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  • CALENDAR
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carpenters workshop gallery

Home Tag carpenters workshop gallery
design galleries that showed up at expo chicago 2017.

design galleries that showed up at expo chicago 2017.

Sep 17, 2017

not a plethora of design galleries at the sixth edition of expo chicago but those who showed up are gems.

above & below > r and company creates and delivers superdesign with a film: superdesign: when design wanted to change the world. in addition there are two series of talks, one of on radical italian design 1965-1975.

trailer of superdesign: italian radical design 1965-1975 from r & company

the film includes interview with the following – emilio ambasz, franco audrito, dario bartolini, lapo binazzi, andrea branzi, germano celant, gilberto coretti, pietro derossi, piero gilardi, ugo la pietra, roberta meloni, alessandro mendini, adolfo natalini, gaetano pesce, gianni pettena, franco raggi, charlie stendig, cristiano toraldo di francia, jim walrod. dedicated to jim walrod, a film by maria cristina didero and francesca molteni – directed by francesca molteni / 62 minutes

above> half dollar chair | johnny swing | 2003 | r & company | 231

r & company represents a distinguished group of historical and contemporary designers whose goal is promoting a closer study, appreciation and preservation of 20th and 21st century design. gallery owner zesty meyers is a founding member of design miami.

johnny swing artist’s statement: art making is a social responsibility. to honor the privilege of being an artist, there are expectations i have for my work. first, it needs to be entertaining; second, it needs to spark curiosity, so that it creates a dialogue with the viewer; and third, it should have a formal quality, so that when the work is or approximates furniture, it must be comfortable.

above > laguna (lagoon) glass collection | michela cattai | 2017 | casati gallery 615

the gallery focuses on furniture, lighting, objects and art from post-war italian to global contemporary. gallery owner ugo alfano casati is a founding member of design miami.

cattai’s interest in the glass, coupled with her appreciation for italian design, led her to experiment with and eventually reinterpret centuries old murano glass crafting traditions.

above > boardroom crockery from slave city 2005-2009 | joep van lieshout | carpenter’s workshop gallery 443

sculpture, visionary, and enfant terrible sculpter joep van lieshout produces work that breaks the boundries of art, design, and architecture.

carpenters workshop gallery proposal of functional sculptures stands just at the intersection of two universes: reaching precisely a symbiosis of art and design.

above > horse cabinet | gaetano pesce | 2006 | salon 94 435

pesce, a playful italian architect, product designer, film-maker, and artist. a founding member of group n and an important figure in the radical design group. pesce notice ! offsite at the peninsula hotel see pesce’s introspective installation what it is to be human. thru 8 october 2017

above> serpentine sofa | vladimir kagan | c. 1950
petalas coffee table | jorge zalszupin | 1962
fried egg chair | hans olsen | c. 1956comfort’ armchair | antoine philippon & jacqueline lecoq | c. 1950
peter blake gallery 558

the gallery’s program is focused on monochrome, concrete, and reductive abstraction, with an emphasis on california minimalism and light and space.

the salon art + design 2015.

the salon art + design 2015.

Nov 12, 2015

the success of [ the salon ] lies in the quality of the 55 exhibiting galleries, the extremely international flavor of the material, and this eclecticism that is highly sought by today’s collectors and influencers. up until expo chicago this past september, the salon could claim other fairs allow art, but no design or conversely design without art. the organizers’ willingness to consider all material—historic to contemporary—is predicated on the belief that today’s designers and collectors insist on a vibrant mix—as long as the quality is impeccable.

[ galleries ]

ammann//gallery / germany
galerie l’arc en seine / france
anne autegarden / belgium
galerie berès / france
galerie boulakia / france
carpenters workshop gallery / england

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the robber baron buffet 2014 /studio job / carpenters workshop gallery

galerie chastel-maréchal / france
connaught brown / england
delorenzo gallery / u.s.a.
demisch danant / u.s.a.

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table marronnier 2015 / maria pergay / demisch danant

patrick derom gallery / belgium
galerie dumonteil / us.a.
galerie dutko / england
galerie ulrich fiedler / germany
friedman benda / u.s.a.

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detanoto modular shelf 1951,63 / fernando and humberto campana / friedman benda

thomas fritsch – artrium / france
david gill gallery / england
bernd goeckler antiques / u.s.a.
michael goedhuis / england
bernard goldberg fine arts / u.s.a.
oscar graf / france
cristina grajales gallery / u.s.a.
richard green / england
vivian horan fine art / u.s.a.
hostler burrows / u.s.a.
kraemer gallery / france
galerie kreo / france

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basket side table 2015 / jaime hayon / galerie kreo

j. lohmann gallery / u.s.a.
yves macaux / england
galerie alain marcelpoil / france
galerie marcilhac / france
mazzoleni galleria d’arte / italy
mark mcdonald / u.s.a.
todd merrill studio contemporary / u.s.a.
galerie le minotaure / france
joan b mirviss ltd. / u.s.a.
moderne gallery / u.s.a.
modernity / sweden
richard nagy ltd. / england
nilufar / italy

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pair of pitz chest of drawers 2013 / rida / nilufar

galleria o. roma / italy
galerie du passage / france
galerie diane de polignac / france
priveekollektie contemporary art | design / netherlands
r & company / u.s.a.

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therapeutic toy double-face pony 2015 / renate müller / r & company

robilant + voena / england
salon 94 / u.s.a.

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adrian sassoon / england
seomi international / u.s.a.

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afterimage 012-379 2012 / kim sang hoon / seomi international

m.f. toninelli art moderne / monaco
vallois / france
axel vervoordt / belgium
galerie maria wettergren / france

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glass sculpture 2013 / tora urup / galerie maria wettergren

wexler gallery / u.s.a.
galerie zlotowski / france

event> the salon art + design
date> 12 > 16 november 2015
venue> park avenue armory nyC

design miami/ 2015 celebrates the diversity of design.

design miami/ 2015 celebrates the diversity of design.

Oct 21, 2015

As the market for collectible design continues to evolve and mature with each edition, Design Miami/ celebrates the full diversity of its field. With the 11th edition of Design Miami/ this December, the fair offers extraordinary works from galleries based on five continents that specialize in everything from classic early twentieth century design to the conceptual cutting edge. Work ranging from full-sized architectural elements to the most delicate jewelry, by designers from as far afield as the Philippines and Japan, South Africa and Brazil, will be on show under one roof at the global forum for design.

There’s a story behind every piece of great design/.

[ latin spirit/ ]

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cangaço – bookstand/ fernando and humberto campana, 2015/ courtesy of campana studio and fernando laszlo/

Firma Casa, the first participating gallery from Brazil (São Paulo), offering a program that is notably strong in design from Latin America. The distinctive and innovative work of the Campana Brothers – Design Miami/ Designers of the Year in 2008 – are represented at both Firma Casa and Friedman Benda. A rare jacaranda wood bench by Modernist pioneer Joaquim Tenreiro is showing at R & Company. Cristina Grajales Gallery exhibits a spectacular coffee table by Gloria Cortina topped with golden obsidian, a naturally occurring volcanic glass. ADN Galeria of Mexico participates in the Design Curio program with a project by the Mexico-based sculptor and furniture designer Eduardo Olbés.

[ design reborn/ ]

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pair of lamps from villa arreaza, caracas/ gio ponti, 1954/ courtesy of casati gallery/

The scholarship, research and the preservation of historic works that are so important to the world of collectible design are aspects that are perhaps less visible to visitors to Design Miami/. A number of exhibitions at this year’s fair will put the spotlight on projects honoring design history. Galleria Rossella Colombari will recreate an interior in the style of Villa Planchart in Caracas designed by Giò Ponti, using colors and materials dear to the architect. Another apartment – this one from Milan, designed by Ponti’s protegé architect Attilio Colonello – will be recreated from historic drawings and photographs by Casati Gallery, in a scenography that will include a number of pieces from the original scheme.

[ personal connections/ ]

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dining table for madeleine and jean prouvé/ pierre jeanneret, 1943/ marie clérin for laffanour – galerie downtown/

There’s a story behind every piece of great design, often one that reflects personal relationships, whether between a group of like-minded creative souls, friends and mentors, hard working duos, romantic partners, or siblings. One compelling personal connection central to the history of modern design is evoked in a piece presented this year by LAFFANOUR – Galerie Downtown: a table given to Jean Prouvé by Pierre Jeanneret in 1943, and which remained in use by Prouvé’s family at his house in Nancy, France. Family relationships are evoked in pieces by Xander Kriel, who created his Vos Altar in memory of his grandfather for Southern Guild, and by Wharton Esherick, who’s graceful sculptural form The Actress (1938/9), presented by Moderne Gallery, was inspired by his daughter Mary. Thomas Fritsch will present works by Verá Szekely, co-founder, with André Borderie and her husband Pierre Szekeley, of Borderie Szekeley, a trio that created work together until 1957.

