at [ wanteddesign manhattan ] the restaurant is sponsored by the high-end italian brand fabbian. the area features a breathtaking light installation inspired by broadway theater’s atmosphere. the installation will feature the new product launch for 2017 lens and the products’ best seller laminis. alongside lago community table, the environment will create the perfect destination for a quick lunch and meetings. come visit fabbian at wanteddesign manhattan 2017 at the terminal stores, 20 > 23 may 2017!
kick off icff and celebrate duravit’s 200th anniversary with a festive party featuring food + drink, live music, and an exclusive first look at the 2017 news…all in the heart of the thriving nomad design district. [ rsvp ]
[ nycxdesign ] new york city’s official citywide celebration of design takes place each may. spanning all disciplines of design, nycxdesign creates a collaborative platform for cultural and commercial opportunities, elevates established and emerging design practices and increases awareness of and appreciation for design by all audiences.
hosted in new york city, nycxdesign brings together all the disciplines of design, commerce, culture, education, and entertainment with a full, varied program, including exhibitions, installations, trade shows, talks, launches and open studios. 2016, the fourth year of the celebration, featured over 500 events across the 5 boroughs of new york city and included topics from graphic design to architecture, technology and urban design to fashion and product design, interiors to landscape, furniture to design thinking, and more.
[ icff ]
The 29th annual [ ICFF NYC ] North America’s platform for global design, will map the newest frontier of what’s best and what’s next at New York City’s Jacob K. Javits Convention Center, May 21-24, 2017. Registration is now open. No cost registration for industry professional ends May 18th, after May 18th the cost is $60.
North America’s premier showcase for contemporary design, the ICFF annually lures those in determined pursuit of design’s timely truths and latest trends to an encyclopedic exhibition of up-to-the-moment offerings, as well as a series of fascinating, fun, edifying programs, and a packed schedule of exhibits and features.
Sunday, 21 May 10:00 am > 5:00 pm
Monday, 22 May 10:00 am > 6:00 pm
Tuesday, 23 May 10:00 am > 6:00 pm
Trade and General Public
Wednesday, May 24 10:00 am > 4:00 pm
also check out happenings at [ nycxdesign ] between 3 > 24 may 2017
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[ NYCxDESIGN ]
NYCxDESIGN, New York City’s official citywide celebration of design takes place each May. Spanning all disciplines of design, NYCxDESIGN creates a collaborative platform for cultural and commercial opportunities, elevates established and emerging design practices and increases awareness of and appreciation for design by all audiences.
Hosted in New York City, NYCxDESIGN brings together all the disciplines of design, commerce, culture, education, and entertainment with a full, varied program, including exhibitions, installations, trade shows, talks, launches and open studios. 2016, the fourth year of the celebration, featured over 500 events across the 5 Boroughs of New York City and included topics from graphic design to architecture, technology and urban design to fashion and product design, interiors to landscape, furniture to design thinking, and more. Click here to view a recap of NYCxDESIGN 2016.
For an overview of NYCxDESIGN 2017 and inspiration for events that you could put on this year, click [ here ]
also check out happenings at [ icff 2017 ] between 21 > 24 may 2017
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.
the departments of furniture design and textiles at rhode island school of design [ risd ] are presenting the narrative of making at the xxi triennale international exhibition milan 2016 (xx1t) and at the 2016 international contemporary furniture fair (icff) in new york city.
the featured work is based on in-depth, multidisciplinary materials research, with furniture design students partnering with peers in textiles to rethink the use of soft materials in furniture design. rather than using conventional techniques to cover furniture with foam and textiles, in this work students emphasize the inherent qualities of the materials through methods based on weaving, knitting, knotting and crocheting.
throughout the fall 2015 semester, students developed a series of models that led to a full-scale mock-up; these in-depth explorations provided a solid foundation for the construction of the final, well-executed prototypes for the shows.
xxi triennale international exhibition milan> 21st century. design after design | cathedral of the fabbrica del vapore | via giulio procaccini 4 | 2 april > 26 june 2016.
international contemporary furniture fair | the javits center | 655 west 34th street | 14 > 17 may 14–17 2016.
