A publication from Established & SonsIssue 6

NEW COLLECTION LAUNCH APRIL 2010AVAILABLE FROM YOOX.COM

‘Welcome to Est. Journal issue 6. Since we last met, our company has continuedon its ambitious mission to innovate and excel, maintaining our position at the vanguard of the design industry. Some of the fruits of our labours you will find detailed over the coming pages.

We are very proud to be launching a brand new collection; ‘Estd by Established & Sons’. This series of beautiful objects opens a new chapter for our brand and is set to instigate our adventures in ecommerce. A collaboration with Venini, a company we very much admire, has produced some significant and extraordinary glass designs. We are welcoming new designers to our stable of talent; from renowned names like Konstantin Grcic who has designed an innovative upholstered chair Crash for us, to rising stars like Dutch duo Scholten & Baijings.

Once again we are presenting products that push the boundaries of contemporary design practice. Bertjan Pot’s Jumper demonstrates an entirely original method of upholstery whilst Amanda Levete’s table light, Edge, is the first product on the market to make use of OLED lighting technology. We take great pride in being the design company who put work by the best of a generation into production— this year we are launching Martino Gamper’s first design for mass production, Sessel.

And there is much, much more besides! See the full list of our new launches on page 8. We hope you enjoy them and this issue of Est. Journal. See you next time.’

EST. Alasdhair WillisCEO and co-founder, Established & Sons

WELCOME TO ISSUE 6CONTENTS

⁄ 1. ⁄ CRASHING WITH KONSTANTIN GRCIC ⁄ 2. ⁄ INTRODUCING THE ESTDCOLLECTION ⁄ 3. ⁄ EDGE OF REASONBY AMANDA LEVETE ⁄4. ⁄ MARTINO GAMPER IS IN PRODUCTION ⁄5. ⁄ TIME FOR A STORY WITH SCHOLTEN & BAIJINGS ⁄ 6. ⁄ KNIT ONE, MAKE ONE, BERTJAN POT ⁄ 7. ⁄ THE PERFECT PAIRING, ESTABLISHED & SONS AND VENINI ⁄ 8. ⁄ NEW PRODUCT LAUNCHES TWENTY-TEN ⁄ 9. ⁄ PRINCIPAL & SIGNATURE COLLECTIONS

parts kept in another place. The advantage may not be so obvious for the end user, but it certainly makes a difference in production. Breaking the chair down into its individual parts makes it easy to recycle at the end of its life cycle. Seperating materials is a big issue for industry.

[Est.] What exactly is your new approachin relation to traditional upholsteredfurniture? [Konstantin] There is no huge technological leap in this project. It is more a small intellectual step we have made. We asked ourselves simple questions about the way upholstered furniture is built. And asked why they are made in that way. We carefully looked at the whole process in order to find another, simpler, more intelligent way.

[Est.] What exactly inspired you to thatstep? [Konstantin] The inspiration comes from spending time in factories. A lot of what we do in furniture design is based on small observations, on looking at the sober reality of how things are made. Only by understanding the processes can we find new ways of making things. Improvement is usually to be found within the process itself, by changing little things rather than provoking big gestures. In the end, the furniture industry is very small. The beauty, and challenge, in furniture design is to achieve a lot with nothing. We are not the car industry with access to the highest technology and immense development budgets. We are working in quite a constrained environment. Of course, there is technology in furniture, but the art is to find an appropriateness for it. Crash is not a high-tech armchair. The materials are quite common, some parts are made by machine, but in the end there is still a large amount of hand labour involved, especially in the finishing.

[Est.] What about the details of the designprocess? Did you have to be very sureabout the form of the frame in orderto adjust the soft part in the right way. [Konstantin] In a way, the frame is like the

bone structure and the skeleton. And the soft part is like the muscles around it. Of course there is a relationship between the geometry of the bone structure and the soft cover. We started with a certain idea of what the soft body should look like. So we moulded the body first, and later on we adjusted the inside, the skeleton. During the process we hardly made any drawings. The foam is an easy material to work with. It is very mouldable, which called for an empirical design process.

[Est.] What about the structure of the foam—with the tension it gets on certain parts,it must be difficult to find the rightconsistency? [Konstantin] That aspect was important also in relation to my older projects. Before I was almost perverted in the sense that I wanted to make uncomfortable upholstered chairs — it seems quite a ridiculous idea to me today. But with this project there was a clear intention and focus on making this armchair as comfortable as possible. There is a nice response you get from the foam when you move around inside the chair.

[Est.] You mean that the soft parts react tothe body of who is sitting in the armchair? [Konstantin] To a certain extent, yes. When you sit in it and you touch it you also get a notion of the metal frame, you can feel it through the foam. This aspect is quite important psychologically. As you sit in a very soft chair, you want to have a certain sensation of support.

[Est.] You already mentioned that Crashis a voluminous armchair. Where does thisidea of volume and generosity in spacecome from, it does not seem so typical ofyour work? [Konstantin] I wanted to explore new fields, challenging myself. I am not totally rigid in my principals—there are many different things I am interested in. Five years ago, I would not have done this particular piece, now I am interested in it. I think it was something very necessary for me, and I learned a lot during the process of designing it.

CRASHINGWITH

KONSTANTINGRCIC

Konstantin Grcic talks about the conceptand inspiration behind his new upholsteredarmchair, Crash. He discusses how hisphilosophy of design explores the processof manufacturing and analyses the detailsof its conditions.

Munich on a cold winter day in early March. Past the busy streets near the central station, in a quiet courtyard, Konstantin Grcic has been settled in his studio since the early nineties. In the next few days, Konstantin will make the last checks on the new prototype of the Crash upholstered armchair in Italy. But the documentation Konstantin has to show; many sketches and photographs of models and prototypes, give a detailed idea of Crash, the design process and the shape of his newest project.

[Est.] What are the main characteristicsof Crash? [Konstantin] The key characteristics of it are its generous dimensions; it is wide and spacious… and extremely comfortable. To ‘crash out’ is a nice English expression that comes to mind.

[Est.] Is it unusual for you to designupholstered, spacious furniture? [Konstantin] That’s almost right. Designing sofas or upholstered furniture doesn’t feel as natural to me as constructing furniture from hard materials. I prefer sitting on hard surfaces than soft surfaces. There is a background of this.

[Est.] What is the story behind Crash then? [Konstantin] I was interested in challenging myself. Doing something when I wasn’t sure where it would lead to. Starting a collaboration with any new client can be quite difficult. I am very considered about finding the right territory for it—one that I

have not been working on before. I don’t want the work I do for different clients to be conflicting. It is very important to find a clear seperation between one client and the other. With each company the goal is to gradually build up a body of work. The starting point can be quite crucial. You always wish for a lucky first project, one which creates a momentum right from the start. On the other hand each new client offers the opportunity for breaking out of one’s own mould. In that way, doing an upholstery project with Established & Sons sounded like an exciting promise. It is something I hadn’t touched for a long time and clearly I saw a nice potential in such a project.

