Inspiration Roericht Cabinet of Curiosities
Studio HfG, 1 February 2017 – 5 March 2017
In 2014 The Roericht Archiv became part of the collection of the HfG-Archiv Ulm. It comprises materials for design projects, a library, and a so called collection. The whole was compiled by the designer Hans (Nick) Roericht over five decades.
Roericht showed his discoveries to his coworkers in his Ulm design office or his students in Berlin. The collection is stored mainly in card board boxes and is a true treasure chest not only for designers. Pupils from the class for graphic design at the Ferdinand-von-Steinbeis-Schule Ulm have opened and explored many of these boxes. The peculiarities and the special interest of the collection is visualized in poster designs, photographies, and drawings. The results are shown in the Studio HfG.
Born in 1932, Hans (Nick) Roericht, studied between 1955 and 1959 at the Ulm School of Design. He was head of this own office Produktentwicklung Roericht between 1967 and 2008 in Ulm. He did contract work for Lufthansa, Loewe, NCR, and Rodenstock. His intense collaboration with Wilkhahn company resulted in several chair collections and a series of studies, including one exploring the future of seating. The stackable tableware TC 100, his diploma work at the Ulm School of Design in 1959, was manufactured by Rosenthal from 1962 until 2006. In the years from 1973 until 2002 Roericht held a chair for Industrial Design at the Hochschule der Künste Berlin.
Guided Tours with the pupils
Thu, 9 February, 5 p.m.
Thu, 23 Feburary, 5 p.m.
2,- € plus admission
Ulm School of Design – From the Zero Hour to 1968
New permanent exhibition in the HfG Archive Ulm
«The Ulm School of Design – From the Zero Hour to 1968», is the title of a new permanent exhibition on the history of this legendary academy presented by HfG-Archiv / Ulmer Museum. During its existence between 1953 and 1968 the Ulm School of Design became one of the world’s most influential academies for designers. Here such iconic designs as the Ulm stool and the stacked tableware TC 100 were made, and also the Braun company’s radio-phono combination SK 4, known as “Snow White’s coffin.” The “ulm model” that was developed at the HfG was a design concept based on science and technology, and it sets standards to this day.
The new presentation covers around 275 square meters and includes more than 200 exhibits and numerous photographs from the comprehensive inventory at the HfG Archive in Ulm. With this rich collection of works and documents and the proximity to the former Ulm School premises, Ulm is the only place where the history of the School can be experienced in this way.
The exhibition design was done by Ruedi Baur and his team from the Laboratoire Irb Paris. Their aim was to bring the archive to life.
The exhibition is divided into three main sections, beginning with a quick presentation of the key features of the immediate postwar “Zero Hour” and the years before the Ulm School was founded. The core of the exhibition design is two large shelf components. The first shows the history of the Ulm School chronologically, together with designs, models, and projects from these years. The second shelf presents selected concepts and themes alphabetically from A to Z, all of which help to understand a wide range of issues associated with the Ulm School. The founders of the School, Inge Aicher-Scholl, Otl Aicher, and Max Bill, are also featured in the exhibition. Two large tables are dedicated to temporary exhibitions. For the new opening, these will be used as large “newspapers” showing interesting examples of how the press reported on the Ulm School.
Since 1993, the HfG Archive has been a department within the Ulm Museum. The Archive had been set up back in 1987, with the assistance of former Ulm School students. In 2011 the HfG Archive moved to premises in the former Ulm School of Design building at Am Hochsträß. The exhibition space has now been expanded, and from fall 2013 the HfG Archive will be able to present the history of the Ulm School in our new permanent exhibition with more scope than has previously been possible.
The exhibition is supported by the Department of Culture and the Media of the German Federal Government, the Ministry of Science, Research and Art of Baden-Württemberg, and the City of Ulm.