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 it ain’t meaningful, logical and justifiable?
1 meaningless, illogical and unjustifiable idea being every bit as undesirable and harmful as 1000.
As Brexit so poetically underscores.
And so while we can’t confirm there were a 1000 ideas, we can confirm that the principle idea at IMM Cologne 2019 was “consolidation”, the presentation of familiar lines in different colours, materials, heights, widths, etc….
Which, yes, is a comment we make a lot about furniture trade fairs, one we get the impression we’re making ever more often, one we feel will ultimately see us stop attending such; but a comment that, as ever, isn’t a complaint, far from it. It needn’t, shouldn’t, always be new, new, new. If it is it becomes fashion, not furniture. And thoroughly awful.
Whereby one must add IMM Cologne featured some very intelligent, meaningful, logical, justifiable, consolidations. Consolidation ≢ bad.
But there does also need to be new. Because on the one hand technology and materials are ever new, and furniture designers and the, and for want of a better phrase, designer furniture industry, have a duty to respond to those changes; on the other society is ever new, and by extrapolation so are the demands we place on our furniture, be that functionally, aesthetically or environmentally, and furniture designers and the designer furniture industry have a duty to respond to those changes; and on the rare, and especially valuable third hand, in order to advance we need that which we didn’ know we needed, that which we could never have imagined being without, even though we could never imagine being with, that which questions the accepted. Responding to such new realities, challenging conventions, presenting solutions based on a singular understanding of the reality, is the basis of what ultimately became the designer furniture industry and the furniture designer, and the future of both can only be found in the same.
Or put another way, the balance between the established and the new needs to remain healthy if the, for want of a better phrase, designer furniture industry, is to remain relevant.
And so, and as ever with the assumption we have missed one or the other delight, and/or not fully understood something we did see, a smow Blog IMM Cologne 2019 High Five!!
Fortune, we are told, favours the brave. Misfortune the reckless, but fortune the brave.
Thus, summing all the bravery we could muster, we descended into the unknown of the Bunker am Bahngleis and the exhibition Generation Köln…..*
Although founded twelve years before Bauhaus Weimar, and despite overlaps in personnel and biographies, it would be incorrect to draw a direct line from the Deutsche Werkbund to the Gropius school, even if a line of sorts can, should, be traced between the two institutions.
A line which serves not only to connect the two but to underscore the role both played in the development of contemporary understandings of formal aesthetics in the first decades of the 20th century, and also the influence both retain over contemporary understandings of such a century or so later.
In context of such considerations, the Werkbundarchiv – Museum der Dinge Berlin are presenting throughout 2019 a series of four exhibitions under the title 111/99. Questioning the Modernist Design Vocabulary and which aim to explore various aspects of the development of, well, modernist design vocabulary.
The start being made with graphic arts and the showcase Commercial Design instead of Applied Art?
The reason most of us fail to keep most of our New Year resolutions is, mostly, because we either resolve to give up things we enjoy or to do things we don’t.
Which is foolhardy in the extreme.
If you wanted to do more sport, you would.
If you wanted to eat less crisps, you would.
But don’t. And don’t. So don’t.
The wiser choice is to resolve to do more of that which you enjoy, and thereby not only setting yourself an achievable goal but one which through the genuine fulfilment it brings benefits you spiritually, intellectually, emotionally and physically; therefore, let us all, collectively, promise to visit more architecture and design exhibitions in 2019 than we did in 2018.
Our five starters for January 2019 can be found in Frankfurt, Malmö, New York, Berlin and Stuttgart……………..
While a Chair of Politics is a long established academic principle, the chair as politics represents a much more contemporary understanding of, not just chairs, but all those artefacts with which we share our world and our daily lives.
With the exhibition Friedrich von Borries. Politics of Design. Design of Politics Die Neue Sammlung Munich explore, or perhaps more accurately, give architect and design theorist Friedrich von Borries free hand to explore, the intersection(s) of design and politics.
If you are planning visiting an architecture or design museum, anywhere in the world, in 2019, it will be staging a Bauhaus themed special exhibition. Guaranteed. There are literally millions of them lined up. If not billions.
Which is no complaint. Or at least not unless they are exhibitions based on formulaic, lazy clichés. Then it is very much a complaint. But if they are exhibitions which take open, honest and unblinkered views on either the institution as a whole or a specific, ideally, under researched, aspect of the institution, and of course remember that it is 100 years Bauhaus Weimar, and not 100 years Bauhaus Dessau, then it is no complaint.
