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Classical-Meets-Contemporary Ceramics by Nicolette Johnson
It’s not every day that we make a discovery on the level of Nicolette Johnson, when some random Instagram rabbit hole leads us to a trove so vast we can hardly believe no one had tipped us off to it sooner (mental note to start reading the Design Files more carefully). But that’s exactly what happened last month, when we stumbled onto an image of Johnson’s vases and found ourselves practically hyperventilating — not just over the works themselves, but the fact that the young Brisbane-based talent only started working with ceramics at all less than two years ago, after having forged a burgeoning career as a photographer and documentary filmmaker. Hence why the images below — primarily depicting her most recent creations, which merge contemporary geometries with overtly classical forms and finishes — are practically works of art in and of themselves. There are tons more where they came from; visit Johnson’s website or follow her on Instagram to see why we fell so hard.
Text by Monica Khemsurov via Sight Unseen
www.nicolettejohnsonceramics.com
This piece is a kinetic chandelier based on the nursery rhyme “Hey diddle diddle”, and an homage to our late co-founder. It contains a hand-carved cows head in English Alabaster, a cast milk bottle (resin and onyx powder) and a fin of book binding leather in the 2D form of a jump. Each of the three items is held in perfect balance by a series of brass rods, each of which also holds a moon for the cow to jump over. We wanted to crate a mobile chandelier. Previous pieces had led us down a lunar path and so someone jokingly said, “I know, how about The Cow that Jumped Over the Moon.” What started as a joke gradually became a discussion and finally a design.
www.autolykus.co.uk/
As a child, I would walk over beaches and through fields and forests to collect beautiful shells, shimmering stones, feathers and funnily shaped branches.
Much later, after I had moved from Holland to South Africa, I found myself doing the same thing. Only to discover, that I started filling my pockets with trash instead of treasure.
Plastic from the Ocean. Colourful and beautiful in its own tragic way.
‘Plastic Ocean’ is an art project, which I started to create awareness around pollution to try and prevent ( or at least reduce) plastic pollution. In making artistic sculptures out of the objects I find, I try to evoke an emotional response from my audience by creating a contradiction.
A clash between initial aesthetic attraction and after a second look : repulsion and the realisation of the tragedy trash causes.
Our beaches are covered in plastic confetti and there really is nothing to celebrate.
Words by Lysbeth Bijlstra
www.plastic-ocean.net
Reverence is about a record of our times. The landscape-inspired pieces crack, break, and flow to evoke a kind of realism that floats between an abstraction and photography, watercolor and pastels. The palette of neutrals blends seamlessly into ombre colorations. Each fiber is meticulously planned and hand-sculpted by artisans at Edward Fields- from blended silk and wool yarns, to shag with low-pile contrasts, to surprising edging that-like nature-defies right angles. The collection brings the same spirit of consideration seen in each grain of material in Mastrangelo’s sculptural works.
www.fernandomastrangelo.com
www.edwardfields.com
Acqua Alta is the italian word for the “High water”, phenomenon that occurs in the city of Venice. This project is conceived from the idea of enhancing a cultural and historical heritage that belongs to us: the city of Venice. Venice and the Venetian region are home to such craft techniques and secrets that few know how to play. Strong traditions characterize this city that has for a long time been the center of commerce and trade with the rest of the world.
www.acquaalta-collection.com
www.rubelli.it
Foresso uses high quality FSC British timber that is unusable for joinery due to defects or odd sizing to create a versatile surface material. It reclaims these components and fashions them into a material that recreates the aesthetic of traditional terrazzo, with a rich grain and hand-of-the-maker quality. Both pleasingly modern and classically styled, terrazzo can be found everywhere – from restaurant entryways in Belgravia to flooring in the London Underground. Random and organic, manufactured yet identifiably human, Foresso builds upon this tradition.
Conor Taylor has invented a new way to repurpose British timber for an original take on traditional terrazzo. Taylor was inspired by seeing extremely high quality wood regularly wasted in enormous quantities during processing. Delicate curls of planed wood and pieces of beautiful timber would, due to their unusual size or shape, regularly be pulped for filler or burned.
Throughout this process, Conor tackled the technical hurdles of imbuing timber with the qualities of marble: crafting wood chips with a stone-like feel, making the surface consistent and durable, and optimising the proportion between timber and resin-binder material; all ultimately ensuring that Foresso could be produced efficiently and at a large scale. To complement its quality craftsmanship, Foresso only uses FSC-certified timber and always sources locally. After refining the process and recipe, Conor switched his attention to design – carefully selecting binder colours and timber compositions to reference terrazzo’s classic aesthetics. As part of this process, Conor began work on developing Foresso’s collections – each recalling an experience of London’s many distinct locales.
Perhaps it’s the captivating way in which she designs jewels from her own personal world, intimately connected to the soul, or maybe it’s how she accomplishes to reinforce women’s and men’s innate power. Joanne Burke, who lives in Testaccio –an out-of-the-way neighborhood in Rome with some quirky sights and amazing old characters around–, creates jewelry from her atelier, an unexpected hidden sanctuary, which echoes a peaceful and dreamy aura. Orchids, frescos, surrealism, hidden languages, floaty silks, creatures of the deep, baroque, rituals, whimsical places and much more…Get immersed in the extraordinary world of delicious mystery and exquisite craft of this English artist.
story via metal magazine
Architectures Cadaval & Solà-Morales founded their stucio in New York City in 2003 and moved to both Barcelona & Mexico City in 2005. The studio operates as a laboratory in which research and development are key elements of the design process.
This bungalow is the first of a series of cabins to be built over a spectacular site in Tepoztlán, a small paradise located at about 50 km from Mexico City. The town has fantastic weather conditions, and a unique character built thru its pre-Hispanic origins that were followed by a colonial center that is still the heart of the village; its charm attracts the presence of intellectuals and thinkers to stay over the weekend, or for longer periods of time.
The bungalow is conceived as a refuge for temporary sojourns in Tepoztlán. In the site there is already an area for common uses, including a large garden with a lounge and a pool which were also designed by our office. The bungalow is designed as part of the same project. A minimal private space for a couple or a small family is the program; however, views, light, nature and quietness are the reason of the project.
Being a temporary shelter, the project prioritizes both the living area and the master bedroom. Hence, the box brakes down in two at the front to make explicit the separation between those two main frontal spaces, allowing the vegetation to occupy the rift. To strengthen the necessary relationship with nature, these two key spaces have large front terraces that extend their experience and approach to the edge of the natural platform on which the bungalow stands. The cabin is a small plinth, a shelter among the trees to enjoy the views, the weather and the exuberant nature of the place.
On Zanzibar, tourists have become an important source of income, as well as (glass) waste. The island is not yet equipped to process all this glass waste, which means the glass makes its way into the natural surroundings. What if the tourism that caused the waste, could also contribute to processing it?
During the Dutch Design Week bottle-up will launch its first results during: seven products made out of the glass waste. We worked with local craftsmen to translate glass waste into a first series of products. Offering these products to tourists on the island completes the circle: the waste caused by tourism is transformed into valuable up-cycle products, whereby the tourists effectively finance the next step: the development of construction materials made from glass waste.
Bottle-Up Design Team
The bottle-up project is an initiative of Hubert & Elisabeth van Doorne and Dutch Design Week. The first team of designers to plunge wholeheartedly into this up-cycling task consists of:
OS ∆ OOS – Sophie Mensen and Oskar Peet
Studio Klaas Kuiken- Klaas Kuiken
Stonecycling – Tom van Soest and Ward Massa
Super Local – Pim van Baarsen en Luc van Hoeckel
Please check their website for these gorgeous projects:
