BoConcept launches the "Nawabari" collection with BIG - Bjarke Ingels Group. Now available at BoConcept in stilwerk Hamburg. Enthusiastic about the product: Bjarke Ingels and Jakob Lange, Head of Product at BIG, in conversation. © BoConcept A design collaboration between two greats of Danish design does not happen every day. But now it has happened: BoConcept is delighted to be collaborating with the world-renowned architectural firm BIG – Bjarke Ingels Group – and is presenting the exclusive “Nawabari” collection. "BoConcept is known for its elegant and timeless designs that are eye-catching in any room. With this collaboration, we are opening up to BIG's characteristic disruptive approach with playful, informal designs. We are proud to be able to work with Bjarke and his team on this collection." Paula Mc Guinness, Chief Marketing Officer The inspiration The design of the collection, which was created under the leadership of partner and Head of BIG Products Jakob Lange, is inspired by the traditional Japanese art form of rope tying to create tight bonds. "Nawa" means rope in Japanese, and the term "Nawabari" traditionally refers to the tensioning of ropes. "When we started this collection, we were looking for a new form of expression for furniture. We were interested in the shapes that emerge when a material is tied with rope. The result is these sculptural organic shapes that form the core of this furniture family." Jakob Lange Works of art for the design-oriented home The Nawabari collection is an invitation to anyone who loves elegant design to transform their home into a creative art gallery. The colorful Nawabari stools make unique statements that transform any room, whether bedroom or home office, into a vibrant and artistic place. The Nawabari collection consists of two sofa options, an armchair, two coffee tables and two large footstools. It can be assembled in a variety of fabrics and colours from BoConcept's wide range, making it very versatile. The available fabrics include the luxuriously soft Ravello fabric, which is available in six colours: sand, beige, grey, grey-green, dark blue and old pink. The simplicity and elegance of BoConcept combined with BIG's forward-thinking, functional aesthetic make each design in the Nawabari collection an unparalleled design experience with the highest level of comfort and artistic design. The Nawabari collection is now available at BoConcept in stilwerk Hamburg. For more information about the launch, visit boconcept.com .

With the Strandhotel Blankenese, stilwerk is opening its second hotel in Hamburg in May: Another Art Nouveau jewel, again on the water, only this time not on the Alster, but on the Elbe. The hotel is set against the picturesque backdrop of the Blankenese staircase district and exudes Mediterranean flair. We talk to Karlotta Bott, Head of Curation & Design, and Alexander Garbe, partner at stilwerk, about what makes this place so special, what the interior concept of the hotel looks like and what color worlds await us. stilwerk: What is special about this place? Alexander Garbe: A lot of things are happening at the same time in this place: you are in the city and somehow also out of it. The beach (incidentally one of the last natural beaches in Hamburg) is just around the corner and the harbor is opposite. Container giants pass by and the picturesque staircase district with its villas is behind you. This simultaneity is what makes it special. It creates a certain magic that makes this place so special...at least for me. Karlotta Bott: Absolutely – that's how I always feel when I come here. And the light – the light in the rooms is simply fantastic. When the sun shines, it creates such a warm atmosphere that I feel like I'm transported to the south. Karlotta Bott, Head of Curation & Design, and Alexander Garbe, partner of stilwerk. stilwerk: You have completely redesigned the hotel. How does such a creative process start? As a team, on site? Let's take a quick look behind the scenes... KB: Definitely as a team: After an initial, joint visit on site, during which we collect initial ideas, spontaneous associations and perhaps find three or four keywords that serve as a framework, an intensive research phase follows: Here I get visual inspiration, find moods that correspond to our vision of the place. These moods are usually not concrete at all, but rather are more about a mood, a feeling, the atmosphere, even in a certain way an attitude that we want to convey with the space. The essence of the place, so to speak... AG: Keywords like timeless, modern with a certain twist are basically already set - that is the DNA of stilwerk and all our destinations, so to speak. But it is a real process. With lots of curves, roundabouts and turns... The creative process starts with mood boards and collages © Luís Bompastor Then tell us – what is the design concept of the beach hotel? AG: With the beach hotel, we want to create a place that inspires, surprises and where a vacation in the city becomes possible. Vacation in the sense of relaxing, taking a break, taking a deep breath. Here you can really enjoy good design - for a business trip or a city trip. KB: Exactly, we want to create an oasis here. An oasis of well-being that inspires you. A place that invites exchange. We were inspired by the surroundings when designing: water, sand and lush green define our color scheme. The materials are all genuine and very natural. Unpainted, stained wood, marble surfaces, brass tones. Paired with small breaks, twists that make the overall picture exciting. These breaks start with the color scheme, continue with attractive, special shapes in the furniture and find the finishing touch in the accessories. The design of the studios © stilwerk © Luis Bompastor Speaking of color: As in the stilwerk Hotel Heimhude, color also plays a major role in the Strandhotel – how did this penchant come about and what are your Blankenese tones? KB: In fact, in both hotels the colors came first and then the rest came. So yes, main role describes it pretty well (laughs). For Blankenese we always say: sky, sun, sea and some greens - colors that are inspired by nature and create a really cozy atmosphere overall. Colors play an important role anyway, of course. But we wanted to go a little further and be bold: color as a statement, not garishly colorful, but clear in expression. AG: Karlotta had to sometimes slow me down so that it wasn't too colorful (laughs). A good example is our club room: it's pink, but far from the Barbie look and cutesy feel. Rather, it has a timeless vibe that is really special in combination with the furniture. From sans yellow to dusty blue: the colour palette is intense and fits in with nature © Luís Bompastor Perfect transition: What about the furniture - have you discovered new brands for the Kosmos? Are there certain key pieces that make up the Blankenese vibe? KB: We were particularly inspired in Milan at the Salone del Mobile and at the 3 Days of Design in Copenhagen. We were actually able to find some new brands there: Atelier Areti, for example, a small studio from Italy that we discovered in the off-program Alcova and that is now furnishing our public areas. With really great lights that are very elegant and formally really special. Or Rye from Denmark, who make their timeless wooden beds in Denmark and only make them to order. I could go on forever, but to name a few more names: Northern, Massproductions and Dusty Deco are also real highlight brands that are new to the cosmos. AG: A real key piece for me is the Verpan sofa in the Club Room. Lots of wood, metals and surprising accessories characterize the design of the hotel © Luís Bompastor Do you already have a favorite spot in the hotel? So where can we find you next? KB: I love the yellow studios. I'm looking forward to sleeping there and drinking my morning tea in the lounge chair with a truly unique view of the Elbe. When the sun shines, a very special magic develops in the room. My tip: Studio No. 4 ;) AG: My absolute favorite is the Club Room. For me, it's a special space that, with its mix of bar, living room and community space, could become a hotspot in Blankenese. That's what we hope, anyway. The clubroom with the Verpan sofa as an absolute key piece © stilwerk There is already another hotel in the city, the stilwerk Hotel Heimhude. It is also an Art Nouveau villa, also close to the water. What are the most striking differences for you? AG: Heimhude is our grande dame in sneakers: The surroundings are very urban, despite being close to the Alster. Our guests come there for a short city or business trip: design & culture, design & work, so to speak. Blankenese is completely different: the beach hotel is a beach getaway in the city. Just because of the surroundings: beach, water. There you are immediately surrounded by a calm that takes you out and relaxes you. Even people from Hamburg can go on holiday here. The idea behind stilwerk hotels is also to combine retail and the hotel industry – meaning: guests can buy everything they see in terms of design? AG: Something like that. In fact, that was our basic idea when we entered the hospitality industry: we want to make design a real experience in our hotels. In Blankenese, we're going one step further than in Heimhude: our hosts will also be available for initial advice and will then be happy to put you in touch with our retailers or the brand directly. The curated studios therefore offer not only accommodation, but also an opportunity to immerse yourself in a creative world and be truly inspired. Finally, back to Blankenese: Do you have three words that define the Strandhotel Blankenese for you? AG: mysterious lady in white…that’s four now, but it counts, right? (laughs) KB: Three are tough: I think I need a few more: cool ornaments with timeless, modern designs meet a good portion of edge. Add to that the magic of the place... Great. Thank you for the exciting insights and your time.

