Knauf & Brown, furniture designers

Formafantasma, Ladies & Gentlemen, Rich Brilliant Willing: The list of design partnerships that began in art school is pretty endless. But rare is the pair who knew and liked each other enough to not only register at the same university at the same time but also to enroll in all of the same classes, “to keep each other on our toes.” That’s Calen Knauf and Conrad Brown of the emerging Vancouver-based design studio Knauf & Brown talking; the two met through skateboarding more than a decade ago. Brown was a photographer and Knauf a graphic designer, and once they graduated from their industrial design program at Emily Carr, the natural thing to do was to go into business together. “It’s a good partnership,” they say, “because we both have different strengths, but fairly similar aesthetics.” What exactly defines that aesthetic is still a bit up in the air, considering that the two graduated only last year. But what’s emerged so far has shown an emphasis on simple and honest natural materials, like ash and marble, as well as a healthy sense of humor that occasionally surfaces in the form of performance art. For “despite how much of our lives we dedicate to design and our studio, we still place a high priority on having as much fun as possible,” they say. “We both still skateboard, and regularly get up to no good.” Read on for a deeper look into their brand-new practice.
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24-Year-Old Misha Kahn May End Up Being Our Biggest Discovery Yet

The first time we met Misha Kahn, he was slapping gold metallic wallpaper with long-lashed googly eyes onto the walls of a tiny room we’d afforded four RISD students at our 2011 Noho Design District showcase. We were never sure quite what to make of the wallpaper — was it technically even “furniture design,” or was it more a piece of Surrealist art? — but we knew from first sight that we loved it. Which is pretty much how we’ve felt about all of the work that’s followed from the Brooklyn-based, Duluth, Minnesota–born designer’s studio, whether it’s a pink bench made from layers of resin and trash, a series of tables that resemble Froebel blocks on acid, or sewn cement pieces that look like the work of a woozy Jeff Koons.
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Helen Levi, ceramicist

If, like us, you began hearing the name Helen Levi only a few months ago — well, there’s a pretty good reason for it. At this time last year, Levi was balancing four part-time jobs, working as a photo assistant, a pottery teacher, a bartender and a waitress. “I’d been doing pottery since I was a little kid, but mostly gifts or for myself,” she told me when I visited her Greenpoint studio last month. “It’s the dream to be able to make stuff you want to make and have that support you, but I never really thought that was possible.” Then, at a random cocktail event last fall at one of the Steven Alan shops in Manhattan, Levi met the man himself: “I met Steven Alan by chance and was telling him about my work, and he was like, ‘Send it to me.’ I didn’t even have one photograph!” Levi laughs. “But once I met him, it was the spark. I quit all my other jobs and I just tried to do this. Maybe it doesn’t work out and I go back to balancing four things, but it didn’t take a huge investment of money. And so far it’s working.”
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James Shaw, Furniture Designer

I recently wrote an article for a forthcoming issue of Architectural Digest on the London talent Anton Alvarez, whose Thread-Wrapping Machine has captivated the design world as of late, and in it, his gallerist Libby Sellers makes the point that what's so of the moment about his work is that he isn't just making objects, he's making the object that makes the objects. And it's so true: Many of the more interesting young designers we've come across in the past few years have been the ones shifting their focus towards developing their own weird and wonderful production processes, like Silo Studio for instance. There's just something about this unexpected inventiveness that captures people's curiosity, which explains why the latest project by newcomer James Shaw — a series of homemade "guns" that spray or extrude materials into or onto furnishings — went viral on the design blogs shortly after he presented it at his RCA graduation show. In work like his, it's about the journey, not just the destination. So Sight Unseen, right?
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David Kirshoff, Designer

If New York designer David Kirshoff's bright, blobby lamps and chairs have an element of the grotesque to them, to some degree it was fated: “I was raised around a shop that makes special effects for movies and TV, where my brother and I used to hide out and coat each other with fake blood,” says the 25-year-old Pratt grad. “I’ve been welding and machining, blowing things up, setting things on fire, and most importantly, making things with my hands since I was a little kid. That’s how I learned to be a craftsman.” Thanks to these formative experiences, Kirshoff developed a healthy knack for experimentation, and for not being afraid to work outside the normal boundaries of form and function. We discovered his wacky work through Zoe Fisher, whose upcoming Handjob Gallery Store project includes a special edition of his lamps. We'll be helping Fisher launch her entire collection very soon, but in the meantime, you can get a sneak peek by way of our interview with Kirshoff after the jump.
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Katie Stout, Furniture Designer

