Trends and Design 2010

Transcription

Der Content-Service
der imm cologne zu Design
und Wohnkultur
The imm cologne's content
service for design and interior
lifestyle
10_en
Trends and Design 2010
Content
2
Editorial
Design and interior lifestyle
62 Trend Book imm cologne 2010
Post-Big Bang Aesthetics
4
imm cologne 2010 – A Sneak Preview
New ideas from all corners of the (furniture) world
67 The Trend Book Press Conference in Stockholm
Video Podcast (DVD)
12 D3 Contest - All 29 entries
The Next Designer Generation
68 Designer’s Voice: Cecilie Manz
“Great news!”
28 D3 Contest - Statements
Johanna Grawunder, Konstantin Grcic and
Stefan Diez on the D3 Contest
72 Designer’s Voice: Britta Chantal Tibo,
RoomDoctor
“Wing chairs and wheelbarrows…”
30 D3 Schools
imm cologne: A new school of thought
76 Interview Udo Traeger, Koelnmesse
“We see ourselves as the most modern
furniture store in the world.”
36 Products: Sitting
Multifunctionality in Mat Black
40 Number games: Consistently cosy
44 Products: Sleeping
Sleep on it!
46 Number games: Sleeping through
48 Products: Carpets
Carpets with Character
50 Number games: Tying the knot
52 12 interior lifestyle trends:
Living the future today
60 Short cut: Home trends at the beginning of 2010
At home indoors and out
84 Cologne: Update
Out and about in Cologne
88 Interview Dick Spierenburg
Pure Village: A market square for the fair
92 Trends and Innovations
Successful mix at the imm cologne 2010
98 Content Service: Trend Book Interior Trends 2010
Content Service: Business by Design
100 Imprint/Credits
2 I The imm cologne's content service for design and interior lifestyle: 10_Trends and Design 2010
Photo: Koelnmesse; FAR (IMM10_TD0101_01)
Published by:
Koelnmesse GmbH
imm cologne Presse
Markus Majerus
Messeplatz 1
50679 Cologne, Germany
Tel.: + 49 221 821-26 27
Fax: + 49 221 821-34 17
E-Mail m.majerus@koelnmesse.de
www.koelnmesse.com
Editorial I 3
Editorial
Design and interior lifestyle
At present we are inclined to question everything which,
for decades, we had regarded as a safe bank for our
affluent society: first and foremost, of course, the global
financial sector, but also the principles of growth and
consumption and the ever-faster merry-go-round of innovations. We are looking for a path that leads to sustainability. That goes for our interior culture too. Are trends
actually compatible with this day and age at all?
There is a lot more to interior culture than living with furniture classics and cultivating a certain style. Interior culture is a reflex response to our personal circumstances.
It is about our reactions to the here and now, but also about
the ongoing development of our “hardware”, of the products
we choose. Every time we decide on a certain product, we
are effectively making a statement – in favour of a certain
aesthetic language, an attitude to life, a need, a tradition
or a sense of responsibility. Trends indicate the direction
in which designers, manufacturers and interior designers
are driving this development. The continuous creation of
new product ideas is an inextricable part of our interior
culture that not only reflects change but delights in staging it.
At the beginning of every year, the halls of Cologne Exhibition Centre become the venue for a very special experience, providing a stage for the interiors of the future
and showcasing the entire spectrum of furniture and
interior design innovations. At the bar in Pure Village, the
fair’s new presentation format, exhibitors from Germany,
Europe and all over the world will be getting together to
discuss the latest trends and new products.
Our latest Content Folder is dedicated to the trends and
innovations that will be on show at the imm cologne
2010. In addition to a preview of the first new products,
it presents 12 trends that will influence the way we live
tomorrow. They include predictions about future layouts
as well as selected product and interior trends, illustrated
with a series of specially produced photos.
A summary of the Trend Book explains the current
Interior Trends “Discipline”, “Comfort Zone”, “Rehab” and
“Trickery”. In spite of all the differences between the various styles, one thing seems certain: quality is becoming
a key factor in furniture design. By the way: the enclosed
DVD also includes a podcast of the Trend Book press
conference in Stockholm, as well as a host of explanatory
texts and an interview with designer and Trendboard
member Cecilie Manz from Copenhagen.
This folder also focuses on the imm cologne’s D3 Design
talents event, where colleges, students and graduates
can present their work and make important business contacts. The D³ Contest, which will again be presenting an
array of inspiring prototypes by next-generation designers,
has established itself as a particular highlight that draws
manufacturers and designers like a magnet.
The two insider interviews with imm cologne chief
Udo Traeger and exhibition designer Dick Spierenburg
provide some interesting insights into the development
of the trade fair concepts as well as background information on the imm cologne and its new Pure Village
format.
To make your stay in Cologne all the more enjoyable,
we’ve also compiled a new selection of design-oriented
tips about the city for you and your readers.
As always, you can use the articles and photo materials
free of charge provided they are credited accordingly.
We would ask that you notify us of any publication and,
if applicable, send us some specimen copies. I hope the
material will provide some interesting ideas and look
forward to welcoming you to the imm cologne 2010.
Best wishes from Cologne,
Markus Majerus
PS: Because of the amount of information we have compiled for you, we have included a DVD along with the
Content Folder. In addition to the texts and photos from
this issue, it also contains the two folders published in
the run-up to the imm cologne. All texts and photos –
including those from earlier content folders – are available from our free online content system at
www.imm-content-service.com.
In January, the imm cologne will be opening the new
furniture season again with a comprehensive range of
new products from all areas of interior design. Brandname manufacturers and designers from all over the
world will be presenting their collections and ideas for
furniture, lighting and carpets. Year after year, the Cologne fair manages to show not just a limited selection
but the full diversity of the interior design worlds – from
basic dining rooms to upmarket bedrooms and innovative
designer sofas all the way to extravagant experiments
with form. Platforms like Pure Village or D³ give even the
most unusual ideas an opportunity to find their audience
alongside premium brands and bestsellers. Far from
reflecting a sense of crisis, the first of the new products
reveal their makers’ sheer delight in innovation: a new
look coupled with an undeniable sense of humour reduces furniture like the Lackaffe table by Atelier Haußmann or the Handle stool by TemaHome to its functional
skeleton and formal typology without diminishing its
attractiveness; interlübke’s innovation, presented in the
thoroughly unspectacular-sounding “storage furniture”
category, transforms walls into sculptures full of life and
rhythm; Calligaris, Bretz and Brühl interpret the desire
for more softness in very different ways – sometimes
elegant, sometimes extroverted, sometimes simple and
expressive, but always original and effortless; carpets like
Fabric Squared by kymo and luminaires like Moree’s
Eraser 260 are more than just a textile and a lamp: the
former is nothing short of living space, the latter a symbol of energy-saving warmth. And despite their homogeneous design, classic room collections like the Vico
bedroom range by Gruber+Schlager or the Tao dining
room by Haleywood are breaking away from the boredom
of stoically recited serial monotony with concepts that are
as original as they are convincing. At the same time,
unusual concepts like Ottana, the new classic from
Leolux, are proving that diversity is no barrier to peaceful
coexistence. The design world and the imm cologne have
plenty of space for them all.
Texts and selection: Frank A. Reinhardt
imm cologne 2010 – A Sneak Preview I 5
imm cologne 2010 – A Sneak Preview
New ideas from all corners of the (furniture) world
Photo: Ligne Roset; Ted (IMM10_TD0401_17)
Photo: Leolux; Ottana (IMM10_TD0401_12)
Always a perfect fit
Turnabout time
Peter Maly’s design is proof that even a compact sofa
shape can look modern and elegant. The Ted sofa collection is as comfortable as it is functional. And while its
simple silhouette might be reminiscent of a classic sofa
type, it features a wealth of original details. The armrests
and backrest cushion can be removed or exchanged in
next to no time, transforming the sofa into a day bed or
chaise longue. It can also be connected with a second Ted
sofa to create a corner combination. The armrests are
movable and can be folded down into a resting position.
Ted is a “remix”, a new interpretation of Maly’s Prao sofa
from 1985, which ligne roset produced very successfully
for many years. Ted has been revised and technically
enhanced: the cushions are now more angular thanks to
attractive saddle-stitch seams and the new, visible straps
are very distinctive.
www.ligne-roset.com
The form of Ottana, a swivel armchair by designer
Frans Schrofer, goes back to the classic Chesterfield
chair. Even so, the simple interpretation, comfortable
shape and quality technology make Ottana a thoroughly
contemporary piece of furniture. The chair and stool are
available in several colours and feature elaborate rolled
seams that accentuate the contours. The base is rigorously modern and available in polished or lacquered
steel. The hardness of the seat cushion can be varied
with a lever mechanism that guarantees perfect comfort. A modern armchair that owes its fascination to the
classic Chesterfield design.
www.leolux.com
Photo: Atelier Haußmann; Lackaffe (IMM10_TD0401_01)
Photo: Bretz; Kautsch (IMM10_TD0401_02)
Perfectly-formed primate
Plush retro design
“Lackaffe” is a height-adjustable powder-coated iron
trestle that can be used with a wide range of different tops
and boards for a multitude of looks and usage options –
the possibilities are almost boundless. Whether you’re
after a smart or rustic effect, Lackaffe provides the optimal
footing for an individual piece of furniture. Brothers
Andreas and Rainer Haußmann have helped trestles
make a comeback and produce the design the traditional
way in small artisanal workshops in Berlin. The idea for
the shapely support originates from Hamburg designers
Thesenfitz & Wedekind.
www.atelierhaussmann.de
Bretz has taken Grandma’s floral armchairs and puffed
them up to new, voluminous dimensions. But the sofas
in the Kautsch series aren’t just full of hot air: thanks to
specially hardened inner springs and precisely positioned,
high-resilience cold-cure foams, the body sinks gently
into the depths of the upholstery. The lines radiating from
the centre form upholstered compartments that snuggle
round the body. At a purely visual level, Kautsch looks like
a clichéd exaggeration straight out of a comic. In reality,
however, the upholstery collection is merely adapting to
people’s all-too-real need for colour and cosiness in their
comfort zone – where, according to the imm cologne’s
Trendboard, they are seeking refuge from the crisis and
taking it easy on cake-like sofas and pouffes (Trend Book
Interior Trends 2010). Kautsch is also a contemporary
interpretation of the traditional brand’s cosy couches of
yesteryear.
www.cultsofa.com
www.bretz.de
Photo: Brühl; Powder (IMM10_TD0401_03)
Photo: Haleywood; Tao (IMM10_TD0401_08)
Avant-garde form with a dash of poetry
Modern frame
An armchair you can sink into without sprawling. The
clean-cut circular armchair and sofas present a femininely
flared, A-line silhouette. Sitting on powder evokes a sense
of dream-like security that wraps itself around the user
like a comforting blanket. The severity of the armchair’s
outline is offset by the lightness with which it rolls across
the floor on integrated casters. The sofa, however, stays
put. The same finesse and pronounced instinct for form
are apparent even in the accentuating seam details of the
fabric and leather-covered models: geometrically distinct
on the cone-shaped incision of the armrests, filigree and
linear in the rounded corners of the armchair and sofa.
The slightly curved dividing seam of the backrest and seat
carcass playfully draws attention to powder’s subtle deviation from the norm. Covers in fine leather and textiles like
wool felt and bamboo add a touch of glamour.
www.bruehl.com
The Tao collection of wood dining room furniture by
Haleywood is a prime example of the high design quality
of many of the new products in the imm cologne’s Basic
segment. Massive and severe in its cubic vocabulary, the
design tries to establish a balance between space and volume, conveying an impression of rustic elegance. The play
of the empty spaces in the frame opens up a window that
can be used for decoration and adds depth and lightness
to an otherwise heavy form.
www.haleywood.com.sg
Photo: Gruber + Schlager: Vico (IMM10_TD0401_05)
Airy dreams
Despite the solidness of its construction, the individual
elements of Vico look anything but heavy. Instead they
seem to avoid ground contact, preferring to hover just
above the floor. A hint of Far Eastern aesthetics gives the
bedroom collection consisting of bed, bedside table and
chests of drawers additional lightness. A solid wood frame
with no visible joins, clear lines and striking geometry
holds the mattress, a soft, couch-like cushion invites you
to relax. And there’s no need to put Vico up against the
wall: it looks just as good as a stand-alone in the middle
of the room. The matching bedside table is round, demonstratively flaunting its autonomy from the visual vocabulary
of the bed. The upper section swivels open to reveal lacquered storage space. The bedside table is covered with
high-grade cowhide that matches the colour of the leather
cushion on the bed. The dressing table is a real gem:
once the lid has been opened, the flap can be pushed in
to permit a comfortable sitting position as you apply your
(IMM10_TD0401_06)
(IMM10_TD0401_07)
make-up in front of the illuminated mirror. Handy drawers
provide neat storage for make-up utensils.
www.gruber-schlager.com
Photo: interlübke; Reef (IMM10_TD0401_10)
Eye-catcher
interlübke’s reef cabinet, designed by Eva Paster and
Michael Geldmache, will be making its debut at the imm
cologne 2010. A relief of nested doors picks up on architectural trends with different depths to create a new
interpretation of storage space. reef is a very special
piece of furniture that unfolds its effect just as successfully in small rooms as it does in larger spaces. The
interior fittings can be adapted to suit individual requirements. A genuine surprise – inside and out. When used
to fill the entire width of a room, the cabinet range opens
up a wealth of new design possibilities for walls and
partitions, transforming their surface from a neutral
background into an organic structure – like the reef that
gives it its name.
www.interluebke.de
(IMM10_TD0401_09)
Photo: kymo; Fabric Squard (IMM10_TD0401_11)
Photo: Calligaris; Fashion Supersoft (IMM10_TD0401_04)
Going to ground
Dressing up the sofa
Who needs a sofa? Diversity is the central idea and life
philosophy behind Fabric Squared, for as the Japanese
realised long ago, you don’t actually need much in the
way of furniture as long as you’ve got a good carpet. A
fabric cover with an embossed dimple structure is pulled
over a core of visco-elastic polyurethane foam to create
the perfect and exceedingly stylish mat for a host of
different activities: your daily yoga or fitness workout or
a cosy chill-out with a good book and a cup of tea. The
carpet comes with an aha-experience thrown in: thanks
to its memory foam, dents caused by pressure – such as
footprints – fade away rapidly until the carpet regains its
original homogeneous surface tension.
www.kymo.de
The elegant “Fashion Supersoft” sofa by Calligaris
promises a sense of stylish security and gives no immediate hint of its considerable versatility. For despite
its classic design, this sofa is anything but timeless. The
two-coloured fabric covers can be replaced effortlessly
and are available in a wide range of colours and materials:
a fabric sofa can be transformed into a leather couch in
next to no time. In view of the inviting design, however, its
affinity with fashion seems almost secondary. The form
manifests Fashion Supersoft’s visual independence and
guarantees you’ll be sitting comfortably however the two
of you are dressed.
www.calligaris.it
Photo: Moree; Eraser 260 (IMM10_TD0401_13)
Photo: TemaHome Handle (IMM10_TD0401_16)
Block of light
Small, practical, colourful!
Why make things complicated when they can be so
simple? The Eraser luminaire turns dimming the light –
a process that normally takes place within the concealed
technology of the switch – into an intuitively understandable event. On top of that, the way it resolves the difficulty
of dimming an energy-saving lamp is as elegant as it is
functional. The Eraser 260 light cube radiates a pleasant
light and can be pushed as far out of its shielding aluminium shell as required. The luminaire itself thus
becomes one big dimmer and can be adjusted to provide
exactly the amount of light desired – from a subtly glowing surface all the way to a bright entity that illuminates
the entire room. A genuine design innovation at the imm
cologne furniture show and a lamp that will cut a good
figure whether it’s used on the floor, sideboard or bedside table.
www.moree.de
Handle, the multicoloured stool family from TemaHome,
consists of exuberant, cartoon-like creations that are
captivatingly simple and highly original. Designer Fernando Brizio is famous for his colourful, eccentric style, and
the Handle stool certainly does justice to his reputation.
The wooden frame is coated with fabric and equipped with
a loop that suggests mobility. Brizio deliberately used a
pleasant-to-handle fabric for the loop, giving it a sophisticated hand-sewn look. All you need to store the stool
when it’s not in use is a hook on the wall.
www.temahome.com
[D3] 2010_Contest I 13
[D3]
They are underdogs competing with major league players:
the young designers who take part in D³ Design talents, the
newcomer platform at the international furniture and interior
design fair imm cologne that is now in its seventh year. But
sometimes they manage to steal a little of the glory usually
reserved for established design brands and their creative
professionals. It is usually the first time they have appeared
before a major public. In a no-frills setting, they present
prototypes for which, more often than not, there is no manufacturer. At least not yet. But who knows? Trade visitors at
the imm cologne have long since discovered the D³ Contest
and the winners’ exhibition as a treasure trove of talent.