We’re talking to Tanner Woodford, co-founder and executive director for the Chicago Design Museum. We’re in the new permanent space on Block Thirty Seven and a grand opening is less than a month away.
[DesignApplause] Tanner, this is the Chicago Design Museum’s third year? What’s different about this year?
[Tanner Woodford] Yes, it’s our third year and this year we’re becoming a permanent institution. The past two years we’ve been a pop-up. Our first year was in Humboldt Park and we had over 1,000 people attend our opening reception, which was an encouraging, pleasant surprise. Last year we moved to a more central location, here at Block Thirty Seven. We had 17,000 square feet. This year we have 5,000. At the Humboldt Park location, our visitors were mostly designers. But in Block Thirty Seven we are speaking to a more public audience. From walk-in traffic off the street, to the Blue Line station in this building. Building off the success of the last two years, we decided it was time to become permanent.
[DA] What have you learned in three years?
[TW] I have learned so much. In short, we are trying to institutionalize more.
[DA] What do you mean by institutionalize.
[TW] We’ve always learned by doing. For example, the color of this room. We wanted to go with a 2% grey instead of white, so that white objects pop and black is richer. So we painted the walls, tested it, and came away feeling it was little too cool. Our group decided to paint the walls again. We’ve begun to assess our curatorial processes. The museum’s business is curation—that’s our product. Now that we’re rooted in the community, we want to bring more traditional elements into our collections.
[DA] What kind of work are you looking for?
[TW] In the past we’ve only exhibited graphic design. Now we’re moving into the other disciplines of design: architecture, industrial design, fashion, interaction, and more. This is our first show in this space. We’re playing to our strengths, which is currently graphic design.
[DA] Mixing and matching is both interesting and stimulating. I recently interviewed fashion designer Elke Walter and she said she liked presenting her work in photo galleries and this week she’s in London in Zaha Hadid’s Design Gallery. And Luminaire, a furniture showroom, had a great fashion event. Tell us about the thrust of this event.
[TW] It’s called Starts / Speculation: Graphic Design in Chicago Past and Future. The idea is the gallery is divided in half. It’s non-linear and incomplete. Chicago is a city of broad shoulders, a very innovative community. We’re highlighting innovation over the last century. Starting with the Burnham Plan—urban planning—before moving through the New Bauhaus, Container Corporation and its Herbert Bayer-designed World Geographic Atlas. A lot of people don’t know that the CCA commissioned the recycle logo. We have the original Call to Entries for it. We’ve collected many interesting artifacts that signal the start of new things beginnings in Chicago. The other half of the gallery is forward-looking, consisting of local graphic design firms that answer the question ‘How will technology shape communication in 100 years?
[DA] And this is all Chicago.
[TW] This show is Chicago-focused, because it started as a celebration of the AIGA Centennial with the Chicago Chapter. The Chicago Chapter however wanted to celebrate 100 years of Chicago history rather than 100 years of AIGA history.
[DA] You talked to the AIGA (American Institute of Graphic Arts) and STA (Society of Typographic Arts) which are graphic design. Have you talked to other design disciplines like AIA, ASID and IDSA?
[TW] Chicago has a strong design community. I’ve talked to a few of those organizations. We have many community partners — Architecture for Humanity, for example – which is doing an event here on June 27 that coincides with the AIA national conference. We are trying to broaden our community partners.
[DA] When there are exhibits here what’s the capacity?
[TW] 250 at one time, though we have a spillover space next door that accommodates several thousand.
[DA] How are you marketing yourself. You guys are very good at it.
[TW] We have an amazing marketing committee. We have two really great media sponsors, DesignApplause being one of them. We have four people on our marketing committee, and good press contacts. Frankly, now a lot of people are approaching us, asking what we are doing.
[DA] How many design museums are in the U.S.
[TW] There are over 100 cultural institutions in Chicago alone, including galleries and museums. At one time I was planning on visiting all of them, and that’s still on the bucket list.
