JUNE 12, 2018, 7 P.M.
Christoph Ingenhoven has made a name for himself far beyond Germany with elegant buildings. His architecture combines ecology and presence. However, how does sustainability really work? How can potentials be exploited on site? What prevails over evaluation charts and regulations—and how can principles be attained that last beyond the day? One thing is certain: Sustainability is no longer an option. It is set. Impulse lecture and discussion.
Venue: MAKK Museum für Angewandte Kunst, An der Rechtschule, 50667 Köln
Dipl.-Ing. Architekt BDA, RIBA, ingenhoven architects, Düsseldorf
Andreas Grosz & Dr. Oliver Herwig
Dr. Petra Hesse
Direktion MAKK, Köln
Regestration: KAP FORUM
DI., 24. APRIL 2018, 19 UHR
Google, Amazon und Facebook legen vor: Corporate Design spielt eine wichtige Rolle, wenn sich Internetriesen als modern darstellen. Apple investiert sogar Milliarden in seinen Campus. Das so genannte Spaceship wurde von Lord Foster entworfen. Doch wie sieht es in Deutschland aus? Wie präsentieren sich hier Arbeitgeber? Und können Start-Ups auf das eigene Bürohaus womöglich verzichten?
wo: MAKK Museum für Angewandte Kunst, An der Rechtschule, 50667 Köln
Dipl.-Ing. Arch., Managing Director, HENN, Berlin
Prof. Dipl.-Ing., CIAD Cologne Institute of Architectural Design, TH Köln
Dipl.-Ing. Arch., Geschäftsführer, HPP Architekten, Düsseldorf
Dipl.-Ing. Arch., Geschäftsführer, kadawittfeldarchitektur, Aachen
Andreas Grosz & Dr. Oliver Herwig
Dr. Petra Hesse
Direktion MAKK, Köln
Anmeldung: KAP FORUM
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Carpet Concept honours for the tenth time:
INsider Award ceremony in Cologne. Award has influenced interior design for yearsn.
“The overwhelming thing was the recognition as well as the laudatory speech given by my business partner Steffen Bucher," said this year's winner of the INsider Award, Lars-Erik Prokop, from 12:43 Architeken from Stuttgart.
For the tenth time, the INsider Award was presented by Carpet Concept in Cologne. The achievements of the nominees are assessed during a closed meeting during which selected interior designers act as jurors and select the prize-winner - i.e. the INsider of the year - directly on site. "These are three special days in very special places," reported patron Robert Piotrowski, partner with Ecker Architekten Heidelberg. This time, the meeting was held in Barcelona and the following interior designers were honoured: The first prize went to Lars-Erik Prokop from 12:43 Architekten, Stuttgart, for his well thought-out, flowing interior concepts that focus on health and medical practices. Dieter Schmidt, partner of Schmidt Holzinger Innenarchitekten from Rodgau, was awarded second prize for his sensitive design of private interiors. Award winner Eva Marguerre from Studio Besau-Marguerre in Hamburg, was honoured for her experimental use of material and colour and the resulting dialogue in the room.
This year's winner of the INsider Award, Lars-Erik Prokop, not only associates quality and a clear attitude towards design with the award, but also with the company hosting the event, Carpet Concept. Now in its tenth year as the initiator of the INsider Award, Carpet Concept has developed this prize into the probably most coveted distinction in interior design. At the same time, the INsider Award is also a forum for networking and exchange, which has in the meantime stimulated many office developments.
Available only in german!
ARCHITEKTUR & BILDUNG
Wo sollen unsere Kinder lernen? Wenn das Schulklo zum Wahlkampfthema wird.
