With the Great Heal's Bodging Race about to kick off, we caught up with competitors Gitta Gschwendtner and William Warren to talk us through how they got involved with the project.
Gitta Gschwendtner Taking a "tailor made" approach to design, each of Gitta's pieces is carefully researched with every solution an individual response to a projects particular needs. A newcomer to the Great Heal's Bodging Race, her designs have narrative at their heart with style derived primarily through functionality.
What made you want to become a designer and maker?
My mother trained as a fashion designer and my father initially wanted to study art, but then decided on medicine. When I grew up I always new that I would either want to work in the arts or become a doctor. After an art foundation course in London I happily turned down my place to study medicine in Hamburg and never returned. I then went on to study design at Kingston University and the Royal College of Art.
Why is it important to maintain the craft of bodging?
In a world where we understand less and less how things work and are being made, it’s nice to maintain some very basic making traditions.
What role does the craft of a piece play in your design process?
I am not usually a maker, so craft is not normally an element in my work.
How do you think your designs differ to those of the other bodger’s?
My original bodge bench is quite square for something that has been whittled from green timber. We jokingly used to call it the Travis Perkins bench since I spent all that time turning the natural material into something that looks like standard components from a building supplier.
What impact do you think the time limitations will have on your design and make?
It is sometimes nice to have to think on the spot and just go on and do it. My work often involves a lot of planning and revisions so I will enjoy the spontaneity of the bodge job.
Do you have any ideas of what you plan to make for the Great Heal's Bodging Race?
No idea! William Warren A self-described 'Jack of all trades master of none', William Warren is no stranger to the Great Heal's Bodging Race have competed at last year's event. Born into a 'craft family' he began his career as a silversmith before moving on to design furniture and now holds a post as Senior lecturer at London Metropolitan University.
What made you want to become a designer and maker?
Yes, I've got a very craft family. My dad's a potter, my mum studied textiles and does a lot of illustration and all my brothers studied making courses at university. I did a variety of different disciplines at college and the broad range of materials covered has been really useful over the years.
Why is it important to maintain the craft of bodging?
This definition of bodging that we're using is about experimental making and using prototyping to develop ideas and designs for bigger production pieces. I think it's really important to do this and to understand its value.
There's far too much designing happening on screen these days and this only gives us cosmetically fashionable pieces. Virtual designs have no weight, smell, sound or comfort. They cannot express any quality of craftsmanship. If we're not careful, new objects will all be judged on their appearance and not on any of the qualities we love and need.
How do you think your designs differ to those of the other bodger’s?
I think each of the bodgers working in the window at Heal's have a different mix of the same skills and influences. I'll be trying to make functional, attractive, production appropriate pieces that have a blend of craft and charm. I'm sure the others will be working with similar drivers but maybe slightly different priorities.
What impact do you think the time limitations will have on your design and make?
It's not easy making sensible considered decisions when you're on display and working to a tight schedule. It plays havoc with making quality and it limits some possibilities but also means you've got to solve problems with what's available and that can produce some surprising and fresh results.
Do you have any ideas of what you plan to make for the Great Heal's Bodging Race?
I'm really excited about working with the bodger’s friends, particularly Anne Marie the weaver. It's a process that suggests curvaceous and beautiful natural forms. I'm happy to let the processes and materials available lead the designs.
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[ INSPIRATION ]
Behind the design
As our Design Ireland exhibition draws to a close, we catch up with Scott Benefield of BTU Studio to discuss his modern take on traditional Murano glassware.
Artist, educator and writer, Scott Benefield's work descends from the Venetian traditions of glassblowing, which utilise the materials most essential aspects of transparency, saturated colours and fluidity.
Working from his studio in Randalstown, Co. Antrim, each piece is made using the ancient process of caneworking to add intricate patterns and stripes to blown glass.
Tell us about the first piece you ever made?
The first successful piece of production ware that I designed and made was for a company called Studio Inferno, which was based in New Orleans, Louisiana. I was one year out of school and it was a very simple vase that became the mainstay of that production line for the next eight years.
Where did you study or learn your craft?
I received an MA from Ohio State University in glass, but most of the real technical study came from working with masters from Murano in various workshop settings: in Venice, but also at summer programs in the States specializing in glassblowing (Pilchuck Glass School, Haystack Mt. School of Crafts, Penland School of Crafts).