In the states, I’ve been reaching out to a lot of directors of design museums. There’s Design Museum Boston and Design Museum Portland, which is under the same umbrella organization. There’s a Museum of Design in Atlanta. Of course there’s Cooper-Hewitt, the Walker, the Art Institute and the MCA, all of whom I have massive respect for.
Chicago is culturally rich and we’ve been lucky enough to find a niche here. We’re trying to complement what the city already has with regards to cultural resources.
[DA] It’s almost impossible to be in competition with other organizations when it comes to design. There are so many moving parts, aspects, no one can do it all, and it’s good to have the variety of perspectives from these curated efforts.
[TW] There’s a bandwidth for it. Rick Valicenti’s CHGO DSGN show is up now down the street. AIGA Chicago has a poster show—the chapter’s annual party—opening the night before ours.
[DA] Who talked you into Kickstarter. And congratulations with reaching your goal.
[TW] Thank you! It’s an idea we talked about on and off over the last couple of years. The board was really excited about it. The wonderful, talented Debbie Millman also strongly suggested it. And, when Debbie asks you to do something, you do it. The board talked about ways to engage the community. Kickstarter was a way for us to do so. We do have corporate sponsors and design firms that are sponsoring us and we have been, and are applying for grants, as well.
[DA] I’ve thought about it. It takes courage to try it.
[TW] Yes, talk about anxiety. There was so much support in the last 24 hours. It’s incredibly humbling.
[DA] Are there things that don’t work? Are you too new to know that? Does your board try this or that and sees what flies.
[TW] We’ve tried a few things. Our first store was called ‘Ignorance and Ambition’ and that’s sort of been baked into our DNA.
We’re young, and we’re new at this. We’re intentionally trying do the certain things differently. We’ve experimented in ways that a museum wouldn’t normally, now within more safe spaces.
A lot of this year has been spent talking to as many as possible, and asking how they see the role of a museum. We’ve got five questions we’re asking. One of them is ‘What is the role of the museum in society today?’ and ‘Can a museum be a disruptive technology?’ So, we’re still figuring out where our points of experimentation are, and how we’re going to define our voice as a non-traditional institution.
Certainly, becoming a permanent institution is ground breaking for us. The first year we took a month to create the environment, the show was up a month, and then torn down in days. One month and not much shelf life for the Chicago community and its visitors to see the exhibition. With this exhibition, we are going to have printed exhibition catalogs for the first time, so that the work can be archived into the future.
[DA] The catalog. A print or digital version?
[TW] We feel pretty strongly that a printed catalog will still be around in 50 years.
[DA] Let’s make time in the future to talk about this more. Who are your resources. Do you go to the schools repositories?
[TW] We’ve borrowed work from IIT, SAIC and UIC.
[DA] Do you see yourself as a repository also?
[TW] Yes, of course. We do feel strongly building collections and collections should be archived as well. We don’t have a lot of guidelines around that quite yet.
[DA] Rick (Valicenti) and I were talking about the Chicago Design Archive and the subsequent annual Archive competitions. And Rick asked where are they and I said online and he said, no, where ARE THEY?‘ I said the latest actual pieces to the competitions are probably in Bob Zeni’s basement. Maybe you guys are the repository.
[TW] We don’t have the space for it now.
[DA] True, but maybe you can find someone to donate the space and you can be responsible for it’s safe keeping and presenting it every now and then. Where is your ideal permanent space located?
[TW] Here. The West Loop and River North are always future options, but the intention is to be in a space that is very accessible to the public. From a visitor’s point of view, you almost have to leave the Loop to get to the neighborhood culture. It’s a question of audience for us. We have two audiences for the moment. There’s the design community, who we absolutely love. But, we also want to start talking to the general public. We want to brand Chicago outside of Chicago. We’re talking about how to raise Chicago’s influence internationally.
[TW] There you go.
[DA] What’s your arrangement in Block Thirty Seven if I can ask.
[TW] It’s a six-month rolling lease, and we hope to be here as long as possible.
[DA] What’s a good ‘length-of-show’ for you and how many times a year? Can you look at the MCA for example and see how long a show stays up?
