{"title":"ARABIA","description":"\u003c!-- Lower Section: ARABIA Basic Code --\u003e\n\u003cdiv style=\"margin-top: 0px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003eARABIA｜1873–｜FINLAND\u003c\/h3\u003e\n\u003cp class=\"ex-text-01\"\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","products":[{"product_id":"mug-4","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a mug with a wonderful scene that catches the eye, featuring a rugged wheel-turned finish, a beautiful form with an earthy texture, and a gradation from deep blue and green to pale purple on the front.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：TOINI MUONA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eTOINI MUONA｜1904–1987｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Toini Muona was a Finnish female ceramic artist and designer, and one of the pioneers of modern ceramics in Finland.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She majored in ceramics at the Central School of Arts and Crafts in Helsinki, studying under Alfred William Finch.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    After being hired as a decorator at Arabia in 1931, she completed her own collection in less than a year and held her first solo exhibition at the Museum of Applied Arts.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She was a key artist in the Art Department from its establishment in 1933 until 1970.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In addition to ceramics, she also worked on textile design and glass design for Riihimäen Lasi, Karhula, and Nuutajärvi, among others.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She left behind many works with organic forms created by refining asymmetry, using copper glazes that change into rich shades of red, blue, and turquoise.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year in 1874. In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, a tunnel kiln, one of the largest in the world at 112 meters long, was introduced, streamlining production and establishing a mass production system. This allowed Arabia to develop into one of Europe's leading ceramics factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director and organized Arabia's artistic activities into an art department. He created a production environment for artists, establishing a system that developed products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that its product development has involved the mutual interaction of three areas: the art department, the applied arts department, and the product design department.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The art department included Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara. Their works gained international recognition from the 1930s, contributing to the cultural aspect of Arabia and playing a significant role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the \"hotarude\" (firefly pattern) technique. Mass production began in 1950, becoming a long-selling product that continued until 1974, and received high international acclaim as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of the functionalism that spread in Scandinavia in the 1930s, Ekholm released the tableware AR series (SINIVALKO) in 1935, indicating the direction of later Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined as a designer, and along with Kaarina Aho and Ulla Procopé, promoted the renewal of product design. The Kilta series, released in 1953, was a great success as innovative modern design tableware characterized by simple geometric forms and versatility.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia boasts numerous awards since the 1930s, but especially in the 1950s at the Milan Triennale (1951, 1954, 1957), many products by designers, in addition to works by artists from the art department, received awards, establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"TOINI MUONA","offers":[{"title":"TURQUOISE \/ TMCR006","offer_id":48594823807216,"sku":null,"price":99000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/TMCR006_1.jpg?v=1765861591"},{"product_id":"bowl","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eMany works with similar designs were exhibited at the 1960 Milan Triennale.\u003cbr\u003e\nIt is a work that incorporates a unique design with a disc-shaped lid on the vessel.\u003cbr\u003e\nIt is estimated to be a work from around 1960.\u003cbr\u003e\n*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：FRANCESCA MASCITTI-LINDH 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eFRANCESCA MASCITTI-LINDH｜1931–｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Francesca Mascitti-Lindh was born in 1931 to an Italian father and a Finnish mother.\nAfter studying for two years at an art school in Rome from 1946, she moved to Finland.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Soon after, she apprenticed at Arabia under Olga Osol, Michael Schilkin, and Kaj Franck, and studied ceramics at the School of Applied Arts from 1949 to 1953.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    At this school, she met Richard Lindh, who would later become her husband, and after graduating in 1953, they established a small studio in Helsinki. They primarily produced practical pottery.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Her works exhibited at several exhibitions caught the eye of the president of the Wärtsilä Group (Arabia's parent company), and she began working in Arabia's art department in 1955, where she remained for 34 years until 1989.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Even after retiring from Arabia, she continued to create works in her own studio, and in 2021, at the age of 90, she installed a new pottery kiln, actively continuing her creative work.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    With roots in two design cultures, Italy and Finland, she has left behind numerous original works utilizing various techniques and materials. Most of her works are art pieces, but as her only product, she designed tableware for Ginori in Italy.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer\n    Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year in 1874.\n    In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, the world's largest tunnel kiln at the time, measuring 112 meters in length, was introduced,\n    establishing production efficiency and a mass production system.\n    This allowed Arabia to develop into one of Europe's leading ceramic factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director,\n    and organized artistic activities at Arabia into an art department.\n    He created a working environment for artists and established a system to develop products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that its three departments—Art Department, Applied Arts Department, and Product Design Department—\n    collaborated in product development.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    The Art Department included Toini Muona, Friedl Kjellberg,\n    Michael Schilkin, Birger Kaipiainen,\n    Rut Bryk, and Kyllikki Salmenhaara.\n    Their works gained international recognition from the 1930s, contributing to Arabia's cultural aspect\n    and playing an important role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the hotarude technique.\n    Mass production began in 1950 and it became a long-selling product until 1974,\n    receiving high international acclaim as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of functionalism spreading in the Nordic countries in the 1930s, Ekholm\n    launched the AR series (SINIVALKO) tableware in 1935,\n    setting the direction for later Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined the company as a designer,\n    and together with Kaarina Aho and Ulla Procopé,\n    he pushed for innovation in product design.\n    The Kilta series, released in 1953, achieved great success as\n    innovative modern design tableware characterized by its simple geometric forms and versatility.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia has received numerous awards since the 1930s, especially at the Milan Triennales in the 1950s\n    (1951, 1954, 1957),\n    where many products by designers, in addition to works by artists from the art department, received awards,\n    establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRANCESCA MASCITTI-LINDH","offers":[{"title":"BROWN \/ FMLC004","offer_id":48594828951792,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FMLC004_1.jpg?v=1765862498"},{"product_id":"relief-butterflies","title":"RELIEF \"BUTTERFLIES\"","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eIn the early 1950s, Rut Bryk embarked on a new technique using plaster molds.\u003cbr\u003e\nThis allowed for the creation of works with the same design, but each unique through various glaze combinations and embossed decorations.\u003cbr\u003e\nThis particular piece, one of the reliefs featuring the \"Butterfly\" motif designed in 1957 using this plaster mold technique, was unveiled at the Finnish Pavilion of the 1958 Brussels World's Fair.\u003cbr\u003e\nWhile there were butterfly-themed works before this relief, 1957 was also the year her father, Felix, a painter and lepidopterist, passed away. This series of reliefs can be seen as Bryk expressing her various feelings for her father through her art.\u003c\/p\u003e\n\n\u003cp class=\"ex-text-01\"\u003eTwo butterflies are arranged on a pastel pink glaze, with embossed decorations on the sides and other areas.\u003cbr\u003eThe back is glazed in blue.\u003cbr\u003e\n*There is damage to the corners of the sides. Other than this, the piece is glossy overall, with no scratches, and is in very good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003c!