[ monumental design/ ]

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enignum xvi/ joseph walsh, 2015/ courtesy of the designer and sarah myerscough gallery/ photographer: andrew bradley

Large-scale design and architectural components continue to be a keenly anticipated highlight of the Design Miami/ program. Galerie Patrick Seguin will once again be sharing a work of pioneering mid-century modular architecture, in this case the only remaining example of Jean Prouvé’s 1939 baraque de campagne, a rapidly assembled 4 x 4m military hut. At Galerie Philippe Gravier, Kengo Kuma will present a small nomadic tearoom constructed from simple lightweight plastic materials and inspired by the humble, reclusive dwelling of the writer Kamo no Chōmei. Substantial works in wood by Wendell Castle will be on show at Friedman Benda, R & Company and Carpenters Workshop Gallery, in celebration of the American art-furniture pioneer’s equally monumental career. At Sarah Myerscough Gallery, a new generation of designers creating large, finely-crafted works in wood will be represented by Joseph Walsh. From a lighter perspective, first time gallery Orley Shabahang presents the durable, finely crafted silk rugs created by Haji Jalili in the late 19th century represent a highly portable form of monumental design. On the opposite side of the spectrum is the continuation of Naihan Li’s I Am A Monument series at Beijing-based Gallery ALL, which shrinks monumental architectural structures into playful functional pieces for the home.

[ simulacra/ ]

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cardboard crown necklace/ david bielander, 2015/ courtesy of dirk eisel/

Playful and sometimes pointed references to familiar everyday objects infuse certain exhibitions at Design Miami/ with visual wit. Juxtaposing precious materials and functionality, Siegfried De Buck’s silver Praline Box (1993) is the ultimate vessel for Belgium’s prized chocolate confections, showing at Caroline Van Hoek. Fellow gold and silversmith David Bielander’s thin metal jewelry pieces at Ornamentum reference the simple cardboard crowns of childhood role-play. Another familiar childhood form – in this case a paper airplane – receives a nod in Karen Chekerdjian’s IQAR table for Carwan Gallery. Eric Serritella’s series of ceramic vessels crafted to resemble sections of weathered wood will receive its most ambitious addition yet in a new, larger, work inspired by the branches and bark of a birch tree can be viewed at Jason Jacques Inc. Wolfs + Jung’s ongoing Nature V2.01 explores the disconcerting contrast of apparently natural surfaces and manmade forms: ammann// gallery will be showing new works from the series including a teetering stool balancing on sticks cast in bronze and a rounded bronze vessel apparently clad in bark.

[ earthly matter/ ]

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bodypart iii/ kristina riska, 2015/ courtesy of hostler burrows/

Echoing the burgeoning interest in clay as a sculptural medium over recent years, decorative ceramics remain a strong area of creative innovation at Design Miami/. The Finnish ceramicist Kristina Riska will show Bodypart III, a sculptural vessel of vast proportions and organic curvature at Hostler Burrows. Lee Hun Chung contrasts the glassy finish of ceramic glaze with the rough, stone-like surface of concrete in a low table at Seomi International. Patrick Parrish Gallery will show the first ceramic works of painter Guy Correiro.

[ sacred geometry/ ]

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zig-zag chair/ gerrit thomas rietveld, 1934/ courtesy of galerie vivid

Geometric shapes occur both by natural and man-made design, the former often inspiring the latter. Ralph Bakker’s jewelry designs, coming to the fair with Antonella Villanova, are based on naturally occurring geometric patterns found in nature. Galerie VIVID presents geometry that changed the face of design in post World War I Europe in the form of Gerrit Thomas Rietveld’s Zig-Zag Chair. Brian Thoreen’s work, appearing at Patrick Parrish Gallery, demonstrates his passion for geometric forms that evolve from nature.

[ transparent and luminescent/ ]

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light pods/ terrence main, 2015/ courtesy of magen h/

The technical challenges and diverse effects afforded by glass continue to inspire forms both ethereal and unexpected. At Galerie kreo Julie Richoz shows new works created with glass blowers at Marseilles’s legendary CIRVA (Centre International de Recherce sur le Verre et les Arts plastique). Kyoto-born designer Ritsue Mishima – represented by Pierre Marie Giraud – moved to Venice in 1989 to work alongside the city’s fabled glassblowers, deviating from Venetian tradition to create un-pigmented works. Commonplace Studio’s Lumière series marries blown glass to contemporary technology, illuminating each globe with projections of moving images in a ghostly tribute to the early days of cinema at Victor Hunt Designart Dealer. Terence Main’s branchlike Light Pods set budlike glass elements at the tips of cast aluminum twigs to create a ‘growing’ chandelier at Magen H. Gallery.

[ hard steel, soft leather/ ]

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wave bench/ maria pergay, 1968/ courtesy of demisch danant/

The contrast of cold, hard metal with hide is one addressed in a multiplicity of ways at Design Miami/. The unyielding, cool lines of Maria Pergay’s stainless steel furnishings find soft contrast in their leather and hide upholstery. Alberto Biagetti and Laura Baldassari make a more playful juxtaposition in the Body Building collection at Secondome, an ‘anti gym’ that takes formal inspiration from metal workout equipment, undercutting the hard edge with soft pink upholstery. Nanda Vigo’s fur is of the faux variety: at Erastudio Apartment-Gallery synthetic leopard skin covers her hybrid brass forms from 1971 that perform both as coat racks and lighting elements. The classic combination of hard steel face and soft leather straps appears in a number of the vintage watches with extraordinary provenance at the fair’s first watch gallery Le Collection’Heure.

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[ Design Miami/ ] is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June, Design Miami/ has become the premier venue for collecting, exhibiting, discussing and creating collectible design.

studio job landmark medley. carpenters workshop gallery design miami 2014.

studio job landmark medley. carpenters workshop gallery design miami 2014.

Dec 5, 2014

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king kong nynke tynagel job smeets

landmark in miami is not a closed-end collection, but an installation of monumental sculptures developed between the period of 2009-2014, inspired in the wake of the financial crisis of 2008. the selection was made in collaboration with loic le gaillard and julien lombrail, the founders of carpenters workshop gallery in paris and london. job smeets drafted hundreds of sketches, all somber in subject, and together with nynke, in the form of a family of destructive and dark objects.

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foam model of the burj khalifa sculpture | photo courtesy of carpenters workshop gallery

‘… drawings that speak of personal loss and universal destruction. the end of the world and its appalling humanity. impending doom and the transience of life’s greatest treasures: love, trust and hope. they’re tragic sketches about crumbling cultures, failing systems, murderous extremes and deadly storms.

pride and fall, blind ambition, mass hysteria and all the other things that make us throw ourselves and all we possess into a fetid cesspit. the so-called lofty civilization where hate reigns and discord is sown. despicable regimes with countless laws, emblems and victims. manipulation through religion and propaganda. our truth is a dictatorial cycle that since time immemorial has made us fall and get up again, build up and demolish what we have built. (…) ~job smeets

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burj khalifa 2013>14 | polished and patined bronze, cast aluminum, 24K gilding, silver plate, swarovski crystal, mechanical hermle clockwork, faux marbre, hand paintings, hand blown glass, LED fittings, electro motors | prototype + 5 + 2 AP | photo courtesy of carpenters workshop gallery

architecture is what connects this exhibition. cast in bronze, monumental interpretations of world famous buildings. but these icons are positioned anew, and find themselves in a vulnerable position, blown up or reduced to a simple lamp. what also connects the sculptures is the ultimate effort for the ultimate work. they are renaissance pieces for the contemporary applied arts.

it is not a rule of law, but I do believe that buildings tell a lot about their inhabitants. humans as creating beings. (…)~job smeets

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plans for ‘big ben (aftermath)
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big ben (aftermath) 2009>14 | polished and patined bronze, aluminum, brass, 24K gilding, silver plate, hand paintings, hand blown glass, westminister clock works and gong, led fittings, steel construction, polished verde guatemala marble | prototype + 5 + 2 AP | photo courtesy of carpenters workshop gallery

design miami 2014 preview #2.

design miami 2014 preview #2.

Nov 27, 2014

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[ perrier-jouët ] exclusive champagne sponsor of design miami/, continues bringing to life its art nouveau heritage with its new design partnership with the vienna based duo mischer’traxler. the project, perrier-jouët presents small discoveries by mischer’traxler, will be revealed at design miami/ 2 – 6 december 2014 with ephemerā, mischer’traxler’s master work of small discoveries, marking the starting point of a year-long artistic residency.

