Posts tagged with "Collective Design Fair":

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At Collective Design, inflatable landscapes, spinning playgrounds, and other architectural highlights

AN’s editors toured the 6th edition of The Collective Design Fair at the Skylight Clarkson North this morning. At the fair known for its creative installations, we strolled through aisles of booths occupied by design-focused galleries and site-specific creations by local designers and museums. Several, highlighted below, walk that dazzling line between art, design, and architecture.   Natural Workshop by Jesse Seegers and Brook Landscape Tucked behind the show lies an ephemeral playground by Jesse Seegers surrounding a forested landscape by Brook Landscape. Seegers describes the process as “inflatable spaces I design, make the patterns for, cut out, and do physics simulations, digitally, to see what the finished design will look like.” The actualized forms are inflated by a constant stream of air that inflates three "breathing" plastic bellies. “I intentionally designed very simple forms,” explained Seegers. “This one is a standard tube, while the other two are tapered, which exaggerates the perspective.” VIP lounge by Leonidas Trampoukis and Eleni Petaloti of LOT office for architecture Though it is called the VIP lounge, founding partner of LOT and Objects of Common Interest, Leonidas Trampoukis, would describe the topography of glass blocks and slabs of acrylic his firm created as “more an installation.” Fashioned from translucent cuboids from Glass Block Warehouse Inc. and glossy umber-hued acrylic by Plaskolite, the purely decorative furnishings exude whimsical and textural vocabulary. My Reality by Crosby Studios Harry Nuriev, founder of Crosby Studios, is heavily influenced by growing up in Moscow. His Collective booth is lined by larger than life photos of his childhood apartment complex, a place he left at just 10 years old. While he practices primarily in New York City, the artist and architect draws inspiration from his formative years, in this case, the nostalgic memory of the traditional carousels of his younger years. Nuriev reinterpreted his childhood playground as a vibrant purple roundtable that spins in circles, a symbolic gesture to his formative years and inspiration. The Dream by Fernando Mastrangelo Inspired by Henri Rousseau’s painting The Dream, Fernando Mastrangelo created a sumptuous, curvilinear furniture landscape fashioned from sand molded with acrylic resin. Mastrangelo explains that the process to make wall tiles and other furniture, “as kind of like sand castle-style packing sand, only into a mold.” A surreal mountainous landscape surrounds the focal point of the space, a sand-cast sofa upholstered in oxblood cashmere, while the painting is visible through a nook in the wall, making the deep emeralds, reds, and oranges glow richly throughout the tableau.
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What to expect this year at Collective Design

This year, Collective Design returns to New York for its sixth edition, much earlier than previous years, relocating from the May NYCxDesign itinerary to Armory Arts Week. From March 9 through 11, a curated selection of design-focused galleries from around the world will occupy their booths with site-specific installations by local designers and museums. Here are five exhibitors showcasing for this year’s theme: the design process and study of objects.
  My Reality Crosby Studios Reminiscing on the traditional carousels of his childhood, Russian-born artist Harry Nuriev created an installation of four chairs that connect to a spinning table, like a carousel. The interactive is intentionally saturated in violet, a spectral color that occupies its own place at the end of the light spectrum.
The Qualia Collection Azadeh Shladovsky The Qualia Collection was named after the word’s definition; the internal or subjective component of perception that arises from stimulating the senses. Conceptual, yet empirical, the series explores the importance of touch in visual cognition. Each piece is represented by a letter from the braille alphabet, metaphorically denoting the palpable raised dots.
“Carré Rive Gauche” antiques Chahan Gallery Renaissance man Chahan Minassian—interior designer, decorator, collector, gallery owner, antique dealer, and designer—will put on view his very own found treasures: Midcentury furniture and individual works from artists he represents, straight from the heart of Paris’s prestigious Carré Rive Gauche antiques area. The lineup includes works by Brooklyn ceramicist Peter Lane, Los Angeles–based ceramic artist Antoinette Faragallah, Belgian conceptual artist Arne Quinze, and Minassian’s own designs.
Mid Century Design Lost City Arts The New York–based gallery famous for its collection of Harry Bertoia works will showcase several pieces by that Italian-American artist, in addition to other postwar American Craft furniture and midcentury Danish and Italian furniture and decorative arts. Select artists include Wendell Castle, George Nakashima, Paul Evans, Louise Nevelson, and Nanna Ditzel.
Moore X Odabashian Nina Johnson An ode to positive and negative space, rug company Odabashian teamed up with Miami-based artist Emmett Moore on a collection of tapestries that combine a curious amalgam of digitally altered and collaged stripes or checkers with natural materials. Each rug is embellished with a unique pattern that was derived from marble, granite, or terrazzo. Some works retain a text water- mark or digital signature that indicates the computer-aided design process.  
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NYC’s Collective Design fair announces major partners and installations

