Neug Wi Kim, 2018
‘Samrimryok’ meaning the immersion of self within nature, is an attempt to connect with the intensity and sensation of past experiences of nature, particularly seashores, as a healer. Exploiting sensations of touch and the visual qualities of unique hand-cut stones to create symbols of wellbeing and restfulness.
Kim explores the materiality of her chosen pebbles and takes inspiration from the experiences of specific locations where she has been. Kim has collected pebbles for this collection on Mongdol, Chesil, and Brighton beaches. Sensuously smooth or intriguingly rough, multihued or monochrome, patterned or plain, the stones from each area tell a different story of how it came to be, providing powerful inspiration sources for design. The stones Kim has cut make explicit the value of personal narratives of relaxation, highlighting the power of a visit to the beaches, and the special time with the pebbles that she has designed with.
Each and everyone of us has gathered stones, Kim offers a new way to consider the value of what stones might be in contemporary jewellery. Why buy a mined stone when you and those closest to you can find and set your own stone through this project.
Zi Li, 2018
Since we entered the age of digital, emoji has become a visual symbolic language, which is gradually growing deeper into many peoples’ life. It offers a way not to have to speak but to share your thoughts to others who can simply observe. ‘Emoticon’, Li’s collection seeks to offer a new way to express your emotions.
‘Emoticon’ is a project that explores the emotional experience of living in cities, offering a thoughtful and humorous reflection on the changing facial expression of feelings from the banal to the intimate through the language of emoticons and rhythms of city lives.
Inspired by the deceptive simplicity of modern communication in city, Li hopes to recount differing emotional contents and conduct a kind of speechless dialogue and exchange with the spatial wearers and observers in design. The vivid faces, passed through a 3D print technology have divided and distorted into separate parts. Li reunites them into narratives, into delicate, unexpected jewellery forms to tell a story of the emotional experience of our lives in city.
Zhaoshen Wang, 2018
∞S / INFINITE S
Wang’s project started with the observation and research into the frequent social events around identity that are a characteristic of contemporary European cultures. Events like gay prides, festivals, marches and gatherings. From this standpoint he explores an understanding of personal identities and social values. He questions, from a jeweler’s perspective, sexual identity, dress codes and how jewelry can participate in these discourses.
The ‘Infinite S’ collection explores sexuality in a wide range of forms, materials and outcomes. Wang draws upon Asian and Western historical depictions of sex, of taboos and openness through a soft-erotic vocabulary of sensuality and restraint.
Synthesizing Asian and Western influences through extensive research into knotting from fishing and farming communities on both sides of the globe provides a cultural bridge into the production of these pieces.
The concept plays out through shapes of gender-neutral jewelry and jewelry-like objects to discover new wearable potentials. Wang seeks to prove that contemporary art jewelry still keeps and defines the core values of our modern lives.
Francesca Neri, 2018
LA DOLCE VITE
‘La Dolce Vite’ is a collection inspired by the icons of Italian design with a contemporary twist. It has a fresh, playful aesthetic, characterised by unusual structures, audacious textures, and inventive mechanisms.
By questioning the status quo of traditional jewellery and Made in Italy manufacturing processes, Neri applies an innovative perspective, turning jewellery inside out. The design language appears as a composition of streamlined curves held together or challenged by contrasting mechanical elements, where soft sections and harder engineered details balance each other out, offering a surprising sense of tension.
Composed from cabochon stones, kinetic elements, and contrasting coloured golds, these unconventional pieces embody a modern sensuality, the essence of Italian creativity.
The title ‘La Dolce Vite’ sounds like a reference to classic Italian cinema, although it is also a game of words: ‘vite’ is the Italian for ‘screw’, the main feature within this innovative setting system.
Xiaonan Zhang, 2018
This collection is inspired by the bonsai tree. A plant whose conflicted beauty emanates from the tension between the rigorous forming process and the final natural aesthetic which conceals the artificial. The process reveals human confidence in our power over nature, whilst the final form reflects our consideration for it, epitomizing the grower’s own personal creative expression and self-restraint.
With this as background, the theme for the collection is the ring featuring innovatively mounted jade stones, a stone traditionally used to project power and strength. The orthodoxies of such rings are for Zhang a metaphor for trees and the basis for new accessories, just like a tree is shaped to become a bonsai. Using inspirations from wearing jewellery in daily life and the history of European jewellery forms allow Zhang to explore new ideas.
‘I am deconstructing and regenerating jade rings in a manner which I hope to be incongruous yet restrained.