Nick Sohnemann is an innovation consultant and successfully conducts research in the workspaces of German companies with his agency Future Candy. We wanted to know from him: What will the workplace of the future look like? An interview from 2019 that we fished out of our archive - we think it's just as relevant today as it was back then. stilwerk: Mr. Sohnemann, what does the perfect workplace of the future look like? NS: There is certainly no one perfect workplace or Office 2050. One thing that we clearly observe is that offices in the future will have to work for different usage situations. For example, one of our customers, a large German group, uses zones in the office. An arrival zone where, depending on the weather, you can also pack away your clothes upon arrival. Right next door there is a work zone, meeting zone and the energy zone for lunch. All areas are built according to the requirements and have different sound requirements, lighting settings and furniture. These striking scenarios will be reflected in companies in the future. stilwerk: Sounds like the end of individual offices. What technologies await us there? NS: Everything that revolves around remote work is an exciting field. Basically it means nothing other than that you have the opportunity to take part in meetings without traveling. Useless business trips can be avoided with new technologies. You switch to the screen of a moving robot standing in a New York office, while you control the whole thing from the comfort of Hamburg. Augmented reality is also something to keep in mind. This is again the computer-aided expansion of the perception of reality. Excel tables and complex information can be brought directly to the desk as a spatial image using data glasses. stilwerk: What conditions should now be created in companies for such a future office movement? NS: Companies should generally become more innovative. Develop the ability to respond more quickly and find services to address consumer needs. But to be honest, the most important thing is that companies become more attractive employers. This is 2019 – “Cobbler stick to your last” mentalities are unattractive to young people. We have almost full employment in Germany, and people can choose where they work. If employers do not adapt with their employee branding, trusting working hours and modern offices, they will lose their employees in the future. stilwerk: And what are the crucial skills for the employees of tomorrow? NS: A high energy level. Maybe there are no longer 40-hour weeks because you can do the work in 20 hours and therefore do a second or third job. We live in times of project economy. Companies notice this, but also employees. Teamwork, creativity and passion are basic requirements. But typically, teams in companies will be made up of employees with specialized knowledge and talent. The desire for expert knowledge means that employees have to continue their training. Because artificial intelligence will put an end to simple jobs and work. The workplace of the future looks like this: There will generally be less structure and a lot of flexibility will be required. This will be a very exciting challenge. stilwerk: Why did the idea of co-working spaces and mobile workplaces only take off in Germany in the last few years? NS: The old principle “Never change a running system” applies to us. The business models that work today were all developed 20 years ago and are still working well with them. Another reason is that there are many medium-sized family businesses that would rather pay dividends than invest in new technologies. Germany is very pessimistic about culture. This can be seen from the fact that there are few digital tech companies from Germany. People are afraid of being the first mover and would rather have their competitors test new products. This attitude is due to our prosperity. stilwerk: Which nations are ahead of us when it comes to innovation in the office? NS: We don't think in terms of nations. There is a greater distinction between rural regions and cities. There are A cities and B cities. To be honest, Hamburg is a clear B city and more on the same level as Copenhagen and Prague - here they copy the pioneers. A cities are London, Los Angeles, Madrid and Paris. Due to their size, they attract many innovators and drive them forward. China is particularly exciting. As a country, it is not at the level of the European Union. But it has driving forces through hotspots like Shanghai, Beijing and Sheng Zen. By 2025, many places in rural western China will be connected to high-speed internet, road systems and digital structures. The fact that the government is centrally controlling China's modernization is crazy. Silke Roth conducted the interview as part of our stilwerk magazine “Living intensified”, which was published in 2019.

