CR A FT & S C EN O G R A PH Y EXHIBITION 08
INDEX
1 1t h June – 11th J u ly 2 0 1 2
There is nothing more thrilling than a good conversation between different disciplines. We bring together a range of contemporary cultures to create an impressive set of references around craft and scenography – some of them are visually pleasing, some of them are collectable.
Personal Content
La Vague
On showing! Depot Basel Infrastructure Basel map
All prices stated in this catalogue are incl. tax
depotbasel.ch
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IN Residence All our glory Nerd Depot Basel Selected Quote Assembled folly
Designers Colophon
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Located in a former grain storage building on the site of a former railway freight yard next to a fully functioning dual carriageway, Depot Basel looks, if we’re brutally honest, like the picture perfect location for a contemporary design space. A little too obvious. A little too New York ca. 1991. A little too post-industrial gentrification. Fortunately, as a non-commercial project run by a small group of enthusiasts, the stereotypes are limited to the visuals. The team behind Depot Basel have always been keen to stress that the project is neither a gallery, nor a museum, nor a showroom. Rather they see Depot Basel’s function as a space for mediating to the wider public what contemporary design, in all its multifarious facets, is, and where and how contemporary design interacts with all our lives. To underscore this claim, Depot Basel exhibitions tend to be more interactive than one is generally used to. One isn’t just invited to view, discuss, enjoy an agreeable Müller-Thurgau and hopefully purchase something. Rather one is encouraged to participate, contribute and learn. At Depot Basel design isn’t complicated and exclusive. It’s everyday. Alasdair Thompson, journalist, about his first visit at Depot Basel in May 2012.
GUIDED TOUR BY Matylda Krzykowski
Monday 11 June 5 PM
Tuesday 12 June 3 PM
Wednesday 13 June 1 PM
Thursday 14 June 5 PM smow.blog.com
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PERSONAL CONTENT by Christoph Sagel and Matylda Krzykowski Initiated and photographed
Collectable
A C E A C E Apartment
An ongoing project, introduced at Depot Basel’s Craft & Scenography Composition is an important element of design. It is the placement or arrangement of visual elements or ingredients, which enables the objects in it to exist at all – to find a balance between emptiness and the use of space. Still-life photographer Christoph Sagel and project initiator Matylda Krzykowski were introduced by a mutual acquaintance. Their joint understanding and respect for composition lead them to a collaboration. Sagel had been planning to use a specific white space of exactly 2 x 2 m for quite some time. Together with Krzykowski, he developed a concept with the name ‘Personal Content’, an initiated and photographed project where designers presented their work, their subjective scenography and themselves in the same space. For this occasion, Sagel and Krzykowski visited 13 designers in their studios and placed the 2 x 2 m stage in their surroundings. They introduced each designer to a process of creation within structures, which developed an appreciation of scenographic structure. This was done through each designer making sense of the relationships between the design project they presented, the space, the light and all of the surroundings.
A C E is a wooden furniture company based in Lausanne, Switzerland. It has been created in 2010 by three designers. “The idea is to streamline the production as much as possible by only using the production tools available in an average woodworking shop. This is where our aesthetics is born: the lines are geometrical, stretched and our objects highly influenced by these tools.” For the CRAFT & SCENOGRAPHY exhibition A C E is presenting brand new piecies by A C E, Tomás Alonso, Béatrice Durandard, Michael Marriott. Fauteuil (A C E) CHF 890.– 113 x 56 x 54 cm
Grue (Béatrice Durandard) CHF 420.– 70 x 16 x 5 cm
Crochet (Tomás Alonso) CHF 66.– (x2) 9 x 7,5 x 3 cm
Pomme De Terre (Michael Marriott) CHF 450.– 59 x 54 x 20 cm
a – c – e.ch tomas–alonso.com
beatricedurandard.com michaelmarriott.com
All projects are specially made for Depot Basel’s Craft & Scenography presentation. All projects can be purchased directly at the designer. Otherwise contact Matylda Krzykowski mk@depotbasel.ch and she will put you in touch. All photographs are specially made for Depot Basel’s Craft & Scenography presentation. Prints and retouching are done by Recom. Price on request. Contact Matylda Krzykowski mk@depotbasel.ch for this too.
christoph–sagel.de matyldakrzykowski.com
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Personal Content
Collectable
BASTARD Collection Velvet Series
BASHKO TRYBEK Made of coal
The oeuvre of BASTARD Collection for Depot Basel’s ‘Craft & Scenography’deals with the interplay of opposite values. These pieces are a continuation of the VELVET Series. We are connecting extremes, creating Hybrids out of conventional Designs with new Materials and Techniques. Valuable and meritless things finding their place together, borders disappearing, getting invisible or mutating into extraordinary formations with very special haptic. With an ironic point of view we are designing the Bastards of our Time ... CUDDLY TOY velvet CHF 620.– CUDDLY TOY no velvet CHF 540.– 30 x 38 x 23 mm FADING NECKLACE CHF 420.– approx 80 x 0.8 cm diameter pearls CRYSTAL SKIN CHF 2’160.– 45 x 80 x 8 mm
bastardcollection.de
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VELVET INSIGNIEN CHF 960.– 35 x 30 x 7 cm CROSSBREED CHF 2’160.– approx 70 cm
The idea to create a collection of objects made of coal came to me when I saw some amazing, hand-made coal vases and plates. They were gifts hand carved by miners for the Prime Minister of Socialist Poland, back in the 1970’s. The material they were made of was graphite, a special type of coal used in the production of sculptures and souvenirs. Inspired by the craftsmen from Silesia, the main mining region of Poland, I decided to try and look at this material from a completely new perspective and make use of its properties. The objects were made using CNC machining. CHF 5’000.– 20 x 20 x 20 cm Series of 10 each CHF 700.–
THE RED CARPET SHOES CHF 1’020– Shoes: size 38, 10 cm heel Carpet: 40 x 60 cm
bashko–trybek.com
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Personal Content
Collectable
Charlotte Talbot Light T / Storage L
Clemence Seilles Synthetiser
Description: T and L are low-tech objects. I ask myself how a young designer can produce objects and sell them herself? I am a “small-scale” designer in contrast to an industrial designer. I think about an object and keep in mind that I should be able to produce it in small production. I create today with the capacity that I have around me. Be reactive and creative. Maybe it is not so far away from that of a craftsman. “T” and “L” are the result of this spirit.
This is a piece of support furniture for other objects to exist. It is built from a collage of various artificial material found and bought in urban context. From the street to the DIY shops, they present together an archaeology of post industrial material assembled in a primitive manner. Asphalt form the road, industrial little stones, concrete, garden tiles … all elements directly available to the city addict.
