/ D : Designers
The choice of the curators will focus on the international panorama of young designers, preferring those who tend to adopt an experimental approach to design and considering the pertinence of their work to the theme of the edition.
Their relevant affinities with the key topic of the workshop should however be combined with distinctive traits in the stylistic languages, operating tools and research targets of each designer in order to put forward a variety of different points of view, which will provide the input for significant criss-cross interaction full of potential to be developed on later.
Tijmen Smeulders (1988) is a Dutch designer presently residing and working in Rotterdam. His sensibilities regarding the design of volumes, light and pure perception developed at Design Academy Eindhoven, in the department of Man & Well-Being. In his thesis project presented in 2014 at the Salone del Mobile in Milan in the context of the group show “Self Unself,” Smeulders created a collection of objects (Mirror, Rug, Pitcher) capable of suggesting a completely renewed sensory experience of everyday life. His radical approach is expressed in product design that reveals the infinite possibilities of form, excluding any type of narration because it is perceived as superfluous. In the object, Smeulders condenses a precise vocabulary that finds expression in the relationship between form and material and in the way these characteristics interact with light, an agent that reveals tactile qualities, unexpected hues and fascinating, unusual consistencies. Smeulders’s projects have been shown in many international exhibitions and festivals, as well as galleries and museums, including: Dutch Design Week in Eindhoven, Salone del Mobile in Milan, Arco Art Fair in Madrid, Operae Design Festival in Turin, Museo del Gioiello in Vicenza, Musée des Arts Decoratifs in Paris, the Design Museum of Gent, Het Nieuwe Instituut, Galerie Vivid in Rotterdam and See•DS Gallery in London.
Birgit Severin (1982) is a German designer presently residing and working in Berlin. Her training began in the sciences, with a degree in Psychobiology, followed by a Master in Cognitive Neurosciences at Maastricht University (Netherlands), and then shifted towards the field of design at Design Academy Eindhoven, where she graduated in Contextual Design in 2013.
This dual nature of her studies is reflected in design work that combines scientific method and behavioral research, focusing on human beings and their relationship with context, specific stimuli and precise habits. Her work establishes a relationship between personal history, made of ordinary experiences and everyday activities, and the deeper forays of a more universal gaze, addressing collective identity and the transformation of the circumstantial landscape: the spectrum of everyday life is placed at the center of a design that seeks expressions of simplicity and transience. All of Severin’s interest is thus focused on existence, going against the habit of giving form to an extra-ordinary design and attempting to identify design strategies that include and embrace unpredictability, mutation and non-permanence as the distinctive features of the activity of the designer.
Nick Ross (1986) is a designer from Scotland who presently resides and works in Stockholm. In Scotland he studied Product Design at Grays School of Art in Aberdeen, where he won the Arts & Heritage Award for his thesis project. After moving to Rotterdam to work with Tomáš Gabzdil Libertíny, he went to Stockholm, where he continued his training in Interior Architecture and Furniture Design, taking a masters at Konstfack (University College of Arts, Crafts and Design).
His research focuses on the complex repertoire of history, particularly ancient history, where he finds the factors with which to interpret the relationship between the user and contemporary design. Using storytelling as a pretext and applying an always critical approach, Nick Ross is interested in investigating facts and happenings that have determined specific cultural balances; every project comes from the desire to create ideal or real bridges between the present society and that of the past. After having worked with Matti Klenell, Ross founded his own studio in 2014, starting a career that has led him to receive many international prizes and honors, including: Formex Nova (2016), Design Parade 11 (honorable mention in 2016), Architectural Digest’s Emerging Designer Award (2014), Muuto Talent Award (2014) and the Young Swedish Design Award (in 2011 and 2013).
Carlo Lorenzetti (1990) is an American designer born in Chicago who presently resides and works in Holland. After taking a degree in 2012 at the University of Michigan, majoring in Furniture & Ceramics, he completed his studies at Design Academy Eindhoven with a Master in Contextual Design. In 2016 his degree project Disruptive Fundamentals was presented during Design Week in Milan in the exhibition “Touch Base” curated by Ilse Crawford and Thomas Widdershoven. The group show featured works by young designers who are developing an approach not based on the digital and on the post-Internet aesthetic: every project replaces the necessity of use of technological devices with a more urgently perceived need for things that belong to the sphere of the real, paying particular attention to tactile experience in everyday life. Moving in this direction, Carlo Lorenzetti’s research shifts into an investigation that bridges the gap between psychology and design, trying to examine the role of the human, emotional and perceptive subconscious in the design of products. The aesthetic of his subjects is therefore subordinate to the experience they set out to encourage: every project becomes a possible concrete but also conceptual connection between the material world, the individual and his unconscious dimension.
Fernando Laposse (1988) is a designer of Mexican origin born in Paris and residing in London. With a degree in 2012 at Central Saint Martin’s School of Art and Design – majoring in Product Design – from the outset he has been interested in self-production and the culture of “do it yourself”. His projects are the result of an interdisciplinary crossing activated through the use of different processes and nurtured by a constant focus on experimentation; he is particularly interested in thinking about the relationships between design and nutritional culture, exploring the possibilities offered by manipulation of humble, natural or refuse materials, extending this research into the critique of models of consumption and reflections on the politics of food production in the 21st century. He is an active member of the Experimental Food Society of London and he is among the 70 names selected by the British Design Council in the category “Material World”. Laposse has been invited to conduct workshops and master classes (London Metropolitan University – The Cass; The Institute of Making – UCL London; Domaine de Boisbuchet, France; ICESI, Colombia), and his projects have been shown in international contexts like MART in Rovereto, the St-Etienne Biennale, and the galleries Libby Sellers and South London in London, Project B in Milan, Merci-Merci in Paris.
Marlène Huissoud (1990) is a French designer presenting residing in London, where in 2014 she took a Master in Material Futures at Central Saint Martins School of Art and Design, conducting research on experimentation with new materials. While still in school, she developed the project From Insect, regarding exploration of a microscopic universe created by bees and silkworms. This work triggers a critical relationship between the activity of the contemporary designer and the spontaneous forms of design observed in the world of animals and plants. Often, referring to the process as the motivation behind the ideas for original products, Huissoud questions the present and proposes future solutions that look to nature as a catalogue of examples, associating her practice with the exercise of a sensibility aware of the conceptual value of experimentation.
