Therese of Bavaria as a pioneer of ethnology

Building design
Therese of Bavaria, portrait in pastel - a researcher between the courtly world and scientific awakening. Photo: Public domain, via: Wikimedia Commons
Therese of Bavaria, portrait in pastel - a researcher between the courtly world and scientific awakening. Photo: Public domain, via: Wikimedia Commons

Her research trips took her to the remotest corners of the world and her scientific publications established a reputation far beyond courtly conventions: Therese von Bayern was one of the most remarkable research personalities of the late 19th and early 20th centuries. As an ethnologist, zoologist and botanist, she collected artifacts, plant samples and ethnographic observations on four continents, which are still preserved in museums and scientific archives today. Her life impressively disproves the cliché that women of the aristocracy in the Wilhelmine era only took on representative roles.

The second half of the 19th century was an era of scientific awakening. Evolutionary theory, colonialism and the institutionalization of new disciplines such as anthropology and ethnology fundamentally changed the European view of the world. In this intellectual climate, it was possible for women to enjoy education, but it was hardly possible for them to conduct seriously recognized research at universities. This makes the life of a Bavarian princess, who overcame this contradiction through exceptional discipline and scientific ambition, all the more astonishing.
Therese of Bavaria, born in 1850 as the daughter of Prince Regent Luitpold in Bavaria, grew up in an educational environment that gave her access to scientific literature and languages. She learned Latin, several modern languages and the basics of botanical and zoological systematics. But it was her extensive travels that transformed her self-taught knowledge into practical research.

The journeys: Field research as a life’s work

Between 1888 and 1908, Therese von Bayern undertook a total of eight major research trips, which took her to South America, North Africa, Mexico and the Scandinavian countries, among other places. Her expeditions to Brazil and the Andes region in particular are considered scientifically significant. In Colombia and Ecuador, she traveled to areas that were virtually unexplored by European researchers, documenting indigenous cultures with a care that commanded the respect of even professional ethnologists of her time.
She amassed extensive collections on these trips: Ethnographic objects such as textiles, ceramics, tools and ritual objects from indigenous peoples of South America, including artifacts from the Quechua and other Andean communities, came to the Munich Ethnographic Museum (now the Museum Fünf Kontinente) through her mediation, enriching its holdings in a lasting way. At the same time, she described hundreds of plant and animal species and created herbarium specimens, adding important new objects to the zoological collections in Munich. Some of the animal and plant species she collected or described were named after her, including the plant species Macairea theresiae and the iguana Microlophus theresia – a scientific recognition that was extremely rare for women at the time.

Method and writings: Between systematics and empathy

What set Therese von Bayern apart from many of her contemporaries was her methodical awareness. She did not limit herself to merely collecting objects, but sought to understand cultural contexts. Her observations of the everyday culture, social structures and religious practices of the societies she visited are characterized by a restrained judgement that was unusual for the time. Rather than subordinating the cultures she visited to Eurocentric, progressive thinking, she described living environments with a level of detail that showed respect for the foreign.
Her travelogues, including the multi-volume work Meine Reise in den brasilianischen Tropen (1897) and the study Reisestudien aus dem westlichen Südamerika (1908), combine factual observation with personal reflection. The texts were well received in specialist circles and cited in ethnological and botanical journals. Therese von Bayern was one of the few women of her time to be awarded honorary doctorates for her scientific achievements, including one from the University of Munich in 1897 – an act which, given the social circumstances, was tantamount to a symbolic declaration of principle.

Reception and significance: a researcher between the eras

The classification of Therese of Bavaria in the history of science remains complex to this day. On the one hand, she undeniably stood in the context of European colonialism: her collecting activities followed a paradigm that treated indigenous knowledge and material culture as objects of research and rarely took the voices of the affected communities into account. She shares this limitation with almost all Western ethnologists of her generation. On the other hand, her texts bear witness to an epistemic curiosity that transcends mere interest in appropriation. She occupies a prominent position in the gender history of science. As a woman from the high nobility, she transcended social boundaries in a way that was even more unthinkable for middle-class women – and in the process created a body of work that forced institutional recognition. Recent research in the field of postcolonial studies and feminist history of science is rediscovering her work and asking what is visible between the lines of her careful descriptions.
The fact that Munich museums today include parts of her collections in debates about restitution and provenance research is a sign of how alive her legacy has remained. Therese von Bayern helped shape the history of science in the late 19th century – as a collector, author and researcher whose work should neither be romanticized nor ignored, but should be read in a differentiated way.