“T” is a small light that takes different orientation regarding the user needs. “L” is a small storage but not too orthogonal that the user can build as his own image.
Y: CHF 75.– (bulb included) 27 x 15 x 32 cm
charlottetalbot.com
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L: CHF 60.– (3 pieces + link) 30 x 20 x 15.5 cm
CHF 650.– 60 cm high 35 ø
clemenceseilles.com
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Personal Content
Collectable
Dik Scheepers Scene 2: Let’s talk
Rachel Griffin & Emilie Pallard Building
The idea was to combine craftsmanship and industry into the products; to take cheap mass-produced materials like whitewood, shellac, ceramics, paper and cement and work them by hand. However, along the road the idea faded away and got lost. Could only the materials and shapes and the way it was made tell all of that? Is it a true story? Now I am not so sure anymore. Perhaps the following words are all there is to it – I made a table, a lamp, a pot and some cups to drink from and that in itself felt good.
Construction elements have a beautiful, functional aesthetic, one that is largely ignored in interior products. Earnest Studio (Rachel Griffin) and Emilie Pallard seek to change this with their project “Building.” The project reinterprets traditional exterior bricks for use in the interior by combining them with refined wooden components. The result is a series of objects that use the weight of the bricks as an anchor and the wooden elements to functionally and aesthetically tie the structure together.
Coffee table CHF 900.– 100 x 50 x 38 cm
Pot CHF 260.– round 10 x 25 cm high
CHF 500.– 40 x 18 x 26 cm
CHF 1’450 .– 41 x 27 x 170 cm
Lamp CHF 1’250.– 140 x 40 x 140 cm
Cup CHF 35.– round 5 x 7 cm high
CHF 750.– 170 x 21 x 10 cm
CHF 2’500.– 1500 x 200 x 185 cm
dikscheepers.nl
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earnestly.org emiliepallard.com
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Personal Content
Collectable
Johannes Nagel Anti-Triangulation, bicoloured Triangulation
Julia Walter No title
(Subdivisions of spaces into triangles, from the Latin Triangulum, „Triangle“) (strange punctuation)
As a visual aspect we are very familiar with volumes being defined by triangles. The translation of the world into the virtual reality of 3D software and its aesthetic feedback got us used to it. The presented sequence of three vessels is a kind of Anti-Triangulation since here the triangles do not serve to define or construct a volume. They are fragments or remnants of a gradual destruction. The mould of the prototype is sawed up, and resulting edges and sections are rendered in colour. With the first object there is still a quite articulate rhythm of colour and spaces – virtually an ornament – that is then progressively disintegrating towards an impromptu composition. Is it still a vase? What sort of a function do vessels have today?
each CHF 1’200.– 57 cm high
johannesnagel.eu
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To me it seems that the most authentic appearance of jewellery is, when it is worn. I am interested in the actual performance. Jewellery in everyday life, worn on plaid shirts or T-shirts, in bars, cafés, in the supermarket or at a picnic. Jewellery as symbol and as memory, like a wedding band which one never takes off or the luckyamulet which is a constant companion. Transient jewellery which only exists once, like a flowercrown in a girls hair or a rose in the buttonhole of a gentlemans suit. A woman who wears my work said, to her it feels like freedom to wear my jewellery, that’s a great compliment! This freedom is exactly what I feel myself when I work.
Untitled / prism, facetts CHF 480.– 14 x 10 x 8 cm
Untitled / bird CHF 480.– 23 x 10 x 7 cm
Untitled / two forms with sphere CHF 460.– 18 x 16 x 6 cm
Untitled / skull on red string: CHF 350.– 10,5 x 12 x 0,3 cm
Untitled / round and corners, two forms with line CHF 420.– 15 x 20 x 0,7 cm
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Personal Content
Collectable
Kaspar Hamacher Monolithen
Tina Roeder À La Recherche
Designer and craftsman Kaspar Hamacher has developed a series of 6 objects for Depot Basel. Standing stones in massive oakwood, he called the project “Monolithen”. The sculptural approach of this work and the symbolic character of each “standing stone” finds its source in Kaspar Hamachers oeuvre. It shows the uniqueness of each personality.
CHF 2’400.– 240 x 30 cm ø CHF 1’300.– 100 x 35 cm ø
CHF 1’000.– 62 x 30 cm ø
CHF 1’300.– 82 x 36 cm ø
CHF 1’600.– 28 x 52 cm ø
kasparhamacher.be
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Steel structure mantled with nude leather. 102 hours of craftsmanship
CHF 6’000.– 90 x 75 x 30 cm
CHF 1’200.– 32 x 48 cm ø
tinaroeder.com
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Personal Content
Collectable
Tobias Schäfer Something like a German relative
Valentin Loellmann A work with its own mind
Tobias Schäfer’s productions are unique exemplars, intricately crafted by hand, which mix vintage parts with geometric artifacts lacquered in pastel or flashy colours. As a passionate bargain-hunter, he collects vintage furniture that he customizes with geometrical, often polygonal, parts in lacquered wood. Thus, he confronts the soft lines and natural materials with patina of the antique furniture to the hard forms of the glossy and artificial new parts. It is like a kind of amused and irreverent comment on the history of design His furniture appears sometimes like strange genetic manipulations – piece of furniture that we could imagine coming from a fairy tale à la Tim Burton. Tobias Schäfer’s world is at the same time fairy-like, funny, childish and conceptual, like a sculpture on which you can sit!
