Those of you who actually read what we write rather than simply enjoying our genre redefining photography ^* will know that we regularly bemoan the lack of design coverage in the serious print media.

All too often it seems “design” is something to be entrusted to blogs featuring sugar sweet hymns to our cuddly, snuggy-wuggy world and all backed-up by Gaussian heavy, focus soft photos. Or worse, instagram photos.

And so we raise our hats and our flagons to the Süddeutsche Zeitung Magazine for their “Der frühe Vogel” feature at the weekend.

The early bird – Der frühe Vogel – may not necessarily catch the worm, but can have its Christmas shopping done by mid November, being the motto.

And to this end the colleagues in Munich asked eight design studios to submit an object that readers can make themselves.

The result isn’t a call to arms nor the the begin of an Open Design, Maker revolution.

But is a collection of idiosyncratic objects that can not only be gifted at Christmas, but used all year round as stylish reminders that design is a way of thinking. Not a job.

Dave Hakkens - Notice Block

Inspired by the soullessness of the inter-changeable ornaments to be found at trade fairs, Hella Jongerius developed a family of paper creatures to use on stands featuring her works: ornaments with a poetry, a life.

Equally as interchangeable are of course the mass produced decorations that promise to fill us and our homes with Christmas cheer through their soul-wrenching uniformity.

And so, thankfully, Hella Jongerius shows us how to build her “Penguin Prop”. A charming little fella who can be coloured and personalised as you wish.

Just as “Penguin Prop” arose from personal thoughts over furnishings, so too did Astleuchter from Nils Holger Moormann.

Nils needed a lamp for the meeting room in his Aschau HQ, and one night inspiration blew in from the forest. Literally.

As one would expect from a Nils Holger Moormann product Astleuchter is a delicate, dactylic blend of simplicity and ingenuity.

Or put another way, Astleuchter is a chandelier made from… well a tree branch.

Elsewhere in the collection Werner Aisslinger presents bike crossbar panniers made from a heavy duty PVC shopping bag: Sam Hecht offers up a plant pot stand that hides its technical complexity behind a facade of domestic banality; Dave Hakkens introduces us to his his environmentally responsible answer to the Post-it note; Sebastian Herkner shows us how to create a shelving system based around broom handles; Stockholm’s Note Design Studio have created a newspaper/magazine rack that owes as much to the clarity of Bauhaus as the forests of Scandinavia; and last but not least Alfredo Häberli has dreamed up a delightful Candelabra for those long winter evenings.

Werner Aisslinger's sketch for his crossbar pannier

Aside from the items themselves, the real joy with the collection is that not only are the majority of the objects things the designers had already designed for their own use, and are now sharing with us. But all eight items come with construction plans sketched or otherwise composed by the designers.

Plans that offer a brief insight into the personality of the designer involved, and the way they work, think, develop ideas.

As such the article is not just a practical design article. But a genuinely interesting and entertaining piece of design journalism.

Well done to all involved.

All designs and their construction plans can be found at sz-magazin.sueddeutsche.de

Most of the construction plans are in English, a couple however are in German. But all are excellently illustrated and so should be self-explanatory. And perhaps best of all, most of the objects could be made by children……

* The Harry Portman PR Bible. Chapter 5 Rule 2. “If you can’t do it well. Call it “genre redefining”. Most people, and certainly all Guardian readers, will believe you.

During Dutch Design Week 2011 Premsela, the Netherlands Institute for Design and Fashion, opened an exhibition in the Designhuis Eindhoven that both celebrates Dutch Design Week’s 10th anniversary and honours 15 Dutch designers who got their break and/or made their name in Eindhoven.

Rather than simply present the 15 in isolation, curator Miriam van der Lubbe presents them in the context of a young designer they admire and of someone who inspired them.

And so, for example, Richard Hutton is presented together with Gerrit Rietveld and Sjoerd Vroonland.

Or Jürgen Bey and Rianna Makkink with Nienke Sybrandy and Marijke van der Wijst.

Consequently, there is no logical progression to be seen through the exhibition; and also no real undiluted hagiography of the 15 “greats.”

Rather it is more a collection of, more or less, delightful examples of design presented lovingly, if somewhat matter-of-factly.

Which we like.

Its not the works that are important. Its the designers.

And that comes over very clearly.