With her works, she has been named by the Design Council as one of the 70 English exponents of design of the future; in 2015 she won the Make Me! Design Prize, and in 2014 the Diploma Selection Award at Designblok. Her projects have been shown in many international exhibitions and in various contexts, such as Chamber New York, Design Miami/Basel, Design Museum Barcelona, Spazio Rossana Orlandi in Milan and the Gallery Bensimon in Paris.
Born in Arnhem, Holland, Jólan van der Wiel (1984) took a degree in 2011 after taking courses at the DesignLAB of the Gerrit Rietveld Academie in Amsterdam, the city where he founded his studio-workshop and presently lives and works.
Collaborating with the generative forces of nature, the designer organizes his thinking around the creation of objects with exceptional formal connotations, not definable a priori and not depending on his will, refining a creative process based on unpredictability.
His design approach focuses intense interest on the behavior of materials, taking form through a practical-experimental method that attempts to combine observation of the reactions of material under the influence of specific forces – gravity, or magnetic fields, for example – with human capacities for mechanical control.
This direction of research allows the designer to imagine unusual formal developments for his projects, free of classical dictates and defined by aesthetic parameters that find application in many disciplinary fields besides product design, such as architecture and fashion.
His works have been shown in international galleries and are included in the permanent collections of several museums, including Vitra Design Museum and Grand Hornu Museum.
Sabine Marcelis (1985) lives and works in Rotterdam. Raised in New Zealand, for two years she studied Industrial Design at Victoria University in Wellington, followed by a degree from Design Academy Eindhoven in 2011. She then opened her own studio to work on the design of objects, installations and environments, concentrating on research connected with the perceptive and materic aspects of her design.
Her modus operandi involves constant collaboration with specialized laboratories and industrial firms, allowing her to personally intervene in the manufacturing process and to work in a context where experimentation leads to knew knowledge and often unexpected results.
The outcome of her research has a poetic character contained in pure, linear forms that at the same time underline the properties of the substance of which they are composed, generating moments of perceptive magic.
Her works have been shown at Museum Boijmans van Beuningen in Rotterdam and Musée Des Arts Décoratifs in Paris. She also works with several galleries, like Victor Hunt in Brussels, Etage Projects in Copenhagen, Side Gallery in Barcelona, Mint in London, and with fashion and luxury companies like Céline, Isabel Marant and Repossi.
Gionata Gatto (1982) is an Italian designer residing in Holland. After a three-year degree in Industrial Design from the IUAV University of Venice, he continued his studies with a Master’s at Design Academy Eindhoven, graduating in 2009 and opening his own studio.
In his work he investigates product design through the use of an explorative method based on the pursuit of new aesthetic and conceptual values.
His projects develop through the application of emerging technologies and ongoing research into innovative materials, and are always seen as the result of a process calling for active, direct involvement of the designer in every phase.
The studio’s works are the result of a participative method based on in-depth research that establishes and encourages collaborations in different disciplinary fields, comparing and combining specific forms of knowledge of a number of specialists and experts.
From the active phase, the studio derives a series of artifacts and installations that function as perceptive bridges capable of generating visions about future scenarios through the tools of the present.
The products of the studio’s activity have been shown in various contexts, including the Triennale di Milano, the Rossana Orlandi space, Sotheby’s, and during the event Maison & Objet, just to mention a few.
In 2014 Gionata moved his studio to Rotterdam, where he presently lives and works.
Germans Ermičs (1985) was born in Riga, Latvia. He began his design studies in Denmark, where he started his career in the studio Rasmus Koch in Copenhagen as a graphic designer. In 2007 he co-founded the Latvian magazine Veto, working as its art director. During this same period he worked on a Master’s in “Man & Living” at the Design Academy of Eindhoven, developing a specific interest in the world of product design and interiors. In 2011 he completed his degree, while working in the studio of Robert Sadler in Paris.
In 2014 he opened his own practice in Amsterdam, where he presently works in an environment that is very stimulating for his creativity.
His work, often full of reminders of his background as a graphic designer, concentrates on experimentation with linear forms and ongoing in-depth research regarding the combination between material and its chromatic expression. Color, in particular, is a preferred theme of investigation, also imagined as a means to alter the perception of an object and the meaning it conveys: depending on its gradients and the ways it is applied, color can contribute to modify our relationship with objects in a tangible way.
Design practice, for Ermičs, besides being a device of analysis and testing of possible interactions that are created between people and environments, is an activity capable of influencing behaviors and modes of relation between bodies and space.
He presently works with Gallery Bensimon of Paris, the Mint space in London and Rossana Orlandi in Milan.
Jonas Edvard (1982) is a Danish designer. In 2013 he took a diploma in Product Design at the Royal Danish Academy in Copenhagen, where he lives and works.
His research investigates the potential of sustainable design through the use and transformation of easily obtainable and inexpensive natural resources with limited environmental impact.
The process he uses in the approach to the project combines science and experimentation: the output of his reflections and research is the invention of a series of innovative materials, springing from the study and interpretation of nature, which are then used to make everyday useful objects. The forms of these products are intentionally familiar, helping the user to focus on the revolutionary potential of materials removed from their typical context and suitably processed, bringing new meanings to objects.
In 2013, with the project Myx, he won the Green Furniture Award and a special commendation of the Danish Art Foundation, which inserted the project in the Danish Crafts Collection. Myx is part of the collection of the Materfad center of research on materials in Barcelona, Spain, and the SCIN Gallery in London. The project Terroir was selected for the traveling exhibition MindCraft 15 and is part of the collection of the Trapholt Design Museum in Denmark.
Ferréol Babin (1987) graduated in Spatial Design at the ENSA in Dijon, France, and then moved to Japan to study at the University of Art & Design in Nagoya. The experience in Japan was fundamental for his artistic growth, stimulating him to explore the spatial dimension through careful design of the object, seen as a tool of communication and relations between human beings and their environment.
In 2012 he took a degree in Object Design at ESAD in Reims, France.
His research is closely connected to his technical ability and talent for making things by hand, always associated with the ability to transform ideas into functioning prototypes.
