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Designers’ interviews by Caroline Roux

Simple is beautiful and Memento Mori photographs: Getty Images

Copy of sections Simple is Beautiful and Memento Mori by Simon Fellows

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Simple is beautiful

Nude

Content

Simple is beautiful

Memento Mori

Nigel Coates

Living Nude

Nude Flavours

Nude Lighting

Manufacturing

Ron Arad

Product index

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simple is beautiful.

6

simple reveals the beauty that surrounds us.

9

simple is uncluttered.

10

simple makes the ordinary extraordinary.

13

simple allows us to find inspiration.

14

simple is the here and now.

17

simple is clean

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simple is essential.

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simple is all of these things…

and also the reason things are so rarely simple.

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‘Nature is pleased with simplicity.’

— Sir Isaac Newton

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simple is living in the moment.

27

‘Simplicity is the ultimatesophistication.’

— Leonardo da Vinci

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simple allows us the space to feel.

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‘Simplicity is the keynoteof all true elegance.’

— Coco Chanel

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simple brings all of our senses to life.

35

simple is life.

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simple is the ultimate achievement.

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simple is clear.

40

simple is transparent.

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simple is pure.

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simple is timeless…convenient…reliable.

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simple…is not as simple as it seems.

48

simple is beautiful…

51

simple is Nude.

53

In life there is only one certainty: it begins and it ends.

MementoMori

56

Faceted Skull S 25397

h: 83 mm

Ø: 80x105 mm

Faceted Skull L 28460

h: 205 mm

Ø: 198x260 mm

Memento Moriby Ali Bakova

58

Nothing lasts for ever.

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Faceted Skull S 25397

h: 83 mm

Ø: 80x105 mm


62


h: 205 mm

Ø: 198x260 mm


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h: 205 mm

Ø: 198x260 mm

‘Death twitches my ear;‘Live,’ he says... ‘I’m coming.’

— Virgil

66


h: 205 mm

Ø: 198x260 mm


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7070

‘Do not fear death so much, but rather the inadequate life.’

— Bertolt Brecht


72


h: 205 mm

Ø: 198x260 mm

7474

‘A man who lives fully is prepared to die at any time.’

— Mark Twain


76


h: 205 mm

Ø: 198x260 mm

7878

‘I’m gonna live ’til I die.’

— Frank Sinatra


80


h: 205 mm

Ø: 198x260 mm

8282

‘The future’s uncertain and the end is always near’.

— Jim Morrison

Skull / bowl28416

h: 150 mm

Ø: 240x249 mm

Memento Moriby Erdem Akan

84

Skull / bowl28416

h: 150 mm

Ø: 240x249 mm


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8888

Live today as if it were your last. Life is happening now. Live it.

Skull / bowl28416

h: 150 mm

Ø: 240x249 mm


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94

Nigel Coates

Believing function and aesthetics are inherently bound together, a sensual, organic fluidity of line is the main way Nigel Coates redefines creativity. His thought process starts with raw ideas, goes on to shape buildings, while inspiring and educating new generations of creative minds.

Creative fromsoul to mind

A conversationwith Nigel Coates

B: 1949, Malvern, United Kingdom Nigel Coates is one of the UK’s most creative thinkers, architects and educators. He is the designer of everything from ground-breaking restaurant and retail interiors in countries as diverse as Japan and Turkey, to museum extensions in London, and high-end products for grand European marques, all informed by a sensual and organic quality and a fluidity of line. He has written with unbridled imagination about what cities could be, and fiercely defends the idea that function and aesthetics can happily co-exist. From 1995 to 2011 Nigel Coates also led the Architecture Department at the Royal College of Art in London, and is now establishing a new model for architectural education

and increasingly Italy, craftsmanship in Istanbul is alive. It’s a really good thing that many traditional European practices – in ceramics, textiles and, of course, glass – are surviving and progressing so significantly thanks to Turkish entrepreneurs and artisans.

N: You are first and foremost an architect, but you seem at ease working across many scales and media.

NC: I suppose it’s because I’ve always thought of spaces as being fundamentally linked to the things that are in them. It’s that combination that creates our spatial experience. From the very beginning of my career, I wanted to incorporate design with interiors and architecture which is quite an unusual stance for a British architect, although

at the London School of Architecture, based in East London. He divides his time between the UK and Tuscany, where he has restored a 15th century hilltop house in his own unique style. It is this close relationship with Tuscany, and its grand wines, which has directly informed his first collection for Nude.

Nude: Even before you joined forces with Nude, you’d fallen in love with Istanbul as a city. You designed a groundbreaking nightclub there in a derelict textile factory back in 1990 and have returned with subsequent projects since. What’s special about it?

Nigel Coates: It’s just a fascinating city. Like Rome, and London, it has so many forces at work, so many layers. It’s a living metropolis. Unlike London,

it’s completely normal for a European. Many of my design heroes did the same – the great twentieth-century Italians like Gio Ponti, Carlo Mollino and Ettore Sottsass all had an over-arching architectural vision, but were just as happy designing furniture, vases and lamps.

N: You’ve created many beautiful small-scale product over the years, from chandeliers to chairs to vessels. What’s so satisfying about designing a drinking glass, for example?

NC: I’ve always been fascinated by vessel forms, and glasses are miniature vessels. The rotational symmetry of a glass is very pure. The design of a glass depends on the movement captured in a single line that turns three-dimensionally. I know that my designs

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have to be original and capture a precise spirit, but they have to summon up archetypes too. N: Your signature collection for Nude is called Heads Up. Why?

NC: It began with the wine glasses that are sensual and undulating, simple but with personality, like characters in a family. The red wine glass is deliberately on the big side, which comes from my familiarity with the Tuscan wine experience. Brunello and Vino Nobile di Montepulciano wines are always served in large glasses so you can draw in the perfume. The double curve swills the wine perfectly, helping to aerate it. The overall fluidity and heavy stem add sparkle and balance.

N: You’ve since added whisky glasses and bowls to the Heads Up range. What’s the key to developing a series of products?

NC: Once you’ve defined the language of a collection, it should expand easily to a wider spectrum of uses. On the other hand, each different shape needs to have its own qualities too. The double curve appears in every piece, because it’s that

to outperform mere functionalism. N: What was your reaction when you first visited the factory at Denizli a couple of years ago?

