Deep in the southeast corner of Germany is the picturesque town of Ramsau, about 15 minutes west from Berchtesgaden. Completed in 1512, the town’s St. Sebastian Parish Church provides a human and transitory counterpoint to the much longer geologic timescale of the surrounding Northern Limestone Alps with an age of about 250 million years. It’s no surprise that the visual church-mountain combination is a popular photographic motif.
I made the photo above on 26 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/1000-sec, f/14, ISO1000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins DOT com as https://wp.me/p1BIdT-glI.
Who: Margarete Schütte-Lihotzky.
Key: 1st woman architect in Austria, designer of something we take entirely for granted.
Quote: “I developed the kitchen as an architect, not as a housewife.”
Where: MAK Vienna.
I always liked how cooking had well-defined endpoints: a desirable start, and a satisfying conclusion. I enjoy the process: the contemplation of “what to make,” the gathering of ingredients, the preparation, and naturally, the consumption. There might also be something to say about the duality of creation and annihilation …
That got me to thinking about kitchens as a critical unit of a home. Before the 20th-century, the wealthy could afford to have staffed kitchens; everybody else had access to no kitchen or an unsafe unhygienic kitchen in a building separate to their living quarters. The assumed universality of a kitchen within a home is a 20th-century concept and implementation that sought to overcome social and economic class. The design of a modern kitchen invites repeated patterns of movement and action around where cookware, utensils, condiments, glassware, etc. are stored and where the central focus of cooking activity takes place.
For everyone who spends any time in a kitchen, we have Margarete Schütte-Lihotzky to thank.
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