Owners/Designers: Alexander Stamminger and Nik Back

Established: 2007

Location: Blaufelden, Baden-Württemberg

Products:
Luca lean
Luca stand
Ten
Line
Turn
Superemma

maigrau: Alexander Stamminger and Nik Back

(smow)blog: Let’s start at the very beginning, where did you meet?
maigrau: We both studied Industrial design at the Kunstakademie in Stuttgart, and we have known each other since the first semester – so since 2003 - and we completed our studies in 2008.

(smow)blog: And immediately formed maigrau…
maigrau: … exactly. In principle we really started in our final semester. Our diploma project went a little in that direction, we also developed a couple of products and so it was a fairly fluid process.

(smow)blog: And why the decision to produce, market and distribute yourself?
maigrau: It was simply the basic thought it would be good when we could accompany our products through the complete process right up until the customer.

luca by maigrau

(smow)blog: And the commercial/business elements, did you learn these at college or was it more a case of learning by doing?
maigrau: If we’re honest that was a shortcoming of the course in that there wasn’t a great deal of business skills taught. And so we have had to learn a lot ourselves, be it price calculations or dealing with customers – specifically because as a producer/retailer we have different customers than those designers who simply offer design services to a client.

(smow)blog: And was it the correct decision?
maigrau: Definitely! And it’s a decision we’d make again. Sure it’s a stressful path with some hard periods at the beginning but over time and through the experiences one learns.

(smow)blog: And in that context congratulations on the nomination for the 2011 German Design Prize.
maigrau: Thank you. We’re absolutely delighted. And obviously it’s a little bit of recognition that what we are doing is correct and that we do it well. It’s a nice feeling to be nominated for such a design prize.

(smow)blog: Where do you want to take maigrau in the future?
maigrau: Obviously we want to expand our collection, one of the one hand as designers we naturally want to continue designing products ourselves, but on the other we can also imagine developing products for maigrau in cooperation with other designers.

(smow)blog: One of the new products is the side table Turn. What was the motivation behind the table?
maigrau: We were interested in producing  a modern side table  which was also vaguely reminiscent of typical works from the 1950s.  The turned wooden legs combined with the thin 3mm steel top produce a very simple, yet new form.

Turn by maigrau

(smow)blog: The table comes in two heights, Luca comes in two forms, the shelving in two lengths, is there a deliberate plan to produce your objects in different versions?
maigrau: It’s not exactly deliberate, but it is often that case that such an option presents itself. From a development perspective the creation of a larger version doesn’t automatically mean more work and because we organize the production ourselves here in Germany we have direct control. And so the development of different versions or the further development of a design is often a sensible, obvious step. For example, in the autumn we plan to launch the further development of the luca lamps.

(smow)blog:Then all the best and good luck for the future!

More information on maigrau can be found at at maigrau.com/

Luca lean by maigrau

Turn by maigrau

Luca stand by maigrau

Ten by maigrau

Superemma clothes rack by maigrau

Line shelving by maigrau

(smow)chair v1.0

The motivation for the (smow)chair began with Chairless by Alejandro Aravena for Vitra.

Although a truly delightful product we were somewhat irritated by the fact that the design for Chairless wasn’t that, well,  “chairless” : rather replaces the tensions within a chair with the tensions in the users body.

The user becoming the chair and consequently limited in their movement while using Chairless.

But because the “chairless” concept so impressed us we decided to take the opportunity presented by the Vitra Design Museum cardboard furniture workshop and the exhibition “Essence of Things. Design and the Art of Reduction” to develop our own “chairless” chair.

Our criteria:

• 100% cardboard, no other material
• transportable
• as reduced a design as possible

Our first decision was to lose the legs. Chairs don’t need legs.

In western cultures we are so used to chairs with legs that we westerners find it quaint or even patronisingly “authentic” when we travel to other cultures where chairs with legs aren’t in everyday use.

But chairs don’t need legs.

And so the legs went.

MVS Chaise by Maarten van Severen for Vitra.

The basis of our design was Maarten Van Severen’s MVS Chaise from Vitra.

Its wonderful three sectioned form being the perfect basis for a folding “chair” with a seat, back and support.
The only question was how to gain the stability we required: without resorting to other materials.

After much unsuccessful experimentation the answer came via the (smow)warehouse team.

Not only are the (smow)warehouse team experts in the packing and shipping of designer furniture and the construction of USM Haller units - they also know a little bit about statics.