NC: I’ve been to many glass factories and studios over the years, but Denizli is the only one I know that has an army of craftsmen. The blowing room is extraordinary in its scale and choreography. At first it seems chaotic, but then as you watch and start to decipher the actions of each person, you realise that every individual is part of a team and they work together to a precise formation. It’s almost balletic.

N: Can you explain how these particular pieces are made?

NC: With Heads Up, the bulb is blown into a mould, although steam makes sure the glass never actually touches it. Then the stem is drawn out by hand and the foot shaped with a customized tool. When I was at the factory there were nine skilled workers in the team – it’s an incredible collective effort, right down to the last guy who takes the finished glass to the annealing conveyor. N: What is so special about glass?

feature which plays with the light. In the case of the bowls, it means the light becomes concentrated in the centre, and the thick base gives a lift to each of them. They seem to float. N: Creativity and the expression of a strong, single idea seem paramount to you as a designer. How can you maintain that level of integrity when working on a highly commercial project? Or is the real pleasure in producing something that can be widely appreciated by many consumers?

NC: For me the ideal is to combine both. Heads Up has some precious attributes, but it’s an accessible range too. It makes me very happy to know that people other than me find the pieces useful, or even desirable! All designers must hope their work enriches lives, and in that respect I’m no different. It used to be thought that design worked best when it fitted in naturally with purely functional needs. But I think design needs to carry a thread of culture too; in the course of being useful it should also trigger ideas and associations. I believe that design with a hint of story-telling tends

NC: Moulton glass is a sensuous viscous liquid; its essential fluidity is something I try not to lose in the design. Even if we’re producing in large numbers, glass manufacture works best as a hand-making process.

N: Are you interested in the history of the material? NC: Of course! I have a passion for objects of Roman origin, including glass. I cut my teeth as a designer in glass by commissioning details for various shop interiors. I developed these skills making lamps and vases in Murano. N: Where do you keep your set of Heads Up glasses? NC: I have one set at home in London and another for entertaining in the studio. I guess I should take some to Tuscany too. They’d certainly get lots of use.

N: Now you’ve spent some time with Nude, how would you describe it as a brand? NC: It’s a premium brand with a strong design sensibility, so I’m proud to be part of it. And it’s interesting to work in a context where there’s no looking back. Nude is very much about the here and now.

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Nigel CoatesHeads Up

White wine glass31962

vol: 480 cc

h: 215 mm

Ø: 89 mm

Red wine glass31963

vol: 740 cc

h: 230 mm

Ø: 112 mm

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Heads UpNigel Coates

Water glass22253

vol: 465 cc

h: 120 mm

Ø: 90 mm

Champagne glass31964

vol: 240 cc

h: 250 mm

Ø: 76 mm

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Whisky Glass22302

vol: 470 cc

h: 90 mm

Ø: 101 mm

Bowl31983

h: 230 mm

Ø: 324.5 mm

104 105


Bowl28535

h: 125 mm

Ø: 269 mm

Bowl28533

h: 75 mm

Ø: 162 mm

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Bowl28536

h: 100 mm

Ø: 300 mm

Bowl28541

h: 74 mm

Ø: 220 mm

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Living Nude

Life should be liberating. We bury ourselves in unnecessary ornamentation, allowing ‘opulence’ to disguise life’s natural beauty.

There’s a simpler path.

Because the simplest things in life are always the most beautiful, and always the most smart.

Night set92547

vol: 850 cc – 150 cc

h: 200 – 75 mm

Ø: 110 mm

Night set92547

vol: 850 cc – 150 cc

h: 200 –75 mm

Ø: 110 mm

Living NudeMr. & Mrs.by Erdem Akan

Night set92546

vol: 700 cc – 200 cc

h: 235 – 85 mm

Ø: 89 mm

Night set92546

vol: 700 cc – 200 cc

h: 235 – 85 mm

Ø: 89 mm

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Living NudeBlossom

Jewellery box28223

h: 210 mm

Ø: 130 mm

by Erdem Akan

Jewellery box28223

h: 210 mm

Ø: 130 mm

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Living NudeMoon

Mirror28225

h: 280 mm

Ø: 200 mm

by Erdem Akan

Interview with Erdem Akan

no glassware in his own bedroom. Likewise the Blossom jewellery box which he created for his jazz singer wife, where a dainty tree appears to grow inside a bell jar. “These are things for modern living,” he says. “I’m not nostalgic or futuristic. I’m interested in the right now.”

Nude: How would you describe Nude as a brand?

Erdem Akan: The collections are a real collaboration between the designer and the brand. Also, it has the advantage of its own factory, and that means a project can really shift and grow during its development. But more than anything, it has soul and honesty.

N: Why did you decide to design a glass skull for Nude’s latest collection?

EA: The skull goes back to my punk roots. I was a drummer in a band when I was a teenager, and the skull was our symbol, our logo. Now I’m older, I thought why not domesticate it, and bring it into the home? I might even put apples in it! But it says alot about Nude as a producer, too. I can’t imagine a more conventional brand letting me do this.

b: 1973, Istanbul, Turkey

Erdem Akan is one of the most energetic exponents of Turkish design, creating interiors, products and exhibition designs that combine “East” with “West”, and old with new, reflecting both his upbringing in Istanbul and his design education in Britain. “I love the purity of Scandinavian design, for example,” he says of his influences, “but in Istanbul, nothing is straight, not even the streets, so you’ll see both in my work.” Designing for Nude since its launch, Erdem has chosen to create products that fulfil his own needs as well as the brand’s particular mantra of contemporary simplicity. The Mr. & Mrs. water carafes, that appear to have cute human faces, came about when he realised there was

N: What was the development process?

EA: We went through many prototypes to ensure the scale was right. It was important for it to be in blown glass – that adds the translucent quality, and a slight sense of ambiguity to the piece. I like to take something that seems contradictory (a glass skull) and work on it until an unexpected balance or harmony emerges.

N: What do you like about glass as a material?

EA: All the clichés – its transparency, its timelessness. But also that even in pieces made in the factory, while there has to be standardisation, there is a tiny difference between every one. Glass allows you to do many many things. In that sense, it’s the definition of creativity.

N: What do you do when you’re not designing?

Erdem Akan: I’m still crazy about music, though nowadays it’s more likely to be intelligent dance music than punk rock.