She is considered one of the most important designers in the Netherlands. Renowned brands such as Magis, Cappellini and Iittala are her customers. But Ineke Hans is not only interested in beautiful design. As a designer, artist, visionary and professor, she commutes between her studios in Arnhem, London and Berlin. What drives them? Innovative materials, exciting production techniques and the future of design. Welcome to the rush hour of aesthetics! Interview: Silke Roth Ineke Hans, how would you describe your job? Ineke Hans: I am a product designer. But to be honest, the name is not entirely appropriate. The focus of my work has always been designing furniture and products. These can range from chairs made using injection molding to objects made from mouth-blown glass. For both public and private spaces or for social projects. But in recent years the question “What do we really need in our world when we have so much of everything?” has become more and more present. In 2016 I started a new project called “Salon”. It deals with the future of products and designers. Basically panel discussions that I ran in my studio in East London and exciting debate evenings that took place at the Victoria & Albert Museum. Has your work changed as a result? IH: Oh yes, the focus has changed and my world of inspiration has changed. I now organize critical design exhibitions and see the world of product and industrial designers from other aspects - including negative ones. I am now more interested and involved in product typologies related to the future of living. I also started a professorship at the University of the Arts in Berlin two years ago. I teach Design & Social Context there, a very exciting task. Sounds like little work-life balance. What does a normal working day look like for you? IH: Ooh˘… (laughs) A difficult question. Every day is different. I travel a lot for trade fairs, to visit customers or simply because I'm invited to give lectures. There are days when I just write, organize and answer emails. Then there are days when I develop new designs or experiment with technologies and materials. I have a studio in London, I moved to Berlin last summer. I'm on my own there, but I still maintain close daily contact with my assistants in Arnhem. Do you have any hobbies? IH: Not really. Honestly: I love working. Some days I even forget to eat lunch in the studio. Where do you prefer to work? IH : In my home office. I hate rigid guidelines and formalities. What do your studios look like? IH: My Berlin studio is still a construction site and urgently needs some craft work. It's much smaller and lonelier than the studio in London. You would know it as “low key”, but it forces me to focus and I don’t get distracted. An important point for me! My studio in Holland is very large. I estimate 480 square meters, with a large workshop where I can work on metal and wood. To be honest, it looks a bit like a flea market. All sorts of objects that I work on, that I find interesting, or just things that need to be stored accumulate there. Whether you are creative in Arnhem or Berlin – how do you work? IH: Basically, I always look at people's behavior, what requirements arise from it and what necessities there are in their living space. Offices have changed. Flexible working hours mean that furniture is no longer the most important thing and many are moving their desks home. Sofas and simple furniture for meetings are much more in demand than complex overall solutions for large areas. I also find it exciting that the younger generation is much less interested in owning things. They prefer to live in small houses, integrate smart solutions into their household and order online. These are all factors that influence my work and that I take into account. I like working with technologies and production methods that are not yet common. What are you currently working on? IH: We just finished an interior project in Amsterdam. A boardroom with new chairs. There we tried to give this very classic, seating room a different look. It's a completely new type of chair and I'm very excited to see how it's received. I hope we can soon implement the designs with a Swedish manufacturer. What responsibilities will designers have in the future? IH: We can no longer afford to just produce new things; we are part of the production chain and have to set priorities. We are very good problem solvers, but instead of wasting our energy on designing new, trendier things, we should focus on content and projects. Design more sustainably, reflect much more and weigh up the impact on society. And of course create products that really make sense. Enforcing something like this with the customer might be our most difficult task. View into the studio of Ineke Hans | Portrait Ineke Hans © Lennard Heijer The interview was conducted by Silke Roth and first appeared in the stilwerk magazine “Inspiring Spaces” 2020.

Like every year, the major color manufacturers such as Pantone, Akzonobel/Dulux and Caparol presented their color trends for the coming year at the end of 2023: The nuances vary, which is what they all have in common: the powdery and gentle. What follows: A brief overview. Architecture, fashion, design: colors determine our world. They influence our mood, give a room character and can become an expression of our personality. Color trends develop over several years - from the first appearance to the ubiquitous appearance to the eventual decline. Color manufacturers such as Pantone from the USA, Akzonobel/Dulux from Great Britain or Caparol from Germany analyze long-term social trends in their research and development departments in order to create harmonious color worlds that are in tune with the times. Whether a color only experiences a short-term hype or establishes itself as a popular shade in the long term depends on global developments – so-called mega-trends. These include topics such as urbanization and digitalization, the gap between rich and poor, modern feminism, climate change and a pandemic. The last few years have been marked by multiple crises, wars and social conflicts worldwide. The economic, socio-political and psychological consequences have a lasting impact on our society. So it's no wonder that the 2024 color trends from the leading color institutes also refer to this: it's about gentleness, community and confidence. PANTONE This is the 25th time that the Pantone Color Institute has chosen the color of the year. The institute has been translating the global zeitgeist and the current mood and attitudes of people into color tones for a quarter of a century. It all started in 1999 with the blue shade “PANTONE Cerulean Blue 15-4020”. In 2024, the trend color is "PANTONE Peach Fuzz 13-1023": a light peach nuance that offers a fresh approach to a new softness and conveys a message of sharing, community and togetherness. Photo credits: © PANTONE AKZONOBEL/DULUX The color experts at British paint manufacturer Akzonobel/Dulux have declared "Sweet Embrace" their tone of the year: Inspired by soft feathers and evening clouds, this gentle color brings a cozy atmosphere into the room, which balances out the fast-paced and complex world outside does. The credo of the Dulux experts for this year: “Home, where your life is”. “Sweet Embrace” is accompanied by three matching color palettes that are sometimes warm, sometimes calm, sometimes invigorating. CAPAROL At the German color expert Caparol, nature is the focus: more than ever, it is becoming an oasis of calm and energy. That's why the Caparol Color Design Studio has chosen "Honey Gold" as the color of the year. A tone that conveys a connection to the earth, elegance, optimism and comfort in its luminous naturalness. Three color worlds are grouped around this radiant tone. The connection between inside and outside is central and the focus is on permeability. © Caparol In order to bring the trendy tones "Peach Fuzz", "Sweet Embrace" and "Honey Gold" into your own four walls, it doesn't always have to be a large-scale wall design - the colors can also be used in the form of accessories, textiles or small furniture integrate well into the existing interior. Natural materials such as wood, wool and marble look particularly harmonious. You can find optimal advice on color design and room planning as well as lots of inspiration for furniture and home accessories to match the trend colors of 2024 six days a week in our design destinations Düsseldorf and Hamburg.