[Est.] What has been the key feature whendesigning the armchair? [Konstantin] There is something I’ve been concerned with for years, something I never liked about upholstered furniture; the way it is made. There is a huge industry producing endless upholstered furniture that is all made in the same banal way; by glueing foam onto cheap wooden structures and then stapling whatever fabric over it. I thought there must be a lighter and more intelligent way of doing this. What we’ve made is a piece of furniture that consists of the same elements; a supporting structure, a piece of foam and the fabric cover. However, we do not bond these elements together. There is a supporting framework made of tubular steel, very simple and straightforward, and a loose piece of moulded foam that gets pushed over the frame. The fabric finishes everything off, it is streched over the foam like a piece of clothing.

[Est.] What does this mean for the processof production? [Konstantin] Having these separate elements is practical during the whole process of production. The frame comes from the frame maker, the foam from elsewhere. Putting both elements together is the last thing to do. It is very simple and keeps things flexible until the very end. For storage you can stack the metal frames and have the upholstered

1.

It expands on an experience and formal language which I am finding very refreshing and exciting.

[Est.] Searching for a strategy of how todeal with upholstery traditions seems inkeeping with the way you work. Is that alink to older projects? [Konstantin] That’s right, my love for structures is still there, but with Crash there is also an exploration of a new formal language. One that is more generous, less controlled.

[Est.] I remember an interview we hadfive years ago, when you were thinkingmuch about the industrial aspect ofdesign. But today, you seem to be equallyfascinated by the craft tradition, as yourside table Blow (see page 7), in hand-blown glass shows. Is this a change inyour attitude? [Konstantin] Making something with your hands, is the origin of making something by machine. A robot imitates operations that were traditionally done by hand. In a way, the man blowing a piece of glass, is the origin of automatic blowing machines. Venini, of course, is a very special company. The project was all about using their exquisite skills.

[Est.] Glass blowing is a totally archaicoperation — it seems that nothing haschanged since the nineteenth century.[Konstantin] You’re right, there is fire, water and sweat. It is the knowledgeof the people you are working with andtheir enormous experience in working with glass that is the most interesting aspect of the project. You can learn a lot working with these people. I’m not sure how long these kind of companies may survive in today’s world. It is very important to keep their knowledge and tradition alive. The problem with my project is, of course, that as an outsider, stepping into this world, I can only pick up very little of the huge potential that a company like Venini has, that’s quite clear. But, step by step, the under-standing gets better and the result has turned out very nicely.

[Est.] What is your intention behind thisproject? [Konstantin] Established & Sons asked a number of designers to collaborate with Venini. The brief was quite open, so it was very much up to us what we would do. My intuition told me I wanted to do something in a furniture scale. That’s not what Venini normally do, but I felt this could be a way to link their world with mine. The table is about the biggest the glassblowers can do. There is a physical constraint within the size they can handle.

[Est.] Does that mean you wanted toexplore the boundaries of glass blowing? [Konstantin] Yes, in a simple way, related to size. At the beginning, the glassblowers had a certain resistance towards the idea. They were not sure they could handle the size and the rest of the project seemed almost too simple. In the end I was able to convince them to try and they found the right challenge in it. There is no precise drawing for the table… all I do is give certain instructions. The guy who is blowing the glass becomes the designer— its his knowledge that enables it. I like it because it is very simple and at the same time a powerful object because of the brilliance of the material. Even though this wasn’t intentional, there is a nice relationship between Blow and Crash: Both are very voluminous, soft. And, from a more technical point of view, the glass table is very much about what blowing glass is about while Crash is very much about what upholstery is all about.

[Est.] You often delve deep into the basicprinciples of specific manufacturingprocesses? Where does this obsessioncome from? [Konstantin] I think this is part of my way of thinking. When I was a child I always took things apart in order to understand how they were made. The more I work with industry, the more I understand about how things are made. The reality of it is quite tough and difficult, and only if we understand the processes behind production can we improve them; How are things made? What are the

machines making them? Who are the people operating the machines? And so on. For me, those aspects are very exciting, not only in a rational way, but also as a kind of passion. I like going into the factories, seeing the operations, I like the smell of the production. In my eyes, this is the source of inspiration and information that is the basis of a project.

EST.Words by Sandra HofmeisterPhotography by Florian Böhm

Martino Gamper is leafing through a bookon bentwood chair history: ‘They’re stillmaking them in exactly the same way,’ hesays, comparing an image of the furnituremanufacturer’s workshop in 1861 to aphoto of the same factory taken last year.

‘I’m fascinated by this. It’s a chair that even now makes so much sense—when you look at how they manufacture it you see how much handwork is involved, but it’s so cheap to produce because the tools and knowledge are there—they’ve industrialised the system.’

The Italian, London based designer is explaining why, when Established & Sons asked him to design a chair, he was drawn to the bentwood archetype. This might not sound like a big decision—but for a man with Gamper’s tendencies, it was.

Gamper shot into the limelight in 2007 with his ‘100 chairs in 100 days’ project. It consisted of reducing a vast stack of found and donated chairs to their bare components, and reassembling them to create original, hybrid forms; the back of a garden chair joins Sori Yanagi’s Butterfly Stool, a stuffed ladies pipe dress is wedged through the seat of a Thonet chair and another garden chair receives a luxurious suede upholstery. It was a spontaneous process ‘rather like sketching in 3D,’ Gamper explains, and at its heart, celebrated the fact that ‘there is no perfect chair.’

So having studied and reassembled every archetype in a somewhat impulsive fashion, how does a designer start to build one refined chair for mass-production? ‘We knew we weren’t going to revolutionise the bentwood chair,’ says Gamper. ‘So we decided to tweak it a bit.

The process was actually quite similar to ‘100 chairs in 100 days’ —I took everything back to components and tried to assemble them. We didn’t try to create a form, we let the assembly of the pieces create the shape. I like the logic of that.’

In following this process, Gamper stumbled upon a few ways the original bentwood could be improved. Instead of the cross sections of the bentwood components being round ‘and unstable where they are screwed together,’ Gamper explains, he decided to make the strips of wood square. This way he intelligently adds strength to the joins and eliminates the need for a supportive ring around the legs. The tweak considerably shifts the aesthetic; where the originals have the poise of a ballerina —elegant curves and pointed toes—‘this one, Sessel, is a bit more angular, maybe more masculine,’ Gamper says.

