Green is the new Black

Green is the new Black

You’d be hard pressed to go a day in design circles without coming across numerous references to biophilic design. As globalisation fuelled dramatic urban growth over recent decades, changing how we live and work, we were for a time kidded into thinking we must make a choice between our modern built environment and nature. We’ve since had a green awakening.

In our cities and workplaces the removal of trees and greenery ‘in the name of progress’ produces a negative effect on how we feel, reducing our sense of wellbeing and ultimately our performance. Inhabiting cities without trees and workplaces devoid of plants or natural light is not a pleasant thought. Perhaps we needed to be reminded of a simple fact we had forgotten: Nature makes us feel good.

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Highline, New York

Now that the penny has dropped, the race is on to correct our mistakes with the mass introduction of biophilic design and green architecture. And there have been notable successes. New York’s Highline is a case in point with visitor numbers off the charts. Notably, this project is 98% funded by community group ‘Friends of the Highline’ and has had a huge positive impact on surrounding areas.

Singapore’s Gardens by the Bay (below) sprawls over 250 acres and confirms the city’s place at the head of the Biophilic table. Featuring metal clad solar powered ‘trees’ covered with tropical flowers and with raised interconnecting walkways, the park comes alive at night with a light and sound show.

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Thomas Heatherwick Studio received both acclaim and criticism for their New York and London schemes. Both are now set to go ahead, with London’s Garden Bridge (main image above) heckled along the way. With the proven successes of New York and Singapore, I fail to see how such a positive green addition can be anything other than a huge benefit to a large modern city.

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Heather wick’s Pier 55, NYC – 

Many of us lucky enough to attend Saloni Milano will have noticed Stefano Boeri’s Vertical Forest, combining high density living with as many trees as a hectare of forest. These modern buildings challenge the perception that urban green spaces should be either horizontal or disruptive to the financial yield. The integration of greenery into the very fabric of our buildings has become a sought after addition to our living and working spaces.

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Vertical Forest, Milan

 

Vertical greenery also translates to interior environments. A leading trend at last year’s Orgatec saw industrial open modular shelving units providing a home to lush greenery in the workplace, acting as a calming visual barrier whilst improving air quality. Combine this with natural materials and natural light and its no surprise that the ’employee experience’ is much more positive and productive.

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Etsy, Brooklyn NY. Image credit: Garret Rowland

Recent years have also seen a rapid growth in the use of living walls in the workplace. Based on the same principles, this approach can add much needed greenery to an expensive floorplate with maximum efficiency. If you look carefully you might even find David Bellamy and a couple of squirrel monkeys in there somewhere.

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In a recent interview Danish starchitect Bjarke Ingels commented “All humans inhabit the same amount of real estate: Earth. We have the power to adapt our physical surroundings to life – imagine what we can do… Once you’ve accepted that there’s no way we (humans) can be here without having a very significant influence on our planet, we should take it as a positive. Instead of having unanticipated negative social and environmental side effects, we should design our world so we have positive social and environmental side effects.”

If we apply this theory not just in terms of the wider built environment, but also in terms of our immediate interiors and the micro-architecture with which we come into contact on a daily basis, it is also very valid indeed.

The idea of ‘shared space’ (or real estate) as a communal facility is more relevant today than ever with sprawling tech work ‘campuses’ being built and the rise of transitional spaces currently used for coworking. These interior environments and our performance within them is a science. If we make a list of what humans need to survive it begins with oxygen, water, food, shelter and sleep. As we work down the list beyond healthcare and clothing etc, the points become less ‘obligatory’ and more ‘optional’ – but important to our performance nonetheless. Where would you put wifi, good coffee and friendly colleagues on the list for example?

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Mankind adapts to its modern environment

In a micro but measurable way, the conditions in our immediate surroundings influence our productivity, well-being and performance. Just because we have MacBooks and Ugg boots doesn’t mean we can ignore our basic needs. Each tick in the box results in an improvement. And some score more points than others. Adjustable lighting: tick. Ergonomics: tick. Acoustic screen between you and shouty loud bloke: tick.

