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Cozy Furniture by Hannes Grebin

German designer Hannes Grebin has created a range of living room furniture based on 1970s German domestic decor.

The bizarre, angular forms are covered in patterns and detailing which Grebin claims were commonly found in German living rooms during the 1970’s.

He describes the pieces as “living sculptures, which puts the traditional views about comfort and taste into question.”

The collection includes a sofa, arm chair, sideboard, rug and pendant lamp.

Grebin completed the project in October while studying product design at the Bauhaus University in Weimar, Germany.

Here’s some text from the designer:

I was determined to make a complete redesign of the “German parlour/living room”. I limited the furniture range to the 6 archetypes of the ordinary German living room, the couch, the arm chair, the carpet, the wall unit, the ceiling lamp and finally the traditional German tile table (just now in design phase).

Especially on my research on the topic gemutlichkeit/cosiness I found out that terms as taste or comfort are a matter of learning, which are changing at any time and can easily be adapted.

Therefore, in an experiment I tried to dissect the familiar image of Cosiness like in movies or television, this very illustrative Cozy of the German 70s, to creatively rearticulate it. I wanted to dissolve the otherwise clear symmetry of furniture and it’s just visually coded function (A couch looks like a couch - is a couch …) .

The respective original object shouldn’t be reduced just to absurdity. I rather “zeroed” its geometry or sometimes I only rearranged it. A precise assignment of functions of the resulting un-or non-forms is now only possible through their texture (fabric) or applications (fringes, patterns, lace doilies), which are radiating neatness and a certain familiarity in spite of the predominant geometric dissonance. This creates the very disturbing effect of these. Despite its fractal and asymmetric geometry the furniture perfectly meet the demands of ergonomics. Thus I wanted to erupt from the everlasting symmetry of furniture.

Furthermore I can’t actually understand why at the current state of the techniques hardly one designer is experimenting sculpturally. It seems as if the opportunities offered by a sculptural, process-oriented, generated and unique furniture design (guided by “Design on Demand”, e.g. “Sinter Chair”, O. Vogt, H. Weizenegger) today, if ever, are to be explored somewhere in scripting ( “Vendome”, C. Weisshaar, R. Kram).

Quite differently, in my approach/production pipeline I’ve integrated a deliberately traditional modeling with clay as part of my design work and for a start I would like to place this project under the hybrid term of “digital craft” or “NEOCRAFT” .

And also in relation to a possible production of the pieces, especially in the current production discourse on craftsmanship, I can very well imagine a craft production.

Ultimately, it should be mentioned, that I didn’t want to make just furniture. I’t was much more important for me that although all objects work excellent as individual pieces, just in the specific arrangement of the “German living room, the design objects become objects for discussion, in order to lead the theoretical design discourse to new ways and approaches.

In my defense my supervising professor considered all of my designs as a “disciplined joke”. That frankly falls a bit short for me

“Perser”, oriental carpet
The carpet is an interpretation of the classical Persian rug. Just as all the other objects it is playing with the distressing effect reached by the contrast of broken geometry and square, retro texture, as it acts as a medium of coded experience values.

“Deckenleuchte”, ceiling lamp,
Revised, cleaned up version of a ceiling lamp from an ordinary german living room

“Schrankwand-Sideboard”, sideboard
To keep up with the times, and because today less is more, the wall unit as a florid storage system is overtaken and substituted by a sideboard. This piece of furniture is an arrangement of four different functional parts of a rustic wall unit for the purpose of German period furniture. To the formative tenor from deliberate, geometrical dissonance is also corresponded here.

“Spießer-Sofa”, couch,
With its 4 meters in length, the couch is the heart of this cosy ensemble. Here the popular image of comfortable seating is alienated, and merely by its texture and applications (lace doilies, fringes) its function becomes conceivable.

“Ohrensessel”, wing chair,
In spite of hard edges, a very pleasant seating. By composite construction and stuck upholstery fabric with flower pattern “Cosy Hard Edge” is entering the living room. Through my diploma I concerned myself with the subjects of cosiness, the typical German living room and bourgeois pieces of furniture. Applications like lace doilies and fringes both live of the comfortable character and encouraging the irritating image.



Family by Kaman Tung

Young designer Kaman Tung has created a set of cafe furniture with compartments to hold personal belongings.

The collection includes three chairs and a table. One chair has a compartment for belongings behind the seat, another incorporates space for a laptop or briefcase in the arm and the third has a hook for keeping a coat and accessories our of the way and off the floor.

The table has a shelf below the glass surface for items that users remove from their pockets in order to sit more comfortably.

Here’s some more information from the designer:


These series of chairs are designed for outdoor café or restaurants and public spaces. The idea came from the habit and needs people have when they are outside. For example, in restaurants and bars, we always put our coat and bags on the back of the chair, and we always have to worry that someone might steal our belongings. And sometimes, we have bags that are too precious to put them on the dirty floor. That is the reason why I try to make public furniture that response to these needs.

