Aldo Bakker (1971) is a designer that battles the spirit of the time. Nearly all his designs, whether it be Glass-line (1998), Saltcellar (2007), Side Table (2008), or Jug + Cup (2011), are remarkable for their defiant refusal to be classified by time, fashion or zeitgeist. Let alone be classified by the surrounding world – those who see Bakker’s designs for the first time, often wonder what their purpose is. This defiance is important to Bakker: brought up as the son of designers Gijs Bakker and Emmy van Leersum, he decided against following the traditional way of education and instead has sought out his own strengths. Bakker is an autodidact that likes to follow his own path.
Different from most other designers, Bakker rarely starts a design from the desire to solve a practical problem. In fact, though Bakker may unmistakably be a designer, his interest in functionality only comes in at the latest stage. His objects nearly always originate from the fascination for a form. Bakker looks, sketches, and draws and in this way he researches whether a form can be transformed into an object – or rather, an image. At this stage, the logic and beauty of the form are more important to Bakker than an actual function.
Hans den Hartog Jager