Monografie?
Autobiografie?
Biografie?

Auf dem Rücken dieses Buches steht „Monografie“. Und das, was damit versprochen ist, wird gehalten. Die Arbeiten von Gert Weber von 1967 bis heute sind hier zum ersten Mal nahezu vollständig dokumentiert. Soweit die Monografie. Liest man dann die Kommentare zu den Möbeln, den Einrichtungen und der Architektur, dann sind diese jedoch unverkennbar biografisch gefärbt.

Vom schönen schlanken Hochschrank erfahren wir zunächst einmal, dass er dem gerade geborenen Sohn Max gewidmet wurde. Ähnlich werden die anderen Arbeiten in einen biografischen Zusammenhang gestellt. Voll und ganz ins Autobiografische gerät, wer vom schwarz gedruckten monografischen Teil zu den rot gedruckten Kapiteln wechselt. Hier findet sich der Leser mitten in der Weber’schen Autobiografie. Drei ausführliche Kapitel über drei Frauen zeugen davon.

Wer das Leben gerne übersichtlich vor sich liegen sieht, wird es mit diesem Buch nicht ganz leicht haben. Obwohl Typografie und Grafik es wunderbar großzügig und klar strukturieren, fließen Leben und Werk von Gert Weber ineinander. Es ist auch nicht sinnvoll, das Autobiografische und die Arbeiten Webers voneinander zu trennen. So ist der Mann nun einmal nicht. Seine Lebens- und Schaffensphasen sind in immer neuen, zuweilen reichlich verwickelten Zusammenhängen verbunden. So streng und konsequent die Arbeiten sich selbst präsentieren, so impulsiv und unbekümmert zieht Weber seine Lebenslinien.

Ähnlich widersprüchlich verhält sich auch die handwerkliche Genauigkeit, die in allen Arbeiten zu spüren ist, zur Lebenslässigkeit und zum hedonistischen Talent ihres Schöpfers. Wahrscheinlich haben wir es hier mit der klassischen Paarung von Gegensätzlichkeiten zu tun, wie sie sich bei Kreativen gerne zeigen.

Es braucht den ordentlichen Leser also nicht zu grämen, wenn er sich nicht entscheiden kann, ob er es mit einer autobiografischen Monografie oder einer monografischen Autobiografie zu tun hat. Am Besten, er nimmt Gert Weber als einen Mann, der gern und ungewohnt offen erzählt und lernt dabei, dass Arbeiten, die durch ihre Sachlichkeit, Kühle und Souveränität überzeugen, nicht unbedingt auch einen Lebensweg voraussetzen, der sich an Geraden und rechten Winkeln orientiert.

Neben einem spannenden Lebenslauf und der Gesamtschau der Weber’schen Arbeiten bietet das Buch dem Leser deshalb noch eine sehr persönliche Ermutigung: Das zu tun, was man zu träumen gewagt hat.

Gernot Wüschner

 

Gert Weber – Life & Work

To encompass the œuvre of Gert Weber stretching back over the past forty years means leaving the spoken and written word behind and instead diving into the senses – all the senses at once. His work is an invitation to see, to touch, to feel and, finally, to explore the space within and around us.

It is impossible to talk of a career. That would be too simple for such a complex vision. Life and work continually intermesh. But it is his projects that best express the unusual trajectory of his life, with its highs and lows, its delights and sadness, its insights and revelations. His works ultimately give a sense of bringing everything together where what is in his mind and its material expression are at one.

What comes first is never easy to know. Did the way Gert Weber lived his life shape the work or was it the other way around? In retrospect, his individual cosmos has long had a unity with some key features at its core: simplicity, proportion, a passion for detail and quality, but also a surprising edginess.

Gert Weber is an architect driven by curiosity. He understands his mission to communicate and create a dialogue within archetypal principles. His well-crafted work exudes a calm presence, yet it resonates and inspires. You want to touch it and what you see and feel then becomes one. His ideals are materially translated into spaces for life, for work and even act as a showroom. You experience it as a playground, and living with it, as I do, the private and professional intertwine. Your body in these spaces feels open and giving.

He has a great feeling for materials: stainless steel, leather, wood, glass, stone. He tries to bring out the best in them, whether creating a home in which to feel at home, a flat, a house, a penthouse apartment, or an office to work in, even a mobile one.

The aim is to provide comfort and to create surroundings that encourage people to go beyond their own imagination. The resulting spaces have precious objects, yet also enough emptiness to enable us to take a long, deep breath. These skilful interventions allow each space to radiate a sense of freedom whilst focusing us on the essentials. The spaces he creates seem to expand and convey both individuality, lightness and even a touch of glamour. Neither more nor less.

Gert Weber is a craftsman. He loves function and beauty simultaneously. Function guides everything he does. His sense of balance gives the projects proportion. Often they feel perfect – there is nothing to add and nothing to get rid of. This gives his work a kind of nobility. He seems to exude an inner strength which eases itself into the way he uses and combines materials. This lends Weber’s work a special sensitivity and unique sensuality.

It is quite unusual for someone with such strong inner motivation, reliable intuition, thoughtfulness and a straight way of thinking and performing to have no philosophy in his work. Yet Gert Weber does have a philosophical personality. It is just craftsmanship following its idea – this is how he explains. A very simple formula indeed, but one that requires natural talent and a lifetime of experience where the inner life is let out and expressed in form. Weber is primarily an observer and listener and prefers to let his products do the talking. This enables him to create timeless values from the objects he designs.

His products are antiquities for the future. They have a quiet vibrancy, which comes from a profound understanding of his materials; they seem to speak to him. Every object has a subtle something that makes the apparently ordinary extraordinary. His signature is sensed at first glance.

Standard, Weber’s company name, speaks of his ambition to create his own standard of quality and his own currency. It suggests permanence and credibility. The objects are contemporary and yet timeless, and could therefore already be in an antique shop.

Gert Weber’s life, his work and the spaces he makes and shapes are interconnected and inseparable. This is how he understands the world and humanity, so customers become friends and friends become customers. It also affects how he goes about his work. Weber needs to grasp and encapsulate the precise context for living of those he works with, the kind of interaction that will take place. This brings about the necessary coherence.

The intention of Gert Weber’s work is communicated so well because of his vast experience as a craftsman, his introspection and deepening perception and insights over time. There is a sense of empathy, of the parts and whole being one, of unity in diversity, of timelessness or the permanence of change. How these processes of communication are stimulated and how ideas get transmitted is only now being understood by science. But perhaps none of that matters; instead we should enjoy Weber’s work without asking questions.

Life is not a straight line, it is far more a space filled with curves reflecting our ups and downs. Each period of life has differing qualities and sources of inspiration. For Gert Weber, the essential source of inspiration throughout his lifetime has been the Feminine. It is not surprising, therefore, that this monograph is dedicated to the Feminine principle – the only permanence in Gert Weber’s life.

Aleksandra Weber