Posts tagged with "Furniture Design":

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From adaptable work spaces to cozy seating, here are furnishings that let you work from home

In a deluge of office closures employees around the world are working remotely. We’d like to offer an escape from the headlines with work from home inspiration. These furnishings come equipped with all the essentials to get the job done, safely from the confines of your place of residence. Spacestor’s Palisades Luxe zoom room divider doubles as a partition and storage shelf. Offered in a rich range of colors, the modular system is equipped with accessories including shelves, alcoves, and mirrors. Fashioned in white variants, Hay’s Marble Trays emphasize the natural grain of the stone with their linear form—each is truly unique! Perfect for desk organization, they are available in rectangular and square formats and in small and large sizes. Read the full rundown on our interiors and design website,
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On opening day of Hem’s New York studio, AN Interior talked shop with founder Petrus Palmer

Returning to the cobblestone streets of Manhattan, Stockholm-based furniture brand Hem opened the doors to its new permanent home in New York City. The studio has made a name for itself with affordable, well-made furnishings and designer collaborations with Max Lamb, Luca Nichetto, Pauline Deltour, GamFratesi, and Philippe Malouin, among others. Now open on Broome Street, the space features furniture vignettes where visitors can browse the collections and purchase for same week delivery. The location operates more like a design studio (as opposed to a typical showroom), offering by-appointment creative services, in a setting furnished with the independent design brand’s sustainable furniture, lighting, and accessories. AN Interiors’ products editor Gabrielle Golenda sat down with Hem’s founder Petrus Palmer to discuss how he designed the New York studio and how he plans to engage the city’s creative community.

AN Interior: How did you pick the showroom location?

Petrus Palmer: It’s our second space in the United States. We opened our first store in downtown Los Angeles last fall. Coming to New York, we wanted to make sure we were in a neighborhood that matches the creative values of Hem. Soho is home to most of the design brands and there are a lot of design firms and architects. Maybe, more importantly, it’s the only truly walkable part of the U.S. You can walk around and be inspired.

We didn’t want to have a street-level space because we’re not yet open for the weekends. It’s a by-appointment studio for interior designers and architects.

What was it about the space that drew you to it?

It’s a beautiful brick and iron building. It has intrinsic value that you can build on. Then there are high ceilings and windows in both directions.

Why are you bring a permanent location to New York City now?

To meet more people. As a brand and purveyor of quality and design, trust is our main goal. You need to get that final piece of the puzzle that you don’t get online—online, you can see everything from the quantity that we have in stock to the price level, but you won’t actually get to touch anything. That’s so important. In the end, to be able to get face to face with the brand and touch the products is imperative.

Read the full interview on our interiors and design website,
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AN Interior examines the evolution of the U.S. collectible design market

Over the past two decades, a new type of design has taken shape. The contemporary collectible design market has combined the vintage market’s tradition of connoisseurship and the art world’s commercial structure with the experimental fervor of the early postmodern and studio craft movements. A select group of galleries, fairs, and museums and a growing collector base have tapped into the potential of collectible design, initially as an extension of fine art but increasingly as a domain that stands on its own.

Unlike standard product design, this type of output is characterized by artistic expression and limited production. Mass appeal and salability are not as important. Rather, individual designers are given free rein to conceive new one-off pieces that express their own personalities and outlooks. Often their works push the boundaries of material, form, function, and aesthetics.

As contemporary collectible design becomes more established, it’s gaining wider cultural influence. This transformation has brought with it a whole host of new complexities, both advantageous and challenging. To paint a full picture, AN Interior’s editor Adrian Madlener spoke to four industry experts.

“A lot has changed in the past two decades,” Friedman Benda gallery associate director Alex Gilbert said. “There’s been more of a crossover. Artists are conceiving design and designers are being formally recognized by the art world, which reinvigorates itself by dabbling in design. Both sectors are expanding and so one can conjecture that the two would converge at some point.”

“There’s no question that the collectible design market is modeled on the art market,” historian, journalist, educator, and adviser Daniella Ohad said. “What changed in the past two decades is that art collectors realized that they could have the best paintings, but if they didn’t have furniture to complement them, their homes would be impersonal.”

“Most design collectors are also art collectors,” Gilbert added. “However, the notion of buying for investment is still not quite as present in the design market. A majority of what is acquired is still based on necessity. Whereas it would seem normal for an art collector to amass paintings, it wouldn’t make sense for a design collector to buy three coffee tables if they only needed one.”