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Bowl XL28220

vol: 9600 cc

h: 99 mm

Ø: 500 mm

Bowl L28217

vol: 7600 cc

h: 112 mm

Ø: 420 mm

Living NudeLilyby Pentagon Design

Bowl S28219

vol: 3500 cc

h: 155 mm

Ø: 208 mm

Bowl M28218

vol: 6000 cc

h: 130 mm

Ø: 320 mm

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Living NudeBubble

Vase 28287

h: 360 mm

Ø: 400 mm

by Pentagon Design

Vase28289

h: 315 mm

Ø: 350 mm

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Living NudeContourby Pentagon Design

Vase 28387

h: 400 mm

Ø: 180 mm

Vase 28390

h: 250 mm

Ø: 200 mm

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Living NudeContourby Pentagon Design

Bowl 28435

h: 135 mm

Ø: 240 mm

Bowl 28434

h: 135 mm

Ø: 360 mm

Interview with Pentagon Design

for restraint and rigour, while coming from Finland means they have always thought of glass as a primary material. “The Finnish glass heritage is so strong,” they say. “In the same way that every interior architect has to design at least one chair in their lifetime, every Finnish designer has to work with glass.”

Nude: How do Pentagon and Nude fit together?

Pentagon Design: The way we design is very Scandinavian – simple and clear; uncomplicated but still unique. That fits exactly with the Nude concept. Nude stands for many things that we think are fundamental to design, like focussing on the essentials. The product should feel like a natural part of your contemporary daily life.

N: Tell us about Contour, your latest project with Nude.

PD: Contour resulted from an idea of horizontal stacking and how contoured products, when placed next to each other, seamlessly fit together sharing an identical contour line. We then added the copper finish to the base – it’s a paint coating. We like the way the

Arni Aromaa b. 1971 Helsinki, FinlandSauli Suomela b. 1969 Helsinki, Finland

Arni Aromaa and Sauli Suomela established their agency, Pentagon Design, in 1996 – even though they were still studying for their MA in Industrial Design at Helsinki’s University of Art and Design at the time. Now they run a studio of 15, including industrial, graphic and interior designers, engineers, and economists. Their projects range from packaging for a Finnish confectionery company to the interior of a new library. At Nude they currently have 7 collections in production, often taking their inspiration from the natural world. Their design education, which followed the Bauhaus ideology, has left them with a preference

very plain Finnish form meets the richness of copper. The contrast between the transparent glass and dense bottom is delightful too. It’s a factory piece because it’s blown into a mould, but that’s done with human lungs, so it’s a lovely combination of craft and manufacturing.


PD: It is quite hard to control – you can make beautiful things and terrible mistakes.

N: What should today's designers be thinking about?

PD: You can’t overlook how design effects the environment, so we aim to produce design that is loveable and therefore long-lasting. Nude believes that too.

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Bowl24107

vol: 440 cc

h: 75 mm

Ø: 160 mm

Living NudeEssence

Bowl24112

vol: 1000 cc

h: 100 mm

Ø: 250 mm

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Living NudeEden

Mini terrarium15531

h: 132 mm

Ø: 128.5 mm

Terrarium15479

h: 232 mm

Ø: 226 mm

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Living NudeMagnolia

Vase20791

vol: 4000 cc

h: 200 mm

Ø: 240 mm

Vase20787

vol: 5700 cc

h: 320 mm

Ø: 180 mm

Vase28298

vol: 1000 cc

h: 280 mm

Ø: 88 mm

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Living NudeMidnightby Alev Ebuzziya

Bowl 28393

h: 90 mm

Ø: 258 mm

Bowl 28394

h: 74 mm

Ø: 310 mm

Bowl28391

h: 55 mm

Ø: 168 mm

Bowl28392

h: 80 mm

Ø: 218.5 mm

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Living NudeMidnightby Alev Ebuzziya

Bowl 28394

h: 74 mm

Ø: 310 mm

Interview with Alev Ebuzziya

her 100m2 south-facing loft in the 14th arrondissement also incorporates her studio. From there she makes regular trips to her native Istanbul, home of Nude.

Nude: Tell us about your collection for Nude called Midnight.

Alev Ebuzziya: With any new product, you try to adapt to the greater needs of the project, while keeping your own personality. As I am known for making bowls, I wanted to extend that into my range for Nude. And I wanted to make something to be used everyday – objects shouldn’t just sit around on the sideboard! These would be great for serving salads, for example. I’d like to see them on the dining table, both decorative and useful.

N: Why black glass?

AE: It’s a colour I love to work with – it’s full of mystery. And since I’ve just been talking about food, it’s a good colour for presentation. I think rice looks wonderful in a black dish, as does fruit. As a colour black is as important as white, but it’s especially demanding because it is so strong. Black is sober, but not without sensuality. Anything

B: 1938, Istanbul, Turkey

Alev Ebuzziya is an internationally renowned artist, best known for her unique ceramic bowls which are in 30 museum collections around the world, though she has a real passion for glass and textiles too. “I knew by the time I left school that I wasn’t going to be a dentist or a lawyer,” she says. “Art is very important to me, but I like to work in the design world too, in larger scale production, so my pieces can reach many more people.” In the 1960s, Alev headed to Copenhagen, attracted by the clarity and modernity of the Danish design of that period. Her own work also exudes a simplicity and tranquillity that makes her a perfect partner for the Nude brand. For the last 32 years, she has lived in Paris, where

lacking sensuality in art or design is no good at all. But previously I designed another collection for Nude, of kitchen jars with pink lids. I like the way they connect with the brand’s name.

N: What’s special about glass as a material?

AE: It’s a tricky material to work with – it can become anything, it’s fluid and full of its own life. At the factory, the workers have so much skill but you can sometimes find yourself asking them to do something they’ve never attempted before and it’s wonderful to push the boundaries. A designer’s job is to always create something new, and a maker likes nothing more than solving a problem and overcoming a serious challenge.

N: What do you when you’re not making art?

AE: I sit around my table with good friends and eat excellent spaghetti.