I am focusing on chairs/seating, as I found that the most frequent used public furnitures are seats for people waiting or resting or doing something on it (like searching things in our big bags, writing, having a quick lunch etc..) . So these is a series of some simple chairs that discreetly merge our little needs in public space.

The members of this family include the Case Chair, the Backpack Chair, the HangerChair and the Table.

BackPack Chair
This Chair is for people who carryhandbags, and those who has the habit of putting their bags/belongings on their back. In the outdoor cafe terrace, when I have a handbag, I used to put it behind my back so that I can feel the presence of the bag, that I will notice if someone is taking it, but it is not comfortable to sit on something. And the option of hanging it on the chair is not safe, as anyone could steal the bag from behind. Thus, this chair aims to provide a safe zone for stocking our belongings.

The Chair is for people who carries a suitcase or a laptop with them. The side compartment permits the laptop or valuable object to be placed in a safe place and reducing the risk of the user forgetting the object when they leave.

This Chair is for people with the need of hanging their long coat, scarf, hats. People used to put their coat on the back of the seat, but the items always fall off the chair at some point, and the winter coat are always too long and touches the floor very often. The scarf is an easy item to forget, at least for me, I used to forget the scarf under my coat in general (as the scarf is usually what you take off before your coat). While as the hat and gloves never have a place to be store. They always end up falling on the floor or put on the dirty table.

The Table is for people who are used to lay out their wallets, money, cigarettes etc. on the table. Some people do not bring bags and they used to take their belongings out from their pockets as it is not comfortable to sit with. The compartment of the table permits people to have their objects united and visible, so that they don’t have to worry about thieves or forgetting them behind.



Villa Paya-Paya by Aboday architects

Architects Aboday have completed a holiday home called Villa Paya-Paya in Bali, Indonesia.

The two-storey building is arranged around courtyards and surrounded by water of varying depth, which creates a shallow pond at the entrance, jacuzzi and large swimming pool.

The building itself consists of a concrete, box-shaped facade with a separate master bedroom, made using traditional wooden construction and a coconut leaf roof.

The site was formerly a papaya plantation and pig farm, situated in a residential area of the island.

Photographs by Happy Lim Photography.

Here’s some more information from the architects:

Villa Paya-Paya

This villa located in Seminyak, a bustling residential area in the heart of Bali, Indonesia. Standing on an approximatelly 750 sqm land, the site bordered on the North by 6 meter public road, and by a pangkung (dried, old river in Balinese) on the South. Client request to have a holiday home for the small family of 4, with a simple program: large living dining, large servant quarter, 1 master bedroom with huge bathroom and 2 smaller bedroom. They will only use this villa during the holiday season, while for the rest of the year, it will be rented out by the property agent to a group of wealthy tourists that are flocking to the recently-hip area.

Bali was always sought after by holiday makers because of its magical ambience (most people here are Hindu, hence the number of temples that can be found in one location), or view (of the sea, sprawling rice fields with river or the misty mountain). But this site doesn’t have all those; it was a papaya plantation and pig farm before being bought by the present owner. The only potential that architect could explore is the surrounding mature plantation with huge banyan trees as the point of interest, right across the pangkung.

The sloping site (the lowest point is 4 meter from the main road), gives an advantage to the design. Aboday, as an architect, doesn’t want to have an imposing building. The villa needs to respect human scale and the main road as a main thoroughfare to the temple. This road is always crowded during the Hindu celebration, and anything taller than coconut trees will be an intrusion to their ritual.

The 2 level villa appears as a friendly single-storey building from the road, sunk in the rest of the room program on its ground level. Rather than evoking the surrounding typical Balinese building of sloping, coconut leaf roof, Aboday choose a simple concrete white box as the facade of the building.

The traditional sloping roof will still be used in the master bedroom pavilion with its wood structure, hidden behind the white box facade, as an element of surprise among the domination of white forms.

The massing of this villa follow the traditional balinese pattern of ‘natah’ or courtyard. In this villa, the courtyard is an extension of the open plan living and dining room, transforms into water body that dominate almost the entire garden, gradually changing from shallow reflecting pond beneath the cascading entrance step, the jacuzzi under the cantilever balcony, and main swimming pool surrounding the master bedroom pavilion. The effect is anything but floating building. The entire villa as if sitting on the water (or paya-paya in Bali), hence the name Villa Paya-paya.



New watches by Denis Guidone

Designer Denis Guidone has designed four new watches, including this one called Ora Imprecisa.

The hour and minute hands of Ora Imprecisa (above) are represented by black and red squiggles respectively.

The Ora ilLegale clock (above) can be tilted on its base to set it forward one hour for summer time.

The red minute hand of Tempo Libero (below) is painted onto the rotating watch face, while the black hour hand uses a normal mechanism.

(Err)ore (above) has a red, jagged hand representing the passing minutes.

“Both hands together resemble a graphical gestures, a shape that changes as time passes,” says Guidone.




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