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.
Capsula Pendant Light, by Lucie Koldova, for Brokis, Photography © Lucie Koldova / Brokis
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
Friedman Benda will present Paul Cocksedge: CAPTURE the British designer’s inaugural solo exhibition, the works include Capture, a 5 ¼ ft (1.6 meter) hand-spun aluminum dome that appears to “hold” the peaceful glow of a warm white light. The piece is informed by a process of reduction–a recurring theme in Cocksedge’s work–as it subtracts the typical infrastructure around light, instead creating a hemisphere that seems to stop light from escaping. For White Light, Cocksedge will create a room within the gallery in which everything and nothing changes. For this work, the designer will create an illuminated mosaic of precisely calibrated and positioned colored panels on the ceiling of the gallery. The ceiling will slowly fade from a spectrum of colors to a warm white light, while the room itself will remain unchanged, demonstrating the ways in which we do and do not perceive the interplay of color and light.
The inspiration for Poised comes from the elegance and amenability of paper. Half a ton in weight, the steel table appears improbable upon investigation. Created following an intensive series of calculations regarding gravity, mass, and equilibrium, the table looks as though it is about to fall, but is perfectly weighted and stable.
In addition to these new works, Cocksedge will present three architectural models that take conceptual threads from Capture and White Light and reapply them to architectural settings outside of the gallery space. Central to Cocksedge’s work is an appreciation for the ways in which people respond to and interact with his designs. As a result, potential real world applications of these new works will be explored in a series of architectural models.
The OSLO sofa is designed by Anderssen & Voll and becomes the third sofa series this Norwegian design studio creates for Muuto. OSLO consists of a 3-seater sofa, a 2-seater sofa, a chair and a pouf, all with build in pillows that makes each furniture comfortable and airy at the same time. OSLO has a round and embracing top, upholstered in fabric from Kvadrat. The seats are lifted up from the ground by slim legs of aluminum. OSLO has multiple functions and works well both in a home setting, in a reception, in a lounge area, or in a lobby.
Anderssen & Voll explain the design “We wanted to make an organic and human sofa series with a light and inviting appearance, without compromising on comfort. The horizontal division in the seat is important, as it allowed us to add extra comfort in the lower part of the furniture while maintaining an airy overall expression. The OSLO sofa series is crafted in the west coast of Norway and with its embracing and rounded softness it stands as a natural extension to the Nordic touch and friendliness that characterises the designs of Muuto.”