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studio job | chartres | carpenters workshop gallery< |2009 -2012 | limited edition of 5 + 2 ap

[ carpenters workshop gallery ] presents studio job revisiting the world’s most beautiful monuments. the tour begins with big ben aftermath- a functional sculpture incorporating mechanical clockwork. we are then transported to historical france with inspiration from the famous chartres cathedral, then a quick stop to paris with eiffel tower lamp, which although made of hand-painted bronze appears to bend like rubber. finally, the journey becomes more far-flung and takes us to india with taj mahal table.

dm14-west2franz west| divan | unique | carpenters workshop gallery< | 2003

additionally, the gallery will show furniture pieces by franz west.

dm14-prouve1trapèze table | jean prouvé | laffanour – galerie downtown | 1954

[ laffanour – galerie downtown ] / paris presents an exceptional lineup of rare work by french masters. the highlights include pieces by jean prouvé, charlotte perriand, serge mouille, and jean royère. the gallery’s display is reflective of its commitment to promoting architects’ furniture designs and its vision rooted in the rapprochement between different art forms and shared by artists and designers of the 1950s.
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bibliothèque bookcase | charlotte perriand | laffanour – galerie downtown | 1957

dm14-nilufar1catch ceiling lamp – 10 glasses | lindsey adelman | customizable | nilufar gallery

[ nilufar gallery ] is pleased to invite you at the 10th edition of design miami to discover its selection of important pieces by lindsey adelman, fulvio bianconi for venini, lina bo bardi and carlo pagani, maas-fjetterstrom and barbro nilsson, martino gamper, nicholas hughes, vibeke klint, massimiliano locatelli, xavier lust, gio ponti, roberto giulio rida, sergio rodrigues, paavo tynell, nanda vigo.

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luxury italian mosaic company bisazza and legendary fashion house emilio pucci will showcase for the first time in north america bisazza wears emilio pucci, a new collection of bisazza mosaics inspired by historic emilio pucci prints, including new never-before-seen designs, into large-scale bisazza mosaics. the collection will be on view in miami at the bisazza (3740 ne 2nd avenue), and emilio pucci (155 ne 40th street) showrooms, both located in the design district.

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[ welcome to the future ] an installation by new york-based artist daniel arsham explores this interplay between technology and the passing of time. he’s created a fictional archaeological site filled with 20th-century media devices—nintendo controllers, boom boxes, electric guitars, slr cameras, blackberry phones, vhs tapes, walkman players, film projectors, portable televisions, radios—all rendered in ancient geological materials, like volcanic ash, crystal, and obsidian. to create the site, arsham dug an excavation trench 25 feet in diameter into the concrete floor of the gallery and filled it with his new-old sculptures. [ kickstarter ]

>locust projects | 3852 north miami avenue miami design district

[ 2014 exhibitors ]
ammann gallery – cologne
antonella villanova – florence
caroline van hoek – brussels
carpenters workshop gallery – london & paris
carwan gallery – beirut
casati gallery -chicago
cristina grajales gallery – new york
demisch danant – new york
edward cella art + architecture – los angeles
erastudio & apartment-gallery – milan
galerie jacques lacoste – paris
galerie kreo – paris
galerie maria wettergren – paris
galerie pascal cuisinier – paris
galerie patrick seguin – paris
galerie vivid – rotterdam
galleria o. – rome
gallery diet – miami
gallery seomi – seoul & los angeles
hostler burrows – new york
jason jacques inc. – new york johnson trading gallery – new york
jousse entreprise – paris
laffanour – galerie downtown – paris
louisa guinness gallery – london
magen h gallery – new york
moderne gallery – philadelphia
nilufar gallery – milan
ornamentum – hudson
pierre marie giraud – brussels
priveekollektie contemporary art + design – heusden aan de maas
r & company – new york
southern guild – cape town
victor hunt design art dealer – brussels
volume gallery – chicago

[ special exhibitions ]
of the 35 galleries at design miami/ 2014 11 are among those that participated in the first year of the fair in 2005. several of these founding galleries present special exhibitions that celebrate the growth of the collectible design market over the past decade. these include a display dedicated to public commissions in france from the 1960s and 70s from demisch danant; an exhibition on the functional, durable furniture created for universities by charlotte perriand, jean prouvé and le corbusier from galerie patrick seguin; a monograph on rick kauffman’s new york art et industrie gallery and the creative crossover surrounding it from magen h gallery, and newly commissioned works debuting at the fair with cristina grajales gallery, galerie kreo, r & company and nilufar.

[ special commissions ]
design miami/ 2014 features a significant number of special commissions, including works in glass, stone and acrylic. ammann//gallery presents the sakala vase by satyendra pakhalé, his first work in blown murano glass; galerie vivid presents commissioned works by finnish-born designer janne kyttanen, which take the designer’s 3d printed aluminum sedona bench as their point of departure; max lamb creates a granite lamp for johnson trading gallery made over six days using stitch drilling, and jeweler ted noten unveils a table – his first foray into furniture – at ornamentum.

[ a bronze age ]
it may have associations with the earliest days of human craft, but bronze is very much the material of the moment at design miami/. from artist jewelry to monumental decorative works, via furniture and lighting, the cast metal is deployed across multiple formats at this year’s fair. casati gallery introduces the work of chicago-based designer steven haulenbeek with a collection of bronze mirrors, furniture, lights and objects all distinguished by the ‘chaotic texture’ produced by casting in ice. carwan gallery debuts furniture pieces combining bronze, onyx, mother of pearl, resins, fine inlaid wood and silver-plated brass by italian architect vincenzo de cotiis. carpenters workshop gallery shows a new collection of iconoclastic architectural-themed bronzes from studio job; and new furniture pieces and jewelry by claude lalanne are exhibited by louisa guinness gallery.

[ cabinets of curiosity ]
spanning the twentieth and twenty-first centuries, design curio/ presents four immersive environments of objects, textures, artifacts and ideas that truly challenge and contextualize familiar design narratives. this first edition, in celebration of the fair’s 10th anniversary, emphasizes surprising installations of scientific research alongside handcraft and creative production. these include oceanic art and design endeavor coral morphologic’s blue room, offering a coral-eye view of miami’s aquatic waterscapes; beijing’s gallery all presenting naihan li’s latest installation from her i am a monument series, recreating beijing’s cityscape to a scale of 1:100 with billowing smog rising amongst buildings reimagined as furniture pieces. koenig & clinton and joe sheftel gallery partner to present a collection of sottsass objects interacting with works by the memphis group in a jewel-box space; patrick parrish gallery invites visitors to experience the vertiginous grid-based exhibition: surfaces on which your setting and sitting will be uncertain, displaying a group of sculptural furniture objects by ro/lu with matching clothing designs by various projects.

event> design miami/ 2014 @designmiami #designmiami
dates> 3 – 7 december 2014
venue> meridian & 19th street miami beach, usa
december 3-4/ 10am-8pm
december 5/ 11am-8pm
december 6/ 12-8pm
december 7/ 12-6pm

design miami 2014. preview.

design miami 2014. preview.

Nov 17, 2014

above> peter marino: design miami/ 2014 design visionary award winner

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above> zaha hadid’s site-specific installation at design.05 miami / recent photo of the moore building

ten years ago, a small fair for collectible design named design.05 miami launched concurrently with art basel miami beach. located in the moore building in the miami design district, it offered a selection of fifteen invited exhibitors, with the stated aim of bringing museum-quality galleries together with the best collectors, connoisseurs, and designers from around the world in one of the premier destinations for art and design.

fast forward 10 years. rodman primack, executive director of design miami/ stated, “the fair grew out of the need for a consolidated marketplace that would act as a platform to showcase the range and strength of what was then a fledgling market.” adding, “since then, the collectible design market has really changed in scale; it’s internationalized and diversified, and this is reflected very clearly in the fair. design miami/ has changed the way galleries engage with their audiences. i am excited to see this ecosystem bringing so many distinct viewpoints and aesthetics together.”

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above> a rare photo (designapplause can never get him to pose) of muecke with a model of the pavilion concept

[ pavilion commission ]
minneapolis-based designer jonathan muecke has been commissioned to create the pavilion for the tenth anniversary of design miami/.

the design miami/ pavilion commission has become an important feature of the fair. an ephemeral extension of the fair space itself, the pavilion is at once an exhibit and a piece of functional temporary architecture. while the commission is traditionally given to an early career architect or studio, for its tenth anniversary design miami/ has selected a designer whose practice reflects the multifaceted nature of the fair itself.

alexandra cunningham cameron, creative director at design miami/ commented, “for our tenth anniversary, we wanted to pay homage to the type of young designer that design miami/ wishes to champion – one who experiments with materials, form and scale; who is as much a theorist as a maker; and who challenges us to consider how we relate to the world built around us.”

muecke studied architecture at iowa state, interning at the architectural office of herzog & de meuron in basel, switzerland before studying design at the cranbrook academy of art. muecke has evolved a design practice that resists standard divisions between design, art and architecture, instead focusing on refined forms that investigate notions of positive and negative space that relate to humanscale.

centered around a double-layered circular structure with apertures at both poles, muecke’s design miami pavilion (dmp) is designed on a human scale, rejecting monumentality in favor of lightness and variability.

dm14-marino1
above> in a not so rare photo of peter marino in leather on metal on leather. a leather vest pricked all over with metal studs, leather wrist guards with metal spikes, a leather hat with a metal skull, a strand of leather hanging from his neck which holds some metal knives, leather belt, metal belt buckle, metal knuckles with skulls, leather pants, leather boots. all the leather is always black.