POTREBBE INTERESSARTI ANCHE

Change of perspective – from art to architecture

Building design

The exhibition "Metamorphosis" by architect Heike Hanada can be seen at the Architekturgalerie Berlin until June 22.

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition. The white walls are not covered in sketches and drawings, nor is the gallery transformed into a […]

If you leave the loud noise of the traffic on Karl-Marx Allee behind you and enter the main room of the Architekturgalerie Berlin, you immediately realize that the current exhibition “Metamorphosis” is a particularly “quiet” architecture exhibition.

The white walls are not overlaid with sketches and drawings, nor is the gallery transformed into a landscape of installations or sculptures.

Rather, the space evokes the association of an art exhibition through the abstraction and targeted placement of individual photographs and models, emphasizing the handling of space, emptiness, materiality and object.

The “Metamorphosis” exhibition opened on May 9 – exactly four weeks after the opening of the Bauhaus Museum in Weimar.

One hundred years after the founding of the state Bauhaus school by Walter Gropius, the Bauhaus Museum by architect Heike Hanada has now been opened in Weimar. A place that shows the collected works from the first phase of the school of design and revives the Bauhaus’ love of experimentation and culture of ideas. The museum aims to emphasize the workshop character of the Bauhaus through its rough concrete walls.

In a similar way, Hanada combines the spirit of experimentation, art and architecture in the “Metamorphosis” exhibition. The exhibited works show parts of the Bauhaus Museum’s development process and the connection between the spirit of experimentation, art and architecture.

The architect borrows the term “metamorphosis” from geology, botany, zoology and mythology. There, “metamorphosis” is defined as the transformation or metamorphosis of one object or state into another. Heike Hanada draws on this process of transformation in her exhibition. In this sense, for example, a vacant plinth is transformed into a sculpture and the concrete block in turn becomes a plinth.

The composition of the exhibition objects does not seem to follow any particular order. Instead, the individual objects appear to communicate with each other. As if it were a matter of course, a study work by Hanada hangs directly next to a photograph of the finished Bauhaus Museum in Weimar.

The result is a flowing transition between experiment and completion, work and process, art and architecture, which Hanada depicts in drawings, models, a video installation and photographs by Andrew Alberts.

Healing architecture: “The sick house” exhibition

Building design
A building complex with several houses with flat roofs, large window areas and partly with wooden cladding. Credit: Agatharied District Hospital, © Nickl & Partner, Photo: Stefan Müller-Naumann

What does healing architecture look like? For the exhibition "Das Kranke(n)haus", TUM students analyzed several examples, including the Agatharied district hospital by Nickl und Partner. Credit: © Nickl & Partner, Photo: Stefan Müller-Naumann

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

Houses help to heal – this is a brief summary of the core message of the current exhibition at the Architekturmuseum der TU München. Based on scientific studies, the show is dedicated to hospital construction and how its design can influence the well-being of patients. There is not only something to see and read in the exhibition, but also something to smell.

At first glance, the wall looks almost like any other. However, an elongated, rectangular surface stands out slightly from the white in terms of color and texture. What is special about this surface is that if you run your fingertips over it, it activates odor molecules. The wall begins to smell; the scent is reminiscent of earth or moss, mixed with something else, harder to name. The installation “MAKING SENSE” by Norwegian artist and smell researcher Sissel Tolaas can be smelled in an exhibition about hospital architecture. When designing hospitals, the olfactory backdrop is one of several factors that can influence how the architecture affects the well-being of patients. On the wall in the exhibition, Tolaas’ installation is now intended to make “healing smells” tangible for visitors.

On July 11, the Architecture Museum of the Technical University of Munich opened the exhibition “Das Kranke(n)haus. How architecture helps to heal”. It is about the architecture of hospitals and the effects – both negative and positive – that these buildings can have on people. In short: how appropriately designed architecture can help sick people recover. The exhibition was curated by architectural psychologist Tanja C. Vollmer, Director of the Museum of Architecture Andres Lepik and Lisa Luksch, research assistant at the Chair of Architectural Theory and Curatorial Practice. Federal Minister of Health Karl Lauterbach is the patron of the exhibition.

The background to the exhibition is also a shortcoming that has been recognized in hospital construction in Germany. After clinics in the 20th century were primarily geared towards efficiency and economy, flexibility and rationalization, the approaches of “healing architecture” are now focusing on people again. However, such approaches and “evidence-based design” – i.e. design based on scientific findings – are not yet widely enough recognized and applied in Germany, as the museum writes. The exhibition aims to encourage a rethink of the role architecture plays in the healthcare sector and the possibilities and tasks of hospital construction.

