S E L E Z I O N E   M A T E R I Æ

SPAZIO MATERIÆ HAS CURATED A SELECTION OF BRILLIANT INDEPENDENT DESIGNERS AND SMALL ARTISANAL MANUFACTURERS FROM ALL OVER THE WORLD, TO OFFER OUR CLIENTS ONE-OF-A-KIND, HANDMADE PRODUCTS AND CUTTING-EDGE, REFINED DESIGN OBJECTS.
WE AIM TO GENERATE AWARENESS AROUND THE CREATIVE AND PRODUCTIVE PROCESS THAT leads to the realization of a lifestyle object, to the people behind the things. 

 

1 0 1 2   t e r r a

The name of the brand '[ 10¹² ] TERRA' was inspired by the number of cells produced per day (10¹²) and glass cases called terrarium, made for collecting and showcasing plants.
THE BRAND WAS STARTED to create products that mirror the constant changes of life, full of new discovery.
The Terra Hydro objects are a hybrid between a vase and a terrarium uncovering the beauty what it usually left in the blind black soil.
'showcase, long' object was thought to rejoice in the beauty of flowers for a longer time, drying them and transforming them into a delicate piece of art.
all designs by [ 10¹² ] TERRA are handmade in japan.

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b l a c k c r e e k   m e r c a n t i l e

After years working in the furniture and interiors industry, Joshua Vogel created Blackcreek Mercantile & Trading Co. as a way to explore small scale product design and manufacturing, and to reconnect himself with the practice and idea of handmade goods.
All of BCM&TCo.'s products are made by people in a Kingston, New York studio, lovingly, and with care. everyday they get closer in understanding the elements of their craft, seeking to connect good ideas with great materials through simple processes that, in turn, connect people directly to the essence of the work.
they create enduring, beautiful, and functional handmade objects.

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This film explores the idea that turning wood is a reductive process that in essence is a step back in time. As the wood loses a layer, the years are taken away. This abstract idea is a constant that Josh is very aware whenever his chisel touches the bark and steady peels away the rings of time. 

Film by thescoutmag.com

 

d a i y o

DAIYO, with a hundred years of history is committed to make the genuine Japanese candles with 100% vegetable wax. This point is very important and is the identity of the genuine Japanese candles.
As the material used is all natural, it burns stably and beautifully without excess dripping wax and is environmentally sustainable as well.
The wax harvested from the sumac trees called HAZE originally came from Ryukyu (Okinawa) in the Edo period (1603 - 1868). The HAZE trees are found particularly in the Western Japan and have been bred to make it suitable for candle-making.

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F U T A G A M I

brass foundry founded in the city of Takaoka, Toyama Pref., Japan, in 1897.
THE MATERIAL has a long history as a material for arts and crafts or Buddhist altar equipment as its texture is gentle with an elegant luster.
Brass products gradually change their color over the course of many years due to oxidization. The longer they are used, the richer and subtler they become, dissolving into the human heart and the environment.
FUTAGAMI NOW COLLABORATES WITH DESIGNER OJI MASANORI TO CREATE A BEAUTIFUL LINE OF LIVING-WARE. OJI MASANORI DESCRIBES HIS DESIGNS AS 'living products': HE CREATES them while considering a design which may connect various things gently and comfortably everyday. I DESIGNS not only a product itself but also its package and graphics while considering overall process of how a product is born.

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Product designer Isabell Gatzen, who is part of our selection of independent designers from all over the world, speaks to Monocle about her choice to work and live in Zürich’s Kreis 4 district. Once a seedy neighbourhood with an air of debauchery, now a shiny hub of creativity. You can also take a glimpse at her creative process at min 0:44.

