Philipp Aduatz was born in 1982 and he his from Viena. He studied Industrial Design in 2007 where he combines a point of interface between design and art. His work is very innovative, his objects come in limited editions and are fabricated with creative materials and fabrication technologies. Philipp merge both functions, he is the designer and the producer of his work.
His main influences are scientific, deriving from his PhD studies in chemistry, physics and material technologies. Aduatz intention is to develop a certain language of form. His influenced and inspired by sculptors like Constantin Brancusi and Tony Cragg.
Philipp’s work join traditional craft techniques with innovative implements such as 3D laser scanning, CNC milling or Rapid Prototyping to develop a new aesthetics. Aduatz’s style furniture is creative process based on organic forms and elements from nature and art. Through a process of detailed analysis, the designer makes functional objects and extracts furniture typologies, conducting comprehensive studies of the materials. The results of this fundamental research are then integrated into a design process that goes through several stages, starting with a hand drawing, to a milled 3D model and the choice of which is then integrated into the final product.
Philipp Aduatz work is present in the most important design product fairs and he has won several awards because of his distinguished and super creative design. He has made the Melting Chair, which is suitable for use , with the purpose to capture a transient transformation within a sculptural object. The Melting Chair aim is to appear to the viewer either as a solid chair melting away or as a solidification of a liquid melt. To create a realistic illusion, Aduatz studied the solidification of fluids as well as the melting of solids with modern 3D animation software.
Adam Cornish is a graduate of Industrial Design (2004) from the University of Technology in Sydney and, subsequently, of Furniture Design (2007) from the Royal Melbourne Institute of Technology (RMIT) and is considered by many an up-and-coming Australian industrial designer with much to offer to the world of design in the future.
He already has an international career as he has received the 2011 Herman Miller Asia Pacific – Yves Behar Design Award and the 2010 Workshopped People’s Choice Award. He was also a finalist in the prestigious Bombay Sapphire Design Discovery Award (2010) while, at the same time, he has exhibited at Milan’s Salone Satellite.
THE FUNDAMENTAL GROUP-GUNNAR RONSCH&STEPHEN MOLLOY
The affiliation between sexual satisfaction and the cultural asset of a hobby room, why mathematicians often tend to commit suicide, how the headquarters of the pirate party should be built – notions such as these are heavily discussed by architects and product designers, Gunnar Rönsch and Stephen Molloy. The founders of Fundamental Groupnot only share a business, but also for the past seven years, their private home. Both home and office are located under the same roof in Berlin-Mitte.
They met while studying architecture at the Universität der Künste in Berlin, graduating in 2006. They have pursued a fascination for the mathematics of nature through our work as architects in London, Berlin and Los Angeles, cutting our teeth at David Chipperfield and Jürgen Mayer H among others.
In 2011 they started producing furniture in parallel to our architecture practice, and they haven't looked back. They love to experiment with new ways to use favourite old materials, and play with patterns and colours.
Fundamental.Berlin reflects their belief about the spaces and the things that are around us. They find it hard to articulate what they do (that's why they have to make it!) but they developed a 5 point manifesto that is behind every product they make, and they would like to share that with us.
One would think that such a symbolic model for communal living and working would contain its obvious benefits for creative individuals. However, Stephen and Gunnar reveal their working secret. While at times Gunnar might reveal his fear of failure, simultaneously, Stephen – the optimist – counters this with his fear of success. This tension acts as their underlying strength, propelling them onwards and upwards in the fields of architecture, design and mathematics. Ultimately, together they are primarily concerned with the possible transformation of their partnership, which at the present moment appears to be quite perfect.
Their apartment is a Villa Villekulla-esque structure that houses a range of intriguing mathematical design objects, fading GDR posters that line the corridor walls, and a bedroom that appears like Spitzweg’s iconic poor poet painting. Meanwhile assorted physical testimonies of an enduring friendship are littered throughout.
Satoshi Itasaka is a product and furniture designer. Along with his partner Takuto Usami, Itasaka operates under the studio name H220430, which stands for Heisei 22 (2010) April, 30, the official start date of his new venture. He got his humble beginnings in the more formal field of architecture working for Kidosaki Architects.