Through a new generation of jewellery, incorporating gold, silver, pearl, gems, diamonds, dried flowers, as well as the jade itself, I hope to share what "value" means to me. Consequently the ‘value’ of each jade piece ‘distorts’ my jewellery design process and therefore of the ring itself. Each piece helps me explore my psyche, then stands for itself, building a connection with the person wearing it’.
Chloe Duran Stone, 2018
BO'OY – Transitory forms, light & colour
As a designer, Durán Stone aims to raise our perception and awareness of objects within a space and of the space itself, working with the connections between them. Through the exploration of light and colour, it is possible to incorporate unexpected and unconventional elements that can change the ambience of a room or setting as well as our experience within it.
Light and colours affect our well being consciously or subconsciously and when used in combination with the personality of each object, they can influence our moods taking us anywhere from tranquility to playfulness and joy. In this way, objects and furniture become a transitory reflection of the surrounding space in a given moment.
The pieces in the Bo´oy Collection (meaning shadow in the Mayan language) consist of reflective and transparent coloured forms which go beyond their functional purpose to enhance the space in which they are placed.
The sculptural, abstract and colourful elements of the pieces trigger the senses, bringing surprise, curiosity, fun and change into everyday spaces. The moveable acrylic pieces can be arranged in infinite compositions and reveal themselves in different ways depending on the light and position in which they are placed; through this uniqueness their form and essence go beyond the idea of furniture.
Jacqueline Payne, 2018
‘Chroma’ celebrates the stunning characteristics and beauty of graphically patterned stones not traditionally used in fine jewellery. Payne seeks to reshape perspectives as part of a global reassessment of the value of ‘non-precious’ stones as a decorative resource.
In the first installment from this ‘global nomad’ jeweller, Payne takes us on a journey from the Australian wilderness to the ancient forests of Indonesia and the oceans of Madagascar to discover the rare and unusual stones collected by artisanal miners who hold fascinating local knowledge.
The collection is defined by a purity of form, achieved through custom cut stones, which also offer sensuously tactile surfaces to the wearer.
Carefully considered harmonies and contrasts of colour and pattern synthesise the stones with their gold and gem set mounts.
The collection offers a journey of discovery and a new appreciation for preciousness through a deeper understanding of rarity.
Lisa Osimo, 2018
Osimo is an Italian Jeweller who aims to create unusual and ironic wearables.
She creates pieces of jewellery from combinations of luxury' materials, exploiting the trust of 'Handmade in Italy' and assumptions around the 'appearances' of wearable art pieces. Her aim is to become a trustworthy yet ambiguous figure for her clients, gaining their trust during this era of uncertain political and economic futures.
The title, Free Bitch, reflects this idea of making the wearer feel free and strong. From urban slang it characterizes Osimo’s muse “someone who doesn't care what other people think, free to do what they want, how they want, and whenever they want regardless.”
This collection is made for women who are not afraid to be looked at, while the jewels act both as a shield and a weapon for the wearer towards the rest of the world. They're for women who buy their own jewels without waiting to receive them as a gift.
Osimo uses a particular material formed from industrial nylon mesh tube, called Crin. A material which allows her to design and realize incredibly light yet majestic pieces due to its ductility, lightness and incredible resistance.
Hiroko Hagio, 2018
INVITATION TO THE SECRETS OF FLOWERS
Invitation to the Secrets of Flowers’ is a play on the beauty and enigma of flowers.
In a long global history of human fascination and interest flowers have been elevated to great levels of symbolism becoming expressions of celebration, courtship or sympathy, connecting flowers to art and daily life, funerary rites, religion, and wider ceremonies.
It may be that human’s commune with flowers, as flowers have the life cycle that evokes our life. The endowment of flowers with mysterious and supernatural properties, in particular of rebirth, associated with human kinds ultimate desire for immortality or revival remains strong.
Hagio's jewellery engages with this mystic beauty and power of flowers, seeking to empower her wearers.
Her pieces are created in silver and gold using artisanal and traditional Japanese techniques known as Tankin and Chokin. This allows Hagio to explore in metal fragile or enigmatic forms inspired by the anatomy flowers creating jewellery that seeks to deliver its own mysterious secrets.
Katharina Kraus, 2018
This collection using natural light reflection in custom-cut gemstones, visually references the angled lines found in the architecture of cityscapes and deep carved lines in stone and concrete. Translucent Agate and transparent Quartz are combined with a wide array of transparent coloured stones.
