Category: NEWS

Crafterisation – Visit by reservation only

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Crafterisation : Back to our core values

Back to local, the valuation of know-how, of craftmanship, of handmade and quality products… “Crafterisation” is a return to authentic materials and to the values of artisanship. 

Caroline Notté advocates simplicity and authenticity. In her studio, built by Louis Herman de Koninck, she wishes to highlight a selection of artists yet again dedicate time to hand-made work (slow design). She brings forward the simplicity of forms and the beauty of materials shaped by the hand of the artist. 

Towards more responsible design!

Xavier le Normand, French glass artist, transforms glass into masterpieces that lead you into a world of imagination and nature, inspired by his many travels. Constantly evolving in his techniques, he plays with the immediacy and movement ofincandescent glass, then revisits the whole surface of his sculptures – when cold – through engraving, cutting and textures.The translucency of the glass is often partially hidden from view, giving the material a deep opacity that invites the hand to touch.

COURTESY OF LKFF

Back to ROOTS!
Lucien Petit, works in another art of fire: ceramics. He creates his material according to his whims by mixing numerous different clays of local and foreign origins as well as additional minerals. He is interested in the binary oppositions between fullness and emptiness, of form and counter-form, of convex and concave, of mineral and organic…

COURTESY OF MODERN SHAPES

Krjst studio takes an intimate awareness of time both as the place of change and making dialogue between laborious work of weaving and the moment of the gesture. The binary relationship between the jacquard and the processor is already evocative in itself. such an oscillation between the past and the future between craftsmanship and technology, reflecting the importance of keeping our roots and yet living with the times. 

The Spirit of Brazilian Design

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Brazil may be known for many things, from its genre-spanning musical universe to its mind-boggling nature, but its designers may be the next thing to catch your eye. Brazil’s unique furniture design has been turning heads since the 1960s, and continues to be recognized for its hallmarks and signatures.

SELECTION OF FURNITURE

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The 20th-century designer of Brazil created an opulent, tropical alternative to the cool linear stylings of Breuer, Eames, Jacobsen and Le Corbusier, featuring sensuous curves, richly coloured indigenous hardwoods and the luxurious leather and cane used in local craft. Works by Brazil’s midcentury greats, such as Oscar Niemeyer, Sergio Rodrigues, Joaquim Tenreiro and Lina Bo Bardi, have long been pursued by museum curators and specialist collectors.

The Brazilian design quest was for “authentic modernism,” combining lustrous indigenous materials and traditional local craftsmanship with European references and Bauhaus geometries to form an aesthetic all its own. The idea got a boost from two early visits by the Swiss-French midcentury modern architect Le Corbusier.

European immigrants adapted the aesthetic of the old world and used mellifluously named woods such as jacaranda, imbue, cabreuva and roxinho to construct distinct pieces that alluded to the rain forests, gauchos and fishermen of their new home.

Joaquim Tenreiro, a pioneer of furniture design in the mid 20th century, highlighted lightness as “a principal to which I felt modern Brazilian furniture should adhere … lightness which has nothing to do with weight per se, but with grace and functionality in space.” Sensuous curves, tropical woods, woven leathers and traditional techniques like caning and netting were all part of a style that developed in Brazil from the 1940s to the 1970s.

But because the pieces were not made in large numbers and were generally made to order for private homes, not corporate settings, they weren’t readily available or visible outside Brazil. Today, with authorised reissues of the most admired originals and the emergence of a new generation of artist-designers, they seem to have gained new relevance.

Conférences – L’esprit du Bauhaus.

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Cette année, le Bauhaus est mis à l’honneur ! Ce courant artistique qui a suscité l’adhésion d’un grand nombre d’artistes d’avant-garde, fête ses cent ans.

À cette occasion, Caroline Notté et Valentina Geyer vous convient à une conférence sur ce mouvement qui a posé les bases de réflexion de l’architecture moderne et exerce une forte influence dans le domaine des arts appliqués, précurseur du design contemporain et de l’art de la performance.

La conférence sera présentée par la talentueuse Amélie d’Arschot, auteure du Roman d’Héliopolis. Historienne et conférencière, elle est également administratrice de l’Association Royale des demeures historiques de Belgique. Ses conférences à la Brafa et dans de nombreux cercles tant en Belgique qu’en Égypte remportent de grands succès.

La soirée se déroulera en deux temps, la conférence suivie d’un drink et de la visite d’une maison iconique du Bauhaus. La conférence aura lieu le 19, 20 et 21 juin à 19h00 précise à l’adresse suivante: Avenue des Chalets 16, 1180 Uccle par la suite, une balade sera organisée vers la célèbre maison personnelle de Louis Herman De Koninck où Caroline Notté a établi son studio.

Modalités d’inscription: [email protected] / T +32 2 647 48 20

 

MAISON

 

Sélection Victors 2019 – Vote for us!

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banner victor

 

VOTEZ POUR NOUS : Caroline Notté INTERIORS

Nous sommes un studio proactif dans les aménagements intérieurs résidentiels et publics. Notre volonté, créer une identité forte et proche du client. Notre style va de pair avec la justesse et notre conviction  est  “ne pas osée c’est déjà perdre”.  Le Collector Cabinet accueille de nombreux artistes, artisans et designers ayant pour ligne conductrice le retour aux sources. Ce qui résonne parfaitement avec le lieu iconic qui les accueille: la maison personnelle de Louis Herman de Koninck construite en 1924.

VOTEZ ICI

 

VOTE FOR US : Caroline Notté INTERIORS

We are a proactive studio in residential and public interior design. Our will, to create a strong identity and close to the customer. Our style goes hand in hand with accuracy and our conviction is “not daring is already losing”. The Collector Cabinet welcomes many artists, craftsmen and designers whose guiding principle is a return to their roots. This resonates perfectly with the iconic place that welcomes them: Louis Herman’s personal house in Koninck, built in 1924.

