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
Concrete envelops the building, like weathered skin tanned by Portugal’s climate. The skin has wrinkles and flaws that trap the light. This denotes its strength of character. Below the day zone exposed to air and light, lies an underground family room. It acts as a rest-stop before reaching the bedrooms. The sofa invites us to sit for a moment and unravel the secrets of the raw material, the only décor. The bedroom includes a bath and shower. Everything is incorporated into a single room to save on space. This is what counts. The central block of the day zone supports the roof, like an umbrella encircled by a crown of luminosity. In the dead of the night, you may well think a star has landed on earth.
Rainha, Portugal, by Atelier d’Architecture Bruno Erpicum & Partners
Photography © Jean-Luc Laloux
The new installation ‘De-Evolution,’ by American designer Brad Ascalon, is a thematic follow up to ‘The Dream,’ a piece which was created for an exhibition at Gallery R’Pure during New York Design Week in May of 2012. De-Evolution takes a critical jab at the increasing political, environmental and ethical deterioration that continues to be tolerated in America, while at the same time it pays homage to the country’s underlying beauty. The piece was created and will be exhibited with the support of the famed Italian fabric house Dedar, as well as the organizing committee of Moscow Design Week, which invited Ascalon to exhibit as the sole American design delegate for 2013.
De-Evolution, by Brad Ascalon, Moscow, Russia, October 11-17, 2013, Artplay Design Center
Bitterli House, Zurich, Switzerland, by Roger Stüssi, Photography © Bruno Helbling
Traffic is a collection of furniture using wire and upholstery. The correlation between the three-dimensional line drawing of the metal rod and the geometric volumes of the cushions marks a significant shift from the common connotation of wire furniture. The unassuming simplicity of its conception impart a pleasant casualness. The refinement of detailing and carefully tailored proportions stimulate a resounding elegance. The inherent logic of construction creates a formal grammar which allows for a number of functional declinations to form the Traffic collection: an armchair, a two seater sofa, a small bench (which also serves as ottoman), a chaise longue. All pieces are available with upholstery in fabric or leather. The metal structure is either powder coated (in high gloss colours) or chrome plated.
Traffic Collection, by Konstantin Grcic, for Magis
Situated in Heringsdorf, a spa on the island of Usedom, Villa Oppenheim is one of the finest examples of the historic spa architecture of the German Baltic. We have renovated the villa at the front of the main promenade of the popular resort on the basis of its original design, restoring it to its original use as an exclusive, private holiday residence. To create a house as a unified whole, Pott Architects also took on the custom-made interior design of the villa. This included the design of kitchens and baths, even an in-house wellness area, down to the furniture and every last detail. We have succeeded in maintaining the character of the house while adding new elements to create a modern appearance. The result is a shining example of a 21st century spa in the lovely setting of the Usedom holiday resort.
Villa Oppenheim, Usedom, Germany, by Pott Architects
Photography © Sebastian Treytnar, KLAFS
A universal floor lamp with a “trick” in an extruded and textile covered plastic profile, which carries the LED head: moving the head along the profile changes its orientation continuously. Rope Trick floor lamp serves as a reading light next to a bed, a chair or a table. After sliding the head in its up-most position, the light is cast upwards onto the wall or ceiling which creates an indirect atmospheric illumination.
Rope Trick Lamp, by Stefan Diez Office, for Wrong for Hay
Romolo Ferri folds down into his Lambretta Record, and takes a deep breath. It is August 8, 1951, and the brave pilot intends to break the speed record for the scooter category, on a stretch of motorway between Munich and Ingolstadt, Germany. His toughest competition is Piaggio’s Vespa Torpedo. But the real challenge is winning against himself, as he already reached 195.8 kilometers per hour a few months earlier, on French soil. This time, his goal is to exceed 200. The red bullet – made of rubber, metal and plexiglass – slices through the air and reaches 201 kilometers per hour. It is a source of pride to the Lambretta Record’s manufacturer, Innocenti; to its inventor, engineer Pierluigi Torre; and of course to Ferri, who will continue to set records with his full-throttle, red Lambretta.
Lambretta Record Racer, via: Italian Ways
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.