Currently writing my master thesis on an early La Tène period cemetery in the Traisen valley (Lower Austria), whilst being employed at the research project CATA (Celts Across The Alps). Supervisors: Peter C. Ramsl
Experimentelle Archäologie in Europa, Jahrbuch 2020, 2020
The Natural History Museum
Vienna worked together with a school for design in Vienna where objec... more The Natural History Museum
Vienna worked together with a school for design in Vienna where objects from the La
Téne period and the techniques used for creating them were translated into modern
design. Two projects were developed as the students' final graduation work, one concerning pottery, the other using screen-printing on fabric. The experimental approach was
hereby the key factor.
The subject wasn't just to recreate the La Téne pottery and imitate La Tène style on
textiles, but to integrate them into modern design and thus pave the way for a fresh
interpretation of them. Both projects focus on aesthetic aspects, but also on technical
innovation in an effort to rediscover the aesthetic design principles of the Late Iron Age.
The pottery project focuses on the traditional shape of the lentiform clay bottle and on
graphite slip. The result is a bottle decorated with a pattern inspired by the Hungarian
sword style in combination with one reminiscent of modern circuit plates. Another is
painted with graphite slip and decorated with the “animal pattern type” known from the
lentiform clay bottle of Matzhausen in Germany.
The textile fabric was screen-printed and quotes patterns and designs of various La Téne
period artefacts, reimagined into two-dimensional and continuous patterns. Each of these
objects was chosen to represent one of the La Téne style periods; the patterns thus
illustrate the evolution of the La Téne art styles.
Both works are an example of conveying museum pieces and the subject matter of
experimental archaeology, but also serve as a starting point for the discussion on how
knowledge about the archaeological artefacts, ancient technology and design can be
integrated into today's life and design.
23rd international conference KELTI / DIE KELTEN / THE CELTS, 2024
In the cemetery Walpersdorf located in the middle of the Traisenvalley, Lower Austria, a crematio... more In the cemetery Walpersdorf located in the middle of the Traisenvalley, Lower Austria, a cremation burial with an unusual combination of pottery has been investigated. The graveyard excavated in 1997-98 contains 23 Latène graves, mostly surrounded by circular or rectangular enclosures. The burial addressed here is situated inside one of the rectangular trenches in between the other graves, while clearly showing cultural differences. The findings include five different potteries, one bronze fragment and one iron brace. Regarding the origin of the pottery three different groups can be formed. The first one contains a bowl and a fragment with a burnished outer surface, both being black in colour due to graphite tempering. The bowl can be renounced as “geriefte Drehscheibenkeramik”. The second group includes a lentil shaped bottle and a small bowl which are red in colour while also containing graphite tempering. The two ceramics are the smallest of the ensemble and have been crafted on a potter’s wheel. They differ from the others not only because of their colour, but also due to their shape, since both of them have a sharp change of angle on the body. The third type is the urn which was quite obviously crafted by hand and is grey-brown in colour. It is decorated with broad ribs along the body. The grave seems to date to the latest Hallstatt period with influence from the Mediterranean expressed through the red pottery from group two, as well as a connection towards the south-east, since the urn finds its closest comparisons in the pottery of the Veckerzug culture. “Geriefte Drehscheibenware” has already been found in the nearby settlement of Inzersdorf-Walpersdorf (P. C. Ramsl 1998). The grave therefore raises questions regarding cultural influences at the break from early to late iron age and the spread of pottery technology.
Experimentelle Archäologie in Europa, Jahrbuch 2020, 2020
The Natural History Museum
Vienna worked together with a school for design in Vienna where objec... more The Natural History Museum
Vienna worked together with a school for design in Vienna where objects from the La
Téne period and the techniques used for creating them were translated into modern
design. Two projects were developed as the students' final graduation work, one concerning pottery, the other using screen-printing on fabric. The experimental approach was
hereby the key factor.
