written by:
photos by:
June 20, 2011
Originally published in A New Slant on Family Fun
as
Hella Cool

In her Berlin studio, rogue Dutch designer Hella Jongerius creates colorful, covetable objects that meld the handmade and the mass-produced in surprising new ways.

Hella Jongerius designer in her studio
The walls of Jongerius’s workshop are covered with sample materials and colors, including a prototype for her new Borders textile for Maharam.
Photo by 
Courtesy of 
© 2011 Oliver Mark
1 / 31
A chromatic composition in progress includes an array of cards from the color system she devised for Vitra, ceramic samples, and other more obscure items.
A chromatic composition in progress includes an array of cards from the color system she devised for Vitra, ceramic samples, and other more obscure items.
Photo by 
Courtesy of 
© 2011 Oliver Mark
2 / 31
The book <i>Misfit</i> was designed by the Dutch graphic designer Irma Boom to accompany the Rotterdam exhibition.
The book Misfit was designed by the Dutch graphic designer Irma Boom to accompany the Rotterdam exhibition.
Photo by 
Courtesy of 
© 2011 Oliver Mark
3 / 31
Jongerius’s studio is a vibrant jumble of prototypes, products, and samples, including a red Polder sofa for Vitra and, on the far right, a Blossom lamp for Belux and prototype for the Rotterdam Chair for Vitra.
Jongerius’s studio is a vibrant jumble of prototypes, products, and samples, including a red Polder sofa for Vitra and, on the far right, a Blossom lamp for Belux and prototype for the Rotterdam Chair for Vitra.
Photo by 
Courtesy of 
© 2011 Oliver Mark
4 / 31
Jongerius’s personal cabinet of curiosities includes miniature models of her designs. She rarely makes drawings, preferring to sketch in 3-D.
Jongerius’s personal cabinet of curiosities includes miniature models of her designs. She rarely makes drawings, preferring to sketch in 3-D.
Photo by 
Courtesy of 
© 2011 Oliver Mark
5 / 31
Other pieces in her studio include <i>A Tribute to Camper from 2009</i>.
Other pieces in her studio include A Tribute to Camper from 2009.
Photo by 
Courtesy of 
© 2011 Oliver Mark
6 / 31
Evidence of color experiments populate Jongerius's studio, including this one, a study of yellows and oranges on ceramic.
Evidence of color experiments populate Jongerius's studio, including this one, a study of yellows and oranges on ceramic.
Photo by 
Courtesy of 
© 2011 Oliver Mark
7 / 31
Here's a color experiment in clay.
Here's a color experiment in clay.
Photo by 
Courtesy of 
© 2011 Oliver Mark
8 / 31
A ceramic-and-leather Mouse vase from her <i>Home Props</i> series.
A ceramic-and-leather Mouse vase from her Home Props series.
Photo by 
Courtesy of 
© 2011 Oliver Mark
9 / 31
Although Jongerius insists she had a major clear-out before leaving Rotterdam, her studio in Berlin is as packed as ever. Note the Ikea PS Jonsberg vases on the top row of shelves, each made using a different ceramic technique, with ornamentation inspired
Although Jongerius insists she had a major clear-out before leaving Rotterdam, her studio in Berlin is as packed as ever. Note the Ikea PS Jonsberg vases on the top row of shelves, each made using a different ceramic technique, with ornamentation inspired by different parts of the world.
Photo by 
Courtesy of 
© 2011 Oliver Mark
10 / 31
On a work table, a cluster of early color experiments foretells her <i>300 Unique Vases</i> project.
On a work table, a cluster of early color experiments foretells her 300 Unique Vases project.
Photo by 
Courtesy of 
© 2011 Oliver Mark
11 / 31
<p><h2>Hella Jongerius Timeline</h2></p><h2><p>1993</h2></p><p>Graduates from Design Academy Eindhoven.</p>

Hella Jongerius Timeline

1993

Graduates from Design Academy Eindhoven.

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Courtesy of 
© 2011 Oliver Mark
12 / 31
<h2><p>1993</h2></p>
<p>Exhibits her Bath Mat and Soft Urn with headline-making new collective, Droog Design.</p>

1993

Exhibits her Bath Mat and Soft Urn with headline-making new collective, Droog Design.

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13 / 31
<h2><p>1997</h2></p><p>B-Set porcelain tableware launches a long-running collaboration with Royal Tichelaar Makkum.</p>

1997

B-Set porcelain tableware launches a long-running collaboration with Royal Tichelaar Makkum.

Photo by 
14 / 31
<h2><p>1999</h2></p><p>The Kasese Chair.</p>

1999

The Kasese Chair.

Photo by 
15 / 31
<h2><p>1999</h2></p><p>Embroidered Tablecloth continues patterns derived from Ming vases across plates and cups.</p>

1999

Embroidered Tablecloth continues patterns derived from Ming vases across plates and cups.

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16 / 31
<h2><p>2002</h2></p><p>Repeat, for Maharam.</p>

2002

Repeat, for Maharam.

