Anniina Koivu, about the Process of Making


Anniina Koivu works both in Lausanne and Milan: in Lausanne at ECAL / the University of Art & Design as the Head of Master Theory, and then as a freelance writer (she was one of the coautors of the first monograph on the complete works of design studio Industrial Facility, for Phaidon), curator and consultant with international clients, designers and brands. She is also one of the three curators of the Fiskars Village Biennale that has just started in Southern Finland. Anniina, you do so many things, could you tell us a bit about yourself, I mean your story and how did you decide to become a design curator?

What is great about this diversity of projects is that I get the chance to see today’s design industry from different sides: inside the university I am discussing with future designers about ideas and preparing them for the design world, with the manufacturers we develop new projects and publishing gives the space for reflecting on design’s bigger picture. It is holistic.

How I got here is a chain of events and lucky coincidences.

I lived my first six years in Finland until my family moved to Germany. Later on, I came back to Helsinki for my studies. I wanted to study something design-related, but was uncertain whether it should be product, graphic design or architecture. Finally, I opted for architecture at the Aalto University, thanks to what my grandfather used to say, “Start big, you’ll be able to downsize but the other way will be more difficult.”

And as it happens, today I have downsized to the immaterial. I don’t create anything myself, but show, write and talk about others’ work.

From Helsinki I went for my final year to Venice and things took a new turn. After graduating I was offered a job in Milan as the Design Editor of Abitare magazine by Stefano Boeri, who had just taken over the direction of the magazine. In those years, 2007–2011, Abitare had a real momentum: we were reintroducing criticism into design journalism, experimenting with all kinds of different new formats. For example, we had new products by emerging designers reviewed by their design heroes in the SOS Design series, or we put design objects on public trial in The Design Trial series, where we invited experts and makers to discuss their own products critically and in public.

Then, in 2011, I got a job offer from Vitra to become the company’s Director of Research. So, that was the introduction onto the other side of the industry, which was a fantastic learning ground.

Many different kinds of projects have followed ever since. Books and essays, and a series of exhibitions, the latest ones being U-JOINTS or FACTORY.

What is your link to this place and venue of Fiskars Village Biennale? What is the link between past and present there?

The FACTORY exhibition for the Fiskars Village Biennale is the first project I’m doing in Finland, so for me personally it’s very exciting.

Founded in the 17th century, as Finland’s first manufacture of cast iron and forged products, the village of Fiskars and its history go back a long time. Today, Fiskars deserves attention more than ever.

The village is most known for the orange scissors, but still only few know about the story behind its art and design culture. When the last factories were closed down in the 1980s, the village was about to die out. In order to bring people back to the village, artists and craftsmen were given privileged access to ateliers and workshop spaces. Some of the original settlers, such as Karin Widnäs and Kari Virtanen, still live and work in Fiskars.

The new residents founded the Cooperative of Artisans, Designers and Artists (ONOMA)which today has about 120 members and the situation in the village has been reversed, so that there is now a waiting list to become a member and to find work and living space. The village was brought back to life through craftsmanship and art! This is not only a fascinating story, but also an example how other international realities and design districts could be revitalized. Of course, similar stories are already happening too. For example, the Arita area, which is the birthplace of Japanese porcelain, is being reinvigorated through international collaborations, such as the Arita 2016/ project. Or, on the other side of the globe, on the island of Fogo in Newfoundland, Canada, local furniture production is part of a project to bring sustainable life to a population whose livelihood in the fishing industry has been threatened. We also tell these stories in FACTORY.

Arita collection by Studio Wieki Somers

Arita collection by Ingegerd Råman

Arita collection by Jewellery designer Saskia Diez

Arita collection by Scholten & Baijings

Stool by Glass Hill (Markus Bergström & Joe Nunn) and Armchair by Ineke Hans for the Shorefast Foundation in Fogo

The Economic Nutrition label was invented by Fogo-based foundation Shorefast, who is behind all the great work on the island, including the woodshop

Back to Fiskars, I think it is very important to be aware of the current as well as future steps. On one hand it is fantastic to see the attention that Fiskars is getting since tourism accelerates local life and indirectly also production. On the other side, one needs to remain determined not to give in to new market demands. The danger of producing basic souvenirs for the in-coming crowds can be tempting, but it should not happen at the cost of excellent quality work.

To your point of view, why is your exhibition, « Factory », separated from the exhibition called «Design» (curated by one of the most important living designers Jasper Morrison)? What kind of principle does it underline? Local manufacturing? Including the process of making within the creation of the object? 

The Biennale’s distinction between “Art”, “Design” and “Crafts” was more a way to distinguish between three different projects and three different curators. Nevertheless, the idea to focus on crafts and the making of things makes much sense for the FACTORY exhibition. It both relates to Fiskars’ past and present as well as the international design scene. So, our idea is to invite people to step into a factory and see how objects are made and to show them the diversity of design manufacturing. Many people think of factories as dusty and noisy spaces, but not many know that there are all different kinds of factories. There are workshops, large plants but also more silent ones, and some even resemble laboratories. On the other hand, a craftsman’s workshop is often related to a rather romantic image, one who also fights the factory. In this scenario, it is the craftsmen who are the first to experiment with new tools and apply new technologies. After all, progress is about maintaining and improving the quality of work. The show also tries to reset some of the controversial discussion of “man versus machine”. Today, we are beyond such a simple polarization.

What is your point of view on industry in general? Is there a clear distinction between industry and crafts?

First, a quote by sociologist Richard Sennett comes into mind. In The Craftsman, he redefines the intellectual framework of craftsmanship and writes how it “may suggest a way of life that waned with the advent of industrial society, but this is misleading. Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake.” So, craftsmanship speaks, first and foremost, to a desire for quality. It is a way of making things that is based on dedication, and thrives on a sense of pride in one’s own work. Craftsmanship is an attitude. I like to believe this exhibition is a good reminder what it actually takes to make things – the multiple ways, processes, places and people that are involved on the way and how quality is reached thanks to excellent craftsmanship.

Could you tell us a bit about the exhibited projects and the story behind this selection.

The exhibition showcases 45 different stories. These are the stories of 45 selected projects, each of which speak of the people who created them, the objects’ places of origin and just how many different ways there are of making things. The starting point is the factory, the place where design is being made. A factory is a place to create: typically, a workshop or large-scale plant, today’s design production can also be found in high-tech laboratories, bio-reactors or even outdoors, at the beach. Factories are as diverse as the roles that go into production. Here, craftsman, designer and producer are in constant dialogue. Sometimes their roles intertwine, overlap or even merge. There are tinkerers and makers, explorers and inventors, scientists and story-tellers, rationalists and functionalists. A factory combines history with progress. A guardian of memory and heritage, it is a place that preserves traditional manufacturing processes. But a factory is never stagnant. It is constantly evolving. An historical manufacturer reinvents itself as research center, and becomes a place of experimentation. A traditional carpentry workshop takes advantage of the most diverse modern tools. New technologies are not a threat to the craftsman’s livelihood. Rather, they are welcome tools for the craftsman who is constantly trying to improve his work. So, more precisely, we have examples of the work of Hella Jongerius, who often highlights how crafts and technology are both integral parts in design production. There are projects by the Self Assembly Lab of MIT, the ETH Zurich and the Korvaa research group, which all show how 3D printing and experimentation with new materials can generate new production methods and even open new kinds of production sites, such as laboratories or bio-reactors.

Then there are examples of more traditional design making, which are being preserved thanks to high-end luxury brands. But we also have those stories without a happy ending, such as the one told by design duo Com-pa-ny, in which a traditional leather maker goes out of business, cast out by its former client. It is a reminder to be on your toes about innovations and progress. To dodge extinction, makers from the Tajimi Custom Tiles project in Japan, enlarge their area of work from mainly architectural restauration to the manufacturer of new product lines.

Of course, the exhibition is rich in wood-making, being also an important area of production in Fiskars. Here we show the works of local cabinet makers such as Heikki Aska, who challenges lightness in wooden furniture. Kari Virtanen illustrates how a clever wooden joint can be the defining detail to move a table prototype into successful serialized production.

Industrial Facility for Mattiazzi and Kaksikko studio for Nikari created two projects that illustrate how different production techniques, ranging from handwork, machine work to latest CNC-milling, are all important parts in the making of a chair.

Another local cabinetmaker, Minja Kolehmainen, broke open the different steps in the making of a stool, indicating the time spent along the way to explain why a craftsman’s furniture piece has its costs – and value. Ironically, her project is called “I’m not a factory.”

To visit Fiskar’s biennale, check its website, and its accomodation page. Thank you very much Anniina.

Superpoly: Finding the twist that transforms ugliness into beauty

Courtesy Margaux Salarino

I met Superpoly, a duo of all-round designers who are renewing the genre of interior design, a duo of southerners (ie : South of France), who retain from their Var coast, images of the sea and colours made vivid by the sun, rather than the accent of the South. We were in a cafe in Paris on a Friday. The conversation started quickly, faster than the installation of my recorder, and crystallised on the fact that there is now a space in France for creators who do not create smooth things.

Antoine Grulier: At this moment there is a place for grabs for artists and designers, even for galleries, there’s no gallery in Paris which exhibits such things.

Thomas Defour: There really is a place for grabs in what you call  “Dirty Design*”. This expression is interesting but when we started… Antoine was very artistic, but could work with very poor materials while I had a more let’s say “straight” design training. And by mixing these two things, we really saw something really hyper positive: we could create with anything and everything and bring together a whole load of influences that were unique to us, that come from both contemporary art and what’s happening in a scene …

AG: contemporary art AND design in fact. We like music, architecture, we like fashion. We feel comfortable in all those places …

TD: it’s juggling all these influences. But also the South of France. We also have this thing about recycling materials.

Courtesy Etage Projects

Your image, really is that of Southern designers. You gave me appointment in Paris. I was surprised I was preparing a trip to Hyères for the next Design Parade, I wrote you in this context and I thought I would see you there. But where are you from? What has your path been so far?

AG: We simply happen to be living and working in Paris right now. But we are both from Hyeres.

TD: We’re really children of the Villa Noailles, it’s our artistic culture. The first things we did together were in my garden.

How old were you?

TD: It was in 2015.

AG: 23, 24 years old.

TD: The idea was just to have fun and create a bridge between our two ways of working; to use materials, to work with them in an artistic way, with paint and that sort of thing. Then there was the Toulon Design Parade. This was the first time that the city had proposed a festival of interior architecture. At first, we thought that we were not made for this discipline but…

AG: We were quickly at our ease.

TD: We really saw the way to fully express our culture, this way of mixing design and colour.

It’s interesting that you started with interior architecture, which is a discipline that is, let’s  say, less free in France than elsewhere. And you’ve made a work of art out of it…

TD: We tried. We were not into the technicality of architecture, the technicality of someone trained in this field. We saw it as an installation. The Villa Noailles allowed for this freedom. There was also a supplier who helped us by providing us with tiles… these were things we never thought we would be working with. Looking through catalogues etc… But there are so many things you can do in this field …

AG: There is also a curatorial work. You see, for instance, we talked about tiles. It’s not just the choice of tiling, it’s the mix of colours and shapes which hook up in a certain vision.

TD: We also created a water mains inlet… so it was pretty technical in the end.

Courtesy Lothaire Hucky

It’s not just tiling, you alluded to a swimming pool, what memories did this bring to mind …

AG: It’s pretty funny because people often talk about this project, saying that it looks like a disused pool but in fact it was something completely different. We are used to go to a beach called Polynesia, in Hyères, in fact it is a beach with big rocks where the residents built concrete slabs to enable them to use those rocks as a beach.

TD: They built it right on the sea, it’s pretty awesome!

AG: With ladders going into the sea, proper swimming pool ladders.

TD: So we wanted to build a kind of transition space, to bring a wild space into an already installed interior. We made ceramic rocks and put tiles everywhere that allowed it to be watertight. Water is not an enemy in this room. We put a hose in the middle and some green plants. The idea was really to enable playfulness in this room.

AG: To be able to play, but essentially to be free. We wanted the freedom to say: we can sleep on the ground, we can sleep upstairs…

TD: Ladders, hammocks …

AG: You do not have to take off your shoes.

TD: Sand from the beach gets everywhere, but here it’s not a problem. It’s the way we live in the summer, we spend our time in the sea, in a swimsuit, not thinking about anything. We do not want to do housework and clean up all summer. Everything is much less complicated. You simply wash your feet in the middle of the room and water the plant. And the dampness remains in the room as a cooling ally for your sleep in the hammock. We were often told that it was a bathroom, but although we brought a lot of bathroom items into this room, it’s not a bathroom, but a play room.

Courtesy Lothaire Hucky

A room for everything, a room for whatever: anything’s cool.

AG: Yes, that’s it. People think it’s a bathroom, whereas I think it’s a bedroom. And maybe my grandmother will come and say it’s a kitchen. It’s also interesting that people imagine the spaces they want.

So what’s your thing about rooms? You made several while playing with the very stereotype of the room. You made a room for the hotel La Reine Jane, you made a room for the Moulin des Ribes (the project s called 5 Rooms)…

AG: It’s not really a hotel room, it’s a room for someone.

TD: It’s an artist’s residence. The festival, Design Parade, opened this door and gave ideas to other people… to agree to give us total freedom and leave us “carte blanche” for a particular space. The story of the Reine Jane hotel is one of a businessman searching for a strong concept for his hotel. He decided to have each room created by a different designer. It is the Villa Noailles who helped with the curating. There are many artists who come from Villa Noailles who participated in this. There are some super signatures. We really wanted to be part of this project when we saw that it was being realised.

AG: It’s also a building we’ve known for quite some time. It has a story, what with Godard filming Pierrot le Fou there, etc.

Courtesy La Reine Jane

The Villa Noailles is really more than a simple exhibition space, it really helps designers like yourselves, all along the process. In my opinion, your room is one of the most successful rooms…

TD: We spent a lot of time in this room, we were probably the ones who had the most time. We simply were there. We were the youngsters of the project, so we really concentrated on it.

AG: We destroyed part of the walls ourselves…

It seems that everyone did not perceive the exercise in the same way.

TD: The instructions could be read differently by established designers. Inga Sampe has an already huge catalogue of objects, so for her, it was perhaps more about the selection and the enhancement of things which were already created. Her universe is already present in her objects.

But apart from you, it was only object designers, right?

AG: Yes there was us, and Valentina Cameranesi.

Courtesy La Reine Jane

We also love the room of the OddMatter, with their cork material.

Courtesy La Reine Jane

They are part of this generation, which is not (or not much) represented in France and which is a little “Dirty* /Cool”.

TD: We thought the project was great because it was the first time we created something that lasted because … what we did for the Design Parade was destroyed after 6 months.

AG: Even earlier. But it was very good because it was very dense for us.

TD: I was still a student at that time.

AG: To get back to La Reine Jane, we knew exactly what we wanted …

Courtesy Lothaire Hucky

Weren’t there any decisions made on the spot, spontaneously?

TD: There were, some of the things were already planned, and some weren’t. We decided to work on small elements, we did this in collaboration with Salernes. It is a city in the Haut-Var that makes Provencal ceramics. This town was largely maintained by second homes in the area, especially in the 1990s. It was THE village for materials. Now people are going to big cities, to showrooms, or have their selection made by architects. So we decided to work with Salernes, to stay local and support this “savoir-faire”, and we made a fresco in painted tiles. Our idea was Atlantis, where everything was enshrouded by the sea, all the volumes were a little eaten-up, nothing really remained apart from the ceramics. This is something that we still see quite often on the coast, these faïences that are half-buried…

AG: In Hyères, there is this archaeological site called Olbia, which is partly submerged by the sea with treasures that could be summed up as small walls and terracotta. We wanted this kind of feel, like a promise that these sites tend to give off.

For 5 Rooms, you also use a special technique for the walls, which creates depth?

AG: It’s stucco, it’s lime with marble dust.

TD: Antoine’s first drawing was of layers of paint upon layers of paint scratched out a little with a knife. We tried to achieve the same result with stucco. It is a material that is layered…

AG: it works by transparency. That’s what they used in the Italian-style palaces. This is a historic technique of the most beautiful palaces in the world.

Courtesy Giulio Boem

On your website, your images seem to have a specific lexicon of characters with a starfish always as the hero…

AG: Yes it’s like we have our own cartoon. We have our mascot.

TD: It has become a kind of logo, and we like to play with our image as if it was a brand of swimwear from the 1980s . It has that…

AG: solar and at the same time obsolete look…

TD: yes, but also regressive. We found that French design is something very serious, we did not want to go in that direction.

AG: …it’s all the codes of a brand, we have a brand name, a logo.

TD: …for the website, we thought we were going to do some kind of virtual tour of the superpoly house.

AG: Every time people go on the site, they will discover a new thing. It is this what is interesting : you have to really want something to be able to find it.

There’s something “pretty/ugly” that I love.

AG: It’s what our work is all about !

TD: Maybe this is the new French scene – the “beautiful ugliness”. It is true that there is this “entre-deux” of good and bad taste which is a delicate balance with which one tries to progress. We’re trying right now to see how to apply our universe to artistic direction.

I noticed that you Antoine, you worked with Sébastien Tellier.

AG: Yes, I’m also set designing for fashion.

Sebastien Tellier is someone who’s had a great career but you have this in common: he also played on this fringe between beauty and ugliness.

TD: Yes, that’s one of our great inspirations. He explores kitsch, hyper rococo influences, absurd things. But he brings a certain modernity, a twist to them that we always try to find.

AG: It’s risky.

TD: When we think of some of the 1980s designs, there is a whole load that has fallen into oblivion because it is said to be in bad taste. There are a lot of really interesting things to get from there.

AG: Even more so today when there is a globalisation of design. It is a way out of standardisation.

I remember when I was working for an international design gallery called kreo, which showed only the very best of global design, one of their exhibitions that really impressed me was a mini-show curated by Nicolas Trembley called Sgrafo vs Fat Lava.These are ceramics from West Germany during the post-war years. Fat Lava is a ceramic technique that explodes during cooking, while the Sgrafo is rough, usually white. Basically the forms are very free and Nicolas Trembley spoke of “pre-design”. He said that his father collected Japanese ceramics, that were immediately sublime, and that he had the need to go to something less immediate.

AG: Our ceramics are Vallauris. There are some very beautiful and some very ugly ones, but what is nice is that after the passage of Picasso, local ceramists allowed themselves to be free.

TD: It’s a popular art that’s really inspiring. It’s hyper punk in a way to come into a gallery and to show a fish, like thousands of people did in Vallauris.

You’re having fun when you create such objects?

AG: It often comes from a joke, yes. But it’s our job too, so even if it’s sometimes a big mess, we need to have control.

TD: The beginning may be funny, but as we want to achieve a precise image, it is inevitably less funny in the rest of the process. We work on things in a photographical way. There must be a balance.

AG: It is perhaps that what differentiates us from the amateur ceramists of Vallauris: making decisions and classifying them.

TD: We did it consciously when we started working with Etage Projects in Copenhagen. We had never done gallery design before. The universes we created were ones in which each object instinctively responded to a functional or aesthetic need of the final picture. There we had to think each object a little out of context.

AG: As a retrospective…

TD: we distanced ourselves a little from our work in order to recover something from each project. Before that, we saw each project as very different, if only in colours …

Courtesy Margaux Salarino

Courtesy Etage Projects

I think there is still a common thread going through all your projects. The tubular furniture is almost always the same colour (light turquoise/minty water) and we find this colour in touches in all your projects, right?

TD: Yes, but it’s not just that. It’s also removing an element that would become too obvious a signature. It’s creating small challenges.

How was the link made between Hyères and Copenhagen?