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Living NudeMistby Tamer Nakıscı

Vase 15556

h: 290 mm

Ø: 205 mm

Vase15557

h: 380 mm

Ø: 280 mm

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Living NudeMistby Tamer Nakıscı

Vase 15558

h: 210 mm

Ø: 270 mm

Interview with Tamer Nakıscı

making. “I’d go into the workshop after every one had gone home and pick up the off-cuts from under the machines, and work out what they could be,” he says. The last year has been a busy one for the designer. He devised a highly successful interactive installation at London’s Royal Academy, took part in an exhibition curated by Wallpaper magazine at the Salone del Mobile in Milan, participated in conversations around Istanbul’s Design Biennale, featured in Dwell magazine as a rising star, and also joined Nude as one of its designers. This was his first adventure in working with glass.

Nude: How did you prepare for your first project with Nude?

Tamer Nakisci: Every time you work with a new material it opens up a whole new world, so I went to the factory in Denizli with an open mind – just the week before I’d been working in a felt-hat factory in Poland! With glass, you can work on ideas quickly, and keep going until you know you’ve arrived at the perfect point.

N: What is particular about the pieces you have created for the brand?

B: 1982, Istanbul, Turkey

Tamer Nakıscı, who currently lives and works between Istanbul and London, describes himself as an interdisciplinary designer, whose ultimate objective is to bring new perspectives to the world of design. His belief is that even a designed object should be open to interpretation, created so each individual user can engage with it in their own way. Tamer studied industrial design at Mimar Sinan University of Fine Arts in Istanbul and was invited during that time to join the prestigious Fiat Advanced Design Concept Lab in Milan. It was there that he learned about the importance of emotion and narrative in design. But it was regular boyhood visits to his father’s carpentry workshop that fired his initial enthusiasm for

TN: I’ve made a series called Mist. You could call them vases, but to me they have many possibilities – storage containers, objets, a place to keep magazines…. At the moment I have one on my desk and it’s full of A4 paper and my big headphones are hanging off it, too. The glass blurs the content makes anything inside it a little bit mysterious. In the spirit of Nude, I wanted to make something very simple, not over-designed, but which could be open to interpretation and fit into many living situations.


TN: It’s a beautiful old material subjected to old techniques, so you are investing in history in a way. But Nude is very much a young brand, that looks to the present, and I like that enjoyment of the here and now. N: What do you do when you’re not designing?

TN: I think about design!

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Living NudeMono Boxby Ayse Birsel

Vase 28352

h: 163 mm

Ø: 185 mm

Vase 28353

h: 133 mm

Ø: 155 mm

Vase 28350

h: 228 mm

Ø: 250 mm

Vase 28351

h: 197 mm

Ø: 215 mm

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Living NudeMono Boxby Ayse Birsel

Nude: What made you want to study in both Turkey and the United States?

Ayse Birsel: I really felt that I needed to be in New York, though Istanbul and New York are incredibly similar in my mind. Rich yet poor, beautiful yet ugly and both with a great mix of people.

N: When did you start working with Nude?

AB: We’ve worked together for 3 years but the people there are old friends. I approached them and we started talking about projects. It’s great to work in Turkey now – a way to be connected to my culture and my family. I speak the the language, but we’re like a foreign studio too. Where we come together with Nude is a sweet spot.

N: How would you describe Nude as a brand?

AB: It’s developing new design collections in an intelligent way and for a global market. But there is technical expertise there, and great capability, which comes from the parent factory.

N: What is particular about the

B: 1964, Izmir, Turkey

The designer, teacher and writer Ayse Birsel runs a multi-disciplinary studio in New York with her husband, Bibi Seck. “We do everything from kitchen utensils to office systems,” she says. They describe their design process as Deconstruction: Reconstruction – in other words, breaking down existing preconceptions in order to arrive at new perspectives and solutions. Ayse studied in Ankara, Turkey, before moving to New York to attend the leading design college Pratt Institute. This bi-cultural education is, she believes, fundamental to her design thinking, which embraces questioning, rigorousness and confidence. She recently published a new book, ‘Design The Life You Love’.

project you have completed with Nude?

AB: I developed three vases that together make a transition from a more rectangular cube shape towards a sphere. The largest is more rectangular and the smallest is rounder. I liked the idea that they could be used separately, but would tell a story if used together. These vases provide the large volume to give flowers the water and air they need, but make flowers easy to arrange thanks to the narrow neck. It’s such a simple consideration but when I got the prototype I thought, finally, it’s the vase I want!

N: How did this project compare to others in your studio?

AB: We often work on really complex projects, like office systems. To make something so straightforward and for domestic use is really refreshing. But it’s still a new solution to an old problem.


AB: To me glass is like solid water. It can take so many forms, have so many textures.

Interview with Ayse Birsel

Vase 28350

h: 228 mm

Ø: 250 mm

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Living NudeSweetsby Adrien Rovero

Vase28368

h: 240 mm

Ø: 160 mm

Vase28367

h: 200 mm

Ø: 125 mm

150 151

Vase28369

h: 270 mm

Ø: 320 mm

Living NudeSweetsby Adrien Rovero

new. “I’ve always loved the idea of transformation,” he says. In his studio in Renens, he works on furniture, lighting and exhibition designs, and teaches one day a week at the ECAL (L’Ecole Cantonale d’Art de Lausanne).

Nude: What was your first impression of Nude?

Adrien Rovero: The brand is brave about bringing glass into areas where it’s not taken for granted and finding new typologies – and the quality is excellent. I liked the name too. Referring to glass as naked is a way to say that it is sensual and pure – a material that’s not interested in disguise or pretence. That inspired me.

N: What is particular about the project you have completed with Nude?

AR: The pink colour is a response to the name – Nude – and the vases to me are about innocence and delicacy. The glass is sand-blasted, which makes it matte and gives it some depth, which makes it even more like skin. But I was also keen to activate an unexpected response and wanted to make objects that looked good enough to eat.

b. 1981, Pompales, Switzerland

Adrien Rovero’s designs often appear to be simple – an endlessly transformable sofa made from elegantly upholstered blocks, for example, or a collection of animal toys made from high quality leather off-cuts – but are inevitably the result of complex considerations. His first range for Nude is no exception. Called Sweets, these soft pink vases on their carefully crafted white bases, contain a series of meditations on the possibilities of glass, and the identity of the Nude brand itself, as well as looking deliciously like candy. Adrien grew up in the Swiss countryside outside Lausanne, where he started making things from an early age, picking up both man-made and natural objects and turning them into something


AR: The colours are amazing and you can play with layers and thickness, which makes for so many possibilities.

