http://www.joa-herrenknecht.com joa-herrenknecht.com Thu, 28 Mar 2013 05:55:31 +0000 http://www.joa-herrenknecht.com en http://www.joa-herrenknecht.com/INVITATION http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/INVITATION Thu, 28 Mar 2013 05:55:31 +0000 joa-herrenknecht.com 5251418 <img src="http://payload147.cargocollective.com/1/7/240629/5251418/Anime-Finalfinal.gif" width="605" height="859" width_o="605" height_o="859" src_o="http://payload147.cargocollective.com/1/7/240629/5251418/Anime-Finalfinal_o.gif" data-mid="28416628" border="0" align="left"/> Fondata nel 2012; con sede a Berlino lo Studio Joa Herrenknecht si concentra su mobili e prodotti di interior design, con un occhio molto attento per l'artigianalità, un accurata scelta dei materiali, un senso speciale per le semplicità e liebertà colori: La nuova collezione verrà esposta nel Salone Satellite 2013, durante il Salone del Mobile: Per ricevere maggiori informazioni siete sempre i benvenuti a contattarci: Studio Joa Herrenknecht; 2013 Fondata nel 2012; con sede a Berlino lo Studio Joa Herrenknecht si concentra su mobili e prodotti di interior design, con un occhio molto attento per... http://www.joa-herrenknecht.com/NEWS-DMY-Berlin-Trails http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/NEWS-DMY-Berlin-Trails Sun, 24 Mar 2013 12:34:19 +0000 joa-herrenknecht.com 5251556 During Salone del Mobile 2013, DMY will present the 6th edition of the exhibition series Berlin Milano. The exhibition "Berlin Trails" will introduce you to the latest works of extraordinary designers and studios from Berlin. Composed as a labyrinth, the exhibition architecture recalls the different paths, blind ends and solving processes the designers have undergone to get to the final products. Visitors are invited to enter the maze and discover the individual works. The exhibition is curated by William Bagnoli, DMY Berlin. Exhibiting Designers: branka blasius bureau, Coordination, Studio Joa Herrenknecht, Reuber Henning, shapes in play and superéquipe Venue: HEDRA 3, Ventura Lambrate Via Privata Oslavia 17/3 Lambrate, Milano Opening Reception: April 10, 8pm–10pm (for information about the exhibition click here) During Salone del Mobile 2013, DMY will present the 6th edition of the exhibition series Berlin Milano. The exhibition "Berlin Trails" will introduce you to the... http://www.joa-herrenknecht.com/Interview-with-Modern-Decoration-Home-Magazine http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/Interview-with-Modern-Decoration-Home-Magazine Sun, 24 Mar 2013 12:04:43 +0000 joa-herrenknecht.com 4185553 Interview with Modern Decoration Home Magazine, China (Oct. 2012 issue, p. 17/18). Download as PDF. Interview with Modern Decoration Home Magazine, China (Oct. 2012 issue, p. 17/18). Download as PDF. http://www.joa-herrenknecht.com/NEWS-Salone-Satellite-Milan-2013 http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/NEWS-Salone-Satellite-Milan-2013 Sun, 24 Mar 2013 11:42:21 +0000 joa-herrenknecht.com 5251208 - Feel welcome to visit us — We will exhibit a new collection of products at the International furniture fair — Salone Satellite, in Milan during April 9th - 14th, 2013 — T H E - N E W - C O L L E C T I O N - S H O W N - I N - M I L A N by STUDIO JOA HERRENKNECHT GROW Download PDF <img src="http://payload147.cargocollective.com/1/7/240629/5251208/Toro_72dpi_rgb_StudioJoaHerrenknecht.jpg" width="425" height="471" width_o="425" height_o="471" src_o="http://payload147.cargocollective.com/1/7/240629/5251208/Toro_72dpi_rgb_StudioJoaHerrenknecht_o.jpg" data-mid="29022841" border="0" align="left"/> TORO - modular flower pots for flowers and climbing plants - – <img src="http://payload147.cargocollective.com/1/7/240629/5251208/Isla_72dpi_rgb_StudioJoaHerrenknecht.jpg" width="670" height="938" width_o="1265" height_o="1772" src_o="http://payload147.cargocollective.com/1/7/240629/5251208/Isla_72dpi_rgb_StudioJoaHerrenknecht_o.jpg" data-mid="29022845" border="0" align="left"/> ISLA - growing triangles and squares together - into an island of handwoven wool – <img src="http://payload147.cargocollective.com/1/7/240629/5251208/Phases_72dpi_rgb_StudioJoaHerrenknecht.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload147.cargocollective.com/1/7/240629/5251208/Phases_72dpi_rgb_StudioJoaHerrenknecht_o.jpg" data-mid="29022848" border="0" align="left"/> PHASES - geometric vases which change positions - – <img src="http://payload147.cargocollective.com/1/7/240629/5251208/Tila_72dpi_rgb_StudioJoaHerrenknecht.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload147.cargocollective.com/1/7/240629/5251208/Tila_72dpi_rgb_StudioJoaHerrenknecht_o.jpg" data-mid="29022849" border="0" align="left"/> TILA - candle holders - copper/ ash/ concrete/ marble – <img src="http://payload147.cargocollective.com/1/7/240629/5251208/Twig_72dpi_rgb_StudioJoaHerrenknecht.jpg" width="283" height="425" width_o="283" height_o="425" src_o="http://payload147.cargocollective.com/1/7/240629/5251208/Twig_72dpi_rgb_StudioJoaHerrenknecht_o.jpg" data-mid="29022840" border="0" align="left"/> TWIG - three branches growing into a side table and stool - – This exhibition is part of FÜNF GERMAN STUDIOS five friends who will exhibit together Salone Satellite, booth C-09 Milan (more about FUENF GERMAN STUDIOS click here) (Press material, press here - please contact us for your login) - Feel welcome to visit us — We will exhibit a new collection of products at the International furniture fair — Salone Satellite, in Milan during April 9th... http://www.joa-herrenknecht.com/cinema-program http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/cinema-program Sun, 03 Jun 2012 19:22:18 +0000 joa-herrenknecht.com 3522780 fold out cinema poster / flyer with program information & membership application Sydney, 2011 <img src="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-11.