Q&A: Known Work

Founded by Jeremy Levitt and Danu Kennedy of New York City-based design firm Parts and Labor Design, Known Work is the result of a working relationship turned lifelong friendship. The brand’s first collection, Perceptions, sees brutalist, elemental shapes converge with textiles and colour.

TLP What was the impetus for founding Known Work?

JL Starting a product line has always been the goal. Known Work, as a separate company from Parts and Labor Design, has created some space for us to freely explore diverse mediums outside of our client projects.

TLP Your first collection, Perceptions, encompasses nine pieces spanning furniture, lighting and objects. Why did you want to focus on these pieces?

DK The collection came together organically; it was a really iterative process. We started with the idea that we wanted to create a holistic grouping of objects and furniture that worked as a vignette but could also be owned separately.

The light fixtures were the most challenging to develop. There was a lot of trial and error with the metal finish, the ceramic knob and the two layers of mould-blown glass. It’s truly a unique piece.

Our process starts with very analogue, raw inspiration that could really be anything. It’s very organic and connected to the moment, something will spark an idea and we usually take pen to paper to translate that into a form.

TLP What does your creative process involve and where do you find inspiration?

JL Our process starts with very analogue, raw inspiration that could really be anything. It’s very organic and connected to the moment, something will spark an idea and we usually take pen to paper to translate that into a form. Sketching is a really crucial part of our process, as is dialogue – conversation is a big one for us. We throw ideas around and bounce things off each other.

Our material knowledge and years of experience in fabrication also have a strong influence on our approach. However, we’re constantly trying to push those boundaries and learn new techniques in order to express our ideas physically.

TLP Danu, how does your New Zealand heritage inform your design sensibility?

DK It’s been something I’ve been more analytical of in the last few years. I’m not sure if I was really consciously aware of it prior, but I think growing up in rural New Zealand, there’s a connection to the land that is unavoidable. Honestly, growing up anywhere in New Zealand, you’re born with this relationship to the Whenua (land). For me, that was rivers, mountains, snow, frost, sand, sea, trees, plants and rocks. I always naturally gravitate towards earthy, organic and raw materials that speak to this story–one that is of our relationship to land. I do sometimes consciously push away from that to challenge myself, but it doesn’t come as naturally. There’s a timelessness to following nature’s lead, in either the form of a piece or a palette. As humans, we are all so connected to the earth and nature, and growing up in New Zealand made that incredibly apparent.

There’s a timelessness to following nature’s lead, in either the form of a piece or a palette.

TLP Jeremy, your background spans industrial design, crafts, interiors and more, including a stint working for Gaetano Pesce. What was one of your biggest learnings from this time?

JL I’ve learned that gestures are just as important as the intricate details. An untainted, natural flow of ideas is the most genuine way to create and represents who I am as a designer. My identity as a designer will always evolve but will always have strong roots with this approach.

TLP What do you do in New York to fuel your creativity?

DK New York is an incredibly inspiring city to live in – there’s so much to connect to, and the creative community is really diverse and inspiring. There are also some incredibly talented makers here who are actively working with their medium to develop their art.

JL This may sound cliché, but museums are what fuel my creativity. Whether it’s a walk through the Guggenheim, a trip to the Judd House or a drive up to Storm King, I find that these visits eliminate daily distractions and break creative blocks.

“We started with the idea that we wanted to create a holistic grouping of objects and furniture that worked as a vignette but could also be owned separately.”

TLP What’s one thing you’d love to explore through Known Work?

DK We launched in Mexico City during Zona Maco through a really successful collaboration with Materia Creative and Jorge Yázpik, who is an incredible Mexican sculptor. It was really inspiring for us and definitely fuelled our appetite for collaboration in general. We’re currently working on designing some pieces for Petra Hardware, an artistic hardware brand founded by Monica Khemsurov.

A long-term goal of ours is to explore different mediums such as textiles, art, sculpture, hardware and more. We don’t want to limit ourselves to just lighting and furniture, although that will also play a large role in what we do.