Hermann August Weizenegger, born in 1963 in Kempten in the Allgäu region of southern Germany, studied Industrial Design in the class of Hans (Nic) Roericht at Berlin University of the Arts (UdK, 1987-1992). He subsequently worked for a year as a freelancer in product development at Produktentwicklung Roerich in Ulm. It was in that office that he got to know Oliver Vogt, with whom he founded the V+W bureau in Berlin in 1993. During their 16-year collaboration the pair worked for renowned clients such as Moeve, Intel, Sony Music, Authentics and Rosenthal. Their projects, which showed a strongly conceptual approach, were presented in international exhibitions such as »DIM at the TAM« (2005) in Tokyo, at biennials such as »Relation Chip« (2006) in Saint Etienne and »Beach Towel« (2002) in New York – to name but a few. Their biggest success and a retrospective of sorts of their work was the exhibition »Design_matrix« (2006) at the Marta Herford Museum, where they embellished the entire museum with their visions and concepts of contemporary design. Their best-known projects, such as »Die Imaginäre Manufaktur« («The Imaginary Workshop«) and »Sinterchair-Fabrik der Zukunft« («Sinterchair Factory of the Future«) formed thematic focal points and brought the pair broad international recognition. The »Sinterchair« is represented in a number of collections, such as the Vitra Museum in Weil am Rhein, Die Neue Sammlung in Munich, the Marta Herford Museum in Herford and the Palais Schönborn in Vienna. The collection of the Fonds National d’Art Contemporain in Paris has a broad range of furniture and objects by the two designers in its archives. Their projects have won a number of awards, for example, the Jungwerk furniture castors won the »Interzum Award 2007« for »high product quality.« »Pure Glass« (1999), »Monobag« (1999) and »Four Star« (2002) received the red dot for »high design quality.« Weizenegger is one of the founding members of Designmai (2003-2007), the platform for Berlin-based design, and he put a great deal of personal effort into the orientation and organization of the platform during his substantial five-year involvement. Since 2009 Hermann August Weizenegger has run HAW Atelier. The studio is currently represented in exhibitions with thematically and artistically demanding projects, such as »Digital Couture« (2009) at the Appel Design Gallery, and in group exhibitions such as »Vase vers Vases« (2009) at the HELMRINDERKNECHT design gallery in Berlin, »Nullpunkt« (2009) at the Marta Herford Museum, and at the MAKK – Museum of Applied Arts Cologne with »Isn’t it romantic?« (2012). One of Weizenegger’s first public installations was the »Felsenland« project (2010) for the famous Berlin Techno-club Berghain. He became the subject of attention and controversy with the project »Hotel Dresden,« for which he collaborated with workshops on the reconstruction of an Art-Nouveau inventory that was exhibited in the rooms of the renowned Berlin art gallery Haubrokshows in 2009. Alongside the theme of narration, his studio work addressed the question of sustainable and subversive series production, for example with the project »Merkwürdigkeiten des Sehens« («Peculiarities of Vision«), a comprehensive fashion collection consisting of men’s and women’s summer outfits, bags, jewelry, shoes, perfume and sunglasses. He subsequently produced his second narrative luxury women and menswear collection »Prince of Amundo« in 2013, which includes polished crystal items from Kristallglasmanufaktur Theresienthal and silk rugs from Rug Star. In the summer of 2015 he staged the exhibition »Die falsche Blume« (»The False Flower«) for Dresden’s Kunstgewerbe-museum (Museum of Decorative Arts) at Schloss Pillnitz, which was a huge hit with the public. Since 2016 the Atelier HAW has once again worked increasingly on series products for manufacturers, like the companies Rolf Benz / Freistil and Pulpo. The glass items resulting from Weizenegger’s two-year collaboration with glass producer Theresienthal were awarded first prize for applied art in 2013 for outstanding achievements in the area of glass by the Zeughaus Messe exhibition. In 2014 the German Design Award (Special Mention) was presented to the »Pagodas of Amundo« glass objects that likewise resulted from a collaboration between HAW and Theresienthal. Over the last few years the designer has been a member of the jury for the »Design Recycling Prize« and worked as a curator, for example for the »Smart Future Mind Award,« the »Black Box Prototype Show,« »Stadtarbeit« at the Vienna Designweek, the ›DMY Award 2014‹ and the ›I Love Design Award 2016‹. Hermann August Weizenegger has hosted workshops, for example in Tel Aviv (2002) and multiple times in France for Vitra (1999, 2001) and the Bauhaus IKEA Summer School in 2014. From 2002 he was guest professor at Potsdam University of Applied Sciences, where he has held a professorship in Industrial Design since 2004.
