Das Ideale Heim 2020

“Collect Moments not things” ist ein Kalauer unserer Zeit. Es scheint, wie wenn wir uns von den Dingen emanzipieren möchten. Die Momente horten wir in Form von Bild und Tondateien auf unseren Computern. Aber auch im Jahre 2020 wird die Phrase nicht darüber hinwegtäuschen können, dass wir, allen Idealvorstellungen zum Trotz, noch auf Gegenstände angewiesen sind. Selbst wenn wir uns das nun in der Euphorie der Digitalisierung anders ausmalen. Auch in unseren Wohnungen werden uns Möbel und Objekte weiter begleiten. Sie sind nebst ihrer Funktion im besten Fall eine Abbild einer kulturellen Leistung. Dank all den Gegenständen, Möbel und Accessoires gestalten wir Atmosphäre. Ob wir das wollen oder nicht. Dank Tisch und Stuhl setzen wir uns gemeinsam an den Tisch. Daran suchen wir Lösungen für anstehende Probleme, entwickeln wir tolle Projekte, schmieden wir Pläne, essen wir gemeinsam oder lassen wir im Kreise unserer Freunde und Familien ein tolle Fete steigen.

Ich hoffe, dass wir uns mental nicht noch weiter von den Dingen entfernen, als wir das heute schon tun. Ich hoffe, dass wir in Zukunft nicht weiter billigen Trends und Marketingtricks erliegen. Denn wenn die Möbel in unseren Wohnungen, die Geräte in unserer Küche nur möglichst billig und ein bisschen stylisch sein müssen, dann werden wir es nie schaffen eine Beziehung zu diesen Dingen aufzubauen. Und ohne die persönliche Beziehung zu den Dingen und Objekten, die wir oft mit einem grossen Recourcenverbrauch herstellen, werden wir sie dauernd auswechseln müssen. Ich wünsche mir mehr Verbundenheit zu den Dingen. Denn sie sind Teil unseres Lebens. Und es ist nicht ganz unwesentlich, mit welchen Objekten wir uns umgeben. Sie haben mehr mit uns zu tun und sagen mehr über uns aus, als das uns manchmal lieb wäre.

Das Ideale Heim, September 2018 (Jörg Boner)

Chamber Gallery, NY — “This is today”, Part II of IV — Curated by Matylda Krzykowski

Part II expands on the ideas of collage and the pervasive temptation for domestic objects, while focusing on the following: the (1) materials used, the (2) typologies produced, the (3) topics addressed, the (4) shift of values today, and the collage as a continuous method of operation, bringing it all into context.

(1) Aluminum, anthracite, asphalt, coal slag, cat litter, ceramics, enamel, fiberglass, fabric, ink, Jesmonite, joint compound, leather, magnets, plaster, Plexiglas, paint, pigment, terracotta, sand, steel and stone.
(2) Bin, bookshelf, bowl, chair, coffee table, daybed, equipment, lamp, light, lounge chair, object, ottoman, painting, sculpture, table and vase.
(3) The potential of materials, domestic environment, appropriation of surfaces, unveiled production processes, popular culture, ancient rituals and visual seduction.
(4) Regarding authorship, gestures, intentions and communication.

“This Is Today” brings a set of objects to the gallery that requests ownership.
The globally assembled collage of the work in the gallery has the potential to become a token of our times. You think the collage is an image, but what it really is, is language. — Matylda Krzykowski

Photos by Fran Parente

What will eventually emerge from these models is a penholder. When it is finished, it will stick to the work wall with a magnet. The container provides storage space for writing utensils.

The product can be used either as a tool on the work wall or as an accessory on the desk. The cup is eventually meant to hold wipeable marker pens at large conferences and seminars as well as in ordinary offices. Like any design, this one begins with assertions. What you need is a feel for the object. An understanding of the conditions. An inkling of what it ultimately might become. The concrete goal emerges in the process. In an ideal case, the process clarifies the goal. Full of ambiguities, full of anticipations, full of aspirations. The crucial developments take place here. In that moment when the idea tips over into the material world. In that moment when the idea can finally be tested. In that moment when the idea begins to take shape. The challenge is to stay with it and to lead it in the right direction. The objects in grey carton illustrate that stage. They are a reflection of that process. Somewhere between sketch and product. These can be some of the best moments in the studio.

