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Tag: ferrero1947

Christien Meindertsma

Christien Meindertsma

  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma
  • Christien Meindertsma

Christien Meindertsma

Christien Meindertsma was born in Utrecht in 1980 and graduated from the prestigious Eindhoven Design Academy in 2003; his work explores the life of products and raw materials in depth. In some cases, the result of his projects could be the recording of a process itself, in others, his investigations lead to commercial products; careful investigations and documentation, issues of local production and underexposed resources characterize his work.

The designer tries to reveal the processes that have become distant in industrialization and encourage a deeper understanding of the materials and products that surround us. His first work was a 2004 book called Checked Baggage, where Meindertsma purchased a container filled with a week of items confiscated at Schiphol airport security checks, meticulously classified and photographed, reaching 3267 items. Later, his 2007 PIG 05049 book documented all products made with a single pig, exploring the connection between raw materials and everyday products that surround us, revealing a network between source and consumer that has become increasingly invisible.

Another documentary project called Bottom Ash Observatory in 2015 involved Meindertsma in sifting a bucket of Bottom Ash incinerator, an abundant and until recently devalued by-product of the large-scale incineration of household waste, to reveal and present the precious materials to the ‘internal; this project came together in a precious book and a limited edition series of images.

Works such as the 2012 Flax Project, and its many offspring, are also typical of his approach: Meindertsma purchased an entire crop of a Dutch flax grower with the ambition to explore how flax products could remain locally produced ; the result is an extraordinary collection of objects such as lamps, rugs, poufs, chairs, fabrics … made solely with this batch of Dutch linen, the same used for the tops in the port of Rotterdam.

Many Dutch scholars and politicians therefore invited Christien Meindertsma to transform his particularly investigative method of design and documentation on a specific topic, exploring far-reaching topics such as Forestry in the Flevopolder region of the Netherlands, the relationship between Japanese porcelain and Dutch linen and the landscape of northern Canada. The designer’s work is in the collection of the MOMA in New York, the Victoria & Albert Museum in London and the Vitra Design Museum in Weil am Rein. Among the numerous prizes and awards: three Dutch Design Awards in 2008 and an Index Index in 2009 for the PIG 05049 project; the Flax chair won the Dutch Design Award and Future Award in 2016.

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bcxsy

BCXSY

BCXSY

BCXSY is an interdisciplinary studio based in Amsterdam between the designers Boaz Cohen, born in Israel in 1978) and Sayaka Yamamoto, born in Japan, in 1984. The studio, founded in early 2007, continues to carry out a wide range of projects , both in the Netherlands and abroad, offering a balanced combination of two unique talents and providing a narrative that is characterized by the emphasis on personal experience, human interaction and emotional awareness. The clever interweaving of the particular and craftsmanship with the universal and commercial is the hallmark of the BCXSY design experience.
In recent years, BCXSY has gained international notoriety and recognition for their dedication to socially sensitive projects. Their award-winning work has been featured in some of the world’s most prestigious design events and continues to capture the attention of international galleries and museums, including the Victoria & Albert Museum in London, the Shanghai Glass Museum, the Textielmuseum in Tilburg, the Netherlands.
With an approach that is deliberately playful, BCXSY never fails to surprise and inspire. Thanks to the collaboration with a series of craft workshops and commercial initiatives, BCXSY creates products that are a fusion of context and beauty. All the projects are limited edition of a few specimens, to preserve that uniqueness obtained thanks to a rigorous creative process combined with a very high level of craftsmanship.
Through their constant participation in international workshops and conferences, the studio has become a leader in the most recent design and debate forum. The two partners bring spirit, purity and uniqueness to the modern design community and continue to carve out their place among the today’s most influential designs.

