It is indicative of the image of designer furniture in contemporary society that media outlets across Europe have picked up on the fact that in connection with the recently published “Wealth Decelerations” by the French Cabinet, Industry Renewal Minister Arnaud Montebourg has revealed he owns an Eames Lounge Chair.

Indeed the online platform from German magazine Der Spiegel illustrated the publication of the Declarations with an image of an Eames Lounge Chair in one its first reports!

The Eames Lounge Chair. Similar to that owned by Arnaud Montebourg.

While the fascination with Monsieur Montebourg and his Eames Lounge Chair is almost certainly related to the fact it is one of the few revelations of what is hidden behind the figures – the revelation isn’t in the official documents but from an interview in Le Monde – it does highlight the widely held view that possession of designer furniture is somehow an indication of unreachable, and potentially unjust, wealth.

Yes, an object such as an Eames Lounge Chair may cost more than most people would normally consider paying for a piece of furniture.

However do a cost:lifetime analysis and it suddenly doesn’t look sssooo much when compared to the alternatives.

The investment in an Eames Lounge Chair is an invetsment in an object that will not only accompany you until your last breath. But also you children. And, and assuming everyone takes care of it, their children.

And then there is the material investment.

If you look at the Ministerial Declarations you will find, for example, that European Affairs Minister Thierry Repentin bought a Renault Scenic in 2009 for Euro 26,700. It is now worth Euro 8,500.

Now while Arnaud Montebourg is unlikely to recoup the ca. Euro 4,300 he paid in 1988 for his Eames Lounge Chair, he’s certainly not going to be looking at a 66% depreciation.

And don’t we want politicians who make sensible economic decisions? Especially in the current climate?

For us part of the problem that leads to such a fascination with the ownership of a design classic such as the Eames Lounge Chair is the way such objects are advertised or generally medially presented.

All too often designer furniture is presented as something other worldly. Exclusive. Not for the likes of you young lady……

As we’ve said before, and will repeat until our teeth fall out, if manufacturers were to reject the tired, agency motivated imagery, and instead concentrate more on explaining the quality of the materials used, the quality of the craftsmanship involved, the length of the design process, the investment in machines required to create their objects, etc, etc, etc the public would understand the price. And would adore the objects even more as a touch of luxury in the midst of their grey, unfulfilled lives.

In this context the Lounge Chair Atelier in the VitraHaus is a wonderful development as it allows visitors to not only see, and feel, how a Vitra Lounge Chair is assembled, but also to speak to the staff and so learn a little more about the people behind the objects.

So we say, lay of Monsieur Montebourg! He had the free capital in 1988 and for us he made a wise and sensible investment.

And in terms of unfettered decadency: Justice Minister Christiane Taubira admits to owning three bicycles.

Three bikes!!!

Qu’ils mangent de la brioche! indeed……

A White Vitra Eames Lounge Chair. As seen at Eames by Vitra, Wasserschloß Klaffenbach Chemnitz

Until April 9th the Wasserschloss Klaffenbach Chemnitz is presenting the exhibition Eames by Vitra.

As we wrote in our initial post, Eames by Vitra presents a complete overview of the Charles and Ray Eames chair canon complemented by texts, photos and videos that explain the background to the Eames Studio.

It is not an exhibition that completely explains the creative phenomenon that was Charles and Ray Eames. But then it doesn’t set out to be.

It’s all about the chairs.

Eames by Vitra in Wasserschloss Klaffenbach is spread over three rooms, physically it is the only solution, however the positive side effect is to lead the visitor on a journey through the output of Charles and Ray Eames. Each room has its own atmosphere, its own character and this reflects on the exhibits, a fact which when combined with the open views from room to room, gives the impression of an exhibition that is much larger than it is.

And it isn’t large. It’s intense. But not voluminous.

But for all Eames by Vitra is inclusive, presenting as it does the Eames plywood, plastic and aluminium chair collections, in addition to the La Chaise lounger, wooden stools and of course the Eames Lounge Chair. There are also enough Eames Elephants on show to consider starting a Wasserschloss Klaffenbach Safari Park.