[ new initiatives ]
design miami/ is launching two new forward-looking initiatives this year: the exhibition strand design curio, and the design visionary award.

conceived as contemporary ‘cabinets of curiosity’, the four independently curated design curio booths scattered throughout the fair will take the widest possible view of design practice. they will go beyond the scope of collectibledesign to embrace diverse fields from science and technology, to handcraft,and from unrealized prototypes to esoteric collections.

[ design visionary ]
the inaugural design visionary award recognizes peter marino. with this award, design miami/ recognizes marino for his achievements as an architect, for his knowledge and status as a collector of design, art and the decorative arts, and for the impact he has had as an advisor on contemporary and twentieth century design to his numerous clients.

commenting on the first edition of this award, primack stated, “this award is about recognizing the figures that have really propelled the world of design in the broader sense. peter is a great talent, and is also an amazing patron of others’ talents. his knowledge of furniture, his ability to create collections in design and his work with leading brands to help them understand the importance of bringing design voices into their world have substantially impacted the market and the language of design”.

marino founded his eponymous architecture, planning and design studio in new york in 1978 having trained with i. m. pei and george nelson. early clients included andy warhol, yves saint laurent and pierre bergé, and gianni and marella agnelli.

‘one way: peter marino‘ opens at the bass museum of art on 4 december 2014.

dm14-diet-moore1above> production sketch basketball shelf | emmett moore | gallery diet | 2014

dm14-galeriao-ponti1above> mod. 820 armchairs | gio ponti | galleria o | 1956

dm14-grajales-barrali1above> chiaroscuro chair | pedro barrail | cristina grajales gallery | 2014

dm14-nilufar-rida1above> settimanile | roberto giulio rida | nilufar gallery | 2014

dm14-seomi-jin1above> still life series | jang jin gallery seomi | 2014

[ 2014 exhibitors ]
ammann gallery – cologne
antonella villanova – florence
caroline van hoek – brussels
carpenters workshop gallery – london & paris
carwan gallery – beirut
casati gallery -chicago
cristina grajales gallery – new york
demisch danant – new york
edward cella art + architecture – los angeles
erastudio & apartment-gallery – milan
galerie jacques lacoste – paris
galerie kreo – paris
galerie maria wettergren – paris
galerie pascal cuisinier – paris
galerie patrick seguin – paris
galerie vivid – rotterdam
galleria o. – rome
gallery diet – miami
gallery seomi – seoul & los angeles
hostler burrows – new york
jason jacques inc. – new york johnson trading gallery – new york
jousse entreprise – paris
laffanour – galerie downtown – paris
louisa guinness gallery – london
magen h gallery – new york
moderne gallery – philadelphia
nilufar gallery – milan
ornamentum – hudson
pierre marie giraud – brussels
priveekollektie contemporary art + design – heusden aan de maas
r & company – new york
southern guild – cape town
victor hunt design art dealer – brussels
volume gallery – chicago

[ special exhibitions ]
of the 35 galleries at design miami/ 2014 11 are among those that participated in the first year of the fair in 2005. several of these founding galleries present special exhibitions that celebrate the growth of the collectible design market over the past decade. these include a display dedicated to public commissions in france from the 1960s and 70s from demisch danant; an exhibition on the functional, durable furniture created for universities by charlotte perriand, jean prouvé and le corbusier from galerie patrick seguin; a monograph on rick kauffman’s new york art et industrie gallery and the creative crossover surrounding it from magen h gallery, and newly commissioned works debuting at the fair with cristina grajales gallery, galerie kreo, r & company and nilufar.

[ special commissions ]
design miami/ 2014 features a significant number of special commissions, including works in glass, stone and acrylic. ammann//gallery presents the sakala vase by satyendra pakhalé, his first work in blown murano glass; galerie vivid presents commissioned works by finnish-born designer janne kyttanen, which take the designer’s 3d printed aluminum sedona bench as their point of departure; max lamb creates a granite lamp for johnson trading gallery made over six days using stitch drilling, and jeweler ted noten unveils a table – his first foray into furniture – at ornamentum.

[ a bronze age ]
it may have associations with the earliest days of human craft, but bronze is very much the material of the moment at design miami/. from artist jewelry to monumental decorative works, via furniture and lighting, the cast metal is deployed across multiple formats at this year’s fair. casati gallery introduces the work of chicago-based designer steven haulenbeek with a collection of bronze mirrors, furniture, lights and objects all distinguished by the ‘chaotic texture’ produced by casting in ice. carwan gallery debuts furniture pieces combining bronze, onyx, mother of pearl, resins, fine inlaid wood and silver-plated brass by italian architect vincenzo de cotiis. carpenters workshop gallery shows a new collection of iconoclastic architectural-themed bronzes from studio job; and new furniture pieces and jewelry by claude lalanne are exhibited by louisa guinness gallery.

[ cabinets of curiosity ]
spanning the twentieth and twenty-first centuries, design curio/ presents four immersive environments of objects, textures, artifacts and ideas that truly challenge and contextualize familiar design narratives. this first edition, in celebration of the fair’s 10th anniversary, emphasizes surprising installations of scientific research alongside handcraft and creative production. these include oceanic art and design endeavor coral morphologic’s blue room, offering a coral-eye view of miami’s aquatic waterscapes; beijing’s gallery all presenting naihan li’s latest installation from her i am a monument series, recreating beijing’s cityscape to a scale of 1:100 with billowing smog rising amongst buildings reimagined as furniture pieces. koenig & clinton and joe sheftel gallery partner to present a collection of sottsass objects interacting with works by the memphis group in a jewel-box space; patrick parrish gallery invites visitors to experience the vertiginous grid-based exhibition: surfaces on which your setting and sitting will be uncertain, displaying a group of sculptural furniture objects by ro/lu with matching clothing designs by various projects.

event> design miami/ 2014 @designmiami #designmiami
dates> 3 – 7 december 2014
venue> meridian & 19th street miami beach, usa
december 3-4/ 10am-8pm
december 5/ 11am-8pm
december 6/ 12-8pm
december 7/ 12-6pm

zoë ryan: the future is not what it used to be. 2014 istanbul design biennial.

zoë ryan: the future is not what it used to be. 2014 istanbul design biennial.

Oct 15, 2014

istanbul14-Zoe_March2014zoë ryan | courtesy the art institute of chicago/ portrait by cynthia lynn

Zoë Ryan is the John H. Bryan Curator of Architecture and Design and Chair of the Department of Architecture and Design at the Art Institute of Chicago. I’ve been trying to catch her for almost four months to talk about the curator appointment of the 2nd Istanbul Design Biennial coming up in October 2014. We talk following her break-out session with formlessfinder at Design Miami: [ff] won this year’s commission to build the entrance to the Design Miami pavilion.

[DesignApplause] Zoë, have you had a chance to get around Design Miami?
[Zoë Ryan] I’ve only had a small window before this talk, then I’ll head back out and start walking around.

[DA] This is my fifth year coming to Design Miami. I am sort of yearning for something more experimental.
[ZR] I mean, I would say, it’s difficult in this environment, but if you go back to Galerie kreo, they have one or two pieces from Hella Jongerius and one or two pieces from Wieki Somers which came from really experimental exhibitions. They’re kind of one or two from a big collection that they had produced that was shown in Paris. They were really fantastic. I thought that especially the Wieki Somers, um, these hybrids, furniture-lighting- not even sure what they are pieces- they were very exciting for me to see.

I also really enjoyed Volume Gallery and their show with only featuring Jonathan Muecke. I thought it’s quite daring to do a solo show. But in this environment, it really works well. It’s very legible, you get to see a great breadth of work. I think they’ve taken a lot of time. Their collection is very rigorous. It shows the breadth and depth of work, and for me, that’s what I’m looking for. Of course, this is a very specific environment to see this work in but I’m also very interested in.

I want to go see the Charlotte Perriand house on the beach that’s at the Raleigh Hotel, which is going to be hopefully a fantastic piece to see. I’ve never walked through the Herzog & de Meuron parking facility and check out the ‘Art Drive-Thru’ (Colette & Alchemist) installation. I’m curious about the new piece (Phare No. 1-9) by Simon Heijdens, who, you know, we’ve worked with in the past, who seems to know no bounds of his own dexterity as a designer. So I’m excited about that.

