Foldable cardboard chair by Stuart Miller at deignersblock, Milan

We lie: there is a slight order. First up is our favourite chair from the smow design spring: Stuart Miller’s unnamed foldable cardboard chair from the designersblock showcase in Milan. Over the course of the smow design spring we didn’t see any thing that even came to close to capturing Stuart’s simple, practical and comfortable chair. We’ve sadly lost sight of the project a little, and lack the requisite degree in Information Technology to navigate Glasgow Caledonian University Website, If any one knows anything please let us know!! Unnamed foldable carboard chair. Quality seating instrument!

And as of now … In no particular order.

Duct Tape Chair by Jason Miller

Duct Tape Chair by Jason Miller. In our original post from the floor of the ICFF press room we mentioned the similarity between Jason Miller’s Duct chair and Easy by Klausner and Carpenter for Established and Sons. After long and careful consideration, however, we decide to include Duct chair in our tip five. A form sicher and wonderfully comfortable chair, Duct Chair is also not only aesthetically pleasing but intrigues the viewer so shifts from passive chair to active element of a room. Duct Tape Chair. Quality seating instrument!

404 H by Stefan Dietz for Thonet

404 H by Stefan Dietz for Thonet. In our world bar stools count as chairs, mainly because we spend a lot of time on bar stools – having as we do a raised breakfast bar in the kitchen of the (smow)flat. For Thonet Stefan Dietz has created in 404 H a wonderful addition to one of the most tradition-conscious German design houses. In comparison to some other long established design houses, for Thonet tradition if more than just marketing rights tio the name of a long since deceased designer; rather for Thonet tradition means continuing the tradition that made that designer successful and famous – and in the case of Michael Thonet that means innovation.404 H. Quality seating instrument!

And uncomplicated, high quality wooden furniture.

Such as the 404 H.

Vegetal by Ronan and Erwan Bouroullec for Vitra in Milan

Vegetal by Ronan and Erwan Bouroullec for Vitra. Even before the start of the Milan design week Vegetal had already established itself as one of the stars. And it didn’t let us down. Yes it looks like a cheap garden chair, yes it reminds one of Chair One by Konstantin Grcic, but no it is neither of these things. The fruit of four years labour by our favourite porcupine and fox, Vegetal is a wonderful, stable, comfortable and versatile chair perfect for indoor and out. And we’re fairly certain unbreakable. Vegetal. Quality seating instrument!

Bansko Bo lounger chair and Ottoman by Design Apparat

Bansko Bo by Design Apparat. Without question one of the finest proper loungers we saw this spring, and that from one of the best new design studios from the smow design spring. We live in Leipzig, we don’t like nOSTalgia, we do like many elements of the design style that developed in Eastern Europe during the decades of iron curtains, Warsaw pacts and ICBMs. Bansko Bo is a wonderful new design, but one that has its roots unmistakably in the Bulgaria of the 1970s. Looks good, works and will probably last longer than the regime of Todor Zhivkov. Bansko Bo. Quality seating instrument!

Without a doubt one of the freshest and most inventive reading/side table design of late Liesmichl is also an expression of Nils Holger Moormann’s love affair with the written word.
And a rare excursion by the southern German firm away from 100% wood furniture.

The genius of Liesmichl is not the wonderful holder on the top where you can safely and securely place your open book, nor is it the small shelf for drinks and snacks, nor is it the clever use of the base structure as storage space for further books.
No the real genius of Liesmichl is that all this exists in one beautifully proportioned side table.

We’re biased.. we admit it, but watch our video on (smow)tube, have a look at the pictures at moormann.de and you’ll see that we’re not unjustly biased.

All details regarding sizes, colours and prices at smow.de

Liesmichl by Nils Holger Moormann for Moormann - available from smow

In agreement with the predictions of futurologists, we see the house as an instrument of life that can satisfy a number of precisely defined needs

Joe Colombo

The possibilities presented by the extraordinary development of audiovisual processes are enormous…… Distances will no longer have much importance; no longer will there be any justification for the ‘megalopolis’….Furnishings will disappear…the habitat will be everywhere… Now, if the elements necessary to human existence could be planned with the sole requirements of maneuverability and flexibility…,then we would create an inhabitable system that could be adapted to any situation in space and time…

Joe Colombo

Kete by David Turnbridge

The Top 5 Lamps from the smow design spring. In no particular order.

