At the risk of upsetting furniture historians, wood is probably the longest serving material in furniture design.

It is also one of the most deceptively complex and hard to work materials in furniture design.

For all bending, shaping and moulding pieces of solid wood is a process that has long fascinated and infuriated designers and architects in equal measure.

From Michael Thonet‘s ground breaking research in the 19th century, over the efforts of Alvar Aalto, Marcel Breuer or Charles Eames in the 20th and onto Christian Kuhn and Serge Lunin’s development of the dukta^* process in the 21st, the desire to shape and form wood as easily as one can bend metal or mould plastic has been a driving force in the development of popular design and architecture.

On Saturday November 17th the Gewerbemuseum Winterthur will open “Wood Loop – Auf Biegen und Brechen” a new exhibition looking at the use of wood in furniture design over the years, but for all the use of bent wood in it is multifarious forms.

The title is of course a reference to Michael Thonet’s singular maxim. Bend or Break.

In addition to an exhibition presenting a range of classic and contemporary examples of bent wood furniture, “Wood Loop – Auf Biegen und Brechen” promises an in-depth exploration of the dukta process and its development history, while for “Atelier dukta” seven architect and design studios have each developed a project specially for the exhibition.

We’ve not seen the exhibition yet and so obviously can’t make any comment on how well it achieves it goals or how deeply it explores the subject matter.

However as an idea for an exhibition we find it absolutely fascinating and certainly as subject it has the scope and depth to provide a truly rewarding experience.

And all who can make it to the the opening on Saturday afternoon are guaranteed a special treat; our old chums from the Thonet wood bending team will be on hand to present a live demonstration of Michael Thonet’s revolutionary process. And don’t be scared to ask if you can have a go. They usually say yes….

Wood Loop – Auf Biegen und Brechen runs at the Gewerbemuseum Winterthur Kirchplatz 14 CH-8400 Winterthur from November 17th 2012 until April 21st 2013.

In addition to the exhibition the museum have also organised the de rigueur fringe programme. Full details can be found at http://gewerbemuseum.ch

*The dukta process was developed by Christian Kuhn and Serge Lunin in a joint project with academic and industry partners. It involves making small incisions in the wood in order to increase flexibility….

Biegen oder Brechen. Michael Thonet the father of all wood benders.

And the process developed by Michael Thonet is still practised today. (Here at the Thonet Factory in Frankenberg (Eder))

Moulded plywood furniture by Marcel Breuer for Isokon, London (1936)

Design for Use, USA. The cover of Alexander Girard's catalogue.

“Wooden spoon for pickled vegetables by John F. Kennedy”

? ? ?

John F. Kennedy. Green Mountain Woodcrafters, Vermont.

And no relation of Teddy or Robert.

Still cheered us up.

From March 20th until April 25th 1951 Stuttgart hosted the first post-war exhibition of modern American home furnishings and appliances in Europe.

Organised by the New York Museum of Modern Art under the title “Design for Use, USA”, the exhibition featured a cross section of American domestic design.

And a Who’s Who of mid 20th century American designers: Charles Eames. George Nakashima. Ray Eames. George Nelson. Eero Saarinen. Isamu Noguchi. Etcetera.

All presented in an exhibition concept and catalogue designed by Alexander Girard.

Aside from the very appetising list of objects displayed, the exhibition was and is interesting for a number of reasons.

Firstly because it took place some two years before Willi and Erika Fehlbaum made their fateful trip to New York; from which they returned with the seeds of Vitra in their hand luggage.

Imagine. Just for a second. If someone in Stuttgart had shown a little more entrepreneurial spirit.

No Vitra.

Which is an important lesson in grabbing the opportunity when it presents itself.

Secondly, the exhibition arguably kick-started the designer furniture industry in post-war Europe.

In her article “The “Advance” of American Postwar Design in Europe: MoMA and the Design for Use, USA Exhibition 1951–1953″¹ Gay Mcdonald argues that the whole exercise was simply concerned with promoting Americana in Europe in the context of the Marshall Plan. And when you read the original 1951 MoMa press release² its hard to disagree.

Doesn’t interest us.

As far as we’re aware Americans have always been obsessed with exporting their culture to the rest of the world. Be it blue jeans, hamburgers or oppressive security concepts in the name of freedom.