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-11_o.jpg" data-mid="18195558" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-12.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-12_o.jpg" data-mid="18195567" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-13.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3522780/Portfolio_JOA_NEW-13_o.jpg" data-mid="18195572" border="0" align="left"/> fold out cinema poster / flyer with program information & membership application Sydney, 2011 http://www.joa-herrenknecht.com/Parks-Recreation http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/Parks-Recreation Sun, 03 Jun 2012 16:42:07 +0000 joa-herrenknecht.com 3521873 information brochure for Parks & Recreation Melbourne, 2011 <img src="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-7.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-7_o.jpg" data-mid="18191182" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-8.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-8_o.jpg" data-mid="18191197" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-9.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-9_o.jpg" data-mid="18191211" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-10.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521873/Portfolio_JOA_NEW-10_o.jpg" data-mid="18191227" border="0" align="left"/> information brochure for Parks & Recreation Melbourne, 2011 http://www.joa-herrenknecht.com/Strings-FM http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/Strings-FM Sun, 03 Jun 2012 16:12:14 +0000 joa-herrenknecht.com 3521827 Logo / CI for strings fm, classical radio station 2011 <img src="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-2.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-2_o.jpg" data-mid="18190236" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-3.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-3_o.jpg" data-mid="18190240" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-4.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-4_o.jpg" data-mid="18190246" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-5.jpg" width="670" height="473" width_o="1191" height_o="842" src_o="http://payload61.cargocollective.com/1/7/240629/3521827/Portfolio_JOA_NEW-5_o.jpg" data-mid="18190251" border="0" align="left"/> Logo / CI for strings fm, classical radio station 2011 http://www.joa-herrenknecht.com/furniture-music http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/furniture-music Wed, 30 May 2012 18:40:48 +0000 joa-herrenknecht.com 3412078 Is it equivalent to an indoor car for your apartment? Felix Vogel and Joa Herrenknecht in conversation this conversation has been published in the book "Furniture Music" edited by Blauer Hase, Venice, Italy 2009 www.blauerhase.com FV: For a start, I would like to question what it means and which semantic shift it contains, if Erik Satie uses the metaphor of ‘furniture’ for his compositions. What does it mean to transfer a relatively stable term (furniture) to a certain genre of music that is supposed to stay in the background and should not attract people’s attention too much? If we are then thinking the concept of ‘furniture music’ further in its history, pointing to the idea of “Muzak”, i.e. music that is especially composed to create a certain effect on the consumer, while staying unnoticed, and thus supporting a capitalist logic, it comes to the fore how limited the term ‘furniture’ is thought here. Furniture is understood as something that is creating a pleasant and inconspicuous surrounding. Here, furniture is less an object – i.e. something that contrasts from space through its very presence – than it seems to somehow merge with space and is not longer recognized as independent. Hence, furniture is not even decoration. How would you evaluate this definition of furniture and design? I entertain suspicion that it does not have anything to do with either any historical understanding of design nor does it for contemporary design practice. JH: Thinking about "furniture music" and Muzak, used to manipulate the emotional state of a consumer in such a way as to buy more, I can see a difference and a similarity in the presence of furniture and music. The furniture will generate a picture - an illusion of taste perhaps - an image that creates expectations we all are manipulated by, because we definitely expect a specific look or mood when we enter a certain space, e.g. a 5-star hotel or on the contrary an ecological supermarket. Both spaces use furniture as an identity frame, thus the appearance of it - the design - (is this the design we think of if speaking of "furniture music"?) to make a statement and create an appearance. Although, it is a reproduction of a picture we