Hermann August Weizeneger
Designer Germany
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Hermann August Weizenegger, born in 1963 in Kempten in the Allgäu region of southern Germany, studied Industrial Design in the class of Hans (Nic) Roericht at Berlin University of the Arts (UdK, 1987-1992). He subsequently worked for a year as a freelancer in product development at Produktentwicklung Roerich in Ulm. It was in that office that he got to know Oliver Vogt, with whom he founded the V+W bureau in Berlin in 1993.
During their 16-year collaboration the pair worked for renowned clients such as Moeve, Intel, Sony Music, Authentics and Rosenthal. Their projects, which showed a strongly conceptual approach, were presented in international exhibitions such as »DIM at the TAM« (2005) in Tokyo, at biennials such as »Relation Chip« (2006) in Saint Etienne and »Beach Towel« (2002) in New York – to name but a few. Their biggest success and a retrospective of sorts of their work was the exhibition »Design_matrix« (2006) at the Marta Herford Museum, where they embellished the entire museum with their visions and concepts of contemporary design. Their best-known projects, such as »Die Imaginäre Manufaktur« («The Imaginary Workshop«) and »Sinterchair-Fabrik der Zukunft« («Sinterchair Factory of the Future«) formed thematic focal points and brought the pair broad international recognition. The »Sinterchair« is represented in a number of collections, such as the Vitra Museum in Weil am Rhein, Die Neue Sammlung in Munich, the Marta Herford Museum in Herford and the Palais Schönborn in Vienna. The collection of the Fonds National d’Art Contemporain in Paris has a broad range of furniture and objects by the two designers in its archives. Their projects have won a number of awards, for example, the Jungwerk furniture castors won the »Interzum Award 2007« for »high product quality.« »Pure Glass« (1999), »Monobag« (1999) and »Four Star« (2002) received the red dot for »high design quality.«
Weizenegger is one of the founding members of Designmai (2003-2007), the platform for Berlin-based design, and he put a great deal of personal effort into the orientation and organization of the platform during his substantial five-year involvement.
Since 2009 Hermann August Weizenegger has run HAW Atelier. The studio is currently represented in exhibitions with thematically and artistically demanding projects, such as »Digital Couture« (2009) at the Appel Design Gallery, and in group exhibitions such as »Vase vers Vases« (2009) at the HELMRINDERKNECHT design gallery in Berlin, »Nullpunkt« (2009) at the Marta Herford Museum, and at the MAKK – Museum of Applied Arts Cologne with »Isn’t it romantic?« (2012). One of Weizenegger’s first public installations was the »Felsenland« project (2010) for the famous Berlin Techno-club Berghain. He became the subject of attention and controversy with the project »Hotel Dresden,« for which he collaborated with workshops on the reconstruction of an Art-Nouveau inventory that was exhibited in the rooms of the renowned Berlin art gallery Haubrokshows in 2009. Alongside the theme of narration, his studio work addressed the question of sustainable and subversive series production, for example with the project »Merkwürdigkeiten des Sehens« («Peculiarities of Vision«), a comprehensive fashion collection consisting of men’s and women’s summer outfits, bags, jewelry, shoes, perfume and sunglasses. He subsequently produced his second narrative luxury women and menswear collection »Prince of Amundo« in 2013, which includes polished crystal items from Kristallglasmanufaktur Theresienthal and silk rugs from Rug Star. In the summer of 2015 he staged the exhibition »Die falsche Blume« (»The False Flower«) for Dresden’s Kunstgewerbe-museum (Museum of Decorative Arts) at Schloss Pillnitz, which was a huge hit with the public.
Since 2016 the Atelier HAW has once again worked increasingly on series products for manufacturers, like the companies Rolf Benz / Freistil and Pulpo. The glass items resulting from Weizenegger’s two-year collaboration with glass producer Theresienthal were awarded first prize for applied art in 2013 for outstanding achievements in the area of glass by the Zeughaus Messe exhibition. In 2014 the German Design Award (Special Mention) was presented to the »Pagodas of Amundo« glass objects that likewise resulted from a collaboration between HAW and Theresienthal. Over the last few years the designer has been a member of the jury for the »Design Recycling Prize« and worked as a curator, for example for the »Smart Future Mind Award,« the »Black Box Prototype Show,« »Stadtarbeit« at the Vienna Designweek, the ›DMY Award 2014‹ and the ›I Love Design Award 2016‹. Hermann August Weizenegger has hosted workshops, for example in Tel Aviv (2002) and multiple times in France for Vitra (1999, 2001) and the Bauhaus IKEA Summer School in 2014.
