Einen Holzfeuer-betriebenen Backofen anzuheizen Bedarf Zeit, wie auch das Zubereiten des Brotteigs. Im Gegensatz zum schnellen Brötchen auf die Hand, scheint ein solches Verfahren hinterweltlich. Erst im zweiten Moment offenbart sich, dass auch in der gegenwärtigen Stadt Pflege und Zeit wichtige Inhaltsstoffe sind, die unser Stadtbild prägen.

Seit einem Jahrzehnt befeuern aktive Bürger*innen-Initiativen die öffentliche Diskussion über die Zukunft des Rathausblocks, um daraus inzwischen ein Modellprojekt der Stadtentwicklung gemacht zu haben, das sich der kooperativen Beteiligung von Stadtgemeinschaft, Entwickler*innen und Verwaltung verschreibt. In dem offenen Prozess steht nun vor allem fest, dass sich auf dem weitläufigen Gelände im Zentrum von Berlin, zwischen Kreuzberg und Schöneberg, in den nächsten Jahren alles ständig in Veränderung befinden wird.

Um in der Baustellensituation die Möglichkeit zu schaffen die Auseinandersetzung mit materiellen und nicht-materiellen Prozessen auch an Ort und Stelle zu verlegen, bietet der Backhauswagen eine kleine Entität Grundversorgung und Aufenthaltsqualität durch die Produktion von Brot, Backwaren und eines gemeinschaftlichen Back- und Kochmomentes.

Im jeweiligen Hier und Jetzt bietet er die Möglichkeit Gemeinschaft zu bilden und aus der Gegenwart über die Zukunft zu sprechen, zu planen und Forderungen zu formulieren. Wenn ein neuer Bauabschnitt beginnt, wird der Baking Futures III Der Backhauswagen vom Rathausblock Ofen versetzt, anpassungsfähig an die Dynamik der Entwicklung, die zum jetzigen Stand noch nicht abzusehen ist.

Als nomadischer Ort kann die Bäckerei auf Rädern das Areal erschließen und Ideen in die Nachbarschaft tragen, aber auch Menschen erreichen, um sie mit dem Rathausblock in Verbindung zu bringen. Das willkommene Erzeugnis, die Backwaren, transportieren ein Stück ihrer Herkunft in die Stadt, denn Brot trägt neben der Bedeutung als nährende Basis auch die einer gemeinschaftlichen Aktivität: die Herstellung der Teige, die Pflege und das Tauschen von Sauerteig-Kulturen und der aufregende Moment des gemeinsamen Backens mit Feuer verbinden potentiell auch über konflikthafte Ansichten hinweg. In diesem Sinn soll der mobile Ofen ein aktiver sozialer Treffpunkt f¸r bereits Beteiligte, Anwohner*innen und interessierte Bürger*innen werden.

Die gemeinschaftliche Ofen-Werkstatt am Rathausblock und der fertige Backhauswagen von “Baking Futures III” gehen auf einen Vorgänger-Ofen zurück, den “Alles Anders Dorf Ofen” von “Baking Futures I” am Haus der Statistik am Alexanderplatz oder “Alles Anders Platz”. Dieser wurde im Sommer 2019 gebaut und ist seitdem regelmäßig durch verschiedene Bäcker*innen-Gruppen in Benutzung. Die grundlegende Idee der Öfen ist immer dieselbe: Menschen verbinden, Orte erschliessen, an Prozessen teilhaben. Doch jeder der Öfen bezieht sich auf seinen eigenen Kontext und die Geschichte des Ortes und wird dadurch auch in Form und Funktionalität angepasst. Zusammen sollen die geplanten und zukünftigen Öfen ein Netzwerk von aktiven, diskursiven und kulinarischen Gemeinschaftsorten in der Stadt bilden.

Baking Futures III, der Backhauswagen vom Rathausblock, wird im Rahmen des Projekts Baupalast Phase III gebaut und in Betrieb genommen. Basis für den BackHausWagen vom Rathausblock sind traditionelle Bauweisen von Brotbacköfen. Zusätzlich wollen wir durch den Einsatz zeitgenössischer Materialien und Fügungstechniken die Bauweise weiter entwickeln: eine Mischung aus low-tech und high-tech Konstruktion ist notwendig, insbesondere da der Ofen mobil, multifunktional und gleichzeitig leicht zu bedienen sein soll. Er bietet Unterteilungen, die neben dem Backraum des Backofens auch eine Räucherkammer vorsehen, sowie Platz zum Arbeiten, Verstauen und Garen der Brote. Das gemeinsame Bauformat ist so angelegt, dass während des Workshops die optimale Bauweise im Detail angepasst wird (design-building).

Realisierung: September 2020
Team: Johanna Dehio, David Moritz, Mascha Fehse
Baupalast Phase 3

Gefördert von:
Fonds Soziokultur
anstiftung

Unterstützt von:
Bezirksamt Friedrichshain-Kreuzberg
Städtebauförderung von Bund, Ländern & Gemeinden

Freiraum-Fries

Stadt ins Haus

mit Alexander Römer / Constructlab

Gestaltungskonzept und Realisierung der Möblierung für den neuen “Freiraum” im Museum für Kunst und Gewerbe (MK&G) Hamburg 2020.