As interiors people we aim to positively influence and improve these environments. We should all be encouraging our clients to integrate plants, natural materials as well as spaces to walk, sit and relax among them into interior schemes. Let’s make micro-parks within our offices, gardens in our public libraries and small forests in our lobbies. Let’s put nature back into our cities, workplaces and lives.

What could possibly go wrong…?

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Factory Office

Factory Office

As this year’s Orgatec comes to a close and local airports shepherd battle-hardened armies of salespeople and creatives back to their respective hubs, I reflect on some themes from this year’s show.

20406721The Office: a place of industry.

Vitra have been presenting an industrial feel for a couple of years with Jean Prouve and the Bouroullecs leading the way. This show very much continued where they left off. Unfinished metal frames, warehouse style plastic doorflaps to divide spaces, metal mesh side panels and screens hanging from pulleys that would usually be found on a factory floor. The ‘start-up feel’ is still flavour of the month as everyone wants to work at a coworking desk wearing jeans and trainers with no socks, whilst sipping lattés and eating carrot cake…

The industrial feel echoed through the fair this year with many brands acknowledging a factory floor setting, either with a new modular mesh shelving product or simply with the backdrop of their set design. If the Hacienda was still around I’d tell Tony to stick some big ply desks on one side and a coffee barista next to the DJ booth and Fac51 would become a coworking mecca.

img_2054Modularity… 

An important feature in architecture and interiors; the ability to create a grid format of interchangeable blocks allowing users the flexibility to increase or decrease in line with changing requirements. The latest modular trends at Orgatec include space dividing screens suspended by a ceiling mounted rail system, allowing screens to be slid around continuously to carve up spaces (see my Office 2030 blog). Black metal styled storage systems such as Wiesner Hager’s Cage product (below) and boxy storage modules with integrated desking, acoustic panels, soft seating and other features industrialised an office planning theme made familiar by Herman Miller’s Living Office, where soft seating peels off desks, which in turn peel off a modular storage system.

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The use of modular systems on exhibition stands (whether product or prop) firmly illustrates a desire to split up a large open plan commercial space with towering high storage as both a feature and a facility.

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In general, workplace furniture fashion is beginning to look like commercial exposed ceilings: stripped back to bare boned essentials, bolts and fixings proudly on display rather than hidden from view. Solid, rigid, mesh and modular. Carefully considered, then intentionally styled to look a bit rough round the edges. A bit like Jason Statham.

And Tom Dixon’s getting in on the act, with his first foray into the workplace. Aside from a promising chunky wooden trestle-legged team desk, his Boom task light makes no secret of its industrial DNA.

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With all this harsh, technology driven metal framed office furniture, we need some softness to compensate. And following in the footsteps of Verpan, Walter Knoll – and more recently Gubi, there was a lot of dark opulent velvet upholstery and mid century vibes. Buzzispace seemingly had a personality transplant and you’d be forgiven for thinking their stand was actually of Danish heritage, with wooden framed easy chairs and muted velvet fabrics, long curtains and screens. Large numbers of plants and foliage are also needed to offset all that tough metal, so expect even more biophilic integration in the new wave industrial workplace.

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In spite of a return to metal frames, there’s still a strong appetite for wooden furniture. Soft linoleum (or linoleum effect) meeting table tops with wooden underframes are as popular as ever, with huge numbers of wooden frame breakout chairs, tables and bar stools launched. Hussl quietly slipped in a nice family of wooden framed chairs and barstools with a rather unique linoleum backrest. Nicely done.

The Scandinavians are still doing what they do best: beautiful wood and hand stitched leather combinations, with Fredericia looking the part. Meanwhile Poltrona Frau impressed with exquisite quality leather meeting and waiting furniture for high quality interiors.

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Swoon chair in velvet

Walter Knoll displayed a range of succulent leather and velvet furniture, with a great new linking meeting table system. In addition they tapped in to another theme which was large executive V shaped electric sit stand meeting tables, perfect for group discussions and ideal for video conference.

