AN EXPERIMENT IN WINDOW DISPLAY ElN EXPERIMENT IN DER SCHAUFENSTERGESTALTUNG UNE EXPÉRIENCE DANS L'ART DE L'ÉTALAGISTE George Him with De Bijenkorfs display staff George Him mit Dekorateuren von De Bijenkorf Georges Him en compagnie de deux étalagistes Charles Rosner: o This is the story of how George Him created "The Wealth of the World" as portrayed in 18 windows for the inaugu ration of the new building of De Bijenkorf the Dutch department store. It was an experiment in designing at a distance and the article tells how their able display staff gave substance to his vision through their imaginative understanding, appli cation and animation. Editor o Dies ist die Geschichte der 18 Schau- fenster des hollandischen Warenhauses De Bijenkorf, die George Him unter dem Titel »Der Reichtum der Welt« von London aus 2ur Eröffnung des Neubaues schuf. Die leistungsfahige Dekorations- abteilung des Warenhauses arbeitete nach seinen Weisungen und führte mit Geschick das Experiment zu einem vol len Erfolg. Redaktion o C'est ici l'histoire des 18 vitrines in- ventées h Londres par George Him, sous le titre générique de «La Richesse du Monde», pour l'inauguration des nou- veaux grands magasins de La Ruche De Bijenkorf) a Rotterdam. L'excellente section décorative de la firme ceuvra en fonction des directives de l'artiste et, par son adresse, fit de cette expérience un plein succès. Redaction [Dcutscher Text: Seite 524] [Texte frar.gais: page 527] Rotterdam has always been Holland's window onto the open sea. It is one of the most thriving ports of Europe, with ships bringing in goods from the four corners of the earth and going out loaded with merchandise to foreign parts. It is significant too that here was the seat of the clear-thinking Erasmus and his Liberalism. When the Luftwaffe set out in May, 1940, it sought not only the physical devastation of Rotterdam's famous square mile, but an extermination of free thinking and progressfree thinking which is the driving force behind the re-creation of its ruined city centre. Here in the past few years buildings of remarkable architectural and functional merit have been going up, and now comes the new building of De Bijenkorf, the renowned department store, built to the plans of Marcel Breuer, who took the 'Beehive' symbol as the basis of his structural conception. Fascinating, like a late twentieth-century fortress, this erection has glass display panels at street level, recessed under the overhanging building. The all-weather continuity of windows looks like a stage. Under C.E. L. Nolten, their able publicity manager, De Bijenkorf has a full-scale display department which pro duces almost week by week a great variety of contemporary window displays of a high artistic standard. The same principle of internationalism which governed the owners in commissioning a foreign architect must have prompted them to make the inaugural windows not only one of many competent sales displays, but also a gesture of goodwill: their choice fell on George Him as the designer of their windows onto the world. He tells a contemporary fairy tale, each window presenting as it were an illustrated page of a picture book. Indeed, this was the form in which his visual was [Continued on page S58]

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