#milan furniture fair 2014

[avnid]

All About Scarlet Splendour a Modern Luxury Furniture Store

Summary

Established in 2014 by Ashish Bajoria and Suman Kanodia, is the first Indian luxury brand known worldwide. Scarlet Splendour works with International designers to create brilliant pieces of furniture, lighting, and accessories. each piece is a visual pleasure where design meets luxury keeping with the ethos and vision. There are 5 collections that have been launched, during the Milan Salone 2015 but the two collections that definitely jumped right off the page for us are Fool’s Gold and The Dark Angel.

There are so many designers who collaborated with Scarlet because Scarlet has gained many eyeballs over the year. Matteo Cibic is one of the designer who has a great impact on the furniture set. Matteo Cibic designed 7 collections and more than 80 modern luxury furniture for the company.

Scarlet Splendour is going to unveil a brand-new collection from Slovenian designer Nika Zupanc. The collection, named 88 Secrets, brings a bit of magic and allure to furniture and rugs with reference to the 88 constellations, including the 12 from astrology, officially recognized in the world of astronomy. The four-piece series includes a cabinet, bar, rug, and table, each with glamour, and a hint of starry magic.

Scarlet Splendour has collaborated with international stores, press agencies, artists, and designers to transform and take local craftsmanship to global levels. The company heralds a blend of cultures and transcends geographical boundaries to achieve the extraordinary in the design world.

Scarlet Splendour portfolio contains a range of work from Dario Contessotto, Mirco Colussi, and Nika Zupanc- who has been called "the real star" by The Wall Street Journal.

Since Milan 2015 and following exhibitions, Scarlet Splendour has increased its collaborations with designers of international acclaim and the latest is the Artefatto Design Studio from London.

Speaking of fairs, Scarlet Splendour is a regular on the scene. Since their debut showcase at the Milan Design Week in 2015, the brand has traveled to several others across the world and is now even retailed internationally. In fact, they have just launched at Altagamma in Moscow too much fanfare.

Scarlet Splendour houses some of Gufram’s iconic pieces including Bocca, Capitello, and Cactus. They also have the Kracht collection by Dutch visionary designer Jolan van der Weil a range of tables combining unorthodox materials like magnetic plastics and polymers.

If you visit their website you will get to know that there are more than 15 collections they have launched. Every collection is very much unique from each other and you will find a story behind every collection.

Also new for 2019, Slovenian designer Nika Zupanc created Strings, a series with a cabinet and credenza that blend the lightness of harp-like strings with the luxe materiality of metal.

Conclusion This young Indian company founded by two designers sibling, brother and sister Suman Kanodia and Ashish Bajoria. Scarlet Splendour, who has attracted attention for their unique blend of Indian craft and Italian design. The inspiration for the collection is a mix of the two countries and the craft techniques from both. I request you all to experience its avant-garde aesthetic and share our passion for luxury. Splendour in the present and the future of desi-inspired, decadent and timeless designs. We look up to them for more collection like this.

[arquitectura-miriam]

DISEÑO LATINOAMERICANO

En esta nueva era de la conectividad relacional y plural, cada vez más diseñadores están descubriendo que ser de un lugar concreto y realizar diseños que denoten su procedencia, parece ser más importante que nunca. Tal vez porque el diseño se ha vuelto demasiado internacional, accesible y adaptable, perdiendo especificidad y conexiones con lo local. Si bien una buena porción de diseñadores latinoamericanos todavía debe encontrar soluciones creativas a partir de presupuestos modestos (e incluso miserables), también, en la medida que su nueva clientela se ha ido haciendo geográficamente más dispersa, han podido desarrollar proyectos o expandir sus oficinas fuera de su país. Por ello, el diseño se torna cada vez más interdisciplinario, colaborativo y desterritorializado. A su vez, gracias a las redes digitales de comunicación, no siempre es necesario estar en el mismo país de procedencia del encargo o proyecto

Una vez concluida la segunda posguerra, las ideas industrialistas fueron cobrando fuerza en el mundo entero, y en Latinoamérica la identificación de los conceptos de “desarrollo económico” con “industrialización” (transformados en sinónimos) se afianzó firmemente como una visión predominante. Estas concepciones inspiradas en el pensamiento keynesiano promovieron un modelo de “industrialización por sustitución de importaciones” combinado con estrategias de exportación e integración económica en varias regiones del continente bajo una fuerte tutela estatal en diversas esferas de la vida económica.

En el actual modelo de sociedad postindustrial, la máxima “más rápido, mejor y más barato” ha generado una ostensible aceleración de los procesos de diseño como consecuencia de la evolución de los medios digitales y las tecnologías de fabricación, obligando a los profesionales latinoamericanos a volcarse hacia un pensamiento más estratégico. En tiempos recientes, el diseño se ha desplazado “de la resolución de problemas a su procesamiento, y, como tal, de ‘lo multidisciplinar’ a lo ‘interdisciplinar’. Muchas empresas dedicadas al diseño han evolucionado desde la consideración de imágenes, objetos y espacios, a la investigación y provisión de relaciones y estructuras” Asimismo, muchos diseñadores, insatisfechos con la habitual tarea de ejecutar los proyectos de otras personas, están comenzando a asumir el control de su trabajo mediante la creación y la comercialización de sus productos y servicios, en muchos casos vinculados a los referentes de la cultura local y a los modos de producción propios de su país. C ada vez son más los diseñadores que son sus propios clientes y sus propios agentes.

MEXICO

ALBERTO VILLARREAL

Alberto Villarreal es un diseñador industrial mexicano con un enfoque muy marcado en el desarrollo tecnológico e innovación cultural. 

Catalogado como uno de los 20 latinos más influyentes en tecnología en 2018 y 2017 por CNET, Alberto Villarreal es un diseñador consumado con más de 18 años de experiencia en los campos de diseño industrial, arquitectura de interiores y estrategia de diseño. Actualmente trabaja en Google en California, como Creative Lead en el grupo de hardware. 

Es uno de los diseñadores mexicanos activos con más reconocimiento internacional y podría decirse que cuyo trabajo ha alcanzado la mayor cantidad de usuarios en todo el mundo. Su trabajo abarca una variedad de industrias y productos tales como: electrónica de consumo, interiores y muebles, equipamiento deportivo, transporte, dispositivos médicos y tecnología adecuada.

JORGE DIEGO ETIENNE

Jorge Diego Etienne (Tampico, 1983) es un apasionado diseñador industrial mexicano con una perspectiva global hacia el diseño. Se graduó de la licenciatura en Diseño Industrial del Tec de Monterrey en 2009, y su experiencia incluye una pasantía en Feiz Design Studio en Ámsterdam, workshops en empresas de diseño internacionales y cursos en reconocidas escuelas de diseño tales como Central Saint Martins en Londres, Domus Academy en Milán y Parsons The New School for Design en Nueva York.

JOEL ESCALONA

Joel Escalona, diseñador mexicano nacido en la Ciudad de México en 1986, es egresado de la UAM-A de la licenciatura de Diseño Industrial. En 2014 fundó su propio estudio en la Ciudad de México, el cual dirige hasta la fecha.

Él cree en ideas que atrapan de manera significativa, que retan los límites del diseño contemporáneo, que envuelven en las historias que cuentan. Desde productos asequibles como grifos y sartenes, a extravagantes piezas de edición limitada y proyectos de dirección creativa, Joel genera valor tangible para cada uno de sus clientes a través de su dominio en ejecución y narrativa.

Además de dirigir su propio estudio de diseño, Joel es director creativo de dos marcas de mobiliario de renombre internacional: nono y BREUER. Además, es miembro fundador de Cooperativa Panorámica, un grupo de diseñadores mexicanos que exploran nuevos territorios de diseño, todo esto mientras es profesor de diseño en CENTRO e ITESM, dos de las universidades más importantes en México.

MAURICIO VALDES

Mauricio Valdes nace en la cd de México 22 julio 1966 tiene 28 años de experiencia en diseño industrial, en las areas de: mobiliario, desarrollo y diseño de producto, grafico, textil, joyeria, interiorismo, iluminacion & consultoria.

 Exhibe diseño en el festival internacional mexico 93 " europalia ". Viene de la generacion de diseñadores " homo-faber " la vaca independiente,banamex,mexico d.f Primer showroom en " cepromex " la jolla,san diego california, USA. Exhibe diseño en las vegas " furniture and accesories show, Las Vegas, Nevada, USA. Exhibe diseño en la cd de San Francisco, California, USA Exhibe diseño en el pabellon mexicano, en la feria internacional del mueble de Milan & euroluce, Milan Italia Exhibe diseño en la feria internacional de Nueva York, icff international furniture fair, NY. USA. Mencion honorifica y premio al segundo lugar, en el primer concurso latinoamericano de diseño en vidrio industrial, Museo de el vidrio y el fondo nacional para la cultura y el artes, Monterrey, Nuevo Leon, México

CLARA PORSET

Clara Porset (Matanzas, Cuba 25 de mayo de 1895-17 de mayo de 1981 Los Ángeles Estados Unidos de América) fue una arquitecta y diseñadora de muebles cubana. La mayor parte de su carrera la desarrolló en México donde diseñó los muebles para proyectos de viviendas de, entre otros arquitectos como Luis Barragán y Mario Pani. En 1941 participó del concurso Organic Design for Home Furnishing organizado por el MOMA de Nueva York ganando uno de los premios.

ARGENTINA

ALEJANDRO  SARMIENTO

Nació en General Villegas, un pueblo agrícola-ganadero de la provincia de Buenos Aires. “La pampa húmeda es mi fuente de inspiración, porque esa espacialidad, ese horizonte, el tiempo, los pocos recursos, fueron un gran estímulo para hacer y deshacer cosas, armar y desarmar”.

Egresado de la Universidad Nacional de La Plata (UNLP) en 1986, comenzó desde entonces a realizar proyectos de diseño que involucran desde la investigación hasta el desarrollo y la implementación. La experimentación con el material es la base de su trabajo, hasta el punto que el reciclaje de residuos y el reuso de piezas estándar del mercado son su marca registrada. Los descartes industriales y los residuos sólidos urbanos son sus preferidos. Aunque también utiliza mucho material estándar al que le da otra oportunidad como futuro objeto. 

RICARDO BLANCO

Ricardo Blanco (1940 en Buenos Aires, Argentina - 2017 en Buenos Aires, Argentina), fue un reconocido arquitecto y diseñador industrial argentino. En su carrera alcanzó un protagonismo tal, que lo llevó a proyectarse internacionalmente como uno de los principales referentes del diseño argentino. Es famoso por sus diseños de mobiliario, particularmente, ha creado una innumerable cantidad de sillas y sillones, todas con un diseño innovador y transgresor. Se recibió de arquitecto en 1967 en la Universidad de Buenos Aires. Al año siguiente comenzó su labor profesional en la firma Stilka. Allí pudo desarrollar productos sobre la base de tecnologías no convencionales como el laminado en madera.

BRASIL

HERMANOS CAMPANA

Los hermanos Campana están considerados como los diseñadores latinoamericanos de mayor renombre en el panorama internacional del diseño de producto. Hoy hacemos un repaso por su trayectoria profesional y descubrimos la clave de su estilo a la hora de diseñar.

Ambos nacidos en São Paulo (Brasil) con una década de diferencia, Humberto (1953) y Fernando (1961) Campana tomaron en sus comienzos caminos muy diferentes que con los años, les llevarían a reencontrarse.