-- 下段：RUT BRYK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eRUT BRYK｜1916–1999｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Rut Bryk was a Finnish female designer and artist.\n    She majored in graphic art at the Central School of Arts and Crafts, and after graduating, she worked as a graphic artist, producing illustrations and textile designs.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1942, she was invited by Kurt Ekholm, the art director of ARABIA's art department, to join as an apprentice, and subsequently worked as an artist in the art department for approximately 50 years.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Her husband, whom she married in 1945, was Tapio Wirkkala, a leading Finnish designer who later achieved great success with Iittala and other companies.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    At the Milan Triennale, she received the Grand Prix with her husband in 1951 and an honorable mention in 1954.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    She left behind many works that used ceramic clay as an innovative and unique expressive medium, and is one of the artists who spearheaded modernism in Finland.\n  \u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003eARABIA｜1873 –｜FINLAND\u003c\/h3\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia was established in 1873 as a subsidiary of the Swedish ceramics manufacturer Rörstrand in the Arabia district on the outskirts of Helsinki, and began operations the following year, 1874.\n    In 1916, it separated from Rörstrand's capital and became an independent Finnish company.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1929, a tunnel kiln, one of the largest in the world at 112 meters long, was introduced,\n    establishing efficient production and mass production systems.\n    This led to Arabia's development into one of Europe's leading ceramic factories.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1932, Kurt Ekholm was appointed art director,\n    and he organized Arabia's artistic activities into an art department.\n    He created a production environment for artists and established a system to develop both products and art pieces in parallel.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    A major characteristic of Arabia is that product development has been carried out through the interaction of three fields:\n    the art department, the applied art department, and the product design department.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Artists such as Toini Muona, Friedl Kjellberg,\n    Michael Schilkin, Birger Kaipiainen,\n    Rut Bryk, and Kyllikki Salmenhaara participated in the art department.\n    Their works gained international recognition from the 1930s, contributing to Arabia's cultural aspect and\n    playing an important role in the development of Finnish ceramics.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In the 1940s, Friedl Kjellberg developed Rice Porcelain using the rice-grain technique.\n    Mass production began in 1950, becoming a long-selling product until 1974,\n    and was highly acclaimed internationally as Arabia's representative artistic porcelain.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Against the backdrop of functionalism spreading in the Nordic countries in the 1930s,\n    Ekholm unveiled the AR series (SINIVALKO) tableware in 1935,\n    showing the direction of future Nordic modern design.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    In 1945, Kaj Franck joined as a designer, and together with\n    Kaarina Aho and Ulla Procopé,\n    he promoted the renewal of product design.\n    The Kilta series, released in 1953, featuring simple geometric forms and versatility,\n    achieved great success as innovative modern design tableware.\n  \u003c\/p\u003e\n\n  \u003cp class=\"ex-text-01\"\u003e\n    Arabia boasts numerous awards since the 1930s, especially at the Milan Triennale in the 1950s\n    (1951, 1954, 1957),\n    where many products by designers, in addition to works by artists from the art department, also received awards,\n    establishing its global reputation.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"RUT BRYK","offers":[{"title":"PINK \/ BRYK006","offer_id":48594839863536,"sku":null,"price":770000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/BRYK006_1.jpg?v=1765862981"},{"product_id":"arab546","title":"PLANT POT COVER(BLACK) LL","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a pot cover developed from the SN model planter with a saucer, one of the representative works designed in 1964 and manufactured until 1985.\u003cbr\u003eIt integrates the pot and saucer of the SN model.\u003cbr\u003eSince it is not listed in the 1979 catalog, it is presumed to have been added to the series in the 1980s.\u003cbr\u003eIt is the same size as SN4.\u003cbr\u003e*In good condition with not much sign of use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：RICHARD LINDH 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eRICHARD LINDH | 1929–2006 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRichard Lindh was a Finnish designer. From 1951 to 1954, he studied ceramics at the University of Arts and Design. While still a student, he founded a small studio in Helsinki in 1953 together with Francesca Mascitti Lindh, who later became his wife, and the two mainly produced utilitarian ceramics.\u003c\/p\u003e\n\u003cp\u003eIn 1955, he joined Arabia’s Art Department. He later held a number of leading positions within the company, serving as director of the Applied Arts Department from 1959, the Product Design Department from 1964, and the Art Department from 1973, before leaving Arabia in 1989.\u003c\/p\u003e\n\u003cp\u003eLindh worked across a wide range of fields, from art pieces to tableware. He is especially known for planters such as the SN model, and for the many products he created with simple, modern forms. In 1970, he received the Finnish State Design Prize.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"RICHARD LINDH","offers":[{"title":"BLACK \/ ARAB546","offer_id":48595079069936,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ARAB546_1.jpg?v=1765874753"},{"product_id":"arab528","title":"FLOWER POT(BLACK) L SN3","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eDesigned in 1964, this long-selling model was produced for 20 years from 1964 to 1985.\u003cbr\u003eIt is a planter with a saucer, featuring a simple, uncluttered form.\u003cbr\u003eThree sections of the base of the pot are cut out to allow water drainage, making it a design with excellent functionality. It has a matte texture.\u003cbr\u003e*Shows signs of use but is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：RICHARD LINDH 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eRICHARD LINDH | 1929–2006 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eRichard Lindh was a Finnish designer. From 1951 to 1954, he studied ceramics at the University of Arts and Design. While still a student, he founded a small studio in Helsinki in 1953 together with Francesca Mascitti Lindh, who later became his wife, and the two mainly produced utilitarian ceramics.\u003c\/p\u003e\n\u003cp\u003eIn 1955, he joined Arabia’s Art Department. He later held a number of leading positions within the company, serving as director of the Applied Arts Department from 1959, the Product Design Department from 1964, and the Art Department from 1973, before leaving Arabia in 1989.\u003c\/p\u003e\n\u003cp\u003eLindh worked across a wide range of fields, from art pieces to tableware. He is especially known for planters such as the SN model, and for the many products he created with simple, modern forms. In 1970, he received the Finnish State Design Prize.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"RICHARD LINDH","offers":[{"title":"BLACK \/ ARAB528","offer_id":48595083460848,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ARAB528_1.jpg?v=1765875097"},{"product_id":"rice-porcelain-oksa-bowl-fk-33","title":"RICE PORCELAIN \"OKSA\" COFFEE C\u0026S FK\/65 BOX SET","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed over a period of ten years, inspired by the Chinese \"firefly-hand\" porcelain that Friedl Kjellberg saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork pattern is individually cut by hand with a special knife, then bisque fired at 800°C, glazed, and fired again at 1380°C, causing the cut-out areas to vitrify and the openwork pattern to emerge as light passes through.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, a product series began to be manufactured from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn Finnish, 'OKSA' means 'twig'.\u003cbr\u003eThe cut marks are 'ARABIA -F.H.Kj- FINLAND' (cup) and 'ARABIA -F.H.Kj-' (saucer).\u003cbr\u003eThis is a set of 6.\u003cbr\u003e*Probably dead stock. In very good condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC162","offer_id":48595134218480,"sku":null,"price":66000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC162_1.jpg?v=1765878813"},{"product_id":"rice-porcelain-oksa-plate-fk-66","title":"RICE PORCELAIN \"OKSA\" PLATE FK\/66","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain porcelain\" that the artist saw at the Museum of Applied Arts in Vienna in the early 1930s and took 10 years to complete.\u003cbr\u003eThe openwork patterns are each cut by hand with a special knife by artisans, then bisque-fired at 800°C, glazed, and fired again at 1380°C, causing the cut-out parts to vitrify and the openwork patterns to appear when light passes through them.