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More about 'Thonet', 'Leipzig' in our journal

Mehr als echt (More than real) by Jun Yang at Stiftung Bauhaus Dessau

...The result is a collection of some 80 chairs at various locations throughout the Dessau Bauhaus building and in the foyer of the Bauhaus Museum Dessau; some 80 chairs composing a juxtaposition of licenced works through Knoll, Thonet and Tecta, including the B3 'Wassily' club chair by Marcel Breuer, the S533 R by Ludwig Mies van der Rohe or the D4 by Marcel Breuer, of plagiarisms of those licensed works, and also of alternative interpretations of those licensed works by furniture retail chains such as Ikea or XXXLutz and designers such as Jasper Morrison... The latter a question also posed by the inclusion in Mehr als echt (More than real) of the S 43 cantilever chair by Mart Stam through Thonet, a work without question of importance in context of the (hi)story of furniture and of Functionalist Modernism, but a work, as with all works of Stam, that has as much to do with Bauhaus as this blog...

smow Blog Interview: Nadja Schulze - My goal is to always break down my designs so that they are easy to understand for all

...Born and raised in Leipzig, Nadja Schulze completed her Bachelor in Innenarchitektur at Burg Giebichenstein Kunsthochschule Halle in the spring of 2023, before beginning an Interior Architecture Master's at the Burg in the autumn of 2023, a Master's in the course of which three lamps, three lamp families, arose, LiLa, Bow and 360°: the lattermost, wall lamps that you turn like an olde worlde telephone dial and as you do the cable rolls in and out thereby providing for both cable storage and a graphic element; the middlemost a flexible, positionable, wall lamp inspired by, and constructed from, tent poles; the foremost Lightweight Lamps, a modular lighting system inspired by tent poles, developed from Bow, that can exist as a wall, floor or ceiling version, and can not only be extended or reduced as a wall, floor or ceiling version, but switched between a wall, floor or ceiling version... Nadja Schulze: I'm from Leipzig and as a child began competing in gymnastic competitions, later training in Halle where I got to know the Burg...

Grassimesse Leipzig 2024 Compact: Aleksander Rasztawicki - Leichtigkeit

'Do we still need wood, metal and plastic?' asks Hochschule Wismar graduate Aleksander Rasztawicki in context of his Diploma project Leichtigkeit, Lightness. A rhetorical question for Aleksander doesn't believe that we necessarily do. For Aleksander all we...

Grassimesse Leipzig 2024 Compact: vondingen

...vondingen and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until 6pm on Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...

Grassimesse Leipzig 2024 Compact: Faculty of Angewandte Kunst Schneeberg - Me and My Chair

...The exhibition A Chair and You at the Grassi Museum für Angewandte Kunst, Leipzig, may have ended but its traces can still be felt at Grassimesse 2024, being staged as it is to a large degree in the A Chair and You scenography... Me and My Chair and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...

Grassimesse Leipzig 2024: smow-Designpreis Winner - Nadja Schulze

...LiLa, Bow and 360° by Nadja Schulze and all other projects selected or invited to participate in the 2024 Grassimesse Leipzig can be enjoyed, viewed, engaged with until Sunday October 27th at the Grassi Museum für Angewandte Kunst, Johannisplatz 5-11, 04103 Leipzig...

Stühle zum (Be)Sitzen, a smow Pop-up at the Grassi Museum für Angewandte Kunst, Leipzig

...A brief tour through the recent (hi)story of chair design, or certainly western European chair design, that opens with Michael Thonet's 1859 Chair 14, the contemporary Thonet Chair 214, a... , but a work that also redefined chair production: Thonet's warm bentwood process negating the need for skilled carpenters, relying instead on a workforce of highly trained but otherwise unskilled labour, and thereby, essentially, marking the dawn of industrialised furniture production...


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