Obviously the limitation to  Eindhoven means the exhibition doesn’t provide a complete Who’s Who of modern Dutch design, for example, you’ll find no reference to Marcel Wanders, because Eindhoven has played no relevant role in his carear. The exclusion of Hella Jongerius is a touch more difficult to explain.We didn’t ask. It’s unfair to ask a curator to justify every exclusion you personally find odd.

But ultimately for all interested in the story and development of design in Holland over the last 20 years or so, “Spring: Excellence, Talent and Inspiration in Design” is a wonderful starting point.

We do have one small, not complaint but more negative comment – but we’ll save that for a post dedicated to that whole subject. Of which “Spring: Excellence, Talent and Inspiration in Design” is just one example. And not the worst by a long shot.

Spring: Excellence, Talent and Inspiration in Design at Designhuis Eindhoven runs until January 7th 2012.

More details can be found at www.premsela.org

At the 2011 Milan Furniture Fair Vitra are presenting a range of new products from designers including Konstantin Grcic, Antonio Citterio and Barber & Osgerby. Ahead of the official launch we caught up with Vitra Chief Design Officer Eckart Maise to discuss the new products and the Vitra Home Collection in general.

Jill by Alfredo Häberli for Vitra

(smow): Herr Maise, before we discuss the new products, and maybe as a little helpful background. How does a company like Vitra develop a collection? Do you go to a designer and say “There’s a gap in our collection, can you fill it?” Or how do new projects develop at Vitra?
Eckart Maise: In essence it all comes together as a consequence of our long-term relationship with the designers. With, for example, Antonio Citterio we’ve been working together for 25 years. Or with the Bouroullecs we’ve now been co-operating for 12 or 13 years. And although there are obviously phases where more happens and phases where less happens we are always in contact with one another. And so most projects arise from a concrete briefing from us that such or such a project would be good, for example a large sofa family or a lounge chair, and then we consider who would be the correct designer. And often we speak to several designers about the same project, and then see who reacts in which way and where what develops. The designers obviously all have their own agenda, have their own mission as it were, and so we need to find projects where there is an overlapping of interests, because that is the best conditions for a successful cooperation. It hardly ever occurs that a designer comes to us and says “So here’s a finished project, do you want it?” It’s always a co-operation and a joint development.

(smow): And in this context, this year you are presenting several products in Milan by, let’s say, “new” Vitra Designers. Are they also the result of long term contacts?
Eckart Maise: Exactly. With Barber & Osgerby, for example, we’ve been in contact for around 6 years and have discussed various projects that then never got further than the very early stages. Which isn’t to say that they are better designers now than for 6 years, rather it simply didn’t come to this overlapping of the interests. With the Tip Ton chair that was different. Similarly with Alfredo Häberli we’ve been in contact for a long time, we already worked on one project together that was quite well developed but never completely clicked and so it was stopped. Which incidentally is something that both Vitra and our designers are always prepared to do: namely even in the later phases of the development to say, no this isn’t right or we’ve not achieved our goal or whatever the reason – let’s stop. The public obviously don’t see that. But it happens. And finally with Konstantin Grcic we first worked together four years ago in the context of a Vitra Editions project, and since then we’ve remained in contact and there are further co-operations with Konstantin in preparation that will come in the future.

Tip Ton by Barber Osergby for Vitra

(smow): Which brings us nicely to the next question. From what we know of Vitra we can’t imagine that you’d enter into new projects without planning a longer co-operation?
Eckart Maise: Yes, and in all cases there other projects in development. But it can also develop other than one expects and sometimes it remains with just the one project. But we always enter into a designer cooperation with the aim of it being a long term cooperation.

(smow): Which is perhaps a good moment to discuss Hella Jongerius and the Bouroullecs. Our impression is that up till now they have played the central role in the development of the Vitra Home Collection. Is that so, and if so why?
Eckart Maise: Every designer naturally stands for one position and has their own voice. The Boroullecs are good for the Vitra Home Collection because they think in terms of systems, in terms of collections, plus they have highly poetic expression and they are very good at combining technical solutions with a poetic expression which is very important in the home. In the home you don’t want a product that is purely functional because the decision for a product is never a rational decision alone, rather emotion also plays an important role.
And with Hella Jongerius, for us Hella embodies the decorative, and also the importance of haptic, of the material, the colours. Also she also represents a return to handwork, which obviously plays an important role in the home.
But of course it’s not just the Bouroullcs and Jongerius, also Jasper Morrison plays an important role or Antonio Citterio and then of course we also have the design classics. And so one has altogether this collage.

