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furniture

Home Tag furniture
the magis way: pop-up at herman miller nyc.

the magis way: pop-up at herman miller nyc.

Nov 22, 2019

magis, the italian design company, presents a temporary ‘pop-in’ exhibition at herman miller’s new york flagship (251 park avenue south). the magis way at herman miller is an experiential demonstration of the brand spirit – the most robust ever presented in north america – and is designed by swedish firm note design studio, encompassing nearly the entire second floor of the herman miller showroom.

“it is important to us that architects, designers and design lovers can see, touch and feel our products, says alberto perazza, ceo of magis. “for us, design is in our dna and we love sharing it with the public and international design community.”

the brand’s spirit and success are based on the desire to provide a wide array of users with access to highly functional, quality products manufactured with advanced technologies. to achieve this, collaborating with major international designers is essential –they have a vision of the resulting products that is ethical and poetic as well as aesthetic.

for the magis way exhibit at herman miller, note design studio has developed a pursuit of visuals and volumes through fascinating architectural arrangements within the renaissance-revival building (designed by neville & bagge in 1909) that herman miller calls home. the stockholm-based studio began working with magis in 2018, dreaming up their exhibition spaces for salone del mobile, stockholm furniture fair and more.

a welcoming setting, this space is an invitation to discover the new and iconic designs presented within it, including plato designed by jasper morrison, the officina collection by ronan and erwan bouroullec, bureaurama by conceptual artist jerszy seymour, chair_one by konstantin grcic, the famous spun chair by architect thomas heatherwick and many more. linking the products and vignettes are new rugs from the volentieri collection designed by inga sempé, featuring different types of yarns and weaves to balance color, texture, even light reflection through a mix of neutral and luminous materials. this is a new category for magis and the first time they will be on display in north america.

magis, founded in 1976, is proud of its “made in italy” quality and tradition and speaks an international language by combining craftsmanship with technical advances in manufacturing. the magis way exhibit at herman miller expresses the breadth of their portfolio in a meaningful demonstration.

“we want visitors to feel that they’ve just discovered magis, whether they already knew the brand before they visited the exhibit or this is their first exposure to it,” says tim straker, chief marketing officer, herman miller. “this is a chance to envision magis in one’s own space, whether it’s home or at work.”

among the values shared by magis and herman miller is a commitment to creating responsible design and a strong belief in design authorship. through this relationship and the pop-in exhibition, the two companies have woven a story of creativity and applicable authored designs for north america in a real and credible way.

architects, interior designers and design lovers can visit the magis way at herman miller by contacting (212) 753-3022 to schedule an appointment, or enter through the herman miller store, taking the stairs in the back to the second floor monday through friday 11:00am – 5:00pm.

philadelphia furniture show 2019.

philadelphia furniture show 2019.

Oct 4, 2019

the philadelphia furniture show returns to the 23rd street armory this fall for a weekend showing one-of-a-kind, hand-made pieces by artisans from around the country. this year’s special collaboration is with designphiladelphia and rebuilding together phila. the show runs from saturday, 5 october to sunday, 6 october, with a preview party on friday, 4 october from 6 to 9pm, cohosted by rebuilding together philadelphia.

“this is the longest-running exhibition of its kind in the us,” said stefa normantas, managing partner of green tree events, owner of the philadelphia furniture show, “and this year we are delighted to offer daytime workshops on three topics: designing with light; the business side of furniture making; and women in woodworking.” sign up on the furniture show website.

the show will exhibit the work of fifty artisans who create in wood, metal, ceramics, lighting and fabric.

#designphiladelphia

icff miami 2016.

icff miami 2016.

Oct 5, 2016

the first annual icff miami will bring luxury global designers, architects, developers, high end showrooms and retail influencers to miami, a leading market for affluent residential development and investment. like icff nyc, the miami show will showcase what’s next and best in design, but with an energy and style all its own.

talking to designer patrizia moroso at luminaire.

talking to designer patrizia moroso at luminaire.