If we did have one complaint – we know, we know, what is the chances of us having a complaint! Imagine! Us! Complaints!!! – it would be that the first exhibit one sees is devoted to the Eames plastic chairs.

However not only does the Eames story begin chronologically with the plywood chairs; but understanding the Eames plywood chairs is central to understanding the complete Eames furniture oeuvre.

And so, for us, it would have made more sense to begin with the moulded plywood.

But that is probably just us.

And as ever we’re more than happy to let each visitor make up their own mind.

And then tell us that we are wrong.

Eames by Vitra runs at Wasserschloss Klaffenbach Chemnitz until April 9th 2013.

Full details can be found at www.wasserschloss-klaffenbach.de

And as before, in the interests of transparency Eames by Vitra is a co-production between the C³ Chemnitzer Veranstaltungszentren GmbH and (smow) Chemnitz.

Tilbage i februar fejrede VitraHaus i Weil am Rhein sin første fødselsdag. Vi talte med Vitras chefdesigner Eckart Maise om VitraHaus og om planerne for fremtiden.

(smow)blog: VitraHaus er nu ét år gammelt, er du tilfreds med det første år?

Eckart Maise: Ja, VitraHaus har været en stor succes og ‘resonansen’ har været meget positiv, både med hensyn til antallet af besøgende samt den feedback vi har fået. Eksempelvis er besøgstallene for ‘Vitra Campus’ nu tredoblet i forhold til tiden før VitraHaus. Vi havde over 350.000 besøgende sidste år, hvilket bestemt overgik vores forventninger. Vi havde forventet et stigende besøgstal, men ikke i så høj grad.

(smow)blog: Er opmærksomheden omkring brandet Vitra ligeledes steget?

Eckart Maise: Ja, helt sikkert. Man kan eksempelvis måle det i form af antallet af artikler om VitraHaus i pressen. Jeg har været hos Vitra i 16 år, VitraHaus er den første nye bygning på Vitra Campus i lang tid, og man kan tydeligt se at pressedækningen er af helt andre dimensioner end når der f.eks. lanceres et nyt produkt.

(smow)blog: I hvor høj grad er Vitra-møbeldesignerne involveret i indretningen af selve VitraHaus?

Eckart Maise: Først og fremmest er det indvendige design organiseret af vores in-house team som består af flere designere og stylister. Indimellem er møbeldesignerne involveret hvis der er fokus på et bestemt produkt. Lige for tiden er Suita-sofaen udstillet, og i den forbindelse talte vi på forhånd med Antonio Citterio, lyttede til hans feedback og optimerede derefter et par forskellige områder. Mange af møbeldesignerne er i regelmæssigt kontakt med vores in-house indretningsarkitekter, og der foregår altid en udveksling af idéer.

VitraHaus Weil am Rhein

(smow)blog: Man lægger straks mærke til at der i VitraHaus også findes produkter fra, lad os sige, ikke-Vitra designere. Et eksempel på dette, som altid fanger vores opmærksomhed er Spin fra Tom Dixon …

Eckart Maise: .. Ja, det er et bevidst træk fra vores side. For os er ‘collagen’ den indretningsstrategi, som bedst passer til vores måde at tænke på. Det vil sige, at variationen af interiøret bliver en kvalitet i sig selv – også variationen i de enkelte ‘værkers’ oprindelse, og at rent Vitra interiør ikke nødvendigvis er det bedste. Derfor har vi her i VitraHaus netop tilbehør, belysning og tekstiler fra andre producenter, som komplimenterer Vitraprodukterne.

(smow)blog: Og så kan vi også forvente at forskellige designere i fremtiden vil få lov til at skabe egne rum i enkelte dele af VitraHaus?

