Erich Dieckmann (furniture designer)

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Erich Dieckmann, 1931/32 in Halle (Saale)
Signature of Erich Dieckmann, 1931
Erich Dieckmann with his wife Katharina, née Ludewig, and baby, around 1935

Erich Dieckmann (born November 5, 1896 in Kauernik , Löbau district , West Prussia , † November 8, 1944 in Berlin ) was a German carpenter , furniture designer and university professor . In addition to Marcel Breuer , he is considered the most important furniture designer of the Bauhaus in Weimar and Dessau. He primarily developed furniture (cupboards, tables and seating), initially made of wood in a basic geometric shape with right-angled frames, as well as their standardized and standardized design, which enabled cost-effective production. Later he also designed partly curved organic seating furniture made of natural and tubular steel , but also carpet designs, clocks, furnishing and color concepts for purpose-built interiors. His life and work were wrongly forgotten.

family

Erich Dieckmann was born as the third child and third son of the royal Prussian Landjägermeister Hermann Dieckmann († 1923) and grew up in Lower Saxony. He had two older brothers and three younger siblings, including two other brothers and a sister.

His marriage to Katharina, née Ludewig, in 1921 had four children by 1935, including daughter Anna Bettina (later married Sons) and son Markus. Katharina Ludewig was a student of dance teacher Mary Wigman and a Bauhaus student.

School, World War I and training

After the village school in Bad Bentheim , Erich Dieckmann attended the secondary school in Goslar , which he graduated in 1913 with the one-year- old ( secondary school leaving certificate). At the age of 16 he went to sea as a cabin boy on the sailing ship Jonny for about a year in order to learn the trade, and thus ended up in Russia, Great Britain, Spain and Africa, for example.

The seriously wounded Erich Dieckmann (center), decorated with an Iron Cross , with one of his two older brothers, also seriously wounded, and his father Hermann († 1923), seated, around 1917

After the outbreak of the First World War in August 1914, like many enthusiastic and patriotic Germans at the age of 17, he volunteered for service in the navy , but was called up for the imperial army due to a lack of need and after the Battle of the Marne by the Hanoverian hunter battalion. 10 established reserve Rifle battalion. 23 in Goslar (I. Res. hunter. 23, in the Green Corps ) assigned to the the 51st reserve Division and their breakdown, the 101st reserve Infantry Brigade, was subordinated. The Reserve Jäger Battalion No. 23 was marched on the Western Front . In autumn 1914 Dieckmann took part in the First Battle of Flanders , in 1915 he was involved in the conquest of Langemarck north of Ypres . His left forearm was shattered there by a Canadian explosive bullet. His forearm and left hand were laboriously rebuilt with implants using the means available at the time, which meant that Dieckmann was in hospitals for almost two years, most recently in Göttingen. Due to the permanent physical handicap, an "employment restriction" of 50% was attested, he had to give up his wish to become a seaman. His older brother died on the Western Front, another older brother was seriously wounded like Erich.

In order to be able to study, he attended secondary school again and graduated with the school leaving examination . He studied architecture at the Technical University of Danzig from 1918 to 1920, but dropped out after completing his intermediate diploma because he did not like both the methodology and the objectives of the technical university teaching.

Parallel to his studies, he served in Gdansk from 1919 onwards for the so-called Upper Silesian Self-Protection , a paramilitary unit that intervened alongside the Freikorps in the fighting against Polish insurgents. After completing his intermediate diploma in architecture, he began to study painting and drawing in Dresden , which, however, did not satisfy him.

Erich Dieckmann at the beginning of his studies and his apprenticeship at the Bauhaus in Weimar, around 1921

Gerhard Marcks drew his attention to the State Bauhaus in Weimar under Walter Gropius . From the winter semester 1921/22 to 1925 Dieckmann studied there on a scholarship , initially with Johannes Itten , and from spring 1922 completed an apprenticeship as a carpenter there . During this time, Dieckmann was one of Walter Gropius' inner circle of students and was significantly influenced by them. In February 1924, Gropius submitted an application to the Weimar Chamber of Crafts to allow Erich Dieckmann to take the journeyman's examination early because he had been proposed as Marcel Breuer's successor . The Chamber of Crafts Dieckmann thereupon issued the third year of apprenticeship, so that he completed his apprenticeship on August 25, 1924 with the journeyman's examination at the Chamber of Crafts in Weimar. It was only through his studies and not least through his teaching at the Bauhaus that Dieckmann found satisfaction with the methodology and the subject matter taught.

As for other Bauhaus students, the cube or cuboid became the most important reference unit for applied design. Like his colleague Josef Albers , Dieckmann was also looking for furniture shapes that could be made by machine. In contrast to Albers and Breuer, Dieckmann did not want to forego the possibilities of traditional wood connections and an emphasis on the natural properties of wood. His favorite material combinations were oak - bird's eye maple, oak- paduk (also: padouk), walnut - maple and walnut- elm .

