A limited edition of Love Me More bedding and the Forever Bed by Nika Zupanc is part of an exhibition at Museo Bagatti Valsecchi. They were developed in cooperation with Dormeo and commissioned by Rossana Orlandi. Nika Zupanc said about the joint project: “On a symbolic level, I tend to work with things that form our secrets and our cravings. Thinking about sleeping and dreaming, I was inspired by the beauty and pain of loving – as it is today and as it has been throughout history. I was moved by the strength of the chemistry between two people and by the madness of their passion. These themes are the foundations of the Love Me More project and are reflected in the design of the bed that can be closed up and hidden away. The restrained, even monastic look of simple, iconic blankets and linen was taken to an unexpected level through the combination of the innovative Octaspring technology and super elegant, long-lasting materials”.
The limited edition of bed linen was designed exclusively for Dormeo and is based on Octaspring, a game-changing technology that inspiringly replaces both metal springs and memory foam as a favourite choice for products made for sitting and sleeping.
Love Me More Bedding, Forever Bed, by Nika Zupanc, for Dormeo, Commissioned by Rossana Orlandi
Diatom, a stackable aluminium chair, takes its shape from the frustum of a diatom, this primordial single-cell organism with silica skeleton found in bodies of water the world over. Refined ornamental geometry in three-dimensions, a marvel of structure devised from exploring the rules of mathematics that dictate the vegetative development of living organisms.
Production adopts a technology developed in the automotive sector to reduce both the weight and the production cost of the seats; die-cast aluminium sheeting ensures the lightest weight and eliminates the need for steel while ensuring equivalent levels of performance.
Diatom, Stackable Aluminum Chair, by Ross Lovegrove, for Moroso
The aim was to create a multifunctional space that provided an experiential opportunity for the visitor so they could appreciate, to the full extent, the inherent beauty of the landscape. Simplicity is essential to the success of the project. The approach was to maintain simplicity through each stage of the design process in order to create an elegant, unobtrusive incision into the landscape setting that allows for both prospect and refuge.
The use of the pavilion is multifunctional. The design needed to be flexible and adaptable to accommodate for various uses during the changing seasons through out the year. Site selection was critical from an existential and sustainability perspective. The location was selected for it’s remoteness, opportunity for prospect, and orientation to the sun and prevailing winds.
The materiality was selected for the inherent tellurian characteristics to harmonise the building to the natural setting. The geometry itself is simple. The building is essentially two bisecting rectangular prisms, one created from composite steel, concrete and glass, and the other a sandstone cladded core. The structural solution was derived from a rationalised ‘grid’ system.
Wirra Willa Pavilion, Somersby, Australia, by Matthew Woodward Architecture
Photography by Murray Fredericks
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
The highlight of this adaptive re-use project is the introduction of a new façade that enables the circa 1950′s building to morph from an enclosed structure into an environment that invites the community into the space. The transformation was achieved by essentially replacing the entire front façade with a double-height, double hung floor-to-ceiling window wall that can be raised or lowered depending upon the needs of the user. The wall is operated by engaging a pedal-to unlock the safety mechanism- then turning a hand wheel which activates a series of gears and pulleys that opens the sixteen-foot by ten-foot, two thousand pound window wall. In addition to the front façade, other changes to the building included raising the roof by half of one story to create a better proportioned interior volume, and installing skylights to bring in more natural light.
242 State Street Building, Los Altos, California, by Olson Kundig Architects
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
For this residence, light, transparency and continued spacial flow was vital. Privacy was also a concern since the residence is located in a tight urban location. The solution was to create open, fluid interior spaces, both horizontally and vertically and then to wrap it all in white masonry. This white veil is scored with window bands that allow abundant natural light, yet because of strategic locating, provide privacy and eliminate the need for window treatments. The light filled white interior is strengthened by the use of reflective white surfaces and the use of glass railings. The main central stairs is clad in glass, both clear and opaque to again maintain privacy but allow natural light.
Bucktown Three Residence, Chicago, IL, United States, by Studio Dwell Architects
Photography by Marty Peters