Consequently, December 2018 could be your last chance to experience anything else for a goodly while.
Our Bauhaus free recommendations or December 2018 can be found in Vienna, Dortmund, New York, London & San Francisco……..
Much as ever increasing co-working is altering understandings of and relations to work practises and office spaces, so to is ever increasing co-habitation altering understandings of and relations to domestic practises and spaces.
Albeit domestic understandings that are altering without as much public discourse as afforded those occurring in the workplace.
With the exhibition Together. The new architecture of the collective the Grassi Museum für Angewandte Kunst Leipzig explore, and thereby allow for a focus on, contemporary communal living.
Designer, grib magten! enjoined the 2018 Design School Kolding exhibition, Designer, seize the power!
Which not only sounds a bit more revolutionary than one is use to from Danes, but also implies designers should be in power. A position on which, and as we oft noted, we’re highly sceptical.
Intimately involved in power systems yes, but designers in charge…….
Consequently we thought it wise to set course for the Design School Kolding 2018 Graduation Exhibition.
Atop bonny Killesberg, and beside Kochenhof, (the) Akademie der Bildenden Künste, ABK, Stuttgart has been nurturing a basic kernel within a bright kettle of students of numerous creative disciplines since 1761.
For their 2018 Rundgang the, we believe the word is, identity, was based on alternative resolutions of the initialism ABK, the central one being Alle brauchen Kunst – Everyone Needs Art.
But do we need that applied, functional art developed in the year past at the ABK Stuttgart……?
A visit to the 2018 Rundgang promised to supply us with a better knowledge, but also to bequeath the students a bit kudos…….?
As we all learned from the exhibition Peter Behrens. The Practical and the Ideal at the Kaiser Wilhelm Museum Krefeld, the city was an important location in the development of the young Peter Behrens, not least through the role played by the museum’s founding director Friedrich Deneken in helping Behrens take his first steps from pure to applied arts; help which included not only giving Behrens’ work space in the museum but also mediating commissions with Krefeld manufacturers.
One of the more interesting projects discussed by Deneken and Behrens was creating the Damenzimmer – Boudoir – in Behrens’ house on the Mathildenhöhe Artists Colony in Darmstadt as a “Krefeld Room”, featuring exclusively, or near as makes no difference, works by Krefeld manufacturers.
Ultimately, for reasons of time, it wasn’t realised as such, but the fact that it was seriously considered underscores the depth of manufacturing and craft industries in Krefeld of 1901.
And the breadth of Behrens’ fledgling talents.
Krefeld of 2018 may not have the depth of industry it enjoyed in 1901, but do the current fledgling designers have the breadth of talent of a Peter Behrens?
The 2018 designkrefeld Werkschau provided a good opportunity to gather an impression.
At Orgatec Cologne 2016 Vitra staged, in effect, their own trade fair, renting an entire hall and inviting family and friends along to share the space and their ideas on the future of work.
And obviously had a lot of fun and/or success with the concept.
For at Orgatec Cologne 2018 they once again staged the Vitra Fair……. Work
History is not only written by the winners, and re-written by those who can’t accept the facts of their defeat, but history is also the story of the visible, those who are invisible having nothing to contribute.
With the exhibition Against Invisibility – Women Designers at the Deutsche Werkstätten Hellerau 1898 to 1938 the Kunstgewerbemuseum Dresden not only re-introduce nineteen, largely, forgotten female creatives, and therefore allow their contributions’ to history to be recorded, but in doing so allow for new understandings of the development of design in the first decades of the 20th century, the (hi)story of the Werkstätten Hellerau, and also reflections on today’s contemporary furniture design industry.
How many stories can a city tell? There are the public, collective, communal stories told by its buildings, by its peoples, by its industries, by the development of its cultural institutions and through the actions of famous/infamous citizens; but there are also the myriad private, individual stories, the scurrilous, the appalling, the romantic, the comic, the tragic, the improbable, and of course the secret, whispered, ones.
At the risk of sounding like a city marketing platform, a city is the sum of its stories. And is thereby always in flux.