Tell us about your design process, how do you get started?
Designs tend to evolve from previous successful designs—a line of pouring bowls descended from the success of a line of small jugs, for instance. There’s always a good percentage of new designs in each year’s line, so that’s a constant process.
What is the inspiration behind your work?
I look for inspiration at tableware in other media, historical work, studio glass from around the world, etc.
Do you have a design hero that influences your work?
Archimede Seguso, who was my teacher’s maestro on Murano back in the 1950s. He was very skilled, very inventive, very successful and he worked in his studio into his nineties.
Do you have a preferred material or process?
I use traditional Venetian cane techniques that were first developed in the early 16th century on Murano.
What will you be doing as part of Design Ireland at Heal’s?
Since demonstrating glass blowing at Heal’s isn't practically possible, I have to limit myself to supplying them with a range of work from my current line.
Why do you think events such as this are important in promoting Irish design?
I think it keeps the best work in the field in front of the public and helps displace the cliched images of Irish design as claddagh rings and tweed caps. There’s a misconception that, in general, visual arts don’t flourish here; but I've been consistently impressed with the quality of contemporary craft and design in particular.
If you'd like to take home one of Scott's stunning pieces of modern glassware, visit the Design Ireland exhibition at our Tottenham Court Road store.
To keep up to date with our busy calendar of demos, workshops and talks make sure to check our events page by clicking the button below.
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Following his short residency throwing pots live in store for Design Ireland, we caught up with ceramicist Adam Frew to discuss the inspiration behind his contemporary approach to craft.
Based in Portstewart on the north coast of Northern Ireland, Adam creates handmade ceramic homewares that are functional with a subtle abstract flair. Recreating his studio in the window of our flagship store, we couldn't resist the opportunity to put a few questions to him while he was demonstrating the craft behind his unique range.
Tell us about the first piece you ever made?
The first thing was probably a series of huts, using bits of wood and bricks I found in our back garden. My dad was never too pleased and they were quickly dismantled. I guess they weren't very structurally sound, but I was about six years old at the time!
Where did you learn your craft?
I first tried throwing and working in clay at Castlereagh Technical College in east Belfast. I left school when I was 16 and this was the first time I was really excited about something that I was studying. I was there for two years and then did a degree at Belfast Art College in Ceramics. While at uni I took a ‘year in industry’ and went to Winchcombe Pottery in the Cotswolds for three months before moving onto work for Judith Kuitunen in Finland. This taught me so much about production throwing and I got to know some amazing potters.
What approach do you take designer a piece? How do you get started?
I am often inspired by cooking and the theatre of serving food, so form and decoration are key to my designs. There is a continuous dialogue from one piece to the next and I’m always thinking of how I might change some aspect of the mark making or palette.
What is the inspiration behind your designs?
Functionality is key when making pots. I also have an interest in drawing, which is something I did a lot when studying, the difference now being that I draw on my pots making abstract marks. My surroundings are also a big influence me especially the colours of the wild north coast.
Do you have a design hero that influences your work?
I love the work of Devon based potter Sven Bayer, he makes beautifully simple functional pots. I also love the work of Japanese potter Ryoji Koie, he has so much freedom and energy in his work.
Why do you think events such as Design Ireland are important in promoting Irish design?
Heal’s is an amazing platform to showcase contemporary Irish design. It is synonymous with quality craftsmanship, and I think our designers and makers can only benefit from this association. A selection of Adam's designs are on display within our Tottenham Court Road store as part of our Design Ireland event and are also available to purchase. To keep up to date with our busy calendar of demos, workshops and talks make sure to check our events page by clicking the button below. Browse our extensive collection of contemporary furniture online today.
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For this week's Behind the Design, our in-house Designer Kirsty Whyte tells us in her own words why she decided to bring back Heal's classic Check Storage range.
Good design never dates, and at Heal’s we’re fortunate to have a huge archive of exciting pieces. We thought a few of our more recent designs would be a good place to start and began by working with the team and customers to see what worked well in the past as well as see how these pieces are still being enjoyed in homes today.
On rediscovering the Check Tall Storage Unit and Sideboard, we found that the simple lines and stylish storage solutions were just as relevant today as when they were first released back in 2000.
