard Plattner of Renzo Piano's
Building Workshop has stressed that the redesign "re-establishes an optical equilibrium
between the northern and southern ends of the park, with the museum standing in the
optical centre."
The architect: Renzo Piano
Renzo Piano was born in September 1937 in Genoa, the ancient Italian port on the
Mediterranean. He studied in Florence and in Milan, where he worked in the office of
Franco Albini and experienced the first student rebellions of the 1960s. Born into a family
of builders, frequent visits to his father Carlo’s building sites gave him the opportunity to
combine practical and academic experience. He graduated from the Politecnico University
in Milan in 1964.
From 1965 to 1970, he combined his first experimental work with his brother
Ermanno together with numerous trips to Great Britain and the United States. In 1971, he
set up the Piano & Rogers office in London with Richard Rogers. Together they won the
competition for the Centre Pompidou and he subsequently moved to Paris. From the early
1970s to the 1990s, he worked with the engineer Peter Rice, sharing the Atelier Piano &
Rice from 1977 to 1981.
In 1981, the Renzo Piano Building Workshop (RPBW) was established, and it
currently has a staff of 150 and offices in Paris, Genoa and New York. RPBW has designed
buildings all around the world: the Menil Collection in Houston, the terminal for Kansai
International Airport in Osaka, the Fondation Beyeler Museum in Basel, the Jean-Marie
Tjibaou Cultural Centre in New Caledonia, Potsdamer Platz in Berlin, the Nasher Sculpture
Center in Dallas, the extensions of the High Museum of Art in Atlanta and of the Morgan
Library in New York, the Maison Hermès in Tokyo, the New York Times headquarters, the
California Academy of Sciences in San Francisco and the Modern Wing of the Art Institute
of Chicago.
Recognition of his achievements has included such awards as the RIBA Royal Gold
Medal for Architecture in 1989, the Praemium Imperiale in Tokyo in 1995, the Pritzker
Architecture Prize in1998, and the AIA Gold Medal of the American Institute of Architects
in 2008. Some of his most important current projects include a new building for the
Isabella Stewart Gardner Museum in Boston, the redevelopment and enlargement of the
Fogg Museum in Cambridge (Massachusetts) and of the Los Angeles County Museum of
Art,
the Whitney Museum of American Art and the Campus of Columbia University in New York,
an expansion of the Kimbell Art Museum in Fort Worth, the London Bridge Tower and St.
Giles Court in London, the Monastery of the Poor Clares in Ronchamp and the Stavros
Niarchos Foundation Cultural Center in Athens.

WIEN 1900 – KLIMT, SCHIELE UND IHRE ZEIT
Wien um 1900 war eine der Geburtsstätten der Moderne. Die Kaffeehauskultur,
Komponisten und Kabarettisten, Freuds Psychoanalyse, die Experimentierfreude in der
Wiener Werkstätte, aber auch die Skandale um die Wiener Secession zählen zu den
Phänomenen dieser Zeit. Im Zentrum der grossen Ausstellung zur Wiener Moderne stehen
die berühmten ornamentalen Porträts und Landschaften von Gustav Klimt sowie die
ausdrucksstarken Körperdarstellungen von Egon Schiele – und natürlich ihre legendären
erotischen Zeichnungen.
Klimt und sein genialer Schützling Schiele waren in Wien die zentralen
Lichtgestalten. Die Ausstellung vereint eine einzigartige Auswahl ihrer Meisterwerke aus
den grossen Museen und Privatsammlungen der Welt.
Porträts des jungen Oskar Kokoschka, Selbstbildnisse des tragischen Richard Gerstl
und Werke des Malerkomponisten Arnold Schönberg bilden weitere Höhepunkte. Arbeiten
anderer Künstler, Architekten, Möbeldesigner und Kunsthandwerker der Wiener Secession
und der Wiener Werkstätte zeigen, wie deren enge Zusammenarbeit einen neuen
Kunstbegriff kreierte: das Gesamtkunstwerk.
In der Ausstellung der Fondation Beyeler werden rund 200 Ölbilder, Aquarelle und
Zeichnungen gezeigt, dazu Architekturmodelle, Möbel, Textilentwürfe, Glas- und

Silberobjekte, Künstlerplakate und Fotographien. Sie zeichnen ein faszinierendes Bild von
Wien um 1900, wie es so noch nicht zu sehen war.
Die von Gastkuratorin Barbara Steffen konzipierte Ausstellung wird besonders
unterstützt von: Museum Leopold, Albertina in Wien und Kunsthaus Zug Stiftung
Sammlung Kamm sowie Belvedere, MAK (Österreichisches Museum für angewandte
Kunst), Neue Galerie New York, Wien Museum und Wiener Secession.

5. Weil Am Rhein: Vitra Design Museum
Het Vitra Design Museum werd in 1989 opgericht en is een internationaal gerenommeerd
cultureel instituut voor het onderzoek naar, en de popularisering van design en
architectuur. Deze door de firma Vitra gesponsorde, maar onafhankelijke stichting houdt
tal van tentoonstellingen, organiseert workshops en geeft publicaties over het thema
design en architectuur uit. De tentoonstellingen zijn in internationale instituten en musea
over de hele wereld te zien.
Het Vitra Design Museum ontwerpt en produceert voor elke tentoonstelling een eigen
catalogus. Auteurs en fotografen van naam en faam verschaffen achtergrondinformatie
over thema’s en tentoonstellingsobjecten. Deze uitgebreide documentatie maakt de
meeste uitgaven tot standaardwerken op hun gebied.
Het Centre International de Recherche et d’Education Culturelle et Agricole (C.I.R.E.C.A.)
organiseert ‘s zomers in samenwerking met het Vitra Design Museum en het Centre
Georges Pompidou interdisciplinaire workshops. De deelnemers werken en leven een week
met internationaal bekende architecten, ontwerpers en kunstenaars op het Domaine de
Boisbuchet, een idyllisch landgoed in het zuidwesten van Frankrijk. Ze geven inzicht in het
ontwerpproces en de daarmee samenhangende eisen die aan het rationele denken, de
fantasie en de handvaardigheid worden gesteld.
Het Vitra Design Museum ontwikkelt miniaturen van bekende klassieke meubelen op een
schaal van 1:6 die erg gewild zijn bij liefhebbers van design en bij uitstek geschikt zijn als
educatieve objecten.

The Vitra Design Museum
Following a major fire in 1981, the company Vitra has pursued a conscious approach to its
own architecture, starting with the commission awarded to the English architect Nicholas
Grimshaw to build a new factory hall. His high-tech architecture was seen as upholding
the vision of Vitra as an enterprise synonymous with technical excellence.
After completion of the first structure, he was assigned the task of developing a master
plan for the Vitra grounds. This idea of "corporate identity architecture" was called into
question, however, by the 1984 erection of the sculpture "Balancing Tools" by Claes
Oldenburg and Coosje van Bruggen. It served as the trigger for an entirely new
architectural concept: deliberately contrasting works of architecture were to confront one
another and imbue the site with vitality and a distinctive identity. In keeping with this idea,
Vitra commissioned a different architect for each building project. Such as Frank O. Gehry,
for example, who designed the expressive main building of the Vitra Design Museum with
its towers, ramps and cubes that was dedicated on 3 November 1989.
Even though there is certainly no lack of significant contemporary buildings in the Basel
region: for some years now, the biggest draw and place with the most far-reaching
international presence has been the premises of the Vitra company's factory in Weil am
Rhein. This is not solely due to the illustrious architects like Frank O. Gehry, Tadao Ando,
Zaha Hadid, Nicholas Grimshaw and Alvaro Siza who have all realised significant designs
here at the invitation of company head Rolf Fehlbaum. It is primarily because of the
unique density and quality of the buildings assembled here in such a compact space. No
wonder, then, that the company grounds have emerged as a Mecca for architecture lovers
from all over the world in the past one and a half decades. To accommodate the extensive
public interest in the buildings on the Vitra site, the Vitra Design Museum offers regular
guided architectural tours in numerous languages.
The starting point for the tour is Gehry's sculptural-expressionistic museum building,
completed in 1989 - the first of the California architect's buildings to be realised in Europe.
The Conference Pavilion by Japan's Tadao Ando was also a European premiere. The
introverted structure is visually impressive with its formal restraint and reduction to a few
materials. Along with the museum and Conference Pavilion, the Fire Station by Londonbased
Zaha Hadid is one of the highlights of the tour. Long an icon of deconstructivist
architecture, this was the first work ever to be realised by the master architect who is
today entrusted with prestigious major commissions throughout the world.

A provisional capstone in the architectural
development of the grounds was set by
the Portuguese architect Alvaro Siza with
the puristic seeming brick-clad Production
Hall he connected to the neighbouring
hall with a bridge-like roof construction.
In past years, the architecture park in
Weil has been enriched with two
treasures from the history of building: a
dome-shaped tent construction from the
American architectural visionary
Buckminster Fuller and a small knockdown
petrol station by the French
constructeur Jean Prouvé, which are
likewise covered in the architectural tour.

