With its spaceship-like design, rock and sci-fi melodies and innovative resonance soundboard, MusicMachine 2 (MM2) boldly goes where no music box has gone before. Underneath its futuristic guise, MM2 features all the traditional elements of a beautifully-crafted, high-end music box made by Reuge, the music box manufacturer with nearly 150 years of expertise and experience.
MusicMachine 2 is powered by two independent movements mounted on the starship’s tail section. Each cylinder plays three melodies: themes from Star Wars, The Empire Strikes Back and Star Trek, on one ‘channel’; Led Zeppelin’s Stairway to Heaven, The Rolling Stones’ Angie and The Clash’s Should I Stay or Should I Go? on the other. Small wonder: MM2 was conceived and designed by MB&F and its songs have been selected by their rock ‘n’ roll founder and sci-fi fan, Maximilian Büsser.
One of the biggest challenges of MusicMachine 2 was in amplifying the sound. An ingenious solution was raised and developed by Jeanmichel Capt of JMC Lutherie, who created a bespoke soundboard featuring NomexTM – a type of honeycomb-structured Kevlar – sandwiched between two resonant 350-year-old spruce membranes. Only one in 10,000 spruce trees has the exceptional acoustic properties required.
MusicMachine 2, limited edition of 33 pieces in white and 66 pieces in black, by MB&F
The Barcelona show is something of an intervention, with a diagonal walkway slashing across the famously rectangular floor plan to set up a dialogue with the solitary existing sculpture in the Pavilion, Georg Kolbe’s ‘Alba (Dawn)’, which stands on a small plinth in the smaller of the building’s two reflecting pools. Veilhan has reinterpreted Kolbe’s figure in four figures of descending scale, using different materials in a homage to Mies’ simple, rich palette of glass, steel and marble. The pools have been partly built over, offering visitors new perspectives on spaces made iconic through photography, reproduction and imitation.
‘My curatorial role was focused on researching together with Xavier Veilhan about the history of the pavilion, the characters and conditions that defined its design and how we could connect with that through our project,’ Gonzalo Herrero Delicado explains. ‘It was also important for the Barcelona installation to create a conversation with the rest of the exhibitions.’ The architect oversaw all aspects of the project, from liaising with the MvdR Foundation to secure permissions to finding the local architects, MAIO, to build the final design.
Xavier Veilhan. Architectones, at The Mies van der Rohe Pavilion, Barcelona Spain
Photography by Florian Kleinefenn
The primary organizational elements for this residence are two “L” shaped brick walls connected by a glass enclosed bridge. Mahogany clad walls combine with the smaller “L” to provide a service volume while glass walls combine with the larger “L” to create the primary living spaces and to provide southern and western views toward the lake. The experience of arrival and the wall are intertwined as the wall establishes a threshold between the pine forest and views toward the lake. Entrance to the house is through the wall and into a space that divides the program of the house into public and private realms.
The entry, living and sleeping spaces are arranged linearly to maximize lake views and to take advantage of the southern exposure. The second floor roof and exterior walls are wrapped in copper with fully glazed east and west walls inset from the ends of the copper volume. The glazed wall at the east end provides an abundant and high source of light into the double height entry hall while the glazing on the west end provides light to two bedrooms and views of the lake. The sloping roof and canted front wall are designed to deflect fierce north wind and shed water from intense storms. The geometric volumes are connected to the landscape both by the views from the interior and accessibility to the outdoors.
Throughout the project detailing is minimal and precise. The spaces are ordered and there is a juxtaposition of solidity and transparency. The rigor of the design, the linear organization of spaces and the continuous presence of the wall provide a sharp and intended contrast to the irregular beauty of the landscape beyond. It is this contrast between an ordered human dimension and an unstructured natural condition that elevates our understanding and appreciation of both.
The Buisson Residence, Virginia, by Robert M. Gurney
Photography by Paul Warchol and Maxwell MacKenzie
In a distinct artistic approach that highlights geometry, architecture and engineering, Benedict Redgrove has captured some of the company’s most radical concept cars from the 1960s and 70s – some never seen before – including designs for Alfa Romeo, Lamborghini and Lancia. The series of images which was originally commissioned by Wallpaper Magazine, exudes a specialty in styling, coach building and manufacturing, with Bertone’s vision categorized by abstract angular frameworks, a use of unique materials for standard auto parts and super-sleek interiors built for luxury and functionality.
Photography by Benedict Redgrove, for Bertone Concept Car Design Studio
The home was commissioned in 1956 for Kenneth Reiner, who made a small fortune on ladies hair clips and aviation patents. He worked very closely with Lautner to create this house, and Lautner built elements into the home specifically according to Reiner’s specifications; in the event that the equipment didn’t exist to meet those specifications, Reiner would often design and make the necessary piece for Lautner. Some Reiner – designed elements in the home include “lights that pivot into the ceiling, and electrically-controlled skylights.”
