Hinoki Kogei is Japan’s leading woodwork factory, founded in 1977 by Chuzo Tozawa. British designer Peter Marigold collaborated with the Company to create a design which incorporates a woodworking technique that has been used for centuries.
Japan Creative is a non-profit organization founded to respond to the destructive earthquake of March 2011, an event that led to some rethinking of the aesthetics and value of design. The exhibit, curated by Hiroshi Naito, seeks to interpret this tremendous hardship, returning to the roots of traditional Japanes objects and crafts. The exhibition theme “Simple Vision” encompasses the idea of redefining established design rules to interpret them with a new spirit that is open to different cultures.
Originally designed for the French Concorde airport waiting room in 1960, the Concorde Chair has been reintroduced in 2012 by Artifort.
To be presented at the upcoming Salone Internazionale del Mobile in Milan, the Saya Chair is an iconic wooden chair, with a highly distinctive profile, available in three different wood colours and lacquered in various natural shades. It can be used in both public and private spaces, and will be available with wooden legs or chromed steel legs.
Saya Chair, by Lievore Altherr Molina, for Arper
The pieces in this series look like they weren’t made by hands, but have grown to their present form organically. They might be the result of a mutation in cells, or the result of a chemical or nuclear reaction. Perhaps it’s a virus or bacteria that has grown dramatically out of scale. The Mutation pieces make you look at furniture in a different way. Maybe one day we would be able to grow a piece of furniture like we breed or clone an animal, and manipulate it’s shape like a bonsai tree.
On the other hand, the project can be seen as an experimental review of classic furniture upholstery. It reminds us of the famous and iconic deep buttoned (Chesterfield) sofa’s, interpreted in a highly contemporary and sculptural way. Instead of upholstering springs and foam with leather or textile, these pieces are created by carefully composing patterns with cut-offs of foam spheres of various sizes, and applying them onto a structure. In the end the entire piece gets coated, with a durable rubber or tactile velvet-like finish. It is hardly impossible to ever recreate such a specific pattern, so every piece is completely unique.
Mutation Series, by Maarten De Ceulaer
Neuland has designed a versatile Indoor/outdoor stacking chair. Available painted in Black, White or Deep Orange.
To present this new colour range, DuPont™ Corian® called upon 4 designers or galleries, known for their quality and relevant editorial policy and for the innovative character of their collections. Moustache is proud and honoured to have been chosen by DuPont™ on the French market to create this collection. The Favoris Collection was enthusiastically and rigorously pieced together over the past year through context elaboration and exchange of ideas. Managed by Moustache, produced in association alongside and with the complicity of Corian® and Créa Diffusion, the Favoris Collection was designed by Ionna Vautrin, Inga Sempé, François Azambourg, Sébastien Cordoléani and Benjamin Graindorge
Favoris is the one entitled to special treatment due to merit and beauty and also the one who boasts a privileged place near the “all-powerful”. But Favoris is also, and this is less known, the French name commonly used to describe the long piece of hair on each side of the face and its eventual growth into a beard. Having changed from hair into a beard, the Favoris changed from the beard into a Moustache… The Favoris Collection evolved from its side-stepping into temporary openings of a constraint free area without the usual duty of “sticking” to the market-trends. It proposes observation and contemplation of a series of objects designed with the intention of showing, revealing or exaggerating the sensitive nature of a material: the Corian®. Emancipated and liberated from routine questions and functions which sometimes become purposely secondary, the Favoris Collection by Moustache with Corian® also invites you to observe how – putting the Corian® panel presentation-logic aside – this material can become round or in relief and boasts being from an assumed search for beauty.
Favoris Collection, for Moustache, at Corian® Colour Evolution, 2012 Milan Design Week, Spazio Fiorentine, via Savona 35, Milan, April 16–22
“With the sideboard “No. 216” I wanted to tell a story, to visualize something that we encounter every day but we seldom reflect on. In this case, the unique definition of the A-format as often used for paper sizes. The goal was to create a playful and at the same time convenient storage with its own expression. The cabinet as a whole is full A0, where the doors and compartments corresponding to the dimensions A1 down to A8.”
- Jesper Ståhl
DC10 is an evolution in our works on contemporary furniture with references to both of furniture craftsmanship in a historical sense and modern production with all the possibilities this gives. This chair is either shell nor skeleton it looks like a stick structure but has only two surfaces, one outside and one inside meeting in a very sharp edge. As it has almost become our trademark the sculpturing of surfaces does not stop anywhere so letting your hands wander by the curves in the wood there is continuous shapes to be explored everywhere. We trust this chair to be a milestone in our furniture design and are curios to see how it will be received.
DC10 Chair, by Inoda + Sveje
Khodi Feiz got the original inspiration for Moment from old school desks made up of a wooden chair with a table attached on the side, which gave Feiz the idea to give the easy chair a specific function.
Observing those “moments” which we engage in while seated was the key inspiration for this project. Noticing that we rarely “just sit”, we started to reflect on all the activities we do while sitting: all the moments that we read, we drink a cup of coffee, we work, we engage in conversation… ‘Moment’ was born out of these situations.
We believe that this multi-dimensionality requires new solutions that are more reflective of our activities, just as the old wooden school chair with an integrated tablet in the context of the classroom. We wanted to create a chair, which is a hybrid, an integral piece composed of two intertwined functionalities that are seamlessly merged into one. And in turn, reflects our daily activities in larger settings such as lounges, receptions, collaborative spaces and offices, and even perhaps in your home when you’re reading the morning paper while enjoying your coffee or working on your laptop.
The design is based on a generous flowing cup shape, supporting your body, which gently transforms into a small articulating table opening up for a surface for your coffee and closing in front of you when you want to work. This opening and closing gesture also reinforces the notion of private and public, almost suggesting to others that you are available for conversation or you are busy with work, a social gauge, if you will.
Cold-foam Moulded and upholstered in one integral structure and complimented by an articulating table in powder coated moulded wood composite and available in a variety of feet configurations and finishes, the Moment is a seamless fit into Offecct’s conscientious and progressive range of furniture.
After almost ten years, Eric Jourdan is back to present his design in a gallery on invitation by Marie Bérangère Gosserez. With three pieces and a series of vases, he positions his plastic and functional morphology in a striking way as he is one of the rare French designers able to do it. Once you like Jourdan, you will always like him as his design is so constant it is symbolic of designers with design as the driving force ‘At the beginning I never imagine an object or a piece of furniture as a whole, I draw a detail (an assemblage, a groove, a link…) which will lead me to another and then another … This method is linked to the practice of drawing which creates a continuous link between all these sketches. The organisation of these forms follows later. I arrange, remove, build and assemble elements which become different pieces.”
“Drawing can be liberating or imprisoning; it depends on where we stop the infernal machine which consists of covering whole notebooks. That is where your associate steps in: organising; clarifying; making you take a step back. For this exhibition the role was fulfilled by Marie-Bérangère Gosserez.”
There is no story telling with Eric Jourdan and therefore no scenarios, leaving room for pure form, like his fellow students Charpin, Bauchet, Bouroullec and no artistic sanctification of his plastic manipulation either : “Showing work in a gallery could be seen as an outlet allowing a designer to be liberated from industrial or commercial constraints, but this is not so, design does not just happen on its own without a drawing, without a gallery owner or a manufacturer…Through this exhibition, I want to show that everything will always be just exchanges, mistakes, disappointment, tension, feedback, progress and pleasure. I do not believe in the posture of artists; it is all about co-production in our profession.’
Promenade console table, Mirror Tower, Sign floor lamp, Blocks vases
Forms, by Eric Jourdan, at Galerie Gosserez