"Marcel Breuer seeing a pair of bicycle handle-bars decided to make chairs using the same industrial process. The new world constructor seeing a pair of bicycle handle-bars decides to use them as they are and save himself the trouble and expense of bending the tube."1 So articulated Jasper Morrison in his 1984 text "The Poet will not Polish" not only the theoretical background to his Handlebar Table, but much more the frustration and alienation being felt at that time by a young generation of
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As we noted in our review of the book "WEGNER – Just one good chair", Hans J. Wegner spent a large proportion of his career seeking to perfect and improve his chair designs. "If only you could design just one good chair in your life . . .", he mused in 1952, "But you simply cannot" Similarly for Egon Eiermann the "Chair of his Life" was always the next chair design. While Ludwig Mies van der Rohe was famously of the opinion that designing a chair was more complicated than building a
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At the end of March the V&A Museum London opened the exhibition "British Design 1948-2012. Innovation in the Modern Age", their major summer exhibition and a central pillar of their celebration of all things British throughout 2012. Documenting the story of design in the UK since the last London Olympics, "British Design 1948-2012" begins in an era when Britain as a nation was recovering from the trauma of the Second World War, yet understood that in the rubble of the war lay the chance to
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During the "Summaery" exhibition back in July 2011 we asked Professor Bernd Rudolf, Decan of the Architecure Department at Bauhaus Uni Weimar, about the motivations of the modern architecture student. "It is still the case", he answered playfully, "that they all want to make the world a better place. That remains the principle reason for studying architecture..." And designers ? Can designers make the world a better place? Do they even want to ? What motivates contemporary designers ? At
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Once a month we visit a trade fair. We don't always want to - but we always have to. We look at furniture. We think up some cheap jokes. We take some out of focus photos. We come home. But what is actually involved in organising a trade fair stand? How important are trade fair stands? Is our weak humour and poor photography disrespectful? In an attempt to try to answer these and similar questions we helped Moormann with the construction of their stand at Milan 2011 Although "helped" is
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A quick tram and S-Bahn ride from Rundgang at the Kunsthochschule Berlin-Weißensee brought us to Rundgang at Universität der Künste Berlin. Similar concept. Different worlds. Whereas Weißensee exudes an almost parochial innocence, the UdK feels like The New York School of the Performing Arts in the early 1980s. At any minute a nimble framed, leotard and leg-warmer attired youth could leap down the stairs and complain about Mr. Shorofsky not understanding the modern world before pirouetting
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The theme of the 2010 Designpreis Halle is and was "travel" For us travelling to Halle has a special meaning as in a previous life we used to regularly travel to Halle, experience all sorts of perverse inhumane horrors and then travel back to Leipzig glad - once again - to have escaped from the banks of the Saale with our lives. That was then. But since then not only has our life changed but we now see and understand Halle in a completely different light. Thanks largely to another tour;
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