His projects are the result of study based on research and the pursuit of dialogue: between natural and artificial, new and existing, object and interior space that hosts it. In his role as “mediator” he nimbly combines functional quality and poetry, in an attempt to establish a relationship of empathy between the object and its user.
In 2014 he was selected to take part in the research conducted at Fabrica in the Design department under the artistic direction of Sam Baron. His projects have won a number of prizes, including an honorable mention in the Red Dot Design Award, selection by ADI and the Design of the Year 2014 award assigned by London Design Museum.
Philipp Weber (1987), born in Münster in Germany, now lives and works in Munich. In 2012, he graduated from the Design Academy Eindhoven.
His training is eclectic, and ranges from art to fashion: in 2006, he did an internship in tailoring at dressmaker Spiegelburg in Münster, and then took courses in Fashion Design (2006) and Pattern Making (2007), at Central Saint Martins College, London. In 2011, he worked with the Ett La Benn studio in Berlin. In his work, Weber, now an independent designer and member of Platform München, combines traditional artisan techniques with a sensibility inspired by literature, art, music and performance, exploring the potential of these languages in comparison to the operational practices of design. In addition to original aesthetic results, interdisciplinary practice has led to the elaboration of specific creative methods and innovative tools, which are the result of intuitive and effective synthesis.
Marjan van Aubel (1985) is a Dutch designer, currently based in London.
She graduated in Design from the Gerrit Rietveld Academie in Amsterdam and has a Master’s in Design Products at the Royal College of Art in London. Her work combines the accuracy of scientific research with the ability to investigate aspects of sensory perception, developing innovative and ecological processes that translate her experiments into chemistry and technology. She has collaborated with Solaronix, the Swiss photovoltaic panel company, the American Hardwood Export Council and the Joris Laarman studio in Amsterdam. Van Aubel’s work is part of the permanent collection of the Vitra Design Museum in Weil am Rhein in Germany and the Museum of Modern Art in New York, and it has been displayed at the Museum Boijmans Van Beuningen in Rotterdam, the Victoria and Albert Museum and the Design Museum in London. In 2012 she won the first prize in the DOEN / Materiaalprijs, in the 2013 ARC13 Chair Award and in the 2014 Kortrijk Interieur Award. In the same year, she was also among the finalists of the Arts Foundation Material Innovation Award. Into 2013 and 2015 she was nominated for Design of the Year Award. Van Aubel works with A Palazzo Gallery, Brescia, 19 Greek Street and Mint, London and Transnatural, Amsterdam.
Julie Richoz (1990) is a Swiss-French designer who lives and works in Paris. After graduating in Industrial Design at ECAL, École Cantonale d’Art de Lausanne, she worked as an assistant to Pierre Charpin and in 2012, she opened her own design studio in Paris. In the same year, Richoz was awarded the Grand Prix at Design Parade 7 in Villa Noailles, Hyères. She has taken part in a number of residencies, including Sèvres – Cité de la céramique and CIRVA, the research centre on glass in Marseilles. During these periods she could explore new modes of analysis on materials and experiment with new processes by partnering with local workers. In her work, she explores the possibility of combining industrial production with traditional artisan techniques. Richoz’s work was featured in a solo exhibition at Design Parade 8 in Villa Noailles, Hyères in 2013, at IMM in Cologne, Germany and at Paris Designer’s Days. Richoz works with the Galerie Kreo in Paris, the Gallery Libby Sellers in London and she works with a number of different companies including Alessi, Nestlé, Artecnica and Sèvres.
OS ∆ OOS is a design studio founded in Autumn 2011 in Eindhoven by Dutch-Canadian designer Oskar Peet (1984) and Sophie Mensen (1985), from the Netherlands, who both graduated from the Design Academy Eindhoven in 2009. Before they started working together, the two designers had distinctive training periods: Peet worked with the Scholten & Baijings studio in Amsterdam, while Mensen worked as a freelancer. In the design process developed by OS ∆ OOS, functionality and artistic value converge in the creation of objects that are characterized by an essential and sober aesthetic, succinctly communicating their purpose and the way in which they should be used. The duo’s products express the research of a new relationship with the user and with the space in which they fit thanks to their mobility and adaptability, obtained from a balanced design of forms and compositions and through extensive research on material properties. At the base of their expressive mode is a creative process formulated for subtraction, with the aim of achieving the essence of the object that must be able to clearly convey the concept from which it originates. OS ∆ OOS collaborates with Galerie Gosserez in Paris, with Etage Projects in Copenhagen and Spazio Rossana Orlandi in Milan. In 2013, the Occultation light was given the Wallpaper Magazine Design Award in Best Domestic Design category.
Laureline Galliot (1986) was born in Maisons-Laffitte, Paris. In 2012 she received a diploma in Product Design from ENSCI – École nationale supérieure de création industrielle in Paris, after having trained in Fashion Design at ENSAAMA – École Nationale Supérieure des Arts Appliqués et des Métiers d’Art in Paris from 2004 to 2007. Galliot’s practice is flanked by painting, from which she gained many insights on perception, but most of all on the method that is the basis of her work as a designer. Noting the gap between graphic design and the actual creation of a product, Galliot proposes the use of alternative techniques, such as 3D animation, making it possible to think of an object in terms of volume and colour without resorting to drawing. The application of digital technology is accompanied by an almost empirical experimentation that, through painting, explores the world around us and the perceptual mechanisms, focusing on some items collected by the designer which are a source of inspiration for her work. In 2013, her work Contour & Masse was awarded the Prix du Design du Conseil Général du Var, to mark Design Parade 8 at Villa Noailles, Hyères.
Faberhama is a design studio based in Amsterdam, founded in 2014 by the Italians Alberto Fabbian and Paola Amabile, who have worked together since 2011. The two designers share a design approach that unites their interest in experimentation with a focus on product sustainability and local artisan techniques. Alberto Fabbian (1981) graduated in Product Design in 2006 from the Scuola Italiana Design in Padua and has worked with JVLT studio in Vicenza. Paola Amabile (1985), after graduating in International Development and Cooperation in 2007 from the Università di Padova, gained a diploma in Product Design in 2011 from the Scuola Italiana Design in Padua. Fabbian is an illustrator, Amabile a photographer and their work is characterised by intense dialogue that comes from the capacity to observe reality with varying sensibilities. Faberhama’s creations develop through an investigation on possible interactions between materials and processing techniques, with the aim of creating a contemporary object, celebrating diversity and expressing a balance between innovation and tradition. Their designs have been selected by a number of entrepreneurs and curators, such as Giulio Cappellini and Lidewij Edelkoort, and they have been exhibited both in Italy and abroad.