El carácter llamativo de sus obras comienza a percibirse en diferentes exhibiciones en pequeñas galerías haciéndose reconocido por un amplio público. Sería a finales de los años ochenta cuando presentan su primera exposición oficial como equipo de diseñadores llamada ‘Desconfortáveis’, compuesta fundamentalmente por sillas de diseño propio basadas en materiales rescatados para darles una segunda vida. Esta exposición acogida por el Museo de Arte de São Paulo supondría un paso adelante en su carrera, consagrándoles como diseñadores y proporcionándoles una mayor visibilidad.

JOAQUIN TENREIRO

Joaquim Tenreiro (1906, Melo, Gouveia, Portugal – 1992, Itapira, Brasil) nació en el seno de una familia de ebanistas que, a finales de 1910, emigró con su familia a Río de Janeiro (Brasil).

Contrario a tales expectativas burguesas, a principios de 1940, fue uno de los primeros diseñadores de Brasil en adaptar el estilo moderno europeo y el funcionalismo a la industria del mueble.

Joaquim Tenreiro, considerado como un pionero, propuso un lenguaje contemporáneo y defendió la idea de que el mobiliario brasileño debería ser “formalmente ligero…. una ligereza que no tiene nada que ver con el peso en sí, sino con la gracia, con la funcionalidad de los espacios “.

COLOMBIA

LUCY SALAMANCA

Lucy Salamanca es diseñadora con estudios académicos en diseño industrial en la Universidad de Bogotà - Colombia - y una especialización de posgrado en el Istituto Europeo di Design (IED) en Milano (1985). Diseñador independiente, en Milán, para muebles de hogar y oficina, baños, muebles e iluminación, desde 1991 hasta 1996 Lucy Salamanca ha sido directora de arte para Zigurat Design Group en Pesaro, Bolonia y Milán. En 2013 se convierte en parte del equipo de diseño creativo para HOMI - Fiera Milano - la feria dedicada a los estilos de vida, una nueva idea para descubrir desde enero de 2014.

Más sobre los hermanos Campana

Más sobre Joel Escalona

Más sobre Clara Porset

[blog-patrick-smith]

All You need to know about Scarlet Splendour- A Modern Luxury Furniture Store

Summary

Established in the year of 2014 by Mr. Ashish Bajoria and Suman Kanodia, is the first Indian luxury brand known all over the world. Scarlet Splendour works with global designers to create brilliant pieces of  lighting, furniture, and accessories. every piece is a visual pleasure where design meets the luxury keeping with the vision and ethos. There are five collections that have been launched, during the Milan Salone 2015 but the 2 collections that definitely jumped right off the page for us are The Dark Angel and Fool’s Gold.

                                                   Picture Courtesy: Scarlet Splendour

There are multiple designers who collaborated with Scarlet as Scarlet has gained many eyeballs over the period year. Matteo Cibic is one of the best designer who has a great impact on the furniture set. Matteo Cibic designed seven collections and more than eighty modern luxury furniture for the company.

Scarlet Splendour is going to unveil a brand-new collection from the Slovenian designer- Nika Zupanc. The collection, named 88 Secrets, brought a bit of magic and allure to rugs and furniture with reference to the 88 constellations, including the 12 from astrology, officially recognized in the world of astronomy. The 4-piece series includes a bar, cabinet, table, and rug, each with glamour and a hint of starry magic.

Scarlet Splendour has collaborated with global stores, artists, press agencies, and designers to transform and take local craftsmanship to global levels. The company heralds a blend of transcends and cultures geographical boundaries to achieve the extraordinary in the design world.

Scarlet Splendour portfolio contains a wide range of work from Dario Contessotto, Nika Zupanc, and Mirco Colussi- who has been called “the real star” as per The Wall Street Journal.

Since Milan 2015 and following exhibitions, Scarlet Splendour has raised its collaborations with designers of international acclaim and the latest is the Artefatto Design Studio from London, UK.

Speaking of fairs, Scarlet Splendour is a regular. Since their debut showcase at the Milan Design Week in 2015, the brand has traveled to others across the globe and is now even retailed internationally. In fact, they have just launched at Altagamma in Moscow too much fanfare.

Scarlet Splendour houses some of the iconic pieces of Gufram including Bocca, Cactus, and Capitello. They also have the Kracht collection by Dutch visionary designer Jolan van der Weil a wide range of tables combining with unorthodox materials like magnetic polymers and plastics.

If one visits their website they will get to know that there are more than fifteen collections that they have launched. Every collection is very much unique from each other and one will find a story behind every collection.

Also new for the year 2019, Slovenian designer Nika Zupanc created Strings, a series with a credenza and cabinet that blend with the lightness of harp-like strings with the luxe materiality of metal.

Conclusion

This young Indian company founded by two designers sibling, sister and brother Suman Kanodia and Ashish Bajoria. Scarlet Splendour, who has attracted attention for their unique blend of Italian design and Indian craft. The inspiration for the collection is a mix of the 2 countries and the craft techniques from both the nations. I request all to experience its avant-garde aesthetic and share the passion for modern luxury furniture.

[wolfliving]

*Giant Milanese mushroom structures.

Growing a building like a mushroom CRA-Carlo Ratti Associati, together with global energy company Eni, has developed an architectural structure made of mushrooms, installed in the center of Milan for Design Week 2019. Grown from soil over the past six weeks – and to be returned to the soil at the end of the month in a fully circular manner – the project is composed of a series of arches, made from a record 1-kilometer-long mycelium. April 9th, 2019 – FOR IMMEDIATE RELEASE Hi-res images and more information are available upon request. Please write to pr@carloratti.com CRA-Carlo Ratti Associati, in partnership with global energy company Eni, has developed an architectural structure made of mushrooms, to be unveiled today at Milan Design Week 2019. The installation, called “The Circular Garden,” was grown from soil over the past six weeks – and will be returned to the soil at the end of the month. It is composed of a series of arches, adding up to a record 1-kilometer-long mycelium, and experiments with sustainable structures that can grow organically and then return to nature in a fully circular way. The project will be showcased during Milan’s Fuorisalone at Brera’s Orto Botanico, the city’s botanical garden. The installation, part of the INTERNI Human Spaces exhibition, will be open to the public from April 9th to 19th 2019. The Circular Garden pushes the boundaries of using mycelium – the fibrous root of mushrooms – in design. In recent years, mycelium has been employed for sustainable packaging and small brick-like objects. The Circular Garden engages with mycelium at the architectural scale – with a series of 60 4-meter-high arches made of mycelium scattered around the Orto Botanico, for a total of 1 kilometer of mushroom. In order to create self-supporting mycelium structures on such a scale, the project takes inspiration from the great Catalan architect Antoni Gaudí. It was he, while designing the Sagrada Familia in Barcelona, who resurrected the “inverted catenary” method pioneered in the 18th-century by polymath Giovanni Poleni. According to this method, the best way to create pure compression structures is to find their form using suspended catenaries and then invert them. The same applies to the Circular Garden, where the catenaries compose a series of four architectural “open rooms” scattered throughout the garden. The mycelium was grown in the two months preceding the opening of the Circular Garden with the help of leading experts in the field of mycology – particularly the Dutch Krown.Bio lab. Spores were injected into organic material to start the growth process. In a similarly organic manner, all the mycelium will be shredded at the end of Milan Design Week and go back to the soil, in a circular way. The cycle is similar to what has happened since ancient times in small town or city gardens, through the production of food and the composting of organic waste. “Nature is a much smarter architect than us,” says Carlo Ratti, founding partner of CRA and director of the MIT Senseable City Lab: “As we continue our collective quest for a more responsive ‘living’ architecture, we will increasingly blur the boundaries between the worlds of the natural and the artificial. What if tomorrow we might be able to program matter to ‘grow a house’ like a plant? Milan’s amazing botanical garden, in the center of the city, seemed the ideal place for such an experiment”. “There’s a whimsical short story written by Italian writer Italo Calvino in the 1960s that tells of the wonder of the urbanite Marcovaldo when he suddenly discovers some mushrooms growing in the middle of the city. During our first visits at the Botanical Garden in Milan, we felt a similar amazement,” comments Saverio Panata, project manager at CRA: “We discovered how many varieties of mushrooms were naturally growing in the garden. After that encounter, we thought that mushrooms, with their adaptability and speed of growth, could become our perfect building material.” Many pavilions designed for temporary exhibitions and fairs – such as for Milan Design Week – end up generating large amounts of waste. The Circular Garden project will be reused in a circular fashion – mushrooms, ropes and wood chips will go back to the soil and small metal elements will be recycled. “Life is more important than architecture,” Oscar Niemeyer famously said, a dictum that is at the center of this year’s theme at the INTERNI Human Spaces exhibition. “It is certainly about human life – but it is also increasingly about the life of our planet, intended in a holistic way,” adds Ratti. CREDITS The Circular Garden A project by CRA-Carlo Ratti Associati for Eni Part of “INTERNI Human Spaces” exhibition Artistic Consultancy: Italo Rota CRA Team: Carlo Ratti, Giovanni de Niederhausern, Saverio Panata (project manager), Luca Giacolini, Alessandro Tassinari, Nicola Scaramuzza CRA Make Team: Alessandro Peretti Griva, Carlo Turati, Corrado Castiglioni, Luca Cianfriglia Renderings by CRA graphic team: Gary di Silvio, Gianluca Zimbardi Mycologist consultants: Krown.bio

Photo credits: Marco Beck Peccoz Video credits: Edithink

Where: Milan’s Orto Botanico, Milan, Italy When: April 8th- April 19th, 2019 (h.10:00-22:00)

ABOUT CRA-CARLO RATTI ASSOCIATI CRA-Carlo Ratti Associati is an international design and innovation office, based in Turin, Italy, with branches in New York and London. Drawing on Carlo Ratti’s research at the Massachusetts Institute of Technology, the office is currently involved in many projects across the globe. Embracing every scale of intervention – from furniture to urban planning – the work of the practice focuses on innovation in the built environment. Among recent projects there are the master plan for Milan’s Science, Knowledge and Innovation Park (MIND-Milano Innovation District); a 280-meter tall green skyscraper in Singapore co-designed with BIG; the redesign of the Agnelli Foundation HQ in Turin; the requalification of the Patrick Henry military village for IBA Heidelberg in Germany; the Pankhasari retreat in India’s Darjeeling; and the concept for a human-powered "Navigating Gym" in Paris. CRA is the only design firm whose works have been featured twice in TIME Magazine’s Best Inventions of the Year list respectively with the Digital Water Pavilion in 2007 and the Copenhagen Wheel in 2014. In the last years, the office has also been involved in the launch of start-ups, including Makr Shakr, a company producing the world’s first robotic bar system, and Superpedestrian, the producer of the Copenhagen Wheel. www.carloratti.com

ABOUT ENI Eni is an integrated energy company with around 33,000 employees in 71 countries globally. It operates in the oil and natural gas exploration, development and extraction industries in 46 countries; trades in the oil, natural gas, LNG and electricity sectors in 30 countries; and sells fuels and lubricants in 32 countries. It also produces crude oil and semi-finished products to be used in the production of fuels, biofuels, lubricants and chemicals that are then distributed through either the wholesale or retail markets, through various refineries and chemical plants. The company is contributing to the energy transition to a low-carbon future, by promoting the development of energy produced from renewable sources. It is doing so by using new and increasingly efficient clean technologies and by applying the principles of the circular economy to all aspects of its activity. Having completed the transformation of its own business model, which is now more straightforward and faster, with a more efficient value chain, Eni has consolidated its own organic growth across all of its businesses by capitalizing on three main strengths, namely integration, efficiency and use of technology. Technology in particular plays a strategic role in all sectors, helping to achieve global recognition for Eni’s operational excellence, promoting the decarbonization of all of the company’s operations and developing industrial efficiency through the circular economy model. Investing in technology and knowledge has enabled Eni to achieve one of the fastest times to market in its sector, as well as one of the lowest break-even points. From upstream operations to renewables, downstream operations to natural gas, the circular economy to asset management, Eni has managed to differentiate, strengthen and integrate each of its businesses thanks to an operating model that systematizes all of its operations.  Integrity when it comes to business management, support for the development of the countries in which we operate, operational excellence in managing the group’s various activities, innovation in the search for competitive solutions and renewable energies, the inclusion of individuals and the promotion of professionalism and expertise, and the taking into account of both financial and non-financial aspects when it comes to business processes and decisions are our drivers to create sustainable value. Eni is working to build a future in which everyone has access to efficient and sustainable energy resources. The Company bases its work on passion and innovation, on its unique strengths and skills, and on the value it places on people whose diversity is considered a resource for all.

