Iina vuorivirta series#

“It is really nice when you work with glass and it sort of says, ‘I want to be like this, I want to be slightly fat.'”Ĭredit Noir mirrors Christofer Yevenes Zagal “Always when working with glass I work with the material on its own terms,” Vuorivirta says. The vases are hand-blown, thick and heavy, with a form that is a nod to the liquid state of the glass before being shaped.

Iina vuorivirta series#

“For me they tell the story of the product.” She is currently in negotiations with One Nordic to find a way of bringing the product to market.įennia (the Latin word for Finland) is a series of glass vases that sit on charred wood. The finish is deliberately rough: “I wanted to keep the marks from the process that are usually considered as mistakes or a lack of finishing,” says Vuorivirta. When the wet clay is setting, the cast is chopped in half by hand – creating a unique product each time.

The design uses moulded clay to produce a vessel and lampshade from the same cast, which is poured using a standardised process. The product was conceived while she was completing her undergraduate degree at Beckman’s College of Design in Stockholm in 2011. Her most successful design to date is Mass Produced Individualism. Her eclectic use of materials reveals an energetic approach to her work, and the demands of production means that Vuorivirta flits between Stockholm and Finnish backwaters to collaborate with local craftsmen.Ĭredit Mass Produced Individual lights Christofer Yevenes Zagal “I guess that is the difference between the in the two countries.”Īs she talks about her collection, Vuorivirta exudes a confidence and enthusiasm that has yet to be dampened by the rigmaroles of a long career in design. “In Sweden I got to dive into my own artistic way of working and develop my own themes,” she says. “I guess that means I am not afraid of changing material all the time.” In Sweden, she feels that she was able to develop the creative approach to her work, building upon her knowledge of materials. One week is a ceramic workshop, then metal work and then wood,” says Vuorivirta. The course encourages you to work with and study a lot of materials.

“In Finland the tradition of making is strong. Vuorivirta’s work betrays her curiosity for materials and is impeccably crafted – the result, she says, of a design education that began in her homeland and continued in Stockholm. It is hard to believe that Vuorivirta is only 25. In September, she will bring her work to London to be shown at the 19 Greek Street Gallery during the London Design Festival and then exhibit in Helsinki and Estonia. Despite not yet having completed her master’s degree, the Finnish designer has exhibited at the Milan Saloni, been awarded young designer of the year by Design Forum Finland and is in negotiations with a large manufacturer to realise products developed during her undergraduate studies. Looking for something between handmade and industrially produced, Iina makes the ceramic form and then breaks it in half, creating a vase and a light shade.It has been quite a year for Iina Vuorivirta. Mass Produced Individualism is a project by Iina Vuorivirta (above right). The surface of each table is created using traditional glazing techniques with a contemporary twist – different liquid glazes pool and merge as the tables are rotated and blown with air to leave traces of fluidity and smoke-like patterns which are then set in the kiln. They made from cordierite, ceramic glazes and steel or copper. One of my favourite finds at Ventura Lambrate was Elisa Strozyk‘s Ceramic Tables (above left). Ventura Lambrate is the part of Milan Design Week best known for new designers. This is shaped to act as a lid, and the glass is blown to fit it. Branch Bowl, features their trademark handblown glass combined with a section of the tree with a small branch growing from it. Meanwhile over at EDIT by designjunction, Utopia & Utility, another brand we’ve featured in this column, were launching a new range.