at salone del mobile 2018, wonderglass presents its kosmos, a shimmering universe of glass featuring new collections from ronan and erwan bouroullec and fornasetti as well as wonderlab’s collaborations with dan yeffet and studiopluz.
a highlight of kosmos will be the stop-motion film invisible cities by artistic duo j&peg. a surreal tale of a glass ball lost in a magical world that both celebrates the utopian vision of the city and the role of glass within architecture and urban environments.
above> introducing montara650 collection by the coalesse design group and lievore altherr molina
coalesse® engages a&d as participants at neocon 2016 / #1032 – a&d community invited to take part in the design process
coalesse, recognized for forward-looking, design-driven products that foster social connection, creative collaboration, and focus and rejuvenation, is inviting the a&d community to participate in the design process through a range of new products and custom capabilities at neocon 2016.
its showroom #1032, will feature expressions of custom capabilities that can be applied through the newly launched potrero415™ tables, massaud conference seating, and the montara650™ collection, among other products, giving a&d professionals the opportunity to discover new ways of personalizing through color and pattern, materials and features, and shape and size to make it their own and enhance emotional engagement at the workplace.
showroom visitors are also invited to participate in the design process through coalesse’s new customizer web app, which demonstrates ways of applying custom color and pattern to the groundbreaking lessthanfive™ chair. the web app and degree of product offerings make customization highly-attainable, empowering clients to be curators of a more meaningful design experience.
below> vitra & artek / #1192 // north american introductions / vitra customized applications
at neocon, vitra will present a series of projects that demonstrate how it has optimized collaboration with client project teams. this provides clients a direct dialogue and unprecedented access to vitra’s top design talent, allowing for the custom-development of new product applications for large scale projects.
below> mohawk group / #377 & 3-121
elevate contemporary spaces to inspired floorscapes through mohawk’s latest production collections. inspired by nature and designed to merge fashion with function.
below> mohawk group / moving floors collection / diagonal relief, fade relief, plane high, plane low, 656 green 24by24
designed to be dynamically moving base on the user’s point of view, moving floors was inspired by the multi-layered beauty of our cultural landscape. empowers designers to create kinetic floorscapes through limitless combinations.
below> haberdasher textiles / by laura guido-clark for herman miller / 3-321
haberdasher is an array of palettes and patterns, inspired by traditional sewing materials—and tailored for projects of various sizes and budgets. giving solids and patterns license to commingle or stand alone, haberdasher gives you license to play. mix. match. curate. collaborate. differentiate. and indulge.
above> there are 5 families each with their own identity. pins and needles: a simple pattern of pins strewn about a canvas becomes iconic in a highly graphic way. / string plaid: the crosshatch pattern creates a colorful, dynamic, and graphic twist on traditional plaid. / well suited: allows vibrant and deep colors to collaborate in a small scale, two-color nailhead pattern. / fish net: the quilted hand offers dimension and explores a large line of intense, warm, and cool colors. / tailored: the tightly woven grid texture creates a subtle surface that reflects light and contours form.
below> hbf & hbf textiles / 387
hbf has returned to its roots, teaming with esteemed designer and longtime partner michael vanderbyl to create introduce conexus, a work/lounge chair designed to function across any contract setting — offices, lobbies, hospitality environments…
designer michael vanderbyl notes, “i strive for timelessness. conexus plays with the shape of a classic lounge chair and transforms it into a more organic form that showcases the exceptional craftsmanship in the woodwork and the upholstery. the wood merges with the upholstery in such a seamless way that the piece takes on a sculptural quality, an engineering feat that hbf executed masterfully.”
below> hbf textiles highlights color, texture, yarn, and hue in spring 2016 collection
known for their artful and authentic approach to design, hbf textiles is going back to the classics for its spring 2016 collection. hbf textiles vice president of design mary jo miller started with le corbusier’s infamous lc palette of colors from the 1920s, and used these fresh shades as a catalyst for the collection.