N: What should today's designers be thinking about?

AR: Trying to find a good balance between innovation and what already exists that works well. I like mixing materials and techniques, which I’ve done here with the soft matte glass and the white ceramic plate base, which collects flower petals as they fall. Also, we all need to slow down a little. Speed can make us lose our sense of humanity, and working with craftspeople is a good reminder of that.


AR: It doesn’t happen often, but surfing in Portugal in the summer and snowboarding all winter in Switzerland.

Interview with Adrien Rovero

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Nude Flavours

A simple glass of wine is the perfect way to end a day. There is elegance in such moments.

Lunch with a friend, supper with loved ones; these simple pleasures are life’s greatest luxuries.

Simplicity… not complexity.

Nude FlavoursDimple

Aromatic white wine glass31910

vol: 375 cc

h: 210 mm

Ø: 79 mm

Rich white wine glass31911

vol: 500 cc

h: 210 mm

Ø: 99 mm

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Nude FlavoursDimple

Elegant red wine glass31912

vol: 575 cc

h: 228 mm

Ø: 98 mm

Powerful red wine glass31913

vol: 700 cc

h: 240 mm

Ø: 93 mm

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Nude FlavoursDimple

Water glass31907

vol: 300 cc

h: 180 mm

Ø: 79 mm

Champagne glass 31908

vol: 300 cc

h: 250 mm

Ø: 74 mm

Martini glass31909

vol: 350 cc

h: 192 mm

Ø: 116 mm

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Nude FlavoursArchby Ali Bakova

Whisky glass22153

vol: 300 cc

h: 90 mm

Ø: 80 mm

Bowl28266

vol: 470 cc

h: 80 mm

Ø: 120 mm

Whisky bottle92572

vol: 1000 cc

h: 195 mm

Ø: 130 mm

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Nude FlavoursRhythm

Carafe91252

vol: 660 cc – 250 cc

h: 300 mm

Ø: 102 mm

by Ali Bakova

Interview with Ali Bakova

Ali Bakova: I tried to bring my work back to a level of true simplicity, so when customers see one of my Nude products for the first time, they’ll understand exactly where it is coming from. I think my most innocent design side came to the surface for these projects. I began to examine the daily use of glass, the better to understand how I could use this material in a contemporary setting. It took my work with glass to another level.


AB: To me it often feels like glass is the mother of all materials. It’s a miracle that something that starts off as sand can go through such a major change and end up with such purity. The abundance of the raw material, and its integral qualities of being recyclable, can’t be overlooked either.

N: What inspired you to create the Memento Mori skulls?

AB: First I thought of Hamlet’s famous soliloquy when he holds the skull: ‘To be or not to be’. But secondly the film ‘Indiana Jones the kingdom of the crystal skull’ is a reference point as well. It’s a

b: 1962, Ordu, Turkey

The designer Ali Bakova lives in Istanbul, where his studio is in the large industrial complex of Maslak. It’s an unusual area, where the creative industries and car repair shops happily co-exist. In 2015, Ali Bakova co-curated an exhibition there – Atolye Maslak Maker Culture – in which small-scale production of art-craft pieces was carried out on-site with 3D printers. He is also a leading light of design education in Istanbul. Ali Bakova can be playful – creating a cat from Iznik tiles, or a wooden chair inspired by the Galata Bridge. For Nude, however, he is interested in creating pure design for functional use.

Nude: What is your design process when working for Nude?

table top piece, but it reminds the user of mortality.

N: Can you tell us more about the series Arch and Rhythm?

AB: Arch is a whiskey set that uses the key element of architecture: the arch. Whiskey is a complex drink with its particular taste, smell and even atmosphere. I thought these tumblers could increase that atmospheric component. In the Rhythm night set, the jug and tumbler together create a perfect whole, but function separately, so there is a rhythm in their coming together and being apart.


AB: I get inspiration from the local fauna, the richness of our language, our migration stories, and the idea that our emotions make us “childish”. I like to investigate all these things.

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Nude FlavoursPoem

Glass22201

vol: 200 cc

h: 85 mm

Ø: 86 mm

Bottle28224

vol: 700 cc

h: 297 mm

Ø: 89 mm

by Markku Salo

Interview with Markku Salo

Nude: When did you start working with Nude?

Markku Salo: They contacted me by email a few years ago and invited me to the factory in Denizli. Glass working is a global practice – we use the same tools everywhere – so it’s surprisingly easy for a Finnish designer to communicate with a glass maker in Turkey. N: What is particular about the project you have completed with Nude?

MS: The range is called Poem, and it’s based on very geometric lines and shapes. The horizontal ridges on the surface are important in several ways. They reflect light very nicely and create shadows, and also make the glasses comfortable to hold. On a practical level, they keep the glass clean. You can drink from the tumbler all night long, and it won’t get dirty, you won’t see the fingerprints so much.

N: What inspires you as a designer?

MS: I like to think that I design for people. I listen to what people say, and I think about ergonomics. I’m inspired by normal living. You must always keep your eyes wide open.

b. 1954, Nokia, Finland

The work of the Finnish artist and designer Markku Salo ranges from the ridged tumblers he has designed for Nude, to large-scale site-specific artworks – he recently completed 11 integrated stainless steel sculptures for a new hospital in Tampere – as well as electronics and graphic design. He has lived and worked in the glass village of Nuutajarvi since 1983 – a collection of old worker cottages and factory spaces dating back to 1793. These now accommodate a community of artists and makers including blacksmiths and ceramists and a glass hot shop. Designing, says Markku, is team work. Art is a solitary affair, where only the artist can make the decisions. For him, to do both creates an ideal balance.

And of course you must work – that’s when clear ideas emerge; it’s about thinking and doing at the same time.

N: You’ve chosen a particular shade of green.

MS:I’d call it a soft dusty colour. I use very strong colours in my art pieces, but in the home, it’s good to have day-to-day objects which are peaceful.


MS: All materials are equal, each one has its own strength. But glass is good because it is transparent – you can see inside it and that makes it unique. It’s the glow of glass that I love.

N: What do you do when you’re not making work?

MS: Because our village is in the middle of a forest, we spend a lot of time gathering food. We pick mushrooms and blueberries; we hunt white tail deer and moose. My wife is a very good cook and I am extremely good at eating.