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Aside from these themes there’s still plenty of marble, black chrome, copper and brass – plus a wave of 3D style fabrics, tiles and textiles sweeping through. As ever, halls were awash with hundreds of clever stacking, folding, flipping and collapsing solutions- and the race is well underway to embed ever smarter data gathering hardware within furniture. ‘Millennials’ and ‘Digital Nomads’ are mainstream topics now and brands like Samsung, Google and Swisscom are developing IT products to optimise the way current and future generations use buildings and furniture.

But that wraps up my general thoughts on Orgatec this year. Ultimately wellbeing, communication and technology remain centre stage in the modern office and the stripping back of office design only emphasises that. With the fourth industrial revolution looming, it’s ironic that office design chooses a factory style design backdrop to personify itself. The creation of the Factory Office, the rise of smart tech, metric data harvesting and coworking means the future of the workplace is cool, edgy and exciting. And definitely not dead.

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Stripes, Industrial Chic and Zebras

Stripes, Industrial Chic and Zebras

As I work on projects searching for the right products, trends can gently (or sometimes not so) present themselves. In the run up to joining over 50,000 trade visitors at Orgatec in Cologne next week, I’ve recently felt my ‘furniture nerd antennae’ twitch to a couple of design styles which I’ll share with you.

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Zeitraum

There’s a movement within certain design circles of simple, chunky legged, childlike design. Mathias Hahn has developed a number of pieces for Zeitraum in this style and I like the playfulness of it. He makes it look easy and effortless, but the proportions are very carefully considered and well executed.

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Okapi chair by Perez Ochando for Missana

Meanwhile Missana recently launched the Okapi chair, designed by Perez Ochando. The design studio based in Valencia describe ‘the front side of the chair reminding us of a giraffe and the back of a zebra’. Ok. That’ll be last orders at the bar guys…

Bla Station have been on this theme for years, with tele tubby forms, oversized upholstery buttons and simplified shapes. Sometimes our subconscious is drawn to a design style as it reminds us of something. If we have an inner child, then Bla Station have been waving Kinder Eggs and Alcopops at it for a while now.

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Bla Station

But there’s another theme that has caught my eye. A more grown up theme, based upon simple clean lines, 3D shapes, industrial materials and graphite shades. And I have a feeling Orgatec – and 2017 – will be awash with it…

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Zeus: Slim Irony

Zeus have been creating cool iron furniture for decades. Their ‘Slim Irony’ range is a culmination of their time-served expertise. They call it ‘Industrial Chic’. With a blend of minimalism and urban Milanese cool, the range includes rusted top finishes and a glass option that reminds me of school windows… Rusted metal finishes have been a regular feature in external architectural design for some time – perhaps they are finally creeping indoors.

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Zeus: Slim Irony

But that’s not all Zeus are known for. During Milan Design Week the lovely food served in their showroom (a converted car garage tucked away in an unassuming Milan side street) has also gained notoriety. So much so that old folks from the local neighbourhood suspiciously shuffle through the showroom doors en masse around lunchtime, hoping for a free bowl of risotto. The lovely folks at Zeus usually oblige.

Back to what Zeus do best – furniture. The pure, simple form of Slim Irony is nothing new as far as shapes go. But this cubic semi transparent ‘3D’ linear theme is something we’re going to see a lot more of.

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Zeus: Slim Irony

“Handcrafted furniture from the Industrial North…”

From downtown Milan to down the Toon (that’s Newcastle, UK if you didn’t know). Nestled amongst and inspired by faded crumbling industrial heritage, a furniture brand called Novocastrian is emerging with a style of their own. Acknowledging modern trends, with hints of art deco and inspiration from the industrial revolution, a group of metalworkers, designers and architects with a self-confessed obsession with metal are steadily growing their furniture collection. And fanbase.

I love how Novocastrian present themselves: Handcrafted Furniture from the Industrial North. In an era of Brexit, declining industry, fear and propoganda, this is a brand bursting with northern grit to turn it all on its head. Go on lads and lasses.

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Novocastrian’s Straiths Unit – inspired by industrial architecture

Aside from a growing product collection, Novocastrian turn their hands to one off commissions and bespoke products. Whilst retaining their flavour and classic style, they deliver unique elegant forms echoing Charles Rennie Mackintosh, in fabulous materials such as blackodised or bronze patinated steel.