The pen cup is both a tool and an accessory. As a tool it has its function in collaborative processes. Here it serves as a penholder on the work wall of the Moving Walls. That is what it was developed for. The pen cup has two main customers. On the one hand the Swiss company Moving Walls, on the other hand the American company Idea Paint. Moving Walls is the producer of the work wall, while Idea Paint develops paint for whiteboards. This situation led to the idea of a dual use for the cups. In its second function the pen cup becomes a desk accessory. In that case the cup attaches to its counterpart with magnets. Thus the cups form containers for writing utensils and other items that are typically found on a desk. In terms of typology, they combine the cylindrical aspect of a quiver with a flat surface. Each cup attaches either to another cup or to the work wall.


For me, the chairs by the Swiss designers Max Bill, Bruno Rey, Edlef Bandixen and Hans Eichenberger from the 1950s to 1970s have always stood out as milestones.

They are characterised by a clear attitude towards the economy of materials and production as well as a high standard of beauty. About a year ago we were asked by Atelierpfister to design a new Swiss wooden chair. The greatest challenge in the development of this chair was responding to the economic conditions. The task was to achieve the best possible balance between the targeted sales price and the design requirements. The question was how we could develop a chair that was not only beautiful, intelligent, and extremely well constructed, but which also had a sensational sales price. This is the ‚royal discipline‘ of design! At stake is the democratisation of well designed objects, made available to the largest possible number of people. That is why this project has been an important challenge for me. We spent the last few months working on this new wooden chair. In doing so we tried to learn from the qualities of the Swiss designers mentioned above, whom I hold in high esteem, and on that basis we tried to develop a language of our own.


Is it possible to design a functional product while using less material than if it didn’t exist at all? Is it possible to leave out material and create something graceful that serves a function?

That is the question which has been driving us for more than a year. We engaged with it intensely because we felt that the time was right to tackle these issues. The architects Meier Leder from Baden are building a house in which this project is being implemented. It is primarily about holes and gaps. Even the simple question of the shape and quality of the hole already stimulates an interest beyond purely formal considerations. The project will soon be cast. It will be our most radical contribution to the world of objects so far.


Atmosphere is created in the relationship between space, product, and people. It is part of my interest in the product to develop and define that atmosphere.

In late 2014 the collection of Schätti Lamps was shown on the occasion of the Designers’ Saturday. This event takes place every other year in the production halls of companies in and around Langenthal, Switzerland. Any appearance in the context of the Designers’ Saturday is designed to highlight not only the collection but also the venue of the host. Schätti Lamps was presented in the workshops of the textile company Création Baumann. The lamps returned to the production halls, the place of origin of things. Production halls represent something like the space between idealisation and realisation, between problem and solution. They are the space where technology and expression are united. In an ideal case, they are condition and possibility for each other.


Recently we finished our latest product for the company ewo from South Tyrol. Ideally, design is a collaboration between all the parties involved.

Product design is an applied design task. That is exactly what stimulates my interest in this profession: to achieve the best possible result from the existing conditions. Of course I also question functions that initially seem to be a given. It was like that with the lamp GO. When I looked at a lamp from below I noticed that for ewo the interior of the lamps is actually quite important. Because the great quality of the company lies in its engineering, in its highly developed technology. In a sense, the optical lenses are the heart of ewo. That is what we wanted to show. And that is why we tried to avoid simply screwing the lenses in from below. Instead, we wanted to treat them like a gem, to present them on a velvet cushion, so to speak. That is the core of this new lamp design. The external shape follows this idea in all its implications.


Flowers are not part of our core competence.

But when it came to motivating the City of Lausanne to provide a field of flowers for its citizens, my interest was stimulated. On the other hand, it is not a city’s main task to get people to pick flowers and give them to someone. But still. The gesture did have its effects.