\u003cbr\u003eInitially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series in 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\"OKSA\" means \"twig\" in Finnish.\u003cbr\u003eThe cut mark is \"ARABIA -F.H.Kj- FINLAND\"\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC171","offer_id":48595154108656,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC171_1.jpg?v=1765879552"},{"product_id":"rice-porcelain-viiru-mug-fk-7","title":"RICE PORCELAIN \"VIIRU\" MUG FK\/7","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain\" porcelain that she saw at the Vienna Museum of Applied Arts in the early 1930s, and it took 10 years to perfect. Each openwork pattern is cut by hand by artisans using a special knife, then bisque-fired at 800°, glazed, and fired again at 1380°, causing the cut sections to vitrify and the openwork pattern to emerge through the light. Initially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series from 1950. It was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003e\"VIIRU\" means \"thread\" in Finnish.\u003cbr\u003eThe cut mark is \"ARABIA -F.H.Kj- FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC187","offer_id":48595159679216,"sku":null,"price":15400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC187_1.jpg?v=1765879851"},{"product_id":"rice-porcelain-bowl-fk-1","title":"RICE PORCELAIN BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"hotarude\" (firefly) porcelain, which the creator saw at the Museum of Applied Arts in Vienna in the early 1930s, and it took 10 years to perfect.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. This process vitrifies the cut areas, allowing light to pass through and making the openwork patterns stand out.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features a rare pattern.\u003cbr\u003eThe cut mark reads \"ARABIA -F.H.Kj- MADE IN FINLAND.\"\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC188","offer_id":48595162333424,"sku":null,"price":22000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC188_1.jpg?v=1765880046"},{"product_id":"rice-porcelain-oksa-bowl-fk-1","title":"RICE PORCELAIN \"OKSA\" BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed over a period of 10 years, inspired by Chinese 'rice grain' porcelain that I saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork pattern is cut out one by one by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C, causing the cut-out parts to vitrify and the openwork pattern to emerge through the light.\u003cbr\u003eInitially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eExhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn Finnish, \"OKSA\" means \"twig.\"\u003cbr\u003e\nCut signature: \"ARABIA -F.H.Kj- MADE IN FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC189","offer_id":48595163775216,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC189_1.jpg?v=1765880238"},{"product_id":"rice-porcelain-lehti-bowl-fk-1","title":"RICE PORCELAIN \"LEHTI\" BOWL FK\/1","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain porcelain\" observed at the Museum of Applied Arts in Vienna in the early 1930s and took ten years to complete.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using special knives, then bisque-fired at 800°C, glazed, and fired again at 1380°C, causing the cut areas to vitrify and the openwork pattern to emerge through the light.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series starting in 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eIn Finnish, \"LEHTI\" means \"leaf.\"\u003cbr\u003eThe cut mark is \"ARABIA -F.H.Kj- MADE IN FINLAND\"\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC190","offer_id":48595165937904,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC190_1.jpg?v=1765880365"},{"product_id":"rice-porcelain-oksa-bowl-fk-68-with-black-foot-ring","title":"RICE PORCELAIN \"OKSA\" BOWL FK\/68 with BLACK FOOT RING","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain\" porcelain that Kjellberg saw at the Museum of Applied Arts in Vienna in the early 1930s and took ten years to complete.\u003cbr\u003eEach openwork pattern is individually cut by hand with a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C, turning the cut-out parts into a glassy material that allows light to pass through and highlight the openwork pattern.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a rare piece with a matte black-brown glazed foot.\u003cbr\u003e\"OKSA\" in Finnish means \"twig.\"\u003cbr\u003e\nThe cut signature is \"ARABIA -F.H.Kj- FINLAND\"\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC191","offer_id":48595168067824,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC191_1.jpg?v=1765880820"},{"product_id":"rice-porcelain-oksa-bowl","title":"RICE PORCELAIN \"OKSA\" BOWL","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed over a period of ten years, inspired by Chinese 'Hotalu-de' (firefly motif) porcelain, which the artist saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork patterns are meticulously cut one by one by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. This process vitrifies the cut areas, allowing light to pass through and making the openwork patterns stand out.\u003cbr\u003eInitially, even small pieces were unique items that took four days to produce, but after further research, they began to be manufactured as a product series from 1950.\u003cbr\u003eIt was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut mark is \"ARABIA -F.H.Kj- FINLAND.\"\u003cbr\u003e\n\"OKSA\" means \"branch\" in Finnish.\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC192","offer_id":48595332432112,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC192_1.jpg?v=1765881155"},{"product_id":"rice-porcelain-viiru-bowl-fk-34","title":"RICE PORCELAIN \"VIIRU\" BOWL FK\/34","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was inspired by Chinese \"rice grain\" porcelain that Friedl Kjellberg admired at the Museum of Applied Arts in Vienna in the early 1930s, and it took 10 years to perfect. The openwork patterns are individually cut by craftsmen using special knives, then bisque fired at 800°C, glazed, and fired again at 1380°C, causing the cut areas to vitrify and the openwork patterns to appear illuminated by light. Initially, even small pieces took four days to produce as unique works, but after further research, they began to be manufactured as a product series from 1950. It was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut mark is 'ARABIA -F.H.Kj- MADE IN FINLAND'.\u003cbr\u003e\n'VIIRU' means 'thread' in Finnish.\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC195","offer_id":48595360940272,"sku":null,"price":24750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC195_1.jpg?v=1765881682"},{"product_id":"rice-porcelain-rivi-bowl-fk-34","title":"RICE PORCELAIN \"RIVI\" BOWL FK\/34","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed after 10 years of effort, inspired by the Chinese \"firefly\" porcelain that the artist admired at the Vienna Museum of Applied Arts in the early 1930s.\u003cbr\u003eEach openwork pattern is cut out by a craftsman using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. The cut-out parts become vitreous, allowing light to pass through and making the openwork pattern appear.\u003cbr\u003eInitially, even small pieces took four days to produce as unique items, but after further research, they began to be manufactured as a product series in 1950.\u003cbr\u003eThe series was exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThe cut mark is 'ARABIA -F.H.Kj- MADE IN FINLAND'.\u003cbr\u003e\n'RIVI' means 'line' in Finnish.\u003cbr\u003e\n*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC197","offer_id":48595469828336,"sku":null,"price":24750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC197_1.jpg?v=1765881828"},{"product_id":"rice-porcelain-rivi-mocca-cup-fk","title":"RICE PORCELAIN \"RIVI\" MOCCA CUP FK","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eRice Porcelain was completed after 10 years of work, inspired by Chinese 'hotarude' (firefly-hand) porcelain that the artist saw at the Museum of Applied Arts in Vienna in the early 1930s.\u003cbr\u003eThe openwork patterns are individually cut by craftsmen using a special knife, then bisque-fired at 800°C, glazed, and fired again at 1380°C. The cut portions vitrify, allowing light to pass through and revealing the openwork pattern.\u003cbr\u003eInitially, these were unique pieces, with even small works taking four days to produce. However, after further research, they began to be manufactured as a product series starting in 1950.\u003cbr\u003eThey were exhibited at the Milan Triennale in 1951.\u003c\/p\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a rare 80ml mocha cup without a handle.\u003cbr\u003eThe cut mark reads \"ARABIA -F.H.Kj- MADE IN FINLAND\".\u003cbr\u003e\"RIVI\" means \"line\" in Finnish.\u003cbr\u003e*In very good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：FRIEDL KJELLBERG 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eFRIEDL HOLZER-KJELLBERG｜1905–1993｜AUSTRIA\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eFriedl Holzer-Kjellberg was an Austrian ceramic artist. After studying ceramics at an Austrian school of arts and crafts, she began her career at Arabia in 1924. She was among the early members of Arabia’s Art Department, which was organized by Kurt Ekholm in 1932 and fully established as a department when Ekholm became its director the following year. From 1948 to 1950, she also served as director of the department.