Vitra Design Museum + Schaudepot17,00 € / 15,00 €*Vitra Design Museum 11,00 € / 9,00 €*Schaudepot8,00 € / 6,00 €*Architecture tour 2h14,00 € / 10,00 €* Guided tours 1h (Exhibition tour, Production tour or Behind the Scenes)7,00 € / 5,00 €**Reduced prices: young people from age 12, students, seniors,disabled persons, groups of more than 10 people, combination of 3 and more tickets/person, children under 12 years of age free
Vitra Design MuseumCharles-Eames-Str. 2D-79576 Weil am RheinT +49.7621.702.3200F +firstname.lastname@example.org
Daily 10 am – 6 pm,24 December 10 am – 2 pm. The museum is open on Sundays and on all public holidays.
30.09.2017 – 25.02.2018Vitra Design MuseumDetails
09.09.2017 – 11.02.2018GalleryDetails
30.09.2017 – 25.02.2018SchaudepotDetails
30.09.2017 – 25.02.2018Fire StationDetails
26.10.2017 – 14.04.2018Design Museum GentBelgium
22.12.2017 – 04.03.2018Hangaram Art Museum, SeoulKorea
14.10.2017 – 07.01.2018High Museum of Art, AtlantaUSA
The collection of the Vitra Design Museum ranks among the most important holdings of furniture design worldwide. It contains some 7000 pieces of furniture, a vast assemblage of lighting objects and numerous archives, as well as the estates of such designers as Charles & Ray Eames, Verner Panton and Alexander Girard. On 4 June 2016 the Vitra Schaudepot was opened, created by the architectural firm Herzog & de Meuron, in which the Vitra Design Museum presents key pieces of its collection.
Guided tours through the Vitra Schaudepot:Highlights from the CollectionEvery Friday to Sunday2 pmBehind the Scenes3 pm
Vitra Design Museum + Schaudepot17,00 € / 15,00 €*
Vitra Design Museum 11,00 € / 9,00 €*
Schaudepot8,00 € / 6,00 €*
Architekturführung 2h14,00 / 10,00€*
Führungen 1h (Ausstellung, Produktion oder Blick hinter die Kulissen)7,00 € / 5,00 €*
*Ermäßigungen: Jugendliche ab 12, Studenten, Senioren, Menschen mit Behinderung, Gruppen ab 10 Personen, Kombination von 3 und mehr Tickets/Person, Kinder bis 12 frei
Täglich: 10 – 18 Uhr,am 24.12. 10 – 14 Uhr.Das Museum ist an allen Sonn- und Feiertagen geöffnet.
With his body of work situated at the border between design and art, Jurgen Bey is one of the best known designers in the Netherlands. He is also the director of the Sandberg Institute at the Rietveld Academy in Amsterdam. In this interview with curator Amelie Znidaric, Bey speaks about the oeuvre of Gerrit Rietveld and his own work as a designer. You work at the Rietveld Academy in Amsterdam. What’s your take on Gerrit Rietveld? I never liked modernism, I found it so rigid. But that’s changing. In a working context or in health care, Rietveld’s architecture makes a lot of sense. He aimed for openness, light, clean air, for a space that remains clear, no matter what it is used for. In the past twenty years, Dutch design has become more and more ornamented, historically driven, and crafty. But that makes spaces so homey and messy. It doesn’t fit the working context. Do you feel that, for the younger generation, the pendulum swings back towards Rietveld’s clarity? I can only say for myself, that I’m more and more interested in industry, even though I have never considered myself an industrial designer. I don’t care so much for the single product as an outcome of an industrial process, but rather for the whole system: the working surrounding, the traffic towards it, the used material … What makes Rietveld relevant to this day? I think he was lucky to live in a period of upheaval. There are always moments in history, when designers are able to establish themselves easily with their own aesthetics, because they live between two periods. My own work might have never been noticed either at another period of time. With his Crate furniture, Rietveld looked deep into the future, he anticipated the do-it-yourself movement and the idea of open design, where designers share their ideas. This furniture was socially driven. Good living was to be made available for everyone. But it is elitist to tell people how they should live, no matter whether they like it or not. Yes, people could make this furniture themselves, but did they really want it in their homes? To this day, young designers rework Rietveld’s design. The Red-Blue Chair has been re-interpreted again and again. Why? It addresses so many essential design questions: being complicated or simple, whether it’s a chair or an object … You can definitely question the Red-Blue Chair as a piece of furniture, it so doesn’t fit the human body. All these questions keep it interesting till this day. You are considered a representative of Critical Design, which also rather asks questions than offering solutions. Where will that take us? There are so many things around us that we have to ask questions about their context. Why are they the way they are, how could they improve, what we should stop, and how can we as designers contribute to that? Hence, we get to speak to people and take responsibility for the society. Design can create change. But that links back nicely to the modernists; they, too, tried to change the world. That’s completely right. On April 18 2012, Jurgen Bey participated at the conference »Never Mind the Mainstream. About Industry and Experiment in Design«, which was hosted by the Vitra Design Museum and Premsela at the Triennale in Milan. Video