With an ambitious aesthetic value, the focus remains on the user and his functional and ergonomic needs. VERA PURE’s goal is to create poetry in every piece, welcoming a glimpse of humor. In times of exchangeability of things, VERA PURE commits to timelessness and distinctiveness. Vera Purtscher perceives her creations as “small nomadic pieces of architecture”.
These are issues which visibly occupy Vera Purtscher as an Architect and a product designer:
- Dealing with the existent
- Preserving richness of content
- Combining with new
- Ignoring ascriptions
- Smooth functioning
I get a great deal of joy from the realisation that the creation of (living) space can help people gain health, joy, inspiration, freedom and recovery. Talking with the users is increasingly the most important “initiation” for the creative path that I pursue.
Questions of ecology are also questions of humility. Demolish or convert? A flashy or a modest, almost untouched appearance? Save or destroy? A patina or modern “trendiness”? Botox or wrinkles?
I would also like to use this platform to express my values for those who implement my design ideas – the handcraftspeople. For, just as a conductor without an orchestra would be unable to produce a single note, an architect would never be able to bring anything three-dimensional into being if it wasn’t for the HAND:CRAFTS:PEOPLE! Working with them is particularly important in my conception of architecture, interior design and love of detail. The implementation of my ideas involves a continual maximum use of the possibilities and of what goes beyond them. It’s only with handcraftspeople who are prepared to engage with a process which sometimes involves long phases of meticulous work, of pondering, of discarding and starting afresh – only with these, that many of my projects are realisable.
7 Theses of Vera
- Products are small, nomadic pieces of architecture
- Reductionism can be immoral
- 100 points cannot be achieved
- The gap (absence of perfection) is also a reductionism worth striving for
- Miracles are possible
- Superabundance is God-given
- There is transcendence in creative work
The absence of perfection is worth striving for
Perfectionism and fanaticism are close to one another – both frighten me. Anything that’s perfect is almost dead, because it’s not capable of developing any further, but is now concluded. Conversely, anything that’s “imperfect” is more in keeping with nature: it’s open, capable of change, asymmetrical – in fact, not “perfect”. In this sense, I am convinced that 100 points are never attainable. This type of perfection would also be undesirable.
Abundance is God-given
The creation gives us EVERYTHING in such abundance: luxuriant vegetation, rocks, mineral resources, multiple varieties of creatures: the creation does not envisage asceticism!
This is why I, who am endeavouring to find a simple, clear language of forms, necessarily speak of the legitimacy of
- Delight and merry-making
Time and again, my concern with the theoretical background brings me explanations for the essential being of my creations.
The logical consequence of reduction is, ultimately, “nothing”. This can be worth striving for, yet is a contradictio in adiecto in materialised form and product design.
Transcendence in creative work
As creative beings, we have the huge good fortune of being allowed to create; to find individually-shaped expression through a state of concentration and internalisation: to create something.
I regard the self-forgetfulness of the process of designing something as a great privilege; it is that “flow” that signifies pure happiness!
Anyone who enjoys privileges must be particularly attentive and modest. They must consider every action twice! Be aware of their responsibility! Be self-critical!
The kinship between architecture & design
Product design and architecture are two closely related areas.
Just like good architecture, good design demands –
- Doing proper justice to, and optimising, materials
- Light & shadow effects
- Service provision
- Team work
- It is, each time, an economic undertaking
- In neither case is it, in my view, a question of art
But built structures are embedded in an urbanistic or landscape context and firmly connected to the ground. However, we take products with us when we move somewhere else. Therefore, for me, they are small pieces of nomadic architecture.
Glass challenges me. It behaves differently from other materials. In its “invisibility” it defies the normal form-related criteria. What appears as a drawing is completely different in its glassy materialisation. I wrestle with this fragilely stubborn, ringing, clinking thing.
Glass is found both as a delicately-woven cocoon and in completely solid form.
Glass is soft and hard.
Glass is hot and cold.
Glass is hollow and full.
Glass is heavy and light.
Glass – as I shape it – is pure hand (and mouth) work and is thus an ideal companion for my other products, such as cutlery or china.