Jul 28, 2016

above> patricia uriquiola and patrizia moroso at luminaire’s women in design event

designapplause talks to patrizia moroso prior to her special chat women in design: patrizia moroso & patricia uriquiola with spanish architect and designer patricia uriquiola at luminaire’s chicago showroom. moroso is an italian furniture company founded by patrizia moroso’s parents in 1952, and it is still a family company. today the company is headed by the second generation of the moroso family- roberto, the ceo, and patrizia, the art director. patrizia gives us a good glimpse why building close relationships with designers and architects is so important to her.

the story of moroso is about adopting a different approach to the market. it’s a story told by their designs and projects, by people, the protagonists of contemporary living, who tell of their genuine, spontaneous passion for beauty, emotion, design and art.

moroso says what sets her company apart is the amount of time and effort it puts in to make sure the unique character of each designer’s concept is captured in the finished product. “we talk a lot with the designer to try to give identity to the objects,” she explains. “we try to understand what is the personality and the identity of that thing.”

[designapplause] what is the most rewarding aspect of your job? was this realization a surprise?
[patrizia moroso] what i love about my job is the possibility to make things and collaborate with the brightest minds i know. it’s a fantastic opportunity for your life to be enriched by these special people and to realize something with them is simply wonderful. these people bring talent, ideas and like patricia (uriquiola) a friendship.

[da] have you enriched your life by selecting such a high quality of talent?
[pm] ha! yes. you know everyone is influenced by their beginnings, and my beginning was with very special people and different from the mainstream of design. i started working in the family company, an established company (in the 50s) and simply a daughter coming back from the university. but my roots in the family business started early for me, a young child where i spent much of my time playing with fabric and wood as toys.

luminaire-moros-ghini1
above>plana – massimo losa ghini | 1987

at the university my courses were more creative in nature and i had ideas and my first collaboration was with a friend, massimo losa ghini, who was 22 at the time, but later became a very famous designer in italy and founded a movement called bolidismo and worked with the memphis group with ettore sottsass. soon after was ron arad and then toshiyuki kita.

luminaire-moroso-kita1
above> suriyama island | toshiyuki kita | 1989

ron was the first to translate an incredibly strong design language and his work was basically art pieces for collectors and museums with the subject of the chair. and with us, it was the first time he created industrial objects and i feel very proud doing that. i was absolutely attracted by his talent and his congeniality. with toshiyuki, coming from japan, for us a completely different world with another kind of concept for the seat- maybe like sitting on a rock in the garden, a fantastic example of organic design. it seems that every designer i’ve made contact with are special talents that greatly influenced me.

[da] do you take risks selecting your talent?
[pm] creating something new is an elemental part of design. it makes no sense to just make another thing like the past. so yes, of course. taking risks is part of our job. and this is also the most exciting part the process.

[da] regarding creative pursuits, can you share what you feel is important?
[pm] the first thing is to know yourself. to have confidence in what you are creating, which is not very easy when you’re young. to also feel and communicate passion. and think about finding a good partner who reinforces your thinking.

if you want to do something and can’t find someone happy to make it for you, just do it yourself. do it yourself first and show that it’s possible. and the technology makes it possible to create your own work. in the end, the (industrial) designer has to have a partner in the industry.

for example, i remember in the 80s when i was crazy about all the young london designers, the manufacturing industries were not there. the then young designers, ron (arad), jasper (morrison) and tom dixon, their studios also had workshops so they could make things to propose to people. tom dixon, after trying many many times became a big success mass producing his own.

luminaire-moroso-dixon1
above> serpentine | tom dixon | 2003

when i first met patricia she presented models of baskets that she interpreted as furniture and she made all these models by hand. you see, when the designer presents more refined examples, more than a sketch or computer prints on paper, there’s a much better understanding of the project and designer. more recently, with front design like ron they also started designing for galleries and collectors and could also make things by themselves.

of course if the relationship is there, sometimes a sketch is enough. so you see in this example the importance of the relationship.