\u003c\/p\u003e\n\u003cp\u003eDuring her 46 years at Arabia, Friedl Holzer-Kjellberg worked primarily as an artist in the Art Department while also contributing to the creation and development of her best-known work, Rice Porcelain. So successful was the series that a dedicated department was established for its production. After extensive experimentation throughout the 1930s, the first Rice Porcelain pieces were presented in 1942. Once the technique had been adapted for larger-scale production, the series was manufactured from 1950 to 1974 and came to be internationally recognized as one of Arabia’s defining artistic porcelains.\u003c\/p\u003e\n\u003cp\u003eHer work in the Art Department is distinguished by refined, understated forms inspired by Chinese ceramics, especially Song dynasty wares, and by elegant glaze effects such as celadon, oxblood, and peacock blue.\u003c\/p\u003e\n\u003cp\u003eHolzer-Kjellberg received a gold medal at the Brussels World’s Fair in 1935 and a silver medal at the Paris World’s Fair in 1937. At the Milan Triennale, she was awarded a silver medal in 1933 and a gold medal in 1954. In 1962, she was also awarded the Pro Finlandia Medal in recognition of her artistic achievements.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"FRIEDL KJELLBERG","offers":[{"title":"WHITE \/ FKRC199","offer_id":48595509248240,"sku":null,"price":9900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/FKRC199_1.jpg?v=1765881971"},{"product_id":"coffee-potyellow-large","title":"COFFEE POT (YELLOW) LARGE","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eManufactured from 1958 to 1977.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eA coffee pot, one of his 대표 works, which was presented at a joint exhibition with his wife Vuokko at Artek in 1957.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is the large size with a capacity of 1.5 liters.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt was exhibited at the Milan Triennale in 1957.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*The exterior is in good condition with no noticeable damage. There are scuff marks on the bottom interior from use.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANTTI NURMESNIEMI | 1927–2003 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAntti Nurmesniemi was a Finnish designer and one of the pioneers of industrial design in Finland. He studied interior and furniture design at the Central School of Arts and Crafts, and worked at Stockmann’s design office while still a student. In 1951, he joined the office of the renowned Finnish architect Viljo Revell. Revell’s office won the competition for Hotel Palace, where Nurmesniemi was responsible for the interior design of the sauna section. During this period, he designed one of his best-known works, the Sauna Stool.\u003c\/p\u003e\n\u003cp\u003eIn 1953, he married Vuokko Nurmesniemi, who was active at MARIMEKKO, and in 1956 established his own studio, Studio Nurmesniemi. His practice extended across a wide range of fields, from product design such as the Wärtsilä coffee pot, first presented at an ARTEK exhibition with Vuokko in 1957, and Fujitsu telephones, to the design of Helsinki Metro rolling stock and power transmission pylons. He was also active as Chairman of the Finnish Design Association, and worked in public architecture, teaching, and education.\u003c\/p\u003e\n\u003cp\u003eIn 1959, he received the Lunning Prize, one of the most prestigious awards for Nordic designers. He also won the Grand Prix in the exhibition design category at the Milan Triennale in 1960 and 1964, among many other honors.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANTTI NURMESNIEMI","offers":[{"title":"YELLOW \/ ANCP035","offer_id":48595943522544,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANCP035_1.jpg?v=1765886379"},{"product_id":"flyng-sauser-cast-iron-potred","title":"\"FLYING SAUCER\" CAST IRON POT (RED)","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDesigned in 1977 and manufactured from 1977 to 1986.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis cast iron pot with enamel coating is known as the \"Flying Saucer\" due to its distinctive shape.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAlthough it is a heavy pot weighing 4.4 kg, it features a highly functional design with a large, easy-to-grip lid knob and a rim that allows it to be lifted from any angle.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e*It is in very good condition with little signs of use. There are no enamel chips.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANTTI NURMESNIEMI | 1927–2003 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAntti Nurmesniemi was a Finnish designer and one of the pioneers of industrial design in Finland. He studied interior and furniture design at the Central School of Arts and Crafts, and worked at Stockmann’s design office while still a student. In 1951, he joined the office of the renowned Finnish architect Viljo Revell. Revell’s office won the competition for Hotel Palace, where Nurmesniemi was responsible for the interior design of the sauna section. During this period, he designed one of his best-known works, the Sauna Stool.\u003c\/p\u003e\n\u003cp\u003eIn 1953, he married Vuokko Nurmesniemi, who was active at MARIMEKKO, and in 1956 established his own studio, Studio Nurmesniemi. His practice extended across a wide range of fields, from product design such as the Wärtsilä coffee pot, first presented at an ARTEK exhibition with Vuokko in 1957, and Fujitsu telephones, to the design of Helsinki Metro rolling stock and power transmission pylons. He was also active as Chairman of the Finnish Design Association, and worked in public architecture, teaching, and education.\u003c\/p\u003e\n\u003cp\u003eIn 1959, he received the Lunning Prize, one of the most prestigious awards for Nordic designers. He also won the Grand Prix in the exhibition design category at the Milan Triennale in 1960 and 1964, among many other honors.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANTTI NURMESNIEMI","offers":[{"title":"RED \/ ANCP034","offer_id":48595977109744,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANCP034_1.jpg?v=1765886749"},{"product_id":"bowl-4","title":"BOWL L","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features an enchanting glaze, reminiscent of a waterside reflection. \u003cbr\u003eThis is the larger of the two available sizes.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"BLUE \/ ANHV013","offer_id":48601126306032,"sku":null,"price":38500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV013_1.jpg?v=1765970871"},{"product_id":"bowl-5","title":"Bowl","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis piece features a fantastical glaze that resembles scenery reflected on water.\u003cbr\u003eIt is the smaller of the two available sizes.\u003cbr\u003e*In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"BLUE \/ ANHV015","offer_id":48601163727088,"sku":null,"price":33000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV015_1.jpg?v=1765971084"},{"product_id":"bottle","title":"BOTTLE","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp class=\"ex-text-01\"\u003eThis is a cuboid bottle from her time in the art department, and based on the style, it is estimated to be a work from around 1967 to 1970.\u003cbr\u003eBlue, green, and black glazes are boldly intertwined on a textured, uneven surface with a rich, earthy feel.\u003cbr\u003e*It is in good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ANNIKKI HOVISAARI 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eANNIKKI HOVISAARI | 1918–2004 | FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eAnnikki Hovisaari was a Finnish ceramic artist and designer. She studied ceramics at the Central School of Arts and Crafts, where she was taught by Elsa Elenius. In 1949, she joined ARABIA’s Applied Art Department, working under Olga Osol to design tableware and decorative ceramics. At the same time, she also pursued her own wheel-thrown works.\u003c\/p\u003e\n\u003cp\u003eIn 1962, she won first prize in an international competition held in Italy. This recognition led to her appointment to the Art Department in 1963, where she worked until 1975. Her works from this period are characterized by powerful forms using coarse chamotte clay and matte, richly textured glazes, highlighting her sensitivity to the inherent qualities of the material.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ANNIKKI HOVISAARI","offers":[{"title":"GREEN \/ ANHV009","offer_id":48639493603568,"sku":null,"price":132000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ANHV009_1.jpg?v=1766906957"},{"product_id":"kfkl503","title":"\"KILTA\" BOX(BLUE) IS3","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is model IS3, a covered container from the IS series designed in 1949 and later incorporated into the KILTA series. The series was produced in three sizes: IS1 and IS2, both with a diameter of 110 mm but different heights, and IS3, with a diameter of 150 mm. This example is IS3, the rarest of the three sizes, and is thought to have been produced only for a short period, probably around 1960.\u003c\/p\u003e\n\u003cp\u003eThere is a small chip to the edge of the unglazed area on the underside of the lid. The top of the lid also has areas where the glaze is thin, as made.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL503","offer_id":48640051282160,"sku":null,"price":24750.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL503_1_c4e76501-daf0-419c-9390-7459162e6026.jpg?v=1777641723"},{"product_id":"kfkl501","title":"\"KILTA\" PLATE (BLUE) BA 197mm","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is a plate from the BA model. The BA plates were produced in six sizes.\u003c\/p\u003e\n\u003cp\u003eThere is some wear, including surface scratches, but it remains in good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL501","offer_id":48640053051632,"sku":null,"price":3850.