EDITOR’S NOTE: We have been following Nils Holger Moormann’s furniture collections for some time now. Nestled in the cool, green mountains of upper Bavaria, Nils’ studio has been developing timeless pieces of furniture that bring concepts of form and function down to their very essence. Working with mostly young, unknown designers, whose concepts he brings to life, he has mastered the art of simple modernity, making him one of the pioneering voices leading the ‘New German School’. Several weeks ago we were able to get in touch with NHM, and ask him a few questions about his work, his life, and the fine line that exists between creativity and success, between fun and play, between design and fabrication, and the art of making a profit by doing what you love. Here’s what he had to say.
Who is Nils Moorman? We know that you a have an impressive studio in the mountains, and are producing great design pieces, but we would like to know more about the man.
Since 1992, Moormann and his company have been ensconced in the idyllic landscape of Aschau im Chiemgau in upper Bavaria. Situated in the midst of the Alps, the company tries to have everything manufactured by firms located nearby. As a large proportion of the product components are manufactured by external suppliers, the company retains a high degree of flexibility and a large breadth of items manufactured.
The regional structures, which have developed over a long period of time, paired with international contacts, have a decisive influence on the company philosophy. For example, the seeming disadvantage of a lack of infrastructure is compensated for by conscious definition of what the company stands for by the place where it is located. From an unconventional one-man firm, an enterprise has developed which employs a team of 20 employees, who leave Nils Holger Moormann time to be active as an international juror and lecturer.
In your interview with Gestalten, you mention that you were studying Law at the University. What changed in you? What led you to leave Law and gravitate towards Design?
By pure chance. At that time hardly anybody spoke about Design, and I was simply interested in that topic and got more and more curious.
I’ve heard you say that creativity has to do with being like a child, and looking at things with big eyes. To me that has to do with curiosity, and allowing yourself to discover new things, ideas, ways of thinking. What drives your curiosity? What motivates your creativity?
Generally I am pleased by proportion, I love designing and making the world more pleasant. Indeed it’s important to be always curious, playful and humorous, ready to take risks and explore boarders. But also to retreat, leave everything behind, gain distance and make something completely different.
There is a clear dichotomy that exists between the city and the country. This seems to be an important factor in your decision to move operations to Aschau in Bavaria. How are you influenced by Bavaria and the surroundings? What is it about the mountains that move you?
Its curious in such a baroque rural part of Bavaria, to run a company dealing with minimalists Design. But contrasts attract each other, the mount the tension and increase the effect. Mountains are important, because they are a powerful part of this landscape and for me they are the best connection to nature.
There is a clear emphasis on minimalist principles in the designs you produce. Why is minimalism important? Can you elaborate on what leading a minimal lifestyle means to you?
At first I prefer to look at things from a technical point of view. I like, when everything is consequently related to its function and therefore it becomes necessary to precisely define each surface and think about every detail.
Minimalism decelerates. I don’t like been confused by too many things. I prefer that the few things that surround me are carefully designed.
You take on work / produce work from unknown/young designers….a very risky venture large manufacturers aren’t willing to make? Why do you take on such risk?
The work with young, inexperienced designers is a source of innovation. And its fun. We go through the process side by side with them. We do not pay for Names, but Names can grow through us. Moormann offers a chance to young designers. I am critical towards the fact that many firms just buy big Names and the focus is not on the design.
You seem to be serious about having fun, and keeping things casual. We like that. What does the word fun mean to you? What implications does it have for your work? Is it a key ingredient in your formula for success?
If it isn’t fun anymore, and you cannot enjoy what you’re doing it’s getting hard.
Fun helps you getting over failures, which are unavoidable.
Fun and Humour is a great contrast to the perfection that is demanded in the design branch.
Having started as a one-man operation and grown into a staff of 20 in twenty plus years … How big is too big? How much is too much?
I feel comfortable with the size of my company. It’s like a family. Things can be experienced together. Fast growth was never the aim. Economic success is necessary, but it can be like a bad drug. Entrepreneurial freedom it’s the most important thing. Being able to arse around. Make some Profit while having fun.
BERGE GUESTHOUSE (near NHM’s studio), Aschau in Chiemgau, Germany
What has been the key to your success in building the studio in Berge? What can young designers and fabricators learn from your experience in translating design into a successful business?
The Love for the things.
Enough freakiness combined with a great respect for the necessity of economic considerations – and particularly: consequent acting.
We are very interested in process. In finding out how to go about taking an idea into fabrication. Can you talk specifically about process? What is your method of taking an idea from concept to reality? Do you begin with a sketch? And then fabricate a prototype? How does it work?
In the beginning there must be that certain intellectual and sensual enthusiasm for a project which has to capture me and my staff. Then sketches are made, simple paper models, prototypes in 1:1, more and more refined. During this Process it appears, if the idea can stand the transfer to a serial production.
In the spirit of fun we wanted to ask you about some words: CnC milling or Handcrafted? Pen or Pencil? Chair or Table? And finally, can you list the following words in order of importance: Aesthetics, Comfort, Form, Function.
Both. At best combined in one product.
Clearly pencil- slower, but better structure.
Chair- the biggest design challenge and the only furniture to be in direct contact with the body.
It has to stand our moods and tempers.
Aesthetics, Function, Form, Comfort
We know they are probably all special in their own way, but which one of your furniture pieces holds the most meaning for you?
FNP, cause after all these years, there is still so much enthusiasm for it.
It fits in every environment, is highly flexible, the content it’s the main actor, not the shelf.
You seem to have a passion for quotes and words. So do we, as you’ll see in our articles. We place one in the introduction to every one. Can you share with us three of your favorites?
In one issue I am stubborn- Flexibility. NHM
We make our clients pay for the fun we have. Gerd Dumba
Beam me up Scotty, there is no human intelligence on earth. Captain Kirk
What else would you like to share with our readers? An open forum to share anything we may not have covered?
It always pays out to elaborate things intensively, to think twice.
Not trying to achieve everything, but finding one sustainable solution which is durable for a long period.
* You can learn more about Nils, his studio, and his work at: http://www.moormann.de
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Interesting article. Didnt know the designer’s work before, but now i have a sparked interest. LOVED the bed design.