Today, May 18, is International Museum Day, an annual occasion first designated by the International Council of Museums (ICOM) in 1977 to honor the important role that museums play in societal development. As ICOM notes, “The museum is an institution that preserves and communicates the past, yet it is grounded in the present. In its very essence, it is a link between the generations, as it allows present and future generations to better comprehend their origins and history.”
After previous photographers apprenticeship with his father Hugo Schmölz in Cologne he led after his death in 1938, continued the photo workshop. In 1956 he married the photographer Walde Huth and founded the studio with this “schmölz + huth”.
Through intensive collaboration with his father, the commissioned work could be continued without interruption after 1938. After military service Karl Hugo Schmölz documented the destruction in Cologne with his large-format camera in strictly objective point of view (cf.. Refer to the emotional point of view of almost the same time resulting photographs of Hermann Claasen ). In collaboration with the great architect of the Rhineland his time (including Adolf Abel ,Bruno Paul , Dominic Böhm , Gottfried Böhm , Wilhelm Riphahn , Rudolf Schwarz , Hans Schilling , Joachim Schürmann ) so he created an impressive documentation of the reconstruction of Cologne. In addition Schmölz edited advertising orders and in particular in the field of furniture industry (including Interlübke ). After his marriage, the studio also received orders from the fashion industry. – Wikipedia
Cologne – face a big city ., eds Hans Peters, Dusseldorf 1939
The cathedral of Cologne , ed. Hans Peters, Dusseldorf 1948
The Siegburger Servatius treasure , ed. Hans Peters, Bad Honnef 1952
From the ruins, art and culture in the Rhineland and Westphalia 1945-1952 , exhibition catalog Rhineland Museum Bonn, 1985
Karl Hugo Schmölz – Cologne. Architectural photographs of the fifties . Ed.. Franz van der Grinten and Thomas Linden. With texts by Ulf Erdmann Ziegler and Thomas Linden. Publisher Schimer Mosel, Munich 2012
Walter Gropius, “Bauhaus Manifesto and Program” (1919)
The ultimate aim of all visual arts is the complete building! To embellish buildings was once the noblest function of the fine arts; they were the indispensable components of great architecture. Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative effort of all craftsmen. Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts. Only then will their work be imbued with the architectonic spirit which it has lost as “salon art.” The old schools of art were unable to produce this unity; how could they, since art cannot be taught. They must be merged once more with the workshop. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again. When young people who take a joy in artistic creation once more begin their life’s work by learning a trade, then the unproductive “artist” will no longer be condemned to deficient artistry, for their skill will now be preserved for the crafts, in which they will be able to achieve excellence. Architects, sculptors, painters, we all must return to the crafts! For art is not a “profession.” There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. In rare moments of inspiration, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art. But proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination.
Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith.
Program of the Staatliche Bauhaus In Weimar
The Staatliche Bauhaus resulted from the merger of the former Grand-Ducal Saxon Academy of Art with the former Grand-Ducal Saxon School of Arts and Crafts in conjunction with a newly affiliated department of architecture
Aims of the Bauhaus
The Bauhaus strives to bring together all creative effort into one whole, to reunify all the
disciplines of practical art-sculpture, painting, handicrafts, and the crafts-as inseparable
components of a new architecture. The ultimate, if distant, aim of the Bauhaus is the unified
work of art-the great structure-in which there is no distinction between monumental and
The Bauhaus wants to educate architects, painters, and sculptors of all levels, according
to their capabilities, to become competent craftsmen or independent creative artists and to form a
working community of leading and future artist-craftsmen. These men, of kindred spirit, will
know how to design buildings harmoniously in their entirety-structure, finishing, ornamentation,
Principles of the Bauhaus
Art rises above all methods; in itself it cannot be taught, but the crafts certainly can be. Architects, painters, and sculptors are craftsmen in the true sense of the word; hence, a thorough 2 training in the crafts, acquired in workshops and in experimental and practical sites, is required of all students as the indispensable basis for all artistic production. Our own workshops are to be gradually built up, and apprenticeship agreements with outside workshops will be concluded. The school is the servant of the workshop, and will one day be absorbed in it. Therefore there will be no teachers or pupils in the Bauhaus but masters, journeymen, and apprentices. The manner of teaching arises from the character of the workshop: Organic forms developed from manual skills.