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17 / 31
<h2><p>2004</h2></p><p>Nymphenburg Sketches brings the porcelain animal figures of the German pottery up to date.</p>

2004

Nymphenburg Sketches brings the porcelain animal figures of the German pottery up to date.

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18 / 31
Polder sofa by Hella Jongerius for Vitra

2005

Introduces the Polder sofa, Jongerius’s first industrial piece of furniture and her first collaboration with Vitra.

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19 / 31
<h2><p>2005</h2></p><p>Cupboard, an experimental one-off for Galerie Kreo.</p>

2005

Cupboard, an experimental one-off for Galerie Kreo.

Photo by 
20 / 31
<h2><p>2006</h2></p><p>Worker Chair for Vitra.</p>

2006

Worker Chair for Vitra.

Photo by 
21 / 31
<h2><p>2007</h2></p><p>Office Pets.</p>

2007

Office Pets.

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22 / 31
<h2><p>2009</h2></p><p>Designs PS Pelle, Mikkel, and Gullspira Wall hangings for Ikea, handmade by Indian women.</p>

2009

Designs PS Pelle, Mikkel, and Gullspira Wall hangings for Ikea, handmade by Indian women.

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23 / 31
<p><h2>2009</h2></p><p>Frog Table for Galerie Kreo. “For me, decoration is a bridge between user and object. With Frog Table, I was trying to see how far I could take it.” —Hella Jongerius</p>

2009

Frog Table for Galerie Kreo. “For me, decoration is a bridge between user and object. With Frog Table, I was trying to see how far I could take it.” —Hella Jongerius

Photo by 
24 / 31
<p><h2>2009</h2></p><p>Tribute to Camper.</p>

2009

Tribute to Camper.

Photo by 
25 / 31
<h2>2010</h2><p>Bob Garden Club chair for Kettal.</p>
2010

Bob Garden Club chair for Kettal.

Photo by 
Courtesy of 
© Mark Gregory Peters 2010
26 / 31
<h2>2010</h2><p>Misfit exhibition in Rotterdam introduces 300 Unique Vases and the Colourful Blacks paints. <i>Hella Jongerius: Misfit</> (her second monograph) is published by Phaidon.</p>
2010

Misfit exhibition in Rotterdam introduces 300 Unique Vases and the Colourful Blacks paints. Hella Jongerius: Misfit (her second monograph) is published by Phaidon.

Photo by 
27 / 31
A bulletin board in Jongerius's studio reveals works in progress, experiments, and snippets of inspiration.
A bulletin board in Jongerius's studio reveals works in progress, experiments, and snippets of inspiration.
Photo by 
Courtesy of 
© 2011 Oliver Mark
28 / 31
Though the designer typically works with ceramic glazes for her color experiments, clay is another handy way to blend shades.
Though the designer typically works with ceramic glazes for her color experiments, clay is another handy way to blend shades.
Photo by 
Courtesy of 
© 2011 Oliver Mark
29 / 31
Another view of Jongerius's studio, full of colorful evidence of creativity at work.
Another view of Jongerius's studio, full of colorful evidence of creativity at work.
Photo by 
Courtesy of 
© 2011 Oliver Mark
30 / 31
Jongerius's Nymphenburg Sketches–Animal Bowls from 2004 consist of hand-glazed porcelain bowls and animal figurines.
Jongerius's Nymphenburg Sketches–Animal Bowls from 2004 consist of hand-glazed porcelain bowls and animal figurines.
Photo by 
Courtesy of 
© 2011 Oliver Mark
31 / 31
Hella Jongerius designer in her studio
The walls of Jongerius’s workshop are covered with sample materials and colors, including a prototype for her new Borders textile for Maharam. Image courtesy of © 2011 Oliver Mark .

“I came here to be alone,” Dutch designer Hella Jongerius says, explaining why she moved to Berlin from her native Netherlands. “Questioning the limits of the design profession—that’s my talent. So I wanted the space to research and study, to answer my own questions rather than the demands of the design industry.” Up until three years ago, Jongerius ran a busy ten-person studio in Rotterdam. “But I didn’t want to be a people manager anymore,” she says. “I wanted to be a beginner again, an outsider.” So she sorted through the contents of her studio and moved the essentials—and herself—to Berlin, glad to be alone with her work.

Misfit, then, was an appropriate title for the major retrospective of her work earlier this year at Rotterdam’s Museum Boijmans Van Beuningen, and the Irma Boom–designed book published in its wake. In many ways, Jongerius doesn’t fit in.

One of the talented and successful Dutch designers to emerge with Droog in the 1990s, Jongerius is the female exception in the boys’ club of top designers. Her genre-shattering work combines craft and technology, tradition and innovation, and high and low tech. Not for nothing does she call her studio Jongeriuslab; her work is more about conducting experiments than making design statements. She shows a stubborn reluctance to confine herself to a particular market: Her range extends from one-off design art pieces for Galerie Kreo to mass-produced (but still hand-finished) items for Ikea.

