We’re great believers in Fate, in the guiding principle that if it is meant to be, it will be: not least because it protects us from the expectations of achievement.
Further proof of the veracity of Fate was provided by our meeting during Milan Design Week 2018 with the project Moorwerk by Jan Christian Schulz.
Milan Furniture Fair 2018, at least amongst those more design led manufacturers, is/was largely about consolidation, largely about new materials, new colours, slight changes to existing objects, with one or the other family proudly presenting their latest members. Which is no complaint, far from it, Milan’s speciality traditionally being the new for the sake of the new, that misguided belief that one has to present something new every year. You don’t. Present something new when you’ve got something new to say, something new to contribute, something meaningful.
Largely ≇ exclusively and there were a few new projects to be found which did have something new to say, did have something new to contribute, were something meaningful. If not enough for a handful. Sure we could have added another project just to compete the quintet, there being no shortage of candidates to choose from, but then just as we don’t expect manufacturers to publish for the sake of the new rather for the quality, so we don’t publish for the sake of the five….
As ever we didn’t see everything, have without question missed things we shouldn’t have missed, things we will regret missing later, apologies all round, but, and with that in mind, our Milan Furniture Fair 2018: High Four!!
Curated by Carwan Gallery Beirut co-founder Nicolas Bellavance-Lecompte, Unsighted presents projects by eight international designers; the title making reference to the fact that the designers weren’t told for what they were being commissioned, had no external context; were working, as it were, Unsighted.
During Milan Design Week 2018 all became clearer…
“Shake of all the props – the props tradition and authority offer you – and go alone – crawl – stumble – stagger – but go alone”, encouraged the Scottish architect, designer and artist Charles Rennie Mackintosh his audience during his 1902 lecture Seemliness.1
How Charles Rennie Mackintosh himself attempted to do just that can be explored in the exhibition Charles Rennie Mackintosh. Making the Glasgow Style.
According to the German philologist, mythologist, folklorist and definer of the Germanic Umlaut, Jacob Grimm, an old belief states that the Cuckoo never sings before the 3rd of April; and, “should you have money in your pouch when you hear him sing the first time, you will be well off all that year, if not, you will be short the whole year” 1
Much like the cuckoo, our five new architecture & design exhibitions recommendations for April 2018 begin with their songs after April 3rd; and should you have money in your pouch when in their vicinity, and use it to visit one, we can’t guarantee a year of financial wealth, but they all sound like providing not only a couple of hours entertainment, but a lifetime of joy through helping you develop your understanding of architecture and design, and thereby the world that surrounds you….
Following on from the Collective in 2015, Movement in 2016 and Substance in 2017, the Stiftung Bauhaus Dessau’s annual theme for 2018 is the Standard; a central component of the teaching at Bauhaus Dessau yet one which is and was freely open to artistic, technological and functional interpretation.
And one the Bauhäusler freely interpreted artistically, technologically and functionally
The first exhibition in context of the annual theme explores the work of the German architect Carl Fieger, how he applied his understanding and interpretations of standardisation of architecture and design from his days at Bauhaus in the 1920s to his time at the East German Bauakademie in the 1950s, how he evolved and developed as an architect in that period and his contemporary relevance.
1918 was a bad year for the Wiener Moderne, losing as it did with the deaths of Koloman Moser, Egon Schiele, Gustav Klimt and Otto Wagner four of its leading protagonists.
To mark the centenary, and help underscore the important role Vienna played at the turn of the 19th/20th century in the development of art, architecture, music and literature, museums across Vienna are staging a wide range of specially themed exhibitions throughout 2018; the Hofmobiliendepot – Imperial Furniture Museum – taking the opportunity to celebrate not only Otto Wagner, but his younger contemporaries Josef Hoffmann and Adolf Loos.
Nightclubs and discos are not only about entertainment and sensory overload, but also provide a society with means of expression and reflection.
With the exhibition Night Fever. Designing Club Culture 1960 – Today the Vitra Design Museum in Weil am Rhein explore five decades of club culture.
Following three years of renovations and redesign the principle house of the Museum für Gestaltung Zürich is once again open for visitors.
Three years which have not only seen the physical structure renovated and redesigned, but also the presentation concept and foci.
In context of the renovation of the historic Falkenhütte alpine hut, Munich based StudioFaubel were commissioned to develop a formally appropriate, contemporary lighting solution.