expect to see - and I think it does not really surprise us to see wooden racks in the ecological supermarket, stacked with paper boxes carrying fair trade products, or to see a design classic like the Barcelona Chair in an upscale villa - furniture is not able to transport the same message as music does, it makes a different impact. It might reproduce an image, or mood - you very likely will feel better in an elegantly decorated house than in a shack, but it is always limited to a specifically appointed 3 dimensional picture and often to a certain class of social space. FV: You are right; this has very much to do with different forms of display and the somehow prefigured reaction to it. Space is defined through different rules and regulations of visibility. The Barcelona Chair in an upscale villa works as an object, as an iconic symbol and I claim that it functions as a spatial metonymy. Although, if we recall the history of this chair and remember that it was especially designed for one particular space, its purpose is a different one and its proper or intended function was given in connection with a particular defined space. If we see the chair nowadays in a villa, it is more like exhibiting it as an object, in almost the same way – or at least with almost the same outcome – than exhibiting art. I understand your other example of supermarket shelves as contrast to a Mies-like furniture and they – especially the differently designed ones from the ‘ecological supermarket’ – describe the term furniture how it is to be understood in ‘furniture music’ very good. If we understand space as something that is existing out of different layers – starting with parameters for three dimensions, location, light, etc. – furniture, or to put it more general: design, is one of those layers. But this layer has again intermediate layers that vary from an almost invisible furnishing – which is more or less sculptural work at the space for the sake of defining it – over decorating the space to placing an object in the space. I find it very interesting that you mention that the impact of design for – how should we call this person? user? viewer? – the subject that is confronted with it, is far often limited to a certain class of social space. I totally agree with it, but I would turn it upside down and claim that design is itself producing these restrictions. How would you as a practitioner in the field of design evaluate the importance of furnishing or design by and large? What is the recent condition of design and do you have a set of conditions in your own design practice? JH: The decorative parts of our lives - with which we identify mostly our social status, matter too much. We shall not forget, that they are just things and that there is a difference between a person, his character, his soul and his way "of dressing" - often furniture becomes fashion nowadays, because we blindly consume too much and there are so many badly made objects - mass furniture and products with no soul to them. That' s what upsets me. There is so much trash blending in and so much pretentious stuff, that we forget objects are primarily intended to be used. There are two things I believe in: first of all the way you live, the things that you surround yourself with, no matter if it is cheap or expensive, good or bad design, they have an influence on you personally. So you should think about the way you live. You should give yourself some sort of value, in creating your own space to magnify your presence, you should do this just for yourself and not to impress others - this makes a big difference I think and I hate to hear your home is your mirror, but there is something about it that is true. So then is it possible that furniture is more than basic decoration? More than illusion? More influential than you thought? Is it an active force? Simple thing: but If you have some flowers at home (this could be some sort of 3-D Muzak) you will feel it, you can feel an image I believe. And you can feel a comfortable chair, a sharp knife, a clear light too. Secondly I believe a designer should do a good job, creating a product that either supports you, while using it, without making ‘big noise’, so you almost won't notice it because it is a tool. Or to exhilarate you, like a piece of jewel, by its shape, its material, its color and idea that evokes a holistic response of reality to and for you. If design is a tool - then it would be real "furniture music" - and blend in with the background, without you noticing it. But the furniture design, which is mostly referred to lately by speaking of "design" often takes up the role of the pretentious jewel, the loud piece that wants to be seen, often these pieces are produced to be seen also. Now here we get to the point, where there is a difference in the interpretation of design. There is the design product, that is intended to be used as a tool, mostly produced industrially and there is the design object, that is only used for visual pleasure - that could even be seen as... – could it be art? Is it sculpture? Is it equivalent to an indoor car for your apartment? There are many examples of it today, for example the ‘Voronoi shelf’ by Marc Newson or the sculptural ‘Drift bench’ by Amanda Levete which are rather meant to be looked at - and their function