Grand Repos and Panchina by Antonio Citterio for Vitra

(smow): You spoke earlier about soft seating and in that area Vitra is currently well represented, can you say where the Vitra Home Collection will develop in the future?
Eckart Maise: We will continue in the same areas as now but also in smaller objects, accessories such L’oiseau by the Bouroullecs or in dining but it’s not our intention, for example, to move into, as we say in German “Kastenmöbel, so shelving and sideboards. In that area there are other producers who are better equipped.  We have our experience and our competence in seating and in Milan we have, for example, a reclining lounger by Antonio Citterio where he has used his experience in office chairs to develop a lounge chair with a synchronizing technology in which the back tilts and at the same time the seat moves so that you maintain the same comfort regardless of seating position. And that in a very restrained style where the mechanism is not visible, it’s all incorporated in the legs and under the seat.  And in such areas is where we have our strength.

(smow): And a final question. Is the Vitra Milan Collection 2011 a good vintage? As Vitra Chief Design Officer are you confident it will positively received?
Eckart Maise: For us it’s a good year, not least because it is always exciting when you present new co-operations, that is always a large step to take as a producer. But the co-operations are also important as they enrich us, as if the family has enlarged, or the choir has grown and we can now sing new songs. And we’re confident because we have a wide variety of products from a broad range of designers; in comparison to last year where we had a very strong focus on the Suita from Antonio Citterio. This year we’ve got Vitra’s first plywood seat shell from Alfredo Häberli; we’ve further developed the HAL range with Jasper Morrison; we have the new lounger by Antionio Citterio – from our perspectiveve finally a real alternative to the Eames Lounge Chair! And that with a comparable comfort quality. Then with the Tip Ton chair from Barber & Osgerby a chair that is a real innovation in terms of the sitting experience. And in Waver from Konstantin Grcic we have a chair that is something truly new and fresh for Vitra and is an uncomplicated, young form of seating. And so we are looking forward to the reaction.

Jill by Alfredo Häberli for Vitra

Tip Ton by Barber Osergby for Vitra

Grand Repos and Panchina by Antonio Citterio for Vitra

Waver by Konstantin Grcic for Vitra

Although Alexander Girard worked closely with Herman Miller and designers such as George Nelson or Charles and Ray Eames; Alexander Girard’s speciality was not furniture but fabrics, folk art and colour.

Born in America and raised in Italy Alexander Girard studied architecture in London before a lack of architectural openings saw him spend several years working as an exhibition and interior designer; most notably in Sweden where he worked in the design department of the Nordiska department store. In 1937 Girard moved to New York in search of architectural work, but again with a lack of opportunities he took on numerous design jobs. In 1951 Charles Eames persuaded him to join Herman Miller where in 1952 he was appointed head of the new textiles department.

In addition to designing textiles Alexander Girard also designed exhibition stands for Hermann Miller and created interior design concepts for the stores; including T&O (Textiles and Objects) shop opened in New York in 1961 and whose range was dominated Alexander Girard’s passion for folk art.

Aside from his collaborations with Herman Miller Alexander Girard also worked for companies as varied as the Ford Motor Company, Hallmark Cards and Braniff Airways.

Greatly inspired as it is by folk art,  Alexander Girard’s work is often signified by it’s bold use of colour – and as such make wonderful Christmas gifts.

Vitra Wooden Doll No 12 by Alexander Girard

Vitra Wooden Doll No 12 by Alexander Girard

With his jester suit and cheeky grin Vitra Wooden Doll No 12 by Alexander Girard passes wonderfully into any modern Christmas scene. Originally created for T&O Alexander Girard’s wooden dolls never entered production during his lifetime – as Hermann Miller closed T&O before they could be introduced. However thanks to the Vitra Design Museum the Wooden Dolls have finally been released on an adoring global public.

Millerstripe Multicoloured Bright cushion by Alexander Girard

Millerstripe Bright by Alexander Girard as a Vitra Design Museum cushion

The cushion itself is not from Girard – rather the pattern. Originally designed in 1973 – so towards the end of Girard’s tenure at Hermann Miller – Millerstripe Multicoloured Bright was re-issued by New York based textile producer Maharam as part “Textiles of the 20th Century” collection. And subsequently chosen by Hella Jongerius to form part of the Vitra Design Museum cushion collection. With its simple geometry and vivid colours Millerstripe Multicoloured Bright is a wonderful example of how Alexander Girard incorporated the basics of folk art in his work.