Avoidance of all rigidity; priority of creativity; freedom of individuality, but strict study
Master and journeyman examinations, according to the Guild Statutes, held before the
Council of Masters of the Bauhaus or before outside masters.
Collaboration by the students in the work of the masters. Securing of commissions, also
Mutual planning of extensive, Utopian structural designs-public buildings and buildings
for worship-aimed at the future. Collaboration of all masters and students-architects, painters,
sculptors-on these designs with the object of gradually achieving a harmony of all the component
elements and parts that make up architecture.
Constant contact with the leaders of the crafts and industries of the country. Contact with public life, with the people, through exhibitions and other activities.
New research into the nature of the exhibitions, to solve the problem of displaying visual work and sculpture within the framework of architecture.
Encouragement of friendly relations between masters and students outside of work; therefore plays. lectures, poetry, music, costume parties. Establishment of a cheerful ceremonial
at these gatherings.
Range of Instruction
Instruction at the Bauhaus includes all practical and scientific areas of creative work.
including all branches of the crafts.
Students are trained in a craft (1) as well as in drawing and painting (2) and science and theory (3) Craft training-either in our own, gradually enlarging workshops or in outside workshops to which the student is bound by apprenticeship agreement-includes:
a) sculptors, stonemasons, stucco workers, woodcarvers, ceramic workers, plaster casters,
b) blacksmiths, locksmiths, founders, metal turners,
e) etchers. wood engravers, lithographers, art printers, enchasers,
Craft training forms the basis of all teaching at the Bauhaus. Every student must learn a craft.
Gropius, 1919 Bauhaus Manifesto
2. Training in drawing and painting includes:
a) free-hand sketching from memory and imagination,
b) drawing and painting of heads, live models. and animals,
c) drawing and painting of landscapes, figures, plants, and still lives,
e) execution of murals, panel pictures, and religious shrines,
f) design of ornaments,
h) construction and projection drawing,
i) design of exteriors, gardens, and interiors,
j) design of furniture and practical articles.
3. Training in science and theory includes:
a) art history-not presented in the sense of a history of styles, but rather to further active
understanding of historical working methods and techniques,
b) science of materials,
c) anatomy-from the living model,
d) physical and chemical theory of color,
e) rational painting methods,
f) basic concepts of bookkeeping, contract negotiations, personnel,
g) individual lectures on subjects of general interest in all areas of art and science.
Divisions of Instruction
The training is divided into three courses of instruction:
I. course for apprentices,
II. course for journeymen,
III. course for junior masters.
The instruction of the individual is left to the discretion of each master within the
framework of the general program and the work schedule, which is revised every semester. In
order to give the students as versatile and comprehensive a technical and artistic training as
possible, the work schedule will be so arranged that every architect, painter, and sculptor-to-be is
able to participate in part of the other courses. Admission
Any person of good repute, without regard to age or sex, whose previous education is deemed adequate by the Council of Masters, will be admitted, as far as space permits. The tuition fee is 180 marks per year (It will gradually disappear entirely with increasing earnings of the Bauhaus). A nonrecurring admission fee of 20 marks is also to be paid. Foreign students pay double fees. Address inquiries to the Secretariat of the Staatliche Bauhaus in Weimar. April 1919.
The administration of the Staatliche Bauhaus in Weimar:
Day of the Dead or Día de Muertos is a holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican ancestry living in other places, especially the United States. It is acknowledged internationally in many other cultures.
The multi-day holiday focuses on gatherings of family and friends…
The multi-day holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey. In 2008 the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.