And of course they famously invented their own sports rather than assimilate those from other cultures.

But we trust that most Europeans, and indeed most Americans, are intelligent enough to form their own conclusions and opinions.

And so regardless of the motives, we find the exhibition was the right thing at the right time. At that period America, untouched by the war, was the motor of world product design. And MoMa was unquestionably the institution playing the biggest role in promoting American design innovation.

In 1951 most of Europe was busy re-building and was greatly in need of quick, efficient housing and furnishing solutions.

Ergo, let MoMa bring the best America has to offer to Europe. And let us take inspiration from those bits we like.

"Upholstered chair" by George Nelson for Herman Miller from the Design for Use, USA catalogue

Gay Mcdonald quotes a source as stating that some 60,000 visitors attended the exhibition. That may not sound much; but one must remember that it was 1951. There were no budget airlines offering 20p flights to Stuttgart. And also a lot less “design industry”.

The aforementioned Vitra was still an inconsequential shop fitting company in Basel.

And so 60,00 is fantastic.

What is sadly not documented is who went and what they took away with them.

For just as every important and influential Manchester band of the late 1970s and early-to-mid 1980s can trace their origins back to 4th June 1976 and the Sex Pistols concert at the Lesser Free Trade Hall; we romantically hope that “Design for Use, USA” shaped European furniture design of the 50s and 60s.

However, without the documentation one can only conject on the long-term effect that the exhibition had on those who visited.

After Stuttgart the exhibition continued through Europe with stops in London, Paris, Zürich and the Milan Triennale.

The fact that no-one took the opportunity to organise European production licenses indicating that, maybe, it was all just too new. Too different.

However, it conceivably began a sensitising process that paved the way for Vitra to successfully launch the works of Eames, Nelson, Noguchi et al in 1957.

And indeed for Wilde + Spieth to successfully market Egon Eiermann’s chairs. Egon Eiermann began publicly working towards mass market furniture when he participated in the “Wie Wohnen ?” exhibition that took place in Stuttgart and Karlsruhe in 1949/50. Many of his designs however originated from the mid-1940s, and Eiermann was undoubtedly influenced by what he was reading from America in the specialist publications of the time.

We’re not saying he was copying. But Eiermann and Eames were certainly researching and experimenting in similar directions. Eames albeit a little quicker and more successfully.

Yet in 1951, only few industry figures would have been aware of this, and indeed in 1951 Eiermann’s SE 3 (the current SE 42),  allegedly, only sold some 153 times. And principally to architects. ³ Over the next decade however not only did the sales figure dramatically improve; but Eiermann’s chair designs – with their undeniable “Hint of Eames” – advanced to become European design classics.

But again we can’t actually prove that Design for Use, USA helped.

A RAR and and ESU Bookcase by Charles and Ray Eames as depicted in the Design for Use, USA catalogue

In addition to paving the way for a new understanding of home furnishings, “Design for Use, USA” also introduced Europe to new technological and business model initiatives; we started moulding plastics and established designer furniture producers in the style of Hermann Miller. But we did it in European way.

We, for example, have no confirmed information that Arne Jacobsen attended the exhibition; but undeniable is how passionately he embraced the use of synthetic materials appearing on the market throughout the 1950s and 60s. And how expertly he fused them with the best traditions of Danish handwork. The Egg and Swan perhaps standing as the best examples.

And so while we admittedly lack the documentation, there is more than enough circumstantial evidence to indicate that without “Design for Use, USA”  it would have taken the European furniture industry a little longer to find its feet.

And with potentially less interesting products.

What we can’t predict however is how the Kennedy dynasty would look today if they had concentrated on pickle spoon design rather than politics.

The Slinky by Richard T James: was also part of the Design for Use, USA exhibition

1. Gay McDonald “The “Advance” of American Postwar Design in Europe: MoMA and the Design for Use, USA Exhibition 1951–1953″ Design Issues: Volume 24, Number 2 Spring 2008. Pages 15-27

2. “MUSEUM’S “DESIGN FOR USE, U.S.A.” EXHIBITION SAILED FOR EUROPE JANUARY 5″ http://www.moma.org/docs/press_archives/1483/releases/MOMA_1951_0001_1951-01-04_510104-1.pdf

3. Arthur Mehlstäubler “Egon Eiermann – der deutsche Eames?” in Egon Eiermann (1904 – 1970)

Following our visits to the Bauhaus University Weimar, Fachhochschule Potsdam, Kunsthochschule Berlin-Weißensee and  Universität der Künste Berlin the final stage of our 2011 summer tour was Burg Giebichenstein Halle.

