Triangles by Bertjan Pot


Milan Design Week 2013 presented a preview of Golran‘s «Triangles», by the Dutch designer Bertjan Pot. Pot was selected for his focus on textile research, patterns, and colour palettes.


The collection is composed of four different designs of Kilim, some of these are also available in several colours. All designs’ starting point is the study of the kilim weaving, in order to emphasize the horizontal and diagonal linear features of the art.


The whole collection is based on the triangle, reiterated to form a grid of different patterns, from which diamond and hexagonal shapes ensue. The colour play pair up slightly contrasting tones, creating woven kaleidoscopic rugs.


This colour harmony along with the pattern’s research, perfectly links the historical background to this new contemporary context. To emphasize the geometries and plays of colour, the designer has created poufs in different forms to be combined and contrasted with a carpet for a complete look corresponding to certain expressions of contemporary art.


Bertjan Pot was born in 1975 in Nieuwleusem, Netherlands. After graduating from the Design Academy in 1988, he began his career as a designer alongside Daniel Withe, under the alias «The Monkey Boys».


In 2003 he opened his own studio in Schiedam. His work centres on the creation of furniture and furnishings, intensely focused on the technological research of materials, patterns, colour palettes, and the textures of fabrics.

Material research is the general starting point for almost every project. Technical research and creativity are the elements that break the boundaries of industrial production, as with his self-produced projects. In addition to these, he has collaborated with a large number of companies and institutions such as Moooi, Arco, Goods, Montis, Feld, Gelderland, Established & Sons, Alturo Alvarez, Richard Lampert, Domestic, Moustache, Museum Boijmans van Beuningen, and the AUDAX Textielmuseum Tilburg.

Reinventing Oriental Carpets: Golran at Milan’s Design Week

Golran reinterprets oriental carpets with a perfect mix between expert technique skills and sensitivity. It has taken a new contemporary turn with this new Kilim collection designed by BertJan Pot under the direction of Francesca Avossa Studio.


The new generation at Golran is driven by a contemporary approach that began several years ago. This approach aims to promote research, while also conveying a new company spirit.


A collaboration with the Francesca Avossa Studio two years ago allowed for a redesign of the brand. This led to the development of a new identity that would unite the various activities of the brand, and create a cohesive message in both publicity and collections.


After the revolutionary Carpet Reloaded collection, whose innovation has been the engine of the company’s repositioning, Golran decided to invest further in contemporary collections.


The first two collections designed by Isabella Sodi – “Memories” and “Shadows” – preceded the collaboration with the studio of Francesca Avossa; a former consultant for several companies, including as artistic director of the brand’s collections at Ligne Roset.


The new editorial line has been designed in harmony with the spirit of Golran: reminiscent of the East, with traditional and artisanal know-how, using a contemporary approach to décor and a particular style of transgression.


GOLRAN 1898 at the Equip’ Hotel

GOLRAN presented their 1898 Rug Collection at the Equip’ Hotel in Paris from the 11th – 15th of November.

Their collections were on display both vertically and horizontally, allowing visitors to experience the carpets both aesthetically and functionally.

Their new collections of reworked and reinterpreted carpets are now available on their website and in their showroom in Milan, Italy.

Number 19 Greek Street – Storytelling, Recycling & Contemporary Design

© Jamie McGregor Smith | Courtesy of 19 Greek Street

During the London Design Festival one  of my favourite venues was 19 Greek Street. This brand new gallery established by Marc Péridis, Designer and Creative Director of the design studio Montage, aims to be London’s hub for craft, excellence and socially responsible design.

19 Greek Street

The impressive six-floor Victorian townhouse aims to become a centre for distinctive design storytelling, bringing together handpicked pieces from international design studios, as well as housing the UK outpost of ESPASSO, the much acclaimed US specialists in modernist and contemporary Brazilian design.

JZ Tea Trolley | Jorge Zalszupin | © Espasso
Courtesy of 19 Greek Street

Cantante Lamp | Etel Carmona | © Espasso
Courtesy of 19 Greek Street

19 Greek Street seeks to merge elements of social responsibility, recycling and contemporary design. The top floor design studio / workshop allows users to engage with the design processes of highly crafted pieces from the Australian design collective supercyclers.

Supercyclers | Courtesy of 19 Greek Street

It features both commercial and non-commercial pieces in exhibition and showroom environments, while also featuring a screening/lecture room and a workshop space where guests can engage with the process: the work behind the work.

Solar Sinter | © Markus Kayser | Courtesy of 19 Greek Street

Solar Sinter | © Markus Kayser | Courtesy of 19 Greek Street

Fuelled by an innate sense of curiosity and exploration, Péridis’ extensive travels through the world’s design hubs of New York, Miami, São Paulo, Berlin, Milan, have set the tone for the space.

© Kate Elliott | Courtesy of 19 Greek Street

This inaugural collection showcases works by an international stable of established design talents alongside emerging newcomers. The pristine white interior allows each exhibited piece of furniture to be presented individually and stand out to show every detail.

Elements | © Juan Pablo Naranjo Courtesy of 19 Greek Street

Péridis says of his decision to set up 19 Greek Street: “I am one of those people who plays with design like a child plays with his toys – with amazement and bewilderment, seeing an infinite potential in everything I find. This is design. So, for me, the idea was simple. I found a building that was looking for stories to tell, and I found stories that were dying to be told.”