Eckart Maise: Ja, vi er netop ved at planlægge dette, og det var faktisk planlagt helt fra starten, men ikke realiseret før nu. Vi ønsker ikke at være et museum, hvor der eksempelvis vises en udstilling af Bouroullec eller en udstilling af Citterio, men naturligvis er der mulighed for at bede de designere som aktivt er involveret i husets interiør, eksempelvis de to Bouroullec-brødre, om at skabe et rum på den betingelse, at det ikke skal være en monografi over deres værker, men i stedet en collage som også indeholder produkter fra andre Vitradesignere.

smow(blog): Så, eksempelvis, ‘her er et bud på hvordan man kunne indrette en hems på 20 kvadratmeter’?

Eckart Maise: … præcis. Der er flere forskellige muligheder, og vi håber at kunne begynde i de kommende måneder.

smow(blog): En yderlige udvidelse af Vitra Campus er Vitra Atelier. I øjeblikket kan man se, hvordan en Eames Lounge Chair er konstrueret, har du tænkt dig at udvide konceptet?

Eckart Maise: I princippet er det et fleksibelt koncept, men i øjeblikket vil det være begrænset til Eames’ Lounge Chair. Det vigtige for os, er at kunderne kan se det håndværk der er involveret i produktionen, og at det er lavet her i Weil am Rhein, og ikke i Kina eller andre steder for den sags skyld. Kunderne har også mulighed for at se, hvordan deres egen Lounge Chair er opbygget. De kan for eksempel komme til VitraHaus om morgenen, se hvordan den konstrueres, og tage den med hjem om eftermiddagen. Denne stol er formentlig et af de møbler som ejerne har den mest følelsesmæssige forbindelse til, og som spiller en central rolle i disses hjem, og netop derfor er det for os den perfekte genstand for Vitra Atelier.

Vitra Atelier - Vitra Campus Weil am Rhein

Back in February the VitraHaus in Weil am Rhein celebrated its first birthday.

But was it all worth it?

To find out more we spoke to Vitra Chief Design Officer Eckart Maise about one year VitraHaus and the plans for the future.

(smow)blog: The VitraHaus is now one year old, are you satisfied with the first year?

Eckart Maise: Yes, the VitraHaus has been a huge success and the resonance has been very positive both in respect of the number of visitors as well as the feedback. The Vitra Campus visitor numbers, for example, have tripled in comparison to before the opening of the VitraHaus. We had over 350,000 visitors last year which vastly exceeded our expectations. We had expected an increase but not such an increase.

(smow)blog: And has awareness of the Vitra brand also increased?

Eckart Maise: Yes, definitely. One can measure it, for example, in terms of the number of press articles about the VitraHaus. I’ve been with Vitra for 16 years and the VitraHaus is the first new building on the Vitra Campus in that time, and one sees that the press coverage is of a completely different dimension than that when launching a new product.

(smow)blog: Turning to the VitraHaus itself, in how far are the Vitra furniture designers involved in the interior design decisions?

Eckart Maise: Principally the interior design is organised by our in-house team of designers and stylists. Occasionally the furniture designers are involved where there is a product focus. For example at the moment the Suita sofa display. We discussed that with Antonio Citterio in advance, gathered his feedback and then optimised a few points. But also many of the designers are in regular contact with our in-house interior designers and so there is always an exchange of ideas.

(smow)blog: One notices in the VitraHaus that there are various products from, let’s say, non-Vitra designers. The example that always catches our attention is Spin from Tom Dixon…

Eckart Maise: …yes that’s a deliberate feature from us. For us the Collage is the domestic furnishing strategy that best correlates to our way of thinking. That is to say the quality of an interior comes from variety, also variety in the origins of the individual pieces, and that a pure “Vitra interior” isn’t necessarily the best. And so here in the VitraHaus we have lighting, accessories, textiles etc from other producers that compliment the Vitra products.

(smow)blog: And so can also we expect that in the future part of the VitraHaus will be given over to individual designers to create a space?

Eckart Maise: Yes, Yes, we are planning such and that was indeed planned from the very beginning, but until now not realised. What we don’t want to be is a museum where we say here is a Bouroullec exhibition, or here is a Citterio exhibition. But naturally one can ask those designers who are actively involved with interiors, for example the Bouroullecs, to create a space with the condition that it shouldn’t be a monograph of their work but rather a collage with products from other Vitra designers.