Studio Swine (an acronym for Super Wide Interdisciplinary New Explorers) is an Anglo-Japanese design studio based in London, founded by Azusa Murakami (1984) and Alexander Groves (1983) after each was awarded a Master’s in Design Product at the Royal College of Art, London. Murakami is an architect and she studied at Bartlett School of Architecture in London, Groves is an artist trained at the Ruskin School of Fine Art in Oxford.
Studio Swine explores the potential of contemporary design, devoting attention to processes of mutual influence between different disciplines, creating projects around the world with particular sensitivity to the context of local resources and new sustainable systems.
The studio has collaborated with Veuve Clicquot, Swarovski and Droog, and has exhibited in London at the Barbican Centre and the V&A Museum, as well as having taken part in New York and London Fashion Weeks and at the Gwangju Biennale, curated by Ai Wei Wei. Studio Swine has won several international awards: the Gold Prize at the BIO23 Biennale of Design Slovenia, the Wallpaper* Design Award, and in 2013, it was named among the finalists of the Designs of the Year Award sponsored by the Design Museum in London. In 2014, it was awarded the Social Economic Environmental Design Award, USA.
Brynjar Sigurðarson (1986) was born in Reykjavík, where he earned a first-class Bachelor’s degree at the Iceland Academy of the Arts (IAA) in 2009. In 2011, he completed a Master’s degree in Product Design at the Ecole cantonale d’art de Lausanne (ECAL), and took on a teaching role in the Master’s Department at the same university. He began his professional career by establishing his studio in Lausanne and in Berlin.
The research that underpins Sigurðarson’s projects extends to disciplines such as anthropology and archaeology, while his objects deal with the narrative dimension that belongs to the transmission of knowledge and tradition. In 2012, the Kopenhagen Fur company presented some objects made from fur, chosen from the collection he designed for his Master’s thesis. In the summer of 2012, he was awarded the Grand Prix at the Design Parade 6 in Villa Noailles, Hyères, the location of an exhibition with Jean-Baptiste Fastrez, which was later shown at IMM Cologne and Paris Designers Days. He has recently collaborated with the porcelain manufacturer Sèvres and with the glass research centre CIRVA in Marseille. He has also worked with Camper, Spark Design Space in Reykjavík and the renowned Galerie Kreo in Paris.
Itay Ohaly (1979) is an Israeli designer who lives and works in Tel Aviv. He graduated in Industrial Design from Holon Institute of Technology (HIT), he worked at Nekuda Design Management between 2008 and 2009, before completing his education with a Master’s in Contextual Design from the Design Academy Eindhoven in 2011. Ohaly’s practice is typified by the search for alternative methods of designing and production, which avoid a linear logic and devise open processes and changeable results. His interest in experimentation has led him to introduce elements that have not been planned in advance, and to encourage the influence of chance in his practice, also with the aim of verifying unseen scenarios of creative actions – or reactions – on the part of the designer to the changing conditions of creating an object. The introduction of a “chaotic” aspect in the design process, which is shaped through cooperation with other designers or through layering and fragmentation, becomes a voluntary and deliberate method of limiting the author’s control on the final product.
Daphna Laurens is a design studio founded in Eindhoven in 2008 by Daphna Isaacs (1982) and Laurens Manders (1984), both of whom graduated from the Design Academy in Eindhoven in 2006 and 2008. The studio’s stylistic research is geared towards experimentation, both in the search for new forms as in the use of materials, with the aim of turning everyday products into objects that have their own distinctive identity. The artefacts created by Daphna Laurens seem to be hybrids, presenting themselves as versatile solutions that combine functionality and expressiveness, even in an attempt to reveal the extraordinariness of everyday rituals through their use.
In 2010 Isaacs and Manders were presented with the DMY Award for the Tafelstukken series, which is currently produced by Cappellini. The studio has presented its work at the Galerie Gosserez in Paris, the Křehky Gallery and the Křehký Mikulov Art Design Festival in the Czech Republic, having also taken part in the “Trading Places. Designers meet the collection” exhibition at the Kunstgewerbemuseum in Dresden in 2014.
Daphna Laurens is part of the Dutch Invertuals collective, which brings together a group of Dutch designers in the formulation of a cultural proposal that is associated with the creation of a series of exhibition projects and the original production of experimental artefacts.
After graduating from the Design Academy Eindhoven in 2006, Nadine Sterk (1977) and Lonny van Ryswyck (1978) launched the Atelier NL, setting up a studio-laboratory in a former church in Eindhoven. The two designers’ work is typified by a strong link to the land and its natural elements, which often serve as the initial inspiration for their projects. In contrast to the on-going processes of industrialisation and globalisation, Sterk and van Ryswick’s work fits into the manufacturing tradition of the Netherlands, with a careful use of local materials and the development of productive processes which make use of current technology. In 2010 Atelier NL was awarded first prize in the Re:Vision Design Award with the Drawn from Clay project, a pottery collection made with different types of clay which were selected through an in-depth study of the geological composition of the soil in the Netherlands. The intent was to point out the exact provenance of the material that was used to create some everyday objects, highlighting the difference, and discovering an added value, in their variety. Works by Atelier NL have been exhibited in London, at the Libby Sellers Gallery, in the Netherlands, at the Boijmans van Beuningen Museum in Rotterdam, at the Stedelijk Museum in Hertogenbosch and at the Textielmuseum in Tilburg, as well as at the Design Museum Holon, in Israel.
