"When", we asked in context of the Grassi Leipzig exhibition Sitting – Lying – Swinging. Furniture from Thonet, "does an exhibition about Thonet chairs become a sales promotion for Thonet chairs?" In the case of the Grassi exhibition, we concluded, it doesn't. When however does a blog post about a Thonet exhibition becomes an advertisement for Thonet chairs. Round about now. For by way of celebrating the Sitting – Lying – Swinging, an exhibition on "home turf" as it were, (smow) have teamed
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"It helps you save a considerable amount space, then it is a dinning table and a tea table in one. With a single hand movement you can set its height as you choose; and that without needing to first clear the table" So introduced Swiss furniture manufacturer Horgenglarus the so called Bally-Verstelltisch, or S.T. Tisch, on its launch in 1954. Designed by the Swiss architect Jürg Bally the S.T. Tisch is one of those products that without question would have found its way into our Lost
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We round up our Milan 2014 coverage with a company we admire, but about whom we find it all but impossible to write. Because their products and their collection so rarely change. Ever since commencing with the commercial production of the modular USM Haller furniture system in 1969 USM have done little else. Save the introduction of the USM KITOS system in 1989. But that's it. That's all they do. Which is also one of the principle reasons we admire them. They do what they do, do it well
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Following on from former Nacho Carbonell intern Pascal Howe at the DMY Design Gallery Berlin, an exhibition by a designer whose work we first saw in a hall about 25 metres from Nacho Carbonell's atelier in Eindhoven's so-called Sectie C - one of several former industrial areas in the city that now serve as reservations of creatives and so help fuel Eindhoven's reputation as one of Europe's creative capitals. It was Dutch Design Week 2012 and our photos of Eindhoven Design Academy graduate Niek
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Introducing Tulga Beyerle as the new Director of the Kunstgewerbemuseum Dresden, Hartwig Fischer, General Director of the executive Dresden State Art Collections, confidently predicts that with Tulga Beyerle they have "...someone who can help bring the museum into the 21st century." We're not 100% certain if the good folk of Dresden are aware of the force with which they and their, until now, somewhat sleepy applied arts and crafts museum are about to be catapulted into the 21st century......
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By way of a 1st of May, International Workers' Day, special...... in Milan Ronan Bouroullec told us that the brother's new chair Uncino for Italian produce Mattiazzi was inspired by and loosely based on the very first wooden office chairs. An excellent example of what he meant can currently be enjoyed at the exhibition Sitting – Lying – Swinging. Furniture from Thonet at the Grassi Museum for Applied Arts, Leipzig. A comparison: Uncino by Ronan and Erwan Bouroullec for Mattiazzi vs. an 1875
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Mayday! Mayday! Don't panic. It's just a public holiday. You'll survive. Barbecue something...... And afterwards, when everyone else is back at work and things have calmed down a little, why not enjoy one or more of the following design and architecture exhibitions opening around Europe this coming May. "Fritz Haller. Architekt und Forscher" at the S AM Schweizerisches Architekturmuseum, Basel, Switzerland Everyone knows Fritz Haller. He designed one of the few truly iconic and genuinely
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The best form of recycling is not to produce things in the first place. However, until every one understands that, things will continue to be produced in senseless quantities, and senseless quantities of things will eventually reach the end of their useful life. And then? Largely, though not exclusively, based on projects submitted for the annual Recycling Designpreis, the exhibition "Transformations - Concepts of Re-using Things" currently showing at the Werkbundarchiv – Museum der Dinge in
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"What is the Paris Exposition?", asked Roger Gilman in the September 1925 edition of The Art Bulletin, "It is a new world of the applied arts. It is a new world of reality, reality in the square mass of concrete construction, reality in the smooth surfaces of machine products, reality in wonderful new materials offered by our mastery of science and transport, reality in the severe plainness of our practical age, reality in a marvellous effort to design everything and copy nothing. And it is a
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Anyone who has ever had the pleasure of strolling with us through Potsdam will know our feelings on recreating exact replicas of long since lost buildings. Yet much as we get annoyed, dismayed, confused, upset, angry, depressed and downright cross by the unjustifiable, untenable decisions taken in Brandenburg, we do appreciate that often such decisions have to be made. Such as in Dessau in context of Walter Gropius and László Moholy-Nagy's Masters' Houses. One and a half of four near
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Standing in the shadow of his gargantuan lamp, "The Worker", Pascal Howe is well aware of how easily his work can be misunderstood. "Many people think it is just a lifestyle product or similar", he smiles, "but it has a strong concept behind it and isn't just about the aesthetic, the material or the functionality" The exhibition "Pascal Howe - VDI 2860" at the DMY Design Gallery Berlin is part of process to correct such misinterpretations and to introduce the real Pascal Howe. Following a
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Milan is awash with churches. Milan is awash with monasteries. Basilica. Friaries. And other suitable locations for submitting penitence. We go to Salone Satellite. Last year you may remember we had to apologise to Karolin Fesser for our failure to publish a post on the from Karolin co-curated Objects for the neighbour exhibition. Not that we were obliged to publish anything on the exhibition; it was just so good it deserved one and we were negligent in not doing such. This year it was
