{"id":24966,"date":"2016-06-10T12:54:02","date_gmt":"2016-06-10T12:54:02","guid":{"rendered":"https:\/\/pietheineek.nl\/?p=24966"},"modified":"2017-12-01T12:54:50","modified_gmt":"2017-12-01T12:54:50","slug":"june-18th-2011-art-basel","status":"publish","type":"post","link":"https:\/\/pietheineek.nl\/en\/news\/june-18th-2011-art-basel","title":{"rendered":"June 18th 2011 – Art Basel"},"content":{"rendered":"

The stands are incredibly expensive at the Basel art show and, since customers are looking for extreme exclusivity, the products also need to be expensive. Using a different colour or leg and then calling it a limited edition makes it possible to ask the \u2018mandatory\u2019 higher price. It\u2019s quite an odd system really; the high prices for the stands, the need for exclusivity and the corresponding high prices for the products together creates a sort of false exclusivity that people seem to enjoy and that no one really dares question. After all, this would mean that your investments would no longer be cost-effective.<\/p>\n

For us, editions are determined by the amount of material used and, as always, the price is calculated based on cost. Apparently, we didn\u2019t ask enough, but so be it, and, if things go well, we\u2019ll sell enough to also ensure success for Rossane Orlandi (our gallery owner) during the art show. Interestingly enough, the old designs by Prouv\u00e9 and Rietveld and many other major designers that were intended for the normal market and as large an audience as possible, have turned out to be most highly valued.<\/p>\n

Have times changed so much? Or do people continue to believe that it’s best to purchase prototypes, initial models or even regular products from good designers and labels? That doesn\u2019t change the fact that what is most important is that you\u2019re happy with your purchase, whether the price tag is high or low.<\/p>\n

\"\"<\/p>\n

Download the catalogue by clicking the following link<\/a>.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

The stands are incredibly expensive at the Basel art show and, since customers are looking for extreme exclusivity, the products also need to be expensive. Using a different colour or […]<\/p>\n","protected":false},"author":5,"featured_media":24960,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":""},"categories":[176],"tags":[],"class_list":["post-24966","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nJune 18th 2011 - Art Basel • PIET HEIN EEK<\/title>\n<meta name=\"description\" content=\"Piet Hein Eek (1967) graduated from the Design Academy in Eindhoven (NL) in 1990 with his classic scrap wood cupboard. The most significant factor in Eek's career has been the creation of a world that embodies the entire process, from idea to consumer. This has proved to be an exceptional way of producing since it is quite rare to both design and produce furniture 'under the same roof' in countries with high labour costs. Each product is designed with a focus on the material, techniques and craftsmanship required to make it. In 2010, Piet Hein Eek moved his company from Geldrop to a former Philips factory in Eindhoven. The most important part of the company is the production facility (wood, metal, ceramics upholstery and cartonnage) which is located in the heart of the building. The transparency of the building gives visitors insight into the whole production process. The concept of offering a total experience starts with the showroom and the production processes but also includes a restaurant, an art gallery, rented studios, a chip shop, a hairdresser and from October 2020 there will also be a hotel. 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