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Nude FlavoursDelizia

Espresso glass31975

vol: 95 cc

h: 93 mm

Ø: 55 mm

Fromage

Dome28106

h: 350 mm

Ø: 280–220 mm

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Nude FlavoursCantina

Carafe28196

vol: 4000 cc

h: 350 mm

Ø: 202 mm

Vintage

Carafe28303

vol: 750 cc

h: 242 mm

Ø: 150 mm

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Nude Lighting

Light allows the world to take shape. Without it everything dissolves into nothingness.

Light is illusive and ethereal, bringing the world to life in an instant.

Light is pure and luminescent…

Revealing the simple beauty that surrounds us.

Nude Lighting

Lamp15476

h: 334 mm

Ø: 310 mm

Mono

Lamp15477

h: 265 mm

Ø: 328 mm

Mira

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Nude Lighting

Lamp15476

h: 334 mm

Ø: 310 mm

Mono

Lamp15477

h: 265 mm

Ø: 328 mm

Mira

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Nude Lighting

Side lamp15478

h: 320 mm

Ø: 320 mm

Orion by Erdem Akan by Pentagon Design

Smooth

Side lamp15570

h: 240mm

Ø: 205 mm

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Nude LightingBlowby Tomas Kral

Side lamp92600

h: 402 mm

Ø: 280 mm

Side lamp92600

h: 402 mm

Ø: 280 mm

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Nude LightingBlowby Tomas Kral

Side lamp92600

h: 402 mm

Ø: 280 mm

Interviewwith Tomas Kral

wanted to be an architect myself. I like to work at a small scale; to touch the objects that I make.”

Nude: How would you describe Nude?

Tomas Kral: It’s a young brand, and uses that position well to deliver an intelligent collection. It’s a clean slate, if you like. The strategy of using mostly transparent glass and asking designers for clear, simple, functional pieces is embedded in the name. Nude suggests all those things.

N: Why did you decide to make your table lamp, Blow?

TK: I wanted to respond to what Nude stands for, and introduce my own personality too. I often take quite a poetic approach. The lamp looks like a hot air ballon; it almost seems to be floating. It’s called Blow, which talks about the process used to make it – the glass-blowing process itself. You can see that air has shaped the glass. It’s built with two glass parts, but the real surprise is the rubber-band connection that unites them. That creates a certain amount of tension even though it’s a simple thing.

B. 1979, Czechoslovakia

Tomas Kral is known for designing lighting, furniture, accessories and table top pieces in his Lausanne studio that blend simplicity and innovation. His love of glass runs deep. “Even as a student, it was a material I was drawn to. Bohemia, one of the traditional glass-making areas, is part of my country and my grandparents had so many glass pieces in their home. I started out decorating existing work, before I went on to producing new designs.” Initially Tomas studied fashion and textiles before being drawn towards three-dimensional design, both in terms of process and materials. “My father is an architect, so I grew up with design,” he says. “But I never

N: Did the glass have to be translucent?

TK: Translucent glass is the best way to diffuse light, and create a soft subtle glow. It has been sandblasted and acid polished, leaving a very fine grain on the surface. To me, that makes a luxurious, seductive finish for what is a hard product.


TK: It’s fascinating to observe the way it is transformed when the glassblower takes the soft lump of material and it gradually becomes rigid and strong. It’s like you can freeze a shape and it’s an incredible thing to watch. Glass has great inherent qualities too, that answer our contemporary concerns around sustainability: it’s naturally recyclable. You transform it and transform it back.

N: What do you do when you’re not in the studio?

TK: If you live here, you just want to go walking in the mountains. It takes ten minutes to get to them on a bike.

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Manufacturing

The origin: a spark.The process: skilled craftsmen transform crystalline. The object: fire meets air and everything shines.

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‘Anything that’s touched by man, that is transformed by man is, by its very nature, designed.’— from the movie ‘Objectified’, directed by Gary Hustwit

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Ron Arad

More than form over function, Ron Arad embraces both form and function in his designs. He goes beyond the expected, fostering change in our perceptions.

It’s about getting lost - to find a new direction.

More than a designer, a true creator.

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A dialogue between two great minds.

On the 31st of October 2013 the world of shapes and design blended with the inspiration of strategic and creative ideas. What you are about to read is a tribute to Wally Olins (1930-2014) and the most meaningful outcomes of the conversation he held with Ron Arad.

Ron Arad, architect and industrial designer by training, has gone far beyond this formal discipline. He has become a creator in its truest sense. As an Israeli based in London ever since he went there to study at the AA - Architectural Association (1974-79), Ron Arad has worked for prominent clients such as Moroso, Vitra or Alessi. His creations have been exhibited at the Pompidou in Paris or the MoMa in New York City.

His first creations were especially influenced by Dadaism, as can be seen with his masterwork, the Rover Chair. It is a design very close to a “ready made” art object, thus reflecting the inherent critique of the Dadaists to the tendencies in the art world. Even nowadays,

Ron Arad stays true to his irreverent spirit that nourishes his creativity.

After over 30 years working on a large variety of projects, Ron Arad is still true to his original spirit: designing is all about creating something that did not existed before. He is an innovator of shape and function, constantly re-thinking our reality and reinterpreting the objects that shape our lives. He is a firm believer that design is not about embellishment or style, but about the purity in the shape of an object. It’s about creating something new every time, uncov-ering an object’s essence.

On the other side of the coffee table you see the ultimate brand guru, Wally Olins, who passed away in

April 2014, about six months after this interview. Just like Ron Arad broke the boundaries of architecture to immerse himself into something bigger, as is the idea of freel shaping objects and spaces, Wally Olins was a pioneer in his sphere. He turned the world of Marketing and Advertising upside down by creating something deeper, more meaningful and lasting: Branding.

He was another non-conformist driven by the curiosity in finding the essence that makes businesses, organizations and places unique. Like this, and with his powerful sense of educated intuition he has helped shape businesses, and even nations, transforming them to be more engaging, honest to them-selves and relevant.

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Wally used to say about himself that he did “all sorts of things”. But it’s certain that clarity defined him just as much as courage:”: “I try to be direct and clear. […] It’s nice to be nice, but it’s also nice to be straight.” Perhaps his secret to getting to the heart of everything?On this special October day,

these two creative minds meet in Ron Arad’s studio in London. Their conversation needs no thought starter. As they are taking their seats they are already spontaneously starting to chat.

