We share our best kept secrets. At the stilwerk concept:space in Hamburg we present you the best from unknown worlds: newcomer labels, rising stars and hidden champions are waiting to be discovered by you. Find your individual favorite pieces with us, which we curate exclusively for you. Be inspired by the latest design highlights in the stilwerk concept:space and make the invisible visible with us. Be the first. No matter whether you are looking for a sofa, bed, armchair, dining table, curtains, accessories or even a new audio system - fresh designs for every room idea await you at concept:space. Come by and visit us for your holistic design experience directly on the Elbe. Or: arrange a consultation appointment with our design experts now. brand:space at stilwerk Hamburg Große Elbstraße 68 22767 Hamburg 2-4. OG conceptspace@stilwerk.de CURRENTLY: CLERMONT POP-UP (2ND FLOOR) As of now, alongside our other brands, Clermont is also showcasing a rotating selection of unique pieces, B-stock, and second-hand furniture from brands like Thonet, Cassina, Vitra, ClassiCon, Fritz Hansen, Muuto, Minotti, B&B Italia, Fatboy, and many more – with discounts of up to 90%. The selection is constantly changing. Stop by and find your favorite piece! MORE BRANDS CENTURY BRAZIL (4th floor) The Century brand comes to us in Hamburg with its collection directly from the Milan furniture fair: from sofas to side tables, the Brazilian brand is showing its entire portfolio in Germany for the first time. Absolutely worth discovering, after all, Century combines classic designs with quality and comfort at a high level. Sustainable production and the longevity of the furniture are just as important as the precision craftsmanship. CLASETTA (4th floor) clasetta, that is Clas Ekberg from Sweden and Etta Seifert from Germany. With sensitive, skilled craftsmanship and a sense of beauty, they design and build special lights in their own workshop in Potsdam. Clear in shape and color, they are absolute statement pieces that function as objects in the room even when off. DESTEENBOOM (4th floor) deSteenBoom: Unique living environments made of naturalness and design - made of wood, stone and passion. The Hamburg metropolitan region is the home of deSteenBoom - a creative association of different professions. What everyone shares: the passion for timeless, iconic furniture design and the Nordic nature of their homeland. The unique products function as independent objects in the room and impress with their immediate materiality. From March in concept:space. GIANT'S ORCHESTRA (4th floor) Collectible Design Objects: The furniture from Giant's Orchestra lets the material do the talking. Ancient woods from New Zealand come in a reduced design language and give the fallen giants a new life. From the sideboard with an extraordinary wooden front to the bowl with a flattering texture - the collection perfectly showcases the woods from Aotearoa's forests. The contract furniture is manufactured in Germany and New Zealand. HANS K (4th floor) At Hans K, Nordic understatement meets first-class craftsmanship paired with effortless details. The Swedish brand relies on sustainable raw materials and timeless designs that last a lifetime. By collaborating with outstanding designers, complemented by consistent quality, Hans K produces a unique and dynamic collection for both the private and public sectors. LAURA MAASRY (4th floor) Architecture and design go hand in hand for Laury Maasry: born in Washington, D.C. in 1986, Maasry studied architecture and art in Delft and Utrecht and has lived in Berlin since 2014. The Fourframes table series combines Bauhaus functionalism with material-based ornamentation. Each variation is created using different joinery techniques, proportions and raw materials. Architects and carpenters work closely together to create these unique tables. M2RUGS (3rd floor) M2Rugs stands for exclusive, handmade rugs that bring art and comfort to your home. The collections combine traditional techniques with modern design, offering rugs made from high quality natural materials. Each piece is crafted with the utmost care and attention to detail to create long-lasting, stylish accents. M2Rugs is committed to sustainable production and ethical working conditions. Discover M2Rugs - rugs that perfectly combine elegance and sustainability - here at concept:space. NACHSHON (4th floor) The Israeli brand Nachshon combines precision craftsmanship with an unobtrusive, very clear design language. Reduced designs that come without any frills and fit into a wide variety of interiors. The Armchair 01 combines the strict steel frame with soft leather that adapts to the body. Definitely recommended to try it out. You can now find other designs such as the Rocking_Armchair or Armchair Lounge_01 here. NORTHERN (4th floor) The Northern brand was born in the studios of Northern Lighting, where a team of creatives have been