read more"We have a World's Fair opening in New York again today and it will, as always with fairs, offer the opportunity for looking forward into the future and backward into the past", announced the New York Times on April 22nd 1964 with the unmistakable self-confident bluff of a journalist racing to meet a deadline and struggling to make the patently obvious sound anything but. Although not officially sanctioned as a "World's Fair" the 1964/65 New York World's Fair attracted some 66 nations -
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Parallel to the exhibition Konstantin Grcic - Panorama, the Vitra Design Museum is revisiting perhaps the daddy of all explorations of our possible futures, Verner Panton's 1970 Visiona 2 exhibition. Lacking a three story Rhine cruiser on which to present the complete exhibition, the Vitra Design Museum are instead presenting a recreation of the fabled Fantasy Landscape installation from Visiona 2 in the Vitra Design Museum gallery. A recreation which one can enter and so experience with all
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One of the stand out objects for us in the Young Perspectives exhibition shown in Boffi's Cologne flagship store during Cologne Design Week 2014 was the clothes stand Blanche by Frankfurt based Meike Langer. And so it was a real joy not only to be reacquainted with Blanche in Milan, but to see Blanche's new shoes. Or more precisely put, new foot. Crafted from ash and steel tubing Blanche has an abstract trombone feel about it and is, in many ways, a refinement of the excellent Beaugars
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Standing in the Leipzig Grassi Museum for Applied Arts, surrounded by 150 years of Thonet chair history, Peter Thonet, x-times-great grandson of company founder Michael Thonet and until his recent retirement company CEO, is clearly a very satisfied man, "It makes one proud to be able to look back on a collection of objects that have not only been important for the company, but which have also, occasionally, written design history" Few visiting the new Grassi Museum exhibition "Sitting – Lying
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We spend a lot of our time in exhibitions. A lot. And a lot more travelling to and from exhibitions. But are we wasting our time? Guus Beumer, director of Het Nieuwe Instituut in Rotterdam, believes so. And he is a man who has spent even more of his life in exhibitions than us. Both as viewer and as curator; perhaps most notably as artistic director of the 2009 Utrecht Manifest, Biennial for Social Design and as curator of the Dutch Pavilion at the 2011 Venice Biennale. On Thursday April
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One could be facetious and say that organising an exhibition looking at "the creative potential triggered by crises in the history of Italy" is akin to organising an exhibition presenting an unbroken chronology of Italian creative potential since time immemorial. But that is exactly what the Triennale Design Museum Milan have undertaken for their seventh edition. Under the title "Autarky, Austerity, Autonomy" the Triennale Design Museum have, however, chosen to focus on just three periods of
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If we're honest, we really, really, should have seen it coming. We didn't. Having been acquired in 2013 by Vitra, Artek have now begun working with leading designers from the Vitra roster. Specifically, in Milan Artek launched a new chair from Konstantin Grcic and new colour and textile schemes from Hella Jongerius for the classic Alvar Aalto 400 and 401 armchairs and Stool 60. We just hope no-one is tempted to over egg this particular pudding. In the Milan press release Artek CEO Mirkku
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Herewith we inform the directors of the Hochschule für bildende Kunst that the Provisional Republican Government has approved the request to rename the unified Hochschule für bildende Kunst and Kunstgewerbeschule as "Staatliches Bauhaus in Weimar"1 With this succinct letter from the Office of the Hofmarschallamt in Weimar on 12th April 1919, Bauhaus formally existed. A succinct letter that ended four long years of negotiation and planning, and which - arguably, and depending on your position -
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In design the term "readymade" is used to refer to products created by giving existing objects a new function; generally a new function far, far removed from the original. Examples of the genre include the Mezzadro stool fashioned from a tractor seat by Achille and Pier Giacomo Castiglioni, Jasper Morrison's 1983 Handlebar Table or David Olschewski's Clothes Peg Lamp, an object that never reached the fame of the previous two examples. But which is and was every bit as interesting. Berlin
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"We are red, we are white, we are Danish dynamite!" So sang the Danes their national football team to victory at the 1992 UEFA Euro tournament. Another example of "Danish Dynamite" is/was on display at Ventura Lambrate as part of the Design School Kolding's Milan 2014 show. If we were slick professionals we'd now say something along the lines of, and it isn't red and white. But green!!! Created by Interaction Designer Alexander Muchenberger and essentially nothing more technically advanced
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Preparing for his solo exhibition "Pinned Up at the Stedelijk, 25 years of design" clearly helped Marcel Wanders tackle, and defeat, his inner demons. We can find no other explanation for the transformation from the darkness of Moooi's 2013 Milan show to the lighter, happier, untroubled, feel of 2014's. The formats were and are essentially the same, both based around room contexts backdropped by large format photos of heavily stylised spaces, but whereas last year's presentation was a
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"Modern office chairs can be like machines, very technical. We wanted to create something a little softer, more human." So explains Ronan Bouroullec the background thinking to the new Uncino chair by the brothers Bouroullec for Italian manufacturer Mattiazzi. According to Ronan the path from the commission from Mattiazzi for an office chair to Uncino was "quite slow", but was obviously worth it, resulting as it has in a truly fascinating and engaging object. Available in either a static
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