Today, we present final process images from our WORKs exhibitors.  Take a look at the projects as they come to completion.


JunginLee_Frozen_20130311_03(Fig. 1) Jungin Lee has designed her own textiles with Jimin Seo, Textile designer, in PhD Royal College of Art for the FROZEN seatsThe geometric patterned fabric is woven on a jacquard loom.JunginLee_Frozen_20130311_04(Fig. 2) Detail of of the weave structure.JunginLee_Frozen_20130311_05(Fig. 3) The weaver gives the woven fabric an inspection for irregularities. He tightens  where necessary. The weave structure, is also known as the warp and weft.JunginLee_Frozen_20130320_01(Fig. 4) Jungin prepares the fabric to fold into the chair structure. JunginLee_Frozen_20130320_02(Fig. 5) The fabric folds into a seat in 15 mins. A resin will be poured into the soft mould and then cured in situ to form the hard inner structure. From the outside, the seat will still retain the softness of the woven fabric.


2013-04-03 12.05.10(Fig. 1) Lola Lely has been working with master patineur, Derek Bayley from Bronze Age art foundry in Limehouse, East London.  Derek is very experienced in the art of patination, and well versed in all of the traditional patinas for bronze sculpture. What makes him different is his willingness to collaborate with designers and to experiment with new techniques and chemical combinations. This collaboration has resulted in some very  unusual and striking colour patinas for Lola’s lighting pieces. 2013-04-03 12.05.31(Fig 2.) Once patinated, the bronze lampshades are slightly heated up again and buffed with wax to enhance and seal the patina. Lola Lely_PATINA_LIGHTS_LINEUP2jpg(Fig 3.) The lampshades are waxed to a lustre finish.patina lights 2(Fig 4.) PATINA line-up. Each handmade light is unique and one of a kind.Patina Candlesticks(Fig 5.) The PATINA candlesticks have a brighter and bolder patina for a playful feel. These pieces are for the Wallpaper* Handmade exhibition, also showing in Milan 2013.


3_meret_blog5_meret_blog  1_meret_blog 2_meret_blogMeret Probst’s stunning  KS_MG glass pieces in amber and translucent is now finished, photographed and ready to be packed for its journey to Milan.


_MG_7263.CR2.p(Fig 1.)  Made from a mixture of sawdust and bio resin, the Well Proven Chair is left to cure at room temperature._MG_7805.CR2.p  (Fig.2) Well Proven Chairs in various colourways – to achieve this pigments were added to the sawdust and resin mixture. 184979_10151527006504169_1549639547_n-1(Fig. 3) The designers of the Well Proven Chair, Marjan van Aubel and James Shaw were recently nominated for the Design Museum’s ‘DESIGNS OF THE YEAR’ award.  The winners will be announced in a couple of weeks. We are really proud of them and want our guys to win!

886615_10151527008589169_1348459991_o(Fig. 4) James and Marjan being interviewed and filmed at the ‘DESIGNS OF THE YEAR’ opening event.



The_Thread_Wrapping_Machine_Anton_Alvarez_Photo_James_Champion_1(Fig.1) Anton Alvarez’s Thread Wrapping Machine, is a new technique in joinery. The machine wraps thread around pieces of timber to secure the structure. The_Thread_Wrapping_Machine_Anton_Alvarez_Photo_Märta_Thisner_13(Fig. 2) Using different coloured threads adds extra dimension to Anton’s abstract, yet functional pieces._The_Thread_Wrapping_Machine_Anton_Alvarez_Photo_Paul_Plews_Outset_2(Fig. 3) Anton will be showing his very tall and wonderfully colourful Thread machine floor lamp at the show.


IMG_7833_fIMG_7865_f (Fig 1. & 2) Dafi Reis Doron’s 75% Control stools are now finished and ready to go to Milan. Dafi has been developing this new type of upholstery foam for the last 2 years. She is there with the technique and we think it will receive a lot of interest at the show.IMG_7887_f(Fig. 3) The foam upholstery creates a very light and flexible structure for furniture construction. Dafi demonstrates how light the stools  are by lifting it with one hand!


1(Fig. 1) Charlotte Kingsnorth is producing two new HYBREED chairs for our WORKs exhibition. The designer has purposefully sourced this much used, old school lab chair as a starting point. With her artistic intent and hand craft approach, the chair will be given new life and transformed into a unique piece of furniture.2(Fig 2.) A bold green fabric is assigned to the second school chair, with the wooden back and seat. 3(Fig. 3) The two chairs sit side by side – both unique and one of a kind. 


