Gardenias is a collection of furniture for the garden. That’s not a real genre, but it does differentiate Gardenias from other exterior furniture collections. Subtlety, beauty and memory are omnipresent in its design, along with a determination to make the collection broad, varied, multipurpose and open. Further pieces will be added in the future. There will be room for sculptural vases and planters of surprisingly fine terracotta, chairs with or without a pergola, benches and even an attractive watering can.
One of the most outstanding characteristics of the collection is the way its translated the generally rigid and square-shaped image of outdoor metallic furniture to a language that is more romantic in form and also suitable for indoor use. It carries the unmistakable mark of Hayon in the svelte, subtle and feminine forms. It is almost Gaudí-sque (or should we say Gardenia-esque) in so much as it renders metal with organic, almost natural shapes – ones that are more generally seen in furniture made of wood.
Gardenias, by Jaime Hayon, for BD Barcelona Design
The collection was the development from the process of the numerous experiments and research for ‘Crystallized project’ initiated in 2007. In this project, Tokujin created “VENUS” which is having crystal structure. VENUS is formed through the growth of the crystal by using the laws of nature. Through the project, Tokujin would like to throw a question of how we could connect our lives to the future, by being exposed to the serendipitous beauty born of nature. Upon these experiments, “Element” was born from his challenge revealing a new aspect of nature and it’s sculptural form for furniture.
Kunsthal Rotterdam will be presenting a comprehensive exhibition to celebrate the 100th anniversary of the Dutch furniture brand Pastoe. Since it was founded in 1913, Pastoe has grown to become an internationally recognised designer label. The brand stands for simplicity, timelessness, quality and craftsmanship. Over the past years, Pastoe has acquired an excellent circle of designers including Maarten Van Severen, Shigeru Uchida and Scholten & Baijings.
The exhibition Like Pastoe illustrates the rich history of the furniture brand and provides an overview of the unique collaboration between Pastoe and various architects, artists and designers. The exhibition has been organised around the following themes: ARCHIVES, ENVIRONMENTS and VISIONS. In the ARCHIVES theme, Krijn de Koning presents the history of Pastoe using exceptional designs, advertising material, sketches, photographs and trade fair presentations. Within the ENVIRONMENTS section, Anne Holtrop projects Pastoe’s vision on the architectonic space. The exhibition’s installations represent an environment in which living, working, learning and creating are defined in a new way. VISIONS highlights the search for new perspectives on product development and includes work by various designers such as Naoto Fukasawa, Claudio Silvestrin and Scheltens & Abbenes.
Like Pastoe: 100 years of design innovation, February 23 – June 2, 2013, at Kunsthal Rotterdam
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In 1960 Dieter Rams conceived of a shelving system “…that could be expanded, rearranged and moved when necessary. The system initially went by the name RZ 60, and in 1970 was renamed the 606 Universal Shelving System, which continues to be a success today. Its popularity derives from the fact that lt offers restrained simplicity while the individual components offer great flexibility for the ever-changing lives of the owner. Over the years the wall-mounted shelving evolved to allow it to be compressed between the floor and ceiling (from 1970). A series of drawers, cabinets and integrated tables permits it to accommodate almost all requirements.” (Less and More: The Design Ethos of Dieter Rams)
606 Universal Shelving System by Dieter Rams, Available in annodized aluminium or white powder coated aluminium, for DePadova
Catherine Houard presents the first exhibition in Paris dedicated to Friso Kramer, the Dutch Master of Design. Born in 1922, Friso Kramer was the son of the architect Piet Kramer. He played a significant role in developing the national Dutch style, from 1940 until now. His ideas have constantly helped expand the modern aesthetics of the Netherlands. Kramer began his career as a designer in the industrial field in 1948 at De Cirkel’s, a manufacturer of steel furniture. In the 1950’s he joined the group ‘Goed Wonen’ (‘Good Living’) that was created to reinstall or recreate a good quality of life that disappeared during the war.
In 1953, he created the ‘Revolt Chair’, a popular icon of the Dutch style, at Ahrend’s and was featured at the Triennale of Milan in 1954. At the dawn of his 90th birthday, Friso Kramer is in the spotlight in the Netherlands. At the end of November, he was honored with a tribute at the Stedelijk Museum in Amsterdam and in the book written by Yvonne Brentjens ‘De Stoel van Friso Kramer / Friso Kramer Chair’ which has been just re-published in English and Dutch.
