BETHAN LAURA WOOD

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It’s an understatement to say Bethan Laura Wood likes colour. Looking every inch a modern-day Frida Kahlo, the bright young British designer is wowing the global creative scene – and that’s not just down to her eye-popping clothes. Her work, from furniture and glass to ceramics, lighting, textiles and fashion, is bold, vibrant and wonderfully expressive. This week sees Wood curating Broadgate's Makers Mini Market, where East London designers will showcase cross-disciplinary wares. Expect the unexpected...

BY CLAIRE BINGHAM

Tell us about this week's pop-up Makers Mini Market in London.
I was invited to curate the Makers Mini Market and wanted to see how it could be interesting or different from just another type of makers market. I really liked the idea of bringing together a mix of creative people from East London whose work I follow on Instagram and that crosses over different disciplines. 

What can we expect?
There’s dyed marble from Silo Studio, Fashion East newcomer Harry Evans will be showing smaller accessories, and illustrator and sculptor Saelia Aparicio will be showcasing her pickle jars filled with balloons. There are seven designers in total, each with their own shed and creative world. One shed, devoted to workshops and talks, has my pattern all over it and I will be in and around the market.

ABOVE: Bethan Laura Wood in her studio with a bag from the forthcoming 'Toothpaste' collection for luxury Italian accessories brand Valextra. Wood designed witty handles and clasps for the SS18 range
BELOW: Two worlds collide as colourful patterned sheds nestle among the vast corporate structures of Broadgate for Makers Mini Market

ABOVE: Bethan Laura Wood (centre) with her band of East London creatives from Makers Mini Market. From left: Tino Seubert, Beth PostleAttua Aparicio Torinos of Silo Studio, Ryan Coleman Connolly, Kim Thomé, Saelia Aparicio, Harry Evans; Evans invites you in to see his take on menswear and accessories

You've designed for Nilufar Gallery, Bitossi CeramicheKvadrat, Abet Laminati and Hermès, among others. What are you most known for?
My style is very colourful with lots of layers and texture. My work often focuses on materiality and exploring that through design. I also do a lot of locality-based work and make direct references from places when I have the opportunity to travel. For example, I’ve completed a range of designs based on Mexico City: the colours, patterns and architecture there all resonate with me.

Where's next on your travel wish list?
I went to Japan a year ago and absolutely loved it, so I would really love to go back and work with artisans there. I’m also a big lover of kimonos. I would like to spend time seeing how the fabrics are woven and explore how the shapes could be taken in a furniture direction, while honouring their proportions.

BELOW: Wood's spectacular blown glass lights at Peter Pilotto's 'Townhouse Takeover' during September's London Design Festival 2017

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Your floor lamps for Peter Pilotto were a hit at September's London Design Festival and your work appeared in three of our top LDF17 FizzPicks. What was your highlight?
I love the opportunity to collaborate with others on a project like the Peter Pilotto Townhouse Takeover. Much like the Makers Mini Market, I enjoy everyone working together to create something special. 

How does working in fashion and interiors compare?
In the fashion industry, the speed is crazy fast, whereas furniture production has a much longer lead time. For me, I really enjoy the crossover. I’ve just collaborated on a line of handles and clasps for Valextra in Italy, for a limited-edition range of their bags called the 'Toothpaste' collection. It was great to have access to their production and find a way to incorporate my skills too.

ABOVE: Classics with a twist... Milan brand Valextra's 'Toothpaste' collection of iconic 'Iside' (left) and 'Passepartout' (right) handbags updates the original designs' sleek lines with Wood's cartoon-like, graphic handles and clasps. A new 'It' bag duo is born

Left to your own devices, what’s your interior style?
There’s a lot of stuff in my house! It’s not minimal. A lot of my work is inspired by colours, patterns and things that I find at flea markets, so my home is pretty much filled with stuff like that. All of these things go on to inspire a project.

