decoration Archives - Ferrero1947

5 Aug

Belt

5 August, 2016
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First collection

FERRERO1947 presents Belt, after nearly 70 years of experience in the selection, distribution and sale of contemporary furniture, decides to enter in the world of production, creating division “Collection” for editing a collection of furnishings and implement the ideology and style acquired in many years of activity, with the support of the historic Private Archive, which collects a rich heritage of Italian and international design from 1940 to the present.

The coffee table “BELT” born in anticipation of what will be 01 Collection: its simple shapes and rigorous, with the study of a detail that generates the entire project, born from the creativity of the young designer Luca Montrucchio and represents totally style Ferrero1947 .

The product will be available in a wide range of colors and finishings, however, the company for its launch has wanted to focus on the contrast between two materials: metal and wood. The varnished metal, wraps and holds a thick top of fine wood, deliberately not finished with a touch of nature, and valuable in its natural veins.

Particular attention was paid to details, such as the tapering of the legs, and the proportions between the parties, such as that between the thickness of the metal profile and the radius of curvature, in an alternation of full and empty spaces.

To make the project even more appealing is the infinite number of possible combinations thanks to two heights and three different lengths, with harmonious shapes which allow you to create games of over-lapping, a reflection of the Bauhaus, giving a unique movement to the environment in which they are placed.

The name “BELT” is inspired by the shape of the structure of the legs, which surrounds and supports the wood top as a soft metal belt.

The “Collection 01” Ferrero1947 will be previewed in Milan during the Salone del Mobile, in via Cerva 16 at the Flagship Store Agata Della Torre, fashion designer that processes and shares the same principles of rigor and sophistication of style Ferrero1947

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8 Jul

Studio Wieki Somers

8 July, 2016
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Wieki Somers and Dylan van den Berg studied at the Eindhoven Design Academy in the late 1990s and in 2003 they founded the Wieki Somers Studio, which is focused on reading the environment in which we live every day. The work of the studio is distinguished by a great attention to materials, technological research, and imagination.

The designers work for a wide variety of international manufacturers, museums and galleries, and have established an intense relationship with some private collectors. They have received numerous awards and their works are part of important collections, including the Museum of Modern Art in New York, the Center Pompidou in Paris, the Boijmans Van Beuningen Museum in Rotterdam and the Victoria and Albert Museum in London. Ferrero 1947 is proud to present their limited edition collections of 99 specimens of vases, which link their shape to some reflections on the water. The result is a very poetic collection, of great craftsmanship and preciousness.

In this collection the most complex project from an artisanal point of view and the most intense from an aesthetic point of view is “Ice Flowers”: an ice-like cube that refers to Global Seed Vault on Spitsbergen. A set of glass sheets layered with petals in the middle that create a depth and a new scene with the real living flower. Another example of great charm is “Narcissus”, inspired by the painting “Narciso” by Caravaggio; a metaphor for the destructive relationship between man and nature. The vase shows a isolated flower in a puddle of oil. “Water Levers” is inspired by the current theme of continuously measuring our water levels due to climate change; the composition with flowers, volumes within volumes, use of different levels of water and a mirror base, together create an unexpected stratification. “Deepwater” the design of the deep waters refers to the oil that originates on the bottom of our oceans, whose natural balance with water it is interrupted by human actions; these actions can cause eco catastrophes such as “Deepwater Horizon”. Finally the “Erosion” model is inspired by the book “La lecture des Pierres” by Roger Caillois; erosion on earth is caused by natural elements such as wind, water and glacial ice. It is the process by which the surface of the Earth wears out.