The Dutch designer Hella Jongerius combines the traditional with the contemporary, the latest technologies with ancient craft techniques. In an interview, she explains why her design philosophy could be more important than ever today. © Laura Fiorio Interview: Silke Roth stilwerk: How do you describe the current zeitgeist from a designer’s perspective? Hella Jongerius : We are at the beginning of an industrial revolution. The various systems are in transition, the climate crisis is the main issue for us as designers to work on. stilwerk: You have been advising major interior design brands for years. Why is it so difficult to change the industry from within? Hella Jongerius : Companies should finally follow the political rules on climate change, reduce their footprint and take active action. They need to change production methods and work towards a zero carbon footprint. 80% of materials will be redesigned in the future, which will change our entire profession. The designers are not the focus of this process. Companies must act at all levels within their industry. The main task lies with management and the decisions of the boardroom. A new political model, with changed materials and production processes, will change the possibilities for designers and we will develop exciting ideas and applications. stilwerk: We see a lot of pastel colors and natural materials in modern living spaces. Are we all becoming nature-loving softies in our homes? Hella Jongerius : I'm not interested in trends. stilwerk: You like to swim against the current, or more importantly, ahead of it. While the entire furnishing world was thinking about home office solutions, you opened an exhibition in Berlin's Gropius Bau in the summer of 2022 that focused on large weaving and spinning installations. What did you want to show with it? Hella Jongerius: With a traditional craft like weaving, you learn about materials. A craft never travels alone, but is part of a geopolitical agenda. Weaving is a cultural phenomenon, it is social, political, anthropological and metaphorical. Weaving involves the looms, the materials and the technology. Equally it is linked to crafts, folk art, industrial design and art. As we live an increasingly digital life, a life where everything is flat and efficient. We must keep our physical lives alive by celebrating the tactility and imperfection of daily life, using materials and manufacturing processes as a means to understand who we are. stilwerk: Can a 3D loom solve the problems of the design world of tomorrow? Hella Jongerius : Woven structures are the strongest and lightest constructions available. Therefore, the 3D weaving process has great potential to replace heavy and resource-intensive construction methods such as brick or concrete. It's also about creating volume with a minimum of material. We wanted to research in this area because, although there are engineers working on this new technology in industry, there is still no creative and aesthetic hand involved. stilwerk: What responsibilities and challenges do you have as a designer to redesign the world in the future? Hella Jongerius : I started as a designer, but my working method is that of an artist with a social and political agenda - as a writer. My work is always based in current times and reflects what is happening in our society and questions my profession. I also question the use of materials and production systems. There are many limitations when working in the field of industrial design, but each limitation is a new challenge to be creative. I keep my values and my own agenda as a compass and follow my own intuition. I wanted to work in the design world to make a bigger difference. stilwerk: What exactly would you like to do? Hella Jongerius : I want to bring individuality, imperfection and humanity into the processes of standardized industrial production. We need to heal the sick relationship we have with our environment by changing the way objects and materials are made. I have always felt responsible and tried to overcome boundaries. stilwerk: What do design and humanity have in common? Hella Jongerius : After 30 years of working as a designer, it feels like you have a great knowledge of materials and processes as a strong foundation. My research is always rooted in the love of the manufacturing process. An understanding of raw materials and colors is my personal starting point. Because I believe that the materials contain an important key to understanding the relationship between people and objects and thus the cultural meaning of objects. © Laura Fiorio The interview was conducted by Silke Roth and first appeared in the stilwerk magazine “ReFraming” in August 2022.

The history of the Bauhaus is a history of men. They not only had the say at the legendary art school, but also systematically pushed female students to the sidelines. So it's high time to tell the story differently - and to show that the Bauhaus women were anything but marginal figures. Not in the mood for good housework: Marianne Brandt and fellow students © Bauhaus-Archiv Berlin Text: Manuel Almeida Vergara Forgotten, overlooked, underestimated – for a long time this suited Anni Albers and her strikingly patterned fabrics. It also suited Marguerite Friedlaender and her simple tea sets and Gunta Stölz and her abstract tapestries. It suited the toy designer Alma Siedhoff-Buscher, the photographer Gertrud Arndt and the sculptor Ilse Fehling. The only 14-year history of the art school, which was founded in Weimar and achieved international reputation in Dessau, is not just a story of the avant-garde concept, the compatibility of art and crafts, and the friendship of both genres. The history of the Bauhaus is also a history of men. At least they themselves were convinced of this, the men, teachers and students around school founder Walter Gropius. “In this sense, the Bauhaus was not a role model,” says Uta Brandes. The professor emeritus taught “Gender and Design” at the Cologne International School of Design and today, as co-founder of the International Gender Design Network, she advocates for gender-sensitive design and a fair distribution of roles in the industry. Her voice becomes a little sharp as she reads out Gropius' program for the school's founding in 1919: "Any person in good standing, regardless of age and gender, whose talent and further training is considered sufficient by the master council will be accepted as an apprentice." Surprised and shocked, perhaps one The architect Walter Gropius was a bit offended when many women applied for university places, and in the first year even more women than men studied. A little later it was said that there was a need for “serious sorting out immediately after admission, especially when numbers are based on the over-represented female gender,” Brandes reads. “And if they were already there, then they should at least do what women could already do,” she adds in her own words. “Crochet, knit, embroider, cherish and look after.” It is known that female students at the Bauhaus were encouraged early on to devote themselves to weaving and ceramics classes. It is even said that they were pushed. The assumption was still valid - even at the progressive Bauhaus - that women were better suited for delicate, simpler tasks than for working with metal or easels. It is all the more remarkable that the women in these classes achieved outstanding results. “Ultimately, it was the textile workshop that brought in the most money for the school,” says curator Müller-Schareck. “In Dessau, the women initiated more and more collaborations with industry, organized trade fairs and made designs for large companies.” They thought up and produced – not just decorative wall hangings with pretty patterns, but real textile innovations. Anni Albers, for example, invented a sound-absorbing fabric for her final thesis in 1929/30 and then succeeded Gunta Stölz as head of the workshop. “Anni Albers also later said in interviews that she was pushed in this direction,” says Müller-Schareck. “But it’s just impressive to see what the women made of their situation.” Things were different with Marianne Brandt. She had fought her way through to the hard forms. “At first I wasn’t welcomed warmly. The opinion was that a woman does not belong in the metal workshop,” she later wrote in her “Letter to the Young Generation.” But with adjustable bedside lamps, which were sold under the brand name “Kandem”, she created one of the most commercially successful products in the entire Bauhaus history as early as 1926. Pictures in the slider: 1: A highly complex process: Anni Albers at her loom | 2: Bauhaus photographs: Lucia Moholy and her work | 3: That fits: Among other things, the “Hallesche Form Mocha Service” from 1930 is now on display in Halle an der Saale. And yet: interest in the Bauhaus artists and their diverse works only grew towards the end of the 20th century. Today they are more in focus than ever: “They are all united by a search for the timeless, the enduring,” says curator Maria Müller-Schareck. “And the absolute will to create something, to bring something into the world that is not screaming, that does not demand attention, but rather develops a quiet power.” So it's high time to tell the Bauhaus story differently, to look at the work of the Bauhaus women, the weavers and ceramicists, differently. As functional, innovative and valuable – and just beyond that as decorative, aesthetic and pleasing. Not just a nice hobby for nice girls. “Weaving, for example, is a highly complex and challenging process that has nothing to do with the small manual sewing jobs that women did in the 19th century because they were not allowed to do anything else,” says Uta Brandes. She takes out her quotes again, this time one from Oskar Schlemmer, the versatile artist and head of the mural painting workshop: “Where there is joy, there is also a woman who weaves, even if it is just to pass the time,” she reads. And her voice gets a little sharp. The article by Manuel Almeida Vergara was published in stilwerk magazine 02/2019 “Anders”.