Act

Weimar 1921 to 1930

Step step, approx. 1925
Day room in the children's home of the Gildenhall open-air housing estate near Neuruppin , 1926
Planning and furnishing of Otto Bamberger's library in the Sonnenhaus villa in Lichtenfels, including upholstery fabrics for sofa and lounge chair, silk curtains and pulling technology as well as Bauhaus lights by Erich Dieckmann, September 1927, costs a flat rate of 6,000 Reichsmarks . The lower bodies, made with sliding doors, as well as their wide extensions contained parts of an extensive art collection, the shelves, among other things, valuable art-illustrated books. A desk with a wall lamp can be seen between the sofa and the cupboards, and a step on the right in front of the cupboards.
Kitchen equipment including ceiling lights by Erich Dieckmann and Karl Keller (1903–1979) for Otto Bamberger in the Villa Sonnenhaus in Lichtenfels , May 1928
Furnishing 9 m 2 of small student living rooms in the music hall in Frankfurt (Oder) with built-in cupboard, bed niche as seating, curtain and upholstery fabrics, 1929; Ceiling lamp: Wilhelm Wagenfeld
Dining room in the rotunda of the Musikheim in Frankfurt (Oder), 1929
Classroom in the Musikheim in Frankfurt (Oder), 1929; Ceiling lamp: Wilhelm Wagenfeld
Work room in the Musikheim in Frankfurt (Oder), 1929
Playroom of the Feodora children's home in Weimar, 1930
Erich Dieckmann, passport photo, approx. 1930
Seating furniture development series by Erich Dieckmann, 1931
Buffet clock for Otto Bamberger in the Villa Sonnenhaus in Lichtenfels , 1931

Dieckmann designed the interior of the “Lord's Room” and the dining room in the Weimar model house Am Horn , planned by Georg Muche as a reference or lighthouse project under the limiting conditions of hyperinflation for the Bauhaus . This furnishing plan represents Dieckmann's first independent work. Marcel Breuer particularly praised the simplicity of the functional construction of Dieckmann's design for the bed, consisting only of cuboids, and “the monumental beauty of the clear, which fully satisfies our aesthetic demands even without inorganic jewelry and ornamentation”. The furniture designed by Breuer and Dieckmann was formally simple, functional, appropriate to the material and its design was suitable for industrial production.

After successfully completing his apprenticeship, Dieckmann worked as an employed "budget journeyman" in the furniture workshop at the Bauhaus . Now several so-called “productive journeymen” worked according to Dieckmann's designs, while Dieckmann himself also carried out designs by third parties, such as Breuer's chair designs.

After the Bauhaus moved to Dessau, Dieckmann stayed in Weimar and ran the furniture workshop from April 1925 to March 1926 together with Reinhold Weidensee. On July 1, 1926, it was integrated into the State University for Crafts and Architecture in Weimar as the carpentry and interior design department. In March 1926, Dieckmann signed his employment contract as artistic director of this department, which came into effect on July 1, 1926 for an initial three years. In this role he succeeded Walter Gropius and Marcel Breuer. Reinhold Weidensee was still at his side as foreman. As a result, Dieckmann was instrumental in setting up an exemplary research institute for the development of type furniture , a project that is still classified as his most important achievement today.

This furniture was based on a simple cubic form, which was oriented towards the requirements of modern residential buildings. Bartning recommended it to building cooperatives as the interior of newly built housing estates: “The type furniture we brought out was proposed as a German industrial standard for small apartments. They are intended for modern, small-scale housing developments and do not confuse the space, but rather shape the space ”. Dieckmann contributed to the development of this standard and derived it from human height. The module size of 36 cm chosen by Dieckmann 10 of its standard furniture for kitchen, dining, living room, bedroom and children's room proved to be extremely successful, especially as it was expandable, variable and combinable with additional elements. The standard furniture was of high quality, but the typification made it inexpensive and was also exceptional from a hygienic point of view - it avoided any dust-catching effect.

Dieckmann worked alongside colleagues such as Ludwig Hirschfeld-Mack , Otto Lindig , Ernst Neufert and Wilhelm Wagenfeld and received a university teaching position for interior design and furniture construction. After Marcel Breuer left, he headed the furniture workshop and interior design, worked out the planning of the interior of rooms as well as the drafts of furniture for ongoing production and made a name for himself with his own remarkable developments. Dieckmann's credit for the confident handling of surfaces, bodies and scaffolding in the design was meanwhile fully developed, to which his studies of architecture, painting and drawing that preceded the Bauhaus period certainly played a part. These were excellent prerequisites for his teaching activity in the subject of interior design in the curriculum for the construction department. During this time he lived with his wife at Weimars Gutenbergstrasse 16.

Between 1925 and 1928, Wilhelm Wagenfeld had Dieckmann set up his private study and bedroom, the pedagogue Wilhelm Flitner ordered a walnut hallway from Dieckmann, and the internist Franz Volhard his living room, bedroom and study.

In 1926, Dieckmann created drafts for interior design with furniture for the children's home in the Gildenhall open-air settlement near Neuruppin , and in 1930 his furnishings for the Feodora children's home in Weimar. In doing so, he developed a pedagogically and psychologically motivated arrangement and color concept for the rooms and furniture. According to Walter Passarge , this left a "color and formally closed impression" that was "beyond the day's dispute and direction".