Vitra Classic Tray Eden by Alexander Girard

Vitra Classic Tray Eden by Alexander Girard

As with the cushion, the tray is not from Alexander Girard – rather the pattern. Also created during his time with Herman Miller, Eden wonderfully combines childhood innocence with serious art. Printed on high-grade thermoset, the Vitra design Museum classic trays are dishwasher safe, food safe … and delightful.

La Fonda Armchair by Charles and Ray Eames from Vitra

La Fonda Armchair by Charles and Ray Eames

Although designed by Charles and Ray Eames the La Fonda Armchair was commissioned for one of Alexander Girard’s most important interior design projects in New York – the La Fonda del Sol restaurant in the Rockefeller Centre. Impressed by his work for the T&O shop the restaurant operators asked Girrad to design the interior of La Fonda del Sol with a South American folk art theme – a commission that initiated Girard’s first trip to South America, a study tour that took in Bolivia, Peru, Argentina and Brazil. In 2009 Vitra stopped production of the La Fonda Armchair – but (smow) still have one or the other in stock.

Vitra Wooden Dolls by Alexander Girard

Vitra Wooden Doll No 1-11 and 13-16 by Alexander Girard

Before we have a mutiny on our hands. Alexander Girard deisgned 23 dolls for T&O from which the Vitra Design Museum have released16. Each with their own personality and story. Weather individual or in a set, there can be few more adorable companions for the winter months. The full range can be viewed here.

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Hella Jongerius

Last Saturday – 13.11.2010 for the sake of all Internet archaeologists who find this post in 120 years – Museum Boijmans in Rotterdam opened the first Hella Jongerius retrospective in her native Holland.

And we weren’t there. It was a regrettable, but unavoidable, situation.

Fortunately our global network is almost as large as that of the American secret service and so we were able to send a few friends on our behalf.

An interactive exhibition, Misfit not only features works by Hella Jongerius but also explores her working methods and her influence as a designer.

And so in many ways it was fitting that the opening speech was held by Vitra Chairman Rolf Fehlbaum; Vitra being not only the producer with whom Hella Jongerius is unquestionably most associated, but also a company who themselves have been influenced through their co-operations with Ms Jongerius.

Introduced to the work of Hella Jongerius by figures such as Paola Antonelli, Alice Rawsthorn and Michael Mahram, Rolf Fehlbaum was, by his own admission, instantly taken with her “outstanding sensitivity” for surfaces and colours; a not insignificant point given that this introduction came at a time when Vitra were starting to actively expand their “Home Collection“.

Hella Jongerius has since gone on to play a central role in the development of the Vitra Home Collection – not just in terms of products but also through her role as a sort of Vitra In-house Colour Consultant.

Polder Sofa by Hella Jongerius for Vitra

With its magical play on colour tones, “Polder Sofa” is probably the most obvious expressions of what first attracted Rolf Fehlbaum to the work of Hella Jongerius.  In his speech at Boijmans Rolf Fehlbaum described Polder Sofa as being ” … like a new beginning in a repetitive old world … “; a phrase which not only also wonderfully describes Hella Jongerius’ “Repeat” collection for New York textile producer Mahram, but can in many ways be taken as a universal attribute of Hella Jongerius’ work.

Hella Jongerius’ “colour consultancy” work for Vitra effectively began in 2006 when she updated the Eames Lounge Chair, a commission that was principally concerned with altering the tone of the wooden shell so as to allow a more harmonious match with leather tones lighter than the traditional black. The white leather Eames Lounge Chair beautifully illustrating the result of the work.

“Colour Cooking” is how Hella Jongerius herself refers to the relationship she creates between individual colours and between colours and materials, and her most recent “cookbook” is the so-called Colour Lab in the VitraHaus in Weil am Rein – an interactive area where visitors can experiment with materials, colours and combinations thereof.

Coloured Vases by Hella Jongerius @ Misfit, Museum Boijmans Rotterdam

In addition to showing examples of her work with Vitra, Misfits also shows works such as the aforementioned “Repeat” fabric collection for Mahram, some of her porcelain creations for Nymphenberg and as one of the true highlights 300 coloured vases created in co-operation with Royal Tichelaar Makkum.

We’re hoping to make it to Rotterdam real soon to see the exhibition ourselves – and when we do we’ll write a full report.

And explain the exhibition title….