Photo: Koelnmesse (IMM10_TD0502_01)
The talent forum [D³] Design talents shows which
way the wind is blowing. At the imm cologne, young
designers get the chance to present their original
product ideas alongside the established stars of the
furniture industry.
Design lives from a constant stream of new ideas. And
sometimes from the reinvention of old ones. What’s
crucial is a constant change of perspectives that questions what has already been achieved, penetrates
beyond established aesthetics and ventures to suggest
new approaches. Experimental design thus fulfils an
important function for the entire discipline – by ensuring
continuous input.
The works of young designers are like a fountain of
youth for the professional league. They take a self-confident approach to new technologies and are more than
willing to improvise if it means turning their ideas into
prototypes. And yet young designers are increasingly on
their own: jobs for graduates are even rarer than commissions. Both, they fear, will be in even shorter supply
as a result of the financial crisis. That’s why many
designers have come to terms with the idea of turning
their product ideas into reality single-handedly, either
as spectacular one-offs or in small editions. This has
led to the development of an aesthetic language that is
less indebted to industrial considerations and even less
inclined to compromise. Humorous, unconventional,
flamboyant, ambitious, visionary and sometimes just ingeniously simple – that is the face of young design today.
Creative fireworks in Cologne
That benefits platforms like D³ Design talents and its
international newcomer competition, the D³ Contest. The
exhibition at the international furniture and interior design fair imm cologne sparkles with creativity and has
established itself as a talent forum and creative powerhouse that is highly regarded by the industry and design
scene alike. Six years ago, Koelnmesse and the German
Design Council were looking for a format that would
be just as compatible with the designers’ situation as
it was with the public’s interests. They succeeded: the
[D3]
Photo: Kolenmesse; Martha Schwindling_PÁP (IMM10_TD0501_25A)
curated exhibition in Hall 3.1 is meanwhile one of the
imm cologne’s most popular attractions. Experimental
design rubs shoulders with the market-driven offerings
of the furniture industry, rough prototypes are juxtaposed
with the perfect sleekness of exclusive brands. A spark
of anarchy in a commercial, meticulously organised
world. For American architect and art designer Johanna
Grawunder, it is this contrast between the commercial
and the experimental that makes the imm cologne so attractive. “In the last two years in which I’ve sat on the jury
of the D3 Contest, the presentation has been extremely
good, really amazing, and shown an incredible amount
of talent,” says Johanna Grawunder. “On the one hand
you’ve got a professional selection of commercial design,
and on the other a strong area of purely experimental
design. And the two complement each other wonderfully
because there’s nothing standing between them. Both
sides can learn a lot from each other. It’s an elegant, intense reduction of what happens in the design world, like
the essence of a good sauce.”
Only the best get to show what they can do
Koelnmesse holds the competition every year in connection with the imm cologne. This year 521 young
designers from 43 countries took part, submitting a total
of 649 ideas. The best 29 works will be shown at the
imm cologne 2010. The curation ensures that the objects
shown and the way they are presented meet the contest’s
high quality standard. All students and graduates who
qualified less than three years ago are eligible to enter
their prototypes. The D³ Contest aims to give young
designers a forum where they can present their ideas
for the furniture, lighting, home textiles and accessories
of the future to an international public.
What makes this talent show so special is not just its
competitive character but the unusual generosity of its
organisers. Only those who manage to convince the
selection panel are allowed to exhibit their ideas. But
once this hurdle has been cleared, Koelnmesse invites
the winning designers to take part in the exhibition with
no ifs and buts. “We support the participants by making
sure the presentation of their prototypes doesn’t end up
being a financial burden,” explains Rüdiger Sprave, who
organises the exhibition for Koelnmesse along with
Natalie Köhler from the German Design Council. Those
hoping to qualify for the competition can submit their
entries free of charge – and Koelnmesse organises and
finances transport, travel and accommodation for the
lucky few who get to exhibit their designs. The concept
has proven its worth – a verdict also shared by Munich
designer Stefan Diez: “I really like the Design talents
show at the imm cologne. It’s great that the Cologne fair
has it curated and doesn’t just set up one design shop
after the other as they’re increasingly fond of doing in
Milan. It’s so confusing and usually a real disappointment as far as the presentation is concerned – so much
so that I didn’t even go and look at it this year.”
Colleges as talent generators
Even though the presentation of the competition winners is the main highlight, the D³ design event wants
to offer more than just a good show – it aims to provide
a basis for communication between young, creative
people and experienced professionals and to mediate
between people, institutions and markets. That’s why D³
Design talents also includes the exhibition formats D³
Professionals and D³ Schools, where universities and
colleges present themselves and compete for the best
newcomers. The imaginative installations the professors
and students come up with often bear little resemblance
to conventional information stands; instead they are
independent works in their own right, self-composed
testimonials of the universities’ and students’ credentials
for the creative market. The number of participating
colleges has been growing steadily for years. In 2010,
37 institutions are expected to take part – a unique opportunity to see which direction research and theory are
going in. “We want to offer an attractive package that not
only paints a representative overall picture of the young
scene but offers room for experiments and scope for
new ideas as well,” says Rüdiger Sprave.
This combination seems to coincide with market requirements. Even the sometimes critical imm cologne observer Konstantin Grcic finds this part of the fair particularly appealing: “What I think works very well and
has really established itself is the D³ forum for young
designers. I think the way it‘s done is better than at the
Salone Satellite in Milan, which has got too big and is
sadly totally isolated because it’s in a hall of its own, it’s
no longer part of the fair proper. Cologne does it better,
it’s smaller and I think the curation is stronger too. The
format really benefits from that. This hall is very popular with the public too, and the colleges take it seriously
as well. It’s important for the students, and the manufacturers visit it too. It’s really caught on.” And the fact
that quite a number of the prototypes presented in the
D³ Contest have gone on to find a manufacturer shows
that the Cologne fair’s ambitious project makes sound
sense. For the public and for the designers.
Introduction: Frank A. Reinhardt
Editing of product texts: Stephan Ott
Translation of product texts by kind permission of the
German Design Council
Klára Šumová_Love:
The main idea is to introduce the material wood in different stages of the work progress. The stand is made
of a bark covered trunk, which emerges into a clear baroque curve. This raw piece of wood is complemented by
a machine-cut stick and a simple lighting construction.
The whole concept concludes with adding a huge paper
shader with the fine structure of bark.
IMM10_TD0501_27
IMM10_TD0501_01
IMM10_TD0501_02
Martin Born_Crate shelf:
Remi Bouhaniche_Etirement:
The modules of the Crate shelf can be composed in full
freedom of alignment. This three-dimensional predicate
uncloses applications inaccessible to the typological
wall shelf. Without loss of use value, choreographed
“movements” and sophisticated access paths are as
easily realised as more ordinary setups. Together with
its nuanced palette of colours, the system can be applied
as an active design element.
http://mborn.com
I shaped Etirement on the principle of an organic body
composed by skin and skeleton. In pulling a rod, the
intensity of the light can be reduced and raised according to the distortion of the fabric membrane. In order to
produce a flowing and expressive movement, I concentrated on a very precise and harmonious gesture focused
in one point. In this way, the lamp becomes a temporary
shape creating a poetic time from daily action.
www.usin-e.fr
IMM10_TD0501_04
IMM10_TD0501_03
David des Moutis_Collection Ratio, Quart table:
Stephanie Estoppey_Siluet:
During my visits to a sheet metal workshop for the development of another collection called PLI, I noticed that the
offcuts were growing in number. This observation was
the starting point as well as the aim of this new collection:
to think of a new table collection without producing any
offcuts.
www.david-des-moutis.com
Siluet’s form suggests a sketched outline and plays, in a
fanciful way, with the chaos of clothes on the chair. The
function of the chair back is taken over by a structure
reminiscent of the shape of a clothes hanger. They enable
clothes both to be organised and to be thrown informally
over them – an alternative solution for storing clothes that
have just been worn.
www.stephanie-estoppey.ch
IMM10_TD0501_05
IMM10_TD0501_06
Adam Farlie_Mourning Light:
Robin Grasby_Homework:
Mourning Light is an exploration into perceptions of
archetypes whose understanding is entirely based on
predetermined expectations. One is instantly aware
of the void underneath Mourning Light. One can put
his hands up into the blackness and realise that the
essence of the light – the bulb – is unseen and absent.
The light takes on an uncanniness heigthening our
sensory perception of its form.
www.adamfarlie.com
Designed for the home office/studio, Homework is an
adaptable system which allows the user to customise
every aspect of his workspace. By selecting everything
from surface size and materials to storage and accessories the user can create an environment as rich and
specifically personalised, or as simple and generic as
he requires.
www.robingrasby.com
IMM10_TD0501_07
IMM10_TD0501_08
Alexander Gufler_Berta:
Alexander Gufler_ Axel:
In this shell arm chair, the legs are held firm by the
curved seat and back and, together with the structural
support beneath, form a stable unity. The junction between the two curved surfaces and the legs creates
the armrests. The arm chair impresses with its external
form that has been kept simple and because it is comfortable to sit in. Attention has also been paid to the
ease and cost of production. Berta is made from solid
ash and ash-face plywood.
www.alexandergufler.com
The idea for this chair sprang from a notion of combining traditional furniture construction with CNC router
technology. The Axel chair is made in solid maple. The
steam bent seat and backrest are shaped using CNC
technology and are then put together with the arms and
legs to create the finished chair.
www.alexandergufler.com
Pepe Heykoop_Brickseries:
The Brickchair is my interpretation of a drawing called “all
the chairs I sat on” by James Gulliver Hancock. It is drawn
in a rather childish way but with an eye for every detail. As
children most of us built their world with LEGO or wooden
bricks. An inside construction now allows you to create
nearly everything you can think of. The bricks become a
material to work with. Imagine …
www.pepeheykoop.nl
IMM10_TD0501_13
IMM10_TD0501_09
IMM10_TD0501_10
Robert Haslbeck_Karsten/Rolf:
Robert Haslbeck_Under-Koffer:
The Karsten Box Collection, a series of stackable boxes
in a standard European format is inspired by its plastic
cousins. The boxes, traditionally made from recycled
wood, tell a story from a previous life with each surface
and thus become multi-faceted individual pieces. The
Rolf Trolley makes the Karsten Collection mobile. The
two together bring the flexible stockroom into the home
and the workplace.
www.roberthaslbeck.de
Godfather and inspiration for Under-Koffer was the
wallpapering table. The result is a range of tables with
obvious advantages: easy to carry around, quick to set up,
providing maximum usable surface area and the possibility of being stored in a minimum of space.
www.roberthaslbeck.de
IMM10_TD0501_12
IMM10_TD0501_11
Jessica Hansson_Cabinet filled with shadows:
Sebastian Herkner_Tauber-Cabinet:
A sculptural piece of furniture, which picks up the light
from surrounding light sources and gives it a new purpose in the cabinet. The slats inside the cabinet transform the light into a shadow play of graphical patterns
on the surfaces around. Near the window houseplants
create beautiful figures in the cabinet. Fill it with books,
magazines, collections or just leave it empty and let it
become the jewellery of the room.
www.jessicahansson.se
The inspiration for Tauber-Cabinet, a symbiosis of bench
and sideboard, is to be found in ventilation shafts and
industrial claddings made of folded sheet metal. The
diagonal folds both ensure stability and create a multifaceted surface at the same time. The reflections in the
warm brass surface bring together the piece of furniture
and the room in which it is placed, thus contrasting with
the essentially closed, industrial metal structure.
www.sebastianherkner.com
IMM10_TD0501_14
IMM10_TD0501_15
Studio Joon & Jung_Rocking on the Beach:
kieser + spath_Warp:
For the first time in the history of the earth, the urban
population is larger than the rural population. But living
in a city might cause a nostalgic feeling for nature. On
the one hand, the plastic pipe shape creates a natural
seashore sound. And on the other hand, the shape of
the chair entirely made out of pipes is reminiscent of an
electronic circuit or urban city landscape. Both, sounds
and figures might fulfill your nostalgia for nature and
urban life.
www.joonjung.com
The WARP table turns lingering at the table into a special
experience. Everything that is on and around the table is
reflected in a domed mirror, which is mounted beneath
the glass tabletop. The interplay between material objects,
light and shade opens up new perspectives and changes
the way people act at table. The theme of distorted perception is thrown into particular relief by contrast with the
simplicity of the table’s design.
www.kieserspath.de
IMM10_TD0501_16
IMM10_TD0501_20
Chae Young Kim_Knitted Room:
Sanna Lindström/Sigrid Strömgren_Gand Central:
Lines, generated as fine as possible by 2D vector graphics, were re-interpreted as threads to be braided and
knitted onto hard surfaces. They give a warm and cosy
feeling of knitted and felted fabrics; printed in grey scale
the light and shadow effect adds a 3D illusion. Furthermore, an opaque heat-sensitive ink will increase the
phantasmal vision revealing partly and randomly, as it
gets warm from sun or indoor light.
www.chaeyoungkim.com
During a trip we got lost on our way to the Central Station.
At a newsstand we found a pop-up map which helped us
to find our way. After years the map was rediscovered and
helped us once again to find orientation, now through its
ingenious construction. GRAND CENTRAL is an expandable table that transforms in a spectacular and beautiful
way – from a space saving occasional table to the central
piece of every room.
IMM10_TD0501_17
IMM10_TD0501_18
Johanna Körberg_Flamenco:
Lifegoods_AT-AT Walker:
Flamenco is my inspiration. Flamenco as a dance; the
movement and the powerful expression, how one person
can express so much feeling and bring atmosphere to a
room. I wanted to catch this movement – to capture this
very moment of a strong emotion.
We are fascinated by wood and its codes. We pick up
antique details of cabinetwork and give the object a look
which is totally contemporary due to its dimensions. We
explore the limits of the wooden piece by expanding its
legs and by creating a drawer that functions as a light
dimmer. The lamp is like a science fiction object but
characterised by the warmth and the preciousness of
woodwork.
www.lifegoods.ch
IMM10_TD0501_19
IMM10_TD0501_29
Yi Hsuan Lin_Step Chair:
Emma Fox Derwin / Nigel Groom_xy+z suit rack:
By a simple action of flip over, a new function of the chair
is introduced. Not only does this chair serve as a sitting
furniture, it also serves as a ladder for high level access.
When the chair is flipping over, it approaches the laddershape and has the ability to remain stable.
www.yiiydesign.com
The contemporary man’s xy+z suit rack is elegant, funny
and modern, inspired by the traditional men’s valet
clothing stand. Our suit rack accommodates your entire
ensemble: jacket, shirt, tie, belt, pants and shoes. A single
line, hand formed in three axes from steel, powder coated
with a light texture to prevent clothes from slipping off,
the piece folds up for easy assembly, disassembly and
transport.
www.well-groomed-fox.com
(IMM10_TD0501_21
IMM10_TD0501_22
Markus Maurer_Riga:
Julien Renault_Hand forged aluminium series:
This piece of work began with the question: How can balance be shown and experienced in an object? The result
is the RIGA lamp. A free-moving LED pendant lamp
based on the principle of a mobile. Particularly striking is
the way in which it is suspended with only one wire. The
lamp moves under the influence of the conditions and
external circumstances of the place where it hangs. It is a
lamp that invites one to reflect, relax and dream.
www.markus-maurer.com
My aim was to source inspiration from the archetypal
processes and techniques of forging steel and apply them
to aluminium. The family combines standard aluminium
extrusions with elements made by using forging skills
and details. In order to obtain a rather rough texture
usually found in steel, the aluminium parts have been
sand gritted and finally anodised. These objects are a
dialogue between industry standards and near-craft
techniques.
IMM10_TD0501_23
IMM10_TD0501_24
Johanna Richter_Schaukelkette:
Kilian Schindler_allotment stories/wardrobe:
An accessory for the home that is also a fashion item.