Originally from Munich, where no building is taller than the city centre church, Kraus’s fascination is sparked by the angled lines of skyscrapers against the ever-changing sky.
The soft light reflections within the hand carved stones contrast with the precise visual geometries of the regular cut gems. Altitude and elevation are central aspects in the pieces, each gemstone being either angled to or away from the body and the wearers gaze. Visual effects transpire that flicker and change when the pieces are worn.
Each piece explores the relationship between idea, design, maker and material, using hand-craft traditional techniques and tools. Kraus believes in a fundamental connection between an object and the process of how it was made.
In hand making, maker and material, idea and its realisation are more closely linked and counter a sense of disconnection from the tangible experience in modern times. Jewellery becomes more relatable when origin and production are comprehensible.
The collection is aimed at women who look for one-off pieces or a bespoke alternative as a modern heirloom.
Deborah Enkaoua, 2018
Inspired by the nonchalant attitude of Parisians, how they act and their relationship with style and fashion; VICE//VERSA is a collection designed for this internationally followed style tribe and those who may want to join them.
Parisians operate duplicitously in the attitude they present to the world, one founded on a contrast between how they want to appear and how they actually see themselves.
VICE//VERSA is a unisex collection designed as a tool for the wearer to highlight style and personality. This duality is present in the whole collection emphasized in the binary elements of each piece. Each has a different colour, shape, scale and finishing, which will bring a different vision of the object based on the viewpoint that you are looking for. This duality in the design is present in each piece with each piece detailed on its inside and/or back.
VICE//VERSA follows duality in the production of the collection with the contrast between its making and its the ‘street styling’ inspiration. The collection has been made in a small fine jewellery “atelier” in Paris; a type of making usually used for fine and high-end jewellery. For Enkaoua, this high crafting brings Parisian production values to the detailing aspects of the collection.
Yixuan Gao, 2018
WHISPER/MY LITTLE MONSTERS
This project is intended to introduce some romance to daily life in this crowded, bustling and stressful world with musical jewellery.
The two collections respond to the wearers activities by sound making, exploiting touch sensors and micro-electronics offering different emotional experiences through visual and aural design.
The collection “Whisper” a series of silver earrings, plays soothing sounds through a touch/prompt button. By combining design with the melodious sounds, the jewellery portrays a secret world, whispering close to your ears a gentle romantic poem. It smoothes your emotions and creates a moment that belongs to you.
The collection “My little monsters” is inspired by daily life and imagination to create a wide-based narrative which has options to explore through jewellery and in the future, animation. Each monster has a different look, name, job and personality. Each has a ‘home town’ where they live and operate monster businesses. Created with hand and machine embroidery and a specifically designed audio module, every monster offers nearly 100 individual responses. Wearers can upload their own sounds using a SD card. As you wear your monster, they accompany you, bring smiles and pleasure to your friends with their funny expressions and deeply sincere words.
Bingqi Lee, 2018
MINIMAL ‘YI’ COLLECTION
The rapid development of design cultures across all levels of Chinese society forms the backdrop to this collection.
Using a minimal design language the pieces explore and re-interpret elements of traditional Chinese architecture into everyday and functional modern furniture. A classically defined colour plate and pattern references complete the collection.
Visual references from traditional chairs, moved from three to two dimensions breaks precedent to refresh the audience perspectives.
Manufactured from steam bent plywood and metal tubing, the emphasis is on functional connections and diverse chair forms for wider market appeal.
This project sits within the development of urban centres across China and against the ubiquity of their generic and mass produced ‘global modern’ furniture cultures.
Josh Rose, 2018
This furniture project combines artistic values and utility, and aims to generate a form of collaboration between the user and the work of the designer.
The project looks at both themes of longevity and ‘user involvement’ within the design of furniture.
The collection is inspired by a universal need for self-expression and our developed-world creation of identity through our relationship with possessions. The project examines this relationship and how it relates to our individual needs and the demands of modern society
The project explores different forms of furniture. The result aims to be both aesthetically and functionally playful. The individual pieces are heavily stylized, allowing their appearance to be ‘tuned’ by the user.
The millennial cabinet explores ‘surface’ design. By manipulating the pivoted decorative elements, the visual effect of the cabinet changes. This surface variability aims to relate either to the contents within, the space it occupies, or to the taste of the owner.
Ye-Byeol Sim, 2018
WHAT OR WHO: Jewellery for Contemporary Homo Narrans
“I love it because it is like my beaming face just before eating delicious food in front of me.”
