Sussanne Khan obtained an Associate Art Degree in Interior Design from Brooks College, Long Beach, California in the year 1995, and designed her first project in 1996. Further through the years she has practiced her unique style of interior design.
On Feb 26th, 2011 Sussanne founded and introduced The Charcoal Project, India's first and most unique design concept store. The store changed the meaning of curated interior design in India. Meticulously created by Sussanne herself, the 14,000 sq. ft. store has two commanding levels and presents lines by premier global and Indian designers Andrew Martin, Abu Jani & Sandeep Khosla, Prateek Jain and Gautam Seth for Klove and her very own hand crafted furniture collection "Sussanne Khan pret home".
She uses metal, wood, natural fiber's, concrete, geometric patterns embellishments, all subtly woven together to create what she calls quiet luxe, her signature style; a seamless blend of industrial masculine with feminine edgy chic. Her belief is that luxury is about emotion and design is her tool.
At The Charcoal Project along with a team of Architects, Interior designers, product designers, Sussanne has delivered many conceptual projects in the world of residential private homes, destination villas, commercial offices and model show apartments for various leading real estate companies.
Sussanne resides in Mumbai with her two sons, Hrehaan & Hridaan and believes that through all journeys of life, stand tall and "dare to dream the impossible".
View the Gallery below and Visit the Website: thecharcoalproject.com
The conjunction of the being able to describe forms precisely thanks to the assistance of computers and having access to information driven machine tools has empowered a new kind of creatives.
Bridging between designers and craftsmen, a new generation who is more in control of their creation, as they have to organize informations to pilot the machines, and who are conscious of the manufacturing process and requirements are born: the makers. The maker movement is rising in the middleeast and this exhibition is the acknowledgment of this phenomenon.
In research of a fulfilling lifestyle more designers wannabees emerge and rely on the skill and experience of expensive craftsmen to complete and realize their designs. Their one-off limited editions of hardly producible; and therefore expensive designs find an output only in expensive galleries dedicated to a very wealthy audience and focus on gaining media’s attention. On the contrary, makers live deep in workshops in contact with the materials. They aim to reveal the true nature of materials and they know that the process from tools, steps and techniques is the way to do it.
If the association designer + craftsman produces interesting designs despite a few hick ups, it is interesting to follow what the makers will output. It’s way too easy to describe the maker by opposing it to the couple: designer + craftsman. In reality, the limits are more blurred. A good designer should have practiced all crafts if he/she wants to design properly. At a certain level of complexity like an architect, a designer has to be the one which orchestrates and watches over the concept. He cannot build by himself every part from every trade.
If the designer’s lack of know-how creates often unwanted difficulties to the craftsmen that pointlessly increases the production cost, it also sometimes creates interesting new objects. The continuity of presence and control of makers over the creation and manufacturing processes is giving to their design a greater integrity. Taking into account manufacturing processes from early stages of design allows for control over the production cost and the repeatability of the parts. That same way, the intimate relationship with the making as most makers own their computer driven machine tools, gives the makers another relationship to the process such as the ability to share the process and propose, on some designs, to have the user make the final assembly.
The journey of a maker from bits to atoms within one design is long. Matter and tools will sanction his/her errors harshly. But to have mastered, on his own, from idea to completion, with an awareness gained by the process, is a well deserved reward.
Would the integrated knowledge of manufacturing limit the maker’s imagination (because he early integrates fabrication constraints in his design process), or would he invent at both stages of concept and fabrication by creating new machines and processes? In this exhibition, representing the avantgarde maker movement in Lebanon, confirmed makers such as Karim Chaya, Guillaume Crédoz and Ahmad Khouja are joined by the younger scene: Kamal Aoun, Charbel Jreijini and Hadil Ankouny.
Visit the Website: http://www.beirutmakers.com
After studying industrial design, communication design and book art in Halle and Florence, Amelie worked for Studio Marije Vogelzang in the Netherlands. During her studies she developed a strong interest in design fiction and critical design. She has co-organized several events concerning internet culture and surveillance. She is interested in the potential of of the unfinished and in how fiction shapes reality. Amelie is currently teaching at Burg Giebichenstein University of Art and Design in Halle, Germany.
Visit the Website: https://ameliegoldfuss.com
After escaping my hometown, the hilly little civil war town of Vicksburg, Mississippi, I got a BFA in Metalsmithing and Painting from Central Washington University in Ellensburg, Washington. It was there I realized that I could basically do whatever the hell I wanted, from hopping freight trains to smiting enemies that dared to cross me. With this new attitude towards the world, I hopped some trains, smited some enemies and picked up an MFA with a focus on Metalsmithing from the University of Kansas in Lawrence. I taught metalsmithing for the 3 years while attending KU.
In 2003, the dirty South got her talons back into me. I settled 230 miles downriver from my hometown, Vicksburg, in New Orleans, and worked at Loyola University teaching basic design for 1 1/2 years.
Besides the melting and molding of metal, my other fields of interest include a fascination with ecology and the impact technology has on different cultures. These days I make ends meet fighting fires with the NOFD, selling home-made bio-diesel to famous athletes, and hawking my wares on this website (despite a physically visible aversion to computers and questionable keyboarding skills).
My wife, Jeanne, and I live in the seventh ward of New Orleans where we get to continuously tackle the challenges and frustrations of life in the post-diluvial crescent city, like having our dog eaten by an alligator. Though I guess that could’ve happened before the storm, too.
Visit the Website: http://rosslunz.com
In the spirit of simplicity, we manufacture functional and industrially made products for everyday use. Our strength lies in the intelligent product development and the use of state-of-the-art materials and productiontechnologies. In the process, we synchronise our concept development with independent designers who bring in their own designs and ideas. Above all, we deliberate together on just what typifies a particular product. Through this dialogue our products truly come to life; they take on quintessential forms with clear colours and each bears the handwriting of its creator.
Authentics is a company of the Flötotto family. We are the fourth generation creating furniture and household furnishings. This means that you can count on the accustomed superior quality of our services and our products with every purchase you make.
Visit the Website: www.authentics.de