1. Conferentiepaviljoen (Tadao Ando)
2. Balancerend Gereedschap (Claes Oldenburg en Coosje Van Bruggen)
3. Vitra Design Museum (Frank Gehry)
4. Bushalte (Jasper Morrison)
5. Vitrahuis (Herzog & De Meuron)
6. Productiehallen (Nicholas Grimshaw)
7. Tankstation (Jean Prouvé)
8. Dome (Richard Buckminster-Fuller)
9. Productiehal (Alvaro Siza)
10. Productiehal (Kazuyo Sejima/Sanaa)
11. Brandweerkazerne (Zaha Hadid)

A) Zaha Hadid
De in 1950 in Irak geboren architecte
Zaha Hadid geldt als een eigentijdse
visionaire. In haar schilderijen stelt de
'diva van de architectuur' een gebouwde
wereld voor, waarin de hoekige en
regelmatige contouren uit de
werkelijkheid zijn vervangen door
dynamische en onconventionele vormen
en composities. Deze komen ook terug in
haar architectuur, zoals de Vitra
brandweerkazerne en het Rosenthal
Center.
Van modernisme naar deconstructivisme
Hadid werd na haar afstuderen in1977 aan de Architectural Association (AA) in Londen,
waar ze les kreeg van Rem Koolhaas en Elia Zenghelis, partner van Office for Metropolitan
Architecture (OMA). Hadid beschouwt OMA-oprichters Koolhaas en Zenghelis als cruciale
leermeesters. Ook ging ze zelf doceren aan de AA, waar ze tot 1987 een eigen studio had.
Haar doorbraak was in 1983, toen Hadid met een serie schilderijen de strijd voor het
ontwerp van de Peak Leisure Club in Hong Kong won. Ze maakte een voorstelling van
gebouwen op een berghelling die niet volgens de wetten van de zwaartekracht waren
georganiseerd, maar hun plaats leken te hebben gevonden door een aardbeving. De
gebouwen stonden schots en scheef en kriskras door elkaar heen. De schilderijen
vertolkten een wereld die in de werkelijkheid niet te realiseren is en kenmerkten een

overgang in de moderne architectuur.
Het credo van eenvoud in het vroegere modernisme werd vervangen door complexiteit.
Niet langer was het zaak om gebouwen zo simpel en goedkoop mogelijk te bouwen; ze
moesten voldoen aan de eisen van de dynamische en veeleisende maatschappij, naar de
ideeën van het deconstructivisme.
Schilderijen van het constructivisme
Hoewel veel mensen denken dat Hadid is geïnspireerd door moderne zaken als de
computer, grijpt ze juist terug naar het Russische constructivisme. Deze kunstbeweging uit
het begin van de twintigste eeuw heeft in de omwenteling naar het communisme vrijwel
geen architectuur opgeleverd, maar wel veel schilderijen en beelden. Hadid heeft ermee
geëxperimenteerd in projecten tijdens haar studietijd.
Van sommige gebouwen bestaan wel honderden schilderijen van haar hand. Ondanks
breed gedragen enthousiasme over haar visionaire kwaliteiten kreeg Hadid lange tijd
alleen kleinschalige ontwerpopdrachten. Het bekendst is de Vitra-brandweerkazerne
(1993) in het Duitse Weil am Rhein.
Hadid greep opnieuw terug naar het constructivisme toen ze in 1992 het legendarisch
geworden ontwerp voor een tentoonstelling over het Russisch constructivisme in het
Guggenheim Museum in New York mocht verzorgen. Ze maakte een ruimtelijke vertaling
van een schilderij van Wladimir Malevitsj. De expositie kreeg hierdoor een extra dimensie,
alsof de kunstwerken deel uitmaakten van hun eigen voorstelling.
Prestigieuze opdrachten
Twee jaar later werd Hadid getroffen door
het bekende lot van de visionair: haar
winnende en luid bejubelde ontwerp voor
een operagebouw in Cardiff werd niet
uitgevoerd. Tegenstanders hadden al voor
vertraging gezorgd door de jury te
bewegen tot een heroverweging van het
oordeel, maar uiteindelijk sneuvelde het
project bij een regeringswissel. Het geld
werd besteed aan een rugbystadion.
Nog altijd lijkt Hadid zelf beroemder dan haar gebouwen, maar sinds de eeuwwisseling
krijgt ze steeds meer grote en prestigieuze opdrachten. Ze ontwierp de Mind Zone voor
het Millennium Dome (1999) in Londen en het Rosenthal Center for Contemporary Art
(2003) in Cincinnatti (VS).
Een ander beroemd bouwwerk is de Bergisel skischans (2002) bij Innsbruck in Oostenrijk.
De schans is 'de vinger die de lucht in aanraking brengt met de grond'.
Zaha Hadid was in 2004 de eerste vrouwelijke winnaar van de Pritzker Prize.

B) Frank O. Gehry Frank Gehry is Design Principal for the
firm of Frank O. Gehry and Associates, Inc.,
which he established in 1962. Before
founding the firm, Mr. Gehry worked with
architects Victor Gruen and Pereira &
Luckman in Los Angeles, and with André
Remondet in Paris.
Raised in Toronto, Canada, Frank
Gehry moved with his family to Los Angeles
in 1947. Mr. Gehry received his Bachelor of
Architecture degree from the University of
Southern California in 1954, and he studied
City Planning at the Harvard University
Graduate School of Design. In subsequent
years, Mr. Gehry has built an architectural
career that has spanned four decades and
produced public and private buildings in
America, Europe and Asia.
In an article published in The New York Times in November, 1989, noted
architecture critic Paul Goldberger wrote that Mr. Gehry's "buildings are powerful essays in
primal geometric form and... materials, and from an aesthetic standpoint they are among
the most profound and brilliant works of architecture of our time." Hallmarks of Mr.
Gehry's work include a particular concern that people exist comfortably within the spaces
that he creates, and an insistence that his buildings address the context and culture of
their sites.
His work has earned Mr. Gehry several of the most significant awards in the
architectural field. In 1977, Mr. Gehry was named recipient of the Arnold W. Brunner
Memorial Prize in Architecture from the American Academy of Arts and Letters. In 1989,
he was awarded the Pritzker Architecture Prize, perhaps the premiere accolade of the field,
honoring "significant contributions to humanity and the built environment through the art
of architecture." In 1992, he received the Wolf Prize in Art (Architecture) from the Wolf
Foundation. In the same year, he was named the recipient of the Praemium Imperiale
Award by the Japan Art Association to "honor outstanding contributions to the
development, popularization, and progress of the arts."
In 1994, he became the first recipient of the Dorothy and Lillian Gish Award for
lifetime contribution to the arts. In 1998, Mr. Gehry received the National Medal of Arts,
and he became the first recipient of the Friedrich Kiesler Prize. In 1999, Mr. Gehry received
the Lotos Medal of Merit from the Lotos Club, and he received the Gold Medal from the
American Institute of Architects. In 2000, Mr. Gehry received the Lifetime Achievement
Award from Americans for the Arts. Mr. Gehry was named a Fellow of the American
Academy of Arts and Letters in 1987, a trustee of the American Academy in Rome in 1989,
and a Fellow of the American Academy of Arts and Sciences in 1991. In 1994, he was
bestowed with the title of Academician by the National Academy of Design. In 1998, he
was named an Honorary Academician by the Royal Academy of Arts. Mr. Gehry has
received honorary doctoral degrees from Occidental College, Whittier College, the
California College of Arts and Crafts, the Technical University of Nova Scotia, the Rhode
Island School of Design, the California Institute of Arts, the Southern California Institute of
Architecture, the Otis Art Institute at the Parsons School of Design, and the University of
Toronto. In 1982, 1985, and 1987-89, Mr. Gehry held the Charlotte Davenport
Professorship in Architecture at Yale University.

In 1984, he held the Eliot Noyes Chair at Harvard University. In 1996-97, he was a
visiting scholar at the Federal Institute of Technology in Zürich, Switzerland. Mr. Gehry was
elected to the College of Fellows of the American Institute of Architects (A.I.A.) in 1974,
and his buildings have received over 100 national and regional A.I.A. awards.
Mr. Gehry's work has been featured in major architectural publications and in
national and international trade journals, as well as in Newsweek, Time, Forbes, The
Economist, Vanity Fair, Art in America, The Wall Street Journal, The New York Times, The
Los Angeles Times, The Washington Post, Le Monde, L'Express, El Correo, and Frankfurter
Allgemeine. Mr. Gehry's architectural drawings and models, as well as his designs for
cardboard and bentwood furniture and his interpretations (in various forms and materials)
of fish, have been exhibited in major museums throughout the world.
Frank O. Gehry established the architecture firm of Frank O. Gehry & Associates in
1962. Since that time, Mr. Gehry has built an architectural career that has spanned four
decades and produced public and private buildings in America, Europe and Asia. In an
article published in the New York Times in November, 1989, noted architecture critic Paul
Goldberger wrote that Mr. Gehry's "buildings are powerful essays in primal geometric form
and... materials, and from an aesthetic standpoint they are among the most profound and
brilliant works of architecture of our time."
Selected Architectural Designs:
1983 - Temporary Contemporary at the Museum of Contemporary Art; Los Angeles,
California
1988 - Sirmai-Peterson Residence; Thousand Oaks, California
1989 - Schnabel Residence; Los Angeles, California
1989 - Vitra International Manufacturing Facility & Design Museum; Weil am Rhein,
Germany
1991 - Chiat/Day Headquarters; Venice, California
1992 - University of Iowa Advanced Technologies Laboratory; Iowa City, Iowa
1992 - University of Toledo Center for the Visual Arts; Toledo, Ohio
1993 - Frederick R. Weisman Art Museum; Minneapolis, Minnesota
1994 - Vitra International Headquarters; Basel, Switzerland
1994 - The American Center; Paris, France
1995 - EMR Communication and Technology Center; Bad Oeynhausen, Germany
1995 - Team Disneyland Administration Building; Anaheim, California
1996 - Nationale-Nederlanden Building; Prague, Czech Republic
1997 - Guggenheim Museum Bilbao; Bilbao, Spain
1999 - The Vontz Center for Molecular Studies at the University of Cincinnati, Cincinnati,
Ohio
1999 - Der Neue Zollhof; Dusseldorf, Germany
2000 - DG Bank Headquarters; Berlin, Germany *
2000 - Experience Music Project; Seattle, Washington *
2001 - Bard College Center for the Performing Arts; Annandale-on-Hudson, New York *
2002 - The Walt Disney Concert Hall; Los Angeles, California *
2003 - The Peter B. Lewis Campus of the Weatherhead School of Management at Case
Western Reserve University in Cleveland, Ohio*
2003 - Massachusetts Institute of Technology Stata Complex; Cambridge, Massachusetts *

