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Tag: vase

Studio Wieki Somers

Studio Wieki Somers

  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers
  • Studio Wieki Somers

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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Studio Kolk & Kusters

Studio Kolk & Kusters

  • Studio Maarten Kolk e Guus Kusters _ Ferrero 1947
  • Studio Kolk & Kusters
  • Studio Kolk & Kusters
  • Studio Kolk & Kusters
  • Studio Kolk & Kusters
  • Studio Kolk & Kusters
  • Studio Kolk & Kusters

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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Sholten & Baijing

Scholten & Baijing

  • Scholten & Baijing
  • Scholten & Baijing _ Ferrero 1947
  • Scholten & Baijing _ Ferrero 1947
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing
  • Scholten & Baijing

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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RaR

RaR

  • RaR _ Ferrero 1947
  • RaR
  • RaR
  • RaR
  • RaR
  • RaR
  • RaR
  • RaR

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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