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2024.05.22

We meet with Ilse Crawford at her Neckinger Mills studio – a Grade II-listed former tannery on Abbey Street in Bermondsey, south London. Crawford and her husband Oscar Peña have lived in the building since 2018 and the studio has been here since 2012. In 2021 Studioilse moved in to one of the spaces that was formerly a fine arts restoration studio with a view to turning it into a workshop, a place where physicality is first and foremost. Here the team can work together and lay out large-scale material samples, often with their clients, so they can touch and feel the materiality of a project, and understand the final result, rather than prioritising screens.

2024.05.22

We meet with Ilse Crawford at her Neckinger Mills studio – a Grade II-listed former tannery on Abbey Street in Bermondsey, south London. Crawford and her husband Oscar Peña have lived in the building since 2018 and the studio has been here since 2012. In 2021 Studioilse moved in to one of the spaces that was formerly a fine arts restoration studio with a view to turning it into a workshop, a place where physicality is first and foremost. Here the team can work together and lay out large-scale material samples, often with their clients, so they can touch and feel the materiality of a project, and understand the final result, rather than prioritising screens.


2024.03.15
2024.03.14
2023.09.01

Earth, Wind, Fire, Water

How do artists explore the potential of materials and our natural elements? Bringing together a number of distinguished writers and thinkers from the Nordic region, the critical anthology Earth, Wind, Fire, Water investigates nordic craft and its relationship to our natural elements. The anthology is edited by Randi Grov Berger and Tonje Kjellevold and produced by the Nordic Network of Crafts Associations and Galleri F 15. It is published by arnoldsche Art Publishers.

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Earth, Wind, Fire, Water

How do artists explore the potential of materials and our natural elements? Bringing together a number of distinguished writers and thinkers from the Nordic region, the critical anthology Earth, Wind, Fire, Water investigates nordic craft and its relationship to our natural elements. The anthology is edited by Randi Grov Berger and Tonje Kjellevold and produced by the Nordic Network of Crafts Associations and Galleri F 15. It is published by arnoldsche Art Publishers.

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“A circular economy is a process for the whole of society and we will not achieve a circular transition if we don’t collaborate.”

2020.12.19
Waste is a great resource, says Dag Duberg of Tarkett

2023.06.30
2023.01.31
2022.12.28
2022.12.01
2022.11.17
2022.11.16

ISSUE 04 / SEPTEMBER 2022

What does an object do to us, to a room, to the conversations we are having? What does it say about the community where it was made? In issue four we look at the things we surround ourselves with and what they mean to us. We visit the architect Petra Gipp on her island abode and spend some time at home with brand director Petrus Palmer, who uses his family home as a testing ground for new products and furniture. We discuss the concept of home with the renowned artist Miriam Bäckström and the architect Eero Koivisto, of architecture and design practice Claesson Koivisto Rune, who shares his favourite objects with us. In his home a bowl is never just a bowl, it is a bowl with a story. “When you cease to see something, it’s time to replace it with something else,” Koivisto says. Elsewhere in the issue, we visit a home resembling a spaceship, and one built to celebrate wood. We highlight some great initiatives and some really good pieces of furniture. “I’ve never fully understood how people can be so attached to new furniture”, says design writer Hugo McDonald when asked about what he is drawn to. “It takes several decades of heavy bottoms to shape a good chair into something irresistibly comfortable. There can be no greater proof of furniture’s quality than time.”

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ISSUE 04 / SEPTEMBER 2022

What does an object do to us, to a room, to the conversations we are having? What does it say about the community where it was made? In issue four we look at the things we surround ourselves with and what they mean to us. We visit the architect Petra Gipp on her island abode and spend some time at home with brand director Petrus Palmer, who uses his family home as a testing ground for new products and furniture. We discuss the concept of home with the renowned artist Miriam Bäckström and the architect Eero Koivisto, of architecture and design practice Claesson Koivisto Rune, who shares his favourite objects with us. In his home a bowl is never just a bowl, it is a bowl with a story. “When you cease to see something, it’s time to replace it with something else,” Koivisto says. Elsewhere in the issue, we visit a home resembling a spaceship, and one built to celebrate wood. We highlight some great initiatives and some really good pieces of furniture. “I’ve never fully understood how people can be so attached to new furniture”, says design writer Hugo McDonald when asked about what he is drawn to. “It takes several decades of heavy bottoms to shape a good chair into something irresistibly comfortable. There can be no greater proof of furniture’s quality than time.”

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2020.12.30

How will we eat, live and consume 2021? How will we travel, communicate – and feel? Will we move into a culture of longer-term thinking? After a year defined by challenges, mostly spent confined in our homes, we all long for a brighter time ahead. We asked a number of creatives about their views of the year to come.

2020.12.30

How will we eat, live and consume 2021? How will we travel, communicate – and feel? Will we move into a culture of longer-term thinking? After a year defined by challenges, mostly spent confined in our homes, we all long for a brighter time ahead. We asked a number of creatives about their views of the year to come.


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2024.03.15
2024.03.14
2023.09.01
2023.06.30
2023.01.31
2022.12.28