Since 1990 the annual IMM Cologne furniture fair has been accompanied by the Passagen Interior Design Week. A design week, a design festival, that, and although it is often a bit overly commercial for our tastes, also always features a nice mix of emerging and establishing designers, small platforms, design schools, and others removed from the more predictable, superficial, profit-orientated corners of the furniture and design industries. A mix of creatives who help remind what design, what
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According to the posters to be found liberally distributed throughout the city, IMM Cologne 2019 promised to present "1000 furnishings ideas for your home" And it may very well have done. We didn't count. Not least because.... What interest the number, if the ideas themselves ain't meaningful? What interest the number, if the ideas themselves ain't logical? What interest the number, if the ideas themselves ain't justifiable? Or reducing the thought to its essence, what interest the idea if
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"Have you ever laid out all your plates like a carpet, or piled furniture into a tower?", asks the introduction to the Technical University Dortmund's project, Alles, was ich habe [Everything that I possess] Our answer to the last question is a categorical, yes. It was one afternoon during our final year at secondary school, and together with a few chums we stacked all the common room furniture up against one wall. Just to see if we could. We could. Alles, was ich habe is a little more
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As regular readers will appreciate, we're no great approvers of lumping individual creatives together under one umbrella term; always strikes us as being an unnecessary distraction, and (more than) a little counterproductive. We are however most appreciative that following an inaugural presentation at Kazerne Eindhoven during Dutch Design Week 2017, the showcase Generation Köln is now being presented, as it were, on home turf. Generation Köln. A Family Portrait Organised by Passagen
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As in art, music or literature, the path in design from an idea to its realisation is rarely straight. And not always achieved. Or at least not immediately. Consequently every designer, as with every artist, every musician or every author, has projects which began their journey's full of hope,but, then, for whatever reason....... With the showcase "in Arbeit" Cologne based designers Thomas Schnur and Klemens Grund present some of their projects which are, still, "in Arbeit" In Arbeit.
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One of Germany's leading post-war architects and architectural theoreticians, Egon Eiermann was also one of post-war Europe's most important chair designers, not just in context of what he realised, but also in context of what he worked towards realising and the reasons why. With the exhibition Cologne celebrate that legacy. Der Stuhl des Architekten - Sitzmöbel von Egon Eiermann @ Ungers Archiv für Architekturwissenschaft Cologne Although Egon Eiermann's career as a designer of
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The 1973 film Ceremony by Italian architecture group Superstudio features individuals who inhabit the "Invisible House", a house devoid of not only a physical structure but, we are told by the narrator, all forms of furniture. The inhabitants of the invisible house are happy. Despite this and their other regular very public pronunciations against architecture and design, from their earliest days Italian architecture group Superstudio also designed furniture and lighting: a selection of which
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Passagen Design Week Cologne 2017 is playing host to Naked Objects, the fifth edition of the exhibition series "Nieuwe German Gestaltung" - and an exhibition which as with the previous four is an unashamed celebration of the diversity and vitality of contemporary German product design. Naked Objects: Nieuwe German Gestaltung #005 Naked Objects - Nieuwe German Gestaltung #005 Tracing its origins to the 2009 exhibition “Nullpunkt. Nieuwe German Gestaltung” curated by the Belgian critic and
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With the exhibition 21 Common Things designer Thomas Schnur explores his personal relationship with everyday objects. And in doing so the concept of functionality. Thomas Schnur - 21 Common Things "The whole world's going home with blue plastic bags" observes Malcolm Middleton in his 2008 song, "Blue Plastic Bags" The blue plastic bag as a unifying object. The blue plastic bag as a metaphor for contemporary urban life. The blue plastic bag as a symbol of our social homogeneity. "The whole
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With the exhibition Full House: Design by Stefan Diez the Museum für Angewandte Kunst Cologne, MAKK, present the first museal overview of the canon of the German designer Stefan Diez. And an exhibition which in many respects also helps explain industrial design. Or at least the contemporary industrial design process. Yard by Stefan Diez for emu, as seen at FULL HOUSE: Design by Stefan Diez, Museum für Angewandte Kunst Cologne Full House: Design by Stefan Diez Born in 1971 into a
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As we noted in our post from the 2015 Garden Unique Youngstars competition, the contemporary outdoor furniture market is a largely forgotten world as far as quality design is concerned. And as we also noted, it needn't be. At IMM Cologne 2016 Thonet are presenting with the new All Seasons collection their alternative vision. Thonet @ IMM Cologne 2016 The (hi)story of Thonet furniture is, as with the wider (hi)story of furniture design, essentially one of indoor furniture. Although not