Museen sind Orte der Bildung und Forschung. Sie agieren auf der Grundlage des Bewahrens und Vermittelns. Im Sinne dieser Funktion und durch seine zentrale Lage, sieht sich das MKG als verbindendes Glied zw. verschiedenen Institutionen der Stadt und verfolgt das Ziel gesellschaftliche Teilhabe durch alle Schichten hinweg zu ermöglichen. Dies beinhaltet nicht nur die Solidarität seiner Gemeinschaft einzufordern, sondern diese Solidarität im Gegenzug ebenso anzubieten, seine Ressourcen und Strukturen teilen und zu öffnen. Gemäß dieser Zielsetzung, sieht das MKG seine Hauptaufgabe nicht nur darin, kulturell und historisch zu bilden, sondern die Gegenwart und den Alltag seiner Besucher:innen und Mitarbeiter:innen mitzugestalten.
Hierbei ist das Überdenken und in frage stellen von Hierarchien und der Deutungshoheit des Museums als Institution, grundsätzlich und im speziellen mit dem bestreben die Rolle eines „dritter Ortes“ einzunehmen, unvermeidbar.
Mit dem Freiraum soll ein Ort geschaffen werden, der sich zentral im Museum, frei und offen zugänglich, aber nicht sich selbst überlassen, konstruktiv mit diesen Fragen auseinandersetzt. Unterstützt wird er durch die beiden Gastgeber:innen, die den Raum betreuen, kuratieren, in ihm willkommen heißen und als Ansprechpersonen vor Ort sind.

Im Zuge dieser Überlegungen rief das MKG eine Ausschreibung zum Projekt „Freiraum“ ins Leben. Der gestalterisch-konzeptionelle Vorschlag von Constructlab kann als Beitrag zur Frage, welche Rollen ein solcher Freiraum für das Museum einnehmen sollte, verstanden werden.

Der Freiraum geht formal auf Überlegungen zur Vielschichtigkeit von Stadt und ihrer Verschmelzung mit dem MKG und anderen Institutionen ein. Er versucht einen Ort anzubieten um nachhaltig und in heterogener Weise über Inhalte einer solidarischen Gesellschaft nachzudenken, zu diskutieren, Lösungen zu finden.
Als Gestalter:innen des Freiraums versuchen wir das Mobiliar nicht bloß funktional umzusetzen, sondern den Dialog zwischen Museum, Stadt und Gesellschaft konzeptionell in den Gestaltungsprozess mit einfließen zu lassen.

constructlab.net

Konzept
Baking Futures wurde erstmalig 2019 für die Making Futures School konzipiert und als ein 2-wöchiger Workshop durchgeführt. Baking Futures befasst sich mit Werten des gemeinschaftlichen, praktischen Handelns sowohl in der beruflichen Praxis als auch im privaten Alltag. Das Konzept kombiniert den kollektiven Bau eines Brotbackofens aus Lehm mit der Erfahrung einfache Mahlzeiten mit ursprünglichen Materialien zuzubereiten; in Kombination mit „echtem“ selbst herangezogenem Sauerteig. Die Konstruktion aus gestampfter Lehmerde und die Zubereitung von Speisen werden langsam, bewusst und performativ durchgeführt, zusammen mit Gesprächen über alltägliche Rituale und Praktiken.

Als offenes Baustellen- und Lebensmittellabor laden wir die Teilnehmer*innen zu konstruktiven Momenten ein, um einander zu helfen, zu lernen, zu teilen, zu entspannen, zu verdauen, zu gären und zu reflektieren.

Seit Menschen anfingen zu sammeln, zu kochen und Essen zu teilen ist die Feuerstelle das Zentrum von Kommunikation und Austausch geworden. Heutzutage ist sie jedoch weitgehend verborgen oder in einem schnelllebigen zeitgenössischen Lebensstil verwandelt worden. Ihre Relevanz reicht über die zentrale Funktion der Nährung hungriger Mägen und der Bereitstellung von Wärme hinaus und schafft es Menschen zu verbinden und in einem konstruktiven Dialog zu unterstützen, bis hin zu einer sinnlichen und archaischen Erfahrung materieller Transformation.

Heutzutage werden solche Werte durch ein globales und industrielles Marktangebot ersetzt und verdecken die grundlegenderen Bedürfnisse wie einfache und gesunde Ernährung hinter künstlich hergestellten Gelüsten, die sich parallel zu globalen Trends ständig verändern. Brot stellt ein grundlegendes, aber diversifiziertes Grundnahrungsmittel der meisten kulinarischen Traditionen der Welt dar, ist aber heute eines der am meisten unterschätzten und ausgebeuteten Produkte auf dem Markt.

Als Reaktion führen wir eine gemeinsame rituelle Fütterung eines Sauerteigs durch: eine Geste der täglichen Wertschätzung, Pflege und Erholung sowohl physisch als auch psychisch. Dabei diskutieren wir offen über die Gewohnheiten der täglichen Versorgung, Zubereitung und des Verzehrs von Nahrungsmitteln, deren Herstellung und Hintergründe konsumierenden Verhaltens. Indem wir einfache und langsame Schritte auf performative Weise ausführen, wollen wir ihr inhärentes Potenzial in Hamburgs Innenstadt entfalten. Neben verschiedenen Formen materieller und immaterieller Kreationen während des Workshops wird der Brotbackofen für eine feierliche Einweihung vorbereitet. Die Teilnehmer, Freunde und Nachbarn werden mit verschiedenen Broten samt ihrer eingebackenen Geschichten und Erfahrungen versorgt.

Ziele
Der gemeinschaftliche Bau eines Lehmbackofens, die „Fütterung“ von Sauerteigen, der Aufbau einer „Baking Community“ bestehend aus Nachbar*innen und Interessierten und das Erforschen der spezifischen Nachbarschaft anhand von dieser Intervention legt ein grosses Potential offen.

