join luminaire for a reception and a special exhibition of danish designer poul kjaerholm’s elegantly refined furniture for fritz hansen.
opening reception> tuesday 8 october 2013 | 6 > 8p [ rsvp ]
location> luminaire lab | 3901 ne 2nd ave miami
@luminaire_ @fritzhansen
top > bottom | red valve for the ‘pipe’ shower by marcel wanders | apta collection designed by antonio citterio
getting up and close on our anniversary…
june 2012/13 | maxalto and boffi celebrate the first anniversary of their successful collaboration in chicago.
309 west superior | chicago | maxalto 312 664 6190 | boffi 312.787.2323
We were quite looking forward to talk to Job Smeets and Nynke Tynagel of Studio Job, whose creations can stress art as the counterpoint to design, can be wildly fun, unpredictable and we anticipated an equally lively chat. A healthy body of work affirms modernism though their sculptural translations also resemble sophisticated contraptionisms of time-traveling with Jules Verne. Tonight, Studio Job is presenting their new ‘Job Office’ collection for Lensvelt. The collection consists of a buffet cabinet, a desk, and an LED lamp and is an extension of the Job Cabinet launched by Studio Job in Milan 2011 – a metal cabinet with a single door that also comes with a gold-colored key. The venue, the refectory within the monastery within the Museum of Science and Technology. The walls and ceilings covered with beautiful 18th-century Sala del Cenacolo frescoes. ‘The Wall’ is our background music.
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[DA] The chosen space is extremely surreal. And the installation’s teaser promotion is of famous people with golden noses. Job, please explain this concept for us.
[JOB] Do you know what stekkerdoos means?
[DA] Please tell us.
[JOB] The concept is ‘stekkerdoos’ translated from Dutch means multiple socket, in this case, my nose, my socket. And you know, I have a strange nose. In high school I was told my nose looked like a socket. But on the other hand, the nose is also a handle to open a drawer in an office desk.
[DA] This is a story about turning a negative into a positive.
[JOB] I think so. Yes feel the handle, feel the nostrils. Finally you can open a drawer by putting your fingers in the nostrils and you don’t have to worry about your mother saying you can’t do that. After all these years.
[DA] An ultimate revenge.
[JOB] Yes, exactly.
[DA] When did you think of this concept.
[JOB] I knew it when I was 15. It just took 25 years to make it happen.
[DA] Tell us about the ‘Job Office’ collection.
[JOB] Lensvelt makes office furniture and people today are working more and more in their home. So we are trying to personalize this experience. These pieces are very modernistic, in a modern style, like this lamp that goes back to the 50s and we also merged a sculptural presence to the pieces. A merger of the right industrial product with the gilded sculpture.
[DA] The nose is a very organic statement and the gilded button is huge.
[JOB] Yes, regarding the nose I was looking for a handle and maybe we were looking for a human statement. An the most iconic thing about the lamp is this big on/off button. And there are 100 lamps in this installation celebrating 100 years of Lensvelt. Like a big KGB office with all these lights for interrogation.
[DA] This space, this installation. Reminds me of the crazy offices in the movie ‘Brazil’.
[JOB] Exactly. This reminds me of the Pink Floyd movie ‘The Wall’ where you could see all the hammers. That’s the reason for ‘The Wall’ background music.
[DA] How does humor play into your design concepts.
[JOB] Humor is quite important. Human beings are already too serious, especially taking themselves too serious.
[DA] Several designers we talked to mention noise and chaos and they are providing ‘peace’ and ‘natural’.
[JOB] Peace and natural is not new in design. All of us are just mirrors. I feel our design is reflecting what we are up to and our environment isn’t that peaceful. And our environment is very surreal, it’s never what you think it is.
[DA] What expression are we looking for here. Something good looking?
[JOB] No. We must all admit that we are like those sparrows who try to steal the bling. We are all attracted to stuff that shines. And of course we are attracted to beautiful things and I like to play with that a little bit. But I’m not interested in aesthetics at all. I’m interested in how humanity functions, in the seducing quality of the bling bling. The sculptural aspect can be seen in our work: We have created a lot of huge gold sculptures. And the office is all about function and we about are looking for a fresh a personal look for office furniture.
[DA] Is there a sustainable aspect of the office collection.
[JOB] Sustainable is important but the term is a marketing term. What we do is make unique pieces that are well made, and some of the pieces cost quite a bit. These pieces will be handed down from generation to generation, never thrown away. Some are museum quality and they will last a long time. It could be that 100 years from now there will be more Studio Job products around than Ikea and they are so much bigger.
job and nynke in the studio | photo: t. wolzak
[DA] What is your office environment like?
