At the risk of getting political, the term “neoconservative”/”neocon” hasn’t always had the best reputation, especially not in Europe where its connotations of American supremacy through military force has long made it a subject for suspicion, intrigue and popular rejection.
Thus for us it is all the more amusing that one of America’s main contemporary furniture trade fairs should be “NeoCon”. The imagery the name conjures up easily keeping us amused for the duration of a transatlantic flight……
Staged since 1969 in Chicago’s Merchandise Mart wholesale showroom and exhibition centre, a building so big it famously has its own ZIP Code, NeoCon is America’s largest platform for “contract furnishings” – so essentially, though not exclusively, office furniture, and the 2016 edition featured some 500 companies across three floors of permanent showrooms and one floor of temporary trade fair stands.
First things first. There is nothing glamorous about NeoCon. A building full of men in suits trying to convince other men in suits that their chairs are more ergonomic and environmentally responsible, their height adjustable tables more health promoting and their soundproof booths better soundproofed than those very, very similar looking objects being offered by the man in a suit further down the corridor, is never a good place to find oneself.
Outside is life, colour, titillation, noise, dirt, emotion, natural light.
For three days.
But then events such as NeoCon exist to sell furniture, or at least to promote the potential sale of furniture, that’s their raison d’etre. We and our perverse fascination with design quality just have to grind our way through, hoping to find projects that reaffirm our faith in the truth that a design led furniture industry is a healthy and sustainable furniture industry.
And Hallelujah we did!
As ever what follows is our subjective assessment of those new products on show, or at least products new to us. And as ever we didn’t see everything, and didn’t necessarily understand all that we did see, that said here our NeoCon Chicago 2016 High Five!
Horsepower by Antenna Design for Knoll
Good design is, as we recently noted, not necessarily a case of finding the correct solution but of correctly understanding the question. Which is why we have long admired both the Kantbank by Andreas Grindler for kkaarrlls and the metal bar that runs around the border of the exhibition halls in Milan. A metal bar which we presume is there for security but which is often the best chair design in any given hall. Sometimes we just need a place to perch. Which is also the reason why we were immediately taken by Antenna Design’s Horsepower for Knoll. When you’re next out and about in an urban, civic or commercial space, look around you, you will see untold individuals sitting on stairs, bollards, window sills, their luggage, the floor, and every 5th person will have a mobile device charging in some hastily found, inconveniently located, plug. Give the people a simple beam. Equip that beam with a cushioned top. And plugs. And USB charging ports. The world can be that simple.
Horsepower by Antenna Design for Knoll, as seen at NeoCon Chicago 2016
BuzziJungle by Jonas Van Put for BuzziSpace
The future of office environments is vertical. Not all office environments obviously, that would be ridiculous. But as part of an integrated office environment, an environment that features areas for quiet work, concentrated group work, brainstorming, social and individual free time, vertical solutions are becoming increasingly unavoidable, as they offer spatial and organisational possibilities traditional “2D” office environments simply cannot. In the past we have posted favourably on, amongst other innovations, the installation “The End of Sitting” by RAAAF & Barbara Visser at gallery Looiersgracht 60 in Amsterdam and on the effortlessly logical “Shrinking Office Project” by Rotterdam based Roy Yin. The BuzziJungle is, as far as we are aware, and we may be wrong, the first commercially available solution for vertical workplace solutions. Developed by Belgian designer Jonas Van Put for Belgian brand BuzziSpace, the BuzziJungle is freely configurable and thus can be adapted to meet the specific requirements of a given location and offers a range of options for sitting or lying at a range of heights and thus an environment for either informal group work or for employees to hang a little during the work day. No we’re not particularly taken by the use of wire meshing as the base for sitting/lying, understand the thinking, just feel it gives it a very slight “prison” feel, and yes would have preferred something modular rather than the rigid and permanent version presented; however, as an entry into a brave new world the BuzziJungle is a very positive and very welcome step. And the fact that BuzziSpace have taken it, not only makes perfect sense, but also bodes well for future developments.
BuzziJungle by Jonas Van Put for BuzziSpace, as seen at NeoCon Chicago 2016
Massaud Conference Low Back by Jean-Marie Massaud for Coalesse
The Massaud Chair by French designer Jean-Marie Massaud for US manufacturer Coalesse isn’t new, the Low Back Conference version is, and for us the defining, if not crowning, feature are the armrests. Visually very reminiscent of Hans J Wegner’s PP19 “Papa Bear Chair” the armrests’ well considered curvature make them convenient – something, somewhat ridiculously, not always achieved by armrests – and in addition allow for a very comfortable sitting experience, without unnecessarily cocooning the sitter. One has freedom and enjoys that freedom. Add to this comfort and usability, the very nice, clean, connection between seat and backrest, and the welcoming familiarity more akin to a lounge chair than a conference chair and you have a very well rounded and interesting object. Yes, the conference and guest chair market is arguably over-saturated, but for us the Massaud Conference Low Back is a very welcome addition to the genre. And we can think of a good few others we’d could happily do without.
Massaud Conference Low Back by Jean-Marie Massaud for Coalesse
Presto by Thorsten Franck for Wilkhahn
Furniture design isn’t just about developing formally attractive objects, indeed in many respects that is the last thing furniture design is about; much more furniture design is about adapting to changes in the social, cultural, economic and ecological contexts in which furniture is used, adapting to changing technology and thus new processing possibilities and about following the evolution of materials and of translating this evolution into new products and/or production processes. An excellent example of the latter is the new Presto stool by Munich based designer Thorsten Franck for the German manufacturer Wilkhahn. A bi-conical stool there is nothing especially new or exciting in the form, visually pleasing as it unquestionably is; however there is plenty new and exciting about the fact that it is a 3D printed stool. According to Thorsten the possibility to print such a stool only arose with recent developments in the commercially available materials for 3D printing; whereas such was previously theoretically possible, the thermal stability of the material meant that on hot days the stability of the structure couldn’t be guaranteed. Newer materials being more thermally stable allow for the required stability. A further important factor in Presto’s stability is the exterior pattern. More than mere ornamentation the pattern provides for the physical stability of the very thin-walled structure. Form following function in that the decoration is functional. A state of affairs which we believe is very much in the spirit of Louis H Sullivan.
Aside from the object itself what particularly excites us about Presto is that it takes us one step closer to decentralised industrial furniture production. The idea of producing a furniture object in location X and shipping it around the world is becoming ever less justifiable, and every technological, material or process development that brings us a step closer to reducing such to a bear minimum is to be celebrated.
Technically “available” in a variety of patterns and sizes, NeoCon Chicago was a “pre-launch-launch” the main product launch, and market availability, is planned for Orgatec Cologne this coming autumn.
Presto 3D printed Stool by Thorsten Franck for Wilkhahn, as seen at NeoCon Chicago 2016
Presto by Thorsten Franck for Wilkhahn, as seen at NeoCon Chicago 2016
Zip by Alex Akopova for Bernhardt Design
Legs on a sofa unquestionably have an important function. Aren’t however universally necessary. Just as a bed can rest on the floor, so a sofa. Created as part of a long standing collaboration between US manufacturer Bernhardt Design and students from the Pasadena based Art Center College of Design Zip by Alex Akopova delightfully demonstrates that removing the legs not only changes the way a sofa relates to a given space, but also provides for a new sitting experience, different modes of seating and thus a different relationship with the sofa.
And yes, it is a sofa. Zip is no glorified bean bag. But a sofa. And a very comfortable one at that. And a modular one to boot. The individual units are sturdy without being overly heavy and join together via a, well, Zip, meaning that one can effortlessly configure and reconfigure the units to meet your current needs, be that a group sofa, individual chairs or a landscape featuring both. A functionality perhaps more important in an office, commercial, public space situation than in a domestic setting; and although created for contemporary office environments, we do see Zip working equally as well as a domestic object.
The other advantage of a sofa without legs is of course that should you fall asleep on it, either deliberately because your having a nap, or involuntarily because it is Thursday afternoon and its been a long week, and subsequently roll off, the way down is short and the landing painless. It can be important……..
Zip by Alex Akopova for Bernhardt Design, as seen at NeoCon Chicago 2016
Posted in Designer, Exhibitions and Shows, Knoll, NeoCon, Office Furniture, Producer, Product Tagged with: Alex Akopova, Antenna Design, Bernhardt Design, BuzziJungle, BuzziSpace, Chicago, Coalesse, Jean-Marie Massaud, Jonas Van Put, Knoll, Massaud Conference Low Back, NeoCon, Presto, Thorsten Franck, Wilkhahn, Zip
On March 10th 2015 a jury at the Central District Court of California in Los Angeles concluded that Pharrell Williams and Robin Thicke had relied a little too heavily on Marvin Gaye’s 1977 hit “Got to Give It Up” when composing their track “Blurred Lines”. For infringement of Gaye’s copyright the court ordered Williams and Thicke to pay Marvin Gaye’s estate $7.4 million dollars.