below> tek pier / teknion / 1048
tek pier “is the first product of its kind to successfully merge wall-mounted monitors with height-adjustable worksurfaces,” said paul kruger, teknion’s director of design, architectural products. tek pier takes advantage of teknion’s altos demountable wall cable routing, structure and acoustic performance. the innovative origami mount allows for fluid positioning to share a large format monitor, maintain viewing privacy, or engage in touchscreen applications.
below> designtex / moquette / 1032a
moquette is a textile mash-up that blends a classic velvet weaving technique with the creative possibilities offered by digital printing technology. the woven structure employs a “moquette” construction produced on a modern wire loom, allowing some areas to be woven as flat bands while elsewhere selected yarns are lifted and then cut to create a short, dense pile. beginning with a simple pattern of alternating horizontal stripes of varying widths, the moquette technique adds complexity by introducing a sense of dimensionality, which is enhanced by the luxurious combination of lustrous and matte yarns. finally, the raised, plush surfaces of the woven fabric are printed digitally with a non-repeating and random color pattern.
the result is an intricate layering of textures and colors that evokes natural landscapes, reflecting biologist e.o. wilson’s concept of biophilia—the theory that human beings are instinctively drawn to the natural world, and thus that design following this principle provides a heightened sensation of comfort and repose. below> parentesit freestanding / by lievore altherr molina for arper / 339
arper extends the functionality of parentesit to include freestanding models for increased privacy and comfort. architectural in scale, these modules carve out a three-dimensional space for concentration or quiet conversation in shared workspaces or collaborative environments.
parentesit was created with a dual inspiration of minimalist art and classic japanese interiors. to shift this approach to an architectural scale, the screen is capable of dividing a room in half, or partitioning off a space for quiet, independent thought.
below> wolf-gordon / & 10 – 161
following dazzling installations of sculptures and interactive digital displays in past years of neocon, wolf-gordon has again transformed the market space in a new way. office_excavate re-envisions the cubicle-enclosed office by creating a colorful, open seating space that can be easily rearranged for meetings, coffee breaks, and recharging of phones and humans alike. the furniture, which can be used alternately as seating, desks, tables, or stools, will be upholstered in over 100 different wolf-gordon textiles. office_excavate is a collaboration of karlssonwilker inc., new motor, graham kelman and wolf-gordon creative direction. below> humanscale / 351
they’re not only previewing a brand new line of diffrient occasional chairs they’re unveiling never-before-seen niels diffrient designs. take a journey through human-centered design innovation and chat with founder and ceo bob king, visionary designer todd bracher and the rest of the humanscale team.
below> carnegie / 10 – 112
reflectacoustic is a groundbreaking design that controls sound and delivers heat and glare reduction through yarn, weaving and metalized backing technology. the textile absorbs and reflects back a great deal of light; all validated through 3rd party testing.
below node with sharesurface / sharesurface was designed by steelcase design studio / steelcase / 300
steelcase health research reveals exam rooms not designed for the modern healthcare experience . findings uncover five ways exam space is failing physicians, patients and family members; informs new design framework and product, node® with sharesurface
node with sharesurface features a rotating sharesurface that provides dynamic access to information, a central part of the exam experience. physicians using mobile technology are able to chart while maintaining eye contact, pivot the surface to share their screen with the patient and family for education and shared decision making, all while having mobility in the room. the chair’s back and arms allow doctors to have more conversational postures during consultation and the rotating surface arm moves out of the way for examination activities.
below> northern parallel / cf stinson / 10-1150
[ collection summary ]
• 7 new textiles, 72 colorways.
• a collection of coordinating textiles that explores the connections between michigan (where stinson is headquartered) and maine (where stinson houses their design studio).
• shared michigan/maine discoveries:
• similar geographic latitudes
• rigorous climate with diverse seasons
• inhabitants with an appreciation for nature and willingness to embrace the seasons
• michigan/maine ideals include work hard, build with integrity and if you are going to be unique – be honest. shared mindset explored through textiles that are hard working, unique, honest and full of integrity.