Is there an era or style that you’re drawn to? 
I have a love of 60s Pop furniture and Memphis. I like the joy and excitement in all of their colours. I also live in an amazing Art Deco building in the middle of Hackney. I love it. The signature colour of the architecture is dusky blue with mint-green staircases and pastel-pink doors. I knew it was the place for me.

What qualities do you most like in a room? 
I find lots of objects comforting. A minimal, blank white space may be the dream for some but it is the opposite for me. I love to enter people’s spaces or worlds where there are so many things to look at and explore. I like things busy.

Growing up, what was the dream?
I’ve always been a collector. When I was younger, I wasn’t allowed to paint my walls. I never got my ideas for interior decor past my parents, so I’d change things up with objects instead. 

What part of the design process do you enjoy most?
I love dreaming up concepts and realising the difficult bit of turning ideas and sketches into something amazing. I like model making, so that always makes me happy when I can get off the computer and start building something in 3D. Also, when I go into a workshop and start talking, touching materials, seeing what’s working and what’s not, that's really enjoyable for me.

Who are your design heroes?
My tutors at the RCA, Jurgen Bey (above left) and Martino Gamper (left), have been really influential on my work but there are many, many, many others.

What are you most proud of?
Usually, it’s the last thing I’ve done. I like to keep challenging myself. I have a soft spot for my laminate marquetry. It’s a language and a technique that I love playing with so that’s one of my favourite pieces.

What’s your social media of choice?
I’m aware that I must take part in social media (*sighs*). I’m not really a writer, so I use Instagram the most. It’s fun to see what other people are posting and photographing. 
bethanlaurawood.com  
broadgate.co.uk/makers-mini-market-east-london-where-to-shop
#BroadgateDESIGN

Makers Mini Market, curated by Bethan Laura Wood, runs from 4 to 7 October 2017 at Finsbury Avenue Square, Broadgate, London EC2 (11am–6pm, free admission)

RICHARD WOODS

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Richard Woods is the British artist and designer behind the big, cartoony, painted wood grain furniture for HAY and Established & Sons, and the forest-themed 'Tree Trunk' ceramics at Wrong for Hay. His latest installation, for the current Folkestone Triennial, consists of a series of six mini bungalows dotted around the landscape in unusual locations. Here he talks to DesignFizz about architecture, furniture and his love for wood.

BY CLAIRE BINGHAM

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Growing up, did you always have an affinity for making things?
Fishing was a big thing in my childhood. My dad was always preparing to go fishing and I remember being into making the fishing floats. They were shaped using sandpaper out of balsa wood and then painted on the top with bright colours. The bottoms were always painted with Rustins black satin paint.

What did you study?
I studied sculpture at Winchester School of Art and the Slade School of Fine Art in London. I have always been a ‘maker’ and hands-on. Looking back at what I made as a student, it was always large. It always involved lots of wood and lots of paint, so maybe nothing much has changed since then!

How would you describe your style?
I think my work is always a cartoon. This allows it to sit physically within the real world while appearing to be visually separate from it. The works are sometimes interactive (floors, furniture). Sometimes they are ‘don’t touch!’ (sculptures and paintings). Whether you can pick them up or they are just for looking at, I think they play equally with our notions of taste and class – and hopefully have a sense of humour.

ABOVE: The new 'Wrongwoods' collection for Established & Sons, 2017
BELOW: 'Tree Trunk' vases for Wrong for HAY, 2015

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ABOVE: 'Bench Press' seating for Established & Sons, 2009

What unites your projects?
After studying sculpture at the Slade, I worked as a carpenter and general builder for about seven years. That was during the early 90s and the whole world seemed to be laying laminate flooring (and I seemed to be laying most of it!). My work is a fusion of what I experienced at college and then the work I did to earn money when I left. I would laminate floors during the day and then found myself printing my own versions of wood patterns in the studio at night.

What materials intrigue you?
Wood.

What’s your art/design ethos?
I’m interested in the spaces where art, design and architecture meet. There used to be an unthinking mantra that art and design somehow needed to be separated out. This was enthusiastically adopted by commercial galleries because it’s a handy way of keeping art more expensive. It’s a dogma that’s been harmful to visual arts, so if I have an ethos of any type, it would be to keep these worlds close and not separate them.