“Beyond the pragmatic understanding of design, lies the expressive fluidity of my lines. The spontaneity of my shapes escapes the formal demands of product design. In reflecting memories and atmospheres long-hidden in my maker’s experiences, I brave the demands of productivity. What purpose am I actually fulfilling? This question does not satisfy my manifold dispositions. I am progressively disconnecting from any notion of ‘product’. I am running to an unknown destination full of imagery and personification.“
table: CHF 6’500.– 120 x 100 x 76 cm
CHF 12’000.– 173 x 150 x 93 cm
bowl: CHF 800.– 25 x 25 x 18cm
floorlamp: CHF 6’500.– 90 x 90 x 220 cm
tobiassebastianschaefer.de
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valentinloellmann.de
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IN Residence
Visually Pleasing
The IN Residence project is about design culture, taken as a process for organizing creative resources useful for generating innovative ideas and expressing solutions capable of benefiting people and conveying emotion. IN Residence is composed of a set of closely correlated parts. The starting point of the entire project is an annual theme-oriented workshop held in Turin at the Du Parc Contemporary Suites, involving very young designers of recognized talent and even younger students: the contact brought about through dialogue is crucial for triggering off a process of contamination between thoughts and of interpolation between different viewpoints. In addition to the main event, the general programme also includes a string of exhibitions, a collection of publications and a series of public events entitled “Design That Talks!”. ANOTHER TERRA / Home Away from Home is a collective exhibition presenting a series of original works by the designers invited to the annual workshop, part of the IN Residence / Design Dialogues project, that since 2008 has been held in the unique location of the Du Parc Contemporary Suites in Torino. The theme from which the exhibition concept has been inspired provides the chance to think specifically about the way in which human beings are related to the objects around them, which they use on an everyday basis, probing into a radically different environmental context from that of our own everyday experience. The quest for and eventual discovery of a “Super Earth” – as astronomers call it – may be considered an époque-making event, as well as an extraordinary goal for space research in the world scientific community. Inspired by this research activity – that has led to the recent discovery during the NASA Kepler mission of the existence of a planet that orbits around the “inhabitable zone” of a star similar to the Sun – the exhibition centers its attention on the relationship between a human being and the objects that would make up part of daily life, in another context different to that on Earth. If, by choice or by necessity, we had to envisage life on some other planet other than Earth, what kind of “minimal hand luggage” would we take with us on our journey to other galaxies or a different celestial body with acceptable living conditions for mankind? What kind of traits and properties would we expect of the only “accessory” we are allowed to have with us when landing on some New World for the first time? Would we prefer to have what we 1 consider to be a useful “device” or, in other words, serving some specific function considered to be 8 a priority or would we rather have something of great symbolic value, perhaps also with sentimental connotations? And, what’s more, what kind of value or ideal should this constructed object actually embody? What kind of message should it convey? What kind of story might it tell? The installation project for the exhibition will involve displaying the individual works through a sequence of “capsules”, which, in accordance with what the basic concept evokes, ought to represent the vectors by means of which the objects are packed and sent off to the new planet.
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Tomás Alonso —Tools Leaving Earth behind for a new planet will be a milestone for the human race; to develop as a species we must take with us our collective memory and knowledge, leaving behind our past mistakes and corruptions. The wealth of tools and understanding we have accrued over thousands of years will help us create a new world, where society appreciates and maintains the material world that surrounds them. The box contains a selection of hand tools that will allow humans to erect a world of value, creating useful and necessary artifacts that will benefit human kind. Learning the skills necessary to use and care for each tool will restore the connection between making and using; an appreciation of the material world will lead to less ephemera and more value within the new society.
Authors and Curators Architects Barbara Brondi and Marco Rainò are interested in experimenting with the process of design, theoretical research and critical commitment in the fields of architecture, graphics and contemporary design. Creators of various exhibitions and publications, they are the curators of the IN Residence programme and the events connected to it. Curators’ Assistant: Silvia Grimaldi, Alessandro Di Benedetto | Exhibit Design: brh+ / brh.it | Workshop Managers: C12 / Francesca Casati, Anita Donna Bianco, Maria Strachini / c12.it | Identity and Graphic Design: brh+ / brh.it | Special thanks: Elisa Sighicelli, Ruben Levi | Supported by Du Parc Contemporary Suites / residenceduparc.com, Du Parc Oriental SPA / duparcorientalspa.com | IN Residence is a project promoted by Associazione culturale IN Residence Design
BCXSY —Interlacer
inresidence.i t
Perceiving the unknown interlaces our personal/collective memories, experiences and sensory vocabulary. We use reflections to express the indescribable and to cope with its significations according to our own existence. The mirror strips on both sides of the Interlacer’s transparent surface produce partial impressions of the user and its surroundings. At the same time of being a metaphor/reminder of ones individual presence it may also function as a personal screen – allowing a gradual exploration of the unfamiliar environment while being less exposed to it.
Another Terra
Visually Pleasing
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Pieke Bergmans —Luminous eggs I will carry with me The springs of life Luminous eggs Of plasma held by gravity Made on planet Earth Charged by the sun Releasing energy A spectrum That radiates into outer space I will travel Light
Julien Carretero —In Search of Lost Time Time, as a measurable value, is a man-made creation set in accordance to earthly factors. Therefore, once away from Earth, eventhough the human need to follow its run remains, it nevertheless looses all significative relevance. This version of “In Search of Lost Time” by Marcel Proust offers two levels of readability: an obvious one as a literary piece, a time consuming occupation for a long journey and a second one as a relative time marker with no defined context when flipped through.
Maarten De Ceulaer —Mutation Series Transporting the entire human race to another planet will be quite a time-consuming and costly matter. It’s obvious that we won’t be able to take our belongings with us on this journey. We have no idea about the natural resources on this planet, and we don’t want to make the same mistake twice by immediately starting to exhaust them. My proposal is to investigate in “breedable furniture”, organisms with the perfect qualities for a specific purpose, that can grow organically, and will be cultivated to our specific desires. Like we can manipulate a bonsai tree, we will be able to dictate the shape this organism should grow into.
FormaFantasma —Inudox If the theme of the exhibition ANOTHER TERRA suggests an hypothetical “exodus” of mankind towards another planet, with Inodux we want to propose a different journey that is transformation of the existing more than research of the new. The vase is designed as if the oil-based area in which we are living, never took place. The excrements of insects that colonize trees (Shellac) are mixed and melted together with Sycamore wood dust: this natural polymer used during the mid of the 19th century to produce small moulded objects and become outdated with the introduction of oil consumption, has been re-evaluated with this project.
Visually Pleasing
Picture by Petr Krejci
Another Terra
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Tomáš Gabzdil Libertiny —Island of Stress Studio Glithero —The Moment of Truth As a space shuttle launches from earth there is a period of time known as the ‘moment of truth’. It lasts for two minutes, and describes when the shuttle is most imperil, when every component, each rivet, solder, screw, valve and seal meets it’s calling, or fails. To reach another Terra, there are odds that you must first overcome. This object burns for the moment of truth.
A burl results from a tree undergoing some form of stress. It may be caused by an injury, virus or fungus. Most burls grow beneath the ground, attached to the roots as a type of malignancy that is generally not discovered until the tree dies or falls over. Such burls sometimes appear as groups of bulbous protrusions connected by a system of rope-like roots, and almost all burl wood is are covered by bark, even if it’s underground. Insects infestation and certain types of mold infestation are the most common causes of this condition. The suspended vortex object is a negative. It renders the environment healthy, infinite and full of potential.
