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Maarten Baas

Maarten Baas

Maarten Baas was born on 19 February 1978 in Arsberg in Germany and since 1979 has grown in Burgh-Haamstede and Hemmen located in the southwest of the Netherlands; after graduating from high school, he studied at the Design Academy of Eindhoven in 1996 and during his studies he became passionate about experimenting with materials and techniques to analyze the behavior of the materials themselves, which led him to the famous and iconic “Smoke” collection, consisting of furnishings, iconic and not, burnt through a particular process, which allows the forms to crystallize during combustion.

In 2005 Baas began collaborating with Bas den Herder, his production partner: most of his designs are handmade in the “DHPH” studio in Hertogenbosch, the Netherlands. Other important collections such as in 2006 the “Clay Collection” are born from this relationship: chairs, tables, lamps, fans, coffee tables, armchairs… handmade in a particular mass-colored resin, with a surprising, almost childish and final effect temporary, like children’s objects; the success is enormous and launches the designer on the international panorama of the world of author design.

Bass becomes one of the most influential Dutch designers of the early 21st century, sought after by museums, private collectors and exclusive clients such as Louis Vuitton, Swarovski, Dior, Gramercy Park Hotel, Dom Ruinart and Berluti.

Maarten Bass is often described as an “author designer”, his works lie on the borders between art and design; his work is known as rebellious, playful, intellectual, theatrical and artistic, gaining an autonomous position in the field of design, varying in many different sectors and disciplines: conceptual projects, limited editions, production planning, installations, public spaces, architecture , interior design, theater design and performance.
His works are found in the most important museum collections, such as the MoMa, Victoria & Albert Museum, Les Arts Décoratifs, San Francisco Museum of Modern Art, Die Neue Sammlung, Museo Stedelijk and Rijksmuseum, but also in some famous private collections, such as those by Brad Pitt, Kanye West, Ian Schrager and Adam Lindemann.

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Irma Boom

Irma Boom

Irma Boom is a graphic designer from Amsterdam, specialized in the manufacture of books: through her use of unknown formats, materials, colors, structures and typography, the designer manages to transform the book into a highly fascinating visual and tactile experience. Her passion for books was born from an early age and is ennobled through studies.

Irma Boom in fact studied graphic design at the AKI Art Academy in Enschede and after graduation she worked for five years at the Dutch Government Publishing and Press Office in The Hague, where she managed to enrich her theoretical knowledge with a very daily practice. intense. In 1991 he founded the “Irma Boom Office” studio, which operates nationally and internationally in both the cultural and commercial sectors. Among his clients: the Rijksmuseum in Amsterdam, Paul Fentener van Vlissingen, Inside Outside, Museo, Boijmans Van Beuningen, Zumtobel, Ferrari, Vitra international, NAi Publishers, United Nations, OMA / Rem Koolhaas, Koninklijke, Tichelaar, and Camper.

Since 1992 Boom has been a critic at Yale University in the United States and holds conferences and workshops around the world, being considered among the most authoritative minds in the field of publishing and graphic design. In fact, she has been awarded numerous prizes for her book designs and was the youngest winner ever to receive the prestigious Gutenberg prize for her work. For five years he worked on the “2136 pages SHV-. The Think Book”, which was published in English and Chinese and is considered his editorial masterpiece.

His project for ‘Weaving as a metaphor’ by the American artist Sheila Hicks was considered by the Leipzig Book Fair as ‘the most beautiful book in the world’. His books have been exhibited in numerous international exhibitions and are also featured in the collections of the Museum of Modern Art in New York. His collection of wallpapers, which takes up the scanned and verticalized images of the continents, a UNESCO heritage site, are true artistic masterpieces, which incorporate the same concepts and the same way of working and representing the ideas of his precious books.

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Hella Jongerius

Hella Jongerius

Hella Jongerius was born in Holland in 1963; in 1993, after graduating from the Industrial Design Academy of Eindhoven, she founded the Jongeriuslab studio, where independent projects and collaborations with the main customers are developed, including the furniture fabrics company Maharam, the interior design of the delegates’ room of the United Nations headquarters in New York, the interior cabin for the airline KLM and the installation “Color Recipe Research” following the invitation of the curator Hans Ulrich Obrist for the MAK in Vienna.

