Dutch designer Richard Hutten has been invited to guest curate the interior of the Sonneveld House by altering the original layout with his own product designs.
The Sonneveld House Museum stands adjacent to the NAI on the corner of Jongkindstraat and Rochussenstraat in Rotterdam. Built in the early nineteen thirties, it is one of the best-preserved houses in the Nieuwe Bouwen style, the Dutch branch of the International School of Modernism. It was designed by the architecture firm of Brinkman & Van der Vlugt, also known for the Van Nelle Factory and Feyenoord Stadium. The Sonneveld House opened to the public as a house museum of the NAI in March 2001, following a period of intensive restoration and refurbishment. As a visitor, you can see for yourself what it was like to live in a hypermodern home in 1933.
The design light has adjustable arms and an orientable head for a flexible use. The LED light is operated by means of a built-in sensor dimmer located in its head.
Traffic is a collection of furniture using wire and upholstery. The correlation between the three-dimensional line drawing of the metal rod and the geometric volumes of the cushions marks a significant shift from the common connotation of wire furniture. The unassuming simplicity of its conception impart a pleasant casualness. The refinement of detailing and carefully tailored proportions stimulate a resounding elegance. The inherent logic of construction creates a formal grammar which allows for a number of functional declinations to form the Traffic collection: an armchair, a two seater sofa, a small bench (which also serves as ottoman), a chaise longue. All pieces are available with upholstery in fabric or leather. The metal structure is either powder coated (in high gloss colours) or chrome plated.
Traffic Collection, by Konstantin Grcic, for Magis
A universal floor lamp with a “trick” in an extruded and textile covered plastic profile, which carries the LED head: moving the head along the profile changes its orientation continuously. Rope Trick floor lamp serves as a reading light next to a bed, a chair or a table. After sliding the head in its up-most position, the light is cast upwards onto the wall or ceiling which creates an indirect atmospheric illumination.
Rope Trick Lamp, by Stefan Diez Office, for Wrong for Hay
Benjamin Hubert has designed the world’s lightest timber table as part of an internal studio research project into lightweight constructions. The table, titled Ripple, is 2.5 metres long, 1 metre wide, and weighs just 9 kilograms. Made using 70-80% less material than a standard timber table, Ripple can be assembled and manoeuvred by a single person. The table’s impressive strength to weight ratio is enabled by an innovative production process of corrugating plywood for furniture through pressure lamination, which was developed by Benjamin Hubert with Canadian manufacturer Corelam.
Ripple is made entirely from 3 ply 0.8mm birch aircraft plywood, a timber sourced only in Canada, where the table is manufactured. The material is the same as that used in construction of the Hughes H-4 Hercules – popularly known as the “Spruce Goose” – the world’s largest all timber airplane. The strength of the material in combination with the unique lamination process means the edge of Ripple measures just 3.5mm. Ripple is minimal in its design language, employing a simple knockdown construction. The top surface is corrugated plywood overlaid by a flat sheet, and the A-frame legs are a sandwich construction of two corrugated plywood layers.
Ripple Table, by Benjamin Hubert
Capsula pendant light is composed of two oval capsules of glass when external absorbs the internal and by permeating each other they complete compact form. The concept is visualized by two convex capsules one overlapping the another and so merged into one single form which reminds an inspiration of nature, shapes of cells or plant seeds.The combination of outer shell of crystal clear glass and internal capsule of colored glass creates exciting tension of forms and optical 3D effect. Capsula light sculpture is gently fixed together by a tubular light source connected with small wooden side bases and the effect is emphasized by blending the colored core into a crystal clear outer bubble.
For more than 150 years, the longstanding silver manufactory of Jarosinski & Vaugoin has been producing high-quality silver objects. At the beginning of the 20th century, the manufactory–founded in 1847 by Carl Vaugoin, who specialized in heavy, handmade cutlery–relocated to Zieglergasse in Vienna’s 7th district, just a few minutes’ walk from Feichtner’s current studio. Today, Jean-Paul Vaugoin represents the sixth generation of his family to continue the tradition of this renowned business. For their collaboration, Feichtner took inspiration from Jarosinski & Vaugoin’s history: during the late 1960s, the silver manufactory produced several replicas of the legendary Saliera by Benvenuto Cellini, of which one was presented by the Republic of Austria to Queen Elizabeth II as an official gift on the occasion of her state visit in 1969. The manufactory’s current collaboration with Feichtner has given rise to a series of silver spice containers that are gold-plated on the inside. The salt cellar can be tilted to remove salt through an opening with two fingers in order to sprinkle it. In this way, Feichtner gets the salt cellar’s users to playfully but consciously approach the concept underlying an object that sees little use today, rather than just to casually shake on salt. “I didn’t want to design a second Saliera–instead, I wanted to come up with a new take on its approach to salt,” says Thomas Feichtner of his design. “Saliera” will be first shown on the occasion of the opening of the Vienna Design Week 2013.
Meltdown is an interpretation and attempt to make something beautiful from the disastrous nuclear accident in Fukushima. Would an actual meltdown occur and what would the impact be? The disaster is reflected in the lamps where the process already begun and the bulb are about to melt through the last defense of the glass.
Wall Shadows, by Charles Kalpakian, for Omikron Design
The Washington Collection for Knoll, David Adjaye’s first collection of furniture, transforms his architectural and sculptural vision into accessible objects for the home and office. The collection consists of two cantilevered side chairs, a club chair, an ottoman, a side table and a monumental coffee table. David Adjaye said, “Knoll approaches furniture as making connections between people and how they work and live their daily lives. This project has been an exhilarating and collaborative experience – an unexpected balancing act between the design and engineering processes. My original idea of what this furniture should be was continuously refined and transformed throughout.”
Commenting on Adjaye’s work, Knoll design director Benjamin Pardo said, “David is doing really innovative and important architectural projects, and what really interested us was to see that work on an entirely new scale.” Adjaye’s limited edition cast bronze coffee table reflects this cross-over. The sculptural table with a clear glass top is constructed from four cast bronze panels, and four connecting plates. The roughhewn exterior contrasts the highly reflective, hand polished interior surface. To mark our 75th anniversary the bronze coffee table is limited to an edition of 75.
The Washington Collection, by David Adjaye, for Knoll