Around 1926 Dieckmann became acquainted with the Bauhaus sponsor Otto Bamberger and redesigned the entire interior of his Villa Sonnenhaus in Lichtenfels in Upper Franconia from September 1927 to Christmas 1932 . For the Bauhaus, it was a major order and probably the only private building in the whole of Germany that was completely furnished with Bauhaus furniture, fabrics and lights. Otto Bamberger's commission is therefore classified as the most important and most extensive of the Bauhaus. The correspondence on this was largely preserved without any gaps.

In 1927 Dieckmann's type furniture was created for a model apartment in the block designed by Mies van der Rohe in the Weißenhofsiedlung ( Werkbundsiedlung ) in Stuttgart. In the same year Dieckmann took part with his designs in the exhibition Der Stuhl in Stuttgart organized by Adolf Gustav Schneck and designed school furniture (chairs, tables and cupboards) for Peter Petersen for his reform pedagogical university school in Jena. Petersen praised Dieckmann's furniture in his publications. In 1928 Dieckmann furnished several rooms in a model apartment owned by Otto Völckers with standard furniture, which was shown during the Heim und Technik exhibition in Munich. Dieckmann was also present at the GAGFAH Building and Living exhibition in Berlin on the new settlement on Fischtalgrund by Heinrich Tessenow - directly adjacent to the GEHAG Onkel Toms Hütte settlement with buildings by Hugo Häring , Otto Rudolf Salvisberg and Bruno Taut . One of his goals was to develop the interior furnishings for cooperative settlement projects. The interior of the of Georg Götsch initiated and directed music home in Frankfurt (Oder) designed Dieckmann in 1929. For the exhibition live and work space of the work federation in Wroclaw in 1931 paid Dieckmann a large hall, which should be broken down by residential functions with pattern furniture.

In 1929 Dieckmann gave a cycle of lectures on the development of modern furniture in front of the chambers of crafts in Gera , Meiningen and Weimar. Otto Bartning applied for Dieckmann to be awarded the academic title of professor . Since the conversion of the university, which was being carried out by the National Socialists in the Thuringian parliament, was already becoming apparent, this application was not granted.

As the end of the 1929 Nazi Party became involved in a coalition of the Thuringian state government, the new director of the dismissed State Bauhochschule Weimar , Paul Schultze-Naumburg , the end of March 1930, the entire teaching staff, including Dieckmann to the university reorient ideologically. Democratically minded faculty members were gradually removed to be replaced by National Socialist faculty members. Otto Bartning , who withdrew from Weimar in March 1930 after his employment contract, which was limited to four years, had expired, Dieckmann attested:

“Mr. Dieckmann has proven himself as a teacher in every respect, both artistically and pedagogically; A large number of talented young people have been professionally trained and developed from his teaching in a human way. At the same time, Mr. Dieckmann helped to establish the reputation of the Weimar Bauhochschule workshops with his designs and processing of individual luxury rooms as well as solid, inexpensive series models and at the same time made a name for himself. "

- Otto Bartning, March 31, 1930

For Dieckmann, the rise of National Socialism meant just as profoundly a negative cut in his work as it did for the Bauhaus as a whole, criticized by the renowned Vossische Zeitung and by Dieckmann's wife Katharina, who wrote a courageous newspaper article against the tenor of an infamous introductory speech by Schultze-Naumburg.

Halle (Saale) 1931 to 1936

As a result, Dieckmann opened his own atelier for furniture construction and interior design in the summer of 1931 and initially worked as a freelancer , for example for the D. Bamberger company in Lichtenfels , for Otto Bamberger, for the steel pipe factory Cebaso in Ohrdruf , for the Dusco works in Coburg , for the Korbmacher-Verein eGmbH in Tannroda , for the Scheidemantel company in Weimar, for Thonet and for the Weimar Bau- und Wohnungskunst GmbH

In 1931, Dieckmann and his wife Katharina published the illustrated book Möbelbau in Holz, Rohr und Stahl , which was outstanding in terms of content and design and which contained many of his designs. The book was reissued in 1990 by the Vitra Design Museum . The remarkable didactic work describes and illustrates the entire development process of a design from the initial idea to the practically usable result. The basic principles of construction and the logic of the design become transparent. The explanations of the constitutive elements, materials and working techniques also allow the interested layperson to understand them mentally. The art historian Justus Bier , who reviewed the illustrated book, praised the “aesthetic geometry” of Dieckmann's work, through which he could create “calm, functional furniture”, “which has a healthy connection with the traditional craftsmanship and clear, fundamental considerations about the function of today Furniture and about today's processing methods ”.

