Rolf Lederbogen. Atomic images in graphics and architecture in a changing society

Sequential Representation of the Nuclear Fission Process. Copyrights: Werkarchiv Rolf Lederbogen, saai/KIT.

The philosopher Ernst Bloch, in his utopian work "The Principle of Hope" published in the 1940s, viewed atomic energy as the solution to all future civilizational concerns. However, the optimistic view of the new technical possibilities revealed itself to be a double-edged sword: On one hand, nuclear power symbolized humanity's long-standing dream of finally overcoming its dependence on nature. On the other hand, the world narrowly escaped the apocalyptic consequences of a global nuclear war during the arms race of the Cold War.

Amid this atmosphere of fear and progress, Karlsruhe's architectural education emphasized continuity. Alongside Egon Eiermann, one of the most important protagonists of post-war modernism in Germany, graphic artist and architect Rolf Lederbogen carried forward the ideals of modernism in his teaching. Building on the methodological legacy of the Bauhaus, Lederbogen operated in the interdisciplinary field of art, science, and technology, both in his work and in the closely related foundational teaching. He designed exhibitions, brochures, and logos promoting the peaceful use of nuclear energy. What was intended to serve enlightenment on one side meant the aestheticization of one of the most dangerous technologies on the other. But what influence did the nuclear lobby have on art, design, and architecture? To what extent was the mindset of technical progress reflected in the Karlsruhe School of Architecture—methodologically, conceptually, constructively, aesthetically? And how pronounced was utopian thinking in the teaching?

As a student at the Werkakademie Kassel, Rolf Lederbogen (1928–2013) was inevitably confronted with the traditions of the Bauhaus by Heinrich Lauterbach, Hans Leistikow, Hermann Mattern, and Ernst Röttgen. He embodied the ideal of the synthesis of artistic and craft practices, living both as a freelance graphic artist and as a university lecturer at the "Fundamentals of Architecture" chair at the Technical University of Karlsruhe. In the 1950s, he was involved in the planning for EXPO 58 in Brussels in the Urban Planning Department of the German Pavilion and, as a child of his time, was influenced by the technological progress and economic boom of the post-war period. Under these auspices, from 1964 to 1974, he developed the corporate identity for nuclear technology companies such as the lobbying association "Deutsches Atomforum Bonn" in freelance work and designed printed materials and conceptualized exhibitions on the theme of the "peaceful use of nuclear energy."

The research seminar is a cooperation between the Department of Architectural Theory and the saai. Based on materials from the work archive of Rolf Lederbogen, contemporary and historical theories, images, and questions concerning the cultural history of nuclear energy in architecture, art, science, and technology are the focus.

Prof. Dr. Georg Vrachliotis
Dipl.-Ing. Manuela Gantner