BONSIEPE, Gui CULLARS, John. The Invisible Facets of The HFG Ulm

The Invisible Facets of the Hfg Ulm
Author(s): Gui Bonsiepe and John Cullars

Source: Design Issues, Vol. 11, No. 2 (Summer, 1995), pp. 11-20
Published by: MIT Press
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TheInvisibleFacetsofthe hfgulm
GuiBonsiepe
Lecturegivenat TheDesignCenter Introduction

November
Langenthal/Switzerland, 3-5, For a participant to report on the history and influence of the Design
1994.RevisedDecember 3, 1994.
Institute at Ulm (hfg ulm)l is a double-edged undertaking. On the
Translated withthe
byJohnCullars,
aidof theauthor.
one hand, the complaint arises that it is an account of, at best,
personal anecdotes rather than an objective, nonpartisan evaluation
such as could come only from disinterested outsiders. On the other
hand, such an account, regardless of undeniable subjective ele-
ments, offers original source material from eyewitnesses as well as
their own interpretations, which observers can draw on in addition
to official documents and finished products.
Debate over the hfg

It is well known that the debate over the hfg ulm and the role of its
protagonists occasionally has been burdened by ad hominem argu-
ments. That excludes the possibility of reaching an evaluation free
from animosity, and of discussing things calmly.
The hfg had results that have been recognized and wel-
comed by some; and disputed and regretted, when not downright
damned or rejected, by others. Accordingly, a well-meaning version
will view the closing of the hfg-certainly the most stupid of the
BRD's2 cultural-cum-political decisions-as a happy meeting of
internal exhaustion and external political foolishness; which saved
the reputation of the hfg and gave it a heroic aura, since the hfg had
come to the end of its forces and was exhausted by 1968. Reyner
Banham, speaking in relation to the Bauhaus, set forth the thesis
that the productive phase of an avant-garde institution can't last
longer than ten years. The closing of the hfg, however, was due less
to worries over its academic qualities than to motives of a retalia-
tory adverse faction, which saw to it that none of the hfg's perma-
nent instructors were hired by any of the institutions founded after
its closing-a McCarthy-like campaign known as Berufsverbote.
[professional ban or blacklist] that started as a reaction against the
political unrest in West Germany in the second half of the sixties.
The hfg functioned amid permanent pressures toward inno-
vation and legitimation, which wasn't easy to carry out; particularly
1 Thisabbreviationrefersto the Design during the final phase of a growing climate of political polarization,
Instituteat Ulm(HochschulefOr which sometimes led to a paralysis of design activities. At the time,
Gestaltung).
as the waves of political engagement reached a high point, it came
2 BundesRepublikDeutschland(BRD)is
to be almost a departure from the spirit of the hfg-whose radical-
the name of the formerWest Germany
priorto the reunificationof the two ism was by no means limited to Ulm-to take up a pen for the
Germanies. purpose of designing.
? Copyright
1995 GuiBonsiepe
11,Number
DesignIssues:Volume 1995
2 Summer 11
The hfg also was fighting againstwhat today we would call
the blandishments of the media. The hfg understood absolutely
nothingat all aboutmarketing.But I thoughtthat,in spite of consid-
erable internal conflict, there remained sufficient energy to trans-
form the hfg ulm into a postgraduate institution with the goal of
filling the vacuum in design studies that hasn't been filled to this
day. Finally,aftermore than a decade of activity,the parametersfor
a consolidateddesign instructionprogramhad been established.
This change in the final phase of the hfg didn't come about
because of external forces alone. One explanation for why the hfg
remaineda torso was that, in the decision-makingcommittees,the
majorityneeded to approvenew moves rarelywas reachedduring-
passionateinternaldebates.But since it is useless to speculateabout
what the hfg could have become, I turn to my interpretationof the
hfg. It is far from my intentionto wax nostalgic or hagiographical.
In spite of its common recognition,the hfg also had an irri-
tating side; this is a pricklysubjectthat easily evokes resentmentin
the BRD. I must follow up on the source of this irritation, and
explain the hfg's paradigmaticweight in the formation of design
discourse.
The title of my essay alludes to a dimension that isn't
impartedthroughexhibitionsof design productsor by the publica-
tions of the hfg. Moreover, these publications are opposed to a
blind, unthinking attitude that limits itself to mere practice and
arguesthat the hfg had been top heavy or too intellectual-an argu-
ment that is meant as a reproach.Design wasn't just taught at the
hfg; it was contemplatedand discussed. This dimension remained
underrepresentedtoo long in the debates on the hfg and its conse-
quences.Forthis reason,I must make a slight correctionin accentu-
ation, therebyclarifyingthe distinctionsof postmodernpositions.
As is well known, the use of labels such as "ulm,"
"Bauhaus,""Memphis,""postmodernism,"and the like suggest a
monolithicunity of institutionsand directionsin design that never
existed in the real world. They arejust conceptuallocutions that,in
any case, must be differentiated.If I use them, it is with the under-
standing that I am sacrificingnuances now and then. I am disre-
gardingoccasional,untiring,criticaldeclarationsof doom wrapped
in insinuationsagainstrationalismand functionalism;as well as the
ill-humoreddeclarationsthat the aestheticphysiognomy of the hfg
is too cool or impersonal-whether the hard-edged design of Ulm
stools or the absenceof psychedelic color schemes.These do all too
little to enrichdesign discourse.
The PrecariousStatus of Design