Ein gemeinschaftlicher Backofen kann einen längerfristigen städtischen Entwicklungsprozess begleiten und somit eine Beständigkeit darstellen. Wir sind überzeugt, dass das gemeinsame Herstellen und Verzehren von Essen verbindend wirken und sogar Konflikte lösen kann. Der Ofen möchte sich einreihen in die bestehenden Aktivitäten und womöglich zu einem sozialen Treffpunkt für bereits Beteiligte und Anwohner*innen werden. Er dient symbolisch als Grundnahrungsmittel, das solch einen Prozess unterstützen und verbinden kann: vieles muss noch entstehen, aber Brot ist schon da.

Modellcharakter
Mit der Bespielung eines Gemeinschafts-Backofens verfolgen wir mehrere Ziele. Wir wollen übertragbare bauliche und konzeptionelle Protoypen von gemeinschaftlich genutzten Orten und Infrastrukturen ausprobieren. Diese werden konsequent im Sinne der aktuellen und zukünftigen Nutzer*innen gedacht und umgesetzt. Im Idealfall folgen sie den Schritten: Initiierung, Aktivierung und Verstetigung bzw. Selbstläufer. Alle Entwicklungsschritte sollen in unterschiedlicher Form dokumentiert bzw. in Plänen, Kartografien, Manuals aufgezeichnet und möglichst einfach für Interessierte zugänglich gemacht werden.

Der Brotbackofen und seine Bespielung dient der Beteiligung an übergeordneten Prozessen, Vernetzung, Sichtbarmachung und Bewusstmachung, Austausch und Empowerment. „Nebenbei“ werden Fragen behandelt wie: Welche Akteure sind an diesem Ort schon tätig, welche fehlen noch? Was braucht er, um von der Nachbarschaft angenommen zu werden? Wo kommen Materialien und Hilfsmittel her? Wie können Anwohner*innen und andere in den Entwicklungsprozess eingebunden werden? Wie werden die Ergebnisse übertragbar bzw. darstellbar? Wie können praktischen Erfahrungen zurück in die theoretische Diskussionen fließen?

In einer Umgebung, die von vielen Parteien umkämpft ist und in der viele unterschiedliche Interessen aufeinanderprallen, will der Ofen „nicht so viel“ – er will eine temporäre Entschleunigung und Entzerrung der Komplexität ermöglichen und den Moment lebendig und lebenswert machen. Er will stiller Gastgeber sein für gemeinschaftliche Entwicklungen. Das Motiv der Nahrung eignet sich hervorragend für diese Herausforderung. Ob in physischer Form oder in Form von bunten Erinnerungen – wird dieser Schritt an dem Ort weiterleben und seinen Beitrag leisten.

Bau- Workshops
In dem ca. einwöchigen Bauworkshop wird der Backofen aus grösstenteils lokalen und nachhaltigen Materialien (wie z.B. lokaler Bau-Aushub, recyceltes Holz etc.) gemeinsam mit einer kleinen Gruppe von Teilnehmer*innen bestehend aus Anwohner*innen, Studierenden und Interessierten gebaut, wobei gemeinschaftliche Bau-Prozesse wie der Stampflehm Bau untersucht und angewandt werden. Beim Bauen liegt der Fokus auf dem Zusammenarbeiten und voneinander Lernen. Es wird in kleinen Gruppen mit Fokus auf verschiedenen Themen gearbeitet, wie z.B. 1. der Ofen, Backraum, 2. das “Ofenhaus”, Schutz, Zugangsmöglichkeit, Infrastruktur und 3. analoge oder digitale Formen der Kommunikation, Information, Teilen (unter Berücksichtigung der COVID19 Sicherheitsmassnahmen).

Zielgruppen
Das Projekt adressiert sowohl bereits bestehende Initiativen vor Ort sowie Anwohner*innen und Interessierte aus dem weiteren Umfeld. Dies können auch spezifische Gruppen wie die Gemeinde, Jugendgruppen, Senior*innen Gruppen o.ä. sein. Es geht gerade um eine grosse Durchmischung, um verschiedene Gruppen zusammenzubringen die sonst kaum Berührungspunkte haben und um auch diejenigen zu erreichen, die normalerweise nicht an dem Ort beteiligt sind.

Vernetzung & Referenzen:
Dem Projekt Baking Futures im Haus der Statistik in Berlin während der making futures school 2019 folgten Anfragen von weiteren interessanten und relevanten Orten wie dem Stadtentwicklungsprojekt am Dragonerareal / Rathausblock in Berlin, dem Genossenschaftsprojekt „Wagnis Art“ in München, dem „grossen Garten“ in Gerswalde in der Uckermark und der St. Katharinen Gemeinde mit dem genossenschaftlichen Entwicklungsprojekt “Gröninger Hof” und der Initiative „Altstadt für Alle“ in Hamburg. Als Baking Futures wollen wir diese unterschiedlichen Orte, die sich alle durch ein starkes zivilgesellschaftliches Engagement auszeichnen, anhand des Projektes begleiten, beobachten, bereichern und dazu beitragen, sie miteinander und mit ihrem Umfeld zu vernetzen.