But the changes aren’t all structural— Gamper is determined to inject a bit of his own spirit into the piece. ‘My idea is that all of the different components can be made of different woods and colours so they can be customised,’ says Gamper.

An outcome of numerous possibilities and configurations would certainly suit the designer’s sensibilities. We caught up with Gamper in his London studio a month before the product’s launch and the designer was still intent on making changes: ‘There’s still a little time to mess with it a bit,’ he says, eyeing up his first prototype hanging on a rack above us. ‘But really, I just don’t like the thought of it being finished.’

EST.Words by Anna BatesPhotography by Frederico Gregorutti

2.

Estd by Established & Sons is a newcollection of exceptional objects withpractical use. From heavy blown glass tothe finest ceramics, desktop to tabletop,blankets and bins—the new Estd byEstablished & Sons collection is madeup of extra-ordinary objects, intended ashighlights in your interior.

This is an own-label collection by Established & Sons. Which means we have distilled the qualities of our brand into a series of objects that truly reflect what we hold dear; design integrity, purposefulness, accomplished industrial design and the very best methods of manufacture;‘I’m extremely proud and excited that we are launching Estd by Established & Sons. This collection allows us the opportunity to really leverage the strength and awareness we have built around the brand over the past five years. We have always, and will continue to, championed the designer within the main collections but with Estd we have the opportunity to really push the brand and its design values.’ Says Established & Sons CEO and co-founder Alasdhair Willis.

The collection has been designed with consideration of the current design retail environment. We are excited by the possibilities offered by online retail and Estd by Established & Sons is intended, principally, for this arena. This means a wider audience than ever before will

be able to enjoy our brand; ‘As a company we are always looking forward but as an industry we are yet to fully embrace the potential for ecommerce, the Estd collection is set to change that,’says Willis.

HangConstructed in a concertina pattern, a gentle pull unfolds the Hang coat stand to its full width. When expanded, Hang is a purposeful piece of furniture; its design allows for plenty of garments to be stored upon it and a series of hooks at a lower level mean children can use it too. When closed, the coat stand is compact and neat, easy to store or transport.

Soft GridThese luxurious double-sided Merino wool blankets are a pure celebration of pattern and colour. The grid that forms part of the textural pattern is stitched on top of the woven blankets creating a strikingly graphic and unique finish. Pastel and fluorescent colours combine with luxurious textures in these extraordinary textile pieces.

PropThe forms of these cushions are engineered, precise and industrial — therefore making them unfamiliar textile objects. Although Prop cushions have bold extruded shapes and are intended as graphic interruptions in a domestic space, they are nevertheless soft and comfortable objects. The smaller cushions sit in compelling graphic groups on a sofa or chair whilst the floor cushions are a dramatic punctuation to a living space.

ButtVersatile, comfortable and economical, this stackable plastic stool is a hard-working piece of furniture. The Butt stool’s ergonomic top borrows its form from a generic tractor seat. Within this are drilled three holes (reminiscent of those found in bowling balls) with which to lift the piece. A more lateral piece of design is hard to find.

BlobThe Blob desk organiser and paperweight is a celebration of the many qualities of glass. Inspired by the bulbous globules of waste material that are a by product of the glass blowing process, Blob is a heavy, organic, seemingly molten, mass of glossy material. Into its surface are pressed indentations that give the desk organiser its function as a holder of pens, pencils and ruler, whilst the mass of the piece makes it a natural paperweight.

NicheNiche sits neatly in the corner of a room. But this steel wastepaper bin’s usefulness doesn’t end there. For this is a bin of two halves, a segregated whole that is made up of individual triangular segments. Niche helps recycling by offering the possibility to separate office or household waste. Its two parts hold together with the help of hidden magnets but can be gently pulled apart when needed. Its unusual form offers a bold, graphic interruption to neglected corners.

HoldThe gentle overspill of material created by the ninety-degree fold of these ceramic hooks is a pleasing and wholly unusual feature. In purposeful comparison to a more industrial, and expected, aesthetic, the Hold hooks inspire comparisons to flesh and curvaceous form. The choice of glazed ceramic accentuates their tactility. Hold hooks are available in two sizes and several colourways.

StoreThe gently obtuse angles to be found on this collection of storage jars are inspired by the forms of space capsules. The unlikely homage to all things space age is continued in a palate of subtle metallic glazes. Detail is given by the application of a glaze on the base of the jars.

PlanThe graphic forms that adorn the Plan series of blankets seem to sit somewhere

between two and three dimensions. They are woven from extremely soft, felted lambs wool, chosen because of the clarity it brings to the unconventional, metamorphic shapes on their surface. The super thick lambs wool ensures that the Plan blankets are as comfortable as they are covetable.

DipDip is a series of functional tabletop vessels. Produced in a flawless, matt black glaze, these products explore the boundaries of ceramic manufacture — their distinctive, strong forms are not instantly recognisable as china at all. Each of the four pieces that make up the collection play with the scale of the same circular elements. The Dip tabletop and desktop vessels are like clear punctuation marks within a room.

SpinThe Spin table’s mismatched castor wheels are the source of its unique character. Thanks to these Frankenstein feet, Spin is far from a static piece of furniture; the table is able to follow you wherever you wish. Each of the versions: dining table, coffee table and side table, boast a different array of contrary (lockable) castor wheels. Spin is a flat-pack piece of furniture, thereby furthering its functional nature.

EST.The Estd by Established & Sons collection will be available from online retailer, yoox.com from April 2010.

3.INTRODUCINGTHEESTDCOLLECTION

EDGEOF REASONBYAMANDALEVETE

Bertjan Pot is a designer who enjoysexploring surface and structure. Many ofhis works begin with a textile that is thenconstructed into a product — the skinbecoming the structure. His latest design,Jumper for Established & Sons is anexciting evolution in this direction.

Pot has invented a method of engineering a knitted chair cover in replacement of traditional upholstery. The result is a near-seamless, highly durable surface. The process involves some unlikely inspirations and manufacturing techniques: The traditional processes of making hats by the Basque was an influence (they knit large, oversized hats and boil them. The shrunken hat creates a new textile that is condensed, strong and felt-like), as was the discovery of the industrial capabilities of commercial Knit & Wear machines.

[Est.] Jumper ’s key feature is its knittedseamless cover made in the Knit & Wearmachine. Can you tell me a little about thisamazing knitting machine? [Bertjan] It makes sweaters all at once. You programme it and out comes a sweater, instead of four pieces of textile that you must sew together to make a sweater. I thought it was a miracle machine without limitations.