Schaukelkette is reductionist and subdued, but not too
subdued: an item of jewellery for the home. The inspiration for this design came from the antiphonies between
an object in the home and a piece of jewellery. A swingcum-necklace, – a new way of looking at what furniture is
all about.
www.johannarichter.de
The shape of the wardrobe is reminiscent of climbing
supports in the garden. But in the case of allotment
stories/wardrobe, it is items of clothing and accessories
that “overrun” the powdercoated steel framework. Boxes
in a variety of materials can be added to complement the
wardrobe. There, even the smallest pieces of equipment
can find a home.
www.kilianschindler.com
IMM10_TD0501_25
IMM10_TD0501_26
Martha Schwindling_PÁP:
Elisa Strozyk_ Wooden carpet:
PÁP is a chair with a shape derived from a folded sheet
of paper. A key element of the entire design process
was not to lose sight of this feature. Though the seat is
therefore very thin and seems very delicate, it is held
firm thanks to the folding and is surprisingly strong. The
upper part above the enclosed seat is a free-swinging
framework in tubular steel, which serves as an additional
graphic element in the design.
www.marthaschwindling.de
Wood is one of the most original materials. Here the
familiar material appears in a surprisingly flexible form,
its rigidity becomes soft and flowing. The wooden carpet
can lie flat on the floor, but it can also be playfully positioned in the room, and thus becomes an object in its own
right, independent of its original function.
www.elisastrozyk.de
IMM10_TD0501_28
Marc-Samuel Ulm_TriLas:
TriLas is to be seen as a contemporary interpretation
of ergonomics and design in the everyday world of the
workplace. The stool supports and challenges people
working in a seated position and turns their occupation
into an active and deliberate act. Its statically technical
appearance contrasts with the playfully active feeling
one gets when sitting on the stool, an effect achieved by
mounting the seat on an elastomer ball.
www.marc-ulm.de
„
Konstantin Grcic
Photo: Koelnmesse; Andreas Körner (IMM10_TD0502_01)
“What I think works very well and has really established
itself is the D3 forum for young designers. I think the way
it‘s done is better than the Salone Satellite in Milan, which
has got too big and is sadly totally isolated because it’s
in a hall of its own, it’s no longer part of the fair proper.
Cologne does it better, it’s smaller and I think the curation
is stronger too. The format really benefits from that. This
hall is very popular with the public too, and the colleges
take it seriously as well. It’s important for the students,
and the manufacturers visit it too. It’s really caught on.”
www.konstantin-grcic.com
[D3] 2010_Statements I 29
[D3] Statements
“D3 is an elegant, intense reduction of what happens
in the design world, like the essence of a good sauce.”
Johanna Grawunder
Photo: Koelnmesse; Lutz Sternstein (IMM10_TD0502_02)
“For me, its main appeal lies in the juxtaposition of the
commercial and the experimental, and especially the
talent forum D3 Design Talents. In the last two years in
which I’ve sat on the jury of the D3 Contest, the presentation has been extremely good, really amazing, and shown
an incredible amount of talent. In my opinion, it’s this
quality and the generosity with which the imm cologne
invites the approx. 30 selected contestants, helps them
with their prototypes and presents them at the show that
makes Cologne unique. In this respect, it’s as if the imm
cologne is acting as a non-profit organisation, giving the
upcoming designers and students a forum for presenting
themselves on an important international stage without
having to compete with thousands of elitist events by star
designers. So on the one hand you’ve got a professional
selection of commercial design, and on the other a strong
area of purely experimental design. And the two complement each other wonderfully because there’s nothing
standing between them. Both sides can learn a lot from
each other. It’s an elegant, intense reduction of what
happens in the design world, like the essence of a good
sauce.”
www.grawunder.com
Stefan Diez
“I really like the design talents show at the imm cologne.
It’s great that the Cologne fair has it curated and doesn’t
just set up one design shop after the other as they’re
increasingly fond of doing in Milan. It’s so confusing and
usually a real disappointment as far as the presentation is
concerned – so much so that I didn’t even go and look at it
this year. I assume a lot of people have to get into horrible
debt to pay for being there, and then they want attention at
any price.”
www.stefandiez.com
[D3] 2010_Schools I 31
[D3]
imm cologne: A new school of thought
Photo: Hochschule für Gestaltung Offenbach; imm cologne 2009 (IMM10_TD1201_01)
This year the newcomer platform D3 Design talents at
the international furnishing fair imm cologne is showcasing the creative potential of 36 colleges from the
areas product design, interior architecture and architecture. They are presenting themselves to a designsavvy audience with some fascinating design and room
concepts – a magnet and contact forum for design’s
future elite.
The college landscape for designers is a fascinating field.
These days nobody studies at a certain college just because
it happens to be in their home town any more – instead
students choose from an international array of very different types of school with different philosophies and reputations. At the same time, a university’s good name does not
only depend on its professors, but on the performance
of its students as well. Talent powerhouses like the Royal
College of Art in London benefit from the success of
Jasper Morrison’s pupil Konstantin Grcic just as much as
the Hochschule für Gestaltung in Karlsruhe benefits from
the reputation of Grcic-pupil Stefan Diez or the renown of
Werner Aisslinger, both of whom are currently teaching
at the college and supervising student projects.
It’s the kind of scene where people know each other. The
colleges’ relationship network and the way budding
designers present themselves and their work during their
training can be just as crucial for a young designer’s success as his contacts with the industry. His time at college
is not just used to build various more or less spectacular
prototypes, but to work on his own career as well. But it
is the school that largely determines his sphere of action.
Even if only for that reason, the choice of which college
to attend is crucial. The way an institution presents itself,
the way it lets its students show themselves to the public,
the platforms it offers them – these factors can make a
college just as attractive to young creatives as its list of
professors and graduates.
And so the colleges too have long ceased portraying themselves as ivory towers. Instead they present themselves
as cosmopolitan creative workshops that broaden the
horizon and give their fledglings a good start in life. And
what platform could be more appropriate than the international furnishing fair imm cologne which, with its D3
Design talents format, has successfully established a
sophisticated programme for promoting newcomers.
Besides the D³ Contest, which provides a stage for young
designers and recent graduates and not infrequently
leads to future participation in the D3 Professionals show
for independent designers and design studios, the imm
cologne has also created a well-attended forum for colleges: D³ Schools. All three D³ Design talents formats are
clustered in Hall 3.1 and have become a popular sourcing
destination for the industry. Which is why it is usually
considered good form not only to focus on the institution
itself but to present its young, ambitious apprentices to
international trade visitors and the general public as well.
D3 Schools provides a professional framework for presenting course content from the fields of architecture,
interior architecture and product design, as well as outstanding student projects. The academies are given an
opportunity to inform visitors about the orientation of their
research and teaching, and students are given a chance
to make contact with decision-makers from industry,
artisan enterprises, commerce and associations. Even
the inexperienced youngster can prove he has serious
potential as an idea-giver for interiors and furnishings.
In 2010, colleges and universities from all over the world
will be represented at the imm cologne. First-time exhibitors from Columbia, New Zealand, Russia or Japan
will be giving the forum a particularly international flair
this year. And the chance to see how they approach the
field of design isn’t only of interest to young people looking for the right alma mater, it provides some fascinating
insights for anybody else who visits the exhibition too.
The schools themselves are responsible for the design
of their fair stands and exhibition space – and the professors and students seize this opportunity to demonstrate
their creativity with both hands. The sometimes extremely unusual installations have nothing in common with
conventional information stands. They are often an
aesthetic highlight in their own right, presenting a sophisticated interior design concept or telling their own
design story. The colleges have to pull out all the stops to
create a presentation befitting of their reputation. At the
fair, they vie with one another to exhibit the best design
and room concepts and have the chance to show what
they can do in competitive conditions. During the imm
cologne, an independent jury will present awards to the
best presentations in the D3 Schools show. There will
be prizes for the categories Best Product Design, Best
Architectural Concept and Best Communication Concept.
The D³ Schools show is always good for a surprise. At the
imm cologne 2009, for instance, the HFBK Hamburg put
its visitors in a darkened black box and swung them (we
can only hope they had a good head for heights) across
the putative boundaries of a room, marked out by strips
of light, in order to communicate the idea of a comprehensive design concept that encompasses more than a
single space. The HfG Offenbach transported its entire
workshop to the fair stand and christened it “72 Square
Metres” so as to give visitors an idea of the working
methods and atmosphere at the college. 30 works by
students were displayed to exemplify the design process
and demonstrate the kind of approach the Offenbach college considers particularly important. The jury awarded
this installation the prize for Best Communication
Concept on the grounds that “The presentation communicates the entire process of joyful creativity".
When it comes to establishing platforms for their students,
the colleges’ inventiveness extends far beyond the Cologne
fair. The city’s “own” college, for instance, the KISD (Köln
International School of Design), recently opened its own,
centrally located shop where its students and those of
its partner colleges can sell their products and services.
The product assortment ranges from clothing, furniture,
graphic arts, audio, video, accessories and information all
the way to food: a unique collection of prototypes, oneoffs and limited editions for anyone interested in design
or just looking for an original gift.
Photo: HFBK Hamburg; imm cologne 2009 (IMM10_TD1202_02)
Photo: HFG Offenbach; imm cologne 2009 (IMM10_TD1201_04)
Photo: HFG Karlsruhe; imm cologne 2009 (IMM10_TD1203_04)
The Hochschule für Gestaltung (HfG) in Karlsruhe has set
up a similar, more virtual interface with consumers. It recently launched its own label, the “kkaarrlls” collection,
consisting of around 20 items in limited editions, all of them
developed by students and alumni during their studies. One
of them is Kilian Schindler, who was solely responsible for
the college’s stand at the imm cologne 2009. Schindler
wrote his dissertation about the aesthetics of German
allotment gardens, concentrating on certain aspects and
putting individual elements in a new context. The familiar
monoblock plastic chair, for instance, was reduced to its
contours but reinvented as a lavish piece of wrought ironwork. The omnipresent eyesore in white plastic is thus
transformed into a scarcely perceptible chair that recedes
discreetly into the background as nothing more but a
frame for holding cushions.
It’s hardly surprising that the HfG and Kilian Schindler are
succeeding with their strategy. Not for nothing did the jury
at the imm cologne 2009 award the prize for the Best Architectural Concept to the Karlsruhe college. It is an incentive for other schools to launch their own initiatives – and
position themselves at D³ Schools as committed teachers
and successful mediators between the creative sphere and
big business. Word has spread that the imm cologne is an
ideal launch pad, as the record attendance of 36 colleges
and universities goes to show.
Further information:
http://www.hfbk-hamburg.de
http://www.hfg-offenbach.de
http://www.hfg-karlsruhe.de
http://www.kisdshop.de
www.imm-cologne.de
Photo: Köln International School of Design; Shop (IMM10_TD1204_01)
Even if low, super-deep couches have been dominating
the aesthetics of the sofa landscape for years, sitting is
becoming an increasingly individual affair and seating
furniture increasingly multifunctional.
Folding backrests, adaptable pelvic supports and adjustable seat heights: the sofas and chairs of the future will
adapt to our bodies, not the other way round. Shaped
according to the latest ergonomic findings, they stabilise the spine and give it the necessary support. Who
wants to end up with backache every time he watches
an epic-length film from his favourite spot in the livingroom-come-home-cinema? And if the seating looks
great as well, all the better. The trend is very definitely
towards mat black.
Text and selection: Lars Mörs
Products: Sitting I 37
Products: Sitting
Multifunctionality in Mat Black
Bending the rules
The design of the two oak-veneered plywood chairs by
the name of CH04 Houdini is the work of Munich-based
Stefan Diez. They were commissioned by e15, a design
label known for its passion for wood. The result: two
contemporary yet classic-looking wooden chairs, one
with and one without armrests, both of them with a novel
silhouette. The backrests and seat frame curve around
the base to form a harmonious-looking seat shell.
Inspired by a technique used for building model aircraft,
thin, two-dimensional plywood boards are bent by hand
around a complexly milled solid wood ring. The balanced
proportions and harmonious tension between form and
material combine to create two thoroughly modern yet
timeless wooden chairs.
Design: Stefan Diez
www.e15.com
Photo: e15; CH04 Houdini (IMM10_TD1303_01)
Photo: add interior; Lean (IMM10_TD1303_02)
Photo: Rolf Benz; AMO (IMM10_TD1303_03)
Sit back and relax!
One thing at a time
Despite its thoroughly straightforward design, the Lean
lounge chair seems to issue an invitation: why not lean
back and relax! It owes its charisma not only to the softly
rounded edges but to the combination of exclusive materials
and traditional craftsmanship as well – the work of Danish
manufacturer add interior. The upholstered shell rests on
a solid oak base. The composition of exquisite materials
is rounded off by a smart leather cushion with decorative
diamond quilting. The elegant yet modest chair was
designed by Danish-Italian duo Gamfratesi.
Design: Gamfratesi
www.addinterior.dk
The modularly designed AMO collection from Rolf Benz
owes its sensuous charisma to the voluminous, soft and
comfortable seat and back cushions that look certain to
deliver on their promise of a comfortable sitting experience. A new kind of pocket-spring core featuring two
different types of vertically offset springs is designed to
provide individual seat adjustment and pleasantly soft
support. The elaborately crafted back and intricate seam
details round off the sensual, luxurious effect of the thick
leather.
www.rolf-benz.com
Photo: Sajica; Agura (IMM10_TD1303_07)
Photo: Hødnebø; Spinnaker (IMM10_TD1303_08)
Naturally warm and cold
90° westwards
You can tell where the Agura sofa by Japanese manufacturer Sajica comes from just by looking at it – its form
and exotic choice of materials give the game away. Admittedly, the sofa doesn’t necessarily seem suitable for
people who like to sprawl out. But for its fans, the unusual
properties of the Japanese material Agura is made of
more than make up for that: igusa, a kind of soft rush,
is an organic, eco-friendly material with a refreshing,
air-purifying effect. On top of that, it is said to regulate
humidity and have antibacterial qualities. Its insulating
effect is a real comfort bonus: it is warming in winter and
cooling in summer. Agura makes the most of all these
properties and appeals to people in search of quality and
comfort with a sophisticated Japanese flair.
www.yamagataya-group.co.jp
The Spinnaker chair by Norwegian furniture manufacturer Hødnebø wears its heart not on its sleeve but on
its back: no fabric, no metal, no leather – nothing but a
genuine sail covers its rear-facing surface. A sail that can
be individually designed. The shape of the chair itself is
also inspired by sails: it is as elegant and dynamic as a
yacht at full speed. The gently rounded form is meant to
provide ergonomic benefits as well – i.e. comfort. The seat
consists of three pads of varying firmness – depending on
where more or less support is required. The rock-andtilt mechanism is activated by the user’s bodyweight. The
chair either adapts dynamically or can be locked into three
different positions with a simple movement. But the real
secret of its incredible comfort lies in the construction:
according to the manufacturer, the hips remain at 90° to
the torso no matter what position you adopt.
www.spinnaker.no
www.hodnebo.no
Number games
Consistently cosy
We spend half our lives sitting: the average German
spends approx. 14 hours a day doing it. After getting up,
he drives to work, sits out the day at the office – around
80,000 hours in an average working life – and drives
home again. After dinner – which he eats sitting down,
of course – he makes for his favourite spot in front of the
television. All of which easily adds up to 14 hours. Include
the average eight hours he spends asleep as well, and
just two hours a day are left for active movement. But
even if a growing number of manufacturers are offering
ergonomically designed seating furniture and the sofa
is till the cosiest place of all, nothing beats a walk in the
forest or park for keeping your spine and joints in shape.
And settling down on the couch for a well-earned rest
afterwards is all the more enjoyable too.
Source:
www.erfahrung-ist-zukunft.de
(Press and Information Office of the Federal Government
of Germany)
Sit in!
A symbiosis of simple forms and inviting comfort is the
hallmark of the new Jalis sofa collection from Cor. Its big
cushions and round, almost edgeless design make Jalis
a visual highlight in virtually any home setting, modern
or classic. The apparently loose arrangement of seat and
back cushions conveys a casual elegance that is just as
good a fit with the 70s as it is with the 21st century. The
furniture is available in various premium materials, from
patterned fabrics all the way to smart leather. Because
its curvaceous form means Jalis looks equally at home
when combined with a different base – such as a custommade pedestal – the feet can be removed completely.
The creative sofa landscape originates from designer
duo Jehs+Laub (see our interview with Jehs+Laub in the
2008 Content Folder “Design in Germany”).
Design: Jehs + Laub
www.cor.de
Photo: COR, Jalis (IMM10_TD1303_04)
Photo: die collektion: Confetto (IMM10_TD1303_05a)
Unfolding potential
Confetto is a modular sofa system that seems to have
mastered the art of reconciling practical multifunctionality,
flawless comfort and modern, unostentatious aesthetics.