ABOUT ENI GAS E LUCE Eni gas e luce, a wholly owned subsidiary of Eni SpA, is a provider of gas, lighting and energy solutions for the retail and business markets. The Company operates in four European countries and has 1,600 employees. With 8 million customers in Italy, it is the leading supplier of natural gas to households, apartment blocks and small businesses, and the second largest supplier of electricity in the free market. Eni gas e luce also has a network of Energy Stores in Italy, with 150 points of sale offering personalized consulting. Since the end of 2016, Eni gas e luce has been present on the energy solution market in partnership with leading companies in their relevant markets, offering a range of energy efficient products and home services beyond gas and energy supply.

ABOUT INTERNI HUMAN SPACES INTERNI, The Magazine of Interiors and Contemporary Design, has been fortunate enough to share the fantastic, adventurous history of the Italian furniture and interior design industries for more than 60 years, closely following the growth that design has been able to express thanks to the work of brilliant cultural figures, architects and designers and brave, intuitive entrepreneurs. INTERNI has, in effect, grown with design, which has spread and infected all of daily life. The magazine has assumed, over time, an increasingly decisive commitment to communicate the culture of design at an international level, promoting new creative alliances between designers, companies, representatives of culture and project operators in the broadest sense, and has developed, under the direction of Gilda Bojardi, a network of parallel publications that have transformed the monthly magazine from niche to mass media. INTERNI continues to be an attentive and up-to-date observatory of the design world and a forerunner of trends in the fields of design and architecture. From the first half of the nineties, the magazine became part of the Mondadori Editore Group, the most important Italian publishing group. The activity of INTERNI also includes the conception and coordination of events and exhibitions, organized in order to facilitate encounters between those who design and those who produce. The themes of experimentation and ephemeral production led, in an effort to broaden the culture of design to the general public, to the events organized in the late 1990s on the occasion of Milano’s FuoriSalone. This famous urban phenomenon that animates the city of Milan during Milan Design Week was born thanks to the initiatives of INTERNI in 1990; the magazine today coordinates the communication of about five hundred events. After the launch of the INTERNI publications in China (2015), the magazine plans to extend the international editions elsewhere.

“HUMAN SPACES” is the title of the much-anticipated exhibition-event conceived INTERNI with the support of the City of Milan, which will take place during the FuoriSalone, from 8 to 19 April, in the courtyards of the University of Milan, at the Orto Botanico di Brera with ENI and at the Audi City Lab at the Arco della Pace. The Mondadori Group magazine, edited by Gilda Bojardi, asked leading protagonist of Italian design, as well as international designers and architects to address the issue of “Human Spaces”, in collaboration with companies, multinationals, start-ups and institutions. The result is an extraordinary collection of installations and design islands, micro-architecture and macro-objects, all site-specific, that interpret the places, landscapes contexts and, by extension, media and objects that place at the center of their vision the wellbeing of people. Consequently, the human being and human needs are back at the center of creative thought for a new quality of life, in harmony with the environment.

CRA-Carlo Ratti Associati® | The Circular Garden press release | April 2019 | pr@carloratti.com

[archeyesmagazine]

Indonesia | © Casa Ojalá Srl by Alessandro Parena

Presented at the Milan Design Week in 2019, Casa Ojalá is a bungalow designed by Beatrice Bonzanigo that allows its users to transform the interior configuration through a manual mechanical system. Prototype is currently under construction and first deliveries are expected by the end of 2020.

Casa Ojalá Technical Information

Architects: Beatrice Bonzanigo

Client: Casa Ojalá Srl (Beatrice Bonzanigo & Ryan Nesbitt)

Material: Wood and Steel

Type: House / Bungalow

Project Year: 2020

Technical drawings: Simone Dati | © Casa Ojalá Srl

Visualizations: Alessandro Parena | © Casa Ojalá Srl

Construction Photographs: Stefano Banfi | © Casa Ojalá Srl

The flexibility of the space is made possible by a manual mechanical system composed of pulleys and cranks, that controls sliding walls (made in fabric and wood) and movable floor and ceiling panels.

– Beatrice Bonzanigo

Casa Ojalá Images & Photographs

Africa | © Casa Ojalá Srl by Alessandro Parena

New Mexico | © Casa Ojalá Srl by Alessandro Parena

Greece | © Casa Ojalá Srl by Alessandro Parena

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Text by the Architects

Casa Ojalá is a small, 27 square meter house with more than 1,000 interior configurations working in synchrony without ever changing the original structure and shape. It is designed to give guests a distinct and exclusive experience: control over their environment while deeply immersed in their surroundings.

Casa Ojalá has two bedrooms (one double and one single bed), a bathroom, a rooftop terrace, and a living space, all of which can be continuously transformed into one another. A bedroom becomes a living room, the living room becomes an extension of the bathroom, the house becomes an outdoor platform, etc. The flexibility of the space is made possible by a manual mechanical system composed of pulleys and cranks, that controls sliding walls (made in fabric and wood) and movable floor and ceiling panels. Built-in central furniture divided into seven slices provides essential functions (wardrobe, bedside tables, bookshelf, sink) and can be pulled out for use or hidden under the floor for storage.

Once assembled, as the house is controlled through its manual mechanical system, it does not need any external assistance. It includes a rainwater collection system and can be equipped with photovoltaic panels and systems for handling clean, gray and black water for truly “off-grid” locations. It is best suited for mild climates, but includes a bio-ethanol stove to knock off an evening chill.

Beyond the day to day mutations – fully controlled by the guest – nearly all of the surfaces: metal, wood, and fabric are customizable for each Casa Ojalá to recall local traditions and motifs. These options, combined with a choice in environmentally sensitive and sustainable fixtures and furnishings, allow Casa Ojalá to perfectly assimilate with its intended destination, unique as its owner and location.

Casa Ojalá is for the traveler seeking a new experience, one that immerses them in the surrounding nature, free from technology, yet without lacking the luxury of exquisite design and quality craftsmanship and the comforts of home in every thought-out detail. Casa Ojalá adapts to suit the needs of all who seek it out.

The full-scale prototype will be placed in the Italian countryside and made available to the press and prospective clients to experience in real life this fall. Site selection is in progress and will be announced in the coming months.

Casa Ojalá Technical Plans

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

© Architects

Casa Ojalá Image Gallery

Indonesia | © Casa Ojalá srl by Alessandro Parena

Alessandro Parena | © Casa Ojalá srl

Alessandro Parena | © Casa Ojalá srl

Alessandro Parena | © Casa Ojalá srl

Alessandro Parena | © Casa Ojalá srl

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

Simone Dati | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

Stefano Banfi | © Casa Ojalá Srl

About Beatrice Bonzanigo

Beatrice graduated in 2009 from the Academy of Architecture of Mendrisio (Switzerland) under the guidance of architects like Peter Zumthor, Valerio Olgiati, the Aires Mateus brothers and Mario Botta.

After several work experiences abroad, including Sydney and Barcelona, she started to collaborate in Milan with her mother – Architect Isabella Invernizzi, who has more than thirty years of experience and success. In 2014, IB Studio (www.ib-studio.eu) was established, specializing in the renovation of farmhouses, villas, and chalets in Italy and abroad. The Studio won several prizes in the past years, including American Architecture Prize for a winery in Tuscany. A tireless traveler, a dancer and always seeking, in recent years Beatrice expanded the horizon of IB Studio to Argentina, Chile, Uruguay, and the USA in the steady pursuit of new inspirations and freedom of design. She has been invited to speak on architectural innovation at SuperYacht Design Forum in London, KlimaHouse Milan Camp (2019) and for HOMI fair in Milan (2020).

Other works from Beatrice Bonzanigo

Presented at the Milan Design Week in 2019, Casa Ojalá is a bungalow designed by Beatrice Bonzanigo that allows its users to transform the interior configuration through a manual mechanical system. #Italianarchitecture #casaojala #prefabrication #bungalow Presented at the Milan Design Week in 2019, Casa Ojalá is a bungalow designed by Beatrice Bonzanigo that allows its users to transform the interior configuration through a manual mechanical system.

[connorrenwick]

B&B Italia’s Iconic UP Celebrates 50 Years

The following post is brought to you by B&B Italia. Our partners are hand picked by the Design Milk team because they represent the best in design.

“Mama.” “La Donna.” Whatever the Up5 is affectionately referred to as, it’s inextricably connected to the word “iconic”. Making its debut 50 years ago in September 1969 at the Milan Furniture Fair, the armchair from C&B (which would later become B&B Italia), designed by Gaetano Pesce, was vacuum-packed and self-inflating, with hundreds set up around the fair’s space. Their unpacking became a presentation, a performance that was unmatched and surprisingly emotional as each piece grew and morphed into its full, final form.

The idea for the design and application came to Pesce like many great ideas: while he was in the shower. Ultimately, Up5 evolved into Serie Up – a collection of six Up armchairs and sofas – made from expanded polyurethane that’s vacuum-compressed up to 1/10 of its actual volume, using a technique developed by C&B specialist of plastic materials, Camillo Colombo. Once the furniture is unpacked it immediately takes shape, thanks to Freon gas present in the polyurethane blend, and is an irreversible process. When it comes to aesthetics, the design of the series sits squarely between industrial and post-industrial design and is an iconic symbol of modernity.

The Up5 opened doors for C&B that no one could have seen coming.

“Pierre Cardin wanted to meet us. Foreign firms asked for licences. Up was in fact a magnificent vehicle of internationalisation for C&B, and also a tremendous advertising tool for the firm’s technology,” Francesco Binfaré shared.

The ensuing ad campaign was visually led by Enrico Trabacchi and produced by Swiss fashion and advertising photographer Klaus Zaugg. They turned the chair into a provocative, sexy supermodel through typography, photography, and graphics in an ad campaign that would be remembered as groundbreaking. Afterwards Up5_6 proceeded to take on its own celebrity, Salvador Dali posed curled up on one and it also appeared in the 7th James Bond film Diamonds Are Forever.

In 1973, C&B became B&B Italia, and the Serie Up collection was removed from their catalogue due to a ban on Freon gas. Fast forward to Milan and the year 2000, when the Up5 armchair and Up6 ottoman were reissued. In 2014 a junior size was added to the mix, all under the Serie Up 2000 title which also included all seven original items from 1969. The only downside being that Up5 no longer inflates, rather, it’s made of cold shaped polyurethane foam.

These days the polyurethane foam is injected into a mould. After being “baked” for two hours and a 48-hour cooling period, the chair is cleaned and trimmed before being covered by a tailor and their assistant with a stretch fabric that’s either a solid color or striped and hand-stitched. It’s known for taking on its most iconic form in red.

To celebrate the 50th anniversary of Pesce’s Up5_6, B&B Italia has added orange red, navy blue, petrol green, emerald green, and cardamom options to the existing eight colored coverings offered. There’s even a 50th Anniversary Special Edition featuring striped beige and petrol green, referring to the original color palette in 1969.