Jongerius’s studio is a vibrant jumble of prototypes, products, and samples, including a red Polder sofa for Vitra and, on the far right, a Blossom lamp for Belux and prototype for the Rotterdam Chair for Vitra.
Jongerius’s studio is a vibrant jumble of prototypes, products, and samples, including a red Polder sofa for Vitra and, on the far right, a Blossom lamp for Belux and prototype for the Rotterdam Chair for Vitra. Image courtesy of © 2011 Oliver Mark .
The term misfit also applies to Jongerius’s delight in imperfection and irregularity. Her designs are often warped, scarred, or left partly unfinished. “Perfection is macho,” she says. “And boring. I like to see the hand of the maker.” Soft Urn, the 1993 Droog rubber vase that put her work on the map, has a simple form that retains jagged marks from its casting process. Her B-Set porcelain tableware is intentionally fired at too high a temperature, giving each piece a unique deformation. Thanks to her long-term collaborations with design companies like Ikea, Vitra, Maharam, and the porcelain factories Nymphenburg and Royal Tichelaar Makkum, Jongerius has helped spark a resurgence of handcrafted detail in manufactured objects. “Hella wins their trust,” says Louise Schouwenberg, the curator of Misfit and Jongerius’s longtime friend and collaborator. "And increasingly, she works directly with experts and craftsmen in those companies to take what’s already there and bring it up to date. Her designs don’t shout. She happily puts the work of others on show."

In her large studio in Prenzlauer Berg, a new series of dishes she’s creating for Nymphenburg underlines her restrained approach. Combing through the factory’s archives and pattern books, Jongerius extracted a detailed model of a fox, some ceramic makers’ marks, and a thorny pattern. Then she arranged them on a simple bowl to create a fresh story from old elements.

As Jongerius’s work progresses, she has moved from the monochrome simplicity of Soft Urn and B-Set toward a more colorful, richly crafted vocabulary. The Polder sofa she designed in 2005 for Vitra features modulated shifts in shade and texture, and combines trailing threads and hand-sewn buttons (modeled on thrift-store finds) with Vitra’s expert cabinetry. “The marketing people said a sofa in six different shades would never sell,” she scoffs. (It did sell, and well.) Salespeople often resist her work, she notes, because of its novelty. A 2002 Maharam fabric with a lengthy 3.3-yard repeat was considered unmarketable because it would be difficult to display in showrooms. Jongerius stuck to her guns, and the fabric remains in production today.

Jongerius’s personal cabinet of curiosities includes miniature models of her designs. She rarely makes drawings, preferring to sketch in 3-D.
Jongerius’s personal cabinet of curiosities includes miniature models of her designs. She rarely makes drawings, preferring to sketch in 3-D. Image courtesy of © 2011 Oliver Mark .
More recently, Jongerius has embarked on a mission to transform the design industry’s use of and attitude toward color. “We need an alternative, because the industrial palette is so poor,” she says. “Modern colors are stable—and that’s about it. They don’t change with the light, so they don’t look alive. And if we want a darker color, we just add black, which, sadly, makes all colors gray.” For years, she has used pottery glazes to experiment with color recipes, culminating in the 300 Unique Vases installation at the Misfit exhibition. Jongerius—together with the Royal Tichelaar Makkum craftsmen with whom she collaborated—layered oxidation glazes with industrial and synthetic pigments in a spectrum of colors. The final circular arrangement suggests an alternative, three-dimensional color wheel in which each shade’s inherent dynamism shines, thanks to its relationship to the others.

It came as no surprise, then, when in 2005 Vitra entrusted her with overhauling its color system. Her first decree: Produce the plastic Eames chair in three shades of white. “People mainly bought the white one, so I said ‘If that’s what they want, let’s give them more.’” The overhaul took several years, and she remains Vitra’s color consultant.

Other pieces in her studio include <i>A Tribute to Camper from 2009</i>.
Other pieces in her studio include A Tribute to Camper from 2009. Image courtesy of © 2011 Oliver Mark .
Currently, the busy designer is developing a new color system for shoe brand Camper. The challenge there, she explains, comes in creating a palette that lures buyers away from black and brown. Meanwhile, she is pro-ducing her own paints—starting with a range of 15 rich, velvety Colourful Blacks—with Swiss company kt.COLOR.

Though her color mission continues, “the research is done,” she says. “I need a new research project and I have one: plastics.” The material needs to be rehabilitated in a range of ways, Jongerius believes—–from the aesthetic (currently “it looks either cheap or high-tech futuristic”) to the environmental (“we need bioplastics”). She’s looking for industrial partners to aid  her experimentation. And so begins her next odyssey, in a new medium: the latest challenge for a design rogue with a remarkably broad comfort zone.

Evidence of color experiments populate Jongerius's studio, including this one, a study of yellows and oranges on ceramic.
Evidence of color experiments populate Jongerius's studio, including this one, a study of yellows and oranges on ceramic. Image courtesy of © 2011 Oliver Mark .

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