Over Gehry:
FULL OF GENEROSITY
By Christopher Knight
Frank O. Gehry makes generous architecture. More than the radical playfulness of their
organic forms or the sensual erotics of their spatial flux, what sets his buildings apart
from most of the architectural landscape is their sheer generosity÷liberal, openhanded,
abundant, magnanimous. These are not words that fit most buildings, even great
buildings by great designers of the past. But they describe Gehry's buildings. He makes
architecture that makes people feel like they've been given an unexpected gift.
How he does it is worth considering. Take the 1997 Guggenheim Museum Bilbao, which
has been the object of such lavish and universal praise. Before going to Bilbao I'd read all
the kudos and analysis. I'd read about the advanced computer technology brought to
bear on the construction of evanescent sculptural forms, which make for a
phantasmagoria of architectural space. I'd read that the building offers rare hope to
eternal skeptics about the possibility for significant architecture and planning as catalysts
for the spiritual revival of neglected urban environments. I'd read that, finally, here was a
building about which critics did not have to say "yes, but;" they could just say yes,
without having to qualify it. Not until I got there, though, did I begin to understand what
makes this building so unusual. Generosity has a lot to do with it.
The building is of course a masterpiece of contextual urbanism, billowing up from a bend
in the river to meet the gruff city and gentle hills surrounding it. The famous titanium
cladding identifies the spaces for contemporary art inside the immense structure,
separating them out from other functions that are housed in elegant limestone boxes,
and from administrative spaces clad in stucco painted bright, exuberant colors. Gehry's
riff on Frank Lloyd Wright's famous rotunda for the Guggenheim's parent museum in New
York is a marvel of savvy design, at once respectful of its origin yet determined to be
unique. The atrium explodes upward, establishing a central vertical spine around which
the rest of the building unfurls on several floors. This light-filled tower of curved,
shattered, sometimes transparent planes allows a visitor to continuously orient himself
wherever he goes in the rambling building. The big surprise of the vast Guggenheim
Bilbao is that, despite its gargantuan complexity and unorthodox appearance, you never
feel lost or confused inside. You always know where you are. So you give yourself over,
willingly, to an exploratory sense of architectural discovery. It's a building you can trust.
The generosity of Gehry's architecture can be traced to two sources. One is his own
home, the famous Santa Monica bungalow that the architect disassembled, reassembled
and wrapped inside a second structure of chain link and two-by-fours. The other critical
source is his drawing.
Gehry's home remakes the great Southern California domestic tradition of indoor-outdoor
living. This tradition characterizes the region's vernacular architecture, from courtyard
haciendas to suburban ranch houses, as well as its unequaled legacy of household
masterworks by Wright, Irving Gill, R.M. Schindler, Richard Neutra and many other
distinguished architects. For example, the kitchen and dining room of the Gehry house
occupy a former outdoor space, where the driveway to the garage used to be. The floor

emains asphalt, acknowledging that history, while an interior wall is composed from the
exterior wall of clapboards of the original living room next door, which can be glimpsed
through an intact picture window. Sitting "inside" the new house yet "outside" the old
one, you're inside and outside at the same time. Formally, the indivisibility of
inside/outside space recalls the seamless flow of a classic Donald Judd box, in which the
conventional distinction between a sculpture's inside and its outside is erased. Bucking
the history of Western sculpture, a Judd box is not a discrete mass occupying space and
with a hidden interior realm. Neither is Gehry's house.
Unlike a Judd box, though, domestic space is not just formal. Domestic space is
emotionally charged, incorporating a complex psychological dimension that changes over
time. Even for a visitor to Gehry's house the experience of being simultaneously inside
and outside is psychologically disconcerting; the renovated bungalow gives surprising
physical form to an instantly recognizable quality of domestic estrangement and
alienation. The past century's architecture has been mostly conceived in formal and social
terms, but central to Gehry's achievement has been this uncanny articulation of
psychological space.
The key is in his drawings. A Gehry building begins with a sketch, and Gehry's sketches
are distinctive. They're characterized by a sense of off-hand improvisation, of intuitive
spontaneity. The fine line is invariably fluid, impulsive. The drawings convey no
architectural mass or weight, only loose directions and shifting spatial relationships. The
Guggenheim Bilbao is a remarkable turning point in Gehry's work öand in the history of
architecture÷because it manages to maintain in built form the impromptu sketchiness of
his drawings. It's a sketch in real space, a sketch you can walk into. Drawing is the
medium most capable of closely recording the evolution of artistic thought÷from brain to
hand to pencil to paper and back to brain. Walking through Gehry's sketchy building is
like navigating a projection of psychological space that is continuously unfolding. The
result: Every visitor is always located at its exact center, and the center moves with you.
That's generosity. All the rapturous ink that has been spilled in the wake of Bilbao turns
out to have been something other than what it initially seemed. Not just critical love
letters, they're heartfelt thank you notes.
Preliminary sketches for the Panama Puente de Vida Museo | © Frank O. Gehry

C) Herzog & De Meuron
Herzog & De Meuron behoren momenteel tot de top van de wereldarchitectuur. Het
Zwitserse architectenbureau ontving talloze onderscheidingen, waaronder de Pritzker
Architecture Prize (2001) en de Royal Gold Medal (2007) van RIBA. Beroemde werken zijn
de uitbreiding van de Tate Modern Art Gallery in Londen, de Prada Store in Tokio en de
Allianz Arena in München. Het meest recente beroemde bouwwerk is het zogenoemde
'Vogelnest', het Olympisch Stadion in Beijing.
De leeftijdsgenoten Jacques Herzog en Pierre de Meuron zijn naast bureaupartners
boezemvrienden. Ze genoten hun opleiding aan dezelfde scholen en richtten uiteindelijk in
1978 hun gezamenlijke bureau op. Al in de jaren tachtig was de maatschap
verantwoordelijk voor veelsoortige projecten, waaronder vooral veel woningen. Het
materiaalgebruik trok internationale aandacht; Herzog & De Meuron combineren
traditionele materialen met nieuwe of exotische en componeren daar met name
intrigerende gevels mee.
Eind jaren tachtig, begin jaren negentig rees hun ster met beroemde projecten als
het pakhuis Ricola in Laufen (1986) en Galerie Goetz in München (1992). Daardoor
verwierven de Zwitsers ook grotere opdrachten, zoals het ontwerp voor de uitbreiding van
de Tate Modern Art Gallery (1994-2000) in Londen. Herzog & De Meuron verbouwden in
dit kader een oude elektriciteitscentrale tot tentoonstellingsgebouw. In 2007 werd het
groene licht gegeven voor een tweede uitbreiding: dit elf verdiepingen hoge gebouw naast
de huidige Tate Modern Art Gallery zal voornamelijk bestaan uit glas en moet voor de
Olympische Spelen in Londen in 2012 gereed zijn.
De omhulling van gebouwen bleef een belangrijk aspect in het werk van het bureau
dat in de personen van Harry Gugger (1991) en Christine Binswanger (1994) gaandeweg
nieuwe partners kreeg. Een voorbeeld hiervan is de Allianz Arena, waarvan de buitenwand
met membraankussens doet denken aan een reusachtige zwemband of marshmallow.
De architectuur van Herzog & De Meuron werd steeds spectaculairder. De Elbphilharmonie
in Hamburg (realisatie gepland voor 2010) bestaat uit een golvend maar strak
theatergebouw, boven op een voormalig pakhuis. Ook het Stadion van Portsmouth
(bouwstart in 2009) en het Olympisch Stadion van Beijing vallen op door hun
opzienbarende vormgeving.
RIBA-voorzitter Jack Pringle zei bij de uitreiking van de Gold Medal dat het bureau is
veranderd van een experimentele studio in een groot kantoor, zonder dat het werk vlakker

is geworden. 'They reinvent everything with each new project and do it with such vigour'.

D) Tadao Ando
De Japanse architect Tadao Ando (1941) is geboren in Osaka en staat bekend
vanwege zijn typerende gebruik van licht en schaduw, gecombineerd met het uiterlijk van
'zijn' beton. Hij heeft vrijwel iedere belangrijke architectuurprijs gewonnen, terwijl hij geen
enkele architectonische opleiding heeft genoten.
Ando vermengt in zijn werk Japanse kenmerken met de modernistische architectuur
zoals we die kennen van Le Corbusier, Louis Kahn en Frank Lloyd Wright. Deze combinatie
heeft geleid tot een volledig eigen, minimalistische stijl. Met name zijn gebruik van beton
is zeer typerend. Hoewel zijn betonnen vlakken zeer glad en vaak gevernist zijn, wekken
ze tegelijk de indruk niet af te zijn. Dit effect ontstaat mede door de cirkelvormige
afdrukken, die worden veroorzaakt door de afstandhouders die nodig zijn bij het bekisten
van het beton. Meestal worden deze, wanneer het beton in het zicht wordt toegepast,
weggewerkt. Ando gebruikt de afdrukken juist om het beton de voor hem typische
structuur mee te geven. Deze betonstructuur wordt dan ook wel 'Ando-beton' genoemd.
Door het materiaalgebruik te reduceren tot hoofdzakelijk beton, zorgde Ando, ondanks het
gebruik van veel gesloten muren, voor een intensieve aanwezigheid van de natuur, in de
vorm van licht en schaduw, binnenin zijn gebouwen.
Ando heeft zich het vak van architect zelf eigen gemaakt. Naast een carrière als
bokser heeft Ando oorspronkelijk een opleiding gevolgd tot timmerman. Hij raakte
geïnteresseerd in architectuur nadat hij per toeval met het werk van Le Corbusier in
aanraking kwam. Ando was geboeid door het werk van deze in Zwitserland geboren
architect en vernoemde later zelfs zijn hond naar zijn inspiratiebron. Door te reizen en te
lezen bestudeerde hij de Europese bouwkunst. Door dit te combineren met de Japanse
traditie probeerde hij zich op te werken bij verschillende architectenbureaus.
In 1969 begon hij zijn eigen bureau in zijn geboorteplaats Osaka, waar hij tot de
dag van vandaag woont. Het timmermansvak heeft nog altijd veel invloed op zijn
architectuur, vooral in zijn ambachtelijke manier van bekisten. Ando neemt ook altijd zelf
de leiding over de bouw van zijn werken. In zijn eerste woningbouwprojecten liet hij al
danig van zich spreken door zijn onconventionele ontwerpen.
Het Japanse Azuma House, een rijtjeshuis uit 1976, is één groot betonvolume, met

slechts één deuropening in het oppervlak. Opvallend is de geringe grootte van het
bouwwerk, iets wat kenmerkend zou blijven voor zijn gebouwen. Deze kleinschaligheid is
een Japanse invloed, net als zijn veelvuldige gebruik van terrassen en binnentuinen. Het
Azuma House werd het uitgangspunt voor zijn verdere werk.
Natuurlijke elementen en de relatie tussen gebouw en omgeving spelen een grote
rol in zijn architectuur. In de Kerk van het Licht (1989) in Osaka komt daglicht via een
kruis in de muur binnen. Dit kruis is ontstaan door middel van vier betonblokken, die door
een verticale en horizontale spleet zijn gescheiden. In de Watertempel (1991) in Hiogo is
water het belangrijkste element. In een groot waterbassin op het dak loopt een door
beton omsloten trap naar beneden.
Naast woningen en tempels bouwt Ando veel musea. Een voorbeeld is het gebouw
van de Langen Stichting, een museum voor historische Japanse en twintigste eeuwse
Europese kunst in het Duitse Neuss. Ook hier paste Ando weer lichtinval toe via spleten in
de muur. Met dit licht creëert hij een sterk ruimtelijk effect, net als in andere projecten
waar hij deze techniek gebruikt.
Het Langenmuseum, dat een oase van rust vormt in het drukke Ruhrgebied, is een
van de relatief weinige projecten die Ando buiten Japan realiseerde. Zijn belangrijkste
werken staan stuk voor stuk in zijn vaderland. Het Rokko Housing project (1983-1993) in
Kobe is zijn meest essentiële woningbouwproject.
Ando werd voor het laatstgenoemde project beloond met de Japanse prijs voor cultureel
ontwerp. Het is echter slechts een van de vele onderscheidingen die hij ontving. Zijn
meest prestigieuze prijzen zijn de Pritzker Prize (1995) en de Gold Medal van de
International Union of Architects (2005).