See B&B Italia’s full catalogue at bebitalia.com/en.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2019/05/21/bb-italias-iconic-up-celebrates-50-years/

[caveartfair]

Designer Germans Ermičs Reimagines What Glass Can Be

Germans Ermičs and Lonneke van der Palen, Sample for Raf Simons, Dover Street Market, London, 2016. © Studio Germans Ermičs, 2018. Photo by Lonneke van der Palen. Courtesy of the artist.

Detail of work by Germans Ermičs for FRAME Magazine, 2017. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Like the Minimalists of 1960s Southern California, such as James Turrell and Larry Bell, the designer Germans Ermičs wields light, space, and color to catalyze a shift in how we perceive objects. For the past few years, he has crafted refined and ethereal pieces of glass furniture.

It’s a material that Ermičs feels has earned an unfair reputation for being “fragile, dangerous, and cold,” he told me from his new studio in Amsterdam. The aim is to shift attitudes toward what his chosen medium can do—to “make people look at the glass, not through the glass,” as he put it.

Germans Ermičs and Lonneke van der Palen, Misty Mirror, Red Dawn, 2016. © Studio Germans Ermičs, 2018. Photo by Lonneke van der Palen. Courtesy of the artist.

Portrait of Germans Ermičs. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Because of the utilitarian functions of glass, we rarely pay it any mind, as we encounter it daily. But in Ermičs’s designs, glass becomes the stage for exquisite color treatments: It can be soft and frosted to blur the edges of form; ombré, to gently draw your eye across the surface; or mirrored, to reflect and manipulate the space you occupy. His large, freestanding “Horizon Screen” panels gently curve toward the viewer, the start of an embrace. His Ombré Glass Chair (2017), like the 1976 Shiro Kuramata design it pays tribute to, evokes an almost magical simplicity—free of metal screws or fasteners, the panels that form the structure, bonded together, appear weightless. Ermičs wanted his version of the design to appear to be defined by color itself.

His “Shaping Color” series (2015–16) is similarly conceptualized. Uninterrupted rectangular panels of glass come together neatly to form a low table, a shelf, console, or mirror. In the first iteration of the series, Ermičs married two complementary tones; in the second, he pared down his palette further, playing with the density and richness of a monochromatic tint. In those designs, a single hue bleeds out from a corner, shifting from dark to light; or it fades upwards, as if a momentary breath of color had fogged the surface.

Germans Ermičs, Ombré Glass Chair and Horizon Screens, for FRAME Magazine, 2017. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Germans Ermičs, Mirror, from the series “Shaping Colour,” 2016. © Studio Germans Ermičs, 2018. Courtesy of the artist.

“I sometimes come up with ideas that are really difficult to realize,” he admitted with a laugh, noting that he’s more than willing to tap “fabricators and different producers who know the material and have the right tools and expertise in it.” It’s a collaboration, especially when he pushes the boundaries of what’s possible to construct.

Germans Ermičs at work. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Germans Ermičs, Tall Horizon Screen, 2017. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Germans Ermičs, Mirror, from the series “Shaping Colour,” 2015.

Germans Ermičs, Shelf, from the series “Shaping Colour,” 2016. © Studio Germans Ermičs, 2018. Courtesy of the artist.

German Ermičs, Low Table, from the series “Shaping Colour,” 2016. © Studio Germans Ermičs, 2018. Courtesy of the artist.

German Ermičs, Console, from the series “Shaping Colour,” 2015. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Germans Ermičs, Wide Horizon Screen, 2017. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Though glass is currently his focus, Ermičs—who was born in Riga, Latvia—began in print, experimenting with graphic design while in school, and later landing an internship at the esteemed Rasmus Koch Studio in Copenhagen. From there, he took an interest in interior design, relocating again to study at Design Academy Eindhoven. During those years, he said, is when he began working hands-on with materials and conceptualizing larger-scale projects. His background in two-dimensional design, though, has always continued to play a role in his thinking; he conceives of his glassworks as “two-dimensional thoughts materialized in objects.”

Ermičs opened his own studio in 2014, and has since regularly shown his pieces at fairs such as Salone del Mobile in Milan, Design Miami/Basel, and the Paris Art and Design Fair. He was honored by Wallpaper* Design Awards in both 2017 and 2018, and his designs have been featured in the Dutch magazine Frame. His works emphasize beauty over practicality. Of Ombre Glass Chair he noted: “You can sit on it, but that’s not going to be your everyday chair. It’s an art object.” He added: “I’m not competing with industrial designers and furniture brands.”

Detail of Germans Ermičs, Low Table, from the series “Shaping Colour,” 2015. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Germans Ermičs, Alchemist Cashwrap. Photo by Michael Stavaridis. © Studio Germans Ermičs, 2018. Courtesy of the artist.

Yet Ermičs is also open to more commercial projects, and has crossed over into retail design several times. There was a commission with Glenn Sestig Architects for Raf Simons in London in 2016, as well as a project with Rene González Architect for Alchemist in Miami earlier this year. For the latter, a boutique store outfitted in raw concrete and steel, Ermičs and RGA designed an all-glass check-out area, with a color palette based on the sky and sea of the coastal metropolis. In a recent pop-up store for Danish electronics brand Bang & Olufsen, for which Ermičs conceptualized the interior, the designer traded his signature colors and glass for nude tones, travertine, and resin-coated aluminium.

Despite his fluency with glass, Ermičs doesn’t want it to be the defining characteristic of his identity as a designer. “I always say I’m not a glass artist; this is where I’m at at this moment,” he clarified. Currently, he’s working on a lighting project, as well as trying his hand at natural stone.

Though color is one of the main drivers of his work, he finds it difficult to express how he arrives at such dreamy, eye-catching combinations. “I’m always asked this question, and I never have a good answer to explain myself,” he replied. He takes cues from the world around him, synthesizing hues into RGB, and lets one color lead him to the next. He laughed, however, when I asked about sunsets, an inspiration he’s mentioned previously. “I’m not always interested in literal translations,” he said. “Sometimes I just want to achieve the feeling I have with certain colors.” That elusive feeling is where the magic begins.

from Artsy News

[jeremystrele]

TDF Talks With David Flack Of Flack Studio

TDF Talks With David Flack Of Flack Studio

Podcast

by Lucy Feagins, Editor

Despite having only launched his own studio in 2014, David Flack is already an established and respected name in Australian design. With a small team of just seven staff, Flack Studio is driving a return to bold, maximalist interiors, full of rich colour and texture. There’s simply no denying the ‘Flack look’ has carved a distinct niche in Australia’s interior design industry.

Today on our podcast, David talks candidly about his humble beginnings as Hecker Guthrie’s ‘office rouseabout’, the accelerated growth of his business, the importance of developing a distinct brand DNA, and lessons he’s learnt along the way.

    Links + Further Reading

You can check out David Flack’s interior design firm, Flack Studio, (and their distinctive branding/ ‘DNA’) on their website.

David was one of 10 speakers at our TDF Talks live event at The Design Files Open House last year, during which this interview was first recorded (excuse the PA fuzz). 

David graduated when the GFC hit, but heckled Hecker Phelan Guthrie (today Hecker Guthrie) for a job as a ‘rouseabout’ to get his foot in the door.

He then followed his idol, Kerry Phelan, to K.D.P.O Architecture and Interior Design.

David outlines some pivotal projects, including The Hawthorn House; Caravan cafe in Seoul; Ginger&Smart retail store fit-outs; and Navi, a kitchen and bathroom showroom.

We ran a feature on Flack Studio’s fancy new Fitzroy HQ earlier in the year.

You can also read more about David in our past Q&A.

Stay tuned for our forthcoming film series, in partnership with Dulux – Milan in Colour – starring David!

We are filming all this week in Milan. You can follow our Milan Furniture Fair (Salone del Mobile) discoveries and adventures throughout the city and on our Instagram, #TDFinMilan, #MilaninColour.

[carllmcintyre33-blog]

How ship masts inspired this LA-designer's latest textile collection

“I don't start with the idea; I start with the process,” says the Los Angeles-based industrial designer Jonathan Olivares. “So I'm always surprised when the idea takes shape. The last thing I want to do is to be sitting at my desk coming up with big ideas.”

This research-based, incremental approach-which brings to mind the Charles Eames directive to “innovate as a last resort”-has made Olivares's career trajectory different from those of other young designers. (He turns 37 this year.) Rather than producing a steady stream of products, Olivares has designed just a handful.

These include an aluminum stacking chair for Knoll, and a small, versatile steel cart for the iconic Italian company Danese that won the prestigious Compasso d'Oro in 2011.

His three books include A Taxonomy of Office Chairs (which is just what is sounds like); Richard Sapper, based on a series of Hitchcock/Truffaut-style interviews with the late German design master; and Jonathan Olivares Selected Works, a 2017 overview of his work. In it are a number of his essays, both broad and specific, on the nature of design, and projects like the Vitra Workspace, a showroom and learning environment (with the architect Pernilla Ohrstedt) at that company's headquarters.

The book also includes exhibitions like Source Material-a look at the objects that inspired a broad spectrum of designers-which he co-curated in 2014 with revered industrial designer Jasper Morrison and Apartamento co-founder Marco Velardi.

Olivares's philosophy made him a perfect match for the 50-year-old Danish textile company Kvadrat, which is known for its forward-thinking approaches to color and sustainability, and which will debut his Twill Weave fabric-the sixth and latest of Olivares's product designs-during this month's Milan Furniture Fair.

Anders Byriel, Kvadrat's CEO, says that although the company has worked with a range of well-known designers, including Raf Simons, “We like to find newer people, not just famous people.” Byriel sees in Olivares “a level of sophistication in how he sees the world. Jonathan is very strong on rigor and method.”

Daniele Ansidei

The daybed featuring the Twill Weave at Philip Johnson's Thesis House.

That method was the genesis of Twill Weave. Harvard University's Graduate School of Design invited Olivares to create a piece of furniture for the Philip Johnson Thesis House in Cambridge, Massachusetts-a compact dwelling that Johnson designed in 1942 as his graduate thesis project, and which the GSD now owns. Olivares was inspired by Johnson's use of wooden ship masts as structural columns in response to World War II restrictions on steel.

Nowadays, ship masts are made of carbon fiber, so Olivares went to a New England mast maker to help him develop the daybed he had in mind, a contemporary update-its proportions were inspired by those a yoga mat-of the Mies van der Rohe-designed daybed that once occupied the living room. Carbon fiber has a twill weave, which produces a pattern of diagonal lines, and Olivares wanted to mimic that weave in the fabric that covered the daybed's cushion. So he turned to Kvadrat, which developed a wool textile in the same graphite color as the daybed's material, per Olivares's request that daybed and cushion appear “visually homogeneous.”

Similarly, when Kvadrat wanted to develop a range of colors for Twill Weave, Olivares sought an off-the-palette solution. “I was firmly against using RGB or Pantone colors, because they seemed arbitrary,” he says. “It occurred to me that graphite comes from the earth's crust, and that colors are found within that crust.”

Daniele Ansidei

Daniele Ansidei

Daniele Ansidei

Daniele Ansidei

Azurite.

So Olivares soon found himself working with Narayan Khandekar, the director of the Straus Center for Conservation and Technical Studies at the Harvard Art Museums, to select a group of naturally-occurring pigments (from the 2,500 in the Straus Center's collection) that would make up Twill Weave's range of 19 colors.

