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Vidi ko je u avionu
/ Look who’s on Board
„Želim da moj rad bude ličan, humaniji, a kad se skrivaš iza racio-
nalnog, ne možeš raditi humanistički.“
Vandersova, i Moooijeva, veza s primenjenom umetnošću vidi
se u velikom broju neobičnih vaza koje je radio, naročito onima
koje je napravio u saradnji s poznatom fabrikom tradicionalnog
porcelana i keramike s delftskim plavim uzorkom. Manufaktura
Rojal Delft osnovana je 1653. i još i danas radi, a izradila je brojne
vaze i ukrasne predmete koje je dizajnirao Vanders.
Vanders se proslavio radeći za holandski dizajnerski brend
Droog. Za njih je napravio čuvenu „Uzlanu stolicu“ (Knotted Chair,
1996) i s njom ušao u istoriju dizajna – stolica od pletene žice deo
je stalne kolekcije njujorškog muzeja MoMA i londonskog muzeja
Viktorija i Albert.
Osim velikog broja upotrebnih predmeta, Vandersov dizaj-
nerski studio, koji zapošljava 50 talentovanih dizajnera enterijera,
radi po celom svetu: oni uređuju krajnje neobične, otkačene hotele,
privatne rezidencije, salone mode...
Vandersov studio preuredio je javnu biblioteku na
Prinsengrahtu, jednom od najlepših amsterdamskih kanala, u hotel
Andaz Amsterdam Prinsengraht. Hotel vredi posetiti kao igraoni-
cu za odrasle, jer spaja dugu istoriju Amsterdama s neočekivanim
dizajnerskim obrtima u stilu Alise u Zemlji Čuda.
Vanders je snažni kreativni generator holandskog dizajna, a sa
svega pedeset godina života dobio je neverovatnu posvetu svog
grada: veliku sveobuhvatnu retrospektivu u Stedelijku, važnom
amsterdamskom muzeju moderne umetnosti. Kao i mnogo toga što
Vanders radi, izložbu koja je otvorila muzej nakon dvogodišnjeg
preuređivanja, mnogi su smatrali preuranjenom počašću mladom,
isuviše buntovnom dizajneru koji je bio izbačen s prve godine
ugledne Dizajnerske akademije u Ajndhovenu pa je na kraju zavr-
šio Umetnički institut (Institute of Arts) u Arnemu.
Već sam naslov njegove retrospektivne izložbe u Stedelijku
Marcel Wanders: Pinned Up
pokazuje kako on razmišlja. Izložen
poput leptira probodenog pribadačom na naslovnoj fotografiji mo-
nografije i kataloga izložbe, Vanders uživa u pogledima posmatra-
ča, duboko uveren u vrednost onoga što radi i što zastupa i u svom
svakodnevnom životu. Estetika njegovog otkačenog brenda živi u
neobičnom mondrijanovskom ritmu Amsterdama.
e
Marcel Wanders, who
Phillippe Starck celebrates as
his only true heir, declared one
of the basic tenets of modern
functionalist design – less is
more – as a “pathological delu-
sion”.
‘If poetry is about love, if
theatre is about love, if opera
is about love... why then should
design be dedicated to ...
functionality? asks Wanders
rhetorically, adding: “we are
also poets...”. For him, design,
like every creation, in no way
means rational: “I want my
work to be personal, humane,
and when you hide behind
rationalism you cannot work
with humanism”.
Wanders’ and Moooi’s links
with applied arts can be seen
in a large number of unusual
vases which he has created,
especially those he produced in
collaboration with the famous
blue pattern of the factory
of traditional porcelain and
ceramics in the city of Delft.
Porcelain manufacturer Royal
Delft, founded in 1653 and still
operating today, has produced
numerous vases and decorative
objects designed by Wanders.
Wanders gained repute
while working for Dutch design
brand Droog. It was for them
that he made his famous Knot-
ted Chair (1996) and thereby
earned inclusion in the history
of design – the chair is now
part of the permanent collec-
tion of New York’s MoMA and
London’s Victoria & Albert
Museum.
Apart from producing
a large number of useful
everyday objects, Wanders’
design studio, which employs
50 talented interior designers,
also works all over the world:
decorating decidedly unusual,
offbeat hotels, private residenc-
es, fashion salons etc.
Wanders’ studio renovated
the public library on Prinsen-
gracht, one of Amsterdam’s
most beautiful canals, at the
Hotel Andaz Amsterdam
Prinsengracht. The hotel is
worth visiting as a playground
for adults, as it combines the
long history of Amsterdam with
unexpected design twists in the
style of Alice in Wonderland.
Wanders is a powerful cre-
ative motor of Dutch design
and at the age of just fifty he
received an incredible dedica-
tion from his city: a large,
comprehensive, retrospective
exhibition at the Stedelijk Mu-
seum, an important modern
art museum in Amsterdam.
Like much of what Wanders
does, the exhibition – which
opened at the museum
after two years of rearrang-
ing – is considered by many
as the premature honouring
of a young, overly rebellious
designer who was expelled
from first year studies at the
prominent design academy
in Eindhoven and ended up
completing his studies at the
Arnhem Institute of Arts.
Even the title of his ret-
rospective exhibition,
Marcel
Wanders: Pinned Up at the
Stedelijk
, shows how he thinks.
Exposed like the hooked
butterfly pinned on the cover
photograph of the exhibition
monograph and catalogue,
Wanders enjoys the looks of
observers, deeply convinced in
the value of what he does and
what he represents in his daily
life. The aesthetics of his wacky
brand resides in the unusual
Mondrian rhythm of Amster-
dam.
Moderni hotel
Andaz pretvorio je u
igraonicu za odrasle
s neočekivanim
dizajnerskim obrtima
u stilu Alise u Zemlji
Čuda
e
The modern
Andaz Hotel has
turned it into a
playground for adults
with its unexpected
design twists in
the style of Alice in
Wonderland
Kao Alisin prolaz kroz ogledalo, izložba u muzeju Stedelijk
e
Like Alice’s journey through the looking glass, the
exhibition at Stedelijk Museum