Kete by David Turnbridge. One of the first lamps we saw in Milan, and probably that which left the greatest impression on us. And not merely on account of its size. For us the principle beauty of Kete is the atmosphere it can create in a room with it 7W LED element. And despite their overproprtionality Kete doesn’t domiante the room. Honest. Kete. Anything but dull.

moooi.

Beachballs by TOBYhouse at designersblock, Milan

Beach Ball Lamps by TOBYhouse. When we first saw Beach Ball Lamps we thought they were made from shaped aluminium. So stable and rigid are they. Only after entering into converstaion with designer Toby Sanders did we discover that they are real beach balls. And that was when the product became magic. That was the moment when we realised and appreciated just what a product we had before us. And that was the moment when we started to investiagte more carefully. Through a specialy developed process TOBYhouse coat the inside of the balls with a thin polyeurethene coat, before cutting the bottom open and rounding the edges. And with it’s brillant white interior Beach Ball Lamps offers an excellent illumination. Beach Balls Lamps. Anything but dull.

moooi.

Flatline by Jason Brugges for Established and Sons

Flatliner by Jason Bruge for Established and Sons. We don’t own an iPod which is probably why we took a couple of minutes to get the hang of the control system. Had it been based on an MD player we would have got the hang of it much quicker. However, once up and running we were in awe of Jason Bruge’s genial dimming system. And the quality of the illumination generated is every bit as convincing. If you don’t know what were talking about, check out our (smow)tube video. Flatliner. Anything but dull.

moooi.

Fiss Family by My Own Super Studio

Fiss Family by myownsuperstudio. DMY in Berlin was full of lamps. We’re not exactly sure why but we’re fairly certain it had something to do with students being set lamp design as part of their final year project. A sort of conspiracy among product and industrial design lecturers to make earth shine more brightly than the sun. Fiss Family by Portugese outfit myownsuperstudio wouldn’t have been much help in such a plot, but was without doubt one of the finest lamp ranges we saw this spring. For us the beauty lies in the fact that the light flows downwards; consequently, they don’t produce the brightest illumination, but that which they do produce is amongst the softest we saw this spring and certainly the best intended for a living room or office when you want a gentle background light or constant, atmospheric illumination. Fiss Family. Anything but dull.

moooi.

Spin by Tom Dixon

Spin by Tom Dixon. Not a lamp in the popular, modern electrified sense. But then were not sticklers for convention. Correctly used candles can offer a better, more positive illuminaton than their modern cousins. The trick is the “correctly used” part. With Spin Tom Dixon offers a wonderfully stylish opportunity not only to illuminate a space as we want it, but also to change the illumination as and when required. Spin. Anything but dull.

And a special mention goes to moooi for their Horse Lamp.

Eames Lounge Chair by Vitra - The classic view of furniture as an heirloom ...

Our (smow)twitter recently brought our attention to an article at worldchanging.com about what the author termed “Heirloom Design“

In the article Adele Peters discusses sustainability, durability and for all “What makes something worthy of passing down through generations?”

Peters decides that the future monetary value, the usefulness and sentimentality play a role; somewhat bizarrely in respect of sentimentality , she states: “…designers can aim to create products that inspire emotional responses.” Sentimentality is of course never something a designer can aim to achieve, rather is something abstract that develops through the nature of the relationship you have with an individual product. But more on that later.

... however, Mr Impossible by Phillipe Starck for Kartell, is also a product that can be enjoyed for generations

For us, however, the main point that Adele Peters misses in her highly readable article is that “Heirloom Design” isn’t “new”; rather, it has always existed.

In the past designing and constructing furniture to have a eternal life span and to be kept within a family for generations was normal. However, in the fast moving consumer culture that has overtaken The North since Thatcher freed us from guilt we’ve kind of all lost sight of that a little. And at this juncture you’ll forgive us if we don’t discuss the role of everyone’s favourite Swedish producer, but you get the drift. And because we’ve forgotten that one can pass furniture on to the next generation “Heirloom Design” can be presented as a “new meme”.

AC 4 by Antonio Citterio for Vitra - 54% recycled and 95% recycable

However for producers such as Vitra, USM Haller or Moormann and their designers, creating products with a long life span is part of the normal product development process. As we have often stated, and will probably never tire of repeating, with, for example, the Eames chairs from Vitra or the complete system USM Haller elements, practically every component can be replaced if required. They are truly articles that once bought will outlast the owner and the owners children. And which will be used every day by all.

