Nature is extravagant, it produces everything in excess. But it also thoroughly reuses all this excess production. Man too produces things on an abundant scale. However, much of that cannot be reused and is often also difficult to dispose of. This is just as true of the interior design industry as of any other, and yet there is a growing number of designers who are making use of the cycle of nature.
With furniture, we arrange our flats, express our style and perhaps even make a visual statement. But we donâ€™t decide whether we like a table or a sofa based on their looks alone â€“ feel and function also play a role. The challenge lies in combining all three factors. With his masterâ€™s project at Folkwang University, the bureau â€śKabinettâ€ť, Tim zum Hoff has even succeeded in directly linking a tactile experience with a function â€“ the bureauâ€™s compartments are illuminated by brushing a hand gently across its surface.
Cologne based furniture designer Thomas Schnur designed â€śThe Factory of Ideasâ€ť for interzum 2017. It is based on a series of innovative and sustainable products by the polymer producer Covestro, many of which are extensively used in the furniture industry.
Smart Home is always on the rise. Devices are networked and can be programmed, light and functions can be operated by remote control. Now, a system from the furniture supplier HĂ¤fele is to ensure that lighting and furniture are controlled by the app â€“ across the manufacturer.
Curt Fischer is today regarded the inventor of directional light. When he took over a machine factory for the production of industrial porcelain in 1919, he was unhappy with the lighting situation in his factory. In the same year he found a solution and established the Midgard brand and started to produce lamps with his company Ronneberger und Fischer. And that in a time, were electric light was in its infancy.
He was one of the most significant architectural photographer in post-war Germany. No one was able to stage the architectural elegance of the 1950s, with its light-suffused foyers and boldly curved stairwells, as seductively as Karl Hugo SchmĂ¶lz.
11 Brussels-based designers are in the MAD OFFICE at imm cologne. The presentation by Fashion and Design centre MAD Brussels promotes the thriving design scene of the Belgian capital. The creative co-working space welcomes anyone to come in, join a brainstorm, (co-)work on a project, or just to share ideas and inspiration.
Stefan Diez is one of Germanyâ€™s most internationally acclaimed designers. His designs are a combination of classic elegance, perfect craftsmanship and an ambitious will to find the right form derived from the material. â€śFULL HOUSE: Design by Stefan Diezâ€ť is a comprehensive exhibition featuring the work of the last 15 years.
The Germans love blue. With 19 per cent preferring this colour, it is ahead of green (14%) and red (13%) by a clear margin. The most popular colour spectrum overall runs from beige (10%) and yellow (7%) through to orange (6%). These are the findings of a representative nationwide survey of 1,000 Germans aged between 16 and 75, commissioned by the German Paint Institute in Frankfurt (DLI / Deutsches Lackinstitut).
The Germania housing estate in the HĂ¶henberg district of Cologne, just ten minutes by car from Koelnmesse, is a remarkable architectural achievement in its own right. Built between 1920 and 1928 on the former grounds of the Germania coal mine, some of the architects involved in its planning were amongst the leading names of the time. The result reflects different architectural styles of the Weimar Republic that have come together in a harmonious whole as a work of architecture. Even at the time it was considered exemplary for urban residential building. Weimarer Strasse is also home to another special find: no. 15, Paul-Schwellenbach-Haus. A historic house museum has been set up here to convey the feeling of living in the 1920s.