Bob and Dolores Hope’s mushroomy Palm Springs house is hitting the market for the first time ever this month, but for even more than expected: $50 million (vs. the $45 million reported in November). The house was designed in 1973 (but not finished until 1980) by the magnificent John Lautner and “was built to resemble a volcano, with three visorlike arches and an undulating concrete roof, a hole at its center opening a courtyard to the sky,” according to the New York Times. The house also has a boulder that juts into the living room. However, Dolores Hope had ideas of her own and brought in a designer to change up the interior; while Linda Hope says they weren’t “major alteration[s],” Lautner “eventually distanced himself from the project.” Dolores also added a Garth Benton mural on the back wall of the bar and “a lush, greenhouse-like wall of plants in the spa, which houses a pool, a hot tub and an exercise area.” The house also has six bedrooms, 10 full bathrooms, three half-baths, indoor and outdoor pools, a pond, putting greens, and a tennis court.
Winners of the 2013 Restaurant & Bar Design Awards have been announced. Norman Foster’s Atrium Champagne Bar in London won for Best Bar.
Atrium Champagne Bar, London, by Foster + Partners, Overall Winner 2013 Restaurant & Bar Design Awards
There is an apartment in Le Corbusier’s famous Cité Radieuse (radiant city) in Marseille, which is almost completely preserved in its original 1952 condition. Appt. No 50 is privately owned and it is thanks to the generosity and passion of its owner/occupant that the place is made accessible to a wider public during the summer months of each year. As proof that Le Corbusier’s visionary Unité d’Habitation has the same vibrancy today as when it was originally conceived the apartment is turned into a temporary stage for the ideas and works of contemporary designers.
A short series of scenographic installations has been realized over the years; Konstantin Grcic’s project is the third in line following Jasper Morrison (2008) and Ronan & Erwan Bouroullec (2010). Apart from placing a selection of his favorite furniture and objects Grcic decided to tag the walls of the apartment with four blown up scans from an original punk fanzine.
“The punk motifs are tempting a slightly devious link between two completely unrelated worlds: Le Corbusier’s architecture and punk rock. Without forcing the idea of common grounds, I find that both have a rawness and uncompromising spirit which I have always found compellingly beautiful. Bringing both cultures together in this project felt most inspiring and, in the end, surprisingly fitting”, explains the designer.
15 July -15 August 2013, Cité Radieuse, Unité d’habitation, Le Corbusier Appartement 50, rue 280 boulevard Michelet, Marseille, Photography by Philippe Savoir & Fondation Le Corbusier / ADAGP, via: Domus
Galerie Vivid is very proud to be the first ever Dutch gallery to organize a comprehensive presentation of the Dutch architect’s original works. Many of his iconic designs will be on display. Amongst others his famous ‘Red–Blue’ chair, the ‘ZigZag’ chair and ‘Beugelstoel’. The works come from major Dutch private collections, most have never seen by the public before.
The generation that has known Gerrit Rietveld in person and worked with him is slowly disappearing. This exhibition will tell the story of these people, show their love for the work of Rietveld and let us admire the Rietveld furniture they collected. The collections represented include architects, previous employees of Rietveld’s architecture firm, teachers and traditional design dealers. One of the highlights of the exhibition will be Rietveld’s, monochrome black ‘rood-blauwe stoel’ designed in 1919, that was commissioned by the famous Dutch designer Kho Liang Ie in 1963.
Gerrit Th. Rietveld, Galerie VIVID, Rotterdam, Netherlands April 7 – June 2, 2013, via: Designartnews
In 1974, Harry Bertoia was commissioned by the Standard Oil Company to create sculptures for the plaza of their building, a modern skyscraper designed by architect Edward Durrell Stone. At the time of its completion just a year earlier, the Standard Oil Building (now the Aon Center) was the tallest building in Chicago’s skyline.