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL501_1_2ad1e66b-2c2c-4c19-993f-c9820f0ae141.jpg?v=1777641860"},{"product_id":"kfkl453","title":"\"KILTA\" TEA POT(YELLOW) BA4","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis example is a BA model teapot added to the KILTA series in the 1960s.\u003c\/p\u003e\n\u003cp\u003eIn good condition, with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"YELLOW \/ KFKL453","offer_id":48641403650288,"sku":null,"price":19800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL453_1_7ffa5e48-614e-4c85-9406-e34d7e5974e7.jpg?v=1777641298"},{"product_id":"arab557","title":"SQUARE DISH(BLACK) HF","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is the HF model square plate designed by Kaarina Aho.\u003c\/p\u003e\n\u003cp\u003eIts design follows the basic principles of Kaj Franck’s KILTA series, but compared with the square plates of KILTA, its sides rise at a steeper angle, closer to vertical.\u003c\/p\u003e\n\u003cp\u003eIt was designed as an hors d’oeuvre dish to be arranged in multiples on a wooden tray, and this more upright form was likely intended to allow the pieces to sit neatly side by side. It was produced from 1958 to 1964.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAARINA AHO 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAARINA AHO｜1925–1990｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaarina Aho was a Finnish ceramic artist and designer, born into a distinguished cultural family. Her grandfather was the nationally celebrated writer Juhani Aho, and her grandmother was the artist Venny Soldan-Brofeldt.\u003c\/p\u003e\n\u003cp\u003eAfter graduating from the Central School of Arts and Crafts, she joined Arabia’s product design department in 1946 as Kaj Franck’s first assistant. From 1949 to 1962, she worked as a designer, creating a wide range of products for the company.\u003c\/p\u003e\n\u003cp\u003eIn 1957, her BL model mocha cup received a Gold Medal at the Milan Triennale.\u003c\/p\u003e\n\u003cp\u003eEarly in her time at Arabia, Aho became dissatisfied with duties such as decorating mass-produced wares and offered her resignation. It was not accepted. Instead, she was given the opportunity to work across nearly every department in the factory, from the laboratory to the glazing section. The broad knowledge and technical skill she gained there became the foundation of her later work.\u003c\/p\u003e\n\u003cp\u003eAlongside her work in product design at Arabia, she also made one-off thrown pieces and held her own exhibitions. After leaving Arabia in 1962, she continued working in her own studio, producing numerous works distinguished by their rich glaze surfaces.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAARINA AHO","offers":[{"title":"BLACK \/ ARAB557","offer_id":48641414168816,"sku":null,"price":6050.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/ARAB557_1_4210a1dd-e7fe-4f25-a30c-79ae442a3ef3.jpg?v=1777718347"},{"product_id":"kfkl528","title":"\"KILTA\" CASSEROLE(WHITE) BA 1","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is a covered casserole from the BA model, added to the KILTA series around the late 1950s. The small number of surviving examples suggests that it was produced only for a short period. This example was made in 1961.\u003c\/p\u003e\n\u003cp\u003eThere is some staining on the inner side, but otherwise it remains in good condition with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"WHITE \/ KFKL528","offer_id":48719595733232,"sku":null,"price":16500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL528_1_d0c18a37-99aa-4ada-be2c-7bb4c00d8fdc.jpg?v=1777641543"},{"product_id":"kfkl406","title":"\"KILTA\" EGG RING(ENAMEL RED) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"RED \/ KFKL406","offer_id":48723180191984,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL406_1.jpg?v=1768296609"},{"product_id":"kfkl407","title":"\"KILTA\" EGG RING(ENAMEL RED) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"RED \/ KFKL407","offer_id":48723190186224,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL407_1.jpg?v=1768296811"},{"product_id":"kfkl408","title":"\"KILTA\" EGG RING(ENAMEL BLUE) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL408","offer_id":48723193037040,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL408_1.jpg?v=1768296890"},{"product_id":"kfkl409","title":"\"KILTA\" EGG RING(ENAMEL BLUE) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL409","offer_id":48723199131888,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL409_1.jpg?v=1768296963"},{"product_id":"kfkl468","title":"\"KILTA\" EGG RING(ENAMEL DARK BLUE) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955. This example is an enamel-color prototype version.A highly rare piece.\u003c\/p\u003e\n\u003cp\u003eDue to the nature of the glaze, there are small chips and irregularities.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL468","offer_id":48723203490032,"sku":null,"price":6600.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL468_1.jpg?v=1768297081"},{"product_id":"kfkl516","title":"\"KILTA\" EGG RING(BLACK) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLACK \/ KFKL516","offer_id":48723212304624,"sku":null,"price":3300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL516_1.jpg?v=1768297207"},{"product_id":"kfkl520","title":"\"KILTA\" EGG RING(BLUE) A","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the A model egg ring, added to the KILTA series in 1955.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL520","offer_id":48723213910256,"sku":null,"price":3300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL520_1_53296124-88da-4dab-a13f-44f421e89c7a.jpg?v=1768297512"},{"product_id":"kysl038","title":"COVERED POT","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA covered vessel created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThe clay body, which appears to contain chamotte, is layered with a matte dark brown glaze and a cloudy white glaze with areas of pooling, creating a richly textured surface reminiscent of the Finnish landscape.\u003cbr\u003eThe sharply defined lid also has a sculptural appeal of its own, revealing the strength of her formal expression.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1956.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL038","offer_id":49416185676016,"sku":null,"price":176000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL038_1.jpg?v=1774258935"},{"product_id":"kysl017","title":"CREAMER","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA creamer created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThe thin and delicately rising rim, together with the sharp form created by its two-tiered structure, gives this small piece a striking sense of tension.\u003cbr\u003eThe restrained glaze expression contrasts with the sharp form, further enhancing its presence.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957 to 1961.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL017","offer_id":49416359510256,"sku":null,"price":60500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL017_1_019622e5-037c-4b59-b93f-8a398a71c6f2.jpg?v=1774259441"},{"product_id":"kysl028","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA mug created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThe strong wheel-thrown ridges rising powerfully from the thick lower body make this a striking work with a strong sculptural presence.\u003cbr\u003eThe dark brown glaze creates a weighty texture, and together with the form gives the piece a powerful presence.\u003cbr\u003eAnother characteristic of her work is the broad, stable handle, smoothly connected to the cup and showing a strong sense of form.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957 to 1961.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL028","offer_id":49416593637616,"sku":null,"price":137500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL028_1.jpg?v=1774260122"},{"product_id":"kysl032","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA mug created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eBy layering multiple glazes, the piece acquires a surface expression reminiscent of the Finnish landscape.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL032","offer_id":49416645017840,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL032_1.jpg?v=1774260998"},{"product_id":"kysl035","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA mug created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eBy layering multiple glazes, the piece acquires a surface expression reminiscent of the Finnish landscape.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL035","offer_id":49416696070384,"sku":null,"price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL035_1.jpg?v=1774261134"},{"product_id":"kysl022","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA mug created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThis piece is distinguished by its stable form, rising in a gentle curve.\u003cbr\u003eThe handle is shaped as if folded inward from both sides, with a distinctive groove running through the center.\u003cbr\u003eLayers of light brown and dark brown glaze, together with the exposed clay body, create a rich range of brown tones.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957 to 1960.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"BROWN \/ KYSL022","offer_id":49416726315248,"sku":null,"price":99000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL022_1.jpg?v=1774261302"},{"product_id":"kysl023","title":"MUG","description":"\u003cdiv class=\"black-text-01\"\u003e\n\u003cp\u003eA mug created by Kyllikki Salmenhaara at the Arabia Art Department.