lighting lives for twelve years. The brand combines beauty with functionality and favors natural materials and true craftsmanship. Northern's debut collection is simplicity at its finest, in the form of unfussy designs that combine well but also mesh and contrast easily. Smoked wood, muted colors and strong silhouettes create subdued moods, while subtle geometries and classic sensibilities add an elegant touch. ONE HOUSE (4th floor) The family business ONE HOUSE, founded by the German-Dutch couple Jan-Willem & Katharina van den Bosch in Munich, unites two worlds and combines the Amsterdam design character and charm with German craftsmanship in furniture making. As an advocate of responsible entrepreneurship, it is also clear that the brand only creates high-quality and timeless furniture. You won't find trends like fast furniture or monthly changing collections at One House. The founding couple attach great importance to local material procurement, short supply chains and a small ecological footprint. The collection includes sofas, side tables and accessories. POET (2nd floor) POET is committed to high fidelity in the literal sense: high fidelity of sound. Because what could sound better than a trained voice, a Steinway grand piano developed over generations or an original Stradivarius? The POET development team in Graz achieves this authentic sound using the highest quality components. But even more important is the design: POET systems are always fully active, which means that the amplifier modules are located in the loudspeaker itself. The POET sound world in the stilwerk Hamburg is also a small experiment: the consultations take place via video conference from the headquarters in Graz. Customers are given maximum independence in their initial experience with the POET sound systems; they can move freely and learn how easy the POET sound systems are to use with their smartphone. PRESENT STORIES (4th floor) For little design enthusiasts: The play furniture from Present Stories is a real all-rounder and invites you to create imaginative designs. They integrate beautifully into the living space and become long-lasting companions for young and old. Behind the Berlin-based label are Silvia and Antonia - siblings and designers with their own studio. The idea for the concept came from their own interests: In their search for timeless, plastic-free play furniture, they couldn't find what they were looking for, so they set up their own label. Highly recommended. RENSON (4th floor) "Creating healthy spaces" ... that is Renson's slogan and mission. As a trendsetter in the areas of ventilation, sun protection and "outdoor living", this dynamic and fast-growing family business swears by the natural elements of light and air, which - used intelligently - are the basis for represent a healthy living and working environment for everyone. Through the intensive concentration on innovation, communication and internationalization, Renson works in a future-oriented manner and always in the spirit of a healthy and comfortable indoor climate as well as a pleasant outdoor life in houses, apartments, offices, schools and care facilities. In The focus is on sustainable and aesthetically integrated overall concepts that meet the high requirements for energy efficiency, acoustics and design. THOMAS GARDENER (4th floor) Thomas Gardener is synonymous with world-class garden design and innovative sustainability. The company has been transforming green spaces into true oases of wellbeing for over two decades. The team of experienced gardeners and landscape architects develop bespoke concepts that are both visually inspiring and ecologically responsible. At concept:space, Thomas Gardener is now presenting the outdoor kitchens of Freiluft Manufaktur, which combine a clear design language with uncompromising quality. WITTMANN (3rd floor) Craftsmanship and timeless design are the characteristics that have made Wittmann furniture so unique since 1896. The Austrian company, founded as a saddlery and leather processing company, stands for excellent perfection “Made in Austria”. The current upholstered furniture collections from leading designers such as Sebastian Herkner, Jaime Hayon and Monica Förster combine tradition and modernity at the highest level of craftsmanship. In the The traditional brand relies on the best quality and sustainability in the sense of longevity. From the construction of the frame to the finishing of the seams, real experts are always at work. ZERO LIGHTING (2nd floor) Zero Interiör was founded in 1978 with the vision of creating unique lighting solutions for indoors and outdoors. The family business has 80 percent of production taking place within a radius of just 200km from Nybro (Sweden). The guiding principles: quality, environmental protection and innovation. Since 2004, ZERO lighting has been working with renowned designers, including FRONT and Monica Förster.

