“The name, Prehistoric Aliens, was inspired by Peru’s fantastic cultural heritage which often seems very mystical and ancient to our western eyes. The small coffee tables are almost like small spaceships that have just landed, with their leader, The Robot.”
Iittala is proud to debut Leimu, a new lighting piece by young Norwegian-born designer, Magnus Pettersen. As its flame-evoking name suggests, the copper-brown Leimu creates a relaxed atmosphere for enjoyable moments in good company. With its strong concrete base, the impressive glass lamp portion, inspired by traditional lampshades, makes Leimu a brand-new lighting fixture where sensitivity encounters strength.
Concrete is a captivating material for Pettersen: “It has a raw and cold feel to it. The union of glass and concrete is well known in architecture, but it isn’t necessarily always beautiful. I wanted to smoothly combine opposites in a lamp and show that fierce and sensitive, cold and warm can work well together.” Contrast fascinates Pettersen, whose studio is based in London. His style is referred to as “industrial luxury” because opposites are a recurring feature in his work. He looks at how well different materials or colours merge in an interesting and functional way without prejudice.
From a technical standpoint, harmonising the stem and glass portion was not easy. “Glass is a great material, but it is also very challenging because it is alive and it makes accurate dimensioning very difficult. However, through the know-how of and good communication with Iittala’s glass factory, we were able to combine concrete and glass into an elegant whole.”
The project is the addition of a dining room, reading room and two bedroom suites to an existing 1948 adobe-brick house. It employs the material and formal language developed for a previous addition (the ‘Box Office’) completed in 2011: spare, platonic boxes of a perceptual mass defined precisely at their junctions to openings with a material thinness.
Four volumes control view and orchestrate movement through their various internal and external alignments. The reading of the solid/void relationship oscillates between additive and subtractive processes–on the one hand understood as a series of connected volumes while on the other seen as an initially pure box from which two L-forms are removed. The result is a rhythmic reciprocity between interior space and garden.
TP-H Residence, Palo Alto, California, by Jermyn Manthripragada Architecture, Photography by Lucas Fladzinski
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
Fashion icon Tom Ford, the ardent perfectionist credited with turning around a flagging Gucci and reinvigorating Yves Saint Laurent, is, unsurprisingly, just as exacting about his residences, but has largely kept them out of the limelight. That changed last year when he revealed his Santa Fe ranch in a guest-edited issue of French Vogue. Ford grew up in Austin, Texas, but would travel to New Mexico frequently to visit his grandmother. Evenutally, Ford’s father moved to Santa Fe, and the designer purchased a large tract of land south of town on which he constructed this dreamland of a ranch. Designed by Japanese architect Tadao Ando, the equestrian facility lies amid a 24,000-acre private tract, where classic Westerns like Silverado, Wyatt Earp, and 3:10 to Yuma were once shot. Ford spends roughly a quarter of the year on the ranch.
Normally, when we look at clouds, we seek organic shapes, similar to objects of living beings. In this case, the creative process has been reversed: this is a special object which, during its creation, revealed all its potential. “Cloudy is a paradox! – explains young designer, Mathieu Lehanneur – This lamp has been created using extremely complex steel moulds, which have given it an almost magical lightness, a glass cloud floating in the air”.
An object-lamp therefore which, from the pencil of the designer to its engineering and manufacture, has taken on the shape of a light and evanescent cloud. “By mixing together clear white glass with high-luminosity LEDs – explains Mathieu – Cloudy is a ray of sun after the rain!”
The Cloudy “cloud”, when switched on, thus reveals all its luminosity and evokes sunlight after the rain. A design lamp containing in itself a positive sign of hope and optimism. Cloudy, available as a suspension lamp or light fitting, features gradient white blown glass and die-cast aluminium structure. It is lit by high-power LED lamps.
Cloudy Pendant Lamp, by Mathieu Lehanneur, for Fabbian
…a minimalist masterpiece, free of any physical clutter but filled instead with light, shadow and sculptural forms. The architect’s reductive, contemplative, near-ecclesiastical spaces can be found across the globe. He has designed beautiful residences from Moscow to Majorca, and currently on his drawing board is a Miami home for Kanye West. Silvestrin’s signatures are employed in his own home to full effect: the vertical is emphasized in columns of material that lend the double height living space an air of classical structure; the horizontal is emphasized by a parapet that extends the length of the living space. Monolithic forms that reference the ageless minimalism of Stone Henge and The Parthenon are everywhere, while his use of materials such as stone and wood bring raw and harmonious results. Groceries and even an extensive library of philosophy are hidden behind paneled doors. Only the occasional Wegner chair or Calder mobile breaks through the interior’s clean planes. “This is a space to reflect in,” says Silvestrin-one where guests quickly shed the hubbub of the London streets below and in which, he confesses, they always seem to linger a little longer than intended.
Zacatitos 004, Baja California Sur, Mexico, by Campos Leckie Studio
The Utrecht furniture manufacturer Pastoe has been a leader in unique, timeless furniture of great craftsmanship and quality for 100 years. The roll-front Amsterdammer cabinet, for example, has been a design classic for years and is featured along with the work of Pastoe designer Cees Braakman in the collection of the Stedelijk Museum in Amsterdam. Pastoe’s centenary is the occasion for this richly illustrated book, produced in collaboration with designers, architects, artists and photographers in the Netherlands and abroad.
Author and design critic Gert Staal relates the most significant moments in Pastoe’s history. Pastoe’s current focus is also discussed extensively. Along with fascinating archival pictures and documentation of every significant Pastoe design, considerable attention is devoted to today’s home environment and the current design domain. Pastoe’s new visions of contemporary living are highlighted in an inspiring way through innovative propositions specially developed for this anniversary by innovators like Naoto Fukasawa, Claudio Silvistrin, Scheltens & Abbenes and Konstantin Grcic.
Exhibition: Like Pastoe: 100 years of design innovation
Pastoe: 100 Years of Design Innovation, Author:Gert Staal, Anne van der Zwaag, Publisher: nai010 Uitgevers, ISBN: 9789462080683
Buy it here: Amazon
Does a comfortable armchair always have to be heavy, bulky and thickly upholstered? With “Membrane”, Benjamin Hubert demonstrates how an inviting and capacious aesthetic can also be achieved using lightweight, transparent materials. A 3D woven textile mesh is tightly stretched across a CNC-machined framework, the resulting lines summoning images of tents, plane wings or zeppelins. The transparent woven fabric affords glimpses of the structure underneath, the multiple layers creating lovely moiré effects. The overall impression is an armchair that is reduced to the essentials, providing maximum comfort with minimal material. Its generous volume stands in intriguing contrast to its transparency and lightness. “Membrane” is so lightweight that it is easy to move from place to place. For example, the armchair can simply be carried out temporarily onto the balcony or terrace whenever the sun beckons.
Membrane Chair, by Benjamin Hubert for ClassiCon