Responding to the judgement Pharrell Williams mused in the Financial Times that “the verdict handicaps any creator out there who is making something that might be inspired by something else” and that in his opinion the case could lead to creative industries “frozen in litigation”1
And to a degree he has a point.
The history of music is a history of taking concepts developed by one composer and developing them further, of being inspired by other musicians. Those who go their own way either being lauded as genii or damned as fools.
Which of course got us thinking…..
For just as the history of music is largely built on inspiration, homage and developing the ideas of others, so to is the history of furniture design.
The so called Boppard Bench by Michael Thonet from ca. 1836
As a prime example of furniture design’s traditions, the father of the modern furniture industry Michael Thonet began by re-creating established forms of the day; a training which helped him develop his own understanding of form, aesthetics and functionality, before with his 3D steamed bentwood forming he created not only a new process for industrial chair production but with the subsequent Chair 14 one of the most successful and popular chairs of all time. In a similar vein the Godfather of Danish modernism, the architect and furniture designer Kaare Klint, was firmly of the opinion that historic furniture models provided everything that one needed for developing modern, functional furniture, one just had to develop them further and in context of the modern age. A position his pupils, including Hans J Wegner and Børge Mogensen, more than eloquently demonstrated in many of their own works. And which is continually demonstrated by contemporary designers. Konstantin Grcic‘s 360° Stool for Magis, for example, must be considered more as a development of George Nelson‘s 1964 Perch in a new material and for a new age, than a new product genre per se, while according to Italian manufacturer Mattiazzi Jasper Morrison‘s Fionda chair is inspired by a Japanese camping chair owned by Morrison: a quick look at Snow Peak’s Take! chair being sufficient to understand what is meant. And where would contemporary design be without the Shakers? A religious sect they may be, but their simple approach to architecture and furnishings has inspired, and continues to inspire, untold designers and architects.
Aside from being inspired by individual objects or product genres, designers are also regularly inspired by the way their contemporaries use production processes, just as musicians are regularly inspired by the way their contemporaries use new technology or new understandings of rhythm and composition. Michael Thonet’s 3D steamed bentwood process, for example, owes more than a passing note of gratitude to boat building, while Alvar Aalto was famously introduced by his business partner Otto Korhonen to a plywood moulding process used by Tallinn based manufacturer Luterma for the production of tram seats. Recognising the potential of the process Aalto took the Estonian methods and developed them further – technically and formally – applied them in context of site specific commissions and created something new, and something which itself went on to provide inspiration for the likes of Marcel Breuer, Charles Eames, Eero Saarinen, Egon Eiermann, Arne Jacobsen and neigh on every designer since.
On the left a 1940s chair by Børge Mogensen. On the right an 18th/19th century English Windsor style chair
A further parallel with the music industry is that just as most commercially successful musicians generally arise from a scene of artists doing very similar things, so to does one regularly find several designers working on similar concepts at the same time. Some with more lasting success than others. Such can be considered the case with, for example, the cantilever chairs of Mart Stam, Marcel Breuer, Mies van der Rohe and the Brothers Rasch. All knew one another, yet all developed their own projects according to their own understanding of aesthetics and how best to solve the problem at hand. Similarly, Hans Knoll allegedly almost didn’t release Harry Bertoia’s Diamond Chair because of the similarities to the Eames DKR Wire Chair and his fear that people would accuse Knoll and Bertoia of copying the Eames’s and Herman Miller2. Even though there was no suggestion that they had. Egon Eiermann and Wilde + Spieth had no such qualms with the SE 3 from 1949, a work known today as the SE 42, and a work that bears a more than passing similarity to the Eames DCW, yet which was, as with Bertoia’s Diamond Chair, developed independently of the Eames’s, if with knowledge of what they were doing; and where importantly, and as Arthur Mehlstäubler is at great pains to point out, when one looks at details such as the way seat and frame are connected, the formally more open Eames construction compared with the more compact Eiermann chair or indeed simply the number of legs, the differences can be considered to outweigh the otherwise apparently obvious similarities.3
Then of course there is genuine homage, works which don’t claim to be anything but a loving eulogy to an existing work. Franz Volhard‘s table Egon through Nils Holger Moormann, for example, is a cheeky, self-confident solid wood reinterpretation of Egon Eiermann’s classic tubular steel table frame: and one which through its unmissable, almost overly obvious, simplicity serves to underscore just how good Eiermann’s original idea is and was. Or Rudolf Horn’s 1962 Conferstar Club Chair, a chair developed because Rudolf Horn found Mies van der Rohe’s Barcelona Chair so uncomfortable, and was so disappointed by the sitting experience, he felt almost honour bound to improve it.
The Barcelona Chair by Mies van der Rohe (1929) and the Conferstar club chair by Rudolf Horn (1962)
Pure plagiarism is, naturally, another thing altogether. Not only because plagiarism denies creatives the rightful rewards of their work, but, and at least in terms of furniture if not music, the copies are often not only inferior quality, but potentially dangerous, as our smow Australian cousins recently demonstrated with their Tolix stool tests.
However, as all the above examples indicate, the line between inspiration/homage and plagiarism is very, very fine.
Pharrell Williams and Robin Thicke continue to argue that they haven’t crossed that line and have formally requested a retrial. Their lawyers see hope for a successful appeal based on the fact that the jury were only supposed to asses the sheet music versions of the two compositions, were however played both tunes and so, potentially, formed their opinion based on what they heard not what they read. A small but important difference, also in context of the furniture industry.
The score is how a song is constructed, contains the musician’s intentions, explains the relationships between the various components and gives an indication as to how competently, or otherwise, the composer masters the essentials of their craft: the audio version is how it is subsequently styled, a process generally not undertaken by the songsmith alone but rather in cooperation with a producer, engineer and record company.
Similarly with furniture what one generally buys is the styling; only very rarely is the final market version an exact 1:1 replication of the designer’s original version, but is invariably an industrial producible adaptation created in conjunction with the manufacturer. And, yes, and as with music, when the publishers intention is profit over content this tweaking can all to often be aimed towards creating an end result that conforms to a current standard and/or a particular lifestyle t***d.
However, and ignoring for the time being such unpleasantness and the monotony that results, the construction principle on which the project is based, the choice of material, the intention and inspiration behind the original idea and the competence, or otherwise, with which that is then developed into a finished model, that is the real work that a designer undertakes: and ultimately is the difference between a copy and an original.
A copy lacks any sense of authorship, any semblance of character, being as it is simply a soulless generic construction conferring the visual impression of a successful designer piece and an object created purely to confuse the unwary into believing they are buying something other than that what the ultimately receive. A cynical ploy to blur the lines and make profit at the expense of others.
And so, and to come back to our original question, what if Pharrell Williams and Robin Thicke designed furniture?
No, let’s not, let’s just be grateful they don’t…….
1. Matthew Garrahan, “Pharrell Williams warns of copycat litigation wave” Financial Times March 19th 2015
2. George Nelson, The age of modern design, Architectural Record Mid-February 1982
3. Arthur Mehlstäubler, “Egon Eiermann – der deutsche Eames?” in Sonja Hildebrand & Annemarie Jaeggi, “Egon Eiermann (1904 – 1970). Die Kontinuität der Moderne”, Hatje Cantz, 2004
The 360° Stool by Konstantin Grcic for Magis (2009) and the Nelson Perch by George Nelson through Vitra (1964)
The DCW plywood chair by Charles and Ray Eames through Vitra (1945) and the SE 42 by Egon Eiermann for Wilde + Spieth (1949)
Self inspiration: The Uncino chair by Ronan & Erwan Bouroullec for Mattiazzi (2013) and the Officina chair by Ronan & Erwan Bouroullec for Magis (2015)
Posted in Designer, Knoll, Magis, Moormann, Producer, Product, Vitra, Wilde + Spieth Tagged with: Egon Eiermann, George Nelson, Knoll, Konstantin Grcic, Magis, Michael Thonet, Ronan and Erwan Bouroullec, Seating, Thonet, Vitra, wilde + spieth
Upon seeing Rui Alves’s Bridge armchair prototype at IMM Cologne 2015 we commented on the unfamiliar, and for us not instantly accessible, overproportioned upholstered seat and backrest…… Before realising in context of both the Pocket Chair by Jesper Junge and the Lenz Lounge Chair by Bartmann Berlin, Silvia Terhedebrügge & Hanne Willmann, that possibly Rui was just riding the Zeitgeist a lot better than us and that the overproportioned aesthetic had a contemporary relevance we were unaware of.
