As previously, and repeatedly, noted, one of the defining aspects about an office furniture fair such as Orgatec Cologne is that wherever one looks one sees a similar vista. Whereas in terms of domestic furnishings there are enough genres of furniture and interpretations of those genres to allow for a, at least relatively when not necessarily satisfyingly, varied landscape, office furniture is much more limited, not only doesn’t have the variety of genres, but has a few that are essentials; consequently every manufacturer has very similar product lines, every manufacturer has, for example, a height-adjustable desk, a sofa with high sides, a desk height rocking stool, a modular bench system, and an office chair with flat, slightly organic quadratic armrests that resemble cutlery Georg Jensen may have produced in the 1960s. The differences are, generally, to be found in terms of mechanisms, connection systems, interfaces, materials or textiles, so very technical aspects. Very important aspects, very fundamental aspects, but things that aren’t necessarily instantly visible. Hence the visual monotony. And aspects which when explored in detail aren’t always that interesting/innovative/engaging/sensible/relevant/practical/functional/etc. It’s a tiring, thankless, business working your way through such a landscape.

Particularly a landscape such as Orgatec 2018 which was, at least as we experienced it, largely about consolidation, about manufacturers extending existing product families or presenting existing products in new materials, new textiles, new colours, new fragrances, etc, etc…..

Which isn’t to say it wasn’t a thankless and fruitless task, just thankless, and thus, and with the standard disclaimer that we have invariably missed numerous genuine highlights, a smow blog Orgatec Cologne 2018 High 5!!

Orgatec Cologne 2018 High Five

One of our highlights of 2016 was without question PrintStool by Munich based designer Thorsten Franck for German manufacturer Wilkhahn. Less because of the object itself and more because of what it represents: the first step by a major furniture producer towards industrial 3D furniture printing. We met up with Thorsten in Munich to discuss PrintStool, 3D printing and the changing role of designers.

PrintStool by Thorsten Franck for Wilkhahn, here as seen at NeoCon Chicago 2016

PrintStool by Thorsten Franck for Wilkhahn, here as seen at NeoCon Chicago 2016

Whereas 3D printing is omnipresent in the media, and a ubiquitous tool in contemporary research and development, in most daily

Graph by Jehs+Laub for Wilkhahn

Although Stuttgart based design studio Jehs+Laub are in many respects best known as the winners of the inaugural Moormann Bookinist

Presto by Thorsten Franck for Wilkhahn, as seen at NeoCon Chicago 2016

At the risk of getting political, the term “neoconservative”/”neocon” hasn’t always had the best reputation, especially not in Europe where

Orgatec 2012 Stand-up Thorsten Franck Wilkhahn

Anyone who had anything to do with the UK childrens toy market of the 1970s – either as a user

Because our article on the new London bus has been delayed by a broken water main at Tooting Bec, we’ve