DI., 20. MÄRZ 2018, 19 UHR
»Erst bauen die Menschen Häuser, dann bauen die Häuser Menschen« – ist ein geflügeltes Wort geworden. Was aber bedeutet das für den Schulbau? Werden Klassenzimmer morgen grundsätzlich anders aussehen? Oder gibt es sie womöglich gar nicht mehr in digitalen Zeiten? Unser heutiger Abend zeigt, wie und wo sich Architektur und moderne Pädagogik verbinden.
wo: MAKK Museum für Angewandte Kunst, An der Rechtschule, 50667 Köln
Andreas Grosz & Dr. Oliver Herwig, KAP Forum für Architektur & Stadtentwicklung
Andreas Niessen, Schulleiter
Geschwister-Scholl Gymnasium Pulheim
Dr. Peter Rösner, Leitung, Stiftung
Prof. Johannes Schilling, Architekt
BDA, Schilling Architekten, Köln
Prof. Gernot Schulz, Architekt BDA,
gernot schulz : architektur GmbH, Köln
Johannes Talhof, Hess Talhof Kusmierz,
Architekten /Stadtplaner, München
Anmeldung: KAP FORUM
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You have to put up with more.
"I find it exciting to take carpets out of their context," says Patrick Lüth from Snøhetta in Innsbruck. Only recently, the architect was working with a carpet from Carpet Concept for a temporary installation.
Snøhetta Arkitektur og Landskap are known for their transdisciplinary way of thinking and working. Interdisciplinarity is not a buzzword at Snøhetta, but rather a driving force and attitude - whether in collaboration with creative minds, landscape designers, philosophers or artists such as Olafur Eliasson. Their buildings attract worldwide attention: the Bibliotheca Alexandrina, which they built in 2002, the Olympic Art Museum Lillehammer or the Opera House in Norway. The approach to consider architecture as a built landscape connects all projects of the office. This was also the key aspect of Snøhetta's exhibition in Innsbruck, with the focus being on the installation "Relations" - implemented with the carpet Eco Iqu from Carpet Concept. Patrick Lüth from Snøhetta talks about the office's special approach to projects and why landscape plays a central role in the focus of the architecture.
Picture: Günter Richard Wett, Richard Wett, Snøhetta
Mr. Lüth, what image did you particularly enjoy this morning?
Most of all the image of my children, who enjoyed the first snow in Innsbruck. This unbelievable change that the children capture and experience in the landscape is moving.
Which significance do you attach to landscape in design?
At Snøhetta, we have two components of the landscape concept. Every building is integrated in a landscape context, and for us this has an influence on structures. We are very much concerned with the physical context. We don’t know any dogmas. For example, it can be organic structures that determine the context. We believe that topography can make a difference for users, because interpersonal interactions are controlled by design. One example of this is our opera house in Norway.
What do you observe there?
The following happens in the interior: When people leave classic movement patterns, for example when walking on sloping surfaces, they behave in a new way. This influences the visitors, it removes inhibition thresholds, and many things are now happening at eye level. This is also the case on the rooftop of the Oslo Opera House. People are using it in a new way. When walking across the uneven surfaces, they walk very carefully, as in nature. You can experience architecture physically. The architecture itself is static, but we move the users, physically and in terms of content. Our aim is to get in direct contact with people through architecture.
How do you try to return nature to architecture?
We want to treat nature with respect. It is all about atmospheres that are derived from architecture and the retrieval and protection of nature. One example is Northern Norway, where it seemed necessary for us to remove a part of a mountain. But respectfully, to save the place.
Why are architecture and nature so often contradictory today?
In Central Europe, this is because architecture is perceived as a service and not as the design of living spaces. Buildings are often only a part, they are not considered in an overall context of living space. Frequently, there is a lack of sensitivity in cities to deal with this densified space.
Do you think the urban space is too dense?
I don't think the space is too densified. Density doesn't necessarily mean to build up everything. In such places we are trying to build vertically. Density is not bad, per se it shows frequency. But compaction is accompanied by sensitive planning. We are currently building a small project with 40 very densely laid out residential units. A vertical building, the roof surfaces are planted with greenery, the subject of "urban gardening" plays a role. A small example, but in the intermediate zone of cities of 5,000-20,000 inhabitants, this is a large vacuum.