Since Cologne we’ve befriended the concept of the oversized backrest, fortunately: for the Pilot chair by Barber Osgerby for Knoll would tend to indicate that we should all get used to backrests as voluminous and unapologetic as an Edwardian wig.
A delightfully reduced, uncomplicated and unhurried object the Pilot chair is based around a simple T-shaped aluminium frame onto which backrest, seat, (optional) armrests and base are attached – the latter via an excellently conceived slanted bar construction which both bestows the chair a very pleasing and well proportioned cantilever optic and also allows for the very slightly feathered, and comfortable, sitting experience.
Much less satisfying however is the decision to clothe some of the chairs in clown garb…… but what you gonna do? Other than hope that was just a very poor joke from the Knoll marketing team and in future the Pilot chair will only appear in the understated, and appropriate, leather and textile versions.
Otherwise an excellent chair and an object which for us stole the show from the intended star of the Knoll Milan presentation, the OMA Tools for Life Counter.
- Pilot Chair by Barber Osgerby for Knoll
- Pilot Chair by Barber Osgerby for Knoll
- Pilot Chair by Barber Osgerby for Knoll
- Clown optic - not good. Textile - very good
- Pilot Chair by Barber Osgerby for Knoll
- Pilot Chair by Barber Osgerby for Knoll
Posted in Designer, Exhibitions and Shows, Fuorisalone, Fuorisalone Milan Design Week, Knoll, Milan Design Week, Producer, Product Tagged with: Barber Osgerby, Knoll, Pilot chair
“I am rather silent, resolute and industrious. I can use any tool or machinery with dexterity.”
So described a 21 year old, and apparently extremely self-confident, Harry Bertoia himself on his application for Cranbrook Academy of Art.
That the boast was anything other than hollow is something Harry Bertoia was to go on to prove. Repeatedly and in many fields.
Harry Bertoia 1915 – 1978 (Photo courtesy of Knoll International)
Born in San Lorenzo, Italy on March 10th 1915 Arieto Bertoia moved to Detroit in 1930 to join his older brother Oreste who was already living in the city.
And anglicised his name to Harry Bertoia.
A classical example of a prodigious artistic talent Harry Bertoia initially studied art in Detroit before in 1937 he was awarded the aforementioned scholarship for Cranbrook Academy of Art where he studied painting and drawing, and got to know the likes of Walter Gropius, Carl Milles, Charles Eames, Maija Grotell, Florence Knoll, Eero Saarinen, Ray Kaiser et al.
In 1939 Cranbrook Academy of Art Principle Eliel Saarinen, father of Eero, asked Bertoia if he would be interested in taking over the metal workshop at Cranbrook, Bertoia was, and over the coming four years taught metalwork and jewellery design in addition to developing his own sculpture and painting projects, including a series of monoprints which he sold to the Guggenheim Museum of Non-Objective Art, the forerunner of the modern Guggenheim Museum, for the princely sum of $1000.
In 1943 Harry Bertoia left Cranbrook and moved to Los Angeles to join Charles and Ray Eames‘s expanding design studio, and for all to assist with the development of Charles Eames’s experimentations with moulded plywood. Although the personal links between the three were very close, Harry Bertoia for example had created Ray Kaiser’s wedding ring, Bertoia felt his contribution to the joint projects was undervalued, all work was publicly only credited as “Eames”, and so in 1946 he left.
After taking a series of jobs Harry Bertoia was approached in 1950 by Florence Knoll with an invitation to work with her and her husband Hans’s fledgling furniture company, an offer Bertoia duly accepted and which resulted in 1952 in the release of the Diamond Chair collection – one of the best known examples of 1950s American furniture design, a product family which placed Harry Bertoia alongside Eames, Nelson, Saarinen et al at the forefront of mid-century American modernism, and a commercial success which gave Harry Bertoia the financial security to concentrate on his sculpture work: For much like his contemporary Isamu Noguchi, Harry Bertoia always understood himself primarily as a sculptor, and much like Noguchi saw his product design work as an exploration of the borders of his sculpting and an opportunity to test his art in other contexts.
Over the course of his career Harry Bertoia created an estimated 50,000 sculptures, some 50 sculptural objects and interventions for public buildings and spaces, and from the early 1960s onwards turned his attentions ever more to music.
Inspired by childhood memories of watching Hungarian Gypsies repair and make metal kitchenware and fascinated by the universality of a sculpture as a musical instrument which everyone could “play” regardless of talent or training, Harry Bertoia created a series of so-called tonal sculptures, largely created from rods of differing metals, lengths and thickness, but also featuring gongs and other hanging constructions, and with which he recorded and produced 11 albums in his barn in rural Pennsylvania.
Released under the title “Sonambient” the works remain as avant-garde and challenging today as they invariably were when first released, moving as they do from passages of almost spiritual beauty to unforgivingly brutal sensory assaults. Even if at times they do get a little bit too close to bell-ringing for our liking.
Currently out of print all 11 albums will be re-issued to mark Harry Bertoia’s 100th anniversary, and in addition a Kickstarter project is running to raise the necessary funds to digitalise, and so preserve, the 350+ cassettes of tonal sculpture recordings in the Harry Bertoia archive.
We hope they succeed*, it would certainly be a fitting gift for one of our most original designers on his 100th birthday.
Happy Birthday Harry Bertoia!
*UPDATE: The Kickstarter fund successfully reached its goal and in addition the 11 Sonambient albums are now available in a box set complete with a 100 page booklet through Important Records (Catalogue Number IMPREC419)
Posted in Design Calendar, Designer, Knoll, Producer Tagged with: Bertoia Chair, Diamond Chair, Harry Bertoia, Knoll
Following on from system design at the MAKK and the more autonomous product design featured at Objects in Between, we bring you an exhibition in Cologne presenting a third product design category: the collection.
Whereas systems require a connector, a universal node, collections can be considered a series of related products which although created in the one context need not have a connection. Other than having been created in the same context.
For their Passagen Cologne 2015 exhibition Ungers Archiv für Architekturwissenschaft are presenting the Tools for Life collection by Rem Koolhaas & OMA for Knoll.
Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
Premièred at Milan 2013 the Tools for Life collection marks Rotterdam architecture bureau OMA’s first foray into commercial product design and was realised in response to a Knoll brief for a collection of products which exist between an office and domestic environment and which allows for working at a range of different heights.
The result is a collection of tables, chairs and shelving with a very, very unique form language and aesthetic.
Although the exhibition at the Ungers Archiv should be presenting the products Counter and Coffee Table, “logistics problems” mean that only Counter is present.
Something that while regrettable, is perhaps not that disastrous.
The exhibition space in Ungers Archiv isn’t very big, the Tools for Life Counter is. And so it is, all things considered, probably for the best that the Coffee Table is not on show as it gives Counter the space it needs to fully reveal its character.
In essence composed of three beams which can be individually moved and positioned, Counter is intended as an object for both allowing individuals to work either sitting or standing as well as a location for facilitating informal team meetings.
In our original post from Milan we noted in context of Counter that “Innovative and interesting as the functionality unquestionably is, we’re just unsure who actually needs or wants such. And certainly in an object that stands around one metre high and two metres long.”
Having seen it again in Cologne we maintain our position. Whereas we fully accept the need, importance and sense of allowing for flexible meeting and working arrangements, and also understanding that in addition to a variable counter it also serves as a static room divider, we just don’t get this shifting and repositioning such a monolith. For us it is a little too ungainly. Asks too much of the user rather than assisting the user.
But then we also don’t do team meetings. The idea of standing around with colleagues, informally discussing a project is as alien to us as it is terrifying.
And so maybe we just lack an understanding of the context to be able to fully appreciate it: “it isn’t you darling, it’s us”, as it were.
Tools for Life Counter by OMA for Knoll.... open.
Aside from the chance to get to grips with Counter one of the real joys of the exhibition is that, as ever with Ungers Archiv exhibitions, a large part of the presentation is devoted to explaining the design development process; products are all well and good, but development processes are fundamental to understanding products and in the Ungers Archiv exhibition one can clearly follow the development of the Tools for Life project from the original Knoll brief to the finished collection.
Something achieved particularly well in context of the absent Coffee Table where one can see how the initial attempt to create a table from various elements which could be manually repositioned became the final, mechanical, version.