In terms of new experimentation, and also I think that’s where- for me- Miami excels is in these types of projects. Projects like formlessfinder’s and the Perrier-Jouët sponsored Simon’s project, are brilliant, where really those are the types of designers that are going to take this opportunity and really do something terrific with it. And something that really relates to their practice and helps them move their practice further, not only something that’s really rigorous and makes a lot of sense for them, and they get as much out of it as they give to the sponsor who’s sponsoring them. And I think more of that kind of sophistication is really needed. What have you seen?

[DA] You’ve given me new glasses to look through. The Swarovski Crystal Palace collaboration with Guilherme Torres creates ‘Mangue Groove’, an insightful installation inspired by mangrove trees to remind us of aquatic conservation efforts surrounding mangrove ecosystems in Brazil. Carpenters Workshop Gallery instilled the concept of time with two creatively fun video/grandfather clocks by Maarten Baas and rAndom created ‘Study of Time’ a mezmerizing illuminated digital wall hanging. Off-site there’s the ‘Untitled’ tent, the venue ‘finally’ on the beach and in Windwood there’s great graffiti art everywhere.

You mentioned Galerie kreo. They’re debuting a Poltrona di Proust armchair, first created by Alessandro Mendini in 1978; this version is in gold Bisazza mosaics. I’m not crazy about gold glitter. kreo director Joanna Frydman said, “It fits entirely with the luxurious mood of the fair.”

Can we talk about Istanbul? – Did this commission come out of nowhere for you?

istanbul14-theme1

[ZR] (Laughing) Yes, this came out of nowhere. So, in about- I don’t know- May of this year, I got an email from them asking if they could speak with me about the Biennial. I thought they were calling to ask about different projects and designers to work with, so I was all geared up for that. And then the next day they call again and asked me to curate their event and I was a bit, I was absolutely flabbergasted, but of course really excited.

It took me a minute to think on my good days, am I going to be able to do this project justice? And also will my boss, the Art Institute, allow me to do this? The museum is very committed to find work from other parts of the world and becoming more international, and definitely getting into parts of the world that have been, you know, largely ignored or overlooked.

One of the reasons why I was so excited to do the project was to work in Istanbul, a place that I’ve been to many times before, but never worked there, but somewhere I’ve always been a big fan of. And also to find that there really is a very thriving community of architects and designers there, which have a lot to give to the rest of the world and are really not known to the rest of the world. So that was really fantastic.

[DA] The theme ‘Manifesto’, was it given to you?
[ZR] No, absolutely not. When they came to me I asked for a few months to work on the title and the theme, and I was given complete carte blanche. I sort of floated some concepts past them last month- November. But I also went to Istanbul with my associate curator, Meredith Carruthers, who I hired, and we set out a number of different roundtable discussions with many, many architects and designers in the city, to get to know them and for them to get to know us and to start to throw ideas around. I already had in my mind what I wanted to- I love the history of manifestos, but I really wanted to rethink: what does it mean to have a manifesto today?

below> SIBLING reinstalls its video ‘The Encounterculture’, a manifesto of sevens ways to participate. The film, made in collaboration with Nicole Rose, is re-configured with eight tear-away propaganda posters that see the manifesto travel from the gallery wall out into the streets.

And the title of the Biennial is actually ‘the Future is Not What It Used to Be.” And it’s a way for us, I think we’re in this really critical moment, where we should take stock of where we are, where we’ve come from, and where we want to go. And we were using the manifesto really as a platform where we’re inviting architects and designers to rethink and revisit the history of manifestos, but propose ‘what is a conceptual design manifesto?’ You know, manifestos, towards the end of the 20th Century, seemed really outdated. They seemed naive, at best. And they were often very violent and destructive, they didn’t care about consequences. And so how can we use that talk and perhaps turn it around and reclaim it for our time?

Because I felt we’re in a moment where we do want both big and small ideas, but designers and architects really need to show that they can help us identify issues, work through issues and, at best, overcome issues. For example, how can the manifesto be something that deals with everyday realities, talk about the negative and positive consequences, look at the present yet potentially propose ideas for the future? A key- the manifesto does not need to be a text. It could be a project, it could be a provocation, it could be a service, it could be a publication. I mean, we’re looking for all kinds of projects that will make up the Biennial.

[DA] What’s your timeline?
[ZR] We’ve just launched the call for ideas, that’s gone online. And there’s a two-part call for ideas. The first part is the short statement and it’s about what your manifesto is, a few images, and what kind of platform or medium you want it to be in. And the deadline for that is February 1. And then we will circle back after that and start working individually with studios.

[DA] What are the expectations and criteria for the role of the curator? What’s the schedule for you going to be? How are you going to communicate with everyone to pull it together?
[ZR] Well, there are no hard and fast rules. I’ve been to Istanbul three times already, and I have my associate curator. There’s a team in Istanbul, there’s a foundation team that runs the Biennial. I’m building an international advisory. We have an informal advisory now in Istanbul. And we’re going to continue the idea sessions. We’ll be meeting at least once a month.

[DA] Zoë, is there anything you want to say that we didn’t talk about?
[ZR] Designers, we need you!

[ at-a-glance ]

below> Defne Koz, Marco Susani presents ‘Justaddwater’, their vision for the future of the food experience, where smart appliances meet creative gastronomy.

istanbul14-koz1courtesy koz susani design

below> Turkey has had its share of earthquakes and there are earthquake kits available. In response to this need designers Jessica Charlesworth and Tim Parsons, who are looking at everyday surivivalism for different scenarios create a project called ‘New Survivalism: Alternative Bug-Out Bags’.

istanbul14-timandjess1courtesy parsons & charles- worth

below> ‘Becoming Istanbul’ by Superpool and Project Projects, explores contemporary Istanbul through an interactive database of over 400 artists’ videos, photography series, documentaries, news reports, cartoons and architectural projects.

istanbul14-superpool1courtesy superpool & project projects

below> architect/designer Elena Manferdini serves up ‘Still Life to Living Pictures’ using digital rendering at the scale of architecture to create a space of aesthetic reflection, asking the viewer to be both critical and complicit in this transformed environment, to suspend disbelief and enter the imaginative space of the backdrop, but also to “break the fourth wall” and inspect the surface of her illusion.

istanbul14-elena1updated / just in from istanbul sent by iphone | courtesy elena manferdini

[ participating designers and projects announced – updated ]


’The Future Is Not What It Used To Be’ hosts 53 projects that ask: “What is the future now?” 
By rethinking the manifesto as a platform to frame pertinent questions, the projects question the role of design, its relationship to society, and its ability to be an active agent for change.

The exhibition at the Galata Greek Primary School, the hub of the 2nd Istanbul Design Biennial, will spread over all five floors of the school, an area of approximately 2,300 square meters. 
The projects imagine new possibilities that can transform the present and invite new potential futures. Arranged in five departments— Personal, Norms and Standards, Resource, Civic Relations, and Broadcast — the projects question the manifesto as a platform for situating ideas and pointing to new directions.

[ personal department ] The Moonwalk Machine—Selena’s Step, Sputniko!
Consider Beauty, Studio Frith & Thirteen Ways
Still Life to Living Pictures, Atelier Manferdini: Elena Manferdini
Jardin d’hiver, Dice Kayek: Ayşe Ege and Ece Ege
In The Future, Everyone Will Be Heroic for 1.5 Minutes, Sarraf Galeyan Mekanik: Memduh Can Tanyeli, Erhun Erdoğan and Emine Seda Kayım
BIRDY 2214, Meriç Canatan and Fatosh Erhuy
Ownership of the Face, Kristina Cranfeld
Manifesting the Look of Love, Haelo Design: Helen Maria Nugent and Ron Kirkpatrick
Poly, giffin’termeer: Jess Giffin and Jim TerMeer
Mapmaker Manifesto, Stamen Design: Beth Schechter and Eric Rodenbeck
New Survivalism, Jessica Charlesworth and Tim Parsons

[ norms and standards department ] N°41 Workoutcomputer, BLESS: Desiree Heiss and Ines Kaag
Dyslexie Typeface, Christian Boer
Nap Gap, J. Mayer H. und Partner, Architekten: Jürgen Mayer H. with Wilko Hoffmann and Julien Sarale
smart design (. . .) smart life, Jacob de Baan, Giorgio Caione and Rianne Koens
Justaddwater, Koz Susani Design: Defne Koz, Marco Susani
LEPSIS: The Art of Growing Grasshoppers, Mansour Ourasanah
Designing for the Sixth Extinction, Alexandra Daisy Ginsberg
New Energy Landscapes, Sean Lally
Incomplete Manifesto for The Night, Clio Capeille
Towards a Universal Mundane Manifesto, Emmet Byrne and Alex DeArmond