[TW] That’s a good, complex question. Some shows can run longer depending on the content, but maybe our goal will become to create shows of equal content if that’s possible.
[DA] The best course is knowing that everybody is different and you learn by doing. Wallpaper magazine is a good example, always trying something. They have a cool concept now called ‘Handmade’ and it debuted in Milan, this is it’s fifth year. 70 pieces and the show just came to ICFF in New York. What’s amazing to me is Wallpape knows they are going to do it but the participants have about two-two 1/2 months to conceive and hang it.
[TW] Yes, exactly, just do it. You know there are many institutions that have done similar things.
[DA] How many people are helping you at the moment.
[TW] At the moment about 35. The institution expands and contracts as needed. We feel fortunate to have such skilled and passionate friends, followers, and volunteers.
[DA] Who’s on your board? Just graphic designers?
[TW] No. Lauren Boegen is our Administrative Director and works at Adler. Jessica Vician is our Marketing Director and works as a content strategist for SPC Educational Solutions. Moving forward, we are trying to build a more traditional board, particularly around development and fundraising.
[DA] What’s next?
[TW] We have a couple of concepts on the table, and will fill you in soon!
[DA] Tanner, let’s close this chat with why you do this and do you get yourself into panic attacks.
[TW] I am in constant panic. Now, I have more time to think. In any design discipline, there is a state of panic, a desire for constant improvement. We’ve learned a lot about timeframes, and are managing the work better with each exhibition. We have a very curious, passionate, creative group who take on a ton of the pressure.
[DA] What about you personally. It is as simple as you saying ‘I own this property and what kind of a person would I be if I wasn’t always trying to improve it.’
[TW] That’s an interesting question. I think my personality has been intertwined with museum’s for the last three years, even while I was at Morningstar. I was (and still am) passionate about Morningstar, but there is definitely something about building this business from the ground up. There is this idea to constantly make things better.
event> starts/speculations: graphic design in chicago past and future
date> 12 june > 30 august 2014
venue> block thirty seven | 3rd floor | 108 north state street chicago
open to public> tues>sat noon>7p
We’re back in Chicago. For those still in town and looking for more we liked the following:
[ wanteddesign ] terminal stores 269 11th ave
This fourth-year iteration of ‘Wanted’ is comprised of collectives, emerging/big gun design, student competitions, product launches and more.
qc design / booth 34
A collective of 12+ designers from Quebec pull their resources together to make their road show affordable. [ qc design ]
chicagoland in new york / booth 4
Funded by grants and Kickstarter to come to ICFF the group’s focus is on the collaboration between designer and local (Chicago) manufacturing. [ chicagoland ]
DesignApplause interviews Giulio (Cappellini), Philippe Nigro (Ligne Roset), Giulio Iacchetti (Alessi) and David Trubridge.
[ west village ]
Herman Miller and maharam conceive a tribute to Alexander Girard, Herman Miller’s director of design from 1952 to 73. The tribute is in the form of an exhibit loaded with archival artifacts of the prolific Girard. You’ll also see new interpretations of iconic furniture with the help of maharam’s textiles. The space also is conceived to be an oasis, as visitor’s are encouraged to come in and chill and have a refreshment. Alexander Girard: An Uncommon Vision will be open to the public thru 28 May. 446 West 14th Street.
[ times square ]
Vitra introduces us to the new (two weeks old) Dutch boutique hotel citizenM. Probably because citizenM continues their collaborations with architecture firm concrete, book store MENDO and… Swiss design label Vitra. The lobby is topped by their rooftop bar and sky gym. [ citizenM ] 218 west 50th.