In addition the Ungers Archiv is presenting an object, albeit in only in model form, which wasn’t shown in Milan and doesn’t feature in any of the publicity for the programme: the so-called Perch, a height adjustable rocking stool which resembles a Minion from the film Despicable Me, and which just like the playful Minions looks very much like something worth getting to know a little better.
Perch, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
In our 2013 post from Milan we commented that the Tools for Life collection was for us more Haute couture than prêt-à-porter, a collection in which the focus on technology has been allowed to dominate to the determinant of the form and aesthetics; but also that the collection contains “enough genuine technical innovation and interesting new thinking” to indicate that some very good, off-the-peg, products could also be realised.
Speaking in Cologne with Antonio Barone from the OMA product design team and lead designer on the Tools for Life project, it appears that having cut their teeth on the Knoll collection there is interest at OMA in realising further commercial furniture design projects, and reading between the lines that could mean new products which have the potential to be more universally accessible than the Tools for Life collection.
We’ll be sure and keep you updated.
And for all in or near Cologne and wanting to learn more about the Tools for Life collection, Rem Koolhaas – OMA Tools for Life runs at Ungers Archiv für Architekturwissenschaft until Sunday January 25th.
Full details can be found at www.ungersarchiv.de
- The original Knoll brief, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
- Development models and prototypes, , as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
- The Rem Koolhaas - OMA Tools for Life collection for Knoll, in model form, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
- Counter, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
- .....and open.
- A collection of chair development models, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
- Perch, as seen at Rem Koolhaas - OMA Tools for Life at Ungers Archiv für Architekturwissenschaft
Posted in Designer, Exhibitions and Shows, Knoll, Office Furniture, Passagen Cologne, Producer, Product Tagged with: cologne, Cologne Design Week, Knoll, OMA, Passagen Cologne, Rem Koolhaas, Tools for Life, Ungers Archiv für Architekturwissenschaft
Those still looking for a New Year’s Resolution could do worse than to promise to try to maybe visit more design exhibitions this year.
And January 2014 offers a few wonderful places to start.
That January is once again IMM Cologne and the accompanying Cologne Design Week we make no apologies for having selected two Rhein-side exhibitions, in addition we have an investigation of the production process and a brace of exhibitions devoted to Denmark’s more important design “old masters”…..
“BKULT Featuring Van Bo Le-Mentzel: Konstruieren statt Konsumieren” at AIT Architektursalon Cologne, Germany
Older readers will be aware that we long had huge problems with Berlin architect Van Bo Le-Mentzel’s decision to call his “breakthrough” project Hartz IV Furniture. Delightful project. Appalling name. Having spoken to Van Bo on a couple of occasions over the past couple of years we now at least understand why the project is called what it is called.
We still find the name truly appalling.
We still find the background thinking behind the project truly delightful.
And from Thursday January 16th the AIT Architektursalon Cologne is giving you the chance to make up your own mind. In collaboration with Berlin based platform BKULT the AIT Architektursalon is hosting an exhibition, workshops but for all a discussion around Van Bo Le-Mentzel’s central theory – Build More Buy Less. Can we create a better, fairer society if we kill off consumer culture? Does building your own furniture make you happier? Is Hartz IV Furniture a good name? What is Karma Economy?
Answer to none, some or all of these and similar questions will be searched for and discussed in the course of the event(s)
BKULT Featuring Van Bo Le-Mentzel: Konstruieren statt Konsumieren opens at the AIT Architektursalon Cologne, Vogelsanger Strasse 70, Barthonia Forum, 50823 Cologne on Thursday January 16th 2014 and runs until Thursday February 20th 2014.
Hartz IV Moebel - Build More, Buy Less. The book.
“Rolf Sachs “typisch deutsch?”” at Museum für Angewandte Kunst Cologne, Germany
For their major winter/spring 2014 exhibition Cologne’s Museum für Angewandte Kunst will present London based designer and artist Rolf Sachs’ take on popular German stereotypes. A take that if we’ve correctly understood the accompanying press material promises to be a little more humourful than your average design exhibition. Tackling traits such as industriousness, tidiness, sociability or wistfulness “typisch deutsch?” promises to present a series of objects and installations intended to not only reflect on the truth about the nature of “Germanness” but which also encourage us to view the objects around us in a new light. And so by extrapolation ourselves.
Rolf Sachs “typisch deutsch?” opens at the Museum für Angewandte Kunst, An der Rechtschule, 50667 Cologne on Monday January 13th 2014 and runs until Monday April 21st 2014.
Rolf Sachs' interpretation of industriousness....
“”In the Making” an exhibition curated by Edward Barber and Jay Osgerby” at Design Museum London, England
One of the curious aspects of the design world is that for the designer the finished, on the shelf, ready to buy product is thunderingly uninteresting.
The creative process, the prototyping, form-giving and the production process(es) are what really interest designers. And if most could get away without ever having to produce anything sellable they probably would.
For the London Design Museum Edward Barber and Jay Osgerby have curated an exhibition presenting 20+ familiar objects in various stages of production. Ranging from a coins over tennis balls and onto Thonet chairs, “In the Making” aims to make the charm and wonder of the production process visible, and so the designer’s fascination with production processes comprehensible. In addition there is nothing like getting to know a production process to make you appreciate a product – and of course the difference between a diligently produced product. And cheap tat.
“In the Making” an exhibition curated by Edward Barber and Jay Osgerby opens at the Design Museum, Shad Thames, London SE1 2YD on Wednesday January 22nd 2014 and runs until Friday May 4th 2014
The hot wood bending process developed by Michael Thonet. And still practised today.
“The Answer is Risom” at Silvermine Arts Center, New Canaan, Connecticut, USA
Although the story, and indeed success, of Knoll International is without question closely associated with Mies van der Rohe, Harry Bertoia and Eero Saarinen, it all began with a Danish designer who came to America looking to understand contemporary American design. And ended up helping to define it.
Born in Copenhagen Jens Risom studied at the Danish School of Arts and Crafts under teachers such as the great Kaare Klint before in 1939 he travelled to America. In 1941 Jens Risom was introduced to Hans Knoll and in the same year created the first commissioned pieces for Hans Knoll’s fledgling furniture company. And so the very first Knoll Collection. A collection that confirmed Knoll’s commitment to modernism and on which the early success of the company was unquestionably based. In 1943 Jens Risom was drafted into the US Army and post-war established his own Jens Risom Design studio.
Always one of the more underrated proponents of mid- 20th century design Jens Risom’s importance goes far beyond the works he created and can be found in his approach to design and his understanding of his materials.
The exhibition in New Canaan promises to present not only examples of Jens Risom’s furniture but also of his advertising/graphic design work. And will hopefully help a lot more people understand the true majesty of Jens Risom.
“The Answer is Risom” opens at the Silvermine Arts Center, 1037 Silvermine Road, New Canaan, CT 06840 on Wednesday January 8th 2014 and runs until Sunday February 16th 2014
Jens Risom's 1943 Lounge Chair for Knoll
“Børge Mogensen” at Trapholt – Museum of Modern Art, Applied Art, Design and Architecture, Kolding, Denmark
On April 13th 2014 Børge Mogensen, one of the true giants of Danish furniture design, would have celebrated his 100th birthday. And to mark the occasion the Trapholt Museum of Modern Art, Applied Art, Design and Architecture in Kolding have organised an exhibition devoted to the man and his singular approach to the problems of his age.
As one of the first Danish designers to adopt industrial production Børge Mogensen was able to combine his fine understanding for the traditions of Scandinavian, English and American furniture with mass production to create cheap, affordable furniture.
And in doing so unwittingly played an important role in helping define the ubiquitous as it is mythical concept of “Danish Design”
In our 2012 introduction to Børge Mogensen we wrote that he “…has never reached the same level of public fame, far less acknowledgement, as a Poul Henningsen, Arne Jacobsen or Verner Panton.”
And while the show at Trapholt wont substantially change that, it will hopefully introduce a lot more people to Børge Mogensen’s life and work.
“Børge Mogensen” opens at Trapholt – Museum of Modern Art, Applied Art, Design and Architecture, Æblehaven 23, DK-6000 Kolding on Wednesday January 22nd 2014 and runs until Sunday October 5th 2014
A 1944 FDB catalogue featuring Børge Mogensen's chair and desk designs.
Posted in 5 New Design Exhibitions, Designer, Exhibitions and Shows, Knoll, Producer Tagged with: Barber Osgerby, cologne, Jens Risom, Knoll, Thonet
The biggest April fool is…. us, for always going to Milan!
That said, as ever, we did find a few gems amongst the senseless corporate trash…..
