Fredrik Paulsen, furniture designer

Fredrik Paulsen’s work, both as a designer and as a co-founder of Stockholm’s brilliant Örnsbergsauktionen is shaking the foundations of what you think Scandinavian design ought to be. “Here you are taught to produce work for the everyman,” Paulsen says. “It’s the legacy of IKEA: Good design for everyone. But if your work doesn’t really fit into mass production and it is not intended for it, then there is no platform or venue to show it.” It was this void that led Paulsen and his friends and fellow designers Simon Klenell and Kristoffer Sundin to stage their first auction during last year’s Stockholm’s Design Week. They invited contemporaries — some they knew, others they only knew of — to submit diverse, self-made works that went beyond the cookie-cutter forms they’d grown tired of, and put them up for bidding. It paid off.
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At the Istanbul Design Biennial

Last week marked the beginning of the inaugural Istanbul Design Biennial, curated by Joseph Grima and Emre Arolat and organized by the local cultural foundation IKVS — the same organization behind the city's contemporary art biennial. We're homebound until Design Miami but our intrepid London-based correspondent Claire Walsh bravely reported back on her maiden voyage, which included a tour of the official biennial festivities (on view until mid-December) but also the occasional foray into Istanbul's neighborhoods to capture urban texture, like the Memphis-style painted columns above. "Istanbul's art biennial is renowned for tackling heavy themes, so there was a lot to measure up to!" she says. "Titled Kusurluluk (or "imperfection" in plain old English), this biennial posed pivotal questions about design's role in growing metropolises like Istanbul, archaic organization, and what we understand design to be. This wasn’t about tables and chairs. Hell no — this was cerebral. Here are some of my favorite photos and moments from my trip."
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International, furniture designers

Brian Eno is playing, green tea is brewing, and there are half-finished projects and prototypes stacked up ’round the place. I could be in any East London live-work space. But as I talk more to my hosts — Marc Bell and Robin Grasby of the emerging London design firm International — I realize there’s something simple that sets these two Northumbria grads apart from the thousands of hip creatives populating this corner of the city. They started the studio a year or so back, with the intention of doing something a little out of fashion in the design world: “Our approach is quite commercial,” admits Grasby. “We are looking to create a mass-produced product.” Yes, he’s used the c-word — and it wasn’t crafted. By opting for production, rather than taking advantage of London’s buoyant collectors’ market, the two are aware they’re taking a tougher route. Bell puts it plainly: “Rather than shapes we enjoy making or colors we like, our designs really are function-led.” Their work always seems to boil down to intended use, and at this stage they aren’t interested in seeing their pieces in galleries. But while there have only been a handful of designs released to date, International have been getting the right kind of attention.
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Foraging for Lunch in the Garden With Martino Gamper

Martino Gamper and I are neighbors. His studio sits just across the road from my flat in east London, and he and his wife garden in the communal plots out the back of my block. Their autumn planting — beets, kohlrabi, winter salads, and the last of some impressive tomatoes — was turning me green with envy, so when Sight Unseen suggested I ask Martino for a tour of the plot to talk about both his working and gardening methods, I was secretly hoping to gain a little insight myself, so as to turn my dirt patch into an edible wonderland.
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