[da] a personal question about you. what do you feel are your most valuable assets you bring to your life’s passion? what are you blessed with. is it a talent or something learned?
[pm] i don’t know. i hope it is the value in the end of what we produce. it is the result of many good relations. i like to go around and see our work in a beautiful space, perfectly in harmony with the space and showing the value of the design. sometimes i go to a museum and see our work side by side with great pieces and i’m very proud. i also consider the life of a piece, if the work resists the change of time, resists the trends and is bigger than the last trend. of course every object does not have to be a masterpiece but the value a piece brings is very important.

[da] expanding on this question, is there something that people think is important but it’s not all that important?
[pm] ah yes, the ‘aesthetic’ for instance. you know i receive quite a bit of suggestions. most typically the younger talents focus on the aesthetic to try to keep my interest with some ‘ooh wow’ aesthetic attempts. but for me the aesthetic is absolutely the second step behind the concept because the concept is telling me why you did it.

[da] i recently judged a design show and the results were awful. a problem was the judges were given no criteria on what was important. was there innovation, was there a need fulfilled, were others talking about it. with design, after all the above is checked off what is the final criteria? is it good looking, how can a great solution not be beautiful. the aesthetic is pretty important here.
[pm] yes but for me the aesthetic is of course but it’s sort of of course. to understand why first, the concept, and then of course beauty because beauty is part of what we try to produce. and beauty is different for everyone in many different ways and takes a long time to fully appreciate.

[da] tonight you and particia will be chatting at luminaire regarding women in design. in 2009 you said there were many women design critics and journalists but few women designers. do you have a reason why? so today are things better?
[pm] let’s talk about gender differences. yes, there are many journalists and many are women, especially in italy. both genders are equally talented and accomplished it seems and i don’t see any gender difference. in the profession of design however there is some difference.

the people that i work with are all very confident and the dialog is easy and with many friendships. and there’s not a big gender difference regarding communication. but of course i find that the work between genders is usually a little different. the little details seem to be usually more important for women than for men.

luinaire-moroso-arad1
above> victoria and albert | ron arad | 2000

for example, ron arad is really made of iron. his work is sculptural with a very strong gesture and (whoosh) in one second he designs something that has the beauty aesthetic we were just talking about. and he’s connecting this artwork with a craziness for functionality. a chair has to be comfortable and the shape determines comfortability. and if i wish something warmer and softer then metal and we arrive at felt because it’s smooth like metal. his shapes derive from cars, speed and architecture, but he’s not interested in some other the details.

luminaire-moroso-uriquiola1
above> tropicalia | patricia uriquiola | 2008

in contrast, patricia’s focus is on the little details. she’s interested in how we do a stitch, how to get a certain effect she wants. she’s not interested in the shape but the very detailed combinations of color and weaving and fabric. we wind up making custom fabrics to satisfy her vision. interestingly, with this kind of detail i find we arrive at a ‘total’ project of fabric determining softness, shape and functionality.

luminaire-moroso-front1
above> soft wood sofa | front design | 2010

for front design (anna lindgren and sofia lagerkvist) their focus is on illusion, it’s not a function but an idea. for instance their ‘soft wood’ bench concept is a fabric that looks like wood, an illusion that a magician might do. it’s fantastic because of the surprise.

[da] your emphasis on knowing why and your interest in the details reminds me that tomorrow i am spending the last day at neocon seeking out the design award winners. my intention is to ask them why their product won the award. what made it so good.
[pm] ah, to ask the people that won? a good question. let’s hope that they know.

[Best_Wordpress_Gallery id=”13″ gal_title=”luminaire patrizia moroso 2016″] above> click on image to open lightbox | images courtesy of luminaire

luminaire is more than a furniture showroom. it is an interactive design research center, a playground for the soul, an esplanade for discovery. more than anything else, however, it is a resource focused on creating environments that affect people’s lives.

Leap of faith: wendell castle. Carpenters workshop gallery.

Oct 8, 2013

wind crieswind cries | 2013

Every angle of a Wendell Castle piece reveals new information. Viewed from afar, these hybrid forms seem to defy categorization. The voluminous organic curves that appear to grow from the floor itself are at once inviting and perplexing – what is our relation to the piece?