\u003c\/p\u003e\n\u003cp\u003eThis piece is distinguished by its stable form, rising in a gentle curve.\u003cbr\u003eThe handle is shaped as if folded inward from both sides, with a distinctive groove running through the center.\u003cbr\u003eThe clay body, which appears to contain chamotte, is covered with a slightly cloudy translucent glaze that softly brings out the dark brown speckles and the coarse texture of the clay.\u003cbr\u003eThe lower part of the side and the underside of the base are left unglazed.\u003c\/p\u003e\n\u003cp\u003eJudging from its style, it is presumed to date from around 1957 to 1961.\u003cbr\u003eSigned “ARABIA KS”.\u003cbr\u003e* In good condition with no noticeable damage.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKYLLIKKI SALMENHAARA｜1915–1981｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKyllikki Salmenhaara is one of the most distinguished ceramists of 20th-century Finnish pottery, who elevated exceptional wheel-throwing skills to the realm of art. Throughout her life, she dedicated herself to the study and education of ceramics.\u003c\/p\u003e\n\u003cp\u003eFrom 1938, she majored in ceramics under Elsa Elenius at the Central School of Arts and Crafts. Even during her studies, she demonstrated her talent early on by winning top prizes in school contests.\u003c\/p\u003e\n\u003cp\u003eAfter graduation, she worked as a glass designer at Kauklahti Glassworks for three years. In 1946, she studied glaze research at Saxbo in Denmark, where she was mentored by Nathalie Krebs, known as a glaze chemist. The experience gained in glaze research here became the foundation for the unique glaze expressions seen in her later works.\u003c\/p\u003e\n\u003cp\u003eSubsequently, after working at Sakari Vapaavuori's studio, she joined Arabia in 1947. Initially, she worked as an assistant to Olga Osol, head of the applied arts department, but transferred to the art department in 1950 and remained there until 1961. While conducting research on the composition of ceramic clays and glazes, and firing techniques, she created works characterized by glaze expressions that highlight material textures and powerful forms made on the wheel.\u003c\/p\u003e\n\u003cp\u003eHer stay in the United States in 1956, where she was exposed to the burgeoning studio ceramics movement, is believed to have led to her subsequent free and powerful expressive forms.\u003c\/p\u003e\n\u003cp\u003eHer work also received high international acclaim, winning a silver medal in 1951, an honorable mention in 1954, a Grand Prix in 1957, and a gold medal in 1960 at the Milan Triennale, receiving awards at every exhibition she participated in.\u003c\/p\u003e\n\u003cp\u003eShe left Arabia after an accident during production, when she injured her finger on a sharp object mixed in with the clay, and from 1961, she became involved in ceramics education at a university in Taiwan. From 1963 until her death in 1981, she worked as an educator and researcher at the School of Art and Design and the University of Art and Design Helsinki.\u003c\/p\u003e\n\u003cp\u003eIn 1974, she published her book \"Keramiikka,\" which summarized her years of research and experience. This book, which systematically compiled information on ceramic materials, wheel-throwing techniques, clay and glaze formulations, and firing, had a significant impact on ceramics education and research in Finland.\u003c\/p\u003e\n\u003cp\u003eThrough her works, research, and educational activities, Salmenhaara left a significant mark on 20th-century Finnish ceramics.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eArabia Art Department｜1932–early 1970s｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eThe Arabia Art Department was organized in 1932 by Kurt Ekholm, and its structure as a department was firmly established the following year, when Ekholm became its director.\u003c\/p\u003e\n\u003cp\u003eThe Art Department functioned as an independent space within the factory, providing artists with an environment for free creative work while allowing them to maintain a certain distance from industrial production. The results of this activity were fed back into industrial products through experimentation with materials, glazes, and forming techniques, creating an interaction between art and industry. It also served to embody and communicate Arabia’s cultural identity.\u003c\/p\u003e\n\u003cp\u003eThis philosophy was rooted in the values of craft and art emphasized by Arttu Brummer, who played a leading role at the Central School of Arts and Crafts, and was realized by artists trained there under Elsa Elenius. Ekholm’s institutionalization of the Art Department can be understood as a reorganization of this educational foundation within an industrial context.\u003c\/p\u003e\n\u003cp\u003eMembers of the Art Department included Toini Muona, Aune Siimes, Michael Schilkin, Birger Kaipiainen, Rut Bryk, Kyllikki Salmenhaara, and Oiva Toikka. Friedl Kjellberg, who had been working at Arabia since 1924, was one of the artists active even before the department was formally organized, and remained an important member after its establishment. In 1948, she became director of the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe artists of the Art Department formed two major lineages: one represented by Toini Muona and Kyllikki Salmenhaara, based on wheel-thrown ceramics and glaze expression; and the other represented by Birger Kaipiainen and Rut Bryk, characterized by decorative and narrative expression using reliefs and ceramic plaques. Though contrasting in nature, both played an essential role in broadening the range and depth of expression within the Art Department.\u003c\/p\u003e\n\u003cp\u003eThe Art Department’s activities were also highly acclaimed in international exhibitions, receiving awards continuously from the 1930s onward, including at the Paris Exposition. At the Milan Triennale from the 1950s to 1960 in particular, Rut Bryk (1951), Kyllikki Salmenhaara (1957), and Birger Kaipiainen (1960) won the Grand Prix, while Honorable Mentions were awarded to Birger Kaipiainen, Michael Schilkin (1951), Rut Bryk, Toini Muona, and Kyllikki Salmenhaara (1954), and Aune Siimes received a Gold Medal in 1954. Kyllikki Salmenhaara in particular became a key figure in establishing the Art Department’s international standing, winning awards in four consecutive Triennales between 1951 and 1960, including the Grand Prix.\u003c\/p\u003e\n\u003cp\u003eIn the early 1970s, following an organizational restructuring, the Art Department’s name and function were transferred to the Atelier department, marking the end of its role as an independent department.\u003c\/p\u003e\n\u003cp\u003eIts philosophy continues today and is carried on in the activities of the Art Department Society.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KYLLIKKI SALMENHAARA","offers":[{"title":"WHITE \/ KYSL023","offer_id":49416765571312,"sku":null,"price":99000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KYSL023_1.jpg?v=1774261425"},{"product_id":"hkom134","title":"\"Oma\" PLATE(CLEAR)","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Oma series was designed by Harri Koskinen in 2007 and introduced by Arabia.\u003cbr\u003eDeveloped as a tableware series composed of a variety of items combining materials such as porcelain, glass, wood, and aluminum,\u003cbr\u003eit followed the lineage of Kaj Franck’s KILTA \/ TEEMA while updating it for contemporary ways of living.\u003cbr\u003eAlthough it was a series that suggested the possibility of becoming a new standard in tableware, it was discontinued in 2011.\u003cbr\u003eIn 2023, the glass tumbler and large pitcher were reissued.\u003c\/p\u003e\n\u003cp\u003eThis is a thick glass plate.\u003cbr\u003eIt was most likely produced by centrifugal casting, and the gently rounded edge with its slight irregularity, together with the form that slopes softly from the flat rim toward the center, reflects the gentle curved design shared throughout the Oma series.\u003c\/p\u003e\n\u003cp\u003e* Probably unused, though there are slight signs of wear.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\n  \u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\n  \u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\n  \u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\n  \u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\n  \u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\n  \u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\n  \u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\n  \u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\n  \u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\n  \u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"HARRI KOSKINEN","offers":[{"title":"CLEAR \/ HKOM134","offer_id":49481051963632,"sku":null,"price":9350.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKOM134_1.jpg?v=1774858171"},{"product_id":"hkom126","title":"\"Oma\" TUMBLER(CLEAR)  2pcs SET","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Oma series was designed by Harri Koskinen in 2007 and introduced by Arabia.\u003cbr\u003eDeveloped as a tableware series composed of a variety of items combining materials such as porcelain, glass, wood, and aluminum,\u003cbr\u003eit followed the lineage of Kaj Franck’s KILTA \/ TEEMA while updating it for contemporary ways of living.\u003cbr\u003eAlthough it was a series that suggested the possibility of becoming a new standard in tableware, it was discontinued in 2011.\u003cbr\u003eIn 2023, the glass tumbler and large pitcher were reissued.\u003c\/p\u003e\n\u003cp\u003eThis is the original glass tumbler.