Looking for a destination for a winter short trip to start the new year inspired? We have two really beautiful places in mind. The best part? With our special stilwerk Family Code you can save 20 percent. Hamburg Calling: Why not pay our favorite Hanseatic city a visit in the new year and start the new year inspired in our stilwerk hotels. With the code " hello2025 " you can save 20 percent on direct bookings on our website for your stay from January 1 to March 9 . Remarkable spaces for intensified experiences. Choose Alster or Elbe Since summer, you have been spoiled for choice in Hamburg - beach or city. Elbe or Alster. Discover Hanseatic elegance and urban chic in the stilwerk Hotel Heimhude in the lively Grindelviertel. Or choose the stilwerk Strandhotel Blankenese directly on the Elbe for maritime flair and lo-fi luxury. Book now. Offer only valid for direct bookings from January to March. The Art Nouveau gem is situated in a picturesque setting at the foot of the scenic staircase district in Blankenese.   photos by Marc Krause for stilwerk

Trends are always an interesting topic. How relevant are they really, and how quickly can the interior industry adapt? Yet, the beginning of a new year always sparks excitement for predictions, doesn’t it? That’s why we did some research and found insights in the Financial Times. In the House & Home Preview 2025, experts predict that individuality, a love for vintage, and warm, earthy tones will shape interior design this year. photo: Marc Krause for stilwerk The interior world is looking ahead to an exciting 2025, defined by individuality, creative freedom, and a conscious approach to resources. Leading designers such as Faye Toogood, Kelly Wearstler, and Luke Edward Hall recently forecasted in the House & Home  section that vintage aesthetics, playfulness, and bold design decisions will gain prominence. stilwerk  gives you an exclusive insight into the hottest trends. Embracing Individuality and the Love for Vintage British designer Faye Toogood—recently named Designer of the Year  by Maison & Objet—describes 2025 as the year of individualism: the desire to create things that no one else has is becoming increasingly important. Vintage and second-hand furniture are experiencing a revival, often combined with DIY approaches that turn pieces into true one-of-a-kind treasures. Her motto for this year: "Let's not make it too serious and let's try not to make it identikit."   Her own furniture designs also embody a highly individual aesthetic, perfectly suited to creative and unconventional interiors. Her most famous piece? The Roly-Poly Chair  by Driade. At the top left, sketches everywhere © Genevieve Lutkin, at the top right, a glimpse into her studio © Toogood. At the bottom left, the designer herself © Toogood, and at the bottom right, a holistic ensemble by the designer © Genevieve Lutkin. Color and Warmth Dark earth tones, rich purples, deep plums, and warm wood shades will take center stage in 2025. According to Joa Studholme of Farrow & Ball, these colors will be used in bold combinations, often with minimal white. Key shades from Farrow & Ball include Cardamom , Red Earth , and Tanner's Brown . Speaking of color: Pantone’s trend shade for this year is Mocha Mousse , which fits seamlessly into the earthy, natural trend seen across various design brands. This soft brown hue makes one thing clear: 2025 is not the year for overly bright, neon tones, but rather a time for coziness, a connection to nature, and a sense of tranquility. A selection of designs in the spirit of Mocha Mousse: at the top, the "Kashima" sofa by Ligne Roset and the "Atrium" sofa by Wittmann. At the bottom left, a WhiteWall photograph in a shadow gap frame, in the center, the Lounge 01 armchair by Nachshon, and the "Santiago" sideboard by BoConcept. Function Meets Playfulness American interior designer Kelly Wearstler highlights the importance of functional playfulness, encouraging us to rethink spaces and our interaction with them—almost like interactive artworks. A great example? The 1980s Triangular Pendant Light  by Mario Botta for Artemide, which is not just a source of illumination but also a sculptural statement piece. Just as Faye Toogood’s designs emphasize individuality, Wearstler’s approach reinforces that uniqueness is the defining trend of 2025. Natural Elements The desire for a connection to nature remains a dominant theme. Wild gardens, natural wood, and handcrafted accessories bring an organic and calming touch to interiors. A Touch of Red and Stained Glass Another highlight: the return of accent colors like bold red and the resurgence of stained glass, as proposed by designer and Financial Times  columnist Luke Edward Hall.   Dare to Be Yourself The interior trends of 2025 are all about individuality, creative freedom, and sustainable thinking. Vintage pieces, warm tones, and natural materials create spaces full of character and authenticity. At the same time, playful designs and eye-catching details bring lightness and style. Whether through bold color combinations, curvy furniture, or artistic lighting—homes are becoming personal stages that merge functionality with expressive aesthetics. Get inspired by these trends and design your spaces with unique pieces from the stilwerk  cosmos. Source: Financial Times, House & Home 2025 Preview 28/29.12.2024 A Few Highlights from Our Cosmos In the first row, on the left, a SieMatic kitchen in warm, natural brown tones, and on the right, the brand Zeitraum emphasizes nature and carefully selected color accents. In the second row, on the left, a minimalist living wall in a trendy shade from contur einrichten via WohnArt, and on the right, a playful baby crib with ornamental details and natural materials from Kalon Studios via brand:space. In the third row, on the left, a true statement piece for individualists: the "Cocoa Island" sofa by Brez, and on the right, white ceramics combined with red tones from Moebe via nunido. In the fourth row, an eye-catching piece with a special function: the Kink vase by Muuto, in the center, an object or a vase? Both are possible—the Koa Vases by Ferm Living, both available via nunido, and on the right, unique natural stone for an extraordinary kitchen by Poggenpohl.