And after Milan we had the joy of viewing the latest addition to the Vitra Campus, the Factory Building by SANAA……
Carwan Gallery at MiArt Milan 2013
Swing Gallery at MIART Milan 2013
Milan Design Week 2013: Empatia by Carlotta de Bevilacqua and Paola di Arianello for Artemide
Milan Design week 2013: Galleria Viafarini. Magic Moments Inside
Milan Design Week 2013: The Mattiazzi Collection
Roll & Hill at Euroluce 2013. Stella Triangle by Rosie Li
Milan Design Week 2013: Workbay Office by Ronan and Erwan Bouroullec for Vitra
Milan Design Week 2013: Tools for Life by OMA for Knoll. The 01 Arm Chair and 03 Coffee Table
New on the Vitra Campus: The SANAA Factory Building
SANAA Factory Building. The roof.
Milan Design Week 2013: Contrast with Thomas Schnur and Karoline Fesser
Posted in Architecture, Artemide, Designer, Exhibitions and Shows, Fuorisalone, Fuorisalone Milan Design Week, Knoll, Milan Design Week, Producer, Product, smow, smow in Milan, Vitra Tagged with: Artemide, Carwan Gallery, Karoline Fesser, Knoll, Magic Moments Inside, Mattiazzi, MIART, OMA, Rem Koolhaas, Roll & Hill, Ronan and Erwan Bouroullec, SANAA, Swing Gallery, Thomas Schnur, Vitra, vitra campus, Workbay
During Milan Design Week 2013 Knoll formally launched the “Tools for Life” collection from Dutch architecture practice OMA, a collection overseen by OMA co-founder Rem Koolhaas.
The collection had previously been previewed as part of the stage decoration for the Prada Fall Men’s show in January, and was formally unveiled in the same location…. the Prada Milan HQ
A location that theoretically the likes of us should never be allowed to enter. But Design Week is Design Week.
Milan Design Week 2013: Tools for Life by OMA for Knoll at Prada Milano
The first thing to say is that the collection looks like it has been designed by an architect.
Just not in the easily accessible way we all know from the likes of Jacobsen, Eiermann or Haller. And certainly not in the tradition of the architects with whom Knoll’s reputation was founded; Mies van der Rohe, Bertoia, Saarinen….
It’s all very much the result of a conceptual thinker, a pure author collection from a designer working on the basis of a theory rather than a specific functional or aesthetic brief. Haute couture to misuse the Prada vocabulary.
For Knoll the signature piece of the collection is the 04 Counter. Three beams stacked on another, the top two can be rotated through 360 degrees thus allowing for a range of variable, fluid uses: seating, presentation, discussion. Innovative and interesting as the functionality unquestionably is, we’re just unsure who actually needs or wants such. And certainly in an object that stands around one metre high and two metres long.
The 03 Coffee Table works on a very similar principle with similar mechanics; however, being smaller in scale the movement makes a lot more sense, is friendlier, more desirable and is something we can well imagine attracting a following. Albeit a very wealthy following.
For us the highlight of the collection is the 11 Floor Seating, a legless chair that at first glance looks as if it is just for relaxing; however, in context of modern working with tablet computers et al, sitting low down, knees raised, slightly hunched is likely to become a much more common option. And high-quality, well considered chairs that allow one to, effectively, sit on the floor are about as rare as Prada jackets in our wardrobe. For us “11” just needs a slightly higher backrest to be truly functional.
The 11 Floor Seating from the Tools for Life collection by OMA for Knoll (The cushions will be upholstered)
Amongst the further objects the 01 arm chair has a not unappealing form language, albeit takes a little bit of getting use to. When we first saw them we didn’t like them at all, felt they evoked an unpleasant Star Trek meets 80s Miami Beach Nightclub imagery indicative of a designer trying too hard. However, having let them work on us for few days, we are starting to understand and appreciate them a lot more. It’s a bit like David Bowie. Didn’t get him for decades, then suddenly a few years ago we approached his music in a different way and since then find it much more appealing.
The 05 Round Table and 06 Table are technically very, very interesting; however, the less said about their appearance the better. And no, we don’t think we’ll ever get used to them.
Although we imagine they’ll be very well received in Moscow.
The real star of the launch however was Rem Koolhaas, who was followed round the Prada Cathedral by an adoring crowd, hungry for titbits of information, principally on his reasons for the choice of materials. A question he, patiently, answered at least a thousand times.
We of course weren’t part of the mob. At that point we were busy in hospitality eating croissants with a proficiency that would have put Polar Bear Knut to shame.
They were Prada croissants. When are we ever likely to get the chance to eat Prada croissants again?
Never is the answer. And yes they were lovely.
The 01 Arm Chair from the Tools for Life collection by OMA for Knoll. Here in its prototype upholstery.
Tools for Life is the first time Rem Koolhaas has taken on a furniture project. According to Knoll the first contact was made some 15 years ago, but Koolhaas didn’t have any real interest, or perhaps better put the necessary motivation, for furniture at that time. Then a couple of years ago they started discussing the possibility again and Koolhaas said yes, “….because Knoll asked us to do a collection rather than a single object, and that made it an interesting proposition”
And regardless of what you think of the individual pieces or the form language, as a collection Tools for Life works very well. It has a unity, a solidarity that binds the individual pieces together.
In our post from the Museum für Angewandte Kunst Köln exhibition “From Aalto to Zumthor Furniture by Architects” we hypothesised that what makes much of the furniture designed by architects such as Eiermann, Jacobsen or Le Corbusier so appealing is that it was largely developed for specific projects, it originated in a specific context and so was influenced and formed by this context.
Furniture by Architects also showed what happens when architects develop furniture out of a fixed context, free as it were. Or at least showed what can happen.
Tools for Life by OMA for Knoll is a further good example. An interesting and not-unappealing collection it is, for us, driven too much by a desire to be an OMA furniture collection and as such lacks a certain nonchalance that is necessary to make furniture something that people want to possess and use.
As such we fear that Tools for Life is fated to become a historical footnote in the story of Knoll and OMA, good for a few glossy photos but otherwise culturally and economically irrelevant.
However there is enough genuine technical innovation and interesting new thinking in the collection to be fairly confident that if OMA and Rem Koolhaas are given a more specific brief, then something truly wonderful could result.
Or put another way, having seen the haute couture we can’t wait for the prêt-à-porter
- Milan Design Week 2013: Tools for Life by OMA for Knoll at Prada Milano
- Milan Design Week 2013 Tools for Life by OMA for Knoll. O1 Arm Chair
- Milan Design Week 2013: Tools for Life by OMA for Knoll. 11 Floor Seating
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 03 Coffee Table and 01 Arm Chair
- Milan Design Week 2013: Tools for Life by OMA for Knoll at Prada Milano
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 04 Counter
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 03 Coffee Table and 01 Arm Chair
- Milan Design Week 2013: Tools for Life by OMA for Knoll at Prada. The 04 Counter
- Milan Design Week 2013 Tools for Life by OMA for Knoll at Prada
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 06 Table
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 01 Arm Chair in steel
- Milan Design Week 2013: Tools for Life by OMA for Knoll. 11 Floor Seating
- Milan Design Week 2013: Tools for Life by OMA for Knoll. 11 Floor Seating
- Rem Koolhaas presents Tools for Life to the international press
- Milan Design Week 2013: Tools for Life by OMA for Knoll. The 01 Arm Chair and 03 Coffee Table
Posted in Designer, Exhibitions and Shows, Fuorisalone, Fuorisalone Milan Design Week, Knoll, Milan Design Week, Producer, Product Tagged with: Knoll, OMA, Rem Koolhaas, Tools for Life
Much as Gerrit Rietveld‘s career is publicly reduced down to the Rood-blauwe stoel, so too is it all to easy to imagine Marcel Breuer spent his days doing nothing more than creating chairs and tables from bent steel tubing.
Indeed start typing the name “Marcel Breuer” into google and the all-knowing, all-seeing algorithm will only offer you “Marcel Breuer Chair”, “Marcel Breuer Wassily Chair” and “Marcel Breuer Biography” as searches.
That the public impression of Marcel Breuer should be so monotone is all the more surprising given that the Breuer biography is without question one of the better known Bauhaus biographies. He is one of the few Bauhäusler about whom a TV quiz show would consider posing a question.
The exhibition “Marcel Breuer – Design and Architecture” currently on show at Bauhaus Dessau not only introduces the visitor to less well known, less well publicly explored, areas of his work, but presents one or the other rarely seen or barely known object from Marcel Breuer’s oeuvre. But for all makes very clear that important as his steel tube work was for 20th century European design, for Breuer himself it was an early and short lived phase of his creativity.