(smow)blog: So, for example, here is an example of how you could organise a 20 sqm loft space…

Eckart Maise:.. exactly. There are various options and we hope to start in the coming months.

(smow)blog: A further extension of the Vitra Campus is the Vitra Atelier. At the moment one can watch how an Eames Lounge Chair is constructed, do you plan to extend the concept?

Eckart Maise: In principle it is a flexible concept, but at the moment it will remain limited to the Lounge Chair. What’s important for us is that customers can see the handcraft involved in the product and that they are made here in Weil am Rhein and not in China or wherever. Also customers have the option to watch how their own Lounge Chair is constructed. They can for example come to the VitraHaus in the morning, place and order, watch how it is constructed and then take it home in the afternoon. The Eames Lounge Chair is probably one of those furniture objects to which owners have the most emotional connection, and which plays a central role in the owners home, and so for us it is the perfect object for the Vitra Atelier.

Since over one year part of the Weil am Rhein landscape - VitraHaus

Vitra Atelier - Eames Lounge Chair construction LIVE!

Eames Lounge Chair by George Brückmann. A delightful combination of painting, photography and mind games.

A recurrent theme, not only here in the (smow)blog but also in general throughout the (smow) global network is the subject of illegal copies of design classics.

Or better put when is a design classic a design classic?

At the HGB Leipzig Rundgang in February we were confronted with an unexpected and somewhat unusual interpretation of the question in the form of “Eames Lounge Chair” by George Brückmann.

And were immediately hooked.

And not only we were impressed by Brückmanns work, In October 2009 his series “In-Situ” was selected to be part of the 2009/2010 “Gute Aussichten – junge deutsche fotografie” exhibition, one of the most important and prestigious Germanic contemporary photography exhibitions.

After 10 months and 6 stations in 3 countries the final “Gute Aussichten” exhibition of the 2009/2010 tour opens in the Art Foyer DZ Bank in Frankfurt am Main on Thursday July 29th.

Until the September 11th visitors will be able to view not only the work of George Brückmann but the work of the other seven young artists selected from the 91 entries submitted from 33 German colleges.

Ahead of the exhibition opening we caught up with George Brückmann in his atelier in Leipzig-Lindenau. And pretty much got off to the worst possible start.

Just as all forms of “design” rely on innovation and new ideas if they are to survive so to do the visual arts.

We thought George Brückmann painted onto photographs.

He doesn’t.

Still life with beer by George Brückmann. The objects are real, have been painted onto and then photographed

Initially he painted onto objects, coating the objects with paint of the same colour -  and then photographed them. And in doing so created wonderfully, obtuse, voluminous scenes somewhere between reality, painting and photography.

Then he moved onto painting objects which in the consciousness of the viewer were then extrapolated into other objects, before tackling the subject of design classics or better put the relationship between design classics and non-design classics.

We wont spoil the work by revealing the process, but enough to say George Brückmann paints designer furniture classics in such a way that through the composition of the final photograph “normal” objects appear transformed into the iconic pieces.

The paintings of the chairs themselves are not especially accurate, for all the the proportions and form  often vary from the originals. But that plays no role in your observation. You still recognise them, still find them attractive , still give them a value -  a value that then also seems to meliorate the raw and rudimentary settings.

Brückmann’s work is concerned with the “imaginary  extension” of one object into another and is achieved through a combination of perspective, context, art and the viewers innate cognition. Be it a cardboard box transformed into a deck chair or an everyday garden lounger seen as a Le Corbusiers LC 4 chaise longue.

Charles and Ray Eames’ lounge chair, The F 51 by Walter Gropius and Mies van der Rohes’ Barcelona Chair being just three of the design classics he has re-interpretied.

Or better put extended from less valuable everyday items into the design classics we all know.

In the words of Brückmann “Here objects are what they could have been, could be, want to be or even should be”

The exhibition “Gute Aussichten – junge deutsche fotografie 2009/2010” can be viewed at the Art Foyer DZ Bank in Frankfurt am Main until September 11.