VOTE HERE

RE-THINK, RE-VISIT, RE-VOLT

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Hi there, we are Re-volt.

We are a blend of craftsmen & creatives passionate about light & interior landscaping, drawing on many years of experience.

In doing so, we favor the kind of slow that lasts & expands time over the fast that fades.

We assume authenticity is the purest form of beauty, and truth the long term currency of our day. In that spirit we create true, authentic objects that last and brighten up (y)our world.

 

More here

RE-VOLT

Sammode x Pierre Guariche

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Sammode réédite une sélection de luminaires imaginés dans les années 1950 par l’un des créateurs–phares français : Pierre Guariche. S’il est un domaine dans lequel il excellait, c’est bien le luminaire. Le designer et architecte d’intérieur Pierre Guariche en est un des créateurs les plus féconds des années 1950. Il a conçu une gamme complète de luminaires ou, plus exactement, des « familles » — lampe de bureau, lampadaire, applique, suspension…—, qui comblent tous les besoins identifiés de chaque espace.

Ses luminaires offrent un grand confort d’utilisation — aucune source lumineuse n’est apparente — et une qualité de lumière idoine : éclairage général ou de circulation, d’ambiance ou ponctuel, doux ou puissant, voire diffusé par réflexion. Que Sammode choisisse aujourd’hui de rééditer certains de ces modèles est tout sauf un hasard. Depuis nombre d’années en effet, notre quête esthétique et technologique n’est pas sans évoquer celle prônée, jadis, par Guariche. Les affinités sont légion. Elles ont en particulier un nom : l’innovation. Fidèles au dessin originel et intégrant des technologies contemporaines, les modèles siglés Sammode — Pierre Guariche bénéficient, à l’instar de l’ensemble des luminaires Sammode, d’une qualité de réalisation exceptionnelle et d’une fabrication française.

 

 

Sammode reissues a selection of lighting designed in the 1950s by one of France’s leading designers: Pierre Guariche. If there is one area in which he excelled, it is the luminaire. The designer and interior designer Pierre Guariche is one of the most fertile creators of the 1950s. He has designed a complete range of luminaires or, more precisely, “families” – desk lamps, floor lamps, wall lamps, suspension lamps, etc. – that meet all the identified needs of each space.

Its luminaires offer great comfort of use – no light source is visible – and an appropriate quality of light: general or traffic, ambient or spot lighting, soft or powerful, even diffused by reflection. It is no coincidence that Sammode has chosen to reissue some of these models today. For many years now, our aesthetic and technological quest has been reminiscent of the one once advocated by Guariche. There are many affinities. In particular, they have a name: innovation. Faithful to the original design and incorporating contemporary technologies, the Sammode – Pierre Guariche models, like all Sammode luminaires, benefit from exceptional quality workmanship and French manufacture.

 

 

See more about it here 

ArE YoU KiNfOlK?

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I S   T I M E   T O   S L O W   L I V I N G !

I Love slowlife and kinfolk.

A nomadic style, at the crossroads of bohemian, folk, industrial and ethnic trends that seduces an entire generation in search of sincerity. Its codes: raw materials, craftsmanship and friendliness. A bohemian and multicultural spirit that promotes craftsmanship, know-how and handmade.

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David Umemoto, the juncture of sculpture and architecture.

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ARTISTIC APPROACH
The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standing on far-away lands. The images conveyed in the mind by these works are numerous. They refer to the archaic and the ephemeral, despite the solidity and the modernity of the medium. Appearing before our eyes are pre-Columbian rock dwellings, god statues from the Andes or Easter Island, steles deteriorated by rain, remnants of modern cities having survived a cataclysm, fragments of Babylonian cities, colonial settlements brought down to their foundations, cenotaphs abandoned in the jungle…
The production of David Umemoto’s works follows a process of slow and silent transformation. The creative process seeks to imitate the cycles of nature, which are cycles of erosion and re-creation. Lines shift, change and are in a state of perpetual mutation due to the influence of time and weather. The natural architectures of geological strata and crystals stand as models: They inspire the design of the moulds in which the concrete is cast. The ductile and infinitely adaptive nature of the material enables the production of objects that are both similar and different. The development of the works is thoughtful and iterative yet it makes room for improvisation, adaptation, and spontaneous inspiration. The shapes created by Umemoto line up in sequences of combinatorial variations. Each work offers a different face but these faces all belong to the same lineage. This kinship gives a strong unity to Umemoto’s production and allows for the exploration of the theme of transformation through time and tradition.
All of Umemoto’s pieces are handmade, in order to respect an economy of means. The pressure of modernity imposes on man the obligation to evolve constantly, which leads him into an endless race towards technological improvement. As an artist, Umemoto chooses to react by taking a step backwards. His manual activities result from a desire to simplify artistic practice. Aesthetics and formalism are thus combined with a commitment to plainness. Opting for a low-tech stance, the artist wants to resist the demands of progress. He creates structured and modular pieces but these never perfectly fit together, a result of their willingly imperfect mode of production.
Umemoto’s art is rooted in Americanness: His varied creations take their impetus from a desire to start settlements and to colonize wild lands, where nature is always on the verge of resuming its rights. When one sees Umemoto’s architecture sculptures, one thinks of the modernist complex of Brasilia by Niemeyer, lost in the Amazonian jungle, or of the complex of Chandigarh by Le Corbusier, in the heart of India. The walls rising towards nowhere, the curves running into ceilings, and the staircases leading into the void are reminiscent of the mysterious Prisons of Piranesi. One way or another, these are always works where imagination joins forces with a contemplative discipline.