On top of that, the system offers several options for individual configurations: two interior widths, four armrest
shapes and various cushion styles permit a wide variety
of combinations. The sofas come with a covered bed surface and bedding box, an optional armrest tray is available
on request.
www.die-collection.de
(IMM10_TD1303_05b)
(IMM10_TD1303_05c)
Photo: Seefelder Möbelwerkstätten; Kurt (IMM10_TD1303_06a)
Powernapping
An unusual solution for seating that wants to be more
than that: Kurt is an ingeniously versatile “two-in-one”
sofa. When open, Kurt functions as a low-lying, highbacked classic sofa with a cubic design and a sloping
seat that allows the user to lean back in a comfortable
position. When the sofa is closed by folding the backrest
forward, it morphs into a uniformly shaped cuboid in next
to no time and can be used as a sofa-bed, bench or even
an office couch for creative naps between meetings.
According to the manufacturer, Seefelder Möbelwerkstätten, Kurt is also the perfect height for a fully-fledged
guest bed.
www.seefelder.com
(IMM10_TD1303_06b)
(IMM10_TD1303_06c)
Sleep – our most important basic need after food and
drink. A person cannot survive without sleep, even if
we tend to shun it for fear of missing out on something.
In order to get a healthy night’s rest, it’s essential that
nothing disturbs our slumber. The bed and covers have
to be the right size, the frame and mattress optimal. We
spend an average of eight hours a night in bed, so it’s
important for our resting place to adapt to our circumstances. But who can really claim to know his stuff in
this day and age? Latex or cold-cure foam? Water? Or
perhaps a good old-fashioned interior-sprung mattress
after all? Which slatted frame is best for which mattress?
Specialised retailers can provide the answers. And on
top of that, it’s the only chance you’ll get for some shopping advice in a horizontal position. The experts can
always come up with an appropriate solution – even for
long-limbed individuals who tower to a height of well
over six feet.
Photo: Innovation Randers; Clubber (IMM10_TD1302_02b + c)
Contortionist
Danish sofa manufacturer Innovation Randers owes no
small part of its reputation to its versatile sofas and their
cheeky, young designs. But whilst Clubber is as accomplished a contortionist as its stablemates, it makes a decidedly elegant impression and is only available in trendy
white leather. Style rules! The sofa with bed and lounge
function combines a modern, frameless design with
classic details like decorative stitching. A soft upholstery
profile and an extremely light-looking, ingenious leg
construction manage to reconcile the retro look with the
spirit of the times. The amazing contortionist is available
with or without walnut armrests. The backrest can be set
in a couch, lounge or bed position. Clubber is upholstered
with pocket springs and premium-quality foam. The single
bed measures a comfortable 200 x 114 cm.
www.inno.dk
Products: Sleeping I 45
Products: Sleeping
Sleep on it!
Photo: Accente; Aura (IMM10_TD1302_03)
Photo: Team7; Nox (IMM10_TD1302_04)
Island of calm
Metal-free
Aura’s aesthetic appeal lies in the visual symbiosis of
movement and tranquillity. The headboard, sleeping surface and foot end seem to form a single, slightly curving
plane. The sleeping surface, which is set in a wide loom
frame, flows over a flat, compact base with lateral extensions for books or a breakfast tray. The side inlays, which
pick up on the colour of the base and accentuate the
evenly curved lines, are an attractive detail. Its unusual
and extremely comfortable design turn the bed into a
safe haven that soothes and pampers the senses. Aura
was designed by Martin Ballendat, a name that stands for
sophisticated, progressive and award-winning furniture
design.
www.accente.com
Nox – like so many products from the Team 7 label – lets
wood do the talking. Treated only with natural herbal oil, it
cuts a sensual, powerful figure. There is nothing to distract
the eye. The box-shaped design relies on the combination
of purism, comfort and the aesthetic impact of its materials.
Clearly visible joins in the wood evoke the tradition of the
old cabinetmaker’s trade and emphasise the elemental
strength of the material. Ingenious details add a certain
lightness to the heavy piece of furniture: the set-back
base makes the bed look as if it is hovering in mid air. The
rounded edges run in opposite directions and join up into
an elegant S-shaped line in the corners. The headboard
is equally sophisticated. Its graceful lines pick up on the
shape of the edges of the bed. Padded and covered with
leather, it supports the neck and serves as a backrest,
making it equally comfortable whether the user wants to
relax and read or sit upright. Its construction is special
too: according to the Austrian manufacturer, the beds in
the Nox collection are totally metal-free!
www.team7.at
Number games
Sleeping through
60 to 80 times
We turn over approx.
a
night. Lying on something too hard is one of the reasons behind this frequent change of position. It increases the pressure on certain parts of the body, restricts the blood supply
and, as a result, reduces the supply of nutrients. Although
changing position compensates for this deficiency, our sleep
cycle is interrupted every time we turn over. A mattress with
the optimal degree of hardness for the individual user can
help ensure more peaceful sleep: from a physiological perspective, turning over 4-12 times a night is quite enough to
ensure optimal circulation. What a shame we always forget
that once we’re asleep.
Source:
www.der-schlafberater.de
Down-to-earth lightness
The cabinetmaker from East Westphalia, a region
famous for its furniture, has developed a complete new
system that promises exceptional flexibility. Algo permits
a wide range of permutations with just a few pieces. The
system is suitable for any kind of bedroom or living room
usage. And because users’ requirements sometimes
change, the furniture can be reconfigured and rearranged
later on. Although Algo’s form places it firmly in the
category of storage furniture, the bed exudes an unusual
lightness and elegance. It’s as if designers Rolf Heide and
Peter Kräling had set themselves the goal of liberating
the sizeable volumes from their heaviness.
Design: Rolf Heide und Peter Kräling
www.interluebke.de
Products: Sleeping I 47
Photo: Interlübke, Algo (IMM10_TD1302_01)
Whether woven or knotted, sheep’s wool or synthetic,
from the Orient or from Europe – carpets are on their
way in again. Especially designer carpets in all sorts of
variations. A growing number of classic product designers
are getting to grips with the barely three-dimensional
floor covering and cheerfully flouting the conventions. 3D
effects, carpets made of wood segments or rag rugs that
are more like a puzzle than a home textile are making
carpets look fresher and younger than they have for a
long time.
Classic designs in subtle shades are just as popular as
loud colours, surprise effects and playful patterns. There
is a huge choice of sizes, shapes and materials for adding
an individual touch to any room. Some add warmth, others signal a certain aloofness. The carpet becomes an
expression of the owner’s personality, which itself can
range from soft and cuddly all the way to reserved. But
regardless of whether the choice of a carpet is governed
by its cool aesthetics or its soft pile: it definitely helps
create a cosy atmosphere. In bathrooms too, by the way,
which are rapidly catching up with classic living space
when it comes to the feel-good factor.
Photo: Jab Anstoetz; Spot (IMM10_TD1304_01)
Heavy quality
The Spot carpet by Jab Anstoetz is an up-to-date frisé
in 44 timelessly modern colours with a pile weight of
2,700 g/m2. There are no limits to the size of the carpet:
customers can order any size they want. The various
grades in the collection are all made from pure new wool
from New Zealand. The high effective pile weight of the
four structures is another indication of the carpets’ top quality. According to the Bielefeld-based family company, a
label famous for its exclusive home textiles, extensive
studies have shown that none of the various grades represent any risk for allergy suffers.
www.jab.de
Products: Carpets I 49
Products: Carpets
Carpets with Character
Photo: Temahome; Furoshiki (IMM10_TD1304_03)
Photo: Schönfeld; Strukturteppiche (IMM10_TD1304_04)
Japanese puzzle
Exclusive footwarmer
The unusual, asymmetrical shape of Furoshiki, a carpet
from Portuguese furniture manufacturer Temahome, makes
this textile artwork look as if it is in motion. At first glance,
you could easily think the multi-coloured pattern had been
randomly generated, although that isn’t actually the case.
In fact it is an interesting puzzle. Its name is a reference
to the popular Japanese art of wrapping gifts. Furoshiki
was created by Portuguese designer Miguel Vieira Baptista.
The pattern is a combination of six different colours. The
carpet is hand-made out of 100% New Zealand wool.
www.temahome.com
The carpets made by the Schönfeld manufactory are
custom-made in Saxony. In Schönfeld’s typical graphic
style, they feature a linear structure created by different
pile lengths. The combination of materials is extremely
variable in terms of colour and combinations. The textured
carpets are hand-tufted out of top-quality linen mix yarn
and wool. No additional backing is used: this ensures the
warmth of underfloor heating can penetrate the carpet
efficiently and means no non-slip coatings or mats are
required.
www.cgg-schoenfeld.de
Number games
Tying the knot
Carpets can range in quality from 15,000 to more than
400,000 knots per square metre. As runners, dirt traps
and cosy islands, they help take some of the hardness out
of life. Besides the material and neat workmanship, the
number of knots is definitely also a quality factor – and one
which, with a little patience, the customer can easily check
and compare with the number stated. All you need is a
ruler. Count the number of knots over a length of one centimetre, square the result and multiply it by 10,000. 5 knots
per centimetre are equivalent to approx. 250,000 knots
per square metre (kn/m²), for example. On top of that,
every section should form a neat square – i.e. approx.
6x6 knots rather than 7x8.
All askew
"Everybody knows the best ideas are born in the bathtub,” says designer Wiebke Hoffmann of her new Tiles
rug for Hey-Sign. The design was inspired by a slightly
irregular arrangement of tiles. Although to start with it
might just look like an unruly composition of felt squares,
closer inspection reveals an extremely clever design in
which the gaps undermine the impression that the individual squares are permanently joined together. Even so,
this carpet is perfectly safe to walk on: the only thing that
slips is your grasp of the facts. Tiles plays a trick on its
beholder – the optical illusion is just about perfect.
The carpet is made of 5 mm thick pure new wool felt.
It is available in the sizes 70 x 200 cm, 140 x 200 cm
and 180 x 240 cm and in 36 different colours.
www.hey-sign.de
Products: Carpets I 51
Photo: Hey-Sign, Tiles (IMM10_TD1304_02)
Furniture looks a little different every spring too, and
style and colour trends change the face of interior design.
But in contrast to fashion, developments in design cannot be entirely explained by changing tastes and the
desire to reinvent oneself over and over again.
Of course the arrival of the miniskirt says something
about our outlook on life too, but the way we furnish our
homes is more than that. It is a direct reflex triggered by
social influences, a response in which our life patterns,
everyday rituals, ideals, relationship structures, consumer
mindset, social conditions, world views and aspirations
express themselves in material form. Anybody who
observes furniture design and interior design eventually
ends up asking not just how but why these developments
occur. The twelve interior lifestyle trends presented here
shed light on both aspects: the aesthetic and functional
features of the products and the motives for current and
future interior lifestyles.
Text and idea: Frank A. Reinhardt
Photos: Karsten Jipp
The photographer: Just plain genius
Graphic designer Karsten Jipp works as an art director
in a large corporate design agency. He lives and works
in Berlin, where he discovered photography as an outlet
for totally unencumbered creativity and soon attracted a
large fan community with the snapshots and artistic scenographies he published on the photocase platform. His
photos reveal the absurdity of the everyday and the poetry
of little things; they symbolise joy and sadness, megalomania and vulnerability. But his pictures are always full
of humour too – and never entirely without sympathy.
The hallmark of his visual language: staging himself as
a protagonist with (all too) human sensibilities. He slips
into any role and doesn’t shrink from any manipulation to
capture his surprisingly clear-sighted perspective of the
world on camera. The staged-yet-spontaneous quality
of his pictures, however, is entirely due to his working
technique: the automatic shutter release gives him just
ten seconds to put himself in the picture.
12 interior lifestyle trends I 53
12 interior lifestyle trends:
Living the future today
01
_Multiflexibility
Photo: Koelnmesse; Karsten Jipp (IMM10_TD0601_01)
02
_Public Lifebase - Private Carebase
Wanted: jack of all trades
Home – the ultimate weapon in turbulent times
Living is becoming more flexible, furnishing a passion.
Some people move house more frequently, others are
content with a spontaneous reshuffle from time to time.
Whether it’s for young or old, big and roomy or small and
compact: furniture has to be increasingly flexible in terms
of positioning, add-ons and usage areas. In the not too
distant future, even shower panels or kitchen elements
could move house with their owners thanks to plug&play
technology. Even today, modular shelving systems ought
to be variably combinable, sofas – with a corner element
that can be attached to either side, of course – and beds
should feature an attractive back so that they can be
placed anywhere in the room, and chairs are only truly
friends for life if they cut an equally good figure in the
kitchen as they do in the living room. Multiflexible solutions at product and floor plan level are the answer to
modern needs. In future, there will be just as little room
for specialisation and rigid form typologies as there will
be for rigid living structures. Walls can, after all, be moved.
Bedroom? Children’s room, study or fitness room?
Multiple-family dwelling, single-family house or combined residential and office building? Who’s willing to pin
themselves down in this day and age?
In the past, it was not unheard of for stressed managers to sleep at the office – today’s flexible employees fall
asleep over their notebooks stretched out on the sofa in
their home office. Nowadays it is virtually impossible to
protect the home from the public eye: it is used as much
for presentation as it is for regeneration. The home is
becoming the control centre and thus the cure-all for
every need, be it of a professional or private nature. It
allows us to do a quick change act between our public
and private selves, to withdraw from the lounge-diningoutdoor area to our private rooms and fight our battles on
familiar territory.
03
_Simple Techness
04
_Spiritual Renaissance
The new culture – technology with understatement
The higher meaning of wellness
Technology surrounds us everywhere. Mastering it completely would be too much for us – but we aren’t willing
or able to do without it, either. The computerisation of the
working world, the multimedia equipment in our living
rooms and system-controlled building automation have
become part of everyday life. We long for the simplicity
of times gone by. A phenomenon that’s already made its
mark on mobile phones will soon start affecting technical
features in the furnishing sector, too: we want fewer
buttons and more comfort and convenience. Rather than
being made a show of, technical gadgets are being integrated: in walls, furniture, beautiful things. At the same
time, our need for functions and security is growing –
especially at home. Our hope: thanks to the convergence
of new technologies, everything will function quickly and
easily, making our everyday lives uncomplicated and secure. “Just click this button” – and everything will be fine.
Then technology will be sexy again!
The health and wellness boom is alive and kicking. But
there’s a lot more to health than yoghurt for healthy intestinal flora and more to wellness than a special shower
gel or a candlelit soak in the tub. The home, and above
all the bathroom, is a multifunctional platform for fitness,
regeneration, cleansing and emotional experiences. And
there’s plenty to do, for nowadays health isn’t merely the
absence of illness. It goes hand in hand with physical
performance, longevity, emotional equilibrium and mental
strength. Healthcare is becoming a spiritual task to which
the home’s materials, furniture and layout structures
have to adapt. Feng Shui and oiled solid wood furniture
were only the beginning – nowadays people are upgrading their homes with Vasati (an integral concept from India based on bioenergetic living and building), pollutantabsorbing wallpapers and magnetic field therapy mattresses. In the private sphere, faith and science can
co-exist in perfect harmony. The occupants’ wellbeing is
all that matters.
05
_Natural Green
06
_Outdoor Living Room
Sustainability? Of course! But how?
At home beneath the stars
It’s not “only” a question of worrying about their own
health and avoiding toxins in the house any more. Consumers have long since internalised the fact that the
natural system we live in needs protection and are asking
questions about the sustainability of the products they
buy. Furniture is less abstract than the debates about
energy sources. It can be experienced with the senses
and is like a visible statement of good will. Environmental
protection makes a difference, even on a small scale. But
where to start? When belief in progress fades, people
seek reassurance in things that have stood the test of
time and go for natural materials. Others try to face up
to their newly accepted responsibility by attempting to
devise sustainable concepts with new technologies and
materials. And so solid wood beds stand alongside cupboards made of modern laminates and recycled furniture
rubs shoulders with WPC* shelving and ultralight chairs
made of polycarbonate and magnesium.
