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Mirror Shards - Ferrero1947 - Luca Montrucchio

Mirror Shard

Mirror Shard: Ferrero1947 presents a new project in the exhibition “When the mirror makes you beautiful” ,based on the type of the console and its interpretations completed by a mirror from the same rigor. Essential graphic lines and alternation of different materials, characterize the ‘Frank’ project, where the young designer Luca Montrucchio worked with typical refined influences of the Jean Michel Frank’s style in a contemporary reinterpretation.

Frank is also a tribute to Franco Curletto, who hosts the event and who made beauty his philosophy of life. A collection of small table mirrors, private vanity, complete the project, translating into a smaller scale the lines and the rigor of the primitive idea.

The project is made entirely by hand, with the intervention of local artisans: each element is the result of a careful manual labor. Ferrero1947, with an experience of almost 70 years in the selection, distribution and sale of contemporary furniture, from 2105 decided to enter the world of production, producing a collection that embodies the ideology and style acquired over many years of activity.

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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Maarten Baas

Maarten Baas

Maarten Baas (born 19 February 1978) is a Dutch designer.
From 1979, Baas grew up in Burgh-Haamstede and Hemmen located in the southwest and central region of the Netherlands. After graduating from high school, he began studying at the Design Academy Eindhoven in 1996.

Baas is considered to be one of the most influential Dutch designers of the beginning of the 21st century. He is often described as an “author designer,” of which his works lie on the boundaries between art and design. His work is known as rebellious, playful, intellectual, theatrical and artistic.

He has gained an autonomous position in the design field, and his work varies from conceptual designs, limited editions, production design, installations, public space, architecture, interior design, theater design and performances.
His works are in major museum collections, such as the MoMa, Victoria & Albert Museum, Les Arts Decoratifs, San Francisco Museum of Modern Art, Die Neue Sammlung, Stedelijk Museum and Rijksmuseum. And in private collections of Brad Pitt, Kanye West, Ian Schrager and Adam Lindemann. He worked for exclusive brands, such as Louis Vuitton, Swarovski, Dior, Gramercy Park Hotel, Dom Ruinart and Berluti.
From 2005, Baas has collaborated with Bas den Herder as his production partner. Most of his designs are handmade in the “DHPH” studio in ‘s-Hertogenbosch, the Netherlands.

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Irma Boom

Irma Boom

Irma Boom is an Amsterdam-based graphic designer specialising in book making. With her use of unfamiliar formats, materials, colors, structures, and typography she makes the book into a visual and haptic experience.

Irma Boom studied graphic design at the AKI Art Academy in Enschede. After graduating she worked for five years at the Dutch Government Publishing and Printing Office in The Hague. In 1991 she founded Irma Boom Office, which works nationally and internationally in both the cultural and commercial sectors. Clients include the Rijksmuseum Amsterdam, Paul Fentener van Vlissingen (1941-2006), Inside Outside, Museum, Boijmans Van Beuningen, Zumtobel, Ferrari, Vitra International, NAi Publishers, United Nations and OMA/Rem Koolhaas, Koninklijke Tichelaar, and Camper. Since 1992 Boom has been a critic at Yale University in the US and gives lectures and workshops worldwide.

She has been the recipient of many awards for her book designs and was the youngest-ever laureate to receive the prestigious Gutenberg prize for her complete oeuvre. For five years she worked (editing and concept/design) on the 2136-page SHV Think Book 1996-1896 commissioned by SHV Holdings in Utrecht. The Think Book was published in English and Chinese. Her design for “Weaving as Metaphor” by American artist Sheila Hicks was awarded ‘The Most Beautiful Book in the World’ at the Leipzig Book Fair. Her books have been shown at numerous international exhibitions and are also represented in the collections of the Museum of Modern Art in New York.

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Hella Jongerius

Hella Jongerius

Hella Jongerius ‘ research on colours, materials, and textures is never complete. All her questions are open-ended, and all her answers provisional, taking the form of finished and semi-finished products. These are part of a never-ending process, and the same is essentially true of all Jongeriuslab designs: they possess the power of the final stage, while also communicating that they are part of something greater, with both a past and an uncertain future. The unfinished, the provisional, the possible – they hide in the attention for imperfections, traces of the creation process, and the revealed potential of materials and techniques. Through this working method, Jongerius not only celebrates the value of the process, but also engages the viewer, the user, in her investigation.

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