Wally Olins: So, Ron, what’s your view on design…

Ron Arad: To design is to impose your will on the material to make it perform a function, generally. Of course, this means using different processes depending on the case. Related to Nude and glass, it involves blowing into a mould and turning a bit. In other cases, like metal, it involves me physically, using a hammer. But for a long time I have let other people do this. My fingers used to be dirty but they are not anymore. I moved the physical work elsewhere because I feared becoming a craftsman. I am not.

WO: Really? Why is that?

RA: Because I am not a craftsman. A lot of things were done by genius craftsmen, before computers, just from drawing sections, using knives and other tools…

WO: So, do you think an artist needs to actually build and construct his /her own creations?

“I am not a hand worker. I am not even good at computed modelling. What I do is drawing.”

RA: Many artists really just give instructions. Think of Chamberlain, he just ended up sitting in his wheelchair and saying this way or that way. Is that constructing your own work? People do whatever they really want. A friend of mine goes to the pottery every day, and that’s what she does. She wants to feel it; she is a potter. That’s crafting. I am not a craftsman. I am not a glassblower. I am not as good as people that made genius things. They know what they are doing, they are conscientious and they are amazing craftspeople. I don’t have the temperament for that. I used to make stuff here, in metal; I bought metal tools, to manipulate metal and I had people who were getting good

at it, but I wanted to do other things. When I worked with metal it was exactly what I wanted to do then. But I am not a hand worker. I am not even good at computed modelling. What I do is drawing.

WO: Are you saying then that the material, in a sense - glass or metal or whatever it is -, although it matters, because you don’t physi-cally model it, it doesn’t matter that much, right?

RA: It’s comparable with my situation towards metal. It’s about whether I do a piece of metal myself or people who are, vocationally, much better than

A conversation between Ron Arad and Wally Olins.

me with the material, actually do it. It takes a skill. Let me draw a comparison to very skilled people. A few weeks ago I went to Cognac and I watched a young guy making a barrel and I was full of admiration for that. That is something I could never do. He doesn’t waste a singlemovement; he knows what he isdoing. He makes 14 barrels a day. It’s an astonishing daily accomplishment.

Now, let’s think about the material that Nude’s objects are made of, glass. The company was kind enough to take me to their two factories. One where they do everything physically, personally,

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visit their places… For me design is to do something that did not exist before… I am not stylish; I am not interested in doing the same things over and over. So I thought: what if we try this? When you go to a dinner party, a luxury, posh dinner party; why do you have so many glasses in front of

the plate? Why? Different glasses, they are for all the connoisseurs, they know. But not for me.For me, wine is either good or bad, but all those subtleties are not really my thing. When I buy wine it’s about the price or the graphics. And sometimes it’s the nations that I quite like.

blowing by mouth. There were 400 people wearing a uniform, it was crazy! They don’t talk and they’re not all doing the same thing. Each one does his own different thing.

So sometimes it happens that our design turns out to be very difficult to make. If they see a struggle I say: Look, there is nothing sacred with what we designed, we can change it.

Wally interjects: So do you mean you can modify it so it can be made more easily?

RA: Yes. We started with ignorance and designed a few things that, when they make it, there is almost no point in doing it because it doesn’t come out as beautiful. So when we observed that a few things didn’t work we said: Ok, let’s modify it.

WO: Ron, I have a feeling that, in your art, you love to challenge the limits of possibilities?

RA: I don’t know about challenge, sometimes I also ignore. I am not a big fan of conventions but I don’t think anything is sacred: “Oh the master did this”… But look, rather than struggle, you should look at it like: Look this is one idea that came on a Wednesday, maybe Thursday will bring a different idea. We should not be slaves of ideas. Ideas should serve us; we shouldn’t serve the ideas.

WO: The idea of you being involved in the creation of a very high quality, high design, luxury class product, Nude, how did that emerge?

RA: When in Istanbul, what you buy are tea glasses and then, when you are asked how you would like to design for a glass company, what you do is look around and think: how can I make a contribution to this?

WO: Is that what you thought, really? That’s very interesting, because you get projects from different people

and there are times when you know what to do, but there could be others where your thoughts might be something like: what shall I possibly do with this now?

RA: For sure. But here, I didn’t doubt for one second that we could do something. You look at it and you

“ For me design is to do something that did not exist before… I am not stylish; I am not interested in doing the same things over and over.”

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WO: For me, anything over 12 pounds sterling I get suspicious… (joking)

RA: Rather than having glasses ready for any eventuality, create one that serves any eventuality. Red? Or, no, no, White!

WO: So then, some clever dude says: I have had white, now I want red! What do you do? Different glass?RA: Well, the name of the series

is “Red or White”. But you can turn it around and you have a red ring on the tablecloth. There’s nothing wrong with that, is there?

WO: You didn’t walk around asking people: Would you like this? I hope you didn’t…

RA: No… Well, I have some friends that are professionals that have restaurants.

WO: But you didn’t do focus groups and so on.

RA: Market research? No, I don’t do that.

WO: Fine, then we are on the samepage. I am extremely glad to hear that and I am not in the least surprised.

RA: It’s like when I did that perfume bottle once. I did so many interviews about the perfume and I know nothing about perfumes. I don’t know more about wine, now. Same with cognac, I had a lecture about the Cognac and I tried to get them to discuss that the tastes are different and so on… But what about the effect? What about the kind of high you get? Does that enter the conversation? They didn’t even hear my question.

WO: Yes, I see. It’s not about all that, for them. It’s very sensible from Nude’s side. If you are doing this very new project and you ask people what they want they are going to be very conservative and look at each other and be very dubious about everything. I think to do something like this you need to intuitively believe in it.

RA: Not only that. This is one connection, but there are other issues. We did some stacking glasses. When you think about it, it’s ridiculous that for thousands of years people do glasses that stack on the rim. They get caught and damaged and you can’t open them up. There is absolutely no reason for it. And then you immediately think… why didn’t anyone think of it before?