For Waidblicke #3 smow Cologne invited selected professional and student architects, photographers and designers to reflect on Cologne’s Stadtgeschichte(n) – City (Hi)stories
It is seldom that the largest, most centrally placed and intricately staged object in an exhibition isn’t the central focus of that exhibition, but a conduit which introduces and guides the exhibition.
Something you could ignore, but really shouldn’t.
However such is the case with the Kunstgewerbemuseum Berlin’s new exhibition Inside Out. Understanding the art of furniture making
The fifth of November
Gunpowder, treason and plot……
Thus begins the traditional song commemorating, and urging us all never to forget, Guy Fawkes and his fellow conspirators attempts to overthrow the English parliament of the day, their plotting to install a new parliament, one more in line with their ideological position, for all one more in line with their ideological understanding of the English parliament’s future relationship to the dominant extra-governmental power of contemporary continental Europe.
That however was Westminster in November 1605. Such treachery and plotting would be unimaginable in Westminster in November 2018.
And so we can all relax and sing,
The five smow blog architecture and design recommendations of November,
Ditzel, von Borries, Japan, Latvia and Duchamp.
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!!
With a new name, but a familiar format, the 2018 Kölner Design Preis once again celebrates the city’s design students and creative colleges, including an exhibition of all nominated projects in the Cologne Museum für Angewandte Kunst.
Qu’est-ce que le design?
What is design?
A question as old as the word itself, arguably older. But one with an answer?
In an attempt to approach one the Musée des Arts Décoratifs Paris asked Charles Eames, Verner Panton, Roger Tallon, Joe Colombo and Fritz Eichler, Qu’est-ce que le design?……
Staged as part of the Biennale Interieur Kortrijk 2018 City Festival the showcase, We are the Next Generation, presents/presented works by graduates from design schools across Belgium and northern France.
But are they………
The top story from Biennale Interieur Kortrijk 2018 is that use of the toilets is free. Jubilation all round!! Much as we like to think our campaign against the previous 50 cent charge was responsible, we suspect the answer lies elsewhere. But we made a stand, and that’s what’s important.
As is the fact that freed from our rage at the intolerability of the charges, and the thus ensuing intolerable bladder pressure, we could concentrate freely on the objects on show.
Accepting, as ever, that we missed one or the other genuine delight, a Biennale Interieur Kortrijk 2018 High 5!!
Whereas today the term “design” is regularly understood as an adjective or a noun, its origin is as a verb. It is something one does.
The interesting and relevant being that everyone does it differently.
With the exhibition Process the centre d’innovation et de design au Grand-Hornu explore Belgian designer Benoît Deneufbourg’s definition of that verb.
With his two faces the Roman God Janus was able to look in two different directions at once, a skill he traditionally employed as a gatekeeper, as a guardian of transitions, observing the past while always having his view firmly on the future; but a skill which is also helpful in understanding design processes, allowing as it does one to see simultaneously both the finished article, and the research, experimentation and design philosophy that lead to it.
Presenting works by eight Liège based studios which juxtapose the finished product with the development process, the exhibition Face A – Face B at Design Station Liège allows just such a Janus perspective.
Escalating tension between the nuclear powers, public discourses on gender equality/respect, racial equality/respect, religious equality/respect, thousands displaced through war and conflict in South East Asia, destabilising wars and conflicts in the Middle East, warnings about irreversible environmental stability and the long-term habitability of earth, thousands on the streets demanding change…..
And the situation in 1968 wasn’t very different.
With the exhibition 68. Pop und Protest the Museum für Kunst und Gewerbe Hamburg explore the relationships between the social and political developments of the late 1960s and the cultural manifestations of the period……
The 2018 ArtEZ Academy of Art & Design Arnhem graduation exhibition was staged under the title, Liberty, but how many would the students be taking……
The 6th edition of LuForm Aachen is being staged, as the title succinctly implies, in conjunction with the Reciprocity Design Triennale, an event nominally based in the Belgian city of Liège but which, and as with LuForm, integrates creatives and creative institutions from across the Meuse–Rhine Euroregion. And therefore a most logical and natural cooperation
As an exhibition LuForm 6 also reflects one of the principle themes of Reciprocity 2018: fragility.
Whereby, if the exhibitions in Liège primarily discuss practical considerations on fragility, then the presentation in Aachen is much more concerned with speculative, theoretical, abstract, artistic considerations on the same.