F) Jasper Morrison
JASPER MORRISON is one of today's most influential industrial designers. Born in
London, he is renowned for his ascetically elegant, quietly humorous style and has
designed everything from a tray-table to a tram system.
Anyone who wants to understand Jasper Morrison's work should flick through A
World Without Words, the collection of images he compiled in 1988 from his collection of
second-hand books and postcards. From one of Buckminster Fuller's Dymaxion houses and
Gerald Summers' one piece plywood chair to a fisherman's hut on Hastings' shingly beach,
each image illustrates the wit and elegance with which Morrison has revitalised rationalist
design.
Born in London in 1959, Morrison grew up there and in New York, when his
advertising executive father was posted in the US. He studied design at Kingston
Polytechnic and the Royal College of Art. In 1986, a year after graduating from the RCA,
Morrison opened his Office for Design in London.
He cites his early inspirations as his grandfather's study - a light, bright room
furnished in the modernist style and an Eileen Gray exhibition he saw at London's Victoria
& Albert Museum. During his student years, Morrison became interested in the work of
modernist pioneers - such as Buckminster Fuller, Gerald Summers, Jean Prouvé and Le
Corbusier - that he discovered in the second-hand books he bought and sold to raise extra
cash and later turned into A World Without Words. Another inspiration was the flamboyant
furniture he saw at the Memphis movement's first exhibition in Milan in 1981. Morrison
later described the experience as: "Just fantastic. Here was proof that none of the old
design rules mattered any more."
Even as an impecunious young designer, Jasper Morrison was determined to design
for industrial production. Rather than making pieces by hand as many young designers do,
he scoured London on his Honda 90 moped looking for small industrial workshops which
would make up small quantities of objects from ready-made industrial components. His
1984 Flower Pot Table, for instance, was made from a glass circle supported by a stack of
ordinary flower pots.
"It was the Thatcher era and those small workshops were being forced further and
further away from central London," said Morrison. "When I started it was a manageable
circuit, but as time went by I felt doomed to ride round in ever-increasing circles as they
moved out to the suburbs."
Slowly he won industrial commissions from SCP in London; FSB, the German door

handle maker; Cappellini, the Italian furniture manufacturer; and Vitra, the Swiss furniture
company whose chairman, Rolf Fehlbaum, contacted Morrison after seeing a slide
presentation of A World Without Words.
In 1988, Morrison designed a room set for the Berlin Design Werkstadt exhibition.
Entitled Some New Items For The House, it consisted of chairs, tables, a chaise longue,
four walls and a door - all made from plywood. At first glance, the objects looked banal
with their simple lines and familiar forms, but closer inspection revealed the quiet
intelligence with which Morrison had refined them. The critic, Charles Arthur Boyer, later
described Some New Items as aving "crystallised" his design ethos: "to produce everyday
objects for everyone's use, make things lighter not heavier, softer not harder, inclusive
rather than exclusive, generate energy light and space".
Jasper Morrison has pursued those goals ever since. Still working for Vitra and
Cappellini, he has now nurtured a strong rapport with other clients including Flos, the
Italian lighting company; Magis, the Italian plastic manufacturer; Rosenthal, the German
porcelain producer; and Alessi, the Italian metal maker. The perfectly plain 1998 Tin
Family steel kitchen tins he produced for Alessi and 1997 Moon tableware for Rosenthal
echo the apparent simplicity and underlying subtlety of his New Items and the "archetypal
objects" that Morrison searches for constantly. "If I watch a film, I often spend more time
looking at the details of objects in the background than keeping up with the plot," he
admitted.
Always keen to collaborate with fellow designers - such as James Irvine, a friend
from the Royal College of Art, and Andreas Brandolini, with whom he formed the Utilism
collective in the mid-1980s, Morrison has commissioned products from them and other
designers. He and Irvine worked together to compile Cappellini's 1992 Progetto Oggetto
range of household objects.
Critically, Morrison's clients have also allowed him to experiment with new materials
and technologies. The results include his 1999 Low Pad Chair for Cappellini, which was
inspired by one of Morrison's favourite mid-20th century chairs - the Danish designer, Poul
Kjaerholm's 1956 steel and leather Chair, but used a new method of condensed upholstery
to create a comfortable, but durable padded leather seat. Another technical coup is his
1999 Air Chair, an elegant, relatively inexpensive moulded dining chair made from a single
piece of plastic using Magis's new gas injection technology.
Morrison has tackled more complex commissions: notably by designing a tram
system for the city of Hanover in what he described as "an exhausting, but not
unenjoyable" two year project. He also collaborated with Herzog & de Meuron, the Swiss
architects of London's Tate Modern museum, to furnish its public spaces with his Low Pad
Chairs and 1998 Op-lá tray table for Alessi.
In 2000, Jasper Morrison departed from his self-imposed rule of concentrating on
industrial production by accepting a commission from a museum in the Provençal village of
Vallauris to produce a limited edition of ceramics made by local artisans. The result, as
Morrison himself admits, shares the sleekness and formal clarity of his industrial designs.
Rather than being flattered by his interest, the European craft community was outraged.
"Why work with the ancient skills of the Vallauris potters," railed an editorial in one craft
magazine, "to make something that looks as if it came from a factory?"
In the early 2000s Morrison set up a new studio in Paris and proceeded to divide his
working life between there and London. He acquired new clients such as Rowenta, the
French household appliances manufacturer for which he is developing a new range of
kitchen products including kettles, irons and coffee machines. Morrison also sustained his
relationship with established clients by designing new projects for Cappellini, Magis and
Vitra.

G) Jean Prouvé
Jean Prouvé inspires us as someone who knew what it meant to combine creativity,
entrepreneurship and the ethics of work. In his oeuvre he coupled handicraft with industry
and design with architecture extending his experience yet further with each new step - as
craftsman of Art déco, as manufacturer and constructer of furniture and architecture and,
finally, as a highly valued teacher. He never sought to evolve his own unique style but
consistently sought logical answers to desired functions and the available means for their
realisation. And yet it is precisely this which accounts for the authentic, unmistakable
characteristic stamp that all his works bear.
Today, Prouvé is prized as one of the most innovative architectural and furniture
draftsman of the 20th century. Thanks to his technical knowledge of production, he
consistently developed detachable, light constructions - from small barracks to large halls,
multifunctional facade systems as well as movable or dismountable, extremely solid
furniture. As a consequence of the increasing enthusiasm for technology in recent years
Prouvé's influential inventions in building construction and simple industrial functional
furniture have been acknowledged once again and hence experienced a renewed
appreciation.
In conception, this first comprehensive and systematic touring exhibition on the
furniture and architecture, which Jean Prouvé (1901-1984) created between 1924 to the
mid 1970s, is very much in keeping with Prouvés own ideas. Thus, guest curator Prof.
Bruno Reichlin draws on the famous courses, which Prouvé held between 1957 to 1970 at
the Paris CNAM (Conservatoire National des Arts et Métiers). The most important original
furniture pieces will be exhibited together with several original architectural elements
(among them a reconstructed "Maison de Sinistrés") as well as numerous architectural
models, photographs and original sketches on architecture and furniture.
The majority of exhibition pieces are drawn from the Vitra Design Museum's
inventory. In addition, important loans have been contributed by the Paris gallerists
Philippe Jousse and Patrick Seguin, the archives of the Départementales de Meurthe et
Moselle in Nancy as well by the Prouvé family.
A comprehensive catalogue, edited by Catherine Dumont d'Ayot, has been
published on the exhibition. The exhibition which was organised under the direction of the

Vitra Design Museum in cooperation with the Design Museum Akihabara, Tokyo and the
Deutschen Architektur Museum, Frankfurt Main.

H) Richard Buckminster Fuller
Driven by the design philosophy of “more for less”, RICHARD BUCKMINSTER
FULLER (1895-1983) worked simultaneously on plans for houses, cars, boats, games,
television transmitters and geodesic domes, all of which were designed to be massproduced
using the simplest and most sustainable means possible.
Philosopher, designer, architect, artist, engineer, entrepreneur, author,
mathematician, teacher and inventor – Richard Buckminster Fuller was all these things and
more. Convinced that the way the world managed its human and material resources
needed to be radically rethought, he applied himself to seeking long term, technology-led
solutions to some of the most pressing problems of his time, particularly in the fields of
building and transport. Despite the groundbreaking inventiveness of so much of his work,
it was not until Fuller’s large-scale, multifunctional geodesic domes began to appear
around the world in the 1950s that he really made his name.
During his life Fuller worked with – and influenced – such diverse talents as the
architect Norman Foster, the sculptor and designer Isamu Noguchi and the composer John
Cage. Since his death in 1983 the relevance of his radical discoveries, inventions and
proposals has been accentuated with the realisation that the world’s resources are not
infinite and must be handled with the greatest economy and care. Fuller is now cited as an
inspiration by equally diverse figures from the industrial designer Marc Newson, to the
humanitarian designers who put his ideas into practice in disaster zones all over the world
in their work for Architecture for Humanity.
Born in Massachusetts in 1895 to a wealthy and patrician New England family, Fuller
horrified his parents by failing to graduate from Harvard University, as Fuller boys had
done for over a century. At the age of 22 in 1917, he married his sweetheart Anne Helwett
and joined the US Navy for wartime service. Fuller had loved boats ever since childhood
visits to his grandmother’s island-farm off the coat of Maine. He later claimed that he
garnered all his technical expertise to the navy. His service as a naval communications
officer and gunboat commander was a determining influence on his life and work. Fuller
believed that the most significant developments in scientific knowledge were a direct