[JOB] Nynke and I work in a concrete environment, like a bunker. We are surrounded by modern design from the 50s and 60s. I like the period a lot, the post war reconstruction period. If I had lived in the 50s our work would reflect that period. I’m sure if Pierre Jeanneret or Jean Prouvé lived today their work would look so different. That’s what I mean about reflecting time, the work is really a diary. It’s such a tragic thing to be a designer when the only thing we can do is dematerialize. But this can be inspiring, if you can be as less a designer as possible and maybe make art. The conflict of design and art is quite interesting.
[DA] Everything here tonight for Lensvelt are production pieces. Though your body of work includes a great deal of collectables.
[JOB] Studio Job is in the collections of maybe 40 museums. And we have many solos exhibitions around the world. So we enjoy and thrive on limited edition sculptural pieces but we are also invited by producers to create production objects.
[DA] Is the function different with limited vs production.
[JOB] It can be. It really has to do with the working with the brands and their objectives. But our mindset is to push the solutions as far as we can. I see this philosophy in fashion, in haute couture, which has a strong sculptural aspect to it. And haute couture inspires the creation and production of products which still possess the sculptural quality but becomes more reachable to the larger audience.
[ Dutch Profiles ] are short documentaries about architects, graphic, product and fashion designers in the Netherlands. The series debuted in 2009 and there are currently 85 videos plus 10 in production to date.
[ milan 2013 ] 1/7> job office collection | lensvelt | 201319/21> art defender | jaguar land rover | 2013
22/24> scenography | viktor & rolf | 2013 | photo: p. stigter
25> paper patchwork collection | moooi | 2013
28/30> studio job house, kempen | 2011 | photo: r. kot
31/33> firmship fs 42 | 2011
34> studio job gallery antwerp | 2009 | photo: r. kot
35> studio job atelier, netherlands | 2013 | photo: blommers/schumm
36> nynke tynagel | job smeets | 2013
[ studio job ] [lensvelt ] [ salone internazionale del mobile ]
I have been watching with interest and dismay the saga of Ron Johnson’s arrival at and departure from J.C. Penney’s. The whole enterprise seemed dubious: turning Penney’s into another Target, if that was the goal, seemed misguided. But I was curious to see where it would end up. At Target, Johnson hired Michael Graves and other designers and he was the creator of the Apple stores—which I never thought would succeed.
Johnson is gone now but some of the product lines he ordered up for the housewares departments at Penney’s have arrived in the stores. There is stuff from Graves, Jonathan Adler, Conran’s, Martha Stewart, Bodum, Cuisinart, Pantone, Joseph Joseph and others. I wasn’t sure what would happen to these goods after Johnson’s firing,. There was an elaborate advertisement in Architectural Digest magazine’s June issue, the goods were online and I decided to check into my local Penney’s the other day.
conran
The pieces are arranged in a series of mini shops. I was amazed how extensive the variety and display. I don’t know whether the things will sell or be reordered but there were highlights: colorful Bodum mixers, Graves vases and frames that are better than any in the earlier Target collections, and Conran’s furniture that recalls Ikea. The Martha Stewart shop is mostly paper goods.
joseph joseph
My favorite: the celedon vase at Graves. [ jc penny shop ]
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about phil patton
This writer is a designer living in Chicago. The month of May signals many things but if you’re a bargain hunter in Chicago it signals ‘floor sample sale’ as showrooms prepare for Neocon. Two days left to find something neat at Luminaire. Luminaire’s not the only place btw, but… Just sayin. [ details ]
Italian designer and architect, Mario Trimarchi at Alessi giving a presentation to the press on architecture and his designs. It took 26 years before Mario approached Alessi with the Scirocco designs.
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
As part of an ongoing commitment to bringing the best in contemporary design to the public, Luminaire, a pioneering force in the design world, is presenting internationally-renowned designer Henry Timi. Milan-based Timi’s minimalist vision, let’s re-label ‘essentialist’ vision because each piece appears to have reached a reduction that can go no further without breaking. His vision is more than the design of the object, but a way of living, connecting emotionally with a pure, harmonious state of mind.
tavolinetto | 2013
In 2006, Timi founded his own design firm, working with keen designers who share his curiosity and passion for intuitive, emotionally provocative, minimalist design. Internationally respected designers Claudio Silvestrin and Claudio LaViola, friends of Luminaire, are included in Henry Timi’s exclusive team.
