There is nothing cheaper and less original in the world of journalism than a look back over the highlights of a year/sports event/concert series/etc.

Except possibly “Ten tips for the perfect curry/haircut/crease”

However such a review offers the uninspired many advantages.

In addition to the chance to fill column space without having to think or research, there is also no risk that the German President will phone you to complain.

Unless of course one of your highlights was the time the German President tried to borrow five euros from you.

Which reminds us, did we ever tell you about the time…..

Despite the stigma, we’ve decided to look back on some of our highlights of 2011. And hopefully explain in a little more detail why they were highlights.

Let us know what you think and if you agree.

Playing in the park with a Vitra Eames DSR was fun.... but was it one of the (smow) blog highlights of 2011?

The second semi-final of the 2010 (smow) designer furniture World Cup was for many design critics the most interesting match of the competition Charles and Ray Eames against Egon Eiermann.

Not only because of the international stature of the two design teams; nor because of the important role that both played in the development of industrial and furniture design in their home nations. The critical interest was much more if – and when yes to what extent – Egon Eiermann’s approach would mirror that of Charles and Ray Eames.

And the opening exchange was to provide for ample controversy.

Charles and Ray Eames opened with their standard DCW plywood chair: a move which provoked an almost instantaneous  response from Egon Eiermann in the form of an SE 42. Referee  Arthur Mehlstäubler rejecting appeals for a penalty on the basis that the the formal vocabulary available for designing such a plywood chair is limited: so ball to hand and as such no penalty. A decision that was not universally accepted amongst the capacity crowd in Durban.

Undeterred Charles and Ray Eames produced  quick fire DSR and DSW sidechairs before taking a deserved 1:0 lead with one of their trademark “Eames Elephants“.

The Eames Elephant however seemed only to spur Egon Eiermann to increase his efforts and, after a little experimentation, Eiermann was able to draw level with his Rattan Chair. Shortly afterwards he moved into a 2:1 lead with his deceptively robust Eiermann deskframe.

And despite some intensive aluminium chair work from Charles and Ray Eames, Egon Eiermann held on for a  2:1 victory.

(smow)2010 Overview

To close the group phases of the 2010 (smow) designer furniture world cup one of the most anticipated contests: Charles and Ray Eames against Ronan and Erwan Bouroullec.

With everything to play for the Bouroullec brothers opened with an adventurous Slow Chair for Vitra before producing a  wonderful Alcove Sofa.

Neither attempt was quite good enough to break through a solid Eames defence; although were good enough to keep Charles and Ray Eames on the back foot and so prevent them making any meaningful first half advances.

Ronan and Erwan Bouroullec started the second half in much the same fashion as the first; a Steelwood chair and shelving combination for Magis posing a tough challenge for Charles and Ray Eames.

The pair responded to the challenge however producing a quickfire DSR, DAR, RAR triple to deflect the Bouroullec’s advances.

With the match heading for an apparent draw Charles and Ray Eames produced a sensuous La Chaise to take a hard fought victory and qualify for the semi-finals.

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

There is little doubt as to who the most popular furniture producers with the exhibitors here in Köln are…. Vitra and Kartell.

Two producers whom the Messe Köln sadly can’t attract to the show in their own right.
And that despite the fact that all the snack bars here in Köln Messe use Maarten van Severen‘s genial .03

On the stands here however we’ve seen, for example, Panton Chairs being used to augment otherwise tasteless bedroom suites and the classic Vitra DSR by Charles and Ray Eames standing at more than one table. Across the Rhein at designers open meanwhile, the somewhat less well earning young designers are more modestly kitted out interror.be, for example, with his Elephant Stool by Sori Yanagi.
Many of the more garish room set ups, meanwhile, use Kartell lighting as accessories.

The curious thing is – it works.

That however may just be due to the number of ironic bad taste hotel, spa and casino ensembles that Philippe Starck has organised of late. And not just lamps, Kartell seating pops ups up fairly frequently as well.  Sadly we’ve not seen as many from the Starck “Ghost” range as we like, however, we have seen some excellent ero|s| usage.
And as if all that wasn’t enough, the stands on which visitors fill out their registration forms are finest USM Haller.
But that USM Haller aren’t here is less of a surprise… they don’t do trade fairs.

And so despite our concerns over the aesthetics standards of some of the exhibitors here; it’s comforting to know that at least someone in the organisation can appreciate quality designer furniture.

.03 by Maarten van Severen from Vitra

Vitra DSR by Charles and Ray Eames

System USM Haller at IMM in Cologne

Ero|s| by Philippe Starck from Kartell

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

One of the joys of being involved in the designer furniture industry is that every now and again one is allowed to share ones enthusiasm and passion with others.

We believe that in more vulgar industries such is known as selling.
And so it came to pass that last week the boys and girls from uniturm.de visited smow.com to test out a few chairs.

Jo,Alex, Jule and Dirk from uniturm.de Happy and friendly folks.

The smow.com testing lounge may not be as luxurious as those on offer in the two (smow)shops in Leipzig and Chemnitz but it does offer a pleasant and relaxing testing location.
And of course your (smow)blog team was also present to record the occasion.

The uniturm.de team left a chair for holidaying co-founder Peter Biermann

As Germany’s largest online student knowledge exchange platform, the team behind uniturm.de spend a lot of their time sitting at their computers.

Obviously.

However, as all who specialise in helping students with the preparation for exams know, a little relaxation is also important.

