about diane o’donnel

[ ocean ]
An unexpected evolution of the Campana Brothers’ signature Sushi series, the OCEAN COLLECTION builds on the mash-up of materials that resembles Japanese maki rolls developed by the Brazilian design duo back in 2002 when they were investigating methods to make upholstery without relying on traditional techniques. The pieces include a SUSHI BUFFET and a SUSHI CABINET, a fresh expression of WALL and PENDANT MIRRORS, and four VITORIA REGIA STOOL.

« We decided to use mirrors because Humberto began with mirrors that he framed with seashells’, explains Fernando. ‘So we’re re-visiting our start now using new materials and benefitting from the maturity of our work. For the Carpenters Workshop Gallery exhibition, we wanted to create an art installation where mirrors connect with other realities and become synonyms of other dimensions. In addition to the WALL MIRRORS, we created PENDANT MIRRORS because when you put them in a room they twist and turn, absorbing the space and reflecting what is around them ».

Humberto adds: « The inspiration comes from the SUSHI series that includes chairs, sofas, buffets and other objects. We decided to frame mirrors with felt, rubber carpet and EVA in different shades of green, blue and white to create a liquid atmosphere – hence the name of the exhibition. The mirrors connect to water, and we added curved lines (not unlike the shape of sushi rolls) to the frames to create different patterns of colors. Our work is handmade and hence very precious. We try to introduce humanization to the process of manufacturing, which is a key aspect of Brazilian design »

[ the compana brothers ]
Fernando Campana (b. 1961, Brazil) and Humberto Campana (b. 1953, Brazil), respectively a trained architect and lawyer, became partners in 1983 to create a singular body of work that uses materials and techniques uncommon in the design world.

They made their name thanks to European furniture manufacturers and dealers such as the Italian furniture house Edra, the lighting company Fontana Arte and the household appliance producer Alessi, and became the undisputed ambassadors of Brazilian design in a few short years.
In their Sao Paulo workshop, a true artisanal workshop, Fernando and Humberto Campana design by « pulling things in off the street », half-way between Arte Povera and the industrial production of design objects, and use recycled materials for the most part. Brazilian culture is their main source of inspiration: the diversity of influences, the social blend, the economy of means and craftsmanship.

The Campana brothers are passionate about French culture and have worked with houses such as Lacoste (in 2009 and 2012), Bernardaud (in 2011) and Louis Vuitton (in 2012). Their latest French work includes the recent refurbishment of the Café de l’Horloge at the Musée d’Orsay. Taking their cue from Emile Gallé, the two Brazilian designers came up with a « dreamlike-aquatic » atmosphere, in homage to the great glass artist from the Lorraine and to Art Nouveau.

Famous for their unusual productions and the way they divert and recycle objects, the Campana brothers are now internationally renowned. Their work has been shown at MoMA – Museum of Modern Art in New York, at the Centre Georges Pompidou in Paris and at the Sao Paulo Museum of Modern Art.

In 2012, they were made « Designers of the year » at the Salon Maison & Objet in January and the same year won the Prix Création et Patrimoine of the Comité Colbert.

[ campana brothers ] [ carpenters workshop gallery ]

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la stanza dello scirocco | mario trimarchi | alessi | 2009

“La Stanza dello Scirocco” is a range of items born out of the abstract and motionless atmosphere of a magic place: the room in large Sicilian country homes where one is forced to seek shelter from the sultriness while waiting for the sirocco to die down. It is a room without windows in which you can do nothing but ponder the wind that is undoing all sublunary things outside. The upshot is a collection of geometrically irregular items made up of small splinters of various sizes, interlaced in an unstable balance. And so I came up with the idea that “La Stanza dello Scirocco” could be recounted through the story of drawings done by hand and through images of shadows, and that we could then ask everyone to exert themselves ever so slightly and make a small input with their own imaginations. ~Mario Trimarchi

[ mario trimarchi ] [ alessi ] [ fragile ]



about diane o’donnel

Having been exposed to experiments with wood dust while growing up, Timi is committed to the material and insists that all products are handmade in Italy, and built by tailor and craftsman manufacturing of the highest quality.


tavolo | 2013


sedia | 2013

sgabello | 2013


vaso | 2013


candele | 2013


Timi’s work can be seen at the Luminaire Lab in Miami. A cocktail reception for the designer will be held at the Lab on 22 May 2013.

event > henry timi | luminaire lab | 3901 NE 2nd avenue | miami design district
date/time > 22 may 2013 | 6 > 8p [ details ]

[ henry timi ] [ luminaire ]

CSYS TALL is available in two colors, silver and black, is fully dimmable with a touch sensitive switch and light level memory. A warm white light beam can be adjusted by maneuvering the LED head through the three axes to a desired position. Sleek, intuitive, innovative.

