PRODUCTS ROOMS Manufacturers & Designers Highlights Offers Info Stores
smow Düsseldorf
Lorettostraße 28
40219 Düsseldorf

+49 211 735 640 70
duesseldorf@smow.de

Opening times:
Tue-Fri 10 am - 2 pm
3 pm - 6 pm
Sat 10 am - 4 pm
Eames Plastic Side Chair RE DSR
Eames Plastic Side Chair RE DSW
Eames Plastic Armchair RE DAR
Eames Plastic Armchair RE DAW
Panton Chair
Eames Plastic Side Chair RE DSX
ID Mesh
Eames Plastic Armchair RE LAR
Evo-C
Eames Plastic Side Chair RE DSR Duotone
Eames Fiberglass Chair DSR
DSW Promotion Set of 4
Offer
Wire Chair DKR
Wire Chair DKX
Tip Ton
ACX Light
Eames Plastic Armchair RE DAX
Eames Fiberglass Armchair DAR
ID Soft
Seat Cushion for Wire Chair (DKR/DKW/DKX/LKR)
Standard
Tabouret Haut
.03
Aluminium Group EA 107 / EA 108
Visavis 2
Softshell Chair with four-legged base
Plywood Group DCW
Eames Plastic Side Chair RE DSS
Panton Chair Classic
.05
Wiggle Side Chair
APC All Plastic Chair
Landi Chair
Wire Chair DKR Checker
Eames Plastic Side Chair RE LSR
Belleville Chair Outdoor
HAL Cantilever
Eames Fiberglass Armchair DAW
Standard SP
HAL Ply Bar Stool
HAL Bar Stool
Aluminium Group EA 103 / EA 104
Eames Plastic Armchair RE DAL
.03 Black
Eames Fiberglass Chair DSW
ID Trim
HAL Wood
Wire Chair LKR
Moca
Stool-Tool
HAL Tube
Tabouret Solvay
Eames Fiberglass Chair DSX
Belleville Armchair Wood
ACX Soft
Mikado Armchair
MedaSlim
Lobby Chair ES 105 / ES 108
Plywood Group DCM
Soft Pad Group EA 207 / EA 208
Softshell Chair with four star base
HAL Armchair Wood
Belleville Chair Wood
Aluminium Group EA 105
Chaise Tout Bois
Belleville Armchair Outdoor
Mikado Side Chair
Softshell Side Chair
Wire Chair DKW
Eames Fiberglass Armchair LAR
Eames Fiberglass Armchair RAR
Organic Chair
Softshell Chair with five star base
HAL RE Sledge
ID Trim Conference
Aluminium Group EA 101
Eames Plastic Armchair RE RAR with Upholstery
Panton Chair Classic Chrome Edition
Eames Fiberglass Armchair DAX
Soft Pad Group EA 205
HAL Ply Tube
HAL Ply Wood


More about 'chairs' in our journal

The Historia Supellexalis: "W" for Wegneritis

...W1, Wegneritis is a condition exclusive to furniture designers first recorded in Denmark where Jørgensen Wegner, a Hans by birth, and a leading carpenter of his age whose chairs were celebrated and acclaimed throughout all the known lands of that period, was beset by a compulsion, a creative itch, to design ever new chairs, "If only you could design just one good chair in your life", he would respond to anyone who questioned his phenomenal and relentless prolificness, for all in context of the universally agreed high-quality of his designs, "but you simply cannot", he would bewail loudly as he returned to his studio to begin the next project... The best recorded and most intensively studied expressions of Wegneritis beyond that of the Hans Jørgensen Wegner include, for example, that of the Babelsberger Eiermann by the name of Egon who over many decades sought to design "der Stuhl seines lebens", 'the chair of his life', a searching, an itch, that saw him regularly switch between materials and contexts, and a "Stuhl seines lebens" near all objective observers agree he regularly achieved, designing excellent chairs for innumerable lives; or the Grcic Konstantin who despite having realised at the start of his furniture design journey a Kite that was also a chair, and which in the opinion of many wise sages represented a near perfect definition of a chair, came closer than arguably anyone ever has come, or ever will come, to the immaterial archetype from which Plato speaks, continually produced ever new works from ever new conceptual perspectives and technical approaches...