Couch potatoes are so not cool. Whereas relaxing at
home – be it alone, with buddies or business associates –
very definitely is. So why not just bring that street café
and beer garden feel to your own terrace? Gardens are
being professionally designed again, some traditionally,
some with a contemporary motto, some based on Feng
Shui and others with a strictly architectural style. As in
the Baroque, the garden is becoming an expression of
cultivated taste again, nature an extension of our living
space. The boundaries between indoors and outdoors are
flowing, and the furniture defies unambiguous classification too. Weatherproof furniture, be it rustic, playful
or dignified, is adapting to the need for the new outdoor
lifestyle. Especially in built-up areas, the zeal for fresh air
and nature is flourishing despite the urban flair. Opposites
that had hitherto only attracted one another are now
merging in perfection with modern architecture.
wood plastic composite
*
07
_Homing
My home is my world
This trend is probably as old as the clay hut and will no
doubt accompany us for ever. And yet: never before has it
seemed as valuable as it does today, our own little world
with its lovingly designed four walls behind which – symbolically speaking, of course – we can withdraw from the
hostile world outside. It is becoming even more beautiful
as snug, cosy materials and colours spread patchworklike throughout our self-composed homes, along with –
most importantly of all – lots and lots of textiles, some of
them bright and colourful, others subtle and natural, on
walls and windows, floors and all kinds of seating furniture. But these days nobody wants to barricade them-
selves in or hide themselves away any more. Instead the
cocoon is opened up in small doses to welcome the part
of the world that is perceived as related. A network of
friends is making up for weakening family ties and the
dwindling sense of loyalty in the working world. People
want their friends to feel just as much at home as they
do. A spacious area for living/cooking/eating, a generously
proportioned dining table as the focal point and a decent
multimedia setup are all part of modern living. The home
is becoming a prestigious, friendly gesture – it is calling
card and invitation in one.
08
_Interior Concepts
Reinventing rooms
As our moral concepts and life patterns change, new floor
plan models are emerging too. Even today, various living
zones are merging into spacious all-in-one rooms. The
latest architectural concepts propagate one-room homes
in which only the sleeping and private areas are separated
off. The walls between the kitchen, dining area and living
room are falling fast, just as they are between the bedroom and bathroom, which are merging into a private
spa equipped only with such partitions as are absolutely
essential for regulating the indoor climate (but with no
toilet). In the long term, however, the need for more
space and the expansion of the “family” circle to include
friends and guests will lead to greater differentiation of
rooms and their contents again, without surrendering the
spaciousness of a single main recreation room. Rooms
with functions for individual needs – like a computer
corner, playroom, virtual dressing rooms, study, fitness
or meditation room, reading gallery or the good old ironing room – will be used as areas of retreat. That’s just as
feasible in a patchwork house for a patchwork family as
it is in modularly structured rooms for single households.
09
_Clean Cover
10
_Megatrend Design
The art of concealment
Design or perish!
Even though the minimalist furnishing style surrendered
its dominance long ago and has to compete with a variety
of neo-baroque, rustic-purist and sumptuously curved
stylistic elements, the “less is more” maxim has been so
internalised that, for most people these days, a tidy look
is simply a must. Chaotic disorder would only disrupt the
aesthetics we identify ourselves with. And the smoothness needn’t look superficial – it’s just plain smart. Personal and unusual items are integrated into the design
concept without further ado. A series of family photos? No
problem, as long as the colours fit in with the furnishings.
Tangled cables and technical features vanish behind smooth
fronts, can be lowered out of sight or otherwise integrated,
just as smooth surfaces are preferred over a display of
decorative knick-knacks. These aesthetics have become
so well-established that we are visually offended by protruding handles and wild about “push-to-open” technology.
Clean Cover, the art of concealment, is an expression of
the desire for order and perfectionism. It makes us feel
as if we’ve got everything under control – at least in the
showpiece we call home.
A trend that’s become so dominant we don’t even notice
it any more: no design is a no-go. The absence of more
or less well-designed surroundings is meanwhile so
immediately and painfully offensive to society’s sense of
style that we declare battle on it in TV shows, sending a
well-meaning design task force to liberate the distressed
family from their light oak wall units and prescribe a
course of smart, colourful, life-affirming furnishings that
will turn them into modern human beings. Good taste has
become a prerequisite for a healthy sense of self-worth,
and we identify ourselves with our furnishings just as
much as with our clothes. It seems as if the dreams of
the founding fathers of design – the Arts and Crafts Movement, Werkbund, Bauhaus & Co. – might just come true
after all. Today we consider beautiful forms and attractive
surroundings indispensable for our personal well-being.
The democratisation of the design world has long since
become reality.
11
_Good Old Friends
12
_Urban Sprawl
A reunion with old acquaintances
The city as natural habitat
Of course we want to see something new. Like fashion, to
which it is beginning to exhibit an alarming resemblance
in some cases, design caters to the consumer’s desire for
the new, the original and the fresh. And yet many people
are fed up with the modernity-obsessed games with new
forms. Neo-baroque was only the first step towards cutting
the cord with minimalism. Today purist, organic, modern,
ethnic-folkloric and historicising styles in all shapes and
colours are co-existing peacefully. We are experiencing
an eclectic mix of styles in which the accomplished combination of new and old, of the familiar and the innovative,
of concrete and wallpaper is considered modern. Whatever the future might look like, it will be far less futuristic
than designers prophesised back in the 1970s. The chairs,
armchairs and tables of today’s most famous designers
bear a strong resemblance to classics without being mere
copies: different dimensions, a technical upgrade, a material used in an unexpected way or a new constructional
approach for achieving an archetypal form are adapting
tried and trusted solutions to the high-tech age. And
telling us that there’s no need to reinvent the world. Just
parts of it.
The background is obvious: these days family life in the
country seems like a pretty conservative option. Which is
why anyone who can afford to makes sure their offspring
get a good road safety education in early childhood and do
not turn into rural mucky pups, enjoying instead a cool life
in the city complete with roof terrace and backyard idyll,
not to mention the launderette and café round the corner.
Since classic family structures are becoming increasingly
unusual anyway and a growing number of singles and –
thanks to demographic developments – fun-loving overfifties (on their own or living with a partner) want to live in
a household that’s close to the action, cities are becoming
more attractive again. Their dense infrastructure conveys
a sense of security and means everything is within easy
reach. Refurbished and converted industrial buildings or
newly developed harbour districts by the river embody the
ideal of urban living and enhance the city’s image. The more
the surrounding area is developed and cities endeavour to
create green areas, traffic-calmed residential neighbourhoods and a flourishing street life, the more people will
be drawn to urban centres. The new rural exodus stands
for the desire for independence, modernity and, above all,
mobility – whatever age you happen to be.
Photo: Flötotto; Regalsystem 355 (IMM10_TD0901_01)
Short cut: Home trends I 61
Home trends at the beginning of 2010
At home indoors and out
Homing is experiencing a boom. Despite or perhaps
precisely because of the financial crisis, people are
quite happy to spend their time at home, where they
have the freedom to design their surroundings however
they like and are master of all they survey. Living means
spending an average of 340 days a year in one and the
same place: home. People are spending substantial
amounts of time in their eat-in kitchens, home cinemas
and private spas. On top of that, the latest interior design
and furniture trends promise to bring new impetus and
a new sense of fun to the way we furnish, design and
live in our homes. And the individualisation trend that
has been holding its own for years continues unbroken.
As a result, people are attaching growing importance
to original, perhaps even unique furnishings – not only
in their indoor living space, but in the way they design
their garden, balcony or terrace as well. The last season
saw above-average investments in this segment. And –
especially if predictions of a sunny 2010 prove true – it
seems more than likely that sales of garden furniture
will continue to grow. For all the diversity, there are
always certain items of furniture or accessories that are
particularly popular and others that people find it easier
to part from. The following list shows some of the latest
developments:
What’s on its way out?
_Small dining tables
_1-2-3-seater suites without any functions
_Dark rustic kitchens
_Smooth covering fabrics for upholstered furniture
_Bulky furniture
Text: Ursula Geismann,
Association of German Furniture Industries
What’s here to stay?
_The megacolour white for upholstery coverings and
_storage furniture surfaces
_Wall units with flat screen TVs and long sideboards,
_highboards and lowboards
_The “kitchen – dining – living area” as a spatial unit
_Aubergine shades for a dignified splash of colour
_Furniture that looks good from the back too and can
_be placed in the middle of the room
_Adjustable upholstered furniture
_Walk-in wardrobes
_Rococo ornaments as patterns, e.g. as woven covering
_fabrics with a velvet-like surface and relief character
_Cross Design as a lifestyle guarantee: furniture by
_Joop!, Esprit & Co.
_Furniture classics as a timeless value
_Bioethanol fireplaces
_Themed children’s rooms with e.g. a “Princess” or
_“Pirate” motif
What’s on its way in?
_Dining armchairs that you can sit on comfortably for
_a long time
_Garden furniture that looks like living room furniture
_Outdoor kitchens and showers
_Lounge chairs for chilling
_Private spa oases where the bedroom and bathroom
_merge into a single unit
_Large-format dining tables
_Blue covering fabrics
_Dark wood, preferably in combination with glass and
_stainless steel
_Feminine forms: organically designed upholstered
_furniture
_High-gloss and handleless kitchens
_Gold for accentuation on e.g. little cupboards, chair
_frames or decorative cushions
_Greenline furniture
_LED lighting technology in cupboards and shelving
Trend Book I 63
The imm cologne Trend Book
The latest Trend Book from the imm cologne furnishing fair presents
the Interior Trends 2010
Conflicting tendencies dominate the design scene:
the experimental on the one hand and durability and quality on the other
Photo: Interior Trend Rehab; Koelnmesse; Constantin Meyer (IMM10_TBK0203_02)
Photo: Interior Trend Discipline; Koelnmesse; Constantin Meyer (IMM10_TBK0204_03)
Trend Book I 65
experimental designs play with our expectations of the
furniture’s comfort or functionality, staging these expectations as an image that fails to deliver on its promises.
Family-minded, harmony-seeking circles, on the other
hand, are reflecting on the more robust quality of traditional shapes and patterns from all over the world, on
the virtues of the self-made and things that appear to be
self-made (Comfort Zone). The innovation-minded are
seeking the pure quality of the naked, decoration-free
form with a single-mindedness so unyielding it almost
hurts (Rehab).
Photo: Interior Trend Comfort Zone; Koelnmesse; C. Meyer (IMM10_ TBK0202_01)
A rebellious spirit seems to be driving design right now.
Even though not everything can be put down to the global experience of the economic crisis, in the eyes of the
imm cologne’s Trendboard it is nevertheless the driving
force behind the anticipated strong divergence in four
very different directions. The four most important developments for the furniture and interior design industry
presented in the Trend Book “Interior Trends 2010” are
called “Discipline”, “Trickery”, “Comfort Zone” and
“Rehab”.
Despite all the differences, there is one striking common
denominator: in all four Interior Trends, quality is an absolute principle. Whilst more conservative minds want design
to swear an oath of allegiance to the original Bauhaus
aesthetics and demand absolute perfection (Discipline),
the jolly, popular camp is suddenly taking the play with
quotations of classic forms, improvisations and illusions
very seriously indeed and rejoicing in creative quality
as distinct from perfect workmanship (Trickery). Many
This year’s international imm cologne Trendboard, consisting of designers Bertjan Pot and Cecilie Manz, architect and designer Johanna Grawunder, specialist journalist Marcus Fairs and materials and colour expert Giulio
Ridolfo, sees a general feeling of uncertainty as the main
motive for these very different aesthetic developments.
Prosperity and social harmony seem just as much in
jeopardy as the natural balance. In response, creatives
and consumers alike are looking for new answers and/
or consistency in design. That means having a good clear
out and rummaging in the depths of the closet to find
solutions that are viable for the future. After all, any new
commitment is always preceded by a stripping down process, or at the very least the renunciation of old patterns.
Photo: Interior Trend Trickery; Koelnmesse; C. Meyer (IMM10_ TBK0201_03)
The Trend Book
A Reference Work for the Future
For the last six years, the imm cologne has been convening an international panel of experts to identify the
central themes for the interior design of the coming
season: the Trendboard, with an annually changing
line-up that brings together some of the world’s most
influential designers, architects, specialist journalists
and material experts.
During a two-day workshop, organised by the German
Design Council, the panel compares and discusses the
impressions of current tendencies in design and society
it has collected in the preceding months. It isn’t only
current developments in design that are evaluated – the
state of mind and needs found in the relevant consumer
groups are taken as the respective starting point for the
formulation of an Interior Trend. In the next stage, the
manifestations of the Interior Trend are defined in detail
on the basis of material and colour samples. The 72-page
Trend Book depicts these trends with sensitive synopses
of the formal and emotional motifs, lavishly produced
photos and detailed information about the colour values
and material collages. Thanks to its autumn publication
date, the Trend Book is able to take stock of the spring
presentations and evaluate the developments that will
make it to the first major furnishing and order show of
the year, the imm cologne 2010, according to their
potential for the interior design of the future. This definitive book is compulsory reading for the furnishing industry and is available for a nominal charge of 50 euros. It
provides a compact overview of what’s happening in the
design scene right now and is a valuable orientation aid
for exhibitors, trade visitors and journalists.
Photo: Koelnmesse (IMM10_TBK0205_02)
www.imm-cologne.com
Editor's note: Information about the manufacturers and
sources of the products shown in the photographs can be
found in the Trend Book Interior Trends 2010.
Trend Book I 67
Presentation
The Trend Book Press Conference in Stockholm
(09/2009)

Video Podcast (DVD)
Photo: PP Meubler; Clothes tree; Jeppe Gudmundsen-Holmgreen (IMM10_TD0801_02)
Designer’s Voice I 69
Cecilie Manz
“Great news!”
Interior Trends 2010. Her interpretation of the trends
in Pure Village (Hall 3.2) at the imm cologne 2010 is
certain to be a highly interesting installation.
1. What direction is Green Design going in?
I believe the whole vocabulary and understanding of
concepts like “green design”, “eco”, “sustainability” and
so on will become a perfectly natural part of our language
and work, so much so that they’ll be taken for granted.
It will be not caring about these criteria that will be perceived as extreme and wrong. But this process will take
time, it will happen in small steps rather than overnight.
Photo: Cecilie Manz; Koelnmesse; Lutz Sternstein (IMM10_TD0801_01)
Cecilie Manz is considered one of the most prominent
representatives of the young and successful product and
furniture design currently coming from Denmark and was
recently presented with the Bruno Mathsson Award 2009.
Born in 1972, the designer trained in Copenhagen and
Helsinki and has been running her own design studio in
Copenhagen since 1998. Her clients include firms like
Fritz Hansen, Mooment, LightYears, Nils Holger Moormann
and glass manufacturer Holmegaard. Her Minima glass
series has won various words, including the Danish
Design Prize. Besides her glass design, Cecilie Manz is
mainly known for her lamps and furniture. Her poetic approach – at its most obvious in her experimental works,
one-offs and limited editions like the Pluralis chair for
Mooment – is also apparent in her products for a wider
audience.
As a member of the imm cologne’s current Trendboard,
she was one of those responsible for identifying the
2. Are there any new ideas or technologies in Green
Design, and which approaches dominate when it
comes to creating a broader production basis?
Right now design is showing more interest in wood
and other raw, natural materials – you could almost say
because they look “right” and give you an instant feeling
of going in the right direction. The next step, where new
materials are associated with positive effects, will take
more time to achieve broad acceptance – not only with
consumers, but in terms of the production process as a
whole. I also believe there’s a trend towards a new
aesthetic purity or modesty – simply because we’re
pretty jaded with these past few years. Maybe this
movement will continue to go hand in hand with the
“green” approach for a long time. That would be great
news!
3. Will the market support the furniture industry’s
development towards more product sustainability?
I really hope both parties will work together and open
up new ways. It’s like a spiral that just needs to go in
the right direction; then it works.
4 .Are companies tending to rely on established products in the current crisis or are they particularly keen
to innovate?
I see both reactions. Some companies are really eager
to seek new ways, whereas others are just carrying on
as before, but on a smaller scale.
Photo: Fritz Hansen; Essay; Design: Cecilie Manz (IMM10_TD0801_04)
5. Today more and more trends are co-existing alongside one another. Do you see any one dominant trend in
interior design or product design?
More than anything else, a trend is a reflection or a
distillation of everything that’s going on in society. That’s
why we’re seeing such a wide range of different ways
to live, work or dress. Our age isn’t so much a time as a
multi-time: instead of one phenomenon occurring at one
time, we’re seeing a multitude of phenomena all at once.
6. Where – from which cultures, disciplines, media,
industries or scientific fields – is the most important
impetus for trend developments coming from?
All of the above. That’s why collaboration is so important.
7. What signals are you expecting from the next imm
cologne?
I’m actually hoping to see something totally unexpected…
8. What imm cologne show or event do you definitely
not want to miss?