Doing what it says on the tin, “Marcel Breuer – Design and Architecture” is split into two sections. One looking at his design work, the other looking at his… you get the idea.
The B3 Club Chair (Wassily Chair) by Marcel Breuer @ Bauhaus Dessau
The design section of the exhibition is arranged chronologically and so starts with Breuer’s initial wood pieces, including the unmistakably de Stijl influenced – and appropriately coloured – Lattenstuhl, and an epic, almost steampunk, dressing table and chair combination he created in 1923 for the Haus am Horn in Weimar.
In the mid-1920s Marcel Breuer then started his ground-breaking experimentation with steel tubing, and naturally the genre is well represented in the exhibition, be it the “Wassily” B3 Club Chair in its various forms, Breuer’s numerous and varied collaborations with Thonet or his cantilever chair designs. What is particularly interesting to see is the construction variations Breuer experimented with in his furniture. For example his B 35 chair for Thonet is shown in a welded and a screwed version; the one obviously being suited to flat pack delivery and a modular furniture family. The other is more aesthetically pleasing.
However, whereas the steel tubing is without question his best known, and most important, epoch, for us the plywood section is by far the more interesting.
On the one hand because it was a material he was more or less forced to work with – the company Isokon having little interest in steel tube furniture and wanting instead the commercially more relevant wood – yet was a material with which he was able to produce some truly wonderful furniture; with the organic form language standing very much in contrast with what the majority of us associate with the name Marcel Breuer. Admittedly one has limited options with moulded plywood, but what Marcel Breuer achieved is truly a joy to behold.
But also because it shows that Breuer had an understanding of the commercial furniture industry that few of his contemporaries could match. His 1936 stacking chair being a particularly powerful example.
Examples of Marcel Breuer's moulded plywood work with Isokon. In the foreground the stacking chair
In contrast to the chronological design section, the architecture section is thematically divided into “Spaces”, “Houses” and what the curators refer to as “Volumes” – monolithic, almost brutalist, constructions that seem determined to justify and enforce their right to exist through their presence alone.
Each of the sections is explained through models, photos and sketches of representative buildings.
The most interesting display for us is that devoted to the BAMBOS project.
As a thousand Japanese tourist a day can tell you, one of the most important features of Bauhaus Dessau is the Meisterhäuser – a row of villas built specially for the Bauhaus Masters.
Albeit built much to the annoyance of the “Young Masters” such as Breuer, Josef Albers or Herbert Bayer, who found it “antisocial” that while the Masters were given shiny new villas, the Young Masters – who at the time were doing the lion’s share of the teaching – weren’t.
In an act that stands in magnificent juxtaposition to the happy party people Bauhaus currently on show at the Barbican Art Gallery, the Young Masters rebelled against the plan and proposed their own series of experimental, prefabricated houses known colloquially as BAMBOS after those Young Masters for whom they were intended: Breuer, Albers, Meyer, Bayer, Meyer-Ottens and Schmidt.
Initially the plan was rejected, but with Breuer threatening to leave Dessau, Walter Gropius eventually conceded to the project. However, as with so much associated with Bauhaus, fate meant the project was never realised and much of the original documentation has long since vanished.
Consequently the presentation of BAMBOS is limited to a short text and a model of the BAMBOS House Type 1.
That said, the inclusion of BAMBOS is important as it acknowledges that Bauhaus wasn’t a train speeding towards an agreed destination along a unified ideological track, but rather a collection of individuals with opinions that they were prepared to defend. Even if that meant derailing the train.
In a similar vein we feel the exhibition would and could benefit from a little more information on the disquiet caused when Marcel Breuer started selling his steel tube furniture through his own “Standard-Möbel” label, without first clarifying that with the rest of Bauhaus. Or indeed on many of the other moments when Breuer and Bauhaus clashed. Despite the success it unquestionably brought all parties, the relationship wasn’t all sunshine and cocktails.
Regardless of this, for us, omission “Marcel Breuer – Design and Architecture” presents a wonderful, very accessible, overview of the man, his legacy and his place in the story of 20th century design and architecture. One truly gets a feeling for the progression that occurred throughout his career.
But more importantly, and as with “Gerrit Rietveld – The Revolution of Space“, one understands that the public persona is only the introduction to a more complex and creative character. If you like, the invitation to explore further.
Marcel Breuer – Design and Architecture is the perfect chance to do just that and can be viewed at Bauhaus Dessau until October 31st 2012.
A model "BAMBOS House Type 1"
Bauhaus Dessau: Marcel Breuer – Design and Architecture
The Aula at Bauhaus Dessau, featuring seating designed by Marcel Breuer
Posted in Bauhaus, Designer, Exhibitions and Shows, Knoll, Producer, Thonet Tagged with: Knoll, Marcel Breuer, Thonet, Wassily Chair
Not a phrase normally associated with (smow)
To the best of our knowledge no (smow)employee has ever smashed an iPad or capped a WiFi service in protest at the creeping and increasingly obsessive proliferation of technology into our lives.
Despite that, the early summer weeks in the (smow)HQ were dominated by the preparation and production of the very first (smow)catalogue.
That’s print catalogue.
So on paper.
Au contraire nos amis!
Not only is the production of such an analogue catalogue technologically more challenging than coding with that “any-fool-can-do” HTML; but, just as the mechanisation of the textile mills offered the oppressed masses their first, golden, taste of leisure time – so does a print catalogue help us to regain that.
Turn off the computer, enjoy a break, peruse a catalogue. And then turn the computer back on and order.
In addition to featuring a selection of products from the (smow) range the (smow) Designer Furniture Catalogue 2011 also includes biographical information on some of the most important designers and a range of specially commissioned photos of products from USM Haller, Vitra, Moormann, Richard Lampert et al
And is a mighty fine piece of work. Well done to all involved!
If you’d be interested in seeing the finished work, or know someone who would appreciate a copy, please contact email@example.com (NOTE: It is only available in German)
And at facebook.com/smowcom we have posted a photo gallery documenting the production process.
(smow) Designer Furniture Catalogue 2011
Posted in Artemide, Cassina, Fritz Hansen, Kartell, Knoll, Magis, Moormann, Producer, Richard Lampert, smow, USM Haller, Vitra, Wilde + Spieth Tagged with: Artemide, cassina, Eiermann Childrens Desk, Eiermann Table, Eiermann table frame, fritz hansen, jonas & jonas, kartell, Knoll, Magis, Moormann, Richard Lampert, USM Haller, Vitra
Eero Saarinen, 1910 - 1961
August 20th marks the 100th anniversary of the birth of Finnish architect/designer Eero Saarinen.
Eero Saarinen had – in all probability – very little career choice other than that of architect: Not only was his father Eliel Saarinen one of Finland’s most celebrated architects, but two of his uncles followed the same profession. In addition his mother, Loja Gesellius Saarinen, was a sculptress and textile designer.
Eero Saarinen spent his first 13 years in his birthplace, Kirkkonummi on the outskirts of Helsinki. In 1923, following the positive feedback to Eliel Saarinen’s entry for the Chicago Tribune Tower competition, the family emigrated to the USA – initially to Evanston, Illinois before in 1925 Eliel Saarinen was commissioned by G.G. Booth to build the new Cranbrook Academy of Art in Bloomfield Hills, Michigan.
The Cranbrook Academy Campus, designed by Eliel Saarinen
A commission that was later to have a large influence on Eero’s career.
In 1930 Eero travelled to Paris where he spent a year studying sculpture at L’Académie de la Grande Chaumière before enrolling at Yale School of Architecture from where he graduated in 1935. After a year travelling Europe and North Africa, Eero Saarinen returned to America where he began working in his fathers office at Cranbrook; and where he met Charles Eames for the first time. The young Eames both studying at the college and being employed in Eliel Saarinen’s office.
The meeting was to be the start of a lifelong professional and personal relationship; Saarinen even naming the first son from his second marriage “Eames”.
Charles Eames and Eero Saarinen at Cranbrook Academy (photo © Cranbrook Archives)
The professional careers of Charles Eames and Eero Saarinen were equally close and both effectively started with joint projects; the 1940 “Organic Design in Home Furnishings” competition and the 1945-49 “Case Study House #9” for Arts & Architecture Magazine.
In response to an increasing boredom in the USA with the minimalist steel/leather/glass objects of the Bauhaus School, the Museum of Modern Art in New York organised in 1940 a competition entitled: “Organic Design in Home Furnishings” to find the best new American furniture design concepts. The competition rules called for designs that were functional, affordable and based on new, modern production processes.