• made in america, small carbon footprint.
below> the doni collection / designed by giancarlo piretti for ki / 1181
if you can dream it, doni can express it. create with a fresh palette of energizing brights and sophisticated neutrals. imagine the possibilities with two-tone colors and unlimited custom color possibilities. the collection offers guest, task, tandem and stackable configurations.
rooted in david rockwell’s innovative approach to hospitality environments and public space, and inspired by his award-winning design for theater and entertainment, rockwell unscripted is a comprehensive collection of furniture elements that adapt to the spontaneous choreography of the work day.
“our interest is in getting people to look at their work environments as a stage on which movable furniture can be arranged in endless configurations. you can craft the scene around what it is you’re doing that day,” said rockwell group founder and president david rockwell.
below> lievore altherr molina’s arcel for bernhardt design / 399
glass gradients by scholten & baijings add dimensionality to a space by establishing a dialogue between the simplicity of the patterns with their signature color palette.
below> suri pouf / designed by sezgin aksu and silvia suardi for kolekiyon / 11 – 113a
inspired by headgear from the ottoman empire
below> elemental wall systems / 3form / 10 – 142
time + weather = beauty
inspired by the rustic look—created from clean materials
the perfect combination of sitting and standing – a new style of work posture
it is no secret that changing our posture throughout the day is essential to our well-being in the office. what’s more, adapting a posture that is appropriate for the task at hand helps relieve stress placed upon the body. okamura recommends five postures for increased office productivity and efficiency. among them is the perching posture, a perfect combination of standing and sitting.
speckle is a durable and easy to maintain textile ideal for any environment.
speckle comes in four color ways and in each the warp yarn subtly contrasts with the soft pearlescent silver speckles in the weft direction.
chilewich has experimented laying speckle tiles quarter turned and found that the natural color shift between warp and weft adds a richness and level of interest to this quiet weave. speckle is ideal for spaces in which the floor is a foundation for bolder interior design elements. a sustainable solution of bold and neutral patterns.
below> wilkhahn / 7-3082c
wilkhahn’s dynamic office seating utilizes patented 3d technology to encourage health, creativity, and productivity in the workplace.
by special request of the a&d community, will show for the first time at neocon, a white, through-dyed seat shell and backrest frame.
below> arborite high pressure laminates / 7-1018
recognizing the increasingly blurred aesthetic line between contract and residential design, arborite has curated a selection of residential products with crossover appeal to create commercial stones.
above left > cityscape loft’s modern, wet cement look is ideal for urbanites in search of a low-maintenance, industrial-inspired surface. right> industrial loft evokes the glazed look of oxidized metal, combining light and dark shades with a matte texture for a chic, modern effect.
below> amble / by stephan copeland for lightcorp / 7-8062
why is amble different? amble is a light with no moving joints or articulation – in fact, the only moving part is a gravity-powered “eye.” minimalist design meets elite performance in a battery operated dimmagle led task light. created by renowned lighting designer stephan copeland, amble is highly adjustable yet has no moving joints or articulation. amble’s lean, single-form construction enables excellent adjustability and mobility through the intelligence of its shape.
below> nima / by giancarlo piretti for american seating / 10-148
aimed for the higher education market and various contract environments, nima is an inspiring multipurpose collection of chairs, providing exceptional comfort through a sophisticated minimalist aesthetic.
below> stir kinetic desk m1 / 1067a
the new m1 is a height-adjustable desk driven by software that senses your presence, learns your preferences, enables you to set goals and actively reminds you to change positions throughout the day.
DesignApplause will continue to add to this post as well as social shout it during neocon.
paris-based designers and brothers ronan and erwan bouroullec have created a series of experimental yet highly elegant screens for their current solo exhibition at the tel aviv museum of art. seen is their signature inspirations stemming from nature whereby a few simple elements connect and repeat into shapes.
the show incorporates interweaving sequences of modular elements made of ceramics, aluminum, glass, textile and wooden branches, held together by custom made connections and hanging systems. 01 chestnut wood, 3d print 02 anodized aluminum, silk ribbon, cable 03 blown glass, elastic band, cord 04 enameled ceramic, elastic band, cable 05 embroidered polyester 06 embroidered lace polyester 07 anodized aluminum, cable 08 anodized aluminum, cord, cable 09 mirror, blown glass, anodized aluminum, cord 10 enameled ceramic, anodized aluminum, elastic band, cord 11 jacquard loom: metallic polyester, lurex, polyester, viscose 12 enameled ceramic.
