A visit to the ICFF - Chapter 1: Shame on you, Austria

(In case anyone reading this is not aware: I am Austrian. That's why I care a lot about this tiny Alpenland, and that's also why I'm allowed to have abrasive opinions on anything pertaining to it, becasue I care. And becasue Austira needs my help!)

So here is my question, dear Wirtschaftskammer Österreich: what were you smoking when you decided it was a good idea to bring back the work of the self-titled Sandmann for (at least) the second time???

The only people who think this is cool are the dudes standing right infront of it. I mean, those turn-overable sand pictures are cool. I've marveled at them myself. When I was twelve! This is beyond tacky. And I like tacky. This is upsetting, even infuriating, because there are many awesome designers in Austria and this is a slap in their face! That's right, I hope you're all offended, designers of Austria, although I am offended enough for all of you.

This isn't new, this is old. This isn't art or design, it's something I can buy in Chinatown. This isn't going to impress anyone. People who see this will experience an uncomfortable feeling of vicarious embarrassment. This is a fair for the New York design community not a gift shop in Florida. Oh dear, please tell me you didn't bring this set-up to Milan.

So let me rephrase: Dear Wirtschaftkammer Österreich, please help me understand how this happened. No, let me rephrase again: next year, you should let me do this.

To be fair, there was perhaps 20% of non-dusty, same-old, behold-the-good-old-days fare. My favorite work was by WOKA, a small-scale lighting manufacturer. They do mostly early 20th century reproductions (how else would they end up in this booth!) but they also carry some newer stuff including these classy chandeliers:

Then there is Lichterloh. They have a beautiful storefront in Vienna and as it turns out they don't deal exclusively in designer antiques, they also manufacture some new products. This piece might look Eames-era, but it's from 2008, folks. Way to trick the Wirtschaftkammer!!!

The oh-so-modern designs from Galerie Suppan get some points for being oh-so-modern. Personally, I'm not a big fan, but at least it wouldhave made Franz Josef gasp. Turns out however, that the reason the name "Suppan" doesn't ring any design-bells is because it's an art gallery! What? Not a single piece of furniture on the website except these - oh yeah - sculptures.

And then there's the usual suspects: Wiener Werkstätte, Lobmeyr, Augarten Porzellan, and the Wiener Silber Manufactur. The latter gets half a point for not being as horribly obvious as the other three.  Some of these companies have worked with contemporary designers, even some contemporary Austrian designers, but they are one and all bastions of conservatism. Fine crystal, fine porcelaine, fine silver - nuff said.

I know the last thing my treasured Alpen-peeps like to do is shock anyone, but this is playing it too safe. We don't need to prove to the world that we have superior, age-old, k&k approved craftsmanship. I applaud that the above companies have pulled of collaborations with contemporary designers but these are the token exceptions to the rule. They are not on the forefront of design in Austria, and they don't need an introduction either. It's a shame to waste this opportunity to show compelling work and support talented young people. This doesn't make me proud to be Austrian, in fact its having the opposite effect. This could be so much more awesome. And that's why next year I should be in charge.

Mischer'Traxler

The Viennese design duo Mischer'Traxler has had interesting projects popping up all over the place lately.
A cake decorating machine, beautifully colored casts of vegetables, the Rumkugelbahn - this new project really goes to show they're no one-trick pony.

Relumine is a bit more product than scultpture for a change, but maybe that just stems from the self-prescribed use of standardized, industrial components: the low-energy lightbulbs. They tackle the reality that the EU has recently banned incandescent lightbulbs, and while this light sculpture doesn't create a replacement for the soft light of a glowing wire, it makes a bold statement about energy and about bringing our 20th century perceptions of a lamp a labored little step into the future.

I apologize for the lack of sounds effects, but when you look at these, you can probably hear
the zzzzzweaurr of a light saber in your own head.

Nice to meet you, Mr. Willenz

The path of research often turns into a fractal pattern of tangents that lead you in ever growing circles somewhere not entirely different. In this case, I was researching lamps in the two bastions of indexed design, stylepark (Germany) and architonic (Switzerland), where you can bask in the reassuring glow of well organized information. I kept stumbling over the name Sylvain Willenz, and this is because I am, as it turns out, a fan of his work. Here is why:

1. print lamp for established&sons. made from 1 piece of blown glass which has a "built in" diffuser.
2. lock for tamawa. ashwood & bakelite. nuff said. (well, no: I like bakelite. it also comes in red.)
3. torch lamp for established&sons, 2008. soft plastic shell. floor, table, or suspension.
Sylvain Willenz hails form and works in Brussels.
4. homerun chair. also nice.
5. stuff bag. seamless flat rubber. also nice. want.