“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
French designer Inga Sempé, guest of honour of the Stockholm Furniture & Light Fair 2012, has designed new lightings for the Swedish firm Wästberg. Sempé’s w103 suspensions are similar to her previous table lamps series, minus one detail: the hook of the clamp, holding the table version, has moved on top of the shade.
The w103 pendant light can either be fixed onto a long rail for linear combinations or joined together like Meccano to create polygons. Colours can be freely mixed (it comes in 7 bright, soft, clear, dark hues) or sticking to just one choice. The rail structure is thin enough to avoid the feeling of a heavy, hanging structure. The round-shaped shades soften the angular lines of the rail.
Inga Sempé (awarded the 2003 Grand Prix du design de la ville de Paris, her hometown, where she launched her design studio in 2000), collaborates with such international brands as Ligne Roset, Luceplan, Edra, Baccarat, Moustache, David Design, Hjelle, Almedahl’s or Artecnica.
Besides her curated lounge in the Stockholm Furniture & Light Fair entrance hall, previous and new works by Inga Sempé were on show at the Skeppsholmen’s Skridskopaviljongen. The “Inga Sempé. Illuminated by Wästberg” exhibition showcased the w103 lamps and other designs, revealing her thoughts and creation processes with various sketches and scale models.
Created in 2008, Helsingborg-based company Wästberg have been awarded many prices, such as 7 Good Design Awards, 5 Red dot awards, a Design Award of the Federal Republic of Germany and an Elle Interior Design Prize.
(Elodie Palasse-Leroux is a Paris-based writer and journalist, the founder and editor of Sleek design)
Designer Wiebe Teertstra has presented a new clock for the new Dutch brand, LEFF amsterdam which is based in Marcel Wanders’ Westerhuis in Amsterdam.
“The contrast in this design is not formed by the colours itself, but by its finish. A glossy transparent spot varnish is printed on the matt dial to create a so-called ton-sur-ton effect. Depending on the light, the index print will be clearly visible, slightly visible or not even visible at all. Let light set the tone”.
- Wiebe Teertstra
Tone35 Clocks, White, Cool Grey and Black, by Wiebe Teertstra for LEFF amsterdam
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.
Through modern 3D manufacturing and selective laser sintering (SLS), new shapes are possible. Shapes that cannot be made either by conventional machines or traditional handicraft. Torus is such a shape. The torus can be described as a surface of revolution generated by revolving a circle in three dimensional space about an axis coplanar with the circle. It is now also the name of a bracelet. Each Torus bracelet is made of 2208 individual loose links and takes four hours to print.
Torus Bracelet, by Claesson Koivisto Rune, for DFTS Factory
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
The Japanese studio Torafu Architects designed two new versions of their Air Vase: Gradation and Cube. Those two patterns are printed on both sides of paper disks, which are cut so the user can simply pull them into the desired shape.
Gradation & Cube Air Vase, by Torafu Architects
One had to walk through a very snowy Skeppsholmen island (Stockholm) to discover design studio Form Us With Love’s new designs, displayed at the Swedish Museum for Architecture. A worthy trip, though: On the occasion of the third “Form Us With Friends” event, designers John Löfgren, Jonas Pettersson, and Petrus Palmér introduced the Plaid dividers for Abstracta (Sweden), the Plug Lamp for Ateljé Lyktan (Sweden), the Form Pendants for Design House Stockholm (Sweden), the Bento chair & table for One Nordic Furniture (a brand new company based in Finland), as well as the Slab Vases for Cosentino Silestone (Spain).
The Bento chair and table, made of bent birch plywood, come into four parts each, that can be assembled without the need for any tools or fasteners. Form pendant glass lights, blown into geometric shapes, have been designed to be hung in group, each shape complementing the other. As for the PET foam room divider, its name (Plaid) suggests a versatile use: it can be hanged, draped or simply put on the floor and fanned out according to one’s needs. The most poetic objects of the series, the Slab vases display colorful rings of silestone (gravel, coloring and binding agents blended into quartz) piled up over a 40cm-high metal bracket, that can be assembled in an array of different combinations.
Exhibition: Form Us With Friends, Form Us With Love, Photography © Jonas Lindström
Elodie Palasse-Leroux is a Paris-based writer and journalist, the founder and editor of Sleek design.
Buddy is an iconic piece of furniture serving as an occasional table and storage element in domestic enviroments as well as in lobby/lounge areas in public spaces. The main feature of this object is the bowl-shaped table top that is made of spun and powder-coated aluminium. Mounted on a three-legged ash wood base Buddy pictures a simple but graceful object that gathers any kind of things and gadgets needed to relocate at any time.
The base is offered in two different heights which allows the user to place Buddy next to seating areas as wall as in entrance environments where the home-coming person can empty his pockets.
Buddy, by Bao-Nghi Droste Design