It may just be us, but we are firmly of the belief that Burg Giebichenstein students complete more, and more varied, seminars than students at any of the other schools we visit.

At least based on the presentations at their end of year show.

Be it designing record sleeves, creating items based on the characteristics of fruits/vegetables or designing the lamp that Isamu Noguchi would design if he were still active today – every room of every building seems to house at least one exhibition.

If not two.

Among those that most caught our attention were “eine Bank für zwei” and “Bodenreform”

Eine Bank für zwei set students the challenge of designing a bench for two prominent “creatives” – be they designers, architects, musicians, actors, whatever. The aim being that the benches should represent both the character’s of the users and their relationship to one another in the form language and material choice.

A lovely little project that allowed the students the chance to explore how they understand the work and character of those people they have as references, which should then help them improve their own  techniques.

And allowed us the chance to enjoy the results.

Aside from delightful solutions for Gerrit Rietveld and Charles Eames or Konstantin Grcic and Dieter Rams the highlight for us was Elias Betka’s bench for Charles and Ray Eames: a double seater RAR. An idea that not only blew our socks off, but much more got us thinking about in how far Vitra can – or perhaps better put would – ever consider further developing the work of the Ray and Charles Eames.

Elias Betka's bench for Charles and Ray Eames, Burg Giebichenstein Halle 2011

Although Bodenreform was officially concerned with floors, floor-coverings and exploring the role of such in architecture and design, the project from the seminar that most appealed to us didn’t really seem to fit the remit.

As far as we could see.

A fact which of course didn’t detract from the genius of Hobo by Julian Heckel.

Reminiscent of some Victorian adaption of a painters easel for wandering poets, Hobo is, for us, a small table that folds flat to be carried as a backpack, and when opened can be lent against a tree or other free standing structure.

And used to help you ease your tortured soul by comparing your rejected love to a chaffinch struggling to open seed. Or similar

There is also a small seat. That didn’t appeal to us so much.

The table however is a delightful piece of work.

Elsewhere we really liked Ausgewachsen by Annika Marie Buchberger – with one small proviso.
Created for her masters thesis Ausgewachsen is a series of kids furniture where different elements can be placed on a universal base.

Nice idea, well executed.

Except as far as we could see the base comes in three sizes – and the legs aren’t exchangeable. Which means if you want to vary the heights of the objects, you have to have all three bases.

For us the better trick would be to have interchangeable legs.

Our view, and not one that distracted from our enjoyment of the project.

Another child centred project – and there were a lot of them on show, not sure if Halle is a particularly child heavy town or if Burg Giebischenstein students are just particularly fertile – was Igi by Constanze Hosp.

Igi by Constanze Hosp, Burg Giebichenstein Halle 2011

Parents wanting to travel with a young baby on a bike are limited to a trailer. Or the somewhat risky business of a conventional, body hung, child carrier.

Igi is in essence a hard case child carrier that allows you to cycle with your child securely strapped to your chest.

And not just cycling. Also for travelling in over crowded public transport Igi gives new parents that little bit more security an confidence.

Despite the many highlights at the Burg Giebichenstein exhibition one irritation did cloud our day – where was the product design Graduate show?

OK we’d already seen it at DMY, but had still arrived in Halle looking forward to getting a second chance, and maybe a little more time, to explore some of the products.

But high and wide there was neither sign of the Graduate show nor any one who could direct us to where it was.

Sadly.

However despite that fact the 2011 Burg Giebischetsein exhibition was a more than fitting end to our summer tour – and set us us up nicely for our Autumn marathon.

As is traditional we’ve created  a small facebook gallery at facebook.com/smowcom

And can anyone help us identity this ⇓ ?

An unidentified chair - a regular sight on the Burg Giebichenstein Halle campus

Eero Saarinen, 1910 - 1961

August 20th marks the 100th anniversary of the birth of Finnish architect/designer Eero Saarinen.