Just far too many people think that designer furniture is expensive and that to buy a product that will last more than four months involves an investment beyond the average mortal soul.

Random Light by Bertjan Pot for moooi

In her book “Antiques of the future” – we hate the title by the way, but enjoy the project – Lisa S. Roberts presents her collection of items she believes will increase in value in the future. Included in the collection are products such as Algue by Ronan and Erwan Bouroullec for Vitra, Louis Ghost Armchair by Philippe Starck for Kartell or Random Light by Bertjan Pot for moooi. These are not especially expensive products, nor are they products that in all honesty are likely to increase greatly in monetary value.

They are, however, every day items that you would use and interact with, without even necessarily noticing them. And because of this they are items with which you develop a bond and which through their function and familiarity become part of your identity and as such something that you want to pass on the next generation, just as much as your Rolex watch, Mont Blanc Pen or Gangsta Lean record storage units. That’s the sentimentality that Peters’ means and that has nothing to do with the Bouroullec’s or Philippe Starck, rather us. The designers just make the relationship possible. (For more on Philippe Starck’s own assesment of his role in such check out our (smow)tube video)

214 from Thonet, also an heirloom if looked after properly

And the wonderful part is that because they are well made, high quality products whose development was painstakingly undertaken and in many cases where whole new production processes had to be developed just to create the goods – you can pass them on. And your kids will also be able to pass them on. And their kids. And theirs … ad infinitum.

And that without lumbering the future generations with an unpayable debt.

Designer clothing is all about the designers name, art is all about the artists name, designer furniture, however, is about products created to fulfill a function. OK one or the other designer can afford to buy a couple of pair of shoes and is occasionally photographed at a star-studded party.

But the designers name isn’t just the brand much more it is the guarantee of quality.

And so we say a hearty yes to “Heirloom Design” but lets not call it such, the PR monkeys take up enough of our time, lets call it simply “designer furniture“

Liesmichl by Nils Holger Moormann for Moormann

Liesmichl by Nils Holger Moormann for Moormann.
If there’s one thing Moormann excel at it’s producing book friendly furniture. From the outrageous Bookinist over the classically overtoned Bookstabler and onto the book-friendly desk Kant, the Allgauer always seem to have readers at the forefront of their thoughts. And Liesmichl is no exception; space for books your going to read, a place to safely lay the book you are reading when you need/want a break, and a place for your drink and snacks. And if your not convinced check out Nils Holger Moorman on (smow)tube. Liesmichl. Top Table.

Tints by Jason Miller

Tints by Jason Miller.
As we were young scallywags causing mayhem and heartbreak wherever we got the chance, sweeties shone in a wonderfully opaque way. It may have been the memory of those care-free days that first drew our eye to Jason Millers Tints. Or it may have been the gorgeous way the legs fit into the frame, the optic caused by the wood/glass combination. Or it may have been Jake’s glasses. Regardless, however, of “why” we are glad we were drawn to Tints. Beautifully crafted, familiar and inviting in their styling and fresh in their design Tints are truly a table range that can and will provide pleasure in a number of setting. Tints. Top Table.

Flip by Alexander Seifried for Richard Lampert

Flip by Alexander Seifried for Richard Lampert.
If you were to hold us, upside down, over the edge of our balcony by our ankles, we would probably admit that Flip table standing in the corner of our balcony is just a few bits of metal welded together.
But then so is a 1954 Corvette Convertible, Blue Flame Six
With it’s wonderfully timeless elegance, smooth action and universal functionality Flip is a wonderful table for all who have limited space, know how to enjoy the space and don’t want to compromise when it comes to high-quality furniture. Flip. Top Table.

Adenike by Bao-Nghi Droste

Adenike by Bao-Nghi Droste
Admittedly less of a table, and more of an independent work station, Adenike nevertheless makes it into our Top Five Tables. Beautifully crafted, functional, practical and aesthetically charming Adenike is a product that truly achieves the aim the designer set themselves. And despite it’s intended function as a meeting point, we know that if we had one here in our Lower-East Plagwitz Village office we would spend a good deal reading the paper on it, sleeping on it and using it as a refuge from the daily chores. Adenike. Top Table.