[Est.] And what makes this process a good alternative to traditional upholsterytechniques? [Bertjan] The problem with knitted upholstery is that there’s too much stretch in a textile and because of this it gets a lot of wear and tear. The Martindale is the number you put on a piece of fabric so people know how strong, durable, it is. And with the Knit & Wear machine we are getting a very high Martindale number.

[Est.] What is the description of theprocess, how have you used the machine? [Bertjan] The chair has armrests and four legs so we make a sweater with six arms that falls out of the machine as one finished piece. Or it’s supposed to. And then we wash it at sixty degrees, which is very bad for it, especially with this type of wool. But it helps us to create a very thick fabric with a high Martindale number. If you wash it a bit hotter or if you use a little bit more soap it changes. So it’s a very precise process really. At full speed you could knit one cover in an hour. And then it is washed for one hour.

[Est.] And the form of the chair. Where didthat come from? You could have used thistechnology on a standard chair if you’dhave wanted to. [Bertjan] Yes. I wanted to do an armrest in a loop because that’s something that is very hard to do with traditional upholstery. And the easiest pattern for knitting is stripes. That is also something that would be hard to do in traditional upholstery. And it’s not that I want to make it look like a sweater, it is because it was made on a machine that knits sweaters.

[Est.] You have said that the manufactureof Basque hats was an inspiration for you.How do you normally begin a project —is it with such abstract inspirations? [Bertjan] Well, there is my head that keeps thinking and thinking! But in this case it was the Basque hats that first influenced the project, before I knew about the Knit & Wear machine. The wish was to do something with seamless furniture or to eliminate certain seams on a product. Somehow projects can often get more and more industrial towards the end. It’s quite often that I have the urge to make something that isn’t industrially orientated, but then half way through I discover that it is industrial, that it can be mass-produced or it could be mass-produced in the future.

[Est.] Structural skins, seams andsurface —these are common themes inyour work. Can you tell me about this

approach and why it still fascinates you? [Bertjan] I studied in Eindhoven at the Design Academy and I was taught how to weave and to knit. And what I liked about textiles is that the production technique, when well executed, always dictates what comes out. I try to find the beauty in every production technique. I know that’s what I do best. Mostly, for me everything is sort of dictated by that one production technique. I couldn’t come up with a new shape for a chair just by drawing it. I start with the smallest element, the DNA. That way of working is in my Random Light and also in the Slim Table, it’s in the Cargo Nets… If you would take a 15cm by 15cm sample of almost anything I did you could make a good guess at what the product look likes.

[Est.] I always thought your work is very‘pop culture.’ By that I mean that it seemsto have other influences in it—in yourcolour palettes or in the forms that youuse. And I wondered if you tookinspiration from different disciplines?[Bertjan] I think inspiration is a difficult word. But mostly I’m inspired by the work itself, by trying to make something new. But apart from that, well I’d rather look in an art book, museum, flea market than on a design magazine or a design blog.

[Est.] A lot of your work, and correct me ifI’m wrong, seems to come from producingsomething for yourself or from a want toexperiment with a certain material. Ratherthan from a commission. [Bertjan] Yes, you can go ask other people what they would want from the world… but if you do it for yourself its a lot easier and you don’t have to translate. I always think that if you do something for yourself, there are probably other people that will enjoy it as well.

[Est.] I don’t see in your work replicatedtrends and I’ve always thought of you asquite an individual designer. Is that so?[Bertjan] Somehow the older I get I’m less bothered by what other people do, those based in the design field especially.

I’m more interested in what other people do in other fields. Sometimes I think my work is outside of these design fashions but then I meet someone who says something like “Oh stripes? Yes, we are doing stripes as well.” In a way I am always more trendy than I think. But I try not to be.

[Est.] I’ve often looked at what you’vebeen doing and it just seems completely‘other’. Like the Revolving Chandelier. [Bertjan] I’m happy making confusing pieces. Just after Post Modernism we came back to making simpler, more understandable design, trying to explain everything. On one hand we can make modern products that fulfillj a need and do what they’re supposed to do. But I am quite tired of design that tells only one story, that explains what it does. It’s interesting when you don’t know what you’re looking at and I think that is much more valuable. Then the person who buys a product can create their own story or can have add their own reason for buying it, other than the reason that the designer had when he created it.

[Est.] Playful and casual. Is that a fairdescription of some of your work?[Bertjan] Yes, but it’s serious as well.It’s serious fun...

[Est.] What are you working on next?[Bertjan] I’ll try to make something original. I’ve always wanted to make something that is invisible.

[Est.] How are you going to do that? [Bertjan] I don’t know yet. Probably with some smoke and mirrors! I think the best design of the past decades has been the iPod because it made my whole record collection invisible. Jumper has an element of this: The stripes make it stand out but it is also is a little bit less there because it blends in too. Like a zebra, you know.

EST.Words by Laura Houseley

Edge, the latest design by Amanda LeveteArchitects for Established & Sons incollaboration with Philips, will hitthe headlines for pushing technologicalboundaries.

The task light is the first lamp for manufacture that uses OLED (Organic Light Emitting Diode) technology as a light source. OLEDs are expected to revolutionise lighting, just as they are transforming televisions, computer screens and phones now. Edge also expresses a moment in time —it is not just about the future but about the role of design in synthesising new technologies into real life.

Amanda Levete says: ‘Established & Sons asked us to look at a light, and we began thinking about it in a reductive way. We wanted to do something that was incredibly simple and easy to produce. Then Sebastian [Wrong, Design Development Director of Established & Sons] mentioned OLEDs.’

Philips’ ‘Lumiblade’ technology is the company’s version of OLED sheets, which are 2mm thick sheets of an organic semiconductor. When electricity is passed through this material, it emits an even light, slightly brighter at the edges. The technology is already used for backlighting screens, and is a very energy efficient and consistent light source.

Levete says: ‘It has a really soft glow— just completely even. Because it’s a plane of light, it’s not focused, it’s quite diffuse.’ The lamp’s design is all about thinness. A single steel piece is turned in two 45° angles and in three dimensions, like a ribbon of steel that is self-supporting and counterbalanced.

Two finishes will be available, one a brushed stainless steel with highly polished edges, mimicking the brightness of the edges of the plane of light from the OLEDs, the other a semi-matt black. The OLED plane consists of two butt-jointed standard panels of 20mm by 60mm, in a casing that is integrated into the steel ribbon. Perhaps the most striking detail is the coloured flex, that runs down the steel ribbon and carries electricity to the light source.

‘The flex that comes out of it looks quite crude,’ says Levete, ‘Because that technology has not progressed as fast as the OLED technology. The light is really at the edge of what is being developed, and because of that there’s a crudeness to it that I really like.’ The flex (red or green) slots into a groove in the steel, accentuating the ribbon-like form of the light.

