As the title of Hella Jongerius’s 2016 book I don’t have a favourite colour succinctly explains, Hella Jongerius doesn’t have a favourite colour.
Not that Hella Jongerius is indifferent about colours.
Far from it.
And in explaining why colours are important to her, and why she doesn’t have a favourite colour, Hella Jongerius helps one approach a better understanding not only of colours, nor only of our relationships with and to colours, but also helps one approach a better understanding of the functionalities of colour…….
A Ronan; An Erwan; An unassuming, poetic, connection.
On May 17th 1955 Charles Eames*, as assignor to the Herman Miller Furniture Company, was granted US patent 2,708,476 for a “Furniture Frame Construction”, specifically for, “a skeleton type metal furniture frame or shell construction” formed from “a plurality of lengths of wire arranged in crossed relation with another plurality of lengths of wire and welded thereto at their intersection…”1
A patent which although important and interesting in itself, is and was in many regards just as important and interesting for developments that arose on account of it. And for what its (hi)story can teach us about the work of Charles and Ray Eames……..
With the exhibition Citizen Office the Vitra Design Museum staged not only their first conceptual, research based, exhibition, but also one of the first museal reflections on “the world of the office”.
Reflections which not only pointed towards new directions and understandings then, but which offer insights and lessons for today…….
According to Goethe,
Without the Fastnacht’s dance and masquerade ball
February has little to offer at all.1
Rubbish! Absolute rot!
Our recommendations for new architecture and design exhibitions opening during February 2020 in Weil am Rhein, New York, Vienna, Houston and Kerkrade which ably demonstrate that February has much more to offer than carnival, and for all that February can provide for a greater degree of cerebral gratification than sensual………
In these dispatches we once doubted the prevalence of designer furniture in comics, noting and acknowledging the regular appearance of popular furniture designs in other visual media, we, off-handedly, opined, “… Designer furniture in a comic?”
Elegantly proving us very, very wrong the Vitra Design Museum’s exhibition Living in a Box. Design and Comics not only explores the use and depiction of designer furniture and lighting in comics, but also considers how comics have contributed to and influenced furniture and lighting design.
In centuries past traditions were something that were established slowly, often becoming such long after those who had began them, who had understood their origins, meaning and function in contemporary society, had shuffled off this mortal coil; in our contemporary world traditions arrive over night, no-one having the patience to wait, no-one wanting to miss out on anything.
In which sense, celebrating in 2019 its second edition, our traditional 3daysofdesign Copenhagen #embassytour.
“Form should not be finite but should be amorphous, so that the experience within is loose, meandering and multiple” – Balkrishna Doshi1
With the exhibition Architecture for the People the Vitra Design Museum explore Indian architect Balkrishna Doshi’s understanding of, belief in and approach to realising the amorphous, the social, the humane, in architecture.
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
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!!
According to Germanic lore, “ein guter Septemberregen kommt nie ungelegen“, a good rain in September is never inopportune.
This year arguably more so than ever.
Similarly a good architecture and design exhibition in September is never inopportune.
And, and keeping with rain metaphors, while we can all remember what rain is, September 2018, sees a proper downpour of new architecture and design exhibitions. A downpour that is particularly opportune. Following July’s drought and its meagre 4 recommendations we have a ongoing deficit of one in our annual quota, the current deluge however means that for September 2018 we can present 6.
And so grab your umbrellas and take yourselves to an architecture and/or design exhibition this September. Our recommendations can be found in Kolding, Munich, London, Herford, Moscow and Weil am Rhein……..
In his Ron Arad monograph Restless Furniture Deyan Sudjic notes that the Sticks & Stones furniture crusher Arad developed for the exhibition Nouvelles Tendances staged by the Centre de Creation Industriel Paris in 1987 was itself only saved from the crusher through the post-exhibition “intervention of a friendly Swiss furniture manufacturer.”1
While all Swiss furniture manufacturers are friendly, one particularly friendly Swiss furniture manufacturer springs to mind whenever the discussion turns to furniture design as being more than the shape of a chair, furniture design as a cultural imperative or the preservation of furniture design heritage.
