It is indicative of the image of designer furniture in contemporary society that media outlets across Europe have picked up on the fact that in connection with the recently published “Wealth Decelerations” by the French Cabinet, Industry Renewal Minister Arnaud Montebourg has revealed he owns an Eames Lounge Chair.

Indeed the online platform from German magazine Der Spiegel illustrated the publication of the Declarations with an image of an Eames Lounge Chair in one its first reports!

The Eames Lounge Chair. Similar to that owned by Arnaud Montebourg.

While the fascination with Monsieur Montebourg and his Eames Lounge Chair is almost certainly related to the fact it is one of the few revelations of what is hidden behind the figures – the revelation isn’t in the official documents but from an interview in Le Monde – it does highlight the widely held view that possession of designer furniture is somehow an indication of unreachable, and potentially unjust, wealth.

Yes, an object such as an Eames Lounge Chair may cost more than most people would normally consider paying for a piece of furniture.

However do a cost:lifetime analysis and it suddenly doesn’t look sssooo much when compared to the alternatives.

The investment in an Eames Lounge Chair is an invetsment in an object that will not only accompany you until your last breath. But also you children. And, and assuming everyone takes care of it, their children.

And then there is the material investment.

If you look at the Ministerial Declarations you will find, for example, that European Affairs Minister Thierry Repentin bought a Renault Scenic in 2009 for Euro 26,700. It is now worth Euro 8,500.

Now while Arnaud Montebourg is unlikely to recoup the ca. Euro 4,300 he paid in 1988 for his Eames Lounge Chair, he’s certainly not going to be looking at a 66% depreciation.

And don’t we want politicians who make sensible economic decisions? Especially in the current climate?

For us part of the problem that leads to such a fascination with the ownership of a design classic such as the Eames Lounge Chair is the way such objects are advertised or generally medially presented.

All too often designer furniture is presented as something other worldly. Exclusive. Not for the likes of you young lady……

As we’ve said before, and will repeat until our teeth fall out, if manufacturers were to reject the tired, agency motivated imagery, and instead concentrate more on explaining the quality of the materials used, the quality of the craftsmanship involved, the length of the design process, the investment in machines required to create their objects, etc, etc, etc the public would understand the price. And would adore the objects even more as a touch of luxury in the midst of their grey, unfulfilled lives.

In this context the Lounge Chair Atelier in the VitraHaus is a wonderful development as it allows visitors to not only see, and feel, how a Vitra Lounge Chair is assembled, but also to speak to the staff and so learn a little more about the people behind the objects.

So we say, lay of Monsieur Montebourg! He had the free capital in 1988 and for us he made a wise and sensible investment.

And in terms of unfettered decadency: Justice Minister Christiane Taubira admits to owning three bicycles.

Three bikes!!!

Qu’ils mangent de la brioche! indeed……

A White Vitra Eames Lounge Chair. As seen at Eames by Vitra, Wasserschloß Klaffenbach Chemnitz

Last week we, finally, made our first visit to Design Miami Basel.

Featuring 43 international design galleries, Design Miami Basel is a curious mix of those featuring “old” objects and those featuring new contemporary designs.

Those galleries who concentrate on new contemporary design generally make their money in that they organise limited editions of concept pieces by designers – which they then sell. Or they buy up “first editions” of pieces of new works that may, they hope, eventually go on to become design classics.

Fragile Future Chandelier 3.1 by Lonneke Gordijn & Ralph Nauta at Carpenters Workshop Gallery

The modern works on display in Basel ranged from those that are, if we’re all honest, more works of art than design, such as the truly monumental “Fragile Future Chandelier 3.1″ by Lonneke Gordijn & Ralph Nauta at Carpenters Workshop Gallery to pieces of high-class product design that genuinely impressed us, a wonderful example being the light sculptures “Well of Life” by Arik Levy at Priveekollektie.

Most entertaining was seeing works such as Oskar Zieta’s Plopp or Endless by Dirk vander Kooij, products which we can remember making their design fair debuts as revolutionary, if still faceless, wonders.

It’s always nice watching things grow up. Be they children, sheep or rocking chairs created from molten fridges.

Amongst the older designs on offer the two categories that most appealed to us were without question the architectural pieces and the one-off/location specific pieces. The older versions of products still in production not really floating our boats. See below.