Levete’s excitement about the technology is palpable. As an architect, she sees the potential for larger applications as OLED technology develops. ‘The design [of Edge] is a very opportunistic way of exploiting technology because it really expresses that thinness,’ she says. ‘At the moment you can only get it in quite small pieces. But it can only be a couple of years before it’s available in flexible and translucent films — you can imagine a whole glass wall illuminated with it.’

For now, the OLED-based Edge is an elegant and desirable light that is at the cutting edge of what is possible to produce with this new technology.

EST.Words by Kieran LongPhotography by Peter Guenzel

4. KNITONE,

MAKEONE,

BERTJAN POT

5.

‘Often, designers will pick a colour at theend, but for us, it starts with colour —in fact, sometimes there is only colour,’says Stefan Scholten, who with wifeCarole Baijings forms Dutch design studioScholten & Baijings.

It isn’t a common starting point. Both graduates of The Design Academy Eindhoven, most of Scholten & Baijings’ contemporaries start with narrative or material-led processes to build a design— you’ll find both of these at play in the duo’s work, but that part comes later.

First, Scholten & Baijings mix dies. They never use ‘jar’ colours, because ‘if you use standard colours, someone was there before you making your choices,’ says Scholten. It is a meticulous, delicate process but it yields striking results. Their white crystal pieces in collaboration with Royal Leerdam Crystal are pierced to expose a fluorescent pink lining, the wicker of their fruit bowl for Thomas Eyck is dyed yellow, giving the object a radioactive tinge. Even the colours of their pastel water jugs have an intensity to them.

This isn’t achieved without effort — much of the duo’s time goes into finding artisans who can apply colour ‘so it doesn’t loose its power,’ says Scholten. Their light for Established & Sons was particularly challenging — they needed to colour the glass without tinting the light ‘so we found a craftsman who sprays colour directly onto glass,’ he says. By applying the colour softly around the bulb and heavy towards the top, they design the light emitted — a warm, incandescent glow.

But it’s their skill at combining colours that gives their work its very particular aesthetic. Their textiles and prints mix brights, fluorescents and a palette of pastels. The more the colours conflict, the more harmonious the result. Explaining how they do this is tricky: ‘It’s a language

thing—only language has grammar, and colour doesn’t have grammar,’ Scholten tries, before conceding that ‘basically, it’s a gut feeling.’

Their work could be described as a celebration of colour for colour’s sake, but there is something else at play too. What makes much of Scholten & Baijings’ work so charming is its lyrical sensibility; the duo like their pieces to tell stories about the archetypes that preceded them. Their wooden storage boxes Butte, for example, portrays the life of a tuna fish, turtle and tree through a beautiful series of sketches. ‘Japanese fishermen used to make these cases to store food on their travels,’ says Scholten. ‘You’ve started with a form, but before you know it, you’re talking about the extinction of tuna,’ he continues, explaining through giggles why there’s a sandwich on the lid.

This storytelling is especially prominent in the duo’s most personal piece, Amsterdam Armoir, now in production with Established & Sons. Scholten & Baijings were invited by Zuiderzee Museum to design a collection that referenced pieces from the museum’s archive. On visiting, they took to a series of chests designed in the 1600–1700s that were decorated with paintings by the owners. ‘It turns out when it was winter and farmers or fishermen couldn’t work, they would start painting their furniture with things from their surroundings, or collections that represented their status,’ says Scholten.

So the duo embarked on an eight-month project to update the concept. The façade of Amsterdam Armoir is decorated with their trademark grids, but open the doors and you are faced with six beautiful still-life photographs of the couple’s work: ‘We don’t have wealth money-wise—our wealth is in our work,’ says Scholten. ‘So we decorated our cabinets with this.’

EST.Words by Anna Bates

6.

Time is of great significance for Venini.In one respect the passage of it seems tobarely have had any affect: as the furnaces and workshops, and the methods ofproducing hand-blown glass that are carried out there, are as they have alwaysbeen. But then it is the heavyaccumulation of years, and generationsof skilled craftsmanship, that make thiscompany so special. The longevity of thisproducer of glass is part of its legend.

Over the course of its history, Venini has attracted the greatest designers to its furnaces. And now, in a new venture, Established & Sons and Venini have come together to produce a collection of glass objects that unite the traditional expertise of Venini with the contemporary acumen of Established & Sons. Designs by some of the most talented international designers; Konstantin Grcic, Ronan & Erwan Bouroullec, Sebastian Wrong and Michael Eden make up the collection. Each of these exciting pieces is, in some way, a reaction to the history or the traditions of the Venini factory. Together the pieces of the Established & Sons Collaboration collection tell the story of a traditional craft in contemporary times.

Exploring the cavernous workshops and furnaces of Venini is a rare privilege. And it was by doing so that each of the Collaboration designers sought out the inspirations that would drive their projects. The factory has been in the same location on Murano, Venice, since 1921. The history of Murano (the centre of glass production since the 13th century when all of Venice’s glassmakers were forced to move to this island in the lagoon to protect Venice from fire) is interwoven with the history of Venini who use the same centuries-old techniques to excellent effect.

‘The philosophy hasn’t changed in all these years,’ says Roberto Gasparotto, Venini’s Artistic Director: ‘These are good things, perfectly made’. And adds; ‘Luxury, I think, is about time and about skill. This is what people want. These are the products they want.’

The rooms that house the fierce furnaces are an impressive reminder to the sheer physicality of this type of production. Kept at a constant of 1200 degrees, the furnaces are ferocious: The light, heat and sound of the raging flames is immense. The rituals surrounding the production of glass here are full of tradition. Each furnace (called a piazza) has its own community of workers, within which a hierarchy exists—the Master being the highest in command. The furnaces are; ‘like a little city’ says Gasparotto, around which activity bustles. There is a precise schedule: Every day a different coloured glass is worked at a different furnace, the day begins with the largest pieces (because this is when the blowers have the largest lung capacity), giant boxes of sand (its remarkable that from this material alone the glass is born) are moved around in great wooden trolleys, moulds (wooden, half submerged in water) and pieces of equipment that look like medieval weaponry lie around. In further workshops products are finished by hand and shelves heave with glassware. Venini has lent its skills to many designers and the accumulation of talents and techniques provides a rich and eclectic display of aesthetics.

Some of the Collaboration designers sought to test the boundaries of these ancient methods of production. Whilst others gave new direction to classic Venini techniques. Ronan and Erwan Bouroullec have combined a giant hand-blown shade with industrial elements; ‘We worked on the precariousness of the equilibrium: there is one and only, sharp point of contact, no fixation, as if the glass was in its originate state, hanging insecurely from the blowing pipe.’