Antonio Aricò (1983) was born in Reggio Calabria. After graduating from the Politecnico di Milano and a postgraduate course at the Alta Scuola Politecnica, he completed his training abroad, studying Metal & Jewellery Design at the Duncan of Jordanstone College of Art in Scotland, Product Design at the Royal Melbourne Institute of Technology in Australia and Traditional Furniture Design in Spain. He works for Barilla Group, Seletti and Alessi. Since 2011, Aricò has lived between Milano and Reggio Calabria, his homeland and constant source of inspiration. The attention paid to traditional techniques and local operating practices combined with attention to detail and the quality of the materials used in the execution of a work mark the main characteristics of his practice, which often deals with the creation of everyday objects. Featuring a signature style that combines the spontaneity of the gesture with the simplicity of the execution, Aricò’s work has been presented at DMY in Berlin, Salone del Mobile in Milan, Maison & Objets in Paris, Design Centrum Kielce in Poland, “Wabi Sabi” exhibition in Turin, “Nomadismi” exhibition by Lidewij Edelkoort in Milan and at the Design Museum Holon in Tel Aviv.
Giorgia Zanellato (1987) was born in Venice. She graduated from the IUAV in 2009: the craft culture you can really feel amidst all the city’s glassworks, factories and workshops translates into projects attentive to the manufacturing of products that are non-mass produced, material-based and in a state of becoming. Her education was completed by a Master’s in Product Design at the ECAL in Lausanne and then working as part of the international team of researchers at Fabrica in Treviso, where she prototyped her own narrative-style design capable of combining experimentation with new materials and coherent use of tradition.
Her work is represented both by the system of galleries interested in research (such as Galleria Luisa Delle Piane in Milan) and commercial companies (such as the French brand Petit Friture that promotes the most experimental trends developed by young designers). Her projects have been displayed at the Milan Furniture Show, Maison et Objet in Paris, MUDAM Museum in Luxemburg, Miami Art Basel and the London Design Festival.
Commonplace is a design workshop based in Amsterdam set up by the Canadian Jon Stam (1984) and the Dutchman Simon de Bakker (1979). Its work focuses on experimentation with objects linked to context, quality craftsmanship and silent interaction. They are interested in studying and surveying the contemporary cultural world, tackling issues such as the growing lack of tangibility and other challenges posed by debate on digital technology. The two designers from Commonplace carry out their research work both independently and by commission; their works have been displayed at events like Design Miami, Design Days Dubai, the Milan Furniture Show, Manifest 9 and Sotheby’s of London. In 2013 the firm was awarded the “Designers of the Future” prize at Design Miami. Alongside all this work, Stam and de Bakker are also on the teaching staff of the Digital Craft Program at Willem de Kooning Academy in Rotterdam.
Jean-Baptiste Fastrez (1984) lives and works in Paris, where he graduated with honours and a special commendation in 2010 from the ENSCI – Les Ateliers (École Nationale Supérieure de Création Industrielle). In artistic jargon his work could be defined by the terms “ready-made” or “détournement”; an avant-garde approach that characterises his method of design (for four years he worked as an assistant to the brothers Ronan and Erwan Bouroullec) that is a direct indictment of standardisation through a mixture of high and low culture, craftsmanship and mechanical production, and the coexistence of natural and man-made materials. His mixing together of opposites in an interplay of dissonances instils fresh identity into everyday objects: a hairdryer is transformed into an axe, a kettle into a sculpture, and a small cup into a talisman. By dismantling the unitary nature of “mainstream” objects to give them a different kind of heart and soul, the designer focuses on the role of consumers, encouraging them to make more conscientious and personalised use of products; what he makes are not “objects for everybody” but rather “objects for each one of us”.
Hilda Hellström (1984) is a Swedish designer, who was born and grew up in Gothenburg. After studying Fine Arts in Barcelona, Copenhagen and Stockholm – where she graduated in Product Design from Beckman’s College of Design – she moved to London and studied for a Master’s in the Department of Design Products at the Royal College of Art. Hellström’s methodological approach – she likes to describe herself as a “craftswoman” – owes much to her childhood memories and the family influence from her mother, who was a psychoanalyst, and her father, who was a carpenter. This methodology is structured around both a propensity for the phenomenological study of natural processes, materials and forms and sharp philosophical study into the topics underscoring her research work. This experiential, emotional and sensation-based approach is completed by an aptitude for documentation and for studying the origins of the sensible world. Always attentive to the relationship between artifice and nature, fiction and reality, this designer uses various media – including video clips and photography – to describe the narrative nature of objects and their reasons for being, as well as the world in which they are incorporated and the symbolic connotations they carry.
Maarten Kolk and Guus Kusters were born in the Netherlands, respectively in 1980 and 1979. After graduating with honours from the Eindhoven’s Design Academy, they set up their own associate in 2008. Confining their work solely to the realm of design is reductive: drawing on a thought-provoking approach, Kolk & Kusters are constantly striving to redefine the term design, focusing great attention on processes for representing and embodying the transitory nature of natural phenomena. Their work, based on directly studying the environment, touches on a broad range of the most disparate disciplines – art, photography, science, biology, geology – as means of surveying and translating the sensorial experience coming from natural input. Their projects derive from a fascination with the impalpable that is formalised into something more perceptually-materially consistent.Kolk & Kusters works on display in museum collections at the Design Museum in Holon (Israel), Museum Boijmans van Beuningen in Rotterdam, Zuiderzeemuseum in Enkhuizen, MU in Eindhoven and Audax TextielMuseum in Tilburg (Netherlands) and the 21_21 Design Sight gallery in Tokyo, Kavan Ronsey gallery in Brussels and Christian Ouwens gallery in Rotterdam
Anton Alvarez (1980) was born in Uppsala in Sweden. His mother was Swedish and his father Chilean. After graduating in Fine Art in Stockholm he developed an innate interest in the craft and techniques of traditional cabinetmaking and, before taking a Master’s in Design Products at the Royal College of Art in London, he specialised in Interior Architecture and Furniture Design at Konstfack (University College of Arts, Crafts and Design in Stockholm).
It was his thesis at the Royal College of Art that really enhanced his reputation and caught the eye of international critics, eventually ending up as part of the collections at the Design Museum and Victoria & Albert Museum in London. His colourful typological revolution in the field of craft as a whole upturns traditional systems for designing and making objects; manual imperfection combined with mechanical control over the product manufacturing process coexist in The Thread Wrapping Machine, a highly successful invention by the designer that redefines the various means involved in assembling and jointing together the various parts of an article.