For a detailed history and explanation of the technology read the DesignApplause [ interview with Jake ] Booth 2141 and the Matter showroom, 405 Broome Street. [ jake dyson ]

Many of the firms showing at the International Contemporary Furniture Fair also have showrooms in SoHo or other areas downtown from its site, the Javits Convention Center. But while Vitra, Artek and many others chose to take space at the fair as well, American stalwarts Herman Miller and Knoll were not to be found. Such absences suggest that despite some 600 attendees, the fair celebrating its twentieth fifth anniversary is somehow still not yet mandatory attendance.

The ICFF and attendant events all over town were packaged this year as NYC X Design, which meant official city support for the idea of a design week promoted in previous years. The idea of a Milano Manhattan style remains elusive however.


parabola chair | carlo aiello | 2013

Even before the show opened, Carlo Aiello’s Parabola chair has emerged as the ICFF’s star: it suggests a cerebral cousion of Harry Bertoia’s diamond chair, mapping out the space time continuum for Star Trek. Or is it Mr. Spock’s shopping cart?

At ICFF, Molo’s stand, all of brown paper, caught attention. Inside were some of the company’s cloudlike, pleated paper lighting elements.

In an era dedicated to innovation, the classics face a challenge in mixing novelty with durability… Artek offered up new editions of its Aalto stool, much as Converse keeps producing new graphics for the Chuck Taylor All-Star. Carl Hanson celebrated the anniversary of the Wegner Shell chair with new fabrics. (Wegner is 93, the chair is 50.)


stool 60 | mike meiré | 2012


In addition to ICFF, several smaller gatherings and many open houses, parties and panels were part of the event.

Wanted 2013 is the name of a rival gathering of designers in the huge, solidly build brick warehouse downtown near the river called rather ominously Terminal Stores. It showed a more experimental and informal air than ICFF.





Intramuros magazine showcased a homage to Cappellini, who would otherwise be expected on the floor of ICFF at the Javits Center. Bright red examples of Cappellini products sat isolated silver lined booths with a vaguely pornographic mood to them. The Istanbul and South American delegations were impressive.


hai lounge chair | luco nichetto | one nordic furniture company | 2013


Some eyes were caught by One Nordic Furniture Company, from Helsinki, with its lovable Bento chair. Also at Nordic was Luca Nichetto’s Hai chair, which channeled the spirit of Gio Ponti. (Ponti, was also evoked at Vitra, with the Repos wing back chair by Antonio Citterio. Ponti also seemed an inspiration for Toshiyuki Kita’s “@” chair for Ligne Roset. Gio Ponti is the subject of a show to come this spring [ Living "Alla Ponti" ] at Molteni in SoHo.

In this, its second year, it hosted talks and such events as the School of Visual Arts Products of Design program’s meta design interpretation of the show. (url.)


pixel chair | valerie chin | 2013


There was student work, as at ICFF. The Rhode Island School of Design dispatched the alumni show originally curated by its chief, John Maeda, for the Milan fair. One witty example was Valerie Chin’s “Pixel” chair.

The curatorial group Sight Unseen produced a showcase at The Standard Hotel. This year, the American Design Club returns to Noho with its ninth group showcase, entitled Trophy: Awards We Live With. The group’s organizers explain: “A trophy is a memento, token, or symbol, used to commemorate an achievement or victory. Whether they are awarded, stolen, or created, trophy objects can come in many forms.”

about phil patton

[ Tradeshow Exhibits ]
Be Original will appear at New York City’s two largest design tradeshows: WantedDesign, 17 > 20 May at the Tunnel (269 11th Avenue), where the group will have a booth at the 11th Avenue entrance, and the International Contemporary Furniture Fair (ICFF), 18 > 21 May at the Javits Center, booth #976. At each fair, Be Original will share information on the initiative and host giveaways and social media contests to help promote the campaign, with branded buttons and chances to win and an exclusive LunaTik Life iPhone case designed by Scott Wilson, Founder and principal designer of MINIMAL studios.

Events Hosted by Be Original Founding Member Companies
Additionally, employees will be wearing Be Original t-shirts during select events hosted by Be Original founding member companies, including Alessi and FLOS on Monday, 20 May and Tuesday, 21 May to raise awareness for the movement and spark conversation about original design and authenticity.





[ Be Original ]
A movement formed by Alessi, Artek, Bernhardt Design, Cassina/Poltrona Frau/Cappellini, Emeco, FLOS, Fritz Hansen, Herman Miller, Kartell, Ligne Roset, and Vitra which is committed to initiating discussion on the importance of preserving original design across North America through informational, educational and influential marketing initiatives and consistent efforts to promote this agenda in various design contexts.