The subject wasn't just to recreate the La Téne pottery and imitate La Tène style on
textiles, but to integrate them into modern design and thus pave the way for a fresh
interpretation of them. Both projects focus on aesthetic aspects, but also on technical
innovation in an effort to rediscover the aesthetic design principles of the Late Iron Age.
The pottery project focuses on the traditional shape of the lentiform clay bottle and on
graphite slip. The result is a bottle decorated with a pattern inspired by the Hungarian
sword style in combination with one reminiscent of modern circuit plates. Another is
painted with graphite slip and decorated with the “animal pattern type” known from the
lentiform clay bottle of Matzhausen in Germany.
The textile fabric was screen-printed and quotes patterns and designs of various La Téne
period artefacts, reimagined into two-dimensional and continuous patterns. Each of these
objects was chosen to represent one of the La Téne style periods; the patterns thus
illustrate the evolution of the La Téne art styles.
Both works are an example of conveying museum pieces and the subject matter of
experimental archaeology, but also serve as a starting point for the discussion on how
knowledge about the archaeological artefacts, ancient technology and design can be
integrated into today's life and design.
23rd international conference KELTI / DIE KELTEN / THE CELTS, 2024
In the cemetery Walpersdorf located in the middle of the Traisenvalley, Lower Austria, a crematio... more In the cemetery Walpersdorf located in the middle of the Traisenvalley, Lower Austria, a cremation burial with an unusual combination of pottery has been investigated. The graveyard excavated in 1997-98 contains 23 Latène graves, mostly surrounded by circular or rectangular enclosures. The burial addressed here is situated inside one of the rectangular trenches in between the other graves, while clearly showing cultural differences. The findings include five different potteries, one bronze fragment and one iron brace. Regarding the origin of the pottery three different groups can be formed. The first one contains a bowl and a fragment with a burnished outer surface, both being black in colour due to graphite tempering. The bowl can be renounced as “geriefte Drehscheibenkeramik”. The second group includes a lentil shaped bottle and a small bowl which are red in colour while also containing graphite tempering. The two ceramics are the smallest of the ensemble and have been crafted on a potter’s wheel. They differ from the others not only because of their colour, but also due to their shape, since both of them have a sharp change of angle on the body. The third type is the urn which was quite obviously crafted by hand and is grey-brown in colour. It is decorated with broad ribs along the body. The grave seems to date to the latest Hallstatt period with influence from the Mediterranean expressed through the red pottery from group two, as well as a connection towards the south-east, since the urn finds its closest comparisons in the pottery of the Veckerzug culture. “Geriefte Drehscheibenware” has already been found in the nearby settlement of Inzersdorf-Walpersdorf (P. C. Ramsl 1998). The grave therefore raises questions regarding cultural influences at the break from early to late iron age and the spread of pottery technology.
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Papers by Leona Kohl
Vienna worked together with a school for design in Vienna where objects from the La
Téne period and the techniques used for creating them were translated into modern
design. Two projects were developed as the students' final graduation work, one concerning pottery, the other using screen-printing on fabric. The experimental approach was
hereby the key factor.
The subject wasn't just to recreate the La Téne pottery and imitate La Tène style on
textiles, but to integrate them into modern design and thus pave the way for a fresh
interpretation of them. Both projects focus on aesthetic aspects, but also on technical
innovation in an effort to rediscover the aesthetic design principles of the Late Iron Age.
The pottery project focuses on the traditional shape of the lentiform clay bottle and on
graphite slip. The result is a bottle decorated with a pattern inspired by the Hungarian
sword style in combination with one reminiscent of modern circuit plates. Another is
painted with graphite slip and decorated with the “animal pattern type” known from the
lentiform clay bottle of Matzhausen in Germany.
The textile fabric was screen-printed and quotes patterns and designs of various La Téne
period artefacts, reimagined into two-dimensional and continuous patterns. Each of these
objects was chosen to represent one of the La Téne style periods; the patterns thus
illustrate the evolution of the La Téne art styles.