09 foundry(Fig. 1) Helena Karelson, has spent most of this week at the foundry to cast her leather cutlery.04 back in the foundry attaching wax sprues(Fig 2.) The foundryman attaches wax sprues to the leather investment moulds. 05 been dipped into slurry couple of times(Fig. 3) The moulds are then dipped in slurry a couple of times. 06 in foundry06 minutes before casting(Fig. 4) The moulds are now ready for casting in 6 minutes. Casting sand covers the mould and then molten aluminium metal is poured into the cavities.07 collecting cutlery after removing last bits of shell 1(Fig. 5) When the investment mould is burnt out, the aluminium cast cutlery is tumbled in the pan to remove some of the excess shell. 10 cast finish(Fig 6.) A close-up of the final cast pieces.


Bonelamp-(Fig1)(Fig. 1) Eirik Helgesen has designed the Bone Lamp from aluminium rod produced at the controversial Alcoa aluminium factory in East Iceland, merged with bones from wild reindeer of the same area. Combining these materials into one object is part of a grater investigation looking at the encountering between global industry and local culture.
Pictures above displays his two main collaborators while developing the lamp: Alcoa worker Oskar Bjørnsson and reindeer-craftsman Þórhallur Árnason. Both were providing essential material and knowledge for the project.
Bonelamp-(Fig2)(Fig. 2) The reindeer legs and its hooves are boiled 4 to 6 hours to be workable. (The boiling is done outdoor, as the smell is unbearable). Bonelamp-(Fig3)(Fig. 3) Bone after boiling and cleaning.Bonelamp-(Fig4)(Fig. 4) Experiments with aluminium to form the lamps structure and clamp function.Bonelamp-(Fig5)(Fig. 5) The lamp in upraised position showing the final principle for the structure.Bonelamp-(Fig6)(Fig. 6) Test of structure in collapsed position.Bonelamp-(Fig7)(Fig. 7) Final shape of the “lampshade” in profile, and from the underside with LED lights.



This is the penultimate progress report  from WORKs before we head to Milan. It’s Easter weekend, we want to sit at home and eat chocolate but quite a few of our designers are putting in some serious extra hours this week to complete projects and to pack all the pieces ready for transit.

So here’s a selection of updates from Lola Lely, Charlotte Kingsnorth, Helena Karelson and Ola Mireka.


2013-03-30 15.49.04 (Fig 1.) The spalted timber lightbulb holders are now wired and ready to connect to the bronze patina  lampshades. The lampshades will be patinated by a master patineur from the renowned Bronze Age art foundry in Limehouse, early next week.

2013-03-30 15.43.13 (Fig. 2) Close-up of the wooden light fittings. Each turned piece was stained with a water based dye and then polished up to bring out the natural patina of the wood.

 HYBREED1(Fig 1.) Charlotte has selected a beautiful quilt-like upholstery fabric for her new Hybreed chairs.   2(Fig 2.) Using a mixture of  know-how and intuition, Charlotte handworks the fabric by shaping the material to the body of the chairs. 3 (Fig 3.) The desired form is achieved through a process of pinning, cutting and hand-stitching, in many ways like  a tailor making a bespoke suit. 


kitchen scale in use 2 kitchen scale in use 3 kitchen scale in use 4 kitchen scale in use 5Helena’s innovative combined kitchen scales and pouring jug measures weight and liquid volume at the same time.  This Easter, Helena has been testing out her innovative product at home, by cooking for friends. She measures the correct amount of pasta with the right amount of water for a perfect al dente pasta dish. It worked a treat.


STONKIHackney-20130322-00053(Fig 1.) STONK Light  – Ola’s  lighting structure is made from aluminium tubes, joined together by hand-forming thermo plastic into globular connectors.Hackney-20130324-00059(Fig 3.) STONKI Clock.Hackney-20130324-00065_1


The countdown towards our first Milan show is in 10 days!  VIP invitations to the WORKs private preview evening goes out this week. We will be giving tours and talks on other days too. We will post a schedule of events in the next coming days. Stay alert!


This week we also share the  latest project updates from  three of our WORKs exhibitors –  Lola Lely, Meret Probst and Helena Karelson. Follow the posts below to see how their projects are progressing.


Patina 2(Fig. 1) Lola Lely has been experimenting with various chemical recipes for patination. Some of the chemicals from the list are extremely foul smelling. 