From 2002 he was guest professor at Potsdam University of Applied Sciences, where he has held a professorship in Industrial Design since 2004.
During their 16-year collaboration the pair worked for renowned clients such as Moeve, Intel, Sony Music, Authentics and Rosenthal. Their projects, which showed a strongly conceptual approach, were presented in international exhibitions such as »DIM at the TAM« (2005) in Tokyo, at biennials such as »Relation Chip« (2006) in Saint Etienne and »Beach Towel« (2002) in New York – to name but a few. Their biggest success and a retrospective of sorts of their work was the exhibition »Design_matrix« (2006) at the Marta Herford Museum, where they embellished the entire museum with their visions and concepts of contemporary design. Their best-known projects, such as »Die Imaginäre Manufaktur« («The Imaginary Workshop«) and »Sinterchair-Fabrik der Zukunft« («Sinterchair Factory of the Future«) formed thematic focal points and brought the pair broad international recognition. The »Sinterchair« is represented in a number of collections, such as the Vitra Museum in Weil am Rhein, Die Neue Sammlung in Munich, the Marta Herford Museum in Herford and the Palais Schönborn in Vienna. The collection of the Fonds National d’Art Contemporain in Paris has a broad range of furniture and objects by the two designers in its archives. Their projects have won a number of awards, for example, the Jungwerk furniture castors won the »Interzum Award 2007« for »high product quality.« »Pure Glass« (1999), »Monobag« (1999) and »Four Star« (2002) received the red dot for »high design quality.«
Weizenegger is one of the founding members of Designmai (2003-2007), the platform for Berlin-based design, and he put a great deal of personal effort into the orientation and organization of the platform during his substantial five-year involvement.
Since 2009 Hermann August Weizenegger has run HAW Atelier. The studio is currently represented in exhibitions with thematically and artistically demanding projects, such as »Digital Couture« (2009) at the Appel Design Gallery, and in group exhibitions such as »Vase vers Vases« (2009) at the HELMRINDERKNECHT design gallery in Berlin, »Nullpunkt« (2009) at the Marta Herford Museum, and at the MAKK – Museum of Applied Arts Cologne with »Isn’t it romantic?« (2012). One of Weizenegger’s first public installations was the »Felsenland« project (2010) for the famous Berlin Techno-club Berghain. He became the subject of attention and controversy with the project »Hotel Dresden,« for which he collaborated with workshops on the reconstruction of an Art-Nouveau inventory that was exhibited in the rooms of the renowned Berlin art gallery Haubrokshows in 2009. Alongside the theme of narration, his studio work addressed the question of sustainable and subversive series production, for example with the project »Merkwürdigkeiten des Sehens« («Peculiarities of Vision«), a comprehensive fashion collection consisting of men’s and women’s summer outfits, bags, jewelry, shoes, perfume and sunglasses. He subsequently produced his second narrative luxury women and menswear collection »Prince of Amundo« in 2013, which includes polished crystal items from Kristallglasmanufaktur Theresienthal and silk rugs from Rug Star. In the summer of 2015 he staged the exhibition »Die falsche Blume« (»The False Flower«) for Dresden’s Kunstgewerbe-museum (Museum of Decorative Arts) at Schloss Pillnitz, which was a huge hit with the public.
Since 2016 the Atelier HAW has once again worked increasingly on series products for manufacturers, like the companies Rolf Benz / Freistil and Pulpo. The glass items resulting from Weizenegger’s two-year collaboration with glass producer Theresienthal were awarded first prize for applied art in 2013 for outstanding achievements in the area of glass by the Zeughaus Messe exhibition. In 2014 the German Design Award (Special Mention) was presented to the »Pagodas of Amundo« glass objects that likewise resulted from a collaboration between HAW and Theresienthal. Over the last few years the designer has been a member of the jury for the »Design Recycling Prize« and worked as a curator, for example for the »Smart Future Mind Award,« the »Black Box Prototype Show,« »Stadtarbeit« at the Vienna Designweek, the ›DMY Award 2014‹ and the ›I Love Design Award 2016‹. Hermann August Weizenegger has hosted workshops, for example in Tel Aviv (2002) and multiple times in France for Vitra (1999, 2001) and the Bauhaus IKEA Summer School in 2014.
From 2002 he was guest professor at Potsdam University of Applied Sciences, where he has held a professorship in Industrial Design since 2004.