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Novocastrian tables (above and below)

Light years ahead…

But this theme of dark lines and stripes isn’t exclusive to furniture. In recent years we’ve seen lighting designs hit the trade fairs, perhaps illuminating (sorry) this dark linear trend. Michael Anastassiades’ String lights (below) were inspired by electricity wires as seen through a train window…

A recent favourite of mine is Arik Levy’s playful Wireflow collection for Vibia which adds a decorative Gothic touch to a project. Great for a large reception space or gallery. This would look really cool over a bespoke Novocastrian Blackodised steel boardroom table.

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Wireflow by Arik Levy

In both of these lighting collections, the clever twist is that the actual light itself isn’t the main event. The power cord cuts a stripe in thin air, allowing a 2D or 3D shape to be created and make its presence known.

Another related example is Lee Broom‘s Opticality exhibition from LDW last month. With 80’s undertones, Broom plays with the senses to present his latest lighting product ‘Optical’. This is where the playful linear trend crosses over to 3D graphic design, visual perceptions and perhaps even fashion.

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Once you tune in to these themes it’s hard to stop noticing them and I could literally go on and on throwing related products at you. But I won’t. If like me you’re jetting off to Cologne next week for Orgatec, look out for cubic linear shapes, black stripes, 3D frames and industrial black metal. Oh and keep your eyes peeled for the occasional zebra or giraffe lurking in the background…

Clerkenwell V BREXIT

Clerkenwell V BREXIT

Another Brexit post. Yawn.

This isn’t a political broadcast, this is a short insight into problems and opportunities faced by the British furniture industry, brought on by volatility in the pound. Of course many of these problems are replicated in other industries such as consumer electronics or cars, but as I’m an expert in neither of those, I’ll leave that to PC World and Top Gear.

The headlines across financial markets have been “Sterling Drops to 31 Year low” which conjures up images of irritated Brits spluttering ‘how much?’ at the beach bar on holiday whilst UK exporters rub their hands together as their market takes off. There is very much a flip side of positives and negatives here, littered with dangerous potholes.

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As we know Britain has a trade deficit: net import is higher than net export. In terms of furniture, there is a complex network of furniture importers, dealers and distributors across the UK that act as trusted local agents for their clients. These businesses collectively bring in huge quantities of furniture and interior goods to the UK. The big danger to these companies is short to medium term volatility. Here’s the scene:

  1. Week 1: Regional dealer wins sought after project at competitive margin.
  2. Week 2: Quotation agreed with local client in Pound Sterling.
  3. Week 3: Orders placed with European supply chain, buy prices in Euros. (rate 1.2)
  4. Weeks 3-9: Market volatility follows, pound drops sharply.
  5. Week 9: Furniture arrives along with supplier invoice (30 days).
  6. Weeks 9-12: Pound Sterling continues to drop and hits 1.1.
  7. Week 13: Unlucky for some. Supplier invoice due…

That’s a big hit to anyone’s margin and can easily render a project loss-making. For a five or six figure furniture contract, that’s potentially a huge loss to the bottom line.

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“Many agents and overseas manufacturers are now feeling the pain of subsidising the weak Pound…”

Aside from regional dealers there are national agents who try to steady the ship by setting a rate for the year ahead. There will be many agents and overseas manufacturers now feeling the pain of subsidising the weak Pound after betting against the possibility of Brexit last year. January is the time many new 2017 price lists drop and the UK market can expect significant cost increases from American, European (and other currency) suppliers. 

Meanwhile UK exporters are hugely optimistic (unless they are heavily reliant on foreign components purchased in other currencies that is) and have to take advantage of overseas opportunities. But whilst there are always short term advantages in these volatile markets, any long term successful strategy needs to be just that – long term. It’s easy to bag some quick overseas wins when your currency is bargain basement, but if and when it returns you might need to do the subsidising if you want to keep developing that new business.

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Many British manufacturers of office desks and chairs import components from abroad so are not immune to rate volatility

Managing Risk and Exposure

So what can and what does the British industry do to repel the volatility of the Pound? Of course many importers agree a long term exchange rate in advance. The local dealer / agent would be wise to buy foreign currency in advance through a reputable currency trader (rather than a dodgy bloke in a mac at the local bus interchange…..?). Open a Euro account with your bank and spread the pain whilst exchanging chunks at better rates, in advance of that big project coming in. As risk and financial advisors will always say – it’s about managing your company’s risk and exposure.