These include, to name a few, Alabaster, a pale gray; three different shades of Malachite; and Azurite, a vibrant deep blue. Kandekhar notes that this is the first time these pigments have been used outside the field of art conservation. Playing on Kvadrat's skill in manufacturing wovens, Olivares used different tones within each mineral sample for the warp and weft of the fabric.

That's consistent with Olivares's habit of mining existing materials and technologies for new uses, as in adapting an extrusion developed to underpin contoured building facades for an aluminum bench system (developed with the metal engineering and fabrication company Zahner), or borrowing the technology of skateboard rails (Olivares was a keen skateboarder growing up in Boston) to create cushioning that would protect the seats of the Knoll chairs when stacked.

Olivares's seventh finished product, a curved-panel folding screen, for Really, a Danish recycled textile company part-owned by Kvadrat will also debut at the Milan fair. There's also a pop-up skate park for the feminist art collective BRUJAS opening in May at Performance Space 122 in New York; a granite bench system for public outdoor spaces, and a book on the development of office floor plans over the last 50 years.

“I like the journey,” Olivares says. “It's where you get surprised. To learn something you didn't know, or discover you were wrong about something, is really great.”

[marthaohara]

Be Inspired By The Best Design Projects From Tom Dixon

Be Inspired By The Best Design Projects From Tom Dixon – First of all, who is Tom Dixon? But for those who love design, who doesn’t know Tom Tixon, right? Tom Dixon is a British designer who is worldwide recognized. His Projects have been acquired by museums across the globe, such as the Victoria and Albert Museum, Museum of Modern Art New York and Centre Georges Pompidou, Paris. Established in 2002, Tom Dixon is a British product design brand. With a commitment to innovation and a mission to revive the British furniture industry, the brand is inspired by the nation’s unique heritage and produces extraordinary objects for everyday use.

  –> Subscribe our Newsletter and be up-to-date with Best Design Projects. <–

  Biography the man before the myth

Born in Sfax, Tunisia in 1959, to a French/Latvian mother and an English father, Dixon moved to England aged four and spent his school years in London. Attending Chelsea Art School for a brief six-month period, a motorbike accident curtailed any artistic ambition and left him in hospital for three months. Having dropped out of Art school, Dixon spent two years as a musician, playing bass guitar in a disco band until another motorcycle accident left him unable to play for a period.

He spent two more years in the burgeoning London night club and warehouse party scene. This nocturnal lifestyle left plenty of time in the day to start experimenting with welded structures. Necessary bike maintenance had required welding skills, which a friend supplied in one quick lesson.

The new found welding skills were soon put to work as Dixon explored the decorative and structural potential of recycled materials and industrial scrap. It was a very hands-on period, working from his own workshop. Each piece evolved in a built form with no need for design sketches. Some of Dixon’s favoured materials at this time included railings, concrete reinforcement bars, car inner tubing and saucepans. “I was immediately hooked on welding…mesmerised by the tiny pool of molten metal, viewed from the safety of darkened goggles. Allowing an instant fusion of one piece of steel to another. It had none of the seriousness of craft and none of the pomposity of design: it was industry.

It suited my impatience perfectly…giving me the opportunity to build, destroy, adjust and remake structures instantly.

London at the time was still full of scrap metal yards and the skips were piled full of promising bits & pieces due to the eighties boom….all of which presented themselves to me as potential chair backs or table legs. Unhindered by commercial concerns (I had my night job,) or formal training I made things just for the pleasure of making them. It was only when people started to buy that I realised I had hit on a form of alchemy…I could turn a pile of scrap metal into gold.”

It wasn’t long before Dixon’s sculptural objects began to get recognition and commissions and exhibitions followed. This rapid increase in demand required a more plentiful and reliable source of materials. He turned his attention to ready-made forms and technology to feed his increased interest in industrial techniques and batch production. He designed in sheet metal creating a much more minimalist product that was determined by the industrial technique used for production.

As Dixon’s international reputation grew, he was approached by Italian furniture design company, Cappellini. He began to be taken seriously on the international stage as Cappellini worked to put some of his designs into major production. The “S” chair made Tom Dixon’s name, evolving from early prototypes in his Creative Salvage days. It was initially woven with recycled rubber inner tubes, and then covered in rush, a material traditionally used for drop in seats. Cappellini were attracted by its sculptural form and amazing legless structure of bent steel frame. Launched by Cappellini with a vibrant felt upholstered covering in 1989, the “S” chair quickly reached iconic like status and now has a permanent place in the Museum of Modern Art, New York. Dixon has since collaborated with Cappellini on many other projects, including the Bird Rocking chair, the Pylon table and chair and the tub chair to name a few.

TOM DIXON the company was started by Tom Dixon and David Begg in 2002. Since its inception, the company has developed its own collection of contemporary lighting and furniture including the acclaimed Mirror Ball Collection of lights and more recently Copper Shade. TOM DIXON designs have entered the international major league through renowned shows at major venues like the Milan Furniture Fair and the London Design Museum, where Tom Dixon is currently nominated for Designer of the Year. Tom Dixon the designer is particularly well known for his earlier designs such as the S-chair, designed for Cappellini, and the rotationally moulded Jack Lamp which gained the Millennium Mark for Great British Design in 1998. He was awarded the OBE for services to British Design in 2000. In 2004 a partnership was established between the TOM DIXON founders and the venture capital company Proventus, forming Design Research, which today owns and manages both TOM DIXON and Artek, the Finnish modernist furniture manufacturer which was established by Alvar Aalto in 1935. Additionally, Tom Dixon has also been the creative director for major furniture retailer Habitat since 1997.

Tom Dixon at Maison et Objet January 2015 by Daily Design News

    Backgroung & Realizations: best projects

The Tom Dixon brand launches new collections of lighting and furniture bi-annually at the Milan international furniture fair and at London Design Festival. In 2012 the company launched its first accessories range at Maison et Objet, Paris. The company’s products are sold internationally in 65 countries.

In 2007 Dixon launched Design Research Studio, an interior and architectural design studio. High profile projects include Restaurant at The Royal Academy in London ,[5] Jamie Oliver’s London restaurant, Barbecoa as well as Shoreditch House. Most recently Design Research Studio announced their first ever hotel project, redesigning the iconic Thames-side Sea Containers House in collaboration with US hotel giant Morgans Hotel Group due for completion summer 2014.

He is an industrial interior designer as well as a product designer. His copper products and specially lighting are really well known.

Tom Dixon’s products are feature in a lot of projects around the globe, get to know some of those projects:

Harrods Sandwich Cafe

The Tom Dixon Sandwich cafe is situated between the designer’s two concessions on the third floor of Harrods, in London’s Knightsbridge area.

The project was undertaken by Dixon’s Design Research Studio, which focuses on large-scale architecture, interiors and installation projects and recently fitted out the Mondrian Hotel in London’s Sea Containers Building.

“The 152-square-metre space takes inspiration from classical London club interiors using hues such as deep green, dark blue and rich burgundy,” said a statement from the studio.

Tom Dixon Sandwich, which opened last month and serves various types of the traditional British tea-time snack, is furnished with pieces from the designer’s range. These include brass lighting fixtures, upholstered club chairs and marble-covered tables.

Black tiles are arranged in brickwork patterns along the front of the counter, above seating on the opposite wall and around the structural columns in the space.

The space is divided into three areas, defined by seating of different styles and colours as well as various lighting designs.

An informal zone features wing-backed armchairs and smaller lounge seats, all upholstered in dark green and positioned around circular tables. Spherical brass pendant lamps hang in a cluster from a recessed rectangular section in the ceiling above.

Top interior designers: MATTEO NUNZIATI

Fixed purple seating runs the length of the black-tiled wall, with colour-matched moveable chairs positioned the other side of square marble tables. Lustre pendants lights, designed by Dixon in 2012, illuminate the surfaces in groups of four.

The remainder of the space is taken up by square tables, each surrounded by four bent-wood dining chairs and located below a circular arrangement of Dixon’s Beat pendant lamps in brass. Further seating is available along the serving bar.

More brass is used for tableware and accessories throughout the cafe, including Dixon’s Form Tea Set and his collection based on cogs.

Mondrian London Hotel Interior

British designer Tom Dixon’s interiors outfit Design Research Studio used a 1920s cruise liner as a visual reference for interiors at the Mondrian London hotel, which opens today in the Sea Containers House building.

Design Research Studio created the interiors for the 359-room hotel, which occupies the south wing of Sea Containers House located between the OXO Tower and Blackfriars bridge on the south bank of the River Thames.

Originally intended as a luxury hotel, the building was designed in the 1970s by American architect Warren Platner and became offices for shipping company Sea Containers, from which it takes its name, before being bought by developers Archlane in 2011.

This maritime history was used as the starting point of the interiors concept for the hotel, which “embodies the elegance of a transatlantic 1920s liner” according to the designers.

A giant copper-clad wall shaped like a ship’s hull curves into the lobby from outside, with a reception desk set into the form.

The rectangular sections of copper are riveted together to create a patchwork across the surface, which is edged with cove lighting above and below.

Also located on the 1,500-square-metre ground floor are a riverside restaurant and a breakfast bar.

A 61-seat screening room for TV and film premiers is decorated with blue walls, carpets and chair upholstery, contrasted with brass handrails and step edging.

“The hotel’s 359 bedrooms will be furnished with custom designed furniture from Design Research Studio featuring rich colour palettes contrasted against standout metallic pieces following the nautical theme,” said a statement from the studio.

Public bathrooms feature porthole-shaped mirrors and other details borrowed from marine engineering.

Users of the Agua spa move through a submarine-like space, which changes gradually from white to black, to a hidden water feature.

Brass elements run throughout the building, edging door frames as they continue to the top of the building, where a bar on the roof is designed to look like the top deck of a cruise liner.

The terrace is surrounded by glass balustrades so the views of London to the north and south are unobstructed.

  Restaurant at Royal Academy London

The refurbishment of the RA restaurant for Peyton and Byrne references and respects the long and illustrious history of the academy and its existing architecture, whilst injecting a strong sense of world class contemporary operational elements and a new level of comfort.

The zones in the restaurant are inspired by some of the Royal Academy Greats: Turner, Paolozzi and Sir John Soane. High quality finishes include velvet, brass, marble and lava stone. Soft lighting, rich, warm colour tones and juxtaposing textures contribute to the restaurant’s rich and welcoming ambience. Key design features include a contemporary cubic glass unit housing an extraordinary selection from the RA permanent collection of sculptures, acting as a room divider, and also a sculptural, deconstructed brick counter inspired by Paolozzi. The colour scheme has been selected to improve the experience of the existing murals painted onto the restaurant walls by previous Academicians.

Now, talking about products: Tom Dixon’s products go from furniture to accessories and lighting. The collections are endless!

Lighting

Beat Fat Black

Copper Shade

Melt Mini Copper

Furniture

Wingback Chair Black

Pylon Side Table

Pivot Low Back

Gifts & Accesories

Contemporary gifts & accessories by Tom Dixon, Shop the full Tom Dixon collection of everyday home accessories, giftware and design objects formed from honest and resilient materials. The range includes table-top dining accessories, bowls, vases, scented candles, diffusers and design objects for the home. All of our designs are inspired by Britain’s unique heritage and are designed in London, made using unique processes and materials.

Etch Tea Light Holder Brass

Cast Mini Jack Copper

Bash Vessel Large

Block Watch Brass Leather

The Most Iconic Products and Projects

Cappellini chair

First designed for the Italian giants Cappellini in 1987, incorporating Dixon’s welding abilities. At this early point in his design career, Dixon did not use drawings. Instead, he built early prototypes of the chair and altered the design in his studio. He says his only inspiration for the design was a “small doodle of a chicken on a back of a napkin”.

