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MINOR DIGITAL CRAFT

Lecture with Brain Eno

http://www.redbullmusicacademy.com/lectures/brian-eno

This is an interview at the Red Bull Academy with Brain Eno about music. In this interview he speaks of music and art in the same sentence, and the way he talks about music and it's new technological developments is very interesting to me. He talks about music and art in our society. How we like to create 'geniuses' and 'hero's' but they never come out of nothing. A lot of people were doing the same things a the time. A lot of artists were inspired by each other.

Quote Brain Eno from the interview:

You have to find out how to fuck up new technologies to create something new. Because new technologies are created for historical reasons doing things wrong, using stuff how it's not meant to be used has been a really important part of the new development in the art and music scene.

I posted this link because I think it's interesting how the developments between two different elements (music and art) are a lot the same and have a connection. And I like the way he thinks about using the new technologies in a different way (see quote).

//FANTASTIC FORGERIES//

Object chosen: Long Neck & Groove Bottle by Hella Jongerius - Jongeriuslab

ABOUT HELLA JONGERIUS:

afbeelding hella jongerius

Born near Utrecht in 1963, Hella Jongerius graduated from the renowned Design Academy at Eindhoven in the early 1990s, working briefly for Droog Design before launching her solo career. Today she is one of the most important designers of her generation. Her designs combine new technological achievements with the uniqueness and importance that only handmade historic objects possess: 'I'm trying to make products that can be loved and that people want to own their whole lives to then pass them on to the family.'

Designer Hella Jongerius has become known for the special way she fuses industry and craft, high and low tech, tradition and the contemporary. After graduating Eindhoven Design Academy in 1993 she started her own design company, Jongeriuslab, through which she produces her own projects and projects for clients such as Maharam (New York), KLM (The Netherlands), Vitra (Basel), IKEA (Sweden) and Royal Tichelaar Makkum (The Netherlands). Her work has been shown at museums and galleries such as the Cooper Hewitt National Design Museum (New York), MoMA (New York), the Design Museum (London), Galerie KREO (Paris) and Moss gallery (New York).

Hella Jongerius says there's more to design than simply creating more and more new objects. Jongerius also explained that she enjoyed her role at Vitra as creative director of colours, because it enabled her to use her design skills more sustainably instead of constantly trying to create completely new objects. "Why make new stuff every year? I don't believe we have to have more stuff," she said. "I believe a designer can use her talent to update a collection and also be sustainable. Making stuff is just one design solution. Jongerius believes that it is important these days to give a identity, in the physical work, that gives it a real signature, so it doesn't have to have marketing stories.

INDUSTRIAL DESIGNER

Quote Hella Jongerius

I call myself an industrial designer because I believe the industry needs this crafty approach. At the start of my career I only did self-initiated projects and it was always a theme of mine to make individual products in an industrial way. To do individual pieces is just not interesting to me because that's just a hobby. As soon as a piece is in the machinery, in the system, as soon as you start talking about a market and money, you can reach a lot of people, you can change the system. If my ideas of individuality and creativity resonate with the consumer, then the product is more than just slick, cheap mass production.

So that's why I call myself an industrial designer. I know I am not a traditional industrial designer, sending technical drawings from my computer to a company. I have questions and I like to change the way we produce.

In the 1990s she introduced imperfections and individuality into the industrial manufacturing process. Jongerius believes that the quality of craftsmanship is not legible in perfect products but only in the ‘misfits’ that betray the process and the hand of the maker. That is why she's such an important designer to my opinion.

DROOG DESIGN

Droog has played a big part in the rising of the Dutch Design in the past decade. In the early 90s, humor and intelligence brought an end to the reign of slick Italian design. No more luscious curls or bright colours, and certainly no shiny chrome, but a chandelier made up of about 40 bare bulbs knotted together and a chair that is just a bundle of old rags. Thanks to Droogs rebellious anti-design, The Netherlands were squarely placed on the map as the birthplace of progressive design talent in one fell swoop. Although a dozen rag chairs and scrap wood cabinets were ever made, they did become design classics. Droog has changed opinions about design forever - it's not just about products it's also about ideas. Droogs critical approach to designing has evolved into an open mentality in which nothing is predeterminded, and everything is up for discussion. In the 21st century, Dutch Designers create products that are elegant and very accessible, exuberant or simple breathtakingly beautiful. Dutch design stands for exclusive showpieces, but also useful objects. It utilizes both traditional crafts and digital production techniques, but it is always adventurous, singular and well-thought out. And very important: it's manufactured in the designers own workshop.

afbeelding: Tejo Remy - Chest of Drawers // Rody Graumans - 85 lamps, 1994 // Marcel Wanders - Knotted Chair 1996.

Droog was founded in 1993 by Renny Ramakers and Gijs Bakker to promote modern Dutch Design. They decided to present works of young Dutch designers at the Salone del Mobile, the international furniture show in Milan. They used the name 'Droog' because in the designs the concept was more important then the use of it. the objects contain simplicity and dry humor. The duo presented a selection of sober designs made of industrial materials and found objects.

Droog works with independent designers to design and realize products, projects, exhibitions and events. Droog has worked with amongst others Marcel Wanders, Hella Jongerius, Tejo Remy, Richard Hutten, Ed Annink, Jurgen Bey and Joris Laarman.

MISFITS

Hella Jongerius: Misfit is a detailed survey of the work of Dutch product designer Hella Jongerius (b. 1963). Jongerius studied Industrial Design at the Eindhoven Design Academy and graduated in 1993. She came to prominence very soon after graduating, with a series of her designs being produced by the influential Dutch conceptual design collective Droog Design. She started her own design company, Jongeriuslab, in 1993 in Rotterdam, and in 2008 moved to Berlin. She has collaborated with many prestigious manufacturers, including Vitra, Royal Tichelaar Makkum and Swarovski, and her work is held in the collections of MoMA, the Stedelijk Museum and the Design Museum in London, amongst many others. Jongerius designs a range of products, including furniture, lighting, textiles and glassware but has a particular interest in ceramics. Her work combines the traditional with the contemporary, she is interested in new technologies and processes, and in older techniques. An extreme example of this is her ‘Red White Vase’, the shape is based upon an amalgamation of medieval pottery shards, glued together to form an archetype, put into serial production, and decorated with a type of paint usually used to paint car bodies. Jongerius is also fascinated by the value of the individual character and qualities that objects can assume, and in how individuality can be incorporated into manufactured products. For example her ‘B-Set’ of porcelain crockery, produced for Royal Tichelaar Makkum since 1997, is fired at too high a temperature during the manufacturing process, ensuring that the clay deforms slightly and giving each set a completely unique shape.

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Keywords for Hella's approach: - Simple and smart solutions - they are not aiming for perfection. - Don't always try to invent different things but use it in a different way - storytelling is an important element, and not only the quality

Bronnen

Boek Handson Dutch Design in the 21st century by Jeroen Junte, pag 6 t/m 20.

http://www.jongeriuslab.com/work/long-neck-and-groove-bottles

http://de.phaidon.com/agenda/design/picture-galleries/2010/october/28/hella-jongerius-misfit/

http://www.dezeen.com/2014/08/30/hella-jongerius-book-of-interviews/

http://www.droog.nl

http://www.frozenfountain.nl/hellajongerius