Konstantin Grcic wanted to create a piece of furniture and in doing so has explored the boundaries of hand-blown glass production; ‘Blow is very simple and in the same time a powerful object because of the brilliance of the material.’ Sebastian Wrong’s lights provide a new platform for the colour blending techniques that Venini is famed for; ‘The shapes are made up from basic assembled forms; column, sphere, cube, cylinder and cone... these show some of the classic techniques and express the magic of coloured glass from which the Venini legend is based.’ Artist Michael Eden’s dramatic pendant light is one of the largest pieces of blown glass Venini have ever produced.

That this craft should remain intact and unchanged for decades is testament to its enduring creative potency. One long-time collaborator, Alessandro Mendini, describes the magic of Venini most poetically; ‘It contains the calmness and skill of clear craftsmanship that has remained pure and intact throughout time.’ With this collection of exceptional and brave new designs Established & Sons intend to prove that the ‘skill of clear craftsmanship’ can be kept relevant and challenging.

ColumnSebastian Wrong’s Column captures the spirit of Venini through a use of colour and playfulness. A Belgian black marble base supports a neck of hand blown, multi-coloured glass. A cone shade, made from tightly pleated fabric and polypropylene, rests on top of the neck.

GlobeWrong’s Globe uses the same techniques as the Column, where coloured canes of drawn glass are employed to decorative effect. Pieces of these are put into a mould and blown, meaning that the resulting products are uniform in shape but that the amalgamation of colour and resulting pattern vary. The shade consists of a hand blown, perfect sphere. The components of the Globe rest on a marble base.

LighthouseRonan & Erwan Bouroullec worked on the precariousness of the equilibrium between hand-blown glass and an industrial supporting structure. There is only one un-fixed, sharp point of contact between the glass and a delicate aluminium stick that is supporting it. Ronan & Erwan Bouroullec wanted to work with the vulnerability of this voluminous glass object. What was also interesting to them was the mix of techniques used to make the three elements of the lamp: The base and the stick are industrially made in opposition to the hand blown glass which uses traditional methods of manufacture. The colour of the glass shade varies between dark grey to amber. The base of Lighthouse is marble.

BlowKonstantin Grcic has employed Venini’s artisan hand-blown glass to create a voluptuous organic form with a definite function. Blow explores the physical boundaries of hand blown glass. The main body of the table is conceived as a free form bubble on top of which a tabletop of sheet glass is attached. Blow represents the largest scale achievable using traditional methods of blown glass, and therefore demonstrates the skills of the Venini artisans. Combinations of translucent Venini colours are used on the table.

Audrey VaseMichael Eden found inspiration for his lights and vase in Renato Giuseppe Bertelli’s interpretation of portraiture Continuous Profile —Head of Mussolini, 1933. But has reworked the concept by replacing the powerful profile of Mussolini with one that represents infinite classic beauty, Audrey Hepburn. The idea of mirror imaging silhouettes is interpreted in Eden’s design that feature dual walls of glass. All the pieces of Audrey Vase are individually hand-blown, either free blown where the form is controlled by the skill of the blower or blown into moulds where more complex shapes are required. Vase

7.

uses the contrast between two components to juxtapose strong and subtle colours.

Audrey LightThe two variations of this light differ in function but share the same formal language. The designer’s interpretation of Continuous Profile —Head of Mussolini, 1933 using the profile of classic beauty, Audrey Hepburn, is again used as both Audrey Lights create the illusion of an infinite profile. All components of the lights are hand blown, together with a poignant and historical source of inspiration, enabling the designer to portray age-old ideas in a modern and daring form.

EST.Words by Laura HouseleyLocation Photography by Leon Chew

Welcome to the Established & SonsNew Product Collection 2010. This year’sexciting new designs are as extraordinaryas ever—we’ve pushed manufacturingskills in the production of pieces such asJumper by Bertjan Pot and taken tostorytelling with rising new design duoScholten & Baijings. We are the firstdesign company to bring revolutionaryOLED lighting to market and arevery proud to introduce our first productsby Konstantin Grcic.

Scholten & BaijingsAmsterdam ArmoireThe type of furniture that the Amsterdam Armoire is based upon is a typically Dutch design. Scholten & Baijings have reworked the traditional archetype of 17th century cabinets, painted by their owners with scenes and still-lives from their surroundings, into a contemporary form. With their interpretation, the interior of the armoire features printed pattern and still life pictures on each door. The still-lives are made in collaboration with photographers, Maurice Scheltens & Liesbeth Abbenes. They depict the work method of Scholten & Baijings, showing paper and cardboard models of their work. Amsterdam Armoire has four doors, a drawer and its two round feet are made of pale pink, hand-blown glass.

Sebastian WrongBendIn creating the Bend ceramic side table, Sebastian Wrong has been obsessive about material and attention to detail. The slip cast production of the ceramic table is finished with a semi-translucent glaze. This glaze helps to articulate the unusual material and manufacture of this piece of furniture; the unique nature of the ceramic material, its inconsistencies

and character are revealed and celebrated. Wrong experimented with the aestheticof folds in tube structures, (more specifically, in balloons) and has subsequently emulated this detail in the feet of the table. The table is suitable for the home as well as for various commercial applications.

Scholten & BaijingsButte Tuna, Butte Tree, Butte TurtleThe Butte box design is based on that of an ancient wooden travel case. Scholten & Baijings have developed new production techniques to translate the skilled craftsmanship used to create the original boxes into new products. The storage box is made of oak wood veneer. The inside of the box and its cover is painted with fluorescent orange, blue or pink. Each box (just as the original cases they are based upon did) tells its own story through hand-drawn, printed illustrations. The drawings tell stories of environmental issues created especially for Established & Sons; ‘The life of a tuna fish’, ‘The life of a turtle’ and ‘The life of a tree’. The Butte boxes are available in three sizes.

FrankCoronaCorona is a homage to the soon-to-be-lost Crown Silvered incandescent light bulb. The pendant light has been designed to echo this bulb’s function of throwing light back into its fitting; creating atmospheric light, eliminating glare and enabling the light source to be viewed directly. Corona is made from glazed, slip-cast earthenware ceramic with a blown glass and silver diffuser. This is not only a highly functional light source, designed to perform well at eye-level and as a task light, but it can also be used at a higher position and is a decorative piece for the home or commercial environment.

8.

Konstantin GrcicCrashCrash is a new interpretation of upholstered furniture that revisits the common systems of sofa and armchair construction. Grcic has separated the supportive frame from the soft upholstered upper and designed these as separate elements. Crash therefore consists of a tubular steel chair frame and a loose foam upholstered cover. This two-inch thick layer of foam determines the formal language of the chair and is moulded to fit the metal frame but yet remains independent of it. Characteristics for Crash include its soft and voluminous curves. Crash is available in various cover materials and is suitable for both residential and contract applications.