The holiday is sometimes called Día de los Muertos in Anglophone countries, a back-translation of its original name, Día de Muertos. It is particularly celebrated in Mexico where the day is a public holiday. Prior to Spanish colonization in the 16th century, the celebration took place at the beginning of summer. Gradually it was associated with October 31, November 1 and November 2 to coincide with the Western Christian triduum ofAllhallowtide: All Saints’ Eve, All Saints’ Day, and All Souls’ Day. Traditions connected with the holiday include building private altars calledofrendas, honoring the deceased using sugar skulls, marigolds, and the favorite foods and beverages of the departed, and visiting graves with these as gifts. Visitors also leave possessions of the deceased at the graves.
Scholars trace the origins of the modern Mexican holiday to indigenous observances dating back hundreds of years and to an Aztec festival dedicated to the goddess Mictecacihuatl. The holiday has spread throughout the world, being absorbed within other deep traditions for honoring the dead. It has become a national symbol and as such is taught (for educational purposes) in the nation’s schools. Many families celebrate a traditional “All Saints’ Day” associated with the Catholic Church.
Originally, the Day of the Dead as such was not celebrated in northern Mexico, where it was unknown until the 20th century because its indigenous people had different traditions. The people and the church rejected it as a day related to syncretizing pagan elements with Catholic Christianity. They held the traditional ‘All Saints’ Day’ in the same way as other Christians in the world. There was limited Mesoamerican influence in this region, and relatively few indigenous inhabitants from the regions of Southern Mexico, where the holiday was celebrated. In the early 21st century in northern Mexico, Día de Muertos is observed because the Mexican government made it a national holiday based on educational policies from the 1960s; it has introduced this holiday as a unifying national tradition based on indigenous traditions.
The Mexican Day of the Dead celebration is similar to other culture’s observances of a time to honor the dead. The Spanish tradition included festivals and parades, as well as gatherings of families at cemeteries to pray for their deceased loved ones at the end of the day.
Councilmembers Huizar, Gil Cedillo, and Mike Bonin, along with LA’s City Council declared October 12th MURAL DAY IN THE CITY OF LOS ANGELES. Thank you to all muralists, art-advocates, city officials, and the community at large that helped lift the 2002 mural moratorium and gave back our muralists their Freedom of Expression. United, all of us, will continue to write mural history and we’ll bring back our mural legacy, one mural at a time.
The idea, was to use abandoned railways as a living classroom, that could move students and facilities to different towns as needed, when needed. Spaces could be easily altered to the will of the class or research. If it was rainy or to hot the whole school could be moved to a more indicative part of the city.
This was never truly implemented to the fullest sense; with cargo container classrooms and labs being placed where learning needed to be done. It did however, energize and start society to think about the idea of a mobile learning spaces and many of the current ideas of work and education telecommuting and having schools in all over the world to teach one degree.
Now architect and interior designers, are finally catching up to the needs of education and business. Creating an environment that is a transmogrification of space to best suit the people and type of work that the space is being used for.
I often say “Only on Tuesdays.” It is in response to questions I don’t have an answer to or that is rhetorical. People ask about my demeanor or make an observation about what I am doing. “Wow, you are really busy today.” or “The phones are ringing like crazy.” I feel it is a way to keep the conversation going, put a smile on a persons face, and puts their mind into an instant “now-ness”. Making us both aware it is something that doesn’t happen all the time, and the idea is ludicrous that something would happen only on Tuesday.
For me Tuesday, seems to be a day that has traditionally been a day of ambiguity. Not being Monday start of the work week or Wednesday Hump day, etc. Tuesday has been a day where I reassess my real deadlines, reprioritize projects and handle any “Oh-yeah-I-forgot-to-tell-you-I-need-this-designed-and-printed-by-tomorrow-non-projects”. I didn’t make up this saying. I heard it and loved it, I just changed the day to Tuesday. What is your favorite personal sayings or what day would you pick.
Let me know in the comments below or leave a comment on my facebook page, but only on Tuesday…