Henry van de Velde not only helped define Art Nouveau, he was also party to Art Nouveau's christening; even if the immediate reception didn't bode all too well for the fledgling movements longevity..................... Henry van de Velde meets Henry van de Velde, here as seen at the exhibition Henry van de Velde. Leidenschaft, Funktion und Schönheit, Klassik Stiftung Weimar, 2013 Born in Antwerp on April 3rd 1863 Henricus Clementinus van de Velde1 initially trained as a painter, studying
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If the etymologists are to be believed "April" has its origins in the Latin verb "aperire". To uncover, to open. Our ancient forefathers and mothers were unquestionably referring to nature's habit of "opening" at this time of year; our thoughts however turn more to the derivation "aperol", and that most pleasing of summertime refreshments, and one who's season opens in Milan every April. It is thus no surprise that our five new design exhibition aperitis for April 2016 take us to Milan ..... in
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As more loyal readers will be aware, we are firmly of the opinion that increasing digital technology must be employed, autocratically if necessary, to reduce our daily need for and on paper; there are so many examples of unnecessary paper use, of situations where digital technology provides or could provide a more than suitable alternative. Those same readers will also be aware that we are extremely uneasy about any developments which extend society's dependency on smartphones and tablets, for
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Until August 28th the Breton capital Rennes is paying tribute to arguably the region's most famous sons since Lancelot: Ronan and Erwan Bouroullec. Born in Quimper on the extreme south west of the peninsula in 1971 (Ronan) and 1976 (Erwan) respectively, the brothers Bouroullec found their way to design via slightly abstract routes; however, having arrived swiftly set about creating not only their own design identity but changing many established conventions about what furniture and furnishings
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Since 1994 the so-called Bielefeld Conspiracy has contended that the German city of Bielefeld doesn’t exist. A central component of the theory is formed by three questions: Have you ever been to Bielefeld? Do you know anyone who has ever been to Bielefeld? Do you know anyone from Bielefeld? If you respond, as you invariably will, with a straight “No” to all three questions…. how do you know for certain Bielefeld exists? To the three standard questions, one could also add “Do you know anyone
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Mild-mannered and polite as we are, we still occasionally find ourselves causing offence, arousing feelings of mild outrage and generally causing people to turn against us; invariably, when we contend, as we regularly do, that fashion isn't design. Which of course it isn't. "This winter we'll be wearing stripes" is obviously as vacuous as it is untrue. Fashion isn't design. It's styling. And there's nothing wrong with that. Just don't call it design Textile design is design, because
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The term "post-war architecture" is for many a term of insult, an insinuation that something is of lesser value. Or just plain bad. And yes there was an awful lot of truly appalling architecture in the 1950s and 1960s. And in the 1910s, 1920s, 1930s, 1940s, 1970s 1980s, 1990s, 2000s, 2010s. And will continue, ad nauseam, ad infinitum, as sure as night follows day. That the immediate post-war decades were also a period of invention, reinvention, experimentation and revival in global
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If the Light + Building trade fair in Frankfurt is home to exhibitors the majority of us have never heard of, Passenger Terminal Expo as Europe's leading trade fair for airport infrastructure is home to exhibitors you never knew you were aware of: the developers of airport signage systems, for example, or manufacturers of airport security gates, baggage carousels, airline ticketing systems or self-check in terminals, and of course that sweet female voice who informs you that your gate has
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As the name implies the Light + Building Trade Fair in Frankfurt is largely about architectural lighting rather than domestic lighting or office lighting; were it largely about the later it would be called "Light + Living" or "Light + Working" It's called Light + Building. And as such the biggest stands belong to company's you will never have never heard of unless you spend your days planning the construction of hotels, hospitals, shopping centres et al and searching for appropriate
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Clearly vexed by a critical review in Architectural Forum of his friend Alexander Girard's Santa Fe house, Charles Eames wrote a short letter on December 26th 1956 to the magazine's editor Walter McQuade: "Alexander Girard is interested in the quality of everything and does not hesitate to act on this interest, personally and immediately. Such action could not possibly result in a cliche; and not being cliche demands an explanation. The answer perhaps is in Girard's total involvement in
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In his Letter of Reference for Christian Dell on the occasion of his departure from the Kunsthochschule Frankfurt, the school's Director Fritz Wichert wrote: "...highly distinguished as college lecturer, silversmith and as an inventor and designer for the lighting industry. His technical ability, his sense for structure and the beauty of materials and his noble, uncluttered forms make him in my opinion the leading figure in this field in Germany."1 A perfect demonstration of what Fritz Wichert
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With the exhibition, The World of Charles and Ray Eames at the Barbican Art Gallery London coming to an end, it is most timeous that the Art & Design Atomium Museum, ADAM, Brussels are offering through their new exhibition Eames & Hollywood an opportunity to explore in a little more detail one of those many, many Eames' Worlds. And no, not film. Photography. Eames & Hollywood at Art & Design Atomium Museum, ADAM, Brussels Formally opened in December 2015 ADAM is a new design museum for