Team Baking Futures V:
Johanna Dehio, Frederic Erdl und David Moritz
mit Lola Randl und Philipp Pfeiffer

Grosser Garten

Image by Lena Giovanazzi

Image by Lena Giovanazzi

Image by Lena Giovanazzi

Baking Futures addresses the value of communal, practical doing within both professional practice and private everyday life. It combines the collective construction of a clay fire baking oven with the experience of preparing a simple meal from primary materials, centered around some “real” sourdough. The clay construction and food preparation are conducted in a slow, conscious and performative way alongside conversations around everyday rituals and practices.

As an open construction site and food laboratory taking place parallel to the Making Futures School, part of Bauhaus+ action research project by Universität der Künste Berlin and raumlabor, the clay and dough lab invites participants to take constructive breaks to help and learn, share and relax, digest and ferment.

The fireplace has been at the centre of communication and exchange ever since humans first started gathering, cooking and sharing food around it. Yet nowadays, it has been widely abandoned, hidden or transformed within fast-paced contemporary lifestyles. Beyond the primary functions of feeding hungry stomachs and providing heat, its value ranges from the ability to connect people and support constructive dialogue, to providing a sensual and archaic experience of material transformation.

Today, such values are substituted by global and industrial market offering, obscuring ones more basic needs such as simple and healthy nutrition behind artificially planted cravings which continuously change alongside global trends. Bread constitutes a basic but diversified staple of most culture’s culinary traditions but is today one of the most underrated and exploited products on the market.

As reaction, we will perform a daily, communal ritual feeding of a sour dough as a gesture of daily appreciation, care and recreation, both physically and mentally. Habits of daily provision, preparation and consumption of food leading to investigations about general productive and consumptive behavior will be discussed in an experimental and open way. By conducting simple and slow steps in a performative way we want to unfold their inherent potential and activate the social fireplace in the middle of Berlin’s commercial City centre.

As a result, alongside different forms of material and immaterial creations during the process, the bread oven will be used for a ceremonial inauguration, feeding participants and friends with various breads each with their own stories and experiences.

Team: Johanna Dehio & David Moritz

Making Futures

Cooking in clay
The project FireKitchen came back to Brazil for a research trip and a participatory experimentation process on invitation by Goethe na Vila, a residency program by Goethe Institut SP. It took place inside the temporary cultural center Vila Itororó in São Paulo – the place of origin of the project: about three years ago during the first workshop at this place, I asked one participant, Reni from Bahia if he could cook the traditional Brazilian recipe ‘Moqueca de Peixe’ with us, which i love and used to prepare for many years. He decidedly refused to cook it, wich i understood only when he came back the next week with a large, black ‚panela de barro‘ (clay pot) and fish caught by his father who is a fisherman at the sea. These handmade and low burned clay pots are traditionally used for cooking fish dishes in the costal areas of Brazil.
This little story demonstrates one of the basic assumptions of FireKitchen: a good moqueca cannot be prepared without the right pot!
We are interested in understanding the relationship between the object and the recipe used to prepare a specific dish as well as the people involved in the preparation and the cultural environment providing the ingredients. FireKitchen tries to investigate these topics by an applied research and experimentation process.

Panela de Barro
The research trip through the central costal area of Brazil brought us to the APG (Associação das Paneleiras de Goiabeiras in Vitória, Espirito Santo), the known traditional manufacturing place of the „panela” in barro negro technique. Apart from other strong, beautiful and extreme impressions the country, its diversity of nature, people and cultures gave us, one of the most significant discoveries was the simplicity in which barro negro pots are produced and their strong local footage.
The clay is dug in the middle of a tropical mango forest inside a natural park. A nearby mediterranean mangrove forest is delivering the tannin necessary for blackening the pots. Both are connected to the association hall by a small brackwater river, crossed by simple long wooden boats. About 20 women are producing their panelas here independently, sharing inventory for production. Few tools are used for shaping the panelas, such as a piece of coconut shell for shaping and a river stone for polishing. At the fire place on the other side of the street the necessary temperature of 800°C for burning the sundried panelas is reached in short time through the continuous firing of discarded wood. When they reach this temperature, the panelas are picked with long sticks and sealed with the tannin liquid. This treatment evokes a chemical process inside the clay and gives them the typical black surface suitable for cooking.

Vila Itororó
Back in São Paulo, the experimental workshop took place at the temporary cultural center „canteiro aberto“ of Vila Itororó in the neighborhood of Bixiga. The history of the quarter is strongly influenced by togetherness and coexistence of different cultural backgrounds. Therefore a diversity of people with different knowledge, age, skills and interests were invited to take part.
The workshop was organized around 4 topics structuring the collective creation of a functioning kitchen: Drinking, Cooking, Stove and Shelter.
After extracting possible functions from traditional appliances and looking at the material logic of low burned clay, a collective goal was developed for each topic:
A recombinable system for serving, cooling and filtering water as well as preparing coffee or tee was developed.
Different cooking devices reinterpreted the specific characteristics of cooking in traditional clay pots such as the Moroccan Tajine which creates a steam atmosphere during the cooking process.
The pots were complemented each with a stove for cooking on wood fire after discussing various aspects like sustainability, efficiency, health, tradition etc.
Additionally, a simple narrow roof was constructed and covered with clay tiles, quoting the iconic roof portal as a symbolic invitation to guests.
During a 2 day process, all pieces were kilned in several different fire burnings on the basis of traditional techniques: a paper oven, a bucket oven, a pit fire, reduction burning etc.
Finally all participants and friends came back activating the commonly built kitchen, cooking, sharing and exchanging experiences and recipes during a 3-day feast.