From the first underwater restaurant in Europe to the spectacular opera house in Oslo: Snøhetta is one of the most successful and innovative architectural firms in the world. Director Jette Cathrin Hopp explains the work ethic behind the projects and how the construction of tomorrow works. © Pepe Lange Interview: Silke Roth stilwerk: What topics are architects concerned with today? Jette C. Hopp : Urbanization, digitalization and climate crisis. Even before the pandemic, the world was facing a series of global transformations in the field of construction and architecture. With the world population expected to reach 10 billion people before the 22nd century, the construction sector will need to understand the megatrends reshaping our planet. On a finite planet where unlimited growth is expected to feed our growing population, these times require major changes. stilwerk: How does Snøhetta approach these topics? Jette C. Hopp: Our work aims to strengthen the perception of the environment, identity and relationships with other people and the physical spaces we inhabit. No matter whether they are natural or man-made. With more than 280 employees from 32 different nations based in Oslo and New York and offices in Paris, Hong Kong, Innsbruck and Adelaide, we integrate architecture, landscape, interior design, product and graphic design into our projects. Collaboration between different disciplines is a key driving force in how we work. The content approach comes from a long-standing Nordic tradition, which is based on humanistic values such as openness, equality and generosity. That's why every project begins with a workshop. The ideas and values developed thereby lead like a common thread through the entire course of the project. stilwerk: This approach to content is also reflected in the company name, right? Jette C. Hopp: Right. For over 30 years, Snøhetta has borrowed the name of a Norwegian mountain that is 2,286 meters high. We describe Snøhetta as a place where no one comes from, but where everyone can go. This image very clearly describes our collective attitude, which began as a collaborative architecture and landscape network and has remained true to a transdisciplinary way of thinking since 1989. stilwerk: Let us take part in this in practice. What does transdisciplinary thinking mean specifically? Jette C. Hopp Our work ethos is open, direct and accessible. We practice one transdisciplinary way of working, in which individuals from a wide range of professional backgrounds - from architects to artists to philosophers and sociologists - change roles in order to be able to take on different perspectives as unbiasedly as possible and beyond applicable conventions. We refer to this methodology as “transpositioning.” This promotes an open exchange between roles and disciplines within the office. Architects, landscape architects, interior architects, artists and designers work together in an integrative process to represent diverse perspectives and priorities from the start. This approach is also reflected in our work with clients and their project participants. The builders briefly become architects and the architects become builders. Meeting at eye level creates space for a mutual understanding of goals and requirements. Reversing roles expands your comfort zone in a constructive way and replaces any narrow-minded approach. The quality and strength of our designs, which always reflect a specific identity, are achieved through intensive research. We consciously distance ourselves from the “master thinking” that is still widespread in German-speaking countries. The focus of our work is not the stroke of genius of one individual, but rather the result of the collaboration of many. stilwerk: Do you currently have a project close to your heart? Jette C. Hopp : My personal “favorite projects” are the latest Snøhetta projects, which are still in development and in the making, because the different processes can influence the relevance of a project for society. In addition, I am interested in orders that contain an innovation aspect. So projects that transcend the boundaries of the conventional, question standards and established “truths”. Innovation is achieved by pushing the boundaries of conventional ideas. This means defining new ways of interaction between people, adding new functionalities and forms of use, and thus creating new architectural typologies that can bring about social change. The Oslo Opera is a good example. Opera houses usually have clear historical references. We wanted to rejuvenate this typology in order to make the opera and ballet arts part of a possible future. This thought led us to design a building that would appeal to an audience not specifically familiar with opera, thus creating an object with a more general character. The building itself became an instrument of interactive dialogue between a larger public and the arts. The roof is freely accessible and by enabling such an intimate relationship between visitors and the building we achieve a sense of public ownership of the object. stilwerk: How are architecture and design today changing the world of tomorrow? Jette C. Hopp : The contribution of the construction industry and architecture is crucial to achieving global energy and environmental goals. At the same time, better quality and more energy-efficient buildings increase people's quality of life and bring additional economic and social added value. Awareness and commitment to protecting the environment on our planet has grown and architecture must meet strict environmental standards in addition to its fundamental commitment to social sustainability. Our work must also go that extra mile to minimize the negative impact on the environment. Particularly with conscious awareness of the peculiarities of a given place, whether it is a coastline, the stark beauty of a rocky land or a historic city. We try to complement the respective environment, reflect it through its design aesthetics and use the forward-looking technologies of construction to solve or prevent ecological disasters. stilwerk: What inspires you in your work? Jette C. Hopp : My children, colleagues, beautiful spaces, art, Venice and the fjords. stilwerk: What expectations do you have of yourself as an architect? Jette C. Hopp : In addition to clear sustainability goals, you should try to understand the project from its overall context as a design of living space and not as a single object. A new project always has the potential to generate social added value. As a developer, you have both the opportunity and the responsibility to make the project contribute positively to its surroundings, without this attitude having to have consequences for the construction budget. If one understands architecture as a social instrument in this sense, that architecture contributes to social changes and ideally improves them - then all new projects, in a wide variety of places, can create social interaction. Top from left: Snøhetta Oslo Office, © Marc Goodwin | Under, © Snøhetta | Under exterior view, © Snøhetta // Below from left: Powerhouse Brattorkaia, © Snøhetta | | King Abdulaziz Center for Knowledge and Culture, © Frans Parthesius | King Abdulaziz Center for Knowledge and Culture, © Frans Parthesius The interview was conducted by Silke Roth and first appeared in the stilwerk magazine “ReFraming” in August 2022.

