Kekkerit bowl, designed by Timo Sarpaneva for Iittala
Beautiful Kekkerit bowl designed by Timo Sarpaneva for Iittala. The stunning Kekkerit (which, incidentally, means party in Finnish) range, also referred to as Finlandia or Moukku, was designed in 1970. Crafted of fine crystal, this highly textured vase literally sparkles with an amazing ice like quality. This piece looks as if it has been carved from glacial ice. The impressive bark like texture, high quality crystal and stunning pattern make this superb piece a truly iconic timeless design.
Timo Tapani Sarpaneva (31 October 1926 – 6 October 2006) was an influential Finnish designer, sculptor, and educator best known in the art world for innovative work in glass, which often merged attributes of display art objects with utilitarian designations. While glass remained his most commonly addressed medium, he worked with metal, wood, textiles, and porcelain (china). Sarpaneva has entered homes around the world through his industrial design of upscale, artistically conceived items, including cast-iron cookware and porcelain dinnerware. His work was among the key components that helped to launch Finland’s reputation as a trailblazer of design. Sarpaneva’s first international recognition in glass work came with a Grand Prix from the Milan Triennale in 1954 that included Sarpaneva’s series Orkidea (“Orchid”), Kajakki (“Kayak”), and Lansetti (“Lancet”) adopted for production by Iittala.
Iittala, founded as a glassworks in 1881, is a Finnish design brand specialising in design objects, tableware and cookware. Iittala’s official i-logo was designed by Timo Sarpaneva in 1956. Iittala has strong design roots in glasswares and art glass which can be seen in, for example, the early designs of Aino Aalto glasses designed by Aino Aalto in 1932; Alvar Aalto’s Savoy Vase (Aalto Vase) from 1936; Oiva Toikka’s Birds by Toikka glass birds collection that has been made since 1962, his glassware set Kastehelmi from 1964 and Tapio Wirkkala’s glasses Ultima Thule from 1968. Iittala is the world’s most famous glass company in the whole world. Over time, Iittala has expanded from glass to other materials, such as ceramics and metal while keeping with their key philosophy of progressive elegant and timeless design, such as Kaj Franck’s Teema ceramic tableware from 1952 and Timo Sarpaneva’s cast iron pot Sarpaneva from 1960. Iittala focuses on timeless design which can be seen not only in older creations but in the modern classics such as cookware Tools designed by Björn Dahlström in 1998 and Heikki Orvola’s Kivi candleholders from 1988.
|Country of Origin|
20 cm diameter, H = 18 cm
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Timo Sarpaneva (1926-2006) was an international force in Finnish design. A designer, sculptor and educator, Sarpaneva’s pioneering glass work merged art with utilitarian design. Besides glass, he also worked with textiles, wood, porcelain and metal. Sarpaneva’s unique industrial design that helped to pioneer Finland’s global design reputation. Sarpaneva’s works are exhibited internationally. He has received much recognition throughout his illustrious career including the Lunning Prize and was twice awarded at the Milan Triennale. In 1976, Sarpaneva received the honorary title of Professor from the Finnish government.
Throughout his long collaboration with Iittala, Sarpaneva was responsible for creating key hallmarks of the company’s style. He designed the “i” logo which serves as the symbol of the company. In addition, Iittala’s Sarpaneva, a cast-iron pot, is a timeless classic that has been recognized as an international design icon.
Sarpaneva’s first international recognition in glass work came with a Grand Prix from the Milan Triennale in 1954 that included Sarpaneva’s series Orkidea (“Orchid”), Kajakki (“Kayak”), and Lansetti (“Lancet”) adopted for production by Iittala. He said of his favorite material: Glass is very mysterious. It’s changing all the time. That’s what makes it magical. It released me from the conventional and the three-dimensional. It opened its deepest reaches to me and took me on a journey to a fourth dimension. I understood the opportunities that clear, transparent glass gives to an artist and designer. The amoeboid abstraction “Lancet II” of the latter series, an asymmetrical clear-glass vase whose shape is only partly echoed by its hollow center, was selected by the U.S. magazine House Beautiful as “The Most Beautuful Design Object of the Year” 1954. At his hands distinctions between pure and applied art gradually became less and less meaningful – the glass vases he created in the 1950s exhibited clear sculptural qualities long before he decided to sever his connection with the vessel as a form in 1964 and to make pure sculpture in glass.