TD: We knew Sabine Marcelis who introduced us to this gallery. The name of the exhibition was “Postcard” because it’s like sending a three-dimensional postcard from the South of France. It was furniture – chests. Only boxes …

AG: As if we were sending a box of what the South of France is like – something very happy, to Copenhagen. Scandinavians also have a very beautiful furniture culture but it’s very straight, elegant and precise. “Etage Projects” shows designers from all walks of life that contrast with all this Scandinavian furniture culture. That’s why it’s pretty cool to have been part of this great selection.

Sources of inspiration?

TD: This culture of popular objects. These artists who have worked at the border of art and object, like Franz West, and this studio approach – it’s pretty straightforward in the way it’s produced.

AG: Support Surface, especially Claude Viallat. It’s a little like French Arte Povera.

TD: The materials he chose were blinds from Provence, fishing nets, for us it is really a current of the South. We like his way of assembling materials and colours.

Another one is Gaetano Peasce (great designer of objects – I put a photo of one of his rare projects of interior designer).

AG: In fashion, we are also fascinated by Margiela’s work. In music, I would like to talk about Bashung, both of us like his music, but it’s mostly his approach that I find interesting: his only rule when he rewrote an album was to go 180 degrees from what he had done previously. To do what he had never done before, not to reuse a sound that worked. I like this idea of constantly putting oneself back in danger.

To start from scratch each time, don’t  you suffer from the blank page syndrome, a sort of writer’s block ?

AG: We always have the blank page syndrome, but it’s the only thing that’s really exciting when we create. We criticise some designers for doing the same thing all the time, and we do not want that.

It’s complicated to have a signature but to reinvent yourselves at the same time…

AG: It takes twice as much effort but since we work as a duo, it’s just twice the battle.

TD: We would never do anything out of pure laziness, that would not bring something new. There is always the other to shake and challenge us. It’s a kind of ping pong.

What was the « Chez Bob » project?

TD: Bob tiling, which is a Var tile supplier and partner of Design Parade, gave us « carte blanche » to realise a sensory experience in his showroom. He provided us with his products and know-how to build something out of a 20 meters long container. We chose to occupy this space by creating a “Superpoly” Spa. We had fun to transform the codes of this type of place, in a space that in theory shouldn’t fit at all. The project is visible for 1 years.

Courtesy Lothaire Hucky

Your name comes from a super Monopoly?

AG: Ha ha! It’s the name of the Italian or Mexican Monopoly I can’t remember which.

TD: Our first project was called “little Polynesia”, we mentioned it earlier. The name came from this: super-poly(-nesia) project. There was something in “superpoly” that sounded like a brand …

AG: It’s the use of Super!

TD: The other thing is that we try to try many types of handmade creations, there was the poly thing (in French polyvalence means versatility)

AG: And then it’s a great play on words too because we’re super polite (in French Superpoly sounds like super polis = super polite).

TD: It’s pretty light like the rest of our work and it sounded good.

Your latest news?

TD: We’re right now working on private orders with our gallery and on new pieces of furniture in our workshop.

Many thanks guys for this enlightening interview, that I simply could not bring myself to cut. I think we got something balanced between seriousness and fun about the balance between ugliness and its sublimation.



* This expression comes from the Dirty Art Department of the Sandberg Institute in Amsterdam, from which Clémence Seilles-Stromboli Associates (already mentioned in hlow) is graduated.

2013 – The Callas

Five years ago, I came across the unclassiffiable work made by an artistic duo called The Callas. I realised that what I was seeing (incredible punkishly vibrant needlepoint) was only the tip of the iceberg. In fact it’s an artistic factory producing music, films, artworks, magazines, events, art shows initiated by the brothers Lakis & Aris Ionas.

For the past 10 years they have been publishing significant magazines for the Athenian underground music/art/film scene such as Velvet magazine and Lust magazine. Their studio space is one of the most active cultural spaces in Athens. Going by the name Velvet Room, they organise art shows combined with music gigs and DJ sets involving some of the best new bands and artists in Athens.

A New Floor for an Extra Room

Juul De Bruijn has taken advantage of each square centimetre of her room. How? By burying every function under walking level.

Juul, how did you get the idea of MoreFloor?
I designed the MoreFloor to solve my own problem I have with living in a small apartment in Eindhoven. I really needed an extra room to work and got frustrated that I only used the bedroom for the minority of the time. Therefore using the square meters that my bed and closet take, would give me the extra room I needed.

Could you tell us a bit more about yourself? what’s your story?

I graduated at the Design Academy Eindhoven at the department “Man and Mobility” in January 2018. When I was a child, I loved to work with my hands, which I still do. My parents have always supported me in this, there was always enough material to work with. I loved to play by myself in the garden or the attic. I created different fantasy worlds and I could entertain myself for hours like that. When I became older I still liked to play. I played with my classmates. The whole story we played, was based on our fantasy. It was amazing to just go with that feeling, not thinking about yesterday or about tomorrow. If I think back about this time I remember the wonderful feeling of losing yourself in fantasy. Unfortunately a lot of people lose it, when they grow up. In my work I show my own fantasy and combine it with my taste for crafts and DIY.

Congratulations Juul for this lesson of “anything is possible” design.

Clay Club, Of Friendship & Ceramics

On your website, your bio doesn’t say much about you (Clay Club is the ceramics studio of Joke Leonare & Sigrid Volders, founded in 2016. With a focus on one of a kind, handmade and sustainable ceramic pieces), nore does your picture show much either. Do you wish to keep things rather private ? Could you tell us a bit about your story ?

Here is a more detailed bio by Barbara Serulus :

Clay Club is the ceramics studio of artists Joke Leonare and Sigrid Volders. Joke is a graphic designer and runs the record label Jj funhouseSigrid is a make-up artist and part of creative collectives Earth Rope Pot Plant and Nine Islands.

Since 2016, they’ve been working together with clay and glazes in their shared workshop. They both focus on unique pieces, embrace imperfection and favour small series over large quantities. Their forms are organic, their colour palette quirky.

During her training, Sigrid developed a fascination for glazes and their chemistry, which lead her to create an ever growing archive of colour glazes. Joke is self-taught and creates idiosyncratic pieces that fit nicely with the work of Sigrid.


You work in Antwerp, is this where you come from? Why do you appreciate this city ? What kind of synergy can you find there ?

Sigrid: Yes. It is such an inspiring environment here. Many artists are living or working here, partly because you can still find big ateliers to rent at a rather decent price, although this is changing. Our atelier for example is in an old furniture store, a little outside of the center, enclosed by a huge garden, we share the building with other designers (textile, interior and jewelry) and besides having cosy lunches together we inspire each other : )

Joke: Yes, raised in Antwerp and sticked around. It sometimes feels like living in a village, there’s a close community of creatives on all sorts of practices, supporting each other. Belgium also has a really good music scene going on, I take that for granted but it’s actually rather special.

Your pieces are incredibly beautiful. What are your visual reference ?

Sigrid: Thank you! Working with clay, it is such a nice material, it feels very natural, intuitive. Most of the time I have no idea what the end result will be – to create in complete poetic freedom gives me so much joy!

Joke: It’s very nice to get away from the screen and ‘play’ with the clay. I know it’s a cheesy thing to say, but it really does make you peaceful, and the product is usually a result from that, without having clear visual references at first.

How can clay club be so coherent, so consistent, even though there are two of you ? What is your creative process ?

Sigrid: I have more free time than Joke and can therefore spend more time in the atelier. Naturally that leads into making more things. And I photograph both of our works. Probably that’s why it’s coherent? Anyway we have a similar taste, sometimes we arrive in the atelier dressed in the same sweater 🙂 Joke’s creations fit perfectly in that atmosphere and as a graphic designer she makes sure our logo, cards and online store is on point!

Joke: I also like to see the studio as a way of meeting each other. Instead of going for coffee, we go for a cup of clay. We chitchat while we produce, each in our own way, but whenever we put some of our pieces together, it fits. We have a same love for certain colours, grains and shapes.

You work in Antwerp, is this where you come from? Why do you appreciate this city ? What kind of synergy can you find there ?

Sigrid: Yes. It is such an inspiring environment here. Many artists are living or working here, partly because you can still find big ateliers to rent at a rather decent price, although this is changing. Our atelier for example is in an old furniture store, a little outside of the center, enclosed by a huge garden, we share the building with other designers (textile, interior and jewelry) and besides having cosy lunches together we inspire each other : )

Joke: Yes, raised in Antwerp and sticked around. It sometimes feels like living in a village, there’s a close community of creatives on all sorts of practices, supporting each other. Belgium also has a really good music scene going on, I take that for granted but it’s actually rather special.

Your pieces are incredibly beautiful. What are your visual reference ?

Sigrid: Thank you! Working with clay, it is such a nice material, it feels very natural, intuitive. Most of the time I have no idea what the end result will be – to create in complete poetic freedom gives me so much joy!

Joke: It’s very nice to get away from the screen and ‘play’ with the clay. I know it’s a cheesy thing to say, but it really does make you peaceful, and the product is usually a result from that, without having clear visual references at first.

Ellande Jaureguiberry, the art of indeterminacy

What’s your story Ellande Jaureguiberry? Where do you come from? Could you tell us something that could make us understand who you are and what are your artistic obsessions?

I grew up between the suburbs of Paris and the Basque Region (i.e. in the South West of France, near the Atlantic ocean and the Spanish border), where part of my family still lives. So I am often considered as a Parisian by my Basque family and as a Basque by my Parisian suburban family. Moreover, my name is Basque, and “female-sounding” in French. My arrival usually surprises people that I meet for the first time, who usually are expecting to meet a girl. I am neither one nor the other, neither from here nor from elsewhere; today these indeterminacies are amusing and nourishing for me.

On your website you have texts about your work by others, but no text by you, does it mean you have troubles defining yourself?

Who does not have a problem to define himself ! In my practice, my intention is to disrupt the limits of the object, its aesthetic function or its potential utility, to free it from whatever ties it to a space, a genre or a thought.

What is your relation to ceramics? Why do you use this medium a lot?

For me the practice of ceramics and modelling is above all a moment of exchange between my body and the earth, from which we emerge and in which we will all return. This relationship can be sometimes sensual and fluid, but can also be difficult. It is from this ambiguous relationship that my forms and objects emerge.

There is a picture that caught my attention on you Instagram account. It is titled “Kaolin Show in Jingdezhe”. I tried to google it with no success. You seemed to have been working on a series of porn ceramics. Could you tell us/show us more about it?
This group exhibition is the result of a three-month research residency around Chinese porcelain. I have thus proposed works that evoke this sensual relationship resulting from my experimental practice of porcelain. Each of us can question his own relationship to eroticism.

Your exhibition Les fruits de la terre (Fruits of Earth) at the ESADHaR of Rouen (France) is also about ceramics but linked with surrealism (especially in the images)? is that it?

Surrealism but also Art Brut, Mannerism and Art Nouveau are part of my references. I am also sensitive to the work of the Brazilian artist Tunga and the Mexican Frida Kahlo, whose work inspired me the title of this exhibition at ESADHaR, “Les Fruits de la terre”. What brings them together, perhaps, is this organic conception of the form in which the a priori antinomic categories of the feminine and the masculine, the vegetable, the animal and the human are merged.

Untitled – Tunga :

Fruits of the Earth – Frida Kahlo:

Your last piece for the Glassbox gallery in Paris, the preciously decorated peepshow screen called « adorable bouclier » (literally « cute shield »), what is it about, what does it protect from? What’s your link to pink?

The idea was above all to propose a piece responding to the theme of “light”. This “adorable shield” (the meaning of the screen in Chinese) has this paradoxical function of protecting our privacy but also, to reveal. Through it, it is therefore the idea of ​​social light that I wish to question in a deliberately playful and polysemic way. From this can arise other questions: what are the practices of resistance / acceptance of the glare of the other, the customisation of a common space, separation public life / private life.

Henri Guerin’s tapestry and stained glass

I have discovered recently in an exhibition in Le Corbusier’s church in Firminy, next to Saint Etienne in France, the protean work of Henri Guérin, an artist/craftsman who revolutionised the art of stained glass (using slabs of glass and ciment) as well as the one of tapestry (creating amazing shadings, colour and light effects) in the 70s. I can hear you, I know you are telling yourself that I have got a thing right now for anything coming from the seventies. But I feel the excitement of a gold digger. None of these artists are famous yet, even though they are brilliant.

Stained Glass

His considerable stained glass body of work contains more than 600 references, located in religious buildings, civil buildings, private homes and public places. It can be found mainly in France but also abroad (Switzerland, Canada, United States, Japan, Cameroon, etc.) Henri Guérin uses a technique of broken glass slabs joint with cement. He used glass slabs of all shades, mostly from the furnaces of the Albertini factory in Montigny-les-Cormeilles (France). The size and the thickness of the slabs create subtle shading of tones (that are also in his tapestry). He uses a very fine mass-coloured cement joint.


Drawings and tapestries

His work also includes an important set of works on paper (gouaches and drawings in Indian ink) and fifty or so Aubusson tapestries made by the Pinton workshops in Felletin (France).

Charles Gianferrari’s Amazing Mosaic

I have recently discovered the very confidential but stunningly beautiful mosaic work from the seventies by Charles Gianferrari. Gianferrari was associated with many projects in close collaboration with Roger Anger, until Anger’s last years when he devoted himself solely to the Auroville project (the incredible hippy utopia in India). He also made many monuments with Jacques Bertoux (born in 1923), architect and sculptor, with whom he participated in the founding of the L’Œuf, centre de recherche, literally : The Egg, Study Center.

Hala Tawil Creates Uneasy Beauty

When one calls oneself HLOW (which literally means “sweet” in Tunisian Arabic with the same double meaning as in English: of cuteness and of sugary stuff) and one meets a talented designer who creates a whole collection around the notion of sweetness and its counterpart, abundance disgust, one is definitely bound to do something about it. This is what happened during our visit of the last Eindhoven Design Academy graduation show, in the class of Contextual Design. We encountered the strange work Hala Tawil, a strong statement and a new lexicon of sweetened design.

Can you tell us a bit more about this graduation project: gradual unease. It looks like ceramic but it’s resin, it seems to be sweet and cute at first, then terribly cruel (like dismembered body parts), then a bit kinky, then futuristic (as if we were traveling in the world of infinitely small) and finally it shows its materiality (colors that are catching the light, rough patches and iridescence)? What was it about, what did you want to represent? And is there a function at all? Could you tell us about the association you create between the urge to acquire and the urge to have sex?

The starting point of the work was a fascination with the imagery associated with children, specifically, foods in toys and cartoons…which seems to look incredibly appetizing and attractive, but also artificial and alienating. It became rather clear, that this imagery, of hefty pink sausages, dripping syrup, thick spherical globs of milky ice-cream…could be read in a somewhat…perverse…way (I ask you to use your imagination here). Looking more closely at cartoons (I focused mainly on early American animations including the well-known Walt Disney and Hanna-Barbera cartoons..the classics), it was evident that this was not a merely subjective observation: Cartoons have long played with this fantasy and tension between sex, food and childhood innocence.

Following that, I worked for around a year with Najla El Zein (cf. attached video), a prominent studio in Lebanon. As part of a very small team, I gained a deeper understanding of material explorations, design conception….etc. The practice was very wide, developing client based commissions and also a lot of in-house material and sculptural experimentation.
This experience is truly what fueled me to apply for Design Academy.

I never really defined myself as a designer, as I assumed in the traditional sense, designers are probably interested in producing functional objects. But I was interested in objects, in human relationship to inanimate objects. Design Academy seemed to offer this leeway and rigor that I was looking for.

You just graduated. This is a very interesting time of your life. Do you have precise ambitions in life that you may want to share with us? What kind of design do you wish to produce? What are your plans for the years to come?

It’s funny to think that I feel I’ve been (along with my fellow colleagues) in a bubble for the past 2 years, and I only truly felt it after graduating this summer. Nonetheless, Design Academy helped me ground my own interests and practice, and I am truly grateful for this experience. I think there is a great sense of freedom that comes post-graduation. And I would like to continue working on this intersection between text, imagery and materiality, and continue to create some sort separate worlds conveyed through the works. Additionally, I never underestimate the value of learning from others and their experiences, so I am eager to work closely and collaborate with others as well.

The Wind Portal by Najla El Zein Studio at the V&A Museum

The Contextual Design Class was the most spectacular of the Graduation Show. We also discovered the work of Elissa Lacoste and we will talk about it in our next post.

Envisions: Hitting a Cornerstone

In a previous post about the 2016 Dutch Design Week and especially its core event, the design academy graduation show, I was very intrigued/impressed by a student’s universe, Emma Wessel‘s, who was at the time displaying her textile creations and the look book putting them in perspective. The creations were very interesting but the pictures in the book were even more. They showed a very precise and coherent universe. With not much, she could create a very different yet very sensible world, where each object is carefully selected for a reason (purple, pink and blue colors, foamy consistencies, plays on draperies etc.). Emma also created a piece called Palettes which consists in a weaving of foam, rope and wood that can be used as a sitting, a room divider or a carpet, indifferently.

This year, the show in Eindhoven was about other students, and another aesthetic (cf post about Hala Tawil & Elissa Lacoste), but next to the Design Academy show, taking place this time in a place called Campina, was something that totally blew my mind. It was mysteriously entitled “Envisions and Finsa”. There was also something about the Gent museum, I understood later that this meant that there would be a show of this collaboration in Gent at the same time. But what is/are «Envisions » ?

It is a collective of designers longing for teamwork and solidarity and creating this brand new aesthetic that I had seen in Emma Vessel’s work. The first part of the show was really about this collaboration with Finsa – Finsa is a wooden board company trying to find new products – so the new products were interesting and their « mise en scène » was very imaginative: creating a giant black box in black MDF to create only a few views on a board and mirror landscape. But what really caught my attention was the dinner scene Envisions had arranged on the first floor.

The generosity of Envisions is this eye for « total » design. Each detail has been carefully worked on. I later learned that their catalogue was introduced by the great Hella Jongerius (one of the founders of Droog design, one of the queen of Dutch design, who has all her life worked on crafts and imperfections). She mentioned the similarities between Droog and Envisions. This really means that we are hitting a cornerstone here, but Envisions’ approach is less about each single individual talent than about the energy of the group, and the way one can really move forward by crossing all the hyper specialisations of the designers of the team.

The Founder and Art Director:
Born in Sweden and raised in Arnhem, Sanne Schuurman studied both interior architecture and architecture before realising she wanted to downsize in project scale, and definitely not just remix designs made by others. To have a hand in the aesthetic and making of a space’s details – from the curtains to furniture, lighting and floors – is what makes her tick. With an entrepreneurial spirit, Schuurman simultaneously founded her own studio in Eindhoven as well as two group-focused initiatives, the process-oriented design collective Envisions and De Design Shop, a pop-up which brings designer’s work to the market. ‘I think a designer is a connector and collaborator. You need to be able to dive into different worlds and be able to gather useful knowledge to apply to your processes. As soon as you start to collaborate and open up your practice – like an open source – you can achieve things on a bigger scale, joining forces instead of wandering around in your own imagination.’ Schuurman’s playful and experimental way of working is immersed into a layered world of color, material and texture. Not decoration applied as after-thoughts, ornate patterns result from the research-driven process behind material combinations and constructions.

The Cofounders:
Iwan Pol  is a designer and one of the co-founders of envisions. We at hlow had discovered his work with concrete a few years ago (cf image). He works in Rotterdam such as the majority of « envisionaires » as they call themselves so we will only mention the locations of the ones not based in Rotterdam.
Simone Post is a textile and product designer and a former intern of the Jongeriuslab.