Good sleep is important - so it's best to let one of our sleep experts from stilwerk help you find your dream bed with a free consultation. The models at Ligne Roset or Wittmann offer formal sophistication . Extravagant characters are available at BRETZ . Unique box spring comfort awaits you at Savoir Beds. In addition to box spring beds, Auping Plaza also has lighter bed systems and smart home integrations in its range. Ergonomics at the highest level, natural materials and minimalist models are available at bettundraum ...but just browse for yourself now and arrange a consultation appointment with one of our experts at stilwerk Hamburg & Düsseldorf. Auping Plaza Hamburg For more than 130 years , Auping has stood for individual beds for individual people. The basis is a base suspension with over 10,000 support points for optimal distribution of body pressure. Together with the sleep experts at Auping Plaza in the stilwerk Hamburg, your dream bed will be personalized based on your requirements and wishes. In addition to bed systems and new products such as the “Noa” bed, mattresses and toppers, you can also find the right bed linen here. Auping also attaches great importance to sustainability, certified by Cradle-to-Cradle, and is an industry pioneer when it comes to smart home solutions. Request a consultation appointment now › BoConcept Hamburg & Düsseldorf Lækker Dansk Design: Whether a sofa bed or a luxurious double bed - at BoConcept the beds also have casual Scandi chic and guarantee a pleasant night's sleep. The Arlington model, with its extra-high, soft headboard, also invites you to rest upright, while the Lugano model, on the other hand, is very simple and reduced: in a minimalist look with a straight wooden frame, the bed not only brings peace into the room. BRETZ Hamburg &Düsseldorf True Characters. This is the slogan of the German upholstered furniture manufacturer BRETZ . But it's not just about the impressive designs, such as the almost floating bed "CLOUD 7" or the modular bed system "CREOLE" (bottom left), whose wall panels can also serve as decoration detached from the bed box. The focus is rather on deep, healthy sleep And that's why BRETZ relies on the best quality for mattresses, pocket spring cores and foams. Countless individualization options in terms of comfort and design ensure that certain extra, character, so to speak. The latest member is "BALAAO" - without any corners or edges, with round balls Like soap bubbles sticking together. In short, dreams come true at BRETZ in the stilwerk Hamburg and Düsseldorf. Request a consultation appointment now › bettundraum Hamburg At bettundraum in the stilwerk Hamburg, the focus is on sustainable production, high-quality natural materials and comprehensive advice on ergonomics, sleeping climate and comfort. The right sleep system always serves as the basis – in the truest sense of the word. Here, bettundraum works with the Swiss manufacturer Hüsler Nest , which, in addition to first-class ergonomic sleeping systems, also offers bed frames such as the seemingly floating "Nido", natural mattresses as well as blankets and pillows made from natural materials such as bamboo. The store also presents the ZEITRAUM brand, which was awarded the German Sustainability Prize in 2021 their contemporary solid wood beds. New to the program here: the elegant “Eclair”. Another highlight in the range is the minimalist frame classic “ Gugelot ” from habit . Bed linen, small furniture, lights and accessories for the bedroom round off the range. Find your perfect sleep system for healthy and restful sleep together with the experts from bettundraum . Request a consultation appointment now › Wittman Hamburg The traditional Austrian brand Wittmann stands for classic designs with reduced, timeless lines, high-quality materials and real craftsmanship. Wittmann doesn't make any compromises when it comes to sleep either, but instead relies on individualization according to your personal comfort level with modular bed systems and current highlights such as the "Wings" bed by Jaime Hayon or the " Joyce Cushion " bed by Soda Designers. The experts in the concept:space in the stilwerk Hamburg support you in choosing bed bases, inserts, mattresses, headboards and cover materials for your dream bed. The offer is also rounded off with luxurious bed linen from SPIRIT OF THE NOMAD . Request a consultation appointment now › Ligne Roset Hamburg & Düsseldorf With a bed from Ligne Roset you can conjure up a touch of French savoir vivre in your bedroom. The traditional company attaches great importance to the best materials and master craftsmanship - implemented in a modern, elegant form and based on designs by design icons such as Ronan and Erwan Bouroullec, Inga Sempé and Pierre Paulin. The interior designers from Ligne Roset at stilwerk Hamburg will help you put together your individual dream bed and give your bedroom the finishing touches with matching small furniture, lights and accessories from a single source. Request a consultation appointment now › Team 7 Düsseldorf Relaxed sleep: TEAM 7 is an expert in bed systems and furniture made from untreated natural wood. The Austrian manufacturer has made a name for itself worldwide as a pioneer for ecological furniture and is one of the leading providers of sustainable furnishing concepts. “When it comes to restful sleep, the bed plays a central role,” explains Dr. Georg Emprechtinger, owner and managing director of TEAM 7. “According to our 'Treelogy of Sleep', it all comes down to three things: a metal-free, solidly crafted bed made of natural wood, an ergonomically high-quality interior and natural materials - including accessories. All of our natural wood beds meet these requirements.” The furniture from TEAM 7 offers the best conditions for first-class sleeping pleasure and also shows wood in its most beautiful form. Packed in an award-winning design, open-pored and treated with pure natural oil, the charismatic natural material retains all of its excellent properties: it is free of pollutants, breathes, absorbs moisture and thus ensures a healthy indoor climate. Request a consultation appointment now › Savoir Beds Düsseldorf Legendary luxury from London: The British bed manufacturer Savoir Beds offers the best comfort made in the UK. The brand's story began with a search in the early 20th century - a search for the perfect bed for the legendary Savoy Hotel, which opened in 1889. Lady D'oyly Carte - wife of the hotel founder - had a top-class box spring bed developed. The Savoir No.2 celebrated its premiere in 1905 and became an icon of the Savoy beds. Since then, Winston Churchill, Giacomo Puccini and Marilyn Monroe have been able to enjoy its luxurious comfort. In the Savoir Beds factories in England and Wales, handcraft is still very important today. The tapping and hammering of the masters is just as much a part of everyday life as the use of the most luxurious materials down to the smallest detail. Horsehair, cashmere, virgin wool, beech wood and the extra-high pocket springs in the box spring ensure legendary comfort. Today there are four models on offer that require between 30 and 120 hours of work to produce - depending on the customer's individual requirements. Because at Savoir Beds, body shape and your own preferences are taken into account. From dividing the mattress into various zones, which are then equipped with springs of different strengths, to the unlimited selection of fabrics - every bed is unique and is made by our own bed maker. Request a consultation appointment now › Raumausstattung + Akzente Düsseldorf What else helps with good sleep? Good material. The right address for this is our “Raumausstattung + Akzente” store. High-quality decorative fabrics from Kavadrat, Chrisitan Fischbacher, Kinast and many more. help you fall asleep comfortably. Request a consultation appointment now ›