Pepe Heykoop —Desire Lanzavecchia + Wai —One day in the life of V.M. on Earth To ANOTHER TERRA, where her new daily life could be completely different, V.M. will bring with her the memories and nostalgia of the Earth left behind. Like a mantra, on each woven golden Mylar strip is hand-stamped repeatedly in absolute chronological order, the names of objects encountered, touched, or used in a normal day. A seemingly mundane fragment of life is then sealed, given permanence. These words re-materialize the possessions, their related everyday gestures and rituals of a day on Earth that is impossible to repeat ever again. This quilt is both a private story and an artifact for the future.
Living in this world in which we can make nearly anything happen, it is easy to forget about those things in life you really need. Growing markets producing more and more stuff leading to an overload, physically as well as mentally, we have to make many choices, all the time. Sometimes we don’t even know what to choose anymore, as we have become saturated. On the other hand, choices are all that we are made of, all that differentiates us from others, all that separates us from fulfilling our dreams and desire ... When I travel to ANOTHER TERRA, I will bring this mirror: Desire. It reminds me of daydreaming about all the things I want to have or achieve without actually owning or doing them. I would rather long for desire than satisfy it, because once satisfied, there is no point in running after it. Looking into the mirror makes me want to focus on both the word and myself. I start daydreaming again.
Another Terra
Visually Pleasing
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Philippe Malouin —Sundial Time
Minale–Maeda —Nature Toolbox
Sundial Time sets the rhythm of our daily life; the heartbeat to which we rise, eat, work, socialise and sleep. We chose to bring a sundial to ANOTHER TERRA to help us anchor this new rhythm, set by distant suns, to our new existence. As the suns rise and set, through undiscovered dawns, zeniths and twighlights, the patterns projected across the face of our sundial, both alien and familiar, will see us look to the future whilst remembering our earthly heritage. The sundial we’ve designed is left blank so that the new organisation of time can noted on its surface.
In times of big endeavours a reminder of the oldest and most numerous living beings fulfilling a multitude of tasks, like converting solar energy into biomass, control pests, recycle leftovers and produce nutrition while being grossly overlooked. The immaterial quality makes them symbolic, as if mourning something unloved whose value was found upon loss, but the approach of minute, capillary interventions and the strategies of symbiosis are interesting to translate to an eventual new economy.
Jo Meesters —Materra The relationship between humans and plants has always been profoundly important. Plants also offer wide varieties of food for both body and soul. Food is the most primary aspect of plant/human relationships: without their direct or indirect nurture human life would not be possible. Therefore, if by choice or by necessity, we had to envisage life on some other planet other than Earth, the only luggage or accessory we will take with us to this new world are the seeds of plants that will nurture us for the future. Captured in a collection of bowls and vessels that is made out of pressed soil and waste material from our “current” habitat, these bowls and vessels will nurture us by simply adding water, reminding us how fruitful and caring our beloved Mother Earth is.
Mischer’Traxler —Tools – Knowledge – Memory Starting a life in a different world requires to base all new steps on the expertise from the previous and past. Therefore it is important to be equipped with knowledge, tools and memory. A collection of objects which are tools and manuals at the same time will be taken to the new planet to give the possibility to use them for survival as well as to reproduce similar objects. Knowledge and instructions partly form the ornaments of the objects and hidden details leave space for private memories.
Another Terra
Visually Pleasing
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Liliana Ovalle —Looking Pewter For centuries, mirrors have provided us with an image of ourselves. They have raised our curiosity and questioned our identity. Their nature, deceiving and ambiguous, has given us a tool for self-awareness. Mirrors as an object can be embodied by different means. Whether it is a pool of water or a polished surface, all that is required is a reflection of the world around us. This reflection, a flat but intriguing duplicate, has captured our attention in many different ways. From divination tools to safety instruments, the value of the mirror is not in the object itself, but in the narratives and practices that are triggered by the illusion they create. If we were to move to a new unknown home, how would we like to perceive ourselves? How accurate this self-image should be? Amongst the practical and ethical issues that such an event would raise, hopefully there will be room in our luggage for self-invention and subjectivity.
Studio Besau–Marguerre —Handgepäck From our most primitive needs to the most progressive transformations, plants have always played a key role in human development: oxygen, food, clothing, color, medicine. Our connection with nature is at the core of civilization, and resulted from this core tools and crafts. On a foreign planet the plant could manifest if there could be a new Garden of Eden. Therefore our traveling container must ensure the preservation of this precious specimen if we want to call another Terra “home”. In cooperation with Adrien Petrucci.
The Project was still in production before the catalogue went to the printer.
Anke Weiss —Common Origin / Common Future Raw–Edges Design Studio
I choose for an idea that must serve as a memento of my origin, my point of departure, and a guideline to my destination in time and space. In my view the knowledge of common heritage and common origin is a binding factor in unknown territory. It serves as comfort and trust and therefore optimism towards a common future. I designed an abstract representation of the position of Earth and the origin of species as a central point of origin. Form and content of the work will closely relate to the properties of a memento as well as to traditional storytelling of common heritage.
Collectable
LA VAGUE
“La Vague” is a platform that edits self produced objects. From the idea to the delivery, the designers are in control! Produced by craftmen, local factories, or the designers themselves, the “La Vague” objects are distributed during events or through its website: la-vague.ch Welcome in the wave! As young designers, even a beautiful, original and well designed object, is hard to promote. By trusting young creators, “La Vague” break the fence and give them an opportunity to promote and sell their objects without any intermediates.In that sense, “La Vague” wants to be a new kind of furnishing and object company. As a self produced object company, “La Vague” can propose several objects with different level of production. Some mass produced, others almost unique pieces. Thanks to that approach, “La Vague” has the ambition to sell only unpublished objects at very affordable prices. Unique objects created by talented designers. Dimitri Bähler Anurag Etchepareborda Anne Julmy Linn Kandel Charlotte Talbot 2 8
la–vague.ch
Dimitri Bähler Volet Anodised aluminium hooks laser cuted and folded in a way to hide the fixation system – a simple screw. That system gives to the object an unexpected volume. CHF 15.–
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Collectable
LA VAGUE
Chalotte Talbot Tronc Lamp with an indirect and soft lightening perfectly suited for a bedside lamp. The base is made out of ash and the lampshade out of paper. CHF 125.–
Linn Kandel Sac a dos – Pochette Those two bags, offer with their small volume, the possibility to be used everyday. Made out of Tyvek – a very strong, light and waterproof material, – these bags propose a more durable but also aesthetic alternative to paper bags. CHF 120.– / 65.–
Chalotte Talbot Node The hand made domestic basket is made out of harden polypropylene rope. It can be used like to put any objects in it or as a fruit basket. CHF 55.–
Dimitri Bähler Gaignal Storage set for pens and office stationery. The shapes come from the used material’s maximal capacities; thermo shrinkable tube. The base is made of turned maple. also aesthetic alternative to paper bags. CHF 20.– / 25.– / 34.– / 39.–
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Collectable
LA VAGUE
Fanny Dora / ECAL Deadaleas The meeting of wood and mirrored inox in a game of appearance and disappearance influences the perception of the two objects, a book holder and wall tablet. CHF 160.– / 180.–
Anurag Etchepareborda Kitchen clock This little table clock by its radical and simple design allows the user to contemplate an aesthetic purely based on the quality of the wood. CHF 35.–
Jean Besson / ECAL Round & Round Those two bags, offer with their small volume, the possibility to be used everyday. Made out of Tyvek – a very strong, light and waterproof material, – these bags propose a more durable but also aesthetic alternative to paper bags. CHF 20.– / 25.– / 30.–
Linn Kandel Horloge Sfumato This wall-clock creates an artificial blur by making the watch hands disappear gradually. The mechanism is concealed behind a plexiglas dial which is gradient printed. CHF 320.–
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Unveiled during Art Basel and in exclusivity for Depot Basel, “La Vague” will create a special event in the library! By using a secret process involving wood, water and color, the visitors will have the possibility to participate in the creation of their unique object ...