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ABOVE: Woods' mini 'Holiday Home' bungalows are dotted around the coastal town of Folkestone for the fourth Folkestone Triennial, a wry comment on second home ownership and the UK's housing crisis

What inspired you to take part in the Folkestone Triennial?
I visited the site and became excited by an idea that I felt would resonate locally and nationally. (Click here to see our post on the Folkestone Triennial).

What do you reckon is the solution to holiday homes and their effect on villages?
Build more wooden houses that are heated with wood-burning stoves.

Any other recent projects?
I am making a new public artwork commissioned by Birmingham's Eastside Projects and Banbury Council. The work involves hundreds of replica houses, copied from a nearby housing estate. Our tiny model houses will be attached to a canopy of trees in a small wood near the estate. The idea was to give the houses the best back gardens that a house could ever possibly have.

ABOVE: New designs created with Sebastian Wrong for Established & Sons' 'Wrongwoods' collection include the vibrant 'Palm Springs' dining table (top), in a sunny five-colour palette inspired by the Californian city, and a low level monochrome/grey sideboard and dining table

What’s next?
We have been working on some new tables with UK designer Sebastian Wrong. Our collaboration, which has been developing for 10 years now, is called ‘Wrongwoods’. Previewed at 2017's recent London Design Festival, they're the first new products we've made with Established & Sons for five years, so it will be really interesting to see what the world makes of them.

What’s currently exciting you in design or style?
dRMM's wooden pier in Hastings is great. It’s a beautiful big open space – good for running around. I love that they’ve managed to avoid all the usual, miserable retail opportunities and it makes you aware of the fantastic expanse of open sea.

Where or how do you find inspiration?
Walking in woods or listening to live music. We live near Epping Forest, so I can get out and hug a tree pretty regularly, and I try to see some live music at least every couple of weeks. It’s one of the luxuries of living in London. Last week we were lucky enough to catch Deerhoof, which was truly inspirational.

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Who are your design heroes?
This week it's artist Franz West and architect Kazumasa Yamashita. I'm also inspired by musicians Jonathan Richman and Richard Dawson.

Where’s on your travel wish list?
Anywhere with a big forest. There's a plan to take my kids over to Scandinavia pretty soon. I think we’ll find some big forests there.

ABOVE: The iconic 'Face House' in Kyoto by Japanese architect Kazumasa Yamashita

What’s your social media of choice?
Instagram. I’m more keen on pictures than words. 
richardwoodsstudio.com

The Folkestone Triennial is on now until 5 November 2017. The new 'Wrongwoods' collection is available to order from selected stores. Visit establishedandsons.com for local stockists

Pictures: Peer Lindgreen, Thierry Bal

LOUISE OLSEN – Dinosaur Designs

Louise Olsen is one half of influential Sydney duo Dinosaur Designs, alongside artist partner Stephen Ormandy. Pioneers of using resin to create gorgeous homewares and jewellery, the pair takes inspiration from nature, art and the city they call home...

BY SOPHIE DAVIES

What’s your design philosophy or style?
I like to create forms that nurture people’s senses. I love the juxtaposition between materials. I like to humanise modern materials such as resin and metals.

What do each of you bring to the design process?
Stephen and I work independently on our own designs for Dinosaur Designs. We both have our own signature, design sensibility and understanding of resins that we have worked with for over 30 years now. 

TOP: Louise Olsen and her work/life partner Stephen Ormandy, co-founders of Sydney homewares and jewellery brand Dinosaur Designs
ABOVE RIGHT : Debut hardback book 'The Art of Dinosaur Designs', published recently by Penguin Lantern, shares the studio's vision

Tell us about your new book The Art of Dinosaur Designs
Our book was a chance to open our studio doors and allow people to see behind the scenes of how Stephen and I design and create, and to discover some of the inspirations behind our pieces. We didn’t want to do a straightforward history, but we do cover some of the highlights of the past 30 years.