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"All in the wild March morning I heard the angels call, It was when the moon was setting, and the dark was over all; The trees began to whisper, and the wind began to roll, And in the wild March morning I heard them call: "Stop romanticising and visit a design exhibition!!!!" (The May Queen by Alfred, Lord Tennyson. With apologies) Were Alfred, Lord Tennyson around in March 2016, here’s five new design exhibitions we could recommend..... Alexander Girard. A Designer's Universe at the Vitra
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"The starting point for the chair was the problem of comfortable seating combined with a simple construction. A problem which led to the defining of the following requirements: a) Elastic seat and backrest, but no upholstery, which is heavy, expensive and gathers dust b) Inclination of the seat so as to support the upper leg along its full length without the pressure that arises with a flat seating surface c) An angled position for the upper body d) Freedom of the spine because each and very
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In the past we've often noted the number of "classic" furniture designers currently working in Belgium, and how in comparison to their near cousins in Holland, Belgium is home to noticeably fewer designers who take a more conceptual, theoretical approach to their work. There are of course exceptions, such as Brussels based designer Thomas Lommée. Following his graduation in 2005 from the Man and Living class at Design Academy Eindhoven Thomas Lommée spent a year in Toronto at the George Brown
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As a "consumer goods" trade fair devoted to tableware, accessories, gifts, light-bulbs with filigree filaments, and the like, Ambiente Frankfurt is not a trade fair to which we feel a particularly empathy. Indeed one could go as far as to say that with its hall upon hall of products who's reason for existence we question and the hollow echo of "Lifestyle", "Trend", "Innovation" and "Buy me! Buy me! Buy me and you'll rise to a social status you could previously never dream of attaining" which
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In our interview with Marcel Kabisch, founder of and creative force behind German label Feinserie, he told us that what interested him in design, and part of his motivation to study design, was the idea of "bringing a certain intelligence into a product", and of achieving "an efficiency in design" Principles which are elegantly displayed in his new Griffbereit Chair. In many ways an extension of an idea begun with his award winning Griffbereit Stool/Side Table, the Griffbereit Chair is formed
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"This is a job of work whose goal is precision, delicacy, amiability and attentiveness: being attentive to people, uses, buildings, trees, asphalt or grass surfaces, to what already exists. It's a matter of causing the least inconvenience or no inconvenience at all. It's a matter of being generous, giving more, facilitating usage and simplifying life"1 These words stand not only in the centre of the exhibition "Studio Plus. Druot, Lacaton & Vassal: Transformation as an architectural manifesto"
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Internationally known for its financial district, airport, financial institutions and sausages, Frankfurt am Main is less well understood as a city of design. Or at least not a city of contemporary design. That however wasn’t always the case. The 1920s and 30s saw the likes of Ernst May and Christian Dell help the city develop a reputation as a centre for modernist innovation, while the Viennese architect Margarete Schütte-Lihotzky gave it an internationally renowned kitchen concept in which to
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On February 5th 1916 Cabaret Voltaire opened in Zürich; consequently, 2016 sees the city celebrate the 100th anniversary of arguably Switzerland's most important contribution to global culture - Dada. It is therefore very fitting that 2016 also sees the city host a retrospective of the English designer Jasper Morrison. No. Honest. Jasper Morrison Thingness at the Museum für Gestaltung, Zürich Born in London in 1959 Jasper Morrison initially studied Design at Kingston Polytechnic before
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Sand is not a material on which many architects would hope to successfully build a project, far less a career. In many ways however that is exactly what the Danish architect and designer Arne Jacobsen did. Bellevue Strandbad Copenhagen Born on 11 February 1902 in Copenhagen, Arne Emile Jacobsen studied architecture at the city's Kongelige Danske Kunstakademi - Royal Danish Academy of Fine Arts - graduating in 1927. One of Denmark's first, and foremost, functionalists, Arne Jacobsen was
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As we've noted in the past, Hungarian architects and designers made a valuable contribution to the development of post war architecture and design. Made. For in recent years a Hungarian accent in the design discourse has been principally notable by its absence. By its stillness. Which of course doesn't mean there aren't Hungarians producing intelligent, interesting, relevant and innovative work. There are. Hungarians such as the Budapest based practice Architecture Uncomfortable Workshop
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In the famous Thonet Card Catalogue from 1930/31 the image of the B 9 side table and B 25 lounge chair is augmented by a small lamp atop the B 9. Whereas the Thonet B 25 and Thonet B 9 are credited to Marcel Breuer, there is no credit for the lamp. But then it isn't a Thonet lamp. Thonet don't do lamps. Thonet do tables, chairs, shelving and other furniture. Thonet don't do lamps. Or at least didn't. In 2010 Thonet released the LUM reading lamp by Ulf Möller as a floor version, adding a desk
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In addition to the exhibition of their work in Cologne, the A&W Designer of the Year crown also allows the recipient to select one young designer for the so-called A&W Mentor Prize: essentially a chance to invite a young designer whose work they admire to share the spotlight with them. Previous mentees have included Stefan Diez, selected in 2005 by Richard Sapper, Oskar Zieta, selected in 2011 by Tokujin Yoshioka, and the very first mentee, Konstantin Grcic, selected by Achille Castiglioni in
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