In the second category Dansk Møbelkunst Gallery, for example, had some wonderful examples of non-series pieces from Arne Jacobsen, including a delightful Easy Chair created as part of an architectural project and some very simple, almost cheekily so, drawers made for, and salvaged from, his SAS Royal in Copenhagen.

In the architectural category we loved the Le Corbusier staircase on sale at Galerie Downtown – François Laffanour, And of course Galerie Patrick Seguin’s installation with the construction of Jean Prouvé’s 1944, 6×6 Dismountable House. Both wonderful reminders of the origins of the industry from which we now feed.

The only Le Corbusier we could afford at Design Miami Basel 2011

Despite the many, many high points at Design Miami Basel there were a couple of clouds.

And we don’t just mean those from Asif Khan. (Cheap gag. Sorry)

The first one was learning that museums are among the galleries most important clients.

For us that is wrong.

We understand that when someone wants to set up a private bus ticket museum that they should have to source their own exhibits.

But when we’re dealing with national museums that exist to preserve culturally and historically important artifacts for the common good: Shouldn’t they be given such things as a matter of course? Free?

Does a private collector really have an equal right to an early Mies van der Rohe chair as a museum?

Is the perceived market value of a lamp calculated on the basis of its provenance and raritey comparable with its historical value based on its cultural importance?

In such questions we simply cannot follow the “free market” arguments of galleries.

It is correct that museums shouldn’t have the right to simply expropriate owners as and when the mood takes them. But when something comes on the market should museums not have first bags? We say yes.

While accepting the impracticality of regulating such a system and of deciding which pieces should go to which museum.

We know the same argument exists in the field of art. And our opinion is the same.

Where something is culturally or historically relevant it must belong to the public domain.

And secondly, after several hours wandering round Messe Basel Hall 5 we reached the unavoidable conclusion: We’re not the collecting types.

Our passion isn’t owing the objects. It is the objects. The idea behind them. The personalities behind them. The story behind them.

If other people actually want to own them. That’s obviously fine by us.

We’re just glad they exist and glad that there are and were creative minds who made them possible.

And so Design Miami Basel simply isn’t for the likes of us. We really have no reason to be there. Design Miami Basel is for collectors. And for European collectors we can’t imagine a better place than Design Miami Basel.

That said, we’re very glad we went, glad we experienced it. It’s just not our world. But we’ll go back next year… just to see if the organisers have plucked up the courage to drop the “Miami” from the name.

You can see a few of our Design Miami Basel 2011 highlights in our facebook gallery.

Design Miami Basel 2011

No, we don’t handle the PR for Ronan and Erwan Bouroullec.
We would like to.

But we don’t.

It’s just the Brothers are not only among the most assiduous contemporary designers, but they also keep producing work that needs to be presented.

For one reason or another.

Such as Lianes, a lamp that forms part of their new show at Galerie Kreo in Paris.

Lit clos by Ronan an Erwan Bouroullec, Galerie Kreo

Galerie Kreo has in a way become a sort of “Haute couture” stomping ground for Ronan and Erwan Bouroullec.

Ronan and Erwan Bouroullec’s first show at Galerie Kreo in 2001 included such gems as Parasol lumineux and the room divider Cabane. Since then Les frères Bouroullec have produced four further shows at Galerie Kreo, shows which have included items such as Lit Clos, “Paravent” or “Sofa”

All in essence concept pieces and all an important part in the creative and professional development of Ronan and Erwan Bouroullec.

With such an exhibition there is no commercial pressure; just the personal pressure of creating that object that embodies your intentions.

Their sixth Galerie Kreo show includes two objects that don’t really excite us, and one that does.

For us Roches and Conques are decent projects; but nothing particularly new.

Lianes, in contrast excites us a lot.

Lamps on the end of long cables are very much in fashion at the moment; or indeed if we’re brutally honest have been ever since Flos released the Mayday Lamp by Konstantin Grcic.

Our current favorite in the genre, however, is Ray by Berlin design collective llot llov.

Lianes is in essence a refined Ray, with the advantage that one can position the lamp on the cable as required.

Whereas Ray either sits on the ground or can be positioned elsewhere through knots; Lianes simply slides up and down the leather cord to the required height.

High for general room lighting, exactly positioned for reading, low for gentle background light.

And if you can’t find your Hamster, Lianes is flexible enough to help you look behind your USM Haller sideboard.

And somehow we have the feeling we ‘ll be seeing a little more of Lianes in the future.