“Only there is warmth and truth where human nature comes into its own. Don't forget that with the apartments. Let's treat our modern apartments with something human. Something not sophisticated, something makeshift ... "

- Erich Dieckmann

From May 4, 1931, Dieckmann was artistic director of the carpentry workshop in the city of Halle (Saale), the Burg Giebichenstein School of Applied Arts , under Gerhard Marcks for two and a half years . His application, submitted to Paul Thiersch there in 1925 , was rejected because a master craftsman's examination was required as a teaching qualification. Now, however, he had been asked directly to submit his application documents. In 1932 he received the order to refurbish the lecture hall of the medical clinic in Halle (Saale) with rows of chairs and lecterns made of tubular steel with wood.

“The character of the chair can be seen most clearly from its side view [...]. The front view cannot provide any information. So the following applies: The character of the chair is determined by its profile. "

- Erich Dieckmann

Unemployment period from 1933 to 1936

The cession of power to the National Socialists at the end of January 1933 put an end to Dieckmann's creative work. Since 1920 völkisch national forces in Weimar had opposed the Bauhaus, initially with a smear campaign, intensified by a local press that was not sympathetic to the Bauhaus. In view of the negative influence on his work that Dieckmann had felt for years, he felt compelled to join the NSDAP in the spring of 1933. He hoped to be able to secure his professional work and thus his family by taking this step. Instead, he was dismissed again on August 31 by the mayor of Halle, Johannes Weidemann (NSDAP), and the carpentry department of the School of Applied Arts dissolved, officially due to austerity measures, actually for cultural-political and ideological reasons. According to a written assessment by the then governor of the province of Saxony, this termination was unlawful because the notice period was not met and it also constituted a violation of the Disabled Persons Act. His Bauhaus past had an impact on Dieckmann.

For his family it was now a question of existence. In June 1933 he turned in vain to Bernhard Rust , Hermann Göring and Joseph Goebbels , and later his wife directly to Adolf Hitler . As a result, Erich Dieckmann received no job or teaching assignment for about three years, despite a lavishly illustrated CV with many drawings for his numerous nationwide applications. However, his curriculum vitae also contained a clear moral criticism of the conditions in the Third Reich , which officially honored war invalids like him, but at the same time forced them out of their jobs in disregard of the legal situation and impoverished young families along with them. In 1934 he was awarded the Cross of Honor for Frontline Fighters . At times he and his family lived in extremely precarious circumstances, some penniless, from unemployment benefits of just 12 Reichsmark per week. Auxiliary work that Dieckmann took over did not improve the situation. Due to the loss of his apartment in Halles Seebener Straße 190 / III (the building still exists) in April 1934, his small children and their mother had to be housed separately from one another, sometimes with relatives and friends. Occasionally he received orders for designs, for example in 1934/35 by the shoe manufacturer Hans Ott in Burgkunstadt in Upper Franconia for a meeting room in the company and for its private furnishings with carpet designs by Dieckmann. Sometimes he also received individual orders from wicker furniture manufacturers.

When the Bauhaus was forced to dissolve in 1933, Dieckmann was granted “ownership of the form” for 26 furniture designs.

Initially, his designs were often carried out geometrically with almost square square or flat wood. In some cases, the armrests were connected to the chair legs and designed as a runners. He used predominantly high-quality woods such as beech , oak , ash and cherry and loosening acting for the sometimes austere geometry rattan cane - Rattan - and willow braid . The natural materials were supplied to him by D. Bamberger , a company based in Lichtenfels and Coburg . Like his colleague Breuer, he also worked with tubular steel . Especially this seating furniture of his design fetch top prices today. With a standardization and normalization of his furniture he wanted to achieve that the individual objects remain as inexpensive as possible.

Together with Marcel Breuer, Erich Dieckmann is one of the most creative and productive carpenters of the Bauhaus and one of its most important furniture designers. Dieckmann's designs mark an important phase of renewal in furniture construction. He deserves the credit of having made a significant contribution to the modern history of design, which was written at the Bauhaus.

"Dieckmann's furniture was among the best and artistically pure that the market had to offer in terms of modern interior design."

- Justus beer

Hanover 1936 to 1938

From July 1936 Dieckmann was employed as a clerk for business design at the office of beauty of work in Hanover , possibly mediated through a private contact with Hermann Gretsch . This permanent position enabled his family to be reunited and lived in Hanover's Lönsstrasse 16.

Berlin 1938 to 1944

In 1938 he moved with his family to Berlin, where he had an apartment in the Friedrichshain district , Brauner Weg 28 (today: Singerstraße ). He ran a carpenter's workshop in the adjoining Andreasstrasse 11 (the buildings at both addresses no longer exist), an indication that his purely administrative work was in no way satisfactory. From 1939 he worked in the capital as a consultant for German handicrafts at the Reich Chamber of Fine Arts , a return to design was no longer possible.

Dieckmann died shortly after his 48th birthday of a heart attack caused by excessive exertion during Allied air raids on Berlin .

Dieckmann's family stayed in contact with Otto Bamberger's family, who emigrated during the Nazi era , even after the Second World War . His daughter Anna Bettina was a brief au pair for Otto Bamberger's son Klaus Philipp Bamberger (1920–2008) in the US state of New Jersey worked and married in the United States.

