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Tag: home accessories

Christophe Delcourt

A durable and singular approach
When he appears for the first time on the French design scene, it is as Creator of the year at Maison et Objet fair. We are in 1999. Christophe Delcourt is in his thirties and showcases his first creations (objects and lighting) with the particularity of being at the same time their designer, their manufacturer and their editor. The whole at a time when the bare notion « Maison d’édition » is, if not inexistent, still confidential.

This singular approach though is not moved by any kind of mundane quest for independence, but only by the will to give a precise and perfectly mastered frame to what will quickly become a true signature. As a result, a collection of lighting and contemporary furniture pieces, drawn as close as possible to the materials (wood, bronze, metal, ceramics, leather, etc.) and according to traditional craftsmanship..

The French designer’s projects combine raw materials and sober and elegant lines, abundantly inspired by the beauty of natural materials and their ability to be part of the shape of an object thanks to their capillary characteristics such as the richness of the material and the color. The designer has repeatedly admitted that nature is the first inspiring element and initial part of his design process. In fact, in the natural world there are several incredible shapes that can be applied to furniture design: shapes, colors and textures, which can be combined in infinite different ways.
Delcourt’s work is a true testimony of his love for materials and for his deep devotion to artisanal and manual manufacturing; his projects, lamps or furnishings, are never fashionable or the result of rapid trends, but are timeless, refined and unique eternal objects, with the pleasure of seeing them grow old and the certainty that they will accompany you throughout your life.
Its main masters to be constantly looked at as an example and as a major artistic influence are some French design legends such as Jean Prouvé, Pierre Chareau and Jean-Michel Frank.
Recently the designer has completed his work with a specific collection of fabrics, materials and neutral and natural colors, to be used for his furnishings, further perfecting the personal and refined vision of the concept of living and living in his own spaces.
Delcourt’s studio and atelier continues to be in the heart of the 7th arrondissement of Paris, inside a sober and elegant courtyard, next to what was once the historic home of the master of French couture Yves Saint Laurent.

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Artifort

In 2015 Artifort celebrated its 125th anniversary. Each year, our chairs, tables and sofas find their way to the homes of design lovers around the world. It all started in 1890 when Jules Wagemans started a business as an upholsterer in Maastricht.
Artifort stands for furniture that lasts a lifetime. In many cases it passes down through generations. The secret lies in the use of high quality materials and in our skilled employees. The craftsmanship of our upholsterers, welders, woodworkers and seamstresses is at a high level through years of experience and in-house training of our younger employees.
Artifort stands for timeless design. Design that endures. Design that is authoritative. From Pierre Paulin and Geoffrey Harcourt to René Holten and Patrick Norguet. Artifort means top-quality design by top designers.

Artifort includes in its permanent collection many projects by the French designer Pierre Paulin dating back to the 60s and 70s.
Paulin, awarded the highest French honor for the arts and defined by French President Sarkozy as “the man who made design an art”, started working as a freelance designer for Artifort at the beginning of his professional career; this marked the beginning of a long and fruitful collaboration, where comfort has always been the constant starting point.
The works of the Paulin-Artifort association can be admired in the most famous museums around the world and continue to be produced as an example of timeless design: the Tongue, Le Chat, Ribbon, Tulip, Mushroom armchairs … are now considered to be cornerstones of design of the ‘900 and sculptures with great comfort.

 

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Bonacina

Giovanni Bonacina started his business in 1889 in Lurago D’Erba, located in a hilly, fertile part of the area north of Milan known as Brianza, combining two traditional crafts practiced in the area, basketry and furniture making, using the local materials reed and cane, while rattan from Southeast Asia.

His hard work and experience produced excellent results, and his efforts were rewarded with awards in international expositions and numerous important commissions. His son Vittorio carried on and built upon what his father had passed down, taking the company yet another step forward, with an eye on the revolution in design and art that was taking place in the 1950’s, and a new era in the company’s future design, made possible by the winning combination of production experience, the visionary collaboration with talented designers, and a shared willingness to push the materials and shapes into new expressive forms.

Vittorio Bonacina and Co. distinguished itself again and again. Meanwhile Mario Bonacina, Vittorio’s son, was maturing as a designer and as an inspired heir to the family company’s name. With an assurance based on two generations of success he was uniquely placed to take the company towards the future by re-proposing selected historic pieces in updated ways and by continuing to work with important designers in innovative ways.