It is obvious that the paradigmatic changes in design education
during this century arose from the following institutions-the
Bauhaus,Vchutemasand the hfg, which was an outsider and was
not protected institutionally. I interpret this fact in this way:
12 DesignIssues:Volume
11,Number 1995
2 Summer
Design is a foreign body in the realm of traditionalhigher
education institutions. Design as a field of human knowledge and
activity is new; so that the three-way division of the schools into
science,technology and art is brokenapart.
1 Thus, design opposes the cognitive ideal and the under-
standing of practicein universities.
2 Design opposes the interpretationof technologyprevailing
in technicalinstitutions.
3 Design opposes the ideal of aestheticexperienceof artistic
institutions.
Outside of that, there was-and is-no possibility for insti-

tutes for integrated studies because the individual disciplines are
partitionedoff from one another.Therefore,design has no place in
any of these institutions;and if it did, it would just be toleratedas a
foreignbody. Thatwas the reasonwhy the Bauhaus,as well as the
hfg ulm, could play the paradigmatic role referred to above in
educatingdesign intelligence.It was becausethe necessarypractical
and experimentalpossibilitiesscarcelyexisted in otheruniversities.
Thereare,however,indicationsthat a changeis in the offing.
In computer science, one of the most progressive branches of
contemporaryhighereducation;one finds the demandfor the intro-
ductionof architecturaland design instructionas standardpractice,
or the known didactic organization of design-oriented study.3A
general design-oriented curriculumrevision could enrich current
higher education and free design from its marginal position. It is
altogetherpossiblethat design will be taughtin twenty-firstcentury
universitiesas a primarydiscipline,just as mathematicsis today
Influences
The hfg has not only influenceddesign discourse,but has itselfbeen
influenced from the outside. In this openness and receptiveness,I
see one of the most salient attributes of the hfg. Its intellectual
climatewas set by discussionsor conflictswith philosophical,scien-
tific and art-theoreticalwritings, among other-if my memory
doesn't fail me:
* The ViennaCircle(R.von Carnapand 0. von Neurath);
* AmericanPragmaticism(C. S. Pierce,C. Morrisand J.
Dewey);
* The FrankfurtSchool (W.Benjamin,T.W.Adorno,M.
Horkheimer,and J. Habermas);
* The Anglo-Saxonphilosophy of everyday language (L.
Wittgenstein,G. Ryle, and I. A. Richards);
* SystemsTheory(N. Wienerand C. W. Churchman);
* ConcreteArt and Constructivism;
3 Winograd,
Terry,
"What WeCanTeach
AboutHuman-ComputerInteraction,"
* The social dynamicsof culture,as well as the aestheticsof
of CHI,1990(NewYork:
Proceedings information(A. Moles);and, to a slighterdegree;
ACMPress,1990),443-449. * Surrealism,at least its criticalside.
DesignIssues:Volume 2 Summer
11,Number 1995 13
A historian who would take the trouble to write a standard
work on the hfg could find other useful clues in the list of books
held in the small hfg library, which, in the mid-1950s, included the
first Amsterdam edition of Horkheimer and Adorno's Dialektikder
Aufkldrung (Dialectic of the Enlightenment); the first, two-volume
edition of Walter Benjamin's writings; and the two-volume edition
of D'Arcy Thompson's ground-breaking work, On Growthand Form.
If one wishes to designate the fundamental attitude of the
hfg, the characterization "critical rationalism" will fit well enough,
since it was ill-disposed to the romantic currents and the conser-
vatism of Heidegger and Gehlen, for instance. Nor would Derrida's
writings have found much approval with the hfg-although they
certainly would have been discussed had they been better known
before 1968. Postmodernism, which Lyotard aptly identified as the
"loss of faith in metanarratives," also didn't coincide with the hfg's