Cate & Nelson’s idea behind Netframe was to create a piece of furniture that consumes as little material as possible while maintaining a high comfort. “In order to succeed with this challenge we had to turn everything upside down in the development process. We wanted it to be easy to produce with minimal time and material usage”, says Nelson Ruiz-Acal, one half of Cate & Nelson.
Netframe was developed into a very comfortable piece of furniture with extremely low impact on the environment. Cate & Nelson believe it is important to see the wholeness in their design, that the product is responsible at all stages; from production to usage, which is very apparent in their design of Netframe.
Netframe, by Cate & Nelson, for OFFECCT
Stripe is an upholstered lounge chair in a slim and lightweight appearing design. A special and simple linkage between the plywood seat shell and the base frame made of steel, makes the chair smoothly rocking without any mechanical suspension.
Juno can be construed as symbolic of a classic farmhouse chair. To create it, the designer implemented traditional artisanship techniques in combination with a variety of modern elements. In doing so, he succeeded in reinterpreting the archetypal wooden chair entirely, while still staying true to its origins. The resulting piece is an impressive interpretation, but offers a great deal more comfort. The seat is made of a flexible, moulded wood shell that yields when it is leaned upon. Overall, Juno conveys a less rustic impression, and considerably more femininity. Juno is a sturdy yet elegant chair that inspires curiosity and has an almost sculptural appeal.
On the inside, it’s a bar, on the outside it’s mini.
The story behind the table is the celebration of traditional wood turning. The sweet bit: Mint hides and integrates a small mini-bar that allows you to store a nice bottle of wine or other delicious beverages and glasses, which are placed on a separate tray inside. The design provides an inserted intermediate bottom for the glasses and black chrome slide-open lid on the top of the side table Mint.
In 1998 Finland issued a design-themed stamp set which featured some of the most iconic works of local design history: besides product and textile designs by Alvar Aalto, Kaj Franck, Bertel Gardberg, Timo Sarpaneva and Annika Rimala, furniture design was represented by one chair — Yrjö Kukkapuro’s Karuselli.
The exhibition in the Museum of Estonian Architecture gives an overview of the interior architect and furniture designer Yrjö Kukkapuro’s artistic production which spans over 50 years. Starting with a student work from 1957 and concluding with a prototype specially designed and manufactured for the Tallinn exhibition, Kukkapuro’s long career is filled with independent experiments in the field but also includes positions as the chief designer of Haimi, Lepokaiusto and Avarte. Kukkapuro’s first successful collection Moderno was created in 1958-1960 and is still in production.
Kukkapuro’s oeuvre is like an X-ray of the design history of the second half of the 20th century. Pop-art influenced colourful plastic chairs, Karuselli, Saturnus or Chair No. 419 manufactured in the 1960s from fibreglass and ABS plastic using experimental methods are contemporary benchmarks carried by utoplan aspirations. The minimalist turn in 1970s abandoned artificial materials, new favourite was birch plywood. Remmi and Pressu models date from that period but at the same time Kukkapuro started decades’ long experiment to create ergonomic office chairs. Piaano, Fysio, Sirkus or Funktus are series which thoroughly redefined the understanding about typical office furniture. in the 1980s the wave of Postmodernism brought back colour, patterns and décor to Kukkapuro’s chairs. The 1990s are characterized by the abstract patterns printed on simple plywood form from
the “tattooed” chairs series and in the 2000s the explorations in materials continue. New favourite is bamboo from which there is a series specially made for Chinese market.
Some of the earlier chairs of the still tenaciousiy active Yrjö Kukkapuro have become design classics which are sought-after in online auctions and vintage furniture stores, at the same time being exhibited in renowned design museums from London to New York. The exhibits, prototypes as well as production models, of the Tallinn exhibition are mainly from Kukkapuro’s personal collection which he has gathered in his atelier over the years.
Yrjö Kukkapuro Furniture, Jan 11 – Feb 10, 2013, at the Museum of Estonian Architecture, Tallinn, Estonia