The installation at the beginning of the exhibition is almost like looking through an oversized keyhole into a hospital room. The wall on the left is mirrored; a green fabric panel is suspended in the room and separates a “room”. Through a large, circular cut-out in the fabric, visitors can see the head end of a hospital bed from behind. The few elements are enough to evoke associations with a patient’s room. The exhibition also provides insights into such rooms. And the show will be about something else that the installation may suggest. The cut-out in the fabric directs the visitor’s gaze. As you are standing behind the hospital bed, you are looking in the same direction and therefore have the same view as a patient in the bed. And the hospital bed faces the window front onto the meadow in front of the museum. Visitors take on the perspective of the patients.

The exhibition is divided into three sections. The first, entitled “Experiment”, presents therapy and aftercare facilities. Photos, plans, models and texts in German and English, displayed on large wooden stands, convey the examples. The title of the section refers to the fact that these facilities are less regulated, less technical and less complex than hospitals – and have therefore long been a field of experimentation for healing architecture, according to the museum. The buildings presented include the REHAB in Basel, a clinic for the rehabilitation of people with brain damage and/or paraplegia. The new REHAB building by Herzog & de Meuron opened in 2002. The project presentations are accompanied by large infographics on the side walls, for example on the lifespan of hospitals.

The second and central section of the exhibition is also visually different from the first. While the displays in the first section were curved and irregularly shaped, the supports for the examples in the second section are rectangular. The color scheme here is closely linked to the structure of the content.

Entitled “Evidence”, this section presents evidence-based design, as well as the “healing seven”. These refer to factors in the hospital architecture that can influence the stress experienced by severely and chronically ill patients. In order to reduce such harmful stress, these environmental factors can be taken into account when designing the buildings.

The Healing Seven are based on scientific research by Vollmer and architect Gemma Koppen. Over a period of more than ten years, they investigated the influence that the environment in hospitals has on the stress perception of seriously and chronically ill patients. Last year, Vollmer and Koppen then defined the following “healing seven”:

  • Orientation
  • Olfactory environment
  • Soundscape
  • Privacy and retreat
  • Power points
  • View and foresight
  • Human scale

In preparation for the exhibition, TUM Master’s students analyzed national and international hospital projects with regard to these seven factors. The 13 projects presented in the exhibition are each assigned to one of the healing seven. The color concept of the displays – each of the factors is assigned a color – picks up on this visually.

Among the projects presented in the second part of the exhibition is the Agatharied Hospital in Hausham, Bavaria, designed by Nickl and Partner and completed in 1998. International examples include the Friendship Hospital Satkhira in southwest Bangladesh by Kashef Chowdhury/URBANA (2018) and the Bürgerspital Solothurn in Switzerland by Silvia Gmür Reto Gmür Architekten (2021). In this section, visitors will also come across visitors standing unusually close to the wall – to smell the aforementioned olfactory installation by Sissel Tolaas.

The end of the exhibition is designed to be open, in the literal sense: in a so-called forum, visitors can exchange ideas with each other and with experts during their visit to the exhibition or in event formats. Literature on the topic is on display, and visitors can browse through it or discuss it at a large round table. Another olfactory installation by Sissel Tolaas in the form of several translucent fabric panels hangs at the end of this room; video clips are shown on screens behind them. In this forum, the status quo, solutions and a human-centered future of hospital planning and construction are to be discussed and shaped together, as the museum writes.

The exhibition at the TUM Architecture Museum in the Pinakothek der Moderne runs until January 21, 2024. The Pinakothek is open daily from 10 a.m. to 6 p.m. except Mondays, and until 8 p.m. on Thursdays.

“The sick house. How architecture helps to heal.”

Architecture Museum of the TUM in the Pinakothek der Moderne, Munich
July 12, 2023 to January 21, 2024
Curators and curators: Tanja C. Vollmer, Andres Lepik, Lisa Luksch
Curatorial and scientific collaboration: Zeynep Ece Sahin, Friedrich Mönninger
Exhibition architecture: IMS Studio and Friederike Daumiller
Graphic design: strobo B M
The exhibition is accompanied by a catalog.

Let’s stay on topic: the winning design in the competition for a new hospital in Liezen also uses the keyword “healing architecture”. More about the design by Franz&Sue with Maurer&Partner here: Liezen lead hospital