The others:
Thomas Dirrix is one of the new envisionaires, he is a conceptuel architect. Adrianus Kunderts  is a designer interested in the process of erosion and of natural patina. Aukje Fleur Janssen  mixes product design with the creation of patterns (mostly geometrical but not only) to create unexpected results. Bastiaan De Nennie  is a designer positioning himself at the crossroads of digital and physical, using 3D scanner and printer. Elvis Wesley  – pseudonym of Wesley de Boer – is a graphic designer and illustrator who worked in the Jongeriuslab. Emma Wessel  whom we’ve already talked about is working in Eindhoven. She mixes design and fashion, she calls for a « versatile use of inner products ». Fred Erik  – the pseudonym of Frederik Deschuytter – is a conceptual designer and design thinker based in Brussels. Jeroen van de Gruiter  is a product designer interested in the fusion of shape, proportion, color and texture. Lody Aeckerlin is is a movie maker and the frontman of ‘Oneirocular’, a motion-design studio based in Eindhoven. Robin Pleun Maas  is a textile designer based in Borås, a city outside of Gothenburg, Sweden. Roel Deden  is a digital maker based in Utrecht, focusing on virtual reality and its relationship to the design process, making micrometer-accurate models for production. Ronald Smits  is the photographer of the crew, he is based in Eindhoven. He was a former intern of Erwin Olaf, and instead of simply documenting, he is interested in adding poetry to the pictures of the pieces produced by envisionaires. Roos Gomperts  is a designer-slash-image maker creates playful fusions of contrasting materials. Rudi Boiten and Mireille Burger founded the Studio Plott  in Eindhoven and have developed a computer-controlled machine which is able to print their own custom designs by extruding a molten plastic filament. Studio TrulyTruly is run by Joel and Kate Booy, a duo coming from Queensland, Australia but based like the others, in Rotterdam. They are focussing on furniture and lamps. One of their most popular product is the PS armchair produced for Ikea in 2017 (cf image). Team Thursday  is a graphic design studio that focuses on the design and art direction of visual identities. Tijs Gilde works in Eindhoven. He combines trends forecasting with his well-developed skill in product design (cf image). Based in the Dutch city of Hertogenbosch, Thomas Trum  is an artist-slash-designer with paint as his muse. And the last: the Eindhoven based Studio Vantot, (Esther Jongsma and Sam van Gurp) creates beautiful lamps and plays with current (cf image of a lamp called « Current Currents »).

This makes a group of 26, basically they recreated a class room, a game-changer, the representative group of a whole generation of style.

“Fashion Inside and Out, an exhibition by Judith Clark”, by Géraldine Sommier

Judith Clark calls herself an “exhibition maker”. She has the rare talent to associate scenographer skills and those of a fashion show curator. Through fashion, Judith Clark likes to show her interest in architecture (her initial training), weaving new links between the inside or outside spaces of buildings and the architecture of a garment (cut, manufacturing secrets, invisible interlining etc.).

Views of the exhibition Chloé. Attitudes, Palais de Tokyo, Paris, 2012

Views of the exhibition Chloé. Attitudes, Palais de Tokyo, Paris, 2012

The Uncertainty of the Poet 1913 Giorgio de Chirico 1888-1978 Tate Gallery

Her signature consists in playing with shapes and concepts, freely following associations of ideas, having fun and delivering unexpected translations. For her exhibition “Chloé. Attitudes “at the Palais de Tokyo in 2012, she reproduced one of Alfred Janiot’s bas-reliefs decorating the facade of the building, which she placed at the back of a showcase showing the Chloé dresses by Stella McCartney with applied rearing horses as motifs. In the same exhibition, she quoted a famous painting by Giorgio de Chirico, Gera (1913), by the juxtaposition of a giant banana photographed on the invitation card and an embroidered dress of a trompe l’oeil of chiton and peplos, clothes of Greek antiquity (see images bellow).

Chiton Ionique


Views of the exhibition Homo Faber, Venice, 2018

Her latest exhibition “Fashion Inside and Out” at Homo Faber, shows her gift for surprising and inspiring associations of ideas. Organized by the Michelangelo Foundation for Craftmenship, the exhibition held this summer in Venice on San Giorgio Maggiore, aimed to reveal what man does better than the machine. Within the 11 exhibition spaces of this vast project combining design, restoration workshops and demonstrations of craftsmanship, the fashion section was given a difficult space: a swimming pool out of use from the fifties with large windows overlooking the lagoon. But Judith Clark takes up the challenge, playing with the constraints of the place. As an allusion to Venice, she creates a pathway on pontoons and pilings in the middle of the pool, where three mannequins are crawling, headdressed by Stephen Jones in transparent plastic hats looking like splashes. As the title mentions it, “Fashion inside and out “, the show creates a confusion between the inside and the outside of the garment, between noble and rough textile through unusual diversions. The talent of the shown fashion designers become an ability to surprise. Haute Couture is made from poor materials, such as hessian cloth, or on the other side of the spectrum, a John Galliano raincoat turns out to be made out of totally permeable frayed silk organza. When fashion and crafts are concerned, one would expect to see twinkling embroidery of Swarovski crystals. But Judith Clark shows the unexpected: a Schiaparelli set consisting of 25,000 tiny knots, or a Chanel wood marquetry jacket by Karl Lagerfeld with a skirt entirely embroidered with sequins imitating cork.

Around the pool, the collaboration between Natacha Ramsay-Levi and Rithika Merchant is revealed. Judith shows the creative process from the initial inspiration: starting with two Chloé dresses by Karl Lagerfeld with large hand-painted patterns, then a few pattern essays that will end up not being used for final production, then fabrics from the atelier, and delicate little paper dolls created at the precise moment of the creative process, when the two-dimensional illustrations of Rithika Merchant were placed on the templates to turn them into dresses, moving sculptures … Visitors discover some of the many steps, errors and achievements behind the four fine figures that will eventually parade. If one can say that “the hand thinks”, clothing demonstrates it, in one of the most sensitive and alive ways.

Views of the exhibition Homo Faber, Venice, 2018

It’s a Small World by Mary Blair

Last week-end we went to Disneyland Paris. I had mixed feelings about it all. I had to admit that I was just as excited as my daughter but for completely other reasons: mine were more to do with confronting my childhood fantasies to the reality of French Disneyfied suburbs and learn from this contrast. However, I was also quite nervous that when looking at this mysterious reality of my childhood with experienced, objective adult eyes, I’d feel real disappointment. I did not want to kill my dreams! Although aesthetically, I know that as a five year old, I found a lot of beauty in the Disney experience, I feared that my cultured adult gaze, might find it all a bit corny and pinkish. This chiefly centred around one particular attraction: It’s a small world.  This ride used to put tears in my eyes. It’s a sort of ode to universality, in which little dolls, dressed in traditional costumes from all over the world, sing together, in harmony: “it’s a small world after all, it’s a small small world!”. I use to love it and it really shaped my primary vision of world citizenship. Moreover, the façade of this attraction epitomized beauty to me. So I was very happy to note that despite the disappointments that this day out at Disney had (partly due to the hysterical lower middle class crowds from all around Europe, looking like MickeyMouse fundamentalists, with the mouse ears and tails, taking selfies everywhere),  It’s a small world still worked for me. So I decided to do a little research to understand why.


Disney designed a first version of it in 1964. He was then missionned by Pepsi Cola to design an attraction for the New York World’s Fair UNICEF pavillion. According to wikipedia, “while other attractions had lines out the doors, there seemed to always be a seat available aboard It’s a Small World. Its high rider-per-hour capacity was recognized as a valuable innovation and was incorporated indirectly and directly into future attractions.”

Mary Blair was responsible for the attraction’s whimsical design and colour styling. Blair had been an art director on several Disney animated features, including Cinderella, Alice In Wonderland, and Peter Pan“.

Mary Blair: it's a small world concept

What Mary Blair brought to Disney’s pictures is all the rigor of the fifties design and the play with contrasts between massive and slim shapes. So let’s dig a little deeper into Mary Blair’s style. It’s really a breathtaking travel into with I find being the best imagination part of the Disney styles. Here are some examples of first concepts.

Mary Blair: PeterPan concept
Mary Blair: Alice in Wonderland concept
Mary Blair: PeterPan concept
Mary Blair: Cinderella concept

The whole Mary Blair experience is now summarized in a children’s book by Amy Guglielmo (Author), Jacqueline Tourville (Author), Brigette Barrager (Illustrator) called Pocket Full of Colors: The Magical World of Mary Blair, Disney Artist Extraordinaire. As to why I like it, I think it’s because at least 10 years before everyone else in the design field, Mary Blair assembled all her knowledge of fairy tales and of the 1950s aesthetics to create what can be called the first ever post-modern architecture.

Marcus Engman, Head of Design at Ikea

Marcus Engman Courtesy Sara Guedj

We had the incredible opportunity to meet Marcus Engman, the head of design at Ikea for the launch of its collection Ypperlig, a collaboration between the Swedish giant Ikea and the promising Danish editor Hay. Our first question was about the name of the collection. 

“Ypperlig” means “Excellency” in Swedish, so is that a way to produce new classics? A way to link Swedish and Danish design into a new generation of Scandinavian design?

For us in Sweden, Swedish, Norwegian and Danish design are very different, but for the rest of the world, we all seam to speak the same formal language, the differences do not seem that visible to you guys. But yes, Ypperlig was about finding a new language, especially in terms of colours and technical innovation.

Ypperlig Ikea Hay
Ypperlig Ikea Hay
Ypperlig Ikea Hay

Technical innovation?

Yes we are very pleased with this collection because we managed to bring great design innovations to affordable products. For instance, if you watch closely the Ypperlig chair, it has different thicknesses all over it. Usually plastic chairs are very homogeneous and made in the same thickness, because the way you make them is injecting liquid plastic into a hot mould and if your chair or any other plastic object doesn’t have the same thickness all over, the parts do not react the same way. Some parts can get burnt and some are not heated enough. So we had to reinvent moulds out of different parts, set to different temperatures, in order to deliver this very simple and fluid result.

Same with the shelves, it’s not noticeable at first. You can think that the process is very similar to the other shelves, like the Ivar for instance, but in order to get the simplicity of horizontal and vertical structures without any cross braces, we had to think the process throughout. It’s always the same, to get a simple result, you must conceive a complex process.

Ypperlig Ikea Hay
Ypperlig Ikea Hay
Ypperlig Ikea Hay

Brilliant! But what strikes me with Ypperlig is that you are quite bold, borrowing from the what I call “Arte Povera design”, such as the pieces of Hella Jongerius or the first pieces of Droog, when you add a simple climbing rope to the wall shelves of the collection, or when you mass-produce imperfect pottery like the Ypperlig vase.

Oh if you think this vase is bold, wait until you see all the new items we are preparing, we are going to have plenty of those!

But I simply cannot stop wondering, if Hay is what you like in design, this very efficient minimalist and trendy formal language, how can you deal with your own taste when your goal in life is to achieve some kind of a universal design?

If Ikea was about my taste, it would be like me, rather boring (he laughs). I find that the task of finding and creating beauty of all styles is much more interesting and stimulating.

Thanks a lot Marcus for this inspiring interview, I will try to remember its lesson: you can find beauty in any style (this is something I have always believed in, but have not quite yet been able to verbalise).

Anne Holtrop: on Possible Architecture, or discovering the architectural possibilities of some pre-existing drawings

I first met Anne when I was 23 years old. I was a very young art dealer at the time. He bought my favourite work of art in the gallery, the one I would have liked to buy myself.  I was very glad that it ended up in his collection as since then, having seen Anne’s work in magazines, I really understood that this drawing was meant to be his. It was made by two girls and the idea behind it was that neither of the two should really understand the purpose of what the other one was doing, and yet use it as a constraint. It was the constraint that became the starting point for imagination. Reading this article, you will understand what I mean when I say that it is a fantastic metaphor of Anne’s work. 

What’s your story ? You live between Bahrain and Amsterdam ?

At present, I live in Bahrain because in 2015 I was invited to take part in the competition to design the National Pavilion of Bahrain for the World Expo in Milan, and I won it. It was an extremely rapid project that took us only a year to build. It consists of 2000 square meters, the same size as the museum we built in the Netherlands, but that took us five years of hard work. So this project was exceptionally fast – only one year – and this includes the gardens, the design of the exhibition and everything. It was really fast! But also extremely exciting !

And then, through my work, I met my wife who was already working in Bahrain. She’s a Palestinian and she works for the ministry of culture there. So I moved.

So it’s a beautiful and romantic story…

But it was also exciting for me to go somewhere that I did not know. So we took that step and now I still have my small studio in Amsterdam but my work is mainly in Bahrain.

Recently we have been working on another project, a big project, for the heritage buildings in the old city. We have been asked to do restoration of the heritage buildings and to design new buildings next to them. They will become museums, a boutique hotel and things like that. And one of the museum spaces is devoted to pearls, natural pearls, because Bahrain is known for having the best natural pearls in the world. Cartier used to come here, to Bahrain, in the 1950s to buy pearls. So we will make a pearl museum in one of the houses of an old pearl merchant and we will show old jewellery, also Cartier jewellery. We will get it on loan from their collection, to show it here at the museum. So this is why I ended up here.

You have been doing art (as Krijn De Koning’s assistant), design for Maniera and last year for the Paris Solo gallery, and of course architecture, how do you link those three disciplines?

For Maniera… Amaryllis Jacobs, who started this gallery, asked Office Kersten Geers David Van Severen from Belgium to design some furniture. They agreed to do it but only on the condition that it would be a kind of dual exhibition. So they asked me to join them and that was how the first exhibition came about. From then on she has always done this dual thing, which is very nice because it brings perspective and dialogue to the work exhibited.

Yes I really find this approach to exhibitions of design incredibly interesting. It is a wonderful gallery!

The design of Office is very geometrical and is based on grids. My work is the opposite in its form. It’s not so much of a system. So… I was looking at this collection of stones by Roger Caillois. I had this old book, his original book, called L’Écriture des Pierres (The Writing of Stones). There is a collection of stones in it. Marguerite Yourcenar has written a very nice introduction to that book. And the whole text is about the fact that stone as a material has a certain presence and beauty. But for Caillois the interest lays in the fact that you could read stones, so there was a kind of spiritual aspect to them too. He said that the secret cyphers of the universe is hidden in stones. And I really like that because you have, on the one hand, the physical presence and on the other, you have something that you can read or imagine. It could represent a lot of things, not literally of course but in the imagination. So I liked that duality. I said to her, listen I would like to work with these stones and the shapes of these stones and their image. But of course real stones are very small. And we don’t even have them. So I needed to find a sort of translation, to see how to make these stones on a scale of a piece of furniture. Then I discovered this “faux”-marble school in Brussels. It is called Van der Kelen and it has been teaching this painting technique for nearly a hundred and fifty years now, the same technique. I met the third generation of the founders of that school and the grand-daughter, Sylvie, painted all this furniture. I gave her the images and then she reproduced those images using the Van der Kelen technique on the pieces of furniture. I thought : “This is an interesting way for me to deal with furniture because it is not only the object, there is a whole world basically hidden in this object.” I see them as small environments. I gave each of them a very simple name : this is a desk, this is a shelve, you know it’s like very simple understanding of furniture and on the other hand, there is this small world hidden inside it. And that linked them to architecture.

The Maniera thing was a way to have a two dimensional project inside a three dimensional design. What is your approach to dimensions and their changes? 

First of all, when I graduated from the school of architecture, I worked for quite some time with Krijn de Koning. I was his assistant for five years and this helped me in my own work as well, because I began to work with a bit more autonomy. So after I worked for him, my first project was the Trail house that I made for a museum, for an exhibition. The request was very simple – they had this land behind the museum and they said “Propose something for this land”.

For me, one thing was clear: I wanted it to be about architecture because that was my training, my education, but I also wanted to work with forms that were already there somehow. When I started looking at the site, at the paths there, I wanted to discover the architectural possibilities of it all. So on the one hand, there is this element of autonomy, let’s say this form that does not have any relationship with architecture yet, and on the other there is me, who is trying to find those architectural possibilities. I call this also the “Possible Architecture ”. It is always present in my work: a non questionable element in the work. A form made by itself, or an appropriated form.

So as Aliki van der Kruijs said in her interview with Hlow when speaking of her project Made by Rain, there is a place for randomness in your work?

No. I think it is almost the opposite of randomness. It’s like a very strong constraint somehow. I force myself with those constraints. I decide that this is the form or the formal language that I want to work with and that is all that’s possible. So all the solutions of how to make a building have to come from there. 

Saint Augustin said something about the only moment you are totally free is when you force yourself to follow the decision you have made. So freedom would come from constraints, which is somehow the opposite of freedom. I guess your technique is a climaxing example of this.

Yes the furniture I made inspired by Caillois’s book, came from cut stones, which had an oval shape. And that for me was the difficult part. I didn’t know how I could make something out of that shape, especially when it was transformed into furniture. Then I started to cut the stones. So in fact I used fragments of the stones, so suddenly I had straight edges and I could start putting them together. It seems so simple when you see it, but really it was rather tricky. I also like to mix stones, to use several stones, so in the desk the back panel is one stone, the desk itself is another and the side is yet another. This creates a certain kind of collage, a complexity. I like the fact that there is this kind of irrational part in the work. It needs to be as straight forward as possible with that constraint. In order to do that, we often take enormous detours in the work because we don’t always understand straight away what the constraint is exactly, and how we can work in a very simple way with it. I don’t like it when the work gets extremely complex. I want it to be simple in its understanding but it should have the irrationality of the constraints.

 I do a lot of Zen mediation, and one of the interesting teachings is that there is no duality between inside and outside. Actually no Manichaeism. Everything is nuanced and intertwined. I find a lot of this in your architecture. For example when Jean Nouvel created the Fondation Cartier, everybody bragged that there would be no outside nor inside in the architecture of the future, it has become a sort of architectural cliché. But in your work, I perceive this Zen theory not just as an effect, because nature is one of the premises of your work…

The Fondation Cartier was basically a glass building.

He made this first wall before you enter in order to blur the lines. 

Yes, but for me, it is more to do with the nature of the work: a simple consequence of the fact that I simply follow an abstract drawing.

I also like the fact that in architecture the thickness of the walls remains the same. It creates a continuous line. 

In baroque architecture the interior is something on its own and the exterior is something on its own. The difference between the two is concealed in the difference of the thickness of the walls. So a baroque church is an intermediary between the inside and the outside, between the holy and the earthly. 

So for me this line, because it just has one thickness, always has direct implications on both sides. So when the line bends a little, you will feel it from the inside as well as from the outside. I understand now that that’s something that I really like, it is simple and I like the consequences of it. An outside form can look fairly smooth and continuous whereas on the inside, because you only see a part of it, you see a kind of strange fragment of it. It’s like you cannot really ever understand it as a whole. The only way is either to be on the roof of the building or when you look at its blueprint …

Or you simply consult a magazine about your work, which has the overall picture…

Yes that’s when you have the best overall view, the geometry of the thing, but when you walk through it, it is like a collection of mysterious fragments. That’s one of the consequences of this approach. But these consequences are also quite convenient in some way. 

 It forces the visitor to participate in the creation process, he has to struggle, and make his imagination work…

Yes, exactly, and it’s part of this bigger puzzle. You feel the work as a unity, but at the same time you constantly see something different. It’s like everything in life. I like to redo the things that I enjoy doing and every time it gives you extra experience and that’s great! 

