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.
17.03. – 09.09.2018Museum
24.02. – 05.08.2018Gallery
02.03. – 03.06.2018Schaudepot
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.
Fiona Raby and Anthony Dunne have been pioneers of the Critical Design movement for over two decades. They run an independent studio, but also have busy careers as teachers and academics – first in the Design Interactions programme at the Royal College of Art (2005–2015) and, since 2016, at Parsons School of Design in New York City. The duo uses speculative scenarios and narratives to explore alternative lifestyles through design. As part of the research for »Hello, Robot.«, curator Thomas Geisler asked them about their take on the relationship between humans and technology.Thomas Geisler: You have both observed the advancements of IT and robots over many years. How would you describe the state of robotics today?Anthony Dunne: I think the most interesting development at the moment is the shift from robots as singular objects to robotic systems, particularly those making use of artificial intelligence.Thomas Geisler: The image of the humanoid but soulless techno-creature that we still associate with the word »robot« is derived from the early science fiction authors and filmmakers. This cliché is no longer in tune with the times?Fiona Raby: It’s amazing how narrow the visual language, the palette of materials and forms, for robots actually is – or has been. It’s very odd to think their visual development and also their potential behaviours and relationships to humans should become so fixed so prematurely.Thomas Geisler: So what is the first thing that springs to mind when you think of robots today? Anthony Dunne: A few years ago, I would in fact have said anthropomorphic robots from mid-twentieth-century science fiction, or the robotic vacuum cleaner Roomba. But now I would say »bots«, made from software and using machine learning.Thomas Geisler: For many decades, robotics has belonged to the domain of engineering, IT, and neuroscience. Why should it become a task for designers in the twenty-first century?Anthony Dunne: I think as technologies become more complex and affect more people, they have the potential to create and also eliminate forms of social relations, possibilities for behaviour, and ultimately, what it means to be human. Therefore, we need to bring other disciplines into the process of developing new technologies. If only technologists and economists are in charge of the new developments, some profoundly human qualities might be in danger of being overlooked and thus written out of new technologies. Design can act as a catalyst here.We need alternative narratives – not just the motive of optimisation – driving technological development, and I think design can work with the humanities and liberal arts to develop these alternative visions.Thomas Geisler: Euphoria and fear alike inform the relationship between humans and machines. We have developed robots to be our friends and helpers, but we are wary when they start to develop a life of their own. Smart gadgets are cool, artificial intelligence is fascinating, but the idea of singularity makes us nervous. How can we deal with these feelings of ambivalence in the future?Anthony Dunne: I think it’s sensible! Anxiety is a perfectly rational response to some of the very reductive visions proposed by industry. Fiona Raby: If the future world of robots is imagined only by people who spend all their time imagining robots and nothing else, then it’s highly unlikely we will get a very broad and culturally diverse palette of robots sent out into the world to enrich our everyday lives.