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But is the UK Government doing enough to support the importers? New PM Theresa May is certainly taking decisive action and Brexiteers are keen to point at the export market as a response to the weak pound, but for importers who have built successful businesses on importing quality goods, volatility means sleepless nights. Is there something else that can be done to support this important sector of the industry? Could there be a relief tax for importers who can demonstrate losses generated by Sterling volatility? London is a truly global city and Clerkenwell is packed to the rafters with international furniture and interior companies. The effects of this market will be evident in the next 12 months – and not just in Clerkenwell…

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Furnishing the future

Furnishing the future

A little over 11 years ago I was involved in bringing Vitra Design Museum’s world renowned 100 Years 100 Chairs exhibition to Manchester – with a fantastic team and supported by an enthusiastic Architecture Community. It was the acclaimed exhibition’s first visit to an English speaking country. Another first for Manchester, birthplace of the Industrial Revolution, Joy Division, the Post Punk music movement, the Hacienda, the worlds first Computer and the city where Rolls met Royce. This exhibition at CUBE Gallery was its most successful ever, with between 12-14000 visitors during it’s 10 week stay and national press coverage. One architect simply referred to it as ‘Chair Porn’. Suppose it’s a bit snappier, but google search results would vary.

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The exhibition further ignited my passion for furniture design. Cleverly curated, with a chair to represent each year of the last century, a walk through the stands took you on a journey through an evolving, humorous, odd, weird and wonderful world. From Hoffman’s Sitzmachine to Breuer’s Wassily Chair. From Le Corbusier’s LC4 to Eames Plastic chairs. As you progressed through decades of design, you were immersed into the roaring 30’s, post World War austerity and the beginnings of globalisation, progressing to the freedom of the 60’s, funky 70’s fashion, 80’s pop culture and 90’s acid house.

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Aside from visibly evolving trends, fashions and design styles, one of the leading influences in the evolution of furniture design is advances in production methods and discovery of new materials. The exhibition underlined the Eames’ thirst to understand and conquer new materials -from plywood, to metal, to fibre glass. Later, designers like Martyn Van Severen and Philippe Starck would further this progression with with aluminium, plastics and polyurethane.

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Marc Newson’s Lockheed Lounge chair (1986)
I was reminded of the exhibition recently when I saw Jorge Pensi’s Toledo chair – previously made (and featured) in cast aluminium – now produced as a single piece of injected polypropylene following manufacturing advances. A fantastic chair, that was often priced out of projects – the redesign in polypropylene gives a new lease of life to a cult classic.

“like trying to write a book in one continuous movement with your pen never leaving the page”

One of the biggest global influences of modern and future furniture production is 3D printing. There are a growing number of design studios developing furniture and interior products to be produced solely by 3D printers. Due to the continuous nature of the 3D printing process -like trying to write a book in a continuous movement with your pen never leaving the page –  the designs are still very much evolving. But it’s here, it’s happening and it’s progress.

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Barber Osgerby’s London 2012 Olympic Torches were 3D printed
Back in my home city of Manchester there is a wave of new Government backed University buildings full of scientists pondering over Graphene, the new wonder material that is more solid than steel and a better conductor than copper. Terence Woodgate and John Barnard already explored the inherent rigidity of carbon fibre to design a table up to three metres in length with an ultra thin top and just four legs, using state of the art autosport and aerospace technology.

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Surface table by Terence Woodgate and John Barnard

“Maybe we just haven’t had the lightbulb moment yet…”

‘So what’s next?’ I ask. Factory capability, new innovative materials and production advances means furniture factories are more advanced than ever. But maybe the material is already here, in front of our noses, in disguise and being utilised for another purpose. Maybe we just haven’t had the lightbulb moment yet.