As is apparent by their most iconic work, Balloon Bench, a whimsical and fairytale-like piece that captures the hearts of fans of both The Red Balloon and the movie UP, their work lacks both clear functionality and marketability. Yet in a society built upon mass production, mass consumption and the subsequent disposal of objects that no longer provide immediate gratification, there is something incredibly admirable in the work of H220430 and their ability to embed a concept into product design.
Satoshi Itasaka drew his inspiration from this 1953 film which tells the story of a boy that befriends a red balloon and romps throughout the streets of Paris shadowed by his new pal (the film was later released for an American audience in 1957 under the name The Red Balloon, and took home an Academy Award for Best Original Screenplay despite the fact there is hardly any dialogue spoken in the film). The film is a classic, its imagery familiar to almost everyone; the innocent red balloon that is never far from the boy and follows him loyally even when potential danger lurks as others try to capture it and make the balloon their own. There is a dreamlike quality, in part due to the silence of the film, and whimsy is evident in the graceful dance of the bouncing balloon as it floats just out of everyone’s reach above Paris, even though the balloon meets its demise in a group of mischievous boys who destroy it.
MARLENE JUHL Jørgensen
Marlene Juhl Jørgensen is both an accomplished jewellery designer and fashion designer. Marlene had the privilege of receiving an apprenticeship with a very well known, highly respected goldsmith in Denmark as part of her education at the Danish Institute of Precious Metals. There she learned the classic fundamentals for her craft, where these principles still guide her designs to this day: Proportion, proportion, proportion and perfection, craftsmanship before design.
After graduating with a Goldsmith Degree and Certification, Marlene moved to New York to attend the prestigious Parsons School of Design, where she received a different type of education involving more intricate, innovative techniques. She graduated with a Masters Degree in Fine Arts and continued her studies at the Jewellery Arts Institute in New York. Marlene embraced the best from the classic European approach, combined with the more modern American approach to form her own unique way of designing with diamonds.
Marlene was soon selling her jewellery at high-end boutiques in Soho, New York. At the same time, she was offered her first solo exhibition at Gallery Tactus in Copenhagen, which brought her instant, high-profile attention from the press. This sudden success and demand for her designs in Denmark led Marlene to spend most of her time in Copenhagen, where she opened her own boutique, Figaros Bryllup - today known as Marlene Juhl Jørgensen Fine Jewellery. The boutique has expanded to include her workshop, where each piece is made by hand by a passionate staff of six.
Known for her ability to sense the next zeitgeist, fashion brands began turning to Marlene for her creative point of view and talent for capturing and creating a look that people liked. Marlene began collaborating with global Danish brand Day Birger et Mikkelsen in 2003. She was part of their design team and created a line of silver jewellery which instantly became a classic. Marlene went on to design all of their accessories and remained at Day until 2005.
There Marlene met Peter Ingwersen, fellow Dane and former Global Brand Manager at Levis. She joined Peter in the launch of a new concept in eco chic attire, resulting in a brilliant luxury label called NOIR. The recipient of the DANSK Fashion Award for Ethical Brand of the Year, NOIR has been invited to open for London Fashion Week twice and is gaining global attention for bringing exclusivity and sensuality to sustainability. Marlene is the Creative Director, designing the look and feel of each clothing collection.
Over the years, Marlene’s jewellery has sold in upscale fashion boutiques in New York, London, Paris, Amsterdam, Stockholm, Oslo and St Tropez, including several pieces which have appeared in international films and TV commercials, as well as fashion magazine editorials. In May 2016 Marlene Juhl Jørgensen Fine Jewellery won the price as 'Jewellery Brand of th Year' at Elle Style Awards.
Lucie Koldova is a designer born in Czech Republic. After finishing her studies in Prague she moved to Paris in 2009 where she started to work for international clients. Lucie designs furniture pieces, glass sculptures and timeless lights, objects of desire, pure and charismatic. Her work stretches from daily products, over conceptual space, urban area to poetic gallery objects and limited series. She likes pushing proportions to the limits and combines glass with noble materials hand in hand with simplicity and elegance. She appreciates and celebrates traditional glass craftsmanship and pays great attention to details. Her work has been exposed all over the world and Lucie has been awarded as Czech Designer of the year and Elle Decoration Talent.