Unable to locate the original drawings for the designs we literally started from scratch, working closely with our manufacturer to ensure the same straight grain look while also improving the pieces by adding modern drawer runners and hinges for increased usability.
This also gave us the opportunity to expand the range with a new AV Unit that can also double up as a small sideboard for those looking to fill smaller spaces. Of course, the beauty of check is that is such a visually simple design that it can compliment both modern and more traditional interiors looking great when set against a statement wall.
Find it amongst our contemporary storage range.
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We're heading up to the Highlands of Scotland this week to watch textile designer Catherine MacGruer knit her latest line of abstract cushions and throws for Heal's.
Balancing craft and new technologies, each design starts out as a series of deconstructed collages before it is reworked into a beautiful knitted accessory from super fine merino wool. To find out more we paid a visit to her small studio in the countryside to talk textiles and what the future holds.
Tell us about the first piece you ever designed?
After graduating I started designing patterned Merino wool blankets before expanding my range to include other textile products for both body and home.
Where did you study?
I studied Textile Design at The Glasgow School of Art, and specialised in knitted textiles. I was and still am fascinated with the endless possibilities knit has to offer when combining bold patterns and quality wool yarns.
What is the inspiration behind your work?
My inspiration is constantly evolving, I am always inspired by travel whether it be within the UK or further afield, recording patterns and shapes along the way, through photography and collaging.
Other constant sources of inspiration include, Scandinavian design, masquerade and folk costume and traditional Scottish Knit. The collection of cushions available at Heals was inspired by the fragmented patterns within mosaics seen in Barcelona. The eclectic mix of styles and colours made an exciting starting point.
Do you have a design hero that influences your work?
I admire the work of many, from photographers like Charles Freger to brands such as Marimekko and artists and designers including Sonia Delaunay and Alexander Girard . The list could go on and on.
Where is your studio?
My studio is a small wooden cabin in the Highlands of Scotland, It was a building project for my partner Mike and I. With a lot of help from family and friends we sourced the materials, using reclaimed windows, flooring, doors and timber. It is naturally bright and I feel very lucky to be able to work in such a lovely space.
Tell us about your design process, how do you get started?
My design process always starts with collecting inspiration and collating it on the studio wall. I use collage to experiment with shapes, colours and compositions reworking them until something clicks. I then have to consider how these designs will work technically when developed in to a knitted fabric.
Do you have a preferred material or process?
I currently only work with high quality super fine Merino Wool. It has so many amazing properties, it is great to knit with on the machine and it is a non fibrous yarn which keeps the geometric shapes in my designs sharp. It is soft to touch and a natural sustainable material. The pieces are machine knitted using advanced jacquard techniques creating double thickness quality fabric.
How did you get involved with Heal’s?
Last year I won the New Design Britain Award for my Textiles at the May Design Series, A member of the judging panel arranged for me to meet with Heals buying team. It has been a dream of mine to have my designs stocked by Heals so it has been a very exciting and surreal experience.
How would you describe the collection?
The designs are a bold and vibrant mix of geometric patterns and shapes creating statement accessories for any interior. Knitted in the UK using the highest quality Merino wool, they are made to last and be treasured.
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With the Great Heal's Bodging Race set to make a return, we asked former competitor Gareth Neal for his thoughts on his winning Ease Chair design.
“When I was asked to take part in the Great Heal’s Bodging Race, I approached the design with a free agenda, wanting to create a chair that felt right at the time. Having seen a bamboo sun lounger on a beach in Egypt earlier in the year, I was inspired to utilise the traditional technique of bodging to create a piece that didn’t feature a solid wood seat. In some ways an evolution of the Windsor chair."
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Bodge job: Gareth Neal (bottom left) hard at work on his Ease Chair as part of the Great Heal's Bodging Race 2015.
"I quickly adopted the classic construction of bodged furniture embracing its purity and simplicity, and within the week the design had evolved from prototype to potential product.
Working with Heal’s in-house team, I was able to refine my design to produce the Ease, a modern slung chair that celebrates honest craftsmanship through the tacit quality of material and simple jointing detailing.”
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HEAL'S DISCOVERS
HEAL'S DISCOVERS
Ed Heritage
As part of this season’s Heal’s Discovers initiative, we’re delighted to introduce Ed Heritage, an award-winning UK-based designer whose signature style of clean geometry and playful details is reflected in the beautiful lamp he created.
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