I haven’t actually made a plan, I rarely do. I like strolling
around. One good piece can do the trick and make it a
good fair.
www.ceciliemanz.com
Photo: Limited edition chair by Mooment; Pluralis; Jeppe Gudmundsen-Holmgreen (IMM10_TD0801_03)
Photo: Schmidt Küchen, Aurora; Design: Britta Chantal Tibo (IMM10_TD0802_05)
Britta Chantal Tibo, RoomDoctor
“Wing chairs and wheelbarrows are amongst the protagonists of a new country style.”
a nation hitherto known for its scepticism towards formoney advice on home design. The Americans and
British, however, are old hands: when it comes to redecorating the living room, not a single carpet, sofa or
pair of curtains is purchased without a famous interior
designer presenting a concept first.
Photo: Britta Chantal Tibo, RoomDoctor (IMM10_TD0802_01)
It’s normally the designers who get asked about the latest
trends. Which is understandable in view of the fact that
designers usually have to think two, three or even four
years ahead in order to create products that are still upto-date by the time they’re launched. But when it comes
to the question of how people are furnishing their houses
in the present, what ideas they associate with their home,
what they hope for from their new furnishings or how
their aspirations are changing, it’s the interior designers
and interior architects who know what’s available and
what goes down well. They are closer to the customers
and the market and more firmly rooted in the present.
Today their professional empathy and good taste are
more in demand than ever before. Nothing against computer programmes that allow you to refurnish your house
on the PC monitor. But at the very latest since Tine Wittler
and her show (the German equivalent of “Changing Rooms”)
came to the country’s TV screens, the profession of interior
designer has become popular in Germany too –
A trend that the Germany-wide RoomDoctor network
is making the most of. Another of its members’ aims
is to do away with preconceptions that cast the interior
designer in an elitist milieu. RoomDoctor is a pool of
freelance architects and interior designers who are
happy to share their expert know-how with clients even
where smaller projects are concerned. They use the
Internet as an uncomplicated contact forum and inspire
confidence with transparent prices and predefined
conditions. Degreed architect Britta Chantal Tibo is one
of them. Born in Belgium, she studied in Saarbrücken
before founding her own firm in the Saarland in 2006.
She is active in the shop, trade fair and housing sectors
and has also been specialising in kitchens and bathrooms for the last few years.
1. Today more and more trends are co-existing alongside one another. Is there any one dominant trend in
interior design or product design?
I think the trend of keeping lots of things white is still
very strong. Apple and its products led the way years
ago, and it’s become a very dominant colour in the car,
furniture and fashion sectors. At the same time, the
avant-garde is focusing on a new “ruralness”, symbolised by light, bare, unprocessed wood. It’s often used
to create a contrast with clear, white surfaces. The
genuineness of the products is also crucial. If the plans
include wood, the preference is for the real thing rather
than an artificial wood finish. Leather is preferred over
artificial leather and silk over synthetic fabrics. Wing
chairs and wheelbarrows – as well as new interpretations of unostentatious furniture designs that evoke the
idea of a simple lifestyle – are amongst the protagonists
of a new country style. Global issues like climate protection and sustainability are encouraging the development
Photo: Schmidt Küchen, Aurora (IMM10_TD0802_02)
of a new trend with products designed to be as close to
natural as possible. It seems as if people are longing for
a clear, bright design with genuine materials that bring
them closer to nature.
2. As a countermovement to minimalism, the NeoBaroque seems to have lost some of its charm. Are we
seeing something like a New Objectivity? And how does
that fit in with the renaissance of decorative wallpaper?
The so-called “Neo-Baroque” style has only just reached
the normal consumer and is one of the big-selling trends.
But such extreme trends usually have a comparatively
short lifetime. People find opulence way too demanding.
And that kind of extreme makes it almost impossible to
produce a new look with simple means, because it’s difficult to create new highlights in a lavishly designed room.
What seems exciting to start with eventually loses its
visual impact. Although minimalism and New Objectivity
as originated by the Bauhaus have never gone away entirely, in the long run most people just don’t feel at home
in rooms with a strictly minimalist design. However, I happen to think that a clearly designed room can be a huge
advantage because it leaves scope for trends and the
user’s personality. That’s why wallpapers, which have been
featuring vegetal motifs like wood, stone or fur for years
now, can be one way of following and promoting trends.
3. Where are the most important influences for trend
developments coming from?
There are lots of sources. When it comes to colour trends,
I tend to look to the fashion industry. Because it brings
out so many different collections within a single year, it
can react very quickly and pick up on new influences
faster that any other sector. At a more global level, I think
the focus is currently on things like nature, country life,
Africa, ecopolitics, the family and practicability.
4. What about Green Design? How can people demonstrate their ecological awareness when it comes to
interior design?
It’s becoming increasingly important to be aware of
how sustainable your actions are. You can actually
start thinking about Green Design even before you
buy something new, by asking yourself whether the
new product is necessarily better or more useful than
what you’ve already got. But above all, as consumers,
we should start taking ecological aspects into account
more when choosing a new interior: rather than just
basing our decisions on the surface, we ought to ask
what materials and how much energy have gone into
making the product, and how it can be disposed of later
on. As an architect, I’m very much aware of my possibilities for planning sustainable interiors. I try to be as
resource-friendly as possible by e.g. using domestically
grown wood and products with a long lifespan. I also
use recyclable products and incorporate energy-saving
measures into the design.
5. Creativity by the bag: Will people be spending more
money on professional interior design advice in future?
And if so, why?
I think consulting is becoming one of the key issues in
interior design. Buzzwords like “homing” show that
interior lifestyle is becoming more and more important.
People long for a home, for a place they can retreat to,
as a way compensating for the fast-moving pace of their
working lives. The time they spend in their own four
walls is precious. Their aspirations and need for advice
are growing along with their appreciation of their homes.
6. You’re a freelance architect and will be taking part in
the imm cologne. How come?
Along with my colleagues from the RoomDoctor network,
I’ll be at the Pure Village “market square” during the
Public Days to help visitors with an acute “room disorder”
find a cure. We’ll identify their wants and problems and
talk about how they can make the most of their rooms.
It’s an attempt – in collaboration with the fair – to meet
the need for advice we were talking about just now. On
top of that, in short lectures on the Pure Village stage, I’ll
be explaining the classic problems involved with designing a room and presenting potential solutions.
www.brittatibo.de
www.roomdoctor.de
Udo Traeger is head of Koelnmesse’s imm cologne and
interzum divisions. His strategy is the intelligent linking
of design and business. He fosters the long-term development of the imm cologne’s design expertise, for
instance by promoting the Trendboard and Trend Book,
and is the driving force behind new, courageous highlights such as the new Pure Village presentation format.
At the same time, he realised the growing importance
of the POS at an early stage. For the imm cologne 2010,
he has been promoting the intense integration of commercial agencies and various national and international
trading platforms: from top dealers all the way to buying
and marketing groups, at meetings with dealers in Japan,
Moscow and the USA. In a further effort to strengthen
the POS, Traeger also introduced the practice of inviting
sales staff from trading companies. As inventor of the
D³ Design talents segment, he is equally committed to
the promotion of new talent. In our interview, he explains his vision for the future of the Cologne furnishing
fair. His comments indicate just how central the imm
cologne’s position “between two stools” is if it takes its
most important role seriously: as mediator between
manufacturers and dealers, creatives and consumers.
And in that respect, Udo Traeger has plenty of ideas on
how to get things moving.
Interview Udo Traeger I 77
Interview Udo Traeger, Koelnmesse
“We see ourselves as the most modern furniture store
in the world.”
everyone involved makes a joint effort. In January, Cologne is totally taken over by design. The international
design season opens with the imm cologne and the independent “Passagen” design festival, the most famous
design event in Germany. That turns Cologne into a platform for current trends and tendencies in design, lifestyle and interior design.
 What points of contact are there?
 We’ve got a wonderful tradition in Cologne – great
shops and great furniture that’s displayed not only in the
many showrooms but in classic furniture stores as well.
So why not link this potential with the action context of
the imm cologne more? That’s why we started by approaching the players with bigger downtown premises,
like the organisers of the KAP Forum or Design Post.
We got together and decided that, in future, we want
to present a more united front and collaborate on joint
initiatives.
 Mr. Traeger, at present the furniture fairs are
very much under the influence of the design cult. Do
you have a vision of the imm cologne’s future?
 The modern trade fair of the future will present
a great deal more concepts and more content – at all
levels, not just in relation to design. We will have to put
more emphasis on depicting the transitions between
the living and dining areas, indoor and outdoor, bedroom
and bathroom. That’s why, at the imm cologne 2010, we’re
making a start with this small core element, Pure Village,
and sowing an important seed for our development. At
the end of the day, our ultimate aim is to be the most
modern furniture and interior design fair in the world.
 That’s a big goal. But what about the details?
Even though they’re on a tight schedule, a lot of people
who visit the imm cologne want to see the city and
design shows as well as the trade fair. In the past,
there’s sometimes been a lack of harmony in the
way the fair and city interact. Are there any plans to
improve that?
 In the last two years we’ve instigated various things
that are now starting to take effect. For everybody taking
part in the furniture and design event that has grown up
around the imm cologne, one thing is vitally important:
Cologne needs a more positive image as far as interior
design is concerned. That’s why the broad-based international marketing campaign we’re launching gives
special emphasis to Cologne as a location – especially
in context with Paris and Milan. And it’s important that
 How much of that will be apparent to visitors,
apart from the communication campaigns of course?
 For this year, i.e. the imm cologne 2010, we’ve
joined forces with partners from the media and other
sponsors and put together a big joint opening event for
the Cologne furniture, interior design and design week:
the Cologne Design Night. We’re looking for as many
participants as possible so that we can get all the important and interesting people together in one place. We
want to give the sector an opportunity to get together
and exchange ideas outside the many committees and
in a more concentrated form than in the globalised
arena – we’re aiming to provide a relaxed atmosphere
so that people will enjoy coming here.
 What kind of setting are you aiming for at the
event? Are you planning to roll out the red carpet?
 Yes, it will be a red-carpet event. It will be held in
the Alter Wartesaal, the old waiting room of Cologne’s
main station – it’s a very interesting historic building
with an extremely attractive interior. We and our partners will of course be inviting everybody who’s exhibiting here in Cologne and at the trade fair, but there will
also be a lot of VIPs and creatives attending too, like the
members of the Trendboard, for instance. It’s also where
the awards will be presented – both for the D³ Contest,
the competition held in connection with our platform for
up-and-coming designers, and the Interior Innovation
Award. So there will definitely be a few highlights – and
plenty of good food, good music and good conversation.
 I imagine visitors will notice the new Pure Village
presentation format more than anything else, right?
 Yes, because the major players from downtown
cologne will be participating in Pure Village too – the
KAP Forum and Design Post, for instance – and show-
ing a selection from their collections. Pure Village provides the ideal setting: it’s a new, compact format, a mix
of object-centric presentations and more conceptual
installations. We’re also delighted that Loewe, one of
the top brands in home entertainment, is taking part in
Pure Village as well. There will be leading brands from
the bathroom sector too, like Dornbracht, Grohe, Burgbad or Aqua Cultura, as well as lighting manufacturers
like Brandini and Modular Lighting. Cutting-edge textile
firms like Kvadrat and Nya Nordiska find the Pure
Village format just as interesting as carpet specialist
Vorwerk or accessories brand Authentics. And they’ll be
presenting themselves alongside cult furniture brands
like Moroso, Arper or Matteo Grassi.
 Was Pure Village specially established to forge a
link with the city?
No, of course not. Pure Village is intended to establish lots
of links, not just between the trade fair and city events.
It’s meant to provide ideas and offer attractive packages
so as to pick up on consumers’ need for a mingling of
various product categories and interior spaces. Thanks
to its small spaces and meshed structures, it’s an extremely versatile format. It allows exhibitors to show how
different interior design products can grow together –
take lighting or the merging of the bedroom and bathroom, for instance. It provides an opportunity to explore
how home entertainment equipment can be integrated.
In principle, what we’ve created is a kind of experimental
ground for questions such as how a crossover between
these products and brands should be portrayed in view
of the fact that each and every one of the companies
involved has its own very strong conception of design.
That’s something that’s got to be learned.
 Where is this impetus coming from?
 The impetus is coming from the market. Obviously
a lot of these product segments have their own distribution channels. But even so, more and more links are
establishing themselves in the classic furnishing sector –
and consequently in the retail sector too. Instead of using
cardboard TVs or dummy lamps for their displays, furniture stores are beginning to integrate these products
into their concepts. In future, a lot of furniture retailers
will start thinking about how they can integrate other
sales channels as independent partners in order to show
how e.g. a bedroom can or should look if certain sanitaryware or taps are used. And it’s a highly attractive field
for interior designers and architects, of course.
 Will this development have an impact on the trade
fair too?
 In future, yes. That’s one of the many projects we’ll
be tackling. We have to collaborate with the manufacturers to come up with a different kind of presentation.
The way it is today, visitors make a beeline for their
suppliers and concentrate very much on the product.
But I think it’s time to start providing content along with
the product. We ought to ask ourselves what we want
the product to express in relation to the interior as a
whole. That would mean not showing Chair A in the 15
variations available any more, but showing what it looks
like in context with textiles, lighting and home entertainment. That would give dealers and buyers an idea of
how they can present the product at the POS, and the
public would get an impression of what it might look
like in their own homes.
 So you want to make the fair more attractive to
consumers as well as trade visitors?
 We see ourselves as the most modern furniture
store in the world, and that’s what we want to communicate. Our aim is to generate greater awareness of
interior concepts, not just amongst visitors but amongst
exhibitors as well. That will be new in 2010 too: if somebody brings an idea or a picture along to the Public Days,
he can get advice from a team of interior designers and
architects, for instance on what his room would look like
with a certain piece of furniture he’s seen at the fair.
 Is it actually a trade fair’s job to comment on
what the market has to offer?
 No, we definitely don’t want to pass comment, that’s
not our job. What we want to do is collaborate with exhibitors to create interesting arrangements that will
inspire retailers and consumers alike – and hopefully
make the latter want to buy what they see. The longing
for orientation has become more powerful than the
desire for an all-encompassing display. That’s the feeling you get from listening to certain dealers: they just
don’t want to see a series of huge stands all displaying
the same kind of furniture any more. They’d rather have
things a bit smaller and more compact, but enriched
with ideas. We want the imm cologne to give retailers
inspiration and ideas for adapting the products and presentation context to their own stores.
 But how can you exert any influence from your side?
 We can only motivate and send out our own signals.
By offering exhibition concepts as we are in Pure Village,
for instance. What we offer is this: we specify certain
ideas that can either be implemented 1:1 or interpreted
individually. We’re also thinking about offering a marketing consultation service: besides providing ideas for
how to present the products at the fair, the concepts
could also include supporting measures for the time
before and after the show. But it will probably take quite
some time to get it up and running. Firstly because exhibitors have to realise that it’s worth thinking about a
new concept, and secondly because visitors have to get
used to a new way of looking at things as well. In future,
it will be vital to approach consumers more.
 So has the fair been doing its homework?
 It’s not just a case of looking to see what direction
trade fairs will be going in; we have to have a very strong
customer orientation as well. But the basic question is
this: will we be able to turn our plans into practice and
accomplish our mission to become the most modern
furnishing fair in the world? Especially under such difficult and unpredictable market conditions and with no
way of knowing whether things will get any better in 2010.
 What signals are you getting from manufacturers?
 The news tends to be quite vague. Some manufacturers seem to be doing quite well, but they aren’t
necessarily the ones in the media spotlight. Others are
still finding it a bit difficult to hold their ground, even
though they’re top brands, because their export markets
are drying up. Because of the economic situation right
now, we really had to fight for every single exhibitor because many of them have sustained very heavy losses
this year.
 It sounds as if you’ve been doing a lot of travelling.
 We were on the move a lot, knocking on doors and
talking to people. We also developed a lot of concepts for
getting major exhibitors from all over the world to come
here. That revealed an interesting tendency, by the way: a
lot of foreign exhibitors are very interested in the situation
on the German market.
 And what conclusions are they coming to?
 As compared to other markets, Germany might not
exactly be an Isle of the Blessed, but it’s relatively stable
all the same. We were told that, especially in Spain and
Italy, manufacturers have seen a lot of their markets
collapse. Quite a few expressed an interest in the imm
cologne again after many years of absence, because they
want to renew their relationship network in Germany. They
went to other hype markets like the Middle East, Russia
and Asia because of the growth rates there and didn’t
bother that much about the German market any more.
They’re realising that now, of course. However, it’s not that
easy for them to get into the German market because the
German exhibitors have been doing their homework on
their home market. But the imm cologne covers a series
of other major European markets too, of course, so it’s
an important and interesting place for discovering new
markets.
