Think Bauhaus. Build Jewellery. An Architecture by Ryuji Nakamura

The historic Bauhaus, which celebrated its 100th anniversary in 2019, is recognized today as the most influential educational institution in the field of architecture, art and design of the 20th century. The Bauhaus Manifesto, written by Gropius in April 1919, articulates the objectives of the Bauhaus, which include among others to unite architecture with art and design in the service of man as a social being (W. Franks). Within this document, Gropius describes The Building as the ultimate goal of all visual arts ensuing that the ornamentation of the building was once the loftiest task of all visual arts, as they were indispensable parts of great architecture. Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftspeople.

The project Think Bauhaus: Building Jewellery in Architecture sought out a contemporary interpretation of Gropius’ way of thinking. In so doing, the project was in no way about decorating a building devoid of consideration of its architecture; rather, it was much more about a visionary interpretation of the concept of jewellery in architecture following the idea of Bauhaus and its relevance in our present time.

A project based on the idea by Schmuck2. Originally designed for the car park (Großgarage Süd) and water tower (Wasserturm Süd) in Halle, as well as the Deaconess Motherhouse Neuvandsburg in Elbingerode (Harz), in cooperation with the Saxony-Anhalt Arts Foundation. Carried out in two competitions by the Saxony-Anhalt Arts Foundation for the car park (Großgarage Süd) and water tower (Wasserturm Süd) in Halle. The design “Reif“ by the Japanese architect Ryuji Nakamura remained unrealized.


Design by: T.S.Wendelstein (75W).
Translation by: Cathy Cox, Susan Pietzsch.
Editorial Staff: Shintaro Imai, Susan Pietzsch, Anne Schloen.

Edition of 500.
 

About the author

Susan Pietzsch is a German jewellery artist based in Germany and Japan. In addition to her own artistic work, Pietzsch’s working practice encompasses a wide scope-comprehensive work on projects reflecting contemporary concepts of jewellery, which she has initiated under the name of Schmuck2 since 1997. In so doing, Pietzsch's focus lies on international, artistic collaborations in which she explores unusual and novel representations of current concepts of jewellery.
 
With projects such as: "Wrappinghood," a project in public space for the Middlesbrough Institute of Modern Art (2005); the poster project "Glitz and then Some - Things in the Everyday Life of Art" (2007); the "Discursive Picnic" involving audience participation parallel to the Handwerksmesse at the MaximiliansForum in Munich (2011); the workshop and exhibition "JEWELLERY HYPERREAL - How could jewellery be transferred into hyperreality?" (2012-14); and the jewellery hunt "Jewelry Hunting - Die Jagd nach dem Schmuckbild"; along with the HOCHsitz Atelier (2013), Susan Pietzsch formulates multifaceted interpretations of contemporary views of jewellery using conceptions that range between applied and fine arts. In addition, the artist has extensively and carefully documented her work in many publications.