Amanda Levete Architects ⁄ Amanda LeveteEdgeEdge is a design created to show-off a brand new technology: OLED lighting. Dubbed the ‘new lighting technology of the 21st century’, an OLED is essentially an extremely flat, lightweight panel. When switched off, the panel resembles a mirror but when a current is applied, the panel lights up, casting a gentle, evenly dispersed glow. This product is produced in collaboration with Philips. Philips has named their OLED lighting technology Lumiblade. Unlike traditional light bulbs, Lumiblade does not flicker, there is no glare and no excessive heat emission. Levete wanted to celebrate the wafer-thin nature of OLEDs and so created a light that is reductive in its simplicity. Edge is a flat ribbon of steel twisted into a self-supporting form. A groove is cut into the steel, along which the cable runs, this feature exaggerates the fluidity of the piece. Two OLED panels are positioned on the underside of the steel form. Edge is an ideal task light.

Bertjan PotJumperJumper’s innovation lies is the knitted cover that it uses in replacement of

traditional upholstery. The knitted cover is manufactured in very much the same way as a woollen jumper might be. It even includes buttons that fix the cover together on the underside of the solid wooden structure with bent steel legs that is its frame. The cover is knitted on a Knit & Wear machine (a machine used in industrial manufacture that produces near-seamless knitted objects) but this is the point where fashion and design production processes divide. Once the garment is completed it is washed at a high temperature, shrinking the fabric and eradicating its stretch. The resulting cover has an exceptionally engineered form with a high level of durability. Jumper’s rigor makes it particularly suitable for contract application.

Scholten & BaijingsYellow Light, Pink Light, White LightScholten & Baijings starting point for the Light design was the use of colour in combination with a natural ‘working or reading’ light. The opaque glass bulb is hand-blown before colour is applied with a spray-paint technique. The colour gradient on the Light’s creates a visual illusion that makes the light appear on when it is off.

Stefan DiezNew OrderStefan Diez has put the practicality of form and material at the forefront of this storage design. The powder-coated aluminium frame of Diez’s modular and stackable storage system is ornamental as well as functional due to its pleasing industrial form. The basic frame can be accessorised with optional elements, including shelving, door compartments, space dividers, trays and castors. This is a highly versatile modular system. Storage can be made into many configurations; open-storage units, room dividers, multiple tiered shelving units, all of which are suitable for contract and domestic environments.

Luca NichettoPipePipe generates diffused, ambient lighting. The lamp’s light source is situated inside a cylindrical, acid-etched glass shade and intensity can be regulated using a dimmer. These two variations of Pipe; a table lamp and a sconce, work in either the office or the home. Both varieties of Pipe can be rotated, an aspect of their design that further accentuates their versatility.

Sylvain WillenzPrintPrint gathers within a single bubble of blown glass, the individual components usually found as separate items in pendant lighting. In effect, the shade, colour, the reflector and the diffuser have all been produced in one gesture. Only the light fitting is added in a second phase of production. This logic and attention to process, applied to a well-proportioned and pleasingly fundamental shape; a flat globe, is an especially intelligent reinterpretation of classic lighting.

Martino GamperSesselThis, Martino Gamper’s first chair for production, has been driven by a fascination with traditional bentwood typologies and, in particular, the way in which the industrial manufacture of bentwood furniture production has been mastered throughout its 150 year history. Gamper’s method was to strip Sessel back to a series of necessary components and then to join them— allowing the natural, logical form of assembly to dictate form. Rather than aiming to revolutionise the bentwood chair, Gamper decided to tweak the original iconic archetype. He has added strength by using square components rather than round. This, too, changes the expected aesthetic of bentwood production, creating a more angular aesthetic. A new spirit is further injected into classic bentwood typology through the use of different woods and finishes in the variations of Sessel.

FrontTransformation TableThe Transformation Table is a seemingly simple circular table but, as its name suggests, this piece of furniture is concealing something. It is made from beech, has four legs and a shelf beneath its tabletop. On closer inspection, the table reveals its second function: It opens out, through a central axis, by 180 degrees to reveal a secret compartment in the centre of the table. Instantly, the table has evolved into a writing desk with chair (the low shelf now becoming a seat). Once closed, the table again conceals its hidden storage space and function.

Richard WoodsWood RugRichard Woods works with a very specific aesthetic. Throughout his work (which involves applying façade and superficial layers to architecture, interiors and furniture) Woods creates stylised and hyper-real ‘icons’ of familiar patterns. He most often creates these using traditional wood block printmaking techniques but here, in Wood Rug, Woods has created a ‘soft’ imitation of his Wood icon. Woollen panels of printed wooden flooring make up the hand woven rug. Wood Rug is functional, but a work of art too, which can be appreciated in both residential and commercial environments alike.

EST.

PRINCIPALCOLLECTION 9.

SIGNATURE COLLECTION

[Editorial Director] Laura Houseley

[Design] MadeThought

[Contributing Photographers] Florian Böhm, Leon Chew, Frederico Gregorutti, Peter Guenzel

[Contributing Writers] Anna Bates,Sandra Hofmeister, Kieran Long

[Special Thanks] to the designers and their teams for donating their valuable time and thereby ensuring the quality of this publication

Copyright © 2010Est. Journal is the official magazine of Established & Sons

Established & Sons, 5–7 Wenlock Road London, N1 7SL, United KingdomPhone +44 (0)20 7608 0990Fax +44 (0)20 7608 0110Email info@establishedandsons.comwww.establishedandsons.com

Agents & Main Dealers

Asia ⁄ Pacific Rim (Agent)Nation Design Pte Ltd84 Amoy Street #03-00, Singapore, 069903Phone +65 (0) 6222 6965Email layhong@nationdesign.com.sgAustria (Agent)Klaus Flachberger, Design AgenturSeegarten 12, Schorfling amA-4861, AustriaPhone +43 (0) 6991 1970 123Email klaus@flachberger.comBelgium & Luxembourg (Agent)TradixRue du Mail 90-92 maliestraatBruxelles, 1050, BelgiumPhone +32 (0) 2537 6300Email info@tradix.be Web www.tradix.beBulgaria (Retailer)Marticom – SkladaFloor 4, 11 Georgi Benkovski Str.Sofia, 1000, BulgariaPhone +359 (0) 2981 6988Email kristina.draguijeva@marticom-bg.comWeb www.sklada.bgCanada (Retailer)Inform Interiors50 Water Street, VancouverV6B 1A1, CanadaPhone +1 (0) 6046 8238 68Email info@informinteriors.comWeb www.informinteriors.comCanada (Retailer)Ministry of the Interior80 Ossington Avenue, TorontoM6J 2Y7, CanadaPhone +416 (0) 5336 684Email info@ministryoftheinterior.netWeb www.ministryoftheinterior.netCzech Republic (Retailer)Konsepti S.r.o., Ul. Komunardu 32Praha 7, 1700, Czech RepublicPhone +420 (0) 266 1 99 452Email petra.burkova@konsepti.comWeb www.konsepti.comDenmark & Sweden (Agent)FramaÅrhusgade 128 G, 2, København Ø2100, DenmarkPhone +45 (0) 2815 8464