esult of the experience of sea travel and the desire to reach new shores. The seafarer
had to develop solutions to a different set of challenges than the stay-at-home
“landlubber”: the ability to harness the wind, to navigate by the stars and continuously to
improve the ability of ships and their navigational instruments to cope with what Fuller
described as the “Fluid Geography” of the oceans.
After leaving the navy in 1922, Fuller co-founded the Stockade Building Company to
produce lightweight building materials. The knowledge he acquired there was to prove
invaluable to his later experiments with design and architecture. Disaster struck in 1927
when Fuller lost his job at Stockade. At the age of 32 he found himself on the shore of
Lake Michigan wondering whether to end his life there. Fuller took a decision to devote his
life to others by embarking on “an experiment to discover what the little, penniless,
unknown individual might be able to do effectively on behalf of all humanity”.
Fuller decided to concentrate on the field he knew best, construction. The following
year he made his first patent application for the 4D tower, a lightweight, prefabricated,
multi-storey apartment tower to be delivered anywhere in the world by airship. Once
delivered the towers would generate their own light and heat with an independent sewage
disposal system.
From then on, ideas and inventions seemed to flow from him in a continuous
stream. Driven by his philosophy of “more for less”, Fuller threw himself wholeheartedly
into a quest for a new way of housing mankind, in “Lightful Houses” so-called because
they were full of light, lightweight, delightful and so forth. This programme and his
accompanying vision of a world united by the most modern means of transport and
telecommunication evolved into Fuller’s philosophy of four-dimensional, or 4D design. He
defined this as thinking in time instead of only the three dimensions of space: thinking of
consequences for humanity instead of only immediate personal gain.
The project that made Fuller’s name was the 1929 Dymaxion House, which he
unveiled in the interior decorating department of the Chicago department store, Marshall-
Field. The name Dymaxion – Dy(namic)max(imum)ion – was coined by the marketer
Waldo Warren who, after listening to Fuller talk for two days, devised endless
combinations of syllables taken from his highly idiosyncratic vocabulary. Finally he found
the word which seemed to him best to dramatise Fuller’s personality. Made from
lightweight steel, duraluminium and plastic and suspended from a central mast from which
the rooms radiated in a hexagonal plan, the Dymaxion House was conceived not as private
property, but rather as temporary, transportable space that could be rented – rather like a
telephone issued by a telephone company.
As well as housing, Fuller was determined to design a revolutionary new car. In
1928 he had conceived a flying car with inflatable wings which was modified in
subsequent drawings into a streamlined road vehicle the rear of which would rise in an
aerodynamic lift to ‘fly’ steered by a rudder as the front rolled. In 1933 he presented his
plans for the three-wheeled Dymaxion Car with rear steering and front-wheel drive
powered by a Ford engine. The aerodynamic shape, most closely related to high
performance yachts, came partly from Fuller’s co-designer, the shipbuilder Starling
Burgess. The rave reviews of the car’s styling, speed and manoeuvrability were tragically
undermined when the first of three prototypes was rammed and overturned, killing the
driver, outside the entrance to the 1933 Chicago World’s Fair.
Undeterred, Fuller continued his experiments and gained an international reputation
for his work in lightweight, inexpensively and speedily constructed housing. In 1940, in
anticipation of the bombing of British cities, he was asked by the British War Relief
Organization to design an emergency shelter. Fuller worked with the Butler Company of
Kansas City, which manufactured grain silos of curved galvanised steel, to develop a self-

supporting structure in a circular shape designed to provide the most advantageous
relationship between circumference and interior space. The unit was designed to be set up
and taken down easily. Metal for its construction was, however, never made available by
the British Government as it was needed for the production of armaments. When the US
entered World War II, Fuller’s units were commissioned as emergency accommodation for
the air force.
As relationships between the superpowers fluctuated during the war, Fuller became
convinced of the need to develop a world map on which the whole globe could be seen at
once; a map better suited than the standard Mercator Projection to the representation of
global relationships. The Dymaxion World Map was his attempt to resolve the problem of
how best to represent a spherical world on a flat surface, with true scale, true direction
and correct configuration. In orthodox cartography to present one of these attributes
accurately others must be distorted but The Dymaxion World Map’s distortions are
distributed proportionally within each of its fourteen segments.
With the end of the war in sight, Fuller returned to the development of
standardised, lightweight, cost-effective homes. No other plan for a model home has
moved as far away from traditional architecture towards industrial design as the Dymaxion
Dwelling Machine – or Wichita House – that he developed with the technologicallyadvanced
Beech Aircraft Company of Wichita, Kansas. On presentation of the prototype of
a full-size family dwelling weighing just four tonnes, Fuller Houses Inc. received thousands
of orders, but Fuller insisted that the design needed perfecting before production could
commence. The banks baulked at the delay and withdrew their support. A Wichita
businessman bought the prototype, reassembled it on his own land and lived there with
his six children for the rest of his life. In 1992 it was rescued by the Henry Ford Museum
from a colony of raccoons.
From 1948 onwards, Fuller taught at numerous colleges and universities. His
teaching system was unacademic and, as a pioneer of project-based teaching, he often
merged student exercises with his own research. Charismatic and enthusiastic, Fuller was
an inspiring teacher and formed many friendships, particularly in the experimental
atmosphere of Black Mountain College in North Carolina, where he worked with the
composer John Cage, choreographer Merce Cunningham and the artists and former
Bauhaus teachers, Josef and Anni Albers. The collaboration of his teaching colleagues and
the contributions of students like Kenneth Snelson, Don Richter and Shoji Sadao were
crucial to Fuller’s work in the 1950s, notably in the development of his most successful
project, the geodesic dome, the first large scale versions of which were built at Black
Mountain College.
Hailed at the time as the lightest, strongest and most cost-effective structure, the
geodesic dome was designed to cover the maximum possible space without internal
supports. The bigger it is, the lighter and stronger it becomes. The first full-size geodesic
structure was completed – with a 49 feet diameter – in Montreal in 1950, the following
year one was exhibited at the Museum of Modern Art, New York. In 1954 Fuller
constructed two domes at the Milan Triennale exhibition made from six pieces of
corrugated cardboard pre-cut in the US and folded into a small packing case for transport
to Italy. Fuller’s hope was that such domes could one day be manufactured at the rate of
3,000 a day. By 1957 he had refined the design so that an enormous auditorium-sized
geodesic dome was assembled in 22 hours in Honolulu.
Hundreds of thousands of geodesic domes have since been constructed all over the
world, often in extreme conditions, to offer inexpensive shelter to homeless families in
Africa, or to house weather stations in 180 mph winds in the Antarctic. In 1960 Fuller
designed a dome of two miles in diameter to encase midtown Manhattan in a controlled

climate. He calculated that it would pay for itself within ten years simply by saving on
snow removal costs. The most imposing of his actual domes was the geodesic threequarter
sphere – 61 metres high and 76 metres in diameter – that he designed with Sadao
to house the US Pavilion at Montreal’s Expo ’67. A filigree network of steel rods was
formed of an outer layer of triangular units and hexagonal units linked to an inner layer of
hexagons. A skin of acrylic panels ensured total transparency apart from the occasional
closure of triangular blinds programmed to react to very bright sunlight. It was a step
toward Fuller’s ideal of a geodesic membrane as sensitive and adaptable as human skin.
Alongside these practical projects, Fuller delved deeper and deeper into his own
particular form of natural science. Self-taught, and with little respect for specialised
academic research, he developed his own way of questioning the material world. In 1948
his search for “a geometry as nature uses it” led him to discover the mathematical formula
for “the closest packing of spheres”, showing how spheres compact together symmetrically
and tangentially. This led to Fuller’s exploration of what he called the “Jitterbug
transformation” and into primary research in the field of quantum mechanics.
It took some time for the natural sciences to catch up with the significance of such
discoveries. In some cases recognition of the importance of Fuller’s scientific research
came only after his death. By then he had registered 25 US patents, written 28 books,
traveled around the globe 57 times and received 47 honourary doctorates as well as
numerous other awards including a 1969 nomination for the Nobel Peace Prize.

I) SANAA
Kazuyo Sejima and Ryue Nishizawa have been working collaboratively under the name
‘Sanaa’ since 1995. Sejima studied architecture at the Japan Women's University before
collaborating with architect Toyo Ito. She launched her own practice in 1987 and was
named ‘young architect of the year’ in Japan in 1992.
Nishizawa studied architecture at Yokohama National University and, in addition to his
work with Sejima, has also maintained an independent practice since 1997.
recent work include:
2000 - day care center, Kanagawa, Japan
2001- Prada Beauty, Hong Kong, China
2003 - Christian Dior building, Tokyo, Japan
2004 - 21st century Museum of Contemporary Art, Kanazawa.
current projects include:
2003 - ... - Zollverein School, Esen, Germany.
2003 - ... - New Museum of Contemporary Art, New York, USA
Sejima and Nishizawa have been awarded many prizes such as the ‘Gold Lion’ at Venice
Biennale (2004) and the ‘Arnold Brunner Memorial’ medal of the American Academy of
Arts and Letters (2002).