[ resources department ] A Reading Room, Future Anecdotes Istanbul: Can Altay and Aslı Altay
Open Manifesto, FormaFantasma: Simone Farresin and Andrea Trimarchi
Palamut Timeline, Didem Şenol of Lokanta Maya and Gram, with Elif Esmez, Esra Aca
Rebuild the Electronic and Digital Tools, Coralie Gourguechon
NASALO Dictionary of Smell, Sissel Tolaas
This sea of sugar knows no bounds, AVM Curiosities: Tasha Marks
Hacking the Modern Kitchen, Gastronomika
Diario, Moisés Hernández
knowledge-tools-memory, Studio mischer’traxler: Katharina Mischer and Thomas Traxler
Crafted in Istanbul, Seda Erdural, Barış Gümüştaş and Bilal Yilmaz
Repair Society, Gabriele Oropallo, Joanna van der Zanden, and Cynthia Hathaway
Cultures of Assembly, Studio Miessen
Imagining Our Shared Future, Atatürk Library, Alexis Şanal and Ali Taptık

[ civic relations department ] Public Drawing, Atelier Bow-Wow: Yoshiharu Tsukamoto and Momoyo Kaijima
Use of Shores, a Micro-Manifesto on Micro-Urbanisms, İyiofis: Elif Ensari and Can Sucuoğlu
The Moment for the Generic is Now, fala atelier: Filipe Magalhães and Ana Luisa Soares
#occupygezi architecture, Architecture for All (Herkes için Mimarlık)
The Encounterculture or, Seven Ways to Participate, SIBLING: Amelia Borg, Nicholas Braun, Jonathan Brener, Jessica Brent, Jane Caught, Qianyi Lim, Timothy Moore, and Alan Ting
Retreat, dpr-barcelona: Ethel Baraona, Studio-X; GSAPP: Marina Otero and FAST, The New Institute, Rotterdam: Malkit Shoshan
Design Activism: A Contemporary Design Manifest, Manufakturist: Mia Bogovac, Matea Bronić, Maša Milovac, and Kristina Volf; GOTWOB: Begüm Çelik and Berk Şimşek
TWTRATE, Cansu Cürgen, Eren Tekin, Yelta Köm, Barış Gümüştaş, Avşar Gürpınar, Yağız Söylev and Arzu Erdem
Who Builds Your Architecture?, WBYA?: Kadambari Baxi, Jordan Carver, Laura Diamond Dixit, Tiffany Rattray, Beth Stryker, Mabel O. Wilson
How To Do Too Kadıköy, 72 Hour Urban Action: Kerem Halbrecht and Gilly Karjevsky; with Tasarım Atölyesi Kadıköy (TAK): Onur Atay, Omer Kanıpak, Sıla Akalp
Retroactive Manifesto, Rural Urban Framework: Joshua Bolchover and John Lin
UMK: Lives and Landscapes, Dunne & Raby: Anthony Dunne and Fiona Raby
Phoenix Declaration, Arctic Perspective Initiative (API): Matthew Biederman and Marko Peljhan
The Cultural Sauna, Åbäke
ABC Manifesto Corporation Writers and Consultants, disturbATI collective

[ broadcast department ] Kontraakt, H. Cenk Dereli, Hayrettin Günç, and Yelta Köm
Growing Manifesto, Something & Son: Andrew Merritt and Paul Smyth
Unfacebook, Vibok Works: Paula Alvarez
140journos: Data Concretization, Institute of Creative Minds: Cem Aydoğdu, Engin Önder, Hilal Koyuncu, İgal Nassima, Meriç Şeker

The biennial’s exhibition space, catalogue, and visual identity are designed by Istanbul based Superpool and Project Projects, New York.

[ the opening week program | 30 october > 2 november 
]

>press and professional preview | 30>31 october 2014
>press conference | 10am 30 october at galata greek primary school, followed by an exclusive tour of the exhibition with the curator zoë ryan, associate curator meredith carruthers and the director of the istanbul design biennial deniz ova.

The opening week will provide special opportunities to hear from a number of the participating designers as well as key experts from a variety of fields and occupations. Kicking off the biennial, Curator Zoë Ryan is joined by curators, designers and thinkers in an informal discussion on the Future of Manifestos with Aric Chen, Alison Clarke, and Fiona Raby, exploring the key themes of the biennial on Friday, 31 October between 2>4pm.

Related panels explore the Future of Exhibitions with Paola Antonelli, Jan Boelen, Vasıf Kortun, and Prem Krishnamurthy with curator Zoë Ryan on Saturday, 1 November between 4.30-6pm; and the Future of Publishing with associate curator Meredith Carruthers and Can and Aslı Altay (Future Anecdotes Istanbul) Simon Johnson (THAT Magazine), Adam Michaels (Project Projects) and TWTRATE, on Sunday, 2 November between 4.30>6pm.

Also included in the opening week’s programme will be personal dialogues by designers from all around the world. Designers in Dialogue moderated by Denise Marie Bennett will include Jessica Charlesworth & Tim Parsons – Coralie Gourguechon; Mansour Ourasanah – Marco Susani & Defne Koz; Joshua Bolchover and John Lin – Kadambari Baxi and Mabel Wilson; Natasha Marks – Katharina Mischer Thomas Traxler on Saturday, 1 November between 2-4pm; disturbATI collective – Clio Capeille; GOTWOB – Manufakturist; Arctic Perspective – Cenk Derelli & Yelta Köm; Beth Schechter – Helen Maria Nugent on Sunday, 2 November between 2>4pm.

[ 2nd istanbul design biennial events ]

In addition to the exhibition, the biennial hub at the Galata Greek Primary School will host different events for design enthusiasts daily for six weeks: the Kontraakt team’s broadcast programming will be held on Tuesdays and throughout the week, Q&A’s and panels on Wednesdays, film screenings on Thursdays, and Children and Youth program every day.

Design Walks, comprised of visits to design studios, stores, manufacturers, and noted buildings in 6 neighborhoods and 6 thematic walks on Istanbul’s Asian and European sides to examine the textures of the city and observe traditional crafts are organised throughout the biennial.

The Academy Programme featuring 72 projects including workshops, exhibitions and panels organized by over 33 universities from Istanbul, Ankara, Izmir, Turkish Republic of Northern Cyprus, Europe and the United States to reveal different aspects of the biennial theme can be viewed at university campuses and at Antrepo no.7.

event> [ 2014 Istanbul Design Biennial ] @tasarimbienali #tasarimmanifestosu #designbiennial
date> 1 > 14 november 2014 | tuesday > sunday 10a > 7p | free admission
venue> galata greek primary school | istanbul

<a href="527-ronscope200about ron kovach

studio job pussy cats. carpenters workshop gallery london design festival 2014..

studio job pussy cats. carpenters workshop gallery london design festival 2014..

Sep 15, 2014

studiojob-cat1cat fight | 2014 | polished patinated bronze, hand blown glass, hand painting, led light fittings, limited edition of 8 + 3 ap | h65 / l80 x w40 (cm)
h25.59 x l31.5 / W 15.75 (inches)


Dutch artists, Job Smeets and Nynke Tynagel of Studio Job have created a new universe made of their own cats. Product design becomes a fulcrum for sculpture in these limited edition art pieces which serve as artistic form and literal function.

studiojob-cat2the ‘pussy cat’ collection of lamps are available in four positions: ‘cat fight’, ‘cat attack’, ‘cat hiss’ and ‘cat swipe’

Taking joy in creating a myth out of the everyday, these cats remind one of the Greek statues fighting over ancient battles, but here that back story is not needed or wanted. Studio Job commands a studio of artisans that work with traditional craft at the highest level, utilizing materials such a bronze to achieve a level that goes beyond and above Koons. By blowing up to high-art status the everyday ordinary world, the objects alone express the intensity. The day is coming when a single original carrot will give birth to a revolution. Cezanne*. Or a cat…

studiojob-cat5

studiojob-cat3cat swipe | 2014 | limited edition of 8 + 3 ap | h35 x l70 x w30 (cm) h13.78 x l27.56 x w11.81 (inches)

studiojob-cat4cat hiss | 2014 | limited edition of 8 + 3 ap | h35 x l80 x w25 (cm) h13.78 x l31.5 x w9.84 (inches)

studiojob-cat8cat attack | 2014 | limited edition of 8 + 3 ap | h65 / l40 x w30 (cm) h25.59 x l15.75 x w11.81 (inches)

Nynke and I love our cats Paula & Jambe Blanche. Paula is an orphan from a a village call Echt in the southern part of Limburg. Jambe Blanche is a ‘bell dame’, 17 years old. She was born in the cellar of our first studio… Jambe Blanche has four white legs, both spotted with black like little Dutch cows. In fact, we only allow black & white spotted cats in our house in the forest.
Last but not least: They are female, in Dutch slang this can be pronounced as ‘poesje’. Which is equivalent for ‘vagina’.
Cats can be quite ruthless. I believe cats are, as we say, autistic to a certain extent as in they can’t really connect tint others’ emotions.
Let’s be hones: Cats kill birds, butterflies, mice and sometimes a mole. Yet at the same time they sleep in our bed. Some say cats are more closely related to humans than we assume.
They have a point? Bien-sur que non!” Job Smeets, Summer 2014

[ designapplause interview with job smeets ]

dates: 5 sept > 3 october 2014
venue: carpenters workshop gallery london | 3 Aalbermarle street W1S4HE 
| +44 (0)20 3051 5939

opening hours: monday > friday from 10a > 6p / saturday by appointment only

(*)‘What I know or have seen of his life’, in Cezanne – a Memoir with Conversations (1897 > 1906) by Joachim Gasquet, Thames and Hudson, London 1991 p. 68

Talking to architect and artist johanna grawunder. Design miami/ 2012.