In his latest series, Leap of Faith, Wendell Castle revisits the paradoxical relationship of formal innovation to function, continuing his exploration of stack-lamination, a technique that simultaneously acknowledges the inherent characteristics of the material while creating boundless work, surprising sculptural pieces, devoid of any pre-conceived notions of form.

Leap of Faith capitalizes on Castle’s most recent trajectory – incorporating increasingly complex volumes into his additive process. As he explains, at the beginning of my career “I did it the way a sculptor would do it, like carving it out of a big lump of wood. But since that big lump of wood wasn’t readily available, I constructed a lump of wood using stack-lamination.” This early interest in building volumes by gluing together multiple timbers into large, monolithic blocks is taken to a new level as today, he further joins these blocks into large, multi-dimensional bodies. The recent works reveal greater scale and new forms that, despite their often-organic shapes, would be impossible in nature.

Although the functionality of the pieces is often obscured by the flowing complexity of their forms, the consistent wood surfaces, fastidious craftsmanship of the lamination, and interconnectedness of the design, allows each work to retain its identity as a singular piece of furniture.

night picturenight picture | 2012

night picturenight picture | 2012

long nightlong night | 2011

wendell castlewendell castle

venue> carpenters workshop galler | marais | 54 rue de la verrerie | paris
dates> 26 october > 1 february 2014 | paris opening saturday 26 october / 4 > 9p

[ wendell castle ] [ carpenters workshop gallery ]
designs of the year 2013 shortlist.

designs of the year 2013 shortlist.

Mar 27, 2013

dm13-title1

Designs of The Year exhibition at the Design Museum runs 20 March > 7 July. Winners announced on 17 April. Pete Collard is curator of Designs of the Year..

The full list of nominees is as follows…

dm13-architecture1the shard | renzo piano

[ architecture ]
Druot, Lacaton and Vassal: La Tour Bois-Le-Pretre, Paris
Studio Egret West: Clapham Library, London
Farshid Moussavi Architecture: MOCA, Cleveland
Hackett Hall McKnight: Metropolitan Arts Centre, Belfast
David Kohn Architects in collaboration with artist Fiona Banner: A Room For London
SO – IL: Kukje Art Center, Seoul
Andrés Jaque Arquitectos: Ikea Disobedients
MVRDV: Book Mountain, Spijkenisse
Renzo Piano: The Shard, London
Gonçalo Byrne Arquitectos & Barbas Lopes Arquitectos: Thalia Theatre, Lisbon
Witherford Watson Mann: Astley Castle, Warwickshire
Orhan Pamuk with Ihsan Bilgin, Cem Yucel and Gregor Sunder Plassmann: The Museum of Innocence, Istanbul
Akihisa Hirata, Sou Fujimoto, Kumiko, Naoya Hatakeyama, Inui and Toyo Ito: Home For All
Klein Dytham: T-Site, Tokyo
Zaha Hadid: Galaxy Soho, Beijing
BIG, TOPOTEK1 and Superflex: Superkilen, Norrebro
Louis Kahn: Four Freedoms Park

dm13-digital1digital postcard and player | uniform

[ digital ]
rAndom International: Rain Room
Shing Tat Chung: Superstitious Fund Project
Raspberry Pi Foundation: Raspberry Pi
Jason Jameson, James Hall and Rhys Griffin of Unanico Group, with Andrew Tanner Design and Royal Winton: English Hedgerow Plate
Uniform: Digital Postcard and player
Microsoft: Windows Phone 8
Government Digital Service: GOV.UK Website
Six to Start and Naomi Alderman: Zombies, Run! App
Free Art and Technology Lab and Sy-Lab: Free Universal Construction kit
Martin Wattenberg and Fernanda Bertini Viegas: Wind Map
Moritz Waldemeyer for Ingo Maurer: Candles In The Wind
Patrick Bergel: Chirp
Nippon Design Centre Inc: Dashilar App
Stamen: City Tracking
Lytro: Light Field Camera