Patina 4(Fig 2.) Some of the techniques Lola has been devising to  patinate metal includes, burying metal in organic matter (such as sawdust and soil), wrapping, heating, liquid immersion   and fuming metal in various chemical solutions. ‘Fuming’ involves suspending  metal samples over various  strong chemical solutions. The fumes from the formulaes react with the metal and thus, produces a permanent and hardwearing patina on the surface.

Patina CloseupSKETCH(Fig. 3) Close-up of a patina sample with the design sketch superimposed on top.

Little houses big finials 009(Fig. 4) Newly turned  parts for the neck element of the PATINA pendant lights. Lola has selected spalted beech – a rotten timber (which has random patterns and veining) because of its  resemblance to marble and stone patterning.  The wooden houses are for a second project – PATINA candlesticks.


1_plaster last(Fig. 1) The plaster last for the glass mould.3_plaster mould(Fig. 2) Creating a two-part mould from the plaster cast.4_glassblowers at work(Fig. 3) Glass blowers at work. 5_hot glass in the mould(fig. 4) Hot glass is dropped into the mould. The molten glass flows evenly inside the mould  through the distribution of air from the glass blower, blowing into the long pipe.  6_mould after use(Fig. 5) The plaster mould after use. 


small scale card models(Fig. 1) Helena Karelson’s small scale card models for her innovative Kontuur blinds. assembling the blinds(Fig. 2) Assembling the blind to test the mechanism.


WORKs leaves for Milan in 2 weeks!  A lot can be achieved in a very short time.  Latest updates come from Ola Mireka.   Her brilliantly  bonkers lighting piece is called –           wait for it…  S T O N K I .

S T O N K I 



The lighting piece Ola is creating  is in keeping with her trademark illustrative and narrative approach and aesthetic. Fig. 1 is the design sketch. Fig 2,3 shows Ola’s 1:1 study of the structure and scale for the S T O N K I  lighting piece.


scale development-finding the right size, shape and spout 3 scale development-finding the right size, shape and spout2(Fig. 1 & 2) Helena Karelson is showing a her innovative kitchen scale design with WORKs in  Milan. The two images  are part from Helena’s product development stage – to find the right size, shape and pouring spout.


Its all work and little play this week. At WORKs HQ, we have been finalising our exhibition design for Milan 2013. Angela Bracco is our spacial designer and curator-in-chief.  She’s doing a great job.  Most of the build will be done in London and transported to Milan for final set up. It’ll be all hands on deck in the next coming weeks. We will have images of our exhibition build for your perusal soon.

This week we are showcasing  latest projects from our WORKs designers. Exciting things are happening all across London from these up-and-coming  female designers; Charlotte Kingsnorth, Hilda Helstrom and Jungin Lee.





Working from  her Maida Vale studio, Charlotte Kingsnorth has been using vintage chair frames to sculpt in upholstery. (fig. 1) This initial sketching process is an important one; to define the overall form of the foam which makes up its body. (fig. 2) The before and after image, shows the first stages of the foam sculpting process.





Hilda Hellstrom’s Sediment urns are made from jesmonite and pigments, created through a method of layering the material until they form into precious blocks. This process is very  similar to how rock or stone is formed over millions of years of sedimentation.  Hilda was recently shortlisted for the Modern Craft award, sponsored by Wallpaper* magazine and Ketel One vodka.  An amazing achievement!





Frozen seats by Jungin Lee, utilises a method of soft upholstery which cures and hardens in situ.  A very simple and elegant way to create furniture which is both strong and soft at the same time.


WORKs collective is burning the midnight oil in the run up to Milan 2013. We have three weeks to go before we pack our projects into the van and hit the road. Exciting times!  This week, we feature latest developments from S T U D I O B J E C T’s  In Wire project. Nic Wallenberg has been at the factory bending wire, Alei Vespoor (back in the Netherlands) gives us a glimpse of her beautiful dyed fabrics, and Dafi Reis Doron reinvents foam…



Studiobject process 1


(fig 1.) Nic together with Arne, from the factory, are inspecting wire bent parts. (fig 2)  In Wire wall hooks,  (fig 3.) 1:1 scale mock-up of  S T U D I O B J E C T’s  second product: In Wire table.




Alei Vespoor’s screen printed textiles for Pack! laying out to dry.



process_Dafi Reis Doron1
process_Dafi Reis Doron2process_Dafi Reis Doron4

Dafi Reis Doron’s  experiments with a new type of foam which acts as a layer of upholstery, patterning, and structure support for her furniture pieces.  The potential of colour mixing the foam creates a myriad of colourways.