Objects and Processes
Through a phenomenological research and related experimentation as a methodology, we are able to experience an exemplary production process from raw material to a usable kitchen:
from digging the clay, shaping of a complementary set of functional objects, burning them in wood fire with different techniques in order to obtain varying surfaces and material qualities, to finally testing them in the actual context. As this process is rather low complex, it can be repeated and understood without extensive knowledge or access. The sensual and archaic moments of putting the hands into the mud and setting a pit on fire are able to free the access to spontaneous acting, implicit knowledge and personal intuition.
The fireplace constitutes the center of communication, exchange and cultural production by its capacity of processing food and other materials.

Vernacular Intelligence
Different types of clay pots can be found in all cultures around the world, well distinguished in their construction, function and use following to local appearances of materials and ingredients. This contextual sensibility results in sophisticated shapes refined for the preparation of ecologically reasonable and often well balanced recipes. Observing, understanding and learning from this vernacular intelligence, we are able to profit from an existing multitude of elaborate objects. Those can still be found in several places where a unique knowledge of production is passed on from generation to generation. In the uniform canon of industrially shaped product culture, we often loose this diversity as a reasonable connection to meaning and origins of dishes and utilities. Its specifically those qualities that we are interested in and want to foster and share through our work.

FireKitchen Brazil
15. 9. – 15. 10. 2017
Goethe na Vila, Vila Itororó, São Paulo
Goethe Institut SP

Exhibition:
11a Bienal de Arquitectura São Paulo
Biblioteca Mario de Andrade, R. da Consolação, 94, São Paulo
opening: november 4th 2017

Project Team: Johanna Dehio (Founder & Initiator), Mascha Fehse, David Moritz and Sophia Ramos
Participants and Friends: André Cherri, Claudia Medeiros, Dani Bedroll, Daniele Castro, Edivaldo, Eduardo Paiva, Fernanda Machado, Gabriel Zei, Guilherme Uyekita, Isadora Dalle Molle, Isadora Falcao, João Camillo Machado de Campos, Julio, Kiki Iizuka, Lina Amato, Luís Felipe Abbud, Mariana de Araujo Alves da Silva, Mariana Negrão Lorencato, Marina Klautau, Mario Cassettari, Melita Junqueira, Miki Hayashi, Norin Hafer, Rodrigo Lyra, Rodrigo Mergulhao, Rosemary Regusino, Sandra Tami, Sueli Castro, Tamiris Nascimento, Vanessa Dassoler.

firekitchen.johannadehio.de

c Marcell Nimfuehr / Kollektiv Fischka

c Marcell Nimfuehr / Kollektiv Fischka

c Marcell Nimfuehr / Kollektiv Fischka

FIRE-KITCHEN is an exemplary process in which raw materials, food ingredients and clay, will be transformed into a usable kitchen unit and fully set dinner table. It proposes an action that happens in public and is open to participation: pots, fire stoves and tableware will be formed from clay and baked in a wood fire, obtaining a black, matte surface through reduction and oxidation. A feast will be prepared, food cooked with the recipes from all participants and shared around the table during the opening.

Through hands-on work and sensual contact with the raw clay as well as the archaic experience of cooking on fire, the understanding and accessibility of the complete production process is increasing, while the process itself is reduced in its complexity. The project wants to raise our curiosity for the processes behind the things and how they are all interconnected: raw materials, labour, economic factors and resulting prices are often  incomprehensible. The production conditions of low quality mass-produced objects reflect the little appreciation and lack of connection with the origin of the objects.

The project is inspired by the Brazilian Barro Preto pottery that has the typical black coloured surface after being baked in open fire. The oxidation resulting from reduction burning allows the pots to breathe while being more dense. Earthenware  baked on open fire can be found in all cultures, such as the Moroccan Tajine, the Mexican Barro Negro from Oaxaca,Turkish Güvec, the Japanese Nabe, the German Roemertopf etc.

The project FIRE-KITCHEN was realized in cooperation with the Austrian Caritas group Kompa and invited refugees from different countries (Syria, Lebanon, Afghanistan, Iran) and neighbours to participate in a 10 day action in an enchanted backyard garden in the center of Vienna: starting from a selected recipe a cooking pot and a table stove were designed and built from clay. Throughout the 10 days, several cooking pots, steamers, tajines, open baking pans and closed ovens, coffee and tea pots and jugs were created, burned in wood fire and used for cooking.

The project Fire-Kitchen took place in the framework of the Vienna Design Week 2016 Stadtarbeit Format.
It received the MehrWERT-Designpreis 2016 for social design of Erste Bank Austria.

Team: Johanna Dehio, Mascha Fehse, Valentina Karga, Liza Schluder, Sèbastien Tripod

firekitchen.johannadehio.de

Furniture Workshop with students and staff of Zeppelin University, Friedrichshaven in September 2016.
The triangular stools and mobile storage trolleys for so called in-between spaces (“Zwischenräume”) can be used for various purposes and formally quote the multifunctional new architecture.
Coming in 3 different heights, the stools can be arranged creating an auditorium situation with rising levels, they can be used as side tables or stacked to save space.

In collaboration with Karen van den Berg and Ulrike Shepherd of Zeppelin Universität.

