As you all know for us design must not only have a function: everything must have a purpose and reason.

And so it follows that cutting down a perfectly healthy tree and letting it stand in the corner of our flat for a couple of weeks before throwing it away, just isn’t an option for us.

Which is why the (smow) Christmas Tree is made from Algue by Ronan and Erwan Bouroullec.

Although intended as a room divider, Algue is versatile enough to perform a range of functions – including that of a Christmas Tree.

And this year we are offering our Vitra Algue Christmas Tree as a bribe, sorry, prize.

On 12th night we’ll choose one of our facebook “fans” at random and send them the tree*

To be in with a chance of winning, simply “like” the smow facebook page – and then wait.

More details and photos can be found at facebook.com/smowcom

The (smow) Algue Christmas Tree - yours to have.

* Just to clarify the winner won’t receive the actual (smow) Christmas Tree – as organising the delivery would probably cause our logistics manager to have a heart attack. The winner will in fact receive 25 red and 25 green Vitra Algue – enough to build your Christmas Tree, or indeed whatever you so require.

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Erwan Bouroullec @ Orgatec 2010

On the opening day of Orgatec we managed to grab a quick 10 minutes in an Alcove Sofa with Erwan Bouroullec.

Aside from not showing us what was in his sketch book, Erwan told us about one of the brother’s forthcoming projects.

A sail boat.

Yeah, yeah we thought, the cheeky Breton is having a bit of fun with the naive (smow)blog crew.

A sail boat!

However, and despite our doubts, we’re professionals and so we sought independent verification.

The problem with the secretive world of designers, however, is that getting independent verification is all but impossible.

So we did the next best thing and asked Ronan Bouroullec.

And he confirmed that yes there is a boat project.

It’s all at a very early stage but the brothers are keen, the client is keen … and so they plan to start work on it soon.

In addition to the challenge of working on such a project, both hope to get some new insights and fresh ideas that can be applied to other areas of their work. And having grown up near the coast it’s a project with which they can both identify.

Given that a lot of the brother’s work is characterised by the amount space they leave within the design, or better put, use in their design, – we’re thinking here of objects such as Algue, Vegetal or Panier – we can’t say that we would happily take to sea in a boat designed by Ronan and Erwan Bouroullec.

But we’re prepared to reserve our judgement until the work is finished.

And you can read our full Orgatec interview with Erwan Bouroullec very shortly.

La Maison Flottante. A floating house Ronan and Erwan Bouroullec designed in 2006 for resident artists at the CNEAI - Centre National de l'estampe et de l'art imprimé - in Chatou, France

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Danish Design Prize Winner: VELUX lystunnel by Ross Lovegrove

Timely to the end of our rantings against the current state of Danish design – the Danish Design Centre in Copenhagen recently hosted the Danish Design Prize awards 2010/11

In his introduction the Danish Design Centre CEO Christian Scherfig asks ” … what is good design in the 21st century ?”

The DDCs answer is 11 prize winners from 17 nominations in 4 categories.

Whereas most would have also been good design in the 20th century, and a couple even in the 19th, all of the featured designs certainly show a lot more innovation, creativity and understanding of what “design” is meant to be than most of the tat we saw at CODE.

But much more importantly, the Danish Design Prize amplifies an unmistakable truth.

A truth most of the exhibitors at CODE 10 need to learn.

Traditionally furniture design is a branch of product design which is branch of industrial design.

Furniture design, however, isn’t what it once was: and in the separation of the categories “industrial design” and “lifestyle” the Danish Design Prize indicates that it understands that.

Because by “lifestyle” they mean furniture.

Furniture design per se has very little left to offer. Tables, chairs, beds can’t be re-invented, they can only be improved.

Back in the day furniture design was an active branch of product and industrial design because of the seemingly endless stream of new materials that were being invented, and the need to find ways to incorporate these new materials in furniture production. Today’s “new” materials are largely variations on existing materials and one of the main challenges now is to use these materials to improve the furniture we have. Be it economically, ergonomically or ecologically.

The days of furniture design as pure product design are numbered.

NAP by Kasper Salto for Fritz Hansen being a wonderful example. The concept of the moulded synthetic shell chair effectively began with Eero Saarinen and Charles Eames in the 1940s.

That was the product/industrial design phase.

NAP takes the concept and evolves it to include the fact that sitting is an active process and the shell needs to maintain its comfort in numerous sitting positions.

In designing NAP Kasper Salto has not only created a delightful, ergonomic, affordable chair but wonderfully demonstrated his understanding of products and the modern furniture design process.

Danish Design Prize Clouds by Ronan and Erwan Bouroullec for Kvadrat

Clouds by Ronan and Erwan Bouroullec for Kvadrat, another prize winner in the category “lifestyle” ,is more analogous with graphic design than product design. With Algue for Vitra the Bouroullec’s created a new form of room division, with Clouds they play with our perceptions of textiles and their uses.

Clouds is a wonderful and interesting piece of concept design; but it isn’t product design or industrial design.

And as such is a beautiful example of the reality many Danish furniture companies have yet to grasp.