almost sounds like an excuse, because they are not just furniture anymore, but designed art pieces available in limited editions. There is a whole new world in which you need to know names. Are you a Bouroullec or rather a Grcic design fan? Whose design do you like? This is the daily question. Then you go on talking about a specific chair – which also has a specific name, like an art piece and so on. So I think designed art furniture can really be seen independently, thus perhaps even out of the space context? In the end of course you expect to have a suitable surrounding for it. I wonder if somebody who buys a design object for 1 million Dollars would actually really use it or rather treat it like a piece of art – enjoying the presence, but not daring of ‘using’ it… - could we possibly even name this ‘species’ the new “furniture music”? FV: I witnessed this development, too. Somehow moving away from furnishing space – and thus sometimes merging with it – to becoming an autonomous object. And this does not have to do anything anymore with the notion of furniture, as it is understood in Satie’s idea of ‘furniture music’… Still, I am not sure, if one can or should equalize these particular design objects with art, but I love your comparison with an indoor car for an apartment and I think this is a most suitable metaphor for some recent design objects. It is always a matter of identification and signification. Does it become art, if we call it art or does it become art, if it is displayed in the same way as art? I still claim that art – in opposition to design as well as other visual and sensual ‘actions’ – is free, sterile and uncommitted. Although, the function of design is sometimes present only as excuse, as you describe it, it still is not sterile. Even design that is exhibited – be it for its historical importance or something else – which also means that you are not allowed to use it and it is placed in a totally different context than it was intended, tells you that it is meant to fulfill a certain purpose and is not just pure form. This would also lead to the question if it is possible to exhibit design? How? Is not every placing already a form of exhibiting and thus furnishing an apartment equivalent to curating? Is exhibition only possible, if you place the object of interest outside its usual context? How important is the functionality of a design object in the context of exhibiting it? Is not it necessary to use – or at least have an impression of the haptic qualities – of, let’s say, a chair – is not it limiting to just relate to its visual appearance? I observed that exhibiting design confronts us mostly– mostly, because there have been several interesting exhibitions that questioned the pure fetish character of design – with a very paradoxical situation: The object is appears as a loss – that is its purpose or function – but at the same time a symbolic surplus is generated through the spatial connotation of the museum: a promise that is inherently neglected by the object – loosing something that it actually is and claiming to be something that it can never be. It is a sacrifice of the proper object in favor of becoming pure fetish. The museum and other formats of exhibition spaces can be understood as a democratization of objects – things are transformed to something else and their proper status or identity is dissolved. Of course, this has a lot of advantages, because the object is no longer part of the capitalist circulation of commodities, but at the same time its very identity and purpose is concealed. Having this in mind and coming back to your description of the differentiation of design, you talked earlier, what is the job of a designer today, if it is not simply about developing ‘tools’? JH: Sometimes I think of our job being the one of a modern sculptor - not an artist - but an industrial sculptor. When you are done with a project it seems to me, that you loose the power over it. It gets independent and has it's own life and there is no chance to change it's presence, or it's destiny anymore. It's almost like giving birth to something and then having to wait to see how it will be perceived. Even though you have spent so much time with the object, thinking about so many dimensions, cuts, production details, etc. the character of it may change in the room, in the space, in the consumer’s hand or presence. I cannot forecast anything. In fact the author, the designer has to let loose, to be able to concentrate on the next project. We want it to be successful, to matter, to show presence in a room, or to function gently and steadily like a good tool, but there is no guaranty for the one or other. Many good designs are not selling well, not even being noticed by the mass public and other good pieces you don't notice because they are designed so well. Like a stable no name wooden chair. Therefore I embrace the possibility to exhibit design objects in public. At one point there should be a better explication of design. Everything has been designed, every little screw - but when I talk to you about it, I try to think of design as being some object with a quality seal. But there is no such thing as a quality control for the term "design furniture" and everybody sells everything tagged with "design". Do we think that design