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Atelier Van Lieshout

Atelier Van Lieshout

  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
  • Atelier Van Lieshout
Atelier Van Lieshout

Atelier Van Lieshout is the studio founded by the sculptor, painter and visionary Joep van Lieshout, who, after graduating from the Rotterdam Art Academy, quickly became famous with projects that oscillate between the world of design and that of art: sculpture and installations, buildings and furniture, utopias and dystopias. In 1995, Van Lieshout founded his studio and since then he has worked exclusively with the name of the studio, which includes more than twenty collaborators of different origins and backgrounds. They all work together in a large shed on the port of Rotterdam, divided into several departments: fiberglass, wood sculpture, metal. The designers are closely involved in the manufacturing process of each product; for this reason, the design and production of all the works signed by AVL must necessarily take place in this single place.
Over the past three decades, Van Lieshout has established a multidisciplinary practice that produces works on the borders between art, design and architecture, studying the fine line between manufacturing art and functional mass production objects and trying to find the borders between fantasy and function, between fertility and destruction.
Van Lieshout analyzes systems, be it society as a whole or the human body; he experiments, looks for alternatives, holds exhibitions such as experiments for recycling and even declared an independent state in the port of Rotterdam AVL-Ville in 2001: a free state in the port of Rotterdam, with a minimum of rules, a maximum of freedom and the higher degree of autarky.
All these activities are carried out in the typical provocative style of Van Lieshout, be it political or material, combining imaginative aesthetics and ethics with a great entrepreneurial spirit; his work motivated the movements in the field of architecture and ecology and was celebrated, exhibited and published internationally. His works share a series of recurring themes, motives and obsessions: systems, power, autarchy, life, sex and death – each of these traces the human individual in front of a larger whole like his well-known work Domestikator (2015) . This sculpture aroused controversy before it was even placed in the Louvre in the Jardin de Tuilleries, but was later adopted by the Center Pompidou where it was exhibited during the 2017 FiAC.

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Anne-Claire Petit

Anne-Claire petit

  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
  • Anne-Claire Petit
Anne-Claire Petit

Anne-Claire Petit was born in Breda in 1962 and studied industrial design at the prestigious Academy of Eindhoven, where she specialized in textile design; his great passion for craftsmanship was born at the Academy especially in some disciplines such as printing, weaving and crochet. His current style and collections still reflect his love for the traditional craftsmanship.
After finishing her studies Anne Claire Petit begins her career in 1986 as a designer for Esprit, where she will stop for four years of intense knowledge and experience thanks to the international fame of the brand; in parallel, the designer begins to caress the idea of ​​a reality of her own where high-level craftsmanship can be at the service of her creativity.
In 1990 he therefore decided to inaugurate his collection and his company, which he would simply call Anne-Claire Petit, immediately becoming very famous and known for his shawls and other small fashion accessories. Unbridled creativity led her to new products and techniques and to a growing collection, initially concentrated solely on the world of fashion.
In 2002 Anne-Claire chose to shift her attention to a collection for children and for the home: without the seasonal cycle of fashion, she feels free to create and translate her love for color and natural materials into a wide range of items.
His is a colorful world dedicated to children, made entirely by hand in crochet: a zoo of funny and ironic animals, protagonists of a surreal fairy tale: rabbits, reindeers, frogs, ladybugs, puppies, cats, bears, zebras, monkeys, squirrels … all in natural colors or in bright contrasting shades.
From the outset it is clear that these objects, born for children, become an original, ironic and refined accessory for the home and for adults; animals can become cushions to play down a too rigorous sofa or small sculptures to be distributed in the different rooms, to lighten too austere houses.
The collection therefore becomes more structured and dedicated to the home in its entirety, with the addition of new accessories such as cushions, blankets, stools, chairs, tables … playful and colorful, always entirely handmade by crochet; at the same time the animals become bigger and bigger, sometimes very big, to cheer up a house as a real artistic installation.
In addition to the permanent collections, enriched every year with new subjects, the designer begins the creation of limited editions, such as the series of giant fruit and vegetables to be placed on sofas, armchairs and beds or simply on the floor: strawberries that color a traditional sofa in leather, red apples that cheer up old armchairs, aubergines resting on a grandmother’s bed, giant pineapples to be placed on the floor near the front door … all the designer’s imagination writes a fairy tale where the house becomes an ideal stage. The frivolous and playful appearance of these objects hides a great seriousness in the design and a very high quality level in the realization.
Currently Anne-Claire Petit has ceased the creation of the permanent collection to focus on specific projects on request; continues to collaborate with Ferrero1947 in the creation of limited editions, special collections and unique projects that are always colorful and fun: an added value that transforms these apparently playful objects into collectible design specimens.