“The market emerged out of the auction houses,” Ohad said. “In the early 2000s, Phillips dedicated some of its decorative arts programming to renowned designers like Ron Arad and Marc Newson. With the economic crash of 2008, the market shifted to independent galleries and the annual fairs that began to bring them together. But before that, there was a strong emphasis on vintage or secondhand design and in particular midcentury modern pieces, which weren’t available for very long due to a limited supply. The market needed to search for work elsewhere and began focusing on living talents who were creating contemporary work.”

Read the full report and all four interviews on our interiors and design website,
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New York’s Demisch Danant gets colorful with modern and contemporary furniture

Up through February 22, admirers of 1960s and ’70s French design may observe a richly laid out exhibition of upholstered furniture at the Demisch Danant gallery in Greenwich Village, New York. Appropriately titled Color Diaries, the presentation provides an ample selection of works by such pioneers of French furniture design as Jean-Pierre Laporte, Pierre Paulin, Joseph-André Motte, Olivier Mourgue, and René-Jean Calliette. Together, the saturated hues and curved, clean lines of their oeuvres harmonize with each other in the gallery’s ground floor space. Augmenting the interplay of color and form are textile works by American artist Sheila Hicks, which alternately punctuate and limn the abundant presentation. Visitors are encouraged to interact with the miniature, painted-wood block sets that mirror the simplified forms and interchangeable hues of the furniture on display. While the influence of the Color Field Painters is evident in the designs’ emphasis on monochrome and texture, the exhibition highlights the effortlessly domesticated—yet no less vibrant—nature of such works as Motte’s Armchair, Model 770 (1958) or Mourgue’s Djinn Loungue Set (1964). Each embodies the holistic vision of an individual object yet integrates effortlessly with the comparable designs around them. Read more about the show on our interiors and design website,
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Vitra Design Museum examines a century of seismic shifts in domestic interiors

In 1920, western society was either embracing social progress and financial prosperity or bracing for political revolution and economic insecurity. In architecture and design, a polarity would also emerge between the rationalist International Style and the eclectic Art Deco style. While certain practitioners and theorists were still trying to codify the form-follows-function principle—a tenet inspired by the rapid advancement of industrialization in previous decades—others were looking to reintroduce ornamentation and historical reference to soften the blow of this systemic change. An ongoing clash between purist and pastiche styles would come to define much of the following century. Although architectural historians usually focus on monumental buildings and grand urban masterplans to define styles like postmodernism and deconstructivism, those movements are also formed by domestic interiors. Our homes have always been an expression of the way we live. They mold our everyday routines and fundamentally affect our well-being. These environments reflect the social behaviors, cultural norms, and political beliefs that shape our time. A new comprehensive exhibition at the Vitra Design Museum in Southern Germany validates the historical value of interior design and surveys its radical evolution over the past hundred years. On view until August 23, Home Stories 100 Years, 20 Visionary Interiors brings together a group of emblematic projects. Spanning from the 1920s to the present day, this timeline of domestic design reveals how interiors have mirrored and, in certain cases, cemented societal shifts and technological innovations. By looking back at such epochal moments as the introduction of appliances in suburban homes during the ’50s, radical interventions in the ’60s, and the loft living trend in the ’70s, the Vitra show provides context for the serious issues facing society today: the shrinking of urban living spaces, for example. Read the full trippy retrospective on our interiors and design website,
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R & Company assesses Wendell Castle’s early genius

Bright-eyed yet foolish, young people are often perceived as incapable of achieving great feats. Our professional culture is built on this assumption. But, as rare cases will prove, mastery can manifest at an early age. Not yet affected by the mounting pressures of life or the demotivating impact of critique, these prodigies can ideate and produce with unencumbered fervor. Whether these exceptional individuals benefit from some innate force, sparely bestowed to a select few, or simply from being in the right place at the right time is hard to determine. What perhaps matters most is their ability to create truly original and honest work while also being able to draw in an audience. For the late, great designer Wendell Castle, such a fortuitous coalescence was the driving force behind one of his most prolific periods. Between 1958 and 1980 (his mid-20s to late 40s), the unofficial "father of art furniture" crafted some of his most iconic pieces. During this time, he developed a sculptural and organic approach that would leave an indelible mark on the industry. Read the full article on our interiors and design website,
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Japan House Los Angeles displays exquisite furniture handcrafted in the Hida region