J) Alvaro Siza
Álvaro Joaquim Melo Siza Vieira was born in Matosinhos (Portuguese only) near
Oporto, Portugal, in 1933. From 1949-55 he studied at the Escola de Belas Artes in
Oporto, his first design built in 1954. From 1955-58 Siza worked with the architect
Fernando Tavora. He taught at the School of Architecture (ESBAP) from 1966-69 and was
appointed Assistant Professor of Construction in 1976.
He has been a Visiting Professor at the Ecole Polythechnique of Lausanne, the
University of Pennsylvania, the Los Andes School in Bogota and at the Graduate School of
Design of Harvard University as Kenzo Tange Visiting Professor. He continues to teach at
the Oporto School of Architecture.
Among many current designs, 1200 homes are now being built in Malagueira,
Evora, with the designs for the Setubal College of Education, the Oporto Faculty of
Architecture and Aveiro University Library nearing completion. Further on-going designs
include the Galicia Museum of Contemporary Art in Santiago de Compostela, Spain, the
Oporto Modern Art Museum and, recently, a major mixed-use development in Boavista,
Oporto. He has been co-ordinating the Schilderswijk Zone 5 Renovation Plan in The
Hague, Holland, since 1985, and is drawing up a scheme for blocks 6-7-8 in Ceramique
Terrein, Maastricht. He is also supervising reconstruction of the fire-damaged area of
Chiado in Lisbon. Other major works include the Praca de Espanha/Avenida Malhoa Master
Plan in Lisbon and the design for the Meteorological Centre of the Olympic Village in
Barcelona.
Álvaro Siza's works have been exhibited in Copenhagen (1975), Aarhus and
Barcelona (1976), the Biennale of Venice (1978), Milan (1979), the Museum of
Architecture in Helsinki and the Alvar Aalto Museum, Finland (1982), the Georges
Pompidou Centre, Paris (1982), the Institute of Contemporary Arts, London, and the
Stichting Wonen, Amsterdam (1983), Technische Hogenschool, Delft, ESBAP and Almada
Negreiros Gallery, Lisbon (1984), International Building Exhibition, Berlin (1984 and 1987),
Biennale of Paris and Massachusetts Institute of Technology, Cambridge (1985), 9H
Gallery, London (1986), Columbia University, New York (1987), Harvard Graduate School
of Design, Cambridge (1988), Georges Pompidou Centre, Paris, and MOPU
Gallery/Ministério de Obras Publicas, Madrid (1990), RIBA, London (1991), Colegio de
Arquitectos, Seville (1991), deSingel Gallery, Antwerp (1992), Rui Alberto Gallery, Oporto,
the MOPU, Madrid, the DESSA gallery, Ljubljana/Slovenia (1993), Colegio de Arquitectos,
Granada and Seville, Sala de Risco, Lisbon (1994).

He has also participated in various seminars and conferences in Portugal, Spain,
Italy, Germany, France, Norway, Holland, Switzerland, Austria, England, Colombia,
Argentina, Brazil, Japan, Canada and the United States.
Having been invited to participate in international competitions, Siza obtained first
place in Schlesisches Tor, Kreuzberh, Berlin (now completed), the restoration of Campo di
Marte in Venice (1985), and the re-development of the Casino and Café Winkler, Salzburg
(1986). He took part in the competitions for Expo 92 in Seville, Spain (1986), for Un
Progretto per Siena, Italy (1988), for the La Defensa Cultural Centre in Madrid, Spain
(1988/89), which he won, for the Bibliotheque de France in Paris (1989/90) and for the
Helsinki Museum (1993).
The Portuguese Department of the International Association of Art Critics awarded
him the Prize for Architecture in 1982. He received an Award from the Portuguese
Architects Association in 1987.
In 1988 he was awarded the Gold Medal for Architecture by the Colegio de
Architectos, Spain, the Alvar Aalto Foundation Gold Medal, the Prince of Wales Prize in
Urban Design from Harvard University, and the European Architectural Award by the
EEC/Mies van der Rohe Foundation, Barcelona. In 1992 he was awarded the Pritzker Prize
by the Hyatt Foundation of Chicago for his lifelong achievements. In 1993 he was awarded
the National Architecture Prize by the Portuguese Architects Association. Doctor Honoris
Causa by the University of Valencia (1992) and by the Ecole Polythechnique Federal of
Lausanne (1993).

6. Kunstmuseum (Bazel)
Andy Warhol - The early Sixties. Paintings and Drawings 1961-1964
In the early 1960s, after a successful career as a commercial artist, Andy Warhol
decided to devote himself to the fine arts. Even so, consumerism and the media-oriented
nature of mass production continued to be the main thrust of his work. The exhibition
highlights the artist’s seminal years from 1961 to 1964. It was then that Warhol
made the transition, step by step, from an individual visual idiom to mediatized, collective
visual material and, along with it, to mechanized production. In consequence, he called
into question the very foundations of artistic categories in the age of modernism. The
exhibition is the first ever to explicitly address this transitional period in Warhol’s oeuvre,
demonstrated, for example, by the fact that in 1962 Warhol painted more than one
variation on the same picture.
One version may show traces of the gestural and expressive painting process while
another – though still painted by hand – already shows the diagrammatic reduction and
coolness of his later work. In selected groups of work, viewers can study his approach to
silkscreening on a monochromatic ground. Paintings or drawings of Campbell´s Soup Cans
and Dollar Bills are especially indicative of the scope of his work from the gestural
beginnings to repetitive series of prints. The exhibition culminates in the famous Star
series of Elvis and Liz, a gallery of Death & Disaster and the first Flowers series of 1964.
Some 70 paintings and drawings will be on view, including major works from the holdings
of the Kunstmuseum Basel and the Kupferstichkabinett.

ANDY WARHOL CHRONOLOGY
1928
Andrew Warhola was born in Pittsburgh on August 6 to Julia and Andrej Warhola,
Carpatho-Rusyn immigrants from the village of Mikova in present-day eastern Slovakia. He
had two older brothers, Paul and John. The family regularly attended St. John Chrysostom
Byzantine Catholic Church.
1934
After renting a succession of small apartments, the Warholas purchased a home at 3252
Dawson Street. Andy lived there until he moved to New York in 1949.
1936
Andy projected cartoon images on the walls of his home.
1937
Andy grew interested in photography and took pictures with the family’s Kodak Brownie
camera. An area of the Warholas’ basement was cleared for use as a darkroom. From
about 1937 to 1941, he attended free Saturday art classes at the Carnegie Institute.
After contracting rheumatic fever, Andy was stricken with St. Vitus dance (Sydenham
chorea) and confined to home for more than two months, during which his mother
encouraged his interests in art, comics, and movies.
1939
Andy began collecting photographs of movie stars.
1942
Signed a portrait he painted of his friend Nick Kish with the name “A. Warhol.” Graduated
from Holmes Elementary School and entered Schenley High School, where he received the
highest marks in his art classes. Andrej Warhola died after a lengthy illness. He had saved
several thousand dollars to be used for Andy’s education.
1945
Andy Warhola was admitted to the Carnegie Institute of Technology (now Carnegie Mellon
University) and enrolled in the Department of Painting and Design.
1947
In 1947–1948, he experimented with a blotted line drawing technique that became a
mainstay of his 1950s commercial work. Andy worked at a summer job in the display
department at the Joseph Horne department store in downtown Pittsburgh.
1948
Warhol’s painting I Like Dance and his print Dance in Black and White included in the
annual exhibition of the Associated Artists of Pittsburgh. Andy served as art editor for the
student magazine Cano.
1949
Warhol’s painting The Broad Gave Me My Face, But I Can Pick My Own Nose was rejected
for the annual exhibition of the Associated Artists of Pittsburgh. Juror George Grosz, the
German artist, was said to have praised the work. It was later included in a student

exhibition at Pittsburgh’s Arts and Crafts Center. Graduated from Carnegie Tech with a
Bachelor of Fine Arts degree in pictorial design. His professors included Samuel Rosenberg
and Robert Lepper. Shortly after graduating, he moved to New York City. Began to work as
a commercial artist, usually under the name Andy Warhol. Throughout the 1950s and early
1960s, he illustrated a great variety of published projects, and designed department store
windows.
1951
Received an Art Directors Club Medal for his newspaper illustrations that advertised the
CBS radio feature “The Nation’s Nightmare.” He received numerous graphic arts awards
throughout the 1950s.
1952
Warhol’s first solo exhibition, “Fifteen Drawings Based on the Writings of Truman Capote,”
was held at the Hugo Gallery, New York. Julia Warhola moved to New York, where she
lived with her son until 1971.
1953
Produced the illustrated books A Is an Alphabet and Love Is a Pink Cake, “by Corkie and
Andy,” with his friend Ralph T. Ward. He gave these and other books to clients and
associates, and also sold them through shops.
1954
Exhibited in both group and solo shows at the Loft Gallery, New York. Among his works
were marbleized and folded or crumpled paper works displayed on the walls, floors, and
ceiling. Self-published the illustrated book 25 Cats Name Sam and One Blue Pussy, with
text by Charles Lisanby. These and Warhol’s other books were hand-colored at “coloring
parties” with friends and associates. Began frequenting the café Serendipity 3 on East
58th Street, which is known for its desserts.
1955
Used hand-carved rubber stamps to create repeated images, which were often handcolored.
He employed this technique through the early 1960s. The shoe company I. Miller
selected Warhol to illustrate its weekly newspaper advertisements, which became a great
success and run for about three years. Nathan Gluck was hired as a studio assistant.
1956
Warhol’s “Studies for a Boy Book” exhibited at the Bodley Gallery, New York. During the
1950s, Warhol filled numerous sketchbooks with his drawings of young men. Exhibited
gold-leaf-collaged shoe drawings in his “Golden Slipper Show or Shoes Shoe in America” at
the Bodley Gallery. His gold shoes were published in the January 21, 1957, issue of Life
magazine. A Warhol drawing of a shoe was included in the exhibition “Recent Drawings
U.S.A.” at the Museum of Modern Art. Became acquainted with the photographer Edward
Wallowitch. Warhol used images from Wallowitch’s photographs, as well as other
photographs and images, in his own works.
Took a two-month world tour focusing on Asia and Europe with his friend Charles Lisanby.
1957
Self-published A Gold Book, with many drawings based on Wallowitch’s photos. Andy
Warhol Enterprises was legally incorporated. Underwent cosmetic surgery on his nose.