Artist's impression

Dieckmann symbolically as a potter (meaning: material and form designer), painting by Johannes Driesch , 1929

The Christian- motivated painting The Potter and his Guardian Angel of the Bauhaus talent Johannes Driesch from 1929 depicts Erich Dieckmann symbolically as a potter (material and form designer). The severely war-damaged left arm, which is in the center of the picture and thus in focus, is remarkable Dieckmanns, who is represented as an actively shaping and shaping arm. The depicted guardian angel is likely to refer to this severe wound, pointing out that Dieckmann only barely survived the war.

During his time at the Bauhaus between 1927 and 1929, Erich Dieckmann designed bedroom furniture for Johannes Driesch's private apartment, consisting of a three-door wardrobe with a mirror on the inside, two single beds with high head and foot sections, two bedside tables and a chest of drawers made of cherry wood . This furniture is partially illustrated in Dieckmann's book publication from 1931 and has been preserved to this day.

Publications

Erich Dieckmann: Möbelbau - Holz Rohr Stahl , 1931
  • Furniture. 1. Work by Erich Dieckmann, specialist teacher for interior design and furniture at the Staatliche Bauhochschule Weimar . In: stone, wood and iron. Bi-monthly publication for the new building industry and building design , 41 (1927), pp. 1069-1072.
  • To the work of the State Building College for Crafts and Architecture Weimar . In: The building guild. Baukunst, Bauwirtschaft, Bautechnik , 9th year 1927, p. 1426f.
  • with Katharina Dieckmann ( arrangement ): Möbelbau - Holz Rohr Stahl (= Die Baubücher, Volume 11), Julius Hoffmann Verlag, Stuttgart 1931. New edition: Vitra Design Museum, Weil am Rhein 1990. ISBN 3-9802539-2-9 .
  • History of a severely disabled person , 14 handwritten pages with 13 handwritten and mostly signed drawings, Halle (Saale) 1934 [Illustrated curriculum vitae for application letters during unemployment from 1933 to 1936].

