Older readers will be aware that we have often held up the absence of some of Germany’s most important designer furniture manufacturers as an unmissable indicator of an inherent weakness in the IMM Cologne brand.

Those same readers will therefore understand the confusion we felt on seeing that Wilde+Spieth would, finally, be attending IMM Cologne in 2013.

We were delighted they were participating. We however now have one argument less.

Based in Esslingen near Stuttgart, Wilde+Spieth were originally a manufacturer of roller shutters, then in 1948 Egon Eiermann approached the company with a simple request for extra wide blinds for the Ciba AG factory he was building in Wehr, Baden: a simple request that Eiermann then extended with a brief “Kinderchen, can you also build chairs?”.

They could.

And Egon Eiermann’s hopeful question was to evolve into one of the most productive, successful, but for all innovative, partnerships in the chronicles of German furniture design.

Together Wilde+Spieth and Egon Eiermann released over 30 product ranges, and even today some 43 years after Eiermann’s death the two remain inseparable, while chairs such as the SE 18, SE 42 or SE 68 have gone on to take their rightful place in the high pantheon of European design.

Many of Eiermann’s early collaborations with Wilde+Spieth were launched at the International Möbel Messe Köln – the bi-annual forerunner to the current IMM – and so it was somehow more than fitting that for the company’s debut at the modern IMM four Eiermann classics were being presented in new colours from the Le Corbusier “Les Couleurs” collection.

In addition, and in many ways more significantly, Wilde+Spieth also used IMM Cologne 2013 to launch three new products: CU! by Avinash Shende, TG1 by Thore Garbers and Typus by Edelhoff & Nettesheim.

It seemed therefore obvious to take the opportunity to speak with Wilde+Spieth’s CEO Thomas Gerber about the new products and living with Egon Eiermann’s legacy, but we started by asking why, after all these years, they have finally decided to show at IMM Cologne….

Thomas Gerber:  Whereas we have often exhibited at, for example, Orgatec with the Egon Eiermann classics, we never really ever felt we had that many objects that could be seen as “domestic furniture”. This year however we are releasing three new products, products that all fit well into the home furnishings sector and we felt that IMM Cologne would be a suitable place to launch them. On the one hand because of the fair’s international profile, but also we feel the mixture of visitors – so architects, large chains but also small, independent shops – largely reflects our target audience.

(smow)blog: Before we come to the new products, until now Wilde+Spieth have concentrated, more or less, solely on the classic Egon Eiermann chair designs. While that presumably has its benefits, in how far is such a close association with such a famous furniture architect a burden?

Thomas Gerber: While taste itself, fortunately, only changes very slightly over the years, the popularity of design classics is cyclical and so while there are periods when classics such as the Eiermann chairs are very much in, there are also periods where they are very much out. And such phases are very hard for us. A large proportion of our business is contract and so if the project manager tells the architect that they don’t want design classics for a project, then we have a problem. Which is also one of the reasons for the new products.

And that is when the real curse starts, because when we announce we are releasing something new the expectations are so high. It is expected that we will release something that is just as good as what we currently have, is cheaper than what we currently have, and which has the potential be the next classic. And that makes it very difficult. Over the years we’ve co-operated with numerous designers and architects, but until now never had anything that we felt completely comfortable with…

(smow)blog: Until now! This year you have three new products, what “clicked” here that perhaps hadn’t in the past?

Thomas Gerber: Probably that we approached the search from a different perspective! This time we pretty much let the designs find us rather than commissioning someone to develop something. With, for example, the CU! chair by Avinash Shende, we discovered it at Salone Satellite in Milan, were instantly fascinated by it and so decided to explore if it could be something for us. And then once the decision was made to take it on all we really had to do was tweak it a bit so that it can be serially produced.

(smow)blog: Which we presume means you’re confident that it will meet the expectations?

Thomas Gerber: We wouldn’t be showing it if we weren’t! And, for example, before making the decision to take on the project we took the chair to architects showed them it, and got 100% positive feedback, which was then one of the reasons we decided to say yes.

(smow)blog: The one thing we notice immediately with CU! is the colours. Was the decision for such a bright palette also a result of this feedback from the architects?

Thomas Gerber: Partly. But much more CU! is a cheeky, fresh product that simply cries out to be colourful. Also it can be used outdoors, for example, in cafes, bars, etc, and who says cafe chairs can only be black and white?

(smow)blog: To end and, staying with colour. You’re also launching four Eiermann classics in hues from the Le Corbusier “Les Couleurs” collection. Why the Le Corbusier colours?

Thomas Gerber: Because it all passes so well together. When you look at Le Corbusier and Egon Eiermann they are both from a similar age, had similar passions and ultimately the colours look so good on the furniture that it really is a coming together of what belongs together!  And of course a chair is just one part of a room design, inevitably you also have other furniture, wallpaper, floor coverings, etc, and such objects are all available through other manufacturers in the Les Couleurs palette. Consequently, because the shades are all based on natural tones and compliment one another you can either use one colour throughout a project or effortlessly combine colours, and we find this inherent harmony in Les Couleurs a really fascinating concept.