And it was this input that was to lead to the form of the (smow)chair v1.0

In essence “the chair” has been reduced to “the arms”.

The arms provide the stability and are responsible for the chair.
The back/support/seat section - the part that most understand as a “chair” - is in contrast interchangeable and expendable.

He/she who has the arms can build a chair -  he/she who has only the back/seat/support element cannot.

Two (smow)chairs ready for departure

In addition the longitudinal slit in the arms allow the chair to be safely packed together…. and in the folded form (smow)chair can be readily transported.

We, for example, brought two (smow)chairs back from Weil am Rhein tied to the back of a rucksack.

The development of the (smow)chair has not stopped and (smow)chair v2.0 is finished, v3.0 is expected soon.

A production model is however still some way off.

Over the coming weeks we will not only document the further development of the (smow)chair but also use the (smow)chair to explain a little about furniture design and the designer furniture industry.

(smow)chair and the art of reduction

Time was when social networking for businesses meant cocktail parties, tennis clubs and the Freemasons.

Time Was.

However Time Is and in the modern commercial world social networking means Facebook, Twitter, X-ing et al

Not only as a marketing tool but also as an increasingly important instrument for communicating with customers, gathering feedback and handling criticism.

Fritz Hansen have recognised the advantages of social networking

In addition a recent survey by Edison Research among twitter users in the USA indicated that for many consumers Twitter is an important source of information on products; not just in terms of getting basic information, but also exchanging views and opinions.

Research by smow.com has revealed that although the use and acceptance of Twitter amongst the leading designer furniture producers has grown in recent years; the utilisation of social networking in the designer furniture industry lags far behind that in other commercial sectors.

For (smow) report author Kelly Felten, a problem “Given the rapid rise in the number of “design blogs” in recent years it is increasingly important that producers are able to both follow and respond to discussions concerning their products. If that is happening on twitter, the producers need to be there!”

According to Felten more targeted twitter usage could also prove helpful in areas such building brand loyalty amongst consumers or organising more efficient publicity campaigns ahead of large trade fairs.

“Imagine if when designer X launched a new product for producer Y,  a Twitter chat with X was organised over Ys Twitter account” says Felten, “you’ve got an instant online buzz”

In addition better, consumer relevant content could help the designer furniture producers solve their principle problem: the relatively low numbers of followers.

Alone Herman Miller with some 62,000 followers can claim to match the leading commercial brands in terms of twitter numbers.

That designer furniture customers are interested in using Twitter, for example, can be seen in the case of Kartell. The Italian producer started tweeting in April 2010 shortly before the Milan furniture fair and now has over 600 followers.

@kartellpeople Started tweeting on April 8th 2010

According to Kelly Felten on its own Twitter won’t change the design furniture industry, but targeted and professional Twitter usage will play an increasingly important role for designer furniture producers.

“The old distribution structures are changing, and with them the communication paths between end customer and producer”, says Felten, “The designer furniture producers have recognised that, however, they’re still learning the ropes”

The (smow) Designer Furniture Twitter Top 11:

(As on 18.08.2010)

(for comparison http://twitter.com/smowblog has 220 followers and a Klout rating of 05)

For most people naming Swiss designer furniture producers is as much of a challenge as naming famous Belgians or happily married English footballers.

USM Haller being the equivalent of Belgium’s Hergé.

However the Confoederatio Helvetica has a lot more to offer than Fritz Haller’s genial system. And a lot more to offer than modular steel and chrome.

One of the greatest contrasts to USM Haller is the cabinet maker Röthlisberger.

Founded in 1928 Röthlisberger’s first contact with the global furniture market came in 1957 when they starting producing furniture on behalf of Knoll International. In 1975 the cooperation with Knoll International ended and in 1977 Röthlisberger introduced their own products onto the market under the name “Röthlisberger Kollektion”

Currently featuring products by designers such as Tomoko Azumi, Hanspeter Steiger or Susi and Ueli Berger the “Röthlisberger Kollektion” combines the companies experience in traditional Swiss carpentry with modern technology and approaches

In Milan (smow) caught up with Röthlisberger Kollektion boss Jürg Scheidegger and discussed the development of new products, the role of the Internet in the designer furniture industry - and the persuasive powers of Swiss chocolate.

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.

He doesn’t.

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"

(smow)summer tour 2010 review

Although very short the (smow)summer tour 2010 was certainly worth the effort.

