The MOOT (Mood of Our Time) Carbon Fiber Chair was designed and developed by Ross Lovegrove in partnership with Established & Sons.
MOOT Carbon Fiber Chair, by Ross Lovegrove, for Established & Sons
In the heart of Le Marais, architect Fleur Delesalle just completed construction of a place of warmth that combines the best of contemporary creation, on earth as “in heaven”.
This compact beach house was originally designed in 1934 by Charlotte Perriand, the celebrated 20th-century architect and designer and right-hand woman of architect Le Corbusier. Unveiled as part of Design Miami, the compact construction is fittingly located on the beach, behind The Raleigh Hotel. Perriand designed the house for a competition sponsored by L’Architecture d’Aujourd’hui magazine, it introduced her concept for an economical form of eco-friendly, pre-fabricated holiday home and she won second prize. The design was never actually built, although the idea was later reworked into several other variations. But now, eight decades later, Louis Vuitton has brought the original beach house design to life with the assistance of her daughter Pernette Perriand-Barsac.
Charlotte Perriand’s La Maison au Bord de l’Eau, Art Basel Miami Beach, Louis Vuitton
via: The Telegraph
Nendo has produced a series of lamps that use the traditional technique and modified it to create seamless three-dimensional washi forms.
The site is situated on a small hill in Yokohama. A new program, composed of two-family residence and office, is applied to the building, while paying attention to preserve the family’s history and memories attached to the land. The building is divided in different volumes according to the scale of the surrounding residences. The podium is constructed of concrete retaining walls, the main volume, which is regarded as piano nobile, is made of concrete using wood panel formwork with tongue-and-groove joints, and the white volume contains office. The form of each volume expresses a different function inside.
The interior space is planned around the old pine tree with the family history. Living/dining/kitchen space of the parents’ house is located around the tree, and the exterior wall continues into the interior space, integrating the terrace and the living room. Children’s house and office shares the main entrance. The impressive stairs lead to the second floor from the entrance hall. All the volumes protrude into the void, with the soft natural light cascading from above; this is the symbolic space of this architecture.
The office has a modern interior space based on black and white in harmony with the landscape. From the second floor one can enjoy a full panorama of Yokohama Bay. The second floor is composed of an open plan in order to provide fine views from everywhere for the children’s family. Living/dining/kitchen space extends to the roof terrace continuously, so that the interior and the exterior merge into each other, and the house will open up towards the sky. These three separate functions are closely connected with the exterior in different ways, while placed at an appropriate distance where one can feel presence of others.
House in Shinoharadai, Kanagawa Prefecture, Japan, by Tai and Associates
Photography © Seiichi Ohsawa
Charlotte Perriand is regarded as one of the most influential designers of the early modern movement, acknowledging the increasingly machine-driven culture of the 1920s and ’30s and introducing the profound change in aesthetic values to interiors. As a true pioneer in the application of materials like steel, aluminium and glass to furniture, the french architect and designer established an expansive breadth of work that, to this day, remains the archetype of an evolutionary shift in the industry. When she was just 24-years-old, she commenced a decade-long collaboration with Le Corbusier and Pierre Jeanneret, during which period the trio conceived and developed a series of tubular steel chairs, existing now as icons of an era. The work of Perriand will be a significant presence at Design Miami/ Art Basel Miami 2013 with presentations at the Raleigh Hotel, the Louis Vuitton Boutique and the Cassina showroom.
The focus on “Vertical Net Structures” for the DRX 2013 was a continuation of last year’s investigation into innovative structures for the design of high-rise buildings. Driven by the increasing demand for supertall buildings, we developed integral structures that define interesting interior spaces through controlled articulation without compromising the integrity of the system. Questions of structure, circulation and program distribution had to be addressed in a prototypical building of approximately 450m height.
The aim was to understand forces as vectors in order to develop 3-dimensional spatial nets. These systems were developed and based on profound research in various areas such as high-rise structural systems, natural systems as well as form-finding techniques. Throughout the DRX, these systems were further informed and transformed into highly constrained, feasible proposals for tall buildings.
Vertical Net Structures DRX 2013, at HENN
Designed for a young active family of four, the principal living spaces of the home are organized around a two storey exterior void within the main volume of the building. Planted with bamboo and glazed on either side, this cutout serves to create separation between spaces without fully disengaging them from one another. On the main floor, the bamboo garden subtly divides the kitchen/dining space from the living area- a dynamic that serves the family well with their busy and differing schedules. On the upper floor, the tall bamboo from below screens the master bedroom sleeping and change area from its adjoining bathroom. These two spaces are connected with a glazed bridge. Light and shadow animate the white walls by the passing sun as it enters through the large skylight above the central staircase. Windows and doors are calibrated to capture the natural light and views to the garden and mountains beyond. On the building’s west elevation, large sliding glass doors activate the adjacent patios allowing space to flow from inside to out, and all at once the space becomes pavilion-like with its ample porosity. In contrast, the street elevation on the north reads more formally with its cedar and concrete walls stretching out horizontally across the site and into the landscape. Due to site constraints, there is no usable back yard, so the front serves as a playing field for the client’s two boys. A simple interior palette consisting of concrete floors, white lacquered and oak cabinets and white walls serve to strengthen the clarity and purity of the spaces and allows the vibrancy of the the natural environment and landscape features to pervade.
Findlay Residence, North Vancouver, Canada, by Splyce Design
The Groninger Museum presents the first large-scale solo exhibition of the work of Jaime Hayon (Madrid, 1974). Hayon is one of the most acclaimed designers of his generation. His work consists of autonomous and applied projects, across various disciplines such as ceramics, wood, glass, textiles, product, furniture and interior design. This exhibition is a reflection of the past ten years, a period of intense creativity and growth, in which Hayon has increasingly developed his autonomous work.
Hayon was educated as an industrial designer in Madrid and Paris, and subsequently joined Fabrica, the communications research centre of the Italian clothing label Benetton, in 1997. Within a relatively short time he rose from being a simple student to head of department. In 2000, he started up his own company and made his debut in the art design world with the ceramic work Mediterranean Digital Baroque. The Groninger Museum has been following Jaime Hayon for quite some time. In 2009, the Museum purchased two large installations (Mediterranean Digital Baroque and Mon Cirque) and in 2010 he designed the Museum’s new information centre. With commissions from all over the world and a host of renowned clients, Hayon is regarded as one of the most influential young designers of the present day. The exhibition includes the installations Mediterranean Digital Baroque and Mon Cirque as well as the now iconic Green Chicken and commissioned works for clients such as Baccarat and Lladro. American Chateau, the collaborative project he made with his partner artist, Nienke Klunder, is also featured in the exhibition.
A remarkable element of the exhibition is The Tournament: a unique work that consists of a life-size chess set made of turned wood and hand-painted ceramics, which the Groninger Museum managed to purchase recently. Hayon created this work in 2009, having been commissioned by the Design Festival London to do so; the work was inspired by the Battle of Trafalgar. This is the Dutch première of the artwork. The intention is to organize chess games at specified times. Jaime Hayon’s work issues from an irresistible urge to create his own world. It occupies a central position between autonomous art and design, where amusing, fantastic and narrative elements are combined with a keen eye for detail and finishing. His signature is characterized by a stylized input in which diverse styles blend together. Making use of all these other elements, Hayon translates craftsmanship and traditional techniques into emotionally influential objects and interiors that invite the viewer to be a part of them.
Jaime Hayon: Funtastico, October 13, 2013 – March 30, 2014, at Groninger Museum, Netherlands, Photography © klunderbie, Jaime Hayon