 Are their sales suffering?
 In the past they always maintained a steady hum of
activity in Germany and its neighbouring markets. Now
there’s nothing – no agent, no representation, no dealer –
and they’re wondering how to get into the market again.
That brings us back to the business character of the fair.
We didn’t just talk to exhibitors, we talked to dealers as
well so we could identify ways of making their lives easier
and strengthening the business character of the imm
cologne even further. We’ll continue to expand our Business Centre service for dealers by providing free WLAN
access and quiet areas where they can e.g. have a chat
with their suppliers. And then of course there are the
lounges for agents, dealers and vendors, as well as the
VIP programme.
 What’s new about all that?
 We’ve really expanded our VIP programme and now
have a database of more than 4,000 VIP customers from
all over the world. But above all, we’ve been establishing
contact with the agents because, as go-betweens, they
play a very important role in forging links between manufacturers and dealers. We haven’t paid enough attention to
them in the past. But that’s about to change. We’ll be
offering the lounge again, and free admission to the fair
for agents. On top of that, we’ll be going online with an
internet-based agents network that will be continuously
updated with agency data and sorted according to region
and product, so that exhibitors looking for say, upholstered
furniture in Great Britain are presented with several options, can choose the agent that’s right for them and invite
him to their fair stand for talks. I can’t think of any other
fair that offers this kind of matchmaking service. And
we’ve got another first to celebrate: we in Cologne are the
very first fair to have Lufthansa as our “official carrier”.
 The imm cologne’s excellent business character
is undisputed. But what have you got to offer target
groups like architects and interior designers?
 Hall 3.2 will be a highly attractive destination for
architects and interior designers as well – in combination
with Hall 11, of course. Pure Village is a very special
highlight, especially because of the trends it depicts. On
top of that, it’s also where the Interior Trends 2010 will
be staged by the Trendboard itself for the first time, with
interpretations in various directions. How can the trends
be portrayed in the lighting segment, for instance? Hall
D³, which is totally booked out, is also a must. We’ve
been able to attract even more highly interesting colleges
to this year’s fair, and the young professionals will be
gathering at the D³ forum again too.
 D³ is already highly regarded by the design community – but how does it go down with the trade fair
audience?
 It seems as if D³ has become a kind of sourcing
platform for manufacturers from the other halls, and it
always gets a very good rating from architects in our
surveys as well. We have a very special treat in store
for them, by the way: we’re offering four or five guided
tours of architectural highlights in and around Cologne.
So we’ve got plenty to offer them. We also have a very
high standard of service for journalists from all the different media, and we offer them plenty of digital material
in the form of blogs and other online services too.
 There’s always a lot happening during the first
few days of the imm cologne.
 Yes, there are always loads of people from television,
radio and the mainstream press. The specialist press
too, of course. Around 3,000 journalists from about
50 countries. The show offers exhibitors a highly attractive media landscape.
 And everyone pounces on the new products. How
important are they for a good fair?
 If you’re asking me when people say it was a good
fair, it’s the full order books that really count. But psychologically, it’s also important for people to go away
feeling it was worth coming, and spread the word. The
atmosphere also depends on whether there are plenty
of people at the stands and whether the exhibitors are
kept busy. That’s why we’re making the whole process
even more compact by shortening the fair by a day. Even
so, a trade fair is always a reflection of the economic
situation, too. Some companies are still coming to Cologne despite their considerable difficulties because
they see their presence at the fair as a chance to show
the market: I’m still here! And I can still come up with
something new.
 But having to keep presenting something new
must put everybody under a great deal of pressure!
 There are definitely people who think we ought to
create an opportunity to get out of the innovation hype
so that they can concentrate on perfecting all the new
things that are already out there. Maybe there’s a correlation with the homing trend, which also takes a longerterm approach. And then there’s the question of what’s
sustainable as well as new? Sustainability could be an
interesting aspect in this context.
 But who can afford not to present any new products in this day and age?
 That’s the point! I know several exhibitors who would
love to show dealers one of last year’s new products
that’s been perfected and refined over the last 12 months
– i.e. a product which, in addition to the aesthetic aspect,
represents a promise of quality for the consumer. But it
isn’t just the dealers who are responsible for the hype;
the media are behind a lot of it as well.
 So do you think the media’s way of looking at
things is unfair?
 No, but it’s a bit contradictory. Every time they say
there aren’t enough new products, but then they go and
write pages and pages about new products anyway. In
future, we want to make journalists more aware of all the
new things out there right from the start. There’ll be a
special exhibition of new products in Hall 10.2, a selection
of all the new things being presented in Halls 11 to 8. Then
maybe the occasional journalist will hit on the idea of widening his focus a little and take a look at the other product
segments as well. Even something like a mattress can be
presented in an extremely interesting way if you look into
the properties of the materials, health aspects and so on.
And now the mattress industry association has declared
2010 the Year of Good Sleep as well!
 Do you like reading in bed or do you have another
favourite piece of furniture for getting stuck into a good
book?
 I’m actually a pretty fanatical reader, so I like the
reading furniture available from Moormann – some of
it is really good fun, even if I haven’t got round to buying anything yet. Otherwise I tend to go for a hybrid style.
We’ve got a mix of modern stuff and my wife’s heirlooms.
 What do you particularly like about Cologne?
 Despite all the public criticism, I think Cologne is
a great city for culture. The Lit.Cologne is just one of the
highlights. I’m also very interested in music. And I’ve
noticed that a lot of the bands who play in Cologne really
strike a chord with my daughters. Cologne is a city for
youngsters. And although it might not be the richest city
in Germany, its “Ring” is the longest furniture strip in
Europe. That’s a manifestation of a very old tradition. And
the Cologne furniture fair has played a major part in the
development of that tradition.
www.imm-cologne.com
Cologne has what you would call an interesting face –
not a homogeneous, beautiful facade like Paris, Milan
or Berlin, but a profile with rough edges and flaws that
holds a surprise or two in store. It is full of holes,
patched both with post-war architecture of dubious
charm and new, glittering fillings and solitary gems.
In Cologne, Wilhelminian villas are juxtaposed with
kiosks, modern glass palaces rub shoulders with filigree
Gothic works. It’s in the side streets, in the little shops
and restaurants that you’re more likely to stumble across
design. The Colognian himself likes to do some expensive
shopping before enjoying a bratwurst in one of the
numerous breweries. This rather rustic way of life is the
perfect counterpart to Cologne’s multifaceted, at times
even gaudy art and design scene, which is alive and
kicking in countless galleries and little boutiques, in topclass museums containing art that spans the centuries,
in offbeat cafés and original shops.
Photo: Florian Borkenhagen; Galerie gabrielle ammann (IMM10_TD0201_02)
Even though the cathedral has been Cologne’s most impressive architectural showpiece for centuries, Germany’s
biggest city on the Rhine has a host of other buildings
that are well worth seeing. From the historic city centre
all the way to the redeveloped Rheinau Harbour to the
south, Cologne boasts architecture from vastly different
epochs and in virtually any style you can think of – from
the Romans to the Middle Ages, from the Renaissance
and Historicism all the way to the present day. Especially
in recent years, the appearance of the city and above all
of the waterfront has changed – today Cologne presents
a modern profile without having changed the medieval
silhouette of its historic city centre. Old and new stand
side by side. Even without the kind of gleaming test-tube
district so popular in London or Hamburg, a wander
along the banks of the river shows just how much modern architecture can enhance life in the city.
No responsibility is taken for the correctness of this
information.
Editor’s note: For more of Cologne’s sights and hot spots,
see Content Folder 04_Cologne
(www.imm-content-service.com)
Honey, the cathedral is moving! (Galerie ammann)
Art: Degreed interior architect Gabrielle Ammann has
been working in the exciting field of fine arts for years
now. In her gallery she focuses on the here and now,
creating a fusion of contemporary and topical works from
the fields of design, art and architecture – divisions she
believes are in the process of disintegrating anyway. Until
26th February 2010, the Ammann Gallery in the Südstadt district of Cologne will be showing “TransSakrales”,
an exhibition of objects that combine sacral elements
with mobility. The work of Hamburg artist Florian Borkenhagen picks up on the tradition of Arte Povera by for
instance turning a wheelbarrow into a sedan chair or
placing a portable church in the preacher’s hand in an
attempt to bring mobility to the supposed rigidity of the
church.
www.ammann-gallery.com
Galerie gabrielle ammann
Teutoburger Str. 27
Tel: +49-(0)221-9328803
Cologne: Update I 85
Cologne: Update
Out and about in Cologne
Collection that exemplify the design developments triggered by the new material. From the sombre Bakelite of
the early 20th century all the way to the brightly coloured,
semi-transparent plastics of the present, the chronologically ordered selection depicts the technical, cultural,
formal and aesthetic impact of plastic and complements
the exhibits with several works of fine art in which plastic
plays a key role.
Photo: Rheinisches Bildarchiv Köln (RBA) 2008,
Maria Luckey (IMM10_TD0201_01)
Mondays at Papst’s (MAK)
Culture: Colognians affectionately refer to it as the “MAK” –
short for the “Museum für Angewandte Kunst”. Founded
in 1888 as a museum of arts and crafts, the MAK today
boasts one of Germany’s most important collections of
European industrial design. Now housed in a 1950s
museum building not far from the cathedral, the Museum
of Applied Art presents collections of European applied
art from the Middle Ages to the present day, as well as a
design collection with exhibits dating from 1900 onwards
that covers 20th century design classics from Bauhaus to
the functionalism of the Braun appliances all the way to
Memphis. The new design department that was added
in late 2008 represents the MAK’s contribution to the
current debate: the new permanent exhibition, Art and
Design in Dialogue, was compiled from the Winkler Collection and, rather than presenting design as an isolated
discipline, establishes close links and cultural, historic
relationships with works from the world of fine arts.
Art-ificial: The current special exhibition “Plastic:
Revolution for Design + Art” has been extended until 24th
January 2010 – the same day the imm cologne finishes –
and shows exhibits from the rich stocks of the Winkler
Optimism by design: This year too, the MAK will be
showing a special exhibition dedicated to furniture design
to coincide with the Cologne Design Week. From the first
day of the imm cologne, i.e. January 19th, until March 21st
2010, the museum aims to introduce visitors to a hitherto
little-known chapter of post-war German design history.
“Mondays at Papst’s” presents the multifaceted world of
designer and futurologist Walter Papst, who died in Cologne in 2008 and whose works translated the principles
of modernism into the spirit of optimism that dominated
the 1950s and 1960s. His work blends new materials, new
ergonomic insights and new ideals into designs that are
as upbeat as they are pioneering. The MAK is the third
stop on the exhibition’s tour. The exhibits were compiled
by Wilkhahn from the extensive estate of the Kiel-born
designer, who ran a studio for industrial design and
product development in Cologne from 1957 to 1974. As
well as various prototypes and originals, the exhibition
also includes the new edition of the “Three-legged Chair”,
Papst’s iconic 1954 attempt to set the world of school
furniture in motion. His passion for the Cologne carnival
was less widely known. Papst saw the event as an artistic
happening and liked to celebrate Carnival Monday with
guests from the art and design scene. The exhibition
takes visitors on a fascinating and inspiring journey
through time and covers everything from Papst’s product
designs to his legendary Carnival Monday parties.
www.museenkoeln.de/museum-fuer-angewandte-kunst
Museum für Angewandte Kunst
An der Rechtschule, 50667 Cologne
Tel: +49-(0)221-221-26735
Opening times: Tues.–Sun., 11 a.m.–5 p.m.
During Cologne Design Week (19–22.01.2010), the “Mondays at Papst’s” exhibition is open from 11 a.m. until 8 p.m.
and admission is free.
Bar none! (Die kunstbar)
Dialogue on the Rhine (KAP Forum)
Design: There’s no shortage of bars, pubs and restaurants
in Cologne. And every establishment needs refurbishing
now and again. But the fact that the kunstbar gets a new
look every year is due not to its unruly clientele but to its
unusual concept. In close collaboration with the Kölnischer
Kunstverein, the bar in the immediate vicinity of the Alter
Wartesaal issues an annual invitation to an appointed artist to redesign the interior. The artist is essentially given
a free hand and can also have a say in the lighting, sound
and objects for his artistic design, as well as incorporating paintings, photos or video installations. Right now,
visitors to the kunstbar encounter Ingo Stein’s neoncoloured installation “Another Girl’s Paradise”. This
synthesis of the arts also encompasses the beverage
menu, to which the respective artist is allowed to add his
favourite drinks. The aim is to extend the basic collection
of liquid sustenance compiled by the owners – mostly
cocktails – until it eventually represents a huge almanac
of kunstbar drinking culture.
http://diekunstbar.com
Rendezvous: Buildings styled on historic cargo cranes, a
view of the Rhine, a promenade along the water’s edge,
offices, galleries, cafés, restaurants. The newly developed
Rheinau harbour is Cologne’s latest prestige project. And
right in the middle of it is the KAP Forum. Nine firms with
a design and architecture focus (Alape, BASF, Carpet Concept, Dornbracht, Gira, Kvadrat, Silent Gliss, Wilkhahn and
Zumtobel Licht) have joined forces to create a platform for
presenting new ideas in architecture, technology and
design and instigating a dialogue. With its consulting
centre for architects, planners, designers, investors and
project developers, the network aims to cater to the needs
of the knowledge society, but also to offer an exhibition
and event space so as to involve the public. In a short
space of time, KAP Forum has become a driving force in
the Cologne urban development debate – a discourse in
which international architects and firms are also participating. In addition to the already traditional exhibition
during Cologne Design Week – this time with an installation by Wilkhahn – KAP Forum will also be presenting
an installation at Pure Village, the imm cologne’s new
exhibition format in Hall 3.2.
www.kap-forum.de
die kunstbar
Chargesheimerplatz 1
Tel: +49-(0)172-5279845
Opening times: 7 p.m.–03. a.m. daily
KAP Forum
Agrippinawerft 28
Tel: +49-(0)221-992029-0
Cologne: Update I 87
Photo: zeitgeist cologne (IMM10_TD0201_05)
Photo: Dirk Skreber; Fotostudio Schaub (IMM10_TD0201_04)
Far from the mainstream (Zeitgeist)
Fringe art (Skulpturenpark)
Shopping: It hasn’t been there long, the Cologne design
shop in Friesenstrasse with the assortment that defies
definition. “Zeitgeist” opened its doors in September 2009
and has been inviting design-oriented trendsetters to step
in and discover its wares ever since. It stocks everything
from cosmetics and jewellery to books, music, electronics
and drinks – all in limited editions, naturally. For anybody
that’s always been looking for a set of gold headphones
or raves about wellness water from Bangladesh, it’s the
perfect address. Many designers have already decided to
market their products exclusively via the Cologne design
store. Owner Franck Brunaut believes Zeitgeist’s appeal
lies in the chance of finding something special – and
owning it too, of course. He’s always on the lookout for
new, innovative things and ideas.
www.zeitgeist-cologne.com
Insiders’ tip: Right next to Cologne Zoo, on the edge of the
Nordstadt district, old trees and modern outdoor sculptures
share an area of approx. 25,000 m2 – big enough to drown
out the noise of the traffic and the city. Here, in contrast
to many other sculpture parks, art and nature lovers will
only find contemporary works of art, some of which are
replaced with new pieces every two years. The current
exhibition, “KölnSkulptur 5 – Reality Check”, aims to make
the visitor question his own perception of what’s real and
what isn’t. It picks up on topical social issues with a sometimes humorous, sometimes critical slant and poses the
question of how sustainable reality is. The new perspectives thus gained can be discussed during a visit to the park
restaurant. An initiative launched by collectors Michael
and Eleonore Stoffels led to the creation of the sculpture
park on an unused green space between Riehler Strasse,
Zoobrücke and the Rhine in 1997. It soon became a popular
destination for day-trippers wanting to combine a stroll in
the fresh air with a little artistic input. During the imm cologne, visitors to the fair can enjoy the park free of charge
during daylight hours.
www.skulpturenparkkoeln.de
zeitgeist cologne
Friesenwall 28-30
Opening times: Mon.–Fri., 11 a.m–8 p.m.
Opening times: daily
April – Sept. 10.30 a.m.–7 p.m.
Oct. – March 10.30 a.m.–5 p.m.