As if confirmation were needed, the Sticks & Stones crusher greets visitors to the Vitra Design Museum Schaudepot exhibition Ron Arad: Yes to the Uncommon!
Whereas exhibitions in which designers show prototypes and discontinued projects by way of explaining who they are, where they come from and how they work, are a, relatively, regular occurrence, exhibitions in which manufacturers do such are much, much rarer: with the exhibition Typecasting Vitra make a very rare and very welcome exception
And in doing so don’t just present an image not only of Vitra past, but also take a look into the future…..
Nightclubs and discos are not only about entertainment and sensory overload, but also provide a society with means of expression and reflection.
With the exhibition Night Fever. Designing Club Culture 1960 – Today the Vitra Design Museum in Weil am Rhein explore five decades of club culture.
As regular readers will be well aware, here at smow blog HQ we’re very much of the opinion that fashion isn’t design. Never was. Never will be. Design, and without wanting to wade too deep into the definition quagmire, arose from applied craft/applied art, fashion is applied craft/applied art. And so while unquestionably a creative discipline, isn’t design. Neither is Graphic.
Design can however inspire and influence fashion, past decades recalling numerous occasions of fashion houses being motivated by designers’ works, a particularly apposite recent example being the news that Swiss fashion house Akris have based their Spring/Summer 2018 collection on the works of Alexander Girard, news which motivated us to retrieve a few classic items from the smow blog wardrobe……
With their 1997 exhibition The Work of Charles and Ray Eames the Vitra Design Museum staged one of the first major Charles and Ray Eames retrospectives
Twenty years later they return to two of the 20th century’s most important creatives with An Eames Celebration: less of Charles and Ray, and more of the diversity, depth and continuing relevance of their work.
Having grown up near Quimper, Brittany, Ronan Bouroullec moved to Paris in 1989 to study industrial design; since when the French capital has not only witnessed him complete his studies, but establish a studio, achieve his first commercial success and together with his brother Erwan develop projects for a roster of international clients including, and amongst many others, Vitra, Magis, Flos, Kvadrat and Samsung, in addition to realising numerous collaborations with Galerie kreo.
We met up with Ronan Bouroullec to discuss Paris, his experiences in, and relationship with the city, but somehow the conversation kept drifting outwith the city limits…..
The September architecture and design exhibition recommendations are arguably the cruellest to write: the fact that the majority of the exhibitions end in the depths of the European winter meaning that as we sit here hoping that summer keeps going just a little, little, longer…. we’re forced to think about winter jackets and gloves.
And so before things get that far, best get out there and visit an exhibition!! Our five recommendations for September 2017 feature new exhibitions in Weil am Rhein, Los Angeles, Utrecht, Frankfurt and Malmö…….
Much as we moan, moan, and moan about Milan Furniture Fair, it is a rare opportunity to get a snapshot of where individual designers are currently at: differing products for differing manufacturers being displayed in relatively proximity allowing for a nice overview. A few considerations on the latest projects by Ronan and Erwan Bouroullec for Vitra, Magis, Flos and Mattiazzi.
We must start with a confession . This High Five! is a High Four! Not because there weren’t good products
When we spoke with Vitra’s Chief Sales Officer Josef Kaiser at NeoCon Chicago he told us that at “Orgatec 2016
Although geographically the (hi)story of Vitra begins in Basel, spiritually it begins in America and arrives in Switzerland in 1957
With the opening of the Vitra Schaudepot the Vitra Campus has not only grown by a further building, but the Vitra Design Museum has realised a long held dream, that of an exhibition space in which to present their collection in its full extent; or at least in a much fuller extent than has currently been possible.
Born in Leverkusen Glen Oliver Löw initially studied Industrial Design at the University of Wuppertal before moving to Milan in
If the Light + Building trade fair in Frankfurt is home to exhibitors the majority of us have never heard