Phone +45 (0) 2447 0599Email dm@thisisframa.com Email nsc@thisisframa.comWeb www.thisisframa.comDubai (Retailer)TrafficSaratoga Bldg, Al BarshaPO Box 6716, DubaiPhone +971 (0) 4 341 8494Email info@viatraffic.orgWeb www.viatraffic.orgEstonia (Retailer)Gallery SooSooKohtu 2-8, Talin, 10130, EstoniaPhone +372 (0) 50 97 739Email teele@soosoo.eeFrance (Agent)Roger von Bary Agency18 Rue Laffitte, Paris, 75009, FrancePhone +33 (0) 1 4523 4272Email: altras@wanadoo.frGermany (Agent)Agentur Andreas FranoschekThurmchenswall 72, Cologne50668, GermanyPhone +49 (0) 221 35 59 604Email mail@franoschek.comGreece (Retailer)John Deloudis S.A.227, Kifiisias Ave, Athens, 14561GreecePhone +30 (0) 210 80 65 382Email info@deloudis.grWeb www.deloudis.grGreece (Retailer)Zoumboulakis Galleries6+7 Kriezotou StreetAthens, 10671, GreecePhone +30 (0) 210 364 0264Email kriezotou6@zoumboulakis.grWeb www.zoumboulakis.grIsrael (Retailer)Designspace26 Elipelet Street, Tel Aviv, 66080IsraelEmail mira@designspace.meIsrael (Retailer) Nisko ElectricityHanamal St 36, Tel Aviv, 63506IsraelPhone +97 (0) 23 545 0200Italy (Agent)Roberto Cerri, Design CorporateVia Varese 14, Milan, 20121, ItalyPhone +39 02 3655 0249Email info@designcorporate.comWeb www.designcorporate.comJapan (Agent)Established & Sons JapanJapan Liaison Office (AMJ), PMC Bldg. 6F,1-23-5 Higashi-Azabu, Minato-kuTokyo, 106-0044, JapanPhone +81 (0) 3358 51135Email japan@establishedandsons.comKuwait (Retailer) Four Shuwaikh Industrial AreaMahdi Habeeb Bldg, Bock 7 - Str 12, Bldg 75 Office 8, Shuwaikh, KuwaitPhone +965 (0) 492 5444Email info@thenumber4.comWeb www.thenumber4.comLebanon (Retailer)Over The Counter S.A.L.Saint-Antoine Building150 Abdel Wahab al-linglizi StBeirut, 1061 0904, LebanonPhone +961 (0) 1 322 786Email rania@over-thecounter.comNorway (Retailer)Robert Tandberg Hoffselvpromenaden 4 ⁄ Karenslyst P.B. 682 Skøyen, Oslo, 0214, NorwayPhone +47 (0) 9959 3020Poland (Retailer)Indivi Sokalscy Sp.J.Ul. Inzynierska 3/15(wejscie od podworza), Warsaw03-410, PolandPhone +48 (0) 22 402 4096Email kasia@indivi.plPortugal (Retailer)DesenhabitadoAvenida de Saboia, 32 Monte EstorilEstoril, 2765-277, PortugalPhone +351 (0) 21 468 0808Email info@desenhabitado.ptWeb www.desenhabitado.ptPortugal (Retailer)Paris:Sete Largo de Santos 14DLisbon, 1200-808, PortugalPhone +351 (0) 213 933170Email info@paris-sete.comWeb www.paris-sete.comPortugal (Retailer) Poeira

Rua da Imprensa, A Estrela 21BLisbon, 1200-684, PortugalPhone +351 (0) 21 395 4229Email poeira@poeiraonline.comWeb www.poeiraonline.com Romania (Retailer)Intro Design Concept SRL43bis, Roma Street, Sector 1Bucharest, 011773, RomaniaPhone +40 (0) 2123 09137Email diana@introdesign.roRussia (Retailer)Room1 Tverskaya-Yamskaya, 7Moscow, 125047, RussiaPhone +7 (0) 495 783 0505Email info@room.suWeb www.room.suSouth Africa (Agent)Scott D’Amico, LMRStudio 402, Buitenkloof Studios8 Kloof Street GardensCape Town, 8001, South AfricaPhone +27 (0) 02 1480 4240Email info@lmr.co.za Web www.lmr.co.zaSpain (Agent)K DifusionC. Valero No. 10, Barcelona08021, SpainPhone +34 (0) 935 531 610Email info@kdifusion.esSwitzerland (Agent)Barla ArquintAgentur Barla Arquint, Bifangstrasse 7Wohlen, CH-5610, SwitzerlandPhone +41 (0) 56 622 79 00Email agentur@barquint.chWeb www.barquint.chThe Netherlands (Agent)Rini van Beek, XfactorAgencies Mieksebaan 136, BrechtB-2960, BelgiumPhone +32 (0) 4859 15119Email info@xfactoragencies.comWeb www.xfactoragencies.comTurkey (Retailer)MozaikDereboyu cad. Toyota Plaza arka bahçesi No:78, OrtakoyIstanbul, 34347, TurkeyPhone +90 (0) 212 327 0595Web www.mozaikdesign.comUK & Ireland (Agent)Paul Beauchamp, Interior MarketingPhone +44 (0) 7785 991 153Email interiormarketing@btconnect.comUkraine (Retailer)Davis Casa1 Karl Libknect Str., 49000Dnieptopetrovsk, UkrainePhone +380 (0) 56 744 0394Email s-studio@utel.net.uaUSA (Agent)Smallpond20 Jay Street, Suite 313, BrooklynNY 11201, USAPhone +1 (0) 718 801 8450Email info@smlpond.comWeb www.smlpond.comUSA (Retailer: Chicago & Florida)Luminaire Chicago3901 North East 2nd AvenueChicago, 60654 IL, USAPhone +1 (0) 312 664 9582Email info@luminaire.comWeb www.luminare.comUSA (Retailer: Chicago & Florida)Luminaire Lab3901 North East 2nd AvenueMiami, 33137 FL, USAPhone +1 (0) 305 576 5788Email info@luminaire.comWeb www.luminare.com

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