...If it was used in the workshops and offices of the Nationale Automobil-Gesellschaft, NAG, who, at that time, called the Peter-Behrens-Bau home, or by the wider AEG family to whom NAG was a member, and who so defined the industrialisation of the early 20th century in Berlin, we no know... But it certainly looked very comfortable when we met up with it in the Peter-Behrens-Bau during Berlin Design Week 2024...
...In which context we'd also ask if they must be printed in plastics, would a wood based material be possible, for example the 3D printable cork based material developed by Weronika Wojnarowicz that can be viewed in context of Next: Young European Design at the Kunstgewerbemuseum Berlin?... And 3D printing that also means, and this is where it gets really interesting for us, you can establish decentralised production and supply systems: imagine, for example, if the BVG, the public transport supplier for Berlin, established a small 3D print workshop capable of producing Morari, they could then produce those units they needed, in the colours they needed, when they needed them...
...Admittedly the Dedas sofa by Budapest based designer Annabella Hevesi isn't part of Berlin Design Week 2024... But it is on show at Berlin Design Week 2024...
...Curated by Alexandra Klatt, initiator and driving force behind Berlin Design Week, and staged in cooperation with the European Union National Institutes for Culture, EUNIC, Berlin and the Kunstgewerbemuseum Berlin, the latter also hosting the showcase, the 'Next' of Next: Young European Design isn't to be understood as the 'next generation of designers', or not solely it is also about that, but primarily is to be understood as the 'Next' step for design, the 'Next' challenge for design, the 'Next' direction design must take in context of not only the climate emergency but the many problems in and of contemporary society, both at the micro and the macro level, and at the global and local level... com And for all in or near Berlin Next: Young European Design 2024 can be viewed at the Kunstgewerbemuseum, Matthäikirchplatz, 10785 Berlin, until Sunday May 26th...
...Over the years of these dispatches design weeks in Berlin, in a wider sense design and designers in Berlin, have played a very important role, as can be gauged from the tag cloud in the footer: Berlin is one of our most regularly used tags, and DMY Berlin occurs more often than a great many designers, manufacturers, fairs and other festivals... A DMY Berlin that back in the day we used to essentially live in; like some awkward, artless, commensalistic symbiont we would spend days on end drifting round the event, and indeed round Berlin, feeding, hungrily, from it...
...Vitra A Fehlbaum; A Campus; A Commonwealth According to the Sagas of the Dolls of Wood, that most authoritative account of the early (hi)story of the Commonwealth of Vitra, the contemporary Vitronians trace their origins back to a joining of forces of the Graeter, a Basel based people whose primary trade was the creation of display systems for shops and shop windows, and the Birsfelden Fehlbaum, a primarily office based people at that time under the guidance of a Willi and an Erika; a Willi and an Erika Fehlbaum who not only assumed guidance over the newly united peoples but also instigated a slow expansion of the shop furniture of the Graeter to a collection of items of practical, everyday, use in and for houses, a, at that time, novel accommodation concept in the Basel/Birsfelden region... And a shift away from the Graeter's and Fehlbaum's traditional trades, and an expansion from the Graeter and Fehlbaum's native region, that saw Willi and Erika adopt the name 'Vitra' for the new, shared, dominion, a use of the nominative plural of the Latin vitrum, glass, that was a reminder of the display windows of the Graeter, a reminder of the mirrors and lightbulbs of the earliest joint Graeter Fehlbaum house products, a reminder of the work, and teachings, and lessons, of Hanstheo Baumann, and also a committent to the new transparency and openness demanded in the Europe of that age as it moved on from the terrible and debilitating and thoroughly avoidable World Wide War...
...1 The exhibition Tsuyoshi Tane: The Garden House in the Vitra Design Museum Gallery, and the eponymous Garden House by Tsuyoshi Tane, the latest addition to the Vitra Campus in Weil am Rhein, allow one to approach not only a better appreciation of Tane's positions but also to experience how they influence and inform his approach, his works, his architecture... For all that Vitra is popularly associated with Weil am Rhein, Germany, the company's origins are to be found just across the border in Switzerland, specifically in Birsfelden on the edge of Basel, the association with Weil am Rhein being first forged in the early 1950s, a period when Vitra was still, primarily, a shop-fitting company, if one taking its first, tentative, steps into domestic interiors alongside retail interiors...
