Ciao Salone! Servus Salone!! Amongst the European designer furniture publishers Nils Holger Moormann has long stood out from the crowd, and that primarily because Nils Holger Moormann has never sought the crowd, has always done Nils Holger Moormann's thing, not the crowd's thing, and who in doing such has very much, and very justifiably, attracted a crowd lot of individuals. Thus while other furniture publishers dance to the tune of the international trade fair crowd, Nils Holger Moormann
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Moormann A Nils Holger; An Autodidact; A Restlessness As the Wackeldackel of Sylt solemnly records, following generations of rule under the rational, steady, unemotional, if autocratic, hand of The Order of the Gute Form, there arose in the lands of the contemporary former West Germany a challenge to that long-established rule through a poorly organised, but on account of that all the better networked, collective of young designers who questioned not only the zealous worshipping of the
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In our post from the exhibition Schrill Bizarr Brachial. Das Neue Deutsche Design der 80er Jahre at the Bröhan Museum Berlin we noted that, for us, the two most important legacies of the Neues deutsches Design movement and 1980s German Postmodernism are and were the number of protagonists from then currently teaching at German design schools, and those manufacturers who arose from the heady, damp haze of the period. Manufacturers such as Nils Holger Moormann. Established in the early 1980s
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Following our visit to the #VitraHaus this coming Friday, the (smow)wintertour 2010 then proceeds, by ski, along the alps to Aschau im Chiemgau, Bavaria and a visit to Nils Holger Moormann and the, so-called, Moormann Haus. Constructed in 1859 by the Bavarian star architect/stage designer team of Christian Jank and Eduard Riedel, who later went on to find wider acclaim with the construction of Schloss Neuschwanstein, the Moormann Haus was built to commemorate the presentation by Maximilian
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