What were you doing at age 24? Muddling through grad school? Working as a CAD monkey? Moving back in with your parents? If so, you might be more than a little jealous of recent RISD grad Katie Stout, who at that tender age already holds the post of gallery director at New York's Johnson Trading Gallery, where Paul Johnson not only represents her work but encourages her to introduce him to that of her peers (like Noho Next alum and future SU subject Misha Kahn, for example). Before she landed the job, Stout's only previous employment was a one-summer college internship for the novelty housewares brand Fred and Friends: "I showed the creative director my portfolio, and when he saw a table I'd made as a sophomore that was an udder with milk squirting out of its teats, he asked me what I was on," she recalls. "Obviously I said nothing."
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Pauline Deltour, Product and Furniture Designer

Okay, let's get this out of the way as quickly as possible: Yes, Pauline Deltour spent a few years as a designer in Konstantin Grcic's studio. And yes, Grcic may have made a few strategic phone calls on her behalf, jumpstarting her career once she struck out on her own in 2009. But considering that was four years ago, and the 30-year-old Paris-based talent has since turned out more than a few painfully elegant designs for the likes of Discipline and Kvadrat, we thought it was worth stating for the record that she's become quite the rising star in her own right — not to mention one of design's most promising new female voices. We checked in with Deltour, who describes her practice as aspiring to create "self-evident" objects, to find out what she's been up to lately.
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Hazel Stark, designer

If this is what Hazel Stark can come up with spending only one or two days a week in the studio, we’d love to see what she could do working fulltime. The London-based designer spends most days tending the website, marketing and events for bagmaker Ally Capellino, but on her off days she slips away to a shared studio space in Hackney to dabble in ceramics and textiles infused with the same lighthearted cheer she exhibited when I phoned her up last month. But who’s to say she’ll ever take the fulltime plunge? “I started out as an artist’s assistant, and it helped me figure out the ways to run a design business before I ever started designing,” Stark says. “In some ways, seeing other people struggle put me off a bit! So it’s baby steps for now.”
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Poetic Lab & Studio Shikai, Designers

As anyone who’s spent even a passing amount of time with us knows, one of our favorite games is playing “spot the next design star.” There are lots of places to look, of course — our most recent obsession being the treasure trove that is Instagram — but the granddaddy of them all is Salone Satellite, the young designers showcase that sets up shop on the edge of Milan’s fairgrounds each year. Before blogs, before ICFF Studio, before the London Design Festival even existed, there was Satellite, which in the past has been a launching pad for designers like Front, Nendo, Paul Loebach, Jonah Takagi, and Matali Crasset, to name a few.
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Jason Rens, Furniture Designer

Jason Rens’s future as a designer pretty much began — though unbeknownst to him at the time — the day his grandpa bought him a Taliesin West t-shirt. Rens was still a kid growing up in Arizona, and his grandpa, Al Farnsworth, was an architect who liked to make pilgrimages to Frank Lloyd Wright’s famed winter home each time he came to visit. When Rens grew up and graduated high school, he worked at a clothing company slash record label for awhile, but then a random job at a design/build company activated some long-dormant impulse buried inside him: I want to be an architect, too. He made it halfway through architecture school in Boulder before shifting gears and finishing his degree in crafts in Portland, where he’s now known for both his interiors and, increasingly, his Rason Jens line of sculptural objects.
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Joel Evey, Graphic Designer

Joel Evey owes his career to Pixar, believe it or not. He made a name for himself as part of the team that was bringing edgy, high-brow graphics to Urban Outfitters back in 2010 — with a style some like to call the “new ugly” — but at age 15, it was Toy Story that changed his life. “I saw it for the first time and was like, wow, that’s crazy! You can do that with a computer?” recalls Evey, who at the time was already about to head off to college early to study computer science. Instead of hard coding, he decided to pursue animation and 3-D graphics instead. “But animations took so long to render that I started to think, ‘Well, what happens when I take this image and just render one of them?’ Then, ‘What if I put type on it? What would that look like?’” The rest, as they say, is history.
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David des Moutis, Furniture Designer

Like many of his peers, 29-year-old Parisian David des Moutis is obsessed with finding new possibilities for traditional handicrafts, and if he could, he'd probably spend all of his time geeking out in workshops watching glass being blown, stone being carved, or metal being spun. One of his pieces — an eyeball-shaped bentwood stool he showed at IMM Cologne in 2010 — even came about after he discovered an old manual wood press in the back of a local shop that its own employees didn't even know how to operate. One could say he's the ultimate tinkerer; even when he's not the one fabricating his own designs, he can't help but leap in and try to learn the ropes. Check out some of the results here.
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