A dense forest 300 miles wide spans the distance between the bustling Japanese cities of Tokyo and Kyoto. In the northern region of this divide lies Hida, a city in the Gifu Prefecture that has maintained a vibrant woodworking tradition for over 1,300 years (the first use of the term Hida no takuma, or “master craftsman of Hida,” first appeared in a written document in 467 AD). Wood bending machines introduced to the region from Germany and Austria between 1906 and 1909 led to the flourishing of the region's industry; perhaps most notable among them is Hida Sangyo Co., Ltd., a furniture manufacturer established in 1920 whose work now adorns the Japanese imperial palace and regularly exhibits at the Milan Furniture Fair. Japan House Los Angeles, one of three global exhibition spaces conceived by the Japanese Ministry of Foreign Affairs, is currently displaying Hida Sangyo Co.’s signature products with an in-depth look at what goes on behind the scenes. The show, Hida: A Woodwork Tradition in the Makingdemonstrates the range of handcrafted products originated by Hida Sangyo a century after its founding, as well as the range of creative talent the company has called upon, including designers Kenya Hara, Enzo Mari, and even architect Kengo Kuma. Exhibition designer Daigo Daikoku interspersed woodworking tools and untreated wood samples throughout to underscore the work's deep connection to handicraft. A table demonstrating the company's patented wood bending technology, for instance, reveals how an unremarkable block of wood is shaped into a finely-detailed chair back and set of armrest using only three steps. Another table features six glass domes containing wood samples—among them, cypress, Japanese magnolia, five-needle pine, and sansho pepper. Visitors are encouraged to lift the domes, “take a deep breath and experience the abundance of Hida's beautiful forests through all five senses.” Nearly all six, I was convinced, could easily be distilled and sold as cologne for the rugged consumer market with little alteration. Along the back wall, Daikoku included a series of wooden toys of his own design. His stacked, compressed wood blocks and the interlocking boards both recall toy designs produced by Charles and Ray Eames, the mid-century duo that also found success in experimenting with wood and wood bending devices. “Please enjoy the charm of wood in tune with the soul and aesthetic of Japanese craft," Daikoku implored the viewer, “and imagine you are walking through the forests of Hida.” The exhibition succeeds in showcasing the phenomenal tactile qualities of wood and its seemingly limitless potential as a resource for design. Hida: A Woodwork Tradition in the Making will be on display until April 12.
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Gallery Gabriel & Guillaume takes on New York in grand style

Untethered to a fixed brick and mortar space in one city or another, a nomadic gallery has the advantage of setting up (temporary) shop in some of the most emblematic locales. Whether their wears feature prominently at an exhaustive list of fairs, in storied buildings, or in recently completed real estate projects, this type of platform often enters into and benefits from, win-win situations. These purveyors sell better when showcasing their collections in aptly-decorated contexts while the proprietors of these sumptuous settings can promote their venues more holistically. For the arbiters of historic palaces and stately homes, this type of program represents the chance to recontextualize and, in turn, shed new light on often forgotten sites. For developers of new residential projects, this type of arrangement puts a spin on the timeworn practice of open houses and helps their real estate agents sell more units. Brightening up a dreary, albeit warm, New York January is a special exhibition mounted by Beirut and Paris-based collectible design gallery Gabriel & Guillaume. Staged in the penthouse of the SHoP Architects and Studio Sofield-restored 111 West 57th Street building in Midtown Manhattan, the L'Œi'l du Collectionneur showcase brings together an eclectic array of historical and contemporary furnishings, presented in various domestic vignettes. The atypical initiative was conceived by marketing agency frenchCALIFORNIA, in partnership with JDS Development Group, Property Markets Group, and Spruce Capital Partners. Read the full article on our interiors and design website,
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MUT Design breaks spatial barriers at imm Cologne

For the past nine years, stalwart furniture fair imm Cologne has mounted the Das Haus program: an annual walk-in home simulation and fair booth installation conceived by some of the most promising designers of the day. Since 2012, recognized talents like Todd Bracher, Luca Nichetto, Neri&Hu, Sebastian Herkner, and Louise Campbell have been invited to develop their own interpretations. Incorporating contemporary furnishings and finishes in a custom and experimental set design, each iteration of the Das Haus has illustrated one or more visions for the future of domestic life and interior design. Part practical and part speculative, the program provides a platform for an up-and-coming or mid-career designer to showcase and solidify their individual approach to the field. This year, the German fair called on emerging practice MUT Design to develop a Das Haus concept that blurs the boundaries between indoor and outdoor space. The Spanish duo—Alberto Sánchez and Eduardo Villalón—champions of an emotive approach to design. Evident in an abundant gamut of boldly-colored, richly-textured, yet cleverly minimal products, MUT Design's mastery of composition and geometry is only matched by its understanding of materiality and visual impact. Read the full article on our interiors and design website,
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Omar Sosa gets comfortable at Friedman Benda