What the Danish Design Prize 2010/11 also shows, however, is that “real” Industrial Design in Denmark is every bit as healthy as graphic, interactive and multimedia design; something the exhibition “Denmark by Design” in the DDC cellar also wonderfully demonstrates.

An exhibition of the Danish Design Prize 2010/11 winners is on display at the Danish Design Centre, HC Andersens Boulevard 27, Copenhagen until April 25th

Danish Design Prize NAP by Kasper Salto for Fritz Hansen

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Ronan and Erwan Bouroullec are without doubt two of the brightest stars in the international designer furniture heaven. And two of the most omnipotent.

Something which however may slowly change.

Ronan Bouroullec in the VitaHaus, Weil am Rhein

Following their initial breakthrough with Cuisine désintégrée ( Disintegrated kitchen ), an concept piece by Ronan Bouroullec that was taken on by Italian producer Capellini in 1998, Ronan and Erwan Bouroullec went on to develop projects with companies as varied as Authentics, Ligne Roset or Habitat – in addition to realising over 20 further products for Capellini. In 2002 the office system Joyn was released onto the market: Ronan and Erwan Bouroullec’s first project with Vitra and the start of one of their most commercially succesful cooperations. Together with Vitra Ronan and Erwan Bouroullec have created products such as the Algue room divider, the Alcove Sofa range and the Vegetal Chair.

Ronan and Erwan Bouroullec’s cooperation with Magis began with Case (Valise) in 2003, since when the brothers have gone on to produce Striped Chair and the Steelwood range. Their latest products for Magis  -the tables Baguette and Central – were launched at Saloni Milano 2010.

Algue by Ronan and Erwan Bouroullec at Vitra HQ

In addition to furniture per se Ronan and Erwan Bouroullec have also produced innumerate porcelain and textile products as well as realising interior design and architecture projects.  Whereas many early products bear the name of just one of the brothers, for the past ten years all products have been credited to both Ronan and Erwan Bouroullec.

In a quick interview at Saloni Milano 2010 (smow) spoke to Ronan Bouroullec about the cooperation with Magis, the role of the Internet in the designer furniture industry and the best and worst aspects of the Milan design week.

“We have to do less, and better” – Ronan Bouroullec, Saloni Milano 2010

In the course of the conversation Ronan Bouroullec reflects self-critically on the brother’s canon to date, indicates that in the future they intend to concentrate on fewer, but more time-intensive, higher quality, projects, an also questions the sense of investing so much energy, money and intelligence in such large furniture shows.

And how Magis are an organic farm!

Honest!

Fuller details on Ronan and Erwan Bouroullecs work can be found at bouroullec.com

Ronan Bouroullec ”We have to do less, and better”

Both Ronan and Erwan Bouroullec as well as Alexander Girard had to wait a long time for their opening match in this years (smow) designer furniture world cup – but for the sell out crowd in Pretoria the wait was more than worth it.

Although born in New York, Alexander Girard qualifies for Mexico on account of the Wooden Doll side of his family tree. Opening up with an impressive selection of traditional southern Portuguese patterns Girard was initially confused as the Bouroullec brothers appeared to use the patterns as the basis for a lamp; this turned out to be a clever ruse to allow the brothers to introduce their Algue room divider and so take a 1:0 lead.

Alexander Girard responded with an ever more aggressive range of textile formations which appeared to have Ronan and Erwan Bouroullec beaten; until they produced a counter attack in the form of a Vegetal chair for Vitra.

And that was that.

2:0 for Ronan and Erwan Bourollec against Alexander Girard.

The Group D table and all Group D results can be found here.

Despite the support of his Wooden Doll relatives, Alexander Girard lost his opening match against Ronan and Erwan Bouroullec

As many of you will be aware, the construction of the VitraHaus was not without it’s controversy.

For all the decision to paint the outer walls black.

We at (smow)blog can however exclusively reveal that other options were considered.

And below we publish exclusive pictures of the rejected colour schemes.

VitraHaus in Hella Jongerius Polder sofa look

Berlin based, Dutch designer Hella Jongerius has created the Vitra Colour Laboratory to help encourage VitraHaus visitors to be more imaginative and creative in their use of colour. One version of the VitraHaus colour scheme played with Jongerius’ Polder Sofa colour scheme.

VitraHaus with an Algue by Ronan and Erwan Bouroullec finish

Breton brothers Ronan and Erwan Bouroullec‘s classic Algue room divider was also considered as a possible colour scheme for the outer walls of the VitraHaus. Was however rejected owing to the number of Bouroullec items that are on display inside the VitraHaus.

VitraHaus a la Kast by Maarten van Severen

Belgian designer Maarten van Severen is one of the real “in house” favourites at Vitra, and a man whose time came far too soon. As a tribute to one of the true legends of Belgian design a colour scheme was created that paid homage to Maarten van Severen’s Kast shelving unit.