How do you try to select materials?
Our choice of materials at Snøhetta follows fundamental considerations. We use as few materials as possible. For example, marble and wood are predominant at the Oslo Opera House, and these materials are carefully selected. If we specify marble, it is used on various surfaces, sometimes thinner, sometimes thicker. In Saudi Arabia, we used rammed clay as it is deeply rooted in the local history. At the same time, we contrasted it with stainless steel, a high-tech material of the future. During the first meetings with the client, rammed clay caused great astonishment. But it made sense because the material is characteristic of the location.
Are there any textile landscapes you have been studying?
Textile landscapes are a subject that we have not yet exhausted. It is fascinating and has a soft quality. It would be a subject which we could work and experiment with well. One could, for example, also imagine an exciting study object using carpet and implement many exceptional ideas.
You do not shy away from taking materials out of their context. Do you also have a new idea for the topic of carpets?
Carpets are very high-quality materials, they are acoustically effective and comfortable. If we move the floor from three-dimensionality to verticality, I can imagine lining entire rooms, from the floor to the ceiling, and trying out a lot of new things.
You recently integrated the Eco Iqu S carpet from Carpet Concept into the "Relations" exhibition - why did you choose exactly this carpet?
The exciting thing about this carpet product is that it is bi-coloured. Our inspiration was that we wanted to show an architectural landscape which alludes to our origin from Norway. Carpet Concept's carpet has reminded us of reindeer lichens. At the same time, Eco Iqu proved to be functional and advantageous because it is relatively non-slip. Our installation at our exhibition in Innsbruck was very steep, at the steepest point the gradient was more than 30 percent - like a ski slope. Our motto is "you have to be prepared to put up with more", whether it's walking around the installation or concerns new ideas that we present to clients. Once a year, we also take on a special challenge: climbing the Snøhetta Mountain in Norway. We achieve this together. And this is also true in the construction process: if you set yourself a demanding task and accomplish it, it is very satisfying.
Which project would you like to see implemented in the future?
Exciting projects are the ones for which we have to question ourselves and which we develop further with other individuals. Big competitions sometimes allow for real innovations. But it doesn't always have to be the things that can be marketed well at the end of the day.
Anything goes, nothing has to.
SLO Advantage from Carpet Concept.
The new office trends reflect the desire for more individuality, environmental friendliness and atmosphere. At the forefront is Carpet Concept: with the new SLO-Advantage carpet tile collection and the holistic textile systems, the company provides answers to the needs of our time.
THE NEW SLO-ADVANTAGE SERIES:
The secret of success? Thinking in different ways than others.
When it comes to the implementation of sensuality in the interior, textiles are at the forefront, accompanied by the desire for more individuality and modularity. With its new generation of carpet tiles SLO-Advantage, Carpet Concept takes up the Scandinavian credo of "beauty for all". Following the motto: anything goes, but nothing has to. SLO-Advantage is a new generation of large-format carpet tiles with an enormous colour spectrum and matching broadloom products that provide answers to the ever more complex corporate world. Issues such as flexible zoning, emphasised central zones and the highlighting of atmospheric open spaces are answered with a complete modular system. A sensual-textile concept that speaks the language of Carpet Concept: ecological, sustainable, recyclable, acoustically effective and healthy.
SLO 150 - CONCRETE
Low-key, but thought ahead: CONCRETE. The architectural carpet tile.
The design idea behind CONCRETE: today's office environments require accentuated, modern central areas that create spatial expanse. The answer: with natural shades of white, sand and clay, CONCRETE carpet tiles are rich in contrast, resemble concrete surfaces and are at least as hard-wearing. They blend into minimalist concepts, create an edgy look and convey spaciousness.