John Niles described humankind as Homo Narrans, storytellers. In the digital era, flooded with information, we are truly living in a world full of stories. The digital platform such as social media allows individuals to tell their stories however trivial. However, each and every story is subtly different through experience, culture and background.
The collection ’What or Who’ creates a platform for telling personal narratives through jewellery. Inspired by pareidolia, which is ‘to unconsciously create something meaningful in a meaningless shape’ formed the background to this work.
In this jewellery collection playing with abstract forms can offer recognizable faces to be worn as earrings, brooches or necklaces. By invoking faces and exploring how they might interact with viewers, individuals can differentiate themselves by self-created narratives.
Melissa Jordan, 2018
In order to translate and share the spirit of her home country, Brazil, Jordan created for herself a fun and innovative approach to jewellery using playfulness as a key element of the work.
Known for its own magical charisma and as a land of spontaneous and fun-loving people, one of Brazil’s most positives aspects is the optimism in people’s identity and of values related to happiness, hope and joy.
The collection is framed to enhance a sense of fun by letting the wearer choose how they will wear pieces.
Bracelets can be used as earrings whilst rings can be attached to hoop earrings. With a funky, warm and juicy design, these asymmetric pieces are colourful and bold, bringing attention to those who are wearing it.
Handmade in Brazil, the gold plated rings, earrings and bracelets use irregular beads often formed of specialized hand carved precious and semi-precious stones. The stones create the main characteristic combined with delicate wire frames to outline their beauty.
Instantly uplifting and cheerful jewels for wearing everyday.
Lisa Stolz, 2018
MOWO - move with wood
Movement celebrates life and it is, although not obvious at first sight, encouraged by every object of this furniture collection.
The collection embodies two different pathways of exploring elastic wooden furniture. The unexpected flexible and sprung reaction of the plywood seats supports the user’s natural balance and fulfils the body’s need for movement.
A family of stools, fun objects for everyday use from desk work till dining, allow tilting and twisting movements. Their symmetric shapes and the absence of backrests encourage the sitter to explore different sitting positions. While the ‘minimal material’ thickness allows the plywood pieces to bend and twist when charged, the high tensile strength of birch wood withstands high loads and makes the stools suitable for different weights and sizes.
‘Aera’ forms a second aspect of the collection, presenting a woven plywood structure, adaptable to the body’s weight and shape by allowing smaller deformations within its volumes. For floor use, indoors or outdoors it delivers a robust, sprung support, easily mounted on a bench frame, where it provides space for two people.
The fragmented arrangement of plywood pieces offers different forms through bending, compression and stretching.
MOWO is suitable for home, office or hospitality uses and offers efficient scalability for larger production volumes.
Hermine Doublon, 2018
“Propagule” is a collection of handmade porcelain ‘serve wares’.
This collection focuses on the relationship between decorative and functional aspects of containers within our domestic lives. Accentuating the tactile aspect of the objects allows each object of the collection unique characteristics emphasized by hand making.
Celebrating l’Art de vivre, the art of living, this set of wares is designed to punctuate the table landscape, to create new aspects and enjoyment of entertaining.
A series of containers in different scales, these curious vessels aim to pleasurably surprise users, addressing materiality through a delicate physical aesthetic.
The texture evokes ‘propagules’, ornamental elements punctuating the surface of the object, reminiscent of a living organism evolving and growing onto it. From low-key texture to high key dramatic interventions, the pieces show a palette of textures throughout the objects offering differing clients a way to engage with the collection.1
Carolina Cohen, 2018
Ginga deriving from the Brazilian expression ‘something that comes from the soul of the Brazilian, a movement and creativity with the body’. It’s a way to move. Brazilian culture is famous for appreciating the female body as its natural form. It celebrates the nude in many ways as sensual as it can be.
Built from the pillars fluidity, sensuality and empowerment, this jewellery collection promotes the unique beauty each woman possesses, enabling wearers to feel confident and sensual.
The collection consists of fine jewellery pieces composed from over-arching and sensually curved lines fitted with unique cut gemstones.
The forms were achieved by searching for lightness in big volumes when translating the natural sensuality of body curves into jewellery.
Yui Cui, 2018
“Have you really felt a natural world, a world full of various types of beautiful wildlife? I can only say that I have seen a small part of it, some of the last parts left behind in the process of urbanization. They are to me, unforgettable”.