And so for uniturm.de a selection of chairs was arranged that could fit their varied needs: a Vegetal by Ronan and Erwan Bouroullec, a Eames DSR by Charles and Ray Eames,  a .07 and .03 by Maarten Van Severen,  a Panton Chair from Verner Panton and a Headline Management Chair by Mario & Claudio Bellini.

Dirk Ehrlich from uniturm.de virtual testing...

The undoubted star attraction of the afternoon was the Headline Management Chair from Vitra – hardly surprising given it’s ingenious ergonomics and for all the fact that even in a reclined position your line of vision remains horizontal and so optimal for viewing your monitor.

If you dont’ believe us, look at your monitor, lean back in your chair – without moving your head – and tell us how your ceiling looks. The effort and strain required to move your head so that you can look at your monitor is a badly negelected area of office chair design; something the Headline corrects to the benefit of your neck and shoulders.

Just as with the users of their online exchange portal, the uniturm.de team spent most of the session exchanging notes and discussing the topics raised by the session.

Alexander Reschke from uniturm.de tests a Vegetal from Vitra

Another chair that found a definite positive resonance was the Bouroullec brothers Vegetal – and for all the realisation that is a lot more comfortable, and for all not so hard, as it looks. Similarly the .03 by Maarten Van Seeveren for Vitra was also positively rated on account of its comfort and tactual charms.

In addition to the chairs uniturm.de also had the chance to test a Metal Side Table by Ronan and Erwan Bouroullec for Vitra. It may not be as large as the uniturm.de uniturms in Berlin, Frankfurt, Cologne or Munich; however, thanks to the harmony of the dimensions and the attractive formal contrast between slender table tops and voluminous, socle-like legs, it makes an attractive addition to any room, and as such is perfect for exchanging lecture notes or discussing upcoming exam topics.

Following a sociable round of coffee and cake the test sitting was ended and while the team from uniturm.de returned to their office we remained and spent a satifysing hour photographing the Panton Chair.

As we say, it’s passion this designer furniture business.

In trying to put his feet on the table the boss sets a bad example.

uniturm.de and the search for the perfect designer furniture

Eames DSR from Vitra

On a recent trip we discovered a genuine Herman Miller Eames fibreglass chair bench at an airport. Being a relatively small airport – in fact so small that the word “airport” appears optimistic in describing it’s capabilities – our frenzied photographing of the chairs and the Herman Miller stickers caused quite a lot of amusement.
And that among individuals who spend their spare time photographing aircraft!!!

Anyway, once we’d calmed down a little we started reflecting a little on Charles and Ray Eames and their fibreglass/plastic chairs.

For many years the concept of a seating shell that perfectly supported the body was a pre-occupation of Charles and Ray Eames. Following unsuccessful attempts with plywood and sheet aluminum the pair returned, as it were, fibreglass. Charles had, together with his friend and mentor Eero Saarinen created the Organic Chair, also known as the Conversation Chair, for the 1940 “Organic Design in Home Furnishings” competition at the New York Museum of Modern Art (MoMa). However, only now in the late 1940s was the production technology such that fibreglass chairs could be produced economically and in suitably large numbers. In 1950 the two, for their time revolutionary, Eames fibreglass chair shells appeared on the market: the A-shell, with armrests, and the S-shell, without armrests.

PACC by Charles and Ray Eames from Vitra

The genius of Charles and Ray Eames, however, comes in the next stage. Having designed two shells the designers then created a range of bases on which to place the shells; namely, the rod (wire) base, the wooden base, the X-base and the cast base on castors. In1955 the range was extended with a stackable base. Thus Charles and Ray Eames created a seating family where the base can be chosen to fit location, use and function while the seat remains the same familiar, comfortable shell.

The Eames’s also created a wonderfully simply nomenclature for their fibreglass chairs. And so one has, for example the Eames DSR – Dining height Side chair Rod base – and the DSW – Dining height Side chair Wood base.  Both have the same S-shell, vary however in terms of the base. Similarly the form of the DSX, PACC or DAW can be deduced from the name.

By 1957 when Vitra received the license to produce the work of Charles and Ray Eames in Europe, the fibreglass chair range was well on its way to becoming a true classic of 20th century furniture design.

RAR by Charles and Ray Eames from Vitra

In 1992 both Herman Miller and Vitra switched production from fibreglass to polypropylene: the design and form remain the same, just the environmental impact of production and disposal is reduced.

With their high, flexible backs, deep seat pockets, and waterfall front edges the Eames plastic chair range offer a comfortable seating experience  – be it for a couple of minutes in an office, for the duration of a meal or a longer evening at a concert of other social event.

But much more importantly, through the plastic chair series Charles and Ray Eames could realise one of their principle design aims; “The most of the best to the greatest number of people for the least”

smow offer the following variations of the plastic chair by Charles and Ray Eames:

Eames DSR : Dining Height Side Chair Rod Base

RAR : Rocking Armchair Rod Base

DSX : Dining Height Side Chair X-Base

DAW : Dining Height Armchair Wooden Base

DAR : Dining Height Armchair Rod Base

DSW : Dining Height Side Chair Wood Base

DAX : Dining Height Armchair X-Base

DSS-N/DSS : Dining Height Side Chair Stacking Base (available with or without connecting element)

PACC : Pivot Armchair Cast Base on Castors

PSCC : Pivot Side Chair Cast Base on Castors