literature

  • State Bauhaus Weimar, Karl Nierendorf (ed.): State Bauhaus Weimar 1919–1923 . Bauhausverlag, Weimar / Munich 1923. OCLC 905455176 Reprint: Kraus, Munich 1980. ISBN 3-6010-0282-5 .
  • Walter Gropius: New work of the Bauhaus workshops (= Bauhaus books, vol. 7). A. Langen, Munich 1925. OCLC 251325788
  • Adolf Meyer : An experimental house of the Bauhaus Weimar (= Bauhaus books, vol. 3). A. Langen, Munich 1925. OCLC 741968634 Reprint: Bauhaus-Universität Weimar (Ed.), Weimar 2000. ISBN 978-3-8606-8079-7 .
  • State University for Crafts and Architecture (ed.), Otto Bartning, Ernst Neufert: State Building College Weimar. Structure and goal . Information brochure, Weimar 1927. OCLC 632977945
  • The small apartment in the Heim und Technik exhibition in Munich 1928. 21 apartments in floor plans, bird's-eye illustrations and explanations. Introduction by Prof. Otho Orlando Kurz . Georg DW Callwey , Munich 1928. OCLC 250402967
  • Werner Graeff : Interiors . Rooms and interior furnishings from the Werkbund exhibition Die Wohnung , especially from the buildings of the municipal Weißenhofsiedlung in Stuttgart, ed. on behalf of the Deutscher Werkbund. Academic publisher Dr. Wedekind & Co., Stuttgart 1928. OCLC 886866124
  • Furniture from the Staatliche Bauhochschule Weimar. Sales catalog . Staatliche Bauhochschule Weimar (ed.), Weimar 1928. OCLC 44598980
  • Ludwig Neundörfer (text), Fritz Grieshaber (photos): How do you live? Modern furnishing of small apartments . Edited on behalf of the Rhein-Mainischer Verband für Volksbildung Frankfurt a. M., Verlag Der Eiserne Hammer, Karl Robert Langewiesche, Königstein im Taunus / Leipzig 1929. OCLC 1069970193
  • Adolf Gustav Schneck : The chair. Chair types from different countries and attempts at modern solutions in views and dimensional drawings (exhibition catalog). Exhibition September to October 1928 in the municipal exhibition building on the Interim Theaterplatz. J. Hoffmann, Stuttgart 1928. OCLC 313320763
  • Wilhelm Lotz : How do I furnish my apartment? Modern, good, at what cost? Hermann Reckendorf Verlag, Berlin 1930. OCLC 497224171
  • Walter Müller-Wulckow : The German apartment of the present (= The blue books). Karl Robert Langewiesche Verlag, Königstein im Taunus / Leipzig 1930. OCLC 230693633
  • Dieckmann - wicker furniture, sales catalog about our own furniture production . Weimar Bau- und Wohnungskunst GmbH (Hrsg.), Former sales company of the Staatliche Bauhochschule Weimar, Weimar 1930/31.
  • Hans Eckstein : The beautiful apartment. Examples of modern German living spaces . Verlag F. Bruckmann AG, Munich 1931. OCLC 264375505
  • Werner Graeff: Now your apartment is being furnished. The goods book for new housing needs (= functional living for every income, vol. 2). Müller and Kiepenheuer, Potsdam 1933. OCLC 250898674
  • Gustav Adolf Platz : Contemporary living spaces . Propylaea publishing house, Berlin 1933. OCLC 459533971
  • Hans Eckstein: The beautiful apartment. Living rooms of the present in 225 figs. With practical explanations . Verlag F. Bruckmann AG, Munich 1934. OCLC 924033256
  • Herbert Hoffmann : Good furniture. Second episode. A collection of contemporary, beautiful individual pieces of furniture for every purpose from the best artists and workshops (= house and space. Advice for building and living, vol. 3). Julius Hoffmann Verlag, Stuttgart 1936. OCLC 1110888881
  • Adolf Gustav Schneck: The upholstered furniture (= The furniture as a commodity, Vol. 4). Julius Hoffmann Verlag, Stuttgart 1939. OCLC 1075325508
  • Adolf Gustav Schneck: New furniture from Art Nouveau to today . Verlag F. Bruckmann, Munich 1962. OCLC 905301970
  • Hans Maria Wingler : The Bauhaus 1919–1933, Weimar, Dessau, Berlin and the successor in Chicago since 1937 . Verlag Gebr. Rasch & Co u. DuMont Schauberg, Bramsche 1962. OCLC 1110914624
  • Hans Eckstein: The New Collection . Munich 1965. OCLC 78063552
  • Walther Scheidig (text), Klaus G. Beyer (photos): Bauhaus Weimar - workshop work 1919–1924 . Edition Leipzig 1966. OCLC 312643284
  • Dieter Schmidt: Bauhaus - Weimar 1919 to 1925, Dessau 1925 to 1932, Berlin 1932 to 1933 . Dresden 1966. OCLC 1005889509
  • Jan van Geest, Otakar Máčel, Gerrit Oorthuis: Metalen buismeubels 1925–1940 . Exhibition from February 22 to March 30, 1975 in the Stedelijk Museum Het Prinsenhof, Delft 1975. OCLC 915744842 or WH Gispen, Spruyt, Amsterdam 1975. OCLC 929885016
  • Hans Eckstein: The chair. Function - construction - form. From antiquity to the present (= Keyser's collector's library). Keysersche Verlagsbuchhandlung, Munich 1977. ISBN 3-8740-5103-X .
  • Jan van Geest, Otakar Máčel: Chairs made of steel. Metal furniture 1925–1940 . Verlag der Buchhandlung Walther König, Cologne 1980. ISBN 3-8837-5009-3 .
  • Wilhelm Nauhaus : The Giebichenstein Castle. History of a German art school 1915–1933 . VEB EA Seemann Verlag, Leipzig 1981. 2nd edition 1992: ISBN 3-3630-0539-3 .
  • Steffen Bräuning: The history of the furniture and interior design department from the beginnings of the artistic teaching facility at Burg Giebichenstein to the present day . In: 5th colloquium on questions of theory and methodology of industrial design Halle (conference proceedings), 19./20. November 1981. Giebichenstein Castle, Halle / S. 1982. OCLC 946295948
  • Steffen Bräuning, Rudolf Horn : Furniture expansion . University of Industrial Design Halle - Burg Giebichenstein (Ed.), Halle (Saale) 1983. OCLC 246398480
  • Gillian Naylor: The Bauhaus Reassessed - Sources and Design Theory . EP Dutton, New York City 1985. ISBN 0-5252-4359-3 .
  • Jan van Geest, Otakar Máčel: Het museum van de continue lijn. Standing buistochen 1925–1940 / The Museum of the continuous line. Tubular steel chairs 1925-1940 . Het Museum van de Continue Lijn (Ed.), Amsterdam 1986.
  • Alexander von Vegesack : German tubular steel furniture. 650 models from catalogs from 1927 to 1958 . Bangert Verlag, Munich 1986. ISBN 3-9255-6008-4 .
  • The American Federation of Arts, Derek E. Ostergard, Alessandro Alvera (eds.): Bent Wood and Metal Furniture 1850–1946 (exhibition catalog). University of Washington Press, Seattle, WA, 1987, ISBN 0-2959-6409-X and American Federation of Arts, New York City 1987, ISBN 0-9174-1880-8 .
  • Anita Bach , Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum , Weil am Rhein 1990, ISBN 3-9802539-1-0 .
  • Frank Whitford: Bauhaus . Deutscher Kunstverlag, Berlin 2012. ISBN 978-3-4220-7150-6 .
  • Josef Straßer: 50 Bauhaus icons that you should know , 2nd edition Prestel, Munich 2019, ISBN 978-3-7913-8455-9 .