1959
With his friend Suzie Frankfurt, Warhol self-published Wild Raspberries, a cookbook of
absurd recipes; the title is a joke referencing Ingmar Bergman’s film Wild Strawberries.
1960
Acquired a townhouse at 1342 Lexington Avenue, which accommodated his growing
collections of art, furniture, and objects. It also gave him the space to create larger
artworks. Warhol’s stage designs appear in performances of the Lukas Foss / Gian Carlo
Menotti operetta Introductions and Goodbyes at The Festival of Two Worlds in Spoleto,
Italy.
1961
Painted his first works based on comics and advertisements, by using an opaque projector
to enlarge the original image onto a canvas, which Warhol then traced and painted.
Showed his paintings Advertisement, Little King, Superman, Before and After, and
Saturday’s Popeye with a display of dresses in a window of New York’s Bonwit Teller
department store.
1962
Published his first editioned print, Cooking Pot, a photoengraving of a detail from a
newspaper advertisement. Used rubber stamps to create S & H Green Stamps and other
works, including portrait illustrations for Harper’s Bazaar. Warhol based his Do It Yourself
paintings on common paint-by-numbers images. Made paintings of entire newspaper front
pages. After creating a few series of works using hand-drawn silkscreens, he began to use
the photo-silkscreen technique. Warhol experimented with instant photography, which
became essential to his portrait process in the early-1970s. After silk-screening portraits of
the teen idols Natalie Wood, Troy Donahue, and Warren Beatty, Warhol began his photosilkscreened
Marilyn paintings after Marilyn Monroe’s death. Started a series of paintings
of suicides and car crashes. Warhol’s hand-painted Campbell’s Soup Can paintings were
shown at the Ferus Gallery, Los Angeles. Warhol’s recent paintings were shown at the
Stable Gallery, New York. Included in the exhibition “New Painting of Common Objects,” at
the Pasadena Art Museum. Featured in a Time magazine article on Pop artists.
1963
Hired Gerard Malanga as studio assistant. Made multiple image silkscreened portraits of
the collector Ethel Scull and others based on photographs of his subjects taken in common
photo booths. Began paintings of Elvis Presley and Elizabeth Taylor using publicity
photographs as sources. Bought a 16mm movie camera. Made the films Sleep, Kiss,
Haircut, and Tarzan and Jane Regained…Sort Of, and the first of more than 500 Screen
Tests. While in Los Angeles for the exhibition of his Elvis and Liz paintings, Warhol met
Marcel Duchamp at his exhibition in Pasadena, and attended a “Movie Star Party” arranged
in his honor by Dennis Hopper. Included in the exhibition “Six Painters and the Object,” at
the Solomon R. Guggenheim Museum, New York. Included in the exhibition “The Popular
Image” at the Washington Gallery of Modern Art, Washington, D.C. The exhibition traveled
to London. Baby Jane Holzer, Taylor Mead, and Ondine (Bob Olivo) became his associates
at about this time, acting in his films. Warhol’s first Superstars, they were synonymous
with his work. Warhol rented an abandoned firehouse near his home, for use as a painting
studio. Designed costumes for a Broadway production of The Beast in Me, by James
Thurber. His work wasn’t credited because he was not a union member.

1964
Established his studio at 231 East 47th Street, soon to be known as “the Factory.” It was
painted silver and covered with aluminum foil by Billy Name (Billy Linich) a theatrical
lighting designer whom Warhol had met the year before. Made the Thirteen Most Wanted
Men mural for the facade of the New York Pavilion at the 1964 New York World’s Fair.
Officials objected to the work, and it was painted over in silver paint. Made Brillo Boxes
and other box sculptures, which were exhibited at the Stable Gallery. Began his series of
Jackie paintings after President Kennedy’s assassination. Began Flowers paintings, which
were shown at the Castelli Gallery this year, and in Paris the next year. His paintings of car
crashes and suicides were shown at Galerie Ileana Sonnabend in Paris, and elsewhere in
Europe. Made the films Blow Job, Eat, Empire, and Harlot (his first with live sound). His
film Andy Warhol films Jack Smith filming Normal Love (1963) is confiscated in a raid by
the New York City Police Department, and lost. Acquired his first tape recorder, which later
became his constant companion. Warhol’s painting Orange Disaster No. 5 included in the
Pittsburgh International (now the Carnegie International) exhibition at the Carnegie
Institute, Pittsburgh. A Warhol film installation with a soundtrack by LaMonte Young was
exhibited at the New York Film Festival. Received the Independent Film Award from Film
Culture, the avant-garde film periodical edited by Jonas Mekas.
1965
Made the films Poor Little Rich Girl, Vinyl, Kitchen, Lupe, Outer and Inner Space, My
Hustler, and others. Designed the cover for an issue of Time magazine. Exhibited his video
art, the first artist to do so. While in Paris for the opening of his Flowers exhibition at the
Galerie Ileana Sonnabend, Warhol described himself as a “retired artist” who planned to
devote himself to film. The opening night crowd overwhelmed the retrospective of
Warhol’s work at the Institute of Contemporary Art, Philadelphia. Met Paul Morrissey, one
the most important figures for Warhol’s work in film. Edie Sedgwick starred in about ten of
Warhol’s films. Superstars Brigid Polk (Brigid Berlin) and Ultra Violet (Isabelle Colin
Dufresne) began to frequent the Factory at about this time. Film producer Lester Persky
hosted “The Fifty Most Beautiful People” party at the Factory. Judy Garland, Rudolf
Nureyev, Tennessee Williams, Allen Ginsberg, Montgomery Clift, and others attended.
1966
Produced the Exploding Plastic Inevitable, multimedia shows featuring the Velvet
Underground rock and roll band, performance, film, and light shows. At the Castelli
Gallery, Warhol exhibited his Cow wallpaper in one room, and filled a second, white-walled
room with his floating Silver Clouds. Made the films The Velvet Underground and Nico and
The Chelsea Girls. The Chelsea Girls was distributed widely and received international
media attention. Published the print editions Kiss, Jacqueline Kennedy (I, II, and III),
Banana, and Self-Portrait. In the following years, Warhol created over 400 print editions.
Produced the first LP album by the Velvet Underground and Nico. The cover, designed by
Warhol, showed a banana with vinyl skin that could be peeled off to expose the pink fruit.
A larger fine art print is also produced. The following advertisement appeared in the
February 10 issue of The Village Voice: “I’ll endorse with my name any of the following;
clothing AC-DC, cigarettes small, tapes, sound equipment, ROCK N’ ROLL RECORDS,
anything, film, and film equipment, Food, Helium, Whips, MONEY!! love and kisses ANDY
WARHOL, EL 5-9941.” Gave away the bride at The Mod Wedding at the Detroit, Michigan
State Fair Grounds Coliseum. The event featured an Exploding Plastic Inevitable
performance. Warhol and his Superstars began to frequent the back room of the notorious
bar-restaurant Max’s Kansas City on Union Square. Invited to author Truman Capote’s

“Black and White Dance,” referred to as “the party of the decade.”
1967
Made Self-Portrait paintings, which were included in the United States Pavilion at Expo ‘67
in Montreal. Made the films Bike Boy, I a Man, and The Nude Restaurant. Designed the
poster for the fifth New York Film Festival. Two Warhol books were published: Andy
Warhol’s Index (Book) and Screen Tests/A Diary, a collaboration between Warhol and
Gerard Malanga. The FBI reported on Warhol’s activities during location shooting in Oracle,
Arizona for his film Lonesome Cowboys. On the same trip, location footage was shot in La
Jolla, California for San Diego Surf. Warhol gave a college lecture tour with Allen Midgette
impersonating him for several engagements. Met Frederick W. Hughes, who became a
close associate and Warhol’s exclusive agent and business manager. Joe Dallesandro,
Candy Darling, and Viva became Superstars.
1968
In January, Warhol moved his studio to a white-walled office space on the 6th floor of 33
Union Square West. In February, Malanga was nearly imprisoned for forging Warhol
paintings in Rome. On June 3, Valerie Solanas, who appeared in Warhol’s film I, a Man and
was the founder and sole member of S.C.U.M. (Society for Cutting Up Men), shot Warhol
in his studio. Produced the film Flesh, directed by Paul Morrissey, and made Blue Movie.
Warhol began to take a less active role in filmmaking. The Schrafft’s restaurant chain hired
Warhol to create a television advertisement for The Underground Sundae. a: a novel, a
transcription of Warhol’s tape recordings featuring Ondine, was published by Grove Press.
The artist’s Silver Clouds were used as the set for Merce Cunningham’s dance RainForest.
A retrospective of Warhol’s work was held at the Moderna Museet, Stockholm, and
traveled throughout Scandinavia. Warhol’s work was included in “Documenta 4” in Kassel,
Germany. Jed Johnson was hired as an assistant. Soon after, he began living with Warhol
and his mother.
1969
Curated “Raid the Icebox I with Andy Warhol,” a selection from the storage rooms of the
Museum of Art at the Rhode Island School of Design. Produced the film Trash, directed by
Paul Morrissey. The first issue of Interview magazine was published. Included in the
Metropolitan Museum of Art’s “New York Painting and Sculpture: 1940–1970.” Vincent
Fremont began to work for Warhol. He became a close associate on video and television
projects, and eventually became his executive manager.
1970
Warhol’s production of commissioned portraits increased in the early 1970s. Most were
based on his Polaroid photographs of sitters, including collectors, friends, and celebrities.
Created the Rain Machine, an installation that incorporated a water shower and 3-D
lenticular prints of flowers, in connection with the Los Angeles County Museum of Art’s Art
and Technology Program. The Rain Machine was exhibited in the United States Pavilion at
Expo ‘70 in Osaka, Japan. Acquired a portable video camera and began to work regularly
with video. A major retrospective of Warhol’s work was held at the Pasadena Art Museum.
The exhibition traveled to Chicago, Eindhoven, Paris, London, and New York. The first
monograph on Warhol was published, written by art historian Rainer Crone. Bob Colacello
began to work for Interview. He eventually became the magazine’s executive editor.
1971

With Vincent Fremont and Michael Netter, Warhol began Factory Diaries, a series of
videotaped recordings of life at the studio. Designed the album cover of the Rolling Stones’
Sticky Fingers in collaboration with Craig Braun. The cover, a male torso in jeans with a
functioning zipper, was nominated for a Grammy Award. Warhol’s play Pork, based on his
tape recordings, was performed in London and New York. Warhol and Paul Morrissey
acquired a twenty-acre compound in Montauk, Long Island. Lee Radziwill and other friends
spent much time there.
1972
Began Mao paintings, drawings, and prints. After publishing his print Vote McGovern for a
presidential candidate, the Internal Revenue Service audited Warhol; he was audited
annually until his death. Produced the films Women in Revolt! and Heat, directed by Paul
Morrissey. Removed the films he had directed from circulation. Warhol’s mother died in
Pittsburgh. She had returned there from New York in 1971.
1973
Made the videos Vivian’s Girls and Phoney, directed with Vincent Fremont. Appeared in the
film The Driver’s Seat with Elizabeth Taylor. Ronnie Cutrone became Warhol’s studio
assistant in 1973 or 1974; he had previously danced with the EPI.
1974
Began assembling Time Capsules in standard-sized boxes. This collection of objects and
ephemera from his entire life eventually numbered more than 600 boxes, and included
antiques and works of art. Co-produced the films Andy Warhol’s Dracula and Andy
Warhol’s Frankenstein (in 3-D), directed by Paul Morrissey. Maosexhibited at the Musée
Galliera, Paris, hung on Warhol’s Mao wallpaper. Moved the studio to 860 Broadway, which
became known as “the office.” Acquired a townhouse at 57 East 66th Street. Jed Johnson
decorated the house, which was filled with art and collectibles.
1975
Made Ladies and Gentlemen paintings, drawings, and prints, depicting transvestites. Made
the video Fight, co-directed with Vincent Fremont. THE Philosophy of Andy Warhol (From
A to B and Back Again)was published by Harcourt Brace Jovanovich. Produced the musical
Man on the Moon, with book, music, and lyrics by John Phillips, directed by Paul Morrissey.
1976
Made Skull paintings, drawings, and prints and began Hammer and Sickles. Produced the
film Bad, directed by Jed Johnson. Began dictating his diary to Pat Hackett. It was
published posthumously and became a bestseller. A retrospective of Warhol’s drawings
was held at the Württembergischer Kunstverein, Stuttgart.
1977
Made Torso paintings and drawings. “Andy Warhol’s ‘Folk and Funk,’” an exhibition of
Warhol’s folk art collection, was held at the Museum of American Folk Art, New York.
Began to frequent the nightclub Studio 54 with friends Halston, Bianca Jagger, and Liza
Minnelli.
1978
Made Self-Portraits with skulls, Shadows, and Oxidation paintings. A retrospective of
Warhol’s work held at the Kunsthaus, Zurich.