Where or how do you find inspiration?
I’m constantly inspired by nature. I love the way nature takes time to evolve and perfect. I find that when designing an object it takes time and there is a lovely flow that happens as one idea leads to another. 

ABOVE: Launched in October 2016, the duo's latest collection 'ColourBlock' features 'Totem' vases, pictured, alongside platters, plates and salt dishes in bold and soft primary hues. It also boasts sculptural jewellery, including bangles, earrings, rings, necklaces and neck cuffs, exploring colour blocking

What materials and colours are you currently drawn to?
At the moment I’m working on a collection inspired by sandstone, called 'Sand', launching in February 2017. I love all the variation of pigments in the sands from Central Australia to coastal beaches. Our recent 'ColourBlock' range played with solid hues, juxtaposing them, from cobalt blue and vivid coral red to refreshing accents of bright grass green, reminiscent of summer days.

How have art and nature influenced your practice?
We both have a passion for the world of art and nature as it offers never-ending change and beauty.

ABOVE: Sunrise at the iconic Sydney Opera House, one of Louise Olsen's favourite design destinations, by Danish architect Jørn Utzon

Is Sydney a big inspiration? And do you have any favourite local design hot spots?
We can’t help but be inspired by the ocean, the nature and the light of Sydney. For our favourite design spot it’s hard to go past the Sydney Opera House. We’re so lucky to have it – it’s an incredible icon. 

ABOVE: One of Olsen's influences is American designer and sculptor Isamu Noguchi. Pictured is his walnut wood and plate glass 'Coffee Table' (IN-50), 1944; The freeform 'Cloud Sofa and Ottoman', c 1948, in fabric, foam, wood and iron; the Sculpture Garden at The Noguchi Museum, Long Island City, New York; A Noguchi installation at the museum

Who are your design heroes? Or which era, aesthetic or interior has influenced you the most?
Giacometti, Picasso, Calder, Bertoia, Ray and Charles Eames and Noguchi are our design heroes; they were all artists who also designed furniture, ceramics, jewellery, sets and costumes for film and theatre. Every era has its moment of beauty. I tend to think more about the future. 

Where’s on your travel wish list and why?
I’d love to see more of India; it’s so unexpected and varied, and there’s so much ancient history that’s still alive that sits alongside contemporary life.

BELOW: Dinosaur Designs' curvy store in The Strand Melbourne, and a more linear look in their Sydney boutique in the historic Strand Arcade

You have shops in Sydney, Melbourne, Brisbane, New York and London – any plans for future launches?
We’re currently working on a new store in Crosby Street in New York, which will be open early in 2017.

What social media do you use most?
Instagram – because of its wonderful visual stories.
dinosaurdesigns.com.au

Pictures: Rachel Kara (portrait); Heleena Trahanas (book cover); Bec Parsons ('ColourBlock' collection, styled by Mark Vassallo, model Duckie Thot); Sydney Opera House; The Isamu Noguchi Foundation and Garden Museum, New York (Noguchi furniture); George Hirose (Sculpture Garden); Elizabeth Felicella (Noguchi installation view)

See our review section The Library for more on new book 'The Art of Dinosaur Designs'

FREDRIKSON STALLARD

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London duo Patrik Fredrikson and Ian Stallard, aka Fredrikson Stallard, operates at the outer limits of design. The Fizz catches up with the men in black as they prepare to unveil a new furniture collection in Milan

BY DEE IVA

 

How did Fredrikson Stallard start?
It was a very organic process that began when we met at Central Saint Martins in 1995. Patrik studied product design and Ian studied ceramic design. After university Ian set up his own ceramic studio, designing, making and selling his works. Patrik was working as an architect and designer for a small architectural firm connected with the late Zaha Hadid’s practice. We started to design pieces together, such as the log tables 'Table#1' and 'Table#2' (above right) and 'Ming#1' vases (right), that set the foundation for Fredrikson Stallard. We first showed our work together at 100% Design in London in 2003 and officially launched as Fredrikson Stallard with our solo show 'Gloves for an Armless Venus' at Tribeca Grand in New York in May 2005.