[ be original blog ] [ facebook ] [ icff ] [ New York Design Week ] [ twitter ][ WantedDesign ] #BeOriginal #wanteddesign

[DA] Describe the process? Do you go to these artisans and ask for certain colors and materials and then to a manufacturer with instructions?
[NM] The process is first I have an idea, a vision. The concept if very important. Today we are talking about ‘Natural‘ because people today are working, managing their personal life, today everyone is very busy. Today people want a peaceful, quite quiet refuge from the stressful day-to-day aspect of their life. They want to relax, have fun, and they understand that natural fulfills this need for calm and refuge.

[DA] You’re right. It’s a feeling that natural brings.
[NM] And natural in this moment is about feeling well. It’s both philosophical and real. When we started this philosophy, I traveled to India or Pakistan to search for different materials and craftsmen. I started to make samples experimenting with different weavings and patterns. Then finally we focus on the making of the colors, the natural color palatte palette. And each of these fibers have has their own natural colors. This is the essence of the collection.

[DA] When I see these colors it reminds me of pigments from stones.
[DM] But the dyes are not natural. The dyes are chemical because these natural fibers are very difficult to dye. Nature I guess wishes to protect the fibers and we have to persuade the fibers to absorb the colors, and the light to welcome and reflect the colors using chemicals and this aspect probably will not change. But we keep trying.

[DA] If you can’t find a solution, no one can.
[NM] Our progress so far is limited to very soft color. The red is a pink. Black is a blue. The original color escapes us. We have found some success with a cleaning agent but the problem is this agent is not an ecologic solution, and not because of its chemical structure but it’s an enzyme.

[DA] Right, even though we’re dealing with naturals the processing is a factor. Bamboo processing is very toxic when you’re wanting to achieve a soft solution. How old is this enzyme process and are you exclusive?
[NM] It’s a very recent process created by an Indian woman, a biologist. No, at this moment we are not exclusive. Darn.

[DA] I’m looking at the more complex rugs Nani. Are the designs easy to duplicate?
[NM] No, it’s impossible to duplicate! The buyers understand this and in fact it’s what they want, their own creation. It’s a by-product of handmade. It’s a one-at-a-time unique creation. One reason is the yarn. The yarn itself is irregular, both in texture and color. When weaving whatever happens, happens.


sample rack

[DA] You take your concepts to the weavers. That’s it?
[NM] There are some things where drawings, words, the waving of your hands, is not enough. I ask them for small samples which they send me. There a many variations in texture, pattern and color. To arrive at a collection like natural we need to years.

[DA] What are we looking at here?
[NM] This is collection is from Pakistan and the name is Losanges. It’s a collaboration with the Bouroullec brothers in 2011. We are reinterpreting the traditional Persian rug using an ancient kilim technique. Its’ a complex process involving 13 colors in geometrical rhombus shapes. Very challenging for the weavers.


losanges | erwan & ronan bouroullec | 2011


[DA] How do you communicate this complex pattern to the weavers?
[NM] We have learned how to talk with computers. The weavers are carefully instructed in the beginning because it’s difficult to grasp the nuances of concepts created by someone else. It’s “yes, you are very close but this angle, this edge needs to go like this.” One Once the prototype is made everyone is ready to go.

[DA] Is there any reason you go to one area, country over another?
[NM] The technique is important to me. For example, India uses a modern technique and Pakistan uses a very old, primitive style. This collection as was Losanges was weaved in Pakistan. We go to the mountains of Afghanistan to follow the sheep. Their wool is what we are looking for here. It’s rough and deep and when the threads are twisted together the end result is very gnarly and interesting. Where we go is not easy to get to with many potential obstacles. We go about once a year for a week to get what we need. Next year this yarn may not be available to us. You never know and it also depends on the collection. But I love this yarn and what it says to me. And it’s very rewarding to recreate the old technique.

[DA] Do you have a vision for the next collection?
[NM] I will be showing a collection in New York City at ICFF collaborating with Milton Glazer. It will be quite interesting and fun.


chillida collection | 2012


[DA] Is there anything you wish to say that we haven’t talked about?
[NM] I think this collection is good for this moment because people have been waiting for this concept, they wish to connect with a natural and honest item that they use and cherish. I also like to change. Last year I presented a series of Spanish artist, Eduardo Chillida, work which goes back to Figura Humana 1948, through Dibujo Tinta 1957. We created seven of his most famous drawings. The Chillida Collection has been very well received. I enjoyed creating Chillida last year and this year Milton Glazer.

[ nani marquina ] [ bouroullec brothers ] [ ICFF 2013 booth #1104 ]

[ details ]