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"Labaco, Ronald T"
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Studio Job : monkey business
Studio Job redefines the applied arts for the contemporary age. Job Smeets and Nynke Tynagel's collaboration creates highly expressive work where the physical potential of the materials they use-often bronze or laser-cut marquetry-is pushed to the limit, with an approach more in keeping with that of traditional guilds than industrial design. Studio Job: Monkey Business includes furnishings, sculptures, exhibitions, commissioned interiors, and the designers' own home, tracing the past five years of Studio Job's creative vision. Opulent, intricate, and ironic, the work of Studio Job combines an extraordinarily high level of craftsmanship with extreme ornamentation. Studio Job draws from the traditional and the topical, the organic and the artificial. With design inspired by illuminated manuscripts and more than 200 sketches, concept renderings, and photographs, Studio Job: Monkey Business is the ultimate expression of two of the most influential designers working today. Exhibition: Museum of Arts and Design, New York, USA (22.03-21.08.2016) / Design Museum, London, UK (fall 2016).
Book
\The Playful Search for Beauty\: Eva Zeisel's Life in Design
An interview with the Hungarian-born ceramist and designer Eva Zeisel (b.1906). The author summarizes Zeisel's career as a designer of mass-produced ceramics in the 20th century, working with the leading potteries in Hungary, Germany, and the U.S.S.R. before emigrating to the U.S.A. in 1938, and notes that her output since includes ceramic designs for a large number of American firms, and award-winning designs in other media. In interview, Zeisel describes the circumstances in which her Town and Country dinner service was designed and reveals the influences on its appearance. She outlines her philosophy of design, which is to produce items which enrich the lives of those who own them, and explains how this clashes with both the utilitarian approach to design of Soviet philosophy and with the aestheticism of modernism. She explains that she trained as a painter, taking up pottery as a way of earning money, and then drifting into design because her practical skills as a potter were poor. She chronicles her career in Europe and then in the U.S.A., identifying her collaborations with the Metropolitan Museum of Art in New York as important in establishing her reputation. She concludes with advice for designers today, and with some predictions on how design might develop in the 21st century.
Journal Article