Less is more: This creates a clear, modern floor covering that underlines the central zone. A complete modular system rounds off the design idea. CONCRETE is available as a matching broadloom carpet, acoustically effective, reusable and produced in a sustainable manner. For all those who value a particularly architectural appearance. Because less is more: more clarity, more time, more reduction and more simplicity.
SLO 151 - STONE WASHED
Landscape for people and interiors: STONE WASHED.
Fashionable, maritime, elegant: STONE WASHED, the subtlest carpet tile of the new Advantage series from Carpet Concept, was created under the Northern Lights. It derives its shades from the colours of the sea and the sky, looks timeless and elegant. STONE WASHED gives the central zone a serene and discreet accentuation.
With the noble washed out colours of STONE WASHED, life outside begins inside. The exclusive carpet tile from Carpet Concept impresses with a new touch, large formats and the matching STONE WASHED broadloom for different office and life situations. Equipped with acoustic backing, it dampens noises, is extremely robust, easy to install and has a linear, clear message: textile modularity for more flexibility. An ecological, sustainable system, recyclable and healthy.
SLO 152 - VINTAGE
Aesthetic layout of routes: VINTAGE, catwalk look for central zones.
Piazza for the office: In the office, the central zone is being rediscovered as a focal point for action, as a network place and a vital backbone of the company. This is exactly what the VINTAGE carpet tile from Carpet Concept is intended for.
VINTAGE is the red thread running through the office environment. The large-format carpet tile emphasises the central zone with loose, dyed stripes. Like a guidance system, VINTAGE guides you through the pulsating activity area as a sensual and vibrant room element. The triad of structure, design stripes and colour allows a wide variety of possible combinations. An overall textile concept for the office with different formats and matching broadloom carpet. Made with passion, nature and without chemicals.
SLO Advantage, part of the new textile world from Carpet Concept, is characterised by easy installation, an extremely robust material, recyclability and eco-friendly production.
Cradle to cradle – plenty of nature, no chemistry.
Nature knows no waste, but resources. Carpet Concept is actively involved in the protection of resources. This is why all carpet products are produced in a sustainable manner, ecological and recyclable.
For the on-the-fly change: each carpet tile can be ordered in different sizes and as broadloom. This means that there are coordinated products for all situations and configurations. Easy to lay, easy to understand.
Healthy: for your indoor climate.
The extremely hard-wearing material balances the air humidity by absorbing moisture from the ambient air and releasing it back when required. This creates a good indoor climate and outstanding comfort.
The Advantage collection absorbs noise and contributes to recreative acoustics in residential, office, industrial and public spaces.
Low energy costs
The carpet tiles store heat from the ambient air. This contributes to lower energy costs, lower environmental impact and a stable and comfortable indoor climate.
QUADROSKOP: THE INFINITE VARIABLES OF THE TEXTILE WORLD
Domotex in Hannover, the world's leading trade fair for carpets and floor coverings, featured a new and unique presentation concept. "Unique Youniverse" was the name of the trend show with many surprises at the trade fair, which was newly conceived by the agency SCHMIDHUBER: The focus was on the Quadroscope - an accessible kaleidoscope that offered new spatial experiences - equipped with carpet examples from Carpet Concept.
Susanne Schmidhuber is an interior designer and founder of SCHMIDHUBER. The creative team from Munich, which specialises in live communication and spatial branding, gave Domotex a surprising new direction. Included in the Domotex trend area: Carpet Concept carpet tiles. They were tangible in a walk-in Quadroscope. In an interview Susanne Schmidhuber explains how the idea of the Quadroscope developed and what trends will exist in the future.
The Quadroscope represented a special feature at the trade fair - what was the idea behind it?
Susanne Schmidhuber: The guiding theme for Domotex was "Unique Youniverse", based on the megatrend of individualisation. From the very beginning it was important to us to show how varied and eventful floor coverings can be. The trade fair should not only be a product show, but also provide inspiration. That's why we developed the Quadroscope. A space the design of which creates its own universe made of mirrors that stimulates playing with dimensions.
