LAB #4(43) 2008

more about such an experience. It has proved to be useful for the German culture, was it useful for you personally? I was a young graduate and they invited me to work in the Schoner Wohnen magazine, which was the only edition about interior design in Germany then. I answered readers’ questions and proposed variants for one and the same room, solving problems with residential space that way. Flats were very small, and each tenant wanted to use his space with maximum profit by arranging furniture and combining as many functions in one room as possible. Besides, the German culture of home d é cor at those years was in complete chaos – it was poorly developed and changed its style preferences too often. Since Schoner Wohnen had monopoly on the market of interior decor journals, I tried to drag the German interior to a higher level and teach

Peter Maly _ Each Designer is a Per- fectionist, It’s Impossible Not tobe One | The editorial board expresses appreciation for help in preparing this interview to ArTech | Photo cour- tesy of Lisa Krohn-Grimberghe, Peter Maly design studio | Interview by Maria Sazonova | A whole era of German design is associated with Peter Maly’s name. By engraining the culture of home d é cor of post-war Germany and studying the experience of Bauhaus school, he created his own trend based on function. Geometrical forms he chooses have logical grounds. Curves in his designs always have a carefully calculated radius, and proportions are based on the golden section. Once a Danish designer Verner Panton called Peter Maly a perfectionist. The German designer agreed to the definition and went on developing the compliment he received. «Each designer is a perfectionist, it’s impossible not to be one. You have to get completely involved into solving the problem and implement it in the tiniest details. This is something that represents the essence of industrial design». Peter does not protest being referred to as a clas- sic author. Objects he created about thirty years ago are still popular these days and justify the title. For such companies as Ligne Roset, Cor, Interlub- ke, Thonet, Tonon and Sauter, Peter Maly remains a mascot, a cult designer making timeless furniture and interior concepts of German quality. You have a degree in architecture, why did you decide to change your specialization and become a designer? The thing is, I did not study architecture as it is, I studied interior, the inner architecture. In Germany there are three options to study: one can study architecture in order to build houses, or one can study interior or industrial design. I chose to study interior, the option necessary to work with furnishings. Not deal with build- ing houses, but with arranging the space. The border between interior and industrial design turned out to be a little vague, which allowed going in both directions. Through architecture of interiors I gradually arrived at creating interior objects. Currently I combine these two direc- tions, I design interiors and build furniture. What is the most interesting thing about your job? The most wonderful thing inmy job is that I can watch the idea that started in my head getting implemented, I can see a thought turning into a tangible product. Has your idea of this profession changed in these 40 years of professional experience? My idea of the profession has not changed considerably, what has changed was that in the beginning I dealt with interiors more, and later I became an industrial designer and furniture developer. In the beginning of my career I worked as a journalist. For 10 years I worked for Schoner Wohnen magazine, the title of which can be translated as «Living Nicely».

Then I became independent and opened my own design studio. Your professional start took place at the same time as the national socialists came to power and the design school was destroyed. Until 1960s Ger- man design had no individual character. How did you manage to live over this period of time and stay true to design? I was not a designer then, I was a child and did not quite reflect things going on at that time. Many tragic events took place in my life then; my father died, and I had to leave my home country. I could only make my own conclusions about the time, when national socialists held office, much later, being an adult. Looking back I can say now, that many talented designers had to flee, and in connection to that design lost its personality. This time, the time of national socialism, has been destructive for design and its quality. A rigid intervention into the creative process was

комод Lines-sideboard, Ligne Roset, Франция

made, control over it was reinforced, and this hindered its development. Design in Germany has gone the same path, as design in Russia in Stalin’s times. Until the time when this gov- ernor came to power, avant-garde style could clearly be noticed, and works of such artists as Malevich were widely known. The totalitarian rule destroyed the style. Art of many talented Russian designers could not develop properly, since the leader of nations, as they called him, supported classical traditions. The very same thing happen in Germany, when Hitler came to power. In the 1930`s when the Bauhaus move- ment reached its peak, a very interesting and consistent development of design took place. When the national socialists came to power, the designer school was destroyed. The Nazis tried to recover – and managed to – pseudo-classical traditions. Dictatorship is always fatal for artists. It does not bring benefits to anyone, and to art it is a sure death. You have worked in the Schoner Wohnen maga- zine for a long time and tried to draw attention to creative approach to home d é cor and giving up clich é s. You worked as a real interior designer and offered various alternatives for indoor space to citizens of post-war Germany. Please tell us

readers to approach the image of the house in an artistic manner, avoiding standards and cliches. Schoner Wohnen was a good school both for the readers of the magazine and for me. I have gained a lot from providing such a comprehen- sive advice. It was something like a common-life activity, and I was made to face specific situa- tions in life, and I had contact to problems and needs that really existed. Work in the editorial board of a magazine helped me study interests and needs of my readers, of a wider circle of people. While work- ing for Schoner Wohnen, I went on designing interior objects. This helped me start my own business later. What do you think currently existing interior pub- lications lack? Do you study the market of interior and object design publications? I have retired from journalist work, therefore I cannot give a full estimate of quality for con- temporary interior publications. The majority of specialized magazines speak for an increased interest to this area. A magazine on design is a good chance to tell the audience about your art.

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