\u003cbr\u003eSharing the gently tapering form characteristic of the Oma series, it narrows in a soft curve from the rim, while the lower section, where the glass thickens, slopes sharply toward the base, giving the design a strong sense of contrast.\u003c\/p\u003e\n\u003cp\u003eSold as a boxed set of two.\u003cbr\u003e* Deadstock.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\n  \u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\n  \u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\n  \u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\n  \u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\n  \u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\n  \u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\n  \u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\n  \u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\n  \u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\n  \u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"HARRI KOSKINEN","offers":[{"title":"CLEAR \/ HKOM126","offer_id":49481063629040,"sku":null,"price":8800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKOM126_1.jpg?v=1774858447"},{"product_id":"hkom136","title":"\"Oma\" MUG","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Oma series was designed by Harri Koskinen in 2007 and introduced by Arabia.\u003cbr\u003eDeveloped as a tableware series composed of a variety of items combining materials such as porcelain, glass, wood, and aluminum,\u003cbr\u003eit followed the lineage of Kaj Franck’s KILTA \/ TEEMA while updating it for contemporary ways of living.\u003cbr\u003eAlthough it was a series that suggested the possibility of becoming a new standard in tableware, it was discontinued in 2011.\u003cbr\u003eIn 2023, the glass tumbler and large pitcher were reissued.\u003c\/p\u003e\n\u003cp\u003eThis is a porcelain mug.\u003cbr\u003eIts gently tapering form, characteristic of the Oma series, is combined with a slightly raised foot, giving this generously proportioned mug a lighter impression.\u003c\/p\u003e\n\u003cp\u003eThe flat handle is especially striking. Although clearly derived from functional considerations, it also stands out for the beauty of its form.\u003cbr\u003eSimple yet carefully resolved in every detail, it is a product distinguished by an excellent overall sense of balance.\u003c\/p\u003e\n\u003cp\u003e* Deadstock.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\n  \u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\n  \u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\n  \u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\n  \u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\n  \u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\n  \u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\n  \u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\n  \u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\n  \u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\n  \u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"HARRI KOSKINEN","offers":[{"title":"WHITE \/ HKOM136","offer_id":49481068380400,"sku":null,"price":7150.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKOM136_1.jpg?v=1774858671"},{"product_id":"hkom144","title":"\"Oma\" SPOON","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThe Oma series was designed by Harri Koskinen in 2007 and introduced by Arabia.\u003cbr\u003eDeveloped as a tableware series composed of a variety of items combining materials such as porcelain, glass, wood, and aluminum,\u003cbr\u003eit followed the lineage of Kaj Franck’s KILTA \/ TEEMA while updating it for contemporary ways of living.\u003cbr\u003eAlthough it was a series that suggested the possibility of becoming a new standard in tableware, it was discontinued in 2011.\u003cbr\u003eIn 2023, the glass tumbler and large pitcher were reissued.\u003c\/p\u003e\n\u003cp\u003eThis is a small spoon, most likely made of beechwood.\u003cbr\u003eIt has a compact form composed of the gentle curves characteristic of the Oma series.\u003c\/p\u003e\n\u003cp\u003e* Deadstock. Natural variations between individual pieces are present.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：HARRI KOSKINEN 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eHARRI KOSKINEN｜1970–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eHarri Koskinen is one of the leading figures in contemporary Finnish design. He studied at the University of Art and Design Helsinki (now Aalto University), began collaborating with Iittala while still a student, and established his practice in the 1990s.\u003c\/p\u003e\n\n  \u003cp\u003eIn 2000, he founded his own studio, Friends of Industry Ltd., developing a body of work that ranges from product design to spatial design and art. His work is characterized by clear, pared-back forms and a sensitive use of materials, and he has been active across a wide range of fields, including furniture, lighting, glass, and tableware.\u003c\/p\u003e\n\n  \u003cp\u003eHis Block Lamp, introduced by Design House Stockholm in 1996, gained international recognition for its striking structure, which appears to suspend a light bulb within a block of ice, and became an emblematic work of a new generation in Finnish design.\u003c\/p\u003e\n\n  \u003cp\u003eHis relationship with Iittala has continued since the early stages of his career. In addition to designing glassware and tableware such as Halo, Muotka, Valkea, and Lantern, he was selected in 2009 as the inaugural designer for the Art Works series, presenting works developed through collaboration with the craftsmen of Nuutajärvi using newly developed techniques.\u003c\/p\u003e\n\n  \u003cp\u003eHe has also created numerous products for leading Finnish brands, including Oma and Air for Arabia, the Tools series for Hackman, and Kuulas, Finnair’s in-flight tableware, as well as projects for Marimekko, Artek, and Nikari.\u003c\/p\u003e\n\n  \u003cp\u003eInternationally, he is also known for collaborations with Alessi and Venini in Italy, and with Issey Miyake, Maruni, and iwatemo in Japan.\u003c\/p\u003e\n\n  \u003cp\u003eHis many awards include the Kaj Franck Prize (2009), the Pro Finlandia Medal (2009), and the Compasso d’Oro (2004).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top:48px;\"\u003e\n  \u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\n  \u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\n  \u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\n  \u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\n  \u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\n  \u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\n  \u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\n  \u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e\n","brand":"HARRI KOSKINEN","offers":[{"title":"BROWN \/ HKOM144","offer_id":49481070739696,"sku":null,"price":2200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/HKOM144_1.jpg?v=1774859034"},{"product_id":"kfkl539","title":"\"KILTA\" BAKER(BLACK) FF2","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the larger of the two handled deep plates in the FF model, designed by Ulla Procopé in 1956 and added to the KILTA series.\u003c\/p\u003e\n\u003cp\u003eIn good condition with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ULLA PROCOPE","offers":[{"title":"BLACK \/ KFKL539","offer_id":49642346774768,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL539_1.jpg?v=1777643288"},{"product_id":"kilta-bakerblack-ff2","title":"\"KILTA\" BAKER(BLACK) FF2","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the larger of the two handled deep plates in the FF model, designed by Ulla Procopé in 1956 and added to the KILTA series.\u003c\/p\u003e\n\u003cp\u003eThere is a chip to the edge of the foot ring. Otherwise, it remains in good condition with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"ULLA PROCOPE","offers":[{"title":"BLACK \/ KFKL540","offer_id":49642350215408,"sku":null,"price":4400.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL540_1.jpg?v=1777643531"},{"product_id":"kfkl427","title":"\"KILTA\" SUGAR BOWL(BLACK) BA","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is the BA model sugar bowl, one of the eight items introduced when the BA series was launched in 1953.\u003c\/p\u003e\n\u003cp\u003eThe same mold was used across several related forms, allowing the design to be adapted for multiple purposes in production: with a handle it became a cup, and with a handle and spout it became a creamer.\u003c\/p\u003e\n\u003cp\u003eIn good condition, with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLACK \/ KFKL427","offer_id":49642353197296,"sku":null,"price":4950.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL427_1.jpg?v=1777643872"},{"product_id":"kfkl442","title":"\"KILTA\" VEGETABLE DISH(BLUE) BA","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is a triangular small plate from the BA model, added to the KILTA series in 1966.\u003c\/p\u003e\n\u003cp\u003eThere is some wear, including surface scratches, but it remains in good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLUE \/ KFKL442","offer_id":49642356572400,"sku":null,"price":7700.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL442_1.jpg?v=1777644120"},{"product_id":"kfkl548","title":"\"KILTA\" PLATE(BLACK) BA 215mm","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eKaj Franck began working on the BA model in 1951, and Arabia introduced it in 1953. Initially consisting of eight pieces, it began to develop into the KILTA series from around the middle of 1954. Over time, the line expanded to incorporate both the original models and newly added items, and remained in production until 1974, becoming one of Franck’s most iconic designs.\u003c\/p\u003e\n\u003cp\u003eAt the 1954 Milan Triennale, Franck received an Honorable Mention for Arabia’s utilitarian ceramics, including KILTA.