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Visually Pleasing
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ALL OUR GLORY by J O H N F R A N Z E N & K A S P A R H A M A C H E R Commissioned installation by Depot Basel
The installation depicts a conceptional allegory of the evolution of human tool making. A biface, a primordial artifact, is placed right above a pyramid, made by 3D scan and print applied nowadays robotic technologies, to merge the technological tool deployment from the fundamental beginning till the present. A. SCENOGRAPHY:
The copied and mirrored pyramid should resonate with the concise architectural emanation and act as additional underline for the architecture. The pyramid typified the architectural dedication of a “human to god” correlation. B. CRAFT:
A biface, a primordial artifact, is placed right above the pyramid, made by 3D-Print applied nowadays robotic technologies.
Drawing by John Frantzen
3D print by FabLab Luzern
John Franzen, artist, works in the field of drawing and sculpture in reference to a “naturological morphogenesis”. Kaspar Hamacher, craftsman & designer, works in the field of “monolithic” product and object-design made out of massive tree trunks.
johnfranzen.com kasparhamacher.be
in Berlin. Networking in Switzerland? Most of the time, it is confined to a circle of friends (where it, needless to say, ends up becoming superfluous almost immediately). Is it a lack of will or of options? Or is (was) it just the absence of a proper platform? “Excellent. Depot Basel. A place that reveals how every one of us is involved in design. A place where designers of all sorts, journalists and design theorists meet people less occupied with design in their daily work life. A place where exhibitions, workshops and discussions are held. A place completely void of elitism: Non-existent in our parts so far, but absolutely necessary – adding a new twist to the design scene, perhaps a network-related kick in the arse. Join forces!” I wrote this and tried to pass the message on through all channels at my disposal. A lot of effort, but barely any results. Insufficient and inadequate. Once again. Last autumn, the Depot Basel asked me to give a short presentation. The video is still up on the website but I haven’t watched it yet. I don’t have the guts to do it; I feel embarrassed seeing myself talk. Nevertheless, it was fun. After the event, Depot Basel closed for winter break. “Let’s do ‘Depot Basel goes Zurich’ in February. We need that.” Zurich needed it. I needed it: three-days of nerd camping in my flat, Matylda, Laura, Moritz. Day and night. The actual event was at the Wäscherei Kunstverein: non-nerds and nerds, French-speaking Swiss and German-speaking Swiss. How great. How absolutely adequate. Exactly.As.It. Is.Supposed.To.Be. “Would you like to be part of Depot Basel” Matylda asked me in Milan. And here I am: writing, organizing, networking, uniting. I have arrived. —
„Nerd [nɜːd] (engl. für Langweiler, Sonderling, Streber, Aussenseiter, Fachidiot) ist ein gesellschaftliches Stereotyp, das besonders für in Computer oder andere Bereiche aus Wissenschaft und Technik vertiefte Menschen steht.“ Genauso einer bin ich (minus die negative Vorbelastung des Begriffs und minus Langeweiler, Aussenseiter und Sonderling – hoff ich zumindest). Und ich werde immer nerdiger. Wenigstens ist mein Nerd-Gebiet nicht ein „egomässiges“, mit ewigem Solo-Abhängen vor dem Computerscreen verbundenes, sondern ein soziales, wo Nerds sich mit Nerds, aber auch mit Nicht-Nerds austauschen und bestens verstehen, weil sie die gleiche Sprache sprechen. Design-Nerds sind cool. Zu meiner Nerdigkeit kommt ein leichtes Helfersyndrom. Das war schon da, bevor ich überhaupt wusste, dass es Design gibt. Damals äusserte es sich ziemlich unkontrolliert und ungerichtet, und Nutzniesser (bzw. Opfer) waren mal Tiere, mal Menschen, mal Dinge (ja: auch Dinge können einem Leid tun!). Ausserdem scheine ich hyperaktiv zu sein. Gleichzeitig aber faul (doch, auch das geht!). Deshalb krieg ich den Arsch auch meistens nie so richtig, richtig hoch. Und übrig bleibt eine Hyperaktivitätskugel, die durch mein System flitzt
und dann irgendwo draussen aufschlägt, um sich etwas zu entladen. Sport, Freunde, Musik: kleine Entladungs-Puffs und -Paffs, aber nie eine richtige Explosion; Verzettelung, wie sie im Lehrbuch steht (etwa: „ADHS-Patienten verzetteln sich durch zu viele Ideen, schweifen vom Thema ab.“). Besser wurde es, als ich zum Schreiben kam. Und damit zum Design. Plötzlich war die Trägheit weg; meine Hyperaktivität fand ein Ventil und das Helfersyndrom eine Bestimmung: Nämlich auf all die wunderbaren Dinge aufmerksam zu machen, die fern der Massenprodukte entstehen, zu zeigen, dass sie für alle da sind, berühr- und erlebbar, und dass deren Macher nicht in einem abgeschotteten Paralleluniversum vor sich hin werkeln, um Nerd-Kram für andere Nerds zu fabrizieren; Die Designer wollte ich zusammenzubringen und die Interessierten. Doch mit dem Schreiben kam auch ein latentes Gefühl der Unzulänglichkeit: Lesen mne Texte wirklich die, die das alles etwas angeht? Was bringt es und wem? Darf ich überhaupt über die schreiben, die es verdient haben (nein, nicht immer). „Ich möchte mehr machen“, dachte ich. „Aber wie? Was? Mit wem? Man sollte, man könnte…“. Und dann das Treffen mit Matylda. Wir hatten bereits gemailt, auch telefoniert, aber in Echt sahen wir uns letztes Jahr an der Art Basel zum ersten Mal. Damals wurde mir klar, was ich schon ahnte: Die ist ähnlich. Ein Nerd à la Full. Jemand, dessen Hyperaktivitätskugeln gerichtet aufschlagen und mit Riesenkrach detonieren. Boum! Sie habe ein Projekt in Basel, erzählte sie damals. Laura Pregger habe das Ganze initiiert. Laura war ich mal am DMY in Berlin begegnet (bezeichnend übrigens: Man wohnt nicht einmal 100 km voneinander entfernt. Interessiert sich fürs Gleiche. Aber man trifft sich in Berlin: Netzwerken scheint sich in der Schweiz weitgehend auf den engen Freundeskreis zu beschränken (wo es sich natürlich auch gleich wieder erübrigt). Wollen sie nicht oder können sie nicht? Oder fehlt(e) ihnen einfach die richtige Plattform?). „Tolle Sache, das Depot. Ein Ort, der zeigt, was Gestaltung mit jedem von uns zu tun hat. Ein Ort der Gestalter aller Coleur, Journalisten und Designtheoretiker mit jenen zusammenbringt, die mit Design im Arbeitsalltag wenig in Berührung kommen. Ein Ort, an dem Ausstellungen, Workshops und Vorträge veranstalten werden. Ein Ort, dem alles Elitäre fehlt: Gibt’s so noch nicht bei uns, ist absolut notwendig, bringt neuen Schwung in die Designszene, vielleicht ein netzwerktechnischer Tritt in den Allerwertesten, Kräfte bündeln“, schrieb ich und versuchte, es über alle mir zur Verfügung stehenden Kanäle zu verbreiten. Viel Mühe für wenig Resultat. Unzulänglich, der Sache nicht gerecht. Wiedermal. Vergangenen Herbst fragte mich Depot Basel für einen kleinen Vortrag an. Der Beitrag ist noch immer auf der Webseite. Ich habe ihn noch nie angeschaut, ich trau mich nicht; es ist mir peinlich, mich sprechen zu sehen. Doch es hat Spass gemacht. Nach dem Event ging Depot Basel in die Winterpause. „Lasst uns im Februar ,Depot Basel goes Zurich‘ machen. Wir brauchen das“. Zürich brauchte es und ich auch: drei Tage