Its always worth the effort to visit an annual exhibition at a design school. Our primary focus was, logically, the product and industrial design work, but we did also take the opportunity to visit the other departments. And wherever one goes and whatever one views, you will always find something that strikes a chord or otherwise inspires you.

Often in the most unexpected departments.

Which is why we can always recommend such an exhibitions.

Lacking the creativity to come up with our own format for a quick “end of season summary”, we’ve stolen that from the Universität der Künste 2nd semester “Design-Grundlagen” course. Sorry, we’ve let ourselves be inspired by the Universität der Künste 2nd semester “Design-Grundlagen” course

All time-favourite - What we liked best:

Aside from an ingenious project in Weimar which we sadly cannot discuss, photograph or mention - it is however brilliant, and remember where you just about heard it first - the best moment of the summer tour came at the very end as we sat in our ICE back to Leipzig and let the experiences of the past four days mix with one another. The seagulls head in Weimar, the cafe at the UDK Berlin, the 3D photography at Burg Giebichenstein, the bath in Weimar, the stage design at Weissensee, the candles at UDK, the porcelain newspapers at Burg Giebichenstein, the prototypes at Weissensee, the humourless, hairless, neckless bouncers at Burg Giebichenstein. Sounds like a cliche, is a cliche but it was lovely.

Personal Disaster - What I want to avoid in the future:

The opening of the Burg Giebichenstein Exhibition 2010

The Burg Giebichenstein “Exhibition Opening”. We left the Volkspark Gallery at 7pm after having viewed the art exhibition around 20 times: and as it was clear that nothing other than chummy backslapping was likely to happen. As we headed home the que outside wound its way through the garden. No entry for the public before 7:30 - despite the alleged 6:30 opening.

6.30 of course being for the invited Halle VIPs, but why bother telling the public that.

Qu’ils mangent de la brioche. As it were.

So a badly organised and for all badly marketed “Exhibition Opening” is simply unacceptable and not something we’re daft enough to repeat.

Next year we’ll just have to fit Burg Giebichenstein in on the Saturday or Sunday; because Burg Giebichenstein is worth the trip and remains one of our favourite design colleges

The college website will sadly remain the unusable, “Emperor’s New Clothes 2.0″ that it is - because no one will have the bravery to bin it - but we know that the students will continue to be well taught and to produce work of a high standard. And that’s what interests us. Not the champagne and finger food.

Whack on the head - When the penny dropped:

The Palast der Republik in Berlin opened in 1976. We suspect that was also the last year the UDK Berlin was renovated.

Less a penny dropping per se and more the realisation of the huge funding differences in German design education.  As we strolled round the Bauhaus University Weimar campus one of our party could be heard repeatedly muttering ” Its all been paid from our taxes!” And indeed the buildings were, in general, immaculate and we didn’t get the impression much attention had been paid to the costs when renovating. We believe its called a “Prestige Project”.

The Unviversität der Künste in Berlin remains locked in 1976. Not only is that the last time we suspect the corridors of the design department in Strasse des 17 Juni were painted; the building smelt like educational establishments smelt in 1976. And not just the buildings. The workshops at the Kunsthochschule Berlin Weißensee had modern machines, but not in the numbers that Weimar can boast.

The choice of which design school you visit is largely based on the course on offer and the teachers/professors with whom you will learn. That said just because you would rather study industrial design in Berlin with Professor Axel Kufus rather than Product Design with Professor Heiko Bartels in Weimar, doesn’t mean you should be expected to put up with worse conditions. Or retro-aromas.

The schools themselves aren’ the problem, rather those who organise ther funding. Obviously we don’t have a solution for the problem, co-operations with commercial partners may help finance individual classes, but are no long term solution.

That was the (smow)summer tour 2010

The autumn tour 2010 will take us to Copenhagen, London, Vienna and Brussels.

But more later.

Kunsthochschule Berlin Weisensee Rundgang 2010

The last stage of the (smow)summer tour 2010 took us across Berlin to the Kunsthochschule Weißensee. Established in 1946 the Kunsthochschule Berlin Weißensee was without question the youngest design school on our tour - and was also the location where the most English was spoken.

Every corridor, every landing, every exhibition room straining to the tones of American and other non-native English.

Combined with the preferred clothing order the impression was much more Berlin-Mitte than Berlin-Pankow.