At Domotex, you wanted to think outside the box - what do you see there, what ideas for the future exist in the industry?
Susanne Schmidhuber: Due to technical progress, the flooring industry is in a state of upheaval and is facing major challenges. The products are becoming smart and will combine several functions in the future. That's very multi-faceted. In just five to ten years' time, there will be floor coverings that we cannot even imagine today, such as sensory carpets that recognise certain movement patterns.
In cooperation with young artists and universities, we have also seen that there is a great need to deal with natural materials and to principally avoid the use of chemicals. Last but not least, the planning approach is changing. The floor is now included in the overall concept from the outset and is no longer a solitary issue.
The carpet tile has become a driving force. Is that because it can be easily customised?
Susanne Schmidhuber: In the flood of digital communication, people's need to create a very personal environment is growing. Large companies like Ikea offer stools for which the colour of the legs can be chosen. This is a trend that is reflected in the diversity of carpet tiles.
What made you choose carpets from Carpet Concept for the Quadroscope?
Susanne Schmidhuber: We are a team of architects, interior designers, communication and product designers and also have specialised materials experts on board. We know the products from Carpet Concept well. Basically, we wanted to represent an almost infinite variability of the qualities and collections and additionally a wide spectrum of the colour gradient.
In the Quadroscope, for example, visitors can take a closer look at a yellow carpet pattern, turn it around, and find another yellow carpet of a different quality and pattern on the reverse side. This demonstrates that more and more differences and details can be discovered when looking closely. That's infinity. The product Eco Iqu with its smooth surface and the counterpart Eco Iqu S with its woolly texture play an important role in this respect. It can illustrate the playing possibilities on the floor very well. This shows how to create completely different textures with the same colours and materials. A product that best meets the idea of individuality.
At the same time, we have noticed that Carpet Concept has developed very successfully from a product focus to a company that thinks in terms of interior spaces, especially with acoustic room systems and textiles. It supports our work as planners enormously if companies follow suit.
You yourself are an interior designer: Do planners need new surfaces that are digitised, networked and acoustically effective - in other words, meet several requirements?
Susanne Schmidhuber: Yes, surfaces experience a new quality. What used to be a thick, heavy woollen carpet, luxurious and expensive, is currently changing. Now hard textures are also in demand, which respond to more functions than just covering the floor. Therefore, it is definitely important what the surface can do actively. In the hospital sector, for example, there are floor coverings with integrated thermal fibres to indicate if someone falls.
A lot of things could happen in the future. How would a digital floor make life easier for you personally?
Susanne Schmidhuber: Let me just vent some ideas. It would have to illuminate my steps at night to show me the way, so that I wouldn't have to turn on any light at all. I'd love that. Or a self-cleaning floor. Research in this field is already underway at universities. Or a floor that leaves footprints and then clears them again. Of course, these are gimmicks, but especially when you start a new technology, it must also have the chance to develop in a playful way, in order to subsequently return to the basics and the real necessities.
Photo credits: Copyright © SCHMIDHUBER, München
GDR tapestry for the British Museum London
Carpet Concept supports the collection of the British Museum in London with the donation of an original GDR tapestry.
Carpet Concept expands the collection of the British Museum in London by donating an original GDR tapestry. Dr. Hartwig Fischer, Director of the British Museum, explains in an interview what makes GDR tapestries so interesting for the United Kingdom.
It all began with a curious find in the Carpet Concept carpet factory in Münchenbernsdorf, Thuringia: 32 lost tapestries dating from the GDR era were rediscovered and exhibited for the first time in December 2016 at the Aedes Architekturforum in Berlin. The history of the tapestries and their discovery caused a sensation and Hartwig Fischer, Director of the British Museum in London, became aware of the original tapestries.