\u003c\/p\u003e\n\u003cp\u003eIn Finnish, kilta means “guild,” a community of people joined by a shared craft or profession. The KILTA series likewise brought together a range of different forms, centered on the BA model and unified by a common palette and functional logic.\u003c\/p\u003e\n\u003cp\u003eKILTA was a tableware series that emerged in response to changing domestic interiors and lifestyles in postwar Finland. Rather than following the traditional idea of a full dinner service made up of many different types of dishes, it was conceived as a group of independent pieces with a shared design language, intended to be combined as needed and to harmonize easily with other tableware.\u003c\/p\u003e\n\u003cp\u003eIts undecorated surfaces, single-color glazes, forms based on basic geometric shapes, stackable structure, and the flexibility to use one piece for multiple purposes all reflect an approach suited to limited storage space and everyday use. Another defining feature of KILTA was its practicality, allowing pieces to go directly from oven to table.\u003c\/p\u003e\n\u003cp\u003eThe discontinuation of KILTA was not the result of declining demand, but rather of the restructuring of the ceramics industry in the 1970s and Arabia’s shift in production from faience to stoneware. The ideas behind KILTA were carried forward into TEEMA, introduced in 1981 with revised materials and forms, and it continues to be produced today as one of Iittala’s classic tableware lines.\u003c\/p\u003e\n\u003cp\u003eThis is a plate from the BA model. The BA plates were produced in six sizes.\u003c\/p\u003e\n\u003cp\u003eIn very good condition with only light signs of use.\u003c\/p\u003e\n\u003cp\u003eSmall spots may be visible in the glaze of KILTA pieces. These occurred during production and are not later damage from use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv style=\"margin-top: 48px;\" class=\"black-text-01\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"BLACK \/ KFKL548","offer_id":49642365124848,"sku":null,"price":4950.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL548_1.jpg?v=1777644760"},{"product_id":"kfkl429","title":"SHAKER(RED)","description":"\u003cdiv class=\"item-description\"\u003e\n\u003cp\u003eThis is a shaker designed by Kaj Franck in 1956.\u003c\/p\u003e\n\u003cp\u003eIts geometric form, combining a cylinder and a cone, reflects the sculptural approach seen in Franck’s work after the introduction of KILTA, in which forms were developed through the combination of basic geometric shapes.\u003c\/p\u003e\n\u003cp\u003eThe small number of surviving examples suggests that it was produced only for a short period. This example was made in 1963. A highly rare model.\u003c\/p\u003e\n\u003cp\u003eIn good condition with no noticeable damage.\u003c\/p\u003e\n\u003cp\u003eThere is a kiln mark beside the hole on the base. It is not damage caused by later use.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：KAJ FRANCK 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eKAJ FRANCK｜1911–1989｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eKaj Franck was one of the leading figures of 20th-century Finnish modern design. He studied furniture design at the Central School of Arts and Crafts in Helsinki under Arttu Brummer, one of the central figures in Finnish design. While still a student, he joined a study trip led by Brummer to visit the 1930 Stockholm Exhibition, where he encountered the emerging ideals of functionalism. After graduating in 1932, he worked across a wide range of fields, including furniture, interiors, textiles, and toys, and in 1934 briefly worked as a draughtsman at Riihimäki Glassworks. From 1939 onward, his activities were restricted by the effects of the Second World War, but this period helped shape the socially conscious approach that would later become central to his design philosophy.\u003c\/p\u003e\n\u003cp\u003eIn 1945, Franck was invited by Kurt Ekholm, then art director of Arabia, to join the company and take part in redefining tableware for postwar everyday life. At that time, Ekholm appointed, for the first time at Arabia, a designer specifically responsible for tableware design, and Franck became the first to take on that role. As he had not been formally trained in ceramics, he was likely seen as a designer able to approach tableware from a fresh perspective, unbound by established conventions.\u003c\/p\u003e\n\u003cp\u003eIn 1946, following success in a design competition organized by Karhula-Iittala, he began working as a glass designer at Iittala. In 1950, when Nuutajärvi became part of the same Wärtsilä group as Arabia, he shifted the focus of his work there, and as director began designing glassware based on principles shared with those he had pursued at Arabia.\u003c\/p\u003e\n\u003cp\u003eOften described as the “conscience of Finland,” Franck’s design philosophy was grounded in the ideas of “design for the people” and the social responsibility of the designer. Through simple geometric forms and the use of color without ornament, he created many timeless objects intended for long-term use. For Franck, beauty meant being “necessary, functional, justified and right.”\u003c\/p\u003e\n\u003cp\u003eAmong the clearest expressions of his thinking are Arabia’s KILTA series (now TEEMA) and Nuutajärvi’s 5027 tumbler series (now KARTIO), both designed in the 1950s and still produced by Iittala today. KILTA in particular introduced the innovative idea that essential tableware should be chosen as individual pieces and freely combined according to need, redefining the conventional dinner service and setting the direction for modern tableware design. At the same time, at Nuutajärvi, Franck also produced numerous unique glass works of high artistic quality, especially in the 1970s, exploring a more craft-based approach through a wide range of techniques. These works reveal another side of Franck, that of the artist.\u003c\/p\u003e\n\u003cp\u003eFrom 1960 onward, he was also active in teaching at the Institute of Industrial Arts in Helsinki, exerting a major influence on design education in Finland. The significance of his achievement and influence is also reflected in the Kaj Franck Design Prize established in his name. His many honors include an Honorable Mention at the Milan Triennale in 1954, the Lunning Prize in 1955, the Grand Prix at the Milan Triennale in 1957, and the Compasso d’Oro.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c!-- 下段：ARABIA 基本コード --\u003e\n\u003cdiv class=\"black-text-01\" style=\"margin-top: 48px;\"\u003e\n\u003ch3\u003e\u003cstrong\u003eARABIA｜1873–｜FINLAND\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp\u003eArabia was founded in 1873 in the Arabia district on the outskirts of Helsinki as a subsidiary of the Swedish ceramics manufacturer Rörstrand. Production began the following year in 1874. In 1916 Arabia separated from Rörstrand’s ownership and became an independent Finnish company.\u003c\/p\u003e\n\u003cp\u003eIn 1929 a tunnel kiln measuring 112 meters in length—one of the largest in the world at the time—was introduced, establishing an efficient mass-production system. This development enabled Arabia to grow into one of the leading ceramic factories in Europe.\u003c\/p\u003e\n\u003cp\u003eIn 1932 Kurt Ekholm was appointed Art Director and organized artistic activity at Arabia into a dedicated art department. He created an environment that allowed artists to work freely and established a structure in which product design and artistic works could develop side by side.\u003c\/p\u003e\n\u003cp\u003eOne of Arabia’s defining characteristics was its production system, which was divided into three closely connected fields: the Art Department, the Applied Arts Department, and the Product Design Department.\u003c\/p\u003e\n\u003cp\u003eArtists such as Toini Muona, Friedl Kjellberg, Michael Schilkin, Birger Kaipiainen, Rut Bryk, and Kyllikki Salmenhaara worked within the art department. Their works gained international recognition from the 1930s onward, playing an important role in both the cultural identity of Arabia and the development of Finnish ceramic art.\u003c\/p\u003e\n\u003cp\u003eIn the 1940s Friedl Kjellberg developed Rice Porcelain using a delicate pierced porcelain technique. Mass production began in 1950 and continued until 1974, becoming one of Arabia’s most iconic artistic porcelain series and gaining international acclaim.\u003c\/p\u003e\n\u003cp\u003eInfluenced by the rise of Functionalism in Northern Europe during the 1930s, Ekholm introduced the AR tableware series (Sinivalko) in 1935, presenting a new direction that would later shape the development of Nordic modern design.\u003c\/p\u003e\n\u003cp\u003eIn 1945 Kaj Franck joined Arabia as a designer. Together with designers such as Kaarina Aho and Ulla Procopé, he led a major renewal of product design. The Kilta series, introduced in 1953, became a major success as a modern tableware design characterized by simple geometric forms and versatility.\u003c\/p\u003e\n\u003cp\u003eArabia has received numerous international awards since the 1930s. In particular, at the Milan Triennale of the 1950s (1951, 1954, and 1957), many works from both the art department and the product designers were awarded prizes, establishing Arabia’s international reputation.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KAJ FRANCK","offers":[{"title":"RED \/ KFKL429","offer_id":49642366238960,"sku":null,"price":27500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0786\/5761\/8160\/files\/KFKL429_1.jpg?v=1777645013"}],"url":"https:\/\/elephant-life.com\/en\/collections\/arabia.oembed","provider":"ELEPHANT","version":"1.0","type":"link"}