 Yeah, and it’s never exactly the same feeling each time…

You created your own style based of your own lexicon and you’ve been using this vocabulary in many places in the world. Do you think that architecture should be the same everywhere and if not, if you want to refer to the environment you build in, how should it adapt itself to the environment without losing its style? I sort of guess from what you already told be about your constraints as premises, that you are going to tell me that the particularities of each project are part of this very narrow starting point, that sort of dictates a big part of your design, but…

I’m actually quite happy to be in Bahrain because there is not so much contemporary visual culture here yet (no good contemporary art museum or contemporary architecture), so there is not so much distraction. And it’s actually nice to be away from all these things. And of course, the place where you are, influences your eye. I love Arabic writing, its calligraphy. And the nice thing is that so far, I cannot read it. I know a few letters but I cannot read it, so the text has no meaning, it has only a form. I can enjoy it freely. Free from meaning. It influences me. And another thing that I use now is the constraint of working with existing buildings. So there is already something. They are the limits as far as shape goes. These limits are not perfectly geometrical spaces. I really like this unevenness. And then the question is what I can add to it, how can I create something new that did not exist inside of that limit. If I was doing heritage buildings in Italy it might have been the same process, but the limits would have been completely different of course.

Could you give us some of your visual references?

I am now very much into the art from the Arab world. It is quite exciting for me because it is quite new for me. I didn’t know much about it until recently. Certain things give me a new insight on things. A lot of contemporary artists here are into storytelling, which I am not so much into. I think I am more into the concrete…I mean my work is not about metaphors, just the material. However, there are a few artists here that I find really exciting: Mona Hatoum for instance.

There is also a lot of storytelling in her work of course but there’s also this other aspect to it. A very physical presence of the work. VERY PHYSICAL! And Monir Shahroudy Farmanfarmaian, the Iranian artist working with mirror mosaics.

I associate it of course to Persian architecture, which is also very exciting. Especially when you start studying some of her work where there is quite a difference between what you think you are seeing and what you really see. It looks very formal, but actually it’s not so geometrical. There are beginnings of it that are geometrical, with for instance rose-like shapes, but then these are not placed in a geometrical way. And then there is all this invention of how to relate one shape to another. It’s a really beautiful technique. There’s also a nice story to it. I read somewhere that these glass mosaics were made in many old places because large mirrors would brake during transportation. So this tradition came from a kind of necessity to work with small elements. And you also see this in India, in Rajasthan, in the palaces. Of course there was a lot of exchange between Iran and India. There’s a very nice mystery there. I saw a lot of them in India, unfortunately I haven’t been to Iran yet, but I would love to see them there.

What would your advice be to young people starting their creative carrier now? How should they proceed ? How to be patient, how to be visible, how not to copy each other… 

I was the head of a Masters programme at Sandberg, which is the Masters programme of the Rietveld Academy in Amsterdam. There I had a Masters that I invented myself and it was called Studio for Immediate Spaces. It was based on the idea that in many disciplines we are concerned with space. So I wondered how can all my various students develop a practice that deals with space. So I had architecture students, but also students coming from fine arts, photography, from graphic design, textile and all kind of different backgrounds. The only thing they shared was this interest in a “spatial practice”.

Then the muezzin started his rather beautiful call to prayer. It somehow covered our skype interview and reminded me that Anne was now talking from very far away, even if everything he said seemed very close to our visual universe. But he seemed really used to it and went on…

“Spatial practice” in the sense that it is dealing with space. That was the only guideline. For the rest they had to reinvent what it was all about. And now, after four years, I stopped teaching at that school. Now I teach in Switzerland, in Mendrisio, the architectural school, and there, the topic is “Material Gesture”.  

Yes I know … this is our soundtrack, a few times in the day… 

So to make an architecture that starts from the material and the gesture that you find beneath this material, or that you apply to yourself as a maker to the material – the way you cut something, the way you cast it, smear it, whatever you do…I like students to engage in something with no clear reference but to find their own reality. With a certain kind of constraint or focus on something and then, from there, their own work can emerge. And that occurs especially in architectural schools but also in art schools. There are always a lot of references, not always visible, sometimes they are hidden, but we can recognize them. And my job is to see them in my student’s work and to remove them, to clean the work from those references. So they have to go back to their own approach and the consequences of these approaches, to develop their work. This takes a lot more time of course. The result is much slower.  But in the long run it is a lot more interesting. That’s what I try to teach them. And also to have faith in themselves, to trust themselves because it doesn’t always look good straight away. I often say “When it doesn’t resemble anything, you are on the right track.” It can also be a big failure but it’s worth trying out as it might also be a big success. Because you cannot understand anything outside of what you know. It’s a good moment when you reach that point.

There are three mosques here in the area, and they all call for the prayer.

Anne, thank you so much for this incredible voyage in both time and space. And also for the generosity of your explanations, which will, I am sure, be a source of inspiration for many of hlow’s readers. And all the best with your pearl merchant’s project.

Best of Maison & Objet 2017: Second Episode

We had promised on our last post about Maison & Objet that there would be a next episode, so here it is.

We were very impressed by those little cubes by Jbj Interior, a Dutch fashion and embroidery brand which is now starting a new interior line.

Jbj Interior

Then we came across the creations of the German editor Ames. We especially liked their textile pieces.

Ames - Nido kissen kukuy

In the young talent section, there was the work of a talented resin artist called Zuza Mengham.

Zuza Mengham - Marble

The beautifully simple K-Lamp by the British editor Vitamin really caught our eyes (but you must know by now that we have a thing for terracotta).

K Lamp - Vitamin

Also in terracotta: the incredible plant pots by Studio MSDS for UmbraShift.

Studio MSDS - UmbraShift

Colonel had no new piece, but we love their 2016 neo Memphis collection very much and they are extremely talented and kind… so here they are too.


We fell in love with another extremely attractive Danish brand and it was called Handvärk. It’s very chic and minimalistic, it’s made out of very noble materials, in the direct line of Mies van der Rohe‘s design.

Handvärk - Daybed

We are always impressed by the joint effort of a craftsmen using ancestral techniques and designers. This was the case when the Bouroullec brothers worked with the lacquer Japanese company in Wajima and created the first Wajima Lamps for Galerie kreo, and it is also the case with the Sebastian Conran workshop in Gifu (the Japanese town of paper lamps where the Akari lamps by Isamu Noguchi are made).

Sebastian Conran - Gifu

Then there were this piece, that we hesitated to leave in this article, because it is not what we usually call design, but it is indeed a very good idea. In fact for pilate amateur such as myself, it is a brilliant idea! I often asked myself whether it would be a good idea to have a pilate ball as a desk chair, but after searching for ages for an acceptable looking one, I usually gave up the idea. And my body paid the price for this snobism of mine. The brand Vluv has created an acceptable pilate ball, that you won’t need to hide, and my tummy thanks them for it.


The next piece is also outside of our usual box. It’s a new way, much cosier way, of designing office pieces. Here: a colorful and harmonious meeting board by the Suedish Lintex.


The last pictures for today’s post are not just simple pieces, the great Julien Renault, whom e have been following for years, have had the mission to entirely redesign a whole Belgian office furniture brand called Kewlox, and we simply love it!


The end of our tour in our next post, patience my friend!

Michael Schoner, the Minimal Maximalist

Crest & Trough - Michael Schoner

We have come across Michael Schoner’s work last year, when he released his Crest & Trough bench. We were tremendously attracted to this neo-Memphis yet very personal and witty universe. Humour is everywhere in his joyful and well thought work. We at hlow wanted to know more about this young man.

Who are you? Where do you come from, where do you live and work?

I’m an Architect and Designer. I grew up in a small village an hour north of Frankfurt (Main), Germany. Later I moved to Darmstadt to study architecture. I have also lived in the States (California and Alabama) and one year in Barcelona. After my studies I got a job at NL Architects in Amsterdam where I worked until starting my own studio. Two years ago my girlfriend, my daughter and me moved to Rotterdam. Besides my own studio I’ve also just started working for a studio called Carve. We design playgrounds, skateparks and landscape architecture.

Being an architect, how do you link design to architecture?

Design and Architecture are closely related. If you look at buildings like e.g. from Mackintosh he designed everything from the building from the volume and layout of the spaces to window detail, to the lamps, clock and furniture of the building.

Charles Rennie Mackinstosh - Willow Tea Room

With furniture Architects tend to construct more then the average designers I once heard. That is also true for me: my furniture are mostly constructions. Actually mostly they are small architecture studies.

Z Step - Michael Schoner
Z Step - Michael Schoner

I read in a great post about you on Sight Unseen that you were about to move to your own house + workshop at the time. Did you manage to do so?

We (my girlfriend and me – Selina Parr from Noman Studio) bought an apartment in the centre of Rotterdam. (The Dutch say “House” even if it is only an apartment). It’s in a street of 1930s buildings and we where very lucky, because it turned out that between the main walls everything was held up by a steel structure. That meant that the middle wall could go and we nearly broke open everything towards the back facade. There we look onto a huge garden from the neighbour. The centre of the house is now a kitchen block – so one can run circles around it.

Kitchen - Michael Schoner
Kitchen - Michael Schoner

The other special thing is that it has a direct stair from the street to the first floor and then two flights of stairs through the neighbours apartment to the half of the third floor, where the sleeping rooms are. This is funny enough quite common in Rotterdam, but our first stair of 1st towards 3rd floor is ending up open in the open kitchen so the connection seems more open. As it goes with projects that you build yourself and for yourself for a big part things are not yet finished. Now we are in a phase where the basic functions are working and all the finishing is interrupted by life and other things that need to happen.

House - Michael Schoner
House - Michael Schoner

What are your visual references in general and perhaps, more in detail for three of your creations: the Crest and Trough bench, the Vault side table and the Sunrise lamp? We can see in your work a lot of Memphis and Alchemia, right? But not only, right? 

I wouldn’t want to limit my references only to Memphis. Its true I embraced it because it allowed to break free from the Modernist Form Follows Function dictatorship. I like sculpture so if one is always rational things can get rather boring. On the other hand – If I don’t have a reason to do something I reconsider it, because then it becomes decorative. I like graphics and shapes, but they have to develop from a logic. My girlfriend once said what I try to do is “Minimal Maximalism”.

The Sunrise Lamp was actually a mind game following me seeing an industrial potato knife. It was a pyramid of knifes where potatoes would be shot through. I thought what would happen if the object was round. Then the legs couldn’t be like the top and a wave can grow easily out of a surface. It meant not having to make real “legs”.

Sunrise Lamp - Michael Schoner

Vault started very modernist.

Vault - Michael Schoner

There are so many great engineers of the last century. For instance: Frei Otto,

Frei Otto

Heinz Isler,

Heinz Isler

Luigi Nervi,

Luigi Nervi

and Felix Candela.

Felix Candela

I discovered though if you flip a barrel to the side, you get a niche, and that is a very old architectural leitmotiv! It would remind one of temples and churches. In the end, I like the constructive principle, though, that a bend surface can be stronger then a straight one.

This is also true for the bench Crest + Trough. I liked that corrugated steel gave extra strength to the side walls of the Trough, but at the same time it is very graphical! It’s a furniture. I had in my mind in different ways for over two years. It’s somehow an archetype. Funny enough after I had made it, I found similar furniture in wood from the 17th century in a French book. Then it was made for washing clothes – so basically a washing machine. I think we have a collective memory about shapes and their multiple meanings.

Could you tell us a bit about your collaborations with Droog Design, Pop-Up Cafe, Objekten, SV, Basematters and G-Star?

Droog Design has been connected to my old bosses of NL Architects since the 90ies. The Boombench was a project they initiated for the Urban Play Exhibition in 2008. Since, I had come up with the idea, I worked it out as well. Since then, the Bench has been in various exhibitions of Droog.

The Pop-Up Cafe was a temporary event space in Amsterdam set up by two girls Eline Mul and Karoline Buurma. It involved a lot of the young creative scene from Amsterdam most of them related to the Rietveld Academy at that moment. Back then I made some stoels for them with a water cutter.

Later Karoline did something similar at W139 in 2012 and asked me to design a chair for it, which became the Brett Baguette. Basematters  is producing my chair Brett Baguette and we have added two tables and a barstool to it. An upholstered version is in development.

I started working together with Objekten and SV in 2013. The first ideas for the Vault series was for Objekten, but since they wanted flatpack it wasn’t in line with there philosophy. Luckily this is why the shelf exists, now.

For SV we looked into a modular meeting room system. Pavilions within bigger spaces. Bend glas panels would have been the construction.

I have pitched ideas for masks derived from the A3 Animals for the G-star Sunglass Campaign 2015. Ultimately the whole mask idea for the campaign was cancelled. Nevertheless I’m happy with the Fox and the Bear I developed through it.

There is also the last work I developed for Dutch Invertulas for DDW 2016. It’s more a research then a final product but here are some images.


BoomBench - Michael Schoner
Michael Schoner - GStar
DI_Power Play_Michael Schoner
Brett Baguette - Michael Schoner
Michael Schoner - GStar
DI_Power Play_Michael Schoner

Aliki van der Kruijs, Queen of the Rain


Aliki van der Kruijs is a designer who humbly accepts randomness in her work. She leaves it to nature, or to rain to be more specific. She has created a few years ago the project called Made by Rain and is about to start an e-shop of her extraordinary natural creations that will make you look at rain in a total new way. Let’s try to learn a bit more about this queen of the rain.

What’s your story? Where do you come from, where have you studied? Where do you live and work?

My origin is Dutch, but I grew up in Nigeria, Africa, the first years of my life. After that I spend my youth in the east of the Netherlands in Wageningen before moving to Arnhem for my study Fashion Design. After graduation I worked for the denim-company G-Star but quit the job to start the master Dirty Art Department a.k.a Applied Art at the Sandberg Instituut. Nowadays I live and work in The Hague. 

ALIKI VAN DER KRUIJS - Studio Elsien Gringhuis

Could you explain what the Made By Rain project is? I perceive it as the very root of everything else you have been creating, am I right to be thinking that way?

While growing up in Nigeria I experienced rainfall very intense due to the monsoons. In the Netherlands it rains differently than 20 years ago. More comparable with the monsoon in the tropics. During my graduation the question was: ‘Why is it alway raining in my memories’?At that time I received as an inheritance from my grandfather, a notebook in which he wrote down the weather condition every day. It really made me start investigating rain as an actor in my work. With the prevalent rains in the Netherlands and its history of struggling with the elements, rain is deeply rooted in Dutch culture. I questioned what it would be like to capture the experience of rain fall on textile, to make it possible to ‘wear the weather’. For this I developed my own technique of ‘pluviography’; photographic recordings of rain precipitation on textiles with a film coating that is sensitive to water. The textiles form a collection of weather data: visual recordings of a drizzly day or even a monsoon, imprinted on textile. Each unique cloth is accompanied with its actual precipitation data of location, time and weather conditions. There is a collection of scarfs for purchase. The process is documented in a book and responds to the increase in precipitation intensity due to climate change using collaborative projects in fashion as one of the messengers. Made by Rain is an ongoing project and my aim is to make a rain-atlas with all the imprints I collect. Yes you see it right that it is kind of a root of my practice. Actually it all started in the project Weer Blauw (Weathering Blue). This is a direct translation of the calendars of my grandfather. While documenting the process of the blue pigment fading due the weather conditions, I photographed rain drops on the cloth.  Seeing this, I realized that there might me a possible way to imprint this WITH the textile instead of only document it with a camera. So that’s how I took it into the next step by developing Made by Rain

What are your visual influences?

Overall natural processes influence my visual language. Either I use rain, as something unpredictable. Or I create a work method where there is space for an uncontrolled element. I really like this tension between setting parameters and creating space for thing to occur/happen. My interest for natural elements dates back to the beginning of my work and sometimes when I look around in my studio it seems as if I was building a library of the Earth with projects about the weather, water, light, geology. 

ALIKI VAN DER KRUIJS - Studio Elsien Gringhuis

You’ve made great collaborations with various brands such as ZigZagZurich, Nike KD, Thomas EyckStudio Elsien Gringhuis, could you tell us a bit about these collabs? How did they start? Do you have one that you are particularly satisfied with?

The collaborations started most of the time because I was contacted after somebody discovered my project Made by Rain in an exhibition or online. I enjoyed the fact that due to those collaborations, I have been creating pieces I would not have been able to achieve alone. Made by Rain was initiated by an intention to ‘map the weather’ with the idea of creating a textile register. With the use of textile, it comes closer to a humans then when using a paper imprint, so the material was a deliberate choice. I did tests on paper and that works out as well, but I prefer the textiles and the more fluid quality of the material. With these collaborations Made by Rain is put into the domesticated space and that I really like. It is notable that after my textiles where applied into the duvet covers of ZigzagZurich or KD Tees by Nike, people knew better how to relate to the textiles and I got really good feedbacks from it. In the collaboration with the fashion designer Elsien Gringhuis, I used her framework (shape of the clothes) to come up with new ways to print and paint on textile. It worked as a playground for those new techniques. One letting the shape of the pattern dictate the print, and the more fluid result is a ‘fold-and-water’ technique that brings unique print results.

Best of Maison & Objet 2017: First Episode

The salon Maison & Objet, takes place in Villepinte, near Paris (France), twice a year, and this edition had plenty of things to show. These professional salons give a clear indication on trends and on the state of the market. We were there last week at the end of the salon. To be honest, all the design venues are at the moment quite interesting but not revolutionary, after marble and copper a few years ago, terrazzo for the past two years, we understand that the next new thing is resin, and industrial glass, but apart from that, there is no major mouvement. But this does not prevent us from appreciating some of the beautiful pieces, that once again, dearest reader, we would like to share with you.

The first thing we came accross was the very Memphis Maison Dada from Shanghai.

Paris Memphis n05 - Maison Dada
Paris Memphis n07 - Maison Dada
Paris Memphis n04 - Maison Dada
Object of Discussion - Maison Dada
Little Eliah Table Lamp - Maison Dada

We had never seen the latest Bouroullec vase for Vitra in real life. It was the star of one of the greatest editorial of the latest months for the French AD (visible on Sight Unseen). We were glad to come find it on the Vitra booth and were surprised at how big it actually is and how its anodized aluminium appears to be totally immaterial.

Vase Nuage - Ronan & Erwan Bouroullec
Vase Nuage - Ronan & Erwan Bouroullec
Vase Nuage - Ronan & Erwan Bouroullec

Next: the Danish brand Nomess and their incredibly cool booth with its trendy slightly unfinished look. We fell in love with the Memory pillows by Witek Golik made out of memory foam.

Memory Pillows by Witek Golik for Nomess

The carpet brand CCTapis and their now famous Visioni by Patricia Urquiola and After Party by Garth Roberts

Visioni by Patricia Urquiola CC Tapis
After Party by Garth Roberts CCTapis

We also noticed La Chance‘s very colorful booth, with their very smart valet stand, called Jeeves by the architects Tolila + Gilliland, and Tapigri, a carpet by Nathalie Du Pasquier, one of the members of Memphis who specialized in 2 dimensional works and patterns. But you will tell me that these are not new pieces. As you can see if you regularly read this blog, I am not at all into the cult of newness…

Jeeves Tolila + Gilliland La Chance

We usually dismiss the design brands that are just about tricks: about one smart idea. But this one is a bit different, because it is a good idea, but it is incredibly beautiful! Meet the Danish brand Design Letters, and their letter board.

Tapigri Nathalie du Pasquier La Chance
Design Letters

Last piece of this first episode is by the brand Ondarreta, from the Spanish Basque Country near San Sebastian.

Aia Pouf Nadia Arratibel Ondarreta

1982: Century Dormeuse by Andrea Branzi

Andrea Branzi - Century 1982

We love this Century dormeuse by Andrea Branzi. To us, hlow team, it is above all one of his first statement solo piece. It was built in 1982, so 5 years before his Compasso d’Oro. Before this piece, his production is perhaps more theoretical, with Archizoom and Alchimia. After this piece, Branzi will be using curves that will precede the trend of organic shapes of the 90s.

