Throughout the interwar period many dialects of modernist visual languages were developed and often mediated by the technologies of photography, film, and design. This negotiation of modernity was a key feature characterizing the exhibition designs of architect Oliver Hill (1887-1968). Taking Hill’s designs for the “Exhibition of British Industrial Art in Relation to the Home” at Dorland Hall in 1933 as a starting point, this paper investigates Hill’s commitment to consumer education. Exhibition designs, such as at Dorland Hall, proved a perfect vehicle for Hill’s educational imperatives in elevating consumers’ understanding of “good design.” Through a close reading this paper highlights how Hill embraced fashionability, both in terms of market consumerism and in terms of the power that fashion had on improving taste and standards in design during that time.

Élève modèle du Bauhaus, Herbert Bayer expérimente et exerce dans un grand nombre de champs artistiques, tour à tour photographe, peintre, typographe, publicitaire, scénographe, architecte, sculpteur, designer, urbaniste ou land-artist, toujours animé par l’idée que le designer n’est jamais inférieur, du point de vue artistique, à ce que l’on peut appeler « l’artiste libre ». Bayer n’est pas pour autant un indécis ou un touche-à-tout. Se diversifier à l’extrême ne signifie pas pour lui se disperser, il s’agit plutôt de réunir les compétences pour bâtir une œuvre d’art totale, véritablement capable d’agir sur le spectateur. Les réalisations scénographiques de Bayer, qui apportent des innovations décisives pour le développement de la discipline, scandent comme autant d’étapes sa quête vers une œuvre d’art globale.

Au Bauhaus, où il étudie entre 1921 et 1925, puis enseigne entre 1925 et 1928, Bayer acquiert un ensemble de connaissances qui seront déterminantes pour sa pratique de la scé...

In 1983, the Museum of Modern Art in Bogotá established its Department of Architecture, a curatorial unit that was active until 1995. During that time, twenty exhibitions were presented, and eight of them were monographic shows. While at the start, the department focused on European architects, later on, more emphasis was placed on Colombian architecture. This emphasis echoed two significant events in Latin American architectural culture: first, the Seminars of Latin American Architecture, and second, the editorial series SomoSur. These two events encouraged exhibitions with a strong commitment to study, present, and celebrate Colombian architecture from diverse architectural traditions. Through archival research and interviews, this paper examines the intellectual reverberations between seminars, publications, and exhibitions. It highlights the use of monographic exhibitions and how they were channels for the continuous flow of ideas in the construction of Colombian architectural h...