program.4
The hfg's project was bound up with the Enlightenment's
projects, containing Utopian components that, if discarded, would
have led to cynicism and hopelessness. Obviously, today, this
Utopian tendency is open to the charge of naivete. An air of innocu-
ousness and nonchalance towards social concerns, coupled with the
fashionable challenge "design for fun," seems to be part of the
acceptable modes of behavior on the design scene today. Times have
changed. In this respect, the hfg is now out-of-date.
Contributions
What are the hfg's contributions? In many cases, they have become
part of the common cultural or intellectual property, so that their
value when new can scarcely be comprehended now. It is my inten-
tion in this article to disregard product design, objects for visual
communication, and construction systems in order to concentrate
on the hfg's invisible, not immediately accessible, contributions. The
sequence of items in the concise enumeration doesn't imply any
evaluation. I also don't claim that this list is correct and exhaustive
for all aspects and divisions of the institution. I'm much more
concerned with choosing one segment-the formation of design
discourse, and its bearing on design education and professional
practice.
1 The hfg reclaimed and instituted design as an autonomous
discipline, which couldn't be allowed to serve as an agency
for other disciplines. Thus, it was neither an appendage of,
nor a supplement to, mechanical engineering; nor a submis-
sive tool of marketing; nor a variant of the fine arts in the
form of applied arts; nor a subcategory of architecture.
Design is neither art nor technology nor science since none
4 Jean Franc6isLyotard,ThePostmodem
A Reporton
Condition:
of these realms of knowledge provides the distinctions
Universityof
Know/edge.(Minneapolis: necessary to grasp the concept of design.
Minnesota,1984),xxxvi.
14 DesignIssues: Volume11, Number2 Summer1995
I assertthat it was this emphaticconceptof design that
arousedanimosityand opposition;in additionto a critical
consciousnessthat the Germansocial traditionof conform-
ing to authoritywould have viewed this as disruptive,and
not as innovatorystrength.
2 The hfg thematicallypresentedmodernindustrialciviliza-
tion as a culturalmanifestation.It comprehendedindustrial
productionas an indicatorof culturalactivity.In doing this,
the hfg adopted a thematicof the Bauhausand the
Werkbund,but with an alteredaccent.
3 The hfg used education,with its programmaticdisposition,
to build a bridge to the scientificdisciplines.The hfg broke
with the long traditionof the skill-orientedinstructional
programof the craftschools. Design was demystified;and
treatedas a teachableand a learnablediscipline,with meth-
ods whose applicationmade superfluousthe recurrent
communicationbetween masterand students through
osmosis.
4 The hfg specified that the spheresof activities,particularly
for industrialdesign, include the productiontypology of
capitalgoods and work instruments(medicalinstallations,
for example)as the objectof design. Furthermoreit broad-
ened the traditionalsphere of graphicdesign to include
visual communications.The hfg didn't acceptGropius's
imperialgestureof subsumingall artsand design disci-
plines under the hegemony of building, as if all creation
found its culminationin architecture.
5 The hfg pursued a pragmaticunderstandingof technology
that,on the one hand, turnedaway fromthe critiqueof civi-
lization coming from the traditionaldomain of cultural
studies in the humanitiesand, on the other,was againstthe
technologicaloptimismof figuressuch as Buckminster
Fuller.Design criticismmeant practicalcriticism;it meant
engagement.Thus, design as a criticalinterventiondiffered
from discursivecriticism.A single act of design can make
dust of whole shelves of design commentaries.
"Design" and Design