In a Designboom interview from 2003, Andrea Branzi answers this while asked to describe his style :

« andrea branzi is a person who deals with theoretical physics,
and sees architecture not as the art of building
but as a much more articulated form of thought.
I work alternating between theoretical research and practical designing. »

To us, this piece is more about practical design, yet it uses such pictural codes and materials that it is also a cartoon piece, that really fits into the Memphis Milano production.

We think that the Century dormeuse is one of the ancestors of many very different mouvements such as the thin tubular colorful trend of Muller Van Severen design, and of the Trampoline chair by Cuatro Cuatros for Missana,

Muller Van Severen
Cuatro Cuatros Trampolin Missana

or the design of efficiency and technology of Konstantin Grcic for Magis and for Galerie kreo.  .

Konstantin Grcic - Magis - Traffic
Champions by Konstantin Grcic for Galerie kreo

Shade Volume by Merel Karhof and Marc Trotereau

Shade Volume - Merel Karhof Marc Trotereau

All our apologies for the very very long period without any post. Just to make you a little more angry at me, I will just say that I was resting in Tuscany, but this may be the subject of a future post, so I will not say anything more.

For now, we are very happy to introduce Shade Volume, a new collection of lamps, which is the result of a collaboration between French designer Marc Trotereau and Dutch designer Merel Karhof. They really used Merel’s sense of color and Marc’s experience with shade and lighting design. It is worth seeing their previous work to understand what I mean.

The main idea of these lamps is to create a useful and weightless lighting system by joining two or more lampshades. The design approach is to create a-symmetrical shapes that require no more labor or material than a classic drum or conical shade. The main twist consists in the development of a clipping system that allows the transformation of each lampshade into an interchangeable part. This simple system gives the possibility to quickly assemble lampshades together and create endless variations of enlighten shapes from small floor or pendant lights to large totems reaching the ceiling.

The process could be likened to Isamu Noguchi’s  take on the Japanese traditional rice paper Gifu lantern to create ‘Akari’. Akari means, illumination but is also implying the idea of weightlessness. One of Noguchi’s famous quotes puts his source of illumination at the heart of the home: ‘All you require to start a home are a room, a tatami and Akari’.

Shade Volume - Merel Karhof Marc Trotereau
Shade Volume - Merel Karhof Marc Trotereau

Christmas News 2: Jewelry

These next posts are going to be about buying. I have been myself quite busy buying these last few weeks. For the 24th, we are welcoming a dozen people at home, and for my baby girl who is turning 2 very soon, it’s going to be the very first remembered Christmas, so I am really trying to make it right. I am a bit less online with you guys, but if your are planning on offering a few gifts late, let’s say you want to find nice things for your friend but they are on holiday right now, these few posts about generic ideas, are for you. Let’s start with a Christmas classic: jewelry.

I’ve discovered Julie Thevenot’s work a few years ago, but I recently met a great friend of mine, the talented Etienne Bardelli, who mentionned her work. He said it was really for me, so I checked her latest work and guess what, friends are often right, well he knows my taste really well. So Julie is a French designer living and working in New York. And her jewelries are simply from another planet: gracious and poetic, they are real pieces of design. She shares with me a predilection for shading colors and softened volumes. This Sand Bangle #12 is available online for $120,00.

SAND BANGLE by Julie Thevenot
Level Pendant by the immensely talented Lily Kamper, £378
Level Pendant - Lily Kamper
Anello E. Sottsass 1985 for Cleto Munari design
Anello E. Sottsass 1985
Stack Neckless by Wolf & Moon £40
Stack Neckless - Wolf & Moon
BO8 Onyx by Studio Collect 195€
BO8 Onyx - Studio Collect
Totem 004 – Tom Pigeon £60
Totem 004 - Tom Pigeon
I am in love with Andrew Logan’s messy jewelry, as you will see in this selection. This bracelet is called White Rocks and is available here for £300,00.
White Rocks by Andrew Logan
For more information about this ring by Louise O’Neill, send her an email on this link.
Ring - Louise O'Neill
These earrings with a ruff are available on Etsy’s Lannie Lynn store, for 47,20 €
Green Stone - LanieLynnJewelry

#4 GRADIENT CHUNKY TRICOLOR ISLAND by Julie Thévenot $115.00

Curve Hoops by Wolf & Moon, £52
Curve Hoops - Wolf And Moon

And there are many more jewelries on our pinterest….

Hlow talks with LRNCE’s Laurence Leenaert about her work with Moroccan craftsmen


Laurence Leenaert is everywhere, all over the social networks, but also on the unmissable Sight Unseen which just released a great post about her. And there is a reason for that: she is about to develop her brand LRNCE, promote it to a whole new level and distribute it to the US and Australia. We at HLOW knew Laurence for a long time. I was selling her bags in my previous e-shop. But I kept on following her work and it kept on getting better, always new, always surprising. One reason for that is that she keeps on changing the place she lives in. Now it’s Morocco where she works with local craftsmen on ancestral techniques and creates incredible pieces mixing tradition and modernity, tomorrow it will be Thailand where she already know that she will be able to explore several sorts of techniques for fashion wear but also for home wear. I met her in Paris last month and the quality of the video (HLOW’s first – please be indulgent) was so poor that I was hesitating to even show it you, but one thing that I wanted you to see, was how modest and kind Laurence is. There is no doubt she is ambitious and talented, and no doubt she is acting for the right causes, instead of ordering big amounts from far away in countries that she would barely know, Laurence has decided as an altruistic and militant gesture to be living among the craftsmen who produce her pieces and to help them develop their business as well as hers. Very very well done Laurence! You give us hope and shows us how beautiful can do good.

In the video I mention a post about Bless, so here it is.

And here is LRNCE’s eshop.


Christmas News 1: The Best Design Gift Wrap

Hi there, yeah I know it’s been a while. I have been busy trying to work on videos, I hope to be able to share with you soon.

You know it, we at HLOW are trying hard to be useful. So here is our latest piece of advice: you want everything you touch or give, to look incredible. Christmas is approaching and you think this red and white decor, designed by Coca Cola in the early XXth century has nothing to do with your contemporary vision on things. Well let’s hack the party together.

And let’s start with one thing you for sure can improve: your Christmas wrapping, your gift wrap, the paper around the presents you give. Do not treat it lightly! It is your signature varnish, it is the first impression you give, it is of utmost importance!

A pink Memphis style wrapping paper by Jolie Nouba 9 euros.

Still in this Pastel Memphis look : Hema’s gift bag, 0,50 euro.

Traditionally handmade marble wrapping paper designed by Esme Winter in collaboration with Jemma Lewis. Sold by Sheldquarters£3.00

Set of 4 rolls of sparkling Masking Tape by Hema 3 euros.

Abstract Wrapping Paper by Pat Bradbury for Wrap. Sold by Shedquarters.  £1.95

Green Pastel Memphis + Marble Paper by Jolie Nouba (apparently there is only a few left) 9 euros

Papier Tigre’s Structure is the fusion of Roy Lichtenstein’s work with a modernist stainglass window. 4 euros per sheet of 50 x 70 cm.

Papier Tigre‘s latest creation is a patchwork of everything we like. 4 euros per sheet of 50 x 70 cm.

This year collection of wrapping paper SLÅENDE by Ikea is quite amazing. It is also pretty cheap. But as usual with Ikea, it is a seasonnal product, so it should not be around for long. 4,99 €/ the three roles

A great splatter feel on Etsy by NormansPrintery, 13,62 euros

Neutral Hema cardboard Japanese style gift bag.

Fragment wrapping paper illustrated by the co-founders of Wrap Stationnery: Polly & Chris. Sold on their webshop by set of 5 paper sheets for £7.95 and on Shedquarters to pick your sheets one by one for £1.95

Set of 2 rolls of iridescent Masking Tape at Hema 2 euros.

Whisker Graphics’ Devine Twine, the mettalics sereies, with rose gold, sold on Etsy’s WillowBaySupply. 12,64 € for 240 yards

Caroline Corbasson, Of Space and Stars

©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard

I have come across your work in Basel, this year. I was totally fascinated with those pictures of stars that seemed to be made out of copper verdigri, that were exhibited by the gallery L’Inlassable_ according to us: one of the very few interesting things to see in Volta (one of the numerous satellite fairs that are taking place at the same time as ArtBasel). Could you talk to us about those incredible pieces?

For these works, my inspiration came from the James Webb Space Telescope – to be launched in 2018 by NASA. It’s going to be the largest infrared telescope so far. It’s composed of 18 hexagonal gold-coated mirror segments, which makes it look totally sacred, cathedral-like I think.

I decided to make metal segments in the same shape as the JWST’s, and used chemicals and fire to make nebulas appear. As in space, stars emerge from gas and dust, I tried to recreate theses conditions on a tiny scale.

©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard

You have studied at Paris Fine Arts and at Central Saint Martins in London, the end of school was only 3 years ago and yet we have noticed that you have already participated in many shows, are you somehow in a rush? Could you tell us a bit more about your life story?

Rather than in a rush, I’d say I’m making the most of every second. It’s true everything tends to go really fast nowadays, but what I want is to build a solid body of work, and that takes a lot of time. Each little step is important, you need patience, endurance and hard work. Although it’s sometimes difficult to resist the pressure of quick and constant production, it’s really important to keep in mind what counts and what’s left in the end, the work itself. The happiest I feel is when I’m creating in my studio, far from the social events of the art world.

©Luna Picoli-Truffaut

You seem to be attracted with the idea of infinity and absolute, is it a metaphysical search, is it a pro-science posture, or both?

After meeting quite a few researchers, I’ve realized scientists and artists share many things as they observe the world. One of them is creativity, but the difference is you always need to prove your ideas in science, whereas there’s more freedom with art. My practice allows me to question concepts such as infinity without boundaries. I couldn’t affirm it’s a pro-science posture nor a metaphysical search, because it’s a very personal approach.

©Luna Picoli-Truffaut

Your art pieces have direct visual impact, but they are also the result of sometimes complex processes? Do you need both: the looks and the meaning?

I like the space in between the idea and the process of making. Translating an idea, a concept through matter is very challenging. I try to always make it to the point, keeping in mind my first intuition. This goes through an economy of means. The choice of medium is highly important as each material already contains story, a meaning. I often like to work with coal, metal, graphite, because they have this timelessness.

A tough one: what is your aim in life and how do you think your art could help?

I wish to constantly keep learning, to keep exploring and risking things in my practice.

If people feel connected to what I make, spend an interesting time looking at it, even if it’s just for a second, that’s all I can ever dream of.

At another level, I hope I can contribute to raise awareness about environmental issues, by focusing attention on subjects such as climate, pollution, etc.

©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard
©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard
©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard
©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard
©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard
©Caroline Corbasson, Courtesy Galerie L'Inlassable / Galerie Laurence Bernard

Images des oeuvres: © Caroline Corbasson, Courtesy Galerie L’Inlassable / Galerie Laurence Bernard

Portrait de Caroline: © Luna Picoli-Truffaut

Muller Van Severen, Tati Revisited

What is your story, how did this duo get started, how did you both start creating design? 

Hannes and I were both active as visual artists. At the end of 2010 Valerie Traan Gallery asked me to create something for the gallery. Valerie Traan is used to show work which balances between art and furniture. At the same time Hannes and I were also remodeling/renovating our home. We had a problem in our living area with the electricity above our table, from this problem one of our first works sprung: table + lamp. In a few weeks time our collaboration arised and we had our first show at Valerie Traan Gallery in 2011. Muller Van Serveren was born.

Most of the people we interview love to blur all the boundaries, but with your work it is especially the case: the boundaries between art and design (some of your pieces are more sculptures, even 3D pencil drawings, than pieces of furniture, but others are real pieces of architecture), between solo and collective work, between minimalism and total fantasy, between harmony and contrast. Does the fact that you are artists producing design change your perception on design? Did you feel there was a special need to remove the partitions in design?

We definitely see it as functional objects. Lying on the borderline with arts, is due to the fact that we create furniture as visuals artists. It’s just our way of creating furniture, it’s not something we consciously seek, it’s more like a consequence.

It is very interesting to have a look at both of your previous work, to see what each of you puts into this duo. Could you tell us what is your function inside this duet? Fien for the colors, textures and the patterns and Hannes for the shapes and the concepts? 

We don’t have a permanent/strict function in our cooperation. It’s always different for each object. Sometimes it’s Hannes that comes up with an idea, sometimes it’s me. Sometimes Hannes has an idea towards finishing, sometimes it’s me… However, we are in a constant dialogue with each other about what we’re creating, we draw on each others drawings etc.

But is never a predefined method or measured organization about the process of making an object.


The words « incongruous » and « absurd » are used in your biography. And we, at HLOW always compared your work to Jacques Tati’s furniture set in the movie Mon Oncle. When he was shooting the film, Tati was at the same time fascinated by the esthetics of modernism and making fun of its pointlessness. What is your link with function and dysfunction?  

For us creating something that needs to have a function, feels liberating. Coming from the visual arts, we know that this restriction contains its freedom. That this our grip and the rest can be very free…

You have worked for Valerie Objects and collaborated with Fischli & Weiss? Could you tell us a bit more about these projects? Is it on purpose that we can find your pieces only in galleries or decorator spaces?

Valerie Objects came to life through the collaboration with Valerie Traan Gallery. At a certain moment Valerie Traan saw we struggled to design and to remain creative, because the production was taking too much time. The initial idea was to outsource a very big part of the collection to them. It proved to be a difficult process to mass produce all of the Muller Van Severen objects, so a couple of months ago, a large part of our design was returned to us.

Now we are trying to improve the organization via our atelier, but the objects remain close to us. Valerie Objects still produces a few smaller objects and this goes well. We are working on some new things for them. It’s a good cooperation, for Hannes and I, it’s a different way of creating furniture. The diversity of creating objects for both a gallery (who are working on editions, such as kreo) and for productions such as Valerie Objects, fascinates us…

Amélie Bertrand, Of Old and New

Amélie Bertrand - Sémiose Gallery Paris
Amélie Bertrand - Sémiose Gallery Paris

Amélie Betrand was one of Artissima Art Fair‘s (Torino, Italy) stars. 

Amélie, who are you? Where do you come from? 

My name is Amélie Bertrand. I am a painter and I was born in the South of France, in 1985. I studied Fine Arts in Marseille. I live and work in Paris and I am represented by the Semiose Gallery.

What is your everyday life? An example of an ordinary day…

I wake up early, go to my workshop and come back late. This is my ordinary day. And I sell clothes two days a week.

How and when did you decide you wanted to become an artist and did you ever regret this decision?

I never really decided to be an artist. I therefore didn’t ever regret this decision. I come from a family who had a strong keenness for all forms of art. They painted, they drew cartoons and they listened to a lot of music.

Amélie Bertrand - Sémiose Gallery Paris

I have always drawn and painted. But it’s only in high school that I confronted my work to the vision of others for the first time, which enabled me to develop a critical sense and a certain reflexion on what I would create. I discovered art history, the Trecento and the Quattrocento. Painting has started to take up all my time. It has become vital. As vital as to eat three times a day.

Amélie Bertrand - Sémiose Gallery Paris

When we discovered your paintings at the 2014 Fiac OFFicielle, there was a whole bunch of us that were pulled up short by your paintings, the work of an at the time barely know young artist, without understanding why. I guess somehow we discovered in them a path to a future in painting, one that would reconcile what is expected and what is, painting and reality, old and new…I don’t know if this makes sense to you, but why painting? Why 3D images? Could you tell us, how, why and when you came up with your style?

Thanks! That’s actually a very interesting question. A few of these reflections can at one point gather into a thought process. I humbly try to place myself into contemporary art history using the tools that surround me. I want to play with the idea of reality, through lure. Our look is formatted by our surroundings. I paint to propose a sort of gap, a tension. I never try to create any real space, only painted spaces. All the elements are shaped to render an atmosphere, a weird aftertaste of “déjà vu”, a contemporary climate at the same time psychological and physical. I play with the depth effects, the perspectives and the proportions. All the drawing is made on Photoshop, where everything is permitted and possible. Photoshop enables me to constantly imagine new designs, new transformations. It enables me to open the realm of possible and in another way to completely distort it. This is why I don’t really use any 3D software. Everything would have been too accurate with it.

My father is a graphic designer and has taught me early on how to use Photoshop and Illustrator. I have had the impression of discovering simple solutions to painting problems. At the beginning of my Fine Arts School years, I have started by trusting the figure, the model, to try to convey in a very realistic way, an expression, a face or a posture. I was studying Cranach


And loved John Currin.

John Currin

I used Photoshop for my compositions. I was working along the rules of oil painting, but the weight of the modele was soon to become too restrictive. My paintings were referring to art history. I went on to a study trip to Canada, where I discovered the systematic and rather frightening use of Scotch tape (or sellotape) and “masking tape”. They were completely uninhibited, and would use all sorts reproducible images in a merry mess. I have started to know better German painting, such as Polke

Sigmar Polke
Neo Rauch

I have started to create compositions on Photoshop that were becoming more and more accomplished everyday, understanding that doubt did not have any place in composition. I have tested no other technique: nor engraving, nor silkscreen. Oil was taking all my time. I have been totally absorbed by this practice.

Is there a narration behind each of the pieces, of do you consider them as still lives or exercises in style each time?

The openness of the paintings enables different approaches. Several figurative elements are evocative of things or events, and are starting a direct dialogue with the visitor who loves stories: however the narrative element is never strong enough to make us forget that we are watching a painting. These are pictures that were painted with only one layer of painting. I need the eye not to be distracted by any shininess, or painting effect. The render has to be cold, tensed and synthetic. That’s why I am working with a system of tracing papers and stencils. The spectator has to be maintained at the surface of the painting. I do not consider them as still lives nor as exercises in style.

Could you give us some of your visual references? 

Sol Lewitt,

Sol Lewitt - Centre Pompidou-Metz
Piero Della Francesca
George Etll

Right now, I am seriously into the work of Ugo Rondinone

Ugo Rondinone

And last but not least, because we at hlow are also design lovers, how did you come across the genius idea of a pink lino for your show Queens and Kings?

Amélie Bertrand - Sémiose Gallery Paris

For the scenography, I work in close link with my gallerist. For this series of paintings, the whole color spectrum has been tried. We have decided to bring a neon glow to the ground and to the edges of the paintings, to bring a form of unity to my dance-floor! It is quite musical actually.

Amélie Bertrand - Sémiose Gallery Paris
Amélie Bertrand - Sémiose Gallery Paris

Best Of Dutch Design Week 2016 (Eindhoven) 2

Here is the second part of the selection of pieces we liked in Eindhoven for the Dutch Design Week. Read the first part here.

Renske Rothuizen‘s Lemonade Factory was quite something and brought the childhood and playful world back to grownups kitchens. It was influenced by post-modern design (which was one of the leitmotiv of the show) and particularly, according to us at Hlow, Sottsass‘s micro Roman architectures such as the Pausania lamp for Artemide.

Still in the kids area and in post-modernists influences: The Odd Ones by Mandy van der Heijden.

Julian Jay Roux‘s Relativistic Surfaces were very impressive for all kinds of reasons: they worked incredibly well, you could really see all the colors of the rainbow into them, but at the same time they had a very glossy finish thanks to transparent glass at its surface.

Tanita Klein‘s Norm is a big shelve which has the proportions of a standing man with his arms spread. It is at the same time very structure oriented and quite post-modern in its shapes, the combinaison of circles and lines.