Eero Saarinen had – in all probability – very little career choice other than that of architect: Not only was his father Eliel Saarinen one of Finland’s most celebrated architects, but two of his uncles followed the same profession. In addition his mother, Loja Gesellius Saarinen, was a sculptress and textile designer.

Eero Saarinen spent his first 13 years in his birthplace, Kirkkonummi on the outskirts of Helsinki. In 1923, following the positive feedback to Eliel Saarinen’s entry for the Chicago Tribune Tower competition, the family emigrated to the USA – initially to Evanston, Illinois before in 1925 Eliel Saarinen was commissioned by G.G. Booth to build the new Cranbrook Academy of Art in Bloomfield Hills, Michigan.

The Cranbrook Academy Campus, designed by Eliel Saarinen

A commission that was later to have a large influence on Eero’s career.

In 1930 Eero travelled to Paris where he spent a year studying sculpture at L’Académie de la Grande Chaumière before enrolling at Yale School of Architecture from where he graduated in 1935. After a year travelling Europe and North Africa, Eero Saarinen returned to America where he began working in his fathers office at Cranbrook; and where he met Charles Eames for the first time. The young Eames both studying at the college and being employed in Eliel Saarinen’s office.

The meeting was to be the start of a lifelong professional and personal relationship; Saarinen even naming the first son from his second marriage “Eames”.

Charles Eames and Eero Saarinen at Cranbrook Academy (photo © Cranbrook Archives)

The professional careers of Charles Eames and Eero Saarinen were equally close and both effectively started with joint projects; the 1940 “Organic Design in Home Furnishings” competition and the 1945-49 “Case Study House #9″ for Arts & Architecture Magazine.

In response to an increasing boredom in the USA with the minimalist steel/leather/glass objects of the Bauhaus School, the Museum of Modern Art in New York organised in 1940 a competition entitled: “Organic Design in Home Furnishings” to find the best new American furniture design concepts. The competition rules called for designs that were functional, affordable and based on new, modern production processes.

Eames and Saarinen submitted an entry comprising eight designs based largely on their early experiments with moulded synthetic furniture and that included, amongst others, the Conversation Chair or as it is more popularly known today, the Organic Chair.

The jury, including such luminaries as Marcel Breuer and Alvar Aalto, awarded Charles Eames and Eero Saarinen first prize.

The Organic Chair by Charles Eames and Eero Saarinen through Vitra

While the award brought the pair recognition, the mass production of the Eames-Saarinen designs was still impractical in the early 1940s. The technology simply not being rife enough to either produce the chairs nor the machines required to produce the chairs. The approach used, however, was to be important in both designers later furniture design work. Charles Eames employing it for his fibreglass/plastic chair series; while Saarinen used it in his works for Knoll International, most notably the Womb Chair and the Tulip Chair – arguably his two most important designs.

Eames and Saarinen’s architectural careers also involved an early joint project. In January 1945 the US Magazine Arts & Architecture publisher John Entenza wrote an editorial calling for greater use of mass production technology in house building. In the following years a series of leading architects were commissioned to design and build their vision of the industrial mass produced house of the future.

In 1949 “Case Study House #9″ by Charles Eames and Eero Saarinen was completed. Showing the typical quadratic nature of most of Eames and Saarinen’s early work,”Case Study House #9″ is filled with fixtures, features and furniture that illustrate both mens belief in the unity between architecture and design and the importance of the relation between a building, its contents and its user.

Next door to “Case Study House #9″ is “Case Study House #8″ the so-called “Eames House”: officially accredited to Charles and Ray Eames, but where one also detects the influence of Eero Saarinen.

For both Saarinen and Eames, their participation in such a prestigious project was to bring the two, still relatively young, architects a greater public and greater authority.

In 1946 another of Eero Saarinen’s “Cranbrook Connections” lead to the start of his collaboration with Knoll International.

Tulip Chair by Eero Saarinen for Knoll International

At Cranbrook Saarinen had met Florence Schust. In 1944 Florence married the young German furniture producer Hans G. Knoll and became the Knoll International “in-house interior designer”; and it was Florence Knoll who approached Saarinen to ask him to develop his moulded chair concept for the company.

