Blaue Blume by Undergrowth Design at The Temporium

fonte: http://www.dezeen.com/2010/11/23/blaue-blume-by-undergrowth-design/



The Temporium: this tea service by Tina Tsang of London design brand Undergrowth Design is the latest addition to the designer gifts on sale at our pop-up store The Temporium in London next month.



Called Blaue Blume, the range features a pair of legs that stick out of the ceramic objects, forming handles and spoons.



The collection includes a teapot, milk jug and tea cup all with legs for a handle, a cake stand, plates and a sugar bowl in the shape of a bathtub.



Some of the products have an inscription on them, inviting you to use the object.



The Temporium runs from 9-19 December at 221 Brompton Road, London SW3 2EJ. Click here for full details plus a list of participating designers and brands.



Here’s some more information about the collection:

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BLAUE BLUME TEA SERVICE
Blaue Blume was first conceived in 2007 when Tina Tsang decided to fuse ceramics with handmade antique lace. Her interdisciplinary background in illustration, fashion and animation come through in the design of all her products. She creates products that had character, charm, wit and seductive qualities that are elements that make the range irresistible and adorable. Blaue Blume aims to transform the traditional ritual of afternoon tea into a fun and flirtatious affair.



Since the launch of the first teacup the range has expanded extensively due to demands and requests from catering companies and retailers. So far the range features a petit four stand (3 tiers with legs in whipped cream, mmm and a baby doll head), a milk jug, sugar bath (features a bathtub as the sugar container with legs as the sugar spoon), 3 sizes of cups, plates, a teapot and an ice cream bowl (features an upside down woman with upturned skirt). We have also made specific spoons to match the different cup sizes of the range in which E corresponds to the espresso cup, T for tea cup and C for coffee cup.

Other defining features include 9k gold shoes and inscriptions that are all handmade in London. Other products from undergrowth include: Interference range of salt and pepper shakers, Wash away soap dispenser, Art of the bottle, Lovesick bunnies, Atmospheric glass tumblers & wonderland cutlery. MORE additional NEW items in AUG 2010 release.



DESIGN APPROACH
Undergrowth design breathes life into everyday objects to create an other- worldliness that tickles the imagination coupled with a mysterious or nostalgic feel. We love high attention to detail since we feel this part of the process enables a strong mood or feeling to be built by using the subtle details in the work. I also like to play with subconscious elements that create a strong sense of symbolism with memory evoking functions. We aim to make products that become an integral part of the customers identity and style and that is able to continually to enthral the user. We strive to make objects that become household conversation pieces.

Dirty Rotten Peaches by Rebecca Wilson

fonte: http://www.dezeen.com/2011/08/27/dirty-rotten-peaches-by-rebecca-wilson/



These racy figurines by ceramicist Rebecca Wilson are cast from pieces of fruit. 



Wilson cast the Dirty Rotten Peaches series from actual peaches, in stained porcelain, then decorated them with a piping bag normally used for confectionary.





Here’s some text from Rebecca Wilson:

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Dirty Rotten Peaches are part a body of work entitled Eat Me; Keep Me, which aims to turn everyday items into a collage of pleasurable extravagance.

In exploring the parallels between ‘valuable’ and ‘everyday’ I have drawn a symmetry of opposites between porcelain and confectionary items; both are similarly self indulgent, inspire desire and are coveted, but both are fundamentally frivolous.

Found objects and fruits are cast in subtly stained porcelain, and details are delicately piped using an icing bag. In ‘Dirty Rotten Peaches’ the innocent fruits transform tantalisingly into voluptuous little ladies bottoms sprouting delicate gold leaves and other unmentionable creamy things.

I aim to remove the formality of the materials so they simply drip with the desire of momentary self-indulgence: chocolate, strawberries, cherries, and peaches ooze frivolity, laced with a slightly sinister edge.

Blue D1653 by Arian Brekveld, Chris Koens and Damian O’Sullivan for Royal Delft

fonte: http://www.dezeen.com/2011/12/01/blue-d1653-by-arian-brekveld-chris-koens-and-damian-osullivan-for-royal-delft/



Traditional Dutch porcelain company Royal Delft have launched a new contemporary brand, Blue D1653, including this set by Arian Brekveld that looks as though the blue emblems have slipped down the rim of each dish.



The first collection also features Brekveld’s white bottles with decorative collars, plus tiles for serving tapas or sushi divided into sections that play with Royal Delft motifs and vases that split into two smaller containers by Damian O’Sullivan.



Chris Koens contributed a rounded tea pot with a pebble-like lid and a set of rings decorated with Royal Delft patterns.




Royal Delft
Call it contemporary nostalgia, new originality or the purest form of Dutch Design; Blue D1653 brings together the best design of two eras in one collection.



With the Blue D1653 collection Royal Delft combines the time-honoured trade of the Master Painters with the powerful design of modern Dutch Designers.



Interaction between the present day and history, expressed in a unique collection of decorative objects and consumer products for food, mood &lifestyle.