Talking to architect and artist johanna grawunder. Design miami/ 2012.

Dec 2, 2013

GRAWUNDER_NoWhining1collection > no whining on the yacht | carpenters workshop gallery | 2013

[DesignApplause] We’re talking to architect and artist Johanna Grawunder. Please share a little bit of your background?
[Johanna Grawunder] So I’m an architect. I trained in California, at Cal Polytechnic State. And then, at a very young age I moved to Florence to finish my degree in architecture and staying in Florence an extra year. Then of to Milan to work for Ettore Sottsass and ended up staying there 16 years. With Ettore I was doing mostly architecture. I became a partner in 1989. In 2001, I went out on my own. And since then I’ve been doing mostly limited edition art, furniture, custom commissions, some interiors, a little bit of product design.

[DA] Well you know what, you’re American bred, but you have the European combination of all the disciplines. How do you feel about the saying, ‘if you want to be a famous architect, design a chair.’
[JG] The chair is very difficult. I was telling you before about designing jewelry. Jewelry is an object that is so interactive on the body, very physical, a direct interaction and a little different than architecture where the body’s in space, moving through it. A chair is probably the piece of furniture you interact with most. A sofa is a little forgiving, because you can sit and lie on a sofa so many ways. But on a chair, pretty much everyone sits the same way. It has to be ergonomically quiet, you know, perfect and steady. And there so many really perfect chairs I have a difficult time thinking, what can I add that’s new? Whereas with lighting, I feel that there’s a lot I could still do as well as other kinds of more abstract forms of furniture. But a chair, someday, maybe someday.

DA: I predict your chair is going to be terrific. Describe your lighting. What do you try to achieve? Tell us about the white one with the panels. Zoe Ryan from the Art Institute of Chicago picked that out as one of the favorites at DesignMiami 2012.

4 line light | carpenters workshop gallery | 2012

[JG] That would be Line Light. I was very happy about that. They have one of my pieces in their collection, which is nice. Line Light is made of aluminum, steel and brass, LED bulbs. It’s a luminous wall light or a bas-relief sculpture, which plays with the surface of the wall it detaches itself from. Its arrangement means the light composes a veritable palette of colors, white and black modulated at will, reflecting off the wall to become a singular, ephemeral work of art.

[DA] Let’s talk about your light that’s in the Art Institute. Is it an LED light or is it a normal, energy-chewing bulb?
[JG] The Art Institute has ‘Boxy’ a luminous table in glass produced by Glasitalia. And it is LED. So, we’re good there. (Both laughing.) From the very beginning, even before LED was quite common, I used fluorescent tubes. At the time when I started doing them, the early ’90s, it was actually more for the form than thinking about the energy conservation. Because that wasn’t really on Milan’s design radar at that point, and it wasn’t really on my radar.

Although in the back of my head, I knew this was actually also a good form of light to use. But I was using it more for the form. When LED came along, there was this added advantage of the energy conservation. But as well, now, you can do so many different things with LED. When I started thinking about using LED, I didn’t feel like it was really ready for prime time. It was a novelty, and quickly was facing extinction because of the poor quality of light. Now I can use LED on almost anything.

[DA] Jake Dyson said the problem was you couldn’t get a reliable chip, and reliable chips have now been out for five years.
[JG] Lighting is polarizing for many right now. The incandescent is sufficiently entrenched and the options are expensive to switch to LED no matter what side you take. [ an aside: this conversation was a year ago and today there’s a shocking abundance of LED options. Home Depot was very smart to totally commit to LED before everyone else. ]

[DA] Making such a conceptually big switch in product is hard to visualize for most and even harder to execute. The car industry is trying to figure it out too because of the electric car.
[JG] But in the car industry, you have the third party, which isn’t just the car maker, it’s the oil companies. I didn’t mean to get so political so quickly.

GRAWUNDER_PinkVoid_02pink void | carpenters workshop gallery | 2013

above> Pink Void, exploits hot pink anodized aluminum to cast a warming glow sure to enhance any interior environment. Simultaneously minimalist and bold, the floor lamp was inspired by a snapshot Grawunder saw of sunlight reflected on mirrored barn doors.

[DA] Let’s continue that thought. How does ‘design’ bump heads with politics?
[JG] The green issue is very interesting. You could say, ‘Well I’m only going to use recycled materials.” But if you say that, you’re still not discouraging the originator of the plastic bags. A philosophy I practice is to use the least material possible. If for one of my pieces, it turns out that steel provides the most thin, lightest, most performance efficient material, then I’ll use steel. We also should take into consideration the amount of energy and bad byproduct waste it takes to reach market. Does that make any sense? It’s not original. Frank Ackerman comes to mind.

[DA] So, if you want to design a ball, you will turn it into a whiffle ball.
[JG] Exactly. Now I don’t do light with regard to weight, nor super, super light. And I’m doing quite large, architectural-scaled abstract pieces. But within that world, trying to use the least amount of material as possible. For example, the Line Lights is comprised of mostly the LED, the rest of it is just a very thin aluminum panel.

[DA] What about that nice, black coffee table I saw at Carpenters Workshop Gallery?
[JG] The coffee table is aluminum too.

[DA] And uses Tron lighting. Was Tron (the movie) in the 70s?
[JG] You are not the first one to bring up Tron and I looked it up: 1982. Blade Runner too. It was ’80s. It was actually, I, I re-looked at it recently. It was right- I think it was a year before Blade Runner. The first one. (DA: Yeah.) And then the second one came out a few years ago, but the first one kind of blew my mind. (Laughing.)

[DA] Not meaning to be cruel but when did the Tron concept burst out of the table?
[JG] I’ve always sort of put light into my furniture and I count light as another material. I think of light as a kind of paint, as a kind of color, as a way to give an extra sort of soul.

In that table called ‘Platform’ I didn’t want an ‘big’ light, nothing to obvious, not a hybrid light that’s also a table. It was really about a table that just has a slight delineation of light. The gallery (Carpenters Workshop Gallery) was a big part of the concept discussions and everyone was pushing for less and less light. They wanted it even more mysterious. Just a few little pieces here and there. I like it and think it worked.

[DA] So they were a good client?
[JG] A very good client. (laughing.) I think of them more as a collaborator.

[DA] What’s the conception to finished piece process like?
[JG] I first presented the collection pieces, maybe 15 drawings, two years ago earlier. We met here in Miami, and it took a year and a half, which is a little longer than usual but I wasn’t in any hurry myself. I hadn’t done a custom collection like it for a few years, and I wanted to finish things that I had already started before concentrating on this collection. We modified things. We made prototypes. We went to Italy to check the engineering out up close plus thousands of Skype meetings from San Francisco.

All of these pieces were made in Italy. The artisans are fantastic. The two pieces you’re referring to were made by artisan Marzorati Ronchetti. We’re talking about six pieces of each design, so it’s not really an industrial thing.

[DA] Why do you like doing limited edition?
[JG] For a couple reasons. I don’t necessarily want these things following me for the rest of my life, you know? In 20 years someone says, ‘I like that table, can you have it made?’ I’d rather just be done and have moved on. And the limited edition model is good for collectors. And it’s a way to keep being able to propose new things, because if you wind up creating that crowd-pleaser piece you get through that and get out. The designer now has many more opportunities to create.

[DA] Have you done anything that was a production piece?
[JG] I did some lighting for Flos. And glass pieces for GlasItalia and vases for B&B Italia, a mirror for Boffi.

[DA] So it doesn’t really make any difference whether it’s limited or production?
[JG] In a perfect world it wouldn’t. But in a realistic world, I have a lot more creative freedom doing limited. With limited the galleries only have to worry about selling it six times. If you have to sell thousands I have to change my design so a thousand people like it and can afford it. And I feel I can research and experiment more with limited than I would with production. Although more recently, the production side is also having to take more risks than before, just to stay relevant, so both limited and production are sort of converging and good companies like Flos and Glasitalia totally get that.