And for those of you in or near Paris,the exhibition by Ronan and Erwan Bouroullec at Galerie Kreo runs until July 22nd.

Galerie kreo

31, rue Dauphine 75006 Paris, France
T. +33 (0)1 53 10 23 00 E.
info@galeriekreo.com

Opening hours: Tuesday to Saturday from 11AM to 7PM

Lianes by Ronan and Erwan Bouroullec in Galerie Kreo

Lianes by Ronan and Erwan Bouroullec - detail

Lianes by Ronan and Erwan Bouroullec

Lianes by Ronan and Erwan Bouroullec, Galerie Kreo Paris

Eames Lounge Chair by Vitra - The classic view of furniture as an heirloom ...

Our (smow)twitter recently brought our attention to an article at worldchanging.com about what the author termed “Heirloom Design”

In the article Adele Peters discusses sustainability, durability and for all “What makes something worthy of passing down through generations?”

Peters decides that the future monetary value, the usefulness and sentimentality play a role; somewhat bizarrely in respect of sentimentality , she states: “…designers can aim to create products that inspire emotional responses.” Sentimentality is of course never something a designer can aim to achieve, rather is something abstract that develops through the nature of the relationship you have with an individual product. But more on that later.

... however, Mr Impossible by Phillipe Starck for Kartell, is also a product that can be enjoyed for generations

For us, however, the main point that Adele Peters misses in her highly readable article is that “Heirloom Design” isn’t “new”; rather, it has always existed.

In the past designing and constructing furniture to have a eternal life span and to be kept within a family for generations was normal. However, in the fast moving consumer culture that has overtaken The North since Thatcher freed us from guilt we’ve kind of all lost sight of that a little. And at this juncture you’ll forgive us if we don’t discuss the role of everyone’s favourite Swedish producer, but you get the drift. And because we’ve forgotten that one can pass furniture on to the next generation “Heirloom Design” can be presented as a “new meme”.

AC 4 by Antonio Citterio for Vitra - 54% recycled and 95% recycable

However for producers such as Vitra, USM Haller or Moormann and their designers, creating products with a long life span is part of the normal product development process. As we have often stated, and will probably never tire of repeating, with, for example, the Eames chairs from Vitra or the complete system USM Haller elements, practically every component can be replaced if required. They are truly articles that once bought will outlast the owner and the owners children. And which will be used every day by all.

Just far too many people think that designer furniture is expensive and that to buy a product that will last more than four months involves an investment beyond the average mortal soul.

Random Light by Bertjan Pot for moooi

In her book “Antiques of the future” – we hate the title by the way, but enjoy the project – Lisa S. Roberts presents her collection of items she believes will increase in value in the future. Included in the collection are products such as Algue by Ronan and Erwan Bouroullec for Vitra, Louis Ghost Armchair by Philippe Starck for Kartell or Random Light by Bertjan Pot for moooi. These are not especially expensive products, nor are they products that in all honesty are likely to increase greatly in monetary value.

They are, however, every day items that you would use and interact with, without even necessarily noticing them. And because of this they are items with which you develop a bond and which through their function and familiarity become part of your identity and as such something that you want to pass on the next generation, just as much as your Rolex watch, Mont Blanc Pen or Gangsta Lean record storage units. That’s the sentimentality that Peters’ means and that has nothing to do with the Bouroullec’s or Philippe Starck, rather us. The designers just make the relationship possible. (For more on Philippe Starck’s own assesment of his role in such check out our (smow)tube video)

214 from Thonet, also an heirloom if looked after properly

And the wonderful part is that because they are well made, high quality  products whose development was painstakingly undertaken and in many cases where whole new production processes had to be developed just to create the goods – you can pass them on. And your kids will also be able to pass them on. And their kids. And theirs … ad infinitum.

And that without lumbering the future generations with an unpayable debt.

Designer clothing is all about the designers name, art is all about the artists name, designer furniture, however, is about products created to fulfill a function. OK one or the other designer can afford to buy a couple of pair of shoes and is occasionally photographed at a star-studded party.

But the designers name isn’t just the brand much more it is the guarantee of quality.

