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Norway, often overshadowed by the proximity of Scandinavian powerhouses like Sweden and Finland, has been producing an impressive number of promising young designers in recent years. Foremost amongst them is Magnus Pettersen, the Sarpsborg-born (yup, that’s in Norway) designer who established his studio in London after studying Product & Furniture Design at Kingston University and Industrial Design at Central Saint Martins. Still, it wasn’t until early 2011 that Pettersen designed his first product, a wildly popular table lamp that was immediately picked up by a yet-to-be-named manufacturer when it debuted at London Design Festival that year. It’s currently schedule to retail in Fall 2013.
Since then Pettersen has designed a new lamp called Beacon that takes its design cues from lighthouses. Though the connection isn’t immediately apparent, Pettersen explained how he “wanted to find a way to reflect a warm light from an energy efficient bulb, which can seem very cold.” The inspiration for his furniture series, which he took from industrial lockers, is a little more obvious. Available in ash and aluminum, the chest of drawers, sideboard, credenza, and side table are typically Scandinavian in their focus on manufacturing and simplicity of materials, yet also completely new in their use of shiny gold metal.
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[ hot tools by ecal ] 6 > 29 september 2012
[ london design festival] event: 19 september 6 > 9p
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[ Gallery Libby Sellers ] presents HOT TOOLS, an exhibition of exquisite and intrepid glass works by the Product Design Master’s students of ECAL, the University of Art and Design Lausanne.
The exhibition is the culmination of a student workshop led by designer Ronan Bouroullec and glassblower Matteo Gonet featuring works by eight graduate designers: Rita Botelho, Diane du Chaxel, Sarha Duquesne, Philipp Grundhöfer, Felix Klingmüller, Charles Mathis, Giulio Parini and Jung-Cheng Su. The designers’ brief was to challenge conventions of glass making and the types of objects that such extraordinary processes and inventive thinking would yield. A selection of the works will be available to purchase through the gallery.
The exhibition will continue throughout the London Design Festival and will be open late for a special evening viewing on the 19th September from 6 – 9pm. Join us then to celebrate this and a special LDF installation by [ Peter Marigold ] for cashmere house Oyuna. The installation has been created to bring alive the beauty and artisan craftsmanship of the cashmere pieces while capturing the brand’s Mongolian nomadic spirit.
Regular opening hours: tuesday > friday 11a > 6p saturday 11a > 4p
London Design Festival hours (15 > 23 September): monday > saturday 11a > 6p (closed sundays)
RSVP essential to gallery@libbysellers.com or +44 (0)20 3384 8785
venue: gallery libby sellers | 41-42 berners street | london WlT 3nb
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Some of our favorite designers are represented by De La Espada, which is why we were excited to get a little taste of what they’ll be showing during the London Design Festival this September. This year they’ll return to The Tramshed event at designjunction, where they’ll be showing special exhibitions from Autoban, Matthew Hilton and Søren Rose Studio.
“A celebration of authenticity, creativity and innovation, The Tramshed is a carefully curated event with a diverse selection of both established and emerging companies. designjunction, this year in central London’s disused Sorting Office, is a stimulating place for design, culture and entertainment.”
Autoban will exhibition their second of four site specific installations schedule for 2012. Spread over 1,000 square feet in The Sorting Office, environment has an ethereal depth created by multiple layers of sheet material and the passage of light. The spatial organization highlights the interplay between the product, the space and the visitor. New products launching at the event include Cloud Table, an oversized wood dining table inspired by the organic forms of clouds; and Master Chair, an upholstered dining chair with a slender wood frame. Each will be available in a choice of four hardwoods: oak, walnut, chestnut and ash. The new products will be displayed next to classics from the range.”
Matthew Hilton will use the festival to launch Mary’s Chair and Mary’s Side Table, two new pieces of furniture inspired by a trip to the Cathedral of St. Mary of the Assumption in San Francisco. Apparently, Hilton was moved by “the contrast of the oppressive weight of the concrete structure and the release of the swooping, expansive space within. Mary’s chair and side table are inspired by this experience. Crafted in solid hardwood, American white oak and American black walnut, the side table with a marble top, the forms are substantial yet delicate, sculptural yet highly functional. Also launching are Misty sofa, a cool and brooding design with an exposed timber frame and a cast iron leg; Misty coffee table in the same materials and design language as the sofa; Pole Light, a functional timber reading lamp with brass detailing; and a new version of the existing Horizon Coffee Table, with larger overall proportions.”
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Søren Rose Studio (top of post) will also release new products from their Park Avenue collection, including P.A. Bed, a solid wood bed with a light expression; P.A. Bookcase, a timeless, expansive storage unit with drawers a seamless part of each shelf; P.A. Rectangular Table, a functional table with lightness and purity of form; P.A. Ottoman Tray, which transforms the P.A. Ottoman into a coffee table; and Church Chair, a stackable timber chair suitable for use as a dining or conference chair.
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in a response to london’s annual design festival, now in its 9th year, and to the “25 years of cultural deep freeze, the anti-design festival will attempt to unlock creative fires and ideas, exploring spaces hitherto deemed out-of-bounds by a purely commercial criteria.” So says founder Neville Brody, who takes the Anti in Anti-Design seriously. “The Anti Design Festival is anti-everything. The Anti Design Festival is anti-nothing. While the ADF is not against design, there is also a need for change. We are not anti-design as much as we are anti-everything.”
If you have any doubts just check out the event website. The ADF logo includes the London Design Festival’s logo – with a big X through it. The front page also does things with kerning and font size any design teacher would shake their finger at. Of course, that’s the point. ADF is not only a chance to play with design without the imposition of clients, bosses or market restrictions, but it’s a chance for your work to rub shoulders with contributors like Jonathan Barnbrook, Stuart Semple and Stefan Sagmeister. It’s nonprofit (i.e. no prize money); If that’s a problem, ADF probably isn’t for you.
ADF takes place in Shoreditch, London from 18-26 September (the last week of The London Design Festival).
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