Exhibitions

  • 1990/91 - Erich Dieckmann - practitioner of the avant-garde. Furniture construction 1921–1933 . Bauhaus Dessau, November 28, 1990 to February 24, 1991.
  • 1991 - Erich Dieckmann - practitioner of the avant-garde. Furniture construction 1921–1933 . Kunsthalle am Theaterplatz of the Weimar Art Collections, March 15 to April 28, 1991.
  • 2019 - Erich Dieckmann (1896–1944) - A Bauhaus student and castle teacher , as part of HALLETHEMA 2019 - Halle and the Modern , Halle (Saale) city archive, March 12 to April 18, 2019.

Web links

Commons : Erich Dieckmann  - Collection of images, videos and audio files

References and footnotes

  1. ↑ a b c Erich Dieckmann. In: arch INFORM .
  2. ↑ a b c d e f g h i j k l m n Prof. Dr. Anita Bach: From Bauhaus to Bauhochschule. Erich Dieckmann in Weimar 1921 to 1930 . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , pp. 35–40.
  3. ↑ a b c d e f g Erich Dieckmann (1896–1944) , on: franklandau.com
  4. ↑ Armchair (model 8219) . In: Grassi Museum for Applied Art, Leipzig, on: museum-digital.de
  5. ↑ a b c Alexander von Vegesack: Foreword and thanks . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , p. 7.
  6. ↑ a b c d e f g h i Erich Dieckmann: History of a war-disabled person , 14 pages handwritten with handwritten and mostly signed drawings, Halle (Saale) 1934.
  7. ↑ a b c d e f g h i j k l m n o p q r s t u v w x y Dr. Katja Schneider: Short biography . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition catalog June 13 - September 30, 1990, Vitra Design Museum, 1990, ISBN 3-9802539-1-0 , p. 109.
  8. ↑ a b c Josef Straßer: 50 Bauhaus Icons , 2009, p. 78f.
  9. ↑ a b c d Dr. Angelika Emmrich: Erich Dieckmann as an apprentice and journeyman at the Weimar Bauhaus carpentry workshop . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , pp. 29–34.
  10. ↑ a b c d Erich Dieckmann , on: kettererkunst.de
  11. ↑ a b Die Form - magazine for creative work , 4th year, issue 19, October 1, 1929, p. 514.
  12. ↑ Marcel Breuer: The furniture department of the State Bauhaus in Weimar . In: Fachblatt für Holzarbeiter , 20 (1925), p. 17.
  13. ↑ The meaning of the State College for Crafts and Architecture . In: Thüringische Landeszeitung Deutschland , No. 110, April 21, 1926.
  14. ↑ a b History of the impact of the Bauhaus ideas from 1933 on: bauhaus100.de
  15. ^ Inhabitants of the city of Weimar, 1929 edition, second part. Verlag Dietsch & Brückner AG, Weimar 1929, p. 20.
  16. ↑ a b c d Tilo Richter: Erich Dieckmann 1896–1944 . In: Vitra Design Museum, on: design-museum.de
  17. ↑ The Weimar facility was founded in 1912 as the Feodora infant care center and renamed the Feodora infant and children's home in 1920 . Viktoria Feodora, Princess Reuss (1889–1918) was named after it . Today the building belongs to the Clinic for Pediatric and Adolescent Medicine of the Sophien- und Hufeland-Klinikum gGmbH in Weimar. Dieckmann's furniture for children was in use there until the early 1990s. Quoted from: Festschrift for the 100th anniversary of the Children's Hospital Weimar . Sophien- und Hufeland-Klinikum gGmbH (ed.), Kessler, Weimar 2012, p. 4f .; Quoted from: Thüringer Tourismus GmbH, press release Bauhaus Anniversary 2019 Museum of Applied Arts Gera - Erich Dieckmann's children's chair, on: thueringen-enthaben.de
  18. ^ Walter Passarge: New buildings by Prof. Otto Bartning, Berlin . In: Die Form , 1 (1926), pp. 266-269.
  19. ^ A b Klaus Bamberger: From the history of the Bamberger family. Childhood memories of Lichtenfels (= Small CHW-Schriften, Colloquium Historicum Wirsbergense, Issue 2, Lichtenfelser Hefte zur Heimatgeschichte, special issue 3), ed. v. Lichtenfels City Archives, Schulze Lichtenfels 2005, ISBN 3-87735-177-8 , pp. 18-21.
  20. ↑ Erich Dieckmann 1896–1944 , see there: 1930/31, on: design-museum.de
  21. ^ A b Justus Bier : A new furniture book . In: Die Form - magazine for creative work , 7th year, issue 6, June 15, 1932, p. 200, on: uni-heidelberg.de
  22. ↑ Tim Benton: Review of the German-language exhibition catalog by Alexander von Vegesack: Erich Dieckmann - Praktiker der Avantgarde. Furniture construction 1921–1933 . Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 . In: Journal of Design History , Vol. 4, No. 1 (1991), Design History Society (Ed.), Oxford University Press, Oxford, UK, pp. 54-57.