Bethan Laura Wood (United Kingdom, 1983) graduated with a first class BA in Three-Dimensional Design in 2006, and continued her education at the Royal College of Art. By re-contextualising elements from existing, everyday objects, combined with research into the constituent elements of a modern city, Bethan creates new products which rediscover, explore and celebrate different attributes and aspects of the “mundane”. Her work focuses on the pattern, colouration and patination of objects, the result of the making process and subsequent traces of usage. Locality has also become an important factor to her design process, working in response to the area in which she resides; be it collaborating with local manufacturing, or reflecting elements particular to that area within her work.
Her collections Totem and Moon Rock, which were presented at Milan Salone del Mobile 2011 & Basel (Design Miami 2011), were short listed for Product of the Year and Furniture of the Year respectively in the London Design Museum’s Designs of the Year Awards 2012.
Both born in 1982, Per Eman (Sweden) and Bastian Bischoff (Germany) founded their studio in 2008 during their Masters graduation at the School of Design and Crafts (HDK) in Gothenburg. Before they met at HDK, Per completed a Master of Science at the Royal Institute of Technology in Stockholm, and Bastian studied Communication Design at HTWG in Konstanz, Germany. They have been based in Stockholm since 2010.
Humans Since 1982 are interested in interest itself. Their claim is to arouse fundamental curiosity by creating material hints of how the world might be acquirable for curious people.
Andrea Magnani (1983) was born in Italy, where he began his studies in the field of design and art attending the ISIA in Faenza. His work is aimed at understanding the workings that instil value and quality in things.
The Resign project from 2008 creates a real and constantly open space for testing out a process of sensual self-production in which the final artefact becomes a means of creating relations. Over the two-year period 2009-2010, in conjunction with his exhibition work, he also set up the first Resign Academy, in partnership with Giovanni Delvecchio and Elisabetta Amatori, while simultaneously holding workshops and lectures.
Since 2011 his objects have developed into something more complex and layered capable of bringing together cross-media research linked with video, music and performing art.
After carrying out three months of research in New York, he set up Xhtff:// in 2012, an experimental workshop and production house for artist’s multiples. He currently lives and works in Milan.
Lex Pott (The Netherlands, 1985) is an Amsterdam based designer and works from his studio in an old shipyard on the NDSM-Terrein. He graduated cum laude in 2009 at the Design Academy Eindhoven. He employs a raw and intuitive method, and in his work he returns to the origin of the materials he uses most: wood, stone and metal. He does not hide his designs under indirect layers, but reduces them to their very essence. Tables, shelves and coat-stands are the results of a combination of the original structure of a tree and its industrial by-products. The compound of organic and symmetrical forms challenges the binary divide between nature and culture that underlies traditional design. It also reveals the organic origin of many industrially produced items. Pott brings design back to nature.
ShiKai Tseng (Taiwan, 1984) lives and works in London. He established his own studio after his graduation from the Royal College of Art, Design Project MA course in London.
Having been educated in both the East and the West, he was influenced by eastern culture and the western spirit of adventure, which led to his works being simultaneously poetic and experimental. His design mainly focuses on three elements; culture, material and process, as he believes that culture generates the meaning and value of all physical objects, and that objects are made from a combination of materials and process.
His works were awarded numerous prizes, including Reddot 2009, iF 2008, BraunPrize 2007, and he has been exhibited in galleries in London, Paris, Stockholm, Eindhoven and Milan.
45 Kilo is a design studio that was founded in 2007 by Philipp Schöpfer (Germany, 1981) and Daniel Klapsing (Germany, 1982) during their studies in product design at Bauhaus-University in Weimar. They have both been based in Berlin since 2012.Their work is focused on furniture and interior design, and often combines industrialised production processes and materials with crafts in a very reduced and simple visual language: 45 Kilo creates basic designs that reflect a functionalist and sometimes playful approach to everyday life objects. They work both as a design studio, and as producers of custom-made furniture and products of their own design.
BCXSY are Boaz Cohen (Israel/Netherlands, 1978) and Sayaka Yamamoto (Japan, 1985). Both graduated from the Design Academy Eindhoven and Sayaka also holds a degree in Contemporary Art Jewellery from the Hiko Mizuno Jewellery College in Tokyo.
The firm has an interdisciplinary approach towards the creation and development of concepts, identities, products, graphics, interiors and environmental atmospheres. Furthermore, they furnish interrelated services such as design consultancies, curators and exhibition designers. Within the Origin project, aimed at a confrontation through traditional craftwork techniques that risk extinction, they collaborated with artisans and experts from all across the world.
BCSXY’s works, are not only exhibited within the permanent collection of the Victoria and Albert Museum, but also in some of the most prestigious international events, widely publicized by the international press, receiving numerous acknowledgments.
Eva Marguerre (Germany, 1983) and Marcel Besau (Germany, 1980) live and work together in Hamburg. Eva graduated in Product Design at the University of Arts and Design in Karlsruhe, Marcel studied Product Design and Communication in Karlsruhe and Wuppertal.
While Eva Marguerre loves working with paper, ribbons, wooden materials, smooth surfaces and wood grains, Marcel Besau combines digital with analogical technologies. Their work ranges from a wide experimentation with materials and innovative color schemes to interior design and settings, using incessantly different styles and methods. The attitude towards original production methods in relation to the development of new materials enables them to plan and organize innovative production cycles.
In 2011 Eva was selected as testimonial for the AUDI Q3 promotional campaign.
Pepe Heykoop (Holland 1984) established his studio in Amsterdam after attending the Design Academy in Eindhoven.
His work mainly focuses on designing creative processes for the manual production and development of new low-tech manufacturing techniques, involving in his research his natural tendency to recycle objects.
His works are often unique pieces, and have been exhibited in various important international events and have also been awarded numerous prizes and acknowledgements (in 2009 he won first prize in the competition [d3] Design Talents at IMM Cologne, while Brickseries also received a special mention at the 2010 event).
In 2009 he inaugurated his own production line in the slums of Mumbai, in collaboration with Tiny Miracles Foundation, through which he created the Leather Lampshades.
Maarten De Ceulaer (Belgium, 1983) studied at the Sint-Lukas Hogeschool in Brussels and at the Design Academy Eindhoven.