May is around the corner, and with it comes the fifth edition of the Collective Design fair, occurring May 3 through May 7 as part of NYCxDESIGN. The event will be at The High Line’s former southernmost terminal, Skylight Clarkson Sq, a “horizontal skyscraper” spanning three city blocks in West SoHo. As if the venue wasn’t interesting enough, Collective Design has now announced several installations to christen the space. Following in the footsteps of last year’s Glacial Drift by Brooklyn-based The Principals, The LAB at Rockwell Group has designed a 40-foot-long “blue carpet” that passes through a glittering tunnel as the fair's entrance. The in-house design innovation studio found inspiration for the experience in the red carpets of Hollywood and their choreography and their promises of excitement. “Our goal was to create an entry experience that plays with the theatrical moment of the red carpet, and also blurs digital technology with a physical structure,” said Melissa Hoffman, studio leader at The LAB, Rockwell Group’s in-house design innovation studio. “We ended up transforming the typical entry experience into a shimmering, seductive structure immersed in Collective’s signature blue color.” The tunnel will be fabricated by Brooklyn-based The Factory NYC, built from plywood ribs cut on a CNC router. The structure will then be clad entirely in mylar foil fringe, which will give the tunnel its glamorous shimmer. The passage will also expand and contract, giving it the illusion that it is breathing and adding a touch of other-worldliness to the grand entrance. After traipsing through the breathing blue tunnel, visitors will experience another kind of living corridor: an indoor classical garden designed by Brook Klausing of Brook Landscape. The installation will feature raw timbers from the Rockaway Boardwalk, salvaged in the aftermath of Hurricane Sandy, and select pieces from Natural Workshop, a collaboration of Klausing and Brian Green, who is launching a new product line this spring. Other installations include The Noguchi Museum’s Waiting Room: Noguchi/Stadler, an exhibition of Isamu Noguchi’s work alongside designer Robert Stadler, which mimics the strangeness of waiting spaces and “public and private forms of standing-by.” Huniford Design Studio, led by James Huniford, will be furnishing the VIP Lounge for the fair, showcasing furniture from the Huniford Collection, a luxury furniture line from the designer launching this spring. Also making an appearance is Stickbulb, a handmade lighting brand that utilizes sustainably sourced and reclaimed wood. They will be installing a limited-edition piece made from reclaimed redwood planks salvaged during the demolition of New York City water towers. Alongside the announcements of these exciting installations, Collective Design also announced the addition of several major partners for 2017: The Museum of Arts and Design, Cooper Hewitt, Smithsonian Design Museum, Storefront for Art and Architecture, Open House New York, The Architectural League of New York, Royal Academy of Art (RCA) in London, New York School of Interior Design (NYSID), School of Visual Art (SVA), and Bard Graduate Center (BCG). With the announcement of these installations and additions to the fair, May is shaping up to be an inspiring and exciting month for the New York City design community. You can find more information about the Collective Design fair here and more information regarding NYCxDESIGN’s many festivities here.
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Blinds for walls? ASH NYC installation rethinks conventions of contemporary office decor

Turning mirrors into ceilings, tables into flooring, and blinds into walls, Brooklyn-based design and development firm ASH NYC isn't playing by the standard rules of workspace design. Known for mixing chic interior design and property development, the firm exhibited Office Space at this year's Collective Design held in New York earlier this month.

Covering 1,250 square feet, their installation was situated in the VIP lounge and café at the fair featuring a 60 foot long modular table named Office Table that was made using reclaimed heart pinewood used for the new floors at the Whitney Museum.

Connecting the lounge to the cafe within the fair, the space was encapsulated by an extensive horizontal blind system that doubled up as walls. Also tracing the space's perimeter, an array of sculptural seating cubes—or Office Chairs—offered gathering spaces for visitors to the exhibit.

Keeping with furniture, ASH also produced a limited-edition WC4 chair that was available for purchase on-site. These chairs were interspersed within the vicinity alongside planting that offered a natural counter to the prefabricated space.

A dropped ceiling was also incorporated into the design, employing ceiling panels wrapped in reflective mylar to articulate space seldom—if at all seen in office environments.

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Sight Unseen to curate second exhibition at Collective Design fair

Design and visual arts magazine Sight Unseen will stage a second exhibition at New York's Collective Design fair on May 4 to 8. Curated by founders Monica Khemsurov and Jill Singer, the show features work from four emerging American design firms: Bower x Studio Proba, Chris Wolston, Fort Makers, and Only Love Is Real. The latter will show, for the first time, a collection of lighting and furniture, displayed against custom wall paper by Designtex. As a go-to space for emerging trends in contemporary design, Sight Unseen's exhibition delivers on the promise implicit in its name. See below for details on each studio's presentation: Bower x Studio Proba Studio Proba and Bower teamed up to unleash Zendo, a furniture collection that draws on the themes of water, transcendence, and reflection to ensconce users in a "multi-sensory," but calm, environment. Users can listen to the gurgling Pivot fountain while lounging on the Nirvana rug, or the Waterline chair, and contemplating the meaning of life in the multicolored Water mirrors. Chris Wolston Brooklyn- and Medellin-based designer Chris Wolston combines traditional production technique with contemporary, high-tech materials. For the Collective Design fair, Wolston sand-casted aluminum foam sheeting that's typically used in architectural sound-proofing to create sculpted lighting, tables, and seating. Only Love Is Real OLIR founder Matthew Morgan synthesizes the geometry of Sol LeWitt and Milo Baughman’s 1980s-era étagères to create shelving units that reference the precision of the latter with the glam but barely functional nature of the former. Every angle of his pieces is divisible by three, a comment on harmony, consistency, and structure.   Fort Makers Fort Makers will showcase a new group of usable, riotously colorful, geometric sculpture. The wallpaper mural dialogues with the maple furniture, like a desk with an oval glass top and accompanying modular shelving unit. Hand-painted canvas, in the same pattern as the mural, is incorporated into square and rectangular seating units.  
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Norwegian Invasion: Norsk design and architecture is having a moment