Børge Mogensen (1914-1972) was one of the most influential designers in shaping Danish Modern design and present day Fredericia’s founding designer from 1955 until his death in 1972. He found inspiration all over the world in his quest to create everyday objects that would endure for generations. Mogensen's most recognised pieces were developed during his collaboration and friendship with Fredericia CEO Andreas Graversen.
Børge Mogensen was one of the pioneers that created the foundation for the Danish Design as a culture of furniture design. His life-long ambition was to create durable and useful furniture that would enrich people’s everyday lives, and he designed functional furniture for all parts of the home and society.
Mogensen’s ideal was to create furniture with a restrained aesthetic. He believed that furniture should create a sense of tranquillity and have a modest appearance that encourages people to live their lives unpretentiously. He was acclaimed for his masterful sense of materials and proportions, and for his ability to create beautiful and distinctive furniture by emphasising simple horizontal and vertical lines and surfaces – all in an attempt to create aesthetic clear designs that were easy to produce.
While working strictly within his self-imposed dogmas, Mogensen’s artistic temperament often led him to break his formal rules without abandoning their original intent. Thus Mogensen’s furniture can be described as both modest and very self-confident - just as their creator. Throughout his life Mogensen was one of the boldest voices in the critical debate on furniture design. He often criticised his peers for surrendering their artistic authenticity in favour of short-sighted fashions, but he always welcomed innovations that he found offered real progression. Mogensen preferred to work in refined, yet rustic, natural materials such as solid oak, natural leather, wool fabrics, and brass mountings.
Mogensen was a trained cabinet-maker and furniture designer at the Copenhagen School of Arts and Crafts before entering the school of furniture design at Royal Danish Academy of Fine Arts, where he was taught by Kaare Klint and graduated in 1941. Throughout his career Mogensen continued to defend the ideals of evolutionary design progression that were essential to the Klint School, while also expanding on the tradition. Contrary to Klint, Mogensen was not only inspired by the traditional cabinet-maker’s types and crafts - instead he adapted models planned for industrial production, as well as the more informal housing that emerged in the 1960’s.
In 1948 Mogensen participated in MoMA’s international furniture competition ”low-cost furniture” together with his friend Hans J Wegner. Back home in Denmark, inspired by the exhibition, he experimented with plywood shells and fused the international modernist movement with his own design identity. Mogensen also found inspiration in ethnic arts & crafts, lithography and Japanese wooden carvings.
Mogensen’s early contribution to Danish design came right after his graduation, when he was hired as chief designer for the Danish Coop FDB. There he led a program to renew Danish furniture culture and create modern, functional and useful furniture that would be affordable for all social classes. In 1950, Mogensen opened a private design office, and shortly after, in 1952 he began collaborating with young interior architect and entrepreneur, Andreas Graversen, who would later become owner of Fredericia Furniture.
Andreas Graversen’s acquisition of Fredericia in 1955 marked the start of more than a purely professional partnership with Børge Mogensen. Over the years, the two developed a strong friendship, fuelled by a common desire to create simple, high-quality furniture with enduring aesthetic appeal. They were equally dedicated and passionate to their crafts, and their partnership was often temperamental.
Mogensen’s most recognisable pieces were developed to fit Fredericia’s workshop. One reason for Mogensen's immersive creativity at Fredericia was Graversen’s ability to follow him in his intentions and consistently fulfil his uncompromising demands for quality. To this day, Fredericia is the primary producer of Børge Mogensen’s furniture. Graversen and Mogensen’s high demands for quality, functionality and sense of material are still very much alive in our approach when developing new furniture today.
Mogensen received the The Eckersberg Medal 1950, as well as the highest architectural honours in Denmark, the C.F. Hansen medal, in 1972. In 1971 he and Andreas Graversen jointly received the Danish Furniture Prize for their contribution to the Danish furniture industry, and in 1972 Mogensen was appointed Honoury Royal Designer for Industry at the Royal Society of Arts in London. Examples of Mogensen’s designs can be seen in leading design museums around the world.