Commissioned by Nick Jones in 2007 to take on his outsized members club, Dixon’s design ensured Shoreditch House became one of the capital’s leading destinations. And furthermore, helped hit fast-forward on east London’s gentrification. The integrity of the original industrial architecture was maintained with Dixon curating each room with original and revised pieces.

The Eclectic opened in January 2014. Dixon was approached by renowned French restaurateurs Jean-Louis Costes and Philippe Amzalak to soften the almost brutalist finishes of the contemporary building within the freshly renovated Beaugrenelle shopping centre in Paris. The result? Bold geometry, warm, inviting colour and brass and outrageous centrepiece lighting.

“Minimal and geometric”, Dixon’s Plane lights were launched during Milan’s 2014 Salone and have already been nominated for an Elle Decoration award. The collection features spherical diffusers in white glass set within two-dimensional flat steel panes covered in reflective brass plating, creating lamps with geometric silhouettes that vary according to the angle from which you view them.

Serpentine is at once minimalist in its adherence to sofa convention (the low key curves and straights) and ultra futuristic in the breakneck chicanes that combined modules can create. Launched in 2003 Toulouse airport has Serpentine sofas darting through its departure hall. The possibilities for regular living rooms are endless.

Located on levels 31, 32 and 33 of London’s first skyscapers, the imposing Centre Point building. Inspired by the modern, tough-edged aesthetic, shapes found in the concrete of the outer building, these feature throughout the interior in the design of the bar, furniture and wall panelling. Of course, the view is the real star and the design shows acute awareness of this. All internal light is directed away from the windows and matt finishes are used throughout.

Special Project

Tom Dixon apartments 

The towering combination of glass and stone façades of Upper Riverside created by architects SOM, have been designed to maximise light and views across London in every apartment. The angular form of the building creates individual living spaces that are full of character.

Gallery

  Read also:

Complete City Guide For Upcoming Milan Design Week 2017

Enter Icon Hotel Project With Luxury Outdoor Furniture Brand Vondom

    *

Do you like this post on interior design projects? What do you think about these amazing inspirations? Let your comment below and share this content in any of the social media channels. Your feedback helps us to improve.

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Source: Best Interior Designers 

from Be Inspired By The Best Design Projects From Tom Dixon

[arcticdesign101-blog]

OUR TEAM

Project Manager

Katriina Matikainen Industrial Design kmatikai@ulapland.fi

Katriina Matikainen is a third year student at the University of Lapland majoring in Industrial Design and minoring in Design Management and Service Design. She has developed great interest in the area of service design and the experiences that occur with it. Learning how the experiences are produced and how a designer can play a huge role in the quality of them, is something Katriina is curious about.

What intrigues Katriina about the arctic are the many different ways that it is displayed, found and appreciated. How simple and practical, but at the same time intricate, creative and versatile it is, in all its forms. This spirit that stems from the arctic is something that she hopes to apply in her work alongside with more modern practises

Project Manager & Public relations 

Viivi Kallio Interior and Textile Design viivi.kallio@live.com

Viivi Kallio is a fourth year student at the University of Lapland, majoring in Interior and Textile Design whilst minoring in Service Design. Before starting her studies, she has worked in a number of different fields from retail and advertising to co-founding an import/export business.

Moving to Rovaniemi in 2014 from her beloved Helsinki was a big change. The unfamiliar arctic conditions were a shock to the system, to say the least. Getting used to the long and dark winters of sub-zero temperatures makes a person really aware of their surroundings, and the feelings that come along with it. Luckily, the initial unease eventually turned into deep admiration and love. The arctic really is a beautiful and inspiring place to live in. Passionate about sustainability, innovation and functional design, Viivi hopes these important factors are communicated through her work and projects.

Public relations  

Elina Lehosmaa Clothing Design elehosma@ulapland.fi

Elina Lehosmaa is a third year Clothing Design student at the University of Lapland. Prior to her moving to the north, she completed her vocational studies in Oulu and became a professional dressmaker. She is interested in making innovative clothing with playful and colourful touches, with sustainability always put into consideration during the design process. “Even though we live half of the year surrounded by darkness, in a way, we also live amongst colours. Since the arctic nature has gifted us with four distinct seasons, the colour inspirations for a designer are endless. The nature has a way of influencing designers and giving them the opportunity to connect with the surroundings and feel the peace. This peace then transcends the designers mind and a new kind of flow is born.”

 Graphic design team 

Katja Uusikylä  Graphic Design  katja.uusikyla@gmail.com

Katja Uusikylä is a fifth year Graphic Design student at the University of Lapland. She works occasionally as a freelancer and has a background in audiovisual communications. Her background also consist of studying abroad at the Tomas Bata University in Zlín, Czech Republic. The knowledge she gained throughout the years were put to good use when she moved to Rovaniemi and began the studies in her dream field at the University of Lapland. Her current interests in design are humour and simplicity. 

"I never planned of living in the north. Now here I am and my roots are growing deeper and deeper into this bleak arctic soil."

 Tytti Mäenpää Graphic Design maenpaatytti@gmail.com

Tytti Mäenpää is a third year Graphic Design student at the University of Lapland. She has over 10 years of work experience in marketing and creating visual concepts for customers. Artistic interests have always been a part of Tytti’s life, from personal projects to professionally illustrating several children’s books. Her relationship with the arctic is complicated. The arctic environment challenges the human with its coldness and its darkness. Though these wintry months feel long, they also give people a special sense of peace, which cannot be easily found anywhere else. This peace helps one focus on the important things.

VR/AR Design Team

Veli Kouri Industrial Design student vkouri@ulapland.fi

 Veli Kouri is a third year Industrial Design student at the University of Lapland, with a vocational upper secondary qualification in Visual Expression, earning him the title of a Visual Artisan. He has won design competitions related to printed electronics and user experience, as well as receiving honourable mentions in different competitions. Veli describes his connection to the Arctic as a “driving force for innovating products that make a positive impact on our fragile ecosystem and the communities surrounding it.”

 Juho Posio Audiovisual Design posiojuho@gmail.com 

Juho Posio is a third year Audiovisual Design student at the University of Lapland. He is specializing in sound, which has come to him naturally after a life full of musical experiences, influences and hobbies. Juho’s relationship with sound started at the Tampere Conservatory, where he exceeded in musical theory as well as playing the saxophone as his main instrument for 9 years. Composing, mixing and recording are also included in his expertise, as well as playing the guitar and violin. Juho has been a part of the production company Kajo Films since 2016, in various projects such as the Uneton 48, from which they received a “Viewer’s Favourite” award. Kajo Films have worked on a series of other projects, were Juho’s talents have been showcased in the acting, as a lighting assistant and as a sound assistant. His future goals are orientated towards working in artistic and ambitious film projects as well as being a part of the planning and production.

 Inka Rauhala Industrial Design rauhalainka@gmail.com 

Inka Rauhala is a fourth year Industrial Design student at the University of Lapland. She spent one exchange year abroad in Chiba University, Japan. Throughout her studies, her goal is to gain a broad skill set from fields of product, service and entertainment design. The most rewarding aspect of design is creating something new. She has always been into creative and visual thinking and finds living amongst the arctic nature an ideal place for creative work.  ”Seeing interesting products made me curious of Industrial Design. Products that had something special in them, like some sort of trick or cleverness. Every detail has been taken in consideration while designing the product. it made me decide that that’s what I want to do."

Content Design Team

Vilma Ohinmaa Industrial Design vilma.ohinmaa@gmail.com

Vilma Ohinmaa is a fifth year Design student at the University of Lapland. Taking environmental aspects into consideration with design work is important to her. Her other interests include visual arts and photography. Vilma’s origins are from Lapland, where she grew up in the countryside alongside the beautiful nature.

What makes the arctic so dear to her is the sense of deeper connection and full awareness she experiences from being in the nature. The arctic environment is fragile so it needs conservation.

 Vertti Virasjoki Industrial Design vvirasjo@ulapland.fi

Vertti Virasjoki is a third year student at the University of Lapland, majoring in Industrial Design and minoring in Art History. Moving from the Helsinki Metropolitan area to Lapland has had a strong influence on Vertti and the way he looks at this world. Being surrounded by the fragility of the arctic nature and the down to the earth people, it has been made even more clear, that we as human beings and designers have a lot of responsibility when it comes to making decisions. “Our connection with the nature is so inevitable for our wellbeing, that everything we create or design should have the focus on bringing this back to our consciousness.”

 Jenni Martikainen Interior and Textile design jemartik@ulapland.fi

Jenni Martikainen is a third year Interior and Textile Design student at the University of Lapland. Jenni has a vocational degree as a Clothing Artisan. She experiments a lot with natural and recycled materials and is innovative whilst transforming unusual textiles into something more. The patterns and surfaces Jenni creates in her textiles are bold, but also have elements of sensitivity in them. The arctic nature and the exceptional designs found within it, inspire and motivate Jenni in her work.

 Jenni Holappa Interior and Textile design jeholapp@ulapland.fi

Jenni Holappa is a third year Interior and Textile Design student at the University of Lapland. Jenni has always been interested in Interior Design and has now decided to make it a profession. Jenni loves the arctic nature because it’s beautiful and peaceful throughout the year, with its different colour combinations making each season special.

University Teacher, Supervisor

Milla Johansson

Milla Johansson (Lic.Tech., M.A.) works at the Faculty of Art and Design at the University of Lapland. After graduating as an Industrial Designer, she continued her studies at the Luleå Technical University in Sweden. Her research interests are in culture related design preferences, which she continues studying at the University of Lapland. Johansson teaches BA and MA level students and also enjoys teaching courses for exchange students. Her area of specialization is around user-centered design with main interests and enthusiasm revolving around product design. Arctic design is something she is extremely passionate about. For several years, she has supervised students participating in the main furniture and interior design events in Finland. In addition, her students have taken part in international design fairs such as Milan Design Week in Italy and ICFF in New York. These fairs are always exciting for her, since she is fascinated about future trends and about what young designers have to offer for the industry. 

 Varpu-project

Professor, Supervisor

Jonna Häkkilä

Jonna Häkkilä is professor for the Industrial Design department at the University of Lapland (2014-). Jonna is also an Adjunct Professor (Docent) in Human Computer Interaction (HCI) at the University of Oulu. Prior to this, she has worked as Director of User Experience (UX) at the Center for Internet Excellence at the University of Oulu (2012-2014) and as Research Leader at Nokia Research Center (2007 - 2011). She is also a co-founder of a User Experience Design House Soul4Design. Jonna is an active member of the international HCI research community and Finland chapter of ACM SIGCHI. She has published over 70 peer reviewed scientific papers on HCI, focusing on mobile and ubiquitous computing and user centric design. Her current research interests lie in interaction with new materials, tangible interaction, and in utilizing design methods for creating and assessing future technology visions.

[avnid]

All About Scarlet Splendour a Modern Luxury Furniture Store

Summary

Established in 2014 by Ashish Bajoria and Suman Kanodia, is the first Indian luxury brand known worldwide. Scarlet Splendour works with International designers to create brilliant pieces of furniture, lighting, and accessories. each piece is a visual pleasure where design meets luxury keeping with the ethos and vision. There are 5 collections that have been launched, during the Milan Salone 2015 but the two collections that definitely jumped right off the page for us are Fool’s Gold and The Dark Angel.

Picture Courtesy: Scarlet Splendour

There are so many designers who collaborated with Scarlet because Scarlet has gained many eyeballs over the year. Matteo Cibic is one of the designer who has a great impact on the furniture set. Matteo Cibic designed 7 collections and more than 80 modern luxury furniture for the company.