click on image to engage lightbox | courtesy ronan and erwan bouroullec | 25 images
[DesignApplause] We talked with Didier Krzentowski of Galerie Kreo in 2012 and 2013. But we never published 2012. The following is 2012 and Didier is going to start with where it all began. [Didier Krzentowsk] OK, so like 15 years ago, I find out that in fact, if you speak about design and furniture design, or industrial design, we are living in a world where we remix everything, not much is really new. Even if you take the cars, you see fantastic design that happened between the ’50s and the ’70s. If you take the watches, it’s about the same. But after that, if you take into account much of the industrial design, even though technologically things get better and better, much of the design is a remix, a re-hash.
So I got the idea, at this time to have a gallery, one that could be like a collaboratory with the designers, where we could think about ‘new’ designs, plus thinking this new design could afterwards go to market. I never speak about decoration but more functional design. And all of the designers we work with like Konstantin Grcic, the Bourroullec’s, Pierre Charpin, or Martin Szekely or Hella Jongerius are also all thinking first in their head about industrial design with products going to market. And the gallerie concept in a good way allows them to pre-think, as you were, their designs and maybe helps them to build what they want the design to be in the future.
465 | konstantin grcic | galerie kreo | 2011
For example we are in the DesignMiami art fair, and here’s a table (465 from ‘champion collection’ that consisted of eight tables) by Konstantin Grcic. You see on the feet of the table you have decorative symbols which are unique to the table, and in fact, it is ideal to say, now everything is branded because of those symbols. And then a new idea arises that the next generation tables will be come in an assortment of colors. Each time the designer has an opportunity to see their effort, there are new ideas.
In fact, the very idea of the gallery is to be a platform where the designer, the collector, the visitor can speak of design in the future. That’s 90% of the work of the gallery. The rest of the work is aimed at collecting. I’m kind of a furniture collector. And for 30 years I’m collecting lamps. There is a book by jrp|ringier called The Complete Designers’ Light (1950-1990) where I was showing like 800 lamps from the ’50s to the ’90s. And this book lists all the lamps with the designers I work with. And in fact, the book was just to show that we invent and when people invent.
[DA] What did you do prior to 15 years ago? Were you just collecting or did you have a gallery? [DK] I was a collector, an avid collector of art and furniture design. And when we sold the company I was working with, I thought that my next edition would be to do something I like and what I like was art and design. And before I opened the gallery, I was thinking about industrial design but the financial side of it. That perspective came when I was working in the sports industry, I was working with Jean Claude Killy, the skier, and I saw all these sports guys had agents and Killy signed on with Mark McCormack who headed IMG (International Management Group).
And I thought why can’t we bring these designers who also work in a huge industry and bring them together to think about new products. And the company was called Kreo. And in fact, everyone was quite happy with all the products that were introduced. There may be 30 million pieces in the world now. And at this time we work with Marc Newson, the Bourellacs’, with all of them. But we couldn’t succeed, because people were not in the mood to wait and they wanted the product right away. But some were ok with a copy of the product, which we can now call a limited edition of the product.
[DA] How, how do you collaborate with your designers? How do you commission them? What determines what you carry? [DK] We are like partners. Well no, in fact, we are the first to work the way of the art industry, that means we are not exactly partners but instead we split the production and we split the margin that we earn. And this was different from everybody else. So maybe it’s for this reason, for 15 years or 14 years (Galerie Kreo opened in 1999), we continue to work with all these designers. And if you take people like Konstantin Grcic, like the Bourellacs, like Charpin, they have one gallery in the world, and we are that gallery.
