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Christian Andersson (Konstfack Stockholm) was awarded first prize (EUR 5,000) for his "Children of the Light" family of luminaires. In this powerful, pioneering work the jury praised the close links between art and design, which blend in admirably with the Rosenthal tradition. Furthermore the jury was particularly impressed with the skilful treatment of porcelain, a demanding material, as well as the technical features selected for the neo-Baroque luminaries.
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The motto of the first Rosenthal Design Award was "generations". The ambitious concept behind the competition brought together students from five European design academies and five design stars acting as advisors in preparatory workshops on in-depth appraisal of the topic. Rosenthal, a company that in its 125-year history of porcelain manufacture has repeatedly collaborated with major designers provided the venue and the background for this round of intensive discussions. There are plans to hold the competition every two years from now on.
The five universities:
Paris: Les Ateliers, ENSCI - l'Ecole Nationale
Superieurde Création Industrielle
Stockholm: Konstfack - University College
of Arts, Crafts and Design
London: Royal College of Art
Milan: Politecnico di Milano
Berlin: Universität der Künste
The 5 advisors:
Erwan Bouroullec
Patrizia Cucco
Martino Gamper
Konstantin Grcic
Michael Young
Die Jury:
PATRICIA URQUIOLA, Designerin, Mailand; JASPER MORRISON, Designer, London/Paris; ROBERT SUK, Leiter Rosenthal Produktentwicklung, Selb; EVA SCHAEFFER, Chefredakteurin Elle Decoration, München; ANDREJ KUPETZ, Geschäftsführer Rat für Formgebung, Frankfurt a.M.; Prof. Dr. FLORIAN HUFNAGL, Leitender Museumsdirektor, Die Neue Sammlung - Staatliches Museum für angewandte Kunst / Design in der Pinakothek der Moderne, München. |
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The jury awarded second prize (EUR 3,000) to Nina Farsen (University of the Arts, Berlin) for her "Snuggle up" set of bowls. The characteristic feature of the bowls is their mesh-shaped baskets of cast rubber, which both insulate the bowls and provide a sturdy base. The jury was impressed by the unusual harmony of the dimensions and the well thought through overall concept of the work.
Julien Buisson and Tomek Rygallik (Royal College of Art, London) were awarded third prize for "Break fast", a joint project that resulted in a set of porcelain cutlery that has to be separated along the cutting edges. The jury praised in particular the fact that breaking the porcelain was also breaking a taboo, as well as the finely balanced design.
The special prize – a six-week practical training stint at the Rosenthal Creative Center – went to Pieke Bergmans (Royal College of Art, London) for her "Re-Design" entry. This involved revamping "moon", Jasper Morrison's Rosenthal service, which is given a completely new aesthetic appeal and shape through the addition of adhesive tapes.
In addition to the prizewinners the jury selected for inclusion in the exhibition and accompanying catalogue a further 15 works that bear witness to the entire range of uses to which porcelain can be put. In the tableware category Sandra Hirsch ("Shifted") and Anikka Giesbert ("Lucullus") both received nominations for innovative, multi-functional sets of plates. The much-reduced stackable set of crockery by Selma Serman ("Three"), the "Bones" organically shaped finger food cutlery by Mechthild Ubl, Lucy Whiting's attractive "Generations" set of cups and Alex Bopp's "Hot Pott" porcelain beakers with their insulating grooved texture were all given a particular mention. Anais Triolaire's "Meetree" amuse-gueule service is nothing if not original, and can be put to a wide range of uses, as can Arnaud Lapiere's "Happydays", which is also extremely functional. The porcelain vessels have a silicon base and are completely sealed when stacked.
"Parure", innovative crystal-shaped wall décor comprising four basic elements by Emi Yatsuzaki and Benjamin Graindorge marks a new departure for porcelain. Sylvain Rieu-Piquet's "Family of Boxes" – five types and sizes of storage jars for small precious items - keeps up the tradition of valuable family jewelry, while with "The Incomplete" Lu Zhou contrasts the perfect shape of a Greek amphora with traces of the production process, e.g., casting threads. "See me Touch me Feel me" by Anders Ruwald and Geoffrey Mann represents high-tech in porcelain: an interface object that emits different music depending on how it is touched. Music likewise provided the inspiration for Magdalena Nillson’s "Volume", which involved using porcelain to make loudspeakers. With her "P-Mobile" porcelain casing for mobile phones Julia Leihener came up with a trend-setting way of combining porcelain and technology. |
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