Duringthe 1980s,a notablesemanticdisplacementtook place in the
concept of "design"in the countries that had adopted the English
word "design"into their everyday discourse. Especiallyin Italy-
but also in other Romance language nations and in West Ger-
many-a subliminal discomfort was felt with the two existing
designations. disegno industrialeand disegnografico ("industrial
design" and "graphicdesign").
Thus the generic concept of "design,"which remainsvague
as long as no specific domain is indicated, was narrowed in a
double manner:on the one hand, to product typology of objectsof
11.Number 1995 15
furnituresuch as chairs,beds, sofas, chests of drawers,bookcases,
lamps, vases, and bibelots;on the otherhand, to choice,impractical,
highly priced luxury items;enrichedwith a dose of media-feeding
frenzy,skillful marketingand lifestyle flair.Thereis a contradiction
between mass productionand tailored-to-individual-needsdesign.
Individually tailored design applications have little to do with
industrialdesign for widespread public consumption.
In the social behavior corresponding to this tendency, the
designermust act as the enfantterrible,the courtjesterof the indus-
try,if he has not alreadygained the self-awarenessof being an actor
standingoutside the industrialorganization.A designer can expect
to forfeitthe cooperationof colleaguesin construction,manufacture
and marketingdue to this kind of behavior,and will not be taken
seriously.
It is informativeto cite a contrastingexampleof understand-
ing design from anotherdiscipline, specifically,from management
theoryand computerscience.There,design is defined (by Fernando
Flores)as "competencein design-the activityof bringingforthnew
technologiesand practicesfor using them."I In relationto this defi-
nition, the latest media excitement over the new version of a
designer-designedchairin the most recentfurniturefair shrinksby
an appreciabledegree.
Design and Art-A Clear Separationat the hfg