Bur for now, many thanks to our spies – and if you keep delivering such high quality work we may just commission you again in the future ;)

Hella Jongerius – Misfit can be seen at the Museum Boijmans in Rotterdam until 13th February 2011.

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Although always a hard fought encounter this Holland – Germany match had an added edge; the winner proceeding to the semi-finals of the 2010 (smow) designer furniture World Cup.

Ahead of the match the Dutch decided to switch Hella Jongerius for Marcel Wanders; hoping that the creative force behind moooi and droog could better counteract Grcic’s clear, linear forms. And the tactic worked. With first his Knotted Chair and then his New Antiques combination for Capellini, Marcel Wanders took a deserved 2:0 lead. Becoming increasingly frustrated by his inability to make headway Grcic unleashed an unnecessary 360 degree chair and was rightly booked for a dubious bit of “product reference” to George Nelson‘s 1964 Nelson Perch.

At half-time the Germans substituted Grcic for Nils Holger Moorman, and the wily old man of modern German design quickly brought the score back to 2:1 with an unbelievably cheeky Rechenbeispiel. As the second half progressed it was clear that Nils Holger Moormann’s more authentic, soulful anarchy was stronger than Marcel Wanders’ carefully considered, calculated imagination and so it came as no surprise when Nils Holger Moorman drew level with his Bookinist before taking the lead with Liesmichl.

A thoroughly absorbing and dramatic encounter ending 3:2 for Germany.

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

Konstantin Grcic is booked for his 360 chair

If ever a designer furniture contest could be compared to a game of “rock-paper-scissors” then surely Hella Jongerius against Frank O. Gehry.

The Mistress of Materials against the King of Solid Constructions.

And so developed this match. Frank Gehry applied all his radical geometry to try to find a way through the Dutch defence; but found himself continually hindered by the fact that natural material forms are always more sustainable than artificially generated: Or put another way Hella Jongerius genuine organic forms proved more than a match for Frank Gehry’s contrived organic forms and in the closing minutes Hella Jongerius scored with a wonderful Bovist for Vitra.

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

The theme of the 2010 Designpreis Halle is and was “travel”

For us travelling to Halle has a special meaning as in a previous life we used to regularly travel to Halle, experience all sorts of perverse inhumane horrors and then travel back to Leipzig glad – once again – to have escaped from the banks of the Saale with our lives.

That was then.

But since then not only has our life changed but we now see and understand Halle in a completely different light.

Thanks largely to another tour; this one along the River Saale on a tourist boat.

But also due to the fact that our new life that has seen us travel away from destructive genius and onto creative talent.

“Long-term Halle an der Saale should become the German Design City and a source of inspiration for design globally”

A couple of years ago we would have laughed out loud at Designpreis Halle President Prof Dr Peter Heimann’s opening speech

But not now.
With Burg Giebichenstein Halle has one of the continually best design colleges in Germany, with the Design Haus Halle one of the most targeted attempts to keep young talent near their former college while supporting and helping them as they establish their careers.

2010 Designpreis Halle: There's that Hallenser design spirit out and about again

And with the Designpreis Halle an international design prize that attracts entries from across the creative disciplines: We’re not saying all finalists appeal to all tastes – but there is something for everyone.

166 entries from 13 nations were submitted for the Designpreis Halle 2010 from which the jury, including Nils Holger Moormann and Axel Kufus, selected 19 for the final exhibition. And just as importantly 4 prize winners.

Fifteen students from the Fachhochschule Dortmund were awarded a special award fro their Cardboard suitcase, and two of their number, Daniel Behn and Clemens Müller, were also awarded a Special Recognition for their RESI “The suitcase that ensures safe travelling for Germans abroad”.

Suited case by Erik De Nijs Second place at Designpreis Halle 2010

Second place was awarded to Utrecht based designer Erik De Nijs for his “Suited Case” concept. Resembling Polder Sofa by Hella Jongerius for Vitra, “Suited Case” is a range of suitcases that can double up as seating. We’re fairly certain no airline could get the individual elements from A to B without damaging them; however, decisive was not the product but the concept. For all the attempt to bring a little privacy and domesticity to the stress of travel as well as the interaction between the different elements of a normal travellers luggage impressed the judges

First prize went to Eindhoven based designer Guy Königstein for his animated film “Die Rückreise” in which through his relatives memories he, literally, threads together the story of his family and as such also his own past.

