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Karin Sander: Living and working in her studio
Karin Sander lives and works in Berlin. As an artist, she advocates for flexibility and experimentation – also at home.
‘When I designed this loft together with the architects Sauerbruch and Hutton, who are friends of mine, there were several questions that interested me: How do I want to live and work? How can these be combined? My studio is conceived in a way that makes it possible for me to employ a variety of artistic techniques at any time.
Having a sense of well-being in a space isn’t primarily about comfort for me, but about change: the furniture should be able to disappear and return again; rooms should be able to be used in different ways.
‘When I designed this loft together with the architects Sauerbruch and Hutton, who are friends of mine, there were several questions that interested me: How do I want to live and work? How can these be combined? My studio is conceived in a way that makes it possible for me to employ a variety of artistic techniques at any time.
Having a sense of well-being in a space isn’t primarily about comfort for me, but about change: the furniture should be able to disappear and return again; rooms should be able to be used in different ways.
‘For me, chairs are like little personalities and I always find it very interesting when I have visitors, how people choose their chairs, where they sit is also the place they occupy.’
Karin Sander
To me, chairs have their own little personalities. I like it when they are different from each other, the way this brings a certain tension and liveliness to a room. I have a Frankfurt Kitchen chair, an Eiermann chair that I picked up on the curb, but also an APC by Jasper Morrison. What particularly fascinates me about Morrison’s designs is how he finds something special in what is normal, how he reduces things to the essentials. Artists and designers work in a similar way, leaving certain things out, looking for a new twist in familiar forms and pushing boundaries. Morrison uses shapes and colours as well as the choice of materials to generate a very special sculptural quality.
I have followed the cultural engagement of Vitra for a long time, the exhibitions shown there, the architecture that has been built on the campus. You not only find the history of furniture there, but also a history of 20th century architecture.’