Thehfg drew a line between artand design. Insteadof following the
Bauhaus'smotto of the integrationof art into industry,the hfg fore-
saw the creationof an independentaesthetics,thus avoidingthe fate
of an "applied" art. This clear division between art and design,
which was generally unacceptablein Italian design discourse, for
instance;could lead to the erroneous conclusion that the hfg was
inimical to art, or even nourished anti-artisticresentment. That
would be an unjustifiedconclusion.Wenow know that many of the
instructorsat the hfg had an artisticbackground,and came out of
the artistic avant-garde.The basic course activities under Tomas
Maldonado scarcely would have been possible without his visual
experiencesas a painterin Buenos Aires at the end of the 1940sand
beginning of the 1950s.The formalthree-dimensionalexperiments
of WalterZeischegg on surface transformationsowe much to his
experiencesas a sculptor.The designers at Ulm didn't want indus-
try to become "ennobled"in an aristocraticsense throughexternally
applied fine arts. They postulated and established design as an
independent domain. Industrial production was viewed as a
culturalactivitywith its own independentworth;without any other
dimensions, such as being subordinated to art or needing the
culturalsupportof other realmsof human endeavor.
5 Winograd,
"What
WeCanTeach."
16 DesignIssues: Volume11, Number2 Summer1995
Topics
What topics have priority in the discussion of design discourse
today-as opposed to those treatedduring the 1950sand 1960s?
A new problem, which has shifted to the foregroundsince
the late 1960s,originatedin the crisis of 250 years of unchallenged
industrialism.In both design instructionand its professionalprac-
tice, the following questions are posed today: How can environ-
mentally sound products be developed? What is the designer's
contributionto this? This is particularlyimportantfor the product
designerbecause,for the realmof visual communicationsor graph-
ics, it remains to be seen whether there could be an information-
ecology; and what role the visual designer could play as info-
managerin relationto the excessive flood of information.
The second new theme was based on technologicalinnova-
tion; particularlyon the disseminationof informationor generally
the universal process of digitalization.The following question has
arisen in relationto this: Whatnew design possibilities are offered
by informationscience?
Third,we find a constellationof themes of a semioticcharac-
ter;particularly,product semantics;so-called ethnic design, design
identity,expressiveness,and sensuality.
Fourth,after decades-long delay, design has been accepted
into managementdiscourse,eitheras an index for the difficultiesof
industrialmanagementto come to termswith new realitiesor as an
index for the designer's inability to enter into the manager's and
engineer's discourse.
Concerningthese points, the following issues have lost rele-
vance in contemporarydesign discourse:design methodologyalter-
native design (appropriatetechnology, intermediatetechnology),
and aestheticsbased on the informationtheory of Max Bense and
AbrahamMoles.
Rationalism
Is it possible to link the hfg with functionalism?Obviouslynot if, by
functionalism,is meantthe simplisticand untenablethesis thatform
is derived fromuse; or must be determinedcausallyby its purpose
so that, for instance,the form of a drop of water is derived fromthe
surfacetension of a substratum.Certainly,in this thesis, the dimen-
sion of use; the utilitarian approach to the artifacts;is central to
design. No other profession assumes this complex dimension.
Thereinlies the legitimationof design. Today,the word functional-
ism doesn't generally evoke any positive reactions. It hasn't had
good press. It is almost a bogey to sensitive souls, and is criedup as
the agent for inhumanity.Tobe sure, the already mentioned prob-
lem of the origin of the formsof industrialproductshasn'tyet been
answered by functionalism.The hfg's rational design disposition
implied a tendency towardlong-lived design. It would hardlybe
DesignIssues:Volume
11,Number
2 Summer
1995 17
possible to bring transitoryinventions and the many formalvaria-
tions of productdifferentiationinto agreementwith this disposition.
As to how it is embedded in its historicalmoment;the hfg,
with its fascination for standardizationand unified construction,
was partof a phase that confrontedproductionproblems-and not,
as lateron, marketingproblems.
Methodology
The hfg is notorious for its interest in design methodology. This
interest has long been misinterpreted as an attempt to promote
scientificdesign, or even to transformdesign into a science.Thehfg
has never been guilty of this nonsense. Rather,the hfg's program
sought to tap the rich potential for design in the sciences, so as to
enhance the scientific knowledge within the design field and to
make it more solidly based as a discipline.
It isn't a secret that this interestin putatively rationalmeth-
ods at times assumed caricaturalfeatures;such as when students
devotedly measured hundreds of beans with the slide rule to
discoverthe statisticaldistributionof largevariationsin a Gaussbell
curve.
Politics
Questionsabout the socio-politicalimplicationsof design currently
have been transferredto ecology. Postmodernrealistsrightly point
out that it is naive to seek to alleviate social disparitiesand distor-
tions throughdesign activities.But this overlooksthe fact that limit-
ing design's social relations and taking refuge in a single
specializationexactsa high price that not every designeris readyto
pay-the priceof shoving aside questionsof the criteriaof relevance
for design.
Recently,there was a design conferencein the Netherlands
whose goal was to seek new foundationsfor design. In its program,
the organizationopined that it is no longer possible to determine
unambiguouslywhat constitutesgood design. They cited function-
alism as the last big theory that, accordingto them, had furnished
commonly accepted design principles up to the late 1960s, after
which this doctrinedied out. I assume that the authorsmost likely
had the hfg in mind, but I stress that it isn't right to simply link
functionalismand the hfg. It seems informative,on the other hand,
to considerthis observationas an indicationof the changed atmos-
phere that Habermas aptly characterized as die neue Unuiber-
sichtlichkeit("the new muddle of bad arrangements").
It is a part of the aporia of design that it must function in a
social electric field of conflicting interests, and that all conflicts
strive for a conciliatorybalance. Just as the aesthetic dimension is
constitutiveof design, the political componentof design cannotbe
expunged either;unless designersarepreparedto undergo a collec-
tive lobotomy.
18 Designissues:Volume
11,Number 1995
2 Summer
It isn't a matterof supplying design with a politicalswab or
sponge. Insofaras design is unavoidablypolitical,it also containsa
component of hope-a vague dream of contributingto a livable
society. This mustn't be viewed as a uniform dream. Questions of
the meaning of design must be framed, in political as well as in
social, terms.Thatis one of the unspoken theses of the hfg.
Industry and the Democratizationof Consumption