Both works are an example of conveying museum pieces and the subject matter of
experimental archaeology, but also serve as a starting point for the discussion on how
knowledge about the archaeological artefacts, ancient technology and design can be
integrated into today's life and design.
Conference Presentations by Leona Kohl
Regarding the origin of the pottery three different groups can be formed. The first one contains a bowl and a fragment with a burnished outer surface, both being black in colour due to graphite tempering. The bowl can be renounced as “geriefte Drehscheibenkeramik”. The second group includes a lentil shaped bottle and a small bowl which are red in colour while also containing graphite tempering. The two ceramics are the smallest of the ensemble and have been crafted on a potter’s wheel. They differ from the others not only because of their colour, but also due to their shape, since both of them have a sharp change of angle on the body. The third type is the urn which was quite obviously crafted by hand and is grey-brown in colour. It is decorated with broad ribs along the body.
The grave seems to date to the latest Hallstatt period with influence from the Mediterranean expressed through the red pottery from group two, as well as a connection towards the south-east, since the urn finds its closest comparisons in the pottery of the Veckerzug culture. “Geriefte Drehscheibenware” has already been found in the nearby settlement of Inzersdorf-Walpersdorf (P. C. Ramsl 1998). The grave therefore raises questions regarding cultural influences at the break from early to late iron age and the spread of pottery technology.
Vienna worked together with a school for design in Vienna where objects from the La
Téne period and the techniques used for creating them were translated into modern
design. Two projects were developed as the students' final graduation work, one concerning pottery, the other using screen-printing on fabric. The experimental approach was
hereby the key factor.
The subject wasn't just to recreate the La Téne pottery and imitate La Tène style on
textiles, but to integrate them into modern design and thus pave the way for a fresh
interpretation of them. Both projects focus on aesthetic aspects, but also on technical
innovation in an effort to rediscover the aesthetic design principles of the Late Iron Age.
The pottery project focuses on the traditional shape of the lentiform clay bottle and on
graphite slip. The result is a bottle decorated with a pattern inspired by the Hungarian
sword style in combination with one reminiscent of modern circuit plates. Another is
painted with graphite slip and decorated with the “animal pattern type” known from the
lentiform clay bottle of Matzhausen in Germany.
The textile fabric was screen-printed and quotes patterns and designs of various La Téne
period artefacts, reimagined into two-dimensional and continuous patterns. Each of these
objects was chosen to represent one of the La Téne style periods; the patterns thus
illustrate the evolution of the La Téne art styles.
Both works are an example of conveying museum pieces and the subject matter of
experimental archaeology, but also serve as a starting point for the discussion on how
knowledge about the archaeological artefacts, ancient technology and design can be
integrated into today's life and design.
Regarding the origin of the pottery three different groups can be formed. The first one contains a bowl and a fragment with a burnished outer surface, both being black in colour due to graphite tempering. The bowl can be renounced as “geriefte Drehscheibenkeramik”. The second group includes a lentil shaped bottle and a small bowl which are red in colour while also containing graphite tempering. The two ceramics are the smallest of the ensemble and have been crafted on a potter’s wheel. They differ from the others not only because of their colour, but also due to their shape, since both of them have a sharp change of angle on the body. The third type is the urn which was quite obviously crafted by hand and is grey-brown in colour. It is decorated with broad ribs along the body.
The grave seems to date to the latest Hallstatt period with influence from the Mediterranean expressed through the red pottery from group two, as well as a connection towards the south-east, since the urn finds its closest comparisons in the pottery of the Veckerzug culture. “Geriefte Drehscheibenware” has already been found in the nearby settlement of Inzersdorf-Walpersdorf (P. C. Ramsl 1998). The grave therefore raises questions regarding cultural influences at the break from early to late iron age and the spread of pottery technology.