And, and although we know much better, we did spend most of the journey home discussing the possibility that a secret international community of thin, painfully fashionable, creative types may have existed in East Berlin; cleverly subverting the socialist dictatorship through the juxtapositioning and fusion of design conventions.
A bit like Jurassic Park, just with typographers, fashion designers and architects.

Actually, there may be a novel in that. Watch this space.

As with the UDK Rundgang the focus at the Kunsthochschule Berlin Weißensee was very much on the regular course work. There was however a lot more vehicle design, interactive design and other similar branches of product design that generally fail to attract our attention. We know it’s an important part of the learning process, but we just find it difficult to concentrate when faced with computer generated images of a vehicle or shoe that will never be produced. And why are they are always green and orange?

Plus it had been four very long days. Four very long hot days, four days full of exhibitions, interviews, discussions, beer, late nights and early mornings.

We were tired.

Kirin by Dörte Ahlgrimm and Kathrin Scheidt at Kunsthochschule Berlin Weißensee

However, with the couple of days distance we see that there were a couple of genuinely interesting ideas on show.

All from the one commercial cooperation project class, but as already said, more on such later.

Kirin by Dörte Ahlgrimm and Kathrin Scheidt is one of those products that we often ignore; we were however won over by the quality of the construction and the cheek of the design. And if we’re honest it also appealed to our preferred approach to order and tidiness. In essence a side-table with a rotatable hanging arm. You need never use a coat hanger again.

Centaurus by Johannes Grune

Centaurus by Johannes Grune resembles something that you would expect to find in the locker room of the NYC Fire Department. Part chair, part storage, part hanger we were genuinely drawn to the ingenuity of the concept and also the number of possible uses. Not just for firemen, but also in childrens rooms, garden sheds, gyms or indeed in a weatherproof version on a balcony or in garden.

In contrast, what really got our goat was the results of the “Greenlab” project. Subtitle: “Sustainable design strategies”

We have never left an exhibition room more disappointed.

Or just plain angry.

“Sustainable design strategies”. Not on any planet we we have ever visited.

But then such isn’t only a problem at the Kunsthochschule Weißensee. Daily our RSS and Twitter feeds jam up with people who really should no better informing us over the latest” Green” product, that invariably isn’t.

Rather just a plain arrogant concept or something cleverly greenwashed by a marketing department before being released virally over specially chosen channels.

The first question with “green design” or “sustainable design” is … no we’ll do that later.

For us “Greenlab” was a wasted opportunity.

In general however the Kunsthochschule Berlin Weißensee Rundgang 2010 was a delightful, thought provoking and highly entertaining and informative end to the (smow)summer tour.

And then we went home. Tired, but happy.

Some more pictures from the Kunsthochschule Berlin Weißensee Rundgang 2010 can be found on (smow)flickr

Who needs architects anyway?

Following the disappointment of Burg Giebichenstein it seemed that Urðr, Shai and Nortia had once again collectively abandoned us as we strove northwards through the rain and thunder towards Berlin.

Alone the fact that we were unwittingly party to that age old eastern Germanic ritual of the summer migration to the Baltic Sea keeping our mood high.

From Berlin Hbf the transient throng continued on to Rostock, Warnemünde and the other traditional Sachsen summer feeding grounds on the Baltic coast, and we headed to Berlin-Charlottenburg.

Where we were relieved to find the Gods of Fate enjoying a cup coffee in the UDK student cafe.

The principle focus of the Universität der Künste Berlin Rundgang 2010 was semester projects.

Der Trockenschirm by Janja Maidl at the Universität der Künste Berlin

A selection of the diploma projects was on display on the landings; although somewhat regrettably not all diploma projects. “Jack” by Julia Reischel and “Qabel” by Philipp Frank being just two of the projects we liked the look of, but which we sadly only saw on paper and not en persona.

The semester projects themselves were generally fairly restrictively set. On the one hand a legitimate method to focus the concentration of the students; however, we did occasionally have the feeling that the projects had been a little too heavily shoehorned to match the demands of commercial partners.

The cooperation between design schools and commercial partners being a subject we will discuss at a later date.

And so whereas projects such as the candle design class “Light my Fire” or “Lichten” which posed the question “How much illumination does a light need?” produced a couple of interesting results; for us they were much more about observing and understanding the learning process.

A particularly delightful visualisation of the learning process being the questionnaire all students of the class “Industrial Design Basics” had completed. Through naming their favourite project, their personal disaster and the moment when “the penny dropped” one could clearly see several similarities between the  new design students. The most common problems being starting too late with the preparation and not properly prototyping and modelling a concept before starting to produce. Consequently the exhibition to the class was less relevant than the noticeboard in the corridor.

