Review
Salone di Aschau 2024
Right at the foot of the Alps, design labels, designers and artists set out in search of alternative exhibition formats and content. On show were experimental positions, previously unpublished prototypes, collectibles and products that deal with flaws, mistakes or the absurd. Interactive stations and performances also created an open-ended and informal space of exchange for all guests.
+ read more
- collapse
Thanks to everyone involved:
@bottone_objects
@dantegoodsandbads
@farm.group
@oliverboualam
@lukasmarstaller
@haus.otto
@johannaseelemann
@studiokuhlmann
@studio__oe
@hfbkhamburg
@open_design_class
@jerszyseymourdesignworkshop
@loehrfurniture
@monogermany
@nilsholgermoormann
@sianza


Our exhibits
Classroom Chair
Faithful re-edition of the famous Classroom Chair, authorised by Stefan Wewerka. Exhibited for the first time in 1971 at the Kunstverein Stuttgart as a multiple of 42 identical copies.
Tractor seat
The first cantilever seats appeared in the form of seat shells on agricultural vehicles such as ploughs and combine harvesters. In order to make the machines more elastic and lighter, metal frames and tubular constructions have been used for the seats since the 1880s. These are mounted on sprung steel rods to absorb the shocks of uneven ground or fields.
+ read more
- collapse
B42
The most beautiful chair of the century by Ludwig Mies van der Rohe. In 1926, Ludwig Mies van der Rohe designed the most beautiful chair of the century – the Weissenhof Chair – literally off the cuff. It was shown a year later at the Weissenhof Exhibition in Stuttgart. The first designs were inspired by the backless tubular gas chair by architect Mart Stam. Sergius Ruegenberg reported on the creation of the Weissenhof Chair in 1985: ‘Mies came back from Stuttgart in November 1926 and told us about Mart Stam and his chair idea. We had a drawing board on the wall, on which Mies drew the Stam chair, at right angles, starting from the top. Ugly, something so ugly with the sockets. If he had at least rounded it off – it would be nicer that way – and he sketched an arch. It was only a curve from his hand on the Stam sketch that made the chair.’ Only one thing was missing from the extraordinary shape: the seat and its upholstery. Lilly Reich, an interior designer who worked in Ludwig Mies van der Rohe’s office from 1926, was responsible for this. She and Mies came up with the idea of equipping the Weißenhof chair with a wickerwork. Together with a master basket maker, Reich developed the new aesthetic that perfected the expansive chair as a total work of art.
D9
The aesthetics of the endless line The D9 by Wolfgang Hartauer is the contemporary evolution of the classic TECTA cantilever chair. The sides of the D9 are concave, with soft edges that wrap around the sitter like a scarf. The essence of the D9 is reduction. Upright sitting positions are supported by the flexibly mounted seat surface with a tilt adapted to the body posture. With its tubular geometry, it ties in with Marcel Breuer’s aesthetics of the endless line and enables fatigue-free, dynamic sitting over a long period of time.
B5
This first one-legged cantilever chair consists of a 3.30 metre long piece of tube that is bent into six equal radii in a machine. The seat and backrest are upholstered. It was created in 1982, after several preliminary stages and prototypes for asymmetrical chairs in a collaboration between Stefan Wewerka and Tecta.

Prototype series K5
by Thomas Schnur
Still floating or already flying? Thomas Schnur’s side table is based on a constructive idea. Thanks to its light, organic shape, it adapts to new uses in next to no time. Some say it looks like an insect, while others compare it rather to a vertebrate. Either way, the K5 by Thomas Schnur is clearly a member of the well-loved side creature family.
+ read more
- collapse
The design that looks so light and easy took a long time to develop. “The constructive idea should permeate the piece of furniture.” This design approach, reminiscent of the “constructor” Jean Prouvé, also inspired Thomas Schnur. The young designer visited the Cantilever Chair Museum in Lauenförde for the first time years ago. “I was electrified by the pioneering spirit of Stefan Wewerka and Jean Prouvé.” For Schnur this was the inspiration and motivation to develop something of his own. “The underlying constructive idea is immediately apparent in the K5 table. Tubular steel penetrates the space as a line, its two folded surfaces give the table stability while supporting the round tabletop.”
Understanding furniture is a central factor for Thomas Schnur. The trained carpenter only believes in what he can touch and try out. “I acquired this down-to-earth nature in my home village.” In the K5, he has created a constructive piece of furniture that Tecta produces in its own factory and in three different sizes. A nesting table that evokes Prouvé’s bent steel furniture and effortlessly adapts to any use with its light, organic shape. Its steel body is welded and powder-coated, making it suitable both for indoors and outdoors.