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Aldo Bakker

Aldo Bakker

  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
  • Aldo Bakker
Aldo Bakker

Aldo Bakker (1971) is a designer who fights the spirit of the time: almost all his designs, whether it is glass-line (1998), Saliera (2007), side table (2008), or Jug + Cup ( 2011), are notable for their refusal to challenge the fashion or spirit of the time. Not to mention being able to classify it from the surrounding world – those who see Bakker’s drawings for the first time, often wonder what their purpose is. This challenge is important for Bakker, a self-taught person who loves to follow his own path.

It is immediately clear that Bakker loves essentiality; the only son of the legendary Emmy van Leersum and Gijs Bakker, who revolutionized Dutch design with their futurist-shaped jewelry collection in the 1970s, Aldo never had any doubts about his destiny as a designer, but his work immediately took a different direction, very distant from the exuberance of the new conceptual school, to which his father has so strongly contributed, with the foundation of the collective Droog design and training at the Design Academy of Eindhoven more than one generation of designers of international renown today.

The objects that Aldo designs are at the same time very simple and extremely complicated: objects with essential but not elementary shapes, with smooth and convex surfaces that can hide unexpected cavities. Difficult to locate objects: for the plastic qualities they evoke sculpture, for the technical qualities the tool and for the preciousness of the materials and workmanship the jewel. Aldo Bakker’s objects play on the frontier between figurative and abstract: if on the one hand they indicate a search for absolute form and aesthetic perfection, on the other they arouse unexpected organic resonances, evoking vaguely vegetable or animal profiles. Many critics have approached these forms smooth and rounded, sinuous and at the same time pure, to Brancusi’s sculptures; With a smile, Bakker does not rule out this closeness, but pauses to explain the importance of the original convergence between form, material and use that he developed after years of trying and studying.

Independence is a fundamental value for Aldo Bakker who, while regularly collaborating with prestigious publishers, claims the freedom of research that escapes market imperatives. Independence is not only linked to a demanding ethical positioning, but it is also the goal that the designer tries to achieve with the creation of his objects. Upon careful observation, the enigmatic forms of Bakker’s objects hide surprises: to those who take them in hand and explore their ergonomics, they reveal unexpected functions, cause unprecedented gestures, yet always deeply “natural”, such as prodigious Salt Cellar (2007) in black porcelain, which is at the same time spoon and salt shaker.

All these objects require an experience, a contact, a knowledge that is made over time, with the aim, rather than to exercise a use, to discover the essence of an original gesture. “Sitting, pouring, containing, are all gestures that define the human”, says Bakker: “with my objects I want to create a state of awareness”. Through a multiplicity of vases, containers, jugs, tureens, he has for example explored the thousand facets of an essential gesture such as pouring a liquid – arriving at paradoxical solutions, such as the slender watering can or copper jug ​​of 2014, in which the liquid flows into the handle before exiting the beak. In the same way, the conception and production of each object is the result of a long journey, which can last for years, and which is accomplished as a slow process of knowledge, or, as Bakker explains, of “frequenting and understanding a form”.

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ClassiCon

ClassiCon

  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon
  • ClassiCon

ClassiCon is a German company, based in Munich, that challenges time, presenting a design that has spanned the centuries without losing appeal and modernity; its name itself is a “classic” and “contemporary” case, highlighting its duplicity from the beginning, aspiring to offer pieces of established characters who have made the world of design history since the early 1900s such as Eileen Gray and Eckart Muthesius, but also to promote contemporary design and present examples of new design with advanced quality and shape, giving it the “classic” designation. The brand is synonymous with high quality, strong individuality and timeless aesthetics, out of passing fashions. Classicon objects are timeless pieces, combinable in any domestic or business context, with a strong personality, but outside the most fleeting trends in the world of design.

Many collaborations with young international designers, with whom the company establishes a lasting partnership that continues over the years, creating a design history linked to each individual designer. The most intense and productive partnership is certainly that with the Munich designer Konstantin Grcic, who, since the first projects with the company, has included refined references to the iconic design work of Eileen Gray: the projects of Konstantin Grcic, who later became a star world of contemporary design, I am the result of careful reasoning on ergonomics and the contemporary way of life, with cultured quotes to the masters of design in a never banal or dusty reinterpretation.