When the words “Scandinavian Design” come up, most people quickly think about Finland, Sweden, and Denmark. But Norway is no slouch, either. Recently, the nation's designers have been drumming up noise in the worlds of furniture, product design, and architecture. A string of exhibitions, a master plan for New York’s Times Square, and a robust program of roadside pavilions and viewing platforms highlight this Norsk moment. Leading the way are architects Snøhetta, who have been on quite the streak in the last year, most recently gaining commissions to master plan Penn Station and Times Square, just ten blocks from each other in New York. While their Times Square design isn’t the firm's most dramatic work—indeed, it's intended to be a subtle backdrop to the chaotic public space—but it should be a welcome, nuanced addition to the commercial free-for-all that includes Guy’s American Kitchen & Bar. Just a few blocks to the west—towards the Hudson River—the Royal Norwegian Consulate General showed off the country’s design prowess at a recent series of events. At Wanted Design, Calm, Cool and Collected: New Designs from Norway, a booth full of Norsk people and treasures, showcased the subtle use of wood characteristic of Scandinavian design. The up-and-coming studios on display included A-Form, Stokke Austad, Anderssen & Voll, Lars Beller Fjetland, Everything Elevated, Kristine Five Melvær, and Sverre Uhnger. Also sponsored by the Norwegian government was Insidenorway at the International Contemporary Furniture Fair (ICFF), which hosted a group of classic Norwegian brands: Figgjo, Mandal Veveri, Røros Tweed, and VAD. Plates by Figgjo were offered in three styles and featured an elegant flat base and flared edge. Røros Tweed showed off textiles by other famous Norwegians—Anderssen & Voll, Snøhetta, and Bjarne Melgaard. At Collective Design, Oslo- and Tokyo-based Fuglen Gallery showcased an assortment of objects both new and old, alongside work by Norwegian artist Arne Lindaas. The eclectic assortment showed the thematic extension of Norwegian modernism into the 21st century, encompassing much of the iconic work with new, up-and-coming designers. In 2014, Norwegian Icons was curated by Fuglen and Blomqvist at Openhouse Gallery in New York, and showcased the Midcentury design that peaked in Norway around 1950–1970. This exhibition actually continued the tradition of Norway’s promotional shows on the international stage, while also setting up some context for the other shows. It is not just international exhibitions and commissions that have drawn attention to Norway’s strong design culture. The Norwegian Public Roads Administration famously commissions its infrastructure to architects. Across the country, there are points of architectural interest, many of which are located in scenic areas. Most famously, the Trollstigen National Tourist Route has six stunning overlooks. Besides Snøhetta’s iconic designs such as the Oslo Opera House, there are architects like Fantastic Norway and Reiulf Ramstad who are consistently producing top work. At institutions like Fuglen, 0047, and the Oslo School of Architecture & Design, intellectual communities thrive, fostering a strong community of young designers like MMW and Atelier Oslo. The city will get an additional cultural boost during the 2016 Oslo Triennale, curated by New York–based team at After Belonging Agency, a group of five Spanish architects, curators and scholars. Take a look at some of Norway's top new design in the gallery below.    
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On View> This might be your only chance to see this rare Le Corbusier tapestry commissioned by Jørn Utzon

In mid May, New York City will be over run with fairs, exhibitions, and trade shows dedicated to design and art. The big events are the International Contract Furniture Fair (ICFF) and the Frieze Art Fair, but there will be literally scores of smaller spin-off events taking place that will be of interest to the architecture community. The Architect’s Newspaper will highlight all of these events in a special May 6 issue. One exhibit and show not to miss is Collective Design’s display—for the first time in a public venue—of a 1960 Le Corbusier–designed tapestry, Les Dés Sont Jetés. This rare tapestry has been in the collection of architect Jørn Utzon, who as an early admirer of Corbu. Utzon commissioned Le Corbusier to design tapestries for the Sydney Opera House. It was at this time that Utzon bought the work for his private collection. It will be auctioned at Bruun Rasmussen Auctioneers in June in Denmark, making the 2015 fair a singular opportunity for the public to view the work. Collective Design’s 2015 fair will take place May 13–17 at Skylight Clarkson Sq, 550 Washington Street.