is more than just mass produced items with bad quality? Yes, this for sure, but defining it becomes difficult lately. FV: But is not there already something like a ‘quality control’? There is a certain canonization of design, there are different channels of distribution – be it magazines, fairs, books or exhibition – which shape the term of what is called ‘design’. Although, this is driven more often by economical reasons than it points to a certain quality, which would, on the one hand be, difficult to establish and, on the other hand, I see danger that it will be a very stable measurement, which does not allow radical development. JH: You might be right that there is some sort of 'quality control' for design, perhaps, but if so it is definitely not media, but time. If a certain object still functions after a long stretch of time, if you still like and use it, if the idea of it still works - then this is quality. Quality that is given by its design, its material and its way of usage. The time factor has a very important role in the world of design (I will come back to this later). I think media, especially magazines can not provide a quality seal. Mainly they are interested in nice pictures. There are so many magazines lately that it's like selling different versions of stylish ‘Art of living bibles’ for the temples we live in. Who remembers the magazine articles really? However shaping the broad public view on design, I acknowledge the importance of the exhibition spaces, the magazines and media for communicating design - especially because this is a form of design itself! There has been a very big effort made to get to this point, almost every one has an own apartment and has the freedom of private expression and choice of consumption. Only 200 years ago it was not normal to have your own privacy. The sense for ‘family’ or let us call it ‘home-privacy’ was not established then. Either you were living on the countryside in big household-structures of different generations with domestics (and animals) or you were one of the few privileged - but there was no intimacy as we know it today. Think of Versailles and all the rooms which were connected to one another, rarely you had corridors. Everything was public. With the change of society structures consumption started, there was a shift towards emotionalizing privacy and expressing individuality. Politics were certainly important in this process. And still are. FV: Yes, but that is exactly the reason, why it is an issue of politics. The division of private and public space – or the development of what we call ‘private space’ today – is closely linked to the history of capitalism. The important role of design did not coincide simultaneous with capitalism taking completely over – that is during the age of industrialization – but it is closely connected to this shift. Design took over the role of structuring the living together and social life and has therefore an immanent political role. JH: Let us say it is likely that the broad public gets informed about what is possible by design, people might get aware and train their eyes and their consumption habits - against your opinion I think that by ensuring ‘new food’ - media is urged to also inform about radical developments and might be part of it. For me having the capitalistic freedom of consumption is a political statement. Perhaps this is the time in which we realize that it is not just freedom. We are starting to be aware of our consumption habits and its outcome. Design may provide solutions, ideas, great objects – but we also need to know, that it won’t heal the world. FV: You mentioned earlier that there is ‘too much design’. If there is too much of something, it always means that there is a loss of something else. What would this be? And does it also imply that design is not meant to be for the masses? I think this is a question that we should stress a bit further. Is the designer just working for people who can afford it? You mentioned apartment indoor cars earlier… Is not there are more political dimension of design? Is there a possibility – being very much influenced by Marxist thoughts, I feel the need to ask this – for the designer to advocate for the people? I have two examples for this, both may seem to be outdated, but I still find them somehow attracting or at least interesting to discuss. The first example is Walter Benjamin’s lecture “The Author as Producer”, which he gave at the Institute of the Study of Fascism in Paris in 1934. Benjamin questions the role of the author and of the artist and criticizes that they should not respond through the social and political shifts of that time from an observational point, but to engage actively; a ‘tendency’ is not enough, one ‘must act on the side of the proletariat’. Benjamin was not very successful with his call – through out the history artists engaged politically, but not many artists gave up their individual artistic ideals in favor of committing their art to something that goes beyond it and could be – in the worst case – described as exploitation. The limit was always the own artistic practice; nothing went beyond it. When reading the text, I had always the feeling that this could or should be applied to designers, because what Benjamin describes can be transformed very easily to