Woojai Lee‘s Paperbricks are an attempt to use the rests of paper for construction as “paper is among the most produced and most discarded materials in the world. It can be recycled, but not indefinitely: with every cycle the fibres grow smaller and the quality downgrades. ‘Paper Bricks’ are made from recycled newspapers. Sturdy and stackable like real bricks they combine a pleasing marbled look with the warmth and soft tactility of paper or wood.”

Alica Pola Knabe‘s Woven Warmth, meant to “to add some natural softness to our bathing ritual”.

The congratulated ATMOSPHERICAL POTENTIAL OF BOREDOM by Maxime Benvenuto is “a lexicon of words and notions related to boredom and (…) translated (…) into a series of material and visual elements. A hard, glossy, black tile for example, stems from the word ‘silence’. And a heavy steel cubicle hanging from a frame comes from the word ‘slow’. These 3D elements form a new language, revealing how boredom can be used to shape design.”

Emma Wessel‘s world is one of great continuity between fashion and design, one of vivid color and solid fabrics. Her project, a collection and its lookbook called Hide and Sleek, is simply incredibly beautiful.

In another venue of DDW, in a place called TAC we found this great Turkish project called The New Domesticity. Here is one of favorites among their pieces.

At TAC, there was also the statement piece of yet another Eindhoven Academy graduate Teresa Mendler. This piece was the starting point of a textile project called Merging Cultures, and shown at the Academy, but we at Hlow, fell in love with the piece in itself, this self-sufficient beautiful collage:

At the Kazerne, we were more than intrigued by two pieces: a wall of Pigments & Porcelain tiles by Alissa + Nienke and the Crystal vases by Isaac Monte.

At the Klokgebouw, we found two other great projects: one firm called Stone Cycling that creates a terrazzo looking new material out of waste, and very beautiful bookshelf made out of rough stones, called Material Depot by Mieke Meijer

We finished with the Van Abbemuseummuseum, where there was an incredible exhibition called Broken White organised by the Academy, once again, and I guess, there was many other great stuffs, but we had to put an end to this post. Anyway, Eindhoven is and still will remain one of the world centers of design.

Vanessa Dziuba, About Contemporary Drawing

Vanessa Dziuba is a young French artist. Her drawings and her collages are more than poetic, they are no completely abstract and tent to make you recognize parts of it. It is never totally unknown grounds, somehow they convey a feeling of familiarity. We at Hlow wanted to understand why. 

Young, woman, artist, does it work together? Are you happy Vanessa? What is your everyday life? What are your dreams, your projects?

I don’t think that these words go well together, nor that they ever did. However, this does not discourage me. I feel that I am in a positive dynamic right now. I get into a lot of interesting and attractive projects. I have a lot of discussions around me about the problematics created by the artistic works and systems, and about solutions that are available for artists…and this gives me the support I need. The fact that we ask ourselves those questions, even without responding to them, enables me to live a dynamic and proactive life.

My daily life is an interweaving of several things: I share my time between my workshop practice where I draw and experiment, moments when I write my new projects down, or when I manage collective projects, and other moments that are dedicated to other jobs that have nothing to do with my art (that’s why I need some strength to go back to my workshop practice). My problems lie more in the right organisation and balance of my schedule. I realize now that I am happy when I see a bit of evolution everyday. My projects and dreams are very varied! I am quite down to earth and concrete, I do not really know if I have absolute dreams, I have the impression I really do what makes me happy on a daily basis.

Could you tell us a bit about Coral Gables, about your relation to architecture, to tropical weather and to the absurd juxtaposition of the contemporary world? Why have you chosen the technique of collage for this series?

My first relation to architecture is the place I grew up in. It was in Nanterre in a building by Jacques Kalisz, at the 15th floor, with a view on the towers of La Défense (the Paris Business District, with skye scrapers and all…). My relation to the landscape has first been shaped by this view, this sort of striking composition.

The series Coral Gables comes from other previous series. I often proceed by interconnections. A series calls for another and it often happens that I find myself working on several series at the same time. Architecture is a recurrent theme of mine: space and scale are things that I love to transform with the angle I take or with the shapes I suggest. My shapes are often parts of existing and real elements. The choice of collage has occurred when I realized I wanted to superpose several things in the same image: I wanted the shapes to become independent, as if I was drawing using surfaces instead of lines. Collage came in naturally because it enables me to create some lines in another way.

From our point of view (we, being the hlow team), your drawings and collages have in common an infinite precision, a certain taste for patterns and a kind of abstraction, inherited from the aesthetics of the 70s and the 80s. Is it on purpose? Are you able to analyse where it comes from?

Of course, it’s on purpose. I love looking at architecture, I live un the 13th district in Paris, where I am surrounded by buildings from the 70s and the 80s. I also look at buildings from other periods of time, as the ones of the Bauhaus

or the architectures of Buckminster Fuller for instance.

Recently I have visited the Le Corbusier foundation, and I have greatly appreciated the very peculiar blend of color, the fake simplicity of spaces, the details such as the removal of a baseboard, to avoid adding an unnecessary bit of wood.

Right now, I am really into Viallat’s painting,

and Matisse’s

and other artists such as Nathalie du Pasquier

or Betty Woodman.

I try to draw objects that have an uncertain scale, so that we are never sure wether it is a building in which we can enter or a piece of furniture.

We have met you in Basel, last June, on your booth in a fair selling only editions, where you represented your collective, called Modèle Puissance, of which you are one of the founding members. What is it exactly? 

Modèle Puissance is the gathering of several artists under a same name, we do not produce images together but we have gathered to talk about our work and to make editions. We create books, editions, that we spread through the web or on editions fairs, salons or shows.

I am attracted to the book, as an object, by the print, and the editions in general. I love its autonomy and the fact that it lasts longer than an exhibition, it enables us to think of a different way to show drawings. 

You have just took part in the MAD, the edition fair at the Maison Rouge in Paris, what are your projects? Any news you would like to share with us?

I have just participated in many editions fairs in the end of this year. I love to meet people and to discuss about my work in a context different than the one of an exhibition. I am presently working on several projects, among which another project of a collective called Zelig Leatherman. It is a sound project that will be broadcasted during the the salon Galeristes at the Carreau du Temple, in Paris, next December. And next January, I will show my drawings and editions with Jean-Philippe Bretin at the show called The Slope of Things in Orleans (France) at the Poctb art center.

Could you tell us a bit about the Collection zine?

Collection is a publication of interviews about contemporary drawings. It exists since 2010 and we are going to publish its 5th issue at the beginning of next year. I am part of a 5 people editorial team: Sammy Stein, Julien Kedryna, Jean-Philippe Bretin, Antoine Stevenot and myself. We meet international artists, emerging or recognized, to talk about their work. The form of the interview was privileged because we wanted the artists to speak for themselves. We discuss with visual artists, designers, cartoon authors but also unclassifiable personalities who develop a strong link to drawings.

Best of Interieur 2016 (Kortrijk)

We went to Kortrijk (Belgium) design show last week, and found some treasures we would like to share with you. Most of the pieces are creations by little Belgian editors. So we thought they needed a little highlight. But you will also find international talents, huge brands, self-produced designer pieces and gallery masterpieces, so follow us in this gorgeous labyrinthe.

Our first discovery: the German brand Atelier Haussmann. Here are Petite Table d’Angle and Blumenampel.

Next, young Danish designer Niclas Jorgensen‘s Stadium Light. He was a pupil of Michael Anastassiades (whose piece for Flos will also be featured in this post).

The beautiful and ingenious Roll Collection by Verena Hennig.

Vincent Van Duysen‘s Totem for Pastoe.

Hervé Humbert‘s grid coffee table.

Dorothée Mainka‘s Mood shelves.

On the Flos booth: several masterpieces. Infra-structure by Vincent Van Duysen, The Running Magnet by Flos Archtectural and String Lights by Michael Anastassiades.

Beltrami‘s booth was also quite a surprise, just as we thought we had seen everything there is to see concerning marble, here they come with there laser cut beautifully shaped tiles and bath elements.

The amazing gallery Maniera (already responsible for the mesmerizing desks, mirrors and shelves by Anne Holtrop) also had a booth, and shown the incredibly beautiful and elegant Corner Chair by OFFICE Kersten Geers David Van Severen.

We could see that after Muller Van Severen, there was a trend for thin metal lines. A few interesting examples could be noticed: the armchair, and the shelves by Grint, the lounge chair by Isati Creative Studio, and a little thicker, the cartoon bench by Bultin.

ISM Architecten‘s CT07.

Incredible Marble pillows by studio kan/o.

Last but absolutely not least, the winner of the GRAND PRIZE of the Interieur design award competition: Dimitri Bähler‘s VPT&C. This work was also visible last summer at the Villa Noailles. These pieces are incredible in real life, you simply cannot stop looking at them.

Shana Moulton’s Incredible World

Shana Moulton is a young American artist, who was exhibited a short while ago (until september) at the Palais de Tokyo in Paris, but we, at Hlow, had discovered her work on the Internet long before, through her fascinating and facetious videos.

Shana could you tell us a bit about yourself? Where do you come from? What is your work mainly about?

I’m from Oakhurst, California–a small town between Fresno and Yosemite. I don’t really know what my work is about and I’m terrible at trying to describe what I think it’s about.

I have read in an article that your principal character, Cynthia, is “a hypochondriac and an agoraphobic, stuck in endless delusional attempts to find comfort while being plagued by Technicolor hallucinations”? Did you know from the start that this would be the personality you would give her, or did it grow from one piece to the other?

I didn’t know that she would be a character I would continue to work with. At first she was just a way to feature these dresses I’d made with medical devices embedded in the fabric, so her characteristics were initially defined by the dresses. As I continued to use this character the videos became more and more autobiographical. I am a bit of a hypochondriac and find it hard to leave the house sometimes, but my imagination and creativity thrives within these neuroses.

There a certain pessimism and feeling of unfulfillment in your work, but it is quite funny at the same time… Would you describe yourself more as a cynical, an ironical person, or someone, that is just interested in absurdity and derision? Or all three? And why?

I suppose some of all 3, but I don’t mean to convey derision, poking fun at something or someone (often myself) is a usually a gesture of love. And I can also be sincere and naive.  I guess one purpose of the videos is to try and convey sincerity and irony at the same time.

Are you as interested in setting ups, in sceneries, as in the very stories you are filming? Is your attraction to narration bound to be linked to a certain visual universe?

Yes, the story is often driven by objects I find and the environments I create to contain those objects. The camera shots are usually static, and I build the sets to work for just one camera angle, so they are sort of like tableau. It depends on my studio situation, when i have a traditional studio I can build these sets from scratch, but sometimes I embellish pre-existing settings like my parent’s house. And yes the narration is totally bound to this aesthetic I create, the stories are based on certain colors or forms.

What are your inspirations: post-modernism, 3D low cost animation, new age esthetics? Could you give us some references that enabled you to construct the universe you created.

Inspirations: Pee-wee’s Playhouse

Twin Peaks


Saturday Night Live from the 90s

King’s Quest

growing up in a senior mobile home park called Whispering Pines in the Sierra National Forest

visiting San Francisco every year as a kid and living there and in Berkeley as an adult,

coming of age as an artist in the late 90s/early 2000s, discovering artists like Mike Kelley

As a conclusion and because I am sure after this you will want to see more of Shana’s work, and to know more about her, I advise you this great biographic video:

Best Of Dutch Design Week 2016 (Eindhoven) 1

This week-end Hlow was in Eindhoven and in Kortrijk (of which you will also have a overview in a futur post). We discovered A LOT of great pieces. I guess you won’t have it all at once. So this is only the first part of our dicoveries in Eindhoven. We hope you will enjoy it as much we did. As a start I would like to talk about the city, Eindhoven, an industrial city, where everything is named after the big central mother company: Philip’s. But it is also a town that has managed to reconvert itself through design. It’s not only the place where the academy is located (one of the two best design schools in the world with the ECAL in Lausanne), it is also a place for all the designers to open their practice, as it is quite cheap and full of factory reconversion that are ideal for designers. As it is in the Netherlands, everybody was travelling by bike, there was nearly no cars, and the places were crowded. In Holland, we take design seriously!

First piece we came accross at the academy, was Mila Chorbadzhieva‘s Immemoral Lanscapes. It is about Bulgaria, its past and its evolution toward acceptation: ” Bulgarian society has seen great social and economic turmoil since it radically turned its back on communism. ‘Immemorable Landscapes’ offers a revaluation of an era whose impact is still so palpable. Researching period architecture, specifically the use of concrete, Mila Chorbadzhieva takes distinctive details from monuments that have stood neglected for decades and casts them in a mix of concrete and resin, to be reintroduced as architectural elements or decoration. Mila says of her visual reminders: “To confront, accept and know our past, to shake off the shame and negativism – this seems to be the only way to move on.”

Then we came across Marble Earth by BART JOACHIM VAN UDEN. Here is the text on the brochure “The ‘Marble Earth’ furniture range plays with our appreciation of chipboard furniture with a decorative top layer. We tend to like it because it is cheaper than solid wood furniture, but it has an aura of discount brochures and mediocrity. Our solution is to cover it up with imitation wood prints. But why stick to a ‘birch’ cupboard door? An ‘oak’ kitchen worktop? Why not embrace the full potential of the material? Bart Joachim van Uden re-imagines our self-deceit. He uses images from Google Earth, selected to look just like exclusive natural stone, and combines them with the aesthetic details of standard furniture production.” To me it is not any news. The people that used laminated flat patterns on furniture the Memphis group, so it is wonder, in the midst of its revival, and while Marble is at the summit of its glory, one encounters a piece like Marble Earth, but it is true the result is more than just that, it is stunningly beautiful and not kitsch at all.

The next piece, Just a Scarf by Kris Vleugels is as conceptual as it is graphic: each line on the pattern is a folding line to adapt the scarf to a different culture. It has been designed to be able to embrace as many religions and cultures as possible, and it is a way to answer with love and beauty to sterile polemics such as the one around the veil.

Dinstinctive Hue by Renée Mes, is a sort of structure or giant screen that creates warmth and delight to a-personal places such as hospitals.

Then, we encountered Forrest Wool, by Tamara Orjola, who got her diploma Cum Laude, was the nominee for the Rene Smeets Award, and the Keep an Eye Grant, and was the winner of the Brains Award. It is a very smart research on material. The idea is to use pine needles as “pinetrees are the world’s main source of timber. Every year 600 million pine trees are cut down in the EU only. But there is more to the tree than just wood: pine needles account for 20 to 30 percent of its mass.” And until now these needles are unused. With random and affordable industrial techniques, Tamara creates an ecological high quality wool. Well done!

Charlotte Therre‘s wellness devices for modern workers, called Body at Work, are less of a revolution but they are indeed desirable and elegant. The fact that Charlotte’s studio is in South Korea, somehow does not surprise me. This series looks like a form of lacquered ritual object. I am very receptive to this kind of patiently obtained sacred harmony. And I think that using it for a wellness device is also a philosophical gesture: our new religion is about preparing the body to productivity.

Next, 21G by Seungbin Yang is also a material revolution. Basically it is lacquered paper. So it is at the same time very light, water resistant, nobly finished, durable, sterilized and eco-friendly. The technique is an ancient Korean natural lacquer called ott-chil that is on the verge of dying out.

Hayo Gebauer‘s Props’s for Order is also about sacralizing the profane, it is sacrilizing the notion of order. “Sorting things and reorganising them is as natural as birds collecting and assembling sticks to make their nests. But sometimes we can get hung up on the act of establishing order. It can become an obsession. With ‘Props for Order’ Hayo Gebauer aims to show the beauty of such behaviour. Instead of hiding our storage systems away like a dirty habit, these objects are designed to use in plain sight, for all to admire”.

Eloise Maës‘s Inner Weather  is “ a design for an air cooler and humidifier, was based on Eloïse Maës’ research of porcelain sand with Studio Unfold. Porcelain possesses the ability to absorb and diffuse water. Its porous nature allows the water to soak into the cavities between the tiny grains of porcelain sand. If you add color to the liquid, the water’s path becomes even more fascinating to track, and pouring and watching it becomes like a meditative ritual. When the water evaporates, the color remains, and the process repeats when you pour again.”

Sejoon Kim is interested in “cuteness” and in why he is more attracted to it than Europeans. His hypothesis is that “with its rigid hierarchy, Confucian culture brought a hidden desire for dominance and control. The rise of commercialism and its powerful marketing aimed at children over the past decades did the rest. Kim believes that when people find something cute, there is an inherent sense of superiority, domination and even violence. Satisfying these urges stimulates the human pleasure centres. Acknowledging both loveliness and darkness can be necessary and useful; it may help alleviate the human urge for control and conquest. This is why he has incorporated these conflicting qualities in his designs.” As you will surely have guessed by now, the name of his series is Cute.

Sigve Knutson‘s Drawn Objects is about relinking design, or the object production process, to the spontaneity of drawings and crafts.

This is only half of it guys, you will soon be able to discover the other pieces. That is a promise!

Stromboli Associates, Gorgeous, Dirty and Generous

Stromboli is a design and design auto-production label based in Paris and Mexico, created by the prolific Clémence Seilles, whose work redefines a new way to create, transcending today’s limiting segmentation. Clémence has very kindly accepted an interview while she was moving to Mexico. So it is a rather hectic moment for her, and at the same time, it is the beginning of something new.

What is your perception of the distinction between art and design? Is your aim to blur this frontier?

I have blurred the frontier maybe working as both designer and artist, and I think we can do that. It keeps in my character the dancing going from a system to another. Then I don’t provide or express the same expertise in those two different areas, which I don’t recognize as the same thing. It just happens to be clear that attitudes, logics, outcomes, goals and sphere of people are different.

My perception of design is very practical, as responding through object, furniture and space to “what is needed to be done”, as answering a need and make it function for the present situation. This is the dry and pragmatical first lead I follow before to reach the very subjective angle of style and attitude.


My participation to exhibitions in galleries or institutions answers to an ideal of collective actions, producing situations for exchanges and a formal experimental ground which finds a way sometimes to translate into applied objects. To choose two recent projects: the association Mortal Recordings I have created this year, which goals is to produce, record and perform impro music in a transcendental space inviting musicians, visual artists and poets to perform non stop on a handful of days. Mortal Recordings first album will be release early 2017. Here is a video of the last session in Paris La Villette.


And the late collaborations with Dutch artist Melanie Bonajo on developing cinema sets for her film series Night Soil, on view for their latest version at the Foam Museum in Amsterdam till december 7th.


Your studio is based in Paris and Mexico City, where does this double identity come from? How does it influence your work? What is the story behind Stromboli, when was it founded and why?

The installation of a studio in Mexico City is the big news of this year. It’s has been a huge crush with Mexican culture and environment when I first went two years ago, discovering the very alive and diverse Mexican crafstmanship as much as industrial potential. Therefore I organized to partially move my activities from France. It is a good moment first personally, I just turned 32,  so “hey, why not?”, nothing is so strong installed yet that I have much to loose, and it corresponds with setting up Stromboli Associates in February 2016, which among collaborations with brands, intends to develop toward interior architecture and production of our own lines of furniture. I keep the studio in France, as part of the double identity of Stromboli Associates, which will only gain I believe from the duality of the two worlds. It is too early to say how it influences the work, but Mexico City and Paris surely don’t offer the same opportunities neither the same dynamics, and Stromboli Associates is developing on both sides.



Could you tell us a bit more about the Dirty Art Department

I co-founded the Dirty Art Department at the Sandberg Institute in Amsterdam in 2011 on a joyful and critical urge to create a study program for designers and artists interested into applied situations. Students develop individual or collective works inside situations brought from the department most likely such as a restaurant, a rave, a hotel, a market….or from students themselves as the Post-Norma squat in 2014, where living, working, performing and sharing were all to be invented in a huge free space in north Amsterdam, from which doors had be broken to get in, and a start to learn this skill. So the dirty art department intends to support and initiates situations and actions that move individuals toward a certain independence.


