The Rubber Cup goes back to Richard Sapper, then-professor at the Stuttgart Academy of Art: students from all universities were invited to participate in this race on the condition that their vehicles were powered by nothing but 20g of rubber. This usually resulted in rather big vehicles as the tension of the rubber was supposed to generate the speed of movement so that the vehicles would either be rather fast or would run over a long period of time. The Köln International School of Design (KISD) also set up a project to participate in the race. After many attempts to power the vehicle through the tension of the rubber, a totally different concept was developed: the rubber was cut into small pieces, set on fire and the heat of combustion was used to power a very small vehicle. The KISD vehicle won the race against many competitors because it was clearly the fastest.
Unsatisfied with both the largely miserable quality and local presence of Hannover-based writers, Uta Brandes and Michael Erlhoff placed a distinctive note in the local paper HA.Z: all those considering themselves writers should convene in front of the opera house for a joint reading session on a Saturday , 12 pm, in November 1980. About 100 people came and started, after a signal, to read their texts. A simultaneous reading that, naturally, became increasingly louder as everyone tried to be louder, and thus to have more presence, than the others. The session was recorded with a non-professional recording device.
A conversation between Michael Erlhoff and the Austrian scholar and writer Oswald Wiener (approx. 1983, in German).
Designers we met in Milano in 2000.
In 1999, as a result of an initiative by Köbi Gantenbein, chief editor of the magazine Hochpaterre, we were invited to St. Moritz (Switzerland) to talk with local officials from the culture and tourism departments about the establishment of a new design event. We proposed to invite important international design professionals to come to St. Moritz for three days each year before Christmas in order to discuss essential new design perspectives. We suggested, however, doing this without an audience because, otherwise, these kinds of discussions tend to turn into marketing events. The St. Moritz officials loved the idea and, starting in 2000, the St. Moritz Design Summit took place for the first time (followed by seven more editions) in the exclusive Suvretta House. To secure the summit’s financing, Michael Erlhoff (who, in 1991, together with British American Tobacco/BAT had founded the Raymond Loewy Foundation for the promotion of design) was able to get BAT, and thus the foundation, on board to support the project. And so we invited 30 excellent design experts each year to …
People we’ve met. This gallery is available in high resolution at Flickr (no commercial use, credit).
These acoustic pieces were created in a short-term project (starting on a Monday afternoon and ending with a public presentation on Friday morning of the same week) around the year 2000, addressing the question as to how the quality or the particular qualities of design could be expressed acoustically. Different teams of students developed very impressive compositions.
Lyrics, music and vocals: Tanja Godlewsky and Claudia Leu (now: Claudia Herling) Arrangement and production: Oliver J. Leu and David Oswald When Tanja Godlewsky and Claudia Leu were still students at KISD (and also a few years after they had graduated), they sometimes performed wonderful, self-created songs at special events. Legendary. Oliver Leu and David Oswald were also KISD students. Today, all four are professional designers and teach at various universities.