In total Saarinen developed over a dozen products for Knoll International, many of which have been in continuous production since their launch.

Despite the importance of his work, for Eero Saarinen furniture design was a side project to his architecture career; a career which saw him build, amongst other buildings, the Jefferson National Expansion Memorial in St Louis, the TWA Terminal at JFK Airport New York and Dulles International Airport, Washington. That said it was never a lesser value work for Saarinen, who was fascinated by the concept that each part of a work could reflect and compliment the others, that outside and inside could be united as one entity.  In that sense Saarinen’s furniture designs can be seen as a direct extension of his architectural work. And his architectural work as an extension of his furniture design.

On September 1st 1961 Eero Saarinen died following an operation on a brain tumour.

Despite dying young, in his 25 year career Eero Saarinen created a canon of work – both architectural and furniture designs – that not only helped redefine architectural theory and shaped future thinking, but also laid the foundations for much of the modern designer furniture industry.

Always design a thing by considering it in its next larger context – a chair in a room, a room in a house, a house in an environment, an environment in a city plan.

Eero Saarinen, 1910- 1961

Organic Chair by Charles Eames and Eero Saarinen through Vitra

It may not be the most universally recognised example of either Charles Eames‘ nor Eero Saarinen‘s canon however their 1940 “Conversation Chair” is without doubt one of the more important examples of 20th century furniture design.

Designed for the New York Museum of Modern Art’s “Organic Design in Home Furnishings” competition the Conversation Chair was a concept piece and Eames’ and Saarinen’s first attempt at moulding synthetics.

At that time however the technology lagged somewhat behind the designers imagination and it was to be almost a decade before either Charles Eames or Eero Saarinen could transform the lessons learnt into commercial products: Charles Eames with his fibreglass/plastic armchairs for Herman Miller and Eero Saarinen with his Tulip Chair for Knoll.

Tulip chair by Eero Saarinen for Knoll

For the sake of completeness we should also mention George Nelson‘s Swag Leg Chair, a design which relies heavily  – albeit with permission – on both the technology and narrative of the Conversation Chair.

Currently marketed by Vitra as the “Organic Chair” Eames and Saarinen’s pioneer work remains a wonderfully confident yet unassuming chair that can be used in all domestic, commercial and retail settings.

And you can win one.

The designer furniture retailer network Creative Inneneinrichter – of which (smow) is a member – is offering an Organic Chair as first prize in their “My way to the VitraHaus” competition.

Second prize is a Vegetal by Ronan and Erwan Bouroullec and third prize a Panton Chair.

The rules are very simple: Document your journey to the VitraHaus; the most imaginative, creative and original entry wins.

And so whether your planning skydiving onto the VitraHaus, negotiating the Alps Hannibal-esque with elephants or rafting down the Rhein simply register at the Creative Inneneinrichter website and upload your photos/videos/certificates.

Full details can be found at “Mein weg ins VitraHaus”

Although Jasper Morrison built a bus stop next to the VitraHaus - travelling by bus probably won't win you the Organic Chair.

Zeeland, Michigan, 1969

The EA 107 from the Charles and Ray Eames aluminium chair range through Vitra

Ten years ago Charles and Ray Eames revolutionised the world of chair design with their “aluminium Chair” range. And now they hope to do it again.

In one of the most eagerly anticipated announcements of the year, Charles and Ray Eames today unveiled their new product range: soft Pad

“soft Pad is our most advanced technology in a magical and revolutionary device” declared a proud Charles Eames as he unveiled the new range to the specially invited journalists in the Yerba Buena Center in Zeeland, Michigan

With the soft Pad  Charles and Ray Eames have retained the familiar aluminium Chair frames, but added a range of new features: principally individually upholstered, 2 and 3/4 inch cushions. The cushions, so Eames, contrast with the sleek aluminium profile to create a softer, more opulent chair that still maintains the transparency and clarity of the original aluminium Chair.

The EA 207 from Charles and Ray Eames new soft Pad range through Vitra

In addition Eames hope to expand on the success of the some 140,000 “apps” available for the aluminium Chairs and which are available over the so called aluminium Chair appsStore; including the popular foot stool and facebookapps

Critics have however highlighted the lack of USB ports and the fact that the new soft Pad doesn’t support flash as drawbacks. Charles and Ray Eames however remained upbeat and predict that the new soft Pad will find great resonance amongst consumers, will eventually become a design classic produced in Europe by Vitra and be available for purchase on the Internet.