Nomads wardrobe by Matthias Baumecker - for us worthy of a mention

For us a further entry that is more than worthy of a mention is Nomad’s Wardrobe by Matthias Baumecker, a travel wardrobe concept we can well imagine combining with Vitra’s Chairless chair concept.

Set in old tram wagons, under UV light in a historic tram depot, the Designpreis Halle exhibition is one of the more creative and imaginative exhibitions of recent time; and a convincing argument for the talent in Halle.

And as the next logical step Halle must ensure that Designers Open moves from Leipzig to Halle.

We remain unconvinced if on its own Halle really can establish itself as a creative center. For us such is only really possible in collaboration with Dessau/Roßlau/Bitterfeld/Wolfen; ignoring Bauhaus just seems wrong somehow.

Aside from the unnecessary competition created by having two design centres a short bike ride from one another. Or, as the Designpreis Halle 2010 competently shows; others forms of travel are available.

Full details on the finalists and the exhibition can be found at Designpreis Halle 2010.

Desinpreis Halle 2010 winners - front left first prize winner Guy Königstein

Designpreis Halle: All roads lead to Giebichenstein

Designpreis Halle 2010

Day two of the 2010 (smow) designer furniture World Cup and the first all female match: Patricia Urquiola against Hella Jongerius.

As expected Urquiola started in her typical robust, voluminous fashion as demonstrated by her work with the likes of B&B Italia, Cassina or Molteni & C. Against the more wily, formally adventurous Jongerius, however, Urquiola advanced only slowly with her classic “lounge” approach.

Switching to a more synthetic  “Kartell” Approach seemed to offer Urquiola more options, however Jongerius countered with the fully unexpected Polder Sofa for Vitra and the contest was decided; 1:0 for Holland.

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

Hella Jongerius Fans celebrate her late win.

The DMY Berlin 2010 Press Conference. After we had all found Hanger 5

For Berlins premier design show DMY Berlin is mighty shy: but then it is only 5.

And certainly no better explanation occurs to us as to why the entrances should be so well hidden.

But with the help of a man with a knitting machine under his arm we eventually found our way to Hanger 5 – and our initial grumpiness at the signage shortcomings soon passed.

We’ve been to many a design show in our time; but never in a venue that works quite as well as Tempelhof.

Despite having been an active airport until 2008, Tempelhof has remained largely unchanged since the 1930s.

Several years we ago we had the honour of flying from Tempelhof, and it was a genuinely wonderful experience. Consequently we were sad when it closed; however if its closure means that events such as DMY Berlin can utilise it then so much the better.
Ahead of the opening we spoke with DMY Berlin Programme Director Ake Rudolf about DMY Berlin 2010 and the move to Tempelhof

DMY Berlin Programme Director Ake Rudolf

(smow)blog: What can we look forward to at DMY Berlin 2010

Ake Rudolf: This year we have a focus on Switzerland, in that we offer an overview of the whole “Design System” Switzerland from support made available for young designers right up to the presentation of series products. A further focus is new media and technology in that we show both the developments in design towards digitisation and virtualization as well as the use of new technologies in engineering and design.  With the “Maker Lab” we have for the first time an area dedicated to creating and where the public and designers can work together and produce items using both generally available technology as well as more advanced machines such as laser cutters and 3D printers. And altogether we have 11,000 square metres of new ides, new solutions and design from experimental up to commercial.

(smow)blog: In your opinion is design in Berlin currently in a healthy condition?

Ake Rudolf: Yes. I think it is still a relatively small design scene and in an international context it is, with only a few exceptions, still relatively unknown, which also makes it all the more interesting.  In general it is a design scene that is based around making,  about producing yourself, about finding your own solutions to problems.  And it is a vital scene that has grown unbelievably in the past years, and that with both young designers at the very start of their careers as well as world stars such as Hella Jongerius. I think in terms of product design we are currently experiencing a development similar to that the Berlin art scene experienced in the mid-90s.

(smow)blog: Will future DMY Berlin festivals be held at Tempelhof, or is this a stopgap solution for 2010 ?

Ake Rudolf: While to a certain extent it is a stopgap solution, we had planned to move to Tempelhof in a couple of years and so it is also an earlier than intended, planned location change. But now that we are here we want to make the most of the opportunity to generally develop quicker than planned and hope that in the coming years we can acquire more hangers. That is our aim.

DMY Berlin runs until Sunday June 13th at Tempelhof Airport, Berlin. Full details can be found at http://dmy-berlin.com/