Le Corbusier LC 4 by George Brückmann part of "gute aussichten - junge deutsche fotografie 2009/2010"

There is a very familiar flair to Group D and this opening encounter pitted three old friends against each other; Eero Saarinen and Charles and Ray Eames.
The three have been close friends since the start of their careers and the common influences and experiences were clearly visible in many of their early approaches.
The longer the contest ran however the more the differences appeared and the more each side could set their individual tone and make use if their individual strengths. For all Charles and Ray Eames became increasingly adventurous in their use of materials; principally moving away from fibreglass and plywood chairs into wire and full upholstery.
This was to prove their decisive advantage: and a beautifully worked Eames Lounge Chair setting up the 1:0 and the ultimate victory.

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

gute aussichten 2009/2010

On Thursday April 29th the exhibition “gute aussichten – junge deutsche fotografie 2009/2010” opens at the Haus der Photographie, Hamburg.

Established in 2004 as a platform for supporting young, talented photographers gute aussichten has developed into one of Germany’s most important and respected contemporary photography prizes.

This years exhibition features the work of the 8 artists – Georg Brückmann (HGB Leipzig); Philipp Dorl, (FH Bielefeld); Sonja Kälberer, (HGB Leipzig); Ute Klein, (Folkwang Hochschule Essen); Ingo Mittelstaedt, (HBK Braunschweig); Mona Mönnig, (Folkwang Hochschule Essen); Shigeru Takato, (KHM Köln) and Anna Simone Wallinger, (Lette-Verein Berlin) – and presents a broad spectrum of the possibilities available in modern photography.

For all “photographic illusions” play a strong role in the 2009/2010 gute aussichten exhibition.

Philipp Dorl, for example, with his work “…nach Maß, Zahl und Gewicht” moves between painting and photography, between perception and optical illusion and in doing so presents a world that is only familar in its unfamiliarity.

In a similar vein Georg Brückmann‘s diploma show “in-situ” makes use of a certain artistic license to explore the imaginary extension of the visible. Which, at a very basic level, means painting design classics such as the Eames Lounge Chair or Barcelona Chair onto photographs of otherwise unspectacular rooms. The result is an excellent, thought provoking “reality”.

All in all gute aussichten 2009/2010 presents 104 pictures, 2 slide shows, 2 DVDs, 2 books, one container and  various displays.

“gute aussichten – junge deutsche fotografie 2009/2010″ runs at the Haus der Photographie, Hamburg from April 29 until May 30th

Full details can be found at http://www.guteaussichten.org

Gropius Sessel by Georg Brückmann (Foto Georg Brückmann, in situ, www.guteaussichten.org)

On account of the horrendous hotel prices demanded during design week the (smow)blog team camp in Milan.
And that despite last years near-drowning episode.

This year the decision was a real blessing.

Spared the torment of those trapped by Eyjafjallajokull at Milan Airport our return journey this year took us via Weil am Rhein, Vitra and the VitraHaus.

What a difference the weather makes!

When we were there for the opening in February architect Jacques Herzog commented, somewhat solemnly, that the snow and grey clouds shrouded the constructions true grandeur.

Having now experienced the VitraHaus against a clear blue spring sky, and for all with the wonderful cherry blossom, we can now fully understand what he meant. And his emotions that day.

But not just the outside. Seeing the inside of the VitraHaus alive with “real” visitors rather than journalists was also to experience the building in a completely different context.

As ever an experience we can only recommend.

Below a few new VitraHaus photos.

VitraHaus Weil am Rhein; A place to explore designer furniture

VitraHaus, Weil am Rhein

Relaxing at the foot of the Tüllinger Hill, from inside the VitraHaus

VitraHaus Weil am Rhein ... a home from home

Safer Internet Day 2010

9th February 2010, Brussels

Under the motto “Think before you Post” the from the EU funded  Safer Internet Day 2010 is focused primarily on how one deals with privacy in the internet, especially as concerns young people, photos, social networking sites and chatrooms.

Which is naturally a positive thing.

In essence one of the core reasons that people for all kids, run into problems on the internet is because they blindly believe everything they read.