It all started with “boutique” hotels. which, if one is brutally honest, were simply small hotels. Or guest houses as we used to call them. Back in the day.

Then slowly, ever so slowly the term “design hotels” emerged and today – whether used to describe a hotel where each room has it’s own “identity” or an establishment furnished with designer furniture – design hotels represent an important part of the accommodation repertoire, and tourist marketing concept, of all major cities.
As with so much in life, the concept is however far from new.

Room 606 at the SAS Royal in Copenhagen. Designed by Arne Jacobsen

One of the first design hotels was the SAS Royal in Copenhagen: and its status as design hotel owes less to marketing and much more to the character of the architect – Arne Jacobsen. The old master of Danish design was happiest when in complete control of a project, and often insisted on creating the interiors and furnishings for his buildings. As with the SAS Royal. Jacobsen’s famous Egg and Swan chairs – a ubiquitous feature of many design hotels today – were created specially for the lobby of the SAS Royal, and even the door handles are true design classics.

At the time of its completion in 1960 the hotel was the largest building in Scandinavia and set new architectural and aesthetic standards. And almost 50 years later the hotel retains both its charm, importance and completeness as the perfect match of building and contents.

Few modern “design hotels” come close to matching Jacobsen’s masterpiece, simply because the idea evolves from the wrong direction and with the wrong intention. Or perhaps more succinctly; they simply exist to make money.

Berge in Aschau im Chiemgau, Germany

One modern establishment that does compare to Jacobsen’s vision is Berge; a harbourage for weary souls in southern Germany that was created very much in the character of its designer Nils Holger Moormann.

Essentially a collection of self catering flats at the foot of the alps, Berge embodies the Moormann philosophy of simple luxury and of finding your own pleasure in items and situations rather than having it force feed by an omnipotent media. And of going your own way.

In contrast to most hotels, Moormann boasts loudly that Berge has no WiFi, that the beds are narrow and that the mobile telephone reception is poor. Technically disadvantages in the modern mass tourist world, in Nils Holger Moormann’s world they become the raison d’etre to check- in.

The room Hohe Kammer in Berge with its mix of Moormann and Vitra DSR

Whereas in Copenhagen all rooms are identical and are furnished with the works of Arne Jacobsen, in Aschau im Chiemgau each room has it’s own style and identity. In addition the furniture reflects a more eclectic vision, combining a mix of Moorman products and other design classics such as the Vitra DSR by Charles and Ray Eames. A brave decision from a company that makes their money selling furniture, and certainly not something that Arne Jacobsen would have approved of.

And because the project is based on principle rather than naked profit, the balance between building and contents is retained just as perfectly as at the SAS Royal.

The design hotel is here to stay and will continue to excite and amuse the millions of budget airline city-breakers who fill their rooms every weekend. Whereas the work of Arne Jacobsen has become synonymous with the concept, Berge is likely to remain a solitary example of its type. Something which will no doubt please Nils Holger Moormann just as much as it would have Arne Jacobsen.

In the world of designer furniture there are few designers for who “home” and “family” played such a central role as Charles and Ray Eames.

From the design of their “Eames House” as a combined living and working space for a young family and on through their many works for and with children, Charles and Ray Eames always presented themselves as “domestic” rather than “industrial” designers.

And so it is little wonder that so many of their designs can be so easily recommended as Christmas gifts.

Eames DSR from Vitra

Eames DSR

The Dining Height Side Chair Rod Base (DSR) is part of Charles and Ray Eames’ 1950s fibreglass collection. Although produced today by Vitra in polypropylenethe it is the same basic design that infatuated post war America. Whether as a set around a table or an individual piece for bedroom/bathroom/shed, the Vitra DSR by Charles and Ray Eames makes a welcome addition to any home or office.

Hang it All by Charles and Ray Eames through Vitra

Hang it All

Guaranteed to delight young and old alike; with its multi-coloured balls and irregular form Charles and Ray Eames’ Hang it All is a true classic of 1950s design and has served as an inspiration to scores of designers since.

