Posts tagged with "Furniture Design":
Valentin Loellmann's first New York solo show is an exercise in restrained artisanal experimentation
New product design contest on Desall.com: IRSAP and Desall invite you to design a family of electric radiators, with a modern and minimal design, that may be perceived as furnishing elements inside the environments where they are placed.
IRSAP is looking for a new family of electric radiators, consisting of a radiator for the bathroom and one for the living area, with a special focus on design, aesthetics and possibly additional functionalities.
For more info: https://bit.ly/IRSAPcontest
Upload phase: 4th April 2019 – 4th July 2019 (1.59 PM UTC)
Community vote: 4th July 2019 – 18th July 2019 (1.59 PM UTC)
Client Vote: from 4th July 2019
Winner announcement: approximately before the end of September 2019
Concept revision: 4th May 2019 (1.59 PM UTC)
End of hidden option: 19th May 2019 (1.59 PM UTC)
Participation is free of charge and open to all creative people (at least 18 years old).
IRSAP Group, with more than a thousand employees, of which more than 600 abroad, is one of the leading Italian groups in the European heating industry. IRSAP is among the first company to introduce in Italy, in 1967, the mild steel tubular radiator and the very first to make towel rails in Italy back in 1983.
Today, still a family business arrived at the fourth generation the company want to renovate entering into the furniture industry
Desall.com is an open innovation platform dedicated to design and innovation, that offers to companies a participatory design tool involving in the creative process an international community coming from all over the world. To date Desall gathers more than 100000 creatives from over 210 countries and has collaborated with international brands like Luxottica, Whirlpool, Electrolux, ALESSI, Enel, Leroy Merlin, KINDER, Barilla, illy, Chicco, Mondadori and many more.
Thanks for the contamination of different cultural backgrounds and creative industries, the Desall community is able to provide high-quality project solutions for every product development phase requested by the client, from concept to product design, from naming to packaging.
JL: Good design is always about the interaction between an object and the environment it occupies—the people it interfaces with. There are ways that we can talk about social and ecological issues through form and aesthetics. Is the product masculine or feminine? How long does that piece last versus how long will that piece seem appealing? However, I wouldn’t say that what’s coming out now is a direct visual or formal reflection of everything that’s going on in the world. What designers are now taking into closer consideration is how they source material, what companies and vendors they decide to collaborate with, and how they run their businesses. Sometimes, it’s simply a question of being active and not apathetic toward the things that are changing in the world around them. That awareness seeps into everything they do.
AN: How do these changes in the way talents work affect trends?
JL: The talents that are leading the way are now pushing themselves to create timeless pieces. This is a reaction to Instagram culture, the latest and flashiest designs that often look the same, go viral, and get all the attention—but only for a fleeting moment. I love trends and believe they become popular for valid reasons, mainly because they are approachable at the given time. Right now, monolithic forms and earthen jewel tones are all the rage, but next year we could be talking about much more delicate shapes and a different color palette. Trends get pushed to their threshold and spark antitrends that then take over. The designers that show at Colony are using material, but in an aesthetic and formal language that can last much longer.
AN: Do the collectible and art design markets create economic conditions that give independent designers the time and space necessary to develop these types of designs?
JL: I don’t see the collectible design market as something that has a great impact on the wider design industry. It’s aspirational and only targeted to the 1 percent of people who are able to afford a luxury item that isn’t necessarily functional, and perhaps it’s more reflective of artistic expression. What truly pushes designers to innovate is a different kind of high-end market that is educated in the quality of craftsmanship and the value of good design. Emerging designers are finding a comfortable place in the market. The upper middle class, interior designers, and the hospitality industry are starting to appreciate the quality of this output. In turn, there is a demand for beautiful, functional, and well-crafted work that doesn’t have to sit on a shelf to be acknowledged.
AN: You mentioned that interior designers are important clients. This is especially true in New York City, where a strong surge in real estate is keeping the industry busy. How are independent designers faring in other parts of the country?
JL: This summer, Colony and Design Milk launched an initiative called Coast to Coast to help dispel the misconception that the only design market in the United States is New York. I think that this city is an amazing commercial and creative center for design. I also think that the sentiment that people never have to leave because all the best talents come or sell here is too insular and no longer accurate. We visited Detroit, Nashville, New Orleans, and Santa Fe to get a better understanding of how the independent design movement has expanded. Many local or transplanted talents are becoming a force for good in their communities, helping to change the market and creative landscape. I’m now planning to orient Colony with a broader focus and to incorporate design from different parts of the country.
AN: The independent design or maker’s movement has been going strong for the past 15 years or so. Is there a potential for autonomous talents to collaborate with larger manufacturers and the contract market?
JL: It would be a challenge. A lot of independent talents have altogether discounted the possibility of collaborating with big companies. The gap between these two areas of design is wider than ever. Unlike in Europe, major manufacturers and design brands in the United States don’t have the time to dig in and find talents who aren’t on a top 10 list. They’re always going to go with the star designers they’ve worked with before. This reality forces and facilitates independent design companies to grow, out of necessity. However, large companies definitely look to young and emerging talents as a resource, even if they don’t give credit where credit is due. As independent practices become a stronger commercial force, this will happen even more. The good news is that consumers are also seeing the value of well-made furniture and product design, even if it has to be sold at a higher price point.