Centro cultural, canteiro aberto

Designed in the early twentieth century by portuguese immigrant Francisco de Castro, the village is a witness of the change of Sao Paulo. To reform it implies not only technical and architectural challenges, but also a public debate about the different conceptions of the city. Reform is here understood broadly: what to restore? How? For which uses?
Without an original plan, Vila Itororo incorporated existing homes, used materials of demolished buildings, took advantage of colonial and modern elements and grew through ‚‘ puxadinhos ‚‘.
Over the decades, about 300 people lived in the village and between 2006 and 2013, inhabitants resisted against the expropriation of the area, and won the right to stay in three buildings in the central region.
Throughout the restauration process we do not intend to return to a distant past or extricate itself of recent events; It is developed with the intention of working on the history of the site. This challenge is being put to all who wish to live, in the various forms, in the Vila Itororó. The structures presented are fruits of this necessity and structure the temporary cultural center at the construction site – a result of the collaborative workshop organized by ConstructLab, a group specializing in collective and temporary buildings.

As part of the ConstructLab, a collective workshop, construction and activation, i contributed the workshop for furniture and textile – flags.

mercato dei frutti minori

mercato dei frutti minori

mercato dei frutti minori

mercato dei frutti minori

Inspiration: Luminari

Inspiration: Luminari

Intervention of common building of the roof and market furniture with Alexander Roemer | Construct Lab.
Initiated by Luigi Coppola and Alessandra Pomarico.

parco dei frutti minori | free home University

Osthang Stools

Osthang Chairs

Osthang Chairs

Osthang Main Hall

Osthang Symposium

Summer School

Workshop Presentation

Wood Watering

Thonet Steam Oven

Bending

Chair Prototype

Chair Frames

Thonet Workshop

Stools

Chairs

Opening Food Preparation

Osthang Symposium

Symposium

Watering Basin

Bent wood furniture Workshop in collaboration with ConstructLab and atelier Bow Wow in the context of the construction of the mainhall of Osthang Campus during the experimental building Summerschool on Mathildenhöhe 2014.

Building together – thinking together – living together was the main theme of the Osthang Campus during the Darmstädter Architecture Summer.

Design, craftsmanship, and material have always been important topics at Mathildenhöhe. We collaborated with one of the world’s most renowned furniture producers on continuing this tradition. In its ‘mobile wood-bending unit’, Thonet was teaching its bentwood production techniques and supporting with construction of the chairs for the main event hall.

Construisine II c Fleur van Dodewaard

Construisine II c Fleur van Dodewaard

Construisine II c Fleur van Dodewaard

Construisine II

Construisine II

Construisine II Workshop c Constanze Flamme

Construisine II Workshop c Constanze Flamme

Construisine II Workshop c Constanze Flamme

Construisine II

Construisine II

Construisine II

Construisine II Connections

Construisine II Food

Klee Stool in Klee House c Fleur van Dodewaard

Klee Stool in Klee House c Fleur van Dodewaard

Klee Stool

As a primordial central place of creative production and communication, Johanna Dehio proposes the imaginary model of a fireplace, serving both as origin and nutrition for the experimental and interactive developement and as a workshop for the ideation of further projects.
To be able to bring live to the old masters houses and to make them useful mainly asks for the installation of a mutual exchange. The installation of the CONSTRUISINE (= workshop + fireplace) stands as a first step, where – as in every kitchen – matter is brought in and processed and developed using various tecniques. Thereby both, nutrition and construction materials as theoretical input are equally seen as matter. Throughout the process all this is beeing investigated, discussed and experimentally tested on possible appliances.

It is a main goal of the project, to stimulate an active communication through an invitation to common building and cooking, using and eating. Meanwhile central themes of the historic Bauhaus, such as craft manufactiure vs. industrial production can be discussed and referenced with actual streams like lokal production and social involvement. Further, the possibilities of arguing and treating the cultural heritage between museum context and real actual and located needs can be discussed.
Possible products can range from researches, projects, design developements to situations or recepies all asking for a playful interaction and communikation between people, object, space and surrounding.

Every creative process is asking for the definition of a framework and the set up of a specific working situation as a first step. The basic set up of the CONSTRUISINE consists of a mobile workshop- and cooking situation. All parts have incorporated a certain function such as the manufacturing of simple pieces of furniture using simple connection methods or the cooking of simple recipies that are doable for everyone.

Based on a study of different aspects of improvisation which are consistently serving as an impulse and inspiration for Johannas work, she is concerned with the substance of relationships between the user and the object which implicates a responsibility for the things.
She creates objects that are characterized on a functional level by open and accessible structures that provoke interaction. On an artistic level the inspiration through improvisation leads to a form-language that combines various materials and surfaces with a plain and clear design.
She is currently researching the fireplace as a referencial model for creative process both on a practical and theoretical level.

Exhibition: 12. 12. 2013 – 16. 03. 2014
http://www.bauhaus-dessau.de/

Theatre Audience, Arte Util Stools

Museum of Arte Util

A-Legal Office

Archive

Rocking Chairs

Entrance

Archive

Wooden Ring

Room of Controversy

Arte Util Team

Stool

Marriage

Theatre Audience

A-Legal Room

On December 7 the old building of the Van Abbemuseum becomes the Museum of Arte Útil, a place where art’s use value and social function will be analysed. Museum of Arte Útil is initiated by the artist Tania Bruguera, developed with the Van Abbemuseum and constructLab and realised by its users.

Arte Útil in Spanish roughly translates as ‘useful art’ but it goes further suggesting art as a tool or device. The Museum of Arte Útil will present an archive spanning nearly two centuries. These case studies imagine, create and implement beneficial outcomes by producing tactics that change how we act in society. Some of the case studies will be activated by users of the museum, whilst others will be analysed and debated.