ETR by Charles and Ray Eames from Vitra

ETR – Elliptical Table Rod Base by Charles and Ray Eames from Vitra
As if proof were needed that only new design can be good. In Milan we saw the Eamse’s ETR for the first time “live”, as it were, and were truly blown away by it. There is something about the height of the table – or possibly the height to length ratio – that gives the ETR a regency that few other pieces of furniture can ever hope to reach. Laissez fe surf-styling combined with Bauhaus bent steel elegance. Gorgeous. ETR. Top Table.

And a special mention goes to Table Fights. Hasta La Vista

Objectified

One of the reasons we never pursued a career as film reviewers is that writing in the dark is so difficult. Compared to those notes that we write in darkened cinemas the Rosetta Stone appears as if it was set in Helvetica 8. And so it is that from our trip to “Objectified” at the IFC Centre in New York, the only words we can clearly read are “organic popcorn”.

It was, and it was lovely.

Fortunately we know people who can read our hand writing and they have now finished the translation enabling us to finish our review.

In short Objectified is “a feature-length documentary about our complex relationship with manufactured objects and, by extension, the people who design them.”

More detailed it is a series of interviews with designers interlaced with scenes showing the design process in action.

Ronan and Erwan Bouroullec at work

There are some wonderful highlights such as Jonathan Ive from Apple talking very openly about his relationship to his designs, Ronan Bouroullec explaining how he is a fox compared to his brother Erwan’s porcupine – at least when it comes to handing technical problems during the design process – and Dieter Rams being Dieter Rams.

What Objectified does very well is draws ones attention to the fact that the design process exists. And lets be honest how many of us were consciously aware of the fact that the Post-It note was designed.

Or popcorn.

In addition Objectified makes clear that despite the often heard “I could have designed that” designing it is not something that is open to us all. You have to truly live it.

Hella Jongerius and team at lunch

Objectified is a wonderfully relaxing 75 minutes in which you can spend just as much time dreaming and thinking about what is happening on the screen as actually consciously paying attention. And yet when you come out you can remember every quote and every scene. Lovely

There were however a couple of points that irritated us. Firstly everything is so clean. Everything. Design however is a dirty process. And a stressful, revolutionary process. This side of design isn’t captured

The day after we saw Objectified we were present at ICFF discussion during which Pierre Nicolas Grohe from bathroom producer Hansgrohe explained some of the problems they have, for all when a designer produces something that pushes the existing technology beyond what is currently possible. In many cases whole new production processes have to be developed simply to produce a chair. Ronan Bouroullec attempts to achieve his goal through diplomacy and contact, brother Erwan through instance and challenge. The Fox and the Porcupine.

Anthony Dunne and Fiona Raby enjoy Tom Vacs from Rona Arad

That no-one who uses your product will ever appreciate the blood, sweat, tears and gin that flowed to create it, doesn’t matter.

Yet Objectified is generally only people sitting round in clean rooms making very clean drawings or having uncluttered discussions in an orderly fashion. A bit more grime would have been appreciated.

And then there is the obviously recreated scenes in design studios. Yes one can understand the need to visualise the process rather than relying on interviews, but for us recreating scenes in a documentary and not highlighting them as being such always detracts a little from the authority of the work.

A further point that annoyed us a little in New York is that the majority of the crowd were obviously designers or involved in “design” in some way. There weren’t an awful lot of “lays”

And that is a shame, because Objectified is great film for all those who genuinely know nothing about design but know, roughly, what they like.

Dieter Rams and Gary Hustwit put the world to rights

Good design is like good wine – one can bore and hypothesise at great lengths about it, or one can just enjoy it and be thankful that you weren’t the poor fool who spent 16 hours a day in the studio and/or vineyard.
Despite the small reservations, for us Objectified is well worth the trip and should it be showing in a cinema near you, do try and get along.

You probably only get the organic popcorn at IFC Centre however.

(PS and we will send an official Objectified postcard to the first person who correctly identifies the pun in the first paragraph. Entries to blog@smow.de)

The NYC Post Police - tailed our every move and word

Your (smow)blog team didn’t become the internationally feared and monitored crew we are simply because we travel the world fearlessly attending opening night parties.
Oh no! We achieved our notoriety on account of our excellent network of contacts among designers, producers, critics and delivery drivers. Nothing but nothing passes us by.

