THE DESIGNERS OF KPM BERLIN
In every stylistic era since its founding in 1763, outstanding creative minds have designed for the Berlin State Porcelain Manufactory ( Königliche Porzellan-Manufaktur ). Among them are world-renowned artists such as Karl Friedrich Schinkel, Trude Petri, Marguerite Friedlaender-Wildenhain, and Enzo Mari. Their designs have shaped not only the history of the manufactory but also their respective eras—and remain groundbreaking to this day.
THOMAS WENZEL
Thomas Wenzel has headed KPM’s artistic development department since 1993. In the 1990s, he collaboratedwith Italian designer Enzo Mari on the creation of the BERLINdesign, which won the iF Design Award. Wenzel’s ability to engage in interdisciplinary collaboration is evident in his partnerships with companies such as Bugatti, Burmester, and Bottega Veneta. In 2013, to mark the manufactory’s 250th anniversary, he developed the “KURLAND BLANC NOUVEAU” collection, whose interplay of glazed surfaces and matte reliefs offers a truly unique visual and tactile experience. Wenzel’s current designs include theLABseries of minimalist, technically inspired pieces, the multi-award-winning KPM coffee filter, and the “ KURLAND ” to-go mug, which is already considered iconic.
ENZO MARI
Enzo Mari was one of the most intellectually influential and impactful international designers of the 20th century. His work explored questions of visual perception, and his style is characterized by clarity. KPM Berlin The Milanese artist worked on this project from 1993 to 1996. The plates and bowls of the BERLIN collection he designed during this period are based on the classic chalice shape. The accompanying pot It impresses with its almost perfectly spherical shape; its inverted handle lends it an innovative touch. A brushed stainless steel base provides the slender, upward-reaching MARI vases with a modern and secure stand.
TRUDE PETRI
After completing her training as a potter in Hamburg, Trude Petri began working as a freelancer for the Berlin-based manufacturer in 1928. A year later, she was hired as a full-time designer and—at just 25 years old—designed the URBINO dinner service in the New Objectivity style. At the 1937 World’s Fair in Paris, the unadorned collection—based on the basic shapes of the sphere and the circle—won the Grand Prix and even made its way into the Museum of Modern Art in New York. Trude Petri created her final design for the company in 1967: the square CADRE vase remains a bestseller to this day.
SIEGMUND SCHÜTZ
After studying sculpture and wood design, Siegmund Schütz worked as an artist at KPM Berlin from 1932 to 1970. During this time, he had a decisive influence on the design of modern porcelain. He was particularly interested in surface design: Schütz created numerous decorative motifs using deep-cut and shallow-cut relief techniques. Schütz found the motifs for his sculptural relief decorations (for example, for the tea service designed by Trude Petri ARKADIA) in natural forms and models from classical antiquity.
MARGUERITE FRIEDLAENDER-WILDENHAIN
After studying at the University of Applied Arts in Berlin, Marguerite Friedlaender-Wildenhain enrolled at the State Bauhaus in Weimar in 1919. Ten years later, she became head of the ceramics workshop at the renowned State and Municipal School of Applied Arts at Burg Giebichenstein in Halle. In collaboration with the State Porcelain Factory in Berlin ( KPM Berlin ), she created numerous designs for everyday porcelain, which were later produced in Berlin. Examples include the minimalist HALLE mocha set in 1929 and the HALLE vase series in 1931. With the National Socialists’ rise to power, Friedlaender-Wildenhain’s career as a porcelain designer in Germany came to an abrupt end. She moved to the Netherlands and opened a small but successful pottery studio. In 1940, she emigrated to the United States.
GERHARD MARCKS
Bauhaus professor Gerhard Marcks was one of the most important German sculptors of the 20th century. With his work, he manifested the convergence of art and pure functional form - as realized at the Bauhaus. From 1929 to 1938, Marcks designed style-defining pieces for the manufactory, such as the confectionery bowl set, which set new standards with its clear design language and functionality.
KARL FRIEDRICH SCHINKEL
Karl Friedrich Schinkel had a lasting influence on the architecture of classical Prussia. This multi-talented artist also made outstanding contributions in the fields of interior architecture, design, and painting. Schinkel’s clear formal language and his departure from the sweeping curves of the Baroque were in harmony with the Prussian Enlightenment. Particularly between 1818 and 1831, the Royal Porcelain Manufactory produced a treasure trove of models based on Schinkel’s designs, a collection that has lost none of its significance. One example is the Neoclassical Schinkel basket with its filigree openwork wickerwork. Schinkel designed it in 1820 on commission from the Prussian King Friedrich Wilhelm III. It is still painstakingly crafted at the manufactory today.
JOHANN GOTTFRIED SCHADOW
Johann Gottfried Schadow began taking his first drawing lessons at the age of twelve. Beginning in 1778, he was trained by the sculptor Antoine Tassaert. A stay in Italy followed his appointment as a teacher and designer at the Academy of Fine Arts and the Berlin Royal Academy of Arts ( Königliche Porzellan-Manufaktur ). As head of the court sculpture workshop and director of the Academy of Fine Arts, he shaped the Berlin art scene in the first half of the 19th century.
In 1795, Johann Gottfried Schadow created, on behalf of the Prussian King Friedrich Wilhelm II, the Prinzessinnengruppe, a double statue of Crown Princess Luise of Prussia and her younger sister Friederike, carved in marble. A smaller version was produced in biscuit porcelain for the KPM Berlin .