El­e­ment of sur­prise

Prestige Indonesia - Lifestyle - - CONTENTS -

If two heads are bet­ter than one, then four heads must be twice as good as two. at least, that’s how the creative heads of Kandura Keramik see it. the de­sign col­lec­tive fo­cuses on ce­ram­ics, de­sign­ing table­ware prod­ucts at a work­shop and studio in Ban­dung. You might have seen Kandura Keramik’s idio­syn­cratic cre­ations at re­tail­ers such as dia.lo.gue artspace, Koi Gallery, Gerai sal­i­hara or Bobobobo.

some­times quirky, some­times eth­nic, but all around ca­sual and com­fort­ing, Kandura’s works have been show­cased at Ga­leri Na­sional In­done­sia, Va­len­cia de­sign­boom Mart, the ABC shop at art stage sin­ga­pore and de­signer’s Block at the Lon­don de­sign fes­ti­val. Kandura has made de­sign of table­ware its main ac­tiv­ity, while al­low­ing it­self the oc­ca­sional dab­ble in jew­ellery and vases.

Kandura Keramik got started in 2005, af­ter co-founder fauzy Prasetya Ka­mal grad­u­ated from the pres­ti­gious In­sti­tute of tech­nol­ogy Ban­dung (ITB) in Ban­dung. “My per­sonal in­ter­est was de­sign,” he says, “and I specif­i­cally wanted to do prod­ucts that re­volved around the act of eat­ing. this is be­cause, in my opin­ion, one of the things with big po­ten­tial here is food. we are an eat­ing society more than a drink­ing one.” with this idea in mind, fauzy ap­proached his other co-founders, Bath­sebha satyaalang­ghya and tisa Grani­cia, both of whom had stud­ied ce­ramic arts at ITB. a cou­ple of years later, Nuri fa­tima joined the group as the fourth per­son to make up a highly creative quar­tet of prod­uct de­sign­ers.

“there’s no set way that we work with each other,” says fauzy of the creative dy­namic among the four de­sign­ers. “we al­ways stress that all four of us each ex­per­i­ment with their own ideas. If you have any­thing good, just go with it. It doesn’t have to be­come any­thing, but we can surely learn from it. and we’re never pos­ses­sive about our ideas. It’s all free to use within our team. a lot of times it’s hard to tell where my work ends and say, tisa’s work be­gins and vice versa.

“for ex­am­ple, for a re­cent Brightspot Mar­ket event, we had two new mugs that we had to cre­ate han­dles for. we gave our­selves three weeks to work on it and with no rules. the han­dle could have been purely for aes­thetic rea­sons, func­tional rea­sons or maybe some­thing sen­ti­men­tal that re­lated to one of us. we ended up creat­ing about 19 de­signs.”

fans of Kandura can ex­pect to see new prod­ucts at a faster rate than the typ­i­cal spring and au­tumn re­lease of new col­lec­tions ac­cord­ing to the table­ware cal­en­dar. “we en­joy do­ing mini projects, like for Brightspot or an ex­hi­bi­tion, for which we make new pieces,” says fauzy. “the mini projects serve as a kind of cat­a­lyst to cre­ate new prod­ucts. In a year, this hap­pens around three to four times. But we like that chal­lenge. we like hav­ing a dead­line that we didn’t set for our­selves.”

for fauzy, the best part of de­sign­ing is “see­ing it all come to­gether, the bits and pieces of ideas. there’s a lin­ear way of de­sign­ing – get a mood board, come up with sketches, make the pro­to­type, etc – but we rarely ever do that. our studio has a lot of un­fin­ished odds and ends. I like see­ing the ideas that didn’t re­ally have a des­ti­na­tion be­fore­hand come to­gether in the end.”

among Kandura’s many ac­com­plish­ments – from world-class ex­hi­bi­tions to join­ing forces with stylish re­tail­ers – per­haps fauzy’s most mem­o­rable was an early project Kandura Keramik com­pleted for Mu­seum Bank In­done­sia. “It was our first big project and an im­por­tant one,” fauzy re­calls. “we worked with im­por­tant peo­ple that we all ad­mire. we cre­ated tiles for their mu­seum con­ser­va­tion project, which re­ally gave us a lot of prac­tice with color and ma­te­ri­als. for me per­son­ally, ex­hibit­ing at the Lon­don de­sign fes­ti­val was a huge high­light. I’ve al­ways read about it, and I’ve al­ways wanted to go. I never knew I’d end up ex­hibit­ing there.

“I like work­ing with ce­ram­ics be­cause the ma­te­rial is very in­trigu­ing. It’s so flex­i­ble, and you can shape it into al­most any­thing. things rarely end up how you plan them, though. there are a lot of fac­tors in creat­ing some­thing with ce­ram­ics that you can’t re­ally ac­count for. that el­e­ment of sur­prise is some­thing that we all re­ally love about the ma­te­rial.”

Kandura’s idio­syn­cratic table­ware cre­ations are some­times quirky, some­times eth­nic


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