As a Swedish/British duo what do each of you bring to Fredrikson Stallard?
We both share the same ideologies about the avenue of design that we have carved out for ourselves. The more we work together the more everything becomes interlinked and it would be impossible to say that one or the other has a certain speciality. Ian is generally more diplomatic while Patrik is more uncompromising and together this works well.

ABOVE: Swede Patrik Fredrikson (left) and Brit talent Ian Stallard (right)
BELOW: Let there be blood. 'The Lovers' urethane rug, 2005

How would you describe your style?
Abstract Expressionistic, process-driven high design with integrity.

You’ve been associated with the ‘Design Art’ scene of the Noughties. Many have fallen by the wayside while you have blossomed. What is the key to your success?
We are truly passionate about we do – it is a strong desire we need to fulfil rather than a job – and also we never follow trends but do what we believe in. A lot of galleries and designers jumped on the so-called 'Design Art' bandwagon purely because they thought they could make money, and all of them were wiped away by the recession. We have delivered outstanding works that museums all over the globe collect to mark an important time and place and, as with any historically important art, it is paramount that it's not driven by financial gains. We have an amazing team who are just as dedicated to the arts as ourselves. We believe it's this calling that has been paramount to our success. Of course, there are financial interests in what we do, but this must never be the driving force.

ABOVE: 'Silver Crush Side Table', 2012
BELOW: 'Barbarians' by Hofesh Shechter, touring now

Who inspires you?
Life! It’s more a question of what than who. Anything from fashion to fine art shows to contemporary dance performances, and from the remote Swedish wilderness to East London's club scene. We thrive on contrasts, to live in constant energetic flux. Often people probably don't understand the creative value we put on placing ourselves into extreme alternating positions, from crazy dark debauched nights to complete serenity in our house on a cliff in the Greek archipelago. This creates an incredible emotional tension that feeds our creativity.

In terms of specific people, one that springs to mind at the moment is the choreographer Hofesh Shechter. We love the rawness of his work and the way it balances on the ridge between beauty and dark chaos.

Tell us about your new 'Gravity' collection
The 'Gravity' collection expresses traces of process, traces of a chaotic and dynamic transience captured in a moment of stillness: a record of a continuous flux that has been frozen in time. The pieces are studies of the relationship between natural and synthetic, geometric and organic, analogue and digital, sculptural and industrial, one-off and multiple.

It is a collection of functional objects where the context, process and sculptural aesthetics are paramount, as with fine art sculpture. The pieces are a symbiosis between us physically, our vision, the material and the process.

BELOW: The translucent ice-cool 'Gravity' tables, 2015, recently shown at London's David Gill Gallery; Fredrikson Stallard's new 'Camouflage' outdoor furniture for Driade, 2016


You’re launching a new furniture collection this April in Milan. Tell us more...
It’s outdoor furniture for Italian brand Driade, which we are very excited about. We feel that we have created something new. Modernism killed so many human nuances such as the importance of sculptural aesthetics that make our lives richer. With outdoor furniture the design criteria was always to be able to fold, stack and store it until the weather allowed us to spend time outside again. This collection offers not just an alternative but also a new solution, with duality that will allow the furniture to be left outside all year and enrich our environment as sculptural objects. Like a fallen tree or a flat rock, that become natural seating and tables in warmer weather but have an equally beautiful life in winter, the 'Camouflage' collection changes emphasis with the seasons. Just imagine the pieces in a snow-laden garden landscape – they would look fabulous when the snow lands on them outlining the cut-out camouflage pattern.

ABOVE: The unearthly 'Species' sofa collection, 2015, resembles an alien landscape

Which of your pieces are you proudest of?
We have a strong relationship with all the pieces we have created, so it's like trying to choose your favourite child! Probably the work we have been proudest of recently would be the incredible 'Gravity' tables and also the 'Species' sofas, especially as one has just been acquired by SFMOMA, the new San Francisco Museum of Modern Art opening this May.

