Not from the Stone Age but closer to Kryptonite, Crystal Rock appears in the cave of the future as an ambassador of the fusion between nature and man, light and reflection, transparency and mass.
All these characteristics are gathered within a perfectly cut, yet roughly sculpted contemporary silex that interacts between light and darkness, suspended in the air like a frozen shooting star. It‘s as if the world stood still at the very moment you gaze upon it, the multiple reflections and deflections fascinating during the day and even more dynamic at night, when lighted. Crystal Rock‘s LED source highlights the artistic glassmaking process and advanced gluing techniques, gleaming on its inner curved surfaces and defining form on cut facets.
Crystal Rock, by Arik Levy, for Lasvit
A massive stone frees from gravity in the air as if it were floating in the universe. To the future, Tokujin Yoshioka envisions his dream to the universe.
Agravic Floating Stone Table, by Tokujin Yoshioka
Over 50,000 years old wood table is a great result of cooperation between Zieta & Holzano. Ancient Kauri is the oldest wood in the world while FiDU is the most innovative technology of flexible steel forming. Here the history meets the future. Holzano takes great pride in delivering world class solid wood furnitures from Ancient Kauri wood – the oldest wood in the world. Focused on quality craftsmanship and unique design we believe that the elegance presented in our furnitures is timeless.
Kauri Table, by Holzano
Top to bottom: endless sky, commanding trees, house and wild vines. The home humbly nestles into this order… The entire length of the house opens up to the expanse of vineyard before your eyes. Yet a lintel overhanging the plate glass window marks the border between homely serenity and the melee of vines… Breakwater: at the foot of the dining room, large rocks turn back the momentous tide of nature… Space is not distance, it’s infinity… The desks in the children’s rooms overlook the vineyard, their heritage.
Rian House in France, by Atelier d’Architecture Bruno Erpicum & Partners
Photography by Jean-Luc LALOUX
This one-bedroom house is located on an agricultural property in Sonoma owned by two scientists. We were asked for a structure that would take advantage of hillside views and integrate more sustainable utilities over the 25-acre site. Energy is now supplied by a new solar array, sized to power the entire property and all buildings and equipment.
At a mere 850-square foot, the house is situated at the top of an olive orchard where breezes and shade are maximized. We also made sure to exploit the open area so that no hardwood trees were removed. The goal was to emphasize outdoor living areas that would be intimate for two people but accommodate larger groups for entertaining.
Anchored into the steep hillside with a series of concrete retaining walls and cascading exterior decks, the structure has a much grander presence than one would assume from its size. A site strategy of cascading spaces embracing the slope and relating the inside and outside at every level is an ambitious concept, yet one least intrusive to the natural topography. The circulation always directs one to the open views, while the fenestration protects from the hot southern sun in favor of soft northern light. The fun of living there is in the plentitude of special openings, details, and secret nooks that allow many options for places to be at different times of day.
House in an Olive Grove, Sonoma, California, by Cooper Joseph Studio
Photography by Elliott Kaufman Photography & Cooper Joseph Studio
On the boundary of abstraction, this lamp, thought as a picture consists of a succession of plans, staging materials and their plastic quality. The light appears in a slit like in an open door, putting together the poetry of the forms and the preciosity of the materials. This sculptural lamp is the formal vision of a dreamed freedom.
Nightfall on Livingstone, by Numéro 111
The Tub chair was definitely a unique fusion where Wegner emerged the new moulding plywood technique with upholstery and traditional wood work in solid wood even adding an angle adjustment mechanism for the back. There is no doubt that the complexity of this design is a brilliant example of the bold and pioneering experiments that Wegner conducted throughout his life, this from 1954 being one of the earliest and the Circle Chair from 1986 being the latest of that kind.
“These chairs are important because they are outstanding and unique examples of Wegner’s work with easy chairs, but also because they are unique examples of good design in general. They offer inspiration with pioneering concepts, and they do it as extremely good quality products that are comfortable and will last for a lifetime. The origin of the name ‘Tub Chair’ certainly refers to the shape of the back shell. It was never given a number. We will give it the model number 530.” explains Master of Craftsmen Kasper Holst Pedersen, PP Møbler.
Tub Chair, by Hans Wegner, for PP Møbler
Photography by Anders Hybel Brauner
Doshi Levien (Nipa Doshi and Jonathan Levien) has conceived a set of storage cabinets that resemble the improvised dwellings fundamentally found in developing countries across the globe. London studio’s ‘Shanty’ storage units for BD barcelona feature monochromatic or colorful corrugated patchworks on their façades, disguising rationally and carefully considered volumes within for hiding belongings.
Shanty Storage Cabinet, by Doshi Levien, for BD Barcelona
An exercise in contrasts, the Copenhagen Pendant fuses the classic and the modern, the maritime and the industrial. Its matte-lacquered metal lampshade disperses the light in a subtle but spectacular way, resembling the classic gaslight feel of the bleak Copenhagen piers.
“The biggest challenge in designing the Copenhagen Pendant was to meet our own expectations in making an equally sculptural and functional light,” says Signe Bindslev Henriksen, co-founder of Space Copenhagen.
Originally Space Copenhagen designed one version of the pendant, but the project subsequently expanded into a series of three sizes and five matte shades. “The starting point was to create a design which would allow us to mix various metal finishes,” says Peter Bundgaard Rützou, the studio’s other founding partner. The result is a flexible light that works in many different spaces, on its own, or in a cluster.
Francesco Faccin designed this project to provide an answer to the provocative message sent to him from the Tempo Italiano platform. It invited its participants to reflect on design past and present, on the meaning of production today, on a return to the origins of the basic needs and actions within a system of sustainable values.
Re-Fire is a kit for manually lighting a fire; it was inspired by the systems used by primitive Man. Two pieces of different types of wood – a piece of hardwood and a piece of softwood) are rubbed together; in just a few seconds, the friction produces smouldering ash and this can be used to light a fuse in a highly inflammable dry material. Each component is essential for the creation of fire, and the specific wood types selected correspond to a precise technical characteristic.
For Francesco Faccin, Re-Fire is an attempt to re-synchronize with Man’s most instinctive needs using a contemporary means. Producing an article that will produce fire obliged the designer to repeat the gestures of our ancestors, in this case using sophisticated tools that are readily available to all, such as laser cutting machines, CNC routers etc.
Re-Fire, by Francesco Faccin, Photography by Delfino Sisto Legnani + Studio Faccin