Bertoia designed eleven Sonambients for the 4,000 square foot reflecting pool at the building’s base, each sculpture ranging from four to sixteen feet in height. The verticality of the Somabients’ brass and copper rods echoed the height and rhythm of the Standard Oil Building itself, and their sound resonated throughout the plaza. The kinetic sculptures he designed for the Standard Oil Company were installed on June 24, 1975 and they represent some of the most important public commissions of Bertoia’s career. The plaza of the Standard Oil Building became among the most beloved public spaces in the city of Chicago until 1994, when the plaza was redesigned.
Wright is proud to offer three large-scale Somabients original to the Standard Oil commission (estimates range from $300,000-500,000 to $500,000-700,000 each). Six maquettes from the presentation Bertoia created for the project are also included in this auction, as well as eight unique sounding sculptures which he presented to the executives of the Standard Oil Company as examples of his work.
Harry Bertoia: Masterworks from the Standard Oil Commission is the second Wright auction dedicated exclusively to the works of this outstanding sculptor. Comprised of seventeen lots, the auction will take place on June 6, 2013 at 12 pm central. Gallery preview runs May 30 to June 5, Monday through Saturday and Sunday by appointment, Auction at Wright
Aiming to raise discourse on the future of design, Droog Lab went to Shenzhen, China, the epicentre of copycat culture, with the intent of copying China. The result is a collection of 26 works by Studio Droog, Richard Hutten, Ed Annink, Stanley Wong and Urbanus each taking copying as a starting point. From a classic Chinese teapot with an added robust handle by Richard Hutten, to an inverted Chinese restaurant that features a miniature table setting inside a fish tank by Studio Droog-each piece translates an essence of the original in a literal way.
Chinese companies and the government are working hard to shed their copycat reputation. But copying does not only produce exact replicas. Chinese imitation and pirated brands and goods often introduce novelty by adding something, upgrading, or adapting for another market. By linking copying to creativity, The New Original demonstrates that the process of copying is clearly more than just mere replication-it can be a real driver in innovation.
“We have reached a level of saturation in design and in the market, that it’s time to think more intelligently about what to do with the surplus, and use it in the design process. We should take better advantage of our collective intelligence,” states Renny Ramakers, co-founder and director of Droog. “Imitation can also be inspiration.”
Droog Lab: The New Original, March 9th – April 9th, 2013, at Hi space, zhen Jia shopping mall, 4th floor, No. 228 Tianhe Road, Tianhe District, Guangzhou, China
A solid-gold replica of the 1969 Apollo 11 Lunar Excursion Module, presented to astronauts Michael Collins, Neil Armstrong and Buzz Aldrin are the highlight of Out of this World! Jewelry in the Space Age, an exhibition of jewelry at the Forbes Galleries.
Depictions of bodies in outer space have appeared in jewelry since ancient times. The influence of the space race beginning in the late 1950s had a major impact on jewelry design and continues to do so today. This exhibition will trace space images in jewelry from the Georgian period through today and will include fine and costume jewelry from the 1960s through the present, jewelry being made by contemporary studio artists influenced by space, jewelry made from materials created by NASA for space exploration, jewelry with materials that came from space and jewelry flown in space by astronauts and more.
Out of this World! Jewelry in the Space Age, March 16 – September 7, 2013, at the Forbes Galleries, New York City
Kunsthal Rotterdam will be presenting a comprehensive exhibition to celebrate the 100th anniversary of the Dutch furniture brand Pastoe. Since it was founded in 1913, Pastoe has grown to become an internationally recognised designer label. The brand stands for simplicity, timelessness, quality and craftsmanship. Over the past years, Pastoe has acquired an excellent circle of designers including Maarten Van Severen, Shigeru Uchida and Scholten & Baijings.