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Think about this. Arne Jacobsen’s original proposal for the Ant chair was laughed at and expected to fail with its ‘little spindly legs’. Marcel Breuer borrowed the idea of bent metal for his Wassily chair from hospital furniture and bicycles. Charles and Ray Eames initially steamed wood to create leg splints for injured soldiers returning from war, before transferring this know-how to create the iconic plywood chair. As we produce and consume more, creating more waste, many designers are turning to rubbish as our next abundantly available material.

Keep your eyes peeled. Sometimes >>>>new ideas<<<<  are right in front of your eyes.

 

 

Perfection V Ambition (finale)

Perfection V Ambition (finale)

At the close of part two we’d established that design practices often stop hiring once they have reached a certain ratio (ar kid) to maintain their design language and quality control. Furniture companies seem to have their sights set on different goals, however. And who better to pick this up than Matt Welsh of British furniture Co Naughtone who, after a decade of solid growth are now going global…

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I ask Matt to talk us through their journey to date.

“As a small to medium sized, fast moving furniture manufacturer, the ability to change direction and respond to market and client requirements has been the foundation on which we built naughtone. However, the market is changing.”

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Truphone, London.
“This is what an office looks like now!”

“We’ve seen a real shift in the type of business that is interested in a warmer, more eclectic, domestic style in their environment. ” Yes indeed I think to myself – thinking back to a previous article on Furniture Strategist No Place Like Workplace. Ahem, sorry Matt, carry on…

“More traditional businesses like Law Firms and Financial Institutions are following the lead of the forward thinking, flexible businesses and are creating softer, less system furniture orientated spaces.” Matt continues, “So, this trend isn’t just for the Tech Start-ups and Marketing Agencies anymore, this is what an office looks like now!”

Very true. Everyone wants to look like a start up. Big businesses want to appear more approachable to their consumer base. People like local, craft and casual in an increasingly corporate and globalised world.

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naughtone at Lancaster University Library (Sheppard Robson)
So having heard about naughtone’s success on the other side of the pond I ask Matt to walk us through it.

“We launched into the US 2 ½ years ago and saw instantaneous success.” explains Matt, “This gave us the confidence to push forwards. The US is highly service orientated, so it became apparent that to really become a significant business over there we would need to start to product our furniture in North America.”

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Naughtone’s Chicago showroom
‘So how did you develop this opportunity?’ I ask.

“A plan was hatched. We decided to explore the opportunities a partnership with a major manufacturer might offer us. We’ve always admired Herman Miller and felt that, like us, design was at the very heart of their business.”

But how did it come about? Did you just walk on to the Herman Miller stand and say ‘Hi guys, check out our cool British brand?’

“The initial contact came from a cheeky message from myself to Brian Walker (CEO) of Herman Miller via LinkedIn! Things escalated quickly as it became apparent they were also exploring opportunities in our sector. Once we met the synergies became very obvious.” Now there’s a lesson in northern sales tactics for you. Lesson one: Thee don’t ask, thee don’t get.

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Etsy HQ, NYC.
Matt continues, “In June 2016 we entered into a “Strategic Partnership” with Herman Miller, this probably sounds a bit woolly?” Whoa there. They’ve already got you speaking ‘that commercial speak’ Matt. Strategic partnership..?

“Basically Herman Miller have invested into naughtone and are providing us with assistance in growing our business globally. We start production in North America in October, with Asia following shortly after. This means we can provide much better support for our clients, particularly on an International level.”

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So Herman Miller provide the network, experience and infrastructure to take naughtone to the next level and beyond. ‘Is there any danger of brand dilution?’ I ponder, having watched the brand steadily grow over the last decade.

“We’re still running the business and defining the creative direction, but we have a support network to enable us to do it on a Global scale.” says Matt, ” In essence, this deal enables us to continue to grow, but also to retain the character and personality that many of our clients have grown to love.”

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Well, there’s no two ways about it. This is a furniture start up’s ambition crystallised. Full access to the support, network, business acumen and kudos of a Global leader in furniture, yet still retaining creative direction. Could this be furniture brand utopia? It’s great to see a British start up we’ve watched grow up (to the ripe old age of 10) now hit the global stage. Congratulations to Matt, Kieron and Mark and may your new partnership bear lots of fruit. Strategically of course…

 

Thanks for reading and thanks to all participants in this mini-series:

Roger Stephenson OBE of Stephenson Studio

Paul de Zwart of Another Country

Simon Millington, Interior Designer

Matt Welsh of Naughtone.