How do we ‘use’ the museum? How can it become a site of production, and output? Through this project the museum aims to transform the museum, with a fixed set of attributes, into a Social Power Plant. At the project’s core is the Arte Útil archive, which tracks a significant and growing development in artistic practice. This archive provides the fuel for the Social Power Plant where it can be activated through use, analysis and debate.

As part of the ConstructLab, a collective construction and activation Moment, i realised together with the other members the design, developement and construction of the Museum scenography and furniture.

CONSTRUISINE

CONSTRUISINE food preparation

CONSTRUISINE

CONSTRUISINE kitchen

CONSTRUISINE Team

CONSTRUISINE Visitors

CONSTRUISINE

CONSTRUISINE

CONSTRUISINE food

CONSTRUISINE food

CONSTRUISINE food

CONSTRUISINE food

CONSTRUISINE visitors

CONSTRUISINE visitors

CONSTRUISINE food

CONSTRUISINE

CONSTRUISINE timetable

CONSTRUISINE workshop

CONSTRUISINE

CONSTRUISINE

Within the framework of Vienna Design Week 2013 ‚Stadtarbeit‘, designers Johanna Dehio and Dominik Hehl initiated a project named CONSTRUISINE.

CONSTRUISINE is an open kitchen / furniture workshop built on a public square in the centre of Vienna. It invites neighbors and passers-by to build furniture and cook food according to suggested recipes and templates. For the designers construction materials and nutrition can be regarded equally as elementary basics for creation.
They are seen as essential components of our daily existence. The practice of building and cooking are similar in their use of tools, measurements and improvisational thinking. CONSTRUISINE interweaves both activities and transforms the Sankt Elisabeth Platz in Vienna into a temporary creative meeting point.

CONSTRUISINE is a public low-cost, consumption-conscious, temporary initiative. All raw materials, both ingredients and construction materials, where obtained through donations from local businesses. The basic set-up consists of working- and kitchen desks, that through their design conduct their users into a self-explanatory production process. Through these tools the designers propose simple food and furniture recipes, based on clever use of recycled materials, that inpsire people to participate and develop their own. Workshops and food are distributed free of charge.

For the construction and maintenance of CONSTRUISINE the designers work closely with a group of youngsters from a local Caritas-program. During opening times designers are present to accompany visitors with cooking and constructing furniture. The program includes children workshops in cooking and furniture building.

Project team: Johanna Dehio, Dominik Hehl, Lukas Heraut, Franziska Lutze, Omar Nazif, Tomasz Polanski, Camille Riboulleau, Alexander Römer, Rieke Vos.

Casa do Vapor

flying Sardinha

Casa do Vapor Stools

Casa do Vapor Stools

Lagre Sardinha

Wooden Shoes

Wheel Chair

Casa do Vapor Furniture

Large Sardinhas

Rocking Sardinha

Sardinhas

Casa do Vapor Stools

Casa do Vapor Stools

Casa do Vapor Stools

Casa do Vapor

Casa do Vapor

Casa do Vapor Kitchen

Casa do Vapor

Flying Fish

Casa do Vapor

The furniture and objects arise from an observation of the main two characteristica percieved in Cova do Vapor: the ongoing project, a free place for people from the village and from abroad for meeting, discussing, projecting, producing and simply being on the one side and the strong impression of nature and the low complex cultural structures of the village on the other side.

The objects aim to create a relationship between the people, between people and objects and between objects and the place in various ways. Formally, the objects are all based on the graphic sign, the V. A and the Sardinha (><> <><).

Two big sculptural sardinhas for one or many people to sit or lie on are swimming in the sand dune towards the sea, the third sardinha turning into a see-saw for children to play on.

A swarm of little stools inviting to playfully form a circle or other shapes and signs and representing as much as serving to a group of people always in interaction with each other.

The wooden shoes that are made for walking in the sand and traditionally used by fishermen – in the shape of a sardinha, leaving the sign in the sand – as a proposal for a small series production involving the people.

And finally the three dimensional flying sardinha, simply relating to this phantastic position with the feet in the sand at the coast in the wind, this place that offers the best sardinhas in the world!

Furniture and products designed and produced together with inhabitants and project members during a ConstructLab at Casa do Vapor in the framework of Lisbon Triennale 2013.

Exhibition Window

Exhibition Window

Exhibition Window

The „work-show“ at the window gallery, curated by VIENNA DESIGN WEEK, shows studio and production prototypes that deliver insight into the work of Berlin based designer Johanna Dehio.

„Assemblage“ introduces themes that Johanna Dehio engages with in her work: based on a study of different aspects of improvisation which are consistently serving as an impulse and inspiration for her work, she is concerned with the substance of relationships between the user and the object which implicates a responsibility for the things.

She creates objects that are characterized on a functional level by open and accessible structures that provoke interaction. On an artistic level the inspiration through improvisation leads to a form-language that combines various materials and surfaces with a plain and clear design.

Pieces

Pieces

Pieces

Material Gallery

Material Gallery

Pieces

Workshop

Workshop

Workshop Participant

Food

Sound Workshop with Randolf Pirkmayer

Material

During the artist residency in Vienna in autumn 2012, Johanna Dehio invited the public to participate in her research project „Furniture – Improvisation“. Starting from a setup of possible materials and processes, the furniture for the evening event was created conjointly.

The basic idea of the project was to confront people with the loss of their relationship with the objects they are surrounded with and thereby giving an impuls to rethink consumtion behaviour – by being part of the production process.

The setup of the gallery was made of deliberately pre-cut pieces of reused wooden sheets coming from former installations or art pieces of the museum, adding up to a mix of various shapes, surfaces and colours. People were invited and encouraged to find pieces they personally like and to combine them with the given techniques to create their own piece of furniture.

