Exhibiton: Man Machine by Konstantin Grcic, February 13 – May 17, 2014, Galerie kreo, Paris, France
Copenhagen weaves years of refined craftsmanship with contemporary lifestyle. With its light Nordic design, the loudspeaker plays elegantly together with the surroundings.
Henrik Mathiassen, Design & Creative Director at design-people, gives… a brief insight into the design process behind Copenhagen.
The distinct characteristic of Copenhagen is its Nordic expression. How do your interpret Nordic design?
Nordic design addresses complex issues and turns them into simple and appealing solutions. Keynotes are respect for materials, details, and for the user experience.
Your design approach is based on years of research into user preferences. Why this approach?
Desirable design is achieved through connecting to people’s values and creating everyday benefits. Our team of researchers, psychologists, and designers, together with the skilled Vifa team, have taken Copenhagen all the way through the music listener’s journey; from dreams and desires to realization.
How does this approach manifest itself in Copenhagen?
It has helped us designing a great, well-crafted loudspeaker that integrates itself gently in people’s lives and homes. All details are toned down to the essentials with high finish and ease of use. The exquisite basics for anyone who values exclusive design just as much as authentic sound.
The design of IOOI turns the world of hookahs upside down. Sophisticated materials are presented in a minimalistic an extraordinary design. Modern materials, like anodised aluminium, polished brass, crystal clear glass and 3D printed parts are composed to this outstanding sculpture.
IOOI Hookah, by Christian Zanzotti
Numéro 111 are the creators of the second VIA Furnishing programme, entitled Insulaire. Numéro 111 see the living room as an island, a ‘space inside space’ where furniture plays a structuring role and creates varied experiences of comfort and use. The more traditional approach focuses on the sofa; the more laid-back take is linked to floor-level living, where the central element – a rug – is accompanied by easy-grip cushions that can be positioned as needed to form headrest, back-rest or seat. Other pieces interact with both space-levels: tables with an upper plateau that moves to serve at low or divan level, a lamp that reconfigures to serve as reading light, up-washer or standing lamp. There is also a screen that defines territory and doubles as a storage unit, the open-work parts of which serve to hang a mirror or digital devices.
Insulaire, by Numéro 111
To celebrate the 10th anniversary of its iconic Bourgie table lamp, Italian plastic furniture specialist Kartell invited ten designers associated with the company to create tribute pieces for a special exhibition. For their contribution, Japanese design studio Nendo decided to work with two of the lamp’s most distinctive characteristics – its use of silhouettes and its transparency – rather than touching the original design itself.
Nendo created a new table lamp by inverting and rotating the Bourgie lamp’s silhouette, so that when two of the new lamps are lined up together, the space between them forms the upside-down silhouette of the Bourgie lamp. “Because our homage inverts both the lamp’s figure-ground relationship and our regular sense of up and down, we named the lamp Eigruob” the designers told us.
Stripping away the frills poses the risk of coming up against bare essentials, sometimes in a highly visible way. A fine example are Alessandro Zambelli’s new lights, designed for .exnovo. He calls the collection “Afillia,” a name borrowed from botany. In plant terms, it means leafless, though not lifeless: surely an apt image for a collection of luminous essentials and airy voids.
The Afillia range of six lighting accessories consists of three table lamps and three pendant lights. The base or socket ring is in Swiss pine, a premium wood from the Alto Adige mountains, hand-crafted according to the region’s ancient traditions. The wood fitting locks on to a light diffuser in polyamide (also known as nylon fibre), sintered by professional 3D printing.
The results are furnishing extras, either one-offs or limited editions. The avant-garde technology really does print them, but the machined product is in perfect harmony with the intuitive skill of the master-craftsmen who shape the material from the amorphous polymer block. They finish off the process by hand, lending the personal touch to every creation. The centrepiece of each accessory is a diffuser which embraces and embellishes space. Delicate, lace-like patterns with their geometrical pinholes give rise to two-dimensional origami in thin, curvaceous spirals. Free to waver at will, the light casts fleeting shadows, then beams into unexpected focus, forming compact halos, round and bright. This is energy in fluid form, in the no-man’s land between stuff and shape, air and light.
Afillia by Alessandro Zambelli for .exnovo
The increased use of screens, emitting their constant bright white light, is blurring the distinction between work and leisure, between day and night. But for us human beings it is best to experience light of varying warmth and intensity within the 24-hour cycle: bright white during the day to help us stay alert and concentrate; warmer, soothing light during the evening to help us wind down and prepare for sleep. Arnout Meijer has designed the Thanks for the Sun Series to allow users to adapt the temperature and character of the light in their rooms.
Thanks for the Sun Serie, by Arnout Meijer Studio
The MOOT (Mood of Our Time) Carbon Fiber Chair was designed and developed by Ross Lovegrove in partnership with Established & Sons.
MOOT Carbon Fiber Chair, by Ross Lovegrove, for Established & Sons
Nendo has produced a series of lamps that use the traditional technique and modified it to create seamless three-dimensional washi forms.
Charlotte Perriand is regarded as one of the most influential designers of the early modern movement, acknowledging the increasingly machine-driven culture of the 1920s and ’30s and introducing the profound change in aesthetic values to interiors. As a true pioneer in the application of materials like steel, aluminium and glass to furniture, the french architect and designer established an expansive breadth of work that, to this day, remains the archetype of an evolutionary shift in the industry. When she was just 24-years-old, she commenced a decade-long collaboration with Le Corbusier and Pierre Jeanneret, during which period the trio conceived and developed a series of tubular steel chairs, existing now as icons of an era. The work of Perriand will be a significant presence at Design Miami/ Art Basel Miami 2013 with presentations at the Raleigh Hotel, the Louis Vuitton Boutique and the Cassina showroom.