This era is witnessing the rapid urbanization and the separation between humans and nature. "Our future is set to be urban", the media proudly reports. Nevertheless, for the individuals who have wonderful memories of or yearnings for nature and animals, the crazy urban environment actually leaves a sense of emptiness, loneliness and insecurity. So how might we fill this emotional gap?
Jewellery as a close decoration with the human body also carries emotional communication and self-expression. Cui’s jewellery collection Animated Companion takes visual inspiration from the active postures of some familiar animals. Different characters in the collection and various ways of assembly encourage the client to create their own narratives and show their personality. Through designing the flexible connections and hidden mechanisms in the pieces to increase the interactivities with the wearer, the designer hopes that this collection will accompany the client just like eternal friends.
Edwin Chairman, 2018
Pusaka, meaning treasure or heirloom in Sanskrit, is a silver filigree jewellery collection inspired by Indonesian batik iconography and Master-craftsmanship.
With a narrative that stems from the journey of Indonesia batik to the heart of its modern society, Pusaka highlights the dilemma for today’s batik community. Sustainability and survivability of Indonesia handcrafted batik in this global era, is at risk due to the popularity of knock-offs created by the big textile and garment industries.
Pusaka rejects the modern culture of mass production and mass consumption by utilizing traditional hand skills and technique to create smaller numbers of individual pieces.
Re-constructing elements found in Indonesia traditional batik pattern using structures from plants and buildings, Charmain re-invents ancient local traditions then explores them through jewellery.
Co-designing and collaborating with his local filigree master-craftsman from Kotagede, Indonesia, Charmian has invented a new filigree technique rooted in the traditional way of making.
Recycled sterling silver has been chosen to build this body of work due to its malleable and light characteristic. This offers a collection delighting in voluminous yet light Jewellery pieces that express the organic movement and delicate qualities found in handcrafted batik.
Muneera Alsharhan, 2018
THE DESERT BLOOMS
The Desert Blooms is a collection of fine jewellery pieces inspired by the native desert flora of Kuwait. The desert is usually an arid and harsh environment but under the right conditions seeds that have been lying dormant for years grow and blossom all at once creating a magical landscape. For Kuwaitis these desert flowers represent strength, resilience and hope.
Consequently the collection is full of soft curves, sensuous volumes and bright un-tamed colours.
Alsharhan exploits her extensive knowledge of Kuwait’s jewellery history and of the current market seeking to create a new authentic Kuwaiti jewellery culture. One not trapped in the past, respectful history yet focused on the future of this countries now youthful cultural demographic.
This flow and merging of old and new is reflected in the production of the collection, Alsharhan exploring traditional techniques alongside emerging jewellery technologies.
Alsharhan’s passion as a designer is to make fine jewellery for modern women who might appear to be calm and peaceful yet blossom to express themselves loudly and unapologetically celebrating all that is good in life.
Maria Jose Zambrano, 2018
The collection represents a tropical journey that travels from the intriguing nature of fruits through to Pre-Columbian art and symbolism all in the context of sustainability in particular by-products of the emerald.
Jewellery components can be selected from Zambrano’s interpretation of a ‘fruit bowl’; influenced by cultural references of her home country Colombia.
The collection aims to elevate the ordinary to the precious playing with the perception of value by juxtaposing and redefining objects and materials. Ad-hoc offers a concept of deconstruction and re-arrangement of interchangeable components. These can be linked in multiple ways to transform and adapt into various forms of jewellery.
Recycled metals such as aluminum, silver and gold and interventions on readymade objects are part of the structure of this abstract ‘fruit bowl’, a composition of fruit shaped artifacts carefully put together to form a mask when looked at from a far, it’s symbolic meaning can be decoded by the user personal choices through a reflective journey that encourages individuality.
Marta Bordes Blanco, 2015
This collection of articulated lamps brings movement and play into ceramics. The lamps explore an articulated system of elements inspired by technical applications of ceramics in engineering and medicine. The project challenges common assumptions about ceramics, enhancing the potential of the material and interaction with a user. Geometric components linked by elastic cords celebrate the functional potential of flexibility and directionality. The system playfully allows manipulation of the lamps, enhancing the tactility and visual experience.
Seen here as architectural applications the system is designed to work at domestic scale to large scale and in the future at a possible micro scale with different types of technical ceramic and elastic materials.
Mark Laban, 2016
Obsessive precision and accuracy, attention to detail, a profound knowledge of material and anonymity are some of the key hallmarks of traditional Japanese craft surprisingly now mirrored in digitally-aided manufacture.