 

Swiss re-Made

Swiss re-Made

I’ve found myself getting on my high horse recently about sustainability. Maybe it’s an age thing. Maybe it’s because I’ve been living in lush Swiss countryside and I’m now like totally in tune with nature, man. Whatever. I’m comfortable with it.

In this blog piece I’ll introduce you to a truly unique and sustainable Swiss furniture company that I’ve spotted on my travels…

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Industrial building becomes cool office

Urban backdrop

Something we search for in buildings is character. Buildings that really get this balance right are often a considered blend of old and new, where gritty industrial features meet – and emphasise – slick new design. Or vice versa. A New York (or Manchester) loft apartment with modern stainless kitchen for example, or a Swiss Rustico (old Alpine stone house) renovation with ultra minimal interiors. London is awash with beautiful old buildings throughout Clerkenwell and Shoreditch that are rapidly being converted into coworking spaces, coffee shops or homes by a gentrification army of bearded hipsters.

But when we build shiny modern buildings how do we inject soul? How do you break up those clean efficient lines to provide a warm, casual ‘lived-in’ vibe and inject industrial cool? You could start by giving these guys a nudge.

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Kyburz Made: A second life for waste wood

Fuelled by a creative passion, Tobias and Rainer Kyburz have a long history of… well, making stuff. Years ago in their parents garage, they could be found planing and sanding, sawing and finishing…and tuning their mopeds.

A few years later and Tobias and Rainer went their separate ways for a while (Tobias was a craft teacher whilst Rainer studied business), but they never lost sight of their dream to go into production together. During their time apart they honed their skill sets and kept this dream on the back burner, biding their time.

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Kyburz Made sideboard

Waste Not Want Knot

One day Tobias stumbled upon an old cupboard door, discarded in the street. He carefully revitalised it and turned it into a table top that he then sold to a friend. He spent time learning about the ageing process of different materials, paying close attention to the weathering, restoring and preservation of wood and metals. The idea gained traction.

5 years ago the Kyburz brothers acquired a workshop in Basel. With Tobias as the creative mind and Rainer leading Company strategy, Kyburz Made was born. Enthused by honest, ethical and sustainable local production, the brothers turned their enthusiasm and business savvy into furniture products. And cool ones too.

Kyburzmade Altholz Sofa 2

Seeing themselves as modern ‘hunter gatherers’, the pair track down discarded second hand materials, before treating and revitalising them. They call these materials hidden treasures and talk passionately about the beauty within. Kyburz painstakingly restore, build and create, to give these unloved cast-offs a second life as completely new furniture objects with a pre-loved industrial echo. I’m picturing the Kyburz’s scouring skips and building sites with child-like excitement. And I’m not far from the truth.

The recent demolition of Basel’s Hilton Hotel was described as ‘Christmas came early’. Skiploads of waste were snaffled up to await transformation into a sideboard, a sofa, a table, a shelving unit… or maybe something else.

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At present production is limited. Each piece is numbered and completely unique. The pair are propelled by a genuine love of what they do and are enjoying the ride. Questions like ‘Will it make money?’ or ‘Is it scaleable?’ are dismissed as the pair enjoy a return to their childhood. Kyzburg Made offer workshops and (after my own heart) preach about sustainable local production.

“Worthless junk. Unloved, dissed and dismissed…”

And all this using materials that are being thrown away. Worthless junk. Unloved, dissed and dismissed, before being found and loved into a new existence. Sometimes this takes several attempts. They design, build and consider, before dismantling to begin again. It has to be just right.

Kyburzmade HEK5

Open re:Source

The Kyburz brothers are making a strong creative statement about our disposable society and demonstrate this through their complete transparency from sourcing, to production methods, design and aesthetics. This transparency is of great importance to them both. Every Kyburz Made piece of furniture proudly wears it’s history. Every piece tells a different story. Unique and sustainable furniture with an old soul. Ashes to ashes, rust to lust.

KyburzMade.com

Kyburzmade HEK4