You have collaborated with several tremendously cool brands/designers/artists such as OXYDO Eye-Wear brand, Andrea Crews, Elisa Valenzuela, Fabien Cappello, Travis Broussard, Theo Demans, Melanie Bonajo, Sanks design label and Mortal recordings music rooms? Could you tell us a bit more about these projects?

Every collaboration has its own way to go with their own intentions. OXYDO Eye-wear brand commissioned me for 2 collections. It went really smooth and fast due their great knowledge in production and management giving me pretty much “carte blanche”. On the first collection I studied architecture of antic bridges, which resulted on dramatic glamorous shades. On the second collection coming out now, the intention was more to bring super light glasses, with simple round shape and playful inserts of acetate, quite cartoonesque.

The collaboration with fashion label Andrea Crews was really engaging with the production and revisit classics cuts of the brand into craftsman batik production we undertook in my atelier, at the time in Berlin, that’s already back to 2010/11.

Sanks Design Label was an ambitious collective experiment I took part to set up from Amsterdam with 6 other designers to create in 12 hands collections of table wear objects on the moment of “Salone de Mobile Milan“. We develop 2 collections.

Collaborations with artists and designers are always showing on the pass as encounters and opportunities re being pushed. It’s definitely a character of Stromboli Associates to include external collaborators.


As a conclusion I wanted to add some quotes of Clémence I have found on the interview page of her website: « I tirelessly dodge having to justify myself as an artist or a designer and explain why I created the “dirty artist” designation, which symbolises that universal position of the creator before the historical split between applied arts and fine arts ». Clémence says in another interview: « A designer evaluates a need, a context, and answers it consequently with the intention of creating a useful response. » and « I am a designer because I am concerned with setting up life situations, and present inspiring outcome for people, and that’s what a designer is doing. » So looking at the way Clémence has answered this interview despite a very complicated schedule, and at the way she defines her ideal vision of a creative mind, to be at the disposal of the people, I would say that her creativity _ her contagious love of dirty esthetics _ becomes more of a generous act of giving and improving things for others. And perhaps that is why she is still a designer even though she is definitely a great artist. This is not the last time we talk about Clémence in Hlow.

Best of FIAC 2016

I must tell you that I have a record with contemporary art. I was a gallerist when I was 22 years old, I also worked for other galleries and for museums, it’s been in my life for the past 10 years, but it’s a love and hate relationship. I advise all my intelligent artists friends to become something else than just artists.  To be able to create something from scratch is one of the most amazing thing to be doing. But it really is never like that.  The art market right now is a bit depressing and self-centered. I must also tell you that although I went to the Fiac, Paris’s contemporary art fair, yesterday in order to post something about it for you, I really dislike fairs and their crowd of wannabe subversive VIPs. However as I love you all dearly, lovely readers, I still took some little pics of my favourite pieces.

Chou-Yu Cheng - Edouard Malingue Gallery
Ann Veronica Janssens - Alfonso Artiaco
Thomas Struth - Gallery Max Hetzler
Duane Hanson - Gagosian
Wesley Meuris - Galerie Jérôme Poggi
Minerva Cuevas - Kurimanzutto
Didier Fiuza Faustino - Galerie Michel Rein
Sterling Ruby - Xavier Hufkens
Leonor Antunes - Kurimanzutto
Kishio Suga - Tomio Koyama Gallery
Olafur Eliasson

This is a very catchy work of art: 2 weeks before the Fiac, Elmgreen & Dragset curated the Perrotin Fiac booth, in the empty Grand Palais. And it was identically positioned during the real Fiac.

Elmgreen & Dragset - Perrotin
Perrotin Booth, before the Fiac even started
Elmgreen & Dragset - Perrotin

Dan Adlešič Plays With You

Dan Adlesic - 'Stand by' lamp

How old are you, where do you live and where do you come from? What is your story with design, how did it start?

I am 26 years old and I was born and grew up in Ljubljana, Slovenia. During high school I was part of the Improv theatre that strongly influenced my way of working. I wanted to study film direction but I somehow ended up at this new course (ceramic and glass) at the Academy of fine arts and design in Ljubljana. In the last semester I made an exchange in Goteborg, Sweden, where I studied ceramics and new media (paralel). I went to Design Academy Eindhoven where I graduated from Contextual Design MA with an installation that connects design, performance, improv, technology, poetry and humor. I like to work with different mediums in order to shape my projects from different angles. I constantly try to learn the techniques of mediums/materials/softwares I haven’t yet used as well as the new technologies. I am interested in how I can effect other people not only trough objects or design/art but through everything including myself as a person. 

I am currently back in Ljubljana, renovating my apartment that will combine some living spaces with workshops, dining room with restaurant and living room with gallery/theatre which will serve as some sort of an experimental residency.

Dan Adlesic - 'Stand by' lamp

In your bio, it is said that you «  act on basic human gesture » with your « experience in improvisation theater ». And when you graduated from the Design Academy in Eindhoven, in 2015 it was said in Dezeen about your project, a series of absurd electronics, that they were «  purposefully ridiculous » and «  that (they) only work(ed) in response to unconventional movements ».  Would you say your design applies to humans as much as to the objects? In that sens you would be more of an experience designer…

During the years when I was active in the improv theatre me and my friends build a very special relationship between us. On stage, you have to listen and be aware of yourself and your surrounding. Every movement is registered and amplified. This mindset is also present in our everyday life so a simple gesture as sitting on the chair is not simple anymore, we constantly consider life as a play. With my graduation project  “Electricity is just like… WOAH!” I made objects and situations that would provoke people to be closer to this mindset which I wish it would be more present in everyday life. I think products often offer too narrow scenario of use. Every object used by a person creates an experience.

Your website is full of joke sentences or absurdities like “Actually when we lick ice creams we pretend to be dogs. » or «  The battery holds frozen electricity. » And your design projects are as much inspired by the toy industry as by the Memphis era. Is the purpose of this new relation between man and object regressive? Are you nostalgic of a certain cartoon playful and colorful child life and of the fun and magic it use to everyday life?

I am nostalgic of the feeling of being a kid where people don’t limit your behavior. Theatrical play and child’s play works with the same principle of imagine and pretend. In fact, we all do that all the time, we just have a ton of filters and walls around it which I think should be broken. Fiction is already part of our everyday life and I like to embrace it.

Dan Adlesic - 'Stand by' lamp

What is your news? Would you like add something?

In fact some stuff I made after the graduation and are not on the webpage (which only served for the graduation project):

  • Few months ago I made a music video for my friends called FFX: 
  • And here are new lamps I presented at Rossana Orlandi’s space during this year Milan Design Week:

Adolf Loos in Pilsen

Pilsen is a little town of Czech Republic half way between its capital, Prague, and Nuremberg, in Germany. At the beginning of the XXth century it was part of the Austro-Hungarian Empire, and some of its elite had had echoes of the trends in Vienna, among which, was the work of the architect Adolf Loos. Here is what you can read on Pilsen’s website: “Adolf Loos worked in Pilsen in two periods, between the years 1907 – 1910 and 1927 – 1932. His clients were primarily the families of entrepreneurs from the rich Pilsen Jewish community.  They lived in the area of today’s Klatovska Street – a part of the city which was then considered a locality for luxurious living. The clients of Adolf Loos were a closed group of friends for whom his designs provided certain sign of social status and they recommended his work one to another.  The Jewish origin of the Loos Interiors owners at the beginning of the 30´s of the 20th century tragically marked the fate of the families, as well as of the apartments which they were later forced to leave. Some of the apartments were transformed into offices; others were later demolished by their tenants. Only recently the work of Adolf Loos in Pilsen has been rehabilitated and one after another the apartments are being renovated to acquire their once lost splendour. At this time thirteen realizations form the collection of work of Adolf Loos in Pilsen, eight of them remained preserved up to now. Three of the interiors have been partially or fully reconstructed; the other apartments are in various degrees of damage and wait for their future modernisation. In comparison to other places where Adolf Loos worked, in Pilsen he was never awarded a project to design a whole new building. Mostly, he dealt with apartment adaptation design of the city houses which were in no way exceptional regarding their building structure. Therefore, an uninitiated observer cannot know that some of the ordinary houses hide real gems of world-class interior design. ” Three guided tours have been organized to visit all of these gems, and this could be the ideal pretext for shortbreak or a continental European week-end, don’t ou think? There is a very active community in Pilsen which is taking care of this inheritance, their incredibly cool website (here) features all the flats, with great pictures and explanations. They went as far as reconstructing the missing parts in cardboard, which gives an insolite contemporary render to the patrimonial project.

Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen
Adolf Loos - Pilsen

Ilaria Innocenti, One of Milan’s Most Promissing Designers

We are both born in 1983, it must be a special year (:-D), and being exactly from the same generation is perhaps why I am so receptive to your work. I read that you created your own studio in 2010, but what did you do before? Studies, assisting other designers? Did you study design straight away?

Actually, I graduated in Interior design in 2006. The I practiced the job working as a freelancer. Then around 2009 I started to play with objects and accessories just to experiment on my now language, my own vision.

Ilaria Innocenti - Adobe
Ilaria Innocenti - Incipit
Ilaria Innocenti Hlow

I personally was in contact with you through my previous business, IreneIrene, an internet shop selling your beautiful Adobe Collection, with which I totally fell in love, as well as the TP Carpet crafted in Sardinia, that used an ancient technique, could you tell us a bit more about these series?

Both project started after meeting a skilled artisan. The first collection (TP) was a more contemporary approach to decoration, thing that I like very much in objects. The richness of that textiles made in a very traditional way was reinterpreted by a handmade drawing very far from typical Sardinian patterns, so very fresh! Adobe was born after meeting one of the last artisans making bricks the old way. I wanted to tell this beautiful story and let him decorate a raw piece of clay using his tools. Then I also started to mix two different materials. This is something I still use to do as part of my approach.

Ilaria Innocenti TP2014
Ilaria Innocenti TP2014

Since then, I have fallen in love with several of your projects: Belle for Incipit, the grid wallpapers for Texturae, Bucket for, which I have seen in this year Milan Triennale show about women in design (by the way congrats, you are now part of this great history), could you tell us a bit more about those pieces? And where did the love story for terra-cotta come from? You surely know how to sublime this material!

My mother (as may other people in my town) was working in a company making tiles, so I guess I grew up playing with clay much more than other children. Bucket on of the consequences of modeling and engraving clay, mixing it with other materials in order to create a sort of balanced contrasts.

Ilaria Innocenti Buckets Yoox

You also are the editor of some of your own projects, which I find is a very courageous thing to be doing. How is being an editor different from being a designer?

Being an editor let you know everything about the journey from the first idea to the use of a product. So you have to manage everything like communication, distribution, sales, packaging etc. This is very hard but also very useful. Cause it makes you aware of a lot of features that usually designers don’t care. It makes you more than just a creative. It makes you a strong designer. Thanks to this training of designer editor now I’ve gone further start working as art director and creative consultant for some companies as Incipit, Karpeta and Bitossi Home.

Do you perceive a specificity in Milan design?

Milan design is the right spot just between fashion and manufacturing.

Antonin Kybal: Of Carpets and Geometrics

Antonin Kybal was a significant Czech textile artist and educator, founder of the Czech school tapestry. Kybal along with his wife Ludmila Kybalová, became a leading figure and pioneer of modern Czech textile art. After World War II, he founded in the Academy of Arts in Prague, “Kybalova textile school”, whose activities were focused on tapestries and carpets, became an academic professor and taught two generations of textile artists.


Antonin Kybal
Antonin Kybal
Antonin Kybal
Antonin Kybal
Antonin Kybal
Antonin Kybal
Antonin Kybal

Mur-Mur : Finding Essence and Timelessness in Architecture

Here is a rather discreet agency, MurMur, which is silently winning over Paris. Before the interview we started with a few jokes, they made me feel at ease right away. Both Benoît and Lucie are very simple and straightforward.

What is the story behind your duo, where did you meet, how did you start your studio?

Benoît Huen: We were in the same architecture school, in Paris, and presented our diploma on the same day, this is how we met. After school, we each went on a rather different path. I first worked for AREP on urban and railway infrastructures in France and China and for Naud & Poux Architects on offices, housing, hospitals, schools and retirement homes.


Lucie Lepage-Depreux : I was project managing in the agency XI Design, working on rehabilitation projects in central Paris.

Who has what role in your duo? Do you each have your own speciality?

Benoît : It’s not really about having a speciality, we both like discoveries, and changing from one project to another, so basically we do everything together, and consider each project as our new challenge. We tend to like interior design projects as much as bigger scale projects, such as the office building we are working on right now.

For the bakery Liberté in Paris, for the restaurant Le Mordant, and for Frédéric Morel’s showroom in Paris, you were at the same time very respectful of the past of the building and radically contemporary. When I think of certain statement pieces such as the marble counter of Liberté, I feel that you managed to bring together two apparently contradictory notions: minimalism and refined decoration.

Benoît : Our thing is that we always ask ourselves whether we would still like the project in five years from now. It’s a way of not slavishly following contemporary trends, of aiming to reach intemporality. For instance we think we could still take responsibility for the restaurant Le Mordant in 5 or ten years, there is nothing there that could become outdated. This is really our aim. And what is left, when you peel off all that can grow old is what you can call our signature, or our style.


Maybe you could sum up a definition of your style in one sentence. 

Benoît : Some kind of a manieristic approach to architecture, with no or very few processed materials. We like to keep it rough.


Between small projects and big ones, do you have a preference ? Do you use some projects as the research lab for other bigger ones? What is the relation between your projects?

Benoît : Basically none: we start each project from scratch, apart from Liberté, which had several branches, and one signature style. We did a lot of rehabilitation projects, and a lot of projects for people that were changing their career and starting a new activity. So I guess our work is often about re-« conversion » of people and places. I would say that our style or our signature is: to have very designed façades and very respectful left-as-they-are interiors, if this makes sense… For some, we had the chance to have a lot of freedom. For Liberté, we were actually totally free (liberté means freedom in French 😀).

Lucie : Well no, remember he was a bit afraid?


The client was afraid?

Lucie : Until the marble arrived the client did not understand where we were heading. He could see we were very confident, he trusted us, but he could not see for himself what was our point. When the marble arrived, there was a big: Ah! That’s why!


What is your news today? 

Benoît : Today we are working a several amazing projects, but unfortunately…

Lucie : They are confidential, sorry. But they are very interesting and very different from one another.

Benoît : That’s our thing : we are always afraid of doing the same thing again and again. We really don’t want to get bored or repetitive. We need to feel excited and challenged each time.

Lucie : We have been lucky enough to have had freedom and diversity.


What is your ambition? What do you dream of right now? How do you perceive your studio in 10 years time?

Benoît : We don’t want to become too big.

Lucie : We really don’t like huge studios that cannot take responsibility for all their projects.

Benoît : Since we love details, we want to be able to supervise everything. So we want to keep control and still worry about the design of things.

Lucie : We love design.

Would developing a line of furniture for editors be something that could interest you?

Both: Yes totally!

Benoît : That would be our megalomaniac dream.

How do you find your clients?

Benoît : We don’t like answering calls for fastidious projects. Most of our projects came from quite organic and natural networking, one project often leads to another. Until now, our portfolio grew along with our group of friends quite easily.

Who is behind the Teaches of Peaches?

Christie, what’s your story? Where do you come from? How did you start with design, and why did you choose the name Teaches of Peaches?

Hello! I come from Sydney, Australia and grew up in a town called Brisbane. I guess I started with design while I was studying at college, I started experimenting with design and was discovering myself artistically and creatively so I guess you could say I started with an eye for experimentation and exploration.  

 I started out working within more traditional mediums of design, you know – layout, branding, logos but recently I’ve been asked to collaborate on really exciting projects! I’ve been asked to create stickers for an iMessage app, develop a series of animations and create an animated photo shoot. This is definitely the path I see myself going in. 

TEACHESOFPEACHES came about after listening to one of my favourite all time recording artists Peaches, who definitely introduced me to new waves of thinking – especially in the realm of pushing gender norms and feminism. The name is from one of her songs ‘Fuck The Pain Away’.

Christie Morgan - Teaches of Peaches
Christie Morgan teaches of Peaches Monograph

You are an artist, an art director and a curator, how do you switch from one role to the other, and how does each function nourish the other? What are your influences?

I’m influenced a lot by people around me and things I see. My peers are super important to my workflow and growth. It’s definitely a task attempting to be all of the above, but there’s definitely a way around it. 

Nourishment between disciplines is totally on the cards too, I think working from an art direction/curation perspective you can really understand the fundamental functionality of a piece – if you’re intention is to make it that way. But when I put the artist ‘hat’ on, it’s about pushing the boundaries, experimenting and definitely caring less about the functionality but focussing further on the aesthetics. From my perspective, if you can successful handle multiple disciplines then you’ve done it. 

teaches peaches

In 2011, you have founded a zine/e-shop called Pitch/Zine could you tell us about this experience?

PITCH ZINE was born from a love and desire to help push emerging artists, designers, photographers – any type of creative really, into the real world and establish their career further. The whole premise of the project was built on passion and I’m so happy to have created a platform where not only can the artist be presented in a way that will fulfill themselves in a career sense, but also work as a platform to experiment and create. 

Myself and a small team of creatives built the online platform, then delved into the print realm with one printed issue and also developed an e-commerce platform to continually push emerging designers and support them within our industry. 

Overall it was a really pleasant experience! 

I met the most amazingly talented and ground-breaking people and am so happy for what we achieved. 

Pitch Zine Teaches of Peaches Christie Morgan

You have done several projects exploring the link between visual and audio reception (among others Ear & Eye for Gradients in New York, Vortex Pop for the Goodspace Gallery in Sydney), what attracts you in this match?

These two exhibitions were created at similar times, purely by chance! But that’s kind of what I really loved about being involved in projects like this – for some reason, even on the other side of the world, myself and Kathy (founder of The Gradients) / Special Edition Co. were on the same wave length. I think that’s so cool.

In terms of exploring the links, it goes without saying that music and art go hand-in-hand and have done for centuries. From my perspective, music producers and artists can develop such a unique, collaborative experience that not many other combinations of artist can.

For instance when I’m creating a new piece of work, I always have music playing. Whatever feels right for the vibe I’m trying to create, I have some of my favourite producers by my side, easing me into what feels right at the time. It’s a truly intimate experience. 

Overall it was a really pleasant experience!

I met the most amazingly talented and ground-breaking people and am so happy for what we achieved. 

Teaches Peaches

You are, yourself, very active on Instagram and have curated for Australia’s Museum of Contemporary Art a digital zine about artists selected on Instagram, is this according to you the best way to promote one’s work, did it bring you work opportunity? Do you consider it as an art medium?

I really do! Instagram is something I got into, very late in the game. At first I was really adamant that I would only use it for taking photos on my iPhone, but after a long time I slowly started realizing that Instagram was starting to evolve and it was a lot easier to promote my work (as well as PITCH ZINE‘s) and utilise it as a platform to showcase my work – much like a website. 

I 1000% consider this as an art medium, it’s so unlike any platform I’ve ever used. You have this really personal touch to promoting your work, opposed to other platforms. I feels really unique and real and that’s exactly what I like about it. 

I think it’s really important to stay in touch with friends, see what your peers are up to and give support to your loved ones. It’s also a really nice way to promote a specific aesthetic, however strange it may be. 