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8 Jul

Studio Kolk & Kusters

8 July, 2016
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Maarten Kolk (1980) and Guus Kusters (1979) have been working together since 2009, the year of opening of Studio Kolk & Kusters. Both graduated with honors from the Eindhoven Design Academy, they develop independent projects and commissioned works as set-ups and curators of exhibitions and shows.
According to their philosophy poetry is found in nature and elements such as history, color and landscape are the foundation of their work, trying to translate this into objects, applications of materials, exhibitions and innovative production methods.
The Firm received the Sanoma Jong The Talent and Doen | Materiaalprijs’11 and in 2009 their work “Veldwerk” was nominated for the design prijs in Rotterdam. Since 2013 Maarten Kolk has been a member of the consultative committee for the design of creative industries “Fondo NL” and Guus Kusters is tutor at the Design Academy in Eindhoven.
Their first works of great success, still in great demand today, are herbals of great poetry, which reflect the custom of many aristocratic and wealthy families in many Nordic countries, but also in France, Great Britain and Italy to create decorative panels composed of plants and flowers from their gardens;
in this case the artists use tradition, according to their style and way of working, updating it through contemporary techniques. The selected flowers and plants are in fact laid on different layers of fabric with a soft, poetic and romantic effect of strong impact.
Another very interesting work of theirs concerns a collection of dishes called “Crockery to wither”. This hand-painted eight-piece floral dining set is produced by the famous Royal Tichelaar Makkum, a Dutch manufacturing company founded in 1572 and specialized in designer ceramics and porcelain, also a supplier of the Real Casa. Traditionally, the paints on fine porcelain are applied by hand, making the job high intensity and therefore expensive. In this project Maarten Kolk & Guus Kusters have developed glazing techniques that do not require artisans to paint the dishes directly, but rather to insert this process during the mold before the product is melted, making it possible to make several copies of a painting. After each launch the glaze is washed further and crumbles, drawing a clear parallel with flowers withered in nature; the image of the flower is clear and sharp after the first launch, wilting and fading after multiple reproductions.
With this collection the Studio Maarten Kolk & Guus Kusters balances nature and productive culture, emphasizing the beauty of both worlds. The service consists of two plates of different sizes, bowls, a cup, a carafe, a large plate to be used as a plate or tray and a vase in 6 or 9 different decorations.

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8 Jul

Studio Job

8 July, 2016
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The twin souls Job Smeets and Nynke Tynagel founded Studio Job in 2000, after studying at the Design Academy in Eindhoven and in a few years they became contemporary cultural pioneers, slowly revolutionizing common preconceptions about the distinct realms of art and design. Striving towards the creation of Gesamtkunstwerk, which sometimes translates poorly into “aesthetics”, but more precisely means a ‘synsthesis of the arts “or” universal works of art “, the Studio Job often refers to the aesthetic ideals of the composer Richard Wagner in their practice that tries to move towards the clearest and deepest expression of stories and mythologies.

Studio Job’s work is in the true spirit of the Renaissance in which techniques are exchanged and disciplines are ignored towards the creation of the new, where ideas and images are easily profused regardless of geographical or conceptual boundaries and are reproduced in something new, in which culture, spirituality and aesthetics converge in a single space, and where production and craftsmanship become a bridge between art and design, occupying and redefining the gray area in the middle.

Studio Job creates a type of work that addresses classic, popular and contemporary design and visual art. The symbolism and iconography that Studio Job creates is heraldic and regal even in its imaginary pop cartoon; an elegant but also instinctive and almost primordial work.

Job Smeets loves to call their style ‘New Gothic’ as evidenced by the perfectionism and uniqueness that have become one of the characteristics that define the studio itself, while Nynke Tynagel often talks about the work referring to a symphony orchestra, aligning their process of creation with the way that a cohesive musical piece was created by a great variety of different sounds, also remembering that each of the parts is of equal importance as it lends itself to the realization of the whole or of the universal graphics.

The studio includes traditional and contemporary artisans, professionals, industrialists from the production of furniture, sculptors and painters, specialists in cast bronze, colored glass, laser cutting and 3D printing, all in their different specializations, just like the aforementioned orchestra. Unique in its approach and extravagant in detail, Studio Job announces a new moment in the current conversation about the definition or lack thereof between the disciplines. Contrary to the contemporary ambivalence towards the decorative arts, Studio Job is revolutionizing the perception of gender, generating opulence, ornaments, complexity, maximalism, while at the same time it remains committed to a high level of craftsmanship.