The exhibition Like Pastoe illustrates the rich history of the furniture brand and provides an overview of the unique collaboration between Pastoe and various architects, artists and designers. The exhibition has been organised around the following themes: ARCHIVES, ENVIRONMENTS and VISIONS. In the ARCHIVES theme, Krijn de Koning presents the history of Pastoe using exceptional designs, advertising material, sketches, photographs and trade fair presentations. Within the ENVIRONMENTS section, Anne Holtrop projects Pastoe’s vision on the architectonic space. The exhibition’s installations represent an environment in which living, working, learning and creating are defined in a new way. VISIONS highlights the search for new perspectives on product development and includes work by various designers such as Naoto Fukasawa, Claudio Silvestrin and Scheltens & Abbenes.
Like Pastoe: 100 years of design innovation, February 23 – June 2, 2013, at Kunsthal Rotterdam
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Catherine Houard presents the first exhibition in Paris dedicated to Friso Kramer, the Dutch Master of Design. Born in 1922, Friso Kramer was the son of the architect Piet Kramer. He played a significant role in developing the national Dutch style, from 1940 until now. His ideas have constantly helped expand the modern aesthetics of the Netherlands. Kramer began his career as a designer in the industrial field in 1948 at De Cirkel’s, a manufacturer of steel furniture. In the 1950’s he joined the group ‘Goed Wonen’ (‘Good Living’) that was created to reinstall or recreate a good quality of life that disappeared during the war.
In 1953, he created the ‘Revolt Chair’, a popular icon of the Dutch style, at Ahrend’s and was featured at the Triennale of Milan in 1954. At the dawn of his 90th birthday, Friso Kramer is in the spotlight in the Netherlands. At the end of November, he was honored with a tribute at the Stedelijk Museum in Amsterdam and in the book written by Yvonne Brentjens ‘De Stoel van Friso Kramer / Friso Kramer Chair’ which has been just re-published in English and Dutch.
In 1998 Finland issued a design-themed stamp set which featured some of the most iconic works of local design history: besides product and textile designs by Alvar Aalto, Kaj Franck, Bertel Gardberg, Timo Sarpaneva and Annika Rimala, furniture design was represented by one chair — Yrjö Kukkapuro’s Karuselli.
The exhibition in the Museum of Estonian Architecture gives an overview of the interior architect and furniture designer Yrjö Kukkapuro’s artistic production which spans over 50 years. Starting with a student work from 1957 and concluding with a prototype specially designed and manufactured for the Tallinn exhibition, Kukkapuro’s long career is filled with independent experiments in the field but also includes positions as the chief designer of Haimi, Lepokaiusto and Avarte. Kukkapuro’s first successful collection Moderno was created in 1958-1960 and is still in production.
Kukkapuro’s oeuvre is like an X-ray of the design history of the second half of the 20th century. Pop-art influenced colourful plastic chairs, Karuselli, Saturnus or Chair No. 419 manufactured in the 1960s from fibreglass and ABS plastic using experimental methods are contemporary benchmarks carried by utoplan aspirations. The minimalist turn in 1970s abandoned artificial materials, new favourite was birch plywood. Remmi and Pressu models date from that period but at the same time Kukkapuro started decades’ long experiment to create ergonomic office chairs. Piaano, Fysio, Sirkus or Funktus are series which thoroughly redefined the understanding about typical office furniture. in the 1980s the wave of Postmodernism brought back colour, patterns and décor to Kukkapuro’s chairs. The 1990s are characterized by the abstract patterns printed on simple plywood form from
the “tattooed” chairs series and in the 2000s the explorations in materials continue. New favourite is bamboo from which there is a series specially made for Chinese market.
Some of the earlier chairs of the still tenaciousiy active Yrjö Kukkapuro have become design classics which are sought-after in online auctions and vintage furniture stores, at the same time being exhibited in renowned design museums from London to New York. The exhibits, prototypes as well as production models, of the Tallinn exhibition are mainly from Kukkapuro’s personal collection which he has gathered in his atelier over the years.
Yrjö Kukkapuro Furniture, Jan 11 – Feb 10, 2013, at the Museum of Estonian Architecture, Tallinn, Estonia