Even if the hfg wasn't prepared to relinquish a critical attitude
towardindustrialproduction;nonetheless,its dispositionwas thor-
oughly pragmaticand thus differedfromothercriticalexperiments;
particularlyof the post-1968 period, that mainly restrictedthem-
selves to drawings of productsand ascribeda critical,if not a revo-
lutionary,function to this. This search for a revolutionaryrhetoric
didn't come within the hfg's purview.It had no influenceon indus-
trial production.The industrialproduction system was not amen-
able to changefromwithout,but ratherfrompracticalcriticismfrom
within the industry;the acceptanceof which presupposeda degree
of maturityon the part of management.The hfg affirmedindustry
because it saw in industrial production-and only in industrial
production-the possibilityof the democratizationof consumption.
At the same time, however, the hfg criticized the tendencies that
were known as consumerismand the throw-awaysociety.The hfg
couldn't support planned obsolescence.This unbrokentrust in the
industry wouldn't today be viable in this form in relation to the
environmentalproblematic.The growingpolarizationof societyinto
two large groups; with an increasing number of marginalized
persons who cannot actively participatein the industrialsystem at
all because they are endemic outsiders;has shrunkhopes in indus-
try and its emancipatorypotentialtoday.
Departmentof Information-Design and Language

Why was there both practicaland theoreticaldesign work at the
hfg? Design traininginstitutionsgenerallyareindifferent,when not
downright hostile, toward theory,presumably,because it is held to
be irrelevantor counterproductiveto design practice.
Thereis a list of reasonsfor this theoreticalactivity,only one
of which I intend to mention here. There was a department for
informationincluded in the planning for the hfg-it was certainly
an unusual decision to be concerned with language at a design
school. There was, first of all, the goal of being a writer of every-
day-as they'recalled-texts; such as instructions,textbooksand of
commentariesabout design based on an intimateknowledge of the
design process. This department never had more than a small
number of students. They studied writing under Hans Magnus
Enzensberger,among others.A contractwith Arno Schmidtfell
11,Number 1995 19
through. In the course of time, this department developed into a
theoreticalkitchen. Today,it would have been conceived from the
beginning as a departmentof design theory.
This innovation of considering language as a part of the
sphere of design-as far as I know-hasn't been adopted and
carriedforwardby any other design school. Thatisn't remarkable.
Those who cling to the visual and retinal realm of living design
have an uneasy relationship to language, and the reverse also is
true;otherwise,it would be impossible to explain the largenumber
of visual illiterates. Perhaps distance from or indifference to
language is one of the reasonsfor the difficultiesconcerningreflec-
tion and articulationthat design has in participatingin the cultural
debate. One can take for granted that design should not be
restrictedexclusively to practicalprojects.Today,more than ever,it
must be clear that professions that lack any discipline-specific
knowledge have no future. Design studies-"design research"
strikes me as a bit too pompous-as rudimentaryas it may be, has
to advanceout of its shadowy abode and become a constitutivepart
of all design education.The hfg made fruitfulstartsin this direction.
These startsshould be acknowledgedand continued.
The Modern
How can one concisely characterizethe hfg ulm? Perhapsit may be
characterizedan unfinishedprojectof radicalmodernity.
P.S.Post-ulm
Recently, I was asked how I would conceive of a Utopian hfg.
Makingit absolutelyclearthat I am not in the least prone to nostal-
gic revivals,I would be an advocatefor an hfg on the postgraduate
level; where scientists and designers would work together on
researchprojects,and where design students could develop a new
understanding of design practice.To exaggerate a bit, we can say
that design is still in its prehistoric stages; and that we find
ourselves at a historicalcaesurain relationto the advent of univer-
sal digitalization, as well as the implosion of real existing
Socialism-the two decisive developments since the closing of the
hfg in 1968-which a design program of the avant garde has to
continue to reflect.It isn't a question of founding a new hfg. There
are enough design schools already.Thereis, however,no interdisci-
plinary,internationally-orientedinstitutionfor design studies. The
legacy of the hfg-or one of its facets-could be takenup in such an
institution.
20 DesignIssues:Volume
11,Number
2 Summer
1995

BONSIEPE, Gui CULLARS, John. The Invisible Facets of The HFG Ulm

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The Invisible Facets of the Hfg Ulm

Author(s): Gui Bonsiepe and John Cullars

Lecturegivenat TheDesignCenter Introduction

Debate over the hfg

The PrecariousStatus of Design

Outside of that, there was-and is-no possibility for insti-

14 DesignIssues: Volume11, Number2 Summer1995

"Design" and Design

Design and Art-A Clear Separationat the hfg

16 DesignIssues: Volume11, Number2 Summer1995

Industry and the Democratizationof Consumption

Departmentof Information-Design and Language

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