Their production oscillates between limited editions and unique pieces for the most famous design galleries and museums in the world, the collaboration with famous design companies such as Moooi, Seletti, Lensvelt and Makkum and special projects such as the scenography for the concerts of the pop star Mika .

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8 Jul

Scholten & Baijing

8 July, 2016
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Scholten & Baijing have been working together since 2000, with the creation of their studio; Stefan Scholten studied at the Eindhoven Design Academy, while Carole Baijings is self-taught. After the realization of several projects in which the boundaries between autonomous and applied work are perceived, in their subsequent works there is more interest in interior design up to be considered as one of the most interesting, innovative and dynamic duo in the field of world level.

Famous for their sensitive and discreet but functional products, their extraordinary and often unexpected use of color, their exquisitely made objects, they have applied their unique style in the most diverse sectors, from ceramics and silverware to fabrics and even to a concept car.

Scholten & Baijings have received numerous prestigious awards such as the Elle Decoration International Design Award (EDIDA) for Young Designer Talent 2011, the nomination for the Designer of the Year at the Wallpaper * Design Awards 2015 and the Oeuvre Sanoma Woon Awards 2014.

Their products and limited editions are exhibited in museums and galleries such as the Cooper-Hewitt National Design Museum in New York, the Art Institute of Chicago, the Victoria & Albert Museum in London and the Boijmans van Beuningen Museum in Rotterdam. Their clients include many contemporary and experimental companies such as Maharam, Hay, Ikea, Karimoku New Standard, Georg Jensen, 1616 / Arita Japan, Moooi …

Based on extensive research on Arita ceramics and the analysis of local historical masterpieces, for example, Scholten & Baijings have created a series called colored porcelain. Typical Japanese colors, such as, for example, light green aquarelle-blue, red-orange and ocher, are recontextualized and applied in new combinations in a set of functional contemporary tableware that overall still reflect the typical Arita color spectrum, in a new and unedited refined and very contemporary image. The layered color compositions are carried out in various enamel textures and shades and are combined with the natural white of the porcelain itself. Made with a delicate sense of local craftsmanship, the color of the porcelain shows an original European perspective on the Japanese tradition.

This same approach has been used for many other materials such as wool, wood, glass, always looking for unusual combinations of colors, the result of stratifications and reflections and with an eye always turned to the Dutch tradition. From 2019 the two designers have decided to continue the work independently.

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8 Jul

RaR

8 July, 2016
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RAR is a studio founded in 2010 in Holland by two German artists, of very different generations, but united by the same course of study and the same passions: Beate Reinheimer and Ulrike Rehm.
Beate Reinheimer was born in 1943 and graduated from the Gerrit Rietveld Academy in Amsterdam in 1972, then holding many conferences at the same Academy for over 25 years; his ceramic works have been exhibited all over the world and are included in the permanent collection of the Boymans van Beuningen in Rotterdam and the Centraal Museum in Utrecht.
Urike Rehm was born in 1976 and graduated from the same Academy 25 years later and ended his study at the Sandberg Institute in Amsterdam in 2011. His work was exhibited at the Stedelijk Museum in Amsterdam and during the Dutch Design Week in Eindhoven.
The two artists decided to combine passions and skills by starting to create some objects of great poetry, where Reinheimer’s long experience and recognized ability and skill are combined with the freshness and modernity of Rehm’s works.
The theme addressed is often that of vases or containers for flowers, where the flower itself becomes superfluous for the beauty of the object itself, to hang on the wall as a decorative element. Among the most interesting works of the two artists, a porcelain wall installation stands out: “Hain”: the collection consists of three tall porcelain trees combined with “mushrooms” and is glazed in semitransparent green. Mushrooms can be used as a display. The complete series was produced in a limited and numbered edition of 10. Three smaller sets are made in an edition of 99. “Hain”, the poetic German word for “forest”, originates from the designers’ fascination with the nature, art and architecture. This work combines the artistic structures of flora, the 17th and 18th century Wunderkammer and the previous use of consoles in a fascinating and magical object.
Another now iconic collection consists of more than 60 refined wall-beetle pots, all different, made and hand-painted, each numbered 1-30 in a limited edition: the beetles, each referring to a real existing insect, have become an object much desired by enthusiasts and collectors.