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While the old adage "you are what you eat" can't be true, if it were we'd be a slovenly pile of beer and crisps, it is very true that you are how you cook. Cooking has largely developed with cultures, the way similar foodstuffs are prepared and cooked, for example, varying from region to region, and regardless of how technologically advanced society inevitably becomes, cooking will, we suspect, remain largely resistant to change. Cooking systems will evolve and adapt, but cooking processes
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Parallel to the exhibition MAD ABOUT LIVING – 24 Designers from Brussels, Cologne is hosting an exhibition which nicely highlights one of the major differences between Belgian designers and their Dutch colleagues in terms of designing furniture and other domestic products Whereas Belgian designers simply produce furniture, Dutch designers produce concepts. OK we're generalising, and to be fair we do know a lot, a few, some, Dutch designers who produce perfectly "normal" furniture. But for the
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If we're correctly informed, and let's be honest we're not always, 2014 saw the Belgian General Consulate in Cologne host their first Passagen Design Week exhibition with an excellent showcase of new and less new works by Atelier Bonk and Cas Moor. Buoyed by the success of that experience for Passagen 2015 the Consulate is hosting the exhibition MAD ABOUT LIVING - 24 Designers from Brussels. Organised by the Brussels regional creative promotion agency, MAD Brussels, and staged in the fire
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Much as we tend to shy away from "Designer of the Year" awards, the presentation of German architecture and design magazine A&W's Designer of the Year award is always an early highpoint of the Passagen Cologne Design Week. Principally because it invariably results in a compact yet informative exhibition from and about the selected designer. An exhibition that is perhaps never independent nor critical, but which always provides an accessible overview of the designers oeuvre. Following on from
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Following on from system design at the MAKK and the more autonomous product design featured at Objects in Between, we bring you an exhibition in Cologne presenting a third product design category: the collection. Whereas systems require a connector, a universal node, collections can be considered a series of related products which although created in the one context need not have a connection. Other than having been created in the same context. For their Passagen Cologne 2015 exhibition
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The nature of product design, and for all furniture design, being what it is, we all have a predisposition to categorise products and objects. Chair. Table. Lamp. Tea pot. For example. Yet, quite aside from the fact that we all invariably use products for purposes other than than that intended, the chair as the makeshift step ladder, the wine glass and makeshift candle holder or the Biro as makeshift knife, why should a product only have one function? Can it not have two or more without
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What would IMM Cologne week be without the official enthronement of the A&W Designer of the Year? One day shorter and one exhibition poorer say we. Following on from Patricia Urquiola in 2012 and Ronan & Erwan Bouroullec in 2013 the 2014 A&W Designer of the Year is Werner Aisslinger. And as tradition demands his work is currently being celebrated in an exhibition in the Kölner Kunstverein. In summer 2013 the Berlin gallery Haus am Waldsee presented a Werner Aisslinger solo exhibition under
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Following on from last year's highly enjoyable Objects for the Neighbour exhibition Karoline Fesser, Kai Linke and Thomas Schnur are back this year with a new show: Objects and the Factory. Time was when the factory was the aspiration of any industrial designer for their projects. A factory meant that project had become a product, and was an industrial product not a craft product. However over the decades changing social and cultural conditions coupled to numerous caesurae in design have meant
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On Monday January 13th the European design circus rolls into the new year with the opening of IMM Cologne 2014 and Passagen 2014, and against our natural inclinations we'll be there, or as Ride so nearly put it; "If we've seen it all before, Why's this train taking us back again? If we don't need anymore, Why's this train taking us back again?" Yes, the rent has to be paid. But there are easier ways to earn a living than spending a week in January on the banks of the Rhein questioning your
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"Do the books that writers don't write matter?", asks Julian Barnes in his 1984 novel Flaubert's Parrot. In a similar vein, do the posts that bloggers don't write matter? Among Julian Barnes' arguments for not disregarding the unwritten novel is that, "Besides, an idea isn't always abandoned because it fails some quality control test. The imagination doesn't crop annually like a reliable fruit tree. The writer has to gather whatever's there: sometimes too much, sometimes too little, sometimes
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