Thanks to the increasingly sophisticated tastes of clients and consumers, it’s becoming harder to discern a distinct boundary between residential and commercial furnishings. These tables, chairs, benches, and stools attest to the success of such stylistic crossovers. Los Andes Tables Bernhardt Design This collection of beautifully crafted tables takes inspiration from the lush landscapes and natural elements of the Andes Mountain Range. Nature and modern design take shape in the solid walnut Los Andes collection, with the raised rim mimicking the peaks and plateaus of the rugged mountains in Chile. Designed by Ignacia Murtagh. Okura Ligne Roset This curvy, cushiony settee could anchor a cocktail lounge or a living room with equal aplomb. The collection includes a footrest, armchair, and medium and large settees, available with a high or low backrest. The base is offered in chromed or lacquered steel. Designed by Eric Jourdan. Polygon Tables Herman Miller In their expression of pure geometry, the Polygon Table series provides an elegant solution to the need for all manner of surfaces, at home, the office, and elsewhere. The structure of the table’s wire base yields a dual advantage: a symmetry of form that uses minimal material for maximum strength and a logical method for scaling up or down in size and height to accommodate various dimensions of round, triangle, and hexagon tops of painted Formcoat. By unifying the color of base and top—in a choice of black, white, or gray/graphite—a single table has a subtle appearance, and a gathering of tables, nested or stacked, create an organic composition. Each shape is available in three sizes and heights. Designed by Studio 7.5. Roi, Mat, Fou Avenue Road The three stools, each subtly different, feature a French walnut varnished base and a leather seat. Designed by Christophe Delcourt. Press Room Chair Suite NY In 1958, the Dutch government commissioned famed architect and designer Gerrit Rietveld to design a chair for the press room of the new UNESCO building in Paris. Rietveld was part of an elite group of designers who had been tapped to collaborate on the new building, including Hans J. Wegner, Le Corbusier, Walter Gropius, and Marcel Breuer. Rietveld's chair was meant as a comfortable lounge chair for the low reading table for journalists. However, due to budget limitations, Rietveld's new chair was never produced—but the original design drawings and scale models were preserved, and the chair has been launched for the first time in 2015 exactly as Rietveld had envisioned it. On the underside of each chair is a poem by Christian Morgenstern entitled "The Aesthete," one that Rietveld sometimes printed underneath his designs, reflecting his opinion that a chair was not meant to rest, so it didn't need the comfort of a bed. With solid oak or walnut armrests. Available in 18 fabric options and 9 leather options. Designed by Gerrit Reitveld. Fawley Bench e15 This new product family consisting of a solid wood table, bench, and stool emphasizes the pure use of material and a clear design language. In addition to European walnut and solid oak in oiled or white pigmented finishes, the collection is also offered in black, highlighting the elegant silhouette. Designed by David Chipperfield.
Posts tagged with "interiors":
Hospitality design is all about visual impact and physical comfort. From pedigreed modernist classics to eye-popping contemporary works, these pieces will make any lobby or lounge area a memorable space. Jewels Garden Carpet (pictured at top) Moooi Fabricated using the Chromojet high-definition printer, which creates remarkably realistic images, this flamboyant collage of flowers, gemstones, and Madras motifs is definitely lobby-worthy. Designed by Sacha Walckhoff, Christain Lacroix Maison. Toa Ligne Roset The origami-inspired form of this cushy chair can be upholstered in leather for formal settings or cotton or wool for more casual decors. Ash frame, in natural or black stain. Designed by Rémi Bouhaniche. Air Sofa Luteca Its form inspired by structural I-beams, the frame of this sofa appears to float above the floor. Available in eight colors of leather upholstery. Designed by Alexander Andersson. Mixi Modular Watermark Cabinet Fringe Studio The Mixi Modular Watermark Cabinet is a chest of drawers with custom dark brass finished drawer hardware and a corresponding steel base. Mixing the old with the modern, this piece is finished with a printing process that runs fluid across the cabinet in a marbleized vintage book design. Series 7 Chair, 60th Anniversary Edition Republic of Fritz Hansen To mark the sixtieth anniversary of the Series 7™ chair, two special editions of the 3107 chair have been made. The chairs have been created with a masculine or feminine perspective: one with a dark blue shell with powder-coated legs, while the other features a pale pink shell with gold-plated legs. Each piece comes with a golden plate mounted on the bottom of the shell, documenting it as part of the limited release. Available only throughout 2015. Designed by Arne Jacobsen. Roundabout Lina Roundabout is a modular composition of seats/poufs that can be converted into bar stools, coffee tables, or chairs. Attached to one another by flexible joints, these elements can be composed into various compositions without limitation, in rows or clusters that fit in narrow halls or wide spaces. Smart joint elements on the poufs enable rotating one piece around another. Suitable for public places, offices, hotel lobbies or galleries, the collection is made of plywood, fabric covers, and high-density foam.