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8 Jul

Maarten Baas

8 July, 2016
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Maarten Baas was born on 19 February 1978 in Arsberg in Germany and since 1979 has grown in Burgh-Haamstede and Hemmen located in the southwest of the Netherlands; after graduating from high school, he studied at the Design Academy of Eindhoven in 1996 and during his studies he became passionate about experimenting with materials and techniques to analyze the behavior of the materials themselves, which led him to the famous and iconic “Smoke” collection, consisting of furnishings, iconic and not, burnt through a particular process, which allows the forms to crystallize during combustion.

In 2005 Baas began collaborating with Bas den Herder, his production partner: most of his designs are handmade in the “DHPH” studio in Hertogenbosch, the Netherlands. Other important collections such as in 2006 the “Clay Collection” are born from this relationship: chairs, tables, lamps, fans, coffee tables, armchairs… handmade in a particular mass-colored resin, with a surprising, almost childish and final effect temporary, like children’s objects; the success is enormous and launches the designer on the international panorama of the world of author design.

Bass becomes one of the most influential Dutch designers of the early 21st century, sought after by museums, private collectors and exclusive clients such as Louis Vuitton, Swarovski, Dior, Gramercy Park Hotel, Dom Ruinart and Berluti.

Maarten Bass is often described as an “author designer”, his works lie on the borders between art and design; his work is known as rebellious, playful, intellectual, theatrical and artistic, gaining an autonomous position in the field of design, varying in many different sectors and disciplines: conceptual projects, limited editions, production planning, installations, public spaces, architecture , interior design, theater design and performance.
His works are found in the most important museum collections, such as the MoMa, Victoria & Albert Museum, Les Arts Décoratifs, San Francisco Museum of Modern Art, Die Neue Sammlung, Museo Stedelijk and Rijksmuseum, but also in some famous private collections, such as those by Brad Pitt, Kanye West, Ian Schrager and Adam Lindemann.

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8 Jul

Irma Boom

8 July, 2016
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Irma Boom is a graphic designer from Amsterdam, specialized in the manufacture of books: through her use of unknown formats, materials, colors, structures and typography, the designer manages to transform the book into a highly fascinating visual and tactile experience. Her passion for books was born from an early age and is ennobled through studies.

Irma Boom in fact studied graphic design at the AKI Art Academy in Enschede and after graduation she worked for five years at the Dutch Government Publishing and Press Office in The Hague, where she managed to enrich her theoretical knowledge with a very daily practice. intense. In 1991 he founded the “Irma Boom Office” studio, which operates nationally and internationally in both the cultural and commercial sectors. Among his clients: the Rijksmuseum in Amsterdam, Paul Fentener van Vlissingen, Inside Outside, Museo, Boijmans Van Beuningen, Zumtobel, Ferrari, Vitra international, NAi Publishers, United Nations, OMA / Rem Koolhaas, Koninklijke, Tichelaar, and Camper.

Since 1992 Boom has been a critic at Yale University in the United States and holds conferences and workshops around the world, being considered among the most authoritative minds in the field of publishing and graphic design. In fact, she has been awarded numerous prizes for her book designs and was the youngest winner ever to receive the prestigious Gutenberg prize for her work. For five years he worked on the “2136 pages SHV-. The Think Book”, which was published in English and Chinese and is considered his editorial masterpiece.

His project for ‘Weaving as a metaphor’ by the American artist Sheila Hicks was considered by the Leipzig Book Fair as ‘the most beautiful book in the world’. His books have been exhibited in numerous international exhibitions and are also featured in the collections of the Museum of Modern Art in New York. His collection of wallpapers, which takes up the scanned and verticalized images of the continents, a UNESCO heritage site, are true artistic masterpieces, which incorporate the same concepts and the same way of working and representing the ideas of his precious books.