Sno by Louise Unbekannt at Universität der Künste Berlin

In an otherwise highly informative and very enjoyable exhibition we found nothing that one could truly class as innovation, and only found one class - Rapid Up -where we could see any real commercial potential.

With Sno, Louise Unbekannt has developed a wonderful Moormann-esque coat rack/clothes hanger: Three curved pieces of wood that slide into and support one another. Not only has “Sno” a wonderful geometry, but also a couple of nice little details that indicate the talent behind the design.

Mesa Portador by Ben Raubold also appeared to have its origins in Aschau in Chiemgau. Although we liked the idea of the table supports that can be used at two different heights what we really excited us was the further development.

Mesa Portador by Ben Raubold at Universität der Künste Berlin

Portador is Spanish for carrying/bearing as in weight - does however also conjures up the concept of portable.

If Ben can develop the design so that it all the components can be locked together flat, thus allowing easy transport then we can imagine a few very practical uses for Mesa Portador.

As we say apart from these two works we saw very little in terms of “products”: but that shouldn’t be understood as criticism. The tone of the exhibition was very much about showing the development of the students and how the students learn - and in such cases you don’t expect “products” but “ideas” and “possibilities”. And they were as plentiful as sunburnt Sachsen on Warnemünde beach.

A further highlight awaited us in front of the main UDK building in the Hardenberg Strasse.

A wind turbine created from old oil drums.

We don’t know any more as the information board was missing.
We assume that such constructions can be found on a hundred thousand smallholdings in India and Africa. Indeed we hope so.

The concept however being the first thing in Berlin that had really inspired and motivated us.

A selection of photos from the Universität der Künste Berlin Rundgang 2010 can be found on (smow)flickr

And so after a highly enjoyable and entertaining day at the Universität der Künste, we headed north east to the Berlin Weißensee Kunsthochschule Rundgang 2010.

More (smow) videos

“Exhibition Opening on Friday 16. Juli Volkspark Halle”

We admit we didn’t actually check what Burg Giebichenstein understand by “Exhibition Opening”

Didn’t really see the need.

We just wish we had.

Because everywhere else “Exhibition Opening” means the exhibition is opened.

Even the Magdeburger Volksstimme understands it as such.

However “Exhibition Opening” at Burg Giebichenstein means a private awards ceremony for an invited audience of Local VIPs cleverly packaged as a public “Exhibition Opening”.

Combining an awards ceremony with the opening of an annual exhibition is a genuinely wonderful idea: But when the awards ceremony is given a higher priority than the students work then someone somewhere has got their priorities very wrong.

Awards ceremonies don’t make a design college, the students and their creativity do.

During the awards ceremony the Burg Giebichenstein Rector Ulrich Klieber spoke of his “pride” that the college was so well rooted in the local community: The looks of disbelief and disappointment on the faces of those barred from entering the building sadly didn’t mirror his pride.

Why couldn’t all those who were forced to wait outside the Volkspark Gallery have been given the opportunity to explore the other departments - before returning to the art and fashion shows once the champagne had been quaffed?

And when one has so many important members of Halle society at the college, why not give them the chance to explore the rest of the departments?

Or is it expected that those who come on Friday evening will also comeback on Saturday or Sunday?

The Rector also spoke of the importance of the Design Haus Halle. There sit those Burg Giebichenstein graduates who can fulfill interior design, corporate branding, layout, furniture design or promotion film contracts for those institutions and companies represented at the awards ceremony. Thus keeping the money in the region and helping promote the creative industries in Halle.

One of the goals of the Design Haus Halle project.

But not if the Design Haus is closed on one of the highest profile evenings in the academic year.

Most ironic for us is that on the Friday morning we’d had a wonderful discussion with the IHK Halle-Dessau about, amongst other things, the importance of establishing the idea of “Design Halle” in the consciousness of both the citizens of Halle and the wider public.

First the impractical and barely usable new website then a private party packaged as an “Exhibition Opening”. Burg Giebichenstein, there are easier and cheaper ways to alienate your public. We just don’t know why you would want to.

That almost all design schools in Germany choose to hold their annual shows on the same weekend, the “Opening ” was our only opportunity to enjoy the work of the Burg students.

And we almost always discover a real gem in Halle.