As observant readers may have noticed, during our visit to the ICFF we did spend quite a lot of time complaining about the lack of tables in the press room.

And now we must admit that during ICFF we did solve the riddle.
Magis had of course delivered tables for the press room.

Piggyback by Thomas Heatherwick for Magis

In addition to supplying Chair First by Stefano Giovannoni Magis also supplied their wonderful Piggyback tables by Thomas Heatherwick.

Magis are serious and reliable partner, why would they not supply tables?

Only the Piggyback tables became damaged during set-up and spent the show stowed in a store room deep in the bowels of the Javits Centre.

And no-one from the ICFF organisation sought to seek replacements.

Behind the scenes there was a lot of talk of unions and “official processes”, but for us the fact of the missing press room tables summed up ICFF beautifully and underlines why for us it was the weakest and worst organised of the events we attended as part of the smow design spring.

Which isn’t to be interpreted as direct criticism of those who are responsible for the press work, they are also merely a partner of the organiser, and it is they who carry ultimate responsible for the shoddiness: Along with the Javits Center management.

Tints by Jason Miller - one of the true stars of ICFF 2009

The word on the street in New York was that next year ICFF may do away with the press room all together, which is truly a sad indictment on the show and how seriously it is taken. In addition to the established critics amongst the traditional media – alone the vicinity to the New York Times must, must count – America is home to some excellent design blogs, we name alone Core 77 and design milk as two that we follow and read with interest and which amuse and entertain.

When we think of, for example, Milan where from early morning to late evening texts are written, interviews carried out, pictures edited and videos cut in a dozen languages. And then New York where all too often we sat alone on the floor, or when we had company it was inevitably executives from some B2B publication deciding who to sell advertising space to.

Tablefights - we know just how they feel

Instead of further discouraging reports the ICFF should be actively recruiting those who can bring the products to the masses and so encourage other producers to book space. Or should that ugly, dirty and unkempt space at the back of the hall grow even larger?

We will be back in New York next year, not least because we want to kick Ami timber at the 2010 Table Fights Championships – if we attend ICFF, however, remains to be seen.

We made a few fantastic discoveries at ICFF not least Jason Miller, Blu Dot and Iglooplay; three discoveries that more or less justified the air fares. But if that alone is worth struggling with a barely functioning Internet and inadequate facilities to promote an event run by an organisation who lack the ability to place two tables is a room – and that despite having rented some 145,000 net square feet to furniture producers – that remains to be seen.

Adenike by Bao-Nghi Droste

Which was pretty much our third thought upon seeing Adenike by Heidelberg based designer Bao-Nghi Droste at DMY Youngsters in Berlin.
Our first thought was what a fantastic object.
Our second was then, hhhmmm wonderful design, but with the padded surface it is a bit impractical for writing and drawing.
Then we spoke to Bao-Nghi and realised that our interpretation of it’s usage was incorrect.
Although the upper surface is solid enough to allow one to write on it, Adenike should be seen more as temporary work or meeting island. Or simply as a place to withdraw to from a group work situation in the same room and either do some work by yourself, or just read a paper and relax.

Adenike in action - Three designers discuss an object.

The first thing you notice, or better said don’t notice, when you approach Adenike is how it draws you in. You automatically lean on it, use it, interact with it. But because of the quality of the design you don’t notice, it feels natural, feels good.

Adenike has enough space for 4 or 5 people to comfortably work around it, and with it’s own in-built lamp is perfect for checking proofs, finalising documents or even playing poker to wile away a slow afternoon. Sorry to encourage a creative brainstorming session to ensure your company maintains the commercial high-ground.

In addition to beautifully fulfilling it’s intended function Adenike is also a well crafted piece of furniture; you genuinely don’t need to be a carpenter to appreciate the craftsmanship of the joints.

And so after chatting with the extremely amiable Bao-Nghi and testing Adenike, we came to thought three.

Adenike promotes a good working atmosphere

Adenike is perfect for all whose work involves occasional group discussions and/or short bursts of group consultation. Or for those who after a long sitting session creating something, want to stand to check the outcome of their work. And so a wonderful addition for any office looking to base it’s layout on the principles of the Vitra Net’n'Nest concept.

Adenikeis currently not is serial production, and so if you are interested you will need to contact Bao-Nghi Droste direct.