dm13-fashion1a/w12 collection | craig green

[ fashion ]
Jacqueline Durran: Anna Karenina Costumes
Giles Deacon: A/W12
Yayoi Kusama: Louis Vuitton Collection
Diana Vreeland: The Eye Has To Travel
Elisha Smith-Leverock: I Want Muscle
Craig Green: A/W12 Collection
Commes De Garcons: A/W12
Prada: S/S12 Collection
Proenza Schouler: A/W12 Collection

dm13-furniture1a-collection | ronan and erwan bourellec | hay

[ furniture ]
Studio Swine & Kieren Jones: The Sea Chair
Zaha Hadid: Liquid Glacial Table
Ronan and Erwan Bouroullec for Hay: A-Collection
Jolan Van Der Wiel: Gravity Stool
James Shaw and Marjan van Aubel: Well Proven Chair
Pinwu: Tie Paper Chair
Marni: 100 Chairs
Konstantin Grcic for Mattiazzi: Medici Chair
Studiomama (Nina Tolstrup and Jack Mama): Re-Imagined Chairs
Studio Markunpoika: Engineering Temporality
Ronan and Erwan Bouroullec for Vitra: Corniches
Muller Van Severen: Future Primitives

dm13-graphics1the gentlewoman #6 | veronica ditting

[ graphics ]
Brighten the Corners and Anish Kapoor: Zumtobel Annual Report
A Practice For Everyday Life: Bauhaus Art as Life exhibition
OK-RM: Strelka Institute Identity
Tzortzis Rallis and Lazaros Kakoulidis: Occupied Times of London
Veronica Ditting & Jop van Bennekom: The Gentlewoman #6
Serviceplan: Austria Solar Annual Report
Irma Boom: Rijksmuseum Identity
Studio Frith: Kapow!
Kapitza: Organic
Pedro Nora: Doc Lisboa ’12
Cardon Webb Ralph Ellison Collection
John Morgan: Venice Architecture Biennale Identity
CoDesign: Dekho Conversations on Design in India
Anthony Burrill: Made In Los Angeles
Australian Government Department for Health and Ageing: Australian Cigarette Packaging

dm13-product1olympic cauldron | heatherwick studio

[ product ]
Heatherwick Studio: Olympic Cauldron
Cecilie Manz: Bang & Olufsen Beolit 12
Dave Smith/Varanasi Research Group MIT: Liquiglide Ketchup Bottle
Scholten & Baijings/1616 Arita Japan: Colour Porcelain
Hal Watts: E-source
Berg: Little Printer
Inga Sempe for Legrand: Switch Collection
PostlerFerguson: Papa Foxtrot Toys
The Centre for Vision in the Developing World and Goodwin Hartshorn: Child Vision Glasses
Dirk Winkel for Wästberg: w127 Lamp
Form Us With Love: Plug Lamp
MakerBot: Replicator 2
Nemours/Alfred I. duPont Hospital for Children in Wilmington, Delaware: 3D Printed Exoskeleton
Unfold Studio: Kiosk 2.0
Jasper Morrison/Japan Creative: Oigen Kitchenware
Anthony Dickens: Tekio
Olafur Eliasson: Little Sun
Simon Berry: Colalife
Pierre Hardy: Frederic Malle Travel Sprays#!
Phil Cuttance: Faceture Vases
Front: Surface Tension Lamp
Nike: Flyknit Trainers

dm13-transport1mando footloose | mark sanders

[ transport ]
Vitamins for Maddak Inc: Morph Folding Wheel
Priestmangoode: Air Access Seat
BMW: i3 Concept Car BMW
Mark Sanders: Mando Footloose
Honda: N-One Honda
Ben Wilson: Donky Bicycle
Dixon Jones / The Royal Borough of Kensington and Chelsea: Exhibition Road
TfL /JEDCO / LOCOG: Olympics Wayfinding
DB Mobility Logistics AG: Touch&Travel

[ previous designs of the year winners ]
2012 – London 2012 Olympic Torch – Barber Osgerby
2010 – Folding Plug – Min-Kyu Choi
2011 – Plumen Lightbulb 001 – Samuel Wilkinson for Hulger
2009 – Barack Obama Poster – Shepard Fairey
2008 – One Laptop per Child – Yves Béhar of Fuseproject

[ design of the year 2013 winner: uk.gov ] [ 2013 jury ]

Nodo, fiberglass furniture by pentagono estudio.