But much more importantly an annual show is a chance to see, assess and understand what the students are learning, how they are approaching their tasks and what form the teaching is taking.

Guess we’ll just have to wait until next year.

And yes next time we’ll check in advance if the “Exhibition Opening” really is such.

There are no photos on (smow)flickr.

And then on Saturday it was off to Berlin and the Universität der Künste Rundgang 2010.

Name: Stephan Schulz

Born: Schwerin, 1983

Studies:
2003-2009  Industrial Design, Burg Giebichenstein, Halle
2007-2008 Erasmus studies at the Design Academy Eindhoven

Internships: 2008 Bellini Design Studio, Milan

Products:
Stellvertreter for Nils Holger Moormann, Aschau im Chiemgau
Concrete bowl series “frisch ausgeschalt” for Betoniu, Leipzig

Stephan Schulz

(smow)blog: Why Industrial Design?
Stephan Schulz: It sort of just developed. I’ve always built things and experimented with different materials, and everything somehow came together. I’ve always had this need to create things and to work with objects.

(smow)blog: Any particular influences on your development?
Stephan Schultz: As a designer you are always influenced, much of it subconscious. I think its fair to say that my generation, at least here in Germany, has been influenced by Konstantin Grcic. Although in design influences are necessarily always positive. The first time I was really aware of design was Bauhaus, especially the work from Mies van der Rohe. But I honestly couldn’t hold one person up as an influence.

(smow)blog: Why did you decide to study at Burg Giebichenstien?
Stephan Schulz: It was one of the first colleges I applied to. I passed the test, the school has a good reputation and the town itself appealed to me.

(smow)blog: You are now finished with your studies, have taken up a studio here in Design Haus Halle, do you plan to remain here in Halle?
Stephan Schulz: Initially yes. On the one hand here I have the opportunity to use the college workshops, and on the other if I was to go elsewhere I would never find a studio as cheap as here in the Design Haus. Also here I have my network of contacts which at this stage in my career makes everything much simpler. That said I’m not permanently fixed to Halle, not least because I’m not from here.

Stellvertreter by Stephan Schulz for Moormann

(smow)blog: You are still at the start of your career, but what is the highpoint thus far?
Stephan Schulz:
[laughs]
I really am at the very beginning, but the highpoint is definitely the coat rack from Moormann [Stellvertreter]. I completed my degree three months ago and last year during my studies brought a product on the market with a producer. And yeah that is the highpoint.

(smow)blog: And how did your concrete bowl end up in the Vitra Design Museum Exhibition “The Essence of Things. Design and the Art of Reduction”?
Stephan Schulz: Martin Hartung, one of the Vitra Design Museum curators saw it in another exhibition, liked it and included it. [laughs] Sometimes it really is that simple.

(smow)blog:When we think about your concrete bowl, on your clay panels or your wood and china articles. Do you like working and experimenting with different materials?
Stephan Schulz: Definitely. I couldn’t specialise on just one material and say I’m only going to work with china, or I’m only going to work with concrete. For me that is the most interesting on industrial design, that you can go in any direction and experiment as and when you want.

(smow)Blog: And in general, where do you see your future?
Stephan Schulz: I have specialised on furniture and interior products and want to develop in that direction. I don’t want to just make individual objects, I also want to create products for series production.  As a designer you have the need to show that what you create works, also in terms of producibility. That the market is currently over saturated many designers are currently going in a more artistic, experimental direction. It’s part of the job and often the first step, but my goal is to bring products to the market that people are happy to buy.

Concrete bowl by Stephan Schulz for betonui

(smow)blog: In that context, as a young designer, how do you reach producers?
Stephan Schulz:It’s difficult. I don’t really know. Obviously you go to exhibitions as the principle method of exposing your work to the public, but it is very difficult. With Nils Holger Moormann I showed him the product and he liked it. Which is obviously the perfect scenario. But such is also the exception, and the next 10 times it wont work.
It’s a long hard road. And the biggest problem is that there is no marked paths. No one can tell you how you should proceed or how you should approach a producer. It’s a long hard road.

(smow)blog: Then good luck!

More information on Stephan Schulz can be found at at studio-stephanschulz.com/

Comfy Cargo Chair by Stephan Schulz: An empty frame you can fill according to mood and situation

Foam soft pad chair by Stephan Schulz

Bone china jugs by Stephan Schulz

Tischlader by Stephan Schulz