The jewelBOX accommodates two contradictory concepts. A monolithic mask, the building’s exterior versus a fluid interior. The mask reveals the ground floor volume through an ornamental iron gate. A black rectangular column redirects the visitor towards its two sections. The retractable iron gate exposes another metal canterleveled ‘sculpture’ that, along with the linear lighting, leads to the first level.
A dark wooden surface running along the wall masks the elevator door, frames the entrance and literally invades the otherwise bright light coloured space. At this point the visitor is ‘trapped’ within two perforated elements that mark the waiting area through which he can get glimpses of the white landscape wrapping around the perimeter of the space. This synthesis is abruptly interrupted by the roof that shoots up revealing the bright light coming through the huge glazing that frames the city.
Jewel Box, Kifisia, Greece, by Panos Nikolaidis & Errica Protestou
Photography by George Fakaros
The light, which is crucial, is the centerpiece of this reflection. Crashing into a normally inanimate object, full and dark. Here, in the light of memories, born in a completely different from the original, Sbarbino, a lamp shaped design and a shaving brush. Anchored between historical memories of barber uncle and moved by the news that Milan would have closed the Old Barbershop shelf, shop in the historic heart of the city, Vito Nesta, redesigns in an accurate version outsized, with its sinuous glass and ceramics wave finely coated with silver, a small object totem for craftsmen in the industry, in a role completely different light.
Sbarbino, by Vito Nesta
In completely switching the expected logistics and experience of a house, local studio anonymous architects have recently completed the car park house in the mountains just outside of Los Angeles. Complying with local code which calls for two private parking spaces, and having a steep site overlooking the san Gabriel mountains, the order by which the owner circulates through the house is reversed – the garage is an open-air deck level with the street giving entrance to the living spaces below. The structure rests on large concrete piles driven into the mountain side; a steel frame provides the necessary support for the various cantilevers that extend out over the valley, made liveable by wooden floors and walls. A row of apertures in the roof bring in natural light to the spaces more proximal to the hillside that would otherwise not receive as much illumination. The stairs are located along the northern wall giving access to the interior that leads directly to the open kitchen area. an outdoor terrace past a curtain wall provides unbeatable views over the city while the private bedrooms are reserved to the hillside.
Car Park House, Echo Park, Los Angeles, California, by Anonymous Architects
Photography by Steve King
“These vases follow my personal research on glass. Two of the most famous traditions in glass working are in Finland and in Italy, so this family of vases wants to be a homage to the work of nordic masters like Tapio W., together with the work of italian glass blowers. In the sixties and seventies wonderful pieces came out from the collaboration between designers and glass manufacturers: this was my inspiration so I tried to do a collection of vases with simple, archetypal shapes, but giving a modern taste “exagerating” the heads and emphasizing with colors like metals.” – Giorgio Bonaguro.
Tapio Vases, by Giorgio Bonaguro
Photography by Andrea Basile Studio
“Mount Etna is a mine without miners – it is excavating itself to expose its raw materials.” Studio Formafantasma, in collaboration with Gallery Libby Sellers, present ‘De Natura Fossilium’ – an investigation into the culture of lava in the Mount Etna and Stromboli regions of Sicily, two of the last active volcanoes in Europe.
Formafantasma questions the link between tradition and local culture and the relationship between objects and the idea of cultural heritage. De Natura Fossilium is a project that refuses to accept locality as touristic entertainment. Instead, the work of Formafantasma is a different expedition in which the landscape is not passively contemplated but restlessly sampled, melted, blown, woven, cast and milled. From the more familiar use of basalt stone to their extreme experiments with lava in the production of glass and the use of volcanic fibers for textile, Formafantasma’s explorations and the resulting objects realise the full potential of the lava as a material for design.
‘De Natura Fossilium’, by Studio Formafantasma, for Gallery Libby Sellers, London, Photography by Luisa Zanzani
This 1960’s Hugh Kaptur ranch house was in quite a state of disrepair when it was purchased as a foreclosure. It had been “remuddled” several times, featuring electrical wiring run on the outside of walls, awkward closets added in every room, and poor design choices highlighted throughout. It was stripped of all finishes and some minor layout work was implemented. It was restored to its mid-century glory with modern, but period-appropriate, finishes and materials. Furnishings are a mix of vintage and new, mostly sourced from eBay and local Palm Springs vintage boutiques. It’s intended use as a vacation home provided some extra latitude for whimsy and use of color. The original architect came to view the home at the end of the project and was highly complimentary.
In a constant game of fusion between inside and outside, the project responds to the challenge of keeping privacy between four close neighbours without losing the spectacular views of the surrounding landscape.
The idea was to create a single plan for all the houses that should work as a unity taking advantage of the diagonal of the plot. By doing so the wall of the neighboring house could become an interesting space for the adjacent house, in a delicate game of constructed and empty spaces. The house is relatively narrow but very rich in paths and views. The section demonstrates quite clearly this division of spaces. A central patio becomes an interior garden while bringing abundant light to the core of the house.
The spaces are developed with diagonal views to other spaces. The materials and textures delimitate intimate and public spaces, by the use of wood and stone. The façade is made of bricks. It’s a beach house that has a strong Brazilian character through a contemporary vocabulary, taking advantage of our particular climate and unique landscape.
Beach House, São Sebastião, Brazil, by Studio Arthur Casas
The residence overlooks a mountain lake with expansive mountain views beyond. The design ties the home to its surroundings and enhances the ability to experience both home and nature together.
The entry level serves as the primary living space and is situated into three groupings; the Great Room, the Guest Suite and the Master Suite. A glass connector links the Master Suite, providing privacy and the opportunity for terrace and garden areas.
Piedmont Residence, Blue Ridge Mountains, North Carolina, by Carlton Architecture+Design
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