Børge Mogensen died in 1972, only 58 years old.
Freely translated as ‘New Gents’ was founded ’09 by Erik De Nijs and Tim Smit.
Erik (’85) and Tim (’88) both graduated from the University of the arts Utrecht (Holland) in 2009. After some successful cooperation’s during their study, they decided that their comparable vision and ideas, would make a great team for a fertile collaboration.
At Nieuwe Heren we design products that are more than just aesthetics. We hold the belief there are enough meaningless products already. That is why we’re aiming for timeless designs with a focus on durability. For this reason we prefer materials like steel,concrete and wood (and because they’re just badass) We think a clear story behind a product contributes to the sustainability as well.
Products are more than just objects to enrich your interior. Luckily our knowledge of design stretches beyond the realm of furniture. We also come up with complete ideas and technical drawings for our clients. Ranging from gardening tools to shopper activating products.
Pache est un artiste et designer d’origine franco-portugaise résident en Belgique. Diplômé de l’Académie Royale des Beaux arts de Bruxelles, il décide de partir à Barcelone pour étudier le design industriel et l’art. C’est à cette époque qu’il développe ses peintures sur toile et qu’il rencontre des figures incontournables du graffiti et de l’art de rue et se lance à son tour dans cette discipline sous le nom de Pache. Cinq ans plus tard, il revient vivre en Belgique et développe des projets de mobilier avec Alain Berteau lors de son stage dans le studio de design «Objekten». En 2014 il poursuit son cursus universitaire en étudiant le design graphique. C’est cette même année qu’il rentre dans la «Art Unity Gallery» enchaînant les expositions à Londres, au Luxembourg et à la côte Belge. En parallèle il développe la personnalisation d’accessoires et de sacs et de luxe et réalise des fresques murales sur demande.
« Luxury Toy »
Quelle part d’enfant subsiste en nous à l’âge adulte? Qu’avons-nous réussi à préserver de cet âge? En grandissant, on a perdu le goût du jeu. Enfant, on jouait pour s’amuser, pour se découvrir. Arrivé à l’âge adulte, pour la plus part d’entre nous, nous avons tout bonnement cessé de jouer. Pour moi, les marques de luxe c’est l’équivalent des jouets de l’enfant. Ces marques stimulent inconsciemment chez certaines personnes une nécessité primaire où la rationalité n’a pas sa place. Le Playmobil, c’est l’icône de trois générations, symbole de l’enfance. J’ai voulu associer deux univers d’apparence très distants mais si l’on y regarde de plus près, intimement liés. D’une part une icône internationale du jouet et d’autre part des icones du luxe au succès planétaire tel que Chanel, Hermes ou Louis Vuitton. Cette série que j’ai intitulée « Luxury Toy » tente subtilement d’attirer l’attention sur une époque de surconsommation où les marques de luxe prennent une place de plus en plus importante dans notre société.
The young Belgian designer Patrick Seha lives and works in Brussels, where he also studied at the La Cambre ENSAV. In context of furniture design Patrick Seha has so far mainly cooperated with the Belgian manufacturer Per/Use. Not only Piano, but Séha's entire portfolio demonstrates a penchant for fine and solid materials as well as a contemporary, graphic look, and always results in a playful and useful designs object.
Ömer Ünal started skateboarding in 1981. He designed and built Turkey’s first skateboard ramp in 1987, for Selamiçeşme, Kadıköy. Ünal graduated from the Fine Arts Faculty, Interior Design Department of Marmara University in 1996.He completed his master’s on design at the Domus Academy in 1997.
Ünal is a skateboard instructor and an interior architect. He took a break from skateboarding from 1997 to 2007. On his return to skateboarding in 2007, he organized SkateFest with Onur Akın, built mobile ramps for the venue on Caddebostan beach, and donated it to the skateboarders.
