A well proportioned body situatet on a solid wood base. The surfaces of rhombs, joined in different veneers, apparently flowing over the table edges. Bronze drawers with ebony handles determine the front.

Its archetypical and reduced form in interaction with the marquetry of the shell unfolds the special attraction of the piece.

The table is made of diamond shaped veneers of various origin such as maple, ebony, yew, walnut, rosewood, makassar, poplar, olive, oak, ash and many more.The geometry of it finds its equivalent in the triangular bracing of the side panels under the table top. Optional with a small, flat, leather- lined drawer for utensils.

A sleek plain familiar shape with a wink in its expression.

A sleek plain familiar shape with a wink in its expression.

Small writing desk, made of solid yew, one drawer and an inlaid linoleum writing pad.

A versatile and whimsical piece with a surface in ultramatt HPL and a shiny lacquered handcut veneer patternd leather clad drawer. Brings a smile in any type of room.

Pug’s brother, a bit more grown up. If you look lengthly at him he starts to walk. Here shown in ultramatt white exterior and a high glossy laquered veneered front consisting of darkened oak and tineo.

Solid yew slab top with live edge and ebony butterflies, optional drawer under the tabletop.

A traditional form comprising of bedhead, base and bedrail. Pillars of black solid ebony. Leather stripes are combining the solid ash frame.

A twist in a classical piece. The modern shaped body is made of hand cut veneer, dressed in passed techniques marquetry.

This solitaire piece tolerates note too much right beside. The brass front ist structured through the butterfly ebony handles.

A twist in a classical piece. The modern shaped body is made of hand cut veneer, dressed in passed techniques marquetry.

This solitaire piece tolerates note too much right beside. The brass front ist structured through the butterfly ebony handles.

The Body is made of ultramatt HPL, the front of solid spalted beech. Metal legs with adjustable bronze feet, black ebony handles.

Tigermaple patterned marquetry front with  horizontal ebony  handles , the body made of oxidized eucalyptus.

Here shown with two doors and three drawers.

The Body is made of ultramatt HPL, the front  of solid spalted beech. Metal legs with adjustable bronze feet.

The body is made of diamond shaped veneer, here shown in white ebony, as well as the front.

Metal legs with adjustable bronze feet.

An interaction between materials and techniques hand cutted marquetry in interaction with a super opaque nanotech material. Synergy of qualities: matt versus reflection and hightec versus traditional craft.

Johannes Hock

Carpenter, architect, designer

No designer will ever fully understand his creation unless he gets physically involved. At some point a designer has to start thinking with his hands, in order to realise the full aesthetical and functional potential of his design.

“In short,” says Johannes Hock, “designers must get their hands dirty, a bit more often.

We can only profit from understanding that there is no difference between making and thinking. The florentine old masters knew this. The founders of the Bauhaus movement knew it.”

Johannes learned to think with his hands during his training in cabinet making in the early nineties in Aschaffenburg. He then also learned the value and satisfaction of high level craftsmanship.

After the completion of his training he studied architecture at the Technische Universität in Darmstadt where graduated in 2000.

In the following years Johannes ran the fashion label goyagoya together with his wife, the awarded fashion designer, Elena Zenero. For the label he designed outlets in Frankfurt, Milan and Zurich, fair stands and furniture.

Since 2012 he focusses on his own furniture series.

He lives in Frankfurt am Main / Germany.

An Ode to Ornamental Geometry

Throughout times and cultures, decorative art has identified basic geometrical shapes as a powerful toolkit for the development of ornamental systems. Some might even

claim that the discovery (or invention) of primary geometrical shapes and their chainability actually triggered the first ornamental systems.

While the first ornamental systems enjoyed plain repetition, more modern ornamentation sought out the full complexity of geometrically constructed ornamental systems.

Nevertheless, the simplicity of repetitively linked basic shapes still impresses viewers and makers alike by its formal strength, harmonious humility and the overwhelming

number of possible combinations.

In his new furniture line Johannes Hock uses the appeal of repetitive design and seeks to explore its potential of complexity by disturbing the geometrical code with

seemingly disordered „cut outs from nature“.

The impetuous recombination of those „cut outs from nature“ shows, not least, the lust of man for the submission of nature.