Scenography and Design of the meeting point of the exhibition „Mapping the Design World“ by belgian Curator Max Borka during RECIPROCITY Design Biennale in Liége, Belgium, 10/2012.

in cooperation with Max Borka and Dominik Hehl

Exhibition Design of display cabinets.
„Schreiben und Bauen, der Nachlass von Hermann Muthesius in Werkbundarchiv – Museum der Dinge“, Berlin 4/1012

“from makeshift solutions to product development”

Love them or hate them: one encounters makeshift solutions everywhere!

In her diploma thesis, Johanna Dehio questions what might be the unique beauty in makeshift objects; and furthermore, what could be learned from them for her own product development and adopted from their specific charm.

The project was based on a research and analysis of terms which apply to the use of makeshifts and their development, such as: improvisation, perfection and imperfection, and the esthetic of the imperfect, participation, play…
Readiness to improvise and an open-minded approach are important preconditions in her design method. The outset is the approach: honing the perception of the positive aspects of spontaneously created solutions and recognising their beauty. The result is a series of drafts describing a feeling of openness and ease.

The ‘Hockerbank’ ( = stool-bench) is inspired by makeshift seating. The series consists of several stools, which are supplemented by a plank with round cut-outs; and round tables, which can be transformed, in the same manner, into a long table.

The “Kleiderstiele” ( = clothing-sticks) constitute a simple form of coat rack: clothing is hung upon hooks located at the end of long rods which are, without any mounting, leaned against the wall.

The “Drahtbank”( = wire-bench) consists of metal frames of a stool, a chair and a table which are completed by the user combining them with one’ s preferred material; planks, boards, old wooden panels… The bench allows for many variations and asks for the user’s involvement.

Also inspired by makeshift situations, the “Wandwinkel”( = wall-angles), composed a sideboard and mirror, require only the correct inclination and the support of a wall.

Johanna Dehio was born in Munich and currently lives and works in Berlin. She studied product design at the University of Applied Sciences in Potsdam and the University of Arts in Berlin. Along the way she realised cultural projects and exhibitions in Berlin and Milan. She also gained practical experience working for Jerszy Seymour in Berlin and Richard Hutton in Rotterdam.

exhibition: october 4th to october 6th, 12 – 6 pm
opening: saturday, october 2nd, 7 – 10 pm
gallery: erstererster, Pappelallee 69, 10437 Berlin

„13 designers, 7 days, 1 material
Transalpinos dedicated theme this year is »Open Progress«. During one week in the gallery 13 designers will design, develop and make objects from wood veneer, collaborating and exhibiting the process. The group will serve as a source of inspiration and support. The German-Italian group Transalpino meets every year to collaborate on a joint topic, exhibiting in Berlin and Milan.“

Erstererster Gallery Berlin

Project team: erstererster, Christof Flötotto, Dominik Hehl, Anne Boenisch, Sven Funke, Benedigt Gnadt, Christoffer Martens, Valerie Otte, Johanna Dehio, Johannes Laue u.a.

„Transalpino 08 combines Italian and German customs, presenting and debating products in and around the theme of dining. A bicultural object study that focuses on the individual designer’s view of major and minor matters of hospitality. In addition to the exhibition, Transalpino is offering an exclusive dinner and discussion. Welcome!“

DMY, Berlin and Bar Basso, Milan.

Project team: erstererster, studio dotdotdot, Christof Flötotto, Peter Hils, Johanna Dehio, Masaru Ishikawa, Francesco Rodhrighiero, Johannes Klein, Anne Boenisch, Sven Funke, Benedigt Gnadt, Christoffer Martens, Valerie Otte, Karen Olze u.a.

„30 designers, both young and professionals, were invited to design a Coathanger, a low complex every-day-object which reflects the individual views on design and shows the variety in production-methods.

The exhibition titled TRANSALPINO 07 describes the transcultural exchange between Berlin and Milan. The aim of the project is to explore the design potential of the two countries: through workshops, meetings and performances that will help exchanging ideas, projects and intuitions.“

Project team: erstererster, studio dotdotdot, Christof Flötotto, Julian Appelius, Peter Hils, Johanna Dehio, Oliver Otto, Masaru Ishikawa, Francesco Rodhrighiero, Johannes Klein, Anne Boenisch, Sven Funke, Benedigt Gnadt, Christoffer Martens, Valerie Otte, Karen Olze u.a.

The lecture series „platform d“ deals with various themes touching all fields of design. It‘s main goal being on the one hand to encourage the exchange of experiences among designers, on the other hand the examination of interesting overlaps with other disciplines. Another important subject matter of the talks are the conditions and challenges in the different areas of design, focussing especially on the cultural environment of Berlin as a creative capital.

Among the guest lecturers:
Herbert Jakob Weinand (Designer und Prof. Berlin), Axel Kufus (Designer, Prof. UdK Berlin), Markus Keichel (Designer: Läufer&Keichel, Berlin), Judith Seng (Designer, Berlin), Peter Unzeitig (Designer, Hamburg), Christian Gänshirt (Architekt und Autor, Berlin), Norbert Palz & Robert Banovic (Targedesign, Berlin), Peter Hils (Designer, Berlin), Sohrab Zafari (Designer, Berlin), Rupert Kopp (Greige Design, Berlin), Flip Sellin (Designer, Coordination Berlin), Mark Kwami (Designer, Berlin)…