Digital Daiku interprets traditional Japanese aesthetic principals, exploring their possibilities to create furniture crafted using contemporary digital manufacturing processes. The furniture is characterised on one hand by sleek minimalism and subtle detail inspired by traditional temple architecture, and on the other a refined rusticity informed by the Japanese tea house.
Digital Daiku developed through a process-driven approach to design and draws inspiration from the manufacturing technique itself: a 3-axis CNC machine. The resulting objects are simultaneously a tribute and a challenge to traditional ways of making and our perceptions of craft, tools and the maker in the digital age.
Tianyi Shi, 2017
This project de-constructs everyday upholstered furniture. Breaking the formal conventions of upholstered furniture and exploiting what happens when the internal structures drive the aesthetic, practical and physical form for extravagant new artefacts.
Usually, foam is hidden within the upholstery structure and covered by textile of one sort or another. In this project, the raw foam is used in an innovative way. Informally revealed and regrouped. Here lightness and volume provoke practical experiments and exciting explorations. These chairs highlight foams often unacknowledged, yet unique features, its marvellous texture, subtle colours, surfaces and the softness and flexibility of bubbles caught in permanent form.
Evangeline Pesigan, 2015
Evangeline Pesigan explores a collaborative process between design and artisan craft cultures to generate furniture, an embodiment of contemporary ideas inspired by cultural influences from the Philippines. The collection highlights a sophisticated hybrid of heritage and modern production methods that celebrate culture and community within a
changing global landscape. The structural frames support a secondary woven layer characterized by unique qualities from traditional techniques of basket weaving and dwelling construction. The fluid forms and dynamic interwoven lines create a translucent environment within the chair. By engaging with artisans, Pesigan helps foster meaningful collaborations that advocate uniqueness of design and quality of craftsmanship.
Tirintas veneer loop chair developed with Vivere Lifestyles Co. Inc.
Pista tassel chair developed with A. Garcia Crafts
Photography: James Barnett
Giada Giachino, 2016
In response to traditional cameo and coral jewellery production, this collection presents innovative processes to create a sustainable industry for the future. Re-contextualising materials both from the food and jewellery industry, such as lobster, mussels and shell lips, Per Inciso transforms byproducts into something precious. Though a new flexible material forms the project’s basis, Giachino also explores engraving mussel shells as well as integrating the shell-lip waste from cameo production into jewellery. A provocation about preciousness and material value, Per Inciso celebrates its origins, highlighting the future possibilities of these previously discarded materials when applied to traditional jewellery techniques.
Materials: Shellfish byproducts, silver, resin
Photography: Vicente Mateu
Collaborators: University of Maine and Cameo Italiano
Samuel Gull, 2017
Bump Before Bang
Gull’s project draws on an intense interest and passion for surfaces, exploring texture, decoration and the codes of meaning resonating from design and popular culture. Using a model of speculative design illustration and mining 20th century sci-fi and counter-culture theories of parallel worlds, Gull expands his fantasies of interiors, street scenes and half souvenir, half human monsters and sirens. These illustrations inform the making and the making rolls back to inform the next set of drawings, revealing narratives, which manifest as physical artifacts. These artifacts seem familiar, part charity shop, part ‘art’ gallery, part souvenir, yet remain unstable in their location and purpose. Collectively, these artifacts offer universes of design, one might be explored through the gallery system, another through animation or gaming, creating transferable physical narratives here revealed in this iteration through ceramics.
Po-Wei Chen, 2016
The O collection showcases a contemporary re-envisaging of the traditional Taiwanese furniture aesthetic, notable for its elegant, low level, and generous seating, suitable for Asian or Western sitting positions.
Constructed from three bonded layers of bamboo filaments with hidden bamboo pins, the O Collection celebrates the material for its strength, lightness and environmental credentials. Chen collaborated with craftsmen to explore the production processes but also challenge the boundaries of traditional methods of working with bamboo. Exploiting Taiwanese forming techniques, the designer transformed a traditional craft into a contemporary furniture design.
Natha Khunprasert, 2015
Chasing Colour is a jewellery collection made entirely from clear acrylic.
Each piece is intricately designed to reveal and conceal colours depending on the wearer and viewer’s perspective. By using the transparency of the material along with faceting and dyeing techniques, the jewellery pieces trap and reflect colour and light, creating an ever-changing appearance.
The collection aims to redefine common perceptions of the material and challenges the existing aesthetic of acrylic jewellery. Three distinct collections have been created, each accentuating differing qualities of light and colour: Facets, Cubist and NIX.