[DA] When they have an idea do they approach you? Is that how that works? [DK] Yes and no but whenever they do approach us and we begin to speak together, it can be really very long. Jasper Morrison, we had to wait five years to do an exhibition, but we have made two in a row.
strong>[DA] And what of the other way around? You have an idea and you want something to happen? [DK] No. In fact, I never have an idea because I’m not a designer. So in fact, they work on research and when they ready they come to me. Though, if we have a group show, it can come from me. I will finish with a fantastic show, but with only three answers. The question with the missing object. (both laugh.)
strong>[DA] Do you want to say anything about Design Miami? [DK] Of course, I’m very happy about Design Miami. Why? Because, in fact, you know, we went to see Craig Robins a long time ago to say a lot of art collectors collect our furniture, and we wanted to begin something with them. And we began the fair with them. So when we saw the success of Basel, Art Basel and Design Miami, we were really happy.
strong>[DA] You’re on the vetting committee to determine who’s going to be here. Obviously, since day one, right? [DK] Exactly.
strong>[DA] Do you have to turn any away? [DK] Sometimes we turn away. Sometimes we say people be careful, because you are showing the same thing, you know just like a vetting committee.
[DA] There are 36 galleries this year, so congratulations are in order. Is there anything you want to say about the business aspect in general? [DK] Thank you. I’m really happy because in fact, we see that more and more people beginning to look at the furniture designer, and that’s great.
didier in 2013 galerie kreo booth
[DesignApplause] Back at it with Didier in 2013. What’s happened this past year? [DK] I think people are more and more involved in design and look intently at furniture, especially at Design Miami/. They are also more interested in content and the story of the designer’s who are making the pieces.
[DA] Do you have an opinion on why this is happening? [DK] I am not sure why. We have definitely seen a rise in the interest for design; you now have major Art Museums organizing very important design shows. Such as the Marc Newson exhibit currently on at the Philadelphia Museum of Art. Design is at the forefront of contemporary creation, and has managed to capture a younger audience, as well as the more established collectors.
[DA] The designer’s that you’re representing are also very strong production designers. [DK] Absolutely. The designers we represent, also work with the best industrial companies such as Flos, Vitra, Alessi…At the gallery we act like a research laboratory for them, meaning they have total freedom to create.
poltrona gold | alessandro mendini | 2013
gemstone table | hella jongerius | 2013
[DA] We were in Chicago at Art Expo this past September. Tony Kalman had a great show. Do you think design galleries would come and be well received in Chicago? [DK] Of course. Chicago is a very important place in Art and Design.
[DA] At Art Expo, at some point after going from booth to booth the idea of are there any architects or designers hanging in the booths. I only asked a few booths and maybe sorry this idea didn’t come sooner. But out of 12 galleries asked, eight had designers or architects in Art Expo. One was Gyorgy Kepes who taught at the Institute of Design in Chicago. He taught a class on light and design. Gyorgy was very influential in Chicago and Moholy Nagy asked him to teach. Another Alexandre Arrechea, a Cuban born artist. His sculpture represented Chicago bridges which are all stacked. Even a gallery owner, Robert Koch, is an architect. [DK] Interesting. To be an artist you are free if you wish to go into any field. For an architect or designer that may be a bit more complicated in it’s constraints.
[DA] Let’s flip it around. Are any of your designers here pursuing art that you know of? [DK] No, they are all in design. Now fashion, if you think of Dior he’s a fashion designer but he’s also an artist with a big ‘A’. But the designers in our galerie are just thinking about design.
>mokoto (truth) | studio wieki somers | 2013
mokoto (truth) | studio wieki somers | 2013
large R | pierre charpin | 2013
reflect | david dubois | 2013
carbon ladder | marc newson | 2009
elysée | pierre paulin | 1970s
ignotus nomen | pierre charpin | 22011 //desk light | ronan & erwan bouroullec | 2012
[DA] Didier, I do know what else is different this year.
dk 2012
dk 2013
[galerie kreo ] The kreo Gallery was founded in 1999 by Didier and Clémence Krzentowski. It enjoys an international reputation especially for its limited objects and furniture created by leading designers editions, satisfying it’s founding goal of getting design closer to the public and providing a “space laboratory” dedicated to the research work of these designers. kreo’s first location settled in the 13th arrondissement of Paris in the middle of a group of avant-garde galleries, first rue Louise Weiss, then to a larger space on Duchefdelaville street. In 2008, the gallery moved to the heart of Saint-Germain-des-Prés to 31 Rue Dauphine.