And so we say a hearty yes to “Heirloom Design” but lets not call it such, the PR monkeys take up enough of our time, lets call it simply “designer furniture“

System USM Haller

Reliability and Solidity. For the journalists at German management magazine brand eins these are the two main virtues a company needs in times of global recession; and in this context their March edition includes a report over USM Haller. The Swiss-based company is globally known for its “System USM Haller” modular furniture, an endlessly extendable furniture system based around the USM Haller chrome-plated brass ball. A ball that is considered so iconic it is even included in the MoMA New York contemporary collection.
For brand eins USM Haller stands out because the company continually grows yet resists spectacular innovation; rather, USM managing director and owner Alexander Schärer deliberately maintains a tight rein on the portfolio and extends the System, gradually always and according to a considered, long-term plan. And so although Schärer freely expects a reduction in turnover in 209, it should not threaten the existence of the company. And so confident is Schärer that in 2009 USM Haller will open two new salesrooms.

System USM Haller

Just as durable as the company and its concept is the USM Haller furniture itself. With its almost endless lifespan, numerous options for extending and altering the units and the fact that new features pass perfectly onto existing articles, System USM Haller is not only ingenious, but user-friendly. And with its high appreciation levels amongst existing customers and design enthusiasts alike, well looked after USM Haller furniture can maintain its value over time. And so as a long-term investment System USM Haller has two advantages over shares or property portfolios. Reliability and Solidity …

The siebenschlaefer bed from Moormann

The bed “Siebenschläfer” from the Moormann (Design: Christoffer Martens, 2007) is beloved for the simplicity with which it can be constructed. The individual frame elements needing only to be slotted into one another.
However, what happens when the carpentry firm responsible for cutting the parts holds the plans back to front? – Then one gets an unplanned innovation, albeit one that causes several “Am I being stupid?” moments for smow customers. Those who are quick of the mark, however, can secure themselves a piece of furniture history.
For, implausible as it seems, the carpentry firm who prepare the Siebenschläfer frames for Moorman really did misinterpret the plans. The error, however, was first noticed as a customer struggled to build his bed with the promised and expected ease.

Siebenschlaefer - the bed that slots together

Hardly surprising given that he had been supplied a mixture of new and old pieces.
In the future only the new version will be produced: And so all Siebenschläfers matching the old form can now be considered collectors pieces…
smow currently have both old and new versions in stock.
The question as to whether the new version is a copy or not we leave to you dear blog-reader.

Night clock (George Nelson by Vitra)

The discussion around originals and plagiarisms in designer furniture it is not only a dialectic excercise but a real problem for many produces and retailers of licensed furniture. In the previously mentioned article “The Original” by Rolf Fehlbaum we provided a gentle introduction to the theme: That the problem is very real can be seen in the regularity with which cases are heard before various courts. In 2006, for example, an Italian furniture company was banned from calling the products it sold in Germany “Bauhaus Design”. The reasoning from the judges was simple: Dimensione did not possess in a license to use the name Bauhaus and as such the imitation articles combined with the description as a Bauhaus Design Object was misleading.

Smow only deals with officially licensed furniture and accessories. All our producers posses the rights for the respective pieces and none of the articles offered for sale are plagiarisms. While the articles are not from the first production phase, nor always built by the designer they are all 100% original. And so when buying design furniture don’t just check the quality of the craftsmanship that went into creating the piece, but also the genuineness of the license under which the piece was created.

Eames lounge chair from Vitra

Occasionally, just occasionally a curious glance at the price of a piece of designer furniture is enough to take your breath away. Chairs, lamps and sideboards from Fritz Haller, Philippe Starck, Nils Holger Moormann et al are not always something that can simply be casually paid for out of the “housekeeping“.

However, once one recovers from the initial shock one has time to reflect that a high quality piece of designer furniture is not to be understood only as a luxury accessory to improve the home environment, but much more as a long-term investment. Additionally, on account of the functional design and high quality material, you get a longer lasting piece of furniture than is the case with mass produced articles; and over the years a well looked after original from companies such as Vitra or USM Haller can increase in price. Enthusiasts and collectors often being prepared to pay large sums for additions to their collections or simply articles to adorn their homes and offices.

And importantly, anyone is planning to celebrate 2009 with a new piece of designer furniture has still a little time to save some money; from 01.01.2009 some producers are raising their prices

* USM Haller: 6% from 01.01.2009

* Vitra: 4% from 01.01.2009

* Artemide : from 01.01.2009, % as yet not confirmed

* Moormann: 6% from 01.01.2009

Thonet and Kartell will also raise their prices, but later in the year. In the case of Lampert the last price increase was on 01.09.2008.