Eames and Saarinen submitted an entry comprising eight designs based largely on their early experiments with moulded synthetic furniture and that included, amongst others, the Conversation Chair or as it is more popularly known today, the Organic Chair.
The jury, including such luminaries as Marcel Breuer and Alvar Aalto, awarded Charles Eames and Eero Saarinen first prize.
The Organic Chair by Charles Eames and Eero Saarinen through Vitra
While the award brought the pair recognition, the mass production of the Eames-Saarinen designs was still impractical in the early 1940s. The technology simply not being rife enough to either produce the chairs nor the machines required to produce the chairs. The approach used, however, was to be important in both designers later furniture design work. Charles Eames employing it for his fibreglass/plastic chair series; while Saarinen used it in his works for Knoll International, most notably the Womb Chair and the Tulip Chair – arguably his two most important designs.
Eames and Saarinen’s architectural careers also involved an early joint project. In January 1945 the US Magazine Arts & Architecture publisher John Entenza wrote an editorial calling for greater use of mass production technology in house building. In the following years a series of leading architects were commissioned to design and build their vision of the industrial mass produced house of the future.
In 1949 “Case Study House #9″ by Charles Eames and Eero Saarinen was completed. Showing the typical quadratic nature of most of Eames and Saarinen’s early work,”Case Study House #9” is filled with fixtures, features and furniture that illustrate both mens belief in the unity between architecture and design and the importance of the relation between a building, its contents and its user.
Next door to “Case Study House #9” is “Case Study House #8” the so-called “Eames House”: officially accredited to Charles and Ray Eames, but where one also detects the influence of Eero Saarinen.
For both Saarinen and Eames, their participation in such a prestigious project was to bring the two, still relatively young, architects a greater public and greater authority.
In 1946 another of Eero Saarinen’s “Cranbrook Connections” lead to the start of his collaboration with Knoll International.
Tulip Chair by Eero Saarinen for Knoll International
At Cranbrook Saarinen had met Florence Schust. In 1944 Florence married the young German furniture producer Hans G. Knoll and became the Knoll International “in-house interior designer”; and it was Florence Knoll who approached Saarinen to ask him to develop his moulded chair concept for the company.
In total Saarinen developed over a dozen products for Knoll International, many of which have been in continuous production since their launch.
Despite the importance of his work, for Eero Saarinen furniture design was a side project to his architecture career; a career which saw him build, amongst other buildings, the Jefferson National Expansion Memorial in St Louis, the TWA Terminal at JFK Airport New York and Dulles International Airport, Washington. That said it was never a lesser value work for Saarinen, who was fascinated by the concept that each part of a work could reflect and compliment the others, that outside and inside could be united as one entity. In that sense Saarinen’s furniture designs can be seen as a direct extension of his architectural work. And his architectural work as an extension of his furniture design.
On September 1st 1961 Eero Saarinen died following an operation on a brain tumour.
Despite dying young, in his 25 year career Eero Saarinen created a canon of work – both architectural and furniture designs – that not only helped redefine architectural theory and shaped future thinking, but also laid the foundations for much of the modern designer furniture industry.
Always design a thing by considering it in its next larger context – a chair in a room, a room in a house, a house in an environment, an environment in a city plan.
Eero Saarinen, 1910- 1961
Posted in Designer, Knoll, Producer, Vitra Tagged with: Charles and Ray Eames, Charles Eames, Eero Saarinen, Florence Knoll, Knoll, organic chair, Tulip chair, Vitra, womb chair
Eames Lounge Chair by George Brückmann. A delightful combination of painting, photography and mind games.
A recurrent theme, not only here in the (smow)blog but also in general throughout the (smow) global network is the subject of illegal copies of design classics.
Or better put when is a design classic a design classic?
At the HGB Leipzig Rundgang in February we were confronted with an unexpected and somewhat unusual interpretation of the question in the form of “Eames Lounge Chair” by George Brückmann.
And were immediately hooked.
And not only we were impressed by Brückmanns work, In October 2009 his series “In-Situ” was selected to be part of the 2009/2010 “Gute Aussichten – junge deutsche fotografie” exhibition, one of the most important and prestigious Germanic contemporary photography exhibitions.
After 10 months and 6 stations in 3 countries the final “Gute Aussichten” exhibition of the 2009/2010 tour opens in the Art Foyer DZ Bank in Frankfurt am Main on Thursday July 29th.
Until the September 11th visitors will be able to view not only the work of George Brückmann but the work of the other seven young artists selected from the 91 entries submitted from 33 German colleges.
Ahead of the exhibition opening we caught up with George Brückmann in his atelier in Leipzig-Lindenau. And pretty much got off to the worst possible start.
Just as all forms of “design” rely on innovation and new ideas if they are to survive so to do the visual arts.
We thought George Brückmann painted onto photographs.
Still life with beer by George Brückmann. The objects are real, have been painted onto and then photographed
Initially he painted onto objects, coating the objects with paint of the same colour – and then photographed them. And in doing so created wonderfully, obtuse, voluminous scenes somewhere between reality, painting and photography.
Then he moved onto painting objects which in the consciousness of the viewer were then extrapolated into other objects, before tackling the subject of design classics or better put the relationship between design classics and non-design classics.
We wont spoil the work by revealing the process, but enough to say George Brückmann paints designer furniture classics in such a way that through the composition of the final photograph “normal” objects appear transformed into the iconic pieces.
The paintings of the chairs themselves are not especially accurate, for all the the proportions and form often vary from the originals. But that plays no role in your observation. You still recognise them, still find them attractive , still give them a value – a value that then also seems to meliorate the raw and rudimentary settings.
Brückmann’s work is concerned with the “imaginary extension” of one object into another and is achieved through a combination of perspective, context, art and the viewers innate cognition. Be it a cardboard box transformed into a deck chair or an everyday garden lounger seen as a Le Corbusiers LC 4 chaise longue.
Charles and Ray Eames’ lounge chair, The F 51 by Walter Gropius and Mies van der Rohes’ Barcelona Chair being just three of the design classics he has re-interpretied.
Or better put extended from less valuable everyday items into the design classics we all know.
In the words of Brückmann “Here objects are what they could have been, could be, want to be or even should be”
The exhibition “Gute Aussichten – junge deutsche fotografie 2009/2010” can be viewed at the Art Foyer DZ Bank in Frankfurt am Main until September 11.
Le Corbusier LC 4 by George Brückmann part of "gute aussichten - junge deutsche fotografie 2009/2010"
Posted in Cassina, Knoll, Producer, smow offline, Vitra Tagged with: "gute aussichten - junge deutsche fotografie", Barcelona Chair, cassina, George Brückmann, Knoll, LC4, Le Corbusier, Lounge Chair, Ludwig Mies van der Rohe, Vitra
After the strenuous match against Alexander Girard, France decided to rest Ronan and Erwan Bouroullec for the match against Eero Saarinen.
Their replacement, the enfant terrible of contemporary French design Philippe Starck however failed to match the old Finnish master; too often Philippe Starck strove forward with fairly predictable and poorly considered approaches.
Eero Saarinen was able to make use of the gaps produced by Philippe Starck to good effect scoring with his Tulip Chair and a pedestal table for a thoroughly deserved 2:0 victory
The Group D table and all Group D results can be found here.
Philippe Starck failed to get the better of Saarinen's Tulip Chair through Knoll International
Posted in Designer, Knoll, Producer, Product, smow 2010 Tagged with: Alexander Girard, Eero Saarinen, Knoll, Philippe Starck, Ronan and Erwan Bouroullec, Tulip chair
Strahlend Grau Herbert Hirche Exhibition, Museum der Dinge Berlin
Because our article on the new London bus has been delayed by a broken water main at Tooting Bec, we’ve decided instead to do an impression of a typical London bus user.
“Typical, wait ages and then two come along at once! I blame Ken Livingstone!”
Ahead of the opening of the Dieter Rams retrospective “Less and More: Das design ethos von Dieter Rams“, yesterday saw the opening of a second exhibition dedicated to the life and work of a former Braun designer.
The Werkbund Archive Berlin’s Herbert Hirche exhibition “Strahlend Grau” is a beautifully compact overview of a designer who, despite his relative anonymity, is equally as important as Dieter Rams, Egon Eiermann or Ludwig Mies van der Rohe: just three of the grand doyens of German design with whom Herbert Hirche collaborated.
Strahlend Grau: Herbert Hirche on the roof of Bauhaus Dessau, 1932
And a fitting event to celebrate Herbert Hirche’s 100th birthday.