a designer’s way of working – developing ideas and concepts, but with a certain functionality and not always as independent as an artist or do you think this is far too polemical? The second example is Viktor Papanek’s 1971 published book ‘Design for the Real World: Human Ecology and Social Change’. In this book – and every other lecture or text – he advocates against design that is just looking nice, unsafe, showy or simply useless… He was also one of the first who took on ecological issues and tried to find solutions for an engaged design practice, somehow closely related to the Hochschule für Gestaltung in Ulm. Papanek was emphatic on the idea that the real purpose of the designer is to develop ‘designs’ for people, who are in a dis-advanced position, like inhabitants in so-called third world country, who do not need – and cannot afford – a super stylish radio, but who urgently need something like a radio, whereas Papanek designed a radio that is put together out of old tins and which runs with cow excrements. He understood this as the real design, whereas it differs very much from what we know from design magazines and exhibitions… Do you think the designer has the responsibility – or at least the potential – to act political? A more modest and less radical example – you have already mentioned it – that is still described as political is ‘droog’. Can you explain the concept behind ‘droog’ and what you understand as political in their way of treating design? I believe it is on a more formal or aesthetical layer than how Papanek understands political action… JH: Before answering the question about politics, I would like to express something else first. You mentioned economy. Economy plays a major role in developing new ideas. Design is strongly linked to economy, people are encouraged to spend their money. This ensures the stable progressive productivity and our prosperity. Politically, I have to say that, if we weren’t able to buy the things we wanted and had no money, there would be no progress in production. No evolution. Think of the mobile phones or the computers! Today we have so much things to buy and parallel to this we now know our natural resources are getting smaller each day, this is the cost of over-production. FV: But should not this be the role of the designer to act upon this situation and to take care of natural resources rather than just concentrate on producing something beautiful by all means? That is also what I understand as the political responsibility of a designer… JH: Some years ago cars have been developed with minimal gas consumption, but only now they are starting to be sold well, now when people have to pay more for the fuel due to shrinking resources, they realize that it is better to think of nature. I don't think we will buy less, but at one point we will definitely think about what we really need, if we need it and we will think about aesthetics, materials and function differently. They will become even more important and the designer will have a higher responsibility, if he not already does. Referring to your question earlier: Do we design for the rich? I don't think you can say ‘yes or no’ - if there was no money to be spent we wouldn't be able to have such a diversity of design variety and high living standard. Personally I can get really caught-up in questioning this. To be honest the economical issues are so terribly complex that thinking of some parts of the world I would even say a lot of ‘our design world’ is just "furniture music" - but it is not. I really like the social issue Papanek stresses - but it is not the duty of design to help the poor. I think it is the duty of society and especially of the politicians to act responsibly. There are so many countries in Africa or South America that are rich in natural resources - you wonder why one should send designers around to help, this can not be ‘the solution’ for corrupt regimes. What is really needed is education and the creation of an independent volition for change among the ones in need in a democratic environment. Then again it makes one dizzy thinking of ‘us’ exploiting other countries to feed our needs of consumption. Crazy and after that we think we are the ones who should give people in these countries rudimentary design as aid? We should do better than that! Back to the design issue – what is very interesting is that among poor people you find the most creative designers, because they have to think of daily and practical solutions themselves - constantly! This is a big potential and I wish it would prosper independently by the people themselves. Perhaps we could learn much more from them, than they from us? FV: Yes, you are right… I find it also strange to say that the designer has the ability to help, which gives him a privileged role in society. I think it is a fairly problematic issue and it can easily end up in a very arrogant and even colonial position of the designer, who is colonizing ‘the people’ through his vision of sensuality or whatsoever. One has to be aware of this… But, agreeing with Papanek, I do think that the designer has the potential to create solutions that can help and that design actually can have a role in structuring and improving living. The designer just has to be aware of the position he is occupying. JH: Because economy is driven by the consumer himself, it is a cycle in which the designer can interact in giving new material to thinking and perceiving in society. He is not an artist who wants to express a thought, he is producing a product which is intended for use. I think the designer is not as free as an artist. He will always be driven by necessities and restrictions. Usually he has a client and most likely he works under contract towards a production deadline. All this narrows his freedom of expression. Mainly driven by innovation, using technology, design is always idealistic and it is intended for the user, so it's a socialistic move. I don't think design is self-seeking at all. Designing is self-fulfilling but it is not intentioned to be egoistic or useless. Acting politically and questioning politically is partially possible with design. Some of the Droog designs make you think, they provoke a reaction using artistical language and scrutinizing production, in a broad sense this is a political act questioning the composition of the order of world industry. On the other hand Droog is rather making comments than serious politics. Instead of creating just nice functional objects, the awareness of the consumer is provocatively addressed. Looking closely at Droog they are giving new ideas, but are they really political or radical at all? You might be right, that it is rather a formal layer. All of the objects are aesthetical and the "form" is a way of expression. And to be able to survive Droog is being commercial, having their own little collection, although for a long time they just wanted to question design, the first show in Milan 1993 was entiteled with “no comment, no price". Now they use capitalism and commercialism also. So in the end I think that design (today) will always be part of the economic cycle and although you might question it - it is still not changing it's role. Design is meant to be consumed and provides the market with consumer goods. If you are an art theoretician and modern Marxist what do you then think of aesthetics? I'd like to know this - because there is as I believe a difference in design, not every design is intended to be aesthetical - some things just function - and for me the ideal is that function and aesthetics come together. In art I do not believe that aesthetics are so important at all, what do you think about this if comparing art with design? Also what do you think of the bond between design and economy as a consumer? FV: I do think that everything is linked to economy in our capitalist system, but that does not mean that there are no ways to act within capitalism without using its rules. I am not at all opting for revolution, I just do not agree with capitalism and there are many ways how this could be addressed. Design might be one… Commercial distribution and the fact that everything is based on the distribution of goods and monetary values does not avoid trying to change something. Just because everything is connected to the market it does not mean that it is impossible to oppose something to it. And to answer your question, I think that a potential of changes lies in the aesthetics itself. I understand aesthetics not simply as a form or a surface but something that has the very potential to be political. It is not only the case that aesthetics can trigger political action, but the political is itself already inscribed in it. When I am talking about the political here, I am referring to Chantal Mouffe’s conception of this term. She observes that an ever-present possibility of conflict, respectively antagonism, is necessary for democracy. I strongly believe that all sensual and aesthetical manifestations – and in stretching this term as far as possible, I am counting design amongst different other forms without differentiating much here – take part in this conflict. Design is able to question the predetermined set-up as well as being able to establish something different – whatever that ‘different’ might be… Speaking very abstractly that is what politics are about. I do not think that design – and that is certainly the case with art too – can or should be understood as something like ‘Ersatz-politics’, if you understand what I mean. But it has the ability to raise questions and to act, in the most positive way, as a catalyst. Another example that just came in my mind and that is quite different from Papanek or the Benjamin case is the scandal that took place during the ‘International Design Conference Aspen’ (IDCA) in 1970. The ‘French Group’, lead by Jean Baudrillard, was not at all d’accord with the agenda driven by its speakers and its head, Reyner Banham, who was aware of design and environmental issues, but he somehow ignored the political or social dimension of his practice. The ‘French Group’ argues that the designer – even if they are totally aware of environmental issues – do not understand the real problem, which they observe in the very conception of the theory of design that establishes an utopia in order to support the capitalist system that needs this utopia as a second nature in order “to survive and to perpetuate itself under the pretext of nature”, as they would say. This might have been the most radical statement that someone delivered in reaction to design, because it questions