Top designers around the world are playing with ceramics, from the eccentric to the everyday. This issue offers information on those such as Jamie Hayon, NENDO, Moooi and Marcel Wanders and more.
We take you inside the Normann Copenhagen Flagship store with designer Hans Hornemann, then to the French Alps with design brand By Hands.
Don’t miss more on Sebastian Herkner’s transparent house for International Interiors show IMM. Our contributors bring additional information on IMM from young living trends to the Touching Tales exhibition.
Edward Barber (Shropshire), and Jay Osgerby (Oxfordshire), could hardly come from anywhere but England. Of the almost one hundred projects the duo have so far realized—mainly furniture but their portfolio even stretches to include the two pound coin, commuter trains and the Olympic torch—all of them bring a whiff of...
Top designers around the world are playing with ceramics, from the eccentric to the everyday. In parallel to those such as Jamie Hayon, NENDO, Moooi and Marcel Wanders and more; ArchiExpo identifies one of many key design specialities in Mexico, the United States, Canada, England, Japan, Australia, Russia and South Africa. Check it out.
In our modern-day world we have found a multitudinous array of uses for ceramics. You might be surprised to learn that ceramics play a significant role in such specialities as hip replacements, electrical insulation, superconductivity and space travel. Yet it is our relationship with and use of ceramics on a daily...
“It’s always a great recognition to receive an award for one’s work,” stated Poul Madsen, founder and co-owner of Normann Copenhagen, in a press release. The Danish design company took off in 1999 and launched their Flagship store in 2005–doted one of Europe’s 12 treasures by New York Times Travel in 2014.
Store layout 2010. Courtesy of Normann Copenhagen Flagship Store
To the Flagship Store!
ArchiExpo attempts a sneak-peak of the designers collaborating in Normann Copenhagen’s workshop. Unfortunately, the company is so secretive that they don’t even invite their Flagship store employees inside; we accept, with grace and gratitude, a coffee with Hornemann at Flagship. He talks to us about his furniture line, in-house designing and teases us about his Milan-destined surprise.
“We had Hans’ sofa in here one day and someone came in and bought it,” says Johanne Toft, press relations manager at Normann Copenhagen.”It’s a modular sofa withtwelve different sections so you can make it as long and as deep as you want.”
Rope behind us, chocolate before us, Tift explains how placement plays a key role on a customer’s reaction to the products. The company believes in inspiring through constant creation.
“The team here at the shop changes the window display every night, except on Sundays,” continues Toft. “For our 10th anniversary, we counted and there have been over 3,000 window displays.”
“It’s quite an effort,” Hornemann says. “So that every evening–when people have time to drive by–they see something new.”
Images: Rope, a modular sofa by Hans Hornemann at Normann Copenhagen. Photo by Pelle Rink for ArchiExpo
Inside the Factories
Both in-house and freelance designing come with pros and cons. Hornemann delights in all he’s learned designing in-house for Normann Copenhagen.
As an in-house designer, you can work closer to the manufacturer. We always aim to go to the factories because each time we go, we experience something new. Whether it’s a wood factory or textile factory, the people we meet there have something to contribute.
The relationship between designer and manufacturer strengthens the result of the product by simply communicating.
Some designers have a visual expression, a very nice model on the computer, and they want to obtain that exact product. They tell the factories what to do. That’s sort of a new way of doing product design, because it’s become so easy to design on the computer.
This “tell what do to” philosophy might, at times, push innovation to another level, but Hornemann believes product designers should rethink the meaning of industrial design.
It’s design that’s made for industrial production. Each time we start up something new, we discuss it with the manufacturer. You might present an idea and they might say to forget about it because they’ve tried it 700 times and it won’t work.
Rope by Hans Hornemann at Stockholm Design Week 2016. Courtesy of Danish design company Normann Copenhagen.
Headed to Milan
In addition to Rope, Normann Copenhagen will be launching other products in April during the Salone del Mobile.
“I don’t know if I can say anything,” says Hornemann.
“It’s a surprise.”
Hornemann, Normann Copenhagen’s highlight for 2016, will be presenting a new furniture line in Milan. Only time will tell. He’s working on designing the company’s stand and will be in Milan to unveil his little secret.
Images: Flagship store 2016. Courtesy of Normann Copenhagen
“It’s like a lab because we can experiment and try new techniques,” Caroline Ziegler told ArchiExpo.
Working in their 12 square meter office in Paris, Caroline Ziegler and Pierre Brichet foundedStudio BrichetZiegler in 2010. They sketch and conceive interior design objects in collaboration with companies like Oxyo, Sancal,WayPoint andMOUSTACHE.
In 2015, Ziegler and Brichet began a new adventure and created their brandBy Hands. Objects drawn in the Paris office are then handmade at their workshop in the French Alps.
By Hands gives life to Ziegler and Brichet’s ideas that “are too complicated to produce in large series.” Experimenting with wood, metal, brass, concrete, leather and glass, they make product designs sold on online. Caroline Ziegler accepts a call from ArchiExpo:
ArchiExpo: What are some new materials and techniques you have worked with?
Caroline Ziegler: We can work with anything; we just have to discover how it works and how to use it. For the Dalle Flottante Trays we use concrete, which is rare in small household objects. We also use a hammering technique to make the lampshade of Ombre Portée and the shape of Fleur de Peau vase. We started with a sheet of metal then hammered and welded it so that at the end we had a sculptural shape. It’s covered with a special iridescent paint that forms to the metal accentuating the true surface.
Photo 1: Lampe Ombre Portee, By Hands – Photo Credit: Baptiste Heller; Photo 2: Plateaux Dalle Flottante, By Hands – Photo Credit: Baptiste Heller; Photo 3: vase Fleur de peau, By Hands – Photo Credit: Baptiste Heller
ArchiExpo: Does the concrete make the Dalle Flottante Trays heavy?
Caroline Ziegler: No, we used a lightweight concrete. We made a special order edition too, which looks like someone threw ink into the concrete when it was still liquid. There is a spread of color in the middle of the concrete. Currently we are working on a luxury version. It’s made with walnut and ash wood; instead of concrete, we use a brass mirror.
ArchiExpo: Can you tell us about your Under the Skin product for FAVORIS by MOUSTACHE?
Caroline Ziegler: It was a special project for an auction party with 60 international designers. We made a lamp using fabric fromKvadrat. We layered gold fabric, cardboard and blue fabric. We wanted it to look like an insect. From one angle it looks like an African mask, from another the shape of a woman; it is a very poetic object.
Ziegler and Brichet are currently working on an office-furniture line and a light and furniture line.
The International Interiors show not to miss, IMM Cologne ran successfully from January 18 to 24, 2016. This year visitors are talking about the collaborative exhibition “Touching Tales,” put together by Alcantara textiles and Damn° magazine. It stole the show by fusing serene style into the hustling and bustling fair.
Vibskov concocted “The Science Spooner” installation with its very ‘meditative science lab’ feel. Fifteen cone-shaped vessels suspended from the ceiling “in a grid formation” exemplified Alcantara fabric in dark and medium green tones.
A motorized mechanism enabled the cones to move up and down, allowing their pointed tips to slowly dip into glass containers containing a bit of water. LED lights shine through the perforated cones.
Visitors entered and exited the space through a curtain of green Alcantara that surrounded the rectangular space.