Nerd-Camp in meiner Wohnung, Matylda, Laura, Moritz. Tag und Nacht. Das Event in der Wäscherei Kunstverein: Nicht-Nerds und Nerds, Welsche und Deutschschweizer, Reden, Trinken, Austauschen. Wie schön. Wie ganz und gar zulänglich. Genau.So.Soll. Es.Sein. „Willst du bei Depot Basel mitmachen“, fragte Matylda in Mailand. Und hier bin ich jetzt: Schreibend, organisierend, netzwerkend, zusammenführend. Angekommen. —
Rebekka Kiesewetter (born 1976), journalist, studied art history and economics in Zurich. She is project-related staff at Depot Basel, responsible for Depot Basel SELECTED, press related matters in Switzerland, Germany and many other things.
“Nerd [nɜːd] is a social stereotype, primarily used to classify people who are deeply absorbed by something, often Computer Science or other areas of Science and Technology”. That’s what I am, if you put aside the negative connotation and associations of the term such as total bores, social outsiders and eccentrics. And my nerdiness is growing. Thankfully my field of particular nerdiness is not a self-involved one, spent stuck to the screen all by myself for days on end, but a social one. In my realm of nerdiness, nerds interact and get along with other nerds (and non-nerds, too), because they speak the same language. Design nerds are cool. On top of being nerdy, I also suffer from a minor case of helper syndrome. I’ve had that even before I knew design existed. At the time, it presented itself rather unbridedly and nondirectionally, with everything from animals, humans and objects (yes: even things can be worthy of pity!) benefitting from – or rather, falling prey to – its manifestations. And while I seem to be hyperactive, I am simultaneously lazy (this is actually possible!). It’s why I fail to get my arse properly in gear most of the time. What remains is a bullet of hyperactivity whizzing through my system, eventually hitting something outside it and discharging only slightly. Sports, friends, music: small puffs of discharge here and there, but never a real explosion. It is textbook dissipation (“ADHD patients get bogged down in details, stray from the topic.” Any further questions?). The situation improved when I started writing and thereby found my way into design. Suddenly, my inertia disappeared; my hyperactivity had found an outlet and my helper syndrome a purpose: to call attention to all the wonderful things created beyond mass production; to show that 3 6 they are here for everyone, and to be touched and experienced; and to show that their producers don’t live in an excluded parallel universe where they fiddle around by themselves, fabricating nerd stuff for nerds exclusively. I wanted to unite designers with those who were interested in their work. Yet, writing about design created a feeling of unease, as if my writing wouldn’t do justice to its objective. Would my texts be read by those whom they concerned? Would it do any good, and if so, whom? Am I even allowed to write about those who do deserve it? (Not always, it seems). “I want to do more”, I thought. “But how? What? With whom? I should, I could…” Then I met Matylda. We had been emailing back and forth and spent some time on the phone as well, but it took until last year at the Art Basel for us to meet in person. I realized then what I had previously suspected: we were alike. Another nerd, through and through. Someone whose hyperactivity bullets pitch directionally and explode with a blast. Boom! She told me at the time that she had a project in Basel, initiated by Laura Pregger. I had met Laura once before, at the DMY in Berlin – which, by the way, is very telling: You live less than 100 km apart, you have the same interests, but you meet
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Visually Pleasing
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Acting Things by Judith Seng
Depot Basel
S EL EC TE D 1 x visually pleasing 5 x collectable
Acting Things confronts the making of an object with elements from the performing arts and examines the aesthetic, energetic and social dimensions of creation processes. These processes are observed as a system in which material and form become mutually dependent: the material which is to be processed generates a performance which then in turn will shape the material. The exhibition gives insight into the ongoing project showing two experiments alongside a video of a traditional dance which has been performed for generations every 1st of May in the South of Germany. During the so-called „Bandltanz“ a woven structure is created by the choreography of the dancers. Experiments 1 rethinks the making and usage of an object by turning a theater stage into a temporary factory in which guests produce tables themselves in order to dine on them together. Entrance is free – the only payment is the physical labor the audience contributes to the project. The second experiment investigates the interplay between forms of movement and of material and how both develop like a dialogue, reacting and depending upon each other. The exhibition shows several encounters between a dancer and a material, from which the actual objects for the exhibition will be generated over time. The project ACTING THINGS is funded by the Einstein foundation Berlin via the Graduate School for the Arts and Sciences at the University of the Arts Berlin.
judithseng.de
A performance of acting and making; an astronomic lamp; an atmospheric composition; an enhanced vase; a shelf, simply refusing to be a shelf; and an old material, used in a new context. Depot Basel SEL ECTED presents five different ideas of making: all utterly contemporary, visually pleasing and collectable. An installation is extra, which also comes in a form of performance.
