Posts tagged with "adam nathaniel furman":
We asked our editors, architect friends, and fellow design aficionados what they are putting at the top of their wish lists this year. The result is a compilation of rarities, outrageous objects, curiosities, and other items that you would want but would never buy for yourself.Cheese grater Forma Zaha Hadid for Alessi Zaha Hadid Architects designed a cheese grater that follows the same aesthetic of her most iconic works: organic shapes derived from natural forms. Composed of a sculptural black base that holds a punctured, mirror-polished stainless-steel grater, the ergonomic shape is designed to fit comfortably in the palm of the user’s hand. $80 | alessi.com 1st Floor Blue Mug Adam Nathaniel Furman for Sir John Soane’s Museum Shop “In the grand classical manner of the very best salons of old, this mug is raised up on a vaulted arcade so that it may occupy the airy summit of its own piano nobile. Elevated above the common detritus of your breakfast table, this dining item elegantly maintains the dignified sanctity of your morning brew.” $32 | soane.org Guatemala Throw CoopDPS for ZigZagZurich This brightly patterned woolen Nordic blanket is the work of Nathalie Du Pasquier and George Sowden—the founding members of the Memphis Group. Part of the Post Crisis Collection, referencing the aftermath of the 2008 financial crash, the blanket features geometrics mingling with abstract organics in a wash of the iconic duo’s famously bright, bold primaries. $203 | zigzagzurich.com Frank Tray Good Thing Purveyor of all things mundane and manufacturer of everyday objects, Good Thing made something that is especially banal into something quite useful and amusing. Using an industrial metal-forming technique to shape siding into a hotdog wrapper–like detail, this handsome catchall is a useful tool for storing a sausage, as well as loose change, keys, makeup, etc. $24 | supergoodthing.com Half Timbered T-shirt Sam Jacob Studio Sam Jacob Studio devised this T-shirt with an edge-to-edge silk-screened Pugin-esque black and white motif. Like “architecture for your body,” the graphic pattern is a tribute to the op art effect of buildings like the Elizabethan manor Little Moreton Hall, and is also a twist on the artifice of mock-Tudor suburban buildings. $40 | samjacobstudio.com A Piece of Kahn - Travertine Earrings Pico Design for the Yale Center for British Art Inspired by the architecture of Louis Kahn, these earrings are part of the Moth/Butterfly Collection, a collaboration between Yale Center for British Art (YCBA) and Pico Design. Geometric in form, the sterling-silver jewelry has brushed and oxidized finishes that envelop a travertine cuboid recovered from the recent renovation of the Kahn-designed YCBA. $125 | picomeanslittle.com | YCBA Museum Shop, corner of High and Chapel Streets, New Haven, CT
MVRDV’s stacked desires, Zaha Hadid’s latticework roofs, and other updates from the architects of Instagram
What town halls are—their names, their forms, their programs—and the way they relate to the public and the city have changed dramatically over the centuries. Each new incarnation evolves from the last, building up a rich legacy full of successes and lessons that can be brought forward into future manifestations.
In Britain, the 1800s were an era of dramatic change, tumultuous growth, vigor, and pride for British cities, all anchored and guided by the Victorian Town Hall. The typology’s eloquent facades spoke of civic pride, communal purpose, economic strength, and artistic verve. Their interiors contained multipurpose halls, whose size and opulence made Buckingham Palace seem twee and quaint.
After World War II, in a national equivalent of the pioneering reforms of the great liberal mayors of the 19th century, gone were the vast republican Roman temples competing with the beautiful behemoths of British neo-baroque, the people-palaces of competing virtual city-states. In their place came modernity and a corresponding universal design language that spoke of a shared future and universal values.
As globalization, deregulation, and the European dreams reached their respective zeniths in the 2000s under New Labour (with a similar zeitgeist in the United States), architecture once again took on a starring role in the perpetual transformation of our cities. Private capital mingled with state funding to deliver colorful new spaces that mixed consumption and education, profit and provision, in an apotheosis of a historical compromise between society and the market.
We are living through what is perceived to be one of our democracy’s most intense crises in generations, which means it is in fact the perfect moment to build monuments to its rebirth. In crisis lies the greatest opportunity for reinvention. In each island of progress may there rise democratic monuments of symbolic sustenance and practical pageantry, for our sprawling cities, for our expanding towns, for the many and for the few; beauty, but for everyone.
It is time for the town hall as a democratic monument: architectural plurality in compositional unity. Architecture can be eloquent, and in using color and richly saturated materials, we can create buildings that embody us, our collective dreams, and our sense of communal identity. A democratic monument’s public face is proposed to be a large civic facade, designed in a contemporary manner, but echoing older structures—such as our Gothic Cathedrals—in its forthright form and ornamental exuberance. Encrusted in richly colored and patterned tiles, manufactured using the latest digital ceramic technologies, and designed by local artists, it presents a proud, joyfully new beacon of confidence to its city.
The next incarnation of the town hall is to be a monumental embodiment of our evolving liberal democracy as it moves into another new phase of energetic activity and robust invention. One in which architectural language and expression can both embody and reconcile the perpetual tensions between market and state, and minority and majority. One in which a fragmenting society and a diffuse urban realm are given new symbolic anchors that neither ignore the deep veins of difference, nor impose an arbitrary uniformity, but celebrate the constant tensions, debates, and engagement that keep any one aspect of society from eclipsing the others.
Council leaders and mayors will time-share the same halls of state with LGBT groups, unions, trade bodies, music festivals, and faith events, all within interiors that make the shopping centers of a generation before seem dull and meaningless.
Civic interiors in which durable, permanent, chromatically vivid decoration will be brought back into public architecture. The bright nothingness of white paint and aluminum panels will no longer be the default non-color, but rather all the hues we love so much in nature and art will be deployed to once again fill our city halls and collective interiors. Digital decal ceramic printing of large decorative schemes will fill entire volumes in combination with varied translucent glazes, will create rooms that glitter and glow.
The glazed tiles will reflect the changing weather outside and the activities inside, suffusing the internal atmosphere with a strong and distinct sense of place, a potent color-filled “somewhere,” rather than a white “anywhere.” Expensive marbles will be placed next to pink and baby blue terrazzo, as well as next to cheap, but robust, laminates in lemon yellow and orange, green plastics and lavender powder-coated steel, while glazed tiles will meet ochre travertine and puce anodized aluminum.
It is vision of public space that uplifts and embraces through ornament, materials, and color.