s t u d i o   i s a b e l l   g a t z e n

ISABELL GATZEN'S DEBUT collection sets out to explore contrasts to achieve harmony in form, function and style. Contrasts are explored in materials, shapes and light to achieve an elegant and sophisticated collection with a young and fresh attitude that will stand the test of time.
M.C. Escher inspired the direction of the collection, his focus on order, symmetry, impossible objects and optical illusions was used as a lens through which the collection was designed and curated. The collection seeks to play with perceptions of light and weight, and embraces hidden details which encourage users to interact with the pieces.
Material is an important starting point for this collection, the collection focuses on true materials that are either interlocked or held together through the forces of friction and gravity. In each product materials were brought together to complement and contrast the other. The collection focuses on marble, aluminum, brass, glass and wool. Marble was chosen as a lead material in the collection as it has a rich history in furniture design and ornamentation, and the challenge was to push this very traditional material into a new modern form whilst respecting its classical innate elegance.
The collection uses simple forms such as circles, rectangles and strong lines to define its classical and clean visual language.
The collection focuses on black & white whilst playing with grey tones and light. The monochromatic palette adds a desirable timelessness to the collection. On a conceptual level the exploration into contrasts was extended through playing with light.
The SEE RIGHT THROUGH ME mirror, adds a further dimension to the exploration of contrasts and light as the user is Confronted with multiple viewing possibilities in one glance, either you can see right through the mirror or catch a reflection, depending at which angle the light hits the mirror. The SEE RIGHT THROUGH ME mirror is made of white OR BLACK CARRARA marble and a one-way mirror which plays with light to enable the viewer to see through the mirror or catch a reflection. Available in small, medium and large, the mirrors are designed to work in different combinations and add an eye catching dynamic to any room.

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g e r m a n s   e r m i c s

Germans Ermics, AN Amsterdam BASED DESIGNER, has approached design in a very innovative, and unusual way. He explores color use within glass, and then through exploration, designs the furniture/piece around this, afterwards. The design of the furniture is intuitive around the way the color is reacting within its new form. 
A common theme in HIS work is investigating how people interact with their environment and how design can influence this interaction. HE often employS  HIS graphic design background to add a new and fresh approach to design and enjoyS experimenting with different materials and perceptions of space.
The ombre glass collection is an extension of HIS glass research and a GIVES HIM THE POSSIBILITY to collaborate with interior designers and architects. IT was inspired by the colors of ever-changing light in the sky. Dawn, Dusk, and Twilight are the names of the main coloring types

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k w m 1 9 2 4

bauhaus meets korea in the work of keramische werkstatt margaretenhohe, a ceramics workshop based in essen, germany. 
Returning to the basic formal principles of the Bauhaus, korean ceramist Young-Jae Lee together with Hildegard Eggemann, Michael Schmandt and Claudia Neumann developed the characteristic formal language of the Keramische Werkstatt Margaretenhöhe's collection more than twenty years ago. Their most important requirements were that every piece had to be easy to throw, and functional. All parts of a tableware set, no matter the color, were to be mix-and-matchable. The twenty-five basic elements of a Tableware set were designed first: plates, bowls, pitchers. The six-tone Range of colors, from shades of jade-green to an off-white to a rust-brown, was the result of months of experimentation.
The characteristic features of the collection remain the same to this day and are not subject to changes in fashion or Zeitgeist. Pieces thrown on the potter’s wheel are of Westerwald stoneware clay; the square plates are formed from slabs via plaster models. Bisque firing is done in an electric kiln at roughly 950 °C. Glazes, with their matte to glossy surfaces and coordinated colors, are fired in a gas kiln at ca. 1300 °C, in a reducing atmosphere. All materials and production processes are environmentally-friendly, and all pieces are dishwasher and microwave-safe.

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l e   d e u n   l u m i n a i r e s

le deun luminaires is a company specialising in electronic lighting design with low energy consumption. Since 1997 LED HAS been the main light-source for all their products and installations.
Le deun models are designed and manufactured by a professional team in PARIS. Their work is split into two key areas: products that form part of their collection and one-off bespoke projects created for brands or architects.
The base of LE deun design is the research for purity: the main idea is that function must generate the shape and that lighting have to be effective, besides highly decorative. The electronic components are designed to be full part of the design of the lamp.

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p e r l a   v a l t i e r r a

PERLA VALTIERRA Lives and works in both Mexico, Brussels AND PARIS. She studied Industrial Design at the Mexican Autonomous National University (UNAM), and considers herself as a ceramic apprentice.
Perla focuses on the
relationship between tradition and local culture, and the significance of objects as cultural elements.
Inspired by archetypal shapes she fuses tradition and contemporary to create everyday objects.
As a ceramist, she emphasizes on experimenting with natural and local materials and techniques. She
explores the chemistry of natural products and clays, discovering their endless possibilities.
'Form & Origin' collection shows different types of vessels based on a research of the evolution of Japanese ceramics. Divided in two categories, a series of water jars adapting Haji ware forms (3rd century), and a set of containers inspired by the Natsume traditional tea caddy, used in the Chado Tea Ceremony. The first ceramics ever made, where those to contain water and preserve food.
'BELGIAN CLAY' COLLECTION was made in Belgium using tree different types of local clays. The research was made by mix together local materials in other to obtain a chart of colours and textures.