the idea of design in its very roots, on its very basic level. I am not sure, how their statement can be applied for a design practice or if it is even meant to be. They are not making any positive proposals how a desired design practice could look like. Yet someone might argue that they are advocating for the abolition of design, but that just misses their point… Recently, I went to a conference on art and public space and one of the lecturers argued that in the appearance and recognition of things, design is more about appearance than about reality, which reminds me somehow of the argument at the IDCA. First, I think it is far more complex than a simple division between appearance and reality. And second, I think it is a very limited and small-minded idea of design. I was just imagining, how would a world without design look like? Is this actually possible or is our imagination simply based on or shaped by design? How would you – in one last sentence – picture a world without design? JH: Design started when the first man grabbed a stone and used it as a tool, everything between then and today, the whole evolution and rise of culture and technology would not have been possible. Design is proof of human intelligence and our existence. The conversation took place between Karlsruhe, London and Glasgow during autumn 2008. Felix Vogel is curator and theoretician. His research and curatorial practice is focused on the relations between aesthetics and the social sphere. Consequently, he is interested in areas linked to activism, gender, historical avant-gardes as well as participative architecture. Recently, he was appointed curator for the forthcoming Bucharest Biennale in 2010. He is currently living and working in Karlsruhe, Madrid and Bucharest. Joa Herrenknecht is product designer. She has worked for Patricia Urquiola in Milan and is now designing freelance for different companies, while graduating from the University of Arts and Design. She is currently living and working in Karlsruhe. Other contributers to the book are: Nicola Bernardini, Solène Bertrand, Stefano Boeri, Fracesca Cappelletti, Giulio Cappellini, Massimo De Nardo, Gillo Dorfles, Martino Gamper, Jan Hoet, Cornelia Lauf, Eva Marisaldi, Hans Ulrich Obrist, Raqs Media Collective, Sam Thorne and Daniela Zangrando (info) Is it equivalent to an indoor car for your apartment? Felix Vogel and Joa Herrenknecht in conversation this conversation has been published in the book "Furniture... http://www.joa-herrenknecht.com/recent-Press http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/recent-Press Tue, 15 May 2012 17:39:52 +0000 joa-herrenknecht.com 3412222 recent press <img src="http://payload55.cargocollective.com/1/7/240629/3412222/kkaarrlls_poster_salone.jpg" width="670" height="954" width_o="995" height_o="1417" src_o="http://payload55.cargocollective.com/1/7/240629/3412222/kkaarrlls_poster_salone_o.jpg" data-mid="28591041" border="0" align="left"/> Exhibition Poster for kkaarrlls at Salone Satellite 2013 including the TATA lamp <img src="http://payload55.cargocollective.com/1/7/240629/3412222/262.jpg" width="670" height="851" width_o="1422" height_o="1807" src_o="http://payload55.cargocollective.com/1/7/240629/3412222/262_o.jpg" data-mid="22364766" border="0" align="left"/> <img src="http://payload55.cargocollective.com/1/7/240629/3412222/ModerDecorationHomeMagazineChina_Oct2012_Seite1.jpg" width="670" height="440" width_o="1096" height_o="720" src_o="http://payload55.cargocollective.com/1/7/240629/3412222/ModerDecorationHomeMagazineChina_Oct2012_Seite1_o.jpg" data-mid="21963454" border="0" align="left"/> Interview with Modern Decoration Home Magazine, China, Oct. 2012, p. 17/18 (download article, 2012/10) <img src="http://payload55.cargocollective.com/1/7/240629/3412222/G1-Ctr-nest 2.jpg" width="670" height="501" width_o="837" height_o="627" src_o="http://payload55.cargocollective.com/1/7/240629/3412222/G1-Ctr-nest 2_o.jpg" data-mid="22364858" border="0" align="left"/> NEST Light exhibited at Red Dot Design Museum Singapore, August 2012 <img src="http://payload55.cargocollective.com/1/7/240629/3412222/Bildschirmfoto 2012-10-12 um 11.26.21.png" width="670" height="560" width_o="1446" height_o="1210" src_o="http://payload55.cargocollective.com/1/7/240629/3412222/Bildschirmfoto 2012-10-12 um 11.26.21_o.png" data-mid="22364919" border="0" align="left"/> KOGI at DMY, June 19th 2012 (article on designboom) for press inquiries and high-res pictures please contact Studio Joa Herrenknecht via mail recent press Exhibition Poster for kkaarrlls at Salone Satellite 2013 including the TATA lamp Interview with Modern Decoration Home Magazine, China,... http://www.joa-herrenknecht.com/ZKM-Restaurant-Cafe http://www.joa-herrenknecht.com/following/joa-herrenknecht.com/ZKM-Restaurant-Cafe Tue, 15 May 2012 17:22:23 +0000 joa-herrenknecht.com 3412097 Interior Design Competition 2nd prize project partner: Tina Schnörringer (June 14th, 2012) <img src="http://payload55.cargocollective.com/1/7/240629/3412097/ZKM4konzept.jpg" width="670" height="509" width_o="2048" height_o="1556" src_o="http://payload55.cargocollective.com/1/7/240629/3412097/ZKM4konzept_o.jpg" data-mid="17895277" border="0" align="left"/> Interior Design Competition 2nd prize project partner: Tina Schnörringer (June 14th, 2012)