Royal Delft, The original Blue
Royal Delft was established in 1653 and since then has been the largest and most important producer of Delft Blue.



Today it is the only remaining producer in Delft from the 17th century.



The assortment varies from classic to modern design and tradition is the binding factor.



Through the introduction of Blue D1653, Royal Delft shows that, in addition to tradition, innovation also comes from Delft.



A new idea that feels like a plausible further elaboration of the Delft tradition.



Blue D1653 gives Delft Blue meaning in the lives of a new group of people.



Contemporary Masters
The Blue D1653 products are designed by the (Dutch) guild masters of the 21st century; modern, known Dutch Designers.



They invent and develop new products, taking their inspiration from the Royal Delft Master Painters.



These painters paint the refined guild artwork of the earthenware and have learned through tradition and strict selection.



The cooperation between the Designers and Royal Delft Master Painters results in products which have a distinct character; Delft Blue meets Dutch Design.



Soulful Design
The connection between history and the present day gives Blue D1653 a unique character; design with a real soul.



Reference is also made to that in the name: ‘Blue D’ is a light-hearted reference to Delft Blue which, by adding the year 1653, places its roots in history.



Blue D1653 gives the ancient craft of Delft Blue a contemporary stage for a new audience.



Interaction between the present day and history, expressed in a unique collection of decorative objects and consumer products for food, mood & lifestyle.
Designers: Damian O’Sullivan, Arian Brekveld & Chris Koens
Master Painters: Caroline Hartman, Simon van Oosten & Paul Bartels

Hybrid Collection by CTRLZAK studio for Seletti

fonte: http://www.dezeen.com/2012/01/04/hybrid-collection-by-ctrlzak-studio-for-seletti/

Art and design studio CTRLZAK have launched a collection of tableware where half of each piece resembles traditional Chinese porcelain and the other side features a European design.

Based on an earlier collection of one-off pieces, the new commercial range for Italian brand Seletti is intended to highlight the mixing of aesthetics between Western and Eastern production.

Unlike the earlier CermamiX range, the plates, bowls and cups in the new Hybrid collection are cast as single objects in bone china.

The two halves of each object are then decorated with different colours and motifs.

Here’s some more information from CTRLZAK:

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SELETTI & CTRLZAK present: Hybrid

Seletti presents the Hybrid collection designed by CTRLZAK studio.

A line of tableware reflecting on the historical production of Chinese and European porcelain and its’ centuries of cross-fertilisation between Western and Eastern aesthetics.

The pieces in the collection are graphically divided between east and west with a coloured line marking the boundary between the two styles and, paradoxically, strengthening at the same time the union.

The Hybrid collection looks at the present while reflecting on the irony of history proposing consequently an evocative contemporary interpretation.

prato comemorativo - Porcelana Barão do Rio Branco

prato comemorativo do 4° centenário de fundação da cidade do Rio de Janeiro
Porcelana Barão do Rio Branco
porcelana
decoração com decalques e filete em ouro
1965
fotos: site Mercado Livre

jogo de sobremesa - Remar

Hoje vi este jogo de sobremesa no principal site de leilões do Brasil, e por conta da série recentes de louça modernista brasileira, achei que seria interessante postá-lo aqui no blog, como um complemento à série.


jogo de sobremesa
Cerâmica Remar Ltda.
Ribeirão Pires - SP
fábrica ativa ao menos entre 1956/1984
louça de pó de pedra
decoração com pintura à mão livre

fonte: site Mercado Livre


Como todas as demais fábricas brasileiras onde já identifiquei uma produção que poderia ser enquadrada como "modernista", a Remar também não se dedicava apenas a este tipo de modelagem/decoração, fabricando ao mesmo tempo peças inteiramente conservadores e modernistas. Há modelos que já foram encontrados decorados tanto com padrões conservadores, como modernistas.

Cobogós cerâmicos

Cobogó é o nome pelo qual foi batizado o elemento arquitetônico vazado, tipicamente brasileiro, criado em 1929, mas muito popularizados anos 1940 e 1950. Inicialmente feito em cimento, o cobogó passou depois a ser fabricado com outros materiais: terracota, cerâmica, vidro, gesso, e até mesmo mármore.

O termo cobogó se deriva das iniciais dos sobrenomes de três engenheiros, que trabalhavam em Recife e conjuntamente o idealizaram: Amadeu Oliveira Coimbra, Ernest August Boeckmann e Antônio de Góis.

O cobogó presta-se principalmente para deixar passar a luz, evitando ao mesmo tempo o superaquecimento do ambiente iluminado, pois além de filtrar a luz, permite a livre passagem da ventilação. Serve também para quebrar os ventos mais fortes.

Sua origem advém dos muxarabis, elementos tradicionais árabes que consistem em treliças de madeira, aplicadas geralmente em janelas para garantir a privacidade das mulheres, concedendo a visão do exterior, mas não o contrário.

Com o passar do tempo os cobogós deixaram de embelezar as fachadas e migraram para espaços menos nobres, quando passaram a ser usados como divisórias de áreas de serviço, até sumirem completamente dos projetos de arquitetura.