At ICFF 2014, mature design reclaimed the stage. With other exhibit opportunities for up-and-coming designers—WantedDesign and Sight Unseen Offsite, along with the Industry City venue in Brooklyn—established manufacturers set the tenor of the show this year. Further cementing the show's place near the top of the trade show hierarchy, many of the exhibitors that displayed their wares at Salone del Mobile in Milan a few short weeks ago were also present in New York. Here are six products that stood out to AN among the rows of exhibitors. Blu Dot Swish Desk A split-level sliding top and drawer stretch the storage capacity of this neo-modern, white-ash desk. Legs in white or grey. Marset Ginger Topped by a shallow, cup-like shade of oak or wenge veneer, the fixture uses a LED light source; also available in floor and table models. Designed by Joan Gaspar. Foscarini Spokes Concealed at the top and bottom of the fixture, LED lamps cast light upwards and downwards, casting shadows from the metal, cage-like shade. Designed by Vicente Garcia Jimenez and Cinzia Cumini. Bensen Tokyo Chair With aesthetic lineage extending to Danish and Japanese design, the slightly torqued armrests of this solid wood chair are key to its contemporary presence. In black ash, walnut, white ash, and white oak, with a leather seat. Designed by Niels Bendtsen. Fritz Hansen Analog Table Merging square, circle, and oval into an inviting, unique form, the legs of this table are angled to allow more comfortable seating. In five colors and finishes, it is suitable for home or office use. Designed by Jaime Hayon. Rimadesio Self Up Classic dressers, nightstands, and sideboards are revitalized in lacquered glass and aluminum frames and feet. Available in 62 colors. Designed by Giuseppe Bavuso.
Canadian graphic designer, Thibaut Sld., has created an interactive wall that responds to human presence. The impressive installation—which is equal parts CGI and home design—is known as HEXI and is comprised of 60 mounted modules that work in-sync with motion detectors to track, and then mirror, a person’s movement along the wall. So, essentially, when a person near the wall moves, the wall moves with them. Brave new world. [Via designboom]
For some, a portrait of Queen Elizabeth hearkens to days of "Long live the Queen!" but a recent design intervention could edit that phrase to "Long live Warhol!" Brooklyn-based Flavor Paper recently launched a collection of proprietary designs from the Andy Warhol Foundation for the Visual Arts' store of works in PVC-free, water-based ink formats that can be customized for a variety of applications. Warhol produced eight of his own designs for wallpaper between 1966 and 1986—including the notable "Cows"—so the Foundation was especially selective when licensing reproductions in one of the artist's own mediums. "We walked through Flavor Paper's door, and knew that we had found the right fit," said Michael Hermann, The Andy Warhol Foundation for the ArtsDirector of Licensing. "We always saw licensing wallpaper as a compelling and complementary category, but until Flavor Paper had not found a collaborator who understood how to break through the constraints of such a traditional method." For Flavor Paper's founder and creative director, Jon Sherman, the creative light bulb went off in 2011, when the company worked with the Montclair Art Museum to finalize designs and produce the "Twelve Cars" wallpaper series for the exhibition Warhol and Cars: American Icons. "As a true Warhol enthusiast, this opportunity for me personally is like a fantasy fulfilled," Sherman said of the new collection. "Working with the Foundation's team to celebrate and interpret Warhol's work in our own inimitable style is a milestone for the brand." Nine styles were produced from a cache of Warhol's silkscreen prints, photographs, and other iconic images. Flavor Paper uses water-based inks produced for billboard applications, so each sheet of paper is durable and light fast. This mural option, also available in Sailboat, is based on Warhol's 1962 paint-by-number series. Each mural is scaled to fit application dimensions. A recurring pattern was developed from a 1955 Newswire photograph of St. Peter's Square in Rome on Easter Sunday. Flavor Paper's Sherman inserted an image of Warhol, for a tongue-in-cheek "Where's Waldo?" effect. The pattern comes in four standard colorways with the option for customization. Based on Warhol's 1964 silkscreen of hibiscus blooms, a repeating pattern is digitally rendered in four colorways on a chrome mylar base. In a nod to Warhol's very personal practice of embellishing his oxidation paintings, random splashes of toner make each pattern truly unique. Flavor Paper organizes Warhol's Inkblot paintings for unique adaptions on a damask pattern. Four color combinations on high-gloss or textured papers, like ponyskin and linen, add to the pattern's luxe appearance. Layered and repeating photos of Halston-designed shoes from the 1980s are available in four colors, with options for customization. Drella, (pictured), features a glitter impregnated vinyl that closely resembles Warhol's own Diamond Dust treatment.