Scarlet Splendour is going to unveil a brand-new collection from Slovenian designer Nika Zupanc. The collection, named 88 Secrets, brings a bit of magic and allure to furniture and rugs with reference to the 88 constellations, including the 12 from astrology, officially recognized in the world of astronomy. The four-piece series includes a cabinet, bar, rug, and table, each with glamour, and a hint of starry magic.

Scarlet Splendour has collaborated with international stores, press agencies, artists, and designers to transform and take local craftsmanship to global levels. The company heralds a blend of cultures and transcends geographical boundaries to achieve the extraordinary in the design world.

Scarlet Splendour portfolio contains a range of work from Dario Contessotto, Mirco Colussi, and Nika Zupanc- who has been called "the real star" by The Wall Street Journal.

Since Milan 2015 and following exhibitions, Scarlet Splendour has increased its collaborations with designers of international acclaim and the latest is the Artefatto Design Studio from London.

Speaking of fairs, Scarlet Splendour is a regular on the scene. Since their debut showcase at the Milan Design Week in 2015, the brand has traveled to several others across the world and is now even retailed internationally. In fact, they have just launched at Altagamma in Moscow too much fanfare.

Scarlet Splendour houses some of Gufram’s iconic pieces including Bocca, Capitello, and Cactus. They also have the Kracht collection by Dutch visionary designer Jolan van der Weil a range of tables combining unorthodox materials like magnetic plastics and polymers.

If you visit their website you will get to know that there are more than 15 collections they have launched. Every collection is very much unique from each other and you will find a story behind every collection.

Also new for 2019, Slovenian designer Nika Zupanc created Strings, a series with a cabinet and credenza that blend the lightness of harp-like strings with the luxe materiality of metal.

Conclusion

This young Indian company founded by two designers sibling, brother and sister Suman Kanodia and Ashish Bajoria. Scarlet Splendour, who has attracted attention for their unique blend of Indian craft and Italian design. The inspiration for the collection is a mix of the two countries and the craft techniques from both. I request you all to experience its avant-garde aesthetic and share our passion for luxury. Splendour in the present and the future of desi-inspired, decadent and timeless designs. We look up to them for more collection like this.

[lnbkd-objectdesign-cava103]

Gijs Bakker

Gijs Bakker is a prolific Dutch jewelry and product designer, who can be credited with being a leading character in bringing Dutch design to the forefront of international contemporary art.

At the Gerrit Rietveld Academy in Amsterdam, The Netherlands and at the Konstfackskolan in Stockholm, Sweden, Bakker was trained in jewelry and industrial design. His design education fostered predominantly “functionalist thought and a critical approach to society, heavily influenced by the Bauhaus and De Stijl (T. Stephen, 2016).” In revolt to this modernist focus on form and function, is Bakker’s emphasis on concept driving design. Emphasizing the concept as the core of good design, Bakker then experiments with processes, materials and form, in order to most appropriately embody the idea (Ida, 2006).

 Droog

In 1993 collaboration between Renney Ramakers and Bakker resulted in the formation of the company Droog. Appreciation was garnered following their first international appearance at the Furniture Fair in Milan. The subtly insinuated contextual awareness was heralded by designers and critics, who were drawn to, “an unanimity which at first relied more on instinct than on rationality, but eventually was further confirmed by deeper examination (P. Antonelli, 1998)”.

Droog took off internationally, putting Dutch designers on the world stage, it became known as ‘conceptual design,’ though developed to incorporate further emphasis on concept within context (Bakker, 2011). The contextual grounding epitomized Droog design, and it was admired as thoughtfully embodying the zeitgeist of the 90’s.

Influenced by Bakker’s priority of concept, Droog has an “amorphous design ethic (T. Stephen, 2016)”, which adapts its form, process and material critically, resulting in an ambiguous aesthetic.  This ethic that umbrellered Droog design, “centered on careful conception and hand-marked creation, a knowing wink at contemporary issues and a sense of humour that is dry (T. Stephen, 2016)”.

 Design Academy Eindhoven

Bakker has been a leading figure in influencing Dutch designers through his work at the prestigious Design Academy Eindhoven. From 1987-2003 he headed the Bachelor program and in 2000 developed the Masters of IM program, which he headed from 2003-10, he then worked as the Dean of the three masters programs, until his resignation in 2012 due to conflicting opinions over the direction of the school.

Bakker’s legacy at the Design Academy Eindhoven, is a result of his conceptual and contextual approach in developing the Masters program, and the influence this had in shaping designers passing through the Academy. An integrated relationship between cultural research and design was an essential foundation in the course (designdaely, 2014). Bakker’s courses contributed to the establishment of the DAE as a world leader in design education, thus his influence on Dutch design during this period was embodied in the alumni that he directed. Stephen asserts in his article, Gijs Bakker (2016), that students of Bakker can be recognized by an undercurrent in their design; open-ended, transformative, even incomplete, “subtly insinuating themselves into life rather than shouting their arrival (Stephen, 2016).”

 Jewelry

 Bakker’s Jewelry can be conceived as wearable art, in conjunction with his late wife, who he collaborated with, the pair can be credited with bringing jewelry to the for-front of avant-gard art in the late 60’s and 70’s (Ida, 2006).

Social commentaries are ripe amongst a range of his works using lamented photography. Bakker’s Sports Figure and I don’t wear jewels I drive Them brooches, appropriate images of sports people and luxury cars respectively to subvert mass cultural obsessions, whilst his Holysport series further satirizes the adoration of sport culture through combining images of Jesus with soccer players.

Gullit Brooch, 1988, Sport Figure Series

Marcos GT 1996, I don’t Wear Jewels I Drive Them

Donatello Brooch, 1998

Reference List

G. Bakker, Gijs Bakker, SFU Dutch Design, online video Sept. 30 2011, viewed 2 October 2017, < https://www.youtube.com/watch?v=sZXs2sY3Zwk>

Gijs Bakker Award, Design Daely, 2014, website, viewed 3 October, https://www.designacademy.nl/News/tabid/2055/articleType/ArticleView/articleId/2209/GIJS-BAKKER-AWARD.aspx

P.Antonelli, 1998, Droog Design: Spirit of the Ninties, Nothing Cooler than Dry, 010 publishers, p. 12.

Todd, Stephen, 2016, Gijs Bakker, Artichoke, No. 54, p.p. 85-89 or p. 86

Van Zijl, Ida, 2006, Gijs Bakker And Jewellery, Craft Arts International, Issue 66, p.44 and p.45.

[jbgdc3]

Imagery Credits and Sources

Cover image: Jenny Baker

p. 5, 16, 19, 20-21, 22, 24, 25, 26, 39, 40-41, 42, 47, 48-49, 66, 69, 71, 72, 73, 74, 75, 77, 78, 80, 81, 82, 86, 87, 97, 98, 101, 102, 141, 142-143, 146-147, 148, 160, 163, 164, 165, 166, 167, 168-169, 170-171, 172, 176, 177, 257, 262-263, 264, 270-271, 315, 316, 317, 318, 319, 320, 321 : Jenny Baker

p.5: Tom Dixon, Liberty of London. Jenny Baker, 2017

p.16: Tate Modern. Jenny Baker, 2017

p.19, 20-21, 22, 24, 25, 26: Alex Eagle Studio. Jenny Baker, 2017

p.39, 40-41, 42, 47, 48-49: Barbican Estate. Jenny Baker 2017

p.66, 69, 71, 72, 73, 74, 75: Tate Modern. Jenny Baker, 2017

p.77, 78, 80, 81, 82, 86, 87: No. 1 Opal Mews, NW6. Jenny Baker, 2017

p.97, 98, 101, 102: Sadie Coles HQ, Soho. Jenny Baker, 2017

p.141, 142-143, 146-147, 148: Tom Dixon, Liberty of London. Jenny Baker, 2017

p.160: Women’s Fashion, Liberty of London. Jenny Baker, 2017

p.163, 165: Women’s Shoe floor, Liberty of London. Jenny Baker, 2017

p.164: Home floor, Liberty of London. Jenny Baker, 2017

p.166, 167, 168-169, 170-171, 172: Women’s High Fashion, Liberty of London. Jenny Baker 2017

p.176, 177: Homeware floor, Liberty of London. Jenny Baker, 2017

p.257, 262-263, 264, 270-271: Loewe ‘This is Home’ pop up, Liberty of London. Jenny Baker, 2017

p.315, 316, 317, 318, 319, 320, 321: Foley Street Apartment, Soho. Jenny Baker, 2017

p.7: Juergen Teller Studio. Johan Dehlin. http://www.johandehlin.com/index.php/2014/juergen-teller-studio/

p.29, 31: The Store X Soho House, Berlin. James Fancourt. http://www.jamesfancourt.com http://mrhudsonexplores.com/mr-hudson-on/concept-stores-berlin/

p.35 (top & bottom): The Store X Soho Farmhouse, Cotswolds. Soho Farmhouse. https://www.sohofarmhouse.com/farm-shopping

p.36 (top & bottom): 180 The Strand, London. Michael Wilkin. http://www.thestores.com/180thestrand/

p.44: Anton Rodriguez. Neil Perry for The Modern House. http://www.themodernhouse.com/journal/my-modern-house-life-in-londons-iconic-barbican-estate/

p.45: Original Barbican Type 70 Floorplan. http://www.barbicanliving.co.uk/plans/blake-tower/blake-tower-apartment-70/

p.50, 53, 54: Rylett Studios. McLaren Excell. http://mclarenexcell.com/project/rylett-crescent/

p.59, 60, 61: Merrydown Dorset, McLaren Excell. Richard Leeney http://richardleeney.co.uk/Residential http://mclarenexcell.com/project/merrydown/

p.63, 64, 65: Ingersoll Road, McLaren Excell. Nick Guttridge and Richard Leeney http://www.nickguttridge.com/mcclarenexcell-sheperds-bush/ http://richardleeney.co.uk/Residential

p.84: Opal Mews Floorplan Sketch. http://www.undercoverarchitecture.com/Opal-Mews

p.88, 92, 93: Juergen Teller Studio by 6a Architects. Johan Dehlin. http://www.johandehlin.com/index.php/2014/juergen-teller-studio/ http://6a.co.uk/projects#_juergen_teller_studio

p.106: Mary Kate and Ashley Olsen, The Row. François Halard. FrançoisHalard.com http://www.vogue.com/article/mary-kate-ashley-olsen-the-row-new-york-store

p.109: The Row Spring 2017 R.T.W. http://www.vogue.com/fashion-shows/spring-2017-ready-to-wear/row/slideshow/collection#19

p.110-111, 112,115, 116-117: The Row, Los Angeles. William Abranowicz. http://www.williamabranowicz.com/bio/ http://www.artandcommerce.com/artists/photographers/william-abranowicz/Projects/The-Row

p.118, 119, 120-121: The Row, Los Angeles. Dominique Vorillon http://www.dominiquevorillon.com/portfolios/portfolios-ai_1.html

p.122: Lindsey Adelman. Winnie Au for L’AB/Pamono https://www.pamono.com/stories/nature-nurture

p.125: Lindsey Adelman Studio. Lucy Freedman for lucywillshowyou.com http://www.lucywillshowyou.com/lindsey-adelman-hand-blown-glass-brass-lighting/

p.126-127: Industriverket, Stockholm by Oscar Properties. http://oscarproperties.com/projekt/industriverket/

p.128 (top & bottom): Michiko Sakano, glassblower. http://www.lindseyadelman.com/glass#1

p.132: Branching Burst Light, Lindsey Adelman. https://www.cgtrader.com/3d-models/architectural/lighting/branching-burst-bu10-02-by-lindsey-adelman http://www.lindseyadelman.com/bb0759#13 p.133: Branching Burst Light, Lindsey Adelman at L’Horizon Palm Springs http://www.jamielaudesigns.com/blog/tag/palazzo-pants