Eams Elephant by Charles and Ray Eames for Vitra

Eames Elephant

Perhaps the definitive expression of Charles and Ray Eames child orientated work is the Eames Elephant.  Originally created in plywood, the Elephant never entered mass production during the Eames’ lifetime; the Vitra Design Museum reedition in plastic is therefore the first time the object has been available for all. Stable, secure and fun the Eames Elephant is the perfect gift for all children.

Lounge Chair and Ottoman

Those looking for that little something extra – or a gift that spreads itself out over several years – need look no further than the Eames Lounge Chair. The very epitome of Charles and Ray Eames design work, and one of the best known post-war American designs, the Eames Lounge Chair is designed to absorb and pamper the sitter. And together with the Ottoman the experience is even better.

Eames Lounge Chair from vitra

Today is World Usability Day.

We do admit to be being more than a touch sceptical about the motivations that lead people to establish events such as “Global Avocado Day”, “Bulgarian Aramaic Appreciation Week”, or indeed “World Usability Day”, but we can’t help agreeing with the preamble to their charter.
(Without endorsing the charter, per se):

Human error is a misnomer.  Technology today is too hard to use. A cell phone should be as easy-to-use as a doorknob. In order to humanize a world that uses technology as an infrastructure for education, healthcare, government, communication, entertainment, work, and other areas, we must agree to develop technologies in a way that serves people first.

In terms of furniture design we couldn’t agree more and, indeed, in these pages have often argued for clear, defined and properly thought through design.

The work of Charles and Ray Eames, Jasper Morrison, Philippe Starck or Ronan and Erwan Bouroullec wonderfully reflects what can be achieved with the minimum of fuss and unnecessary cleverness.
And so for our contribution to World Usability Day 2009 here are the 10 Design Principles from the doyen of German Industrial Design Dieter Rams:

* Good design is innovative
* Good design makes a product useful
* Good design is aesthetic
* Good design helps us to understand a product
* Good design is unobtrusive
* Good design is honest
* Good design is durable
* Good design is consequent to the last detail
* Good design is concerned with the environment
* Good design is as little design as possible

It’s that simple.

Happy World Usability Day!

On 03.11.1989 the Vitra Design Museum opened.

On 09.11.1989 the Berlin Wall “fell”.

Coincidence?

Almost certainly.
But while the Vitra Design Museum may not be able to claim responsibility for the end of the DDR, it can look back on a remarkable 20 year history and proudly profess to have helped popularise designer furniture and furniture designers.

Initially established as a location where Vitra chairman Rolf Fehlbaum could display his extensive collection of contemporary designer furniture artifacts, the role of the museum quickly expanded.

Vitra Design Museum (with advertising for the current exhibition: ANTIBODIES The Works of Fernando & Humberto Campana 1989 - 2009)

An initial exhibition on the work of Ron Arad laid the foundations for further shows either looking at the work of individual designers such as Isamu Noguchi, Frank Lloyd Wright or Joe Colombo or more general, themed, shows exploring subjects such as childrens furniture or aeronautical design. The increasing popularity of the Vitra Design Museum exhibitions is reflected in the visitor numbers; where 23,000 visitors were recorded in 1989, some 86,000 came in 2008.

And not just visitors to Weil am Rhein have profited; a range of travelling exhibitions have enthralled over 350,000 visitors world-wide.

Over the two decades the Vitra Design Museum site has also evolved from the original Frank Gehry building to become a veritable Campus, including production halls and conference facilities. And just as the furniture originates from some of the greatest designers so have the likes of Jasper Morrison, Jean Prouvé and Tadao Ando contributed to the architecture.

The Eames Elephant enclosure at the Vitra Design Museum

An important source of funding for the Vitra Design Museum is it’s range of re-edition and miniature products. In addition to the 1:6 miniatures of classic designer chairs, the Vitra Design Museum collection includes articles varying from Alexander Girard’s wooden dolls over Eames Elephants and on to “new” products such as the Classic Trays or the George Nelson ceramic clocks.

On Sunday November the 8th Vitra invite all to an Open Day in Weil am Rhein to celebrate the Design Museum‘s 20th birthday. In addition to guided tours through the exhibition, collection and buildings you will have the opportunity to decorate your own Eames Elephant.

We can thoroughly recommend the trip!