If design is all about the details, Alessi has developed a successful formula for making thoughtful, fresh, and functional objects that delight design lovers worldwide. A new roster of architects and industrial designers have contributed sleek new accessories and decorative wares for the Autumn/Winter 2013 collection across the Alessi, Officina Alessi, and A di Alessi collections. AN got a first look at Toyo Ito's newest tablewares, Mario Trimarchi's jewelry, and much more. Alice by Odile Decq This year marks the French architect and designer's first collaboration with Alessi Officina. Her angular serving tray plays on tradition with a planar twist from corner to corner that appears to originate at varying perspectives. It's available in black (shown) or mirror-polished stainless steel. Birillo by Piero Lissoni Alessi's first collection for the bathroom has been enhanced with a gray color offering and five new items: a tissue holder, toilet roll holder, liquid soap dispenser, bathroom container with a lid, and a soap holder for the shower and bath. The elliptical form features a concealed bottom for a weightless appearance. KU by Toyo Ito Pritzker Prize-winning architect Toyo Ito first designed his KU tableware collection in 2006 to suit the Japanese portion palette, and has recently modified the series for the Western market. The 2013 update features a larger soup dish and oval serving tray that maintains accord with the the full set, from serving dishes to coffee cups. Vieni via con me and Maestrale by Mario Trimarchi Trimarchi has broadened his La Stanza dello Scirocco collection of stainless steel decorative objects and accessories with two new pieces of jewelry. The ring and cuff bracelet's design emulates cards fluttering in the wind and can be adjusted for custom sizing. MamiXL by Stefano Giovannono Originally released in 2003, Giovannono's collection of glassware and stemware has been updated to today's serving size standards, inspired by the dimensions of current wine tasting glasses. Vessels for several varietals of wine, water glasses, decanters, and tumblers are all made from crystalline glass.
Frank Gehry, who is currently working on Facebook's new Silicon Valley campus in Menlo Park, California, will design a new office for the company's New York-based engineering team at 770 Broadway in Manhattan. The move will nearly double the company's current workspace. In a note from Serkan Piantino, Facebook New York's engineering team site director, the new offices will share many of the same features of Facebook’s California headquarters, but with a twist that is uniquely New York. Approximately 100,000 square feet across two floors will be updated with open, collaborative spaces, conference rooms, cozy and casual work areas, writeable surfaces, and integrated video conferencing equipment. There are also plans to build out a full service kitchen for Facebook employees. At 770 Broadway, Facebook will join tenants AOL/Huffington Post, Adweek, JCrew, and Structure Tone. The move from their current offices at 335 Madison Avenue is scheduled for early 2014 under a 10-year lease with building owners Vornado Realty Trust.
Berlin's Museum der Dinge (Museum of Things) is home to the Werkbundarchiv, a collection of objects produced from 1907 up until the midcentury by the Deutsche Werkbund (German Work Federation), an association of artists, architects, designers, and industrialists. Even though the Werkbund is attributed with being the precursor of Modern architecture and industrial design and had a significant influence on the Bauhaus school, it wasn't a creative movement, but a state-sponsored initiative to pair traditional crafts with mass production techniques to gain a competitive edge in manufacturing everything - as their motto states: Vom Sofakissen Zum Stadtbau (from sofa cushions to city building). The collection is as fascinating as it is overwhelming, packed to the gills with objects that are rightfully described by the museum's curators as "designed by very famous artists and anonymous designers, individual pieces and mass production, functional and puristic objects and so-called 'error in taste' or 'Kitsch,' substantial 'honest' things and material surrogates, branded articles and no-name products." The museum recently acquired the perfect complement to its already comprehensive collection: The Frankfurt Kitchen. You might have seen one such kitchen (more than 10,000 were made in Frankfurt alone) when it came through MoMA's kitchen design exhibition last year, but this example will be on permanent view at Museum der Dinge. Designed in 1926 by Viennese architect Margarete Schütte-Lihotzky for the "New Frankfurt" of the 1920s, the kitchen is not only an important document of cultural history and the embodiment of the Werkbund's ideals of bringing industrial, rationalized work processes into the home, Lihotzky's space saving room plan revolutionized kitchen design and became the model for all kitchen interiors since. As the scarcity of rentals in Frankfurt after WWI created a demand for cheap and efficient housing, Lihotzky developed a standardized, modular system that would reduce the floor area required and could be mass produced. Modeled after a railway car, the narrow space measured just 6 ¼ x 11 ⅛ feet, or 70 square feet. Aside from an economical use of space, the kitchen was also designed to make food prep more efficient. Cabinetry was fitted with built-in aluminum containers that doubled as pouring devices for rice, sugar, coffee and other staples. The worktable had an integrated