In 2000, he earned his second Master Diploma in Interior Design from Marmara University Faculty of Fine Arts Interior Design Department and started providing architectural design, application and counseling services with Assoc. Prof. Dr. Engin Ünal at Ünal Architects. In 2000, he founded Ünal & Böler Studio with his partner Alper Böler in Istanbul, and they provided concept development and counseling services for residence projects like Oyak Konut, MM Project and Construction’s Çamlıca villas and Taşyapı’s Mashattan, Almondhill and Göztepe.
After completing his skateboard ramp project for skateboarding activities at Istanbul, Caddebostan beach in 2008, Ünal designed Turkey’s first concrete skateboard wave for the villa project he designed at Dragos. Ünal designed the ramps used at the Go Skateboarding Day, SkateFest events in 2009. Alçak Skate Park is also Ünal’s design where many competitions, concerts, exhibitions and shows are organized.
Ünal’s designs have been included in various exhibitions and organizations like Milano Slone Satellite (2005-2006-2007-2008), Milano Armani Theater, Wallpaper Exhibition (2005), Istanbul Fashion Week (2005), Cologne Messe (2005-2006-2007-2008-2009), 100% London Designers Block (2006-2007), Ilk in Milano (2006), "Babam ve Oğlum" (My Father and My Son) with Işık Gençoğlu as the curator (2009), Ideco Istanbul Furniture Fair (2010) and Istanbul Design Spirit Exhibition (2010).
Ünal won first place at Apple Design Project and second place at Driade Citrus Juicer Comp in 1997. Ünal & Böler Studio won first place for "Nar Sehpa" (Pomegranate Coffee Table) design at Istanbul Design Week in 2005, first place at Casio G-Shock Design, Gioa Casa Magazine Good Design Award for its Petek (Honeycomb) bookshelf, and first place at Mak Design Shop Award for its Salkım (Bunch) book hanger in 2006. “Sema” coffee table designed for Nurus won 2008 IF best design award.
Ömer Ünal continues to his design and project management work at Ünal & Böler Studio and teaches skateboarding at the Alçak Skate Park he runs.
Caroline Voet is a Belgian based architect. She loves to design and make spaces and objects, crossing the borders between architecture, design, scenography and graphic expression. She works on a range of projects for clients as het Vlaams Architectuur Instituut (the Flemish Architecture Institute) and Arts Centre De Singel. All her projects are driven by a strong passion: to create something beautiful, to turn everyday rituals into a wonderful experience.
Careful attention to the users’ needs and a personal approach guarantee a unique translation of functional demands and economic requirements. Space fits like a pair of favourite gloves. Over the years, Caroline Voet built up a profound knowledge on spatial qualities and the design process, both from her passion as a designer as well as her experience as a teacher and researcher. She studied architecture in Antwerp, Belgium before attending a Masters at the Design Research Laboratory at the Architectural Association in London, where she graduated with honours. Her thesis project ‘Fyber Space’ was awarded the Alex Stanhope Forbes Price. She learned her skills at Zaha Hadid Architects in London and Christian Kieckens Architects in Brussels. Back in Belgium, she received the 2001 Godecharles Award. In 2004, she founded her own office in Antwerp. Her first project, the reconversion of two houses in Hopland, Antwerp, received the Monumenten- en Welstandsprijs 2006. Between 2006 and 2011 she co-founded Voet Theuns architecten, working on a range of projects from furniture and museum interiors to schools and social housing. Since 2012, she started her own practice, focussing on high quality design projects. Architecture and design practice have always been combined with teaching and research. She focuses on design strategies, aesthetics and architectural theory and methodology. Main research topic is Dom Hans van der Laan’s Architectonic Space. She taught at the Architectural Association and the VUB (Free University of Brussels). Since 2006 she is affiliated with Sint-Lucas School of Architecture, now part of KULeuven. Caroline Voet is a member of the research group ‘Architectural Culture of the Recent Past’ and of the Arenberg Doctoral School, KULeuven. Her phd on the work of architect Dom Hans van der Laan was completed in 2013. Since 2012, Caroline Voet is a member of the General Board of the Dom Hans van der Laan Stichting, the Netherlands, and more specifically, she is chairman of the Research and Education Team within this organisation. Caroline Voet is a member of the editorial board of the Yearbook Flanders, issued by the Flemish Architecture Institute (VAi).