Stefan Suchanek opened the talks. The business and architectural psychologist used two pieces of chocolate that appeared to be different sizes to demonstrate how reliably perception can be fooled. They were identical. The audience still reached for the apparently larger piece. Reason arrived too late.
Suchanek’s criticism of much contemporary architecture was correspondingly direct. Buildings function, operate efficiently, meet technical requirements and, ideally, achieve sustainability targets. Yet many remain emotionally inconsequential. Modern airports were his example: correctly organised, brightly lit and almost impossible to associate with a particular place.
This is where neuroaesthetics enters the discussion. Spaces influence mood, behaviour, orientation, perceived safety and memory. That does not grant a free pass to sentimental design narratives. Without traceable planning decisions, neuroaesthetics can quickly become another industry term in attractive packaging. Its practical core nevertheless matters: light, colour, natural structures, proportion and opportunities for retreat are not decoration added after the real planning work; they are part of the function.
Corinna Kretschmar-Joehnk picked up the argument. The co-founder of JOI-Design had announced a talk on Green Hospitality Design and broadened it on stage into “empathic design”. The wider term was probably the more accurate one. Sustainability, she argued, should already be the baseline; future-ready interiors must also address health, nature, culture, community and authenticity.
Authenticity, in particular, is becoming more important as a counterweight to artificially generated images and concepts. Personal encounters such as those taking place that evening were not merely pleasant additions to the programme. They were part of what makes a place credible and memorable.
The courtyard wins
DesignWerkschau welcomes 560 guests at Fruchthof
It was warm. Very warm. And with every half-hour, the courtyard of Munich’s Alte Fruchthof became more crowded.
According to DesignWerkschau, around 560 guests from architecture, interior design, design and retail attended on 16 July. No previous edition had attracted as many people. The figure comes from the organiser, but the basic diagnosis was difficult to dispute that evening: the courtyard was full.
The turnout suited the concept. Initiated by Glas Trösch Group, DesignWerkschau is not an exhibition that disappears after three days. It is a permanent showroom, specification venue and industry meeting point. Between displays, parasols, beer benches and, later, live music, that formula worked remarkably well.
The partner network is expanding too. New additions include Sais Compensati, Casala Furniture, Ondarreta, RS Barcelona, Glimakra of Sweden, Trece, Tarkett, TOTO Europe Deutschland and Lightware. On paper, that is an impressive list of names. It becomes more interesting when those names create genuine new connections for specifiers and projects.
RS Barcelona was among the most visible arrivals. For the Spanish brand, the event also marked the start of a permanent presence in Munich. Its game tables and furniture sit somewhere between design object, social meeting point and distinctly grown-up playfulness. Amid technical materials and conventional interior solutions, they provided a useful disruption.
Stefan Suchanek opened the talks. The business and architectural psychologist used two pieces of chocolate that appeared to be different sizes to demonstrate how reliably perception can be fooled. They were identical. The audience still reached for the apparently larger piece. Reason arrived too late.
Suchanek’s criticism of much contemporary architecture was correspondingly direct. Buildings function, operate efficiently, meet technical requirements and, ideally, achieve sustainability targets. Yet many remain emotionally inconsequential. Modern airports were his example: correctly organised, brightly lit and almost impossible to associate with a particular place.
This is where neuroaesthetics enters the discussion. Spaces influence mood, behaviour, orientation, perceived safety and memory. That does not grant a free pass to sentimental design narratives. Without traceable planning decisions, neuroaesthetics can quickly become another industry term in attractive packaging. Its practical core nevertheless matters: light, colour, natural structures, proportion and opportunities for retreat are not decoration added after the real planning work; they are part of the function.
Corinna Kretschmar-Joehnk picked up the argument. The co-founder of JOI-Design had announced a talk on Green Hospitality Design and broadened it on stage into “empathic design”. The wider term was probably the more accurate one. Sustainability, she argued, should already be the baseline; future-ready interiors must also address health, nature, culture, community and authenticity.
Authenticity, in particular, is becoming more important as a counterweight to artificially generated images and concepts. Personal encounters such as those taking place that evening were not merely pleasant additions to the programme. They were part of what makes a place credible and memorable.