Facets: Transmission of colours within the internal structure and facets created by cuts on the material.
Cubist: Offers simplicity of geometric forms with bold construction and deconstruction of colours creating a surprise factor of contrast.
NIX: ‘Nothing’, where the perforated area is the highlight of the piece, framing the colours.
The dyes and facets on the material create a reflection of colour within the internal structure. The colour appears and disappears depending on the perspective from which it is being viewed.
Gigi Barker, 2014
A Body of Skin
A Body of Skin explores the intricate subtleties and varieties of the skin surface and the volumes of the flesh. The ‘chair’ is recognisably a body but it is not a literal body. The ‘dress’ unfolds in what seems a swathe of voluminous skin. These volumes speak to an owner but we cannot locate the body parts nor name the elements. In order to sit on the chair, physical contact must be made with its skin and in so doing a connection is formed. This connection questions the relationship and level of comfort we have in our own skins and with another.
Silicone is the base material in all pieces, its visceral quality instantly evocative of skin. Impregnated with scent and infused with pheromones the silicone challenges the boundaries of the object’s relationship to the user.
Materials: Silicone, scent and pheromones.
Bethan Lewis Williams, 2014
Lights, Lithophanes & Landscapes
This collection of porcelain lighting revisits the mysterious 19th century technique of lithophane. Here 3D printing technology allows a new flexibility as well as bespoke interventions to challenge the traditional process. Unlit, the porcelain displays subtle textured and monochrome forms. Once illuminated, it features contemporary urban scenes contrasting current social, environmental, and aesthetic scenes with those of the romantic landscapes featured on 19th Century lithophane ceramics.
Materials: 3D printed ceramic lithophane.
Maria Gasparian, 2016
Colour Ceramic City
At present there is a real need for public urban spaces that offer engaging and sensory experiences. Through use of dynamic colour, texture and form, Colour Ceramic City aims to break the routine of everyday city life and choreograph the space around it.
These self-supporting sculptural volumes and surfaces are formed by extruding clay coils with the fluidity of lines recalling the complexity and ever-changing movement of urban life. Pieces are scalable and can adapt to local contexts offering endless opportunities for site-specific interventions creating vibrant spaces within the city.
Katharina Gross, 2014
This collection of furniture results from the development of a new formulation of a wax-marble-polypropylene composite. The flexibility yet permanence of this new wax pushes the boundaries of the furniture making discipline by providing a material that creates a new visual, tactile and structural vocabulary. This allows the design and development of unique, custom-made furniture from an affordable material through a rapid production process offering radical low cost solutions.
Ilaria Bianchi, 2015
Can sustainable design develop new furniture aesthetics and possibilities?
CastAway Furniture proposes and develops a new aesthetic language to embody the conceptual and physical implication of the presence of waste in our lives. Bianchi generates provocative concepts of furniture by combining and re-contextualizing both industrial and urban waste. The resulting collection embodies a critique of the consumerist society we inhabit and highlights current issues related to waste production and disposal. This project interrogates the hierarchies of values consumerist society allocates to waste and the way in which almost every material can be converted into new functional artifacts through Bianchi’s process.
In CastAway Furniture the materials found dictate the evolution of the design process and this approach offers a model that can be used in multiple circumstances and with different materials.
Ana Cristina Quiñones, 2015
Materia Madura is a furniture and vessel collection, made from an innovative material derived from plantain and coffee waste. This project offers an alternative to agricultural waste and recycling with a non-toxic, sustainable, locally sourced, and biodegradable material.
Ana Quiñones analysed food waste as a critical societal issue and a resource particular to her home country, Puerto Rico, inventing a new material from waste materials to open innovative possibilities for design applications. The production model is transferable geographically, across the plantain and coffee belts and methodologically offers future potential for alternative food wastes.
Material Madura offers a globally transferable model.
Materia Madura: plantain, coffee, natural drying agent
Photography: James Barnett
Art direction: Ulrike Oberlack
Maylinda Bhakdithanaseth, 2014
Inspired by Surrealism, Organ 33 treats hair as a creative material to express a sense of the uncanny, bizarre and provocative.
The project breaches boundaries between jewellery, hairdressing and wigmaking knowledge and practices through collaborations involving all three disciplines.
This collaborative knowledge allows the jewellery to challenge the perception of the relationship between hair and the female body, provoking and questioning a voyeuristic gaze. Where is hair ‘allowed’ on the body?
At the same time the jewellery suggests inclusively gendered wearers and performers who might be dressed in such objects.