Hella Jongerius’ work combines traditional with contemporary, the latest technologies with age-old craft techniques, aiming to create products with individual character by including handcrafted elements in an industrial production process. The designer sees her work as part of an endless process, and the same is essentially true of all Jongeriuslab’s designs, which possess the power of the final stage. The unfinished, the temporary and the possible reside in the attention to imperfections, traces of the creation process and revealed potential of materials and techniques. With this working method, Jongerius not only celebrates the process value, but also involves the viewer, the user, in his investigation.

Since 2012, Jongerius has been artistic director of the Danskina carpet company and since 2007 artistic director of colors and materials for Vitra; recent projects include the publication of the book “I don’t have a favorite color” for Vitra in 2016, the “Breathing Color” exhibition on his search for color for the London Design Museum in 2017, as well as an exhibition and an accompanying publication “Beyond the new. On the Agency of Things “with Louise Schouwenberg for the Pinakothek der Moderne, Die Neue Sammlung in Munich in 2017.

Many of Jongerius’ products are found in permanent collections of important museums such as the MoMA in New York, the Victoria and Albert Museum in London and the Boijmans van Beuningen Museum in Rotterdam.

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Fratelli campana

Fratelli Campana

Humberto (1953) and Fernando (1961) Campana were born in Brotas, a city 250 kilometers from São Paulo, with an economy based on agriculture, being in a region with abundant natural resources. Until they moved to São Paulo to start their university studies, both brothers lived in the family, the father was an agronomist engineer and the mother an elementary school teacher, in a house without a floor and with a large courtyard surrounded by trees from fruit and streams that flowed to the waterfalls in the Brotas region.

Humberto graduated in law, but as soon as he graduated he officially started pursuing what had been his main interest since he was a child: the infinite possibilities of artisan art. In the eighties he opened a small studio of handicraft products.

Graduated in architecture, Fernando was interested in the search for alternative methods in the production of design, becoming passionate about Le Corbusier and the communicative power and linear synthesis of Oscar Niemeyer as well as for the creation of small-scale objects. After graduating, he collaborated in the 17th edition of the Biennale of Art in São Paulo., Until at the end of 1983, Humberto asked him to help him with the delivery of a large order. Since then, they have become among the most celebrated figures in contemporary design.

They are recognized for their contributions to the unconventional reading of new objects together with an effective contribution for a change in daily life. The first Campana exhibition was staged in 1989 at the Nucleon Galery in São Paulo; the iron chairs collection has been called ‘Desconfortáveis’, a rich selection of unique pieces that speak of an artistic aspect, the error and the poetry present in the unease.

From the 90s onwards they brought their eclectic and unique, very recognizable trait around the world, always starting from their roots, the traditions of their country and local crafts. They went to the favelas to discover the seemingly casual techniques of architectural layering and ventured into the Amazon jungle to create objects with kaleidiscopic colors with the most diverse materials: resins, recycled leathers, branches and natural fibers. Among their multiple successes, created by Studio Campana or, in a limited edition, by the Italian Edra, we can mention: the Favela armchair, the Corallo sofa, the Anemome and Sushi armchairs, the Brasilia table …

In 2009, ten years after the exhibition that launched them, the Campana Brothers were chosen by the Vitra Design Museum, in Germany, to celebrate the ten years since its foundation. Humberto and Fernando Campana were awarded the Special Prize at the Museu da Casa Brasileira in 2001, and appointed Designer of the Year by Design Miami in 2008.

Dick Van Hoff

Dick Van Hoff

Dick van Hoff was born in Amsterdam in 1971 and graduated from the Arnhem School of Art in 1996, now based in the east of the Netherlands.
After graduation, he immediately started designing with his name, opening a small studio, which follows the entire evolution of the project, from the first design phase to that of production; in all these years Van Hoff has produced a constant flow of exquisitely made objects.
Through his work as a designer and as professor-tutor at the Design Academy in Eindhoven, Dick van Hoff continues to play an important role in shaping the future of many young Dutch talents and what is called “Droog design thinking”. His promotion of fine craftsmanship coupled with industrial techniques forges a renewed interest in modern standards of form, function and adequacy.
The designer embodies universal values ??in modern products that seem to exist for centuries: functionality, quality and relationship between user and product give strength to projects; you will always sit well on a Dick van Hoff chair, one of his lamps will always impeccably illuminate the desired spot, his leather wood holder will still be among the best existing containers for wood to be placed next to the fireplace … functioning is more important than aesthetics, but this does not mean that form follows function; the designs are present, they are solid and convincing precisely because of their powerful visual language, they are icons that capture the heart.
Often robust in form, but subtly detailed, they are timeless objects, where their presence is obvious, their place in the house as logical and pleasant as a good friend.
Industrial customization guarantees an intact and penetrating way of production in which the quality, finish and choice of materials are fundamental; the designs are made with love: love for the product, the decision-making process, the user and the profession. Whether the design is produced industrially or manually, perfection and craftsmanship are always very visible.
Dick van Hoff’s work is represented in the permanent collection of the Boymans van Beuningen in Rotterdam, the Fond National d’Art Contemporaine, in Paris and the Centraal Museum in Utrech.