Nov 6, 2012

nodo1click > enlarge

Mexican design studio Pentagono has just released Nodo, a brand new line of fiberglass furniture that takes a simple, rectangular form and increases its strength and stability by adding thread-like fiberglass connections. The placement doesn’t matter as much as the quantity of them, so the more random points of connection the stronger the bookcase (or other piece of furniture) becomes.

According to Pentagono, the collection is inspired by the idea that “the entire universe is shaped from multiple connections that are arranged according to their capacity to give structure.” We like how an empty bookcase, when viewed from a distance, has no clear shape – you can’t tell which of the fiberglass threads are in the foreground or background, but once you add a couple of books it takes shape. Still, we agree with Design Milk that this collection looks like a pain to dust.



about perrin drumm

Form in void: cardboard and plywood furniture.

Oct 23, 2012

click > enlarge

Less than a year after he completed his Masters in Architecture at Brighton University, Julio Thomas founded Form in Void atelier, where he focuses on designing products made of repurposed waste materials. Defining waste as a “material without an assigned application,” Julio assigns it one, “rejecting any sentiment that unimaginatively consigns usable materials to landfills.” His inaugural product is a seating series made from recycled cardboard tubes and plywood finished in organic hardwax oil. The joinery is extremely simple, and uses only dowels and glue.

“I wanted to subvert the convention that assigns novelty to recycled materials, the “Oh look it’s cardboard!” factor is a response I dread. Instead I treat each material I use as just that, material,” Thomas said.

The cardboard legs are as strong as they are commonplace, and Thomas ensures that each piece is “designed to be durable enough to withstand sustained use.” More than that, his production process generates “almost zero waste.” So why does a simple cardboard and plywood stool cost £329 and the desk in the series a whopping £1299? Great question. Chalk it up to student loans?


about perrin drumm

Blu dot 20/20 sale: what to buy.

Oct 22, 2012

click > enlarge

Blu Dot’s annual 20/20 sale is officially on! For the next 20 days (October 20 – November 8) all Blu Dot products are 20% off. That’s right – it’s not some sad back room of dusty, scratched floor samples and cast offs. It’s every product. Every. Single. One. That’s kind of a big deal since their collection is already so affordable. Check out the pieces we’ll be fighting for and do a little preshop yourself.

Cant Desk in red/walnut, $599, now $479 ($120 off)

Scamp Large Table in copper/marble, $499, now $399 ($99 off)

 

Toro Lounge Chair in day (natural), 1,099, now $880 ($219 off)

Modu-licious #3 in a Bauhaus-inspired color block, $899, now $719 ($180 off)


about perrin drumm

Fine young craftsmen: young & norgate.

Oct 10, 2012

click > enlarge

One day when I have a couple thousand quid lying around I’ll treat myself to one of Young & Norgate‘s buy-it-for-life home furnishings. The small design group makes all of their products by hand (“we make, not manufacture”) in their Devon workshop, using high quality, high price materials. THey hand select FSC certified timber from local suppliers and source premium leathers tanned and dyed in Scotland, while their iron work is done in New York.

Each pice in their pared down collection is made to order and is one of a limited edition of 100. Since each item is made for a particular buyer, you can specify details like the type of wood, the finish or the color of the leather. No project is too big or too small, “from umbrella stands to custom made libraries.”

With my penchant for writerly paraphernalia, I fancy the Animate Writing Desk. It has a slim profile and a tray sunken into the pullout drawer, which is lined with red leather (or color of your choice). I love details like the contrasting wood finish on the drawer pulls and the outer panels, giving it a kind of racing stripe on either side. And while I’m at it I might as well spring for the coordinating Animate Bedside Table, with contrasting American Black Walnut and bright formica. I know, formica! It’s great to see unexpected materials used in high quality craftsmanship, especially in retro baby blue. Take a behind-the-scenes tour of their workshop.


about perrin drumm

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