Is there one product you admire and wish you had designed?
We are generally more admirers of the fine arts, but one product that maybe comes to mind is the 'Taraxacum' light by Achille Castiglioni for Flos, originally designed in 1960 and revisited in 1988.

What’s your social media of choice?
Instagram.
fredriksonstallard.com

 

BARBER & OSGERBY

British duo Barber & Osgerby – aka Edward Barber and Jay Osgerby – has bagged awards for their sleekly simple, contemporary furniture, lighting and accessories. Consummate designers, they're as capable of creating a stunning chair or innovative shower control as masterminding a radical installation for London's V&A Museum or hotel or fashion store interiors via their architectural practice Universal Design Studio. We caught up with Jay for the lowdown...

BY SOPHIE DAVIES

What’s your design philosophy?
Beauty through simplicity.

What’s it like working together? And what qualities do you each bring to the table?
Our design process is like a long conversation, sometimes there are just the two of us, but mostly in our busy studio there are several who participate. Ideas go back and forth between us all and soon the sketching starts and then the model-making. We are extremely lucky that we work so well together, and that we have such an amazing team with us. We obviously have our own characteristics, likes and dislikes, but we think that the combined design output of two, is greater and smarter that the sum of the two halves!

ABOVE: Edward Barber (left) and Jay Osgerby of Barber & Osgerby
ABOVE RIGHT: 'Hotaru' paper lanterns manufactured by Ozeki
BELOW FROM TOP: Barber & Osgerby's Nordic winter-inspired 'Triptych' installation for 2016's Stockholm Furniture Fair, where they were Guests of Honour; it featured their recent furniture and lighting designs, including the 'Pilot' chair for Knoll, 2015, in tactile cowhide

You’ve designed furniture, lighting, tableware, installations, a coin and even the London Olympic torch! Is there any new territory you’d like to tackle?
We’d like to design a bridge, the perfect combination of form and function, engineering and sculpture. 

Where do you get inspiration?
We get inspiration from many sources – art, sculpture, museums – but mostly through travel. When we travel we find the local flea markets, where we can discover the relics of a culture and understand how different countries and societies have created objects to do the same job but in different ways. 

BELOW FROM TOP: 'Olio' tableware for Royal Doulton, 2015, in glazed and unglazed ceramic, wood and stainless steel. 'Tobi-Ishi' occasional table for B&B Italia, 2012, in smoke-blue lacquer, white Carrara and black Marquina marble

Who are your design heroes, or which era, building or interior do you find inspiring?
There are too many to mention… and we’re always finding new ones.

What’s currently exciting you in design or style?
The return of craft, and people rediscovering how important it is for all of us to make something. We are tired of the commoditisation of all objects. We see the return of an appreciation of the small producers and the craft that goes into making. 

BELOW FROM TOP: Past designs for Vitra and Knoll, including the 'Tip Ton' chair for Vitra, 2011, and the 'Pilot' chair for Knoll, 2015

Which recent projects are you excited about?
We are always most excited about the projects that we are working on at the moment – and most of them are secret, of course. We are looking forward to launching our new tiles for Italian brand Mutina in Milan this April. The range is called ‘Puzzle’, and it’s a huge collection of abstract, colourful ceramic tiles. 

What else will you be launching at this year’s Milan Furniture Fair or beyond?
New work for Swiss brand Vitra and US firm Knoll, currently under wraps; many other new things are on the horizon. 

ABOVE FROM TOP: 'Collector Cabinets' for Glas Italia, 2015; 'Axor One' shower control for Axor, 2015

Where’s on your travel wish list and why?
I am writing this from Singapore, and in one hour I have a 13-hour flight home – so my travel wish list is to stay in London!

What’s your social media of choice and why?
I prefer to avoid social media, and if I could I would throw away my phone…
barberosgerby.com