His passion for traveling inspired his graduation project Pile of Suitcases, which was immediately noticed by the renowned Milanese gallery Nilufar, which asked him to design an entire collection on this concept, followed by the a similar request by the Italian company Casamia that produced one his works on large scale.
Maarten received international attention for the highly evocative, poetic as well as playful touch he gives his objects. He aims at exploring the quality of materials, investigating and confronting himself with production techniques and crafts.
His works have been awarded and awarded prizes (Toegepast 10 of Z33 Hasselt, Belgian Young Designer of the Year 2007, nomination Blueprint Award Best Product 2008), featured in many international design magazines, publications and newspapers, and exhibited at galleries, museums, festivals and fairs worldwide.
Daniel Rybakken ((Norwey, 1984) studied design at the Oslo School of Architecture and the School of Arts & Crafts in Gothenburg, Sweden. After graduating with a Master’s in Fine Arts in 2008 he opened his own studio, based in both Oslo and Gothenburg.
Daniel Rybakken’s work of lies between art and design, creating limited editions, installations and prototypes for mass production. His main focus has been to work with daylight and how to artificially recreate the subconscious effect it has on human beings.
His work has received numerous awards, including the “Best of the Best” Red Dot Award in Singapore 2007, the Anders Jahre’s Cultural Prize for Young Artists in Oslo 2008, the Design Report Award for best designer at Salone Satellite in Milan 2009 and the Bruno Mathsson Award in Gothenburg 2011.
Tomás Alonso (Spain 1974) has lived, studied and worked in the USA, Italy and Australia before moving to London to complete a MA at the Royal College of Art.
In 2006 he co–founded the design collective OKAYstudio with 5 other recent graduates from the RCA, such as Peter Marigold, the Raw Edges and Liliana Ovalle.
There are strong human aspects that influence Tomás’s work. He is interested in the relationship we have with objects and how these objects relate to us and the environment around us. He also experiments with different materials in order to exploit their main characteristics and find new ways to create structures. Some of his works have become part of permanent collections of the Design Museum of London, receiving numerous international acknowledgments and in particular a first prize within the Promosedia International Design Competition 2008 with No. 7 (Nube) Chair.
Katharina Mischer (Austria, 1982) and Thomas Traxler (Austria, 1981), after attending their Master at the Design Academy in Eindhoven, founded in 2009 their Vienna based studio.
The Mischer’Traxler have planned and created products, furniture accessories and exhibits often focused on conceptual and experimental design.
Katharina e Thomas examine, experiment, analyse and reject. This practice often leads to integrated concepts, systems, and global visions, instead of single products.
Their works have appeared in a number of international magazines, displayed in numerous galleries, museums, festivals and fairs all around the world. The Limited Fungi mantelpiece is part of the Droog collection.
With “The Idea of a Tree” they won the Austrian Experimental Design Award 2009, the DMY Award 2009, received a honorary mention at the Prix Ars Electronica 2009 and were shortlisted for the Brit Insurance Designs of the year 2010 award. In Basel, during 2011 they were invested of the W Hotels Designer of the Future award.
Minale–Maeda is a creative duo founded in Rotterdam in 2006 by Kuniko Maeda (Japan) and Mario Minale (Italy).
Kuniko graduated in Science of Design at Musashino Art University in Tokyo while Minale graduated in Industrial Design at the University of Wuppertal, Germany. Both studied at the Design Academy in Eindhoven where they were awarded Master degrees.
They work between usable products and artistic installations, considering design to be based on utilitarian needs as well as being an expression of culture – the culture of materials; they are interested in the effects of consumerism and in the improvement of the quality of life, the possibilities offered by mass–production and the expert skills of the craftsman.
They worked with renowned companies such as Droog and Skitsch.
Lanzavecchia+Wai is a creative collaboration between Francesca Lanzavecchia (Italy, 1984) and Hunn Wai (Singapore, 1980). Hunn studied industrial design at the National University of Singapore, while Francesca graduated from the Industrail Design at the Politecnico of Milan; they both then continued their studies at the Design Academy of Eindhoven where their collaboration began; today trasformed in a “long distance” callaboration relationship.
If on one hand Francesca’s main interest lies in the relationship that objects have and can have with the human body and soul, while maintaining a focused prospective for future trends, on the other hand, Wai is fascinated by the collisions and fusions of materials, meanings and forms. Their cooperation is based on these different approaches and coming from two very different countries and cultures, they attempt to feed off each other’s backgrounds, knowledge and skill–sets to fuel lateral thinking and agile tangible application.
Julien Carretero (France, 1983) first graduated in Industrial Design both in Paris and in England, followed by the Master course of the Design Academy in Eindhoven. His thesis “Theme & Variations” explored the border between uniqueness and serial production.
Following his studies he worked for two years in the Maarten Baas Studio, after which he joined the Atelierdorp collective and founded his own studio in Eindhoven.
He considers the production of objects, as a growth process: alive and unpredictable. While often defineing personally the industrial processes, Julian aims at making less obvious the borders between serial and handmade production.
In 2008 he recived the Group SEB Design Award during the Villa Noailles Design Parade, in France.
Recently Julien left Eindhoven to move to Brussels where he shares a studio with Maarten de Ceulaer.
Studio Glithero is a duo made up by Tim Simpson (England) and Sarah van Gameren (Netherlands), who met and studied at the Royal College of Art. In their London based studio they create objects, furniture, and temporary installations that aim at capturing and unveiling the beauty of things in the moment of their birth. Time and transformation are the key ingredients of their works, and through them the two designers aim at eliminating the distance between the various creative disciplines by achieving works that are accessible and comprehensable to all.
In 2009 they became part of the Vauxhalle Collective, and received the Craft Council Maker Development Award; in 2011 they were selected for the Brit Insurance Award and for the Dutch Design Awards.
The studio’s project planning activitiy procedes in parallel with their teaching activity at the Royal College Art.
Philippe Malouin (Canada, 1982) studied industrial design in Montreal before heading to the ENSCI in Paris, followed by the Eindhoven Design Academy.;
His graduate project entitled “Grace Table”, was selected for the René Smeets Award and won the second prize for the [d3] Design Talents IMM Cologne 2009.
