form Edition #4. Stoneware Plates by Katrin Greiling
Katrin Greiling is the founder of Studio Greiling, a design studio based in Berlin and Stockholm. It is dedicated to a number of disciplines from furniture and interior design to architecture and photography. This combination allows her to develop various perspectives and a multilayered approach to her projects. With the exclusive design of her Stoneware Plates, the designer has created the fourth form Edition, which is available in a limited edition from our shop. As part of Passagen Cologne, which takes place in parallel with imm Cologne, the edition will be presented in the showroom of the Italian kitchen manufacturer, Boffi. On Thursday, 19 January, a meet-and-greet with Katrin Greiling will be held there from 3 pm. We have spoken with her in advance about her working methods, her sources of inspiration and influences, and, of course, about her Stoneware Plates.
You work with very different materials and Studio Greiling is not only involved with furniture design but also with interior design and photography. How did this variety come about?
For me, all these disciplines belong together as they complement and influence one another. The visual impression just occupies another dimension, whether that is a walk-in space, three-dimensional furniture or an image on the surface. There is always, however, the subjective view and one’s own experience and interpretation.
Do you have a particular preference for a specific material and if so, how did it come about?
My basic training was in working with wood, yet learning carpentry helped initially with my basic knowledge of materiality, statics, construction, and volumes to build an essential foundation. Every new assignment brings its own possibilities and limitations and this is why I do not specify my choice of materials. Generally, I place great emphasis on working with materials that are right for the requirements and functionality of the product.
Do you favour a design discipline?
Every discipline has its own challenges and advantages. The immediacy of working with photography, for example, is an important balance in projects that require somewhat more planning.
What distinguishes your way of working?
My approach is very intuitive, but also considerably influenced by my Swedish design training. The aspect of functionality is always something that is at the forefront of my work.
What influences do your many residences abroad have on your work? Have there been places that have particularly inspired you?
I can describe my attitude to the world very aptly in one word: adventure. At the age of 20, I left my hometown of Munich to start my studies in Sweden. The twelve years of my life that I spent there have made a lasting impression on me, not only with regard to my language of design but also me as a person. My second important adventure was my three-year stay in Dubai. During this time, my fascination for all things foreign increased. I recognised my hidden analytical abilities and designed one of my most important furniture series – the Bidoun sofa series. This is the first contemporary furniture series in the United Arab Emirates and won the prize for Furniture of the Year in Sweden in 2010.
How did the idea of the Stoneware Plates come about?
Next to the carpenter’s workshop, there were also ceramic and textile workshops in the art school Capellagården in Vickleby, Sweden. After experimenting a little, I produced my first results – round, organic plates of clay. To a certain extent, it is like making a very direct transfer from working with wood to another organic material. As part of the Design Bar I designed for the Stockholm Furniture Fair, this series, made of porcelain and produced in conjunction with students, experienced a rebirth in 2011.
Why have you decided to work with stoneware?
For the limited edition for form, I initially worked with a German manufacturer based in southern Germany. It produces its traditional stove tiles from stoneware.