IMM Cologne 2013: Wilde+Spieth Egon Eiermann chairs in new shades from the Le Corbusier "Les Couleurs" collection

The SE 68 and SE 42 in Le Corbusier "Les Couleurs"

IMM Cologne 2013: CU! by Avinash Shende for Wilde+Spieth

The table Typus by Edelhoff & Nettesheim for Wilde+Spieth. Here with 2 SE 68s. (Photo Wilde+Spieth)

On December 17th 1961 the New Kaiser Wilhelm Gedächtniskirche in Berlin was officially consecrated. Designed by Egon Eiermann the new church was and is a very self-confident, modern replacement for the Old Kaiser Wilhelm Gedächtniskirche; a building that to the regret of many Berlin residents fell victim to an allied bombing raid in 1943.

In keeping with all his projects up to that period Egon Eiermann didn’t just create the building but also designed the furniture and fittings for the new church.

Fortunately for us the new chairs weren’t actually in situ for the Consecration Service – and so our post can also be a little bit late.

The New Kaiser Wilhelm Gedächtniskirche was Eiermann’s second church project – and just as he re-used and re-worked architectural elements from the Matthäuskirche, Pforzheim in the New Kaiser Wilhelm Gedächtniskirche so to did he carry over elements of the furniture design…….

Starting with the use of chairs rather than benches.

Chair for the Matthäuskirche, Pforzheim. Designed by Egon Eiermann

For the Matthäuskirche Eiermann created a simple, almost rustic, wood and wicker chair; and for Berlin Eiermann used the same basic form, albeit in new materials and with a new accent and attitude.

In many ways more urban. More sophisticated.

Keeping the same frame form, with the rear cross-support set slightly forward from the back legs, Eiermann replaced the wicker seat from Pforzheim with a belt supported structure. The most striking feature of the “Berlin chair” is the open construction that exposes the belts as they wrap around the frame; for us a clear nod towards the way wicker is attached to a frame, and thus a statement of the chairs lineage.

Chairs in the New Kaiser Wilhelm Gedächtniskirche, Berlin. Designed by Egon Eiermann

On the back Eiermann incorporated the two de rigueur features of church chairs – a place for hymn books. And a hat hook.

As we all know Egon Eiermann had, and still has, problems with people trying to compare his work with, inevitably earlier, pieces by Charles Eames. And so much as we like and approve of the small black ball hat holder – part of us can’t help wishing that he’d chosen a solution that looked a little less like a Hang it All hook …

The hymn book holder - and hat hook

What Eiermann sadly didn’t carry over from Pforzheim to Berlin was the use of his famous table frame as the altar. However that decision is probably more related to the numerous differences of opinion that existed between Eiermann and the Berlin Diocese as regards the project rather than any deliberate decision on Eiermann’s part.

In 1958 Wilde + Spieth released the “Pforzheim chair” as the SE 119 – according to Arthur Mehlstäubler¹ the first chair Eiermann created for an architecture project that subsequently ended up in series production. And so for us a project that marks an important step in Eiermann’s final move towards being a fully fledged “furniture architect” in the Danish sense. As the SE 119 the chair was used in the dining room of the German Pavilion at the World’s Fair 1958 in Brussels.

And in 1962 Wilde + Spieth released the “Berlin chair” as the SE 121, and from 1964 it was used in the Chancery of the German Embassy in Washington.  Without the hat hook and hymn book holder.

Sadly both chairs are no longer in production; however, the churches still stand and at both one can enjoy a delightful insight into a very specific part of Egon Eiermann’s oeuvre.

1. From Kielmeyer, Barbara, Ed. “Egon Eiermann – die Möbel”, INFO-Verlag, Karlsruhe 1999

The New Kaiser Wilhelm Gedächtniskirche Berlin. With Eiermann's chairs, complete with hat hooks and hymn book holders

Luddites!

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.

With ink.

Luddites?

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 service@smow.de (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

Fritz Haller against Egon Eiermann.

While ahead of the 2010 (smow) designer furniture world cup final many bemoaned the decision of both Switzerland and Germany to  play safe with their more technical formations;  the match itself was one for connoisseurs.

Certainly  a Nils Holger Moormann for Germany or a Susi and Ueli Berger for Switzerland could have brought a little more imagination and colour to the match.  But what the two old masters lacked in flamboyancy they more than compensated for with technical brilliance and confident construction.

Egon Eiermann opened gently with his classic deskframe before quickly doubling up with his deceptively subtle shelving unit. Sensing the “office furniture” direction the match was taking Fritz Haller reached deep and produced a “Komplex integriertes Tisch-Organisations-System”. His KITOS Table being such a departure from his normal USM Haller system that it caused Eiermann to briefly stumble, the Brandenburger regaining his composition in time however to take a 1-0 lead with a beautifully worked SE 18 für Wilde + Spieth.

Spurned on by Eiermann’s SE 18 Fritz Haller responded with a quickfire roll container / Haller table combination before drawing level with a well placed Haller table flat screen swing arm.

The longer the match went on the more Fritz Haller’s stable USM Haller system seemed to control the match; however Egon Eiermann refused to give in and late in the second half  attempted a delightful  SE 68 /E 14 Rattan stool double. Neither of which could quite match the versatility of Haller’s USM system and with match heading for extra time Fritz Haller slide in a perfectly executed metal extension shelf for the victory.

And to take the (smow) designer furniture world cup back to Switzerland for the first time.

(smow)2010 Overview

The Swiss fans celebrate Fritz Haller's victory over Egon Eiermann