During Munich Creative Business Week 2018 the Alpines Museum Munich are presenting with Gentiana Alba – Tradition und Design, not only the result of that commission, but an insight into the development process.
Vicis (latin, f.): Change, variety, alteration
VICIS (Munich Creative Business Week 2018): An invitation to consider such.
With the exhibition Hans J. Wegner: Designing Danish Modern the Vitra Design Museum Schaudepot explores the oeuvre of one of the Grand Doyens, and arguably one of the most widely misconstrued protagonists, of 20th century Danish design.
Arguably because Passover/Easter is early this year, every, but every, museum is opening a major exhibition in the course of March 2018, in preparation for the unofficial start of the tourist season in April.
A situation which leaves us with the daunting possibility of creating 5 such Top 5 lists. And still having some exhibitions left over.
Faced with a similar situation back in November 2017 we referred to the abundance of options which lay before us as being akin to “gardens mottled with the vibrant leaves of autumn”, here it is much more the case of lawns bestrewn with the tantalising hues of Easter Eggs. And while some will unquestionably be those disappointingly hollow ones, the majority look like being solid lumps of architecture and design endorphin loaded goodness into which to sink your teeth, and thereby celebrate the end of winter’s paucity and the coming spring.
In that sense, our top 5 new architecture and design EGGsibitions for March 2018 …. Bon appétit!!!
With the exhibition INSIDE architecture by Åke Axelsson, Jonas Bohlin, Mats Theselius Sweden’s Konstakademien, Royal Academy, pay tribute not to the architecture of Messrs Axelsson, Bohlin & Theselius, but to the interior and furniture design work of three: and in doing so neatly underscore the function of the interior architect and the important link between interior design and furniture design.
One of the most striking aspects at Stockholm Furniture and Light Fair is the way the various Scandinavian manufacturers try to impress how old they are. Arguably on account of the sheer concentration of Scandinavians at the region’s premier furniture and lighting trade fair, you will rarely find so many in one place at one time, all seem locked in a battle to claim the status as oldest, to lay claim, as it were, to being the elder statesmen of the guild.
Established in 1964 screams one stand. Founded in 1907 another. Since 1869. Etablerad 1724. Constituted in 1079 in the reign of Harald the Soft. Et cetera. Et cetera. Et cetera. Further and further back into the ether of time.
One suspects the reason is that given the relative similarity of the products on display, each is keen to show that they have been doing it longer than the rest.
Yet the question isn’t who has been doing it the longest, but who is doing it best.
Or perhaps better put, elsewhere the question wouldn’t be who has been doing it the longest, but who is doing it best; but we’re talking about the furniture industry, an industry which in its heart has always been about taking inspiration from others. Something which increasingly means a focus on a few universally accepted archetypal “Scandinavian” forms: and not just amongst Scandinavians, we also spotted a few non-Scandinavians trying their utmost to claim a northern heritage.
Which shouldn’t be taken as meaning that all the stands were carbon copies of one another, that all had identical portfolios and nobody was trying new things. Nor that there weren’t objects of merit on show. It doesn’t. Far from it. Such isn’t our intention. Should however be taken as meaning that throughout the fair one is and was regularly greeted by variations on a very small number of basic forms. If you will by the fundamental geometry of understandings of Scandinavian design.
Yet, and much as we argued in our post from IMM Cologne on the 118 by Sebastian Herkner for Thonet, for us things get difficult when the object, the form, becomes the main focus of attention, rather than the thinking, processes and traditions which led to the object, the form, achieving its exalted position. And considerations on such were, for us, too infrequently on display. Or at least drowned out by the shouting
As ever we may have missed things, we’re certainly not claiming totality, not least because our list is by necessity limited, with that in mind, and in no particular order, our Stockholm Furniture and Light Fair 2018 high five! six!
By way of an addendum to our 5 New Architecture & Design Exhibitions for February 2018 post, and arguably also to save us mentioning it every month, February 2018 sees the inauguration of a new design exhibition cycle in Berlin: Design Views, a cooperation between the Internationale Design Zentrum Berlin and the Kunstgewerbemuseum Berlin initiated with the aim of highlighting contemporary developments, thinking and directions in design.