Free admission
Photo: Koelnmesse; Pure Village (detail) (IMM10_TD1401_04)
Photo: Koelnmesse; Pure Village (IMM10_TD1401_03)
Pure Village; Interview Dick Spierenburg I 89
Interview Dick Spierenburg
Pure Village: A market square for the fair
Photo: Dick Spierenburg; Koelnmesse (IMM10_TD1401_01)
Pure Village clusters renowned design brands and
creative furnishing ideas at the heart of the imm cologne. In our interview Dick Spierenburg, responsible
for the design of Pure Village, explains what makes
this innovative trade fair format so different.
Dick Spierenburg is one of those designers with a wideranging sphere of activity who knows how to respond
to media and consumer interests alike. Right now he’s
busy planning his own house, a project that allows him to
implement his ideals without compromises – a merging
of design, interior and architecture. The co-founder and
project leader of the Cologne Design Post developed the
architecture of the new Pure Village trade fair project for
Koelnmesse. Spierenburg hopes his exhibition concept
will underline the imm cologne’s development from
furniture show to interior design fair.
Dick Spierenburg studied architecture at the Technical
University of Delft and has been working as a designer
since the late 1970s. As co-founder of the Nederlands
Interieur Collectief, he promotes collaboration between
Dutch design manufacturers and importers. After working for architecture and urban development firm Bo.2, he
ran his own design studio with Karel Boonzaaijer from
2001 to 2008. He designs furniture for private interiors
and offices for clients like Artifort, Arco or Moroso.
Koelnmesse asked you to design the new “Pure
Village” exhibition format for the international furniture
fair imm cologne 2010. What’s behind the concept?
The idea is to create an alternative layout plan and
hall architecture that facilitates innovative presentations
and guarantees a surprising experience for visitors.
Halls normally have a rectangular layout plan. Every
exhibitor has his own space and has his own stand
built. Pure Village is totally different. Instead of running
parallel to one another, the paths lead to a centre – a
central square where there’s lots going on. In Pure
Village, all the spaces are planned cohesively. They’re
all similar, but not the same. The heights, materials
and colours vary. These completely designed spaces
give the exhibitor the option to focus all his efforts on a
Photo: Dick Spierenburg; Koelnmesse (IMM10_TD1401_02)
first-rate presentation. At the same time, there are plenty
of possibilities for personalising the space too. This part
of the imm cologne is a gathering point for both smaller,
young design brands and major brands who want their
presence at the fair to take the form of a compact, specific
presentation. The imm cologne is creating an exciting
overall picture that makes it relatively easy for exhibitors
to stage an optimal presentation. In Pure Village, the focus is on the presentation of understated product exhibitions, fascinating interior concepts or settings that lend
themselves to informal meetings with business partners.
There’ll be a lot happening in the square at the centre of
Pure Village. It’s a permanent meeting point for exhibitors
and visitors. There’s a bar and lounge right next to it, as
well as a forum where presentations, lectures and other
events will be taking place.
The exhibition architecture is based on a flexible
system of modules. How does this system work and
what possibilities do exhibitors have when it comes to
the design of the modules?
In principle, the spaces are totally open. The idea is
that they’re only closed when the presentation requires
it. The partitions and columns are available either with
painted wooden panels or a semi-open structure made
of woven strips. There’s a choice of several colours for
all the materials, but only ever neutral shades. This leads
to subtle variations, but the focus stays firmly on what’s
happening inside the cubes.
To what extent does the Pure Village concept do
justice to current developments in design – the merging of various areas of the home, for instance?
By cross-linking product ranges and focussing on
interior concepts, Pure Village provides an ideal setting
for showing hybrid interior designs. That’s why we’ve also
tried to bring manufacturers together to implement new
concepts – a bathroom manufacturer who collaborates
with a furniture manufacturer to create a space for sleeping and bathing, for instance. The same thing is feasible
for the dining room and kitchen or indoor and outdoor
products. Rooms that are suitable for both relaxing and
working are another interesting idea.
Pure Village; Interview Dick Spierenburg I 91
Who or what sectors is the new format aimed at,
and where will the presentation be located within the
imm cologne?
Pure Village will be set up in Hall 3.2, over the D³
level and opposite Hall 11, where the big-name design
brands will be. So there’ll be three exhibition areas that
are very closely connected.
The exhibition architecture is based on a flexible
system of modules. How does this system work and
what possibilities do exhibitors have when it comes to
the design of the modules?
The architecture is based on a structure with columns positioned on a 4-metre module. That produces
spaces with an area of 16 m2 or multiples of that. The
headroom between the columns is always 3 metres and
the total height is 3.50, 4.25 or 5 metres.
And why is Pure Village called Pure Village?
It’s called Pure Village because this part of the fair
is the “pure part” – very understated and excellently
designed. And it’s a village because it’s got such a
different layout, such a different structure.
www.purevillage.net
Photo: Koelnmesse; Installation of Pure Village Hall 3.2 (IMM10_TD_1501_01)
Trends and Innovations I 93
Trends and Innovations:
Successful mix at the imm cologne 2010
The imm cologne 2010 presents trends and innovations, reinvents itself and
trusts in proven concepts.
Photo: Koelnmesse; D3 Contest imm cologne 2009; Lutz Sternstein (IMM10_TD1501_05)
When it comes to change, people often have mixed
feelings. They are reluctant to give up their habits, be it
their field of work, their favourite place on the couch or
their annual holiday in Italy. The loss seems to weigh
more heavily than the prospect of the potential gain.
Take the introduction of longer opening times for German shops: despite all the prophecies of doom at the
time, nobody would willingly surrender the new-found
convenience any more.
But when it comes to technical innovations, interior trends
and fashion, things can’t change fast enough for most
people. We have come to regard the newest products as
the most desirable – a perception of value that is rooted
in our belief in progress. Innovations in these areas enrich
our lives; they provide scope for acting out our individuality
and setting ourselves apart from others. From fashion
to furnishings, the consumer follows the latest trend
developments – sometimes enthusiastically, sometimes
contemplating them with a critical eye.
There is plenty of scope for innovation in interior design:
from the colours and fabrics all the way to the materials,
forms and functions. At trade fairs, new products are the
icing on the cake – and at the imm cologne 2010, that
icing has again been applied with a generous hand. The
big show that heralds the start of the new furniture season has several innovative mixtures to offer its visitors.
New product ideas are presented in a particularly fresh
and unconventional way at the newcomer forum D3 Design talents. The interior world showcased in the Smart
segment sets its sights on young consumers, whilst the
imm cologne Trendboard has its eye on the entire spectrum of interior trends.
The imm cologne itself has also undergone several
changes. There’s more to see than ever before, but less
time to see it in because this year’s fair is one day shorter
than usual – which makes it all the more exciting. In Hall 10
there will be an Innovation Catwalk that clusters the most
important innovations from the fair in a clearly structured
presentation. But more than anything else, the imm cologne is doing away with boundaries – boundaries between
product categories like lighting, carpets, textiles, accessories and bathrooms, but also between various areas
of the home. Living and cooking, indoor and outdoor,
bedroom and bathroom – the transitions are becoming
increasingly fluid. Pure Village, the imm cologne’s new
exhibition format, aims to reflect this development with
new structures and presentation approaches.
D³ – the presentation forum for bright young things
It’s often the young and particularly creative designers
who haven’t been influenced by the market yet who provide the scene with innovations. In order to encourage
this creative potential, the imm cologne 2010 will be presenting the fifth D³ Design talents show – the Cologne
furnishing fair’s event for up-and-coming designers. Divided into the three categories D³ Professionals, D³ Contest and D³ Schools, the D³ shows will again be providing
new impetus for the future of interior design. The presentation of these inspiring and visionary designs will be accompanied by various supporting events and installations.
In the D³ Professionals category, independent designers
and design studios can present their ideas to a broad
audience and make contact with manufacturers and
dealers. D³ Schools provides colleges from the fields of
product design, interior architecture and architecture with
Photo: Koelnmesse; imm cologne 2009; Interior Innovation Award (IMM10_TD1501_02)
a dedicated forum for presenting their course content and
outstanding student projects. An independent jury awards
prizes for the best exhibition concepts. The D3 Contest
gives students and graduates from the above disciplines
another opportunity to win awards: there are prizes for
the three best interior products from categories such as
furniture, lighting, textiles, carpets or wallpapers. The D³
Contest in particular has developed into an effective contact
forum for young designers in recent years, establishing
itself as a popular sourcing destination for the industry.
Interior Innovation Award – the furniture fair prize
Another permanent feature on the imm cologne’s agenda
is the presentation of the interior innovation award, which
is one of the most highly regarded design awards in the
furnishing sector and is presented by a jury of internationally acclaimed designers. And the award is not restricted to the trade fair’s exhibitors: those of its partners
like Design Post, Spichern Höfe and KAP Forum can
enter their product highlights as well. The award is presented for outstanding innovative accomplishments in
the furnishing sector. As well as design and technology,
that also includes new materials and details as well as
outstanding product concepts and market triumphs. For
the first time, the imm cologne 2010 will be presenting
all the products nominated for an award in a special show.
The prizes will be presented during the Cologne Design
Night in the Alter Wartesaal, the former waiting room of
the main station, starting at 7 p.m. on Monday, 18th January 2010.
Smart – interior worlds for youngsters
Seeing as young designers have been given a special
place at the fair, it would be a shame to neglect the field
of young interiors. It is an area where new trends are
often born and gives new room concepts the chance to
prove their viability for day-to-day life. Young people
are particularly likely to live alone and only have a
limited amount of space available to them. Flexible
and space-saving solutions should convey a roomy
atmosphere even when space is in short supply, clever
furnishings should offer maximum storage space and
multiple functions. At the same time, a trendy design is
indispensable, especially for this target group. When it
comes to lifestyle furniture, the popularity of purist
design is still growing strongly. But that’s not to say
there aren’t occasional retro echoes that luxuriate in
lavish colours and forms. Even if, these days, integrated
entertainment electronics like iPod docking stations are
a must.
The Trendboard – the imm cologne’s trend analysts
What have Discipline and Comfort Zone got in common?
Both are amongst the Interior Trends being presented
by the imm cologne 2010. It is thanks to the continuous
efforts of Koelnmesse that a professional discourse
about design as a market factor is possible in such a
fast-moving arena as a trade fair. The Cologne Trendboard – an international panel of architects, design and
interior design experts that analyses the interior trends
of the coming season – is a good example of the competence clustered in the cathedral city. The Trend Book
it compiles translates the most important trends for
the furnishing sector into words and images. Materials,
surfaces and structures – integral aspects of furniture
and interior design – are given the same weight as the
concrete forms developed by the designers. The book –
which is rapidly becoming compulsory reading for the
Photo: Koelnmesse; Press breakfast on the Trend Book 2009 (IMM10_TD1501_03)
Photo: Koelnmesse; imm cologne 2009; Artanova Horst AG; Athena (IMM10_TD1501_04)
entire sector – is a vivid depiction of the alliance between
new forms, the latest materials and the ambience of the
moment.
Pure Village – the innovation of the fair
But even though its ultimate goal is to present new products, the imm cologne itself comes up with its fair share
of innovations too. For at the end of the day, the exhibition
itself has to adapt to trends and tendencies as well. Even
the way we live is changing. The transitions between the
kitchen and living room or bathroom and bedroom are
becoming more fluid. Factors such as lighting, textiles
and accessories are becoming increasingly important in
today’s new interior worlds.
The imm cologne is responding to these changes with its
new “Pure Village” presentation format. The innovative
use of space in Pure Village, characterised by open
structures and interesting juxtapositions, allows interior
worlds to merge with one another and opens up new
perspectives. The exhibition architecture is an expression
of the same principles: rather than running parallel to
one another, the pathways lead to a central point which –
like a market square – tempts visitors to linger and enjoy
a communicative exchange in the lounge and bar. A new
concept that is ideally suited to clustering forward-looking
ideas and product solutions from all furnishing-related
areas. Gerhard Böse, CEO of Koelnmesse, has very clear
expectations: “What we are launching under the name
‘Pure Village’ is a totally new trade fair format. The atmosphere created in Hall 3.2 is intended to hold particular appeal for the design-oriented brands.”
Editor’s note:
One of the special services the imm cologne offers the
international press is the “hit guide”, which will again be
available in 2010. It comes in a handy A5 size and provides an overview of the highlights from the fair in the
form of colour pictures and brief product descriptions.
The selection is based on the new products announced
by exhibitors in the run-up to the fair. A print version of
the “hit guide” will be available to journalists as of 21st
December 2009.
www.imm-cologne.com
08_en
Trend Book – Interior Trends 2010 (DVD)
www.imm-content-service.com
Trend Book
Contents
3 Editorial
In search of intelligent solutions
46 The Trendboard
A good mix: the Trendboard panel at a glance
4 Press Release
The imm cologne Trend Book 2010
52 Making-of
Documenting future realities
8
12
16
20
Interior Trends 2010
Trickery
Comfort Zone
Rehab
Discipline
24 The Trend Book - A Reference Work for the Future
26 Compact: The imm cologne Trend Book 2010 –
All the basic information and
the 4 trends at a glance
Trendboard Workshop
30 Drawing Lines into the Future
36 Statement Marcus Fairs:
Cool minimalism versus design for comfort
38 Interview
Trendboard member Johanna Grawunder on
American refrigerators and the responsibility of
design in times of crisis
56 Pure Village
Inspiration between sofas and bathtubs
60 The Fair
imm cologne set to become the most modern
furnishing fair in Europe
64 Imprint/Credits
Content-Service imm cologne 2010 I 99
Der Content-Service
und Wohnkultur
The imm cologne's content
lifestyle
09_en
Business by Design (DVD)
www.imm-content-service.com
Contents
2 Editorial
Big Business
Number Games
4 Self-fulfilment through creative living
6 Filling a tall order
8 Buying furniture: the new man’s thing
10 Interview
Designer Stefan Diez on the risks of being
average and the unprofitability of ever-shorter
development cycles
24 Making-of
CH04 Houdini (e15): A chair with no snags
28 Market
Facts and figures on the situation
of the German furniture industry:
Home styling is in – buying furniture too?
32 Company
Walter Knoll: Seeking out gaps with designers
36 Interview
Oliver Kleine on the LEONARDO brand’s
commitment to interior design
40 Interview
Dirk-Uwe Klaas, Association of the German
Furniture Industry, on consumers’ changing
mentality
46 Interview
Leo Lübke, interlübke/COR, on why it pays to
commit to quality and design
54 Market
Green Design:
Riding the green wave to sales growth
60 Interview
Giovanni Gervasoni on his successful recipe
for the German market
66 Pure Village (II)
Pure Village clusters famous design brands
and creative furnishing ideas in the heart
of the imm cologne
70 The Fair
imm cologne is Germany’s top international
furniture platform
74 Online Content Service
A note on our own behalf
76 Imprint/Credits
Imprint/Credits I 100
Der Content-Service
und Wohnkultur
The imm cologne‘s content
lifestyle
Imprint/Credits
imm cologne 2010
19.-24.01.2010
Idea:
Markus Majerus
www.imm-cologne.com
Concept:
FAR_consulting
Communication, design management,
trend research
Frank A. Reinhardt
Dillenburger Str. 83
Tel.: + 49-2 21-620 18 02
Fax: + 49-2 21-962 45 39
design@far-consulting.de
www.far-consulting.de
Your contact for enquiries:
Markus Majerus
Tel.: + 49 221 821-2627
Fax: + 49 221 821-3417
E-Mail m.majerus@koelnmesse.de
Koelnmesse GmbH
Messeplatz 1
50679 Cologne
Postfach 21 07 60
50532 Cologne
Germany
Tel.: +49 221 821-0
Fax: +49 221 821-2574
info@koelnmesse.de
www.koelnmesse.de
Management:
Gerald Böse (Chief Executive Officer)
Herbert Marner
Oliver P. Kuhrt
Dr. Gerd Weber
Chairman of the Supervisory Board:
Jürgen Roters, Lord Mayor of the City of Cologne
Place of business and (legal) domicile:
Cologne - Amtsgericht Köln, HRB 952
Editorial team:
Frank A. Reinhardt
Editorial assistant:
Lars Mörs
Translation:
Alison Du Bovis, Jork
Layout:
Karsten Jipp, Berlin
Photos:
Karsten Jipp, Berlin
Signed articles represent the opinion of the author,
not necessarily that of the editorial team. All contributions are protected by copyright and are for press
use only. Journalists can use all articles and photos
free of charge on condition that they provide two
specimen copies of the corresponding publication.
It is not obligatory to name the authors. Image copyrights are held by the originators and by Koelnmesse as tagged. We thank the photographers and
manufacturers for kindly providing the pictures and
request that they be credited accordingly. The place
of performance and jurisdiction is Cologne.

Trends and Design 2010

Transcription

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