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Davide Medri

Davide Medri

Davide Medri was born in Cesena on August 7, 1967 and graduated from the Fine Arts of Ravenna, the Mosaic Art Institute and the Albestainer Mosaic Professional School, considered one of the best schools in the world for teaching the mosaic technique.

After various artistic experiences and in the world of design, in 1997 the designer began the production of mirror mosaics, entirely handmade with extreme meticulousness. Immediately these highly decorative objects, the result of an aesthetic marked at times maximalist, become design icons, desired all over the world; the shapes are manifold, united or broken down to form different compositions, square or curved, in natural mirror, gold or black glass for an always very spectacular effect.

The work is totally handmade and every single piece of glass is fixed by hand ensuring high quality; each work of art and design is unique.

Parallel to the mirrors, panels and large frames, the designer also creates tables, coffee tables, consoles and lamps with the same characteristics, combining stainless steel with the glass or mirror mosaic, in a pleasant play of glossy-opaque and clear- dark. Among these furnishings we can mention the conical tables with mosaic interior illuminated by light, the long steel table with mosaic inserts and the famous lamps that can be combined with rings in a luminous mirror mosaic.

Many years after their first appearance, the mirrors and their grandiose frames remain the most ingenious, original and recognized product of Davide Medri, now called “the king of the mirror mosaic”. In more recent years, a new ironic and very decorative collection has been added to the famous type of mosaic mirrors, consisting of large mirrors with the enlarged appearance of real or imaginary road signs. This apparently playful collection must not be misleading: each specimen is made entirely by hand, painting, as on a painting, the road sign with its related symbols and colors.

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Boda Horak

Boda Horak

Boda Horak

Boda Horak completed her architecture and interior design studies at the College of Art, Architecture and Design in Prague, where she graduated in 1980 and a few years later, in 1987, was one of the co-founders of the legendary group of designers “ATIKA”, much acclaimed by critics and audiences; very soon he became one of the main European exponents of that recognized as the post-modernist movement of the 1980s. According to many critics, while in Italy the Memphis movement with Ettore Sottsass and his other collaborators manifested itself in Prague, following an ideological and aesthetic path very similar, the figure of this designer was highlighted.
His works, characterized by impeccable craftsmanship and a very thick plastic sense, are of very different types and sizes: from the glass to the candlestick, from the chairs to the sofa. All these pieces are characterized by a very strong aesthetic, at times monumental and dramatic, always of great impact and out of the usual design paths,
From 1993 the artist began to collaborate with the German company Anthologie Quartett, who first sensed his great talent, creating a successful line of design products that helped define the same distinctive style of the company. Horak’s designs are all unique, never the same, sculptural, but attentive to use, ergonomics and practicality: what seem to be precious sculptures, turn out to be very comfortable chairs or perfectly usable sofas.
In 2012 the designer started a new project, working together with the designer glass sculptor Vladimíra Klumpar and creating a collection of highly refined objects, including vases, candelabra and glasses. This is followed by a new line of lighting objects, which includes monumental chandeliers, but also small lamps with a great atmosphere.
In the same year Boda Horak began collaborating with Rückl crystal glass companies A.S, Bomma, PRAGER Kunstsalon and from 2013 with some art galleries: the KREHKY gallery, PRAGA KABINET and TIME ART AVANTGARDESIGN in Germany.
Boda Horak participates in prestigious exhibitions in some famous international galleries such as Binnen in Amsterdam, Jannone in Milan, Ferrero1947 in Turin, dadriade in Rome, the Moss Gallery in New York, the Limn gallery in San Francisco, UNICA Las Vegas, etc … works are regularly published at home and abroad, in many art magazines and books and are also exhibited in the most famous design and applied art museums in the world and in some private collections.

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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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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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