Bernd ribbeck biography of rory

At an exhibition curated by Mies van der Rohe at the Weissenhofsiedlung in Stuttgart in 1927, Bruno Taut, the leader of the secret society Die Gläserne Kette and one of the guest architects, designed a pavilion with multicoloured external walls and ceiling.

Naturally, this riot of colours attracted broad disapproval, in particular from the architect of the adjoining pavilion, who was none other than Mies himself. The colours were reflected excessively on the orthodox façade of the modernist’s work, who expressed first his reservations and soon his anger.

Taut responded to the attacks, saying: “If my project is not in accord with the others, that’s a fairly good sign, it doesn’t mean that the colours have been poorly used, simply that the neighbouring pavilions simply haven’t been finished.”

Nearly one hundred years later, Bernd Ribbeck’s small untitled paintings of the progression of a multicoloured geometric motif, representing a greatly simplified architectural feature flirting w