The result of all the efforts of the two men was an incredible home, with “faucet-less sinks that automatically filled with water; a dining table with a hydraulic pedestal that was lowered for cocktails and elevated for meals; a system for heating and cooling that could not be seen or heard; and controls for lights and appliances that were discreetly set into walls and doors jambs,” plus a cantilevered driveway, as the LA Times noted in their obituary for Reiner, who passed away in 2011.
The site, located on an exposed cliff edge overlooking a rocky peninsula, is perched above a dramatic seascape with spectacular views. The site is 1 of 6 exclusive use areas permitted on this reserve. The place is characterized by its rolling landforms and the dense indigenous vegetation of extraordinary variety. “Great care has been taken to promote the natural attributes of the site with the use of materials to complement the natural colour pallet and textures of the site to provide the least impact both during construction and after completion. The approach has therefore been a pavilion that blends with and does not overpower nature with a cohesive architectural character where it comes to scale, proportion and the articulation of the building form. It is airy, yet firmly anchored into the landscape by means of heavy stone clad walls,” says partner Stefan Antoni.
The location of the site invited large glazed areas and extensive use of outdoor spaces, with each aspect of the house having a private terrace or deck. The open plan linear composition of the interior spaces allows views from every room. To take advantage of the sea and surrounding golf course views and to provide protection from the extreme Cape Coastal climate, the living spaces were designed with South West/North East orientations, resulting in an open flowing space with both uninterrupted sea facing terraces and protected courtyards. This allows the house to ‘live’ on both sides with the main living spaces forming the link between inside and outside. The orientation gives the owners the option of sheltered courtyards on the leeward side in poor weather conditions or the use of extensive terraces on the windward side on sunny and wind free days. The through-views also ensure that one always experiences the sea and adjacent rolling landscapes taking opportunity of the site.
Cove 6, Knyzna, South Africa, by Stefan Antoni Olmesdahl Truen Architects
Photography by SAOTA
The 11+ World Clock reinterprets the traditional functionality of the clock by creating a unique and playful interaction between the user and the design. Although the face of the World Clock may not seem out of the ordinary, its cylindrical body allows it to display 24 different time zones via a clever rolling mechanism. Independently working hands allow the clock to be quickly rolled back to any of its 24 time zones, while immediately transitioning back to the local time.
11+ World Clock, by Cloudandco
Munich-based designer Konstantin Grcic has developed a new color palette for the ‘Diana’ side table series and the ‘Pallas’ table by Classicon. The collection of powder-coated, sheet metal furniture pieces comprises of honey yellow, signal white, ocean blue, coral red, bronze-brown, chocolate brown and white aluminium colorways. Constructed out of steel, the ‘Pallas’ table reveals itself with detailed kinks and notches; the tactile appeal of the powder coated metal surface gives way to smooth lines, stimulates and engages conversation from the wide, proportionate seating arrangement. ‘Pallas’ is also available in an outdoor variation with a galvanized steel finish.
For the project, Studio Makkink & Bey developed a series of spatial installations that transform the historic Hôtel chambers into lively public spaces. Carpets and curtains create rooms within the room. Antique pieces are scattered throughout, reflecting the past, and new furniture by Prooff “inspire and stimulate the functions of today and tomorrow.”
“Invited by the The French Artistic Nationale Commission Makkink & Bey furnished the main room as well as 23 working/meeting rooms of Hôtel Dupanloup by creating eclectic three dimensional collages of furniture; amongst others Prooff Worksofa’s, EarChairs and SideSeats in new colourschemes, a ‘Dupanloup chair- and table’ specially designed for the project, antique pieces of furniture, a special edition of the Tree trunk Bench and re-designs made of Ikea furniture by students of École Supérieure d’Art et de design d’Orléans that participated in a summer workshop with Studio Makkink & Bey.
Carpets and curtains outline the reprogrammed spaces and introduce a new heraldy that narrates about the content of the local archives (such as from the local Fine Art Museum, the Frac Centre and the House of Jeanne d’Arc). The spirits of the past and present are merged and create rich contexts for researchers -and visitors of the International Research Center of the University of Orléans to meet- and work in. Even when not in use these ‘room in a room’ interiors are intriguing spatial still lifes that portray several layers of time, or as Director of Cultural Affair of the Centre Region Sylvie Le Clech describes them; ‘A treasure hunt across centuries’.
Hotel Dupanlou, Orléans, France, by Studio Makkink & Bey
Photography by Ministère de la culture et de la communication / Drac Centre, François Lauginie, Studio Makkink & Bey