It is arguably just us, but we firmly believe that there are ever more design students studying ever more design degrees in ever more design schools, which (potentially) means ever more designers. In itself no bad thing: assuming that is that what they learn is relevant for the ever evolving nature of not only the design profession, but the society they will/should serve.
To better gauge the current situation of design education in Europe we embarked in 2017 on our #campustour, an ongoing exercise which involves not only visiting design schools but for all speaking to some of those responsible for teaching the coming generation of designers.
Among them Professor Florian Petri from the Department of Design at the Hochschule für angewandte Wissenschaften München.
If academics are to be believed, which admittedly seems unnecessary given the wealth of irrefutable facts available on Twitter and Facebook, February has always been a short and flexible month.
Initially non-existent – the contemporary January and February being once considered an indivisible “winter” – when the Romans decided to extend their calender, February was deliberately left shorter than all other months, largely for accounting purposes, that is, to allow it to be adjusted as the solar calender dictated. And nobody has seen fit to rectify that situation.
Nor do we.
And so maintaining this tradition, our 5 new architecture and design exhibition recommendations for February 2018 features but four……..
It’s probably fair to say that no object at IMM Cologne 2018 confused us quite as much as the new 118 chair by Sebastian Herkner for Thonet.
Not in bad way. Just in a confused way.
We know, we know, what sort of being gets confused by chairs.
Us. Regularly. It’s why our lives’ are such a mess.
Aside from the chance to catch up with, and following the development of, familiar manufacturers and designers, one of the (all too rare) joys of a fair like IMM Cologne is being introduced to the previously unknown.
Among our new discoveries at IMM Cologne was Münster based manufacturer Caussa.
While Georges-Eugène Haussmann is associated with the radical and unrestrained, Atelier Haußmann prefer the understated and reserved. Yet applied with the same level of conviction, self-confidence and appreciation of a well considered line.
Following a couple of years absence 2018 saw Atelier Haußmann return to IMM Cologne….
The English playwright and composer Noël Coward is widely attributed to have once opined that, “a perfect Martini should be made by filling a glass with gin, then waving it in the general direction of Italy”
We can’t confirm if Munich based StudioFaubel employed the grand raconteur’s advice in the development of their Martini Sessel for Müller Möbelfabrikation. The result is however equally as satisfying…..
One of the early highlights of our 2017 #campustour was the Arc Collection by Marie Hesseldahl & Nanna Neergaard created in context of their Diploma project at Design School Kolding.
Consequently it was a particularly pleasing mødes igen with the Arc Collection at IMM Cologne 2018 where it was launched as a product family by Danish manufacturer Le Klint.
“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 fundamental, exploring as it does possessions and consumerism, and by extrapolation the global production, distribution and marketing industries that are sustained by both.
In his 5th century BC text “The Art of War”, the Chinese military strategist Sun Tzu notes:
There are roads, not to take.
There are armies, not to attack.
There are towns, not to besiege.
There are terrains, not to contest.
There are ruler’s orders, not to obey.1
Were Sun Tzu’s metier the furniture fair rather than the warfare, we feel certain he would have added:
There are objects, not to produce.
IMM Cologne 2018 is awash with such. It’s not IMM’s fault; rather is endemic of an industry which supplies utensils of human need, objects which surround our every waking and sleeping moments, accompany the trials, tribulations, triumphs and temporality of existence, but which all too often do so not with the aim of improving our immediate environment, be that aesthetically, functionally or morally, but of generating profit.
The inevitable result is innumerate brands all desperately trying to prove they can do exactly the same as everyone else, can all do what the t**** soothsayers tell them the market(s) want.
Yet as George Nelson teaches us, don’t produce for a perceived market, produce for yourself. Your customers will find you. And those who don’t, aren’t your customers.
As we say, its not IMM’s fault, IMM is one the major furniture industry platforms, and consequently its visitors are exposed to a very concentrated dose of the unnecessary and unseemly
However it’s not all soulless pastiche, lazy appropriation or “cocooning” at IMM Cologne 2018, there are also works which demonstrate as Sun Tzu reminds us, and despite what we may believe in any given moment, “Anger can turn to pleasure.”
As ever, we’re not claiming to have seen everything, have invariably missed some gems, while there are a few projects which may in retrospect have earned a place in the following list, but on which we are still in the process of forming an opinion.
With that in mind, and in no particular order, our IMM Cologne 2018 High Five!