p. 134-135: Branching Burst Light, Lindsey Adelman. http://www.lindseyadelman.com/

p.144, 145: Tom Dixon Curve Store, Los Angeles. https://www.tomdixon.net/storelocator/showroom/tomdixonshoplosangeles

p.154-155: The Dock Kitchen. Peer Lindgreen http://www.peerlindgreen.com http://dockkitchen.co.uk

p.156, 157: Tom Dixon Peg Chair. https://www.tomdixon.net/peg-chair-black-pec01bl.html

p.158, 159: Tom Dixon Fan Chair. https://www.tomdixon.net/fan-chair-natural-fac01na.html

p.178, 183, 184-185: Aesop Corso Magenta, Milan. Paola Pansini. http://www.paolapansini.com http://www.dimorestudio.eu/projects/aesop-corso-magenta/

p.181. Aesop Store Sketch. Weiss Heiten. http://www.yellowtrace.com.au/aesop-berlin-store-weiss-heiten/

p.186, 189, 190, 191: Ceresio 7 Restaurant. Ceresio 7. http://www.archilovers.com/projects/111897/ceresio-7-restaurant.html

p.195, 196: Hotel Saint Marc, Paris. Philippe Servent http://www.philippeservent.com

p.199, 200-201: Palazzo Fendi VIP Apartment, Rome. Andrea Ferrari http://www.andreaferraristudio.com/interior/rome http://www.dimorestudio.eu/projects/fendi-palazzo-prive-roma/

p.202: Fendi, Rome. https://www.fendi.com/us/fendi-roma

p.207, 208-109: Dimore Studio for Fendi Bookcase. http://www.dimorestudio.eu/projects/bookcases/ http://www.luxuo.com/culture/events/fendi-ideal-apartment-for-design-miami.html/attachment/dimorestudio-for-fendi-bookcase

p.210: Tavolo Basso 065, Dimore Studio. http://www.dimorestudio.eu/projects/tables/

p.211: Tavolo Basso 059, Dimore Studio. http://www.dimorestudio.eu/projects/tables/

p. 212-213: Ceresio 7 Restaurant. Ceresio 7. http://www.archilovers.com/projects/111897/ceresio-7-restaurant.html

p.214, 219, 220-221: Emm Hetl Hotel, Stockholm. Studio Ilse. Magnus Mårding. http://www.studioilse.com/ett-hem-hotel http://www.magnusmarding.com/client/ett-hem/

p.222, 224, 225: Duddell’s Arts Club, Hong Kong. Studio Ilse. http://www.studioilse.com/duddells-arts-club

p.227, 228, 229: Great Guildford Street, Studio Ilse. http://www.studioilse.com/great-guildford-street

p.230, 223, 233: 226 Development, Studio Ilse. http://www.studioilse.com/226-development

p.235, 236, 237: Brass Cabinet. Studio Ilse bu Jack Trench. http://www.jacktrench.co.uk/page/furniture/studioilse-brass-cabinet http://www.studioilse.com/brass-cabinet p.238: Clouds Wallpaer by de Gournay. Pieter Estersohn. http://degournay.com/it/custom-clouds-design-deep-rich-gold-gilded-paper

p.243: Aquazurra x de Gournay. de Gournay. http://degournay.com/aquazzura-de-gournay

p.244-245: St Laurent Wallpaper, de Gournay. Mariam Medvedeva. http://degournay.com/wallpapers?collection=chinoiserie&design=all&color=all&room=all&page=0

p.246, 249, 250: Hannah Ceil Gurney at home. Natalie Dinham. http://nataliedinham.com/degourney-2/

p.258, 260, 261, 269: Loewe, This is Home. http://www.loewe.com/eur/en/lifestyle/loewe-this-is-home

p.272, 275, 276, 277: Dartmouth Park, Mark Lewis Interiors. Rory Gardiner. http://rory-gardiner.com http://www.marklewisinteriordesign.com/dartmouth-park/

p.278, 279, 280, 281, 282, 283, 285: Hoxton Square, Mark Lewis Interiors. Rory Gardiner. http://rory-gardiner.com http://www.marklewisinteriordesign.com/hoxton-square/

p.286: Barber and Osgerby Studio. http://designapplause.com/events/fairs/barber-and-osgerby-design-tableware-collection-thats-not-a-collection/45689/

p.290: Honda by Map. Barber and Osgerby. http://mapprojectoffice.com/work/honda/

p.290, 291: Knoll Sofa Collection, Barber and Osgerby. https://www.architonic.com/en/product/knoll-international-sofa-collection-by-edward-barber-jay-osgerby-sofa/1247195

p.292: Hotaru Buoy Pendant for Ozeki, Barber and Osgerby. Mark Whitfield. http://www.markwhitfieldphotography.com/interiors.html p. 293: Hotaru Buoy Pendant Sketch, Barber and Osgerby. http://www.stockholmsmassan.se/press/pressreleases/2016/1/this-years-guest-of-honour--edward-barber---jay-osgerby--create-a-triptych-installation-at-stockholm-furniture---light-fair

p.296, 297, 298: Tibbo collection for Dedon. Barber and Osgerby. http://barberosgerby.com/projects/view/tibbo

p.301, 302-303, 308, 309: Ahm House, Jorn Utzon. The Modern House. Tim Crocker. http://www.timcrocker.co.uk http://www.themodernhouse.com/sales-list/ahm-house/

p.322: Jaint, Emil Dervish. http://emildervish.com https://www.behance.net/gallery/43717735/JAINT

p.325, 326, 328, 329, 331: Fontanb, Emil Dervish. http://emildervish.com https://www.behance.net/gallery/41562119/fontanb

[anniversary-magazine]

The Traces collection by Sophie Dries Architect

Architect and designer Sophie Dries has created a series of ceramics and metal vases with the french potery makers Thomas Vivant and Felix Galland. Hand crafted from raw materials and processed through precious treatments, each collectible design pieces is offered in limited editions, and produced upon request.

The Traces collection is named after the idea of scars in the ceramics, made with knives on uncooked stoneware. The traces of clay blown on the surface of black and white vases uncover a design history, from primitive pottery in early civilizations, to contemporary radical shapes.

Sophie Dries plays with traditional arts and craft materials ⏤ hand crafted raw steel and pottery ⏤ with a contemporary twist, where the contrast between black clay and shiny metals subtly merges with the paradox between smooth surfaces and scarified ceramics.

For her new collection, Sophie Dries created a ceramic-focused series recognizable from white stoneware projected on black unexpected shapes. The set unveils a surprising balance between double spheres, refering to the mayas temples, and purist shapes inspired by 18th century architect Etienne Louis Boullee.

A specific brass series was made for the Salone Del Mobile, shown for the first time in April 2016. After the exibition at Pad London in October 2016 for l’Éclaireur gallery, Sophie designed specific items such as the Gypsum candle holders, which emphasize the candles' flames. Those hand crafted pieces are now presented at l’Éclaireur in Paris, as well as at their recently opened Los Angeles' outpost.

The Traces 2017 collection has been shown at Henge (via Della Spiga) during the Milan Salone 2017, as well as at the Impermanent Collection Gallery during The Art Brussels fair in April 2017.

From April to June 2017, some of Sophie Dries' pieces are also being featured at a ceramics show inside the French Burgundy castle « Chateau de Sainte Colombe », along with Andrea Branzi and Michele De Lucchi design works.

 More about Sophie Dries

Sophie Dries architect is a Paris based design studio run by the architect Sophie Dries from end 2014 when she was 28.

She has been collaborating for several years with many luxury interior design & architecture offices in Paris such as ateliers Jean Nouvel, Pierre Yovanovitch or Christian Liaigre. After graduating as an architect at Paris Malaquais Architecture School located in the Beaux Arts, and studying furniture design at Aalto University of Helsinki (Finland). She started to design exhibitions for Musee D’orsay. Sophie Dries also studied at l’École du Louvre, therefore specializing in contemporary art advising.

Sophie Dries architect has been designing shops in Istanbul, renovating a Paris loft and an artist apartment in the hotel d’Aligre, rue de l’Universite, Paris 7. She was part of the Danish Architecture Residency of «Jorn Utzon Foundation» in the villa can lis in 2015 and created some design pieces. Sophie Dries currently works on the renovation of a countryside mansion in France, several apartments in paris, a luxury private housing abroad, and recently launched a numbered edition of lighting and furniture line.

Images by Cecilia Musmeci Courtesy of Sophie Dries Architect

[juliandmouton30]

Good Thing debuts rugs, furniture and lights as part of expanded range

Millennial-pink frosted lights, Bauhaus-influenced woven rugs and a terracotta umbrella stand are among Brooklyn design brand Good Thing's latest home accessories.

Good Thing chose five designers and studios to expand its product line with furniture, lighting and rugs, which will launch later this month at New York's International Contemporary Furniture Fair (ICFF).

Good Thing's expanded range includes a terracotta clay umbrella stand by founder Jamie Wolfond

Each product is made with a different material and production technique – including glass-blowing, terracotta casting and weaving – to create the eclectic range.

"Each designer engaged with a different material and process, including blown glass, cast terracotta, woven wool, solid ash, and spun aluminium," said Good Thing said. "The resulting collection exhibits both contrast and balance."

Different materials and techniques were employed for each of the products, like the woven Bauhaus-inspired rugs by Sam Anderson

The range includes the Arid Umbrella Stand designed by Good Thing founder Jamie Wolfond.

The Canadian designer, whose previous products include a minimal glass smoking pipe, chose to mould the container from terracotta clay because it will naturally absorb water that drips from wet umbrellas.

Brooklyn-based product designer Sam Anderson referenced the style of the Bauhaus – the German design school famous for its modernist approach – for the Falling Line Rugs series.

The hand-woven coloured rugs are decorated by thin lines that intersect with blocks.

Visibility created frosted glass pendant lights in three different shapes and white or pink for the collection

New York studio Visibility's Cabin Pendant series comprises three shapes that vary in the size of the bottom. The form of the pendant lights is based on the cabin located in the nose of a space shuttle.

Frosted glass shades offers a diffused light, while a stronger beam of light is available from an opening in the underside. The glass comes in white or the shade of pink that dominated Milan design week earlier this year.

A set of wooden tables by Chen Chen & Kai Williams features iridescent detailing

The set of Pearl Tables by New York design studio Chen Chen & Kai Williams includes wooden tables with rounded tops and an iridescent covering over the holes, made by the structural bolts.

The tables come in three different sizes and are available in either plain wood or a black finish.

Toronto-based MSDS Studio named its 6063 Stool after the pure aluminium alloy from which it is made. The base features four vertical supports encircled by a loop.

This also forms the stopper when the stools, which come in black, green or a red hue, are stacked.

The range also includes the 6063 Stool by MSDS Studio, which is made of aluminium

Wolfond founded Good Thing in 2014. Earlier this year, the brand launched seven everyday tools for the home, including a dustpan and a tray with crinkled corners, and a torch charged via USB feature.

ICFF is set to take place at New York's Jacob K Javits Convention Center, 11th Avenue at 38th Street, from 21 to 24 May 2017.

The annual fair coincides with the city-wide NYCxDesign festival, which also runs up to 24 May 2017.

Related story

Good Thing launches seven everyday tools for the home

Photography is by Charlie Schuck. Styling is by Natasha Felker.

The post Good Thing debuts rugs, furniture and lights as part of expanded range appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/05/16/good-thing-rugs-furniture-lighting-debut-icff-nycxdesign/