In 2008 while working on a number of projects for manufacturing companies, he starts up his own studio in London, which enables him to face the creative jest through an experimental approach. Since 2009 he collaborates as co-curated with the Commissaires Gallery in Montreal. In 2012, Philippe won the W Hotels Designers of the Future award.
Peter Marigold (England,1974) attends initially the Central Saint Martins where he went from sculpture to theatrical scenography followed by his period at the Riyal College of Art where he begins to find his personal solutions for those living in temporary situations and living spaces. IN 2007 his exhibit at the London Design Museum earns him a scholarship for Esmee Fairbaim.
In 2006 joins the OKAY Studio, a London based collective made up also by: Tomas Alonso, i Raw Edges e Liliana Ovalle .
As member of the ‘Great Brits’ he participates in collaboration with the British Council to the Milan Furniture Fair 2007. This experience offers him the opportunity to to create for Paul Smith, his first installation in Milan, followed by a number of projects in London.
In 2009 Peter won the W Hotels Designers of the Future award.
Jo Meesters (Netherlands, 1974), after attending the Design Academy, founds his studio in Eindhoven where he creates concepts and products based on the keywords of matter and craftsmanship. The ongoing search for innovation in materials and techniques is the major drive of the design studio, which is considered a laboratory for product concepts. A laboratory focused on the research of new ways of material handling and the exploration of the boundaries of the intersection between craftsmanship and mass production techniques.The basic principle of Jo Meester’s work is sustainability. By integrating various aspects of craftsmanship, sophistication, and detailing, Meesters aims to imbue his projects and products with an emotional value. Through this process, he emphasises his commitment to the creation and perception of a bond between object and user.
Andrea Trimarchi (Italy, 1983) and Simone Farresin (Italy, 1980) are FormaFantasma – two Italian designers based in Eindhoven.
After their studies at the ISIA of Florence, they followed a Masters course at the Design Academy of Eindhoven.
Andrea and Simone’s goal is to re-evaluate disappearing craft techniques, linking local cultures and global contexts, craft elements and industrial processes. Incongruities or unexpected mixes are part of their work, as well as playing with the boundaries of fragility and durability, low tech and hi-tech, cheap and valuable products.
Their works have been selected for a number of awards (Index Award 2011, Brith Insurance Designs of the Year 2012, and IMM Young Design Award 2011), mentioned in numerous international magazines, and have been displayed in galleries, museums, shows and fairs all over the world.
Anke Weiss (Germany, 1979) studied Product Design at the Gerrit Rietveld Academy in Amsterdam.
Her main interest lies in how media and technology influence the human psyche and the perception of scale, space and time.
Ankes’ pieces can not only be seen as being functional but also as a medium for critical exploration and analysis. Her works challenge the perception of today’s products and technologies, exploring how a designer, intended also as a visual communicator, can be part of a political, environmental and social debate.
Aside the work in her own Studio, she is also a tutor at the design department of the Gerrit Rietveld Academy.
Tomáš Gabzdil Libertiny (Slovakia, 1979) opened his own studio in Rotterdam in 2007 after working several years as a freelance designer.
He studied Product Design at the Design Academy in Eindhoven and Product Design and Painting at the Academy of Fine Arts and Design in Slovakia.
His interest in design is focused on how it can contribute towards improving the quality of life. His ambition to experiment design opportunities, has brought him to develop new brilliant ideas using natural elements and craftwork procedures combined with groundbreaking methodologies. His work has been exhibited in galleries, museums, festivals and fairs all over the world.
The Raw-Edges are Yael Mer (Israel, 1976) and Shay Alkalay (Israel, 1976).
Yael’s main focus includes turning two-dimensional sheet materials into sinuous functional forms, while Shay is fascinated by how things move, function and react. Together they work under the name of Raw-Edges and share the common goal to create objects that have never been seen before.
Since their graduation show at the Royal College of Art in 2006, they have received several awards including The British Council Talented Award, the iF Gold Award, the Dutch Design Award, the Wallpaper* Design Award 2009 and the Elle Decoration International Design Award for best furniture of 2008_09 and just recently the Designer of the Future Award for 2009 from Design Miami / Basel.
Their works have been exhibited within the most prestigious international events and some were part of the permanent collection at the MoMa in New York and at the London Design Museum. Some of the projects have been produced by Established & Sons and by Arco.
In addition, Yael and Shay produce unique and limited edition designs within their own Okey Studio in London, shared with Liliana Ovalle, Tomas Alonso and Peter Marigold.
Pieke Bergmans (Netherlands, 1978) has studied at the Academy of Arts St. Joost Breda (graphic design); HKA-Art-School, Arnhem (3D-Design); Design Academy, Eindhoven (Industrial Design); Royal College of Art, London (MA, Design Products).
She works on a large variety of projects around the world. Her favorite modus operandi is to alter existing production processes in order to achieve new forms and functions. She aims at combining function, form and message in a single elegant gesture.
Diversity is one of the most significant trademarks of her works: she finds inspiration and opportunity in every possible field and through each different material. While cooperating with industries, Pieke explores the possibilities of their production facilities, and manipulates them. The goal is to create a “personalized mass production” where irregularities are ruled in.
Liliana Ovalle (Mexico, 1977) lives and works in Mexico City. Before entering the Royal College of Art (London 2004-2006), she ran the Salon de T studio, where she developed a series of lighting and furniture products.
Her works have been featured in various international publications and selected for design exhibitions in different countries (British Council, Milan; Paul Smith Space, Tokyo; Changing Dimensions, London).
In 2006 she was given the Talent Award by the British Council.
Since returning to Mexico, Ovalle is currently involved in developing a new line of objects inspired by Mexico city and its surroundings.
One of her works, Table Stripping, is now produced by the Milan-based Plusdesign Gallery.
Liliana is also part of the Okey Studio in London together with Tomas Alonso, Peter Marigold and the Raw Edges.
Julia Lohmann (Germany, 1977) is a multidisciplinary designer that lives and works in London.
In her works she explores new applications for natural and artificial materials, often unusual and underestimated.
Julia has participated in a number of international exhibits and her works have become part of private collections and museums such as the MoMa in New York.
Julia set up her own design studio in London in 2004. She is also a tutor on the MA Design Products course at the Royal College of Art and visiting lecturer for a number of design schools in the UK.