Performance by Judith Seng and Barbara Berti
Monday 11 June, 7 PM Tuesday 12 June, 4 PM
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Depot Basel Selected
Collectable
Narciso by Giorgia Zanellato
Michael Schoner
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Z STEP Narciso is a project which started with the intention of designing some vases, focusing on the functionality of the vase as an object. But what is the function of a vase? They are used to display flowers. Narciso is a collection of six different vases which use mirrors to draw attention to the role of the flowers.Mirrors are investigated in all their aspects, from the simplest reflection to the most complex one. In this way each vase shows flowers from a different point of view. They’re made in borosilicate glass, powder-coated alluminium and mirrored stainless steal.
is a display system made from sheet metal based on steps of 33 x 33 x 33 cm. Two of these steps can be stacked and assembled in different ways. They form different spacial configurations. There are magnetic bars, knobs and coat-hangers carved from beech wood to fix items on the Z step. In this way it becomes easy and versatile to show any kind of item like books, magazines, shoes, clothes, accessories, or other kind of products.
Vase (medium): CHF 350.– 65 x 14 cm
Price on request
Vase (large): not for sale base: 9 x 52 cm + upper part: Ø 25 cm
Vase (small): not for sale 37 x 17 cm
giorgiazanellato.altervista.org
michaelschoner.de
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Depot Basel Selected
Collectable
NOCOM
Syzygy Lamps
NOMAN
OS Δ OOS – Oskar Peet and Sophie Mensen
NOMAN is a collective, founded by fashion designer Selina Parr and set designer Lara Tolman, in which they realize joint projects. NOMAN regards teamwork as the joining of forces. It was born out of an idea to work together as equals, creating an alternative world under one name in which egos are subordinated. For the individual members of NOMAN “fashion” finds expression in all aspects around us. It represents a spirit of age that can be expressed in different disciplines. It is a trend moderation which can be presented in forms, colours and structures that can be applied to many fields of visual arts. NOMAN takes the freedom to move freely in between the disciplines using them to their advantage, with the ultimate goal to give the concept of “fashion” a broader interpretation. Design is the tool, but NOMAN doesn’t make any concessions. NOMAN doesn’t mass-produce or duplicate. Practicality is subordinate to beauty and atmosphere. For NOMAN it is more important to experience the work, rather than to use it.
Syz·y·gy [siz-i-jee] In astronomy, a syzygy is a straight line configuration of three celestial bodies in a gravitational system. The word is often used in reference to the Sun, the Earth and either the Moon or a planet, where the latter is in conjunction or opposition. Solar and lunar eclipses occur at times of syzygy, as do transits and occultations. Everyday the sun ‘rises and sets’ making life on earth possible. The sun was our first and only light source, in contradiction to the light sources we have today the sun is a continuously never ending burning ball of fire. We experience night only when a part of the earth is cast into shadow from itself as it rotates around the sun. These new lights are inspired on the same principle, the light source is constant, remaining always on. The light is adjusted by a subtle rotation of three light filtering discs places in front of the light source. The rotational combinations of these three discs mimic the effects of a syzygy. This physical blocking of the light was an important aspect in our concept, where a total of three different lights demonstrate the three different aspects of a syzygy; transit, occultation and eclipse. The end result is atmospheric light inspired by the sun and its surrounding celestial bodies, where the light quality can be adjust but this time on the human scale.
NOCOM—A = CHF 2’100.– 55 x 55 x 200 cm
NOCOM—C = CHF 1’100.– 75 x 35 x 200 cm
NOCOM—B = CHF 2’100.– 102 x 81 x 200cm
NOCOM—D = CHF 1’600.– 56 x 65 / 106 x 200 cm
Everything at once = CHF 6’000.– n–o–m–a–n.com
Transit: CHF 10’025.–
Occultation: CHF 2’433.–
limited edition of 12 + 2AP+1 prototype ø 60 x 4.5 cm
limited edition of 36 + 2Ap+1 protoype 9 x 20 x 44 cm (circle ø 17 cm)
Eclipse: CHF 2’433.– limited edition of 36 + 2Ap+1 protoype 28 x 17.5 x 12 cm (circle ø 17 cm) osandoos.com
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Collectable Terrazzo Project Philippe-Albert Leverbre and Stephane Halmaï-Voisard
Terrazzo is a flooring material that first saw use in northern Italy in the 15th century. It consists of chips of surplus marble, quartz, granite, glass or other suitable material, which is mixed with a binder that is cementitious, chemical or a combination of both. It is cured, ground and polished by hand to a smooth surface. It ages extremely well and is practically indestructible as a flooring material. Our interest in terrazzo’s qualities pushed Terrazzo Project to investigate ways to use the material for furniture and object design. With the help of craftsmen from the northern Italian region of Veneto we found innovative solutions that allow the use of terrazzo as a three-dimensional material to create resistant, efficient and flexible furniture solutions. The first Terrazzo Project collection includes a table, a shelf, a suspended tube lamp, a stool, bookends and small crates built from slim, sturdy and lightweight terrazzo pieces. Lamp: CHF 2’000.– 78.2 x 7.6 x 13.8 cm / cable 200 cm
Shelf: CHF 9’500.– 180 x 30 x 124 cm / 16.6 kg per shelf
Table: CHF 9’500.– 180 x 80 x 70 cm / 93.2 kg
Stools: CHF 1’500.– cable 200 cm, 6.4 kg; Stool: Ø 30 cm x 43 cm, 8.6 kg
terrazzoproject.com
D E B A L o go
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Our bank balance doesn’t.
Give your support to: Verein für anspruchsvolle Alltagskultur IBAN: CH85 0900 0000 6064 3514 7 BIC: POFICHBEXXX
* Your donation will not find a dog a new home, it will not put fuel in your yacht, but it will fund the advancement of projects, like these, that you have hopefully already taken pleasure from.
