Over the course of… four years, George Nelson, along with his associate Gordon Chadwick, would execute a highly personalized design-a home tailored to the members and lifestyle of the Kirkpatrick family. This itself is not remarkable-it could be said of any architectural commission. What makes the Kirkpatrick House so special-then and now-are the universal qualities that transcend the specifics.
The best Nelson designs, be it a clock, chair, or in this case, home, share that same elusive trait. His view of design allowed for both modular system and mannerist quirk. As an “architect in industry” (as he categorized himself in the introduction to the 1948 Herman Miller Collection catalogue), Nelson was responsible for creating-and making salable-consumer goods. In the Kirkpatrick House, it becomes clear that this mentality affected his practice of architecture in equal measure. A product had to be unique to stand out in the market, but it also had to appeal to a wide array of people to be successful. Even in the execution of this private home for personal friends, Nelson’s brand of modernism embraces this duality fully.
Kirkpatrick House, Kalamazoo, Michigan, by George Nelson, Gordon Chadwick
via: Herman Miller
In the heart of Le Marais, architect Fleur Delesalle just completed construction of a place of warmth that combines the best of contemporary creation, on earth as “in heaven”.
Japanese designer Tokujin Yoshioka has created a boutique for Issey Miyake, stocking the more experimental and unusual creations from the legendary designer. Yoshioka wanted to play on the idea of shopping in laboratories, so he designed the Issey Miyake Reality Lab. with a clinically themed interior divided into blue and green coloured zones, he describes “the contrast between the texture of peeled wall and the futuristic coloured aluminium expresses contrast between history and future.”
Issey Miyake Reality Lab, 5-3-10 Minami Aomaya, Minato-ku, Tokyo, by Tokujin Yoshioka, Photography by Masaya Yoshimura
Mathieu Lehanneur and Pullman reinvents meetings with the ‘Business Playground’ room as a perfect illustration of the “blurring” of private and professional life. This room reflects the brand’s ‘Work hard, Play hard’ motto as well as its guests’ lifestyle. It combines performance and pleasure with a fresh take on the traditional aspects of a meeting: a meeting table designed like a poker table, a private area for informal conversations or breaks, and a cabinet of curiosities. All these features are designed to stimulate creativity and reinvent international hospitality codes. The Pullman London St Pancras will premier the ‘Business Playground’ room from November 2013, before it is gradually rolled out across the network starting in 2014. Pullman is an event organization expert, with over 30,000 events organized in its hotels. It aims to offer a unique meeting experience and remove the increasingly artificial barrier between work and relaxation. The ‘Business Playground’ room is a far cry from very formal conventional meeting rooms and disrupts the codes of business with style by focusing on defining elements and unique furniture create specially for Pullman.
Next to Schiphol, Amsterdam’s international airport, Powerhouse Company designed Art Warehouse, a new space that combines art storage, meeting rooms and exhibition space. LiNK Art Company is an art consultancy for businesses, institutions and individual clients, providing a wide range of art services. Together with Studio Rublek – architectural light designers – they asked for a new space that is efficient in storing art and also serves as a maximized showcase for guests. The paradox of efficiency and beauty is solved by creating a grid based on shelving systems and placing a modern pavilion in the center of the space. The ground level handles all logistics and situates the storage facility. This specially designed depot fulfills the highest standards for art care, maintenance and storage. The walls of the pavilion are used to exhibit a selection of the available art pieces. Different lighting fixtures, from Studio Rublek, illuminate the art. The walls also create two meeting rooms in the heart of the pavilion. These meeting rooms can be divided and closed off with sliding doors integrated in the walls. The first floor, with its mirror glass outer edge, serves as a terrace in the space. This terrace provides an extension of the exhibition space where special pieces – like design furniture and contemporary sculptures – can be exhibited. The space also gives a panoramic overview of the currently stored art. With all these different spaces and functions, Art Warehouse is a multifunctional framework for meetings, exhibitions, art storage and light design in an existing warehouse building.
Art Warehouse, Schiphol, The Netherlands, by Powerhouse Company
Photography by Christian van der Kooy
The project is the design of a 1,280 sq.ft. condo, located on the ground floor of a triplex in Montreal. The mandate was to divide each living area in order to maximize while maintaining the architectural integrity of the existing location, each room with natural light. The concept was to highlight the raw materials, discovered during the demolition (brick wall, wall hemlock and steel structure), in order to communicate their material, their relief and color environment.
Upon entering the hall is semi-closed hall, so that it has an overview of the condo. The open kitchen is the focal point of the space; it unfolds on the dining room and living room, where the master bedroom fits. It is bounded by a glass wall which preserves the view of the bare brick; an archaeological reminder wanting to highlight the existing raw materials as an exhibitor showcase. A green velvet sofa, two vintage chairs and a bookshelf that leans against the bedroom wall bound the living room.
On the ground, a radiant hot water heating system was installed under a concrete slab which was covered by a light gray epoxy and polyurethane matt finish to replicate the natural color of concrete. The primary and secondary bedrooms, as well as the bathroom, are glossy white epoxy to distinguish the private area of the common space. The steel beam, flameproof, delimits the passage area. In the corridor leading to the bathroom, a light-emitting diode was installed in the recessed ceiling for a more intimate setting, which features the original hemlock wall.
Tone on tone, glossy black kitchen cabinets and electrical appliances are blended. The cooktop with integrated sub-hood, allows maximum exposure of brick wall, the backsplash, lit by a light-emitting diode recessed in counter. The dining table becomes the visual continuity of the kitchen island. In the bathroom, custom-made stainless steel countertop and bath rectilinear shapes are stacked on each other, forming a sculptural composition. On the floor, a white epoxy and in the shower a dark grey epoxy were applied. The contrast between these two colors form a psychological boundary of two areas: one is clear and bright, the other, darker, creating a private area for the shower and toilet. The window allows natural light in the room while preserving the intimacy of the space, with a frosted film.
Espace St-Denis, Montreal, Canada, by Anne Sophie Goneau
The McCann Erickson Headquarters in New York. It’s the first corporate headquarters undertaken by Design Research Studio, the interior and architectural division of Tom Dixon, alongside US architectural firm Gensler.
McCann Offices, New York, by Design Research Studio
The Milan flagship is fluid and playful. A dialogue of geometry and materiality creates an enchanting rhythm of folds and recesses further shaped by functional and ergonomic considerations. Modular display units showcase shoes and also provide seating, while a seamless integration of diverse forms invites our curiosity. The juxtaposition of these distinct elements of the design defines the different areas of the store. Rooted in a palette of subtle monochromatic shades, Zaha Hadid created an interior landscape of discovery centred on two separate zones to enhance the relationship between the customer and the collection.
Experimentation with materials and construction technologies further define the unique space. The curved modular seating and freestanding display elements have been constructed from fibreglass dipped in rose gold – a technique similar to that used in boat manufacturing. Also, the glass-reinforced concrete (GRC) of the store’s walls and ceiling expresses solidity whilst at the same time the delicate precision of complex curvatures focus on special areas for display.
Stuart Weitzman Flagship Store, Milan, Italy, by Zaha Hadid