magazine

"We try to keep the distance between the customer and the workshop as short as possible...These are objects that I want to be used. And it should be used hard. That's what they're made for...Buying a table takes a long time. It takes months....Most of these people are buying the last table for their life...For me it would be a success if the grandchildren still like the table.
These demonstrations are found by his own research, conversations with product engineers, and through Germany's network of 300 repair cafés, where participants find the same problems over and over, and take products apart to understand what has gone wrong.
... Barricaded for months under a scaffolding, René elevated the humble scaffold bars with gold foil adornments. At Christmas, he leached the romance of the store into the street, bejeweling the sidewalk with a pendant of mistletoe.
I have a vision in my head and arrogantly I feel like it's fully formed, but through mistakes, working with your medium, you move, it reacts, you attack it, it responds. It's like you're discovering what the guitar is meant to be, rather than manipulating it to your will. And that is a magical process.
Being around food is the easiest thing I’ve ever done. It’s instinctive to me. I want to talk about it. I enjoy sugar as a material, I can express in lots and lots of different ways.
His explanation of his strategic capacities is "I am an electrician." This reminds me of Matthew Crawford's painstaking work on the "cognitive riches" of trade labour. (Summary here.) Crawford's point is that trade work is satisfying. Wałȩsa's point is that it is also a form of analytic training.
He explained that he doesn't try to create something that will sell. "I make what I like." He sells at the Berlin artisan market and at some annual artisan markets. "I don't like selling with shops. First, they take 40% of the money. But also I need to be able to see the people, how they handle it, the questions they ask me. I need to watch. Is it going in her eye?"

“Many fights, and many kisses”

“We try to keep the distance between the customer and the workshop as short as possible…These are objects that I want to be used. And it should be used hard. That’s what they’re made for…Buying a table takes a long time. It takes months….Most of these people are buying the last table for their life…For me it would be a success if the grandchildren still like the table.

The Future should be Durable

These demonstrations are found by his own research, conversations with product engineers, and through Germany’s network of 300 repair cafés, where participants find the same problems over and over, and take products apart to understand what has gone wrong.

René Talmon L’Armée

… Barricaded for months under a scaffolding, René elevated the humble scaffold bars with gold foil adornments. At Christmas, he leached the romance of the store into the street, bejeweling the sidewalk with a pendant of mistletoe.

The Sound on the Napkin

I have a vision in my head and arrogantly I feel like it’s fully formed, but through mistakes, working with your medium, you move, it reacts, you attack it, it responds. It’s like you’re discovering what the guitar is meant to be, rather than manipulating it to your will. And that is a magical process.

Sweetness

Being around food is the easiest thing I’ve ever done. It’s instinctive to me. I want to talk about it. I enjoy sugar as a material, I can express in lots and lots of different ways.

“I am an Electrician”

His explanation of his strategic capacities is “I am an electrician.” This reminds me of Matthew Crawford’s painstaking work on the “cognitive riches” of trade labour. (Summary here.) Crawford’s point is that trade work is satisfying. Wałȩsa’s point is that it is also a form of analytic training.

“Because we want to work with artisans”

“Because we want to work with artisans. We’re designers. We like to have a process with them, starting from what they do. Each one has a handwriting. But they also have limitations, the way they were trained, usually just one material.”

“Is it going in her eye?”

He explained that he doesn’t try to create something that will sell. “I make what I like.”
He sells at the Berlin artisan market and at some annual artisan markets. “I don’t like selling with shops. First, they take 40% of the money. But also I need to be able to see the people, how they handle it, the questions they ask me. I need to watch. Is it going in her eye?”

Incubator Extraordinaire

In Berlin, the Markthalle IX was developed in the building of one of the city’s former wholesale markets. Unlike most European food halls, the Markthalle

“You had to make something interesting yourself.”

“I began as a teenager to hand make clothes, because in East Germany there were no shops. You had to make something interesting yourself. So I began with normal clothes. Now for 15 years I work with leather.”