  23. ↑ a b c d e f g h Dr. Katja Schneider: Erich Dieckmann. Notes on life and work . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition catalog June 13 - September 30, 1990, Vitra Design Museum, 1990, ISBN 3-9802539-1-0 , pp. 9–28.
  24. ↑ Peter Petersen: A free general elementary school based on the principles of new education (The Jena Plan) , H. Böhlaus Nachf., Weimar 1930, p. 160.
  25. ↑ Hein Retter: The Jena University School. Refuge for children at risk under National Socialism , on: stadtmuseum-jena.de
  26. ↑ Theda Brehme: Furniture for small apartments . In: Fachblatt für Holzarbeiter , 23 (1928), pp. 241–245.
  27. ^ Wilhelm Lotz: The Gagfah settlement . In: Die Form , 3 (1928), pp. 289ff.
  28. ^ Walter G. Hartmann: The Frankfurt (Oder) music home . In: Kunst und Kirche , 9 (1932), pp. 34–38.
  29. ↑ Theda Brehme: Apartment and workshop . In: Die Form , 4 (1929), pp. 388-391.
  30. ↑ Ella Zahn: The new furniture style. Bauhaus Dessau - Bauhochschule Weimar - The type furniture . In: Schlesische Volkszeitung , July 30, 1929.
  31. ^ Justus Bier: On the dissolution of the State Building College in Weimar . In: Die Form , 5 (1930), pp. 269-274.
  32. ↑ a b Dr. Angela Dolgner: Erich Dieckmann. From ›Burg‹ teacher to speaker for the German arts and crafts . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , pp. 41–48.
  33. ^ Egon Roemer: Art education in Weimar . In: Vossische Zeitung , No. 380, morning edition, August 14, 1930, p. 10.
  34. ↑ Katharina Dieckmann: Again: echoes of the opening ceremony of the state art colleges in Weimar . In: Thüringische Landeszeitung Deutschland , No. 332, November 30, 1930.
  35. ↑ Dr. Angela Dolgner: Erich Dieckmann. From ›Burg‹ teacher to speaker for the German arts and crafts . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , p. 41.
  36. ↑ Cebaso, Ohrdruf, Germany . In: Vitra Design Museum, on: design-museum.de
  37. ↑ Erich Dieckmann: Is modern home art sober? In: Die Kunst , 61 (1931), p. 180f.
  38. ^ Portrait photo of Erich Dieckmann on an exhibition poster at: kunststiftung-sachsen-anhalt.de
  39. ↑ Dr. Katja Schneider: Paul Thiersch and the Burg Giebichenstein School of Applied Arts in Halle / S. from 19015-1933 . Phil Diss., University of Bonn 1989.
  40. ↑ Dr. Eva B. Ottillinger: Erich Dieckmann's wicker furniture . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , pp. 60–67.
  41. ^ Letter from Erich Dieckmann to the NSDAP parliamentary group in the city parliament of Halle (Saale) dated June 21, 1933. Quoted from: Dr. Angela Dolgner: Erich Dieckmann. From ›Burg‹ teacher to speaker for the German arts and crafts . In: Prof. Dr. Anita Bach, Alexander von Vegesack: Erich Dieckmann - practitioners of the avant-garde: furniture construction 1921–1933 . Bauhaus Weimar, Bauhochschule Weimar, Burg Giebichenstein, exhibition June 13 - September 30, 1990, Vitra Design Museum, Weil am Rhein 1990, ISBN 3-9802539-1-0 , pp. 41–48.
  42. ^ Letter from Erich Dieckmann to the Magistrate of the City of Halle (Saale) dated July 5, 1933.
  43. ↑ Letter from the Governor of the Province of Saxony, based in Merseburg, to the Magistrate of the City of Halle (Saale) from December 7, 1933. In: Central State Archives Potsdam, 49.01, No. 9796, p. 223. Quoted from:
  44. ^ Address book of the city of Hanover for the year 1937 , 135th edition. August Scherl Deutsche Adreßbuch-Gesellschaft mbH, Hanover 1937, p. 88.
  45. ^ Berlin address book for 1939, volume 1, Verlag August Scherl Nachf., Berlin 1939, part 1, p. 457.
  46. ^ Claude P. Bamberger: Breaking the Mold - A Memoir . C. Bamberger Molding Compounds Corp., Carlstadt, New Jersey, USA, 1996, ISBN 0-9653827-0-2 , pp. 16-17.
  47. ↑ Johannes Driesch, The Potter and his Guardian Angel , on: lempertz.com
  48. ↑ catalog no. 2600 , on: mehlis.eu
  49. ↑ Erich Dieckmann, Katharina Dieckmann: Möbelbau - Holz Rohr Stahl (= Die Baubücher, Volume 11), Julius Hoffmann Verlag, Stuttgart 1931, pp. 16, 83.
  50. ↑ Erich Dieckmann (1896–1944) - A Bauhausler and castle teacher , on: kunststiftung-sachsen-anhalt.de
personal data
SURNAME Dieckmann, Erich
BRIEF DESCRIPTION German furniture designer and Bauhaus university professor
DATE OF BIRTH November 5, 1896
PLACE OF BIRTH Kauernik , Löbau district , West Prussia
DATE OF DEATH November 8, 1944
Place of death Berlin