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Visually Pleasing
Assembled Folly by O E V F F I C E Commissioned installation by Depot Basel
A folly is a structure constructed primarily for decoration, but either suggesting by its appearance some other purpose, or merely so extravagant that it transcends the normal range of garden ornaments or other class of building to which it belongs. Often they have the appearance of a building constructed for a particular purpose, but this appearance is a sham. For this years’ Depot Basel exhibition Oeuffice proposes the ”Assembled Folly“, a self standing structure inspired by the language of wind apparatuses and proportioned by the geometries of triangulation inherent in architecture. The ”Assembled Folly“ is a dominating piece, a land mark which beacons viewers to stop, observe and to interact. The “Assembled Folly” is meant to evoke a sensorial experience through its shifting shape and repeating forms. A sort of ”trompe l’oeil“ arises as the viewer begins to encircle the installation and seek to grasp the ever changing planes that appear and disappear into each other. The overlapping colours and modulating triangulations increase the visual stimulation and engage the austerity of the post industrial site upon which it sits on.
Oeuffice was founded in 2011 as a collaboration between Nicolas BellavanceLecompte and Jakub Zak. After many years of a parallel life between Canada, Berlin and Milan, they united to form Oeuffice, a new research laboratory with a focus on developing innovative objects of limited edition. Their work reflects a common ideal of creating objects inspired by visions of a contemporary utopia.
oeuffice.com
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TALK
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Collectable
DEPOT BASEL INFRASTRUCTURE Wednesday, 13th June 2 PM, hosted by Tido von Oppeln On showing!
For the first occasion at Depot Basel in summer 2012 we invited 9 designers to enter a dialogue with the space and the material that we gathered for them. It was a one week workshop in the spacious grain silo. The result is a broad selection of unique and thrilling pieces that we now want to share with the craft-conscious enthusiast and with those who appreaciate a collector’s piece. All prices incl. VAT. For requests and questions: info@ depotbasel.ch
To exhibit is a practice of showing – to show things means to review them. What does this review mean to an Object that is made to be used? What happend to our view on things if conventions of a certain use are established. Since 20 years design exhibitions are accepted beside the art and there are design related collectors and galleries with similar roles to the art marked, but that means reception of an usable object is probably changed at least in that moment when it is on show. Are we doing something or do we act in showing things? T ido von O ppe l n , author and curator Tido von Oppeln was born in 1974 in East Frisia – Germany, lives is Zurich, 2002 he became a member of the executive board of the archive of the German Werkbund in Berlin. Since 2005 he is working as author and curator. He was involved in different exhibitions on design, art and architecture such as „stadtfinden-moderne“ the anniversary of the international architecture exhibition Berlin 1957 (2007), „Adventures with Objekts“ in Turin – Italy (Vitra Design Museum, 2008), „Nullpunkt. Nieuwe German Gestaltung“ in Marta Herford (2009) and as curator for the exhibition “totem and taboo” in Milano (2010) and at the Museums Quartier (MQ), Vienna (2011).
Florian Hauswirth Rammed clay bench CHF 2.900.–
M arce l F rey, artist Marcel Frey ( born 1980 in Mönchengladbach, Germany ) lives and works in Karlsruhe. In his work Frey uses different formats such as painting, sculpture and installation and touches topics from design and art. He studied at the Karlsruhe State Academy of Art at Prof. Silvia Bächli. His recent exhibitions are RETROBJEKTIVE at Städtische Galerie Karlsruhe and DINGKUNDE at Kunststiftung Baden-Württemberg. Frey has participated in several group shows in Frankfurt, Vienna, Basel, Mönchengladbach.He is currently showing his work at Galerie Thomas Fischer, Berlin. J udith S eng , B er l in , designer Judith Sengs work span the field between research, experimentation and creation of objects and spaces. Her projects have been exhibited worldwide in institutions such as at the Art Centre Seoul, Carousel du Louvre Paris, Museum fuer angewandte Kunst Cologne, Kunstgewerbemuseum Berlin, Gesellschaft fuer Kunst und Gestaltung Bonn, Tokyo Art Museum, Museum der Dinge Berlin, MARTa Herford, Appel Design Gallery Berlin, Post Design Gallery Milan, Neumeister Munich, Helmrinderknecht Berlin and the HAU Berlin. Some works can be found within the collection of the Fonds National d’Art Contemporain (FNAC). B urkhard M e ltzer , Z ü rich , art critic Burkhard Meltzer, born 1979, lives in Zurich. he is working as a freelance curator and critic. From 2006 lecturer at the Zurich University of the Arts. Meltzer is writing on contemporary art for books as well as for art magazines such as Kunstbulletin, frieze magazine and spike on a regular basis. he is curating the performance section of the liste art fair 2012.
Max Lipsey Concentration chair CHF 2’100.–
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Depot Basel Infrastructure
Collectable
Damien Gernay display tables collaboration with Julien Renault & Camille Blin CHF 550.–
Damien Gernay Various display tables CHF 550.– to 1’100.–
Max Lipsey Bench small CHF 540.– (3x) medium CHF 780.– large CHF 950.–
Tristan Cochrane Units of progression each CHF 1’100.–
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Depot Basel Infrastructure
Collectable
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Tobias Schäfer CHF 1’400.–
Kaspar Hamacher Long X bench CHF 1’100.–
Tobias Schäfer CHF 1’050.– Tobias Schäfer Carpet bench CHF 650.–
Tobias Schäfer CHF 720.–
Tobias Schäfer CHF 950.–
Kaspar Hamacher Wardrobe per piece CHF 100.– dustdeluxe.com julienrenaultobjects.com kasparhamacher.be miekemeijer.nl tobiassebastianschaefer.de lipsmax.net florianhauswirth.ch tristancochrane.com
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COLOPHON
This catalogue was created for Craft & Scenography June 11 to July 11 2012 at Depot Basel
Depot Basel is
Photography credits
Documentary credits
Laura Pregger Moritz Walther Matylda Krzykowski Elias Schäfer Rebekka Kiesewetter
Christoph Sagel Julien Renaut Thierry Bruder Tullio Deorsola
Christian Metzler
Supported by Text
Swisslos-Fonds Basel-Landschaft
Matylda Krzykowski Rebekka Kiesewetter Tom Astrella and designers own
Film credits Simon Denzler
Translation Agata Karolina Niemkiewicz Katrin Gygax Hannah Freeman
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Layout Deutsche & Japaner
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DEPOT BASEL Ort für kontemporäre Gestaltung Schwarzwaldallee 305 CH – 4058 Basel
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Depot Basel Schwarzwaldallee 305 (Erlenmattareal / BLG-Halle)
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STUDIO CHRISTOPH SAGEL
Thanks to Stiftung Habitat Christoph Sagel Lisa Beck John Franzen Kaspar Hamacher Regula Laura Johannes Bruder Lost Architekten ZMIK Samuel Erdmann Jonas Berner Alasdair Thompson Ina Yamaguchi Julian Zimmermann David Wolpert Moritz Firchow Léonie Britz Christian Metzler and all designers!