[ soho ]
There’s a faith of (Italian) flagship showrooms offsite in SoHo. The Poltrona Frau Group three showrooms are right next to each other. Cappellini / 152 wooster | Cassina / 151 wooster | Poltrona Frau / 145 wooster. Also Alessi / 130 greene street | Flos / 152 greene
string lights | michael anastassiades | flos
[ javits center ]
We only found one booth of emerging designers in Javits: Christopher Gentner and Felicia Ferrone. We know both very well. This is their first ‘booth’, first collection(s). Christopher earned his reputation by building high quality furniture for designers and architects. He’s now applying this knowledge to his own designs. Felicia is an architect by training and apprenticed under Antonio Citterio. [ gentner ] [ fferone ]
artek usa / booth 1804
brazilian furniture / 1472 & 1572
emeco / 1732
flavor paper / 1032
fritz hansen / 2022
jasper morrison ‘the good life’ / 1644
lasvit / 826
nanimarquina / 1104
samuel heath / 1548
tom dixon / 1318
vitra / 1704
wilsonart / 2248 & 2353
wolf gordon / 1332
[ upper eastside ]
italian futurism, 1909-1944: reconstructing the universe | 1071 5th ave
skyscrapers and tunnels (gratticieli e tunnel) | fortunato depero | 1930
@ICFF #ICFF @wanteddedsign #wanteddesign @IndustryCityBK @NYCxDESIGN #nycxdesign
above> booth #1572
Brazilian Furniture Organization will present Made in Brazil at this year’s ICFF. Ornare, A Lot Of and Saccaro will debut collections at ICFF by the following iconic and emerging designers: Alessandro Mendini, Karim Rashid, Guto Indio da Costa, Vico Magistretti, Fabio Novembre, Xavier Lust, Borek Sipek, Pedro Franco, Roque Frizzo, Emerson Borges and Nika Zupanc. Combined, these furniture companies represent some of the best design practices in Brazil. Each are focused on new technologies and materials, sustainability, and originality in design.
air cabinets | guto indio da costa | ornare
Ornare, will exhibit the Air Cabinets Line of custom-built closets by Guto Indio da Costa designed exclusively for the High Line Collection. Known for creating innovative solutions for urban furniture in cities like São Paulo and Rio de Janeiro, Indio da Costa incorporated a polyester mesh into the Air Cabinets Line. This mesh ensures natural ventilation and provides light protection to contents inside the closet.
air cabinets | guto indio da costa | ornare
arraia | guto indio da costa
Saccaro, founded in 1946, primarily works with Brazilian designers and incorporates proprietary processes and unique materials into its collections. Saccaro will present Callas, an upholstered seating collection with mid-century modern connotations and angular lines designed by Emerson Borges and Noronha, a colorful outdoor furniture collection inspired by Fernando de Noronha archipelago, the Brazilian national park and UNESCO World Heritage Site, designed by Roque Frizzo. Also on view will be the limited-edition Mangue table, also designed by Frizzo; the Arraia chair by renowned designer Guto Indio da Costa, handcrafted in high quality Malacca and stainless steel and inspired by the form and motion of a Stingray; and a collection of Cowhide Rugs in a wide variety of unique and exquisite patterns from a simple checker to a Morrocan tile.
k2 sofa | alessandro mendini
A Lot Of, founded by award-winning Brazilian designer Pedro Franco, will present 20 pieces by a roster including Alessandro Mendini, Vico Magistretti, Fabio Novembre, Xavier Lust, Karim Rashid, Borek Sipek, Pedro Venzon and Nika Zupanc, among others. Highlights will include the K2 colored sofa designed by Mendini as an evolution of his Kandissi sofa, introduced in 1979; the Golem Chair designed by Magistretti and re-issued with the permission of the Magistretti Foundation; the Skeleton Chair, Crocodile Chair and Underconstruction Armchair by Pedro Franco; Karim Rashid’s Siamese Chair and Vida Table; Fabio Novembre’s RPH Sofa and Xavier Lust’s Cone Chair.
cadeira timida | pedro venzon
mesa vida | karim rashid
[ brazilian furniture organization ] is a partnership between The Brazilian Trade and Investment Promotion Agency (Apex-Brasil), and the Brazilian Furniture Association (Abimovel). Their goal is to promote Brazilian Furniture Exports around the world. They currently represent 72 industries that manufacture a wide range of products, including furniture for home, office and outdoors.
1> cadeira cone | xavier lust
2> mesa papera | alessandro mendini
3> callas | fernando de noronha
4> squeleton | pedro franco
5> maid chair | nika zupanc
6> sofa rph | fabio novembre