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o n a m i

TOGETHER WITH DESIGNER YAMAZAKI YOSHIKI (BLOCK DESIGN), METAL SPINNING MAKER AIWA SIBORI OF KAWASAKI CITY IN KANAGAWA PREFECTURE STARTED THE METAL SPUN TABLEWARE BRAND 'ONAMI'.
Metal spinning is a traditional processing technology in which a metal sheet is set onto a metal male die and the metal sheet is rotated, similarly to how a workpiece is rotated by a lathe. Spinning tools are pushed against the metal sheet, and it is spun over the metal die.
At Aiwa Sibori, which handles the Onami brand, dies are produced in-house. The form of the die will be the exact form of the product, so die production is an important process which affects the finished result.
Spinning tools take various forms. The most suitable spinning tools are selected taking into account various factors such as the product, material, and form. Even when just one product of the Onami brand is being made, multiple spinning tools are used to make spinning tool lines with strong expressiveness on the product.
Different surface finishing is performed on spun products according to their material and purpose. Finishing is performed by an artisan, so each product has a different appearance. Marks are made on the products each time they are used, and the colors of the products change over time, so the appearance of the products changes to suit the lives of the people who use them.

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r o m y   n o r t h o v e r

‘No.’ is pronounced ‘No’. A ceramics and lifestyle brand run by Romy Northover. Romy grew up in the English country side, HAS A A IN FINE ART FROM GOLDSMITHS, UNIVERSITY OF LONDON, and has spent time living and working in Hong Kong,Venice and Berlin before relocating to New York in 2010, and starting No. in 2012. HER Style IS Ancient Future.
Ceramics made using a combination of both western and eastern ceramic techniques and philosophies. Allowing for intuition, process, exploration of material.
The majority of work is made from the studio in Long Island City, Queens, NY. Fired using electric kiln AND THROWN WITH THE Rokuro TECHNIQUE: the wheel spins in the opposite direction And throw off the hump so you have one centre piece of clay to throw multiple pieces from, using thread instead of wire to cut pieces off hump. There is also emphasis on weight distribution.
THE PIECE IS FUNCTIONAL, MADE TO BE HELD IN THE HANDS, SO THE WEIGHT IS IMPORTANT. AFTER THE PIECES HAVE DRIED A LITTLE, THEY ARE TURNED OVER AND THE FOOT IS TRIMMED. 

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s c h n e i d

Schneid IS A DUO OF DESIGNERS AND stands for a Scandinavian way of thinking: THEIR designs have formal purity, functionality and a minimalist approach. 
The ideas to THEIR products and objects come in a very natural way and are mainly due to THEIR feelings of aesthetics, proportions and shapes. SCHENID ALWAYS considerS the meaning and purpose of new developments with regard to function and sustainability. By material experiments and by taking materials out of their usual context, THEY find new solutions and possibilities for their use. Therefore THEIR work can be understood as a result of a designing process that embraces an aestetic approach as well a conceptual development with an experimental basis. 
SCHNEID projects are driven by the attempt to create lightings and furniture that are sustainable and high-quality with the potential of a longer life and a reason for their existance. 
THEY consider THEMSELVES as a new type of design studio that is able to work more indepentently by managing the whole manufacturing process of our ideas. Even if it becomes more and more difficult to produce regionally, COLLABORATE WITH high quality manufacturers in our surroundings, emphasizING a direct and personal contact. This personal contact is a significant element of THEIR projects which fully meet the complex requirements of a crafted product.

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t a k a h a s h i   k o u g e i

The hallmark of Takahashi Kougei products is the meticulous attention to detail given in applying highly refined lathing techniques. The respective features of various high quality Hokkaido-grown trees are used to craft simple and functional wood products. These wooden items have a modern sensibility, enabling them to blend naturally into the contemporary lifestyle, and lend warmth to one’s environment.
Born in 1969, Hidetoshi joined his father and turnery mentor’s company Takahashi Kogei in 1992 after working at a construction company. In 2007, Hidetoshi released Takahashi Kogei’s most acclaimed product “Kami Glass.” He currently works with designers Masanori Oji and Rina Ono on the “Kami,” “Cara,” and “Kakudo” series and also produces other simple, functional wooden tableware that features the natural color and grain of high quality Hokkaido wood. He followed his father’s footsteps to become Takahashi Kogei’s second generation president in 2009.
Taking wood from Hokkaido’s mountains and making wares out of them is a way of connecting the mountains and humans.

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