Teaches Peaches - Becka Saville - Museum Contemporary Art Syndney

Bava Makes Us Think of How We Look, Live and Construct

We at HLOW wanted to write a short post on Alessandro Bava, the Neapolitan Londoner, the architect, the artist and curator, founder of magazine Ecocore _the “last surviving ecology zine”_who is interested in the interactions between all those disciplines, and in how they all get reshaped with Internet, 3D imagery and collaborative platforms.

In terms of content, it leads for instance to a show during the Venice Biennale called the Airbnb Pavilion, about the standardization Airbnb brings to interior design, when “once one’s house is no longer one’s home, but rather another asset”_25 young architects were invited and the show took place inside Airbnb rentals_ or to a book called the City of God with poems by Harry Burke illustrated by his architectural renderings.

In terms of esthetics, he brings the video game imagery to real life and it creates something potent, some kind of statement: at the 89plus exhibition (the Google Cultural Institute contemporary art project curated by Simon Castets and Hans Ulrich Obrist), Bava has created a sort flooring, which was in fact a print of a mysterious surface, halfway marble, halfway ocean waves: it mocked the cheap 3D renderings that you can find in most 3D drawings and which somehow shape your imaginary world, but bringing it to the real world made it paradoxically quite beautiful, and poetic.

Since we at HLOW are interested in the creative minds who carry their generation, we thought that Bava was a must : an important figure of today’s visual invention.

Bava and Sons, Super Surface, 2015, 89plus, FILTER BUBBLE
Alessandro Bava - City of God
Bava and Sons for Sotheby's London

Contrast, Minimalism and Bahaus Meet Color and Post-Modernism

The very neo-vintage Montreal based light production company, Lambert & Fils, has just released prior to Krotrijk Design Biennale, an incredibly attractive light. At Hlow, we are simply blown away, well in fact we did not know that there was a way to reconcile all our apparently contradictory influences: modernism with post-modernism, color with contrast and fantasy with minimalism. This new series of celling lights, Laurent, is brilliantly precise, elegant, geometrical and light. The way it plays with the shadow owes to Gino Sarfatti’s work among others. Many thanks Lambert &Fils. Now we know what we like: YOU!


Laurent - Lambert et Fils
Laurent - Lambert et Fils

A Blessed Hammock

This is one our dream splurge at HLOW. The most confortable hammock on earth, to enjoy weightlessness even in the winter. It is a piece from 2007, by Bless, one of the most creative Berlin clothes and furniture designer. It is called N°28 Fatknit Hammock and was part of a mixed medium collection and show called Climate Confusion Assistance. It is buyable online here for 3500 euros. And it is starting to be considered as a masterpiece in design history as it has been purchased by the tremendously cool MADD (Museum of the Decorative Arts) of Bordeaux (France), managed by the fabulous Constance Rubini.

BLESS - N°28 Climate Confusion Assistance - Fatknit Hammock
BLESS - N°28 Climate Confusion Assistance - Fatknit Hammock

Best Bathroom Items 1

Mae Engelgeer – Pop Bath Rug and Towels 13,00 € to 140,00€
Mae Engelgeer - Pop Bath Rug and Towels
Dusen Dusen – Pink Rocks Beach Towel $ 80,00
Dusen Dusen - Pink Rocks Beach Towel
Hay – Green Glass Towel 29,00 €
Hay - Green Glass Towel

La Redoute – Hiba Medicine Cabinet (in Light Blue) 83,44€

La Redoute - Hiba Medicine Cabinet
Dusen Dusen – Paper Shower Curtain 78,00$
Dusen Dusen - Paper Shower Curtain

Wadiga – Marble Toilet Brush 81,60 €

Wadiga - Marble Toilet Brush

Jonathan Adler – Reversible Zebra Bath Rug 88,00 €

Jonathan Adler - Reversible Zebra Bath Rug

Wary Meyers – Cedarwood & Vanilla Glycerin Soap $14,00

Wary Meyers - Striped soaps

Ferm Living – Grid Laundry Basket 69,00 €

Ferm Living - Grid Laundry Basket
Dusen Dusen – Curves Beach Towel $ 80,00
Dusen Dusen - Curves Beach Towel
FrancFranc – Torka Bath Towel Gradation HK $220
FrancFranc - Torka Bath Towel Gradation
Drye Me – Hunee Beach/Bath Towel £ 48,00
Drye Me - Hunee Beach/Bath Towel

FrancFranc – Flode Toothbrush & Tumbler Holder HK$90

FrancFranc - Flode Toothbrush & Tumbler Holder

Ferm Living – Brass Pot 25,00 €

Ferm Living - Brass Pot
Ferm Living – Grid Shower Curtain 69,00€

And in my next post there will be a selection towels designed by graphic designers and artists.

A cheap and fabulous piece by Fabio Viscogliosi

L’Endroit Edition is a French organisation that sells real art prints for terribly affordable price. It is not meant to make money but simply to afford itself, it is a long-distance project meant to be looked at with the distance of History, as giant curatorial project. L’Endroit is managed by an Artist, Mathieu Renard, who is sufficiently devoted to his cause that he attracts other serious creators and curators such as Claude Closky, the 2009 France representative at the Venice Biennale, Claude Lévêque and Hans Ulrich Obrist to work with him.

L’Endroit does not choose its collaborators on their fame, some are young or lesser known artists. But it’s a generous way to enable them spray their work. And it is a success: there is now a gallery attached to the project in the Ouest of France, in Brittany.

We at HLOW wanted to talk today about one piece that we particularly adore: Fantasy 1 by Fabio Viscogliosi, wich costs 30 euros, is edited at 20 exemplars and is signed and numbered.

Fantaisie 1 - Fabio Viscogliosi

George Sowden, a fundamental member of Memphis

George Sowden was one of the founding members of Memphis Milano, together with, among others, Ettore Sottsass, Michele de Lucchi, Martine Bedin, Andrea Branzi and, of course, his wife, Nathalie du Pasquier, the great Memphis pattern designer. The name of this design mouvement, Memphis, came from the Stuck Inside the Mobile with The Memphis Blues Again song, by Bob Dylan. The idea was to juxtapose in this name two paradoxical symboles: ancient Egypte and American pop culture. Their idea was to recreate an affective link between the man and the object (filled with historical references, humour and colors). The mouvement was actively supported by several firms, fist of which was Artemide and its director, who was also a designer, Ernesto Gismondi. The Wikipedia page about Memphis is very interesting. We at HLOW highly recommend it.

George Sowden was the British designer of the group, he had started working with Sottsass for Olivetti in the 70s. Nathalie Du Pasquier and him are still living and working in Milano today. But at HLOW, we are more interested in the pieces of furniture he has produced in the early 80s than in the very long list of collaboration Sowden has had for the industry since then.

We are especially fascinated by two pieces in his long carreer:

  • The first is a piece Sowden has designed for Nestor Perkal (the French/Argentinian designer/gallerist who was one of the first to support Memphis in his Parisian gallery). It is very light and looks like a book that you would have opened in a cartoon.



Saragoza Chair for Perkal 1984
  • And the second is a clock Sowden has produced even earlier, in 1973. This is a research project he has done out of wood. Sorry for the bad quality but this image is very hard to find actually, so consider it as a little treasure from the past.
Clock / Georges Sowden / 1973

Elad Lassry the Vision Maker

Nowadays with the huge success of Maurizio Catalan’s and Pierpaolo Ferrari’s Toiletpaper,

every creative person around the globe views edgy pictures as

absolutely anything (it works especially well if it is a random or even an absurd selection)

with a vivid color background.


But we came across Elad Lassry’s work back in 2009,

through the incredibly cool mag Kaleidoscope.

So Elad’s first body of work was already well established

when Toiletpaper was only starting to become an idea.


We wanted to talk about Elad Lassry as the real and, to our taste, not sufficiently acknowledged (at least not in Europe) vision creator of a generation.

He started with these elegant visions, devoid of meaning, yet beautiful in their emptiness.

He always considered a piece of art as an object with a matching frame,

that would virtually transform a picture into a piece of design.


One interesting feature of his portraits and still lives is that they are all the size of a magazine page,

which we understand as a statement: what I call art is nothing more than what you see,

as you would enjoy the editorial in a magazine, you will enjoy my style,

because I am creating a radically NEW STYLE.


But he was not satisfied with this, he wanted to go further.

So he started associating his pictures with films.

I had the chance to see one at the Arsenale, in Venice, during the 2011 Venice Biennale.

The film was called ‘Untitled (Ghost)’ and showed ballet dancers dancing in bright colors,

on a monochrome beige background.


Sometimes there was a simple after effect: when they crossed each other, they tended to superpose themselves.

It was all about the graphics.


I have the feeling that I totally understand Lassry when he says it is “deceptively simple in execution ».

Because to achieve this kind of beauty you have to attain a level of precision that flirts with madness.


Elad Lassry - 'Untitled (Ghost)'

He has now added sculpture and painting to his work.

But he knows perfectly well what he is doing,

what visual reference he conveys, and how all the various pieces can interact.

Elad Lassry

 I wanted to talk about Elad Lassry in my blog

because I think he has shown the way for every creative mind born after 1980.

Elad Lassry - Untitled (Red Cabbage 1)
Elad Lassry - Boston Shoulder Roasts
Elad Lassry - Nailpolish. 2009
Elad Lassry
Elad Lassry - Pillow, 2010

Buki Akib the Design and Crafts Matchmaker

Buki Akib

Buki Akib is an incredibly talented British and West African designer. After studying at Saint Martin’s, she has done one collaboration after the other, with the coolest brands and magazines (Darkroom, I-D, Urban Outfitters are a few examples). She now lives in Ghana, and conveys Ghanian and Nigerian crafts to her contemporary creation. What enables her to marry local crafts and design in such a natural way? We, at HLOW, wanted to find out.

Can you tell us a bit about your story between UK, Ghana and Nigeria? Where do you live, where did you grow up, where did you study and where do you live right now? How is this triple location(/identity?) influencing your work?

I was born in Lagos, Nigeria and grew up and studied in London, England. My parents made it very important that I was in tune with my culture and roots. I often went back home on holidays . I like the idea of a triple location identity, it makes me realize how lucky I am to be able to travel and explore. It is part of the story telling: design from the eyes of an  African born in West Africa growing up in England then going back to  West Africa. I came across Ghana first through my late mother, she was a generation of Nigerian settlers born and bred in Ghana until they migrated back to Lagos, Nigeria. So I guess i have always had an affinity with Ghana. I am still constantly amazed by each country’s richness in history, art and evolution which contributes to my work. I now spilt my time between London and Accra. 

Buki Akib

We personally were in contact with you through our previous business, IreneIrene, an internet shop selling your beautiful Wives Collection, with which we totally fell in love, could you tell us a bit more about this series?

The wives collection was special to me because i wanted to touch on the subject of polygamy. Wives collection was a follow up from my Menswear collection “Fela” which showcased the talented musician and activist Fela Kuti who had 27 wives. From afar it seemed ridiculous to have all these women but on the other side, Fela gave these women shelter, stability and status when society demonized them. The bags were named and created distinctively to suit each wife’s personality. For instance, one of the bags had a shoulder pad tassels to emulate the movement of the dancers on stage. 

You work with traditional Yoruba hand woven Aso-oke with cotton, silk and linen, could you tell us more about this craft and its history?

Hand weaving on the loom has been around for centuries in West Africa. Our looms are smaller in width compared to looms in North Africa or Japan. The graphics woven on fabrics were always a way to signify a tribe, a special occasion and remember history. It is almost a form of communication. This form of communication is  fundamental to how I create Art. This is my universal language.

Buki Akib
Buki Akib
Buki Akib

You have worked for I-D, ABOVE and ZOO and had collaborations with Urban Outfitters or the late cult London shop, Darkroom, how did you enjoy these experiences?

Every  experience was different and humbling. I have worked with museums, jewelry company and cult stores like Darkroom.  All these experiences have made me realize the art of story telling is endless. In any medium or discipline.  I hope to work with other craftsmen in Accra and North Africa has I journey through the wonders of Africa. I am a devoted student to these masters. 

Buki Akib

Best Wallpapers We Have Found So Far

In a previous post, about the best items you could find on Etsy, I told you that one of HLOW’s mission would be to help you in your daily life, with the decisions, that have to do with taste and trends. So here is a first exemple. You were wondering wether wallpapers were only printed with flowers or terrible geometrical pattern, here is something for you, and for your walls. Real Wallpaper! Hope they will be grateful 😉

Eno Studio – My Terrazza 79,00 €

Pink Terrazzo Wallpaper

Calico – Aurora Heaven 145 $ (the collection deck)

Gradation Shading Sunrise Sunset Wallpaper

Christian Lacroix – Bain de Minuit (Piscine) 129 € per roll

Christian Lacroix - Bain de Minuit (Piscine) by Sacha Walckhoff

Texturae – Skylight – Martina Della Valle

Texturae - Skylight Designer - Martina Della Valle

So to put it in a nutshell, it’s all about hypnotic patterns, terrazzo and splatter, trompe l’oeil effects, rigidity, grid and non-color.

Ferm Living – Grid Wallpaper (Black & White) 72,00 €

Grid Graphic Wallpaper

Sanderson – Splatter (Black & White) 38,68 £ per roll

Sanderson - Splatter (Black & White)
Drop It Modern - Playground Dovey Style

Texturae – Basalt#2 – Ilaria Innocenti

Texturae - Basalt - Ilaria Innocenti

We had to stop there but we still have a few interesting items to show. We may post a second episode of this. In the meantime, if you want to remain posted with our selections, subscribe to the newsletter, on HLOW’s front page.

Best Finds of the Month on Etsy, for Trendy Neo 80s looking Christmas gifts

Best off Etsy. Find your Memphis / trendy / neo 80s looking Christmas gifts on Etsy, thanks to our selection.

Vintage 80’s silk scarf.

Japanese nude material.

Oversized Taiwanese Cardigan.

Artistic weaving.

Embroidered necklace.

Gold platted ring.

Opale earings.

Terrazzo Iphone Case.

Vintage shirt from the 80s, with a pattern which is very close to those by Nathalie du Pasquier for Memphis Milano.

Terrazzo buttons.

Beautiful vintage ring straight from the 70s, from the French design Pierre Cardin.

These rings are quite rare but I know they use to exist in several colors, with different stones each time, so if you are patient enough you can collect them.

This area of the blog is called “What Can We do For You”. On it, we will regularly feature tips to help you in your daily life, and enable you to make the right esthetic choice.

Picture by Michelle Morin.

Little splattered porcelain dishes.

Cotton Japanese material.

Patterned tote bag.

Mini unicorn.

Mexican plaid.

Wood and material necklace.

Vintage graphic china.

Vintage earings by the French designer Pierre Cardin.

Nude bracelet.

Vintage 80s skirt.

Vintage Memphis outfit.

We hope you loved it as much as we did. We will try to do it every two months, and will also add thematic tips: such as: bathroom accessories, wrapping paper, Christmas gifts, key chains selections, cool toys etc. If you wish to be inspired at a regular pace, subscribe to our newsletter.The link is on our front page.

Noviki Graphic Studio between art and graphic design

“Nothing Twice” by Noviki is the first project in Poland to combine an exhibition and performance on such a large scale. The event celebrates the inauguration of Cricoteka’s new facility. The exhibition and accompanying performance programme interpret the influence of Tadeusz Kantor’s concepts in the work of contemporary artists operating at the crossroads of theatre, performance and visual arts. This project is based on the idea of the ready-made, appropriation art and the concept of re-performance. It poses questions about the archiving and collecting of Live Art.

Noviki defines itself as a “post studio living in a graphic design utopia”, a research laboratory “exploring the fields of contemporary art expression”.

Noviki wants to play with you and to blur the boundries between art, and graphic design.

Niviki is a duo composed of Katarzyna Nestorowicz and Marcin Nowicki.

This insolent studio is based in Warsaw, Poland. Their style has been nourished by the Internet, it is an anti-esthetic, neo 80s, post-modern, junk lovers approach. We at HLOW tend to love this mix and hope you will too.

We fell in love with two of their projects:


  • The first was the visual identity of the project “Nothing Twice”, which is, according to them, the first project in Poland to combine an exhibition and performance on such a large scale. The event celebrates the inauguration of Cricoteka’s new facility. The exhibition and accompanying performance programme interpret the influence of Tadeusz Kantor’s concepts in the work of contemporary artists operating at the crossroads of theatre, performance and visual arts. This project is based on the idea of the ready-made, appropriation art and the concept of re-performance. It poses questions about the archiving and collecting of Live Art.
  • The second was a video, called the THE DISPLACEMENT, which is a piece I came across in Warsaw, visiting a show called ASSEMBLED, DISASSEMBLEDcurated by a friend, Romuald Demidenko and organized by Zachęta Project Room. Here’s Noviki’s desciption for it:We are living in times when the displacement takes place simultaneously on many levels.the displacement of power, force, in the political word,
    the displacement of people as sociological phenomenon
    the displacement of aesthetic
    the displacement of roles and responsibility of artist / designer / curatorVideo has two narratives – conducted equivalent. First is tracking graphics, made for the needs of the group DDG which is placed on my blog “”; and has been displaced by other users for a dozens of times. I travel to unknown places discovered by the rebloged links of other users to see where my work wandered – in what context my work is shown. Second narrative concerns a problem of internally displaced people. There is no legal definition of Idp, despite the fact that it is one of the most significant and symptomatic issues of our time, still accumulates and remains unresolved.
    These shifts overlap and identify each other, are devoid of boundaries, boundaries of legal, moral, aesthetic, state, political, human, escape into the unknown.

Last but not least, because we love you dearly, faithful HLOW followers, this is our last little present for you: Noviki’s blog, which is more than inspiring. You can have a look at it for hours…

The Milan Design Studio Atelier Biagetti and its Clinical Approach to Design

Massage daybed, Privé lamp, Soffietto stool, Toy end-table, Dr. Seletti lit mirror - Atelier Biagetti - Exhibition NoSex

The Atelier Biagetti is a Milan based Design Studio created by Alberto Biagetti and Laura Baldassari. We have come across their work, through a Wallpaper* post about their 2016 Milan show, called No Sex. We are an absolute fans of all their production.

They tend to create a coherent body of work based on the contemporary obsessions: sportsex, maybe the next will be money? The one about Sport is also a must-see, and we may write a post about it at one point. But aside from this exploration, we are really receptive to their esthetic approach. It plays with the light and with the subconscious ideas of health, hygiene and innocence. Copper has been everywhere for the past three years, and we were starting to get really tired on it, when we met this work, and rediscovered how beautiful it could look, associated with bright colors, especially powder colors such as pink, and nude, well done!

Déjà Vu Wall, Privé light, Soffietto stool - Atelier Biagetti - Exhibition NoSex
Dr. Seletti lit mirror - Atelier Biagetti - Exhibition NoSex
Toy end-table, Soffietto stools - Atelier Biagetti - Exhibition NoSex
Déjà Vu Wall, Deja vu standing, Privé light, Soffietto stool, Soffietta #2 stool - Atelier Biagetti - Exhibition NoSex
Atelier Biagetti (Alberto Biagetti, Laura Baldassari) - Exhibition NoSex

This clinical use of white, off white, nude and pink in No Sex made us think of several pieces by Matthew Barney or more recently the works of Jan Manski or the ones of Marguerite Humeau, or even (but that is more far fetched) an Untitled Piece by the Japanese artist Yoshishige Furukawa from 1973.

ONANIA / Aetiology Unknown 02 - Jan Manski
The Cremaster Cycle - Matthew Barney
ECHO, A matriarch engineered to die - Marguerite Humeau
Untitled Piece - Yoshishige Furukawa