Recently, English designer Faye Toogood was celebrated as "Designer of the Year" at Maison&Objet in Paris. Her unconventional and multidisciplinary approach makes her a standout figure in the international design scene. Let us introduce you to the British creative mind. Maison&Objet Designer of the Year 2025: Faye Toogood © Toogood For Faye Toogood, design is about shaping emotions and connecting people through her creations. A self-taught designer, her work speaks for itself: she impresses with her creative versatility, seamlessly blending design, fashion, art, and sculpture. Her pieces, such as the iconic Roly-Poly Chair , showcase her ability to translate bold and playful concepts into tangible, inspiring designs. It comes as no surprise that the Maison&Objet trade fair in Paris has named her Designer of the Year for 2025. Connection to Nature and Creative Freedom Growing up in the idyllic English countryside, far from televisions and digital distractions, Faye Toogood found her inspiration in the natural world and the power of imagination. She collected found objects, arranged them, and let her creativity run free. These early experiences played a crucial role in shaping her unique design style. “I was born in the UK to a very English family, and we lived in the countryside. My mother was a florist, and my father loved ornithology. We didn’t have television, so I read, drew and we got up early to watch the birds. Nature was our playground, I collected all sort of things and then spent time arranging them. This still influences my work in the way I use materials. My colour palette is inspired by those landscapes.” Faye Toogood After studying art history at the University of Bristol, she began her career as an editor at the renowned magazine World of Interiors , where she worked as a stylist and later as an editor. This experience sharpened her eye for detail and deepened her knowledge of design history and styles. In 2008, she founded her own studio in London, which quickly became a hub for experimental and multidisciplinary design. Two years later, her first collection, Assemblage 1 , impressed the design world with its unique blend of traditional English materials and contemporary aesthetics. Her journey demonstrates how a deep connection to nature, imagination, and a profound understanding of design history can lead to a distinctive creative signature. Limited Editions as a Playground for Experimentation Toogood's limited editions offer her the opportunity to push artistic boundaries and rethink design. These experimental works have not only gained her worldwide recognition but are also part of the permanent collections of several international museums. In New York, she is represented by the renowned Friedman Benda Gallery. “For the last 10 years alongside my made-to-order furniture collections, I’ve been producing limited edition pieces for collectors. This practice has been widely criticised for being too expensive and not functional enough. Like haute couture, it’s the purest part of my artistic expression. The freest. It has an impact on everything I do. Roly-Poly would not have existed without this research. It’s a liberation. Are the pieces expensive? Yes. Are they aimed at museums or collectors? Yes. But it’s an essential part of my practice.” Faye Toogood Toogood has collaborated with numerous prestigious brands, from Italian rug designers cc-tapis and Maison Matisse to New York-based wallpaper designers Calico and furniture brands Tacchini and Poltrona Frau. A standout example of her work is the Roly-Poly Chair , available both as an industrially manufactured version by Driade and as a handcrafted studio piece. (Available through Nunido at stilwerk Hamburg.) “This chair is better known than I am. For two years, no one was interested. It was an alien. Some see in it the curves of Art Deco, others a primitive African style with elephant feet. It was so different from the marble and brass we were seeing at the time. Roly-Poly was a turning point for me. I’d just had my first child and everything became softer, rounder and bouncier. Before, I produced dark things, with angles, steel and welding. I find that when a piece of work is linked to real emotions, it hits home. It conveys an intuition and feelings that go far beyond aesthetics and form. If we design objects in this way, they take off. Roly-Poly is also a child’s approach to the world. Picasso said: “Every child is an artist. The problem is how to remain an artist as you grow up.” I believe successful creatives have not lost that connection.” Faye Toogood Her latest collection, Assemblage 8 , reflects her experimental approach: furniture pieces that can be assembled like a puzzle or a children's building set. "Give people the pieces of a puzzle and let them figure out how it works," Toogood explains. "Creativity is at the heart of who we are, where we come from, and who we might become one day." – Faye Toogood The diverse work of Faye Toogood and her studio Toogood: Top left © Genevieve Lutkin, top right A glimpse into the studio © Toogood, middle left Holistic composition © Genevieve Lutkin, middle right Roly-Poly Chair  © Matthew Donaldson, bottom from left to right © Toogood, © Andrea Ferrari, © William Waterworth, © Matthew Donaldson. Women at the Center of Design As one of the few internationally recognized women in the design world, Toogood