Previously “the camera never lied”, we know now they can; and so we have transferred our faith in the internet.

But it does as well.

And not just children are naive in their relationship with the internet.
Many adult internet users are, psychologically, at an earlier development stage than most children when it comes to computers and modern technology.

Alone the regularity with which users are taken in by so-called “phising” emails illustrates how many adults simply do not understand the risks that can hide behind a little bit HTML or a clever flash graphic.

The webpage looks nice – it must be genuine.

Mart Stam copies awaiting collection... Bauhaus era products are amongst the most copied designer furniture classics

One of the areas that has blossomed over the internet is the trade in illegal copies of designer furniture classics; for all Bauhaus classics and the works of Charles and Ray Eames.

And regardless how often warnings are given thousands of consumers waste their money – and all too often risk their health – by purchasing the cheap copies.

There are however a few pointers that can help you identify who is genuine and who is only looking to make a quick buck at your expense.

As a general rule the copies are described as being “inspired by” or “in the tradition of” the actual designer: That is assuming that the designers name or the producer is even named; for if the crooks don’t use names, it’s more difficult for the license holder to press charges.

Generic names provide safety for the criminals: but also a large clue for the consumers.

The second big clue is the price.

If the price is too cheap to be true – it’s probably an illegal copy.

There are reasons that some designer furniture pieces cost what they do – and they’re not all to do with greed.

In addition to the investment in the development process necessary to bring such a product on the market; designer furniture is made from durable, expensive, materials. Which is also your guarantee of a quality product that should outlive you and possibly even your children.

The cheap copy may not even see the week out.

The third test is the answers you receive from the customer service department. If the retailer is selling officially licensed products they can prove that and will have no problem providing full answers to questions. The crooks will duck and dive and assure you that all is OK…without being able to back it up.

(smow) only sells officially licensed products from producers such as Vitra, Kartell, Artemide, ClassiCon or Tecta.

Beware of illegal Eames Lounge Chair copies!!! (these are however legal artworks, made from Vitra originals....)

And have no problem answering questions and providing proof that the products are genuine.

An interesting side-project of Safer Internet Day is the cooperation with INHOPE, the International Association of Internet Hotlines.

INHOPE acts as a central registration point for reporting websites with illegal content.
Again principally geared towards protecting children in the internet, there is no reason why users cannot report websites offering illegal copies of designer furniture.

Or perhaps better, tell us.
Should you discover a website offering illegal copies of designer furniture classics let us know, and we’ll not only report them to the responsible authorities but also build a databank of such sites to help consumers shop safely.
And then hopefully we can all have an even happier Safer Internet Day 2011

USM Haller delivery: Eames elephants are helpful but not necessary

In the wake of our “warehouse” post we have received numerous emails along a similar vein:

“It’s OK for yous and your highly trained Eames Elephants; but how do we get our USM Haller furniture into our flat?”

The simple answer – assuming you live in Germany – is “PREMIUM delivery”

Under normal conditions the Schenker delivery crews are only allowed to deliver to the door of your building.

It’s a legal thing.

With “PREMIUM delivery”, however, for a small additional fee not only will the furniture be brought into the room where it is required; but the carrier will also take away the packing for environmentally correct disposal.

Premium delivery from smow: Ideal for USM Haller

Although “PREMIUM delivery” is particularly intended for USM Haller deliveries, it can however be booked for all smow orders.
And while we can well imagine it maybe worthwhile for an Eames Lounge Chair and Ottoman from Vitra that need to be carried up to a fourth floor flat; for a moooi Rabbitt Lamp it would be a bit exaggerated.

Currently “PREMIUM delivery” is only available for deliveries within Germany.
For deliveries outwith (smow) cannot make any guarantees that a similar service is available; but our experienced logistics team will use all their experience and contacts to make sure the delivery meets your requirements and the local conditions.

And in very rare cases the (smow)blog team will deliver the order personally; but only if the weather forecast is agreeable and you can assure us that you can bake like a Greek God/Goddess.
Full details on how (smow) deliver orders can be found on the furniture delivery page.