garbage slot into which scraps could be swept and emptied all at once, as opposed to leaning down to the trash every time you need to discard a carrot peel or an eggshell. Lihotzky also specified that oak should be used for the flour containers because it repels mealworms, and beech for the tabletops because of its resistance to staining and knife marks. Researchers found that flies avoid blue surfaces, so the wooden door and drawers were painted blue. A sliding door separated the kitchen from the dining space, minimizing the distance between the stove (a novelty in Germany at the time) and the table. These time and space saving solutions aren't just novelty items. As Electrolux's Major Appliance's Design Director, Thomas Johansson, said in the July 2012 issue of Wallpaper, "The increase in small and single households creates the need for innovative new solutions for our way of living. As cities and towns become more heavily populated, the need for interior design solutions that decrease people's living space is becoming more important." The McMansions with mega kitchen countertops that could double as control stations are a dying breed. Overall, we're seeing a move towards a radical shift in kitchen design, not only in new precision cooking technologies and energy saving appliances, but in our evolving attitude towards the kitchen and its place in our home. Johansson goes on to discuss the move away from the separate kitchen to a more communal space where guests and host socialize as they prepare food, a behavioral shift that has a lot to do with an increased awareness about health and food production as well as the influence of the celebrity chef on our home cooking aspirations. As kitchens today make better use of space, they also make room for our contemporary habits and gadgetry (juicers, microwaves, hydroponic systems, wine coolers) that just didn't fit into Frankfurt's post-WWI push towards the kitchen as purely a workspace. That's probably why it's so fascinating to take a tour of Lihotzky's model. It's not just a step back in time, it's a lesson in planning for the future. As our cities become denser the need for an economy of space remains a constant struggle, no kitchen exemplified the idea of everything in its place like the Frankfurt kitchen. How we can use Lihotsky's ideals to combine a lack of space with the shift in kitchen from workspace to social space is a design challenge that's sparking a range of innovations from the über streamlined, like Steininger's new Heart of Gold modular concrete cooktop and counter (below), to Lund University's proposal for a return to simple handmade and hand-operated appliances.
At NeoCon this year, IIDA (International Interior Design Association) presented copies of What Clients Want, the first-ever study of the client/designer relationship told from the point of view of the client, written and edited by Melissa Feldman, IIDA's executive vice president. IIDA CEO Cheryl Durst called it "a groundbreaking account of how some C-suite executives have been able to alter their companies' destinations through design [by] firms who got inside their corporate DNA and pushed them to be better." Durst is referring to companies like Autodesk, The Cosmopolitan of Las Vegas, the Cowboys Stadium, and Facebook, which enlisted the services of Primo Orpilla and Verda Alexander of Studio O+A, a husband and wife duo who have designed interiors for a roster of "techie brands" like Aol, eBay, Microsoft, and PayPal. In 2008, O+A was commissioned to consolidate Facebook's spread of ten office buildings in Palo Alto, California, and merge them into Hewlett Packard's former HQ. Studio O+A credits the extensive research they conduct on potential clients prior to any design work for landing the gig.
We want to learn what our clients are about and understand their sensibilities, because if our end result doesn't reflect them, it's not going to be successful or meaningful. Sometimes it's just a matter of talking to the entrepreneurs…other times we observe them for a while.So what did they learn? Facebook, with its well known, humble beginnings in a college dorm room, is not about flash or excess. The primary goal was to create a collaborative, flexible, and comfortable space for the company's "scrappy and entrepreneurial" employees, as Facebook's communication designer, Everett Katigbak, described them. That meant a lot of repurposing existing pieces and spaces so that "nothing is deigned as a pristine or precious moment…Overall it's pretty raw and industrial with more of a garage or laboratory feel." O+A responded with nooks equipped with chessboards and by converting a loading dock into a skateboard ramp. Both Katigbak and O+A agreed that the design process went smoothly, but by the time What Clients Want was published, Facebook had already outgrown their facility and relocated to Sun Micro System's former campus in Menlo Park. They hired Gensler for the renovation, not Studio O+A—a testament to Facebook's hyper-evolution and obsession with "the new," or evidence that perhaps the road to design was a little more rocky than either side will admit? Either way, it's not included in the designer/client conversation Melissa Feldman chronicled in What Clients Want. There are thirteen more, which IIDA's Durst said is the first in a series of limited edition books that will focus on "key vertical markets, starting with hospitality." For What Clients Want, 3M donated their DI-NOC Architectural Finish Material for the cover designed by the NY-based design firm, Pure+Applied.