Subverting a vocabulary drawn from the contemporary luxury industries, Organ 33 extends and contemporises a history ranging from 18th century and Victorian mourning jewellery through 20th to 21st century studio jewellery.
Materials: Human hair, gold and silver.
Jiahui Liang, 2017
Laughing Magpie Chair
For Liang the driving force of this project is returning high craft Chinoiserie wood carving rich with symbolism, back to the centre of Chinese society to create a distinctive bridge that reconnects East and Western cultures.
Recognising the influence of a booming economy and exposed to ideas of Western culture, the ‘new’ Chinese generations have created a strong, economic focused society, whilst retaining traditional family orientations. Homes are becoming smaller and many traditional interior features, shrines, formal rooms, carved thrones are disappearing. This dynamic cultural has created a different perception of traditional wood carved furniture and consequently communities of craftsmanship and their historical knowledge are becoming lost to China.
Inspired by the Chinoiserie, a wholly European style whose inspiration is entirely Oriental, Liang has created a new modular approach to Chinoiserie decoration, remaking the possibilities of elaborate chairs, whilst developing a systematic approach offering a bespoke, personalised process for new generations of high end furniture buyers in China and beyond.
Hannah Lauren Newell, 2017
The inherent qualities of constructed textiles, bridging traditional technology with high craft are used to create pieces of jewellery that are unique to the genre and to the process. Jewellery and accessories that are dramatic and wearable, relaxed and effortless. Fluidity and drape as formal elements of structured visual elegance drive the main structures and technically complex knit. Into the knit, yellow and white gold vermeil chains are incorporated to enhance the structures, forming textures, fringes and tassels, supporting an elegiac Art Deco mood of independence and freedom.
Differing approaches to form and technology have been explored to present four collections allowing individuals to find elements that reflect their own sensibilities.
As our world becomes increasingly globalised and connected, these collections acknowledge the intense demand for designers to be flexible in their roles across disciplines and celebrates the joy and opportunities of interdisciplinary design enhancing innovation by practice specialists.
Jiayin Li, 2017
Over the past 15 years the engagement with and passion for contemporary art and design in China has exploded. More and more younger generations are bringing contemporary conceptual approaches and ideas into their daily lives, re-defining dress, style and interiors. Never-the-less, traditional ideas of material value and preciousness are still strong and need to be re-framed and re-imagined for the jewellery industry. ‘Jiayin’ translates as beautiful sounds and good news in Mandarin. The Jiayin Project explores the rhythms inherent in music and musical instruments through delicate, crisp and graphic wire frames with unexpected and technically surprising stone setting.
The work focuses on the relationship between the players and music instruments, considering how strings form new structures and elements when played. Design exploration has divided these elements into separate parts, reuniting them into balanced, delicate, unexpected jewellery forms. Li explores jewellery as a metaphor for musical instruments, forming a ‘musical composition’ of rhythm and juxtaposition in earrings and bracelets.
Kim Norton, 2011
A two year practice based research project involved pushing materiality through scale and to create an emotional or sensory experience through design. Fascinated with the weight density and physical presence of clay on mass Kim began exploring spaces that exist within spaces. The final design will be installed in to Lady Margaret Hall in Oxford during July 2011
To design a space to engage with to shelter, observe, reflect and rest.
An exploration into seating spaces which enables the viewer / visitor to experience differing perceptions of the space depending on where they choose to sit. The object allows a solitary moment to be captured it would be possible to reside and to be partially visible or secluded from others sharing the space. There a sensation through subtle nuances of being slightly encased or enveloped by the form. Both sides resonate the same ideas however may evoke a different emotional response with a distinct feeling of inside/outside emergence/withdrawal depending where you decide to position yourself.
To create a narrative between object and space.
Ceramics has a long rich history within the garden context I am using Brick clay in collaboration with Ibstock Brick in Bristol pushing this material in a contemporary thoughtful and purposeful way developing a new language and aesthetic moving away from those long held traditions and preconceptions of what clay has to offer.
To frame a view.
The ideas based around the long tradition of framing the view is a familiar notion throughout landscape painting I’m aiming to frame a less obvious view or structure a viewpoint within the garden from an unexpected perspective or position from a less glorified lens The positioning of the piece provides an element of ambiguity on approach wanting to reveal to materiality yet create a new aesthetic with an ancient building material often overlooked.
Considering how exterior spaces are continuously transforming throughout the seasons gardens are always changing It has been important how light reacts with the space and how this will differ during the year.