He was immediately interested to include this facet of GDR history, which has been hardly known so far, in his collection in London. Thomas Trenkamp, Managing Partner of Carpet Concept and exhibitor and finder of the tapestries, has now donated one of his coveted originals to the British Museum in London. The motif of October 7th - Republic Day - will be the basis for a new arts and crafts collection. Dr. Hartwig Fischer, Director of the British Museum in London, explains in an interview what makes the GDR tapestries so interesting for the United Kingdom.
1 What is it that makes the tapestries from the GDR particularly interesting for the Europe Collection of the British Museum?
The British Museum exists to represent the histories of the world and the GDR is clearly a significant part of European history. We are extremely grateful for this generous gift, which will improve our collection in this area.
2 What other exhibits will be surrounding the GDR tapestry? Are there any other characteristic exhibits on the history of the GDR in the museum?
The carpet will form part of the collections of the Britain, Europe and Prehistory department, which also include many important pieces from Germany, and East Germany, such as Meissen porcelain or glass from Saxony. We also have a collection of prints and drawings of German artists (living under the GDR) and a coins and banknotes collection of communist money.
3 You decided in favour of the ‘7. Oktober 1949-1979’ tapestry – why did you chose this motif?
We felt this was particularly representative of GDR ideology, it is about self-definition and the creation of a specific history and tradition. This example is particularly telling and allows us to be able to represent the GDR chapter in German history.
4 Previously, you acted as director of Museum Folkwang and the Staatliche Kunstsammlungen Dresden. In 2016, you were appointed Director of the British Museum in London. Does the history of arts and crafts in the GDR play a considerable role in your museum?
Of course we have examples of arts and crafts in the collection but we are primarily a museum of world culture. We collect objects that allow us to tell the histories of cultures throughout the millennia and this example is particularly pertinent in providing a springboard to tell the story of the GDR. Our applied arts are mostly of an earlier date and we have as yet very little from the GDR period. Thus, this tapestry is also an important donation on which we can build our applied arts collections.
Cool clubs, history, art, and CAS Rooms:
Aqina presents Carpet Concept in Poland’s capital.
It is currently Poland's most creative metropolis: Warsaw. Aqina, a specialist for exclusive office furnishings and carpets, is represented in Warsaw with a large showroom. For two years now, Aqina has not only been a sales partner of Carpet Concept, the specialist is now presenting the extraordinary colourful and varied product worlds of CAS Rooms and CAS Objects for the first time. For Carpet Concept, this is the first showroom presence in Eastern Europe.
Picture: Szymon Polanski
Master of German Interior Design
Carpet Concept is awarded as one of the 50 best German manufacturers: Best of German Interior Design selected iconic products that show what interior design "Made in Germany" really is.
Best of German Interior Design presents the 50 most renowned German designers and the top 50 German manufacturers in the interior design sector. Thus, the publication describes an industry which, as it stated, "seems to fall somewhat below the radar level as regards its self-awareness". However, German creative professionals and manufacturing companies enjoy an excellent reputation worldwide. German furniture, carpets and fittings can meanwhile easily keep pace with European competitors.
In addition to original ideas, they also impress with their outstanding workmanship and quality. The big names and brands such as Carpet Concept meanwhile represent an important international industry and shape the image of Germany abroad. The top-class jury selected Carpet Concept as a pioneer, which was able to rethink carpets and convince with its products "Made in Germany".
The opulently illustrated book presents a large number of iconic products, which show what interior design "Made in Germany" really is. Essays by renowned authors additionally take up important topics and positions on the current design discourse and thus reveal the cultural-historical background of contemporary design.
With texts by Dr. Andreas Görgen (Ministerial Director, Head of the Department of Culture and Communication, Federal Foreign Office), Birgitta Homburger (Creative Director Studio Lambl/Homburger), Prof. Dr. Dirk Boll (President of Christie's Europe & United Kingdom, Middle East, Russia & India), and others.