1979
Began to produce the ten-episode video program Fashion, directed by Don Munroe. Andy
Warhol’s Exposures, with photographs by Warhol and text co-written with Bob Colacello,
published by Andy Warhol Books/Grosset and Dunlap. At the request of BMW, Warhol
handpaints an M1 racing car for the 24-hour Le Mans race. Warhol’s Shadows paintings
were exhibited at the Heiner Friedrich Gallery, New York. “Andy Warhol: Portraits of the
70s” was presented at the Whitney Museum of American Art, New York.
1980
Developed Andy Warhol’s T.V., directed by Don Munroe. POPism: The Warhol ‘60s, by
Warhol and Pat Hackett, published by Harcourt Brace Jovanovich. Warhol’s photographs
exhibited at the Museum Ludwig, Cologne, and the Stedelijk Museum, Amsterdam. A life
mask of Warhol is made for a robot that is intended for an unrealized theater project,
conceived by Peter Sellars and Lewis Allen. Jay Shriver became Warhol’s studio assistant.
In Vatican City, Warhol and Fred Hughes briefly met Pope John Paul II.
1981
Made Dollar Signs, Knives, Crosses, and Guns works. Produced and starred in three oneminute
episodes of Andy Warhol’s T.V., directed by Don Munroe for the television program
“Saturday Night Live.” Began to be represented by the Zoli modeling agency.
1982
The Castelli Gallery exhibited Warhol’s Dollar Sign paintings. An exhibition of works by
Joseph Beuys, Robert Rauschenberg, Cy Twombly, and Warhol shown at the
Nationalgalerie, Berlin. Warhol’s Zeitgeist paintings shown in the group exhibition
“Zeitgeist” at the Martin-Gropius-Bau, Berlin. Traveled to Hong Kong and Beijing with Fred
Hughes and photographer Christopher Makos.
1983
Warhol, Jean-Michel Basquiat, and Francesco Clemente began collaborating on paintings.
Warhol and Basquiat became close friends and worked together into 1985. During this
period, Warhol began a series of works, many of them hand-painted, based on
advertisements, commercial imagery, and illustrations. Designed the official poster for the
Brooklyn Bridge Centennial. Appeared in a Japanese television commercial for TDK.
1984
Paintings for Childrenexhibition at Bruno Bischofberger Gallery, Zurich. Small paintings of
toys were hung at child’s eyelevel, on Fish Wallpaper. Made Rorschach paintings. Made a
music video for The Cars’ “Hello Again,” with Don Munroe. The video also featured Warhol.
“Collaborations: Jean-Michel Basquiat, Francesco Clemente, Andy Warhol” exhibited at the
Bruno Bischofberger Gallery, Zurich. Moved his studio and Interview magazine to a former
Consolidated Edison building at 22 East 33rd Street.
1985
Made Absolut Vodka paintings, which were used in “Absolut Warhol” advertisements, the
first in the series created by artists. Exhibited his Invisible Sculpture, consisting of a
pedestal, a wall label, and Warhol himself in a showcase, at the nightclub Area. An earlier
version consisted of motion detectors that set off a cacophony of alarms. Andy Warhol’s
Fifteen Minutes, directed by Don Munroe, aired on MTV from 1985 to 1987. America, with
photographs and text by Warhol, was published by Harper and Row. Appeared as a guest

star in the 200th episode of the television program “The Love Boat,” and in a television
commercial for Diet Coke.
1986
Made Last Supper and Camouflage paintings. Made Self-Portrait paintings, which were
exhibited at the Anthony d’Offay Gallery, London. Oxidationpaintings shown at Gagosian
Gallery, New York. Optioned film and television rights to Tama Janowitz’s book Slaves of
New York.
1987
Sewn Photographsshown at Robert Miller Gallery, New York. Last Supperpaintings
exhibited at the Palazzo delle Stelline, Milan. After suffering acute pain for several days,
Warhol was admitted to New York Hospital for gallbladder surgery. The operation was
successful, but complications during recovery caused his death on February 22. He was
buried near his parents in a suburban Pittsburgh cemetery.

Bijlage: De Wiener Werkstätte
In 1903 besloten een groepje kunstenaars en ambachtslieden uit Wenen, de hoofdstad
van Oostenrijk, samen te gaan werken. Ze richtten de Wiener Werkstätte of de ‘Weense
werkplaatsen’ op. Josef Hoffmann en Koloman Moser waren de leiders van de groep.
In de Wiener Werkstäte werkten de
ambachtslieden en kunstenaars samen in
gezamenlijke ateliers. Ze maakten praktische
dingen of gebruiksvoorwerpen die ook mooi
waren: meubels, kledij, keukengerei,
haarkammen, … Alles moest mooi zijn!
Omringd zijn door mooie dingen maakt het
leven immers aangenamer. Ze bouwden
huizen en paleizen waarin alles wat je zag
heel erg mooi was.
De voorwerpen die in de vele Weense ateliers gemaakt werden, hadden allemaal
eenzelfde en zeer specifieke stijl. Deze stijl werd door iedereen meteen herkend. Op elk
voorwerp uit de ateliers stond ook het logo van de Wiener Werkstätte.
De alledaagse dingen uit de Weense ateliers werden met de hand gemaakt, niet in een
fabriek. Dat vroeg veel tijd. Ze werden ook vervaardigd uit kostbare materialen. Daarom
waren de Wiener Werkstätte spullen heel erg duur. Enkel rijke mensen konden ze betalen.
De kunstenaars en ambachtslieden vonden dat iedereen recht had op mooie dingen, maar
toch kwamen de mooie voorwerpen enkel bij rijke mensen terecht.
Invloeden
A) De Industriële Revolutie
De Wiener Werkstätte werden opgericht in een tijd waar veel fabrieken werden gebouwd.
De machines in de fabrieken zorgden ervoor dat dingen heel snel gemaakt konden
worden. Ambachtslieden die alles met de hand maakten, hadden geen werk meer. Ateliers
werden gesloten.
De arbeiders in de fabrieken werkten in zeer slechte omstandigheden. De machines waren
gevaarlijk en ongezond. Het werk was bovendien zeer eentonig.
De fabrieken werden opgericht in de steden. Heel veel mensen trokken van het platteland
naar de stad. De steden werden alsmaar groter. De arbeiders woonden er in kleine
huisjes. Er waren heel erg grote verschillen tussen de arbeidersklasse en de leden van de
burgerij, die eigenaars van de fabrieken waren. Er was een grote kloof tussen armen en
rijken.
B) Arts & Crafts in Engeland
Engeland was het eerste land in Europa waar veel fabrieken werden gebouwd. De
kunstenaar William Morris vond dit maar niks. Hij vond de dingen die ze in de fabrieken

maakten niet mooi. De arbeiders werden er slecht behandeld. Hij wou dat alles opnieuw in
ateliers gemaakt werd, door kundige ambachtslieden in samenwerking met talentvolle
kunstenaars. Samen zouden ze mooie dingen maken in goede omstandigheden. Artiesten
en ambachtslieden, oftewel de Arts & Crafts, sloegen de handen in elkaar. Enkele
voorbeelden van hun gezamenlijke kunst:
De kunstenaars maakten ontwerpen voor de voorwerpen die ze wilden laten maken. Een
ontwerp is een tekening met de juiste afmetingen, materialen en kleuren waarin het
voorwerp moest gemaakt worden. De ambachtslieden voerden dit ontwerp uit.
De Wiener Werkstätte namen deze ideëen en werkmethode over. De stijl van de
voorwerpen uit de Weense ateliers is echter helemaal anders dan deze van de Arts &
Crafts – beweging.
De Stijl van de Wiener Werkstätte
Josef Hoffmann en de anderen hielden van de simpele schoonheid van geometrische
figuren. Ze gebruikten heel vaak geometrische figuren als het vierkant, de cirkel, de
kubus, … in hun ontwerpen. De kunstenaars van de Wiener Werkstätte werkten niet alleen
met strenge geometrische figuren, ze versierden hun voorwerpen ook graag met
krullende en gebogen lijnen.
Ze hebben een bijzondere vorm en hebben een mooie versiering.

In de Wiener Werkstätte werden allerlei stoffen gemaakt om huizen mooi te decoreren,
zoals meubel- en gordijnstoffen.

Het Huis Stoclet in Brussel
In Brussel staat er een groot huis dat gemaakt is door de kunstenaars en ambachtslieden
van de Wiener Werkstätte. Het huis heet ‘het huis Stoclet’.
Josef Hoffmann en zijn collega’s ontwierpen elk kleinste detail van het huis: de sleutels en
sleutelgaten, de glazen, de bloemenvazen, de tuin, de tafels, stoelen, kasten, kapstokjes,
bedden, lakens, … Ze ontwierpen zelfs kleren voor Adolphe en zijn vrouw Suzanne. Elk
voorwerp had zijn plekje en was speciaal voor die plek in het huis gemaakt. Er mocht dus
niets van plaats veranderd worden.