In step with the times, he emphasized the ecological sustainability of the materials used while carrying on the highly creative and refined work for which the company is known. Vittorio’s and Mario’s wives brought their skills, style and grace to the mix and established their invaluable place in the thriving company.

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Azucena

Azucena

Founded in 1947 by Luigi Caccia Dominioni, Ignazio Gardella and Corrado Corradi Dell’Acqua. The Italian brand Azucena has always stood out for its collections that combine formal elegance, luxury, pure and crisp aesthetics and a very high workmanship.
The brand that the architects decide to call Azucena from the gypsy name of the play ‘Il Trovatore’, is created both to collect some of their furniture projects to be used for the furnishing of the buildings they design themselves and to be able to individually produce some furniture that is part of a series of furnishings designed by them. The three designers then start a rich production designed by them to take advantage of a repertoire of furnishings available for the houses they design. They are furnishings, lamps and experimental objects, which boldly use new materials, combined with traditional ones in a surprising and contemporary way, combining and often overlapping industry and high craftsmanship. Lacquer, polished chromed brass, crystal are the preferred materials in a constant search for brightness, brilliance, and transparency, which sometimes alternate with the softness of the velvet or the richness of the leather.

With Azucena a unique, very refined collection comes to life, with a series of pieces that have become iconic in a short time, characterized by the union of different materials, but always sought after, and by the recovery of traditional stylistic forms; above all the Catilina armchair, almost a Roman throne, where you have to sit down in a composed way, a concept much loved by the architect Luigi Caccia Dominioni, but also the Cavalletto table, with sinuous and rigorous shapes, reminiscent of the drawing benches at the polytechnic of Milan, or the Chinotto armchair, a small off-scale not without irony.

The lamps have a privileged position within the Azucena collection: Luigi Caccia Dominioni pays particular attention to light and lighting fixtures, taking advantage of unusual materials and techniques in a new and modern way. The result is some models of extraordinary beauty such as the famous Imbuto floor lamp, with a clear reference reinterpreted in a sober and cultured way, or as the cast iron table lamp, where the name itself reveals the author’s technical choice, or even as the Monachella reading lamp, light, transportable thanks to a ring at the end of the rod, conceived by the architect Caccia Dominioni not casually, but inspired by the headdress of the nuns of a Milanese convent, which he was building.

In 2018, the Azucena brand was acquired by B&B Italia, which wanted to preserve and relaunch it, in an active vision of the Italian heritage, the historic brand returns to the market with a series of “modern classics” designed by the architect Luigi Caccia Dominioni since the end of the 1940s. Chairs, sofas, tables and lamps that have written the history of Made in Italy design and which return today as a testimony to class and quality.

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Belt

Belt

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

Studio Wieki Somers

Studio Wieki Somers

Wieki Somers and Dylan van den Berg studied at Design Academy Eindhoven in the late ’90s. In 2003 they established Studio Wieki Somers, which is focussed on providing an enlightened reading of the everyday enviroment. The studio’s oeuvre distinguishes itself by a sensitivity for materials, technological inginuity, and fantasy.

The designers work for a great variety of international manufacturers, museums and galleries, and have established an intensive relationship with Galerie Kreo in Paris. They have recieved numerous awards and their works are part of major collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris, Museum Boijmans Van Beuningen in Rotterdam and the Victoria and Albert Museum in London.

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Studio Kolk & Kusters

Studio Kolk & Kusters

Maarten Kolk (1980) en Guus Kusters (1979) work together since 2009, Studio Kolk & Kusters. They both graduated cum laude from the department Man and Leisure at Design Academy Eindhoven. They develop autonomous projects and work as exhibition designers and curators. The poetry they find in nature, history, color and landscape are the foundation of their work. They try to translate this into objects, material applications, exhibitions and innovative production methods.
Studio Maarten Kolk & Guus Kusters hanno ricevuto il premio Sanoma Jong Il talento e Doen | Materiaalprijs’11. Nel 2009 “Veldwerk” è stato nominato per designprijs Rotterdam. Dal 2013 Maarten Kolk è un membro del comitato consultivo progettazione di industrie creative Fondo NL e Guus Kusters è un tutor uomo e tempo libero dipartimento di Design Academy di Eindhoven.