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8 Jul

Hella Jongerius

8 July, 2016
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Hella Jongerius was born in Holland in 1963; in 1993, after graduating from the Industrial Design Academy of Eindhoven, she founded the Jongeriuslab studio, where independent projects and collaborations with the main customers are developed, including the furniture fabrics company Maharam, the interior design of the delegates’ room of the United Nations headquarters in New York, the interior cabin for the airline KLM and the installation “Color Recipe Research” following the invitation of the curator Hans Ulrich Obrist for the MAK in Vienna.

Hella Jongerius’ work combines traditional with contemporary, the latest technologies with age-old craft techniques, aiming to create products with individual character by including handcrafted elements in an industrial production process. The designer sees her work as part of an endless process, and the same is essentially true of all Jongeriuslab’s designs, which possess the power of the final stage. The unfinished, the temporary and the possible reside in the attention to imperfections, traces of the creation process and revealed potential of materials and techniques. With this working method, Jongerius not only celebrates the process value, but also involves the viewer, the user, in his investigation.

Since 2012, Jongerius has been artistic director of the Danskina carpet company and since 2007 artistic director of colors and materials for Vitra; recent projects include the publication of the book “I don’t have a favorite color” for Vitra in 2016, the “Breathing Color” exhibition on his search for color for the London Design Museum in 2017, as well as an exhibition and an accompanying publication “Beyond the new. On the Agency of Things “with Louise Schouwenberg for the Pinakothek der Moderne, Die Neue Sammlung in Munich in 2017.

Many of Jongerius’ products are found in permanent collections of important museums such as the MoMA in New York, the Victoria and Albert Museum in London and the Boijmans van Beuningen Museum in Rotterdam.

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8 Jul

Fratelli Campana

8 July, 2016
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Humberto (1953) and Fernando (1961) Campana were born in Brotas, a city 250 kilometers from São Paulo, with an economy based on agriculture, being in a region with abundant natural resources. Until they moved to São Paulo to start their university studies, both brothers lived in the family, the father was an agronomist engineer and the mother an elementary school teacher, in a house without a floor and with a large courtyard surrounded by trees from fruit and streams that flowed to the waterfalls in the Brotas region.

Humberto graduated in law, but as soon as he graduated he officially started pursuing what had been his main interest since he was a child: the infinite possibilities of artisan art. In the eighties he opened a small studio of handicraft products.

Graduated in architecture, Fernando was interested in the search for alternative methods in the production of design, becoming passionate about Le Corbusier and the communicative power and linear synthesis of Oscar Niemeyer as well as for the creation of small-scale objects. After graduating, he collaborated in the 17th edition of the Biennale of Art in São Paulo., Until at the end of 1983, Humberto asked him to help him with the delivery of a large order. Since then, they have become among the most celebrated figures in contemporary design.

They are recognized for their contributions to the unconventional reading of new objects together with an effective contribution for a change in daily life. The first Campana exhibition was staged in 1989 at the Nucleon Galery in São Paulo; the iron chairs collection has been called ‘Desconfortáveis’, a rich selection of unique pieces that speak of an artistic aspect, the error and the poetry present in the unease.

From the 90s onwards they brought their eclectic and unique, very recognizable trait around the world, always starting from their roots, the traditions of their country and local crafts. They went to the favelas to discover the seemingly casual techniques of architectural layering and ventured into the Amazon jungle to create objects with kaleidiscopic colors with the most diverse materials: resins, recycled leathers, branches and natural fibers. Among their multiple successes, created by Studio Campana or, in a limited edition, by the Italian Edra, we can mention: the Favela armchair, the Corallo sofa, the Anemome and Sushi armchairs, the Brasilia table …

In 2009, ten years after the exhibition that launched them, the Campana Brothers were chosen by the Vitra Design Museum, in Germany, to celebrate the ten years since its foundation. Humberto and Fernando Campana were awarded the Special Prize at the Museu da Casa Brasileira in 2001, and appointed Designer of the Year by Design Miami in 2008.

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Tag: decoration

First collection

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