From pioneers of modernity like Charlotte Perriand and Greta Magnusson Grossman to multi-talented people like Patricia Urquiola, Inga Sempé and Lucie Koldova – design by and for women is simply good. For International Women's Day we are showing the most exciting designs that are also available from us in Kosmos. Greta Magnusson Grossmann in her studio. THE PIONEERS The design world is still a male-dominated field today. On International Women's Day, stilwerk is presenting strong design by and for strong women. Let's start with the pioneers of modernity. Eileen Gray, Charlotte Perriand and Greta Magnusson Grossmann: As different as their lives were, they had one thing in common: they created icons of modern product design. EILEEN GRAY: E.1027 ADJUSTABLE TABLE & CARPET ART She was a chain smoker, loved traveling and, in addition to her great talent, had enough financial freedom that allowed her independence and creative willfulness within a male-dominated world. The architect, artist and designer Eileen Gray is today best known for her groundbreaking furniture. However, her carpets with abstract motifs are less well known. Born in Ireland in 1878, Eileen Gray traveled to Paris for the first time in 1900. In 1902 she visited the World Exhibition here and decided to continue the painting studies she had begun in London at the École Colarossi and the Académie Julian. From 1910, Eileen Gray turned from painting to design and began designing elaborate lacquered furniture - inspired by Art Nouveau and Japonisme at the turn of the century. Her abstract carpet designs are heavily influenced by Russian Constructivism and the Dutch artist group De Stijl. The wool for this came from Auvergne and was dyed in Paris. They were made by the Parisian workshop 'Evelyn Wyld'. Until the 1940s, Eileen Gray finally created the designs for which she is probably best known today. These include tubular steel furniture such as the “Bibendum” armchair (1926), the “E 1027 Adjustable Table” (1927), the “Bonaparte” armchair (1935) and the “Day Bed” (1935). Today, in addition to her furniture classics such as the “E.1027 Adjustable Table”, a selection of Eileen Gray’s carpet designs are also manufactured by ClassiCon (authorized by The World License Holder Aram Designs Ltd.). Available at lomann[s] interior design in stilwerk Düsseldorf. Top from left: Faubourg carpet, E.1027 Adjustable Table, Bibendum armchair, Monte Carlo sofa, photo: Elias Hassos / Eileen Gray, Copyright National Museum of Ireland Below from left: Cassis carpet, E.1027 Adjustable Table in black, photo: Elias Hassos / De Stijl carpet, Occasional Table side table, pleated lamp, Bibendum armchair, photo: Elias Hassos Everything from ClassiCon / www.classicon.com GRETA MAGNUSSON GROSSMANN: GRÄSHOPPA Greta Magnusson Grossmann designed the perfectly shaped “Gräshoppa” lamp in 1947. While very few people know her name today, the Swedish native was the decorator for the stars after she emigrated to the USA. Hollywood legends like Ingrid Bergmann, Greta Garbo and Frank Sinatra blindly trusted the creative European. Grossman was already part of Scandinavia's design elite in the 1930s. She made a name for herself with her “studio,” which was a mixture of atelier, shop and workshop, and was the first woman to receive Sweden’s most important design award. During the Second World War, she emigrated to the USA via Japan with her husband Billy Grossman, a jazz musician of Jewish origin, and became a style influencer for Californian modernism. Her store on the popular Rodeo Drive in Beverly Hills, where she presented Scandinavian design, was one of the best addresses in the city. After her husband's death in the late 1960s, Grossman withdrew from the design industry and fell into obscurity. Even today, her name cannot be found in many design encyclopedias. However, thanks to Evan Snyderman, an American gallery owner, it made a comeback in the late 1990s. By chance he discovered one of Grossman's desks and was immediately blown away, paving the way for Grossman to return to the living quarters. The Danish brand Gubi has been producing three lighting designs by the Swede since 2011. Including the iconic grasshopper, which is extremely picturesque in its fragile elegance. © Photos Gräshoppa Gubi Gräshoppa in the stilwerk: Discover Greta Magnusson Grossman's work at P.Art1 in the stilwerk Düsseldorf . CHARLOTTE PERRIAND: LC SERIES Charlotte Perriand, born in Paris in 1903, studied interior design at the Union Centrale des Arts Décoratifs in Paris, but broke with the traditional arts and crafts and began designing furniture. In 1928, Perriand accepted Le Corbusier's invitation to work in his studio. Inspired by the Bauhaus icons Marcel Breuer and Ludwig Mies van der Rohe, the legendary “ LC ” seating furniture collection was created here at the end of the 1920s in collaboration with Le Corbusier and his cousin Pierre Jeanneret. In the 1940s, she traveled to Japan as an arts and crafts advisor to the Japanese Ministry of Trade and Industry, spending a total of six years there and in Indochina. The experiences she gained there with Far Eastern minimalism were to have a lasting impact on her further work as a designer. The artist and architect worked tirelessly well into her old age: in 1993, a UNESCO tea pavilion designed by her was opened in Paris. At the age of 94 she designed her last table made of wood and steel, and at the age of 95 her autobiographical work "Une vie de création" was published. Top from left: Portrait of Charlotte Perriand / Indochine armchair Below: LC4 chaise longue // Everything from Cassina, © Product photos: Cassina Gray and Cassina products are available from the Bartels furniture store in stilwerk Düsseldorf. PROTAGONISTS TODAY The industry is still far from absolute equality - male colleagues continue to dominate the public perception and are decorated with prizes - but: A lot has happened in the last few decades and more and more women are joining the design industry with their work visible. We will now introduce a few of them. With their designs, which can also be found with us. PATRICIA URQUIOLA Patrica Urquiola's works can be described as a homely work of art with a feminine signature. The designer is part of a young generation of women who are asserting themselves ambitiously and self-confidently in a design world that is still dominated by men. extremely successful: Urquiola was voted Designer of the Year several times by ELLE Deco, Wallpaper Magazine, A&W Architektur & Wohnen, among others. Born in Oviedo in 1961, she initially studied architecture in 1979 at the Faculdad de Arquitectura de Madrid under the Portuguese architect Alvaro Siza and at the Polytechnic in Milan under the famous Italian designer Achille Castiglioni, where she also received her doctorate. In 1991 she designed her first piece of furniture and headed product development at De Padova until 1996. The designer then specializes in interior design for showrooms and restaurants. She received the “International Design Award” from ELLE Deco for the famous “Antibodi” lounger, which she designed for Moroso. She worked for well-known companies such as B&B Italia, Driade, Molteni, Moroso, Foscarini SRL and Hansgrohe/Axor or Kartell. Urquiola has been Cassina's creative director since 2015. In addition to new designs for the brands, such as the “Sengu Bold” sofa or the “Trampoline Table” outdoor table, the Spaniard is responsible for the holistic design of the brand. The sofa "Sengu Bold" for Cassina ( © Cassina) , followed by the table "Trampoline Table ( © Cassina) , Jelly for Kartell, Comeback for Kartell ( © Kartell) , portrait of Patricia Urquiola. Cassina is available from the Bartels furniture store in stilwerk Düsseldorf. The furniture from Kartell at Kartell in the stilwerk Düsseldorf and at Wohnart in the stilwerk Hamburg. You can find the fittings collection for Axor in the stilwerk Hamburg at Axor - the Water Studio . INGA SEMPÉ With her sensitivity and flair for functionality, Inga Sempé made a name for herself primarily as a lighting designer. The interior industry is courting the Frenchwoman. But Inga Sempé likes to keep a low profile. Everything she needs for happiness: paper, pen and a game of tennis. Product photos Ruché © Ligne Roset, portrait Inga Sempé © Claire Lavabre The French designer RUCHÉ designed for Ligne Roset: the sofa and armchairs in the series immediately catch the eye with their unusual shape. The quilted fabric lies like a blanket over the fine, straight-lined wooden frame: rigor and softness skilfully come together here. Sempé was inspired by the classic porch swings, which are also particularly light. A little air and a little material can also be found in RUCHÉ. RUCHÉ is available from Ligne Roset in the stilwerk Düsseldorf or Hamburg . BRETZ: PAULINE JUNGLAS & CAROLIN KUTZERA Female empowerment is lived at Bretz: Carolin Kutzera, daughter of company founder Norbert Bretz, now runs the furniture manufacturer together with Hartmut Bretz, Kutzera's uncle and co-founder of the family business. Previously, Kutzera was Bretz's creative director and designed real-life characters such as "Mathilda" and "Ohlinda." The newest member of the sofa team is "Poolside" - designed by the new head of creative team Pauline Junglas. In an interview with Schöner Wohnen, Junglas answered the question “What makes good design”: Good design should make you happy! The objects must be consistent and able to tell their own story. There are an incredible number of expressions of good design. Bretz's dream sofas do exactly that: they make you happy, tell your own story and open up fantastically sensual design worlds. For individualists and living free spirits. "Ohlinda" by Carolin Kutzera, portrait Carolin Kutzera, sofa "Poolside" by Pauline Junglas, portrait Pauline Junglas, © Bretz Available from Bretz in the stilwerk Düsseldorf and Hamburg . KOLDOVA AND WILLMANN Lucie Koldova and Hanne Willmann have more in common than just their gender: With “Celine” and “Nana”, both designers have designed very special armchairs for the Freifrau Manufaktur. Hanne Willmann is considered the designer of the moment: in her Berlin studio she creates extraordinary furniture that appears clear, reduced and almost sculptural. "Nana" is one such design: soft, voluminous cloud fragments served as the inspiration for this incredibly cozy armchair. Above: Nana from Freifrau and Hanne Willmann, © Freifrau Below: Lucie Koldova, © Everbay / Celine for Freifrau, © Freifrau From Prague to Paris and back again: Czech designer Lucie Koldova has done it and designs for brands like Lasvit, Brokis, Team 7 and Freifrau Manufaktur. She is best known for her unusual lighting designs made of glass, which she creates together with the Czech manufacturer Brokis. However, in recent years she has expanded her portfolio and also designs other pieces of furniture, including "Celine" for Freifrau and "Elliot" for Team 7. "Celine" - a delicate cocktail chair that is inspired by the fashion world and comes with an opulent drape . "Elliot" is a compact lounge chair that skilfully combines wood and fabric and offers its essential appearance for a cozy moment of rest. “Nana” and “Celine” by Freifrau Manufaktur are available at lomann[s] by janua + freifrau in the stilwerk Düsseldorf. You can try out “Elliot” by Team 7 at Team 7 in the stilwerk Düsseldorf. EVEN MORE STRONG DESIGNS FROM STRONG WOMEN Image 1: Noa bed by Eva Harlou for Auping, © Auping, available from Auping in the stilwerk Hamburg Image 2-4: Bun armchair by Federica Biasi for Wittmann, © Wittmann, available from Wittmann in concept:space in the stilwerk Hamburg Image 5-7 Rabbit and Horse Lamp lights: FRONT for moooi, © moooi, available from lomann [ s ] interior design at stilwerk Düsseldorf Image 8 lights from Clasetta, © Clasetta, available at concept:space in stilwerk Hamburg

Masterful craftsmanship and unmistakable designs: This is what the Austrian furniture manufacturer Wittmann stands for. In spring the brand presents great new products. These are already available in the concept:space in the stilwerk Hamburg - exclusively and before the official launch in April at the Salone del Mobile in Milan. We introduce them. Wittmann is launching five new designs this spring: a re-edition of a classic from 1971, something new by Sebastian Herkner, two extraordinary armchairs and a dining table that invites you to an extensive dinner. ATRIUM. A CLASSIC RETHINKED. A factory design from 1971 reflects today's zeitgeist more than ever: modular and can be converted from a sofa to a bed in no time. That's exactly the reason to revive this design. "Conceived in the 1970s as a living area that was based on cubic shapes - which was contemporary at the time - ATRIUM also fits stylistically perfectly with the feel-good ideas of the 21st century: high-quality material on the inside with a well-thought-out structure, casual, soft and inviting on the outside," says Alice Wittmann . The sofa is available in leather or fabric in various colors. BUN. UNDERSTATEMENT IN THE BEST WAY. With BUN, the Italian designer Federica Biasi has created a swivel lounge chair that appears calm and yet remains memorable: thanks to masterful workmanship, balanced proportions and fine materials. A typical Wittmann. The designer herself puts it in a nutshell: “The art of simplification is anything but easy.” Federica Biasi JOSEPH AND ADELE Two pieces of furniture, one designer: The French designer Philippe Nigro expands the Wittmann collection with JOSPEH and ADÈLE to include a club armchair and a dining table. Both designs that fit the brand in their formal sophistication. What catches the eye with JOSEPH is the quilted cover, which was created based on goldsmith's objects from the Secession. With ADELE, it's the details that make it decorative and special: the inwardly sloping frame is decorated with a frieze of finely milled notches using elaborate carpentry work. An ornament that, in its reserved form, enriches the reduced table and at the same time fits into Austria's design history as a traditional design element. “Wittmann conducts a dialogue with the past and at the same time looks to the future. This ability is inspiring,” says Philippe Nigro about the collaboration. MORTON From dining chair to small armchair: Sebastian Herkner has developed MORTON, a compact armchair version of his chair of the same name. Well-proportioned and with a high level of seating comfort, this flexible armchair can be integrated into all areas of living and working.

Architects, interior designers and real estate planners in particular benefit from the bundled competence potential at stilwerk when it comes to sophisticated property planning. In addition, since 2020, stilwerk has been offering an exclusive B2B hub for professionals under the title “ReFraming Architecture” - with the aim of enabling a lively exchange between planners and brands. Live and online talks Four times a year, stilwerk invites you to a networking event in the destinations of Berlin, Düsseldorf and Hamburg: International speakers present current projects in inspiring lectures and on time-relevant topics. Our partners: