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tom dixon

Home Tag tom dixon
print by bill amberg studio in kings cross. london design festival 2019.

print by bill amberg studio in kings cross. london design festival 2019.

Sep 19, 2019

with a modern take on leather decoration, bill amberg brings together leading creatives for a new collection of digitally-printed leather hides.

this year’s collaborators include marcel wanders, calico wallpaper, solange azagury-partridge, lisa miller, champalimaud and artist matthew day jackson.

each artist has created designs which showcase the incredible possibilities of digitally-printed leather. as the world’s most coveted specialist in upholstery leathers, created with the highest ethical and sustainability standards, bill amberg print hides combine forward-thinking contemporary design with an innovative natural leather, developed to celebrate the characteristics and beauty of the material. the collection will be presented in a railway arch at coal drops yard in king’s cross.

launched in september 2018 with tom dixon, faye toogood, champalimaud, natasha baradaran, and timorous beasties, bill amberg print is a modern take on leather decoration that employs specialist digital printing technology, whilst retaining the natural character and grain.

‘print’ uses the finest european bull hides, printed with graphics by some of the world’s most renowned creatives. our in-house tannage allows the leather to accept the inks used in the digital printing process, ensuring a robust and colourfast design. with a soft and luxurious handle, the hides have been developed for upholstery and interior architectural use across commercial, hospitality, residential and marine projects, and meet strict sustainability criteria for leather production.

19-22 september 2019
thur-sat 10am-8pm, sunday 12pm-6pm

stable street
coal drops yard
king’s cross
n1c 4dq

tube > kings cross

#ldf19 #billambergprint

tom dixon is TouchySmellyFeelyNoisyTasty at london design festival 2019.

tom dixon is TouchySmellyFeelyNoisyTasty at london design festival 2019.

Sep 14, 2019

this september, tom dixon introduces TouchySmellyFeelyNoisyTasty at his hub in king’s cross. the coal office will become a multi-sensory lab with a series of talks, workshops, events and parties taking place in the shop, factory, restaurant and gallery.

for the first time, king’s cross will be an official ldf design district and is set to be one of the top destinations during the festival with an array of exciting events and activities open to the public.

in the ‘touchy feely’ arch located in the shop, tom dixon’s design research studio will partner with men’s care brand harry’s to create a razor bar that draws on the sensory tactility of shaving. the razor bar will be open to the public and will offer by-invitation grooming services. ten limited edition razor handles that have been co-designed by both brands will also be on display.

monday – saturday 10am till 8pm
thursday 10am till 9pm
sunday 11am till 5pm
press preview thursday 19th september (8.30am till 11.30am)

tom dixon studio
the coal office
1 bagley walk, kings cross
london
n1c 4pq

#tomdixon
#touchysmellyfeelynoisytasty
#kxdesigndistrict
#ldf19

tom dixon is fat at restaurant the manzoni. milan design week 2019.

tom dixon is fat at restaurant the manzoni. milan design week 2019.

Apr 5, 2019

“there is nothing dustier than a conventional lighting and furniture showroom. but with the manzoni, people are able to experience our new collections in an active context.

tom dixon returns to milan after a year’s absence and rethinking how we can embed ourselves into the heart of italy’s commercial and cultural capital.

aptly named the manzoni, the new 100-cover restaurant has been created by tom’s design research studio. pre-opening at the beginning of april to coincide with milan design week, it will re-open after salone as a permanent restaurant and a showroom.

“we wanted to look at different ways of being present in milan. after years of doing 5-day exhibitions in milan, we finally decided that we had enough of putting such huge energy into pop-up interventions. with the city being so active and engaging right now, it is the right time to forget being temporary and build something permanent. just like in london, we don’t think it’s enough to just have a showroom. we need a place where people slow down and experience our products in a live setting.”

#themanzoni
@themanzoni

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.

being original: making the case for authentic design.

being original: making the case for authentic design.

Sep 2, 2015

event> “being original: making the case for authentic design” aia and idcec approved ceu course
date> tuesday 22 september 2015 | 12 noon
venue> centro | 4727 mcpherson avenue | st. louis MO
rsvp> by friday 18 september 2015 | office@centro-inc.com
instructor> john james jenkin, ceo, driade

Be Original Americas™ will present their first-ever Continuing Education Unit (CEU) course on the importance of authentic design while delving into the nature of innovation and creativity. The economic, social, legal, and personal costs of supporting knock-offs will be highlighted. This will be held at Centro, St. Louis’ premiere location for the best in design, during St. Louis Design Week. Instructor John James Jenkin, CEO, Driade and a Be Original Americas board member will lead the program for architects and interior designers to earn continuing education (0.1 IDCEC/1 LU AIA) credits for members of American Institute of Architects (AIA) and Interior Design Continuing Education Council (IDCEC). The 2 hour program will include a 1 hour course, networking and lunch.

[ be original americas ]
Be Original Americas, founded in 2012, is committed to educating, informing and influencing designers, businesses, and the greater public on the value of purchasing authentic designs. The goal is to elevate the discussion so that all who appreciate good design also understand the economic, social, and ethical reasons to support the creators and manufacturers of original, authorized design, thereby ensuring its future.

[ centro ]
Cento began in 1988 as a trade showroom representing furniture, lighting, and textiles from around the globe. In 1998, Centro opened its doors to retail clientele in the historic Central West End neighborhood of St. Louis, MO. A showroom expansion in 2003 tripled the size of the showroom. Today, Centro is the exclusive St. Louis retailer for over forty-five of the leading design brands in the world, including B&B Italia, Driade, Zanotta, Tom Dixon, Flos, Cassina, Alessi, Moooi, Cappellini, Artemide, Fritz Hansen, Knoll, and Herman Miller.

Artek and Vitra: a partnership built on affinity.

Sep 6, 2013

vitra-artek-logos5

On 6 September 2013, Vitra acquires Artek. Two venerable and like-minded bastions of avant garde modern furniture agree to partner. How like-minded? The logos may say it all.

Vitra-Panton-Chair1panton chair | verner panton | vitra | 1967 | click > enlarge

Artek_stool_60_special_edition_group2stool 60 special edition series | tom dixon, comme des garçons, mike meiré, monocle, mads nørgaard, nao tamura | artek | 2013 (based on 1933 original by alvar aalto)

[ artek ] Artek was founded in 1935 by Alvar and Aino Aalto, Maire Gullichsen and Nils-Gustav Hahl. The business idea of the company was “to sell furniture and to promote a modern culture of habitation by exhibitions and other educational means.” That was the beginning of Artek. The Artek collection comprises design furniture and lighting fixtures by the Nordic masters Alvar Aalto, Ilmari Tapiovaara, Tapio Wirkkala and Eero Aarnio. The latest addition to the portfolio consists of products by Yrjö Kukkapuro. The masterpiece of Kukkapuro, the Karuselli chair, will be re-launched on the market in the beginning of the year 2014. In addition to classics, Artek is also launching new generation design products under the Artek Studio brand. Alvar Aalto’s furniture represents an interpretation of Scandinavian modernism articulated primarily in Finnish birch wood. Wood and functionality are both hallmarks of the Artek collection. The Artek portfolio represents the most comprehensive collection of wooden design furniture in the world. Artek has international sales offices in New York, Berlin, Stockholm and Tokyo. The domestic market accounts for 60% of the company’s turnover, with Artek holding a solid position in the Finnish consumer and contract market. Vitra’s design classics have for a number of years been an important part of Artek’s collection for the Finnish market. Artek operates four stores in Finland, as well as a wide retail network.

[ vitra ] Vitra is a furniture company dedicated to developing healthy, intelligent, inspiring and durable solutions for the office, the home and for public spaces. Vitra’s products and concepts are developed in Switzerland by applying a diligent design process that brings together the company’s engineering excellence with the creative genius of leading international designers. It is our goal to create products with a high functional and aesthetic life expectancy. The Vitra Campus architecture, the Vitra Design Museum, workshops, publications, collections and archives are all integral elements of the Vitra Project. They give Vitra the opportunity to gain perspective and depth in all of its creative activities.

<a href="about phil patton

Trains, planes and golden noses. Milan 2013.

Apr 18, 2013

2013milan-museum2

On Wednesday evening one of seven(!) venues was the visit the ‘most‘ creative hub where we found the Lensvelt installation to interview Studio Job (coming soon). This venue included Super Studio and a hint of Tom Dixon. To reach Studio Job we had to pass through the Museo Scienza e Tecnica di Milano to reach the cloister in the S.Ambrogio Abbey. This is the oldest railway museum in Italy, having opened in 1968.

2013milan-museum4

For this particular evening fog machines were installed.

2013milan-museum5

2013milan-museum6

2013milan-museum1

If you recall this is the transport museum where you could also find airplanes and a submarine.

2013milan-museum8
2013milan-museum10

Artemide provides lighting along the way.

2013milan-museum3

A staging area for an upcoming ‘Design Everywhere’ Tom Dixon exhibition.

2013milan-museum7

2013milan-museum9
2013milan-museum11

We jump in a cab for three more stops and I may only have enough battery power for three more shots.

2013milan-flos1flos showroom

2013milan-luceplan1luceplan showroom

2013milan-wallpaper1wallpaper* & leclettico

above > The last stop was worth the walk, though no batteries to photograph a wonderful installation of [ wallpaper* handmade ]

<a href="527-ronscope200about ron kovach

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