[DA] The client is a big influence with regard to research and experimentation. Well, it seems like everything takes about 2 years, no matter what.
[JG] That’s interesting, yes.

[DA] When I saw the coffee table I immediately thought of Ad Reinhardt. I learned about Reinhardt because I decided to paint and it took a few years to actually stretch a canvas and put paint on it. I didn’t trust my tools and I didn’t want to ruin my reputation. It was starting from point zero to paint. My first painting was a black six-foot square and people were asking me if I knew Reinhardt.
[JG] (Laughing.) Uh oh, did he do a coffee table?

[DA] I don’t think so.
[JG] I like your story, because I’ve had people reference me to Donald Judd or earlier work people said Dan Flavin. Of course you get influenced by things, but it’s really indirect. I mean, really indirect. And whether that’s intentional or you get it through osmosis. I see stuff now that even younger designers do, which is very derivative, not necessarily of me, but sometimes, you know of other people too. And it makes me more forgiving, because you realize, well maybe they saw that in DesignApplause or something. But maybe they just picked it up in the ether and, or maybe the thought process brought them to the same point. If you came up with the black square by a very pure thought process, you’re in good company. Ha. (Laughing.)

[DA] Like my memory is not very good. (JG: Join the club.) Especially the ‘instant recall’ But mostly a result of our selective memories. I think our influences, our inspirations are selective also. I mean, there are some things you see and you never forget it.
[JG] We’re pre-programmed to react to that (DA: Totally.) not to the other thing, yeah.

[DA] Can you think of anything that was alien, what you thought was unique, and you did it, you got it?
[JG] When I did it, and I got it? That’s interesting. I have to say, when I first went to work at Sottsass, I was just out of college, and my intention was it was only going to be a summer job and then back to California. His layers of, um, sensoriality, was really quite alien to me. Because I had, I think, a kind of minimalist soul. I had studied modernist architecture and grew up in a California modern house. So to go up there and see this like total orgy of color and texture and forms, in fact, was a little bit alien to me.

And I didn’t fight it, because of course he was the master and I was a lowly draftsman for the first few years. Slowly, I started to understand the reasonings behind it, that it wasn’t kind of this irresponsible, crazy, what people were calling it ‘zany’, you know, wacky- it wasn’t that at all. It was a very serious, political statement about design and how we live, the choices that people are given. So, from that, I tried to get into that a little bit. And some of the first work I did on my own was probably much more influenced by Memphis and by Sottsass.

Since I’ve been out of that, not out of it but stepping out and trying to make my own way, I find myself coming back to a more of an original root. Of course, now, hopefully much enriched by this incredible experience I had at Sottsass. And certainly not superseding in any way, but my natural tendency is to be more reductive. And to be a little bit harder, in a sense. And more what I was considering architectural, which was these abstract, straight line forms. Does that make sense?

[DA] Yes. So what was it like working for Ettore and what did you learn?
[JG] I learned enough that someday there might be a book. (Laughing heartily.) I doubt it, but there’s a lot there. It was just an amazing, mind-blowing experience to go up there. First of all, you’re a Californian living in Italy, is already a pretty amazing experience. A lot of people have done it. But he in particular, he was really a master with a whole school of thought. And he’s seeded so many different designers out of that school, who’ve traveled different roads and found different ways of expressing themselves.

I think that’s his main lesson. You have to find your own innate road and then work it and believe it, trust your instincts, but be very aware that every decision you make is – I keep using the word political- because he used that word- it’s actually a political decision.

If you’re using gold, well that means something culturally. That means something in the history of design, but it also means something in the history of class warfare. You have to be very aware of what you’re doing at any given time. And that was a huge lesson. To understand that everything you do has meaning and sort of reverberates in one way or another to what you really believe. If you’re true to yourself.

[DA] You worked with him for such a long time, how would you describe what his mission and vision was? What was his thing? What was he trying to do?
[JG] I worked with him probably I think longer than anyone, except for his original partner, Marco Zanini, I was there 16 years straight. And I do not feel, what’s the word?

[DA] Qualified?
[JG] Qualified. Thats the word. I don’t really feel qualified to try to summarize that. I can only say what it meant to me. So for me the lessons were what I was saying, everything has a reason. What may surprise many, he had no tolerance for decorative things, even when they were definitely the easier way to go. And even though people thought it was decorative. It was instead very precise ways of moving things around. I never heard him say, ‘I did this because it’s cool.’ Or, ‘Yeah, yeah I liked it.’ Or, ‘Well, let’s try that, the kids like it.” I never heard that kind of thing. It was always a very specific discussion about the meaning of things, and finding ideas and inspiration in common places, like the latteria on the corner by his house, which had a crazy op-art plastic laminate counter, in the 70s, and the thing is, he ‘saw’ that, he was open to that kind of stimulus.

And he was so very important in the history of design and you can see his influence all over Miami.

You know, Memphis and Alchemia before Memphis, were the original limited edition design, an experimental kind of really crazy, not normal, not production furniture. It was the first time they were showing these pieces in galleries. In 1981, the first Memphis show was actually in a gallery, and you know, it was a whole new thing.

grawunder13-sottsass-office1sottsass associati | ettore and johanna collaborate |

Before then, it was rare to see heavy, heavy experimentation with furniture, with few exceptions like Joe Colomobo, or the Radical Design shows in the 70s. In fact only recently has this area been dubbed art design. I think it was dubbed pretty much for Design Miami. With respect to my pursuit of limited edition helped me in the States. In Europe, limited edition design, experimental design was in place at this time. There were people collecting and or just wanting to see it. But in the US, I had a very difficult time early on explaining what I do. You know, they understood furniture design and craftsmanship. So when I did a show in San Francisco in 2003, with pieces from Europe, and people asked me questions like: ‘So you’re a glass blower?’ Because I had pieces in glass. Or, ‘Are you a metal worker?’ Because I had things in metal, and I had to explain, well no, I’m a designer.

Oh, but so are these in limited production? It was a very complicated thing and I think that the market here- although I hate to give the markets too much credit, but it’s been hugely important for this particular field. How valuable this field is, that’s a different question. For me personally, it’s valuable. I think for the history of design, it should be valuable. It’s valuable if product designers are seeing experimentation and using that patrimony of knowledge that comes out of doing prototypes and things like that.

[DA] I’m going to have to learn when and why the design galleries emerged.
[JG] Now I’ve got to check my history, because I’m thinking more 50s’ and 60s’, such as work by Jean Prouve for example, wasn’t really made for galleries. Those were commissions of private people or institutions asking to fill this government building with furniture. The fact that French dealers went in and saw the work and realized what it was and took it out of that context and then put it in a gallery. That’s a different situation.

[DA] Do you feel there’s supposed to be a design statement in your work? Or is it individual?
[JG] For me, after some years of experience, I feel it’s a little bit more individual. It doesn’t mean that I’m creating in a vacuum, but I don’t really necessarily try to consider design history or the direction of how design is going. I feel like it’s a little bit more my own personal road at this point, but hopefully a road that is still extremely valid. And takes advantage of new technology and philosophies about use of materials, any new materials, any new ways to control light. The materials, the technologies do drive the process but form and color, that’s more individual.

grawunder-mug3johanna | satai hotel miami beach | 2012

And I am aware when the street is going in a totally different direction, you know, the design street, I should call it. For example, a lot of very Expressionistic and almost organic. And I just don’t feel that’s my road. I’m an architect by training. I like straight lines. It doesn’t mean I won’t do a curve now and then, but I do like straight lines. I like the idea of order and geometry and to follow the basics, which would be technology, material science, function. And my respect for architecture and architectural form is really going to be hard to shake.

23

A final thing is designing within an urban environment. Space, or lack of space and lack of light pose challenges. These kinds of challenges for me are what hopefully will keep stimulating the design. (looking at her watch) OMG! Look what time it is!!

Johanna’s current work can be see at [ carpenters’s workshop gallery ] during Design Miami 2013

1> gold bar | carpenters workshop gallery | 2013
2,3> red devil | carpenters workshop gallery | 2013
4> line light | carpenters workshop gallery | 2012
5,6> platform | carpenters workshop gallery | 2012
7> corner light | carpenters workshop gallery | 2012
19> millerighe | acme studio

Pinkvoid: johanna grawunder. Designer gifts 2013.

Nov 22, 2013

GRAWUNDER_PinkVoid_01pinkvoid | anodized aluminum, leds,acrylic difuser, colored gel | h65.5 l83.8 w83.8 cm / h25.8 l33 w33 in | limited edition of 8 + 4 AP | 2013

“It was inspired by the very precise performance geometry of theater and technical lighting.”
Available at [ carpenters workshop gallery ] test

GRAWUNDER_PinkVoid_02

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johanna-grawunder-mug125-1 [ johanna grawunder ]

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