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Studio Job

Studio Job

Soulmates Job Smeets and Nynke Tynagel founded Studio Job in 2000. In the fifteen years since they graduated from the Dutch Design Academy in Eindhoven and formed the studio, they have become contemporary cultural pioneers who are slowly revolutionizing common preconceptions about the distinct realms of art and design. Striving towards the creation of Gesamtkunstwerk, which sometimes translates poorly to “aesthetics” but more precisely means a ‘synsthesis of the arts’ or “universal artwork”, Studio Job often reference the German composer Richard Wagner’s aesthetic ideals in their practice as they seek and move toward the clearest and most profound expression of the stories and mythologies with which they engage and bring to life.

Studio Job’s work is in the true spirit of the Renaissance where techniques are interchanged and were disciplines are disregarded towards creation of the new, where ideas and imagery are appropriated with ease regardless of geographic or conceptual boundaries and repurposed into something new, where culture, spirituality and aesthetics converge in one cacophonous space, and where production and craftsmanship yield one-of-a-kind and never-before-seen objects and environments that bridge art and design occupying and redefining the gray area in between.

At once highly specific and yet entirely universal, personally expressive and yet experimental, Studio Job is crafting a body of work that draws upon classical, popular and contemporary design and visual art. The symbolism and iconography that Studio Job creates is heraldic and regal even in its pop cartoonish imagery. As sleek as the work can be, it is also instinctual and almost primal. Job Smeets likes to call their style ‘New Gothic’ as evidenced by the perfectionism and uniqueness that have become one of the studio’s defining features. Nynke Tynagel often speaks of the work by referencing a symphony orchestra, aligning their process of creation with the way that a cohesive piece of music is created from an abundance of different sounds. Again Tynagel reminds us that each of the parts is of equal importance as it lends itself to the creation of the totality, or the universal artwork.

The studio itself includes traditional craftsmen and contemporary industrial professionals from sculptors furniture makers and painters to specialists in cast bronze, stained-glass, laser cutting and 3D printing all of whom work to realize Studio Job designs in whatever final form may be required. The flexibility of application and realization frees the studio from the confines of any one particular medium and allows for the artwork to speak for itself on an aesthetic and conceptual level prior independent of its physicality.

Personal in their approach and extravagant in the details, Studio Job heralds a new moment in the current conversation about the definition (or lack thereof between the disciplines.) Contrary to contemporary ambivalence towards the decorative arts, Studio Job is revolutionizing perceptions of the genre, allowing for the opulence, ornamentation and intricacy of their designs while at the same they remain committed to a high level of craftsmanship. As maximilists in motto and motivation, Studio Job allows for fiction and story to lead and to generate new visual environments.

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Sholten & Baijing

Scholten & Baijing

Scholten & Baijing are working together since 2000. Scholten studied at the Design Academy Eindhoven, Baijings is self-educated. After the realisation of several projects in which they feel out the bounds between autonomous and applied work, in their new work there is more emphasize on design within the interior. Meanwhile they built up a relationship with different clients like Van Esch and Gelderland. Parts of their work are included in the regular collections of Centraal Museum Utrecht, Stedelijk Museum Amsterdam en Nederlands Textiel Museum Tilburg.

Colour porcelain:
Based on extensive research on Arita ceramics and a analysis of historical local masterpieces, Scholten & Baijings created a series named colour porcelain. Typical Japanese colours, such as aquarelle-blue, light green, red-orange and ochre, are recontextualised and applied in new combinations on a set of contemporary, high functional tableware that in its entirety still reflect the typical Arita colour spectrum.

Layered colour compositions are carried out in various textures and shades of glaze and are combined with the natural white of the porcelain itself. Made with a delicate sense for local crafts and industry, colour porcelain shows an original European perspective on Japanese tradition

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RaR

RaR

RaR is established in 2010 by two German artists: Beate Reinheimer and Ulrike Rehm. Reinheimer (1943) graduated at the Gerrit Rietveld Academy Amsterdam in 1972 and has given lectures on this Academy for more than 25 years. Her ceramic work has been exhibited all over the world and is included in the permanent collection of Boymans van Beuningen Rotterdam and Centraal Museum Utrecht. Rehm( 1976) graduated at the same Academy 25 years later and will finish her master study at the Sandberg Institute Amsterdam in 2011. Her work has been exhibited at Stedelijk Museum Amsterdam and Dutch Design Week Eindhoven.

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