One's threshold for discomfort can vary widely as can their need for comfort. Conditioned by external forces, these psychological extremes have a strong impact on the behavior, identity, and the social norms we adopt. Collective expectations of convenience and satisfaction often mirror economic and societal shifts. In the past, we might have been unknowingly content to live without the amenities we've grown accustomed to since. Exploring the split between comfort and discomfort through a visual, material, and referential lens, Omar Sosa mounts the Comfort exhibition at the Friedman Benda gallery, on view until February 15. The cofounder and creative director of maverick interiors publication Apartamento was commissioned by the collectible design platform as part of its annual guest curator program. In his research, Sosa sought to investigate comfort's correlation with aesthetics, and the tension that occurs between the visual and physical properties of utilitarian objects, sculptures, photographs, and paintings. Read the full article on our interiors and design website,
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Jacques Tati's Villa Arpel takes the cake at Design Miami

Perhaps the most seminal of seminal French filmmaker Jacque Tati's epochal projects, Mon Oncle (1958) tells the story of Monsieur Hulot. The film follows him as he comes to terms with modern life; postwar France's infatuation with mechanical efficiency and mass consumption. In true Tati fashion, set design, lighting, sound, and visual effect played a vital role in this movie, more so than actual dialogue. Some might argue that Tati's true skill was in architecture and design. At the center of Monsieur Hulot's noble and comedic struggle is the Villa Arpel, a domestic mise-en-scene, and protagonist that emulates if not exaggerates these period-sensitive conditions. Set behind a garden of geometrically-puzzled grass patches and colored stone walkways, a boxy home takes on a life of its own. Its frontal, circular windows become watchful eyes while a whole host of dysfunctional gadgets and appliances puts Monsieur Hulot through a series of running gags. This particular home, set in a fictitious suburban development outside of Paris, is indicative of a society or new generation that favors style over substance. Paying homage to this absurdist and satirical masterpiece, New York gallery Les Atelier Courbet teamed up with architecture practice Thirwall Design to conceive the Please Be Seated installation during last week's Design Miami. Coinciding with the release of Taschen's comprehensive monograph Jacques Tati: The Complete Work, the fair booth showcase was mounted for the US launch of three limited-edition furniture designs, the French studio Domeau & Pérès extracted from the film and reproduced. Read the full article on our interiors and design website,
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New York gallery fair Salon Art + Design seeks to attract a younger audience

Taking over New York's Park Avenue Armory for its eighth edition this November, prestigious gallery fair Salon Art + Design is seeking to draw in a younger collector base. Though exhibiting galleries have been charged with presenting more affordable pieces, this year's offering of both vintage and contemporary wares promises to elate all tastes. A far more restrained and arguably refined offering than other somewhat boisterous gallery fairs that dot the annual calendar, the Salon Art + Design (November 14 to 18) brings together a highly select group of 56 collectible and vintage design galleries from around the world. Taking center stage this year are Paris's Galerie BSL—presenting Pia Maria Raeder's wonderfully ornate yet organically-formed Stardust benches and mirrors—newcomer WonderGlass—the independent practice's Venetian-inspired glass sculptures—and Cologne's ammann// gallery—showing new large-scale prints by famed Swiss architecture photographer Hélène Binet. New exhibitors this year include galleries from Russia, Brazil, and Lebanon. Objects range from an ancient bust circa 1000 BC to the newest trends including work made from a 3D printer. Other notable exhibitors will include Demisch Danant, Friedman Benda, Gallery FUMI, The Future Perfect, David Gill Gallery, Giustini / Stagetti, Cristina Grajales Gallery, Heller Gallery, J. Lohmann Gallery, Maison Gerard, Todd Merrill Studio, Sarah Myerscough Gallery, Nilufar Gallery, Patrick Parrish Gallery, Priveekollektie, Adrian Sassoon, Twenty First Gallery, and more. Read the full show evaluation on our interiors and design website,