Born in Görlitz on May 20 1910, Herbert Hirche studied at Bauhaus in Dessau and Berlin. Following the closing of the institution in 1933 Hirche joined the office of his former professor, Ludwig Mies van der Rohe, remaining in his service until Mies van der Rohe fled to the USA in 1938. After a year freelancing, Herbert Hirche joined Egon Eiermann’s Büro where he remained until Eiermann left Berlin in 1945 ahead of the advancing Red Army.
To lose one employer to a totalitarian regime is unfortunate; two starts to begin to look like a curse.
In the post-war years Herbert Hirche was closely involved with the rebuilding of Berlin in addition to teaching; initially at the Hochschule für angewandte Kunst in Berlin-Weißensee and subsequently at the staatliche Akademie für bildende Künste Stuttgart, where he also served as rector between 1969 and 1971.
Curated by Nicola von Albrecht, Strahlend Grau presents a chronological journey through Herbert Hirche’s life, wonderfully illustrated with original letters, documents and photographs. One of the highlights for us being a letter from Egon Eiermann confirming that Hirche could take up a position in his office: little things like that really bringing the otherwise abstract concept that is someone else’s life to well … life.
Strahlend Grau Herbert Hirche's contribution for the exhibition Interbau Berlin, 1957
And Strahlend Grau is full of such moments.
What it is not full of however is furniture.
Largely because much of Herbert Hirche’s work never proceeded beyond the prototype stage, and consequently his legacy is largely only on paper.
The exhibition does however include four Herbert Hirche items from the current Richard Lampert collection; the Hirche Barwagon, 1953 Lounge Chair, H57 armchair and Rattan chair “Santa Lucia”.
As far as we are aware these are the only examples of his work currently in production; and that despite Herbert Hirche working for producers as varied as Knoll, Wilkhahn or Wilde + Spieth.
Rattan chair Santa Lucia by Herbert Hirche through Richard Lampert
Richard Lampert himself was also present and he told us how he came to Herbert Hirche; and fortuitously it was not through long research in a stuffy archive while looking for commercial opportunities in forgotten designs.
No, Richard Lampet’s introduction to Herbert Hirche was during a long evening in the convivial and non-stuffy surroundings of Stuttgart’s legendary Santa Lucia restaurant; a restaurant for whom Hirche not once but twice conceived the interior design and for whom he created the Rattan chair.
Having been initially sceptical about the chair, Richard Lampert was so impressed with it that he returned the following day to ask where it came from.
And so began a wonderful relationship, whose latest chapter was the awarding of the “Classic Innovation” Award at the 2010 IMM Cologne for the relaunched H57 armchair.
Such stories always cheer us up as they prove that good, honest design will always succeed over hype, star names and large marketing budgets. And that gives us hope for the future.
Herbert Hirche: Strahlend Grau
Strahlend Grau is not an expansive exhibition, nor is it an exhibition that can be passively viewed. A visit to Strahlend Grau means actively searching for and considering the presented information. But the effort is worth it and there are some true gems to be found.
And more importantly it is a wonderful introduction to a designer who deserves more credit than he publicly gets and for all to an era of German design that has much more to offer and was much more instrumental in shaping European industrial design than many people are prepared to accept.
Strahlend Grau runs at the Werkbundarchiv – Museum der Dinge until September 13th.
Werkbundarchiv – Museum der Ding
Opening time: Fr, Sa, So, Mo 12 – 19 Uhr
Strahlend Grau: Herbert Hirche's 1953 lounge chair from Richard Lampert
Posted in Designer, Exhibitions and Shows, Producer, smow offline Tagged with: Egon Eiermann, herbert hirche, Knoll, Ludwig Mies van der Rohe, Richard Lampert, wilde + spieth, Wilkhahn
Ball chair by Eero Aarnio for Adelta - original
They say that imitation is the greatest form of flattery.
They, however, have obviously never spent hours, weeks and years sweating over a project until it is perfect.
And so whether it is furniture designs, web site concepts or literature, they simply copy.
In January the winners of the 2010 Plagiarius Competition for excellence in copying the work of others were announced.
Among the happy winners a Chinese imitation of a German ice tray and Polish rip-off of a German toy combine harvester.
We never tire, honestly never tire of, pointing out the dangers and problems associated with buying cheap copies of designer furniture classics.
But, people keep asking, how can we identify the copies?
The biggest clue is the price. A serious retailer will never offer a genuine design classic for a ridiculously low price.
However, if the price appears reasonable…. how can you be certain.
In order to help customers avoid the sharks many producers now publish useful information on their websites.
Finish designer Eero Aarnio is not only one of the true pioneers of furniture design; but also a designer whose work is regularly copied.
Ball chair by Eero Aarnio - fake
No doubt the cheats thinking “Hey, it’s just plastic. How hard can it be?”
A lot harder than you think.
Eero Aarnio’s work is available exclusively from Adelta and on the Adelta website there is a good humoured guide to what to watch out for when inspecting a piece of, allegedly, Eero Aarnio furniture.
The points raised in the Adelta photos, however, also serve as a perfect guide to spotting fake of other designers works.
The upholstery. Especially in fakes of chairs such as Mies van der Rohe’s Barcelona Chair from Knoll is the quality of the upholstery and the stitching an important indicator.
Equally important is the base. With copies of Eames Chairs from Vitra, for example, the bases often only have four rather than five feet – the simple reason being that the cost of organising a five foot mould is simply too high for the plagiarists.
The best advice is simply speak with the retailer. A serious retailer selling originally licensed products will always give a straight answer to a straight question.
Posted in smow offline Tagged with: adelta, ball chair, Barcelona Chair, eero aarnio, Knoll, Vitra
The so called “Barcelona Chair” by German architect and designer Ludwig Mies van der Rohe is without question one of the true classics of 20th century furniture design. And one of the most copied.
On the 80th anniversary of its first public appearance during the Ibero-American Exposition of 1929, materials scientist Prof. Friederike Deuerler and Art Historian Prof. Gerda Breuer have curated an exhibition for the Galerie im Kolkmannhaus at the University of Wuppertal.
“From prototype to cult object – The Barcelona Chair from Ludwig Mies van der Rohe” is one the hand a sober scientific examination of the chair, the design process and the production process employed on the “original”; and on the other an examination of the question what is “original” in terms of furniture design.
A topic very close to our hearts, as you know.
In addition to the showing prototypes, early examples – including possibly articles displayed in Barcelona – the exhibition also shows modern interpretations, including a stackable plastic version.
For all those in, near or planning being in or near Wuppertal the exhibition runs at the Galerie im Kolkmannhaus, Hofaue 51-55, 42103 Wuppertal until August 23. More information can be found on the website.
Prof. Friederike Deuerlern and Prof. Gerda Breuer in two examples of the Barcelona Chair by Ludwig Mies van der Rohe
Posted in Exhibitions and Shows Tagged with: Barcelona Chair, design, designer furniture, furniture, Knoll, Ludwig Mies van der Rohe, Wuppertal
One of Europe’s most important design institutions today celebrates the 90th anniversary of its establishment.
For fans of purist design Bauhaus is the first and last word. Designs such as the B3 “Wassily Chair” by Marcel Breuer, the Nesting Tables from Josef Albers or the WA24 lamp form Wilhelm Wagenfeld defining an approach to the combination of style and form that has lost none of its modernity nor individuality over the decades.
Where the furniture and buildings rarely strayed from the typical clear, simplistic Bauhaus form the paintings and graphic art represent a chaotic, out of control world view.
And it is not too far fetched to claim that no other design movement has had such a long lasting effect on design, nor been so cruelly brought to an end, that that set in motion by Walter Gropius and colleagues in 1919.
The coming months will see a range of events to mark the 90th anniversary of Bauhaus and we at smow will not only be present, but will use the opportunity to discuss the history and legacy of Bahuas with the care and criticism it deserves.
Bauhaus Lamp by Wilhelm Wagenfeld. Much adored, much copied, only buy originals
The name Bauhaus, however, is more than just a benchmark for 20th century design it is also one of the most misused terms in furniture advertising. Google “Bauhaus furniture” and the first page will be a glorious selection of fakes and copies – generally originating from Italy, but also from eastern Europe and the USA. And so before buying any Bauhaus designs, always check the authenticity of the piece. The right to the Bauhaus works are spread across a wide-range of producers such as Thonet, Knoll and Tecnolumen, and it is always important to check that the product you want to buy is from the correct producer. Or you buy from smow. We can supply a wide range of designs from Bauhaus designers, all guaranteed as being produced under official license.
Posted in smow Tagged with: Bauhaus, Bauhaus lamp, Knoll, original, Tecnolumen, Thonet, WA24, Wilhelm Wagenfeld