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 ]
Really doing one of these shows decently is a matter of putting some hours of thought into it alas.
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.”
<a href="about phil patton
auction > 16 may 2013 | noon CST
Wright Auction Houses launches their Scandinavian Design Auction—showcasing pieces by Alvar Aalto, Poul Henningsen, Arne Jacobsen, Finn Juhl, and Poul Kjaerholm. Known for its elegance and seamless integration of material and form, Nordic furniture was instrumental in launching the modern design movement of the twentieth century, and remains among the most sought-after modern furniture today. The lot includes several of Jacobsen’s Egg and Swan chairs, as well as an Aalto Paimio lounge chair.
Wright says, of the collection: “Designs issuing from Scandinavia in the 20th century shifted the paradigm of modernism towards a fundamentally human ethos which has been, and remains, a standard for function, quality and beauty.”
A highlight of the sale is a collection of Swedish carpets from Märta Måås-Fjetterström AB, the studio that commissioned Barbro Nilsson and Marianne Richter. A graphic, yellow wool carpet by Richter will likely carry the auction’s highest price tag; it’s estimated to go for $30,000-40,000. Peruse the lot at your leisure at [ wright ]
ph 4/3 table lamp | poul henningsen | louis poulsen | 1927
falurutan carpet | barbro nillson | märta måås-fjetterström | 1952
veckla vessels | stig lindberg | gustavsberg | 1951
pk 9 chairs | pool kjaerholm | e. kold christensen | 1960
desk | bodil kjaer | desk | e. pederson and sons | c. 1960
>1 ph 4/3 table lamp | poul henningsen | louis poulsen | 1927
>2 desk | bodil kjaer | desk | e. pederson and sons | c. 1960
>3 falurutan carpet | barbro nillson | märta måås-fjetterström | 1952
>4 veckla vessels | stig lindberg | gustavsberg |1951
>5 pk 9 chairs | pool kjaerholm | e. kold christensen | 1960
>6 lounge chair | peter karph | christensen & larsen | c. 1966
>7 model 162 dining table | borge møgensen | søborg møbelfabrik | 1953
>8 model K10-11 floor lamp| tapio wirkkala | idman |1958
>9 l-leg desk with return | alvar aalto | artek | 1933
>10 carpet | marianne richter | märta måås-fjetterström | c. 1950
>11 model 3217 sevener chair | arnie jacobsen | fritz hansen | 1955
>12 model A331 beehive ceiling lamp | alvar aalto | valaistustyö ky | 1953
[ scandinavian design ] includes nearly 250 works of exceptional design. Each item will be featured in our award-winning, full-color auction catalog as well as presented in our online preview at [ View lots ] | 1440 West Hubbard Street Chicago | 312 563 0020 [ wright auction ]
auction > 16 may 2013 | noon CST
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Discover Design is in it’s 3rd year. Over 100 hand-picked suppliers contributed to this year’s show in which 200 products were juried. The juried finalists are on display at a Discover Design exhibition booth. There are two categories, product design and collections. There are two winners in each of those categories, Global Honoree and Finalist as seen below.
product design global honoree
c-pump | unique soap pump that can be operated with the back of one hand
[ joseph joseph ]
product design global honoree
ES.01 extension socket | cleans up clutter | designer george moanack under art direction of jasper morrison.
[ george moanack ] [ jasper morrison ] [ punkt ]
product design global honoree
troika trivet | an adjustable, easily stored adaptive serving tool designed by cutter hutton
[ cutter hutton ] [ teroforma ]
best collection design global honoree
mu | cutlery collection | distinct hexagonal handle which took two years to produce due to difficult production process | designed by japanese architect toyo ito
[ alessi ] [ toyo ito ]
[ product design finalists ]
sencha tea maker | simple. brew and serve tea without removing the strainer | [ blomus ]
green farm | grow sprouts and herbs indoors in terracotta trays | [ cult design ]
mini supoon | dirty head sits off of counter and also measures a perfect tsp/tblsp | [ dreamfarm ]
couleur | clever nesting of teapot cup and saucer | [ kinto ]
turner spoon | world’s only turner that you can also use as a spoon | [ magisso ]
cool breather | aerates bottle of white wine in two minutes and keeps wine cool |[ menu ]
big happy family | vertical garden / organizational system. plates of powder coated steel and vessels from polypropylene with neodymium magnets | [ urbio ]
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