VitraHaus in Verner Panton Panton Chair classic red

The cooperation between Vitra and Danish designer Verner Panton opened a whole chapter in the Vitra story; the creation of specially commissioned pieces in collaboration between Vitra and the designer. In honour of the life and work of Verner Panton the possibility of painting the outer walls of the VitraHaus in Panton Chair classic red was considered.

VitraHaus from Vitra as a homage to Charles and Ray Eames

No two people are more intimately associated with the Vitra story than Charles and Ray Eames. And so it was no surprise that one of Ray Eames’ classic textile designs – namely small dot pattern – should be considered for use on the outer walls of the VitraHaus.

In the end, black won through as the outer colour of the VitraHaus…. but it could all have been so different…

VitraHaus as it could have been: In Millerstripe Multicolored Bright by Alexander Girard finish

We don’t know how it is with you, but with us there is always- but always – someone who does things effortlessly more successfully than us.

Whether its passing exams or negotiating an escalator: they turn up everywhere.
And so it came us no real surprise when checking our (smow)flickr account we discovered that the most viewed picture is not one of the many excellent photographic essays lovingly formed by the (smow)blog collective, but a quick snapshot taken by the (smow)boss while on a visit to Vitra HQ in Basel.

Algue by Ronan and Erwan Bouroullec for Vitra - Start small, think big

Not that we mind that much. For aside from its obvious artistic merits, what we particularly admire in the composition is the way it wonderfully depicts just what one can achieve with Algue by Ronan and Erwan Bouroullec.

Inspired by nature Algue allows you to create room divisions without blocking out light or otherwise interrupting the flow of the room: You simply define the space.

In many respects Algue represents one of the central facets of Ronan and Erwan Bouroullec’s design philosophy; letting the user define what an object is and how to use it. They simply provide the raw materials.

Created from injection moulded plastic the individual Algue elements are held together by small pins. How you arrange them and how you form them is up to you.

Since its introduction by Vitra in 2004 Algue has been among the most popular smow products; a fact that makes it all the more distressing that since the start of 2010 Vitra no longer supply Algues in boxes of 50, but only in boxes of 6.

For Ronan and Erwan Bouroullec the point of the Algue concept is that the constant repetition of the same, small, form, builds up to create independent structures and forms.

And for that one needs at least 50 Algues. If not more.

Fortunately the (smow)warehouse is currently well stocked with 50er boxes, and so those already planning a spring re-design will be able to achieve their goal.

And hopefully by late summer Vitra will have realised the obvious error of their ways and will have re-introduced the Algue x 50.

Algue by Ronan and Erwan Bouroullec for Vitra - currently the most popular image at (smow)flickr

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“

Nice chair…and for free

As a general rule we don’t pay any attention to our (smow)boss; however, as the news fluttered in that Vitra are giving away 20 Vegetal chairs from Ronan and Erwan Bouroullec even we were forced to listen.

The Vegetal chair is the culmination of four years development and follows in the tradition of their Algue room divider by combining synthetic materials with natural forms to create a functional, attractive addition to any home. Weather resistant and specially treated to resist UV light Vegetal can be used both indoors and outdoors and stacked in groups of three.

For a chance to win a Vegetal fill out the form here: and for those who can’t wait, the Vegetal chair from Vitra is available immediately from smow

Vegetal by Ronan and Erwan Bouroullec for Vitra

Ronan and Erwan Bouroullec

At smow we have a particular soft spot for Ronan and Erwan Bouroullec and so it is especially pleasing that we can recommend an exhibition of their work currently on display at Grand Hornu in the Belgian region of Hainaut, close to the border with France.

Grand Hornu is 19th century mining complex which has been creatively restored and today serves as a centre for culture, tourism and technology  – and so it is particularly appropriate that it is playing host to “Etapes” and exhibition devoted to the work of les frères Bouroullec.

The press release speaks from the suggestive title of the show “Etapes” -”Stages” – one the hand hand implying the “Stages”of design development from idea to product; but also in the theatrical sense – the show being the first occasion on which Ronan and Erwan Bouroullec have publicly displayed their drawings.

Slow Chair by Ronan and Erwan Bouroullec for Vitra

But what interests us is the work itself and that Ronan and Erwan Bouroullec are one of the most creative and imaginative designer duos working in Europe today. Their work is undeniably “modern” albeit without the understatement of Jasper Morrison or the irreverence of Phillipe Stark, and more the ambition of Le Corbusier and the pragmatism of the Ray and Charles Eames.

Most closely associated with Vitra for whom they have produced some of their most important work, including the Slow Chair or Worknest,  Ronan and Erwan Bouroullec have also created projects for Kvadrat, Magis and  Kartell – among others.

Not that the brothers are resting on their laurels. Both their new chair for Vitra “Vegetal“, which follows the tradition of their Algue room divider by combing synthetic materials with natural forms, and their innovative tiling concept “Clouds” for Kvadrat look set to move the brothers a further rung up the “star designer” ladder.

“Etapes” is a wonderful opportunity to get to know the brothers and their work a little better, in a relaxed and unhurried environment away from the bright lights of the big cities. It maybe your last chance!

Vegetal Ronan and Erwan Bouroullec for Vitra - A small video (click image to start)