A Chair and You at the Grassi Museum für Angewandte Kunst, Leipzig

...the, then, Director of the Industrial Design Department at the Museum of Modern Art, New York, reflected, not uncritically, that "as more and more new chairs become available to the buying public, the problem of selection begins to be bewildering... "1 Just one of a great many questions of chairs, seats, sitting and sitters A Chair and You at the Grassi Museum für Angewandte Kunst, Leipzig, encourages, empowers, you to reflect upon...

Monobloc by Hauke Wendler

...According to Hauke Wendler the origins of the Monobloc project can be traced back to a photo he saw in a newspaper in February 2013; a photo from Yemen of a man walking through a forest of poorly ordered monobloc chairs in an otherwise deserted desert landscape; a photo which Wendler describes as "a beautiful photo full of questions and secrets and at the same time an incredible accumulation of plastic waste"... For all that the monobloc chair is today popularly associated with cheap, insubstantial objects2, an "accumulation of plastic waste" in the making, the (hi)story of the monobloc essentially begins, as Hauke Wendler argues, with Verner Panton's late 1950s eponymous reinforced fibreglass cantilever chair for Vitra, one of the first commercial moulded plastic chairs, before in the mid-1960s with Helmut Bätzner's BA 1171 for Wilhelm Bofinger and Vico Magistretti's Selene for Artemide, both formed from fibreglass reinforced polyester, both stackable, both formally reduced, both crafted from a minimum of material, both employing folds and curves to maximise stability, one very clearly joins the path to that which we today call the monobloc...

Chairs: Dieckmann! The Forgotten Bauhäusler Erich Dieckmann at Neuwerk 11, Halle

...If a presentation that for all the scope it has, could be a lot wider, Dieckmann's interior design, for example, comes far, far, too short: yes, the exhibition title specifies Chairs, but a great many of Dieckmann's chairs were designed for interiors, and in Dieckmann's oeuvre interior design was not only a large component, but an important component in the development of his positions to and understandings of not just seating, but relationships to furniture... Similarly his Typenmöbel, his programme furntiture12, comes far, far too short: yes, the exhibition title specifies Chairs, but his Typenmöbel programme with its reduced, rational, open form, its frugal use of material while maintaining a richness of character and the prediction of palette furniture clearly readable in many of the chairs, was, arguably, more democratic, less about furniture as being representative of status and more about utility, than others had achieved by the mid-1920s, and Typenmöbel that can thus tell us a lot about Dieckmann...

Bentwood and Beyond. Thonet and Modern Furniture Design @ the MAK – Museum für angewandte Kunst, Vienna

...Intertwined with the Thonet (hi)story flows a stream of wider discussions and discourses on the history of furniture design and Thonet's relationship to that history, discussions and discourses undertaken in context of theme such as, and amongst many, many others, The Mechanization of Furniture with its notes on the development of height adjustable seating and similar developments on the path to our contemporary office chairs; Furniture Made from One Single Piece and its exploration of attempts to develop, well... In addition our attention was particularly caught by the presentation of Windsor chairs which not only brings Josef Frank into the centre of the narrative but also reminds that Michael Thonet's pre-fabricated production process was but an institutionalising, and standardising, of a centuries old craft process, one elegantly encapsulated by the many craftsfolk who traditionally contributed to any given Windsor; the examples of Michael Thonet's parquet work, caught up in the fascination with Thonet chairs it can be all to easily forgotten that upon arriving in Vienna an important application, monetisation, of his newly acquired 1842 patent was for flooring not furniture, flooring that often required repeating, flowing, meandering motifs; by a 1925 reclining armchair by Margarete Schütte originating from a private commission, a work called "Canadian" but which speaks a dialect we'd place much more in the Adirondack Mountains of Vermont, which stands very much at odds with the small houses she was developing for Vienna's 1920s Siedlerbewegung, and which in its charmingly compact, chunky, reduction underscores why we should all pay more heed to her beseechment that, "I do not want to be seen only as a kitchen architect, that’s too stupid"2; and by the numerous mentions of, reference to and works by Thonet's late 19th/early 20th century competitors, not least as they help place Thonet's development following the relinquishing in 1869 of their all important 1856 patent in a more probable context, for all through the critical reflections on moments when the competitors were (arguably) more on top of the game than Thonet, reminders that Thonet were/are fallible...


All 'chairs' Posts