I have been to so many dinners with redundant glasses. I couldn’t understand why, for so many years, people couldn’t do glasses that are allowed to be adjusted. So we did “The A-frame”. If the A goes down they get closer to each other, if the A goes up, they go further apart. People always ask: Form or function? They are not at war with each other; they work together. Like this glasses collection we just created… how do they look?

WO: What are you trying to sell me some spectacles? (Joke) Oh this is nice, (Ron brings him glasses) these are clever, because mine always get loose.

RA: Also, I am very good at designing things you can sit on!

WO: You are talking like an All Star Bauhaus Designer. Form follows function.

RA: Oh no, no. Don’t say that!

WO: You are just talking like one. I know what you said; you just sound like that. It’s quite funny.

RA: I don’t subscribe to any slogan.

WO: I understand that.

RA: Ornament is crime.

WO: Going back to our conversation about glass: did you do a bit of design for glass before?

RA: Yes, but never a collection.

WO: So now you were seduced to go deeper into designing for glass?

RA: Exactly

WO: So, what was the motivation for hiring you for this project? Going into something that is less conventional?

I m asking because when I think about my career and experiences I see that there have been very few companies that were able to move upmarket. In the glass market, what you would expect a company wanting to move upmarket to do is imitating the Frenchmakers. So it’s very respectable that Nude is not doing that at all. It’s an admirable move. Even more, that you didn’t find any resistance. Ron, have you been associated much with new luxury brands before?

RA: They asked me once to do a special edition perfume bottle. They came to me with a presentation and a mood board and so on. They wanted me to really know the perfume I would design for. I should listen to all of it and

design for that; but I ignored it later. I wanted to do the first perfume bottle that is designed for the iPhone generation.

WO: Not sure if I like it… Hmm, don’t you need to have a big hand?

RA: No, not really.

WO: So what kind of stuff are you doing right now mostly?

RA: We are doing a lot of Architecture.

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DecanteRing

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Ron Arad

Wine decanter28216

vol: 750 cc

h: 250 mm.

Ø: 265 mm.

Red or White

244 245

Ron Arad

Wine glass31877

vol: 450 cc

h: 232 mm.

Ø: 85 mm.

Water glass31878

vol: 450 cc

h: 156 mm.

Ø: 75 mm.

Red or White

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Ron Arad

Water carafe28288

vol: 1300 cc

h: 335 mm.

Ø: 97 mm.

Wine decanter28297

vol: 2100 cc

h: 336 mm.

Ø: 126 mm.

Wine party

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Ron Arad

Red wine glass31900

vol 550 cc

h: 250 mm.

Ø: 90 mm.

Champagne glass31902

vol: 250 cc

h: 265 mm.

Ø: 64 mm.

White wine glass31901

vol 350 cc

h: 235 mm.

Ø: 80 mm.

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Faceted Skull S / L

Clear

Page 58

Faceted Skull L

Copper

Page 76

Skull / bowl

Black

Page 84

Contour

Vase

Page 128

Mr. & Mrs.

Night set

Page 118

Skull / bowl

Opal White

Page 86

Contour

Vase

Page 129

Contour

Bowl

Page 130

Contour

Bowl

Page 130

Mr. & Mrs.

Night set

Page 119

Blossom

Jewellery box

Page 120 / 121

Moon

Mirror

Page 122

Skull / bowl

Clear

Page 90

Eden

Mini terrarium

Page 134

Eden

Terrarium

Page 135

Magnolia

Vase

Page 136

Magnolia

Vase

Page 137

Magnolia

Vase

Page 137

Faceted Skull S / L

Black

Page 62

Faceted Skull L

Silver

Page 80

Faceted Skull L

Opal White

Page 64

Faceted Skull L

Emeral Green

Page 68

Faceted Skull L

Ruby Red

Page 72

Bubble

Vase

Page 126

Bubble

Vase

Lily

Bowl L

Page 124

Lily

Bowl S

Page 125

Essence

Bowl

Page 132

Essence

Bowl

Page 133

Essence

Bowl

Page 133

Heads Up

White wine glass

Page 100

Heads Up

Bowl

Page 105

Heads Up

Red wine glass

Page 101

Heads Up

Bowl

Page 106

Heads Up

Water glass

Page 102

Heads Up

Bowl

Page 107

Heads Up

Champagne glass

Page 103

Heads Up

Bowl

Page 108

Heads Up

Whisky Glass

Page 104

Heads Up

Bowl

Page 109

Lily

Bowl M

Page 125

Lily

Bowl XL

Page 124

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Product index

Midnight

Bowl

Page 138

Mist

Vase

Page 142

Sweets

Vase

Page 150

Mono Box

Vase

Page 146

Mono Box

Vase

Page 147 / 148

Mist

Vase

Page 143

Sweets

Vase

Page 151

Sweets

Vase

Page 152

Mono Box

Vase

Page 146

Mist

Vase

Page 144

Mono Box

Vase

Page 147

Delizia

Espresso glass

Page 182

Fromage

Dome

Page 183

Midnight

Bowl

Page 138

Midnight

Bowl

Page 139

Midnight

Bowl

Page 139 / 140

Arch

Bowl

Page 176

Arch

Whisky glass

Page 176

Arch

Whisky bottle

Page 177

Dimple

Martini glass

Page 175

Dimple

Champagne glass

Page 175

Dimple

Aromatic white wine glass

Page 170

Dimple

Rich white wine glass

Page 171

Dimple

Elegant red wine glass

Page 172

Dimple

Powerful red wine glass

Page 173

Dimple

Water glass

Page 174

Rhythm

Carafe

Page 178

Poem

Bottle

Page 180

Poem

Glass

Page 180

Cantina

Carafe

Page 184

Vintage

Carafe

Page 185

Mono

Lamp

Page 200 / 202

Mira

Lamp

Page 201 / 203

Orion

Side lamp

Page 204

Smooth

Side lamp

Page 205

Blow

Side lamp

Page 206

Blow

Side lamp

Page 208

Blow

Side lamp

Page 207

Wine party

Red wine glass

Page 248

DecanteRing

Round decanter

Page 243

Wine party

White wine glass

Page 249

Wine party

Champagne glass

Page 249

Red or white

Wine glass

Page 244

Red or white

Wine glass

Page 245

Red or white

Carafe

Page 246

Red or white

Carafe

Page 247

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Product index

simple is beautiful · simple is beautiful and memento mori photographs: getty images copy of...

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