The Wishbone Chair, the Peacock Chair, the Round Chair: the names of the designs by Hans JĂžrgensen Wegner are simple but striking, the same as his works themselves. They unite an expressive aesthetic, practical functionalism and Danish craftsmanship. Thatâs why the Danish furniture designer is one of the most important Scandinavian representatives of post-war modernism.
Konstantin Grcic is one of the most influential designers of our time. Serious and functional, unwieldy and occasionally disconcerting, his works combine an industrial aesthetic with experimental, artistic elements. Many of Grcicâs creations, such as âChair_Oneâ (2004) or the âMaydayâ lamp (1999), are widely acclaimed as design classics. With âKonstantin Grcic â Panoramaâ, the Vitra Design Museum is now presenting the largest solo exhibition on Grcic and his work to date.
From 1968 to 1972, the chemical corporation Bayer rented an excursion boat that was transformed by well-known designers into a temporary exhibition space on the subject of contemporary living. Held during the Cologne Furniture Fair, the forum was used to present the latest developments in interior textiles.
In 1948 London hosted the first Olympic Games after the Second World War. The âausterity gamesâ (as they became known) took place at a time of economic crisis in a city devastated by bombing, but they provided a platform for reconciliation and reconstruction. In 2012 Britain welcomes the Olympics once more, and while the spirit remains, the context in which they are taking place has entirely changed.
British Design 1948â2012 traces those changes by exploring buildings, objects, images and ideas produced by designers and artists born, trained or based in Britain.
A recently opened solo exhibition at the new branch of Parisâs Centre Pompidou shows a selection of the French brothersâ works from the last fifteen years. The more than 1,000 mÂČ of space in Gallery 3 of the Centre Pompidou Metz, which was designed by architects Shigeru Ban and Jean de Gastine, serves the brothers an enormous playground. The two designers have juxtaposed products from Vitra, Magis, Alessi, Established & Sons, Axor Hansgrohe, Kartell, Kvadrat, Cappellini and Ligne Roset without establishing any immediately obvious scenographic link between them. The only thing that seems to connect the works, installations and experiments is an element of playfulness. Perhaps it takes a hall of this size to reveal the extent to which the designers play not just with the scale of the objects and the viewersâ expectations, but with the space itself as well.
A recently opened solo exhibition at the new branch of Parisâs Centre Pompidou shows a selection of the French brothersâ works from the last fifteen years. The more than 1,000 mÂČ of space in Gallery 3 of the Centre Pompidou Metz, which was designed by architects Shigeru Ban and Jean de Gastine, serves the brothers an enormous playground. The two designers have juxtaposed products from Vitra, Magis, Alessi, Established & Sons, Axor Hansgrohe, Kartell, Kvadrat, Cappellini and Ligne Roset without establishing any immediately obvious scenographic link between them.
People spend a considerable amount of time in their lives waiting. And especially waiting in traffic â for the train to pass, the traffic jam to break up or the red light to change.
Back in 2007, this waiting at traffic lights inspired office furniture specialists Vitra to launch a series of exhibitions. For a period of three weeks, six renowned architectural firms are invited to use the Frankfurt showroom to stage experimental installations in a space-consuming scenography inspired by the following question: How can dynamism, standstill and motion be translated into striking form? And while the traffic lights on the busy Gutleutstrasse thoroughfare are red, passing motorists are meant to become participants in the exhibition, at least for a brief moment.
Koelnmesse has commissioned the Rat fĂŒr Formgebung/German Design Council to act as overseers and organizers of the young designersâ exhibition and prize at imm cologne 2011, international furnishing show which is named D3 Contest since four years and was formerly known as inspired by cologne.
Up to 30 new product designs, the work of design students and young designers from around the world, will be preselected and featured in a special exhibition for the eighth time. The jury for the exhibitor prize, the interior innovation award cologne 2011, (due to be held at imm cologne) will then choose the three most talented up-and-coming international designers for 2011 from these nominees. A catalogue will be published on the occasion of the exhibition and the nominated participants will be actively involved in the press activities associated with imm cologne. Entry deadline is September, 19th, 2010
Austro-American architect Richard Neutra (born 1892 in Vienna, died 1970 in Wuppertal), one of the most important representatives of âclassic Modernismâ, was best known for his houses in Southern California. His designs combined light metal structures with stucco elements to create light, pervious ensembles, which he embedded with great sensitivity in carefully arranged gardens and landscapes.
For the first time ever architectural projects will be shown that he realized in Europe in his 10 final creative years (1960 â 1970) at MARTa Herford. He created eight villas, four in Switzerland, three in Germany and one in France. Prominent clients in this period included publisher of the ZEIT newspaper Gerd Bucerius but also figures from commerce and science. And for the first time seven unrealized projects will be documented, which were only discovered in the artistâs estate during research work for this exhibition â for example, a competition entry for the theater Schauspielhaus DĂŒsseldorf.
It is in the nature of human beings to seek the simplest solution. In fact, the idealism of “edle Einfaltâ (noble simplicity) and “stille GrĂ¶Ăeâ (quiet grandeur) pre-dates classicism, and the “less is moreâ principle of modern design has remained a guiding notion through the postmodernist era up to the present.
The exhibition “The Essence of thingsâ illuminates the influences and motifs of a principle whose impact on design transcends time and place. The diversity of this phenomenon is documented in such examples as the legendary Thonet chair No. 14, furniture and product design by Gerrit Rietveld, Le Corbusier, Charles and Ray Eames, Max Bill, Dieter Rams, Shiro Kuramata and Jasper Morrison up to the iPod.
In the exhibition, these objects will be complemented by photos from the fields of architecture, fashion and art. Despite all the rationalisation of method and material, concentration on functional essentials and abstraction of shape up to the very disappearance of things, the principle of simplicity demonstrates its great complexity.