advocates for greater representation. Her work is part of the Women&Design  initiative at Maison&Objet, which supports and promotes women in the industry. She sees herself as part of a new feminist movement that does not blur gender differences but rather celebrates them. A Parisian Highlight: walnut head For Maison&Objet 2025, Toogood invites visitors to immerse themselves in her creative universe—her so-called walnut head . The exhibition is divided into four chapters—drawing, material, sculpture, and landscape—offering a surreal journey through the artist’s mind. This interactive installation impressively demonstrates how design can transform the ordinary into the extraordinary. “WOMANIFESTO : CECI N’EST PAS UNE CHAISE !” “This is my womanifesto. Self portrait of the brain as an artist. Squishy. Surreal. Sensual. Sexual. Spontaneous. Turning the studio of my subconscious inside out.” Womanifesto © D.R. Design That Connects In a time when artificial intelligence and technology increasingly shape everyday life, Faye Toogood's approach remains deeply human. For her, design is not just about creating functional objects but about capturing emotions and forging genuine connections with people. Her works are more than mere objects—they tell stories, evoke feelings, and invite us to experience the world in a new and more profound way. About Maison&Objet Since 1994, Maison&Objet  has been a cornerstone of the international design and lifestyle industry. More than just a trade fair, it is a magnet for creatives and brands from around the world. With two annual editions in Paris and its digital platform MOM  (Maison&Objet and More), the event not only showcases the latest trends and talents but also offers extensive networking and business development opportunities. From interactive exhibitions and inspiring discussions to exclusive product launches, Maison&Objet  is an essential gathering for the design community and a driving force positioning Paris as a global capital of creativity. This year's theme for the January edition: Surreality Source: Maison&Objet

Seattle, the largest city in the Pacific Northwest of the USA, is a fascinating destination that perfectly combines nature and urbanity. The "Emerald City" is picturesquely located between Puget Sound and Lake Washington, surrounded by lush forests and majestic mountains. Seattle - the "Emerald City" in the Pacific West of the USA. © Visit Seattle Seattle's most famous landmark is undoubtedly the Space Needle. The 184-meter-high observation tower offers a breathtaking 360-degree view of the city and the bay. On a clear day, you can even see snow-capped Mount Rainier on the horizon. The Seattle Center is home to other attractions such as the Museum of Pop Culture (MoPOP), which delights music and pop culture fans, and the Chihuly Garden and Glass Museum, which presents spectacular glass sculptures. Another highlight is Pike Place Market, one of the oldest markets in the USA, where visitors can discover fresh produce and the first Starbucks store. Seattle is also the home of Starbucks, and coffee lovers will get their money's worth here. The city is dotted with countless cafes and roasters offering a variety of flavors. Sports, markets, culture and coffee: Seattle has a lot to offer. Top row: The Climate Pledge Arena is home to the NHL team Seattle Kraken, among others © Michael Dyrland, Idyllic view of the Northlake © Visit Seattle | Bottom row: The home of Startbucks is in Seattle, known for its many markets, including Pike Place Market, one of the oldest markets in the USA © Visit Seattle Seattle is also known for its diverse neighborhoods. Pioneer Square shows the historic side of the city, while trendy Belltown attracts visitors with boutiques and cafes. The International District is the cultural heart of the Asian-American community and offers numerous culinary experiences. Overall, Seattle impresses with its unique charm, cultural diversity and breathtaking landscapes. In addition, Seattle has held the UNESCO title of "City of Literature" since 2017. The lively literary scene is reflected in numerous bookstores, readings and literary events. Art lovers should plan a visit to the Seattle Art Museum or the Frye Art Museum. Known for its diverse neighborhoods: from trendy Belltown to historic Pioneer Square. © Visit Seattle The city offers a unique blend of relaxation and excitement that captivates visitors. Whether you're admiring the iconic skyline, relaxing in one of the many parks, or exploring the vibrant downtown, Seattle has something for everyone. The city's surroundings offer a variety of outdoor activities. Whether hiking in the nearby Cascade Mountains, kayaking on Lake Washington, or taking a ferry ride to the picturesque islands of Puget Sound - nature lovers will get their money's worth here. Image above: Lots and lots of water: Seattle is located on the isthmus between Puget Sound and Lake Washington. © Rachael Jones Media | Image in the middle: Kayaking with a view of the skyline. © Visit Seattle | Image below: The Overlook Walk invites you to take a walk from Seattle's coast to downtown. © Visit Seattle Seattle's landmark: The famous Space Needle. © Rachael Jones Media Curious? With our travel partner CRD Touristik in stilwerk Hamburg you can individually design and book your trip to Seattle.

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”.