'Penny' by Globe Zero 4
The Danish design duo Busk Hertzog designed this light and simple occasional table for Globe Zero 4 (a company founded in 2008 when the two Danish brands Globe Furniture and Zero 4 merged and became one shared collection). The filigree structure of the ‘Penny’ builds a perfect contrast to the colourful and ample upholstery Busk Hertzog and Globe Zero 4 have developed years ago.
'Stalker' by Studio Hausen Foundry
The Singapore based young label Foundry understands itself as a “bridge between the world of contemporary design and East Asian craftsmanship” and in fact all of their products envisioned by design talents across the globe are made into reality by the finest craftsmen from Singapore and Peninsula Malaysia. This year Foundry presented amongst others these beautiful occasional tables. ‘Stalker’ is a small tripod side table created by the Berlin based Studio Hausen.
'Plato Alto' by Jeff Miller for Cerruti Baleri
Between 2005 and 2010 the New York based designer Jeff Miller realised this series of side tables/selves for the Italian manufacturer Cerruti Baleri. Recently the family, carved from a single solid piece of Carrara marble or fabricated with solid ash wood was extended by ‘Pato Alto’ a vertical version in nero marquina, deep black Spanish marble.
'PLET' low table by Dutch designer Reinier de Jong
Young Dutch designer Reinier de Jong has created a low table called ‘PLET’, whose translucent top consists of 80 different strips of reclaimed Perspex (PMMA). Its oak base comes from a former dining table.
'ESA' by Gonçalo Campos
The young Portuguese product designer Gonçalo Campos cretated this series of tables and racks composed of nothing more than fabrics and wood. Each piece can be easily assembled and the joints are simply fixed by a single floral bow which tautly bound stabilises the rather rough construction and forms its decorative part at the same time.
'ESA' by Gonçalo Campos
'ESA' by Gonçalo Campos
'ESA' by Gonçalo Campos
'ESA' by Gonçalo Campos
How to assemble 'ESA'
'Apu' by Hanna Ehlers for Zeitraum
Two years ago the German/Finnish designer Hanna Ehlers presented her series of neat and well-proportioned occasional furniture at Salone Satellite. This year the German manufacturer Zeitraum put it into production. ‘Apu’ is composed of a replaceable white ceramic pot, which comes in three different versions and a foot made from turned solid wood (American walnut, oak, ash).
'Apu 3' by Hanna Ehlers for Zeitraum
'Apu 2' by Hanna Ehlers for Zeitraum
'Apu 1' by Hanna Ehlers for Zeitraum
'Layer' by Luca Nichetto for Gallotti & Radice
The Venice based designer Luca Nichetto realised this series of side tables for the Italian manufacturer Gallotti & Radice. The wooden base consists of stacked superimposed conical rings which can be combined in different colours.
'Layer' by Luca Nichetto for Gallotti & Radice
'Layer' by Gallotti & Radice
'Layer' by Gallotti & Radice
'Wooden Carpet' by Elisa Strozyk for Böwer
Elisa Strozyk’s ‘Wooden Carpet’ has probably been one of the most published object of the last months. The old-established German manufacturer Böwer took it into production and developed in collaboration with the young German desiger a variety of patterns and details, composed of different types of wood for this beautiful sculptural piece.
'Wooden Carpet' by Elisa Strozyk for Böwer
'Wooden Carpet' by Elisa Strozyk for Böwer
'Wooden Carpet' by Elisa Strozyk for Böwer
‘Namu’ is a table series consisting of a coffee table and a side table designed by the Berlin based practice böttcher+henssler. The smartness of the tables lies in the triangular profile of the three identical laminated veneer elements, which are joined mid-way to form a trunk. ‘Namu’ is available in oak, olive and black.
'Namu' by böttcher+henssler for Böwer
'NAMU' by böttcher+henssler for Böwer
Cecilie Manz in her Copenhagen studio
“Cecilie is just like her furniture,” a friend of mine who works as a designer told me when I mentioned I was going to be interviewing the Copenhagen-based designer Cecilie Manz. And, indeed, Manz exudes a calmness and composure much like her pared-down, uncomplicated work. It was extremely rewarding to meet her at this year’s Stockholm Furniture Fair in February. Here’s our conversation.
'Mikado' side table by Cecilie Manz for Fredericia
As predicted, this year’s fair features a large number of novelties. It’s amazing just how quickly new products, which all claim good reasons to exist, are developed and produced. How long do you work on an object?
Yes, the mass of new products is incredible, but if you’ve ever spent time on a stand at a design fair, you’ll know that “What are you showing that’s new this year?” is always the first question to be asked. No wonder that manufacturers feel under pressure.
The development time of an object really depends on its complexity. But I can say for certain that, regardless of what type of object it is, it takes no less than a year for development. I’d say, on average, it’s between one and two and a half years.
You work alone. Does that mean you don’t like working in a team?
I’ve always worked on my own. Perhaps because I’ve never found the perfect partner. I don’t know. My work situation is perfect at the moment: I’ve got an assistant, who I value enormously. She questions my designs at critical points in the process. But I always have the last word.
This means that the number of commissions is limited.
That’s right. But I’d find it tough to take on commissions that I couldn’t look after properly. I can get enormousy involved in a project and that’s precisely what I like about my work. I can’t simply hand this intensive involvement over to another person. In this sense, a small, manageable studio is what suits me.
'Mondrian' pendant light for Lightyears
You’ve had your own studio for almost 12 years. How has the way that you work changed during this time?
Naturally, I’ve learnt a lot of practical things. A lot of blind alleys that I used to go down in the design process I now know not to revisit. This means my work is more focused, though it’s more limited, too. Apart from that, I still work in an old-fashioned way: I draw a lot with pencil and coloured pens, build small models. Thank God I can’t draw on a computer…
Your designs are extremely reduced in form. Do you see your work in the context of your Danish heritage?
Definitely. I believe our roots are in our blood and the culture that surrounds us, defines us. We people from the North tend to be quite sober and that shows up in classic Danish design. I try to limit my objects to the essential. In doing so, my work mirrors my temperament very well.
In spite of all restraint, as a designer you are part of a system in which sales figures are a decisive valuation factor.
I’m very aware of this, but I definitely don’t want to create things whose appearance and construction don’t serve their function. Many things are produced and bought, without people having thought about them. There should always be a clear reason for designing and producing a new product. It could be to improve functionality or to rationalise something, such as the use of a material, for example.
continue the interview @ Architonic
'Bell-Table' by Sebastian Herkner
The Spanish manufacturer ABR is going to present this well proportioned and carefully processed coffee table by the young German designer Sebastian Herkner at this year’s ICFF in New York from 15 – 18 May 2010. ‘Bell’ is composed of a brass top, with a black glass table board and a mouthblown tinted glass base. All elements are put together flush thus forming a single unit.
'Bell-Table' by Sebastian Herkner
'Bell-Table' by Sebastian Herkner, process
'Bell-Table' by Sebastian Herkner, process
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