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When Anni Albers began weaving at the Bauhaus in the 1920s, little did she know that her geometric patterns would one day adorn the doors of a hospital in rural Senegal. Shadows play across the surface of the staggered wooden blocks set into the doors of Tambacounda’s new maternity and paediatric ward, creating a woven effect echoed by the pattern of dappled sunlight streaming in through the perforated brick walls. These are small details, but they go some way to lightening the ordeal of being here, poetic touches that make the clinical environment feel like a place of care.
The art-world-philanthropy-complex works in mysterious ways. One hundred years since Anni and her husband Josef Albers met at the radical Weimar design school, the construction of a new hospital has been enabled, thousands of miles away, by the astonishing sums that their work now sells for, along with the fundraising power their name commands. Located in one of the hottest places on the planet, yet designed to function without air conditioning, the result is a building that aptly embodies the German duo’s philosophy of “minimal means, maximum effect”. And it happened almost by chance.
“It’s thanks to my dermatologist in Paris,” says Nicholas Fox Weber, the energetic American art historian who has run the Albers Foundation since Josef’s death in 1976. “One day he told me that he had started a small non-profit organisation to help hospitals in Senegal. I asked if I could go with him on his next trip. Six weeks later we arrived in Tambacounda with supplies: a suitcase full of blood and hundreds of toothbrushes.”
We will claim the heritage of a perfect environment with all our strength in the media for the next generations.
When Anni Albers began weaving at the Bauhaus in the 1920s, little did she know that her geometric patterns would one day adorn the doors of a hospital in rural Senegal. Shadows play across the surface of the staggered wooden blocks set into the doors of Tambacounda’s new maternity and paediatric ward, creating a woven effect echoed by the pattern of dappled sunlight streaming in through the perforated brick walls. These are small details, but they go some way to lightening the ordeal of being here, poetic touches that make the clinical environment feel like a place of care.
The art-world-philanthropy-complex works in mysterious ways. One hundred years since Anni and her husband Josef Albers met at the radical Weimar design school, the construction of a new hospital has been enabled, thousands of miles away, by the astonishing sums that their work now sells for, along with the fundraising power their name commands. Located in one of the hottest places on the planet, yet designed to function without air conditioning, the result is a building that aptly embodies the German duo’s philosophy of “minimal means, maximum effect”. And it happened almost by chance.
“It’s thanks to my dermatologist in Paris,” says Nicholas Fox Weber, the energetic American art historian who has run the Albers Foundation since Josef’s death in 1976. “One day he told me that he had started a small non-profit organisation to help hospitals in Senegal. I asked if I could go with him on his next trip. Six weeks later we arrived in Tambacounda with supplies: a suitcase full of blood and hundreds of toothbrushes.”