Eileen Gray’s projects are all produced and present in the Classicon catalog, which is the worldwide licensee of Aram Design Ltd: in the early 70s Eileen Gray began to collaborate with the manufacturer Zeev Aram to develop her furniture and its lamps for series production. Finally, in 1973 the designer signed a worldwide contract with Aram Design in London to bring all her projects into production for the first time. Classicon is therefore the exclusive licensee of the entire Aram collection by Eileen Gray.

Quality is a fundamental element for the company, so much so that each piece is indelibly and consecutively marked and numbered, as a concrete and visible testimony to the attention paid to the production of each individual specimen. The Classicon signature therefore guarantees the use in the production of high quality materials and methods, with compliance with all ecological requirements; the quality control of the production is very high. The logo and the progressive numbering offer the guarantee that each limited edition is an authentic replica of the original, made with the consent of the rights holders and with absolute respect for the original itself.

High quality and timeless furnishings are therefore the key points of the ClassiCon philosophy, which can boast the presence of its furnishing elements in numerous European and international design museums.

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de padova

De Padova

  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova Ferrero1947
  • De Padova
  • De Padova
  • De Padova

The history of De Padova spans all decades from the 1950s onwards, with unchanged elegance and sophistication.

In the 1950s, Fernando and Maddalena De Padova started their entrepreneurial business by importing Scandinavian furniture and objects sold in the showroom in via Montenapoleone in Milan. For the first time, northern European design arrives in Italy: its simplicity and rigor become a new possible proposal in the field of design.
In the 1960s, during a trip to Basel, Maddalena De Padova accidentally discovered Charles Eames’ Wire Chair; in a few months, Maddalena meets the American company Herman Miller from which she obtains the production license for Italy of the products designed by Charles Eames and George Nelson. ICF De Padova is founded, based in Vimodrone, which will produce Herman Miller office furniture in Italy. From this meeting Maddalena De Padova absorbs the secrets that will constitute the heart of her philosophy: the importance of the environmental context by George Nelson, the “connections” by Charles Eames, the role of objects by Alexander Girard. The large showroom in Corso Venezia in Milan is inaugurated, an extraordinary exhibition space on three levels, where design becomes the protagonist.

After Fernando’s death, Maddalena De Padova personally takes care of the company, follows its production activity and distribution; ICF is sold and a new company is founded which focuses on the edition of new furnishings, its name: Edizioni De Padova, then simply E ’De Padova. Vico Magistretti began his long collaboration with the company in these years by designing a collection of office furniture with its usual elegance; it will be the beginning of a happy partnership that will enrich the De Padova catalog with many masterpieces that have entered the history of Italian design: from the Silver chair, to the Vidun table, from the Pillow sofa to the Shigeto container.

Achille Castiglioni designs a series of displays for the windows that confirm the uniqueness of the company’s style, the true theatrical staging of design, where the windows overlooking Corso Venezia become a unique stage on the Milanese and then world design scene; settings played on irony, creativity and awareness of wanting to tell a story. Castiglioni also designs some pieces of great beauty for the collection, such as the 95 table and the Scrittarello desk. He joins the Dieter Rams group: Maddalena De Padova falls in love with her 606 bookcase and decides to produce aluminum for the Italian market: the 606 bookcase still remains the best example in the world of a container for storing books.

At the end of the 90s the collaboration with Renzo Piano began for the furnishing of the café of the Center Georges Pompidou in Paris, followed by, among others, the furnishing of the Morgan Library restaurant in New York and the Sole 24 Ore headquarters in Milan: all the most elegant domestic or business interiors perfectly fit the furnishings of the De Padova catalog. In the 2000s Maddalena De Padova received the Compasso d’Oro for Lifetime Achievement and reopened the space of the former I.C.F. factory, completely renovated and enlarged, which became the company’s headquarters. Patricia Urquiola and Nendo join the team designers alongside the historical collection. Maddalena De Padova completes the transfer of the company’s leadership to the children Valeria and Luca who further develop it by giving it a managerial structure. In April 2015, the company was acquired by Boffi, which allows the company an international distribution program, with the passion and all-Italian heritage that unites them.
De Padova remains firmly an example of Italian timeless elegance, where a correct balance, excellent design and great respect for the Italian design tradition continue to furnish the houses and the most refined spaces of Italians and now also all over the world, in furrow of the choices, still very current, of Maddalena De Padova.

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